The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1900-02-11
YOUNG SINGERS AND YOUNG
PIANISTS SHOULD PAUSE HERE.
HENNEMANN
TO THE SINGER.


WRITTEN FpR THE SUNDAY REPURr1r.
Mr.. Alexander IIennenann. Il weI-kn7vn local singing 'e.s1'r'
who studied under the best masters aI'aad, has giy.H g. f-'
Sunday Republic = few hints on the co.la., 60: woulii" -s'
and singers who are taking vocal Instructions:
The first requirement IS absolute oL,iiel , 20 the t--''"-
lions Of tho teacher. This = the crui1m.r'al principle o; &c.!
good singing snI IS enforced b. al raoi tea hers.
pupils must study nothing bat that which Is ENra 'r r..m
By the teacher. Most pupils make the mistake %; doing e.'.'|
that which they are told NOT 20 do. II you ..-.t- th." % 90
higher than 4 certain note. they go higher n spite O. :o- IL
you tell them to avoid 4 certain vowel. they sing ;aat vy~.- It's
"Another evn which most singing teachers earoun-.~ eat
their pupils are asked at home 70 sing 1e'o's yt-''o's t''.,' :"
The voice. or the organs that form the tone. arc too deH a's
to tsmpeE With. When ay o; the muscles ~ strai'el H.
organ IS influenced Tie other muscles ~ 20 oTera'n 10 %"
and &C, in sympathy with these iacoFEo-t.y Used AID e'eiy'""f
quartz. and chorus singing mus, especially - ayo.-ei. IN
chorus and quartet sir ging each voice hs It's own part 20 s's
The range OF tones Is not large enough 70 properly uai@ a vol e
In other words, r soprano Is aI"ay5 Lsa A' We h''N -
experience II the chords 30 not move from higher .. lower tones
repeatedly. they cannot assume the different tensions i,l-iri 70
produce them. If the voice sings high notes exclusively for a
period Of time. It is difficult to siag ;As !1" tones. and d. '''-'
Only by using the voice IN the io" q g wei as the nigh tn "a
one and 'hc same composition Is this trouble 0hvi.'-l - .'
desiring 70 adopt singing as a profession sh'-: sing " 3".''
"vrry few .rganlsts and directors o: chAg have naa.s -:a.y.
en anatomical study, Q: TIE human vote Al tHeS k-." Is "'1'
they want. and they see 70 It that they ct ii at all ha-'ni5.
Tn. s.nsers must reuel. over and over exceedingly high or low
notes until the chords positively re;Ise 70 tIhe - 81 a.1'''".
tension. The evil liz this country IS that few singers learn :" ie"A
. az sight. Singing with the majority u ,hese people i merely a.
matter OF memory. parrot WORK. The phrase Is played on tie
organ or plano once = twice. and then they Az" T.i", '' 10
sing It and 80 initiate what they have heard on the H-u-m-at
| II they get f.. all well and good: # ut they are asked " -"f
3, dozens Of times. Now. al great singers AID singing ;-1'',
agree that It e much harder TO sing Id am song
dIreren, verses In succession. than It Is To % To- a. different .'"s
and then back 70 the FIRST one.
The reason tor It IS his: When 'ha chords have f't+h ''
tensions IL d song. they are, 50 TO si'ak. e"'- J. ~" song ' ''
p,4ted. the setting IS intensified. AG"r that It 8! ai.si.- 20 a-
s1ne new tensions. Singers. therefore. sh"".i 'tf" u.
/ sight and not ny ear. Il the Tas@ag" 8 tH dH'.-t ;'r ''-
10 read, :! Shout! mo-, lie pras'.eel With tile iasA' b., WI"
fingers OF" the instrument Tie IHNs.'- "' "r
the strain. whereas thu muscles ot the throat a- easily i.'
It Is no; necessary. for a singer TO lear" e phrase. i"' 1T
! should hear that phrase sung by his oHE voice I't q De raEi7
tho phrase Jy hearing It OH the instrument ""i e.~Is"H."a' H.
the muscles Of his throat VIII Amos, a.. a+'. .n4 a ,'.n5 5 .'gN tie
mo 20 "a - ,r4 e. Inns hen r-r,,u that f. -
impossible fr thr hhss'S 10 is' 1' "'
"' 81. "a -. -,ne N tone placement. u the mind does not ua-
dcrsrand. or has cot ma-t~rc!. a phrase before II Is s''-. 'a
muscles - ~. -hroa, have 100 control over Vie rlI"en"n' 81 Sire
.or.. ur.., rr,ilrs This phrase. In Europe st=ht reading. ""
! soleere. as T. is called. IL required u every singer ai ''-'fa-
men,aUs,. Even small choir positions are given ''F -
VIII, rave studied -olsaee. In the choir " the cologne cathedral
: for instance. the boy choir receives AZ every rehearsal s'i'-'
training for twenty TO thirty minutes i s. 4 Hi''i misfortune
tia. We In ths country ~ negligent In This ne es7ary 1id ''-
/ fetal study. which has So mlca - DO with saving IT." W.
The secret Of placing the voice correctly IS To- '." '. "'' ;
to assume a. once the correct tensile" i"r any -'7'y- F- "' -
s,rge- knows how the interval from = 20 / sounds before ne
attempts TO sing Ct. the lary"x Will anto'"a''e1"y pace res ~
sons before 'he tones are rra|' '.h'' y ~
mentally conceived before Il IS struck l. usually Starred ~ To-.
= low pitch demands "a tli.k chord, a his" rit' " '" nor
II a singer should atteni' IN ,'' / an '""
,ha, IT'S sound IS tha, Of G. the chords will ID" places '' ', '"
sion OF {. Hearing that it IS too low the singer ir"s- he h.'NI
chord Up TO the higher p,ieh r. VIZ Io. ' T.. yf = g
with a chord that has the thickness necessary 10 the '=" Oh -
.r car Illustrate that bst with a rubber band. II the hanl Is
su..,roI g. vus give ont a sound. II the stretching. or tie ton
t., to t,rreas.I a hisher sound IS heard The U1-" =" ham
. s.refcbaa the thinner f. VIII get and the higher VIII bf'Me
M so,,d. The vocal chor-s must work the same. ~ a ."
. -. chords nus he thick. for a high note the cH'ri~ must
;, NJ Now a rubber band takes on a higher pitch by tire "-
,nr but the vocal chords can be forced from a lower % q
t ~, ~ IT. rrrsslre. THIS Is always done By Il poorly placed
. vOice -, - .r-,-
"-r--.--r q u sir sere were given 20 taking tones ~ 'fF
"wa5oy u is found that q correct mo:e Of living IS ths
-. - a sfrrfng voice Smoking Is known 20 Ice "-.t-o"'
7 -. 90. c,,,r a day Will hurt T. @ singer Y ih' sHlo-" IS il '
' - a. tta smoke does rot enter the lark through
,.h.r,,,or - VII! not iniure The vocal organs.
n""uLn - ,,r,terlar Diet 60 which professional singers
-, ,hora Overlooking the stomach Injuries she voice ny
nss,ye drinking has the same eject h"' MODERATION II !"
e about the best method a s"s" -" '-7'
.-,,rs In good voice"