Thepractical application of the teaching of the two preceding chapters may at first thought seem to be difficult. On the contrary, it is quite easy. We have favorable conditions in schools; graded courses in music, regular attendance, discipline, and women and men in charge who are accustomed to teach. No more favorable conditions for teaching vocal music exist than are to be found in a well-organized and well-disciplined school. The environments of both pupils and teachers are exactly adaptedto the ready reception of ideas, on the one hand, and the skilful imparting of them, on the other.
The abilities of the trained teachers of to-day are not half appreciated. They often possess professional skill of the highest order, and the supervisor of music in the public schools may count himself exceedingly fortunate in the means he has at hand for carrying on his work. But knowledge of voice is no more evolved from one’s inner consciousness than is knowledge of musical notation, or of the Greek alphabet; therefore, if regular teachers in the school permit singing which is unmusical and hurtful, it is chiefly because they are following the usual customs, and their ears have thereby become dulled, or it may be that even if the singing is unpleasant to them, that they do notknow howto make it better. As before said, all energies have so far been directed to the teaching of music reading. Tone has been neglected, forgotten, or at most its improvement has been sought spasmodically. The carelessness regarding tone, which is so prevalent, is due to an almost entire absence of good teaching on the subject of the child-voice—to ignorance, let us say—not altogether inexcusable.
Now and then, when listening to the soprani of some well-trained boy-choir, sounding soft and mellow on the lower notes and ringing clear and flutey on the higher, it may have dimly occurred to the teacher of public school music that there might be things as yet unheard of in his musical philosophy, a vague wonder and dissatisfaction, which has slowly disappeared under the pressure of routine work.
When one reflects upon the results which the patience and skill of our regular teachers have accomplished in teaching pupils to read music; it can never be reasonably doubted that the same patience and skill, if rightly directed, will be equally successful in teaching a correct use of the voice.
Two principles form the basis of good tone-production as applied to children’s voices.
1st.They must sing softly.
2d.They must be restricted in compass of voice.
If these two rules are correctly applied ineach grade, if pupils singsoftly enough, and carry their tones neither too high nor too low, always taking into account the grade or average age of the class, then the voice will be usedonly in the thin or head-register, and the tones of the thick or chest-register will never be heard. But the two rules must be as one, for if soft singing be carried too low with infant voices, they are forced to use the thick tones; and children of all ages, even if singing within the right compass of voice, will use the thick register if permitted to sing too loud.
There is nothing particularly original in insisting upon soft singing from children. The writer has never seen a book of school music that does not mention its desirability, nor hardly a reference to the child-voice in the standard works or writings of the day of which this idea has not formed a part.
The general direction “Sing softly” is good so far as it goes, but is, first, indefinite. Softly and loudly are relative terms, and subject to wide diversity of interpretation. The pianissimo of a cultivated singer is silence comparedto the tone emitted by vocalists of the main strength order, when required to produce soft tone. Secondly, the direction is seldom or never found coupled with instruction upon the vocal compass of children. Hence, it does not seem very strange that the injunction “Sing softly” has not corrected vocal errors in school singing.
It is not easy, it is even impossible, to accurately define soft singing, and no attempt will be made further than to describe as clearly as may be the degree of softness which it is necessary to insist upon if we would secure the use of the thin or head register.
The subject of register has already been discussed, but it may not be amiss to repeat just here that in the child larynx as in the adult the head-register is that series of tones which are produced by the vibration of the thin, inner edges of the vocal band. If breathing is natural, and if the throat is open and relaxed, no strain in singing this tone is possible. It is evident in a moment that children with their thin, delicate vocal ligaments can make this toneeven more easily than adult sopranos, whose vocal ligaments are longer and thicker; and it is also perfectly evident that no danger of strain to the vocal bands is incurred when this voice is used, for all the muscles and ligaments of the larynx are under far less tension than is required for the production of tones in the thick register.
It must also be remembered in connection with this fact, that children often enter school at five years of age, and that according to physiologists the larynx does not reach the full growth insize, incidental to childhood until the age of six years. We must then be particularly careful with infant classes—for the vocal bands of children prior to six years of age are very, very weak. Speaking of infant voices, Mr. W. M. Miller, in Browne and Behnke’s afore-mentioned work, “The Child-Voice,” is quoted as saying; “Voice-trainingcannot be attempted, but voice-destructionmay be prevented. Soft singing is the cure for all the ills of the vocal organs.” It would be hard to find a more terse or truthful statement than the first sentence of the above asregards the voices of little children from five to seven or eight years of age. It is unmitigated foolishness to talk about vocal training as applied to children of that age. The voice-culture which is suited to little children is that sort of culture which promotes growth—food and sleep and play. As well train a six months’ old colt for the race track, as attempt to develop the voice of a child of six or seven years with exercises ono, andah,pianissimoandfortissimo,crescendo,diminuendoandswell. Their voices must be used in singing aslightly as possible. This answers the question, how softly should they sing?
Children during the first two or three years of school-life may be permitted to sing from
E, high E
or if the new pitch is used from
F, high F
Two or three practical difficulties will at once occur to the teacher with reference to songs and exercises which range lower than E first line,and with reference to the customary teaching of the scale of C as the initial step in singing.
The subject of compass of children’s voices will be discussed at some length in a following chapter, but for the present it may be said that the difficulty with songs and exercises ranging below the pitch indicated may be overcome easily by pitching the songs, etc., a tone or two higher. If they then range too high, don’t sing them, sing something else. In teaching the scale, take E or F as the keynote, and sing either one or the other of those scales first. The children must sing as softly as possible in all their singing exercises, whether songs or note drill. They should be taught to open their mouths well, to sit or stand erect as the case may be, and under no circumstances should the instructor sing with them. Too much importance can hardly be given to this last statement. If teachers persist in leading the songs with their own voices and in singing exercises with the children, they can and most probably will defeat all efforts to secure the right tone in either the first, or any grade up to that in which changedvoices are found. This sounds rather cynical, and might seem to imply that instructors cannot sing well. The meaning, however, is quite different.
The quality or timbre of the adult woman’s voice is wholly unlike that of the child’s thin register. Her medium tones, even when sung softly, have a fuller and more resonant quality, and if she lead in songs, etc., the pupils, with the proverbial aptitude for imitation, will inevitably endeavor to imitate her tone-quality. They can only do so by using the thick register, which it is so desirable to utterly avoid. It is worse yet for a man to lead the singing. Neither should one of the pupils be allowed to lead, for not only will the one leading force the voice in the effort, but a chance is offered to any ambitious youngster to pitch in and outsing the leader; from all of which follows naturally the idea that all prominence of individual voice must be discouraged, forbidden even. The songs and exercises must be led, it is true, but by the teacher andsilently. Then, again, unless the teacher is silent she cannot bea good critic. Think of a voice-trainer singing each solfeggio and song with his pupil during the lesson.
Certainly it is often necessary for the teacher to sing, but only to illustrate or correct, or to teach a song. In the last, if the teacher will remain silent while the class repeat the line sung to them, and will proceed in the same way until the whole is memorized by the class, not only will time be economized, but the tone can be kept as soft as is desired and individual shouters checked. Once more it must be insisted that soft, very soft singing only, can be allowed. And this applies to the entire compass used. Children of the ages mentioned can, as has already been shown, break from the thin to the thick voice at any pitch, it only requiring a little extra push for the upper tones.
Finally, as an excellent test to settle if the tone is soft enough to ensure the use of the thin register beyond doubt, require the class to sing so that no particular voice can be distinguished from the others, which will make the tone as that of one voice, and perhaps lead you to doubtif all are singing, until convinced by the movement of their mouths. The tone will seem pretty light and thin, but will be sweet as the trill of a bird.
The difficulty which may be experienced in attempting to distinguish between the two registers must not be disregarded. If the voices of children were never entrusted to any save professional voice-teachers, a very few hints upon their management would perhaps suffice, for the ear of the teacher of voice and singing is presumably trained in the differentiation in tone-quality occasioned by changes in the action of the vocal mechanism. When, however, we reflect that of the thousands of teachers in our public schools very few, indeed, have ever heard of voice-registers, and much less been accustomed to note distinctions in tone-timbre between them, the need of a detailed plan of procedure is seen.
It is safe to assert that anyone with a musical ear can with a little patience learn to distinguishone register from another. There is no vocal transition so marked as the change from thick to thin register in the child-voice, unless it be the change from the chest to the head or falsetto in the man’s voice. Suppose we take a class of say twelve from the fourth year averaging nine years of age. Give them the pitch of C.
middle C
Require them to sing up the scale loudly. As they reach the upper tone
high C
stop them and ask them to sing that, and the two tones abovevery softly. The change in tone will be quite apparent. The tone used in ascending the scale of C, singing loudly, will be reedy, thick and harsh—the thick register. The tone upon
high C, D, E
singing very softly, will be flute-like, thin and clear—the thin register. Again, let them singE first line with full strength of voice and then the octave lightly, or have them sing G second line, first softly and then loudly, or, again, let them ascend the scale of E singing as light a tone as possible, and then descend singing as loud as they can. In each case the change from thick to thin voice, or vice versa, will be illustrated; and in singing the scale of E as suggested, the break of voice a little higher or lower in individual cases will be noticed. It is quite possible that some members of the class may use the thick voice on each tone of the descending scale beginning with the highest.
Care must always be taken that in singing softly the mouth be well opened. The tendency will be to close it when required to sing lightly, but the tone, then, will be nothing but a humming noise. It may as well be said here that a great deal of future trouble and labor may be avoided, if, from the first, pupils are taught to keep the mouth fairly well opened, and the lips sufficiently apart to permit the free emission of tone. Let the lower jaw have a loose hinge, so to speak. It is well enough topoint out also that when the lower jaw drops, the tongue goes down with it, and should remain extended along the floor of the mouth with the tip against the teeth while vowel-sounds are sung.
There are many other ways than those already suggested, in which the distinction between the registers may be shown. Let the whole class sing
high D, C, B
softly, and then the next lower tone or tones loudly. The thick quality will be heard easily enough. Or from the room select a pupil, one of the class who has, in the phraseology of the schoolroom, a good voice, to sing the scale of D ascending and descending. If the pupil be not timid, and the kind referred to are not usually, and if loud singing has been customary, the tone will be coarse and reedy throughout. Now let another pupil who has what is called a light voice, and who daily sits modestly in the shade of his boisterous brother, sing the same scale. The tone in all likelihoodwill be pure and flutey, at least upon the higher notes.
Take the scale of E now and have each pupil in the room sing it alone. There may certainly be some who cannot sing the scale, and if the daily singing has been harsh, the number may be large, but postponing the consideration of these so-called monotones and directing the attention wholly to the quality or timbre of tone used by the different pupils, it may be observed that some use the thick voice only, some use the thin voice, others break from the thick voice into the thin at one pitch as they ascend, and from the thin to thick voice at a lower pitch as they descend; and if required to sing again, may perhaps pass from one voice to the other at different pitches. Others again may exhibit a blending of the two voices at certain pitches. In fact, unless the degree of power is suddenly changed, a break from the thick tone upon one note to the thin tone upon the next note or vice versa seldom occurs.
The same illustrative tests may be applied to children of any grade, or of any age up to theperiod when the voice changes, only the break will occur lower with older pupils. Suppose, now, the teacher has obtained a tolerably clear idea of the differences between the registers; she should then arouse a perception of tone-quality in her pupils. Let the beauty of soft, light tone as contrasted with loud, harsh tone be once clearly demonstrated to a class, and the interest and best efforts of every girl or boy who has the germ of music within them will be enlisted. Those who grumble because they may not sing out good and loud may be disregarded, and with a clear conscience. The future will most likely reveal such incipient lovers of noisy music as pounders of drums and blowers of brass.
Select now a number of the class who upon trial have been found to have light, clear voices and who are not prone to shout. Let them sing
high E, F
and then slowly descend the scale of E or F, singing each tone softly, and those below C
high C
very lightly. This will insure the uninterrupteduse of the thin register to the lowest note. Let them now sing up and down the scale several times, observing the same caution when notes below C or B are sung, and also insisting that no push be given to the upper notes. Now, first excusing monotones, let the other pupils in the room sing first down the scale and then up, imitating the quality and softness of tone of the picked class. Recollect, you are asking something of your pupils which it is perfectly easy for them to do. It may be that the strength of well-formed habits stands opposed to the change, but, on the other hand, every musical instinct latent, or partly awakened, is becoming alert and proving the truth of your teaching better and faster than can any finespun reasoning. Illustrate the difference in tone-quality between the thick and thin register as often as it is necessary, to show your pupils what you wish to avoid and how you wish them to sing. When in doubt whether or not the thin quality is being sung, require softer singing until you are sure. It is better to err upon the side of soft singing than to take any chances.
In time teachers will become quick to detect the change in register, and in time also the pupils who are trained to sing in the thin voice will yield to the force of good habit, as they once did to bad habit, and seldom offend by too loud or too harsh tone.
The inquiry may naturally have arisen ere this: Are syllables, i.e.,do,re,mi, etc., to be used, or the vowel-sounds? It is immaterial from the standpoint of tone-production, whether either or both are used. Until children are thoroughly accustomed to sing softly, they will be kept upon the thin register more easily when singing with a vowel-sound, than when using the syllables. The reason is that the articulation of the initial consonants of the syllables requires considerable movement of the organs of speech, viz., the tongue, lips, etc., and these movements are accompanied by a continually-increasing outrush of air from the lungs, occasioning a corresponding increase in the volume of sound. Adult voices show the same tendency to increase the volume of tone when first applying words to a passage practiced pianissimowith a vowel-sound. It is advisable then to sing scales and drill upon them with a vowel-sound, and to recur to the same drill for a corrective, when a tendency to use the thick voice in singing note exercises appears.
Scale drill may be carried on as follows: If the scales are written upon a blackboard staff, they may from day to day be in different keys. It is a very easy matter to extend the scale neither above nor below the pitches within which it is desired to confine the voice. For example, the scale of E or F may be written complete, that of G as follows:
partial scale in G
or Apartial scale in Aor B♭partial scale in B flat
and so on. Now let the teacher with a pointer direct the singing of the class upon the selected scale in such a manner as to secure the desired result in tone, and incidentally a familiarity with pitch relations, etc. Of course, if charts are used the trouble of writing scales is saved, only it is advised that the notes lying outside theprescribed compass be omitted in the lower grades entirely, and in the upper until the habit of good tone is established, when, of course, the tones may be carried below E with safety. The extent and variety of vocal drill which can be given with a pointer and a scale of notes is wonderful; but nothing more need be now suggested, than those exercises which are peculiarly intended to secure good tone, and fix good vocal habits, although it must be evident that all such drill is very far-reaching in its effects.
A few exercises which are very simple are here suggested. First, taking the scale of
partial scale in F
for example. Let the teacher, after the pitch of the keynote is given to the class, place the pointer upon F, and slowly moving it from note to note, ascend and descend the scale, the class singing a continuous tone upon some vowel,ofor instance. The pointer should be passed from note to note in such a manner that the eye can easily follow it. If the notes are indicated to the class by a series of dabs at the chart orblackboard, the pointer each time being carried away from the note several inches, and then aimed at the next note and so on, the eye becomes weary in trying to follow its movements, and the mental energy of the pupils, which should be concentrated upon tone, is wasted in watching the gyrations of the pointer. If, on the other hand, the pointer is made to glide from note to note, passing very quickly over intervening spaces, then the eye is not wearied in trying to follow it. These directions may seem pretty trivial, but practical experience has proved their importance. The vowelois suggested because it has been found easier to secure the use of the head-register with this vowel than withah, when it is sought to break up the habit of singing loudly and coarsely.
The term continuous tone used to describe the style of singing desired is meant literally. If the class in this scale-drill all stop and take breath at the same time, making frequent breaks in the continuity of the tone, there will be found with each new attack a tendency to increase in volume of sound. For certain reasons,which will be explained in the chapter on breath-management, the attack of tone will become more and more explosive, demanding constant repression. This irritating tendency may, in a short time, be almost entirely overcome, if, instead of letting the class take breath and attack simultaneously, each pupil is told to take breath only when he or she is obliged to, and then at once and softly to join again with the others. This will effect the continuous tone, useful not alone as a corrective for the tendencies to loud singing, but also to establish good breathing-habits.
This same swift, silent breath-taking and succeeding soft attack of tone must be insisted upon inallschool singing.
The exercise already suggested is slow singing or rapid singing of the scale with the vowelosoftly, and with continuous tones. Other simple exercises are obtained by repetitions of the following exercise figures at higher or lower pitches throughout an entire scale, or parts of a scale, ascending and descending progressively:
Figure I.
Vocal exercise in F: Ascending./ (Same figure tone higher.)/ (Again raised.) etc./ Descending./ (Same figure tone lower.)/ (Again lowered.) etc.
MIDI file
The next figure, in which the voice ascends or descends four tones at each progressive repetition, has a different rhythm.
Figure II.
Vocal exercise in E: Ascending./ (Same figure raised.)/ (Again raised.) etc./ Descending./ (Same, tone lower.)/ (Still lower.) etc.
MIDI file
Another exercise figure is to use five ascending and descending tones.
In the illustration 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-compass.
Figure III.
... etc./ (Same Ex. inverted.) etc.
MIDI file
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 scalesand 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 inanykey, in phrases of four measures each, both ascending and descending, but, owing to the limitations of the vocal compass, only a certain number of ascending or descending phrases can besungin 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 class.
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 accumulation of scientific knowledge can take theplace 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.
Thereis 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 compass 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 anywhereor 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
A below middle C
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 ofpitching 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 classes 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 compass. No wonder the pitch is wavering. If infant classes 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 compass of the child-voice in the thin register at the ages mentioned, and it is advised never to carry the compass 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
F, high D
The injunction to sing very softly need hardly be repeated.
Passing 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 inthe evenness and firmness of their tones. It is quite possible, especially at the age of about eleven years, to extent the compass 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 class grow farther apart as we ascend in grade, and the compass 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 pass the age of twelve years on to the period of puberty, 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 withabsolute ease. How much higher, if any, the compass 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—space above.
Still, it is the practice of choirmasters to carry the tone of soprano boys much higher in vowel-practice, as high even as
highest C
and although that is a pretty altitudinous 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 voicecan 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 onhightones.
The question, How high may boys or girls sing who have passed 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 arethin. 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 compass 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. Classes 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 waythan 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.
Oneway 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
for the latter in its relations to vocalization dependsmuch upon position. The breath is the motive power of the voice in speech or song, and the fundamental importance of managing it aright has been understood by every teacher of voice since the time of Porpora.
How for singing purposes breath shall be taken, how exhaled, how managed in short, is not yet entirely settled and presumably never will be, for people are not born wise, and some never acquire wisdom, of whom a few teach music. Browne and Behnke, in “Voice, Song, and Speech,” p. 138-142, describe the process of breathing as follows:
“There are three ways of carrying on the process of respiration, namely, midriff breathing, rib-breathing, and collar-bone breathing. These three ways are not wholly independent of one another. They overlap or partly extend into one another. Nevertheless, they are sufficiently distinct and it is a general and convenient practice to give to each a separate name, according to the means by which it is chiefly called into existence. The combined forms of midriff and of rib-breathing constitute the right way, andcollar-bone breathing is totally wrong and vicious, and should not in a state of health be made under any circumstances. When enlarging our chests by the descent of the midriff, we inflate our lungs where they are largest and where consequently we can get the largest amount of air into them. When expanding our chests by raising the shoulders and collar-bones, we inflate the lungs where they are smallest and where, consequently, we get the smallest amount of air into them.The criterion of correct inspiration is an increase of size of the abdomen and the lower part of the chest. Whoever draws in the abdomen and raises the upper part of the chest breathes wrongly.”
In normal breathing the body at inspiration increases in girth at the waist, and the abdomen moves slightly outward as the viscera are forced downward by the descent of the diaphragm. The diaphragm is a large muscle which serves as a partition between the thorax or chest-cavity and the abdomen. When relaxed its middle portion is extended upward into the chest-cavity, presenting a concave surface to the abdomen.At inspiration it contracts, descending so as to assume very nearly a plane figure. At expiration the process is reversed, the diaphragm relaxes and the abdominal viscera, released from its pressure and forced by the abdominal muscles which contract as the diaphragm relaxes, moves upward and inward.
This kind of breathing in which the muscular contraction of the diaphragm calls in operation atmospheric pressure, supplies the body, when tranquil, with nearly or quite enough air. When for any reason a larger quantity of air is demanded, it may be secured by raising the ribs, thereby increasing the chest-cavity.
In singing, the breath must be managed so that the air passing through the larynx at expiration shall be set into vibration at the vocal bands. Expiration, then, which ordinarily occurs very quickly must be retarded by slowly relaxing the muscles which contract at inspiration. At the same time the throat must be open, and the muscles surrounding the resonance cavities relaxed to allow free movement of the sound-waves set up at the vocal bands. Anyupward movement of the shoulders and chest at inspiration involving the contraction of many powerful muscles of back and neck will occasion a stiffening of the throat, which prevents free vibration of the vocal bands and seriously interferes with the resonance of tone.
The conclusion of the whole matter is, that in singing we should take breath exactly as in the ordinary quiet respiration, and avoid any lifting of the shoulders. This is at least enough to say to a class of children upon the subject.
The means adopted in education should be as simple and direct as possible. It will be found unnecessary to say very much about breathing in dealing with classes of children. In the first place, the moment the subject is broached and the direction “take a good breath” or a similar one given, each child will draw up the chest and shoulders prepared for a mighty effort; while, if nothing is said about it, position alone being attended to, the breathing will be all right. And again, while adult singers for various reasons, one of which may be the supposition that the more energyput forth the better the tone, often present themselves to the voice-teacher with a fine assortment of bad breathing-habits, children, on the contrary, are sent to school at so young an age that a little watchfulness on the part of the teacher only is necessary to avoid improper ways of taking breath and establish good habits. If young children, then, are not permitted to raise the shoulders, they will perforce breathe properly.
It seems inadvisable also to give any instruction regarding the emission of air from the lungs in singing. None but cultivated singers, after long practice and through a complete command of the muscles concerned, can vocalizeallthe air at the vocal bands. The absolute purity of tone which is thus secured is a result that may or may not be reached in any particular case. It depends upon the mental and physical organization of the pupil as well as upon the method of the teacher.
Exercises which are adapted to the formation of good breathing-habits are much more to the point in practical teaching than efforts at explanation.Therefore, a few hints are given, which, it is hoped, may be of practical value, for it is very important that good breathing-habits be formed in school singing.
The change in structure which the larynx undergoes at puberty, demolishing as it does the boy-voice, and rendering of no avail the training of childhood in so far as it affects the larynx, does not extend in its effects to the breathing-apparatus. So, a habit of breath-management, good or bad, formed in school may continue through adult life. Special breathing-exercises are sometimes recommended, but their efficacy may be doubted, even if the length of time devoted to the music lesson permits them. The inclination of pupils in such exercises is to raise the chest and fill the lungs too full of air. The result is too much air pressure at the vocal bands, and a stiffening of throat and jaw muscles. The tone then will be loud; in fact, strong pressure of air at the vocal bands is almost sure to force them into the fullest vibration; that is, into the thick register, and, as a result of contracted throat, the tone will be pinched, or throaty. Itis recognized, however, that it is just as easy to teach good habits of breathing as bad.
This exercise may occasionally be given: The pupils first standing, shoulders well set, but with no pushing out of chest, place hands at the waist so that the movements of normal breathing may be felt. Now let the pupils take a little breathquickly. The movement at the waist must be outward and downward, never inward, at inspiration. The breath may be held a few seconds by keeping the waist expanded—keeping an imaginary belt filled, for instance—and then let go by relaxing at the waist. If, however, there is any stiffening of the throat, as if it were thought to cork up the air in the lungs, the object of the exercise, in so far as it relates to the formation of good breathing-habits suitable for easy vocalization, is defeated. Every teacher must use his judgment in this matter of breath-management in singing. If pupils are, unguided, using correct, easy methods, there is then no need to interfere. If some are inclined to take too much breath and lift the shoulders, a few hints may put them on the right track.Loud singing and had breathing-habits go to-*gether.If the first is desired, the lungs must work at full capacity, and hard blowing from the lungs forces the voice. On the contrary, soft singing promotes quiet habits of breathing; and, if the pressure of air at the larynx is moderate, soft tone is possible. If thin, soft singing alone be allowed, quiet deep breathing will be practiced instinctively.
The easy control of the muscles whose relaxation permits the exhalation of air from the lungs is, as already said, gained by their proper exercise in speaking and singing, for the same mechanism is called into operation in speech as in song. In childhood the lungs can neither hold as much, nor retain it so long and easily as in adult life.
There is no better way, perhaps, to acquire the ability to regulate the air-pressure at the vocal bands than by soft, sustained singing. The “continuous tone” described in a preceding chapter, secured in scale drill by letting each child breathe at will, is an excellent exercise for developing good breathing-habits. As there isno nervous tension whatever, each pupil will naturally sustain tone until the need of another breath is felt, when it will be taken quickly and the tone at once resumed.
To sum up: Sit or stand in good position, the chest neither pushed out nor in a state of collapse. Avoid any, even the slightest, upward movement of the shoulders. Point out the movements at waist occurring at inspiration and at expiration if necessary, not otherwise. Let the breath be taken quickly, not too much at a time, and as often as need be, and sing softly.
The beginning of each tone is called attack. The common faults of attack in class-singing are sliding to the pitch instead of striking it accurately, and beginning to sing with the mouth still closed, or only partly open. When the attack presents the combined effects of these two common habits, a quite realistic caterwaul is the result.
Both faults may be generally overcome or prevented by calling attention to them. Goodmental attention is the most infallible cure for slovenly habits of attack. It may be that there are in all schools a certain proportion of the pupils who have very weak and imperfect vocal organs; in their cases, even good attention cannot overcome physical inability.
In repose the vocal bands are separated to allow the free passage of air to and from the lungs. At phonation the bands are drawn toward each other, meeting just as it commences. There need be no preliminary escape of air. Also the resonance cavities above should be open, that the vibrations generated at the vocal bands may find expansion and resonance. The mouth and throat should then be opened a moment before tone is attacked, when, if the pitch to be sung is clearly pictured in the mind, both the “slide” and “hum” will be avoided.
Beauty of tone implies absence of disagreeable qualities, and freedom from unpleasant sounds. Faulty tones are called nasal, guttural, palatal, throaty, muffled, and so on, the peculiar timbreof each suggesting the name. If the throat is relaxed, and if the soft parts of the vocal tube lying between the larynx and the teeth are kept out of the way, most of the disagreeable qualities of voice enumerated disappear. Certain requisites are necessary to good tone-formation.
First, a movable lower jaw.
It is astonishing that so many of young and old will, when they wish to open the mouth for song, try to keep it closed. Paradoxical as the statement is, it nevertheless describes a very common phenomenon—the “fixed jaw,” it may be called. As soon as the teeth are parted slightly, the muscles of the face and neck which control the movement of the lower jaw contract, holding it in a fixed position, and incidentally tightening the muscles of the throat until the larynx is in a grip as of rubber bands. The mouth must not be held open as if the jaws were pried apart. It is opened by the relaxation of the closing muscles and should hang by its own weight, as it were. If then the lower jaw drops easily, and with no accompanying muscular contraction of face or throat, the tonemay be formed or shaped well forward in the mouth, unless the soft parts referred to obstruct it.
These soft parts are the tongue and the soft-palate. The soft-palate is a structure which hangs from the posterior edge of the hard-palate. The uvula, the pillars of the palate, and the tonsils are parts of the structure.
The tongue which, when the mouth is closed, nearly fills it, should in vocalization lie as much out of the way as is possible. If the tip be pressed against the lower teeth and its sides upon the molars, it forms a floor to the cavity of the mouth. If the tip turns toward the roof of the mouth, or if it is drawn back and under, so as to arch the tongue, tone is seriously interfered with, while if the root of the tongue is drawn backward, the tone is shut in.
If the soft-palate is not raised in singing, the tone is diverted into the cavities of the nose, and that color given to the tone called nasal. If the lower jaw is held too high, the tone is again forced through the nose. A nasal quality can be modified by opening the mouth. Themuffled voice is sometimes the result of the tongue’s unruly behavior. The throaty, pinched voice, due to a stiff and pinched throat, will hardly appear if good conditions as regards position, breathing, soft tone, open mouth, etc., are maintained. The tone should not be swallowed nor, on the other hand, blown out of the mouth. It should be formed in the mouth and kept vibrating within it. When the right conditions are hit upon, the tone seems to sing itself. Whether soft or loud, the tone should fill the mouth, so to speak.
It must now be remembered that beauty of tone improves along with growth of thought and feeling. Encourage discrimination in tone-quality and help in any way advisable the growth of good ideals, and verily shalt thou be rewarded.