How to Sing - Lilli Lehmann (good books to read for teens txt) 📗

title="[Pg 238]"> the lips it must be diffused outside, before it can come to the consciousness of the listener as well as to that of the singer himself. So practise singing slowly and hearing slowly.

SECTION XXXII THE GREAT SCALE

This is the most necessary exercise for all kinds of voices. It was taught to my mother; she taught it to all her pupils and to us. But I am probably the only one of them all who practises it faithfully! I do not trust the others. As a pupil one must practise it twice a day, as a professional singer at least once.

 

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The breath must be well prepared, the expiration still better, for the duration of these five and four long tones is greater than would be supposed. The first tone must be attacked not too piano, and sung only so strongly as is necessary to reach the next one easily without further crescendo, while the propagation form for the next tone is produced, and the breath wisely husbanded till the end of the phrase.

The first of each of the phrases ends nasally in the middle range, the second toward the forehead and the cavities of the head. The lowest tone must already be prepared to favor the resonance of the head cavities, by thinking of ā, consequently placing the larynx high and maintaining the resonating organs in a very supple and elastic state. In the middle range, ah is mingled particularly with oo, that the nose may be reached; further, the auxiliary vowel e is added to it, which guides the tone to the head cavities. In descending the attack must be more concentrated, as the tone is slowly directed toward the nose on oo or o, to the end of the figure.

When oo, a, and e are auxiliary vowels, they need not be plainly pronounced. (They form an exception in the diphthongs, "Trauuum," "Leiiid," "Lauuune," "Feuyer," etc.) As auxiliary vowels they are only means to an end, a bridge, a connection from one thing to another. They can be taken anywhere with any other sound; and thence it may be seen how elastic the organs can be when they are skilfully managed.

The chief object of the great scale is to secure the pliant, sustained use of the breath, precision in the preparation of the propagation form, the proper mixture of the vowels which aid in placing the organs in the right position for the tone, to be changed for every different tone, although imperceptibly; further, the intelligent use of the resonance of the palate and head cavities, especially the latter, whose tones, soaring above everything else, form the connection with the nasal quality for the whole scale.

The scale must be practised without too strenuous exertion, but not without power, gradually extending over the entire compass of the voice; and that is, if it is to be perfect, over a compass of two octaves. These two octaves will have been covered, when, advancing the starting-point by semitones, the scale has been carried up through an entire octave. So much every voice can finally accomplish, even if the high notes must be very feeble.

The great scale, properly elaborated in practice, accomplishes wonders: it equalizes the voice, makes it flexible and noble, gives strength to all weak places, operates to repair all faults and breaks that exist, and controls the voice to the very heart. Nothing escapes it.

By it ability as well as inability is brought to light—something that is extremely unpleasant to those without ability. In my opinion it is the ideal exercise, but the most difficult one I know. By devoting forty minutes to it every day, a consciousness of certainty and strength will be gained that ten hours a day of any other exercise cannot give.

This should be the chief test in all conservatories. If I were at the head of one, the pupils should be allowed for the first three years to sing at the examinations only difficult exercises, like this great scale, before they should be allowed to think of singing a song or an aria, which I regard only as cloaks for incompetency.

For teaching me this scale—this guardian angel of the voice—I cannot be thankful enough to my mother. In earlier years I used to like to express myself freely about it. There was a time when I imagined that it strained me. My mother often ended her warnings at my neglect of it with the words, "You will be very sorry for it!" And I was very sorry for it. At one time, when I was about to be subjected to great exertions, and did not practise it every day, but thought it was enough to sing coloratura fireworks, I soon became aware that my transition tones would no longer endure the strain, began easily to waver, or threatened even to become too flat. The realization of it was terrible! It cost me many, many years of the hardest and most careful study; and it finally brought me to realize the necessity of exercising the vocal organs continually, and in the proper way, if I wished always to be able to rely on them.

Practice, and especially the practice of the great, slow scale, is the only cure for all injuries, and at the same time the most excellent means of fortification against all over-exertion. I sing it every day, often twice, even if I have to sing one of the greatest rôles in the evening. I can rely absolutely on its assistance.

If I had imparted nothing else to my pupils but the ability to sing this one great exercise well, they would possess a capital fund of knowledge which must infallibly bring them a rich return on their voices. I often take fifty minutes to go through it only once, for I let no tone pass that is lacking in any degree in pitch, power, and duration, or in a single vibration of the propagation form.

SECTION XXXIII VELOCITY

Singers, male and female, who are lacking velocity and the power of trilling, seem to me like horses without tails. Both of these things belong to the art of song, and are inseparable from it. It is a matter of indifference whether the singer has to use them or not; he must be able to. The teacher who neither teaches nor can teach them to his pupils is a bad teacher; the pupil who, notwithstanding the urgent warnings of his teacher, neglects the exercises that can help him to acquire them, and fails to perfect himself in them, is a bungler. There is no excuse for it but lack of talent, or laziness; and neither has any place in the higher walks of art.

To give the voice velocity, practise first slowly, then faster and faster, figures of five, six, seven, and eight notes, etc., upward and downward.

If one has well mastered the great, slow scale, with the nasal connection, skill in singing rapid passages will be developed quite of itself, because they both rest on the same foundation, and without the preliminary practice can never be understood.

Put the palate into the nasal position, the larynx upon œ; attack the lowest tone of the figure with the thought of the highest; force the breath, as it streams very vigorously forth from the larynx, toward the nose, but allow the head current entire freedom, without entirely doing away with the nasal quality; and then run up the scale with great firmness.

In descending, keep the form of the highest tone, even if there should be eight to twelve tones in the passage, so that the scale slides down, not a pair of stairs, but a smooth track, the highest tone affording, as it were, a guarantee that on the way there shall be no impediment or sudden drop. The resonance form, kept firm and tense, must adapt itself with the utmost freedom to the thought of every tone, and with it, to the breath. The pressure of the breath against the chest must not be diminished, but must be unceasing.

To me it is always as if the pitch of the highest tone were already contained in the lowest, so strongly concentrated upon the whole figure are my thoughts at the attack of a single tone. By means of ah-e-ā, larynx, tongue, and palatal position on the lowest tone are in such a position that the vibrations of breath for the highest tones are already finding admission into the head cavities, and as far as possible are in sympathetic vibration there.

The higher the vocal figures go the more breath they need, the less can the breath and the organs be pressed. The higher they are, the more breath must stream forth from the epiglottis; therefore the ā and the thought of e, which keep the passages to the head open. But because there is a limit to the scope of the movement of larynx and tongue, and they cannot rise higher and higher with a figure that often reaches to an immense height, the singer must resort to the aid of the auxiliary vowel oo, in order to lower the larynx and so make room for the breath:

 

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A run or any other figure must never sound thus:

 

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but must be nasally modified above, and tied; and because the breath must flow out unceasingly in a powerful stream from the vocal cords, an h can only be put in beneath, which makes us sure of this powerful streaming out of the breath, and helps only the branch stream of breath into the cavities of the head. Often singers hold the breath, concentrated on the nasal form, firmly on the lowest tone of a figure, and, without interrupting this nasal form, or the head tones, that is, the breath vibrating in the head cavities, finish the figure alone. When this happens the muscular contractions of the throat, tongue, and palate are very strong.

 

L'oiselet. Chopin-Viardat

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The turn, too, based on the consistent connection of the tonal figure with the nasal quality,—which is obtained by pronouncing the oo toward the nose,—and firmly held there, permits no interruption for an instant to the vowel sound.

How often have I heard the ha-ha-ha-haa, etc.,—a wretched tumbling down of different tones, instead of a smooth decoration of the cantilena. Singers generally disregard it, because no one can do it any more, and yet even to-day it is of the greatest importance. (See Tristan und Isolde.)

The situation is quite the same in regard to the appoggiatura. In this the resonance is made nasal and the flexibility of the larynx,—which, without changing the resonance, moves quickly up and down—accomplishes the task alone. Here, too, it can almost be imagined that the thought alone is enough, for the connection of the two tones cannot be too close. But this must be practised, and done consciously.

 

Adelaide, by Beethoven

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[Transcriber's Note: Corrected "L'au-be" in original lyrics to "Lau-be"]

SECTION XXXIV TRILL

There still remains the trill, which is best practised in the beginning as follows:—

 

trills

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The breath is led very far back against the head cavities by the ā, the larynx kept as stiff as possible and placed high. Both tones are connected as closely, as heavily as possible, upward nasally, downward on the larynx, for which the y, again, is admirably suited. They must be attacked as high as possible, and very strongly. The trill exercise must be practised almost as a scream. The upper note must always be strongly accented. The