Faults to be Corrected

Faults to be Corrected

I have previously mentioned mezza voce and will now say a word on this subject, for the artistic use of the "half voice" is a very valuable adjunct in all singing. It may be defined simply as the natural voice produced softly, but with an extra strength of breath. It is this breathy quality, however—which one must be careful never to exaggerate or the tone will not carry—that gives that velvety effect to the tone that is so delightful.

Mezza voce is just a concentration of the full voice, and it requires, after all, as much breath support. A soft note which is taken with the "head voice" without being supported by a breath taken from the diaphragm is a helpless sort of thing. It does not carry and is inaudible at any distance, whereas the soft note which does possess the deep breath support is penetrating, concentrated and most expressive.

Another important point is that, with a "piano" note properly taken in the register which is proper to it, there is no danger of having to change the position of the throat and consequently the real character of the note when making a crescendo and again diminishing it. It will be the same note continuing to sound.

On the other hand, with a soft note taken in a register foreign to it, as soon as its strength is augmented the register must suddenly be changed and the result is like a Tyrolean yodel.

So remember in a mezza voce to see that the register is right and to use a double breath strength. I speak of the matter of register here for the benefit of those who must keep this constantly in mind. I myself have been blessed with what is called a naturally placed voice, and never had trouble with the mezza voce. The majority of Italian singers come to it easily.

There are a number of wrong sorts of voices which should be mentioned to be shunned—the "white" voice, the "throaty" voice, the "nasal" voice, and the "bleat." The nasal quality is the most difficult to correct. Many teachers, especially the French, make a point of placing the voice in the nasal cavity on the pretext of strengthening it, and this nasal quality, partly on account of the sound of many of the French words, is only too prevalent. The voice, however, can only be strengthened by legitimate means; otherwise it can easily be ruined. One can breathe through the nose, but never attack or sing through it.

The "white voice" (voce bianca) is a head voice without deep support and consequently without color; hence its appellation. One can learn to avoid it by practicing with the mouth closed and by taking care to breathe through the nose, which forces the respiration to descend to the abdomen.

The "throaty" voice comes from singing with the throat insufficiently opened, so that the breath does not pass easily through the nose and head cavities and, again, from not attacking the tone deeply enough.

To cure oneself of this throaty quality attack your notes from the abdomen, the mouth well open, standing in front of a mirror. The force of the respiration will keep the tongue depressed and the throat will remain free.

As for the fault of nasality, it is, as I have said, the most difficult to get rid of. Sometimes one never does lose it. The only remedy is what I have previously indicated—to attack from the abdomen, with the throat open, and carry the voice over the soft palate, for if the voice is placed in the nose it indicates that one is singing too far forward, which is against the rules of song. If the student has a tendency to sing in this way it is well to practice in vowel sounds only (ah-eh-ee-la-lay-lee, etc.) in order to be cured of this serious fault.

After all, however, those who have practiced the art of right breathing need have none of the defects mentioned above.

The "bleat" or goat voice, a particular fault of French singers, proceeds from the habit of forcing the voice, which, when it is of small volume, cannot stand the consequent fatigue of the larynx. Many singers with voices suitable only for light opera are constantly trying to branch out into big dramatic arias. Such performances are assuredly distressing to hear and are certainly disastrous for the voices concerned. It is no wonder that these people are often ill, for one cannot make such efforts without injuring the health. I realize that they often do it to please their directors and to be obliging in an emergency, but when they are down and out others will easily replace them and they are heard from no more.

To keep the voice fresh for the longest possible time one should not only never overstep his vocal "means," but should limit his output as he does the expenses of his purse.

There is only one way to cure a bleaty voice, and that is to cultivate an absolute rest; then, on taking up singing again, to use the "closed mouth" method until the time the strength of respiration shall be such that one can open his mouth and let the restored voice take its course.

A few words on practicing with closed mouth may here be appropriate. This method of study is really all that is necessary to place certain voices, but is bad for others. It all depends on the formation of the mouth and throat. For example, a singer troubled with the fault of closing the throat too much should never work with the mouth closed. When one can do it safely, however, it is a most excellent resource for preparatory exercises in respiration. Since, as I have already explained, breathing through the nose with closed mouth throws back the respiration to the abdomen, it is best to do the exercise seated in a comfortable, natural position.

Vocal work with closed mouth is also a powerful auxiliary to vocal agility. Many great artists perform their daily vocal exercises with the mouth shut, and I can personally testify to the excellency of this practice. It most certainly strengthens the breathing powers and at the same time rests the voice. But one should know how to do it properly. I know of many badly fatigued voices that have been restored to their normal condition in this way.

Singers, of all musicians, have the reputation of displaying the least regard for time. In operatic work, however, with an orchestra to follow or be followed, it is especially essential to observe a sane respect for the proper tempo. Otherwise one is liable to get into immediate trouble with the conductor. Of course I do not mean that one should sing in a mechanical way and give nothing of one's own personality. This would naturally rob the music of all charm. There are many singers who cannot or will not count the time properly. There are those who sing without method, who do not fit their breathing, which is really the regulator of vocal performance, to the right periods, and who consequently are never in time. They make all kinds of rallentandos where they are not necessary, to gain time to recover the breath that they have not taken when they should. It is not enough to give the notes their full value. The rests, above all, should be carefully observed in order to have sufficient opportunity to get a good breath and prepare for the next phrase. It is this exactitude that gives certainty to one's rendition and authority in singing—something many artists do not possess. A singer may make all the efforts he desires and still keep the time, and he must keep it.

Those who roar most loudly rarely sing in time. They give every thought to the volume of tone they are producing and do not bother themselves about anything else. The right accents in music depend very much on the exact time. Tone artists, while still making all their desired "effects" in apparent freedom of style and delivery, nevertheless do not ever lose sight of the time. Those who do are usually apt to be amateurs and are not to be imitated.