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STYLE IN SINGING

CHAPTER I

Elements of Vocal Training

IF the practical education of the singer be analyzed, it will be found to comprise four fundamental elements:

I have classed these four elements in their relative order. They are, however, of equal importance. Until the Pose and Technique of a voice are satisfactory, attempts to acquire Style are premature. On the other hand, without Style, a well-placed voice and an adequate amount of Technique are incomplete; and until the singer’s education has been rounded off with a Répertoire adapted to his individual capabilities, he is of little practical use for professional purposes.

EMISSION OF VOICE

GREAT natural gifts of temperament and originality may, and sometimes do, mask defects of emission, particularly in the case of artists following the operatic career. But the artistic life and success of such a singer is short. Violated Nature rebels, and avenges herself for all infractions of law. A voice that is badly produced or emitted speedily becomes worn, and is easily fatigued. By an additional exertion of physical force, the singer usually attempts to conceal its loss of sonority and carrying-power. The consequences are disastrous for the entire instrument. The medium—to which is assigned the greater portion of every singer’s work—becomes “breathy” and hollow, the lower tones guttural, the higher tones shrill, and the voice, throughout its entire compass, harsh and unmanageable.

In view of its supreme importance, it is scarcely necessary to dwell upon the self-evident fact that this foundation—Emission, or Placing of the voice—should be well laid under the guidance of a skilled and experienced singing-teacher. Nothing but disappointment can ensue if a task of such consequence be confided, as is too frequently the case, to one of the numerous charlatans who, as Oscar Commettant said, “are not able to achieve possibilities, so they promise miracles.” The proper Classification, and subsequent Placing, of a voice require the greatest tact and discernment. True, there are voices so well-defined in character as to occasion no possible error in their proper Classification at the beginning of their studies. But this is not the case with a number of others, particularly those known as voices of mezzo-carattere (demi-caractère). It requires a physician of great skill and experience to diagnose an obscure malady; but when once a correct diagnosis is made, many doctors of less eminence might successfully treat the malady, seeing that the recognized pharmacopœia contains no secret remedies.

Let the student of singing beware of the numerous impostors who claim to have a “Method,” a sort of bed of Procrustes, which the victim, whether long or short, is made to fit. A “method” must be adapted to the subject, not the subject made to fit the method. The object of all teaching is the same, viz., to impart knowledge; but the means of arriving at that end are multiple, and the manner of communicating instruction is very often personal. To imagine that the same mode of procedure, or “method,” is applicable to all voices, is as unreasonable as to expect that the same medicament will apply to all maladies. In imparting a correct emission of voice, science has not infrequently to efface the results of a previous defective use, inherent or acquired, of the vocal organ. Hence, although the object to be attained is in every case the same, the modus operandi will vary infinitely. Nor should these most important branches of Classification and Production be entrusted—as is often the case—to assistants, usually accompanists, lacking the necessary training for a work requiring great experience and ripe judgment. To a competent assistant may very properly be confided the preparation of Technique, as applied to a mechanical instrument: All violins, for instance, are practically the same. But voices differ as do faces.

The present