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VOCAL TECHNIQUE                      5
ter), instead of using the passage in which the voice ought to be placed. It would be incorrect in operatic technique.
But if I have a pupil who possesses all other qualities which are required for a singer of songs; that is, fantasy, originality, the power of comic expression, the power of tragic ex­pression, literary culture, instinct of the plastic, sense of observation, a face with expressive eyes and mouth, an immense sensitiveness — I direct him or her to acquire all registers, all vocal colors necessary to express songs of all characters.
I met in the early beginning of my career two very famous musicians with whom I dis­cussed this very subject. The one was my
Gounod told me very often : " Mademoiselle Yvette, for God's sake, do not take singing lessons. Your professor will kill your power of expression by giving you a 'pretty voice,' which means a 'flat' voice. And then you will be one of the thousands. You will be like Judic, whose voice is pretty, charming, and nothing else. We have had Judics before Judic, and we shall have Judics after Judic. You your­self have created your style, preserve it."

E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III