How to Sing by Lilli Lehmann (books for 6 year olds to read themselves txt) 📖

performing their functions properly. Overburdening them through pressure, or emitting of the breath without control, results in weakening them. The irritation of severe coughing, thoughtless talking or shouting immediately after singing may also set up serious congestion of the vocal cords, which can be remedied only through slow gymnastics of the tongue and laryngeal muscles, by the pronunciation of vowels in conjunction with consonants. Inactivity of the vocal organs will not cure it, or perhaps not till after the lapse of years.

A good singer can never lose his voice. Mental agitation or severe colds can for a time deprive the singer of the use of his vocal organs, or seriously impair them. Only those who have been singing without consciously correct use of their organs can become disheartened over it; those who know better will, with more or less difficulty, cure themselves, and by the use of vocal gymnastics bring their vocal organs into condition again.

For this reason, if for no other, singers should seek to acquire accurate knowledge of their own organs, as well as of their functions, that they may not let themselves be burnt, cut, and cauterized by unscrupulous physicians. Leave the larynx and all connected with it alone; strengthen the organs by daily vocal gymnastics and a healthy, sober mode of life; beware of catching cold after singing; do not sit and talk in restaurants.

Students of singing should use the early morning hours, and fill their days with the various branches of their study. Sing every day only so much, that on the next day you can practise again, feeling fresh and ready for work, as regular study requires. Better one hour every day than ten to-day and none tomorrow.

The public singer should also do his practising early in the day, that he may have himself well in hand by evening. How often one feels indisposed in the morning! Any physical reason is sufficient to make singing difficult, or even impossible; it need not be connected necessarily with the vocal organs; in fact, I believe it very rarely is. For this reason, in two hours everything may have changed.

I remember a charming incident in New York. Albert Niemann, our heroic tenor, who was to sing Lohengrin in the evening, complained to me in the morning of severe hoarseness. To give up a rôle in America costs the singer, as well as the director, much money. My advice was to wait.

Niemann. What do you do, then, when you are hoarse?

I. Oh, I practise and see whether it still troubles me.

Niem. Indeed; and what do you practise?

I. Long, slow scales.

Niem. Even if you are hoarse?

I. Yes; if I want to sing, or have to, I try it.

Niem. Well, what are they? Show me.

The great scale, the infallible cure.

I showed them to him; he sang them, with words of abuse in the meantime; but gradually his hoarseness grew better. He did not send word of his inability to appear in the evening, but sang, and better than ever, with enormous success.

I myself had to sing Norma in Vienna some years ago, and got up in the morning quite hoarse. By nine o'clock I tried my infallible remedy, but could not sing above A flat, though in the evening I should have to reach high D flat and E flat. I was on the point of giving up, because the case seemed to me so desperate. Nevertheless, I practised till eleven o'clock, half an hour at a time, and noticed that I was gradually getting better. In the evening I had my D flat and E flat at my command and was in brilliant form. People said they had seldom heard me sing so well.

I could give numberless instances, all going to show that you never can tell early in the day how you are going to feel in the evening. I much prefer, for instance, not to feel so very well early in the day, because it may easily happen that the opposite may be the case later on, which is much less agreeable. If you wish to sing only when you are in good form, you must excuse yourself ninety-nine times out of a hundred. You must learn to know your own vocal organs thoroughly and be able to sing; must do everything that is calculated to keep you in good condition. This includes chiefly rest for the nerves, care of the body, and gymnastics of the voice, that you may be able to defy all possible chances.

Before all, never neglect to practise every morning, regularly, proper singing exercises through the whole compass of the voice. Do it with painful seriousness; and never think that vocal gymnastics weary the singer. On the contrary, they bring refreshment and power of endurance to him who will become master of his vocal organs.

SECTION V EQUALIZING THE VOICE; BREATH; FORM

Through the lowering of the pillars of the fauces, which is the same as raising the soft palate, the outflowing breath is divided into two parts.

I have sketched the following representation of it:—

Division of the breath.

By raising the pillars of the fauces, which closes off the throat from the cavities of the head, the chest voice is produced; that is, the lowest range of all kinds of voices. This occurs when the main stream of breath, spreading over against the high-arched palate, completely utilizes all its resonating surfaces. This is the palatal resonance, in which there is the most power (Plate A).

 

Plate A

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When the soft palate is raised high behind the nose, the pillars of the fauces are lowered, and this frees the way for the main stream of breath to the head cavities. This now is poured out, filling the nose, forehead, and head cavities. This makes the head tone. Called head tone in women, falsetto in men, it is the highest range of all classes of voices, the resonance of the head cavities (Plate C).

 

Plate C

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Between these two extreme functions of the palate and breath, one stream of breath gives some of its force to the other; and when equally divided they form the medium range of all classes of voices (Plate B).

 

Plate B

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The singer must always have in his mind's eye a picture of this divided stream of breath.

As I have already said, in the lowest tones of all voices the main stream of breath is projected against the palate; the pillars of the fauces, being stretched to their fullest extent, and drawn back to the wall of the throat, allow almost no breath to reach the head cavities.

I say almost none, for, as a matter of fact, a branch stream of breath, however small, must be forced back, behind and above the pillars, first into the nose, later into the forehead and the cavities of the head. This forms the overtones (head tones) which must vibrate with all tones, even the lowest. These overtones lead over from the purest chest tones, slowly, with a constantly changing mixture of both kinds of resonance, first to the high tones of bass and baritone, the low tones of tenor, the middle tones of alto and soprano, finally, to the purest head tones, the highest tones of the tenor-falsetto or soprano. (See the plates.)

The extremely delicate gradation of the scale of increase of the resonance of the head cavities in ascending passages, and of increase of palatal resonance in descending, depends upon the skill to make the palate act elastically, and to let the breath, under control of the abdominal and chest pressure, flow uninterruptedly in a gentle stream into the resonating chambers. Through the previous preparation of the larynx and tongue, it must reach its resonating surfaces as though passing through a cylinder, and must circulate in the form previously prepared for it, proper for each tone and vowel sound. This form surrounds it gently but firmly. The supply of air remains continuously the same, rather increasing than diminishing, notwithstanding the fact that the quantity which the abdominal pressure has furnished the vocal cords from the supply chamber is a very small one. That it may not hinder further progression, the form must remain elastic and sensitive to the most delicate modification of the vowel sound. If the tone is to have life, it must always be able to conform to any vowel sound. The least displacement of the form or interruption of the breath breaks up the whirling currents and vibrations, and consequently affects the tone, its vibrancy, its strength, and its duration.

In singing a continuous passage upward, the form becomes higher and more pliant; the most pliable place on the palate is drawn upward. (See Plate A.)

When I sing a single tone I can give it much more power, much more palatal or nasal resonance, than I could give in a series of ascending tones. In a musical figure I must attack the lowest note in such a way that I can easily reach the highest. I must, therefore, give it much more head tone than the single tone requires. (Very important.) When advancing farther, I have the feeling on the palate, above and behind the nose, toward the cavities of the head, of a strong but very elastic rubber ball, which I fill like a balloon with my breath streaming up far back of it. And this filling keeps on in even measure. That is, the branch stream of the breath, which flows into the head cavities, must be free to flow very strongly without hindrance. (See Plate B.)

I can increase the size of this ball above, to a pear shape, as soon as I think of singing higher; and, indeed, I heighten the form before I go on from the tone just sung, making it, so to speak, higher in that way, and thus keep the form, that is, the "propagation form," ready for the next higher tone, which I can now reach easily, as long as no interruption in the stream of breath against the mucous membrane can take place. For this reason the breath must never be held back, but must always be emitted in a more and more powerful stream. The higher the tone, the more numerous are the vibrations, the more rapidly the whirling currents circulate, and the more unchangeable must the form be.

Catarrh often dries up the mucous membrane; then the tones are inclined to break off. At such times one must sing with peculiar circumspection, and with an especially powerful stream of breath behind the tone: it is better to take breath frequently. In a descending scale or figure I must, on the contrary, preserve very carefully the form taken for the highest tone. I must not go higher, nor yet, under any circumstances, lower, but must imagine that I remain at the same pitch, and must suggest to myself that I am striking the same tone again. The form may gradually be a little modified at the upper end: that is, the soft palate is lowered very carefully behind the nose: keeping almost always to the form employed for the highest tone, sing the figure to its end, toward the nose, with the help of the vowel oo. (This auxiliary vowel oo means nothing more than that the larynx is slowly lowered in position.)

When this happens, the resonance of the head cavities is diminished, that of the palate increased; for the soft palate sinks, and the pillars of the fauces are raised more and more. Yet the head tone must not be entirely free from palatal resonance. Both remain to the last