How to Sing Part 8

SECTION XXI

THE CURE

There are no magic cures for the singer. Only slowly, vibration upon vibration, can the true pitch be won back. In the word "soaring" lies the whole idea of the work. No more may the breath be allowed to flow uncontrolled through the wearied vocal cords; it must be forced against the chest, always, as if it were to come directly out thence.

The throat muscles must lie fallow until they have lost the habit of cramped contraction; until the overtones again soar as they should, and are kept soaring long, though quite _piano_. At first this seems quite impossible, and is indeed very difficult, demanding all the patient's energy. But it is possible, and he cannot avoid it, for it is the only way to a thorough cure. The patient has an extremely disagreeable period to pa.s.s through. If he is industrious and careful, he will soon find it impossible to sing in his old way; but the new way is for the most part quite unfamiliar to him, because his ear still hears as it has previously been accustomed to hear. It may be that years will pa.s.s before he can again use the muscles, so long maltreated. But he should not be dismayed at this prospect. If he can no longer use his voice in public as a singer, he certainly can as a teacher--for _a teacher must be able to sing well_. How should he describe to others sensations in singing which he himself never felt?

Is it not as if he undertook to teach a language that he did not speak himself? or an instrument that he did not play himself? When he himself does not hear, how shall he teach others to hear?

The degree of the evil, and the patient's skill, naturally have much to do with the rapidity of the cure. But one cannot throw off a habit of years' standing like an old garment; and every new garment, too, is uncomfortable at first. One cannot expect an immediate cure, either of himself or of others. If the singer undertakes it with courage and energy, he learns to use his voice with conscious understanding, as should have been done in the beginning.

And he must make up his mind to it, that even after a good cure, the old habits will reappear, like corns in wet weather, whenever he is not in good form physically. That should not lead to discouragement; persistence will bring success.

As I have already said, singers with disabled voices like best to try "magic cures"; and there are teachers and pupils who boast of having effected such magic cures in a few weeks or hours.

_Of them I give warning!_ and _equally_, of unprincipled physicians who daub around in the larynx, burn it, cut it, and make everything worse instead of better.

I cannot comprehend why singers do not unite to brand such people publicly and put an end to their doings once for all.

There is no other remedy than a slow, very careful study of the _causes_ of the trouble, which in almost all cases consist in lack of control of the stream of breath through the vocal cords, and in disregard of the head tones, that is, of the overtones; as well as in forcing the pitch and power of the tone upon a wrong resonating point of the palate, and in constricting the throat muscles. In these points almost invariably are all mistakes to be looked for; and in the recognition of them the proper means for correcting them are already indicated.

The cure is difficult and tedious. It needs an endless patience on the part of the sufferer as well as of the physician--that is, of the pupil and the _singing teacher_ (the only proper physician for this disease)--because the nerves of the head are already sufficiently unstrung through the consciousness of their incapacity; yet they should be able to act easily and without effort in producing the head tones.

The repairing of a voice requires the greatest sympathetic appreciation and circ.u.mspection on the part of the teacher, who should always inspire the pupil with courage; and on the part of the pupil, all his tranquillity, nervous strength, and patience, in order to reach the desired goal.

_Where there is a will there is a way!_

SECTION XXII

THE TONGUE

Since it is the function of the tongue to conduct the column of breath above the larynx to the resonance chambers, too much attention cannot be given to it and its position, in speaking as well as in singing. If it lies too high or too low, it may, by constricting the breath, produce serious changes in the tone, making it pinched or even shutting it off entirely.

It has an extremely delicate and difficult task to perform. It must be in such a position as not to press upon the larynx. Tongue and larynx must keep out of each other's way, although they always work in cooperation; but one must not hamper the other, and when one can withdraw no farther out of the way, the other must take it upon itself to do so. For this reason the back of the tongue must be raised high, the larynx stand low.

The tongue must generally form a furrow. With the lowest tones it lies relatively flattest, the tip _always_ against and beneath the front teeth, so that it can rise in the middle.

As soon as the furrow is formed, the ma.s.s of the tongue is put out of the way, since it stands high on both sides. It is almost impossible to make drawings of this; it can best be seen in the mirror. As soon as the larynx is low enough and the tongue set elastically against the palate and drawn up behind (see plate _a_), the furrow is formed of itself. In p.r.o.nouncing the vowel _ah_ (which must always be mixed with _[=oo]_ and _o_), it is a good idea to think of yawning.

The furrow must be formed in order to allow the breath to resonate against the palate beneath the nose, especially in the middle range; that is, what a ba.s.s and a baritone (whose highest range is not now under consideration) would call their high range, all other voices their middle.

Without the furrow in the tongue, no tone is perfect in its resonance, none can make full use of it. The only exception is the very highest head and falsetto tones, which are without any palatal resonance and have their place solely in the head cavities. Strong and yet delicate, it must be able to fit any letter of the alphabet; that is, help form its sound. It must be of the greatest sensitiveness in adapting itself to every tonal vibration, it must a.s.sist every change of tone and letter as quick as a flash and with unerring accuracy; without changing its position too soon or remaining too long in it, in the highest range it must be able almost to speak out in the air.

With all its strength and firmness this furrow must be of the utmost sensitiveness toward the breath, which, as I have often said, must not be subjected to the least pressure above the larynx or in the larynx itself. Pressure must be limited to the abdominal and chest muscles; and this might better be called stress than pressure.

Without hindrance the column of breath, at its upper end like diverging rays of light, must fill and expand all the mucous membranes with its vibrations equally, diffuse itself through the resonance chambers and penetrate the cavities of the head.

When the back of the tongue can rise no higher, the larynx must be lowered. This often happens in the highest ranges, and one needs only to mingle an _oo_ in the vowel to be sung, which must, however, be sounded not forward in the mouth but _behind the nose_. When the larynx must stand very low, the tongue naturally must not be _too_ high, else it would affect the position of the larynx. The ma.s.s of the tongue must then be disposed of elsewhere; that is, by the formation of a furrow (see plate). One must learn to feel and hear it. To keep the larynx, the back of the tongue, and the palate always in readiness to offer mutual a.s.sistance, must become a habit. I feel the interplay of tongue and larynx in my own case as shown in the plates.

As soon as we have the tongue under control,--that is, have acquired the habit of forming a furrow,--we can use it confidently as a support for the breath and the tone, and for vowels.

On its incurving back it holds firmly the vowels; with its tip, many of the consonants. With all its elasticity, it must be trained to great strength and endurance.

I, for instance, after every syllable, at once jerk my tongue with tremendous power back to its normal position in singing; that is, with its tip below the front teeth and the base raised [Ill.u.s.tration]. That goes on constantly, as quick as a flash. At the same time my larynx takes such a position that the tongue cannot interfere with it, that is, press upon it. By quickly raising the tongue toward the back, it is taken out of the way of the larynx, and the ma.s.s of the tongue is cleared from the throat. In the middle range, where the tongue or the larynx might be too high or too low, the furrow, which is of so much importance, is formed, in order to lead the vocalized breath first against the front of the palate beneath the nose, then slowly along the nose and behind it. Then when the highest point (the peak, which is extremely extensible) is reached, the pillars of the fauces are lowered, in order to leave the way for the head tones to the head cavities entirely free. In doing this, the sides of the tongue are raised high. Every tongue should occupy only so much s.p.a.ce as it can occupy without being a hindrance to the tone.

The bad, bad tongue! one is too thick, another too thin, a third too long, a fourth much too short.

_Ladies and gentlemen, these are nothing but the excuses of the lazy!_

[Ill.u.s.tration: Red lines denote that with the inspiration of breath: I, the diaphragm is sensibly stretched backward; II, enlarges the capacity of the chest by the drawing down of its floor; III, and so forms the supply chamber for the breath; IV, indicates the pressure of the breath against the chest tension muscles; V, the attack.]

SECTION XXIII

PREPARATION FOR SINGING

No one can sing properly without first preparing for it, mentally and physically, with all the organs concerned in the production of the voice.

We have in this to perform three functions, simultaneously:--

_First_, to draw breath quietly, not too deeply; to force the breath against the chest and hold it there firmly till the upward and outward streaming--that is, singing--begins. (See plate, The Path of the Breath.)

_Second_, to raise the soft palate at the same time toward the nose, so that the breath remains stationary until the singing begins.

_Third_, to jerk the tongue backward at the same time, its back being thus raised, and elastic, ready to meet all the wishes of the singer,--that is, the needs of the larynx. The larynx must not be pressed either too low or too high, but must work freely. The breath is enabled to stream forth from it like a column, whose form is moulded above the larynx by the base of the tongue.

When these three functions have been performed, all is ready. Now the pitch of the tone is to be considered, as the singing begins.

The consummation (Hohepunkt) of the tone, above the palate, gives the point of attack itself, under the palate.

Now further care must be given that the point of attack on the palate--that is, the focal point of the breath--be not subjected to pressure, and that the entire supply of breath be not expended upon the palatal resonance.

For this the palate must remain elastic, for it has a twofold duty to perform. It must not only furnish resistance for the focal point of the breath,--except in the very highest head tones,--around which it can be diffused; the same resistance, which stands against the stream of breath from below, must also afford a firm, pliant, and elastic floor for the overtones, which, soaring above the palate, s.h.i.+ft, as is needed, to or above the hard and soft palate, or are divided in the nose, forehead, and head cavities. It can easily be seen how any pressure in singing can be dangerous everywhere, and how careful the singer is forced to be to avoid such mistakes.

SECTION XXIV

THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)

What must my sensations be with the muscles of speech? How shall I control them?