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

CAVITIES

The sensation of the resonance of the head cavities is perceived chiefly by those who are unaccustomed to using the head tones. The resonance against the occipital walls of the head cavities when the head tones are employed, at first causes a very marked irritation of the nerves of the head and ear. But this disappears as soon as the singer gets accustomed to it. The head tones can be used and directed by the breath only with a clear head. The least depression such as comes with headaches, megrim, or moodiness may have the worst effect, or even make their use quite impossible. This feeling of oppression is lost after regular, conscious practice, by which all unnecessary and disturbing pressure is avoided. In singing very high head tones I have a feeling as if they lay high above the head, as if I were setting them off into the air. (See plate.)

Here, too, is the explanation of singing in the neck. The breath, in all high tones which are much mixed with head tones or use them entirely, passes very far back, directly from the throat into the cavities of the head, and thereby, and through the oblique position of the larynx, gives rise to the sensations just described. A singer who inhales and exhales carefully, that is, with knowledge of the physiological processes, will always have a certain feeling of pleasure, an attenuation in the throat as if it were stretching itself upward. The bulging out of veins in the neck, that can so often be seen in singers, is as wrong as the swelling up of the neck, looks very ugly, and is not without danger from congestion.

With rapid scales and trills one has the feeling of great firmness of the throat muscles, as well as of a certain stiffness of the larynx. (See "Trills.") An unsteady movement of the latter, this way and that, would be disadvantageous to the trill, to rapid scales, as well as to the cantilena. For this reason, because the changing movements of the organs must go on quite imperceptibly and inaudibly, it must be more like a shifting than a movement. In rapid scales the lowest tone must be "placed" with a view to the production of the highest, and in descending, the greatest care must be exercised that the tone shall not tumble over each other single, but shall produce the sensation of closely connected sounds, through being bound to the high tone position and pressed toward the nose.

In this all the participating vocal organs must be able to keep up a muscular contraction, often very rigid: a thing that is to be achieved only gradually through long years of careful and regular study. Excessive practice is of no use in this—only regular and intelligent practice; and success comes only in course of time.

 

soprano and tenor

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Never should the muscular contractions become convulsive and produce pressure which the muscles cannot endure for a long time. They must respond to all necessary demands upon their strength, yet remain elastic in order that, easily relaxing or again contracting, they may promptly adapt themselves to every nuance in tone and accent desired by the singer.

A singer can become and continue to be master of his voice and means of expression only as long as he practises daily correct vocal gymnastics. In this way alone can he obtain unconditional mastery over his muscles, and, through them, of the finest controlling apparatus, of the beauty of his voice, as well as of the art of song as a whole.

Training the muscles of the vocal organs so that their power to contract and relax to all desired degrees of strength, throughout the entire gamut of the voice, is always at command, makes the master singer.

As I have already said, the idea of "singing forward" leads very many singers to force the breath from the mouth without permitting it to make full use of the resonating surfaces that it needs, yet it streams forth from the larynx really very far back in the throat, and the straighter it rises in a column behind the tongue, the better it is for the tone. The tongue must furnish the surrounding form for this, for which reason it must not lie flat in the mouth. (See plate, the tongue.)

The whirling currents of tone circling around their focal point (the attack) find a cup-shaped resonating cavity when they reach the front of the mouth and the lips, which, through their extremely potent auxiliary movements, infuse life and color into the tone and the word. Of equal importance are the unimpeded activity of the whirling currents of sound and their complete filling of the resonating spaces in the back of the throat, the pillars of the fauces, and the head cavities in which the vocalized breath must be kept soaring above the larynx and soaring undisturbed.

In the lowest range of the voice the entire palate from the front teeth to the rear wall of the throat must be thus filled. (See plate.)

 

lower range

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With higher tones the palate is lowered, the nostrils are inflated, and above the hard palate a passage is formed for the overtones. (See plate.)

 

middle and higher range

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This air which soars above must, however, not be in the least compressed; the higher the tone, the less pressure should there be; for here, too, whirling currents are formed, which must be neither interrupted nor destroyed. The breath must be carried along on the wall of the throat without compression, in order to accomplish its work. (See plate, high tones.)

 

high tones

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Singing forward, then, does not mean pressing the whole of the breath or the tone forward, but only part of it; that is, in the middle register, finding a resonating focus in front, caused by the lowering of the front of the palate. This permits a free course only to that part of the breath which is used up by the whirling currents in the resonant throat form, and serves to propagate the outer waves, and carry them farther through space.

SECTION XIII SINGING COVERED

We sing covered as soon as the soft palate is lowered toward the nose (that is, in the middle register), and the resonance and attack are transferred thither so that the breath can flow over the soft palate through the nose.

This special function of the palate, too, should be carefully prepared for in the tones that precede it, and mingled with them, in order not to be heard so markedly as it often is. In men's voices this is much more plainly audible than in women's; but both turn it to account equally on different tones. This often produces a new register that should not be produced. This belongs to the chapter on registers.

 

music

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The tone is concentrated on the front of the palate instead of being spread over all of it—but this must not be done too suddenly. [See illustrations on pages 127, 129, 131, 133.]

 

covered tones

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covered tones

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change of attack

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change of attack

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SECTION XIV ON VOCAL REGISTERS

What is a vocal register?

A series of tones sung in a certain way, which are produced by a certain position of the vocal organs—larynx, tongue, and palate. Every voice includes three registers—chest, middle, and head. But all are not employed in every class of voice.

Two of them are often found connected to a certain extent in beginners; the third is usually much weaker, or does not exist at all. Only very rarely is a voice found naturally equalized over its whole compass.

Do registers exist by nature? No. It may be said that they are created through long years of speaking in the vocal range that is easiest to the person, or in one adopted by imitation, which then becomes a fixed habit. If this is coupled with a natural and proper working of the muscles of the vocal organs, it may become the accustomed range, strong in comparison with others, and form a register by itself. This fact would naturally be appreciated only by singers.

If, on the other hand, the muscles are wrongly employed in speaking, not only the range of voice generally used, but the whole voice as well, may be made to sound badly. So, in every voice, one or another range may be stronger or weaker; and this is, in fact, almost always the case, since mankind speaks and sings in the pitch easiest or most accustomed, without giving thought to the proper position of the organs in relation to each other; and people are rarely made to pay attention as children to speaking clearly and in an agreeable voice. In the most fortunate instances the range thus practised reaches limits on both sides, not so much those of the person's power, as those set by his lack of skill, or practice. Limitations are put on the voice through taking account only of the easiest and most accustomed thing, without inquiring into the potentialities of the organs or the demands of art.

 

register

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register

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Now, suppose such a peculiarity which includes, let us say, three or four tones, is extended to six or eight, then, in the course of time, in the worst cases, a break is produced at the outside limits. In the most favorable cases the tones lying next beyond these limits are conspicuously weak and without power compared with those previously forced. This one way of singing can be used no farther; another must be taken up, only, perhaps, to repeat farther the incorrect procedure.

Three such limits or ways of singing can be found and used. Chest, middle, and head voice, all three form registers when exaggerated; but they should be shaded off and melt into each other. The organs, through the skilful training of the teacher, as well as by the exercise of the pupil's talent and industry, must be accustomed to taking such positions that one register leads into another imperceptibly. In this way beauty, equality, and increased compass of the voice will be made to enhance its usefulness.

When the three ways of singing are too widely different and too sharply contrasted, they become separate registers. These are everywhere accepted as a matter of course, and for years have been a terror in the teaching of singing, that has done more than anything else to create a dreadful bewilderment among singers and teachers. To eradicate it is probably hopeless. Yet, these registers are nothing more than three disconnected manners of using the vocal and resonating apparatus.

With all the bad habits of singers, with all the complete ignorance of cause and effect, that prevail, it is not surprising that some pretend to tell us that there are two, three, four, or five registers, although as a matter of fact there can be at most three in any voice. It will be much more correct to call every tone of every voice by the name of a new additional register, for in the end, every tone will and must be taken in a different relation, with a different position of the organs, although the difference may be imperceptible, if it is to have its proper place in the whole. People cling to the appellations of chest, middle, and head register, confounding voice with register, and making a hopeless confusion, from which only united and very powerful