THE HEAD VOICE

IITHE HEAD VOICELet him take care, however, that the higher the notes, the more it is necessary to touch them with softness, to avoid screaming.Tosi. (1647-1727)Observations on Florid Song.That the development of the upper, or head voice, is the most difficult as well as the most important part of the training of the singing voice, will be readily admitted by every experienced singing teacher.That the upper voice should be produced with as much comfort as the middle or lower, is scarcely debatable.That a majority of singers produce their upper voice with more or less difficulty, need not be argued.Why is it that after two, three or more years of study so many upper voices are still thick, harsh and unsteady?There is nothing in the tone world so beautiful as the male or female head voice when properly produced, and there is nothing so excruciatingly distressing as the same voice when badly produced.The pure head voice is unique in its beauty. It is full of freedom, elasticity, spiritual exaltation. It seems to float, as it were, in the upper air without connection with a human throat. Its charm is irresistible. It is a joy alike to the singer and the listener. It is the most important part of any singer’s equipment. Why is it so difficult and why do so few have it? Various reasons are at hand.The spirit of American enterprise has found its way into voice teaching. It is in the blood of both teacher and pupil. The slogan is “Put it over.” This calls for big tone and they do not see why they should not have it at once.The ability to use the full power of the upper voice when occasion demands is necessary and right, but merely to be able to sing high and loud means nothing. All that is required for that is a strong physique and determination. Such voice building requires but little time and no musical sense whatever; but to be able to sing the upper register with full power, emotional intensity, musical quality and ease, is the result of long and careful work under the ear of a teacher whose sense of tone quality is so refined that it will detect instantly the slightest degree of resistance and not allow it to continue.The ambitious young singer who has been told by the village oracle that she has a great voice and all she needs is a little “finishing,” balks at the idea of devoting three or four years to the process, and so she looks for some one who will do it quickly and she always succeeds in finding him. To do this work correctly the old Italians insisted on from five to eight years with an hour lesson each day. To take such a course following the modern plan of one or two half hours a week, would have the student treading on the heels of Methuselah before it was completed.It is not always easy to make students understand that the training of the voice means the development of the musical mentality and at best is never a short process. To most of them voice culture is a physical process and as they are physically fit, why wait?Now the fact is that there is nothing physical in voice production save the instrument, and a strong physique has no more to do with good singing than it has with good piano playing. Voice production is a mental phenomenon. It is mentality of the singer impressing itself on the vocal instrument and expressing itself through it. The idea that the vocal instrument alone without mental guidance will produce beautiful tone is as fallacious as that a grand piano will producegood music whether the one at the keyboard knows how to play it or not.Let it be understood once for all thatit is the mentality of the individual, not his body, that is musical or unmusical. Both teacher and student must learn that there is much more to do mentally and much less to do physically than most people suspect. They must learn that a musical mentality is no less definite than a physical body, and is at least equally important; also that right thinking is as necessary to good voice production as it is to mathematics.At this point there will doubtless be a strenuous objection from those who assert that tone cannot be produced without effort, and that a considerable amount of it is necessary, especially in the upper voice.It will be readily admitted that the application of force is required to produce tone, but how much force? Certainly not that extreme physical effort that makes the singer red in the face and causes his upper tones to shriek rather than sing. Such a display of force discloses an erroneous idea of how to produce the upper voice. When there is the right relation existing between the breath and the vocal instrument, when there is the proper poise and balance of parts, no such effort is necessary. On the contrary the tone seems to flow and the effort required is only that of a light and pleasant physical exercise.The pianist does not have to strike the upper tones any harder than the lower ones in order to bring out their full power. Why should the upper part of the voice require such prodigious effort?Nowall voices should have a head register. It is a part of nature’s equipment, and this calls for a word on the classification of voices. It ought not to be difficult to determine whether a voice is soprano, alto, tenor, baritone or bass, but I find each year a considerable number that have been misled. Why?A number of things are responsible. One of the most common is that of mistaking a soprano who has a chest register for an alto. This singer finds the low register easier to sing than the upper, consequently she and her friends decide she is an alto. Thereafter she sings low songs and takes the alto part in the choir. The longer she follows this plan the less upper voice she will have, and when she goes to a teacher, unless he has a discriminating and analytical ear, he will allow her to remain in the alto class. There is always something in the fiber of a tone, even though it be badly produced, that will disclose to the trained ear what it will be when rightly produced.Again, the human voice can produce such a variety of tone qualities that sometimes a soprano will cultivate a somber style of singing and a majority of people will call her alto. It requires a trained ear to detect what she is doing. The baritone also, because he often sings the bass part in a quartet, tries to make himself sound like a bass; this he does by singing with a somber, hollow quality which has little or no carrying power.Another mistake is that of classifying a voice according to its compass. This is the least reliable method of all. The mere fact of having high tones does not necessarily make one a soprano, neither is a voice always to be classified as alto by reason of not being able to sing high. It isqualitythat decides what a voice is. Soprano is a quality. Alto is a quality. The terms tenor, baritone, bass, refer to a quality rather than a compass. These qualities are determined primarily by the construction of the organ.But when voices are properly trained there is not so much difference in the compass as most people suppose. For example: the female head voice lies approximately within this compassa fragment of musicand altos who learn to use the real head voice will have no difficulty in vocalizing that high.At the lower end of the voice sopranos who have a chest register will often sing as low as most altos. But whether they sing high or low it is always the quality that determines the classification of the voice.Many lyric sopranos have no chest register, and it would be a mistake to attempt to develop one. In such voices, which rarely have anything below middle C, the middle register must be strengthened and carried down and made to take the place of the chest voice.It must not be understood that there is but one soprano quality, one alto quality, etc. The voice is so individual that it cannot be thus limited. There are many soprano qualities between the coloratura and the dramatic, and the same is true of alto, tenor, baritone and bass.When the voice is rightly produced, its natural quality will invariably appear, and there it must be allowed to remain. An attempt to change it always means disaster.It will be observed that the piano string diminishes in length and thickness as the pitch rises, and the voice must do something which corresponds to this. Otherwise it will be doing that which approximates stretching the middle C string, for example, until it will produce its octave.In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument. This may be learned from the numerous books on the anatomy and physiology of the voice. It is an interesting subject, but beyond an elementary knowledge it is of little value to the teacher. A correct knowledge of how to train the voice must be gained in the studio, not in the laboratory. Its basis is the musical sense rather than the mechanical or scientific. All of the scientific or mechanical knowledge thatthe world has to offer is no preparation for voice training. A knowledge of the art of teaching begins when the teacher takes his first pupil, not before. Therefore the aim shall be to present the subject as it appears to the teacher.We hear much of the value of vocal physiology as a guide to good voice production. It is also claimed that a knowledge of it will prevent the singer from misusing his voice and at the same time act as a panacea for vocal ills. These statements do not possess a single element of truth. The only way the singer can injure the vocal instrument is by forcing it. That is, by setting up a resistance in the vocal cords that prevents their normal action. If this is persevered in it soon becomes a habit which results in chronic congestion. Singing becomes increasingly difficult, especially in the upper voice, and in course of time the singer discovers that he has laryngitis. Will a knowledge of vocal physiology cure laryngitis? Never. Will it prevent any one from singing “throaty?” There is no instance of the kind on record. In a majority of cases laryngitis and other vocal ills are the direct results of bad voice production and disappear as the singer learns to produce his upper tones without resistance. These things are effects, not causes, and to destroy the effect we must remove the cause. This will be found to be a wrong habit and habits are mental, not physical. When a mental impulse and its consequent response become simultaneous and automatic the result is a habit, but it is the mental impulse that has become automatic.The terms,tension,rigidity,interference,resistance, all mean essentially the same thing. They mean the various forms of contraction in the vocal instrument which prevents its involuntary action. If we follow these things back far enough we shall find that they all have their origin in some degree of fear. This fear, of which anxiety is a mild form, begins to show itself whenever the singer attempts tones above the compass of hisspeaking voice. Here is undeveloped territory. The tone lacks power, quality and freedom, and as power is what the untrained singer always seeks first, he begins to force it. In a short time he has a rigid throat, and the longer he sings the more rigid it becomes. By the time he decides to go to a teacher his voice is in such a condition that he must take his upper tones with a thick, throaty quality or with a light falsetto. Among female voices I have seen many that could sing nothing but a full tone in the upper register, and that only with an unsteady, unsympathetic quality.Now a point upon which all voice teachers can agree is that the upper voice is not properly trained until it has a perfectmessa di vocethat is, until the singer can swell the tone from the lightest pianissimo to full voice and return, on any tone in his compass, without a break and without sacrificing the pure singing quality. How shall this be accomplished? If the singer is forcing the upper voice it is safe to say in the beginning that it never can be done by practicing with full voice. Such practice will only fasten the habit of resistance more firmly upon the singer. To argue in the affirmative is equivalent to saying that the continued practice of a bad tone will eventually produce a good tone.There is but one way to the solution of the problem; the singer must get rid of resistance. When he has succeeded in doing that the problem of the head voice is solved. The bugaboo of voice placing permanently disappears. The difficulty so many have in placing the upper voice lies in this, that they try to do it without removing the one thing which prevents them from doing it. When the voice is free from resistance it places itself, that is, it produces without effort whatever quality the singer desires. The term “head voice,” doubtless grew out of the sensation in the head which accompanies the upper tones, and this sensation is the result of the vibration of the air inthe air head cavities. Many have taken this sensation as a guide to the production of the head voice, and in order to make sure of it they instruct the student to direct the tone into the head. This is not only an uncertain and unnecessary procedure, but is almost sure to develop a resistance which effectually prevents the tone from reaching the head cavities. When there is no interference the tone runs naturally into the proper channel. It is not necessary to use force to put it there.HEAD RESONANCEWhether or not the head cavities act as resonators is one of the many mooted points in voice training. Those who believe they do are much in the majority, but those in the minority are equally confident they do not. What are the arguments? That there is a sensation in the head cavities when singing in the upper part of the compass no one can deny. Does it affect tone quality? The minority offers the argument that it cannot do so because the soft palate automatically rises in singing a high tone, thus closing the passage through the nose. On the other side it is argued, and rightly, that the soft palate can be trained to remain low in singing high tones. But whether the soft palate is high or low does not settle the matter. It is not at all necessary that breath should pass through the nasal cavities in order to make them act as resonators. In fact it is necessary that it should not. It is the air that is already in the cavities that vibrates. All who are acquainted with resonating tubes understand this. Neither is it necessary that the vibrations should be transmitted to the head cavities by way of the pharynx and over the soft palate. They may be transmitted through the bones of the head. John Howard proved this, to his satisfaction at least, many years ago.I recall that in working with Emil Behnke he used an exercise to raise the soft palate and completely close the channel, yet no one can deny that his pupils had head resonance. There are certain facts in connection with this that are hard to side-step. Plunket Greene once told me that at one time he lost the resonance in the upper part of his voice, and on consulting a specialist he found a considerable growth on the septum. He had it removed and at once the resonance returned. Other equally strong arguments could be offered in support of the claim that the head cavities do act as resonators. At any rate the high or low palate is not the deciding factor.Too much cannot be said on the subject of interference, or resistance. So long as there is any of it in evidence it has its effect on tone quality. It is the result of tension, and tension is a mental impulse of a certain kind. Its antidote is relaxation, which is a mental impulse of an opposite nature. It is necessary for most singers to work at this until long after they think they have it.In preparing the head voice the student must begin with a tone that is entirely free from resistance and build from that. In a large majority of voices it means practicing with a light, soft tone. A voice that cannot sing softly is not rightly produced. While the student is working for the freedom which will give him a good half voice he is preparing the conditions for a good full voice. The conditions are not right for the practice of full voice until the last vestige of resistance has disappeared. The light voice is as necessary to artistic success as the full voice. The singer must have both, but he must never sacrifice quality for power.In the female voice the readjustments of the mechanism known as changes of register usually occur at abouta musical fragmentIn many lyric soprano voices I have found the same readjustment at the B and C above the staffa musical fragmentI have also noted in many bass voices a similar change of adjustment at the E and F below the bass clefa musical fragmentIt would seem therefore, that in a majority of voices until an even scale has been developed, that these readjustments appear at about the E and F and B and C throughout the vocal compass. The exceptions to this rule are so numerous however, that it can scarcely be called a rule. Some voices will have but one noticeable readjustment, and it may be any one of the three.In some voices the changes are all imperceptible. In others, due to wrong usage, they are abrupt breaks. In every instance the teacher must give the voice what it needs to perfect an even scale. There should be no more evidence of register changes in the vocal scale than in the piano scale.Leaving the lower two changes for the moment, let us consider the one at the upper E and F. This one is so common among sopranos that there are few who have not one, two, or three weak tones at this point. To avoid these weak tones many are taught to carry the thicker tones of the middle register up as far as they can force them in order to get the “big tone” which seems to be the sole aim of much modern voice teaching. The victims of this manner of teaching never use the real head voice, and one thing happens to them all. As time goes on the upper voice grows more and more difficult, the high tones disappear one by one, and at the time when they should be doing their best singing they find themselves vocal wrecks. Some of them change from soprano to alto and end by that route.Now these are not instances that appear at long intervals. They are in constant evidence and the number is surprisingly large. The cause is ignorance of how to treat the upper voice, together with an insane desire for a “big tone” and a lack of patience to await until it grows. The incredible thing is that there is a teacher living whose ear will tolerate such a thing.Now there is a way to develop the head voice that gives the singer not only the full power of his upper voice, but makes it free, flexible and vibrant, a sympathetic quality, a perfectmessa di voce, and enables him to sing indefinitely without tiring his voice. He must learn that it is possible to produce a full tone with a light mechanism. This is the natural way of producing the head voice. Further, the light mechanism must be carried far below the point where the so called change of register occurs.Every voice should have a head register, and it may be developed in the following way. With altos and sopranos I start with this exercisea musical fragmentAltos should begin at A.The student should neither feel nor hear the tone in the throat. Therefore he should begin with a softoo. The throat should be free, lips relaxed but slightly forward. There should be no puckering of the lips foroo. The tone should seem to form itself around the lips, not in the throat. In the beginning the exercise must be practiced softly. No attempt must be made to increase the power, until the tone is well established in the light mechanism. When theoocan be sung softly and without resistance as high as E flat use the same exercise witho.The next step is to blend this light mechanism with the heavier mechanism. It may be done in this way,a musical fragmentSing this descending scale with a crescendo, always beginning itpp. It should be practiced very slowly at first, and with portamento. Carrying the head voice down over the middle and the middle down over the lower will in a short time blend all parts of the voice, and lay the foundation of an even scale. The exercise should be transposed upward by half steps as the voice becomes more free until it reaches F or F sharp.The next step is the building process. Use the following:a musical fragmentAltos should begin at A. In practicing these swells great care must be taken. Tone quality is the first consideration, and the tone must be pressed no further than is possible while retaining the pure singing quality. Where voices have been forced and are accustomed to sing nothing but thick tones this building process is sometimes slow. The student finds an almost irresistible tendency to increase the resistance as he increases the power of the tone. Therefore the louder he sings the worse it sounds. This kind of practice will never solve the problem. When the student is able to swell the tone to full power without increasing the resistance the problem is solved.The progress of the student in this, as in everything in voice training, depends uponthe ear of the teacher. The untrained ear of the student is an unreliable guide. The sensitive ear of the teacher must at all times be his guide. The belief that every one knows a good tone when he hears it has no foundation in fact. If the student’s concept of tone were perfect he would not need a teacher. He would have the teacher within himself. Every one knows what he likes, and what he likes is of necessity his standard at that particular time, but it is only the measure of his taste and may be different the next day.All things in voice training find their court of last resort inthe ear of the teacher. All other knowledge is secondary to this. He may believe any number of things that are untrue about the voice, but if he have a thoroughly refined ear it will prevent him from doing anything wrong. His ear is his taste, his musical sense, and it is his musical sense, his musical judgment, that does the teaching.So in building the head voice the teacher must see to it that musical quality is never sacrificed for power. A full tone is worse than useless, unless the quality is musical and this can never be accomplished until the vocal instrument is free from resistance.Exercise No. 3 should be transposed upward by half steps, but never beyond the point at which it can be practiced comfortably.As tension shows most in the upper part of the voice the student should have, as a part of his daily practice, exercises which release the voice as it rises. Use the following:a musical fragmentBegin with medium power and diminish toppas indicated. The upper tone must not only be sung softly, but the throat must be entirely free. There must be no sense of holding the tone.Transpose to the top of the voice.a musical fragmentNo. 5 is for the same purpose as No. 4 but in an extended form. Begin with rather full voice and diminish toppascending. Increase to full voice descending. Continue the building of the upper voice using the complete scale.a musical fragmentThus far in preparing the head voice we have used the vowelsooando. We may proceed to the vowelahin the following way. Using Ex. No. 6 first singowith loose but somewhat rounded lips. When this tone is well established singowith the same quality, the same focus, or placing without rounding the lips. It amounts to singingowith theahposition. When this can be done then use shortuas in the wordhum. This gives approximately the placing forahin the upper voice. When these vowels can all be sung with perfect freedom transpose upward by half steps.a musical fragmentIn No. 7 when the crescendo has been made on the upper tone carry the full voice to the bottom of the scale.a musical fragmentThis is another way of blending the different parts of the voice. It should be sung portamento in both directions. When sung by a female voice it will be Middle, Head, Middle as indicated by the letters M, H, M. When sung by the male voice it will be Chest, Head, Chest as indicated by the letters C, H, C. Transpose upward by half steps.When the foregoing exercises are well in hand the head voice may be approached from the middle and lower registers in scale form as in the following:a musical fragmenta musical fragmenta musical fragmenta musical fragmenta musical fragmentThe fact that male voices are more often throaty in the upper register then female voices calls for special comment.The following diagram showing the relationship of the two voices will help to elucidate the matter.a musical fragmentI have here used three octaves of the vocal compass as sufficient for the illustration. Remembering that the male voice is an octave lower than the female voice we shall see that the female voice is a continuation, as it were, of the male voice; the lower part of the female compass overlapping the upper part of the male compass, the two having approximately an octave G to G in common. Further it will be seen that both male and female voices do about the same thing at the same absolute pitches. At about E flat or E above middle C the alto or soprano passes from the chest to the middle register. It is at the same absolute pitches that the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. There is every reason to believethat the change in the mechanism is the same as that which occurs in the female voice at the same pitches. That there is oftentimes a noticeable readjustment of the mechanism in uncultivated voices at these pitches no observing teacher will deny, and these are the voices which are of special interest to the teacher, and the ones for which books are made. It will be observed that this change in the male voice takes place in the upper part of his compass instead of in the lower, as in the female voice. This change which is above the compass of the speaking voice of the tenor or baritone, adds greatly to its difficulty. For this reason the training of the male head voice requires more care and clearer judgment than anything else in voice training.In treating this part of the female voice we have learned that if the heavy, or chest voice, is carried up to G or A above middle C it weakens the tones of the middle register until they finally become useless. Then the chest tones become more difficult and disappear one by one and the voice has no further value. Identically the same thing happens to the tenor who, by reason of sufficient physical strength forces his chest voice up to G, A, or B flat. He may be able to continue this for awhile, sometimes for a few years, but gradually his upper tones become more difficult and finally impossible and another vocal wreck is added to the list.In restoring the female voice that has carried the chest voice too high it is necessary to carry the middle register down, sometimes as low as middle C until it has regained its power. The tenor or baritone must do essentially the same thing. He must carry the head voice, which is a lighter mechanism than the chest voice, down as low as this ca musical fragmentusing what is often called mixed voice. When the pitchesa musical fragmentare practiced with a sufficiently relaxedthroat the tone runs naturally into the head resonator with a feeling almost the equivalent of that of a nasal tone, but this tone will be in no sense nasal. It will be head voice.THE FALSETTODoes the falsetto have any part in the development of the head voice? This inoffensive thing is still the subject of a considerable amount of more of less inflammatory debate both as to what it is and what it does. Without delay let me assure every one that it is perfectly harmless. There is no other one thing involved in singing, immediate or remote, from which the element of harm is so completely eliminated. It is held by some that it is produced by the false vocal chords. This position is untenable for the reason that I have known many singers who could go from the falsetto to a full ringing tone and return with no perceptible break. Now since it will hardly be argued that a ringing, resonant tone could be produced by the false vocal cords, it is evident that the singer must change from the false to the true vocal cords somewhere in the process—a thing which is unthinkable.It is held by others that the falsetto is a relic of the boy’s voice, which has deteriorated from lack of use. This seems not unreasonable, and a considerable amount of evidence is offered in support of it. We may safely assume however that it is produced by the true vocal cords and the lightest register in the male voice. What is its use? Unless its quality can be changed it has little or no musical value. There are some teachers who claim that the falsetto mechanism is the correct one for the tenor voice and should be used throughout the entire compass. I am not prepared to subscribe to this. There are others who believe that the falsetto should be developed,resonated, so that it loses its flute quality, and blended with the head voice. This seems in the light of my experience to be reasonable. When this can be done it gives the singer the most perfect mechanism known. But it cannot always be done. The voice is individual, and the entire sum of individual experience leaves its impression on it. I have found many voices where the falsetto was so completely detached from the head voice that it would be a waste of time to attempt to blend them.But there is one place in voice training where the practice of the falsetto has a distinct value. I have seen many tenors and baritones who forced the heavy chest voice up until they developed an automatic clutch, and could sing the upper tones only with extreme effort. To allow them to continue in that way would never solve their problem. In such a condition half voice is impossible. It must be one thing or the other, either the thick chest voice or falsetto. The falsetto they can produce without effort, and herein lies its value. They become accustomed to hearing their high tones without the association of effort, and after a time the real head voice appears. The thing which prevented the head voice from appearing in the beginning was extreme resistance, and as soon as the resistance disappeared the head voice made its appearance. This was accomplished by the practice of the very light register known as falsetto. When the head voice appears the use of the falsetto may be discontinued.The thing expected of the teacher is results and he should not be afraid to use anything that will contribute to that end.It is in the upper part of the voice that mistakes are most likely to be made and ninety nine per cent of the mistakes is forcing the voice, that is, singing with too much resistance. So long as the resistance continues a good full tone is impossible. The plan outlined above for eliminating resistance has beentested with many hundreds of voices and has never failed. The idea held by some that such practice can never produce a large tone shows a complete misunderstanding of the whole matter. That it produces the full power of the voice without sacrificing its musical quality is being proved constantly.Every day we hear the story of voices ruined by forcing high tones. Who is responsible? Each one must answer for himself. With the hope of diminishing it in some degree, this outline is offered.

II

Let him take care, however, that the higher the notes, the more it is necessary to touch them with softness, to avoid screaming.Tosi. (1647-1727)Observations on Florid Song.

Let him take care, however, that the higher the notes, the more it is necessary to touch them with softness, to avoid screaming.

Tosi. (1647-1727)Observations on Florid Song.

That the development of the upper, or head voice, is the most difficult as well as the most important part of the training of the singing voice, will be readily admitted by every experienced singing teacher.

That the upper voice should be produced with as much comfort as the middle or lower, is scarcely debatable.

That a majority of singers produce their upper voice with more or less difficulty, need not be argued.

Why is it that after two, three or more years of study so many upper voices are still thick, harsh and unsteady?

There is nothing in the tone world so beautiful as the male or female head voice when properly produced, and there is nothing so excruciatingly distressing as the same voice when badly produced.

The pure head voice is unique in its beauty. It is full of freedom, elasticity, spiritual exaltation. It seems to float, as it were, in the upper air without connection with a human throat. Its charm is irresistible. It is a joy alike to the singer and the listener. It is the most important part of any singer’s equipment. Why is it so difficult and why do so few have it? Various reasons are at hand.

The spirit of American enterprise has found its way into voice teaching. It is in the blood of both teacher and pupil. The slogan is “Put it over.” This calls for big tone and they do not see why they should not have it at once.

The ability to use the full power of the upper voice when occasion demands is necessary and right, but merely to be able to sing high and loud means nothing. All that is required for that is a strong physique and determination. Such voice building requires but little time and no musical sense whatever; but to be able to sing the upper register with full power, emotional intensity, musical quality and ease, is the result of long and careful work under the ear of a teacher whose sense of tone quality is so refined that it will detect instantly the slightest degree of resistance and not allow it to continue.

The ambitious young singer who has been told by the village oracle that she has a great voice and all she needs is a little “finishing,” balks at the idea of devoting three or four years to the process, and so she looks for some one who will do it quickly and she always succeeds in finding him. To do this work correctly the old Italians insisted on from five to eight years with an hour lesson each day. To take such a course following the modern plan of one or two half hours a week, would have the student treading on the heels of Methuselah before it was completed.

It is not always easy to make students understand that the training of the voice means the development of the musical mentality and at best is never a short process. To most of them voice culture is a physical process and as they are physically fit, why wait?

Now the fact is that there is nothing physical in voice production save the instrument, and a strong physique has no more to do with good singing than it has with good piano playing. Voice production is a mental phenomenon. It is mentality of the singer impressing itself on the vocal instrument and expressing itself through it. The idea that the vocal instrument alone without mental guidance will produce beautiful tone is as fallacious as that a grand piano will producegood music whether the one at the keyboard knows how to play it or not.

Let it be understood once for all thatit is the mentality of the individual, not his body, that is musical or unmusical. Both teacher and student must learn that there is much more to do mentally and much less to do physically than most people suspect. They must learn that a musical mentality is no less definite than a physical body, and is at least equally important; also that right thinking is as necessary to good voice production as it is to mathematics.

At this point there will doubtless be a strenuous objection from those who assert that tone cannot be produced without effort, and that a considerable amount of it is necessary, especially in the upper voice.

It will be readily admitted that the application of force is required to produce tone, but how much force? Certainly not that extreme physical effort that makes the singer red in the face and causes his upper tones to shriek rather than sing. Such a display of force discloses an erroneous idea of how to produce the upper voice. When there is the right relation existing between the breath and the vocal instrument, when there is the proper poise and balance of parts, no such effort is necessary. On the contrary the tone seems to flow and the effort required is only that of a light and pleasant physical exercise.

The pianist does not have to strike the upper tones any harder than the lower ones in order to bring out their full power. Why should the upper part of the voice require such prodigious effort?

Nowall voices should have a head register. It is a part of nature’s equipment, and this calls for a word on the classification of voices. It ought not to be difficult to determine whether a voice is soprano, alto, tenor, baritone or bass, but I find each year a considerable number that have been misled. Why?A number of things are responsible. One of the most common is that of mistaking a soprano who has a chest register for an alto. This singer finds the low register easier to sing than the upper, consequently she and her friends decide she is an alto. Thereafter she sings low songs and takes the alto part in the choir. The longer she follows this plan the less upper voice she will have, and when she goes to a teacher, unless he has a discriminating and analytical ear, he will allow her to remain in the alto class. There is always something in the fiber of a tone, even though it be badly produced, that will disclose to the trained ear what it will be when rightly produced.

Again, the human voice can produce such a variety of tone qualities that sometimes a soprano will cultivate a somber style of singing and a majority of people will call her alto. It requires a trained ear to detect what she is doing. The baritone also, because he often sings the bass part in a quartet, tries to make himself sound like a bass; this he does by singing with a somber, hollow quality which has little or no carrying power.

Another mistake is that of classifying a voice according to its compass. This is the least reliable method of all. The mere fact of having high tones does not necessarily make one a soprano, neither is a voice always to be classified as alto by reason of not being able to sing high. It isqualitythat decides what a voice is. Soprano is a quality. Alto is a quality. The terms tenor, baritone, bass, refer to a quality rather than a compass. These qualities are determined primarily by the construction of the organ.

But when voices are properly trained there is not so much difference in the compass as most people suppose. For example: the female head voice lies approximately within this compassa fragment of musicand altos who learn to use the real head voice will have no difficulty in vocalizing that high.

At the lower end of the voice sopranos who have a chest register will often sing as low as most altos. But whether they sing high or low it is always the quality that determines the classification of the voice.

Many lyric sopranos have no chest register, and it would be a mistake to attempt to develop one. In such voices, which rarely have anything below middle C, the middle register must be strengthened and carried down and made to take the place of the chest voice.

It must not be understood that there is but one soprano quality, one alto quality, etc. The voice is so individual that it cannot be thus limited. There are many soprano qualities between the coloratura and the dramatic, and the same is true of alto, tenor, baritone and bass.

When the voice is rightly produced, its natural quality will invariably appear, and there it must be allowed to remain. An attempt to change it always means disaster.

It will be observed that the piano string diminishes in length and thickness as the pitch rises, and the voice must do something which corresponds to this. Otherwise it will be doing that which approximates stretching the middle C string, for example, until it will produce its octave.

In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument. This may be learned from the numerous books on the anatomy and physiology of the voice. It is an interesting subject, but beyond an elementary knowledge it is of little value to the teacher. A correct knowledge of how to train the voice must be gained in the studio, not in the laboratory. Its basis is the musical sense rather than the mechanical or scientific. All of the scientific or mechanical knowledge thatthe world has to offer is no preparation for voice training. A knowledge of the art of teaching begins when the teacher takes his first pupil, not before. Therefore the aim shall be to present the subject as it appears to the teacher.

We hear much of the value of vocal physiology as a guide to good voice production. It is also claimed that a knowledge of it will prevent the singer from misusing his voice and at the same time act as a panacea for vocal ills. These statements do not possess a single element of truth. The only way the singer can injure the vocal instrument is by forcing it. That is, by setting up a resistance in the vocal cords that prevents their normal action. If this is persevered in it soon becomes a habit which results in chronic congestion. Singing becomes increasingly difficult, especially in the upper voice, and in course of time the singer discovers that he has laryngitis. Will a knowledge of vocal physiology cure laryngitis? Never. Will it prevent any one from singing “throaty?” There is no instance of the kind on record. In a majority of cases laryngitis and other vocal ills are the direct results of bad voice production and disappear as the singer learns to produce his upper tones without resistance. These things are effects, not causes, and to destroy the effect we must remove the cause. This will be found to be a wrong habit and habits are mental, not physical. When a mental impulse and its consequent response become simultaneous and automatic the result is a habit, but it is the mental impulse that has become automatic.

The terms,tension,rigidity,interference,resistance, all mean essentially the same thing. They mean the various forms of contraction in the vocal instrument which prevents its involuntary action. If we follow these things back far enough we shall find that they all have their origin in some degree of fear. This fear, of which anxiety is a mild form, begins to show itself whenever the singer attempts tones above the compass of hisspeaking voice. Here is undeveloped territory. The tone lacks power, quality and freedom, and as power is what the untrained singer always seeks first, he begins to force it. In a short time he has a rigid throat, and the longer he sings the more rigid it becomes. By the time he decides to go to a teacher his voice is in such a condition that he must take his upper tones with a thick, throaty quality or with a light falsetto. Among female voices I have seen many that could sing nothing but a full tone in the upper register, and that only with an unsteady, unsympathetic quality.

Now a point upon which all voice teachers can agree is that the upper voice is not properly trained until it has a perfectmessa di vocethat is, until the singer can swell the tone from the lightest pianissimo to full voice and return, on any tone in his compass, without a break and without sacrificing the pure singing quality. How shall this be accomplished? If the singer is forcing the upper voice it is safe to say in the beginning that it never can be done by practicing with full voice. Such practice will only fasten the habit of resistance more firmly upon the singer. To argue in the affirmative is equivalent to saying that the continued practice of a bad tone will eventually produce a good tone.

There is but one way to the solution of the problem; the singer must get rid of resistance. When he has succeeded in doing that the problem of the head voice is solved. The bugaboo of voice placing permanently disappears. The difficulty so many have in placing the upper voice lies in this, that they try to do it without removing the one thing which prevents them from doing it. When the voice is free from resistance it places itself, that is, it produces without effort whatever quality the singer desires. The term “head voice,” doubtless grew out of the sensation in the head which accompanies the upper tones, and this sensation is the result of the vibration of the air inthe air head cavities. Many have taken this sensation as a guide to the production of the head voice, and in order to make sure of it they instruct the student to direct the tone into the head. This is not only an uncertain and unnecessary procedure, but is almost sure to develop a resistance which effectually prevents the tone from reaching the head cavities. When there is no interference the tone runs naturally into the proper channel. It is not necessary to use force to put it there.

HEAD RESONANCEWhether or not the head cavities act as resonators is one of the many mooted points in voice training. Those who believe they do are much in the majority, but those in the minority are equally confident they do not. What are the arguments? That there is a sensation in the head cavities when singing in the upper part of the compass no one can deny. Does it affect tone quality? The minority offers the argument that it cannot do so because the soft palate automatically rises in singing a high tone, thus closing the passage through the nose. On the other side it is argued, and rightly, that the soft palate can be trained to remain low in singing high tones. But whether the soft palate is high or low does not settle the matter. It is not at all necessary that breath should pass through the nasal cavities in order to make them act as resonators. In fact it is necessary that it should not. It is the air that is already in the cavities that vibrates. All who are acquainted with resonating tubes understand this. Neither is it necessary that the vibrations should be transmitted to the head cavities by way of the pharynx and over the soft palate. They may be transmitted through the bones of the head. John Howard proved this, to his satisfaction at least, many years ago.I recall that in working with Emil Behnke he used an exercise to raise the soft palate and completely close the channel, yet no one can deny that his pupils had head resonance. There are certain facts in connection with this that are hard to side-step. Plunket Greene once told me that at one time he lost the resonance in the upper part of his voice, and on consulting a specialist he found a considerable growth on the septum. He had it removed and at once the resonance returned. Other equally strong arguments could be offered in support of the claim that the head cavities do act as resonators. At any rate the high or low palate is not the deciding factor.Too much cannot be said on the subject of interference, or resistance. So long as there is any of it in evidence it has its effect on tone quality. It is the result of tension, and tension is a mental impulse of a certain kind. Its antidote is relaxation, which is a mental impulse of an opposite nature. It is necessary for most singers to work at this until long after they think they have it.In preparing the head voice the student must begin with a tone that is entirely free from resistance and build from that. In a large majority of voices it means practicing with a light, soft tone. A voice that cannot sing softly is not rightly produced. While the student is working for the freedom which will give him a good half voice he is preparing the conditions for a good full voice. The conditions are not right for the practice of full voice until the last vestige of resistance has disappeared. The light voice is as necessary to artistic success as the full voice. The singer must have both, but he must never sacrifice quality for power.In the female voice the readjustments of the mechanism known as changes of register usually occur at abouta musical fragmentIn many lyric soprano voices I have found the same readjustment at the B and C above the staffa musical fragmentI have also noted in many bass voices a similar change of adjustment at the E and F below the bass clefa musical fragmentIt would seem therefore, that in a majority of voices until an even scale has been developed, that these readjustments appear at about the E and F and B and C throughout the vocal compass. The exceptions to this rule are so numerous however, that it can scarcely be called a rule. Some voices will have but one noticeable readjustment, and it may be any one of the three.In some voices the changes are all imperceptible. In others, due to wrong usage, they are abrupt breaks. In every instance the teacher must give the voice what it needs to perfect an even scale. There should be no more evidence of register changes in the vocal scale than in the piano scale.Leaving the lower two changes for the moment, let us consider the one at the upper E and F. This one is so common among sopranos that there are few who have not one, two, or three weak tones at this point. To avoid these weak tones many are taught to carry the thicker tones of the middle register up as far as they can force them in order to get the “big tone” which seems to be the sole aim of much modern voice teaching. The victims of this manner of teaching never use the real head voice, and one thing happens to them all. As time goes on the upper voice grows more and more difficult, the high tones disappear one by one, and at the time when they should be doing their best singing they find themselves vocal wrecks. Some of them change from soprano to alto and end by that route.Now these are not instances that appear at long intervals. They are in constant evidence and the number is surprisingly large. The cause is ignorance of how to treat the upper voice, together with an insane desire for a “big tone” and a lack of patience to await until it grows. The incredible thing is that there is a teacher living whose ear will tolerate such a thing.Now there is a way to develop the head voice that gives the singer not only the full power of his upper voice, but makes it free, flexible and vibrant, a sympathetic quality, a perfectmessa di voce, and enables him to sing indefinitely without tiring his voice. He must learn that it is possible to produce a full tone with a light mechanism. This is the natural way of producing the head voice. Further, the light mechanism must be carried far below the point where the so called change of register occurs.Every voice should have a head register, and it may be developed in the following way. With altos and sopranos I start with this exercisea musical fragmentAltos should begin at A.The student should neither feel nor hear the tone in the throat. Therefore he should begin with a softoo. The throat should be free, lips relaxed but slightly forward. There should be no puckering of the lips foroo. The tone should seem to form itself around the lips, not in the throat. In the beginning the exercise must be practiced softly. No attempt must be made to increase the power, until the tone is well established in the light mechanism. When theoocan be sung softly and without resistance as high as E flat use the same exercise witho.The next step is to blend this light mechanism with the heavier mechanism. It may be done in this way,a musical fragmentSing this descending scale with a crescendo, always beginning itpp. It should be practiced very slowly at first, and with portamento. Carrying the head voice down over the middle and the middle down over the lower will in a short time blend all parts of the voice, and lay the foundation of an even scale. The exercise should be transposed upward by half steps as the voice becomes more free until it reaches F or F sharp.The next step is the building process. Use the following:a musical fragmentAltos should begin at A. In practicing these swells great care must be taken. Tone quality is the first consideration, and the tone must be pressed no further than is possible while retaining the pure singing quality. Where voices have been forced and are accustomed to sing nothing but thick tones this building process is sometimes slow. The student finds an almost irresistible tendency to increase the resistance as he increases the power of the tone. Therefore the louder he sings the worse it sounds. This kind of practice will never solve the problem. When the student is able to swell the tone to full power without increasing the resistance the problem is solved.The progress of the student in this, as in everything in voice training, depends uponthe ear of the teacher. The untrained ear of the student is an unreliable guide. The sensitive ear of the teacher must at all times be his guide. The belief that every one knows a good tone when he hears it has no foundation in fact. If the student’s concept of tone were perfect he would not need a teacher. He would have the teacher within himself. Every one knows what he likes, and what he likes is of necessity his standard at that particular time, but it is only the measure of his taste and may be different the next day.All things in voice training find their court of last resort inthe ear of the teacher. All other knowledge is secondary to this. He may believe any number of things that are untrue about the voice, but if he have a thoroughly refined ear it will prevent him from doing anything wrong. His ear is his taste, his musical sense, and it is his musical sense, his musical judgment, that does the teaching.So in building the head voice the teacher must see to it that musical quality is never sacrificed for power. A full tone is worse than useless, unless the quality is musical and this can never be accomplished until the vocal instrument is free from resistance.Exercise No. 3 should be transposed upward by half steps, but never beyond the point at which it can be practiced comfortably.As tension shows most in the upper part of the voice the student should have, as a part of his daily practice, exercises which release the voice as it rises. Use the following:a musical fragmentBegin with medium power and diminish toppas indicated. The upper tone must not only be sung softly, but the throat must be entirely free. There must be no sense of holding the tone.Transpose to the top of the voice.a musical fragmentNo. 5 is for the same purpose as No. 4 but in an extended form. Begin with rather full voice and diminish toppascending. Increase to full voice descending. Continue the building of the upper voice using the complete scale.a musical fragmentThus far in preparing the head voice we have used the vowelsooando. We may proceed to the vowelahin the following way. Using Ex. No. 6 first singowith loose but somewhat rounded lips. When this tone is well established singowith the same quality, the same focus, or placing without rounding the lips. It amounts to singingowith theahposition. When this can be done then use shortuas in the wordhum. This gives approximately the placing forahin the upper voice. When these vowels can all be sung with perfect freedom transpose upward by half steps.a musical fragmentIn No. 7 when the crescendo has been made on the upper tone carry the full voice to the bottom of the scale.a musical fragmentThis is another way of blending the different parts of the voice. It should be sung portamento in both directions. When sung by a female voice it will be Middle, Head, Middle as indicated by the letters M, H, M. When sung by the male voice it will be Chest, Head, Chest as indicated by the letters C, H, C. Transpose upward by half steps.When the foregoing exercises are well in hand the head voice may be approached from the middle and lower registers in scale form as in the following:a musical fragmenta musical fragmenta musical fragmenta musical fragmenta musical fragmentThe fact that male voices are more often throaty in the upper register then female voices calls for special comment.The following diagram showing the relationship of the two voices will help to elucidate the matter.a musical fragmentI have here used three octaves of the vocal compass as sufficient for the illustration. Remembering that the male voice is an octave lower than the female voice we shall see that the female voice is a continuation, as it were, of the male voice; the lower part of the female compass overlapping the upper part of the male compass, the two having approximately an octave G to G in common. Further it will be seen that both male and female voices do about the same thing at the same absolute pitches. At about E flat or E above middle C the alto or soprano passes from the chest to the middle register. It is at the same absolute pitches that the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. There is every reason to believethat the change in the mechanism is the same as that which occurs in the female voice at the same pitches. That there is oftentimes a noticeable readjustment of the mechanism in uncultivated voices at these pitches no observing teacher will deny, and these are the voices which are of special interest to the teacher, and the ones for which books are made. It will be observed that this change in the male voice takes place in the upper part of his compass instead of in the lower, as in the female voice. This change which is above the compass of the speaking voice of the tenor or baritone, adds greatly to its difficulty. For this reason the training of the male head voice requires more care and clearer judgment than anything else in voice training.In treating this part of the female voice we have learned that if the heavy, or chest voice, is carried up to G or A above middle C it weakens the tones of the middle register until they finally become useless. Then the chest tones become more difficult and disappear one by one and the voice has no further value. Identically the same thing happens to the tenor who, by reason of sufficient physical strength forces his chest voice up to G, A, or B flat. He may be able to continue this for awhile, sometimes for a few years, but gradually his upper tones become more difficult and finally impossible and another vocal wreck is added to the list.In restoring the female voice that has carried the chest voice too high it is necessary to carry the middle register down, sometimes as low as middle C until it has regained its power. The tenor or baritone must do essentially the same thing. He must carry the head voice, which is a lighter mechanism than the chest voice, down as low as this ca musical fragmentusing what is often called mixed voice. When the pitchesa musical fragmentare practiced with a sufficiently relaxedthroat the tone runs naturally into the head resonator with a feeling almost the equivalent of that of a nasal tone, but this tone will be in no sense nasal. It will be head voice.

Whether or not the head cavities act as resonators is one of the many mooted points in voice training. Those who believe they do are much in the majority, but those in the minority are equally confident they do not. What are the arguments? That there is a sensation in the head cavities when singing in the upper part of the compass no one can deny. Does it affect tone quality? The minority offers the argument that it cannot do so because the soft palate automatically rises in singing a high tone, thus closing the passage through the nose. On the other side it is argued, and rightly, that the soft palate can be trained to remain low in singing high tones. But whether the soft palate is high or low does not settle the matter. It is not at all necessary that breath should pass through the nasal cavities in order to make them act as resonators. In fact it is necessary that it should not. It is the air that is already in the cavities that vibrates. All who are acquainted with resonating tubes understand this. Neither is it necessary that the vibrations should be transmitted to the head cavities by way of the pharynx and over the soft palate. They may be transmitted through the bones of the head. John Howard proved this, to his satisfaction at least, many years ago.

I recall that in working with Emil Behnke he used an exercise to raise the soft palate and completely close the channel, yet no one can deny that his pupils had head resonance. There are certain facts in connection with this that are hard to side-step. Plunket Greene once told me that at one time he lost the resonance in the upper part of his voice, and on consulting a specialist he found a considerable growth on the septum. He had it removed and at once the resonance returned. Other equally strong arguments could be offered in support of the claim that the head cavities do act as resonators. At any rate the high or low palate is not the deciding factor.

Too much cannot be said on the subject of interference, or resistance. So long as there is any of it in evidence it has its effect on tone quality. It is the result of tension, and tension is a mental impulse of a certain kind. Its antidote is relaxation, which is a mental impulse of an opposite nature. It is necessary for most singers to work at this until long after they think they have it.

In preparing the head voice the student must begin with a tone that is entirely free from resistance and build from that. In a large majority of voices it means practicing with a light, soft tone. A voice that cannot sing softly is not rightly produced. While the student is working for the freedom which will give him a good half voice he is preparing the conditions for a good full voice. The conditions are not right for the practice of full voice until the last vestige of resistance has disappeared. The light voice is as necessary to artistic success as the full voice. The singer must have both, but he must never sacrifice quality for power.

In the female voice the readjustments of the mechanism known as changes of register usually occur at abouta musical fragment

In many lyric soprano voices I have found the same readjustment at the B and C above the staffa musical fragment

I have also noted in many bass voices a similar change of adjustment at the E and F below the bass clefa musical fragment

It would seem therefore, that in a majority of voices until an even scale has been developed, that these readjustments appear at about the E and F and B and C throughout the vocal compass. The exceptions to this rule are so numerous however, that it can scarcely be called a rule. Some voices will have but one noticeable readjustment, and it may be any one of the three.

In some voices the changes are all imperceptible. In others, due to wrong usage, they are abrupt breaks. In every instance the teacher must give the voice what it needs to perfect an even scale. There should be no more evidence of register changes in the vocal scale than in the piano scale.

Leaving the lower two changes for the moment, let us consider the one at the upper E and F. This one is so common among sopranos that there are few who have not one, two, or three weak tones at this point. To avoid these weak tones many are taught to carry the thicker tones of the middle register up as far as they can force them in order to get the “big tone” which seems to be the sole aim of much modern voice teaching. The victims of this manner of teaching never use the real head voice, and one thing happens to them all. As time goes on the upper voice grows more and more difficult, the high tones disappear one by one, and at the time when they should be doing their best singing they find themselves vocal wrecks. Some of them change from soprano to alto and end by that route.

Now these are not instances that appear at long intervals. They are in constant evidence and the number is surprisingly large. The cause is ignorance of how to treat the upper voice, together with an insane desire for a “big tone” and a lack of patience to await until it grows. The incredible thing is that there is a teacher living whose ear will tolerate such a thing.

Now there is a way to develop the head voice that gives the singer not only the full power of his upper voice, but makes it free, flexible and vibrant, a sympathetic quality, a perfectmessa di voce, and enables him to sing indefinitely without tiring his voice. He must learn that it is possible to produce a full tone with a light mechanism. This is the natural way of producing the head voice. Further, the light mechanism must be carried far below the point where the so called change of register occurs.

Every voice should have a head register, and it may be developed in the following way. With altos and sopranos I start with this exercisea musical fragment

Altos should begin at A.

The student should neither feel nor hear the tone in the throat. Therefore he should begin with a softoo. The throat should be free, lips relaxed but slightly forward. There should be no puckering of the lips foroo. The tone should seem to form itself around the lips, not in the throat. In the beginning the exercise must be practiced softly. No attempt must be made to increase the power, until the tone is well established in the light mechanism. When theoocan be sung softly and without resistance as high as E flat use the same exercise witho.

The next step is to blend this light mechanism with the heavier mechanism. It may be done in this way,a musical fragment

Sing this descending scale with a crescendo, always beginning itpp. It should be practiced very slowly at first, and with portamento. Carrying the head voice down over the middle and the middle down over the lower will in a short time blend all parts of the voice, and lay the foundation of an even scale. The exercise should be transposed upward by half steps as the voice becomes more free until it reaches F or F sharp.

The next step is the building process. Use the following:a musical fragment

Altos should begin at A. In practicing these swells great care must be taken. Tone quality is the first consideration, and the tone must be pressed no further than is possible while retaining the pure singing quality. Where voices have been forced and are accustomed to sing nothing but thick tones this building process is sometimes slow. The student finds an almost irresistible tendency to increase the resistance as he increases the power of the tone. Therefore the louder he sings the worse it sounds. This kind of practice will never solve the problem. When the student is able to swell the tone to full power without increasing the resistance the problem is solved.

The progress of the student in this, as in everything in voice training, depends uponthe ear of the teacher. The untrained ear of the student is an unreliable guide. The sensitive ear of the teacher must at all times be his guide. The belief that every one knows a good tone when he hears it has no foundation in fact. If the student’s concept of tone were perfect he would not need a teacher. He would have the teacher within himself. Every one knows what he likes, and what he likes is of necessity his standard at that particular time, but it is only the measure of his taste and may be different the next day.

All things in voice training find their court of last resort inthe ear of the teacher. All other knowledge is secondary to this. He may believe any number of things that are untrue about the voice, but if he have a thoroughly refined ear it will prevent him from doing anything wrong. His ear is his taste, his musical sense, and it is his musical sense, his musical judgment, that does the teaching.

So in building the head voice the teacher must see to it that musical quality is never sacrificed for power. A full tone is worse than useless, unless the quality is musical and this can never be accomplished until the vocal instrument is free from resistance.

Exercise No. 3 should be transposed upward by half steps, but never beyond the point at which it can be practiced comfortably.

As tension shows most in the upper part of the voice the student should have, as a part of his daily practice, exercises which release the voice as it rises. Use the following:a musical fragment

Begin with medium power and diminish toppas indicated. The upper tone must not only be sung softly, but the throat must be entirely free. There must be no sense of holding the tone.

Transpose to the top of the voice.a musical fragment

No. 5 is for the same purpose as No. 4 but in an extended form. Begin with rather full voice and diminish toppascending. Increase to full voice descending. Continue the building of the upper voice using the complete scale.

a musical fragment

Thus far in preparing the head voice we have used the vowelsooando. We may proceed to the vowelahin the following way. Using Ex. No. 6 first singowith loose but somewhat rounded lips. When this tone is well established singowith the same quality, the same focus, or placing without rounding the lips. It amounts to singingowith theahposition. When this can be done then use shortuas in the wordhum. This gives approximately the placing forahin the upper voice. When these vowels can all be sung with perfect freedom transpose upward by half steps.a musical fragment

In No. 7 when the crescendo has been made on the upper tone carry the full voice to the bottom of the scale.

a musical fragment

This is another way of blending the different parts of the voice. It should be sung portamento in both directions. When sung by a female voice it will be Middle, Head, Middle as indicated by the letters M, H, M. When sung by the male voice it will be Chest, Head, Chest as indicated by the letters C, H, C. Transpose upward by half steps.

When the foregoing exercises are well in hand the head voice may be approached from the middle and lower registers in scale form as in the following:

a musical fragmenta musical fragmenta musical fragmenta musical fragmenta musical fragment

The fact that male voices are more often throaty in the upper register then female voices calls for special comment.

The following diagram showing the relationship of the two voices will help to elucidate the matter.

a musical fragment

I have here used three octaves of the vocal compass as sufficient for the illustration. Remembering that the male voice is an octave lower than the female voice we shall see that the female voice is a continuation, as it were, of the male voice; the lower part of the female compass overlapping the upper part of the male compass, the two having approximately an octave G to G in common. Further it will be seen that both male and female voices do about the same thing at the same absolute pitches. At about E flat or E above middle C the alto or soprano passes from the chest to the middle register. It is at the same absolute pitches that the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. There is every reason to believethat the change in the mechanism is the same as that which occurs in the female voice at the same pitches. That there is oftentimes a noticeable readjustment of the mechanism in uncultivated voices at these pitches no observing teacher will deny, and these are the voices which are of special interest to the teacher, and the ones for which books are made. It will be observed that this change in the male voice takes place in the upper part of his compass instead of in the lower, as in the female voice. This change which is above the compass of the speaking voice of the tenor or baritone, adds greatly to its difficulty. For this reason the training of the male head voice requires more care and clearer judgment than anything else in voice training.

In treating this part of the female voice we have learned that if the heavy, or chest voice, is carried up to G or A above middle C it weakens the tones of the middle register until they finally become useless. Then the chest tones become more difficult and disappear one by one and the voice has no further value. Identically the same thing happens to the tenor who, by reason of sufficient physical strength forces his chest voice up to G, A, or B flat. He may be able to continue this for awhile, sometimes for a few years, but gradually his upper tones become more difficult and finally impossible and another vocal wreck is added to the list.

In restoring the female voice that has carried the chest voice too high it is necessary to carry the middle register down, sometimes as low as middle C until it has regained its power. The tenor or baritone must do essentially the same thing. He must carry the head voice, which is a lighter mechanism than the chest voice, down as low as this ca musical fragmentusing what is often called mixed voice. When the pitchesa musical fragmentare practiced with a sufficiently relaxedthroat the tone runs naturally into the head resonator with a feeling almost the equivalent of that of a nasal tone, but this tone will be in no sense nasal. It will be head voice.

THE FALSETTODoes the falsetto have any part in the development of the head voice? This inoffensive thing is still the subject of a considerable amount of more of less inflammatory debate both as to what it is and what it does. Without delay let me assure every one that it is perfectly harmless. There is no other one thing involved in singing, immediate or remote, from which the element of harm is so completely eliminated. It is held by some that it is produced by the false vocal chords. This position is untenable for the reason that I have known many singers who could go from the falsetto to a full ringing tone and return with no perceptible break. Now since it will hardly be argued that a ringing, resonant tone could be produced by the false vocal cords, it is evident that the singer must change from the false to the true vocal cords somewhere in the process—a thing which is unthinkable.It is held by others that the falsetto is a relic of the boy’s voice, which has deteriorated from lack of use. This seems not unreasonable, and a considerable amount of evidence is offered in support of it. We may safely assume however that it is produced by the true vocal cords and the lightest register in the male voice. What is its use? Unless its quality can be changed it has little or no musical value. There are some teachers who claim that the falsetto mechanism is the correct one for the tenor voice and should be used throughout the entire compass. I am not prepared to subscribe to this. There are others who believe that the falsetto should be developed,resonated, so that it loses its flute quality, and blended with the head voice. This seems in the light of my experience to be reasonable. When this can be done it gives the singer the most perfect mechanism known. But it cannot always be done. The voice is individual, and the entire sum of individual experience leaves its impression on it. I have found many voices where the falsetto was so completely detached from the head voice that it would be a waste of time to attempt to blend them.But there is one place in voice training where the practice of the falsetto has a distinct value. I have seen many tenors and baritones who forced the heavy chest voice up until they developed an automatic clutch, and could sing the upper tones only with extreme effort. To allow them to continue in that way would never solve their problem. In such a condition half voice is impossible. It must be one thing or the other, either the thick chest voice or falsetto. The falsetto they can produce without effort, and herein lies its value. They become accustomed to hearing their high tones without the association of effort, and after a time the real head voice appears. The thing which prevented the head voice from appearing in the beginning was extreme resistance, and as soon as the resistance disappeared the head voice made its appearance. This was accomplished by the practice of the very light register known as falsetto. When the head voice appears the use of the falsetto may be discontinued.The thing expected of the teacher is results and he should not be afraid to use anything that will contribute to that end.It is in the upper part of the voice that mistakes are most likely to be made and ninety nine per cent of the mistakes is forcing the voice, that is, singing with too much resistance. So long as the resistance continues a good full tone is impossible. The plan outlined above for eliminating resistance has beentested with many hundreds of voices and has never failed. The idea held by some that such practice can never produce a large tone shows a complete misunderstanding of the whole matter. That it produces the full power of the voice without sacrificing its musical quality is being proved constantly.Every day we hear the story of voices ruined by forcing high tones. Who is responsible? Each one must answer for himself. With the hope of diminishing it in some degree, this outline is offered.

Does the falsetto have any part in the development of the head voice? This inoffensive thing is still the subject of a considerable amount of more of less inflammatory debate both as to what it is and what it does. Without delay let me assure every one that it is perfectly harmless. There is no other one thing involved in singing, immediate or remote, from which the element of harm is so completely eliminated. It is held by some that it is produced by the false vocal chords. This position is untenable for the reason that I have known many singers who could go from the falsetto to a full ringing tone and return with no perceptible break. Now since it will hardly be argued that a ringing, resonant tone could be produced by the false vocal cords, it is evident that the singer must change from the false to the true vocal cords somewhere in the process—a thing which is unthinkable.

It is held by others that the falsetto is a relic of the boy’s voice, which has deteriorated from lack of use. This seems not unreasonable, and a considerable amount of evidence is offered in support of it. We may safely assume however that it is produced by the true vocal cords and the lightest register in the male voice. What is its use? Unless its quality can be changed it has little or no musical value. There are some teachers who claim that the falsetto mechanism is the correct one for the tenor voice and should be used throughout the entire compass. I am not prepared to subscribe to this. There are others who believe that the falsetto should be developed,resonated, so that it loses its flute quality, and blended with the head voice. This seems in the light of my experience to be reasonable. When this can be done it gives the singer the most perfect mechanism known. But it cannot always be done. The voice is individual, and the entire sum of individual experience leaves its impression on it. I have found many voices where the falsetto was so completely detached from the head voice that it would be a waste of time to attempt to blend them.

But there is one place in voice training where the practice of the falsetto has a distinct value. I have seen many tenors and baritones who forced the heavy chest voice up until they developed an automatic clutch, and could sing the upper tones only with extreme effort. To allow them to continue in that way would never solve their problem. In such a condition half voice is impossible. It must be one thing or the other, either the thick chest voice or falsetto. The falsetto they can produce without effort, and herein lies its value. They become accustomed to hearing their high tones without the association of effort, and after a time the real head voice appears. The thing which prevented the head voice from appearing in the beginning was extreme resistance, and as soon as the resistance disappeared the head voice made its appearance. This was accomplished by the practice of the very light register known as falsetto. When the head voice appears the use of the falsetto may be discontinued.

The thing expected of the teacher is results and he should not be afraid to use anything that will contribute to that end.

It is in the upper part of the voice that mistakes are most likely to be made and ninety nine per cent of the mistakes is forcing the voice, that is, singing with too much resistance. So long as the resistance continues a good full tone is impossible. The plan outlined above for eliminating resistance has beentested with many hundreds of voices and has never failed. The idea held by some that such practice can never produce a large tone shows a complete misunderstanding of the whole matter. That it produces the full power of the voice without sacrificing its musical quality is being proved constantly.

Every day we hear the story of voices ruined by forcing high tones. Who is responsible? Each one must answer for himself. With the hope of diminishing it in some degree, this outline is offered.

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