The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-04-13

all of these With the right kind OF training
can be made into singers of ability. The
teacher who is conscientious and observes
the construction OF the voice can develop
volume and quality of tone as easily as
physical director can develop the muscles
OF the arm. II all comes down 10 the fact
that talent is the most essential thing after
ALL because that is something that the
teacher cannot cultivate in the pupil who
doesn't naturally have IT.
"In training the voice one cannot make
a singer out OF any one where the method
that the teacher uses goes entirely against
the laws of nature. Whenever a teacher
has a method that in any way opposes
nature he can't hope TO make success Of
any voice ne undertakes 70 train. Conse-
quently fads and all other kinds OF pc
culiar mannerisms which are INDUCED in
under the guise of methods. and which are
often mistaken by audiences for culture
because Of the lack of naturaIness should
be Stunned by young singers as dangerous.
/ I remember one case where a young woman
had studied with a teacher who used
natural methods and who insisted on keep
I ing the tip of the tongue pressed against
the lower teeth. She being a conscientious
worker, followed her instructions so we'll
that later she had TO study 10 be cured of
lisping. the tipp of the tongue having be-
come stiff this being brought about by the
excessive use of the vowel "a" with the
tongue against the teeth. Therefore when
such consonants as IS" and 81" were en-
cOuntered she had difficulty in raising the
tongue, which is necessary for the pronun-
citation OF these consonants. The cure of
the defect is the rapid pronunciation of the
| syllable Ia" after which practice the hiss
| ing sound of IS" These exercises are
known to have cured the worst cases of
lisping.
Another thing that the young singer
should be careful OF is the position of the
mouth. There is a position OF the mouth
for the pronunciation Of each and every
vowel that should be adhered TO not only in
pronouncing words but for quality and
tone. The trouble with those who lack
experience in singing Is that they open
their mouths too wide. thereby causing a
rigidity of the jaw. which tension is greatly
inclined to destroy the natural tone and
give twangy effect.
ANOTHER EVIL.
Another evil very often INDUCED in is
that of opening the mouth so that the jaw
and pharynx, which is the back of the
mouth, are so far apart that the breath or
tone passes out without coming in contact
with the roof of the mouth, which is the
sounding post of the voice. The result of
studying with teachers who adhere to the
laws Of nature would settle the question
of methods. Though all of the methods of
these teachers are not seemingly alike, real
artists sing as if having studied the same
method and having naturalness for their
one great aim, and this is evidence that
they Nave been taught by intelligent in
structors who teach tone production based
on the laws of nature, the four principles
of which are relaxed throat, larynx,
pharynx, tongue and jaw; proper breath
ing: proper position of the mouth, not too
wide, and the proper directing of columns
of air to the pharynX.
There is nothing more important" con-
tinued Mr.. Nell, than the study of regis
tiers of the voice. In the female voice,
probably with the exception of the low con-
tralto, we have four registers-chest
medium, head and falsetto. In the tenor
we have very much the same, and in the
baritone and bass there are two registers
namely, head and chest The proper man
agement of these registers will deceive
many and will induce them to think that
1.-THE singer is using but one. For instance,
a supposed well-informed musician once
told me that Jean De Reszke, the noted
tenor. used only one register. Having had
the pleasure of hearing this great singer
several times l knew my informant TO be
ignorant of this very important principle
of vocalization, as every one educated on
this point knows that he uses all of the
registers perfectly blended, as do all other
great artists. The tenor voice especially
which sings the notes above the staff in the
medium or chest register is almost unbear-
able. giving the impression of a small COM
pass of voice being pushed beyond it's
natural range at the sacrifice of everything
but pitch. and which would also suffer
should the singer attempt to sing softly
us the climate of Indianapolis good for
the voice?" Mr.. Nell was asked
CAS- far as my own observation is con-
cerned 1 have always found that my voice
is i'm much better condition when 1 am in
New York than il is in this city. This is
probably due TO the salt air. Singers who
come here from a distance always say that
the climate affects their singing 1t seems
that the atmosphere causes a certain huski-
ness which cannot be overcome until one
has been here for several weeks. This eli
mate which proves so injurious to singers,
however, is net peculiar to the vicinity of
indianapolis. for 1t prevails over all of the
middle States. and it is no doubt caused by
remoteness from the oceans. which make
the atmosphere of the Eastern and extreme
Western States of a salty moisture which
tends TO clear the throat rather than 10
make il husky.
"A great many people make a mistake in
studying vocal music in thinking they must
practice like one studying the piano In
stead OF practicing the mechanical exer-
cises of the voice hour after hour they
should pay more attention to application