"It is my intention to follow up this set of foundational records by others which will demonstrate the interpretation of songs and arias as they are sung by our greatest artists. The outlook is almost limitless.

"And now, do you think I have answered your questions about tone production, breath control and the rest? Perhaps I have, as convincingly as an hour's talk can do."



XXIV

HERBERT WITHERSPOON

MEMORY, IMAGINATION, ANALYSIS

No doubt the serious teacher, who may be occupied in any branch of musical activity, has often pictured to himself what an ideal institution of musical art might be like, if all students assembled should study thoroughly their particular instrument, together with all that pertained to it. They should by all means possess talent, intelligence, industry, and be far removed from a superficial attitude toward their chosen field. The studio used for instruction in this imagined institution, should also be ideal, quiet, airy, home-like, artistic.

Some such vision perhaps floats before the minds of some of us teachers, when we are in the mood to dream of ideal conditions under which we would like to see our art work conducted.

It has been possible for Mr. Herbert Witherspoon, the distinguished basso and teacher, to make such a dream-picture come true. For he has established an institution of vocal art—in effect if not in name—where all the subjects connected with singing, are considered and taught in the order of their significance. Not less ideal is the building which contains these studios, for Mr. Witherspoon has fitted up his private home as a true abiding place for the muse.

At the close of a busy day, marked like all the rest with a full complement of lessons, the master teacher was willing to relax a little and speak of the work in which he is so deeply absorbed. He apologized for having run over the time of the last lesson, saying he never could teach by the clock.

"I do not like to call this a school," he began, "although it amounts to one in reality, but only in so far as we take up the various subjects connected with vocal study. I consider languages of the highest importance; we have them taught here. There are classes in analysis, in pedagogy—teaching teachers how to instruct others. We have an excellent master for acting and for stage deportment: I advise that students know something of acting, even if they do not expect to go in for opera; they learn how to carry themselves and are more graceful and self-possessed before an audience.

"The work has developed far beyond my expectations. There are over two hundred students, and I have eight assistants, who have been trained by me and know my ways and methods. Some of these give practice lessons to students, who alternate them with the lessons given by me. These lessons are quite reasonable, and in combination with my work, give the student daily attention.

"My plan is not to accept every applicant who comes, but to select the most promising. The applicants must measure up to a certain standard before they can enter. To this one fact is due much of our success."

"And what are these requirements?"

"Voice, to begin with; youth (unless the idea is to teach), good looks, musical intelligence, application. If the candidate possesses these requisites, we begin to work. In three months' time it can be seen whether the student is making sufficient progress to come up to our standard. Those who do not are weeded out. You can readily see that as a result of this weeding process, we have some very good material and fine voices to work with.

"We have many musicals and recitals, both public and private, where young singers have an opportunity to try their wings. There is a most generous, unselfish spirit among the students; they rejoice in each others' success, with never a hint of jealousy. We have had a number of recitals in both Aeolian and Carnegie Halls, given by the artist students this season. On these occasions the other students always attend and take as much interest as though they were giving the recital themselves."

BEL CANTO

"You have remarked lately that 'singers are realizing that the lost art of bel canto is the thing to strive for and they are now searching for it.' Can you give a little more light on this point?"

"I hardly meant to say that in any sense the art of bel canto was lost; how could it be? Many singers seem to attach some uncanny significance to the term. Bel canto means simply beautiful singing. When you have perfect breath control, and distinct, artistic enunciation, you will possess bel canto, because you will produce your tones and your words beautifully.

"Because these magic words are in the Italian tongue does not mean that they apply to something only possessed by Italians. Not at all. Any one can sing beautifully who does so with ease and naturalness, the American just as well as those of any other countries. In fact I consider American voices, in general, better trained than those of Italy, Germany or France. The Italian, in particular, has very little knowledge of the scientific side; he usually sings by intuition.

"We ought to have our own standards in judging American voices; until we do so, we will be constantly comparing them with the voices of foreign singers. The quality of the American voice is different from the quality found in the voices of other countries. To my mind the best women's voices are found right here in our midst.

MEMORY

"I have also said that there are three great factors which should form the foundation stones upon which the singer should rear his structure of musical achievement. These factors are Memory, Imagination, Analysis. I have put memory first because it is the whole thing, so to say. The singer without memory—a cultivated memory—does not get far. Memory lies at the very foundation of his work, and must continue with it the whole journey through, from the bottom to the top. In the beginning you think a beautiful tone, you try to reproduce it. When you come to it again you must remember just how you did it before. Each time you repeat the tone this effort of memory comes in, until at last it has become second nature to remember and produce the result; you now begin to do so automatically.

"As you advance there are words to remember as well as notes and tones. Memory, of course, is just as necessary for the pianist. He must be able to commit large numbers of notes, phrases and passages. In his case there are a number of keys to grasp at once, but the singer can sing but one tone at a time. Both notes and words should be memorized, so the singer can come before the audience without being confined to the printed page. When acting is added there is still more to remember. Back of memory study lies concentration; without concentration little can be accomplished in any branch of art.

IMAGINATION

"The central factor is imagination; what can be done without it! Can you think of a musician, especially a singer, without imagination? He may acquire the letter—that is, execute the notes correctly, but the performance is dead, without life or soul. With imagination he comprehends what is the inner meaning of the text, the scene; also what the composer had in mind when he wrote. Then he learns to express these emotions in his own voice and action, through the imaginative power, which will color his tones, influence his action, render his portrayal instinct with life. Imagination in some form is generally inherent in all of us. If it lies dormant, it can be cultivated and brought to bear upon the singer's work. This is absolutely essential.

ANALYSIS

"I have put analysis last because it is the crowning virtue, the prime necessity. We study analysis here in the studios, learning how to separate music into its component parts, together with simple chord formations, general form and structure of the pieces, and so on. Can you comprehend the dense ignorance of many music students on these subjects? They will come here to me, never having analyzed a bit of music in their lives, having not an inkling of what chord structure and form in music mean. If they played piano even a little, they could hardly escape getting a small notion of chord formation. But frequently vocal students know nothing of the piano. They are too apt to be superficial. It is an age of superficiality—and cramming: we see these evils all the way from the college man down. I am a Yale man and don't like to say anything about college government, yet I cannot shut my eyes to the fact that men may spend four years going through college and yet not be educated when they come out. Most of us are in too much of a hurry, and so fail to take time enough to learn things thoroughly; above all we never stop to analyze.

"Analysis should begin at the very outset of our vocal or instrumental study. We analyze the notes of the music we are singing, and a little later its form. We analyze the ideas of the composer and also our own thoughts and ideas, to try and bring them in harmony with his. After analyzing the passage before us, we may see it in a totally different light, and so phrase and deliver it with an entirely different idea from what we might have done without this intelligent study."

CONSCIOUS OR UNCONSCIOUS CONTROL

"Do you advise conscious action of the parts comprising the vocal instrument, or do you prefer unconscious control of the instrument, with thought directed to the ideal quality in tone production and delivery?" was asked.

"By all means unconscious control," was the emphatic answer. "We wish to produce beautiful sounds; if the throat is open, the breathing correct, and we have a mental concept of that beautiful sound, we are bound to produce it. It might be almost impossible to produce correct tones if we thought constantly about every muscle in action. There is a great deal of nonsense talked and written about the diaphragm, vocal chords and other parts of the anatomy. It is all right for the teacher who wishes to be thoroughly trained, to know everything there is to know about the various organs and muscles; I would not discourage this. But for the young singer I consider it unnecessary. Think supremely of the beautiful tones you desire to produce; listen for them with the outer ear—and the inner ear—that is to say—mentally—and you will hear them. Meanwhile, control is becoming more and more habitual, until it approaches perfection and at last becomes automatic. When that point is reached, your sound producing instrument does the deed, while your whole attention is fixed on the interpretation of a master work, the performance of which requires your undivided application. If there is action, you control that in the same way until it also becomes automatic; then both singing and acting are spontaneous."

DOES THE SINGER HEAR HIMSELF?

This question was put to Mr. Witherspoon, who answered:

"The singer of course hears himself, and with study learns to hear himself better. In fact I believe the lack of this part of vocal training is one of the greatest faults of the day, and that the singer should depend more upon hearing the sound he makes than upon feeling the sound. In other words, train the ear, the court of ultimate resort, and the only judge—and forget sensation as much as possible, for the latter leads to a million confusions.

"Undoubtedly a singer hears in his own voice what his auditors do not hear, for he also hears with his inner ear, but the singer must learn to hear his own voice as others hear it, which he can do perfectly well. Here we come to analysis again.

"The phonograph records teach us much in this respect, although I never have considered that the phonograph reproduces the human voice. It comes near it in some cases, utterly fails in others, and the best singers do not always make the best or most faithful reproductions."



XXV

YEATMAN GRIFFITH

CAUSATION

"The causation of beautiful singing can only be found through a pure and velvety production of the voice, and this is acquired in no other way than by a thorough understanding of what constitutes a perfect beginning—that is the attack or start of the tone. If the tone has a perfect beginning it must surely have a perfect ending."

Thus Mr. Yeatman Griffith began a conference on the subject of vocal technic and the art of song. He had had a day crowded to the brim with work—although all days were usually alike filled—yet he seemed as fresh and unwearied as though the day had only just begun. One felt that here was a man who takes true satisfaction in his work of imparting to others; his work is evidently not a tiresome task but a real joy. Mrs. Griffith shares this joy of work with her husband. "It is most ideal," she says; "we have so grown into it together; we love it."

As is well known, this artist pair returned to their home land at the outbreak of the war, after having resided and taught for five years in London, and previous to that for one year in Florence, Italy. Of course they were both singers, giving recitals together, like the Henschels, and appearing in concert and oratorio. But constant public activity is incompatible with a large teaching practice. One or the other has to suffer. "We chose to do the teaching and sacrifice our public career," said Mr. Griffith. During the five years in which these artists have resided in New York, they have accomplished much; their influence has been an artistic impulse toward the ideals of beautiful singing. Among their many artist pupils who are making names for themselves, it may be mentioned that Florence Macbeth, a charming coloratura soprano, owes much of her success to their careful guidance.

"Michael Angelo has said," continued Mr. Griffith, "that 'a perfect start is our first and greatest assurance of a perfect finish.' And nowhere is this precept more truly exemplified than in vocal tone production. The tone must have the right beginning, then it will be right all through. A faulty beginning is to blame for most of the vocal faults and sins of singers. Our country is full of beautiful natural voices; through lack of understanding many of them, even when devoting time and money to study, never become more than mediocre, when they might have developed into really glorious voices if they had only had the right kind of treatment.

TONE PLACEMENT

"We hear a great deal about tone placement in these days; the world seems to have gone mad over the idea. But it is an erroneous idea. How futile to attempt to place the tone in any particular spot in the anatomy. You can focus the tone, but you cannot place it. There is but one place for it to come from and no other place. It is either emitted with artistic effect or it is not. If not, then there is stiffness and contraction, and the trouble ought to be remedied at once.

"Every one agrees that if the vocal instrument were something we could see, our task would be comparatively easy. It is because the instrument is hidden that so many false theories about it have sprung up. One teacher advocates a high, active chest; therefore the chest is held high and rigid, while the abdominal muscles are deprived of the strength they should have. Another advises throwing the abdomen forward; still another squares the shoulders and stiffens the neck. These things do not aid in breath control in the least; on the contrary they induce rigidity which is fatal to easy, natural tone emission.

IN THE BEGINNING

"When the pupil comes to me, we at once establish natural, easy conditions of body and an understanding of the causes which produce good tone. We then begin to work on the vowels. They are the backbone of good singing. When they become controlled, they are then preceded by consonants. Take the first vowel, A; it can be preceded by all the consonants of the alphabet one after another, then each vowel in turn can be treated in the same way. We now have syllables; the next step is to use words. Here is where difficulties sometimes arise for the student. The word becomes perfectly easy to sing if vowels and consonants are properly produced. When they are not, words become obstacles. Correct understanding will quickly obviate this.

BREATH CONTROL

"Breath control is indeed a vital need, but it should not be made a bugbear to be greatly feared. The young student imagines he must inflate the lungs almost to bursting, in order that he may take a breath long enough to sing a phrase. Then, as soon as he opens his lips, he allows half the air he has taken in to escape, before he has uttered a sound. With such a beginning he can only gasp a few notes of the phrase. Or he distends the muscles at the waist to the fullest extent and fancies this is the secret of deep breathing. In short, most students make the breathing and breath control a very difficult matter indeed, when it is, or should be an act most easy and natural. They do not need the large quantity of breath they imagine they do; for a much smaller amount will suffice to do the work. I tell them, 'Inhale simply and naturally, as though you inhaled the fragrance of a flower. And when you open your lips after this full natural breath, do not let the breath escape; the vocal chords will make the tone, if you understand how to make a perfect start. If the action is correct, the vocal chords will meet; they will not be held apart nor will they crowd each other. Allow the diaphragm and respiratory muscles to do their work, never forcing them; then you will soon learn what breath control in singing means. Remember again, not a particle of breath should be allowed to escape. Every other part of the apparatus must be permitted to do its work, otherwise there will be interference somewhere.'

CAUSATION

"Everything pertaining to the study of vocal technic and the art of singing may be summed up in the one word—Causation. A cause underlies every effect. If you do not secure the quality of tone you desire, there must be a reason for it. You evidently do not understand the cause which will produce the effect. That is the reason why singers possessing really beautiful voices produce uneven effects and variable results. They may sing a phrase quite perfectly at one moment. A short time after they may repeat the same phrase in quite a different way and not at all perfectly. One night they will sing very beautifully; the next night you might hardly recognize the voice, so changed would be its quality. This would not be the case if they understood causation. A student, rightly taught, should know the cause for everything he does, how he does thus and so and why he does it. A singer should be able to produce the voice correctly, no matter in what position the role he may be singing may require the head or body to be in. In opera the head or body may be placed in difficult unnatural positions, but these should not interfere with good tone production.

REGISTERS

"I am asked sometimes if I teach registers of the voice. I can say decidedly no, I do not teach registers. The voice should be one and entire, from top to bottom, and should be produced as such, no matter in what part of the voice you sing. Throughout the voice the same instrument is doing the work. So, too, with voices of different caliber, the coloratura, lyric and dramatic. Each and all of these may feel the dramatic spirit of the part, but the lighter quality of the voice may prevent the coloratura from expressing it. The world recognizes the dramatic singer in the size of the voice and of the person. From an artistic point of view, however, there are two ways of looking at the question, since the lyric voice may have vivid dramatic instincts, and may be able to bring them out with equal or even greater intensity than the purely dramatic organ.

VOCAL MASTERY

"Vocal Mastery is acquired through correct understanding of what constitutes pure vowel sounds, and such control of the breath as will enable one to convert every atom of breath into singing tone. This establishes correct action of the vocal chords and puts the singer in possession of the various tints of the voice.

"When the diaphragm and respiratory muscles support the breath sufficiently and the vocal chords are permitted to do their work, you produce pure tone. Many singers do not understand these two vital principles. They either sing with too much relaxation of the diaphragm and respiratory muscles, or too much rigidity. Consequently the effort becomes local instead of constitutional, which renders the tone hard and strident and variable to pitch. Again the vocal chords are either forced apart or pinched together, with detriment to tone production.

"The real value of control is lost when we attempt to control the singing instrument and the breath by seeking a place for the tone the singing instrument produces. When the vocal chords are allowed to produce pure vowels, correct action is the result and with proper breath support, Vocal Mastery can be assured."



XXVI

J.H. DUVAL

SOME SECRETS OF BEAUTIFUL SINGING

A young French girl had just sung a group of songs in her own language and had won acclaim from the distinguished company present. They admired the rich quality of her voice, her easy, spontaneous tone production and clear diction. A brilliant future was predicted for the young singer. One critic of renown remarked: "It is a long time since I have heard a voice so well placed and trained."

"And who is your teacher?" she was asked.

"It is Mr. Duval; I owe everything to him. He has really made my voice; I have never had another teacher and all my success will be due to him," she answered.

We at once expressed a desire to meet Mr. Duval and hear from his own lips how such results were attained.

A meeting was easily arranged and we arrived at the appointed hour, just in time to hear one of the brilliant students of this American-French singing master.

Mr. Duval is young, slim and lithe of figure, with sensitive, refined features, which grow very animated as he speaks. He has a rich fund of humor and an intensity of utterance that at once arrests the listener. He came forward to greet the visitor with simple cordiality, saying he was pleased we could hear one of his latest "finds."

The young tenor was at work on an air from Tosca. His rich, vibrant voice, of large power and range and of real Caruso-like quality, poured forth with free and natural emission. With what painstaking care this wise teacher aided him to mold each tone, each phrase, till it attained the desired effect. Being a singer himself, Mr. Duval is able to show and demonstrate as well as explain. He does both with the utmost clearness and with unfailing interest and enthusiasm. Indeed his interest in each pupil in his charge is unstinted.

The lesson over, Mr. Duval came over to us. "There is a singer I shall be proud of," he said. "Several years ago I taught him for a few months, giving him the principles of voice placement and tone production. This was in Europe. I had not seen him since then till recently, when circumstances led him to New York. He never forgot what he had previously learned with me. He now has a lesson every day and is a most industrious worker. I believe he has a fortune in that voice. Next season will see him launched, and he will surely make a sensation."

"Will you give some idea of the means by which you accomplish such results?"

"The means are very simple and natural. So many students are set on the wrong track by being told to do a multitude of things that are unnecessary, even positively harmful. For instance, they are required to sing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, for exercises, finding the others are not needed, especially excluding E and U as injurious. Indeed one of the worst things a young voice can do is to sing scales on E and U, for these contract the muscles of the lips. Another injurious custom is to sing long, sustained tones in the beginning. This I do not permit.

"After telling you the things I forbid, I must enlighten you as to our plan of study.

"The secret of correct tone emission is entire relaxation of the lips. I tell the pupil, the beginner, at the first lesson, to sing the vowel Ah as loudly and as deeply as possible, thinking constantly of relaxed lips and loose lower jaw. Ah is the most natural vowel and was used exclusively in the old Italian school of Bel Canto. Long sustained tones are too difficult. One should sing medium fast scales at first. If we begin with the long sustained tone, the young singer is sure to hold the voice in his throat, or if he lets go, a tremolo will result. Either a throaty, stiff tone or a tremolo will result from practicing the single sustained tone.

"Singing pianissimo in the beginning is another fallacy. This is one of the most difficult accomplishments and should be reserved for a later period of development.

"The young singer adds to scales various intervals, sung twice in a breath, beginning, not at the extreme of the lower voice, but carried up as high as he can comfortably reach. I believe in teaching high tones early, and in showing the pupil how to produce the head voice. Not that I am a high tone specialist," he added smiling, "for I do not sacrifice any part of the voice to secure the upper notes. But after all it is the high portion of the voice that requires the most study, and that is where so many singers fail.

"The young student practices these first exercises, and others, two half hours daily, at least two hours after eating, and comes to me three times a week. I suggest she rest one day in each week, during which she need not sing at all, but studies other subjects connected with her art. As the weeks go by, the voice, through relaxed lips and throat and careful training, grows richer and more plentiful. One can almost note its development from day to day.

WORDS IN THE VOICE

"When the time comes to use words, the important thing is to put the words in the voice, not the voice in the words, to quote Juliani, the great teacher, with whom I was associated in Paris. More voices have been ruined by the stiff, exaggerated use of the lips in pronouncing, than in any other way. When we put the words in the voice, in an easy, natural way, we have bel canto.

"Another thing absolutely necessary is breath support. Hold up the breath high in the body, for high tones, though always with the throat relaxed. This point is not nearly enough insisted upon by teachers of singing.

"The points I have mentioned already prove that a vocal teacher who desires the best results in his work with others, must know how to sing himself; he should have had wide experience in concert and opera before attempting to lead others along these difficult paths. Because a man can play the organ and piano and has accompanied singers is not the slightest cause for thinking he can train voices in the art of song. I have no wish to speak against so-called teachers of singing, but say this in the interests of unsuspecting students.

"It is impossible," continued Mr. Duval, "to put the whole method of vocal training into a few sentences. The student advances gradually and naturally, but surely, from the beginnings I have indicated, to the trill, the pizzicati, to more rapid scales, to learning the attack, and so on. Of course diction plays a large part in the singer's development. With the first song the student learns to put other vowels in the same voice with which the exercises on Ah have been sung, and to have them all of the same size, easily and loosely pronounced. Never permit the pronunciation to be too broad for the voice. The pronunciation should never be mouthed, but should flow into the stream of the breath without causing a ripple. This is bel canto!

"In teaching I advise two pupils sharing the hour, for while one is singing the other can rest the voice and observe what is being taught. It is too fatiguing to a young voice to expect it to work a full half hour without rest.

"I was teaching in my Paris studio for a number of months after the war started, before coming to America. It is my intention, in future, to divide my time between New York and Paris. I like teaching in the French capital for the reason I can bring out my pupils in opera there. I am also pleased to teach in my own land, for the pleasant connections I have made here, and for the fresh, young American voices which come to me to be trained."

VOCAL MASTERY

"What is Vocal Mastery? There are so many kinds! Every great artist has his own peculiar manner of accomplishing results—his own vocal mastery. Patti had one kind, Maurel another, Lehmann still another. Caruso also may be considered to have his own vocal mastery, inasmuch as he commands a vocal technic which enables him to interpret any role that lies within his power and range. The greatest singer of to-day, Shalyapin, has also his individual vocal mastery, closely resembling the sort that enabled Maurel to run such a gamut of emotions with such astonishing command and resource.

"In fine, as every great artist is different from his compeers, there can be no fixed and fast standard of vocal mastery, except the mastery of doing a great thing convincingly."



XXVII

THE CODA

A RESUME

The student, seeking light on the many problems of vocal technic, the training for concert and opera, how to get started in the profession, and kindred subjects of vital importance, has doubtless found, in the foregoing talks a rich fund of help and suggestion. It is from such high sources that a few words of personal experience and advice, have often proved to be to the young singer a beacon light, showing what to avoid and what to follow. It were well to gather up these strands of suggestion from great artists and weave them into a strong bulwark of precept and example, so that the student may be kept within the narrow path of sound doctrine and high endeavor.

At the very outset, two points must be borne in mind:

1. Each and every voice and mentality is individual.

2. The artist has become a law unto himself; it is not possible for him to make rules for others.

First, as to difference in voices. When it is considered that the human instrument, unlike any fabricated by the hand of man, is a purely personal instrument, subject to endless variation through variety in formation of mouth and throat cavities, also physical conditions of the anatomy, it is no cause for wonder that the human instrument should differ in each individual. Then think of all sorts and conditions of mentality, environment, ambitions and ideals. It is a self evident fact that the vocal instrument must be a part of each person, of whom there are "no two alike."

Artists in general have strongly expressed themselves on this point: most of them agree with Galli-Curci, when she says: "There are as many kinds of voices as there are persons; therefore it seems to me each voice should be treated in the manner best suited to its possessor." "Singing is such an individual thing, after all," says Anna Case; "it is a part of one's very self." "Each person has a different mentality and a different kind of voice," says Martinelli; "indeed there are as many qualities of voice as there are people."

Granting, then, that there are no two voices and personalities in the world, exactly alike, it follows, as a natural conclusion, that the renowned vocalist, who has won his or her way from the beginning up to fame and fortune, realizes that her instrument and her manner of training and handling it are peculiarly personal. As she has won success through certain means and methods, she considers those means belong to her, in the sense that they especially suit her particular instrument. She is then a law unto herself and is unwilling to lay down any laws for others. Geraldine Farrar does not imply there is only one right way to train the voice, and she has found that way. In speaking of her method of study, she says: "These things seem best for my voice, and this is the way I work. But, since each voice is different, my ways might not suit any one else. I have no desire to lay down rules for others; I can only speak of my own experience."

Galli-Curci says: "The singer who understands her business must know just how she produces tones and vocal effects. She can then do them at all times, even under adverse circumstances, when nervous or not in the mood. I have developed the voice and trained it in the way that seemed to me best for it. How can any other person tell you how that is to be done?"

"It rests with the singer what she will do with her voice—how she will develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden instrument and eventually its fate must rest with its possessor. After general principles are understood, a singer must work them out according to his ability." Florence Easton remarks: "Each singer who has risen, who has found herself, knows by what path she climbed, but the path she found might not do for another."

Instead of considering this reticence on the part of the successful singer, to explain the ways and means which enabled him to reach success, in the light of a selfish withholding of advice which would benefit the young student, we rather look upon it as a worthy and conscientious desire not to lead any one into paths which might not be best for his or her instrument.

In the beginning the student needs advice from an expert master, and is greatly benefited by knowing how the great singers have achieved. Later on, when principles have become thoroughly understood, the young singers learn what is best for their own voices; they, too, become a law unto themselves, capable of continuing the development of their own voices in the manner best suited to this most individual of all instruments.

AMERICAN VOICES

We often hear slighting things said of the quality of American voices, especially the speaking voice. They are frequently compared to the beauty of European voices, to the disparagement of those of our own country. Remembering the obloquy cast upon the American voice, it is a pleasure to record the views of some of the great singers on this point. "There are quantities of girls in America with good voices, good looks and a love for music," asserts Mme. Easton. Mme. Hempel says: "I find there are quantities of lovely voices here in America. The quality of the American female voice is beautiful; in no country is it finer, not even in Italy." Herbert Witherspoon, who has such wonderful experience in training voices, states: "We ought to have our own standards in judging American voices; until we do so, we will be constantly comparing them with the voices of foreign singers. The quality of the American voice is different from the quality found in the voices of other countries. To my mind, the best women's voices are found right here in our midst." And he adds: "Any one can sing beautifully who does so with ease and naturalness, the American just as well as those of any other country. In fact I consider American voices, in general, better trained than those of Italy, Germany or France. The Italian, in particular, has very little knowledge of the scientific side; he usually sings by intuition."

AMERICAN VOICE TEACHERS

If this be accepted, that American voices are better trained than those of other countries, and there is no reason to doubt the statement of masters of such standing, it follows there must be competent instructors in the art of song right in our own land. Mme. Easton agrees with this. "There are plenty of good vocal teachers in America," she says, "not only in New York City, but in other large cities of this great country. There is always the problem, however, of securing just the right kind of a teacher. For a teacher may be excellent for one voice but not for another." Morgan Kingston asserts: "There is no need for an American to go out of his own country for vocal instruction or languages; all can be learned right here at home. I am a living proof of this. What I have done others can do." "You have excellent vocal teachers right here in America," says Mme. Hempel. Then she marvels, that with all these advantages at her door, there are not more American girls who make good. She lays it to the fact that our girls try to combine a social life with their musical studies, to the great detriment of the latter.

ARE AMERICAN VOCAL STUDENTS SUPERFICIAL?

It is doubtless a great temptation to the American girl who possesses a voice and good looks, who is a favorite socially, to neglect her studies at times, for social gaiety. She is in such haste to make something of herself, to get where she can earn a little with her voice; yet by yielding to other calls she defeats the very purpose for which she is striving by a lowered ideal of her art. Let us see how the artists and teachers view this state of things. Lehmann says:

"The trouble with American girls is they are always in a hurry. They are not content to sit down quietly and study till they have developed themselves into something before they ever think of coming to Europe. They think if they can only come over here and sing for an artist, that fact alone will give them prestige in America. With us American girls are too often looked upon as superficial because they come over here quite unprepared. I say to them: Go home and study; there are plenty of good teachers of voice and piano in your own land. Then, when you can sing, come here if you wish."

Frieda Hempel speaks from close observation when she says: "Here in America, girls do not realize the amount of labor and sacrifice involved, or they might not be so eager to enter upon a musical career. They are too much taken up with teas, parties, and social functions to have sufficient time to devote to vocal study and to all that goes with it. In order to study all the subjects required, the girl with a voice must be willing to give most of her day to work. This means sacrificing the social side, and being willing to throw herself heart and soul into the business of adequately preparing herself for her career."

THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK

In the words of Caruso's message to vocal students, they must be willing "to work—to work always—and to sacrifice." But Geraldine Farrar does not consider this in the light of sacrifice. Her message to the young singer is:

"Stick to your work and study systematically, whole-heartedly. If you do not love your work enough to give it your best thought, to make sacrifices for it, then there is something wrong with you. Better choose some other line of work, to which you can give undivided attention and devotion. For music requires both. As for sacrifices, they really do not exist, if they promote the thing you honestly love most. You must never stop studying, for there is always so much to learn." "I have developed my voice through arduous toil," to quote Mme. Galli-Curci. Raisa says: "One cannot expect to succeed in the profession of music without giving one's best time and thought to the work of vocal training and all the other subjects that go with it. A man in business gives his day, or the most of it, to his office. My time is devoted to my art, and indeed I have not any too much time to study all the necessary sides of it."

"I am always studying, always striving to improve what I have already learned and trying to acquire the things I find difficult, or have not yet attained to," testifies Mme. Homer.

THE REQUIREMENTS FOR A VOCAL CAREER

Those who have been through the necessary drudgery and struggle and have won out, should be able to give an authoritative answer to this all important question. They know what they started with, what any singer must possess at the beginning, and what she must acquire.

Naturally the singer must have a voice, for there is no use trying to cultivate something which does not exist. All artists subscribe to this. They also affirm she should have good looks, a love for music and a musical nature. Let us hear from Mme. Homer on this subject.

"1. Voice, first of all. 2. Intelligence; for intelligence controls, directs, shines through and illumines everything. What can be done without it? 3. Musical nature. 4. Capacity for Work. Without application, the gifts of voice, intelligence and a musical nature will not make an artist. 5. A cheerful optimism, which refuses to yield to discouragement. 6. Patience. It is only with patient striving, doing the daily vocal task, and trying to do it each day a little better than the day before, that anything worth while is accomplished. The student must have unlimited patience to labor and wait for results."

Mr. Witherspoon states, that students coming to him must possess "Voice, to begin with; youth, good looks, musical intelligence and application. If the candidate possess these requisites, we begin to work." Anna Case answers the question as to the vital requisites necessary to become a singer: "Brains, Personality, Voice."

Quotations could be multiplied to prove that all artists fully concur with those already mentioned. There must be a promising voice to cultivate, youth, good looks, (for a public career) and the utmost devotion to work.

WHAT BRANCHES OF STUDY MUST BE TAKEN UP?

All agree there are many other subjects to study besides singing; that alone is far from sufficient. Edward Johnson says: "Singing itself is only a part, perhaps the smaller part of one's equipment. If opera be the goal, there are languages, acting, make up, impersonation, interpretation, how to walk, all to be added to piano, harmony and languages. The most important of all is a musical education."

Most of the great singers have emphatically expressed themselves in favor of piano study. Indeed, many were pianists in the beginning, before they began to develop the voice. Among those who had this training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of the piano and its literature; it is the greatest help to me now. To my thinking all children should have piano lessons; the cost is trifling compared with the benefits they receive. They should be made to study, whether they wish it or not, for they do not know what is best for them."

Mme. Raisa says: "There are so many sides to the singer's equipment besides singing itself. The piano is a necessity; the singer is greatly handicapped without a knowledge of that instrument, for it not only provides accompaniment but cultivates musical sense." "The vocal student should study piano as well as languages," asserts Mme. Homer; "both are the essentials. Not that she need strive to become a pianist; that would not be possible if she is destined to be a singer. But the more she knows of the piano and its literature, the more this will cultivate her musical sense and develop her taste."

Florence Easton is even more emphatic. "If a girl is fond of music, let her first study the piano, for a knowledge of the piano and its music is at the bottom of everything. All children should have this opportunity, whether they desire it or not. The child who early begins to study piano, will often unconsciously follow the melody with her voice. Thus the love of song is awakened in her, and a little later it is discovered she has a voice worth cultivating."

On the subject of languages, artists are equally specific. Languages are an absolute necessity, beginning with one's mother tongue. The student should not imagine that because he is born to the English language, it does not require careful study. Galli-Curci remarks: "The singer can always be considered fortunate who has been brought up to more than one language. I learned Spanish and Italian at home. In school I learned French, German and English, not only a little smattering of each, but how to write and speak them."

Rosa Raisa speaks eight languages, according to her personal statement. Russian, of course, as she is Russian, then French, Italian, German, Spanish, Polish, Roumanian and English.

"The duty is laid upon Americans to study other languages, if they expect to sing," says Florence Easton. "I know how often this study is neglected by the student. It is only another phase of that haste which is characteristic of the young student and singer."

BREATH CONTROL

Following the subject of requirements for a vocal career, let us get right down to the technical side, and review the ideas of artists on Breath Control, How to Practice, What are the Necessary Exercises, What Vowels Should be Used, and so on.

All admit that the subject of Breath Control is perhaps the most important of all. Lehmann says: "I practice many breathing exercises without using tone. Breath becomes voice through effort of will and by use of vocal organs. When singing, emit the smallest quantity of breath. Vocal chords are breath regulators; relieve them of all overwork."

Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest factor of all is the breathing. To control the breath is what each student is striving to learn, what every singer endeavors to perfect, what every artist should master. It is an almost endless study and an individual one, because each organism and mentality is different."

Marguerite d'Alvarez: "In handling and training the voice, breathing is perhaps the most vital thing to be considered. To some breath control seems second nature; others must toil for it. With me it is intuition. Breathing is such an individual thing. With each person it is different, for no two people breathe in just the same way."

Claudia Muzio: "Every singer knows how important is the management of breath. I always hold up the chest, taking as deep breaths as I can conveniently. The power to hold the breath and sing more and more tones with one breath, grows with careful, intelligent practice."

Frieda Hempel: "The very first thing for a singer to consider is breath control—always the breathing, the breathing. She thinks of it morning, noon and night. Even before rising in the morning she has it on her mind, and may do a few little stunts while still reclining. Then, before beginning vocal technic in the morning, she goes through a series of breathing exercises."

David Bispham: "Correct breath control must be carefully studied and is the result of understanding and experience. When the manner of taking breath and the way to develop the diaphragm and abdominal muscles, is understood, that is only a beginning. Management of the breath is an art in itself. The singer must know what to do with the breath once he has taken it in, or he may let it out in quarts when he opens his mouth. He learns how much he needs for each phrase; he learns how to conserve the breath."

Oscar Saenger: "The management of the breath is a most important factor, as the life of the tone depends on a continuance of the breath. The student must cultivate the power of quickly inhaling a full breath, and exhaling it so gradually that she can sing a phrase lasting from ten to twenty seconds. This needs months of arduous practice. In all breathing, inhale through the nose."

Yeatman Griffith: "Breath control is indeed a vital need, but should not be made a bugbear to be greatly feared. Most students make breathing and breath control a difficult matter, when it should be a natural and easy act. They do not need the large amount of breath they imagine they do, for a much smaller quantity will suffice. When you open the lips after a full, natural breath, do not let the breath escape; the vocal chords will make the tone, if you understand how to make a perfect start."

SPECIFIC EXERCISES

Great singers are chary of giving out vocal exercises which they have discovered, evolved, or have used so constantly as to consider them a part of their own personal equipment, for reasons stated earlier in this chapter. However, a few artists have indicated certain forms which they use. Mme. d'Alvarez remarks: "When I begin to study in the morning, I give the voice what I call a massage. This consists of humming exercises, with closed lips. Humming is the sunshine of the voice. One exercise is a short figure of four consecutive notes of the diatonic scale, ascending and descending several times; on each repetition of the group of phrases, the new set begins on the next higher note of the scale. This exercise brings the tone fully forward."

Lehmann counsels the young voice to begin in the middle and work both ways. Begin single tones piano, make a long crescendo and return to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror.

Raisa assures us she works at technic every day. "Vocalizes, scales, broken thirds, long, slow tones in mezza di voce—that is beginning softly, swelling to loud, then diminuendo to soft, are part of the daily regime." Farrar works on scales and single tones daily. Muzio says: "I sing all the scales, one octave each, once slow and once fast—all in one breath. Then I sing triplets on each tone, as many as I can in one breath. Another exercise is to take one tone softly, then go to the octave above; this tone is always sung softly, but there is a large crescendo between the two soft tones." Kingston says: "As for technical material, I have never used a great quantity. I do scales and vocalizes each day. I also make daily use of about a dozen exercises by Rubini. Beyond these I make technical exercises out of the pieces." De Luca sings scales in full power, then each tone alone, softly, then swelling to full strength and dying away. Bispham: "I give many vocalizes and exercises, which I invent to fit the need of each student. They are not written down, simply remembered. I also make exercises out of familiar tunes or themes from opera. Thus, while the student is studying technic, he is acquiring much beautiful material."

Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then three in the same way; afterwards four and five. Then the scale of one octave. Arpeggios are also most important. The trill is the most difficult of all vocal exercises. We begin with quarter notes, then eighths and sixteenths. The trill is taken on each tone of the voice, in major seconds." Werrenrath: "I do a lot of gymnastics each day, to exercise the voice and limber up the anatomy. These act as a massage for the voice; they are in the nature of humming, mingled with grunts, calls, exclamations, shouts, and many kinds of sounds. They put the voice in condition, so there is no need for all these other exercises which most singers find so essential to their vocal well being."

Duval asserts: "Long, sustained tones are too difficult for the young voice. One should sing medium fast scales at first."

LENGTH OF TIME FOR DAILY PRACTICE

It may be helpful to know about how much time the artists devote to daily study, especially to technical practice. It is understood all great singers work on vocalizes and technical material daily.

Caruso is a constant worker. Two or three hours in the forenoon, and several more later in the day, whenever possible. Farrar devotes between one and two hours daily to vocalizes, scales and tone study, Lehmann counsels one hour daily on technic. Galli-Curci gives a half hour or so to vocalizes and scales every morning. Martinelli practices exercises and vocalizes one hour each morning; then another hour on repertoire. In the afternoon an hour more—three hours daily. Easton says: "It seems to me a young singer should not practice more than an hour a day, at most, beginning with two periods of fifteen or twenty minutes each." Anna Case says: "I never practice when I am tired, for then it does more harm than good. One must be in good condition to make good tones. I can study and not sing at all, for the work is all mental anyway." Muzio states she gives practically her whole day to study, dividing it into short periods, with rest between.

Frieda Hempel says: "I do about two hours or more, though not all of this for technic. I approve of a good deal of technical study, taken in small doses of ten to fifteen minutes at a time. Technic is a means to an end, more in the art of song than in almost any other form of art. Technic is the background of expressive singing."

Sophie Braslau is an incessant worker,—"at least six hours a day. Of these I actually sing three hours. The first hour to memory work on repertoire. The second hour to vocalizes. The rest of the time is given to repertoire and the things that belong to it." Barrientos states she gives about three-quarters of an hour to vocal technic—scales and exercises—each day. Duval advises the young student to practice two half hours daily, two hours after eating, and rest the voice one day each week, during which she studies other subjects connected with her art. Oscar Saenger says: "One should practice in fifteen-minute periods, and rest at least ten minutes between. Sing only two hours a day, one in the morning and one in afternoon."

WHAT VOWELS TO USE

There seems a divergence of opinion as to what vowels are most beneficial in technical practice and study. Galli-Curci says: "In my own study I use them all, though some are more valuable than others. The Ah is the most difficult of all. The O is good; E needs great care. I have found the best way is to use mixed vowels, one melting into the other. The tone can be started with each vowel in turn, then mingled with the rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which melts into O and later changes to U, as the tone dies away. Bispham has the student use various vowel syllables, as: Lah, Mah, May, and Mi. With Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes. Duval requires students to use the vowel Ah, for exercises and scales, finding the others are not needed, especially excluding E and U as injurious. Griffith uses each vowel in turn, preceded by all the consonants of the alphabet, one after another.

HALF OR FULL VOICE?

Shall the young singer practice with half or full voice seems a matter depending on one's individual attainments. De Luca uses full power during practice, while Raisa sings softly, or with medium, tone, during study hours, except occasionally when she wishes to try out certain effects. Martinelli states he always practices with full voice, as with half voice he would not derive the needed benefit. Mme. Easton admits she does not, as a rule, use full voice when at work; but adds, this admission might prove injurious to the young singer, for half voice might result in faulty tone production. Anna Case says when at work on a song in her music room, she sings it with the same power as she would before an audience. She has not two ways of doing it, one for a small room and another for a large one. Mr. Duval advises the young pupil to sing tones as loudly and deeply as possible. Singing pianissimo is another fallacy for a young voice. This is one of the most difficult accomplishments, and should be reserved for a later period. Oscar Saenger: "The tone should be free, round and full, but not loud."

HEARING YOURSELF

Does the singer really hear himself is a question which has been put to nearly every artist. Many answered in a comparative negative, though with qualifications. Miss Farrar said:

"No, I do not actually hear my voice, except in a general way, but we learn to know the sensations produced in throat, head, face, lips and other parts of the anatomy, which vibrate in a certain manner to correct tone production. We learn the feeling of the tone." "I can tell just how I am singing a tone or phrase," says De Luca, "by the feeling and sensation; for of course I cannot hear the full effect; no singer can really hear the effect of his work, except on the records." "The singer must judge so much from sensation, for she cannot very well hear herself, that is, she cannot tell the full effect of what she is doing," says Anna Case. Mr. Witherspoon says: "The singer of course hears himself and with study learns to hear himself better. The singer should depend more on hearing the sound he makes than on feeling the sound. In other words, train the ear, the court of ultimate resort, and the only judge, and forget sensation as much as possible, for the latter leads to a million confusions."

VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT

Farrar: "A thing that is mastered must be really perfect. To master vocal art, the singer must have so developed his voice that it is under complete control; then he can do with it what he wishes. He must be able to produce all he desires of power, pianissimo, accent, shading, delicacy and variety of color."

Galli-Curci: "To sum up: the three requirements of vocal mastery are: Management of the Larynx; Relaxation of the Diaphragm; Control of the Breath. To these might be added a fourth: Mixed Vowels. But when these are mastered, what then? Ah, so much more it can never be put into words. It is self-expression through the medium of tone, for tone must always be a vital part of the singer's individuality, colored by feeling and emotion. To perfect one's own instrument, must always be the singer's joy and satisfaction."

Raisa: "If I have developed perfect control throughout the two and a half octaves of my voice, can make each tone with pure quality and perfect evenness in the different degrees of loud and soft, and if I have perfect breath control as well, I then have an equipment that may serve all purposes of interpretation. For together with vocal mastery must go the art of interpretation, in which all the mastery of the vocal equipment may find expression. In order to interpret adequately one ought to possess a perfect instrument, perfectly trained. When this is the case one can forget mechanism, because confident of the ability to express any desired emotion."

Homer: "The singer must master all difficulties of technic, of tone production in order to be able to express the thought of the composer, and the meaning of the music."

Werrenrath: "I can answer the question in one word—Disregard. For if you have complete control of your anatomy and such command of your vocal resources that they will always do their work; that they can be depended on to act perfectly, then you can disregard mechanism and think only of the interpretation—only of your vocal message. Then you have conquered the material and have attained Vocal Mastery."

Kingston: "Vocal Mastery includes so many things. First and foremost, vocal technic. One must have an excellent technic before one can hope to sing even moderately well. Technic furnishes the tool with which the singer creates his vocal art work. Then the singer must work on his moral nature so that he shall express the beautiful and pure in music. Until I have thus prepared myself, I am not doing my whole duty to myself, my art or to my neighbor."

Griffith: "Vocal Mastery is acquired through correct understanding of what constitutes pure vowel sounds, and such control of the breath as will enable one to convert every atom of breath into singing tone. This establishes correct action of the vocal chords and puts the singer in possession of the various tints of the voice.

"When the vocal chords are allowed to produce pure vowels, correct action is the result, and with proper breath support, Vocal Mastery can be assured."

Duval: "What is Vocal Mastery? Every great artist has his own peculiar manner of accomplishing results—has his own vocal mastery. Patti had one kind, Maurel another, Lehmann still another. Caruso may also be said to have his own vocal mastery.

"In fine, as every great artist is different from his compeers, there can be no fixed and fast standard of vocal mastery, except the mastery of doing a great thing greatly and convincingly."

THE END