The Renaissance of the Vocal Art Part 6

The result, the change of tone, character, and quality, will be astonishing, will ofttimes be electrifying. In this way make the tone actually mean something. Feel like a singer, a.s.sert yourself, express thought, sentiment, feeling, emotion, and not simply sound.

Simple sound, as a rule, is meaningless and unnatural. Nature demands, for the expression of beautiful, artistic tone, that all the powers she has given the singer--the powers, physical, mental, and emotional--be brought into action and put into the tone. Character and magnetism of tone must be aroused in most voices. This cannot be done through the mechanical and mental powers alone. It requires the study and development of the emotional energies of the singer. In other words, the singer must put himself, not only upon a physical and mental level, but upon the emotional level of the tone as well.

All voices have two distinct color or character effects, the reed and the flute. These effects are the result of vowel forms, and of the predominating influence of high placing or of low resonance. When we desire brilliancy, the reed effect should predominate. When we desire dark color or more somber effects, the flute quality should prevail. In clear tone or timbre there is more reed effect than flute. In medium tone or color the effect of both is heard and felt. In the somber tone the flute predominates. To express joy or happiness we use the clear timbre, and the ring of high forward placing predominates. To express a deeper feeling, a more serious but not a sad tone, that which we call the emotional form, both the clear and the somber are heard in various proportions; the high placing and the low resonance are about equally balanced. To express sadness the somber color or low resonance predominates.

Apply these ideas on all the exercises given. Use sentences which contain thought or sentiment that will enable you to arouse a definite feeling. For example, to study the clear timbre, sing, "My _heart_ is glad." To express the emotional tone, the tone which is not sad but serious, sing, "My _heart_ is thine." To express a somber sound or sadness, sing, "My _heart_ is sad." To express a ringing, dramatic tone, sing, "Thy _heart_ is false." Thus we express four different effects on the one word, "heart."

This subject of emotional expression through tone color and tone character is so great, so important, that it is impossible to do it justice in this little work. I have written more fully on this and kindred subjects in my other works, therefore I shall here touch but lightly upon the aesthetics of the vocal art.

It should be remembered that the prime object for which this book was written, was to place more clearly, if possible, before my readers, the importance and wonderful influence of the flexible, vitalized movements of our system.

These movements, we find, so directly influence the voice, the singer, and the results in every way, that we feel justified in again calling attention to them. Too much cannot be said of them, for the average student of the voice is inclined to neglect them. If they have been, to a certain extent, understood and mastered, then the study of this, the fourth principle of artistic singing, becomes a comparatively easy matter. With the student who does not understand them, emotional or self-expression is always a difficult matter, and with many an impossibility; which largely accounts for the great number of mechanical singers. At least twenty years' hard work and study have been put upon these movements in order to reduce them to the simplest and most effective form. They are based upon common sense and Nature's laws. Of course no one can or should expect to understand or fully appreciate them without more or less investigation.

ARTICLE TWO.

THE FIFTH PRINCIPLE OF ARTISTIC SINGING.

The fifth principle of artistic singing is

_Automatic Articulation_.

_Theory_.--_Articulation must be spontaneous_, the result of thought, and of the effect desired, never of direct or local effort. The thought before the action, never the action before the thought.

_Devices_.--The development of the consonantal sounds through the study of the three points or places of articulation, and the application by the use of words, sentences, and sentiment, vitalized and intensified.

In our course of study or in the formula here given, it will be evident to the reader that we lay much stress upon the principle of vitality or vitalized energy. In the second part of this work we have considered the principles and the devices that develop physical and mental vitality. In the article which directly precedes this, special emphasis is placed upon emotional vitality. Vitality or vitalized energy, it will be found, holds good also in this, the fifth fundamental principle of artistic voice production.

Articulation, to be artistic, must be automatic and spontaneous; must be the result of thought and effect desired, and never of direct or local effort. This being true, we must recognize the importance of freedom of form and action, of the removal of all restraint, in fact, the importance of all true conditions of tone. This brings us back again to our original position, as do all the fundamental principles of singing; namely,--the importance of the free, flexible movements of our system, upon which freedom of form and action, in fact, all true conditions of tone, depend.

Language, spoken language, has been considered by many a vocal weakness.

Scientists have contended that the consonantal sounds weaken the resonance and power of the vowels. We have found the opposite to be true. We have found that the consonantal sounds in many ways are a wonderful help in developing the voice. This proves that which some one has so well said, "The demonstrations of yesterday are the falsehoods of to-day."

A free, flexible articulation of the consonantal sounds helps to place the voice, and gives it life and freedom. Articulation, under right conditions, will not interfere with the legato flow of voice. It is not necessary, as many suppose, to sacrifice distinct utterance in song for the sake of the legato flow of voice, the most desired mode of singing. On the other hand, the free legato flow of the vowels need not interfere at all with distinct articulation. The voice is composed of two separate and distinct instruments, the organ which produces sounds or vowels, and the articulating organ which produces consonants. These two instruments, when properly trained, strengthen, complement, and support each other, and together they mold vowels and consonants into speech.

It is true that with many, articulation is a difficult matter, and this is especially true on the high tones of the voice. No one who has heard the majority of the average opera and concert singers of the day, would be justified in holding that articulation is not a lost art. A free, distinct articulation and use of words in song, is the exception and not the rule.

This is due largely to the following fact--with most singers there is direct or local effort on face, jaw, tongue and throat, during the act of singing; in other words, they grip the parts to hold the tone, and the higher or louder they sing, the firmer the grip or contraction. This virtually paralyzes action, and makes flexible articulation impossible.

Articulation knows no pitch. It should be as easy on a high tone as on a middle or low tone. If there were no direct or local effort of the articulating muscles to hold the tone, articulation on the high tone would be as easy as on the middle or low tone. This is a fact which has been demonstrated again and again. Of course it is more difficult to learn to sustain the high tone without placing more or less effort upon the face, jaw, and throat; but under right conditions, the result of right position and action, this can be done, and has been done many times.

Articulation, to be artistic, must be spontaneous,--the thought before the action. Think and feel the effect desired, and give no thought to the action of articulation. The action, under right conditions, if there is no restraint, will respond to thought and feeling; it will be automatic and spontaneous. Just as the singer, after a certain stage of study, should never produce a tone that does not mean something, that has not character, so in the use of words, he should always sing them in a persuasive, impressive manner, and with free, flexible action. As, under this system, we never locally influence vowel form, so, after a certain stage of study we never locally influence consonantal action. To be right, it must be automatic and spontaneous.

Of course we recognize the fact that in all vocal study there must be a beginning. The pupil must be taught to know and think correct physical or mechanical action in singing. He must know what it is, what it means, and how to think it. Then it must be trained to respond to thought and will.

This we call the first two stages of study, or the physical and mental. The mental, as the student progresses, must dominate and control the physical; and finally, as we have before stated, the true motor power is emotional energy or the singer's sensation. This order of study and development holds good in this fifth principle of artistic singing, as in all others.

The device to which we first resort for the understanding and development of articulation, is a study of the three points or places of contact. On page 183 of "Vocal Reinforcement" (by the author of this work) will be found a full explanation of these three points.

A vowel sound is the result of an uninterrupted flow of the vibratory air current. A consonantal sound, on the other hand, is the result of a complete obstruction and explosion, of a partial obstruction and explosion, or of a partial obstruction only. The place and manner of the obstruction and explosion, or of the obstruction only, determine the character of the sound. There are three points of obstruction or articulation:

1. The point of contact of the base or back of the tongue and of the soft palate.

2. The contact of the tip of the tongue and of the hard palate, the roof of the mouth.

3. The contact of the lips, or of the lower lip and the teeth.

Almost any first-cla.s.s work on the elements of the English language will give the divisions and the location of the consonantal sounds. For the singing voice it is always best to simplify, hence we divide the consonantal sounds into two general divisions: the aspirates, those which are the result of complete obstruction and explosion, or of partial obstruction only, breath and vowel sound; the sub-vocals, those which are the result of partial obstruction and explosion, or of partial obstruction only, sub-vocal and vowel sound. The sub-vocals, as ending or final consonants, are the most difficult of all to give their proper value and effect.

The student of the voice should study, understand, and practically train the action of these three points or places of articulation; for at these three points, with a few exceptions, all consonantal sounds are made. Take all the consonants, and cla.s.sify them in two columns, the aspirates or breath sounds in one column, and the sub-vocals in another. We will give one example of each kind, as made at each point or place of articulation.

By the aid of vowels we form syllables, and thus simplify the study, and make it more definite. The study of consonantal sounds without the use of vowel sounds is very indefinite and unsatisfactory.

We give the formula for the study of articulation, as found in "Exercises for the Training and Development of the Voice" (by the author of this work), on page 18.

Ko-Ok--Aspirate.

Thus: 1st Point.

Go-Og--Sub-vocal.

To-Ot--Aspirate.

2d Point.

Do-Od--Sub-vocal.

Po-Op--Aspirate.

3d Point.

Bo-Ob--Sub-vocal

Exaggerate the consonantal sounds in every instance, and the points of contact or places of articulation will be very evident. It will also be evident that the point of contact or articulation is much more positive on certain aspirates than on the sub-vocals; while on a few other aspirates the action or obstruction is so slight that it is almost impossible to tell where or how they are made. They are the exception to the general rule. To such, however, very little attention or study need be given. Having studied the formula as given, cla.s.sify the consonants in three columns, under the headings of 1st, 2d, and 3d points or places of articulation.

At a certain stage of study, when the student of the voice has acquired freedom and control, when he is able to release the face, jaw, tongue, and throat from all local effort or contraction,--at this stage of study it is wonderful what can be done in the way of articulation in a few days, by this system. I have known many singers who could produce beautiful tones, but who could not make themselves understood at all in the singing of a song; yet in a few lessons on these three points or places of articulation, practically applied by the use of words and sentences, they could sing the words of a song as distinctly as it was possible to speak them.

For the practical application of the above principles of articulation, form groups of vowel sounds, and make syllables by adding consonants, and sing them on single or level tones. First place the consonant before the vowel, making the articulation the initial sound of the syllable. Then place the consonant after the vowel, making the articulation the final sound of the syllable. Also sing sentences on single tones or level movements. a.n.a.lyze all the consonantal elements of the sentence. Take for example the following sentence, "We praise Thee, O G.o.d," and notice at which point or place of articulation each and every consonant is made. Let all articulation be free, flexible, and light in movement, not heavy or labored. Never work with articulation; play with it, but let it be distinct and definite. Make no effort of face, lips, or tongue; let all be free and pliable. Show no effort or contraction of the face in sustaining voice or p.r.o.nouncing words. In other words, never sing on the outside of the face.

Mouth and face must be left free and pliable for the outline of form and for expression. Use words and sentences in an impulsive, impressive manner without local effort.

Articulation must be rhythmically in sympathy with the movement or the rhythm of the song. Even though the voice may flow freely on the vowels, the articulation must not be hurried, nervous or spasmodic. This style of articulation often disturbs the legato flow and spoils the general effect.

While of course it is not possible to sing the consonantal sounds, a beautiful effect is often the result of playing upon the consonant rhythmically, with the movement of the song.

ARTICLE THREE.

THE SIXTH PRINCIPLE OF ARTISTIC SINGING.

The sixth principle of artistic singing is

_The Elocution of Singing._