How to Sing by Lilli Lehmann (best books to read for knowledge .TXT) 📕

which can be placed at will, are employed. The vocal cords, which can best be imagined as inner lips, we have under control neither as beginners nor as artists. We do not feel them. We first become conscious of them through the controlling apparatus of the breath, which teaches us to spare them, by emitting breath through them in the least possible quantity and of even pressure, whereby a steady tone can be produced. I even maintain that all is won, when—as Victor Maurel says—we regard them directly as the breath regulators, and relieve them of all overwork through the controlling apparatus of the chest-muscle tension.

Through the form prepared by the larynx, tongue, and palate, we can direct the breath, previously under control and regulation, toward the particular resonating surfaces on the palate, or in the cavities of the head, which are suitable to each tone. This rule remains the same for all voices.

As soon as the breath leaves the larynx, it is divided. (Previously, in inhalation, a similar thing happens; but this does not concern us immediately, and I prefer to direct the singer's chief attention to the second occurrence.) One part may press toward the palate, the other toward the cavities of the head. The division of the breath occurs regularly, from the deepest bass to the highest tenor or soprano, step for step, vibration for vibration, without regard to sex or individuality. Only the differing size or strength of the vocal organs through which the breath flows, the breathing apparatus, or the skill with which they are used, are different in different individuals. The seat of the breath, the law of its division, as well as the resonating surfaces, are always the same and are differentiated at most through difference of habit.

SECTION III OF THE BREATH AND WHIRLING CURRENTS (SINGING FORWARD)

The veriest beginner knows that in order to use the breath to the fullest advantage, it must remain very long diffused back in the mouth. A mistaken idea of "singing forward" misleads most to press it forward and thus allow it to be speedily dissipated.

The column of breath coming in an uninterrupted stream from the larynx, must, as soon as it flows into the form prepared for it according to the required tone, by the tongue and palate, fill this form, soaring through all its corners, with its vibrations. It makes whirling currents, which circulate in the elastic form surrounding it, and it must remain there till the tone is high enough, strong enough, and sustained enough to satisfy the judgment of the singer as well as the ear of the listener. Should there be lacking the least element of pitch, strength, or duration, the tone is imperfect and does not meet the requirement.

Learning and teaching to hear is the first task of both pupil and teacher. One is impossible without the other. It is the most difficult as well as the most grateful task, and it is the only way to reach perfection.

Even if the pupil unconsciously should produce a flawless tone, it is the teacher's duty to acquaint him clearly with the causes of it. It is not enough to sing well; one must also know how one does it. The teacher must tell the pupil constantly, making him describe clearly his sensations in singing, and understand fully the physiological factors that coöperate to produce them.

The sensations in singing must coincide with mine as here described, if they are to be considered as correct; for mine are based logically on physiological causes and correspond precisely with the operation of these causes. Moreover, all my pupils tell me—often, to be sure, not till many months have passed—how exact my explanations are; how accurately, on the strength of them, they have learned to feel the physiological processes. They have learned, slowly, to be sure, to become conscious of their errors and false impressions; for it is very difficult to ascertain such mistakes and false adjustments of the organs. False sensations in singing and disregarded or false ideas of physiological processes cannot immediately be stamped out. A long time is needed for the mind to be able to form a clear image of those processes, and not till then can knowledge and improvement be expected. The teacher must repeatedly explain the physiological processes, the pupil repeatedly disclose every confusion and uncertainty he feels, until the perfect consciousness of his sensations in singing is irrevocably impressed upon his memory, that is, has become a habit.

Among a hundred singers hardly one can be found whose single tones meet every requirement. And among a thousand listeners, even among teachers, and among artists, hardly one hears it.

I admit that such perfect tones sometimes, generally quite unconsciously, are heard from young singers, and especially from beginners, and never fail to make an impression. The teacher hears that they are good, so does the public. Only a very few know why, even among singers, because only a very few know the laws governing perfect tone production. Their talent, their ear perchance, tell them the truth; but the causes they neither know nor look for.

On such "unconscious singing" directors, managers, and even conductors, build mistakenly their greatest hopes. No one hears what is lacking, or what will soon be lacking, and all are surprised when experienced singers protest against it.

They become enthusiastic, properly, over beautiful voices, but pursue quite the wrong path in training them for greater tasks. As soon as such persons are obtained, they are immediately bundled into all rôles; they have hardly time to learn one rôle by heart, to say nothing of comprehending it and working it up artistically. The stars must shine immediately! But with what resources? With the fresh voice alone? Who is there to teach them to use their resources on the stage? Who to husband them for the future? The manager? the director? Not at all. When the day comes that they can no longer perform what, not they themselves, but the directors, expected of them, they are put to one side, and if they do not possess great energy and strength, often entirely succumb. They could not meet the demands made upon them, because they did not know how to use their resources.

I shall be told that tones well sung, even unconsciously, are enough. But that is not true. The least unfavorable circumstance, over-exertion, indisposition, an unaccustomed situation, anything can blow out the "unconscious" one's light, or at least make it flicker badly. Of any self-help, when there is ignorance of all the fundamentals, there can be no question. Any help is grasped at. Then appears the so-called (but false) "individuality," under whose mask so much that is bad presents itself to art and before the public.

This is not remarkable, in view of the complexity of the phenomena of song. Few teachers concern themselves with the fundamental studies; they often do not sing at all themselves, or they sing quite wrongly; and consequently can neither describe the vocal sensations nor test them in others. Theory alone is of no value whatever. With old singers the case is often quite the contrary—so both seize whatever help they can lay hold of. The breath, that vibrates against the soft palate, when it is raised, or behind it in the cavities of the head, produces whirling currents through its continuous streaming forth and its twofold division. These currents can circulate only in unbroken completeness of form. The longer their form remains unimpaired, and the more economically the continuous breath pressure is maintained, the less breath do these currents need, the less is emitted unused from the mouth.

If an elastic form is found in the mouth in which the currents can circulate untouched by any pressure or undue contraction or expansion of it, the breath becomes practically unlimited. That is the simple solution of the paradox that without deep breathing one may often have much breath, and, after elaborate preparations, often none at all; because the chief attention is generally directed to inhalation, instead of to the elastic forming of the organs for the breath, sound currents, and tone. The one thing needed is the knowledge of the causes, and the necessary skill in preparing the form, avoiding all pressure that could injure it, whether originating in the larynx, tongue, or palate, or in the organs that furnish the breath pressure.

The singer's endeavors, consequently, must be directed to keeping the breath as long as possible sounding and vibrating not only forward but back in the mouth, since the resonance of the tone is spread upon and above the entire palate, extends from the front teeth to the wall of the throat. He must concern himself with preparing for the vibrations, pliantly and with mobility, a powerful, elastic, almost floating envelope, which must be filled entirely, with the help of a continuous vocal mixture,—a mixture of which the components are indistinguishable.

SECTION IV THE SINGER'S PHYSIOLOGICAL STUDIES

Science has explained all the processes of the vocal organs in their chief functions, and many methods of singing have been based upon physiology, physics, and phonetics. To a certain extent scientific explanations are absolutely necessary for the singer—as long as they are confined to the sensations in singing, foster understanding of the phenomenon, and summon up an intelligible picture. This is what uninterpreted sensations in singing cannot do; of which fact the clearest demonstration is given by the expressions, "bright," "dark," "nasal," "singing forward," etc., that I began by mentioning and that are almost always falsely understood. They are quite meaningless without the practical teachings of the sensations of such singers as have directed their attention to them with a knowledge of the end in view, and are competent to correlate them with the facts of science.

The singer is usually worried by the word "physiology"; but only because he does not clearly understand the limits of its teachings. The singer need, will, and must, know a little of it. We learn so much that is useless in this life, why not learn that which is of the utmost service to us? What, in brief, does it mean? Perfect consciousness in moving the vocal organs, and through the aid of the ear, in placing them at will in certain relations with each other; the fact that the soft palate can be drawn up against the hard palate; that the tongue is able to take many different positions, and that the larynx, by the assistance of the vocal sound oo, takes a low position, and by that of the vowel ā a high one; that all muscles contract in activity and in normal inactivity are relaxed; that we must strengthen them by continued vocal gymnastics so that they may be able to sustain long-continued exertion; and must keep them elastic and use them so. It includes also the well-controlled activity of diaphragm, chest, neck, and face muscles. This is all that physiology means for the vocal organs. Since these things all operate together, one without the others can accomplish nothing; if the least is lacking, singing is quite impossible, or is entirely bad.

 

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Physiology is concerned also with muscles, nerves, sinews, ligaments, and cartilage, all of which are used in singing, but all of which we cannot feel. We cannot even feel the vocal cords. Certainly much depends for the singer upon their proper condition; and whether as voice producers or breath regulators, we all have good reason always to spare them as much as possible, and never to overburden them.

Though we cannot feel the vocal cords, we can, nevertheless, hear, by observing whether the tone is even,—in the emission of the breath under control,—whether they are