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44 TRAINING THE SINGING VOICE
2. The expressional characteristics of the speaking voice—pitch, volume, quality-determine the expressional properties of the singing' voice. Vocal education really begins when we first teach children how
to use the speaking voice. [Marafioti 368, p. 52 fL]
3. Singing k speech set in musical phrasing. [Hemery 238, p. xii; Lloyd 351, p. 28]
4. Singing is speech that is "prolonged and intensified." [Taylor 602, p. 35; ProschowsM 454; Cimini 99]
5. "If speech were not the natural way to use the voice we would all have ruined our voices long ago." [Patton and Rauch 445, p. 154]
6. Singing is emotional expression in tone and word; a form of Intoned speech. [Shakespeare 517, p. $]
7. Singing is a form of oral expression in which the spoken word is intensified* prolonged and beautified. [Schofield 495; Clark 100; Kirkj patrick 317]
De Brayn declares that the teaching of singing may be expedited If the speech-song approach is used. In this respect, "the prerequisite to the teaching of singing ... is beautiful speaking.** Many aspects of the singling voice can thus be taught through the speech process. [131] Brown quota the great Lamperti, with whom he studied, as saying that "the singing tone evolves from the speaking voice." [74] There is a "unity of technique in both speaking and singing" which may not be overlooked by the voice teacher.* [Holler 427] Howe claims that it is practically impossible to produce a "natural" vocal tone in singing at any pitch level unless one can first demonstrate the ability to attack it "in the free and fiexible manna* of good speech." [284, p. 33; also Combs 119, p. 10] As Green explains it, "Singing is almost as easy as speaking and yet, since we speak incorrectly, we sing with the same faults magnified." [210] There* fore, it is a matter of great importance to the singing teacher to observe how the student produces his speaking voice. [Bushell 83; Sanders 488J Singing, from the start, should be as effortless as speaking, "the word being mother to the tone." [Kelly 312]
According to Austin-Ball, the masters of the old Italian school of bel canto insisted that voice production was indentical in speech and song. "Pronunciation was so important they expected to find a little speaking-in all singing, and a little singing in all speech." [31, p. 61] Lawrence Tib-bett, in an interview, suggests that "it Is helpful to think of singing as dramatic speech*. . . sustained on definite intervals of pitch." [614; also Efiicc 159, Lesson 5] "The great singers are also the great dedaimers." (Bairstow, Bent and others 32] "Singing indudes the whole art of decla- |
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