Essentials in Conducting Part 13

The child's larynx grows steadily up to the age of about six, but at this time growth ceases, and until p.u.b.erty the vocal cords, larynx, and throat muscles develop in strength and flexibility, without increasing appreciably in size. This means that from six until the beginning of adolescence the voice maintains approximately the same range, and that this is the time to train it as a _child voice_.

The question now arises, why not use the girl's voice in choirs as well as the boy's?--and the answer is threefold. In the first place, certain churches have always clung to the idea of the _male_ choir, women being refused any partic.i.p.ation in what originally was strictly a priestly office; in the second place, the girl arrives at the age of p.u.b.erty somewhat earlier than the boy, and since her voice begins to change proportionately sooner, it is not serviceable for so long a period, and is therefore scarcely worth training as a child voice because of the short time during which it can be used in this capacity; and in the third place, the boy's voice is noticeably more brilliant between the ages of seven or eight and thirteen or fourteen, and is therefore actually more useful from the standpoint of both power and timbre. If it were not for such considerations as these, the choir of girls would doubtless be more common than the choir of boys, for girls are much more likely to be tractable at this age, and are in many ways far easier to deal with than boys.

At the age of six, the voices of boys and girls are essentially alike in timbre; but as the boy indulges in more vigorous play and work, and his muscles grow firmer and his whole body st.u.r.dier, the voice-producing mechanism too takes on these characteristics, and a group of thirty boys ten or twelve years old will actually produce tones that are considerably more brilliant than those made by a group of thirty girls of similar age.

[Sidenote: THE COMPa.s.s OF THE CHILD VOICE]

To the novice in the handling children's voices, the statement that the typical voice of boys and girls about ten years of age easily reaches a" and frequently b" or c"' [music notation] will at first seem unbelievable. This is nevertheless the case, and the first thing to be learned by the trainer of a boy choir is therefore to keep the boys singing high, beginning with the higher tones [music notation]

and vocalizing downward, instead of _vice versa_. The main reason for the necessity of this downward vocalization is what is known as the _movable break_. In an adult voice, the change from a low register to a higher one always takes place at approximately the same place in the scale; but the child's voice is immature, his vocal organs have not formed definitely established habits, and the chest register is often pushed upward to c", d", or even e" [music notation]. This is practically always done in singing an ascending scale loudly, and the result is not only distressing to the listener, but ruinous to the voice. In former days this type of singing was common in our public schools, the result being that most boys honestly thought it impossible to sing higher than c" or d" [music notation] this being the limit beyond which it was difficult to push the chest voice. The head voice was thus not used at all, and the singing of public school children in the past has in most cases been anything but satisfactory from the standpoint of tonal beauty. But most supervisors of music have now become somewhat familiar with the child voice, and are insisting upon high-pitched songs, soft singing, and downward vocalization, these being the three indispensable factors in the proper training of children's voices. The result is that in many places school children are at the present time singing very well indeed, and the present growing tendency to encourage public performance by large groups of them makes available a new color to the composer of choral and orchestral music, and promises many a thrill to the concert-goer of the future.

It is the head register, or _thin_ voice, that produces the pure, flutelike tones which are the essential charm of a boy choir, and if chest tones are to be employed at all, they must be made as nearly as possible as are the head tones, thus causing the voice to produce an approximately uniform timbre in the entire scale. This may be accomplished with a fair degree of ease by a strict adherence to the three principles of procedure mentioned in the above paragraph. In fact these three things are almost the beginning, middle, and end of child-voice training, and since they thus form the _sine qua non_ of effective boy-choir singing, we shall emphasize them through reiteration.

1. The singing must be soft until the child has learned to produce tone correctly _as a habit_.

2. Downward vocalization should be employed in the early stages, so as to insure the use of the head voice.

3. The music should be high in range, in order that the child may be given as favorable an opportunity as possible of producing his best tones.

When these principles are introduced in either a boy choir or a public school system, the effect will at first be disappointing, for the tone produced by the boy's head voice is so small and seems so insignificant as compared with the chest voice which he has probably been using, that he is apt to resent the instruction, and perhaps to feel that, you are trying to make a baby, or worse yet, a girl, out of him! But he must be encouraged to persist, and after a few weeks or months of practice, the improvement in his singing will be so patent that there will probably be no further trouble.

[Sidenote: THE LIFE OF THE BOY VOICE]

Boys are admitted to male choirs at from seven or eight to ten or twelve years of age, but are often required to undergo a course of training lasting a year or more before being permitted to sing with the choir in public. For this reason, if for no other, the director of a boy choir must be a thoroughly qualified voice trainer. He, of course, takes no voice that is not reasonably good to start with, but after admitting a boy with a naturally good vocal organ it is his task so to train that voice as to enable it to withstand several hours of singing each day without injury and to produce tones of maximal beauty as a matter of habit. But if the choir leader is not a thoroughly qualified vocal instructor, or if he has erroneous ideals of what boy-voice tone should be, the result is frequently that the voice is overstrained and perhaps ruined; or else the singing is of an insipid, lifeless, "hooty" character, making one feel that an adult mixed choir is infinitely preferable to a boy choir.[33]

[Footnote 33: Even when an ideal type of tone is secured, there is considerable difference of opinion as to whether the boy soprano is, all in all, as effective as the adult female voice. Many consider that the child is incapable of expressing a sufficient variety of emotions because of his lack of experience with life, and that the boy-soprano voice is therefore unsuited to the task a.s.signed it, especially when the modern conception of religion is taken into consideration. But to settle this controversy is no part of our task, hence we shall not even express an opinion upon the matter.]

Adolescence begins at the age of thirteen or fourteen in boys, and with the growth of the rest of the body at this time, the vocal organs also resume their increase in size, the result being not only longer vocal cords and a correspondingly lower range of voice, but an absolute breaking down of the habits of singing that have been established, and frequently a temporary but almost total loss of control of the vocal organs. These changes sometimes take place as early as the thirteenth year, but on the other hand are frequently not noticeable until the boy is fifteen or sixteen, and there are on record instances of boys singing soprano in choirs until seventeen or even eighteen. The loss of control that accompanies the change of voice (with which we are all familiar because of having heard the queer alternations of squeaking and grumbling in which the adolescent boy so frequently indulges), is due to the fact that the larynx, vocal cords, _et cetera_, increase in size more rapidly than the muscles develop strength to manipulate them, and this rapid increase in the size of the parts (in boys a practical doubling in the length of the vocal cords) makes it inc.u.mbent upon the choir trainer to use extreme caution in handling the voices at this time, just as the employer of adolescent boys must use great care in setting them at any sort of a task involving heavy lifting or other kinds of strain. In the public schools, where no child is asked to sing more than ten or twelve minutes a day, no harm is likely to result; but in a choir which rehea.r.s.es from one to two hours each day and frequently sings at a public service besides, it seems to be the consensus of opinion that the boy is taking a grave risk in continuing to sing while his voice is changing.[34] He is usually able to sing the high tones for a considerable period after the low ones begin to develop; but to continue singing the high tones is always attended with considerable danger, and many a voice has undoubtedly been ruined for after use by singing at this time. The reason for encouraging the boy to keep on singing is, of course, that the choirmaster, having trained a voice for a number of years, dislikes losing it when it is at the very acme of brilliancy. For this feeling he can hardly be blamed, for the most important condition of successful work by a male choir is probably permanency of membership; and the leader must exercise every wile to keep the boys in, once they have become useful members of the organization. But in justice to the boy's future, he ought probably in most cases to be dismissed from the choir when his voice begins to change.

[Footnote 34: Browne and Behnke, in _The Child's Voice_, p. 75, state in reply to a questionnaire sent out to a large number of choir trainers, singers, _et cetera_, that seventy-nine persons out of one hundred fifty-two stated positively that singing through the period of p.u.b.erty "causes certain injury, deterioration, or ruin to the after voice." In the same book are found also (pp. 85 to 90) a series of extremely interesting comments on the choirmaster's temptation to use a voice after it begins to change.]

Let us now summarize the advice given up to this point before going on to the consideration of our second problem:

1. Have the boys sing in high range most of the time. The actual compa.s.s of the average choir boy's voice is probably g--c"' but his best tones will be between e' and g" [music notation]. An occasional a" or b" or a d' or c' will do no harm, but the voice must not remain outside of the range e'--g" for long at a time.

2. Insist upon soft singing until correct habits are established. There is a vast difference of opinion as to what soft singing means, and we have no means of making the point clear except to say that at the outset of his career the boy can scarcely sing too softly. Later on, after correct habits are formed, the singing may, of course, be louder, but it should at no time be so loud as to sound strained.

3. Train the voice downward for some time before attempting upward vocalization.

4. Dismiss the boy from the choir when his voice begins to change, even if you need him and if he needs the money which he receives for singing.

[Sidenote: THE BOY HIMSELF]

The second special problem mentioned at the beginning of this chapter is the management of the boys owning the voices which we have just been discussing; and this part of the choirmaster's task is considerably more complex, less amenable to codification, and requires infinitely more art for its successful prosecution. One may predict with reasonable certainty what a typical boy-voice will do as the result of certain treatment; but the wisest person can not foresee what the result will be when the boy himself is subjected to any specified kind of handling. As a matter of fact, there is no such thing as a _typical_ boy, and even if there were, our knowledge of boy nature in general has been, at least up to comparatively recent times, so slight that it has been impossible to give directions as to his management.

[Sidenote: HOW TO HANDLE BOYS]

In general, that choir director will succeed best in keeping his boys in the choir and in getting them to do good work, who, other things being equal, keeps on the best terms with them personally. Our advice is, therefore, that the prospective director of a choir of boys find out just as much as possible about the likes and dislikes, the predilections and the prejudices of pre-adolescent boys, and especially that he investigate ways and means of getting on good terms with them. He will find that most boys are intensely active at this stage, for their bodies are not growing very much, and there is therefore a large amount of superfluous energy. This activity on their part is perfectly natural and indeed wholly commendable; and yet it will be very likely to get the boy into trouble unless some one is at hand to guide his energy into useful channels. This does not necessarily mean making him do things that he does not like to do; on the contrary, it frequently involves helping him to do better, something that he already has a taste for doing. s.p.a.ce does not permit details; but if the reader will investigate the Boy Scout movement, the supervised playground idea, and the development of school athletics, as well as the introduction of manual training of various sorts, trips to museums of natural history, zoological and botanical gardens, _et cetera_, school "hikes" and other excursions, and similar activities that now const.i.tute a part of the regular school work in many of our modern educational inst.i.tutions, he will find innumerable applications of the idea that we are presenting; and he will perhaps be surprised to discover that the boy of today _likes_ to go to school; that he applies at home many of the things that he learns there, and that he frequently regards some teacher as his best friend instead of as an arch enemy, as formerly. These desirable changes have not taken place in all schools by any means, but the results of their introduction have been so significant that a constantly increasing number of schools are adopting them; and public school education is to mean infinitely more in the future than it has in the past because we are seeing the necessity of looking at things through the eyes of the pupil, and especially from the standpoint of his life outside of and after leaving the school. Let the choir trainer learn a lesson from the public school teacher, and let him not consider the boy to be vicious just because he is lively, and let him not try to repress the activity but rather let him train it into useful channels. Above all, let him not fail to take into consideration the boy's viewpoint, always treating his singers in such a way that they will feel that he is "playing fair." It has been found that if boys are given a large share in their own government, they are not only far easier to manage at the time, but grow enormously in maturity of social ideals, and are apt to become much more useful citizens because of such growth.

Placing responsibility upon the boys involves trusting them, of course, but it has been found that when the matter has been presented fairly and supervised skilfully, they have always risen to the responsibility placed upon their shoulders. We therefore recommend that self-government be inaugurated in the boy choir, that the boys be allowed to elect officers out of their own ranks, and that the rules and regulations be worked out largely by the members themselves with a minimum of a.s.sistance from the choirmaster.

Let us not make the serious mistake of supposing that in order to get on the good side of boys we must make their work easy. Football is not easy, but it is extremely popular! It is the motive rather than the intrinsic difficulty of the task that makes the difference. The thing needed by the choir director is a combination of firmness (but not crossness) with the play spirit. Let him give definite directions, and let these directions be given with such decision that there will never be any doubt as to whether they are to be obeyed; but let him always treat the boys courteously and pleasantly, and let him always convey the idea that he is not only _fair_ in his att.i.tude toward them, but that he is attempting to be _friendly_ as well.

Work the boys hard for a half hour or so, therefore, and then stop for five minutes and join them in a game of leapfrog, if that is the order of the day. If they invite you to go with them on a hike or picnic, refuse at your peril; and if you happen to be out on the ball ground when one side is short a player, do not be afraid of losing your dignity, but jump at the chance of taking a hand in the game. Some one has said that "familiarity breeds contempt, only if one of the persons be contemptible," and this dictum might well be applied to the management of the boy choir. On the other hand, it is absolutely necessary to maintain discipline in the choir rehearsal, and it is also necessary to arouse in the boys a mental alt.i.tude that will cause them to do efficient work and to conduct themselves in a quiet and reverent manner during the church service; hence the necessity for rules and regulations and for punishments of various kinds. But the two things that we have been outlining are entirely compatible, and the choir director who plays with the boys and is hailed by them as a good fellow will on the whole have far less trouble than he who holds himself aloof and tries to reign as a despot over his little kingdom.

[Sidenote: REMUNERATION _ET CETERA_]

In conclusion, a word should perhaps be added about various plans of remunerating the boys for their singing. In some large churches and cathedrals a choir-school is maintained and the boys receive food, clothing, shelter, and education in return for their services; but this entails a very heavy expense, and in most smaller churches the boys are paid a certain amount for each rehearsal and service, or possibly a lump sum per week. The amount received by each boy depends upon his voice, his experience, his att.i.tude toward the work, _et cetera_, in other words, upon his usefulness as a member of the choir.

Attempts have often been made to organize a boy choir on the volunteer basis, but this plan has not usually proved to be successful, and is not advocated.

When the boys live in their own homes and there are Sunday services only, the usual plan is to have them meet for about two rehearsals each week by themselves, with a third rehearsal for the full choir.

Often the men have a separate practice also, especially if they are not good readers.

If the organization is to be permanent, it will be necessary to be constantly on the lookout for new voices, these being trained partly by themselves and partly by singing with the others at the rehearsals through the period of weeks or months before they are permitted to take part in the public services. In this way the changing voices that drop out are constantly being replaced by newly trained younger boys, and the number in the chorus is kept fairly constant.

CHAPTER XIII

THE CONDUCTOR AS VOICE TRAINER

[Sidenote: THE CONDUCTOR'S NEED OF VOCAL TRAINING]

Correct voice placement, the full use of the resonance cavities, good habits of breathing, and other details connected with what is commonly termed _voice culture_, cannot be taught by correspondence; neither can the conductor be made an efficient voice trainer by reading books.

But so many choral conductors are failing to secure adequate results from their choruses because of their ignorance of even the fundamentals of singing, that it has been thought best to include a brief presentation of a few of the most important matters with which the conductor ought to be acquainted. In discussing these things it will only be possible for us to present to the student of conducting the problems involved, leaving their actual working out to each individual. The chief difficulty in connection with the whole matter arises from the fact that the conductor needs in his work certain qualities of musicianship that are more apt to result from instrumental than from vocal training, the education of the instrumentalist usually emphasizing harmony, ear-training, form, and in general, the intellectual aspect of music; while that of the vocalist too often entirely leaves out this invaluable type of training, dealing only with voice culture and in general the interpretative side of music study. The vocalist who attempts to conduct is therefore frequently criticized for his lack of what is called "solid musical training"; but the instrumentalist-conductor as often fails to get adequate results in working with singers because of his utter ignorance of vocal procedure; and this latter type of failure is probably as productive of poor choral singing as the former. This chapter is, of course, written especially for the instrumentalist, and our advice to him is not merely to read books about singing, but to study singing itself, whether he is interested in cultivating his own voice for solo purposes or not. It might be remarked in this connection that aside from the considerations that we have been naming, the conductor who can sing a phrase to his orchestra or chorus and thus show by imitation exactly what shading, _et cetera_, he wishes, has an enormous advantage over him who can only convey his ideas by means of words.

[Sidenote: PROPER BREATHING]

Probably the first thing about singing to be learned by the student of conducting is that good voice production depends upon using the full capacity of the lungs instead of merely the upper portion. Hence the necessity of holding the body easily erect as a matter of habit, with chest up, and with the diaphragm alternately pushing the viscera away in order to enable the lungs to expand downward, and then allowing the parts to come back into place again, as the air is in turn expelled from the lungs. By practising deep breathing in this way the actual capacity of the lungs may be considerably increased, and breathing exercises have therefore always formed part of the routine imposed upon the vocal student. A deep breath involves, then, a pushing down of the diaphragm and a pushing out of the lower ribs, and not merely an expansion of the upper part of the chest. The singer must form the habit of breathing in this way at all times. To test breathing, the singer may place the hands about the waist on the sides of the thorax (fingers toward the front, thumbs toward the back) and see whether there is good side expansion of the ribs in inhaling, and whether in taking breath the abdomen swells out, receding as the air is expelled.

We have always felt that a few minutes spent at each chorus rehearsal in deep breathing and in vocalizing would more than justify the time taken from practising music; but such exercises should not be undertaken unless the conductor understands singing and knows exactly what their purpose is.

It is important that the conductor should understand the difference between the use of the singer's _full breath_ which we have been describing, and his _half breath_. The full breath is taken at punctuation marks of greater value, at long rests, before long sustained tones, and, in solo singing, before long trills or cadenzas.

The half breath is usually taken at the lesser punctuation marks and at short rests, when it is necessary to replenish the supply of air in as short a time as possible, in order not to interrupt the _legato_ any more than is absolutely necessary.

[Sidenote: BREATH CONTROL]

The next point to be noted is that, having provided as large a supply of air as possible every particle of it must now be made use of in producing tone; in the first place, in order that no breath may be wasted, and in the second place, in order that the purity of the tone may not be marred by non-vocalized escaping breath. This implies absolute breath control, and the skilful singer is able to render incredibly long phrases in one breath, not so much because his lungs have more capacity, but because every atom of breath actually functions in producing vocal tone. And because of the fact that no breath escapes without setting the cords in vibration, the tone is clear, and not "breathy." The secret of expressive singing in sustained melody is absolutely steady tone combined with a perfect _legato_, and neither of these desirable things can be achieved without perfect breath control, this matter applying to choral singing as forcefully as it does to solo work.

[Sidenote: RESONANCE]

The next point to be noted is that the carrying power and quality of a voice depend far more upon the use made of the resonance cavities than upon the violence with which the vocal cords vibrate. Every musical instrument involves, in its production of tone, a combination of three elements:

1. The vibrating body.

2. The force which sets the body in vibration.

3. The reinforcing medium (the sound board of a piano, the body of a violin, _et cetera_.)

In the case of the human voice, the vocal cords (or, as they might more properly be termed, the vocal _bands_) const.i.tute the vibrating body; the air expelled from the lungs is the force which sets the cords in vibration; and the cavities of the mouth, nose, and to a lesser extent, of the remainder of the head and even of the chest, are the reinforcing medium--the resonator. A small voice cannot of course be made into a large one; but by improving its placement, and particularly by reinforcing it with as much resonance power as possible, it may be caused to fill even a large auditorium. This involves such details as keeping the tongue down, allowing part of the air to pa.s.s through the nose, focusing the tone against the roof of the mouth just back of the teeth, opening the mouth exactly the right distance, forming the lips in just the right way, _et cetera_. The result is that instead of sounding as though it came from the throat, the tone apparently comes from the upper part of the mouth just back of the teeth; and instead of seeming to be forced out, it appears to flow or float out without the slightest effort on the part of the singer. A forced or squeezed-out tone is always bad--bad for the voice and bad for the ear of the listener!