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Cornell University Library 
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 Truths of Importance to vocalists 
 
 3 1924 021 743 046 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924021743046 
 
TRUTHS 
 
 OF 
 
 IMPORTANCE 
 
 VOCALISTS 
 
 BY 
 
 EDMUND J. MTEE. 
 
 NEW YORK: 
 WM. A. POND & CO., 25 UNION SQUARE. 
 
 Chicago Music Co., 152 State St., Chicago. 
 
 Copyright, 1883, by Wm. a. Pomd b Co. 
 
Copyright. 1883. by Wm. A. Ponii & Co 
 
CONTENTS. 
 
 Page 
 
 Preface 5 
 
 Introduction 7 
 
 Chapter I. 
 
 The General Uncertainty and Indefiniteness of Voice Culture, ii 
 
 Vocal Methods 13 
 
 The Forcing Process 16 
 
 The Mechanism and Action of the Voice 17 
 
 The Registers 19 
 
 Vowel Formation, Pronunciation, Etc 23 
 
 Correct Breathing 26 
 
 Chapter II. 
 
 vocal acoustics. 
 
 The Average Condition of Voice 3' 
 
 Tone 33 
 
 Over-tones 34 
 
 Form 36 
 
 Placing 39 
 
 Touch 42 
 
 The Acoustic Properties of the Voice 44 
 
 Chapter III. 
 The Production of the Voice 51 
 
 Chapter IV. 
 
 The Male Voice 59 
 
 The Second Series of the Chest Register 61 
 
 The Female Voice ^4 
 
 The Head Register ^7 
 
J)pefg;ee. 
 
 TT is not my object, in placing this little work before the 
 reading public, to advance any new system of voice pro- 
 duction, voice development, voice building, etc. I desire 
 simply to state in a plain, straightforward manner, avoiding, 
 as far as possible, all technical terms, some truths of much 
 iinportance to all vocalists. Much has already been- written and 
 said on certain of these points, and the views entertained by 
 the different writers are almost as numerous as the works 
 themselves. Other points oi vast importance to the vocalist 
 have been almost or entirely neglected. 
 
 The subject of vocal acoustics, or of the development of the 
 acoustic properties of the voice, has, with a few exceptions, 
 been sadly neglected. This is one of the most important, if 
 not the most important point in the broad field of voice culture. 
 
 There has been but little said in reference to the second se- 
 ries of the chest register in the male and female voice, and the 
 head register in the female voice — points of great importance. 
 
 I have read or seen nothing in reference to the production 
 and development of the natural tone of the voice ; the pro- 
 duction of tone by the natural force or weight of the voice. 
 This is a matter of great surprise, when we consider the vast 
 importance of this point to all vocalists, and especially to the 
 tired, overstrained voice or throat, which has been made to 
 sing by sheer muscular force. This point is but little under- 
 stood. 
 
VI PREFACE. 
 
 The general uncertainty and indefiniteness of voice teaching 
 are remarkable in this age of progress in the arts and sciences. 
 There should be no reason why the earnest seeker after the 
 truth shall not know the truth as it is in reference to the 
 human voice. Voice teaching, in its broadest sense, the build- 
 ing, developing and toning of the voice, should be made plain 
 and definite to the mind of the pupil. Only that voice teach- 
 ing is plain, definite, comprehensible and perfectly safe, which 
 is founded upon true scientific principles. 
 
 E. J. M. 
 
 25 Union Square. 
 
IntFOcsJuetion. 
 
 \ I /HEY who know the human voice, the king of all instru- 
 ments, are but few. The general knowledge of the voice, 
 from a scientific stand-point, is far behind this enlightened 
 age in which we live. I speak of those only who profess to 
 know the voice, to know how to train it, to develop it, to use 
 it. Those who have a correct knowledge of the human voice, 
 even among this class of persons, are very few indeed. The 
 age demands something more definite, more tangible, in refer- 
 ence to the development of the voice ; something founded 
 upon scientific principles, and which cannot be gainsaid. 
 Vocal music, elocution, oratory, etc., are becoming more pop- 
 ular with the masses year after year. Witness the great num- 
 ber of voice teachers and the greater number of pupils to be 
 found everywhere. Consider the vast army of voice pupils who 
 have been and who are constantly giving their time, labor and 
 money to the training and culture of the voice ; and then 
 think how very few well trained and beautiful voices there 
 are, and you will be lost in wonder. " We are living in an age 
 which is singularly poor in fine voices, both male and female," 
 says a writer. 
 
 How few voices are equally developed, of the same beauti- 
 ful timbre throughout ! How few sing with a correct method 
 well mastered. This is so, not only of those who have been 
 trained in this country, but it is equally true of the many who 
 find their way to our shores from foreign lands. Many have 
 
Vin INTRODUCTION. 
 
 fair execution and power and yet but little or no beauty of tone, 
 and perhaps miserable pronunciation ; the lack of beauty of 
 tone and correct pronunciation is the rule, and by no means 
 the exception. It is a fact, that while there is much study, the 
 general result is not satisfactory. But few ever realize their 
 fond hopes ; but few ever gain that eminence which in imagi- 
 nation they saw before them. I speak of those only who start 
 with fair, natural ability in the way of voice, physical strength 
 and musical sense. No doubt failure in many cases is largely 
 the fault of the pupil, but in many more cases it may be attrib- 
 uted to some other source. Something must be wrong, either 
 the methods or the systems used, or the manner in which they 
 are applied is at fault. That there are excellent methods, we 
 all know; that the best methods are understood by the few, we 
 as well know. The best method, when not understood, is but 
 little better than the worst. 
 
 The many so called vocal methods which are so universally 
 taught have been long and well tested, and the result does not 
 justify any one in standing by them. The average voice 
 teacher of the present day is, from an artistic or scientific 
 stand-point, much behind the age. As a rule, he knows little 
 or nothing of the scientific production of the human voice. 
 He is satisfied to travel in the old well-worn ruts, and at once 
 opposes and cries down any one who, from a desire to know 
 the truth, strikes out in a new direction, or takes a stand upon 
 a higher plane. Witness the hue and cry against the laryngo- 
 scope by many who are sadly in need of its teachings — who are 
 wofully ignorant of many great truths which have been dis- 
 covered by its invaluable aid. It is time that those who are 
 interested in the culture of the human voice awaken to the 
 fact that the art of voice culture is behind the age ; that the old 
 
INTRODUCTION. ix 
 
 well-worn systems and methods, which have produced such 
 unsatisfactory results, must give way to something more 
 definite, more tangible, something founded upon scientific 
 principles. The age is ripe for, and demands reformation. 
 Study, research and advancement must be the order of the 
 day. The voice student thirsts for the truth. 
 
 The reader will bear in mind that I write of voice culture 
 in its broadest sense only, the building and toning of the voice, 
 the development of the action, quality and power, in fact, the 
 development of a perfect vocal technique. I have no refer- 
 ence whatever to that system of so called voice teaching which 
 but aims to teach certain written exercises and songs, an5 
 which are usually taught without any legitimate effort to de- 
 velop correct vocal form or technique. By far the greater part 
 of that which is called voice teaching is of this nature ; hence 
 the meagre and unsatisfactory results. The study and develop- 
 ment of the acoustic properties of the voice, one of the most 
 important, if not the most important point in the broad field of 
 voice culture, is at the present day, with a few exceptions, 
 most unaccountably ignored or neglected. This is something 
 remarkable when we consider that the right production of 
 every tone, and the development of the power and beauty of 
 the voice, are founded upon the correct development of the 
 acoustic properties of the voice ; this development must be 
 the result of careful, intelligent study, to be general with 
 voice students. As a rule, it is but the result of accident ; an 
 occasional singer may unconsciously find the right way, which, 
 to a great extent accounts for the few beautiful voices among 
 singers. The weakest point in the prevailing systems or 
 methods of voice culture is the almost universal neglect, or the 
 absence of any correct study or development, of the acoustic 
 
X INTRODUCTION. 
 
 properties of the voice. This is owing to a lack of appreciation 
 of the vast importance of the. study and correct development 
 of these properties, or to ignorance of how to properly develop 
 them ; or, as is no doubt often the case, to ignorance of the 
 entire subject. 
 
 A practical and most eminently satisfactory personal ex- 
 perience of the vast importance of the study and correct 
 development of the acoustic properties of the voice in the work 
 of voice development, voice culture, etc., has led the writer to 
 devote a chapter in this work to the important subject of vocal 
 acoustics. It is hoped that it may reach at least some of the 
 thinking portion of the many voice teachers, students and 
 vocalists of the day, and that good may come from it. 
 
Cl7apteF I. 
 
 The General Uncertainty and Indefiniteness of Voice Culture. — Vocal 
 Methods.— The Forcing Process.— The Mechanism and Action of the 
 Voice. — The Registers. — Vowel Formation, Pronunciation, etc. — Cor- 
 rect Breathing. 
 
 THE GENERAL UNCERTAINTY AND INDEFINITENESS OF VOICE 
 
 CULTURE. 
 
 IT has been said that not one singer in a hundred can explain 
 how he produces a tone. The careful, competent judge or 
 critic, who hears the average singer time after time, needs 
 no argument to convince him that there is much truth in the 
 above statement. 
 
 The vocalist who sings with a correct method well mastered, 
 is the rare exception. How few there are who have perfect 
 freedom of voice, whose voices are evenly developed and of 
 the same beauty of tone throughout, upon all the vowel forms 
 of the language. How few who can produce the same form and 
 quality of tone time after time, and who know beyond question 
 just how they produce the tone. Such singers are rare even 
 among professionals. With the much teaching and study of 
 the present day in view, the question naturally arises, how is 
 this to be accounted for ? In no other way can it be accounted 
 for than that the art of voice culture is, as a rule, empirical, and 
 not as it should be, scientific. 
 
 So long as voice teaching is imitative and experimental, and 
 not founded upon fixed scientific principles, so long will the 
 greater part of the vast army of voice students, who are con- 
 stantly marching on, fall short of the desired goal. Many voice 
 students have no definite knowledge as to what they are 
 
12 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 endeavoring to accomplish ; they have no doubt a vision of the 
 high plane toward which they are striving, but how they are to 
 get there is the great mystery ; nothing is made clear or defi- 
 nite to them ; it is a random work, a trust, as it were, to blind 
 chance. 
 
 Madame Seiler (author of " The Voice in Singing"), in speak- 
 ing of her own experience as a teacher, says : " I was wanting 
 in the knowledge of any sure starting point, any sound princi- 
 ple, from which to proceed to the special culture of any indi- 
 vidual voice. I sought the most celebrated teachers, but what 
 one announced to me as a rule was usually rejected by another : 
 every teacher had his own peculiar system of instruction. No 
 one could give me any definite reason therefor, and the best 
 assured me that so exact a method as I sought did not exist ; 
 that every teacher must find his own way through his own 
 experience." But Madame Seiler was not satisfied with this 
 condition of things, and resorted to scientific investigations ; 
 the result has been that through her endeavors, aided by the 
 laryngoscope and the counsel of Prof. Helmholtz, she has been 
 enabled to definitely settle disputed and important points and 
 principles in reference to the scientific production of the human 
 voice. 
 
 It appears to be the aim of many to surround the profession 
 with an air of mystery. The applicant for instruction gets 
 nothing definite, nothing tangible, but is rather led to believe 
 that there is something about the art that is beyond the ability 
 of the ordinary mind to grasp. If the teacher has a great 
 theory on the physiology of the vocal organs, he will speak of 
 the action or movement of this muscle of the throat, of that 
 cartilage, or of the combined or opposing movements of cer- 
 tain muscles in a very mysterious manner, using the most won- 
 derful technical terms possible. If he has no great theory, then 
 you must trust to him ; you could not understand if he did 
 explain. Often just what to do with or for a particular voice 
 is a great mystery, even to the teacher ; then quackery comes 
 to his aid, and the usual forms and exercises are gone through 
 
VOCAL METHODS. 1 3 
 
 with, regardless of the actual wants of the voice, trusting to 
 blind chance to accomplish the desired result. 
 
 Thus the art of voice culture is often surrounded by an air 
 of mystery, and many are led to believe that it is something 
 beyond the comprehension of the ordinary mortal. This I do 
 not hesitate to say is but the outgrowth of gross ignorance of 
 the correct production of the human voice, of its correct form, 
 action and development. 
 
 If the art of voice culture is not definite to the mind of the 
 pupil ; if the study is a series of experiments, a groping, as it 
 were, in the dark, it is so only because it is made so. If voice 
 culture is empirical, and not as it should be, based upon scien- 
 tific principles, it is so only because the manner or method in 
 which it is taught makes it so. 
 
 VOCAL METHODS. 
 
 The term method in relation to voice culture, conveys to 
 many a very different idea from that of its true meaning. A 
 
 young man said to me : "I would not study with Mr. ; 
 
 he has a method, and I do not believe in methods ;" and yet 
 what is voice teaching or voice study without a correct and 
 definite method or manner of doing things ? Many systems of 
 voice teaching which are called methods, are directly the oppo- 
 site of anything or everything which has the least resemblance 
 to method. 
 
 Many so called vocal methods are written with only a busi- 
 ness or financial success in view. The artistic or scientific side 
 of the question is ignored. Many of these methods are founded 
 upon extremely fanciful and often ridiculous theories. Many 
 are founded upon simply nothing at all ; but all are to work 
 wonders ; and, strange to say, " the more mystifying these sys- 
 tems appear to be, the greater seems to be their success." The 
 different, and often directly opposing views on important points 
 set forth by the many works on the voice are something 
 remarkable, but that which is most remarkable is their general 
 
14 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 ambiguity ; but little is definite or tangible ; but little is 
 founded upon fixed principles. 
 
 The reason, then, is apparent, why voice teaching is so often 
 uncertain and indefinite. This person and that invent their 
 wonderful methods, differing on vital points, as day differs 
 from night, and many teachers blindly adopt one or other of 
 these methods, each giving it his own peculiar interpretation. 
 
 No complete theory or method of voice culture can, with 
 any degree of success, be reduced to writing. It is simply 
 impossible to put upon paper a correct and complete method 
 for the scientific production of the voice ; for the building 
 and toning of the voice ; for the development of a perfect 
 vocal technique, without which complete success is impossible. 
 You can no more do this than you can write the differences of 
 tones, good or bad. A complete knowledge of any art cannot 
 be obtained from books alone, much less the art of voice cul- 
 ture in its broadest sense. The fine, delicate differences of the 
 shades and qualities of tones in all particulars and forms can 
 be imparted only in a direct manner to the pupil, by the com- 
 petent teacher. 
 
 The teacher who depends entirely upon written work, must, 
 to a very great extent, fall short of complete success. There 
 are certain written exercises that are used correctly by most 
 teachers, for certain purposes, when the voice is ready for 
 them, but the most important part of the work, the developing, 
 forming and toning the voice, is done by the skilful teacher 
 in the way that each particular voice requires. The correct 
 form and action of the voice, that which develops the power 
 and beauty of the voice, cannot be taught with any degree of 
 success, from written works alone. There are many excellent 
 written works, which are valuable external aids to both teacher 
 and pupil ; but the great unwritten work has grand fundamen- 
 tal laws, not within the power of man to reduce to writing. 
 
 It certainly must be a matter of great surprise to those who 
 are competent to judge, that so many vocalists sing without 
 any method. How few impress you as having mastered a cor- 
 
VOCAL METHODS. IS 
 
 rect method, which teaches the right way from the wrong in 
 all things. Either the majority of singers have not given suffi- 
 cient time and study to do justice to themselves and their 
 teachers, or they are the victims of one of the many pseudo 
 methods. 
 
 Many, with naturally good voices, sing so unevenly in render- 
 ing but a simple ballad, as to deprive the hearer of all pleasure. 
 One tone may be beautifully rounded ; it will depend upon the 
 vowel sound and the pitch; for the same reason, the next may 
 be sharp and disagreeable, or flat and veiled. Such singers 
 have no idea whatever of the correct form and action of the 
 voice — no idea of correct vowel formation. Their voices are 
 not formed to develop the harmonic beauties ; imperfect 
 intonation, articulation and faulty breathing is the rule, and 
 not the exception. These defects are evidence of a want of 
 correct study, founded upon principles which teach clearly the 
 right from the wrong in all things. 
 
 All these defects may not be heard in one and the same 
 voice, yet many voices have one or more glaring faults, which 
 considerably lower the standard of the singer. In most cases, 
 singers are ignorant of their own faults, thsir faults never hav- 
 ing been placed before them in the right way. There are 
 those who are painfully conscious of their faults, but being 
 ignorant of the proper remedy, they are unable to correct 
 them. 
 
 To sing without a correct method well mastered, is, to a 
 great extent, to fail. Every movement of the truly great 
 artist, either consciously or unconsciously, is founded upon the 
 principles of a true scientific method. 
 
 Both teacher and pupil, in order to be successful, must know 
 the value of every note in the voice. If wrong, must know it 
 is wrong, and why ; if correct, must know it, and how made ; 
 must know always how to make a tone in a certain definite 
 way, and be able always to make it that way, everything, of 
 course, being in a normal condition. 
 
 In this age of progress in the arts and sciences, there is no 
 
l6 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 good reason why the vocalist should not fully understand and 
 appreciate the mechanism of the vocal apparatus, and its cor- 
 rect or incorrect form and action in producing tone, right or 
 wrong. 
 
 But to know this is the bounden duty of every teacher, in 
 order that he may be able to make clear to the mind of the 
 pupil, beyond the shadow of a doubt, every step taken in build- 
 ing, developing and toning the voice. The pupil should never 
 be required to do anything for which a satisfactory reason can- 
 not be given. All things must be fully understood, to afford 
 the greatest possible benefit. 
 
 THE FORCING PROCESS. 
 
 One of the greatest and most prevalent evils in voice train- 
 ing, is the forcing process. The aim appears to be to acquire 
 power, or rather loudness, as quickly as possible, regardless of 
 the fact that it is accomplished only at the expense of quality 
 and durability ; not only this, but often from the overstrained 
 effort, weakness and permanent injury of the vocal organs is 
 the result. 
 
 The human voice is a wonderful, but a very delicate instru- 
 ment, and will stand but a certain amount of unnatural presr 
 sure and abuse ; this is especially so with beginners, whose 
 voices are very easily injured. Much of the voice teaching of 
 the present day is simply a process for forcing what is called 
 a big voice, as though that were the thing above all others to 
 be desired. The way this is usually done would lead one to 
 believe that quantity, and not quality, is considered. If quality 
 ,is considered, there is certainly but little done to gain it ; 
 almost everything that tends to develop the desired timbre 
 appears to be overlooked or ignored. Correct form is seldom 
 considered ; if it is, the result most assuredly proves that it is 
 not understood, and correct action is as little understood. 
 Without a knowledge of correct form and action, the voice is 
 almost sure to be forced, and beauty, durability, and genuine 
 power are out of the question. 
 
THE MECHANISM AND ACTION OF THE VOICE. 17 
 
 The forcing process entirely overcomes and destroys the 
 desired acoustic properties of the voice, the free and natural 
 action of all the vocal muscles, and the correct form and action 
 of the vibratory column of air. Thus we see by unnatural 
 forcing are overcome and destroyed the very means, and the 
 only means, whereby the power, action, and harmonic beau- 
 ties of the voice, the desired timbre, are developed. By con- 
 stantly overblowing, the voice becomes throaty, breathy, 
 coarse, heavy and unmusical. To do this subject full justice, 
 from a scientific stand-point, would require many pages. 
 
 It is a very serious matter to attempt to train a voice, espe- 
 cially a fine, promising one. If there were more careful and con- 
 scientious thought and study given to the subject on the part of 
 the profession, there surely would be fewer failures among 
 those who, in the attempt to cultivate the voice, have given 
 years of hard study and spent their last dollar. 
 
 Nature, as a rule, has endowed man with a perfect vocal 
 apparatus. This apparatus is a delicate instrument, and in 
 training must be handled with great care and skill. When 
 properly trained, and under the complete control of its master, 
 it is capable of almost unlimited work, yet the majority of 
 voices are found in an abnormal condition, which is due, 
 almost without exception, to forced and unnatural usage. There 
 can be no question that the many ills, to which the voice or 
 throat is heir, are, as a rule, due to misuse or abuse, and not so 
 much to other causes, as is often supposed. 
 
 Climatic changes, instead of inducing diseases of the throat, 
 oftener aggravate those already brought on by misuse. The 
 voice or throat which is properly trained, is sure to grow strong 
 and healthy, instead of weak and delicate. This applies to the 
 speaking as well as to the singing voice. 
 
 THE MECHANISM AND ACTION OF THE VOICE. 
 
 The mechanism of the voice is an important and lengthy 
 subject, so much so that I shall not attempt to treat it in this 
 little book, but refer the reader to such valuable works as " The 
 
1 8 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 Throat in its Relations to Singing," by Whitfield Ward, A. M., 
 M. D. ; " The Mechanism of the Human Voice," by Emil 
 Behnke, and other valuable works on the same subject. A 
 knowledge of the mechanism of the voice is of vast importance, 
 otherwise it is impossible to fully understand and appreciate 
 the correct action of the vocal apparatus. 
 
 The correct and natural action of the voice is, of all things 
 in voice training, the most important. All parts of the voice 
 producing apparatus are so closely connected and allied, that 
 the improper use or management of one part alone, is sure to 
 affect more or less the whole. Any one of the following points 
 interferes more or less with the natural action of the voice, and 
 is felt in the production of tone. 
 
 Defective breathing. 
 
 Contraction of the strong muscles of the throat. 
 
 Sluggish approximation of the vocal chords, whereby the 
 prompt formation of the glottis is prevented. 
 
 An unnatural or forced up condition of the natural divisions 
 or registers of the voice. 
 
 A lack of correct form of the pharynx and of the mouth, the 
 resonant cavity of the voice. 
 
 Any or all of the above defects prevent a free and correct 
 movement and direction of the vibratory column of air ; or 
 rather, ignorance of how to develop the correct movement 
 and direction of the vibratory column of air, or ignorance of 
 what the correct movement and direction are, superinduces 
 any or all of the above abnormal movements, as well as many 
 others. 
 
 The correct management or the mismanagement of the vibra- 
 tory column of air which passes from the vocal chords into the 
 mouth, the resonant cavity of the voice, is, beyond question, the 
 great secret of the success or of the failure of singers. This is 
 true almost without exception. But as this is directly a question 
 of the acoustics of the voice, it will come more properly under 
 that head. 
 
THE REGISTERS. 1 9 
 
 THE REGISTERS. 
 
 Many conflicting theories prevail in regard to this subject. 
 The majority of them are evidence of the fact that the registers 
 of the voice are not usually understood. Many of these theories 
 are novel and peculiar. It often strikes one that it is not the 
 truth *hich is sought for, but rather, something new, sensational 
 or mysterious. 
 
 The old theory of the registers, absolutely false, has yet many 
 believers among teachers and pupils. Those who have given 
 hard, honest study and scientific research to the subject, have 
 been amply repaid by a revelation of the truth ; the truth as it 
 exists in nature in reference to the registers, the natural" divi- 
 sions of the voice, their transitions, etc. 
 
 WHAT, THEN, ARE THE REGISTERS ? 
 
 One writer says : ^' A change in register consists in relaxing 
 one muscular combination and assuming a different one." 
 Another says : " A register consists of a series of tones pro- 
 duced by the same mechanism." Both definitions are good. 
 
 The natural divisions or registers, the changes of the voice, 
 have their origin in certain forms and actions, or certain 
 changes in the form and action of the vocal apparatus at cer- 
 tain tones of the voice. This is a fact founded upon a scientific 
 basis, and "facts are stubborn things." 
 
 The false theories have mostly had their origin in certain 
 physical sensations which have a tendency to mislead, and 
 which have no direct relation to the production of tone. Thus 
 one often feels as though certain tones were drawn from the 
 lower part of the chest, others from the upper part of the chest, 
 others again from the pharynx. Of the higher tones the sensa- 
 tion is as though they were formed in the mouth, and of those 
 still higher, as though they came from the head. These physi- 
 cal sensations have given rise to many erroneous theories in re- 
 gard to the formation of tones in the different parts of the voice, 
 but they have nothing to do whatever in a direct way with the 
 generation of sound. 
 
20 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 That there are natural divisions of the voice, none but those 
 who are wofully ignorant of the anatomy and physiology of 
 the vocal organs, and of the correct form, action and mechan- 
 ism of the voice, would dare deny. 
 
 The form and action of the vocal apparatus in one part of 
 the voice differ from that of another in producing tone ; the 
 places in the voice where the changes in the form and ac- 
 tion occur, are the natural transitions from one division or reg- 
 ister to another. A careful study of the voice by the aid of the 
 laryngoscope should convince any one that every tone is born 
 or receives its life in the larynx; that the changes in the form 
 and action of the vocal apparatus cause the difference in the 
 tones of the different registers. It is of vast importance that 
 the correct form and action of the vocal organs in all parts of 
 the voice, and the natural transitions of the registers, be fully 
 understood ; ignorance of these things is a source of more se- 
 rious trouble to the singer than all else besides. 
 
 In considering the natural divisions of the voice, for the 
 want of better names, I adopt the well known terms, chest, 
 medium and head registers. The medium is known to many 
 as the falsetto. The term falsetto, being used incorrectly, has 
 a tendency to mislead. I, therefore, substitute for it the term 
 medium. 
 
 The best authorities, who have studied the voice by the 
 invaluable aid of the laryngoscope, agree that there are three 
 registers; two of these registers being divided naturally into two 
 series each, we have five natural divisions of the human voice, 
 five different muscular combinations, as follows : The lower 
 and upper, or the first and second series of the chest register, 
 the first and second series of the medium register, and the head 
 register. 
 
 Curwin, in " The Teacher's Manual," calls the registers " Mf 
 thick, the thin and the small." Behnke, in adopting Curwin's 
 terms, claims they have a scientific basis, and says : " There 
 are, broadly speaking, three registers in the human voice, and 
 the mechanisms are plainly visible, as follows : (i.) During the 
 
WHAT, THEN, ARE THE REGISTERS? 21 
 
 lowest series of tones, the vocal ligaments vibrate in their entire 
 thickness. (2.) During the next series of tones, the vocal liga- 
 ments vibrate only with their thin inner edges. (3.) During the 
 highest series of tones, a portion of the vocal chink is firmly- 
 closed, and only a small part of the vocal ligaments 
 vibrates." Behnke, also, in considering the subdivisions, 
 divides them as follows : " Lower thick, upper thick ; lower 
 thin, upper thin ; small." 
 
 Madame Seller, in her admirable book, " The Voice in Sing- 
 ing," says : " We have found five different actions of the vocal 
 organ : 
 
 " I. The first series of tones of the chest register, in which the 
 whole glottis is moved by large, loose vibrations, and the ary- 
 tenoid cartilages with the vocal ligaments are in action. 
 
 " 2. The second series of the chest register, when the vocal 
 ligaments alone act, and are likewise moved by large, loose 
 vibrations. 
 
 " 3. The first series of the falsetto register, where again the 
 whole glottis, consisting of the arytenoid cartilages and the 
 vocal ligaments, is in action, the very fine interior edges of the 
 ligaments, however, being alone in vibrating motion. 
 
 " 4. The second series of the falsetto register, the tones of 
 which are generated by the vibrations of the edges alone of 
 the vocal ligaments. 
 
 " 5. The head register, in the same manner and by the same 
 vibrations, and with a partial closing of the vocal ligaments." 
 
 My own observations, by the aid of the laryngoscope and the ' 
 study of the form and action of the voice in all parts and in 
 every particular, have convinced me that the above divisions are 
 substantially and scientifically correct. I give below the natural 
 divisions of the voice and the natural transitions of the regis- > 
 ters, those places or tones of the voice where the form and , 
 action of one register change to those of another. Those places 
 may vary in certain voices from a half tone to a whole tone,, 
 but, as a rule, they are found to be as follows : 
 
 We begin with the chest register in the male voice, and find 
 
22 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 the lower or first series of the chest register extends from the 
 very lowest tone of any male voice to B flat, or B third line 
 tenor clef. The upper or second series from B to F or F sharp, 
 fifth line. The first series of the medium register commences 
 with F sharp, fifth line, tenor clef, and extends to E flat or E 
 above ; as the male voice seldom extends above this point, we 
 may say that, as a rule, the male voice sings in but the first and 
 second series of the chest, and the first series of the medium 
 register. 
 
 In the female voice, the first series of the chest register 
 extends from the lowest tones to C sharp, first added line below, 
 soprano clef. The second series, from C sharp to F sharp, 
 first space. The first series of the medium, from F sharp to C 
 sharp, third space ; the second series from C sharp to F or F 
 sharp, fifth line. The head register extends from F sharp, 
 upward. The only transition which occurs at exactly the same 
 place in the male and female voice, is the change from the chest 
 to the medium register. 
 
 It must be borne in mind that music is usually written for 
 the male voice an octave higher than it is sung, so that F sharp, 
 fifth lifle, tenor clef, is exactly the same tone as F sharp, first 
 space, soprano clef. The transition from the chest to the 
 medium register occurs in all voices at the same place, F or F 
 sharp. This is the most prominent transition, and is often 
 called the break in the voice. Every tone below this point is 
 made by the vibration of the vocal chords in their entire 
 breadth, the tones above by the vibration of their free inner 
 edges only. Ignorance of the correct form and action of the 
 upper chest tones, and of the natural transition from the chest 
 to the medium register, is a source of much serious trouble to 
 all voices. 
 
 " We have thus learned the natural transitions of the regis- 
 ters, i. e., those tones where a different action of the vocal 
 organs takes place. That the registers may be forced up beyond 
 their natural limits is possible, we have seen ; but observation 
 teaches us that it cannot be done without a straining of the 
 
VOWEL FORMATION, PRONUNCIATION, ETC. 2^ 
 
 organs, which may be both seen and felt, and no organ will 
 bear continued overstraining. The discovery of the natural 
 transitions of the registers has brought to light one of the 
 greatest evils of our present mode of singing, and shown, at the 
 same time, how wanting in durability are the voices of those of 
 our artists, whose aim and endeavor it is to force the registers 
 upward beyond their natural limits. In the ignorance existing 
 concerning the natural transitions of the registers, and in the 
 unnatural forcing of the voice, is found a chief cause of the 
 decline of the art of singing, and the present inability to pre- 
 serve the voice is the consequence of a method of teaching 
 unnatural, and, therefore, imposing too great strain upon the 
 voice." 
 
 Again I say, it is of vast importance that the correct form 
 and action of the vocal organs, in all parts of the voice, and the 
 natural transitions of the register, be fully understood. Each 
 and every division of the voice has its own peculiar form and 
 action, which naturally belong to it. When all these are cor- 
 rectly and fully developed, they fit, as it were, into each other 
 in such a perfect way that the voice may be sung from the low- 
 est to the highest tone without perceptible break or change. 
 In this way only is it possible to develop throughout the entire 
 voice the same timbre or beauty of tone. So long as the natu- 
 ral divisions of the voice, and the form and action of each 
 division are not understood, so long will we hear voices that 
 are strained, uneven, and anything but musical. 
 
 VOWEL FORMATION, PRONUNCIATION, ETC. 
 
 Correct vowel formation, articulation, pronunciation, etc., 
 are almost universally neglected. It is true there is an effort , 
 made toward a certain kind of vowel study ; vowels are sun^ 
 to certain exercises, but anything like correct vowel formation, 
 based upon acoustic or scientific principles, is a thing almost; 
 unknown. There is a great lack of correct and intelligent 
 study in everything which tends to develop a good, pure pro- 
 nunciation. We often hear a song, whose beauty lies in the 
 
24 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 sentiment, sung in such a manner that scarcely a word is intelli- 
 gible. This is easily accounted for when we consider that the 
 common custom is to study and vocalize but one vowel sound, 
 and to almost entirely neglect articulation. 
 
 It is well known to scientists that the form of the waves of 
 sound determines the quality or timbre of the tone. This is 
 eminently true in the formation of every vowel sound. " The 
 conditions by which the formation of the vowels is determined 
 lie in the form of the cavity of the mouth, and of the con- 
 traction or expansion of the same in some one place or another 
 during expiration." 
 
 Every vowel sound requires a peculiar form or turning of 
 the resonant cavity of the voice, in order to give and sustain it 
 in its purity. The particular form of each vowel sound must 
 be fully understood by the singer, and so mastered that it may 
 be produced and sustained at will. This is the only way in 
 which it is possible to develop pure and correct vowel form. 
 
 Every vowel sound in the voice of the singer, who con- 
 stantly vocalizes but one form or sound, takes (unconsciously 
 to the singer) more or less the form of that sound ; hence, 
 anything like pure vowel formation, in certain parts of the 
 voice, on certain sounds, is simply impossible. To acquire a 
 perfect technique of the piano forte one must carefully 
 practice every position of a chord — and not only one and trust 
 to luck for the others ; so the mouth must be formed or tuned 
 for each vowel sound, and each sound properly vocalized. 
 
 The vowel sounds which require particular study are not 
 many in number — about eight in all, and when these are mas- 
 tered the entire language is mastered, so far as vocal form is 
 concerned. Of these, the following are the most difficult to 
 master and are least understood : 
 
 The long sound of e, as in me, thee, reed, deed, etc. ; the 
 ^short sound of e, as in met, rest, dead, death, send, strength, 
 etc. ; the short sound of i, as in sing, ring, rid, did, it, in, 
 bring, etc. ; the long sound of a, as in may, day, gale, raid, 
 pain, etc. 
 
VOWEL FORMATION, PRONUNCIATION, ETC. 25 
 
 But few are the singers, even among those who are called 
 artists, who can or who do correctly form and sustain the abdVe 
 vowel forms in all parts of the voice. When the correct form 
 and placing of these sounds are understood and mastered, 
 they are as easy, often easier, than the more open sounds. 
 
 In studying for a pure pronunciation, articulation must by 
 no means be neglected. Every consonant must be given its 
 full value. The consonants, which are the noises of the voice 
 or the speaking sounds, are made in the cavity of the mouth 
 and on the lips. The vocal or vowel sounds, which are the 
 singing sounds, are created in the larynx and augmented by 
 the resonant cavity of the voice. 
 
 In singing, it is impossible to pronounce words distinctly 
 without giving the consonants their proper value, yet the noise 
 of the consonant must never interfere with the flow and sus- 
 tained form of the vowel sound. 
 
 It is a very common and a very distressing thing to hear 
 singers lose the vowel form of the word, before they have held 
 it its full time, by a sort of half pronouncing effort, and then 
 attempt to sustain the word its full time by the pronouncing or 
 consonant sound. 
 
 The result is anything but a musical sound. So long as a 
 word is to be held, so long must the pure vowel sound, which 
 forms the word, be sustained, and just as the word is dropped 
 the consonant sound must be spoken quickly and distinctly. 
 
 Speaking and singing are the combined action of two different 
 instruments, which may also act separately. When we whisper, 
 we use but one of the instruments, the front of the mouth, the 
 lips, teeth, tongue, etc When we sing without words we use 
 the other, the vocal apparatus. When we sing with words, or 
 talk aloud, we use both. 
 
 The difference between speaking and singing lies in the 
 timbre of the vocal tones ; in singing the vowel sound is more 
 fully formed and sustained than in spealcing. The noises of 
 the voice (the ..consonant sounds) should be and are, when 
 properly managed, always the same. 
 
a6 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 By the proper study and perfect mastery of all the vowel 
 and consonant sounds, the pronunciation, enunciation, etc., of 
 the well-trained singing voice, becomes as pure, distinct and 
 telling, as that of the accomplished orator. 
 
 In the voice of the singer who has correctly developed and 
 mastered its vowel forms and consonant sounds, the English 
 language becomes as easy and as beaiUiful as any other. 
 
 CORRECT BREATHING. 
 
 Correct breathing in singing, is a subject upon which one 
 would suppose there would be no great difference of opinion, 
 so simple is it to determine the right way from the wrong, and 
 yet many and widely different opinions do exist. 
 
 ■ One teacher bases his method entirely upon what he calls 
 correct breathing. Another goes so far as to say that by cer. 
 tain breathing exercises, he can wonderfully develop the 
 voices of his pupils, without their uttering a single sound. On 
 the other hand there are those who never teach breathing exer- 
 cises at all, and ther^ are actually in existence in this enlight- 
 ened age, singing teachers who condemn breathing exercises 
 of any kind. 
 
 The correct management or control of the breath is of the 
 greatest importance. Right breathing may be considered one 
 half of the battle in voice development ; yet the fact remains 
 that right breathing in singing receives but little attention at 
 the hands of teacher or pupil ; it usually receives but a few 
 passing remarks ; it is seldom systematically and carefully 
 studied and practiced. This fact is more than confirmed by 
 the very poor and often vicious manner in which so many pub- 
 lic singers breathe. 
 
 What, then, is correct breathing ? 
 
 The best authorities, those who have given the matter care- 
 ful study and experiment, not only from a scientific, but also 
 from a practical stand.-point, agree that the deep breath, that 
 which is known as the abdominal, or diaphragmatic, is the only 
 correct singing breath. Upon this point, I can do no better 
 
CORRECT BREATHING. 27 
 
 tlian to quote Herr Emil Behnke,* whose statement I. consider 
 as clear and concise as any on the subject. 
 
 Respiration consequently consists of two acts, namely, in- 
 spiration and expiration. Inspiration may be produced in 
 three different ways. i. By pushing the chest forward and 
 flattening, the midriff, so as to compel the lungs to descend and 
 to increase in volume in order tO: fill the empty space created 
 by this movement ; 2. By extending the ribs sideways ; and 
 3, by drawing up the upper parts of the chest, namely, the 
 collar bones and the shoulder blades. In scientific works the 
 first is called diaphragmatic or abdominal, the second lateral 
 or costal, and the third clavicular or scapular breathing. As, 
 however, these terms convey no meaning to the general reader, 
 I prefer to speak of 
 
 (1.) Midriff breathing. 
 
 (2.) Rib breathing. 
 
 (3.) Collar-bone breathing. 
 
 In. taking a full deep inspiration, midriff breathing and rib 
 breathing take , place almost together, and assist each: other — 
 that is. to say, the midriff contracts and flattens, and immediate- 
 ly afterwards, the ribs extend sideways ; with this difference, 
 however, that in men, the action of the midriff takes a Jarger 
 share in the work than the ribs, while in women, on the con- 
 trary, the movement of the ribs is greater than that of the 
 midriff. 
 
 The combined forms of midriff and rib breathing are the 
 right method of inspiration, while collar-bone breathing is 
 absolutely wrong, and should never be ma:de use of. The 
 reasons for this are not far to seek. The lower part of each 
 lung is large and broad, while the upper part is cone-shaped, 
 and very much smaller. It is self-evident, therefore, that by 
 downward and sideways expansion (enlarging the lower part 
 of the lungs) you will inhale a much greater quantity of air 
 than by drawing up the coUarr-bones. This consideration alone 
 
 * " The Mechanism of the Human Voice." 
 
28 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 should suffice to prove the utter falseness of collar-bone breath- 
 ing. Collar-bone breathing has also the additional disadvan- 
 tage of causing much fatigue, because all the parts surround- 
 ing the upper region of the lungs are hard and unyielding, so 
 that a great amount of resistance has to be overcome (the 
 " lutte vocale " of French authors), while the very opposite is 
 the case with the lower part of the lungs. 
 
 It may be as well to add, that what has been said so far 
 about right and wrong methods of breathing, is not by any 
 means mere theory, but that anyone can convince himself of 
 the truth of the rules laid down, by making a few experiments 
 with the spirometer, an instrument for measuring the breathing 
 power of the chest, by indicating on a dial the exact number 
 of cubic inches of air expelled from the lungs. This breathing 
 power will be found to vary according to the ivay in which the 
 inspiration has been accomplished. 
 
 I am strongly of opinion that breathing exercises, especially 
 in the case of intending public singers, should always be car- 
 ried on with a spirometer, because that instrument enables us 
 with the greatest accuracy to check results which otherwise 
 can only be guessed at. 
 
 If this suggestion were acted upon, we should certainly no 
 longer be distressed by that intolerable and never-ceasing 
 tremolo which now so frequently mars many, in other re- 
 spects, fine voices. It is a curious and at first sight unac- 
 countable circumstance, that this great fault is especially 
 noticeable among French singers. But at the Conservatoire 
 de Musique in Paris, students are deliberately taught the 
 wrong uiethod of inspiration, for, as we gather from the 
 "Methode de Chant dit Conservatoire de Musique" they are 
 told to " flatten [or draw in] the abdomen" and to " bulge out 
 the chest." Thus the mystery is at once cleared up, because 
 the tremolo rises almost invariably from a weakness of the 
 muscles of the midriff or diaphragm, to which attention has 
 already been called in these pages. This tremolo, one of the 
 greatest vices besetting modern singing, and which has hitherto 
 
CORRECT BREATHING. 29 
 
 been held by many to be incurable, may be got rid of com- 
 pletely, though, perhaps, not very quickly, by the simple remedy 
 of lung gymnastics on the right principle." 
 
 Lennox Brow,n says :* " All breath taking in singing, as in 
 speaking, and in ordinary life, should beabdominal. Inspiration 
 should commence by the action of the abdominal muscles and 
 descent of the diaphragm ; in other words, by pushing for- 
 ward the walls of the abdomen and chest. As the lungs inflate 
 with the descent of the diaphragm, the inspiration being pro- 
 longed, becomes lateral, and the ribs expand on all sides 
 equally, but the shoulder blades and collar bones still remain 
 fixed ; if respiration be further and unduly prolonged, it be- 
 comes clavicular ; but clavicular breathing is a method of res- 
 piration totally vicious and to be avoided. By it the whole 
 lower part of the chest is flattened and drawn in, instead of be- 
 coming distended; consequently the lower or larger part of the 
 lungs is not inflated. It is a method never exercised by nature 
 in a state of health, but only when, from disease, either the ab- 
 dominal or chest muscles cannot act, and it is the method least 
 eflScacious in filling, as it is the one calculated to most fatigue 
 the chest, for it compresses the vessels and nerves of the 
 throat, and this leads to engorgement and spasmodic action of 
 the muscles." 
 
 We find, then, that the deep breath is the only correct singing 
 breath, and not the ruinous manner of raising the shoulders 
 and chest, which is so common. The diaphragm, the muscles 
 of the abdomen, and the costal muscles, constitute the motive 
 power of the voice. It is by the proper use and control of the 
 motive power that we are enabled to give all those dynamic 
 effects of light and shade that are so impressive in the voices 
 of accomplished vocalists. 
 
 The singing breath should always be controlled by the motive 
 power, thus leaving the throat entirely free to attend without 
 
 * "Medical Hints on the Production and Management of the Singing 
 Voice." 
 
3«> 
 
 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 encumbrance to its grander office, the creating and forming 
 of the tone. 
 
 It is of vast importance to practice such exercises as will in- 
 crease the circumference of the respiratory chamber, develop 
 the chest and the capacity of the lungs,' in connection with the 
 careful and thorough training of the motive power ; this, as a 
 whole, resolves itself into systematic and -artistic breathing. 
 
 Deep breathing alone is by no means difficult to accomplish; 
 but to properly retain, control, economize and apply the deep 
 breath, requires careful study and practice. 
 
 One of the great evils of voice teaching is the very common 
 custom of overblowing, forcing the voice, by filling the lungs 
 to their utmost, and then singing as long and loud as possible. 
 Three fourths of those who suffer fatigue of the voice are vic- 
 tims of such ruinous efforts. Many of the most common and 
 the most serious diseased conditions of the throat are due to 
 over breathing. 
 
 The hygienic development of the lung capacity, and the 
 scientific education and application of the motive power to the 
 correct development of the voice, can and should be mastered 
 by every careful, conscientious vocalist. A course of correct 
 breathing for weak lungs is worth infinitely more than medi- 
 cine. " The hygienic development of the vocal machinery in- 
 volves exercises of the whole inner trunk of the body ; and 
 here, as elsewhere, stagnation is death, movement is life and 
 health. The effects of normal diaphragmatic development, as 
 exhibited in general improvement of health, and in the cure of 
 special disorders, are such as need no medical learning for their 
 discovery." 
 
ei2s^pten> n. 
 
 VOCAL ACOUSTICS. 
 
 The Average Condition of Voice. — Tone. — Over-tones. — Form. — Placing,^- 
 Touch.— The Acoustic Properties of the Voice. 
 
 THE AVERAGE CONDITION OF VOICE. 
 
 TT7HE average condition of voice among speakers and singers 
 i. is certainly much below the standard — much below that 
 which it ought to be or might be, were the right use of 
 the voice better understood. This condition is evidence that 
 but few speakers or singers use their voices in a free and nat- 
 ural manner. The great majority of voices are used, or rather 
 forced, to do the work demanded of them by sheer physical 
 muscular force. The result is they become throaty, breathy^ 
 unwieldy, devoid of flexibility and of all desirable musical: 
 qualities. This comes from the idea that loudness is power ; 
 from ignorance of the fact that there is a way to develop the 
 power, beauty and flexibility of the voice, other than by mere 
 muscular force ; a process of development founded upon, nat- 
 ural laws, simple and sure. 
 
 The most difficult thing to accomplish in voice training is to 
 develop the correct form and action, or movement of the 
 throat and vocal muscles in producing "tone ; to so train the 
 throat and vocal muscles as to give to the voice perfect . free- 
 dom of emission. All vocalists well know that this;training is 
 most difficult to acquire. That but few ever do acquire it is very 
 evident. All manner of ways and means are resorted to, to over- 
 come the usual closed and contracted condition of the throat, 
 the great barrier to the freedom and beauty of the voice. The 
 most common and, at the same time, the worst means which can 
 
32 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 possibly be employed, are local throat gymnastics which, in- 
 stead of helping the matter, are sure to make it worse, in fact, 
 often resulting in serious throat troubles. Many resort to just 
 such questionable'means, whereas comrrion sense should teach 
 them that it is the very thing to be avoided. In fact, there are 
 those who advertise local throat gymnastics in voice culture, 
 and many try their systems year after year ; the result is evi- 
 dent. 
 
 The great beauty of the voice lies in its perfect form and 
 action. So long as certain strong muscles of the throat con- 
 tract, they prevent a free and natural action of the larynx and 
 of the vocal muscles ; hence anything like perfect form and 
 action of the voice is impossible. 
 
 The great obstacle in the way of the success of the majority 
 of vocalists is a pinched and contracted condition of these 
 strong muscles. This abnormal condition of the throat may 
 be ascribed to various causes, but beyond question, in the 
 majority of cases, it is due to a forced and unnatural manner 
 of using the speaking* or singing voice. This cramped and 
 pinched condition of voice cannot be overcome by any system 
 of local throat gymnastics. Local throat effort ruins many fine 
 voices, and yet it is resorted to day after day, regardless of the 
 fact that the entire vocal apparatus constantly protests and 
 rebels against such unnatural and overstrained usage. 
 
 The mind is the great engineer that directs and controls every 
 movement of the voice. To whatever point we direct the 
 mind, there will the greatest effort be made. The voice 
 student, who constantly directs the mind to the action of the 
 throat, and who, by local throat effort, strives to overcome the 
 contracted condition of the strong muscles, will sooner or later 
 develop the very movement which he is so anxious to avoid 
 or correct. All movement of the strong muscles of the throat . 
 made by local effort, is just the opposite of that which is de- 
 sired. It is a very easy matter to bring them into action, but 
 it is impossible to control them. Let the voice student try as 
 he iray by any local effort to relax them and open the throat, 
 
TONE. 33 
 
 SO surely will he contract them and close it. Voices trained 
 by any system of local throat gymnastics, it matters not how 
 mild the system may be, will sooner or later become harsh, 
 throaty and muscular. Such voices are used only by the ex- 
 penditure of twice the amount of breath, and many times the 
 force necessary for the production of a full, rich, singing tone. 
 
 The mind or will power being the great engineer which 
 directs or controls every movement of the voice, the vocalist 
 should learn to direct the mind to a point beyond local throat 
 effort — should learn to forget the throat as it were, at least so 
 far as any local effort is concerned — and centre the mind con- 
 stantly upon a point beyond — upon the objective point ; that 
 point is the acoustics of the voice. 
 
 By the study and correct development of the acoustic prop- 
 erties of the voice, the following results may always be attained. 
 Relaxation of the strong muscles of the throat ; free and nat- 
 ural action of all the vocal apparatus, perfect freedom of the 
 voice and the development of that timbre or quality so desirable. 
 
 TONE. 
 
 It is well known that noise is produced by an irregular suc- 
 cession of shocks. Musical sound flows smoothly. A musical 
 sound is caused by the vibration of a body with unerring regu- 
 larity and with rapidity. 
 
 A singing tone is a musical sound caused by the pressure of 
 a column of air from the lungs upon the vocal chords, which 
 are thereby set in vibration, and which in turn cause the air, 
 which is pressing through the glottis, to vibrate. This vibratory 
 column of air passing into the pharynx and mouth, causes the 
 air in pharynx and mouth, the resonant cavity of the voice, to 
 vibrate. The vibratory waves of the resonant cavity communi- 
 cate vibration to the outer air, conveying to the ear the sensa- 
 tion of a musical sound, either good or bad, right or wrong, 
 considered as a singing tone. A sound produced by the voice 
 may be a singing tone, yet the acoustic properties may be so 
 bad as to be anything but pleasant to the ear. 
 
34 TRUTHS OF IMPORT-ANCE TO VOCALISTS. 
 
 Every tone, good or bad, possesses three peculiar properties, 
 I, Strength; 2, Pitch; 3, Timbre. 
 
 The strength or fullness of the tone depends upon the breadth 
 or amplitude of the vibrations, the waves of sound. The pitch 
 upon the number or rapidity of the vibrations, that is, the 
 greater the number of vibrations to the second the higher the 
 pitch, the less the number the lower, etc. The timbre de- 
 pends upon thp form of the vibratory waves. 
 
 In developing and cultivating the voice, that property which 
 both teacher and pupil should constantly consider and study, 
 is the timbre or the quality of the tone — that which makes the 
 voice attractive and beautiful. The skilful teacher, by the 
 proper development of the acoustic properties of the voice, 
 whereby the desired timbre is developed, can change voices 
 that are harsh and grating, or throaty and muffled, to voices of 
 beautiful timbre or quality. This is done by a careful, con- 
 scientious study of the form and action of the entire vocal ap- 
 paratus ; by a study of the correct form of the resonant cavity 
 of the voice, and of the right movement, direction and control 
 of the vibratory column of air. In this way the correct form 
 of the vibratory waves of the resonant cavity is produced and 
 maintained, and the result is the development of the harmonic 
 beauties of the voice, and the desired timbre. 
 
 OVERTONES. 
 
 As we have seen, the timbre depends upon the form of the 
 vibrations. " Every musical tone consists of its fundamental 
 and of a series of overtones, following one another in a certain 
 order, and the timbre of the tone is changed by the number 
 and strength of these overtones. A perfect musical tone 
 must be free from high dissonant overtones, and be com- 
 posed of its fundamental tone and harmonic overtones sound- 
 ing with the fundamental tone, and to such a pure tone a 
 form of vibration as round as possible corresponds. The in- 
 finite variety of the timbre of musical instruments, as well as 
 
OVERTONES. 
 
 35 
 
 of the human voice, is evident from the 'fact, that the -slight- 
 est change in the order, number and strength of the harmo- 
 nics, as well as the addition of dissonant overtones, has, an 
 influence upon the timbre." Thus, tones of the same tinlbre, 
 have the same form of vibration, and consequently the same 
 harmonic or dissonant overtones. 
 
 " Now it is not possible to sound a string as a whole :without 
 at the same time causing to a greater or less extent its sub- 
 division, that is to say, superposed upon the vibrations of the 
 whole string, we have always in a greater or less degree the 
 vibrations of its aliquot parts. The higher notes produced by 
 these latter vibrations are called the harmonics of the string. 
 So it is with other sounding bodies ; we have in all cases a 
 coexistence of vibrations. Higher tones mingle with the fun- 
 damental one, and it is their intermixture which determines 
 what we call the quality of the sound. The French call it 
 timbre, and the Germans Klangfarbe."* 
 
 The body or column of air in the resonant cavity of the 
 voice, in connection with the column of air from the larynx, 
 vibrates not only as a whole, but also in divisions and subdivi- 
 sions. The quality of the tone as a whole depends upon the 
 number, form and relation of these divisions to each other and 
 to the fundamental. 
 
 These divisions produce overtones, either harmonic or dis- 
 cordant. If the tone be so produced that the form of the 
 vibratory waves as a whole and their several divisions is the 
 same, and as round as possible, then the tones of the several 
 divisions, the overtones, will be harmonic and will greatly 
 intensify and beautify the fundamental. If the form through- 
 out is not the same and not correct, then dissonant overtones 
 will be developed, and the tone as a whole will be sharp and 
 disagreeable, or muffled and veiled. 
 
 A correct singing tone, or a tone of the desired timbre, is one 
 in which the overtones are in perfect form or tune with the 
 
 * Tyndall on Sound. 
 
36 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 fundamental. Dissonant or discordant overtones are then not 
 heard ; but the harmonics only are developed, which intensify 
 and augment the fundamental, and produce tones round and 
 mellow or clear and ringing. 
 
 The timbre of the tone, good or bad, depends upon the pre- 
 dominance of the harmonic or of the dissonant overtones. The 
 development of the harmonic or dissonant overtones depends 
 entirely upon the right or wrong form and action of the voice. 
 The right or wrong form of the resonant cavity of the voice, 
 and the correct or incorrect movement and control of the 
 vibratory column of air. These are special points of great im- 
 portancetn voice culture, 'points -which are almost entirely neg- 
 lected, ignored or misunderstood. In fact, in this way only, 
 by the study and development of the correct form and action 
 of the entire voice, is it possible to gain perfect freedom of 
 voice and beauty of tone. 
 
 Prof. Helmholtz has invented artificial aids by which the 
 overtones, their strength and relation to one another and to 
 the fundamental tone, can be distinctly heard. 
 
 The trained ear can always determine the character of the 
 overtones from the timbre of the fundamental tone. In fact, 
 the trained ear of the teacher who is accustomed to study 
 the overtones and the acoustic properties of the voice, can 
 often hear the discordant overtones sounding out abpve the 
 fundamental in untrained voices, and it is by no means a rare 
 thing to hear them in voices which have had considerable 
 training. 
 
 FORM. 
 
 When correct form is developed the resonant cavity of the 
 voice (the mouth and pharynx) is so formed or tuned that its 
 vibratory waves are of the same form as, or in tune with, those 
 produced by the vocal chords. 
 
 When the vocal apparatus is in a healthy condition, every 
 tone produced by the vocal chords will be of a definite, natu- 
 ral pitch. The resonant cavity must be formed or tuned to 
 
FORM. 37 
 
 the same pitch as the vocal chords. We have not direct con- 
 trol of the vocal chords, as we have of the mouth; hence, the 
 forming or tuning must be of the mouth. 
 
 Suppose we have tuning forks of different pitch, and small 
 globes of different sizes and shapes. We strike a fork and 
 hold it to the opening of each globe ; we find one of them aug- 
 ments the tone of the fork more than the others. We strike 
 another of different pitch and we find some other globe most 
 augments or intensifies its tone, and so on until all are tried. 
 No doubt we will find that the tone of each fork is most in- 
 creased by a different globe. Why ? Because the globe 
 which most augments or intensifies the tone of a certain fork is 
 nearest in form or tune with that fork. As the vibratory 
 waves of the globe are the same, or almost the same form as 
 those of the fork, and as the globe is a resonator, the tone is 
 greatly augmented thereby. If we now call the power of the 
 fork I, and the power of the globe 4, we have, when they are 
 added, 5. The resonant power of the globe 4 added to the 
 power of the fork i, gives us the tone of the fork augmented 
 to five times its original power. 
 
 The same is true of the voice. Every tone produced by the 
 vocal chords has a definite, natural pitch, but depends for 
 power and quality upon the form, pitch or tuning of the reso- 
 nant cavity of the voice. If the vibratory waves, or the waves 
 of sound from the Jarynx, are of one form, and those of the 
 mouth of another, then the mouth is not in form, or is not in 
 tune with the vocal chords. Then the vibiratory waves of the 
 mouth, instead of assisting the sound waves from the larynx, 
 interfere with them, and inharmonic or discordant overtones 
 are developed. The result is — the tone, which can be sung by 
 muscular effort only, becomes sharp and disagreeable, or flat 
 and veiled. 
 
 If, on the other hand, the vibratory waves from the larynx 
 and those of the mouth are of the same form, then the mouth 
 is in form, or is in tune, with the vocal chords. When the 
 mouth is in form or tune, then the vibratory waves of the reso- 
 
38 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 nant cavity, and those from the larynx, are sympathetic — ^are 
 in unison. Then the tone produced by the vocal chords will 
 be greatly augmented by the power of the resonant cavity of 
 the voice. In this way only h^^rmonic overtones are developed ; 
 the tone can be sung with perfect ease, and becomes full, rich 
 and mellow, or clear and ringing. 
 
 Some parts of the voice are more easily formed than others, 
 especially for certain vowel sounds. Each vowel sound re- 
 quires a peculiar form or turning of the resonant cavity of the 
 voice, in order to give it in its purity ; hence, the great import- 
 ance of the study of correct vowel formation in voice culture, 
 a study which is but little understood, and which is almost en- 
 tirely neglected. 
 
 " The formation of the vowel sounds of the human voice ex- 
 cited, long ago, philosophic inquiry. We can distinguish one 
 vowel sound from another, while assigning to both the same 
 pitch and intensity. What, then, is the quality which renders 
 distinction possible ? 
 
 " In the organ of voice the reed is formed by the vocal chords, 
 and associated with this reed is the resonant cavity of the 
 mouth, which can so alter its shape as to .resound, at will, 
 either to the fundamental tone of the vocal chords or to any of 
 their overtones. With the aid of the mouth, therefore, we 
 can mix the fundamental tone and the overtones of the voice 
 in different proportions. Different vowel sounds are due 
 to different admixtures of this kind. Striking one of this 
 series of tuning forks, and placing it before my mouth, I ad- 
 just the size of that cavity until it resounds forcibly to the 
 fork ; then, without altering in the least the shape or size of 
 my mouth, I urge air through the glottis. The vowel sound, 
 ' u ' (' 00 ' in hoop), is produced, and no other. I strike 
 another fork, and, placing it in front of the mouth, adjust the 
 cavity to resonance. Then, removing the fork and urging air 
 through the glottis, the vowel sound, 'o,' and it only, is 
 heard. I strike a third fork, adjust my mouth to it, and then 
 urge air through the larynx ; the vowel sound, ' ah !' and no 
 
PLACING. 39 
 
 Other, is heard. In all these cases the vocal chords have been 
 in the same constant condition , They have generated through- 
 out the same fundamental tone and the same overtones ; the 
 changes of sound, which you have heard, being due solely to 
 the fact that different tones, in the different cases, were re- 
 enforced by the resonance of the mouth."* 
 
 PLACING. 
 
 The form, the placing, and the touch (the action) of the 
 voice are so closely connected and allied that it is almost im- 
 possible to consider one without the others. It is simply im. , 
 possible to fully develop one of the three without developirg 
 the others. 
 
 Correct placing is directing the vibratory column of air from 
 the larynx well forward against the roof of the mouth. All 
 the rays of sound must be concentrated and focused to one 
 point, as intensely, if possible, as the rays of light are focused 
 by a lens. 
 
 When the correct movement and directions are given to the 
 rays of sound, when they are properly placed, then they are 
 instantly reflected from the roof of the mouth into the reso- 
 nant cavity of the mouth. 
 
 If the mouth is in proper form, the air in the mouth is there- 
 by caused to vibrate in the same form as, or in tune with, the 
 reflected rays, and power and beauty of tone is the result. 
 That particular point in the roof of the mouth where the rays 
 of the sound should strike, and from which they should reflect, 
 differs for different parts of the voice and for different vowel 
 forms, but in all cases it should be well forward. 
 
 When a tone is concentrated and correctly placed, the 
 sensation is distinct and definite. There is not a doubt in the 
 mind of the singer as to the placing of the tone ; he feels dis- 
 tinctly the play of the vibratory column of air against the hard 
 palate — feels his mouth, as it were, filled with tone. When 
 
 * Tyndall on Sound; 
 
40 . TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 the singer has thus learned to place the tone, and maintain the 
 placing, it is astonishing what force and pressure he can put 
 upon the tone, by the motive power, without disturbing the 
 form of the vibrations, or in the least straining the throat or 
 vocal muscles. The higher the tone the more distinctly the 
 placing can be felt. 
 
 The low tones, the very low tones, are " essentially a for- 
 ward movement " of the column of air. They must be sung 
 well forward in the opening of the mouth, and never in the 
 throat. The high tones are essentially an upward movement ; 
 the higher the tone the more intensely the rays of sound must 
 be concentrated and placed against and under the roof of the 
 mouth, but always against the hard palate. 
 
 All such vocal defects as the following, are due to a want 
 of proper placing of the voice with a correct touch : Throaty, 
 guttural, breathy tones, nasal tones, etc. The above qualities 
 of tone are caused by a contracted condition of the strong 
 muscles of the throat. The vibratory column of air strikes 
 against the soft palate,' and is reflected back into the throat, 
 or it finds its way into the nasal cavity, instead of being 
 brought forward and properly reflected from the hard palate 
 into the mouth. On the other hand, all sharp, harsh, grating, 
 thin, disagreeable tones, instead of being buried in the throat, 
 lack proper placing, because they are brought too far forward ; 
 in fact, usually sung or forced out of the mouth. In this 
 way the resonant cavity of the voice is entirely ignored, the 
 result being the dissonant elements of the voice alone are heard. 
 
 Enrico Delle Sedie, the famous . Paris teacher, with whom 
 Nilsson studied, says: "The/(7W^ of the voice depends upon 
 the manner in which the respiration is regulated. The sound 
 ought to be carried to the hard palate, because the pharynx 
 with its neighboring cavities is the real cavity of resonance for 
 the vocal instrument. Further, the strengthening or increas- 
 ing part must change dimensions according to the note emit- 
 ted, so as to accord immediately with the note and vibrate in 
 unison. Hence the necessity of studying the vowel corre- 
 
PLACING. 41 
 
 spondent to the sound. The waves of air held by this addi- 
 tional tube, and adapted to a given sound, ought to continue 
 its sympathetic vibrations as long as the sound lasts and remain 
 eonstant in its volume ; for it is evident that the current of 
 air moved by the vocal chords plays in unison with the vibra- 
 tions of the chords, in the resonating tube of which we have 
 spoken. One can observe this important point by feeling the 
 mouth as if filled by the sound, and for this one must be care- 
 ful not to force the respiration, which would spoil the timbre 
 and the equality of the tones. 
 
 " The timbre, which depends upon the different forms given the 
 pharynx and the cavity of the mouth, requires a study in detail 
 of the various configurations of this cavity. While the vocal 
 tube vibrates on all the tones of the scale, the different organs 
 and the different cavities of which we have spoken contract, ex- 
 pand and adapt themselves to the initial sound (first tone) and 
 to the ever variable number of harmonies, the sum of which 
 produces an equal number of timbres. These timbres, which 
 are but vowels, are themselves very susceptible of modifications. 
 The artist, in order to equalize and unite all the vowels to all 
 the notes, should work with each of the vowels in succession." 
 
 This is a strong plea in favor of correct form and placing, 
 and especially of separate vowel study. The correct form and 
 placing of the voice are sadly neglected. To be convinced of 
 this, one has but to listen to the average singer burying the 
 tone in the throat, and -singing it in a muscular, guttural 
 manner, or forcing it out of the mouth with a sharp, thin, dis- 
 agreeable effect. In either case the correct form of the reso- 
 nant cavity of the voice, the proper placing of the tone, and the 
 right movement and direction of the vibratory column of air- 
 are entirely wanting ; the only means whereby it is possible to 
 develop the beauties of the voice. 
 
 Nature sometimes assists singers when they do not appreciate 
 the truth or are ignorant of it. Thus a singer may naturally 
 produce a beautiful tone at a certain pitch with a particular 
 vowel sound — the very next tone may be anything but musical. 
 
42 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 By a proper study of the acoustics of the voice, all the tones of 
 the voice and all vowel sounds may be made one as beautifulas 
 another. 
 
 TOUCH. 
 
 A correct touch is the most, beautiful accomplishment of 
 the artist ; it is that which gives life and soul to the voice. It is 
 impossible to reduce to writing and make perfectly clear, to 
 the minds of those who lack a practical experience, just what 
 the touch of the voice is. It is and can be fully understood and 
 appreciated by a practical experience only. It is only as the 
 voice work advances, and the voice, ear and musical sense of 
 the pupil are gradually developed, that a correct touch is ap- 
 preciated and mastered. 
 
 Generally speaking, the touch is the form and action of the 
 entire vocal apparatus. Directly, it is the manner in which 
 the breath or the vibratory column of air from the larynx is 
 controlled ; the manner in which it is directed well forward 
 against, and reflected from the roof of the mouth. Correct 
 placing with a correct touch is to a very great extent a matter 
 of will power, and should never be attempted by muscular 
 throat effort. " Swiftly, lightly and elastically " must the vi- 
 brating column of. air be directed well forward against the roof 
 of the mouth, in such a manner that it will be instantly re- 
 flected into the resonant cavity of the mouth. 
 
 The harmonic beauties, the musical qualities of the voice, 
 are developed almost entirely by the correct form and move- 
 ment of the vibratory column of air, the touch of the voice. This 
 is the most important point in the art of voice culture, a point but 
 little understood or appreciated. 
 
 Upon the right or wrong control or management of the breath, 
 the vibratory column of air, depends the success or \h& failure 
 of the great majority of singers ; here, then, is a point which 
 requires all the attention, care and skill possible on the part of 
 the conscientious, competent teacher. A correct touch is dif- 
 ficult to acquire, and requires careful teaching, study and 
 
TOUCH. 43 
 
 practice, but it is well within the accomplishment of any one 
 of ordinary musical sense. 
 
 The great beauty of the voice, the carrying quality, that 
 which carries the softest, sweetest tone as far and distinct as 
 the most powerful — that quality for which all vocalists long, 
 and without which a voice lacks almost everything that is beau- 
 tiful and attractive, is the direct result of correct form, plac- 
 ing and touch. 
 
 Madame Seiler says, in reference to the touch, " A correct 
 touch of the voice consists in causing the air, brought into vi- 
 bration by the vocal ligaments, to rebound from immediately 
 above the front upper teeth, where it must be concentrated as 
 much as possible, rebounding thence to form in the mouth 
 continuous vibrations, which are, at the same time, communi- 
 cated to the external air. The quicker and the more easily 
 these movements take place, and the farther forward in the 
 mouth the vibrating column of air is reflected, the more beau- 
 tiful, full and telling is the tone. If the air rebounds farther 
 back in the mouth from any part of the roof of the mouth, 
 then the high inharmonic overtones are prominent, and there 
 arises either one or the other of those hollow, disagreeable 
 colorings of the timbre, which are known as throat and nasal 
 tones. 
 
 " That the voice must be brought forward in the mouth — 
 that is, that the air expired in singing should have the above 
 described direction — is now acknowledged 'as necessary, and 
 aimed at by the best teachers. 
 
 " The old Italian masters considered the touch or manage- 
 ment of the tone as one of the most important requirements in 
 the perfect cultivation of the voice. Distinctly, lightly, swiftly 
 and elastically must the column of air, rightly directed, strike 
 the forward part of the mouth, which at the same moment opens 
 widely enough to communicate without delay the quick agita- 
 tion to the air external to it. 
 
 "Only by a correct movement of this kind {Ansatz), are 
 those forms of the vibrations obtained in which all the har- 
 
44 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 monic overtones belonging to a perfect tone sound together. 
 The quicker, lighter and more distinct this movement of the 
 tone is, the more telling it is, and it may be heard quite 
 strongly, even when it is sung piano with a full chorus and 
 orchestra. 
 
 ■' The most important thing in the culture of the voice is 
 the timbre of the tones, for here it is in our power to form out 
 of a sharp, hard and disagreeable voice, a voice sweet and 
 pleasing. 
 
 "A good tone in singing is formed — 
 
 " I. By controlling and correctly dividing the air or breath 
 as it is expired ; 
 
 " 2. By a correct direction of the vibratory column of air ; 
 this is done by the right touch ; 
 
 " And 3, by a very distinct, quick and elastic touch." 
 
 THE ACOUSTIC PROPERTIES OF THE VOICE. 
 
 This subject relates directly to the properties of a resonator, 
 or of a resonant cavity, and of a sounding board. The mouth 
 and adjacent cavities are the resonator, and the roof of the 
 mouth is the sounding board of the vocal instrument. 
 
 Take a tuning fork, strike and hold it in the air, but little 
 sound is given out ; strike again and hold it before a small 
 open globe of a certain size and form, quite an increased sound 
 is heard. Now strike and hold it before the open mouth, ad- 
 just the mouth to a certain size and form, or to resonance, and 
 again we have an increased volume of sound. What does this 
 teach ? That the mouth when properly formed or tuned is a 
 resonant cavity. 
 
 Take the string of a piano, fasten one end to a hook, the 
 other to some strong point ; stretch it well and pluck with the 
 hand ; but little sound is given out ; the amount of wave mo- 
 lion generated by so thin a body is too small to be sensible at 
 any ordinary distance. Now place the string in the proper 
 place in the piano, tune and pluck it again ,• we all know the 
 
THE ACOUSTIC PROPERTIES OF THE VOICE. 45 
 
 result. Why the increased sound ? The sounding board of 
 the piano vibrates in sympathy or unison with the string and 
 communicates throughout its length and breadth vibration, to 
 the surrounding air, hence the augmented sound. The vibra- 
 tions of the string are communicated to the entire mass of the 
 sounding board, which in turn communicates vibration to the 
 air above and below it ; in this way the tone given out by the 
 string is very greatly augmented. 
 
 "The importance of employing proper sounding apparatus in 
 stringed instruments is manifest. It is not the strings of a 
 harp, or a lute, or a piano, or a violin, that throw the air into 
 sonorous vibrations. It is the large surfaces with which the 
 strings are associated, and the air inclosed by these surfaces. 
 The goodness of such instruments depends almost wholly 
 upon the quality and disposition of their sound boards." 
 
 The vocal chords of themselves, like the naked string of the 
 piano, give out but little sound ; if, however, the right move- 
 ment and direction are given to the sound waves from the 
 larynx ; if they are properly impinged against and reflected 
 from the roof of the mouth, then the roof of the mouth be- 
 comes a sounding board, aijd communicates vibration to the 
 air above and below it. We set the vocal chords into vibra- 
 tion at a certain pitch. Now, if we adjust, form or tune the 
 mouth to correspond, if we have the proper placing and a cor- 
 rect touch, then the tone, which is given birth to by the vocal 
 chords, will be very greatly augmented by the aid of the sound- 
 ing board and of the resonant cavity of the voice. 
 
 In the art, or the science, of voice culture a proper consider- 
 ation and appreciation of the acoustics of the voice are, with a 
 few exceptions, almost entirely wanting. This is certainly a 
 matter of great surprise, when we consider that the pro- 
 duction of every correct tone is based upon no less a founda- 
 tion than the science and philosophy of sound. 
 
 Lennox Brown says : " It is strange how generally unac- 
 quainted singers are with the rudimentary laws of sound af- 
 fecting the musical instrument they play — of the mere linear 
 
46 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 perspective, so to speak, of their art. It has been suggested to 
 me that it is not necessary, or even desirable, for singers, to 
 know how complex are the functions concerned in voice pro- 
 duction. With this view I cannot agree. It is no more 
 necessary for a singer to know the whole science of acoustics 
 than for an artist to know the whole science of optics, though 
 such knowledge could never be detrimental ; but it seems at 
 least rational that both should know so much as will explain 
 •why certain effects are right or wrong. 
 
 " A singer need not know the blood and nerve supply, or the 
 microscopic structure of lungs or larynx, but he should know 
 that, to produce a certain effect with ease, certain muscles 
 should be placed in action, and that the distortion of those 
 muscles leads to loss of effect and fatigue of the organ. With 
 such knowledge, on the part of both teacher and pupil, in- 
 struction in the art of singing would be infinitely more easy 
 than, it must be admitted, is now the case." 
 
 Nature sometimes assists singers to unconsciously, but cor- 
 rectly, develop the acoustic properties of the voice. A singer 
 may have naturally a well formed and healthy vocal organ, a 
 perfect ear, excellent musical sense, and a soul fitted to enjoy 
 the beautiful only. Such a one has within him the very 
 elements of a great artist, and may unconsciously find the right 
 way. That but few do succeed in this way is very evident ; 
 yet, many might succeed were the human voice better under- 
 stood, taught and used. The art of voice culture must be 
 based upon scientific principles before it can be certain and 
 sure. 
 
 In order to gain free, easy action, power and beauty of 
 voice, it is absolutely necessary to correctly develop the 
 acoustic properties of the voice — those properties which de- 
 velop the power of the sounding board, and of the resonant 
 cavity, to intensify, augment and beautify the tone given out 
 by the vocal chords. This can be done only by the study and 
 development of : 
 
THE ACOUSTIC PROPERTIES OF THE VOICE. 47 
 
 I. — Correct form. 
 2. — Correct f lacing. 
 3. — Correct touch. 
 
 4- — The proper management and control of the motive power, 
 which is simply correct breathing. 
 
 Every singer well knows that to sing with a voice or an in- 
 strument that is not in tune with, or in perfect sympathy with, 
 his own voice, is much more difificult and requires more force 
 and sustaining power than to sing alone or unsupported. On 
 the other hand, it is as well known that to sing with a voice, or 
 an instrument, that is in perfect tune or sympathy with your 
 own voice, supports you and enables you to sing with ease. 
 
 When a well trained singer sings with one whose voice is not 
 in tune or in sympathy with his own voice, then the vibra- 
 tions of the one voice interfere with those of the other, 
 and the voice of even the well trained singer is kept on the 
 key, and the flow of sound is sustained only by an extra effort. 
 On the other hand, when two voices in perfect tune or sympa- 
 thy sing together, the vibrations do not interfere ; being of the 
 same form, they mutually support, fill and sustain each other, 
 and each voice is sung and sustained by no effort other than 
 the natural support of the well trained motive power. 
 
 So it is with the individual voice within itself, only to a 
 much greater degree. When the vibrations of the resonant 
 cavity of the voice are not in form, tune or sympathy with 
 those from the larynx, then they interfere with each other, and 
 the voice is sung by muscular force only. It is true, even in 
 this way, loudness may be acquired, but all genuine power and 
 beauty of tone are wanting. 
 
 When the vibrations from the larynx and those of the 
 resonant cavity are in full sympathy, they mutually assist each 
 other, as two well tuned voices support each other, and the 
 tone is produced and sustained with perfect ease. In this way 
 it is wonderful how the power of the sounding board and of 
 the resonant cavity can increase, intensify and augment the 
 tone produced by the vocal chords. " If we now stop to reason 
 
48 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 and consider what is necessary in order to produce a strong 
 tone of good quality, we find that the tone produced by the 
 vocal chords must be of a definite pitch ; it must set the air 
 contained in the cavity above in vibration, so as to produce a 
 stationary wave of the same length as that produced by the 
 sound of the chords ; this stationary wave must remain as long 
 as the sound is emitted, so as to act as a self-sounding body, 
 whose sound is intensified by the resonant cavity of the nose. 
 From this proposition we see that the cavity of the mouth must 
 be tuned to exactly the pitch of the tone produced by the 
 vocal chords, otherwise the stationary wave cannot result, 
 and that this tuning must be repeated for every tone of the 
 scale. We further can readily imagine that any outside ele- 
 ment which mechanically interferes with the formation of the 
 stationary wave, will rob the tone of its volume and timbre or 
 quality. Such a disturbing element is an undue amount of 
 breath, or too great a force of breath — more than is necessary 
 to start the vibration of the chords. If, on the other hand, every 
 condition is fulfilled to produce a strong and sweet tone, the 
 vibrating body of air in the cavity of the mouth will exert a 
 strong influence upon the vibration of the vocal chords, keep- 
 ing them in motion with very little expenditure of breath and 
 of muscular force. This is one of the reasons why a well 
 trained voice hardly ever tires of singing."* 
 
 As we have found, a very serious fault in singing is the 
 habit, which is so prevalent, of over-blowing, pushing the voice, 
 using entirely too much breath to produce a good tone. In this 
 way the form and action of the entire vocal apparatus are dis- 
 turbed. This is owing to ignorance of the acoustic prop- 
 erties of the voice, to ignorance of the right management and 
 control of the vibrating column of air. " Every tone requires 
 for its greatest possible perfection only a certain quantity of 
 breath, which cannot be increased or diminished without in- 
 
 * Lectiire on voc^l acoustics by Carl Seller, M. D., before the National Teachers' As- 
 sociation, at BufTalo, 1880. 
 
THE ACOUSTIC PROPERTIES OF THE VOICE. 49 
 
 jury to its strength in the one case and its agreeable sound in 
 the other." 
 
 But few indeed are the singers who can execute a beautiful 
 crescendo, diminuendo or swell. As a rule, when- the tone is 
 increased, too much breath is used, the placing of the tone is 
 lost, it becomes breathy and is often pushed entirely off the 
 key. In the diminuendo the flow of the tone is not regular, 
 and it soon loses resonance and all carrying qualities. It is 
 absolutely necessary that the singer masters the form, placing 
 and motive power of the voice, and the proper movement and 
 direction of the air current before he can correctly and surely 
 execute a diminuendo, crescendo or swell. The swell, etc., is 
 often the first thing given to the pupil, whereas common sense 
 should teach any one that it ought to be almost the last, at 
 least an advanced study. 
 
 Another very common fault with singers is the abominable 
 habit of striking under the pitch and pushing or sliding the 
 voice up. I have known singers, in attempting to sing high 
 notes, to constantly slide the voice up as much as a third, a 
 fourth, or even a fifth. This is owing to mismanagement of 
 the air current, and can always be cured by the study of the 
 correct form and action, the touch of the voice. 
 
 Sound is reflected when its waves strike against any object 
 and rebound. If the vibratory column of air passing from 
 the larynx into the mouth bounds forward and strikes with a 
 quick, light, elastic touch against the roof of the mouth (the 
 sounding-board) just back of the upper front teeth, it will be 
 instantly reflected into the cavity of the mouth, and the air 
 contained in the resonant cavity of the voice will be set in 
 vibration. If the mouth is in perfect form or tune, the vibra- 
 tory waves of the mouth will be of the same form as those 
 from the vocal chords, providing just enough breath is used 
 to produce and maintain them. These conditions being ful- 
 filled, the strong muscles of the throat will always relax, and 
 will not interfere with the perfectly free and natural action of 
 all the vocal muscles. Then we will have developed the power 
 
5° 
 
 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 of the sounding board and of the resonant cavity to augment 
 and beautify the tone. Then we will have the desired acoustic 
 properties of the voice, and the best possible result in the way of a 
 perfect tone. 
 
Cl^aptep 
 
 III. 
 
 THE PRODUCTION OF THE VOICE. 
 
 "It is a matter of complaint among all persons of good taste, 
 who take an intelligent interest in art, and especially in music, 
 that fine singers are becoming more and more rare, while 
 formerly' there appears never to have been any lack of men 
 and women eminent in this art. How sad is the condition of 
 vocal music in our time ! How few artistically cultivated 
 voices there are ! The human voice is, of all instruments, the 
 most natural, the most perfect, the most intimate in its relations 
 to us. Certain it is, that to the neglect of the training and 
 building of the voice, the decline of this art is in part to 
 be traced. True it is, that a beautiful tone of voice, which 
 must be considered the foundation and first requisite of fine 
 singing, is becoming more and more rare among our singers, 
 male and female, and yet it is just as important in music as 
 in perfect form in the creation of the sculptor." 
 
 The natural production or the development and culture of the 
 voice upon scientific principles, is a thing almost unknown at the 
 present time. The art of voice culture, or the science of voice 
 production, has been and is much behind other arts and sci- 
 ences. The old, well worn ruts and methods, which many 
 have followed and have tried for years, and which have always 
 been found wanting in certain fixed principles, absolutely nec- 
 essary to success, must give way in the course of time to ag- 
 gressive and more progressive ideas. There is to-day much 
 intelligent, scientific study and research in reference to the 
 correct and natural production of the voice. Those who have 
 been and who are giving their time and attention to the scien- 
 tific study of the voice, have already received and will continue 
 
t2 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 to receive an increased reward in the way of definite and satis- 
 factory results, as the price of their labors. The age is ripe 
 for reformation, and demands fixed scientific principles in the 
 art of voice culture, and more definite results from the work of 
 those who profess to be masters of the art. 
 
 There are three important points to consider in the culture 
 of 6very voice, viz. : action, quality and power. The develop- 
 ment of genuine power, however, lies almost entirely in the 
 careful and correct study and development of the action 
 or movement and the quality or timbre of the voice. This is 
 a point of vast importance to every vocalist, a fact which is 
 not generally known or understood ; at least, if knowh, is sel- 
 dom appreciated and properly applied in voice training. If 
 the pupil develops the correct action and the desired timbre of 
 the voice, the development of genuine power becomes a very 
 easy matter, and is sure to follow. The greatest mistake of 
 teacher or pupil, is the attempt to develop power, regardless 
 and at the expense of everything else. 
 
 The human voice is a beautiful, a wonderful study, and the 
 more closely we study and investigate it, the more richly it un- 
 folds its beauties to us. A gentleman who has long been inter- 
 ested in the art of voice culture, said to me, " But you cannot 
 interest your pupils in so close and definite a study of the 
 voice as you propose ; my experience is, that the average pupil 
 will soon demand songs or something more in the way of a 
 recreation." I said, my dear sir, how greatly you are mistaken 
 in this matter; I have found it just the other way. The study 
 of voice proper is infinitely more interesting, to those who have 
 a desire to know their own voices, than are the more advanced 
 studies of the art of singing, the written work. You may say, it 
 is but the few who have more than ordinary vocal gifts or 
 talent, and, consequently, but the few who have a great desire 
 to learn. It is the part of the teacher, to create, if possible, 
 within the pupil, a desire to learn ; this must be done at the 
 very beginning, for at the very starting point in the education 
 of the voice, the work of the teacher goes far toward insuring 
 
THE PRODUCTION OF THE VOICE. 53 
 
 final success or failure. The teacher must be able to interest 
 the pupil in his own voice — not by constant flattery, not by 
 leading him to think that he has a remarkable voice, and that 
 much may be expected from it if he will but continue his les- 
 sons with him for an indefinite length of time — this is by no 
 means the way. It is a- procass, which, though it requires 
 great care and skill, is simple and sure. It has never yet failed 
 to create within the pupil of ordinary ability and musical sense 
 a desire to study and master his own voice. 
 
 The process is simply this : Make your pupil hear and 
 know his own voice, as others who are competent judges hear 
 and know it, and the work is done. Make him hear and 
 know every weakness, every defect, every wrong. The mo- 
 ment the pupil hears and understands his voice as others 
 hear it — the moment he knows all the weaknesses and defects, 
 and, the moment you have shown and convinced him that for 
 every wrong there is a possible right, that moment you have 
 created within him a desire to eliminate the wrong and master 
 the right. This is possible only with the teacher who is 
 himself a correct singer, who is able to produce not only a 
 good, pure tone, but all degrees and shades of tone, good, 
 bad or indifferent, at will. The teacher must be able to im- 
 part to the pupil, not only the effect, but also the cause. He 
 must be able to make the pupil fully understand beyond a 
 doubt, why a tone is good, why bad ; how made when good, 
 how when bad, how to always produce the good and avoid the 
 bad. The teacher and pupil together must study both sides 
 of the question, the good and the bad, the right and the 
 wrong. In fact, the pupil must be made to fully appreciate the 
 very shades and differences of tone, and the, action and control, 
 right or wrong, of the entire vocal apparatus which produces 
 tone, right or wrong. 
 
 The first evidence given by the pupil that he is learning to 
 know and understand his own voice, is the ability to correctly 
 criticise others ; the ability to point out the defects in other 
 voices — faults and defects which his untrained ear would never 
 
54 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 have heard. As the work progresses, and he learns to know 
 his own voice better and better, it will be found that he is 
 able not only to point out the defects in other voices, but that 
 he is able to correctly state the causes of those defects and to pre- 
 scribe a cure for them. It is very interesting and very profit- 
 able for voice students to carefully study and criticise other 
 voices. I teach my pupils to study and criticise other voices, 
 and have them criticise each others' voices as often as it can be 
 done with profit to all concerned. 
 
 The first thing then to do in the training of any voice, is to 
 create a desire to correct the defects of the voice — a desire for 
 a free, pure tone. Here, at the very start, is where the great- 
 est care and skill on the part of the teacher are required. No 
 argument should be necessary to combat the erroneous idea so 
 prevalent, that any teacher is good enough for the beginner. 
 
 The old Italians, who, during the last century, understood so 
 well how to train and develop the voice, had their pupils com- 
 men.ce at an early age and continue their training for a number 
 of years. They first made them sing piano (soft tones) only 
 foi two or three years, or perhaps longer, as the case might re- 
 quire. Then, as the right movement and direction of the 
 breath was acquired (correct placing with a correct touch), they 
 were made to gradually fill the tone, great care being taken at 
 all times not to use too much breath and thereby disturb the 
 form and direction of the vibratory column of air. In this 
 way, voices of wonderful beauty, power and endurance were 
 developed, but it was a work of many years. At the present 
 day, the average pupil expects to accomplish everything in a 
 very short time; hence, as a rule, the voice is forced, and when 
 it is not entirely ruined, little but loudness is the result. The- 
 principles cf the old Italian method of training the voice were 
 undoubtedly correct, especially so far as they related to the 
 right movement and direction of the breath ; but the manner 
 of proceeding was unnecessarily slow and tedious. Much 
 better, however, was the old Italian method than are the 
 "rapid transit" methods now taught, and which are called 
 
THE PRODUCTION OF THE VOICE. 55 
 
 Italian methods, for in those days, years ago, they did make 
 singers. 
 
 Every voice has a certain power or force which is the natural 
 strength or weight of the voice. This natural tone or weight is 
 produced by singing without throat or muscular effort, or with- 
 out any effort whatever to increase or diminish the tone. It 
 of course requires some time before the pupil can produce the 
 voice with just this natural strength or power, because almost 
 all, I might say all, untrained voices are in an abnormal con- 
 dition, either from the constant overpressure or from the sup- 
 pression of the voice. There is also in every voice a tone 
 which is the level tone of the voice, the natural pitch or key of 
 the voice. At this place the vocal chords approximate and 
 produce tone without any effort of the singer to increase or re- 
 lax their tension or to raise or lower the pitch. Every singer 
 has this level tone or natural pitch, when the voice is in a nor- 
 mal condition, differing, of course, in pitch in different voices. 
 When a voice which has been in an abnormal condition, as 
 voices usually are, has developed something like correct form 
 and action, and is thereby enabled to produce tone by just the 
 natural force or weight of the voice, then this particular place 
 or tone, the level tone of the voice, will become prominent ; it 
 will be the first free, pure tone, produced by the natural force 
 or weight of the voice. So free, so easy, and so j>ure y/'Al the 
 pupil then be able to produce this tone, that it will be a revela- 
 tion to him ; he will then feel that his work has not been in 
 vain, that the light is dawning upon him. If, during the time it 
 has taken to develop this natural tone, the pupil has been 
 taught to intelligently study his own voice, to constantly study 
 the form and action which have produced this tone, then he is 
 prepared to analyze and understand this, the first free, pure, 
 natural tone of his voice. This tone is the sta,rting point from 
 which to study and develop the natural production of every 
 tone of his voice, the production of tone without effort, other 
 than that of the well trained motive power. It is easy to see, 
 how in this way all local throat effort and all strain upon the 
 
S6 
 
 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 voice are removed — how a free and natural action of the larynx 
 and of all the vocal muscles must follow. 
 
 The pupil who has thus learned to use the voice is able to 
 sing for hours without fatigue or injury to the voice. The 
 opera singer who sings in this way, reserving the increased 
 or the full power of his voice for dramatic effects or for 
 climaxes, can sing the most trying opera with far better effect 
 and with much less fatigue than he who uses his voice by any 
 system of throat or muscular effort. The voice which is cor- 
 rectly produced and sung by just its natural power or weight, 
 wilLgradually but surely develop a quality or timbre which it 
 is impossible to acquire in any other way ; it will also have 
 greater power of endurance, will last longer, and will retain its 
 quality to the end, better than voices trained in any other way, 
 for there is no strain or overpressure whatever upon the vocal 
 organs. Not only all this, but the important fact remains, that 
 the voice produced in this way will gradually but surely grow 
 in. fullness axiA power j the natural force or weight of the voice 
 will increase with constant and correct use, just as the strength 
 of the gymnast increases, who raises the sixty pound weight at 
 the end of the year, with the same ease that he first raised the 
 twenty pound weight. 
 
 When the pupil has developed the natural action, when he is 
 able to produce tone by the natural force or weight, when he 
 fully understands the correct form and placing of the voice, 
 then, and then only, is the study or the practice of the cres- 
 cendo, the diminuendo, and the swell in order. No one can 
 execute a perfect crescendo, diminuendo, or swell, until he 
 can produce and sustain correct form and placing, until he has 
 perfect control of the right movement and direction of the 
 breath. When the pupil has mastered the correct form and 
 action of the voice, he is prepared to develop the full 
 power of the voice as well as the pure, sweet piano and pianis- 
 simo tones. The soft tones are then very easily and very 
 quickly developed. The development of the flexibility, power 
 and beauty of the voice is then a gradual, but sure growth. 
 
THE PRODUCTION OF THE VOICE. 57 
 
 The correct development and culture of the voice must 
 necessarily be progressive. He who attempts to do in the be- 
 ginning that which it is possible to do only after the vocal 
 organs have been strengthened and developed, and the voice 
 properly produced, must to a very great extent fall short of 
 complete success. 
 
 The voice teacher should never lose sight of the fact, that 
 each and every voice has an individuality, and that it is im-. 
 possible to correctly educate all voices in exactly the same 
 way. No written method, it matters not how correct it may 
 be, is sufficient for any voice, much less for every voice. 
 
 The production of the voice should be made as plain and 
 simple as possible. The old Italians, who in their day made 
 famous singers, educated their pupils with but a few simple 
 exercises. Every exercise should embody a fixed principle, 
 full of meaning, and productive of grand results when properly 
 and sufficiently applied to the voice. A few simple exercises, 
 embracing just the right principles, will cover and overcome 
 all the difficulties which may be met with in developing, build- 
 ing and toning the voice. Of course, all kinds and grades of 
 exercises and studies must be afterwards used to further 
 educate the voice in the way of flexibility, execution, style, 
 finish, etc. 
 
 The successful voice teacher must himself be a correct 
 singer ; must have tact or talent for imparting knowledge to 
 his pupils ; must have sufficient knowledge of vocal acoustics 
 and of the physiology of the vocal organs, to avoid teaching 
 by imitation and experiment only. The teacher who has not 
 this knowledge cannot possibly avoid teaching by imitation 
 and experiment, and therefore cannot avoid transmitting his 
 own faults to his pupils, for without this knowledge no teacher 
 can fully understand the correct production of any voice, 
 much less that of his own. 
 
 Again I say, no voice can be fully or safely developed by 
 any system of local throat gymnastics. Direct the mind, the 
 great engineer, of the voice, to a point beyond, in such a man- 
 
58 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 Tier that the strong muscles of the throat will not contract, but 
 will relax, involuntarily relax, thereby affording a free and na- 
 tural action and movement of the entire vocal apparatus. That 
 point is the acoustics of the voice, which are developed only 
 through the study and mastery of correct form, correct placing, 
 correct touch, and the motive power of the voice. 
 
ei2aptep I^^. 
 
 The male voice.— The second series of the chest register.— The female voice. — 
 The head register. 
 
 THE MALE VOICE. 
 
 Much has been written and said about the voice in a general 
 way ; but little has been written or said about the male voice 
 in particular. Little as the female voice is understood, the 
 male voice is understood less, especially the extreme high and 
 low parts of the voice. A lack of low bassos and high tenors, 
 is the usual complaint in this country. This may be attributed 
 to some extent to the physique of the singer, but it is to a 
 much greater extent due to a want of proper training and usage. 
 We by no means make the most of the material we have. 
 
 We have learned that the male voice as a rule sings in 
 but two registers, the chest and the medium. We have also 
 learned that the chest register is divided into two series, and 
 that this division takes place about B flat or B third line tenor 
 clef. The middle tones of the male voice are not difficult to 
 develop, though they are often closed and breathy in the un- 
 trained voice. It is the lowest tones of the first or lower series 
 of the chest register, which require particular attention and 
 treatment. 
 
 It is considered, by many, injurious to develop the very low 
 tones of the tenor voice ; it is claimed that the development of 
 the low tones injures the high tones — that it limits the compass 
 of the high voice. No greater mistake than this could possibly 
 be made. The low tones of the tenor voice should be devel- 
 oped until they gain perfect freedom and vibration, until all 
 br?athy and throaty quality is removed. In this way the 
 throat expands and the entire voice gains in freedom and 
 
6o TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 purity. This development must be done by the right move- 
 ment and direction of the breath, and without the least force 
 or pressure. The tones must be sung by the natural weight of 
 the voice only. The danger in developing the low tones of 
 the tenor voice lies in the usual forced or guttural manner in 
 which they are sung. This unnatural pressure affects the 
 throat and vocal muscles, and is felt more or less throughout 
 the entire voice. Unfold the throat by the proper develop- 
 ment of the middle and low tones, and the development of the 
 higher tones, where the tension is so much greater, will become 
 all the easier. I have always found that the more I can prop- 
 erly expand and extend the low tones of the tenor voice, the 
 more easily can I develop the high tones and the more can I 
 extend the compass ; but it must be done without the least force 
 or throait effort. 
 
 The correct development of the low tones of the bass or 
 baritone voice is of vast importance. How few bassos there 
 are who understand the low tones of their own voices. How 
 few there are who sing the very lowest tones, without undue 
 pressure and extra throat effort. How few there are who ap- 
 pear to know that there is a way to sing them with perfect 
 ease ; a way that will fill and develop them as no other way 
 can, and that will gradually but surely extend the compass 
 lower and lower. 
 
 The right production of the very low tones of the bass voice 
 is " essentially a forward movement " of the column of air. The 
 common custom or habit, however, is to allow each tone to 
 bury farther and farther back in the throat as the voice goes 
 down, to swallow them as it were ; thus each tone becomes 
 more muffled and indistinct, until all carrying quality, power 
 and effectiveness are lost. This backward . and downward 
 movement is just the opposite of what it should be, and is be- 
 yond doubt the reason why many strong bass voices cannot 
 sing a good low tone. As the voice sings down, the tone 
 must be placed well forward, and the lower the tone the more 
 it must be brought forward ; this must be done only through 
 
THE SECOND SERIES OF THE CHEST REGISTER. 6l 
 
 correct form and the proper movement and direction of the 
 vibratory column of air ; there must be no undue force or 
 throat pressure. When the low tones are thus managed the 
 throat will lose its usual contracted condition by the relaxation 
 of the strong muscles, and a free and natural action of all the 
 vocal muscles will follow. Then the low voice will gradually 
 but surely gain in compass, power and quality. Many bassos 
 by a forced pressure upon the windpipe, whereby the larynx 
 is pressed down and out, are enabled to produce a low tone ; 
 but it is always a disagreeable, guttural growl, and is very 
 hurtful to the entire voice. 
 
 The correct training or development of the low tones of any 
 voice is a wonderful relief from strain and throat pressure to 
 the entire voice, its influence for good is felt from the lowest 
 to the highest tone. 
 
 THE SECOND SERIES OF THE CHEST REGISTER. 
 
 The tones of this series are troublesome and dangerous 
 breakers in the way of the success of a very large majority of 
 singers. They are not generally understood, which accounts 
 for the miserable condition in which we so often find the 
 middle and high tones of the tenor, and the high tones of the 
 baritone and basso. There are fewer well trained and agree- 
 able tenor voices in proportion to numbers than of any other 
 class. This is by no means necessarily so. It need be so only 
 because the singer may not be able or willing to give his voice 
 the time and attention it may require. 
 
 The second series of the chest register requires more careful 
 teaching and study than all the remainder of the voice ; here 
 is where the great mistake in the training of the male voice is 
 almost always made. Many tenor voices are ruined in the at- 
 tempt to develop the two or three higher half tones of the 
 second series of the chest register and the first tones of the 
 medium register. 
 
 The serious trouble in the training and use of the male voice 
 is found in the upper chest tones when the action and form of 
 
62 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 those tones are not understood. Then almost invariably the 
 action and form of the lower chest tones are forced up too 
 high, or that of the medium register carried down too low. 
 The forcing up of the lower chest form and action spreads the 
 voice, and is a terrible strain upon the krynx and the entire 
 throat. Carrying the medium down too far contracts the strong 
 muscles of the throat and the voice becomes pinched, throaty 
 and veiled, but it is not so great a strain as forcing up the 
 lower chest tones. But few tenors can sing well and with ease 
 all the vowel sounds on E, F, and F sharp, fifth line, simply 
 because they do not understand the form and action of the 
 upper chest toiies. They either force the tone with the lower 
 chest form and action, and it becomes a shout, or they carry 
 down the medium, and it becomes pinched and throaty ; it will 
 depend upon the vowel sound and the approach to the tone. 
 Either case being an abnormal effort, the voice is affected more 
 or less throughout its entire compass. Thus, as a rule, we find 
 wanting in the male voice the most beautiful tones, the free, 
 bright, ringing upper chest tones. 
 
 How often we hear such remarks as the following : " His 
 voice is throaty ; he pinches his high tones ; he forces his 
 high tones until he becomes red in the face," etc., etc. How 
 true this is, especially of the tenor. How very few tenors 
 there are whose voices are evenly developed and of the same 
 freedom and beauty throughout. It is very true that the tenor 
 voice is by far the most difficult of all voices to properly train 
 and develop. It is the most difficult to understand, and when 
 fully understood, is the most difficult to master. If it is 
 difficult to master when understood, how can we expect to hear 
 good tenor singers, when, as a rule, the voice is not understood 
 by teacher or pupil ? So long as the tenor voice is sung by 
 sheer muscular force — so long as the acoustic properties of the 
 voice are ignored — so long will we hear poor tenors ; so long as 
 the proper movement and direction of the vibratory column 
 of air, and the correct form and action of the voice are not un- 
 derstood, so long will we hear poor tenors. 
 
THE SECOND SERIES OF THE CHEST REGISTER. 63 
 
 Herr Emil Behnke says : " There are still, unfortunately, 
 teachers who seek to extend the voices of their pupils by forcing 
 the registers upward, and they are very proud of these made 
 tones thus added to the voices under their care. But this kind 
 of training is radically wrong, and inevitably leads to disaster. 
 I am firmly convinced by very extensive practical experience, 
 that one great reason why we have so few tenors at the present 
 time is, that their 'upper thick ' is screwed up to an unnatural 
 extent ; while the 'lower thin,' which ought to be cultivated, 
 strengthened and united with the 'upper thick,' is totally and 
 unaccountably neglected." 
 
 It is generally considered that the high tones of the tenor 
 voice, the medium register, are the most difficult to train and 
 develop. This is by no means the case. If the upper chest 
 tones and the transition from the chest to the medium are not 
 understood, then it is impossible to fully control and master 
 the higher tones. This is the most difficult point in the tenor 
 voice. To make the pupil understand and appreciate the dif- 
 ference between the chest and the medium tones, to teach him 
 to master the transition from the one register to the other, and 
 to use this part of his voice without the usual pinched, con- 
 tracted and overstrained condition of the throat, requires great 
 care and skill on the part of the teacher. Here is where the 
 value of the teacher's own voice makes itself especially felt, if 
 it is a tenor voice. No teacher can fully understand and ap- 
 preciate this, the most difficult part of the tenor voice, who 
 himself has not had a practical experience in mastering its dif- 
 ficulties. 
 
 Many fine tenor voices are ruined just at this point by 
 teachers, who may be excellent teachers for all kinds of voices 
 except the tenor. « 
 
 When the upper chest tones and the transition from the 
 chest to the medium register are fully understood and mastered, 
 the training or development of the higher tones is by no means 
 difficult. Then the training of the medium register usually 
 becomes but a question of time and careful practice. The 
 
6.|. TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 foirm and action of the medium are not so difficult to master 
 as those of the upper chest tones. 
 
 The baritone voice is usually the easiest of all voices to 
 develop. Baritones naturally get better form and action for 
 the upper chest tones, and of course sing them more nearly 
 right, and it follows that the entire voice is freer and better 
 than any other. The basso may sing in good form until he 
 reaches the upper chest tones, then, as a rule, he will shout, or 
 more likely close and pinch the throat ; in this way the com- 
 pass is limited and the up jer tones are sung only by a forced 
 effort, painful to singer and listener. The ' baritone can force 
 the lower chest form and action a tone or two higher than the 
 basso, and the tenor yet higher than the baritone ; but the 
 forced-up tones are more like shouting than singing. 
 
 It is absolutely necessary, in order to fully and artistically 
 cultivate the male voice, to correctly train and develop the 
 upper series of the chest register, and the natural transition 
 from that to the medium. The tenor voice, more than all 
 others, feels the want of this development, because it is used so 
 much in the high chest tones and the medium register. When 
 this training and development are acquired, the voice becomes 
 perfectly even, without perceptible break or change from the 
 lowest to the highest tone. I have yet to find the first tenor 
 who had trouble with the high tones, after once mastering the up- 
 per chest tones and the transition from the chest to the medium 
 register. 
 
 THE FEMALE VOICE. 
 
 Many principles in voice training are common to both the 
 male and female voice. The study of the form and action of 
 the voice, the management and control of the air current, etc., 
 have principles in common ; yet the voices differ widely in 
 certain points and particulars, and in respect to those points, 
 etc., require very different treatment. 
 
 The male voice, as we have learned, sings, as a rule, in but 
 two registers, while the female voice sings in all the natural 
 
THE FEMALE VOICE. 65 
 
 divisions of the voice, viz., the first and second series of the 
 chest, the first and second series of the medium and the head 
 register. Two of these divisions are sources of much serious 
 trouble to the female voice — the second series of the chest 
 register, from C sharp, added line below to F sharp, first space, 
 and the head register, which extends from F sharp, fifth line, 
 upward. 
 
 When in the female voice the form and action of the second 
 series of the chest register are not understood, then, as a rule, 
 the lower series of the chest tones are forcjd up too high or 
 the medium tones are carried down too low. Carrying the 
 medium register down too low, or carrying it down so low 
 that all chest tones are entirely wanting, as many sopranos do, 
 is not a positive strain upon the voice ; but the voice becomes 
 closed, breathy, thin and small, and the quality and compass 
 are always affected. It is, however, much safer and better to 
 carry the medium tones down too far, than to force the chest 
 register beyond its natural limit, but it is impossible to do so, 
 and at the same time fully develop the voice. 
 
 When the lower chest form and action are forced up to G, 
 G sharp or even farther, as is too often the case, then the 
 forced-up tones are coarse and disagreeable, and the entire 
 voice is more or less affected by the unnatural effort and the 
 great strain. When the lower chest tones are thus forced up, 
 the beautiful tones of the second series are entirely wanting. 
 In this way it is impossible to avoid the abrupt change which 
 must take place in the transition from the chest to the medium 
 register. This is called by certain writers and teachers the 
 break in the voice. What consummate nonsense. There is 
 no necessity for a break in any voice or even a marked change. 
 If there is a break in the voice it is because the voice is used 
 in a forced and unnatural manner, because the correct form 
 and action of the voice are not understood. There have been, 
 and no doubt are, teachers who endeavor to cultivate the 
 break, or at least a marked change between the chest and me- 
 dium register. They teach their pupils to force up the chest 
 
66 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 tones, and even the lower chest tones, as far as possible ; and 
 strange to say, they are proud of the coarse, disagreeable, 
 forced-up, made tones ; they claim that by so doing they de- 
 velop the power of the voice. There is no doubt but that they 
 do develop noise, but at what a fearful cost. My experience 
 is that the voices of the victims of such unnatural, forced and 
 ruinous methods, are always much more difficult to correctly 
 develop and train, than those that have never been in the 
 hands of any teacher ; the bad habits and faults are so fixed, 
 and the vocal apparatus is often so strained, that it requires 
 great care, patience and time, to overcome the evil effects of 
 the forced and unnatural treatment. 
 
 It is well known to all teachers that as a rule the middle 
 tones, the first tones of the lower series of the medium register, 
 are the weak spot in the female voice. This weak part of the 
 voice is usually found to extend from F sharp, or G second 
 line to B, or C third space. There must be some cause for 
 this weak condition of the middle tones. The veiled and 
 feeble condition in which we so often find the middle tones 
 of the female voice, is almost without exceptipn the result of 
 an overstrain from having forced the chest register beyond its 
 natural'limit. Forcing up the chest register being a strain 
 upon the entire vocal apparatus, the reaction which is sure to 
 follow, contracts and closes the throat ; the reaction which 
 must follow the sudden break or change in passing from the 
 forced up chest, to the medium tones. The middle tones of 
 the voice, the first tones of the medium register, feel most the 
 effects of this reaction and consequent contraction, and become 
 closed, weak and feeble. It is strange that singers will persist 
 in such an unnatural and ruinous course day after day. 
 
 The upper chest tones, when understood and correctly de- 
 veloped, are the richest tones of the voice, especially the con- 
 tralto voice, and when correctly sung, there is no such thing as 
 break or change at all perceptible in the transition from the 
 chest tp the medium register. 
 
THE HEAD REGISTER. 67 
 
 THE HEAD REGISTER. 
 
 This register is often a source of much serious trouble. 
 There is not so marked a change in the transition from the 
 medium register to the head, as is usually heard in the un- 
 trained voice or the voice which is not correctly trained, in the 
 transition from the chest to the medium. The upper medium 
 and the lower head tones sound so much alike, that unless the 
 form and action of each are fully understood, it is often diffi- 
 cult to tell where the transition is made, or if made at all. The 
 change occurs or should occur at F or F sharp, fifth line. 
 When, however, these tones are fully understood, there is no 
 question in the mind of either teacher or pupil as to when the 
 transition is made or how the tone is produced. The differ- 
 ence in the form and action, and the different sensations caused 
 by the correct production of a medium and a head tone are 
 distinct and definite to both teacher and pupil. When the 
 transition is correctly made from the medium to the head 
 tones, the singer experiences a sense of relief, as the first of the 
 head tones F sharp, G, etc., are usually produced with less 
 tension and less sustained power than are the preceding E and 
 F, the highest medium tones. 
 
 There are but few who sing correctly the head tones. In 
 order to sing them well, the singer must know beyond a doubt 
 the difference between a medium and a head tone ; must know 
 how and when to make the transition ; must know and under- 
 stand the peculiar form, action and placing which are abso- 
 lutely necessary in order to produce a head tone of the right 
 quality and without strain.- The head register is capable of 
 almost unlimited expansion in many voices, and with proper 
 care and training may be gradually, but surely, extended very 
 high, without the least strain. 
 
 The serious trouble or error in training the high tones of 
 the female voice is the custom or habit, so common, of forcing 
 or pushing up the form and action of the medium register as 
 far as possible, in such a way that the head voice is npt used 
 
68 TRUTHS OF IMPORTANCE TO VOCALISTS. 
 
 at all. This, of course, is a strain upon the vocal organs, and 
 the result is, and must be, a limited compass ; whereas with 
 the proper development of the head register the voice would 
 run much higher, the high tones would have much better qual- 
 ity, and be sung with comparative ease. 
 
 When the medium form and action are forced up, and the 
 head tones are entirely discarded, the singer feels that a high 
 note is far above her, and consequently the entire vocal ap- 
 paratus is pushed up to reach the note. High tones produced 
 in this way will be buried, as it were, baOk in the throat, veiled 
 and feeble, and can be forced but a iew tones above F sharp ; 
 or they will be shrieked out without form or placing. The 
 latter way the voice can be forced a little higher, but it is im- 
 possible to sing the high tones softly and sweetly. It is this 
 unnatural use of the voice ; this forcing and pushing up of the 
 entire form and action of the voice ; this habit so prevalent of 
 entirely discarding the head tones, that to a great extent ac- 
 counts for the lack of high sopranos. All sopranos can de- 
 velop to a greater or less extent the head register. I have 
 never yet met with a contralto voice which could not by proper 
 management produce some of the head tones. I have known 
 contralto voices to expand the head register to a great height ; 
 but, as a rule, the head tones in the contralto voice are not 
 sung with the same ease and grace as those of the soprano. 
 
 The idea is very general with singers that a high note is far 
 above them ; that they'must make a special effort to reac/i it. 
 This is accounted for by the fact that but few voices have a 
 correct action ; but few singers understand the form and ac- 
 tion of the high tones ; that peculiar movement which enables 
 them to adjust the vocal organs to the pitch of any tone of the 
 voice, high or low ; that which enables them to, at once, 
 place themselves upon a level with the high tone, and to pro- 
 duce it with that movement which overcomes all undue effort 
 and strain. 
 
 The ability on the part of singers to place themselves 
 upon a level, as it were, with the high notes of their voices ; 
 
THE HEAD REGISTER. 69 
 
 that peculiar movement which enables them to produce the 
 high tones, without undue effort or strain, without pusliing or 
 reaching for them, is of vast importance to all voices, and espe- 
 cially to the tenor and high soprano. It must, however, be 
 experienced and understood, to be fully appreciated. In this 
 way, and in this way only, are the high tones sung with as pure 
 a timbre, with the same grace and ease, and with as little effort 
 and strain as are the middle and low tones. The only extra 
 effort necessary, is to increase the sustaining strength of the 
 motive power of the voice, which increased sustaining power, 
 must be correctly applied to the voice as it ascends ; thus, all extra 
 effort is placed upon the motive power alone, which leaves the 
 action of the voice as free and easy in producing the high tones 
 as the low. This movement, of such vast importance to all 
 singers — this movement or action, which enables the singer to 
 produce the high tones correctly, and with the same grace and 
 ease as the middle and low tones — is the direct result of the 
 development and mastery of a correct touch.