The evening herald. (Klamath Falls, Or.) 1906-1942, 1916-08-12
PASM0RE SPEAKS
VOICE TRAINING
NOTED COMPOSER AND TEACHER
TELLS At RECEPTION HOW THE
VOICE SHOULD BE TRAINED
CORRECTLY

Mr.. H. B. Pasemore of San Francisc,
and Berlin has been the house guest o
; Mrs. Don Zumwalt during the pas
week. He gave term of lessons II
Iowa during June and July, and stop
ped here on his way back to San Fran
cisco. giving a daily singing lesson tc
Mrs. Zumwalt and to several of hei
pupils. Mr.. Pasemore is known inter
nationally as composer and teacher
OF the foremost rank, and his visit here
is a source of congratulation to local
musicians. He visited Crater Lake
while here, and was delighted and sur.
prised with its wonder. The climate
here, too, was delight to him, espe.
cially after having been in the heat Of
! the Middle West.
| An enjoyable reception was rendered
Mr.. Pasemore at the White Pelican
Saturday evening. Mr.. Pasemore's
talk was highly interesting and in
structive.
Mr.. Pasemore said that he thought
, it strange that it is always taken for
granted that musician can make a
speech. 1t reminded him of the story
of the band master who was minus a
flute player. In desperation he stopped
a Yankee on the street and asked him
IL he could play the flute.
Said the Yankee: "Waal. l never
tried. guess l can"
broadly speaking the voice instruct
ors are divided into two classes: those
who place the voice-that is, they
work with the tone, trying to get thei..
Pupils to produce the tone in some pre-
else way" said Mr.. Pasemore. 'in
other words, they try to have tbs.
pupi's voice conform 20 the teachers
idea 6f what the voice should be-ari
tire method of free action, which
teaches that Nature has 40 beautifully
created the organs Of those whom she
intended should become singers, that
the pupil has nothing more to do than
stop interfering with Natures pro-
cesses.
"The difference between the two pro.
cedures can be we'll illustrated by
drawing two circles, one very carefully
and the other off-hand. Neither at
fempt will produce true circle, but
he one that is carefully drawn will be
stiff and cramped, while the off-hand
attempt will be full Of grace, and the
TACT Of its being an imperfect circle
,uts no figure. J.
Personally. teach my pupils to see
| good tone. which gives them a sure
neans of attaining a fine muscular
lction Of the organs of voice. II Lam
,erti taught by sight as well as by ,
earring. it is possible for pupils to
earn to distinguish muscular action
hat is certain to result in a fine tone,
Or beauty of the tone is dependent i,
pom resilient. graceful action of the !.
luscles Of the tongue, mouth and :,
hroat. Anyone who will experiment =
18th a mirror by making all sorts of :,
acial contortions while singing, can
onvincey himself on this point.
Hence, If you would sing beautiful.
!. have happy face. This is not easy y
} do when singing high or loud, but
Est assured that the tone will ex-
city reflect the facial expression. So, !"
lien you sing the high A. Mr.. Tenor -
Miss Soprano, you may rest assured
at If the face expresses horror, 1t will
, horrid tone. ~
ANY you. Mr.. Bass or Miss Central. ~
, draw your face down into seasick e'
preston when you sing your lower W. ".
lies. you may rest assured that the W
ne of your voice expresses-seasick. ~
ss. ~
"One OF the great difficulties con. :"
'nted by singers lies in the fact that pa
singer can ever hear his own voice. ga
eryone will agree that could a lot ar
would-be singers to whom we are t,r
mpelled to listen, hear themselves LEI
lg, they would never utter another We
te The singer has to learn to hear
sensation, instead of through the arj
:. fe,
one can become nice singer In a pr,
At or TWO, very good singer in the
zee or four years. and an artist in cr,
m seven to ten years. Hence, there mi