The Head Voice and Other Problems Part 8

But there remains yet to be mentioned the most important element of artistic singing. To the pure tone and perfect diction must be added the imagination. The _imagination_ is the image making power of the mind, the power to create or reproduce ideally that which has been previously perceived: the power to call up mental images. By means of the imagination we take the materials of experience and mold them into idealized forms. The aim of creative art is to idealize, that is, to portray nature and experience in perfect forms not with the imperfections of visible nature. "In this" says Hegel, "art is superior to nature."

The activity of the imagination is directly responsible for that most essential thing--emotional tone. Taking intelligence for granted, the imagination is the most important factor involved in interpretation. If the imagination be quick and responsive it will carry the singer away from himself and temporarily he will live the song.

Every song has an atmosphere, a metaphysical something which differentiates it from every other song. The singer must discover it and find the mood which will perfectly express it. If his imagination constructs the image, creates the picture, recalls the feeling, the emotion, the result will be artistic singing. The song is that which comes from the soul of the singer. It is not on the printed page. If I study a Schubert song until I have mastered it, I have done nothing to Schubert. It is I who have grown. Through the activity of the imagination, guided by the intelligence, I have built up in my consciousness as nearly as possible what I conceive to have been Schubert's feeling when he wrote the song, but the work has all been done on myself.

A chapter might be written on the artistic personality. It reveals itself in light, shade, nuance, inflection, accent, color, always with a perfect sense of proportion, harmony and unity, and free from all that is earthy. It is the expression of individuality. It cannot be imitated.

If you ask me for its source I repeat again Whistler's immortal saying: "Art is an expression of eternal, absolute truth, and starting from the Infinite it cannot progress, =IT IS=."

VII

THE CONSTRUCTION OF A SONG.

Has he put the emphasis on his work in the place where it is most important? Has he so completely expressed himself that the onlooker cannot fail to find his meaning?

_Appreciation of Art_. Loveridge.

When you listen to a song and at its close say, "That is beautiful," do you ever stop and try to discover why it is beautiful? The quest may lead you far into the field of Aesthetics, and unless you are accustomed to psychological processes you may find yourself in a maze from which escape is difficult. Let us remember that in studying the construction of a song we are dealing with states of mind. A song is the product of a certain mood and its direct aim is to awaken a similar mood in others.

It is a well established fact that sound is the most common and the most effective way of expressing and communicating the emotions, not only for man but for the lower animals as well. This method of communication doubtless began far back in the history of the race and was used to express bodily pain or pleasure.

The lower animals convey their feelings to each other by sounds, not by words, and these sounds awaken in others the same feeling as that which produced them.

We see, then, that emotion may be expressed by sound and be awakened by sound, and this obtains among human beings no less than among the lower animals. In the long process of ages sound qualities have become indissolubly a.s.sociated with emotional states, and have become the most exciting, the most powerful sense stimulus in producing emotional reactions. The cry of one human being in pain will excite painful emotions in another. An exclamation of joy will excite a similar emotion in others, and so on through the whole range of human emotions.

Herbert Spencer holds that the beginning of music may be traced back to the cry of animals, which evidently has an emotional origin and purpose.

It is a far cry from the beginning of music as described by Spencer to the modern art song, but from that time to this the principle has remained the same. The emotional range of the lower animals is small, doubtless limited to the expression of bodily conditions, but the human race through long ages of growth has developed an almost unlimited emotional range, hence the vehicle for its expression has of necessity increased in complexity.

To meet this demand music as a science has evolved a tone system. That is, from the infinite number of tones it has selected something over a hundred having definite mathematical relationships, fixed vibrational ratios. The art of music takes this system of tones and by means of combinations, progressions and movements which const.i.tute what is called musical composition, it undertakes to excite a wide variety of emotions.

The aim and office of music is to create moods. It does not arrive at definite expression. There is no musical progression which is universally understood as an invitation to one's neighbor to pa.s.s the bread. The pianist cannot by any particular tone combination make his audience understand that his left shoe pinches, but he can make them smile or look serious. He can fill them with courage or bring them to tears without saying a word. In listening to the Bach _B Minor Ma.s.s_ one can tell the _Sanctus_ from the _Gloria in Excelsis_ without knowing a word of Latin. The music conveys the mood unmistakably.

A song is a union of music and poetry, a wedding if you please and as in all matrimonial alliances the two contracting parties should be in harmony. The poem creates a mood not alone by what it expresses directly but by what it implies, what it suggests. Its office is to stimulate the imagination rather than to inform by direct statement of facts. The office of music is to strengthen, accentuate, and supplement the mood of the poem, to translate the poem into music. The best song then, will be one in which both words and music most perfectly create the same mood.

Arnold Bennett's definition of literature applies equally well to the song. He says: "That evening when you went for a walk with your faithful friend, the friend from whom you hid nothing--or almost nothing--you were, in truth, somewhat inclined to hide from him the particular matter which monopolized your mind that evening, but somehow you contrived to get on to it, drawn by an overpowering fascination. And as your faithful friend was sympathetic and discreet, and flattered you by a respectful curiosity, you proceeded further and further into the said matter, growing more and more confidential, until at last you cried out in a terrific whisper: 'My boy she is simply miraculous:' At that moment you were in the domain of literature." Now when such impa.s.sioned, spontaneous utterance is brought under the operation of musical law we have a perfect song. The composer furnished the words and music, but the thing which makes it a song comes from the singer, from the earnestness and conviction with which he delivers the message.

Songs are divided into two general cla.s.ses: those expressing the relationships of human beings, such as love, joy, sorrow, chivalry, patriotism, etc., and those expressing the relationship of man to his creator; veneration, devotion, praise, etc. The two great sources of inspiration to song writers have always been love and religion.

What are the principles of song construction? They are all comprised in the law of fitness. The composer must do what he sets out to do. The materials with which he has to work are rhythm, melody and harmony. The most important thing in a song is the melody. This determines to a very great extent the health and longevity of the song. Most of the songs that have pa.s.sed the century mark and still live do so by reason of their melody. There must be a sense of fitness between the poem and the melody. A poem which expresses a simple sentiment requires a simple melody. A simple story should be told simply. If the poem is sad, joyous, or tragic the melody must correspond. Otherwise the family discords begin at once. Poetry cannot adapt itself to music, because its mood is already established. It is the business of the composer to create music which will supplement the poem. A lullaby should not have a martial melody, neither should an exhortation to lofty patriotism be given a melody which induces somnolence.

The same sense of fitness must obtain in the accompaniment. The office of the accompaniment is not merely to keep the singer on the pitch. It must help to tell the story by strengthening the mood of the poem. It must not be trivial or insincere, neither must it overwhelm and thus draw the attention of the listeners to itself and away from the singer.

The accompaniment is the clothing, or dress, of the melody. Melodies, like people, should be well dressed but not over dressed. Some melodies, like some people, look better in plain clothes than in a fancy costume.

Other melodies appear to advantage in a rich costume. Modern songwriters are much inclined to overdress their melodies to the extent that the accompaniment forces itself upon the attention to the exclusion of the melody. Such writing is as incongruous as putting on a dress suit to go to a fire.

The significance of the theme should indicate the nature of the accompaniment. To take a simple sentiment and overload it with a modern complex harmonic accompaniment is like going after sparrows with a sixteen inch siege gun.

Comedy in the song should not be a.s.sociated with tragedy in the accompaniment. A lively poem should not have a lazy accompaniment. The great songwriters were models in this respect. This accounts for their greatness. Take for example Schubert's _Wohin_ and _Der Wanderer_, Schumann's _Der Nussbaum_, Brahms' _Feldeinsamkeit_. These accompaniments are as full of mood as either poem or melody.

The element of proportion enters into songwriting no less than into architecture. A house fifteen by twenty feet with a tower sixty feet high and a veranda thirty feet wide would be out of proportion. A song with sixty-four measures of introduction and sixteen measures for the voice would be out of proportion. Making a song is similar to painting a landscape. In the painting the gra.s.s, flowers, shrubbery etc., are in the foreground, then come the hills and if there be a mountain range it is in the background. If the mountain range were in the foreground it would obscure everything else. So in making a song. If it tells a story and reaches a climax the climax should come near the end of the song.

When the singer has carried his audience with him up to a great emotional height then all it needs is to be brought back safely and quickly to earth and left there.

a.s.sOCIATION

I have mentioned the principles of song construction, but there are other things which have to do with making a song effective. One of the most important of these is a.s.sociation. Let us remember that the effect and consequent value of music depends upon the cla.s.s of emotions it awakens rather than upon the technical skill of the composer, and that these emotions are dependent to a considerable extent upon a.s.sociation.

We all remember the time honored expedient of tying a string around a finger when a certain thing is to be remembered. The perception of the digital decoration recalls the reason for it and thus the incident is carried to a successful conclusion. In like manner feelings become a.s.sociated with ideas. Church bells arouse feelings of reverence and devotion. To many of us a bra.s.s band awakens pleasant memories of circus day. _Scots Wha Hae_ fills the Scotchman with love for his native heather. The odor of certain flowers is offensive because we a.s.sociate it with a sad occasion. The beauty of a waltz is due not only to its composition but also to our having danced to it under particularly pleasant circ.u.mstances.

At the opera there are many things that combine to make it a pleasant occasion--the distant tuning of the orchestra, the low hum of voices, the faint odor of violets, and the recollection of having been there before with that miracle of a girl,--all combine to fill us with pleasurable antic.i.p.ation. In this way we give as much to the performance as it gives to us. According to some Aestheticians the indefinable emotions we sometimes feel when listening to music are the reverberations of feelings experienced countless ages ago. This may have some foundation in fact, but it is somewhat like seeing in a museum a mummy of ourselves in a previous incarnation.

Songs which have the strongest hold upon us are those which have been in some way a.s.sociated with our experience. The intensity with which such songs as _Annie Laurie_, _Dixie_, _The Vacant Chair_, _Tramp, Tramp, Tramp_ grip us is due almost entirely to a.s.sociation.

Therefore the value of a song consists not alone in what it awakens in the present, but in what it recalls from the past. Man is the sum of his experience; and to make past experience contribute to the joy of the present is to add abundance to riches.

VIII

HOW TO STUDY A SONG

The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing.

Garcia. _Hints on Singing_.

First determine the general character of the song. A careful study of the words will enable the student to find its general cla.s.sification. It may be dramatic, narrative, reminiscent, introspective, contemplative, florid, sentimental.

The following are examples:

Dramatic, _The Erl King_, Schubert.

Narrative, _The Two Grenadiers_, Schumann.

Reminiscent, _Der Doppelganger_, Schubert.

Florid, _Indian Bell Song_, from Lakme, Delibes.

Introspective, _In der Fruhe_, Hugo Wolf.

Contemplative, _Feldeinsamkeit_, Brahms.

Songs of sentiment. This includes all songs involving the affections and the homely virtues.

To these might be added songs of exaltation, such as Beethoven's "Nature's Adoration." Character songs, in which the singer a.s.sumes a character and expresses its sentiments. A good example of this is "The Poet's Love" cycle by Schumann. Cla.s.sifying the song in this way is the first step toward discovering its atmosphere. There is always one tempo at which a song sounds best and this tempo must grow out of a thorough understanding of its character. Metronome marks should be unnecessary.

Intelligent study of a song will unerringly suggest the proper tempo.