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5» TRAINING THE SINGING VOICE
The following typical summarizing statements represent a composite
further viewpoint on this topic:
1. "All beginning vocal training must be corrective in nature. Before anything else is attempted, the voice producing apparatus must be restored to that condition or adjustment in evidence at the moment of birth." [CHppinger 116]
2. "There is less work in starting with a beginner than in undoing a faulty method of production." [Novello-Davies 430, p. 43]
3. To avoid confusion, first lessons should be simple, that is, a brief presentation of the rules of tone production together with an explanation of posture, diaphragm, vocal cords, resonance chambers, relaxation and breathing. Patient repetition, illustrative charts and simple analyses will improve comprehension. [Samoiloff 484, p. 15]
4. The beginning pupil should first be allowed to sing so that he may reveal all his strong and weak points "before he is bewildered by counsels and methods." Instruction may then be adapted to his own particular requirements. [Bruna Castagna 94]
5. "Devote the first half (of the lesson period) to the principles of voice production and the last half to the study of songs." [Clippinger 104, p. 2]
6. The first step in voice training should be "the isolation of the two registers." (See Chapter VI.) In the early stages, concentrate upon the weaker register; usually the lower one for women and the higher one (falsetto) for men. [Stanley 578, p. 425]
7. "The initial problems of the instructor in vocal music are much the same, whether he be an independent teacher, an instructor in a four year college, or in junior college [high school]." [Parish 442]
Shaw feds that "it is better to begin with exercises containing wider Intervals, rather than with single sustained tones or scales" in order to promote "general dastidty" of the vocal organs and a sense of rhythm. [536] Ktts md Wilcox take an opposing viewpoint. The former insists that the first step in singing is to produce a steady, unwavering tone [448, p. *]; the latter writes: "the all-important thing is to produce the best possible tone on one pitch and then work from that 'pattern tone' to other vowels and other pitches." {669, p. 59] James emphatically advises "beginning with short intervals, semi-tones, tones and thirds." [300, p. 44] Orton advises beginners to avoid changes in dynamics. "I consider that crescendi and Uminvtndi are out of order at the commencement of training," he »ys. [43ft p. 122] Armstrong and Stock both recommend the study and practice of songs, well within the range of the voice, as early as possible |
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