FARINELLI'S GREAT EXERCISE

The Cavalier, Don Carlo Broschi, better known as Farinelli (1705-1782), the world's greatest singer in bravura and coloratura, was a pupil of Porpora and Bernacchi. There was no branch of the art which he did not carry to the highest perfection, and the successes of his youth did not prevent him from continuing his study, or, when his name was famous, from acquiring by much perseverance another style and a superior method. His breath control was considered so marvelous in that day of great singers, it is said, that the art of taking and keeping the breath so softly and easily that no one could perceive it began and died with him. He is said to have spent several hours daily in practising the following exercise:

As in Exercise III, sip the breath slowly and steadily through the smallest possible opening of the lips; hold it a few counts, then exhale very slowly and steadily through the smallest possible opening of the lips.

Farinelli's exercise is not for beginners.

Exercise VIII

THE CLEANSING BREATH

For ventilating and sweeping the lungs, for quick refreshment after fatigue, and for use always at the close of your exercises, inhale through the nostrils slowly a complete breath; hold two to four counts, purse the lips tightly and expel through them a small puff of air, hold two counts, puff one, hold two counts, puff one, and so on until the exhalation is complete. A few trials should convince you that this simple exercise is of great value.

HALF-BREATH

In both singing and speaking, the sustained delivery of long phrases or sentences sometimes makes unusual demands on the breath supply. It is a law of good singing that every phrase should end with the breath unexhausted. When the flow of text and music forbid the taking of a full breath, half-breaths must be quietly taken at convenient points.

Instead of letting the whole reservoir of motive power exhaust itself and then completely refill it, we should, by taking these half-breaths, maintain a reserve. A notable advocate of the use of the half-breath in singing is that past mistress of sustained and smooth delivery, Marcella Sembrich.

CHAPTER V

REGISTERS

The subject of registers has always been the _bete noire_ of vocalists, a source of controversy and confusion. The term "register,"

as commonly used, means a series of tones of a characteristic clang or quality, produced by the same mechanism. The term "break" is generally used to indicate the point at which a new register with sudden change appears.

The advocates of registers lay stress either on the changes in laryngeal action, or the changes in tone quality. Before the days of the laryngoscope, registers were treated simply as different qualities of tone, characterizing a certain portion of the voice's compa.s.s.

Those who encourage the cultivation of register consciousness claim to do so for the sake of the differences in tone-color which they a.s.sociate with the different "registers." The purpose of the following chapters is to show that the quality or color of a tone is altogether a matter of resonance, and _not_ a question of laryngeal action.

Moreover, the mechanism of the larynx is not voluntary in its action, but automatic, and even if a singer knew how the vocal cords should act it would not help him in the least to govern their action. The fact is that the results of laryngoscopic study of the vocal cords have been disappointing and contradictory and investigators have failed to define what correct laryngeal action is. There are those who even deny that the vocal cords govern the pitch of the voice.

In her thoughtful _Philosophy of Singing_, Clara Kathleen Rogers, while upholding "registers," says that considered physiologically "the different registers of the voice should be regarded by the singer as only so many _modifications in the quality of tone_, which modifications are inherent in the voice itself." She then adds significantly: "These modifications are not brought about by conscious adjustments of the parts employed, as any interference with the parts will produce that obstacle to quality we call a 'break.'"

One of the greatest of modern singers, Mme. Lilli Lehmann, in her interesting work, _How to Sing_, says: "Do registers exist by nature?

No. It may be said that they are created through long years of speaking in the vocal range that is easiest to the person, or in one adopted by imitation." She speaks of three ranges of the voice, or, rather, three sections of the vocal range, as chest, middle, and head, saying, "All three form registers _when exaggerated_." After speaking of the hopeless confusion that results from clinging to the appellations of chest, middle, and head _register_, confounding voice with register, she concludes:

"As long as the word 'register' is kept in use the registers will not disappear, and yet the register question must be swept away, to give place to another cla.s.s of ideas, sounder views on the part of teachers, and a truer conception on the part of singers and pupils."

The trend of recent thought on this subject is further shown in Ffrangcon-Davies' important work, _The Singing of the Future_, where, having in mind "the useless torture to which thousands of students have been subjected," he characterizes "breaks" and "registers" as "paraphernalia supplied by credulity to charlatanism"; and adds: "How many a poor pupil has become a practical monomaniac on the subject of _that break in my voice between D and D sharp_!"

My own studies convince me that there is but one register, or, rather, no such thing as register, save as it applies to the compa.s.s of the voice; and that chest, middle, head, and all other registers are creations of false education. Training based upon the theory of many registers results in an artificial and unnatural division of the voice.

THE VOICE AND INSTRUMENTS COMPARED

The organ of the voice has long been considered the a.n.a.logue of every other instrument except in regard to registers. Investigation indicates that it is a.n.a.logous in this respect also. Compare the voice instrument with the pianoforte, violin, and organ and the similarity will plainly appear. The artificial instruments undergo no change when making a tone of higher or lower pitch other than the attuning of the vibrator to the pitch desired. All other parts remain the same. So when the voice is correctly focused and delivered, the only change incident to altered pitch is that made in the vibrator so as to give the proper number of vibrations for the pitch required. If the scale is sung down, using the same vowel sound for the whole scale, the comparison will be appreciated; the pupil will not be conscious of any change in the vocal organ or experience any difficulty in descending the scale. Faithful advocates of the theory of many registers say: "Whenever in doubt about the production of a tone, sing _down_ to it from some tone above it, never _upward_ from a tone below," for they find that singing down "blends the registers." This we believe is because in singing down muscular and nerve tension is gradually relaxed and consequently there is no "register" change in the voice.

A study of the church organ will, I think, make this matter clear. The organ has many so-called registers, as the _vox humana_, _flute_, _oboe_, etc. These differ in the character of tone produced, because of the size and shape of the different sets of pipes and the material, wood or metal, of which they are made. But each similarly constructed set of pipes forms only one register, and the pitch of the set varies from low to high without any abrupt change in quality. All the tones are produced by the same methods and means, the bellows, the vibrator, and the pipe. In length and diameter, the pipe is proper to the tone produced: a short pipe of small diameter for the high tones, and a long, wide pipe for the ba.s.s tones.

The short vibrations of the high tones are perceived by the ear as affecting the air only, while the tones of the lowest ba.s.s pipes shake the solid foundations as well as the superstructure. So with the human voice. The coa.r.s.er tissues cannot answer to the short vibrations of the upper tones, because they cannot move so quickly, while they can, and do, respond to the vibrations of the low tones. This may cause some difference in degree, but not in kind. With all tones focused alike, the low tones of the human organ may be regarded as head tones plus the vibrations of the coa.r.s.er tissues.

It has been said of registers that they are "acoustic illusions which disappear in the perfectly trained voice." As soon as the singer has learned to use his voice normally all these defective changes disappear.

TWO CASES

The following incident ill.u.s.trates the fact that registers are an artificial creation: A young lady who had been a patient of the author since her childhood studied elocution in a metropolitan city, and to improve her voice took vocal music lessons of a teacher of more than local repute. He found no end of trouble in teaching her to "blend the registers," and she had utterly failed to acquire the art. One summer she came back for professional services and told her troubles. During the few weeks of her stay she followed the author's suggestions, and was fully convinced of their correctness and efficiency. Upon returning to her lessons, she followed, without any explanations, the method that had been outlined for her. Her success in "blending the registers" was a surprise to her teacher who heartily congratulated her upon what she had accomplished during the summer.

Another case is that of a young lady who was under the author's direction as to vocal culture from childhood. As early as four years of age she was taught by the use of a few exercises to focus the voice in the nose and head, and to recognize the head vibrations by a light touch of the finger. When about seven years old, she took ten lessons of a teacher on the same lines, and at fifteen years of age took another brief course. In the meantime she had only the practice obtained by singing with the pupils in the schools she attended.

Later, of her own volition, she sang more, and carefully applied the principles she had been taught, with the result that her voice compa.s.sed nearly two octaves, evenly and smoothly, with no break or change of focus or quality, or other intimation of "register," and she developed a speaking voice of more than ordinary quality and resonance.

It has also been my lot to aid in the development of the voices of many patients after a surgical operation for cleft palate. Success has proven the correctness and efficacy of the principles set forth in these pages.

A majority of the more than fifty authors whose works I have examined have laid great stress on the distinction between head and chest tones, open and closed tones, pure and impure tones, have warned against the nasal tone, and have constantly advocated a natural tone.

That there is no essential difference between a head tone and a chest tone has already been discussed and, it would seem, conclusively proven. Any tone, closed or open, is pure and musical if properly focused and delivered, and the singer is at liberty to use either upon any note of the scale if it will serve better to express the sentiment he wishes to convey to the hearer. The cooing of the love song, the cry of alarm for help, and the shout of the military charge require very different qualities of voice to express the feelings, yet each may be musical and will be so if properly delivered.

CHAPTER VI

RESONANCE IN GENERAL

The intimate relationship existing between voice culture and the science of acoustics was formerly slightly perceived. The teaching of singing, as an art, then rested altogether on an empirical basis, and the acoustics of singing had not received the attention of scientists.

With the publication in 1863 of Helmholtz's great work[4] a new era began, although singer and scientist yet continue to look upon each other with suspicion. Teachers of the voice, casting about for a scientific basis for their work, were greatly impressed with Helmholtz's revelations in regard to vocal resonance--the fact that tones are modified in quality as well as increased in power by the resonance of the air in the cavities of pharynx and head.

[Footnote 4: _Die Lehre von den Tonempfindungen als physiologische Grundlage fur die Theorie der Musik._ (The Sensations of Tone as a Physiological Basis for the Theory of Music.)]

Writing in 1886, Edmund J. Meyer speaks of the importance of a "study of the influence of the different resonance cavities as the voice is colored by one or the other, and the tuning each to each and each to all"; yet, he adds, "the subject is seldom heard of outside of books."

The basic importance of resonance in the use of the voice is still too little recognized, though obvious enough in the construction of musical instruments. With the exception of a few instruments of percussion, all musical instruments possess three elements,--a _motor_, a _vibrator_, and a _resonator_. The violin has the moving bow for a motor, the strings for a vibrator, and the hollow body for a resonator. The French horn has the lungs of the performer for a motor, the lips for a vibrator, and the gradually enlarging tube, terminating in the flaring bell, for a resonator. In the pianoforte the hammer-stroke, the strings, and the sounding-board perform the corresponding offices. Though improvements in other parts of the piano have done much to increase the volume of the tone, yet in the radical change of form, size, and other physical qualities of the sounding-board consists the evolution of the modern pianoforte from the primitive clavichord.

In all these instruments the quality and power of the tone depend upon the presence of these three elements,--the perfection of their construction, their proper relation as to size and position, and the perfect adaptation of each part. A split sounding-board spoils the pianoforte, the indented bell destroys the sweet tone of the French horn, and a cracked fiddle is the synonym for pandemonium itself.

The quality and power of resonance is well ill.u.s.trated by a tuning-fork, which, if set in vibration, can, unaided, scarcely be heard by the person holding it. But if rested on a table, or a plate of gla.s.s, or, better still, on the bridge of a violin, its tones may be distinctly heard throughout a large hall.

The vibrating violin string when detached from the body of this instrument, although attuned to pitch, gives absolutely no musical sound; the lips of the player placed on the mouthpiece detached from the tube and bell of the bra.s.s instrument produce only a splutter; and a pianoforte without a sounding-board is nil. The air column in the tube of the French horn, and the sounding-board of the pianoforte develop the vibrations caused by the lips and strings into musical tones pleasing to the ear. The tuning-fork alone can scarcely be heard, while the induced vibrations it sets up through properly adjusted resonance may be audible far away.

The vocal cords alone cannot make music any more than can the lips of the cornet player apart from his instrument. _The tone produced by the vibrations alone of the two very small vocal bands must, in the nature of things, be very feeble._