The Child-Voice in Singing Part 3

The exercises in Figure I are in the key of F in 4/4 time; those in Figure II are in E, 6/8 time; and those in Figure III are in B?, 4/4 time on eighth notes. All text is from the original.]

FIGURE I.

[Music: Ascending.

(Same figure tone higher.) (Again raised.) etc.]

[Music: Descending.

(Same figure tone lower.) (Again lowered) etc.]

The next figure, in which the voice ascends or descends four tones at each progressive repet.i.tion, has a different rhythm.

FIGURE II.

[Music: Ascending.

(Same figure raised.) (Again raised.) etc.]

[Music: Descending.

(Same, tone lower.) (Still lower.) etc.]

Another exercise figure is to use five ascending and descending tones.

In the ill.u.s.tration which follows, in the key of B flat, it is shown how the exercises may be sung, beginning upon the keynote, and keeping within the voice-compa.s.s.

[Music: FIGURE III. etc.]

[Music: (Same Ex. inverted.) etc.]

These exercises are to be sung with vowel-sounds, softly, four measures with one breath, if possible, and in strict time.

Only so many of these tone-groups may be sung in any one scale, as lie within the extremes of pitch set for the grade, but if different scales and upward and downward extensions of the same be used, then all possible combinations of tones in the major scale may be sung, that is, these exercise figures may upon a piano be repeated seven times in _any_ key, in phrases of four measures each, both ascending and descending, but, owing to the limitations of the vocal compa.s.s, only a certain number of ascending or descending phrases can be _sung_ in any one key.

While it is suggested that drill upon these musical figures or groups of tones may be given from scales, the teacher tracing out the tones with a pointer with a rhythmical movement, yet it is still better to practice these groups or some of them from memory, the teacher keeping time for and directing the cla.s.s.

[NOTE.--The directions given are for rooms in which the teacher has only a pitch pipe or tuning-fork to get pitch from. If there is a piano the drill work for tone will be conducted a little differently.]

Pages of musical phrases adapted to vocal drill might be given, but to what end except to produce confusion. Our greatest singers use but few exercises to keep their voices in good condition, but they practice them very often. The exercises suggested are intended for daily practice, and the fewer in number and simpler in form they are, the better will be the results in tone. This vocal drill which should precede or begin the daily music lesson must not be for over five minutes at most. Half of that time is enough, if it be spent in singing, and not frittered away in useless talk, and questions and answers. A practical application of the vocal drill is to be made to the note-singing from the book and chart, and to the school repertoire of songs.

The phrases voice-culture, voice-training, voice-development, etc., have been avoided in treating the subject of children's voices, because of possible misapprehension of their intended meaning. The terms are not, of course, inapplicable to children's voices, but they must convey quite a different significance than they do when applied to the adult voice.

In each case, the end of voice-culture is the formation of correct vocal habits; but it would seem, that while it is possible to develop the adult voice very considerably in power, range and flexibility, we ought, in dealing with children's voices, to adopt those methods which will protect weak and growing organs. The aim is not more power, but beauty and purity rather. It should not be inferred that beauty of tone is not equally the aim in culture of the adult voice, but in that case it is consistent with development of strength and brilliancy of voice, while with young children it is not. If the tone is clear, beautiful, well poised, and under the singer's control, then the training is along safe lines. If the tone is bad, harsh, pinched or throaty, then the training is along unsafe lines. When the parts act harmoniously together, and there is a proper and normal adjustment of all the organs concerned in the production of tone, the result is good. Bad tone follows from the ill-adjustment of the parts concerned in voice production. It is the office of the teacher to correct this ill-adjustment and bring about a perfect, or nearly perfect functional action. The teacher must judge of the proper or improper action of the parts concerned in tone production by the sense of hearing. No acc.u.mulation of scientific knowledge can take the place of a careful and alert critical faculty in training voice. Tone color must guide the school teacher in determining register as it does the professional voice trainer. But we can also call the mental perceptions of the child to our aid, and will find a more lively sense of discrimination in tone quality than the average adult shows. We can encourage the growth of high ideals of tone-beauty. We can cultivate nice discrimination. We can, in short, use music in our schools not to dull, but to quicken, the musical sensibilities of childhood.

CHAPTER IV.

COMPa.s.s OF THE CHILD-VOICE.

There is the greatest diversity of opinion upon this subject among those who have any opinion at all. It might be supposed that, among the thousands of educators who are interested in school music and in the singing of children generally, many might be found who have given the subject careful attention, but such does not appear to be the case. If we consult the musical literature published for children, the prevalence of songs suited to the contralto voice is noticeable, indicating apparently that the compa.s.s of infant voices at least is about the same as that of the adult contralto. If there is any generally recognized theory upon the subject, it would seem to be this; but from a physiological standpoint the voices of children are totally unlike the woman contralto, and especially is this true of children of from six to eight years of age whose songs are usually written so low in range. An error, started anywhere or at any time, of theory or of practice, if it once become incorporated into the literature of a subject, is liable to be frequently copied, and enjoy a long and useless life. So with this treatment of the child-voice. The error is in supposing that it consists of a limited number of quite low tones. It has its origin in the sole use of the so-called chest-voice of the child, and when the evident strain under which a child of six or seven years labors to sing up is observed, the conclusion seems safe that they cannot sing high. While, on the other hand, they manage with apparent ease to sing down even as low as

[Music: a]

This conception has in divers ways so imbedded itself into the musical literature for little children, that all efforts to uproot it have so far been apparently futile. There are, however, very many supervisors of school music, and the number is growing, who have recognized that this treatment of little children's voices is a vocal barbarity, and the device of pitching songs higher than they are written to overcome the difficulty is more common than might be supposed. There can be no doubt that in a short time the practice of carrying the tones of little children three and four notes below the first line of the staff will not be tolerated.

The common, even universal, tendency of primary cla.s.ses to drop in pitch when singing with the usual thick tone might show anyone that the voice was being used in an abnormal manner. Furthermore, the intonation of children of any age is something horrible when the thick voice is used.

Even carefully-selected and trained boy choristers, if they use this voice, are frequently off the key even when supported by men's voices and the organ. So in addition to other reasons for using the thin register may be added this, that habits of faulty intonation are surely fostered by the use of the thick voice.

Picture to yourself the short, thin, weak vocal bands of a child of six or seven years attached to cartilaginous walls so devoid of rigidity that in that dreaded disease of childhood-- croup-- they often collapse.

That is not an instrument for the production of tones in the contralto compa.s.s. No wonder the pitch is wavering. If infant cla.s.ses are to sing with the usual tones, the common advice to make the singing-exercise short is extremely judicious. It would be better to omit it.

The intimation that the last word can now be said on this subject is not for a moment intended, but experience has given some tolerably safe hints in reference to the compa.s.s of the child-voice in the thin register at the ages mentioned, and it is advised never to carry the compa.s.s lower than E first line, nor higher than F fifth line of the staff, and the upper extreme must be sung sparingly. The easiest tones lie from

[Music: f' d"]

The injunction to sing very softly need hardly be repeated.

Pa.s.sing now to children who range in age from nine to eleven years, who are found in the fourth and fifth years of school-life, it may be observed that there is quite a marked increase in the evenness and firmness of their tones. It is quite possible, especially at the age of about eleven years, to extent the compa.s.s to G above the staff and to D or C below; but if it does no harm, it serves no particular good end either, and unless care is taken, the children will push the highest tones. All of the necessary music drill can be kept within the suggested range, and it is just as well to keep on the safe side. Then again, the extremes in age between children of the same cla.s.s grow farther apart as we ascend in grade, and the compa.s.s must be kept within the vocal powers of the youngest, and, from a voice-standpoint, weakest pupils. Protect the voice, and nature will attend to its development.

From the time children pa.s.s the age of twelve years on to the period of p.u.b.erty, the child-voice is at its best, and if the use of the thin register has been faithfully adhered to in the lower grades, the singing-tone will now be both pure and brilliant. It will be found not at all difficult to carry the same voice as low or lower than middle C without any perceptible change in tone-quality, and G above the staff will be sung with absolute ease. How much higher, if any, the compa.s.s may be carried is open to discussion. It is not at all necessary in school music to go any higher, for, even where it is deemed best to raise the pitch of the song or exercise to avoid too low tones, the pitch of the highest note will seldom be above G-- s.p.a.ce above.

Still, it is the practice of choirmasters to carry the tone of soprano boys much higher in vowel-practice, as high even as

[Music: c"']

and although that is a pretty alt.i.tudinous pitch, there are very few choir-boys who, when taught to breathe properly, etc., will not take it occasionally with perfect ease. The head-register, even in woman's voice, is capable of great expansion, if good habits of tone-production are followed. But again it is well to be on the safe side; and choir-boys, who are selected because they have good vocal organs, and who are drilled far more than school children, are hardly a criterion to go by.

It must not be forgotten that the thin voice can be pushed and forced.

Good judgment must be exercised in controlling the power of voice, or children will strain the vocal mechanism in trying to outsing each other on _high_ tones.

The question, How high may boys or girls sing who have pa.s.sed twelve years of age and whose voices show no signs of break, is not so very important after all, for if they have been well trained in soft tone, no danger of vocal strain need be feared even if an occasional high A or B flat is struck.

The reason for the ease with which children sing the high head-tones is found in the structure of the vocal bands. They are _thin_.

Consequently, there is, compared to the entire substance of the vocal bands, a larger portion proportionately set in vibration than for the production of the head-tone in woman's voice. And when the child-voice is so used that no strain of the laryngeal structure is occasioned, that is, when the vocal ligaments are exercised in a normal manner, it cannot but happen that the muscles controlling the vocal bands will increase in strength, and that the bands themselves, composed as they are of numberless elastic fibres, will improve in general tone and elasticity.

The suggestions made in regard to the compa.s.s of voice are, be it said, simply suggestions based on experimental teaching and are such as it is believed may be followed with safety in school singing. If they do not square with the music of books and charts, why, as before said, it is a very simple matter to give a higher key for any exercise, than the one in which it is written. A supervisor, by marking the exercises in the desk copy, can ensure the use of the key he desires. If it is objected that the tones then sung will not represent the real pitch of the written notes, why that is at once admitted. What then? The idea of teaching absolute pitch is a chimera. Pianos are not alike in pitch, neither are tuning-forks. Cla.s.ses will often for one cause or another end a half tone or a tone lower than they began even if the pitch as written is given. It may not be desirable to sing in one key music that is read in another, but it certainly is less objectionable in every way than is an unsafe use of the voice. The correct use of the voice must transcend all considerations in vocal music, and no sort of practice which misuses the vocal organs can be excused for a moment.

CHAPTER V.

POSITION, BREATHING, ATTACK, TONE FORMATION.

One way to secure good position is to require the pupils to stand.

Unless the singing-period directly follows a recess, or the drill in physical exercises, the pupils will welcome the opportunity. As soon as standing becomes irksome resume the seats. No further direction in regard to sitting position is necessary than that the body should be held not stiffly, but easily erect and self-supporting, resting neither upon the back of chair nor upon the desk in front. A doubled-up, cramped position is, of course, all wrong, and may be avoided if the pupils are permitted to alternate between sitting and standing positions; but, if required to sit as suggested for too long a time, the rule will soon "be honored more in the breach than in the observance." This brings us to the consideration of