How to Sing | Page 6

sex or individuality. Only the differing size or strength of the vocal organs through which the breath flows, the breathing apparatus, or the skill with which they are used, are different in different individuals. The seat of the breath, the law of its division, as well as the resonating surfaces, are always the same and are differentiated at most through difference of habit.

SECTION III
OF THE BREATH AND WHIRLING CURRENTS
(SINGING FORWARD)
The veriest beginner knows that in order to use the breath to the fullest advantage, it must remain very long diffused back in the mouth. A mistaken idea of "singing forward" misleads most to press it forward and thus allow it to be speedily dissipated.
The column of breath coming in an uninterrupted stream from the larynx, must, as soon as it flows into the form prepared for it according to the required tone, by the tongue and palate, fill this form, soaring through all its corners, with its vibrations. It makes whirling currents, which circulate in the elastic form surrounding it, and it must remain there till the tone is high enough, strong enough, and sustained enough to satisfy the judgment of the singer as well as the ear of the listener. Should there be lacking the least element of pitch, strength, or duration, the tone is imperfect and does not meet the requirement.
Learning and teaching to hear is the first task of both pupil and teacher. One is impossible without the other. It is the most difficult as well as the most grateful task, and it is the only way to reach perfection.
Even if the pupil unconsciously should produce a flawless tone, it is the teacher's duty to acquaint him clearly with the causes of it. It is not enough to sing well; one must also know how one does it. The teacher must tell the pupil constantly, making him describe clearly his sensations in singing, and understand fully the physiological factors that co?perate to produce them.
The sensations in singing must coincide with mine as here described, if they are to be considered as correct; for mine are based logically on physiological causes and correspond precisely with the operation of these causes. Moreover, all my pupils tell me--often, to be sure, not till many months have passed--how exact my explanations are; how accurately, on the strength of them, they have learned to feel the physiological processes. They have learned, slowly, to be sure, to become conscious of their errors and false impressions; for it is very difficult to ascertain such mistakes and false adjustments of the organs. False sensations in singing and disregarded or false ideas of physiological processes cannot immediately be stamped out. A long time is needed for the mind to be able to form a clear image of those processes, and not till then can knowledge and improvement be expected. The teacher must repeatedly explain the physiological processes, the pupil repeatedly disclose every confusion and uncertainty he feels, until the perfect consciousness of his sensations in singing is irrevocably impressed upon his memory, that is, has become a habit.
Among a hundred singers hardly one can be found whose single tones meet every requirement. And among a thousand listeners, even among teachers, and among artists, hardly one hears it.
I admit that such perfect tones sometimes, generally quite unconsciously, are heard from young singers, and especially from beginners, and never fail to make an impression. The teacher hears that they are good, so does the public. Only a very few know why, even among singers, because only a very few know the laws governing perfect tone production. Their talent, their ear perchance, tell them the truth; but the causes they neither know nor look for.
On such "unconscious singing" directors, managers, and even conductors, build mistakenly their greatest hopes. No one hears what is lacking, or what will soon be lacking, and all are surprised when experienced singers protest against it.
They become enthusiastic, properly, over beautiful voices, but pursue quite the wrong path in training them for greater tasks. As soon as such persons are obtained, they are immediately bundled into all r?les; they have hardly time to learn one r?le by heart, to say nothing of comprehending it and working it up artistically. The stars must shine immediately! But with what resources? With the fresh voice alone? Who is there to teach them to use their resources on the stage? Who to husband them for the future? The manager? the director? Not at all. When the day comes that they can no longer perform what, not they themselves, but the directors, expected of them, they are put to one side, and if they do not possess great energy and strength, often entirely succumb. They could not meet the demands made upon them, because they did not know how to