| Share page | Visit Us On FB |
|
56 TRAINING THE SINGING VOICE
cm,"... is not immediately concerned with the art of singing. It is concerned with the preparatory development of a suitable instrument for singing." [668] According to Huey, practicing is an indispensable supple-men£ to vocal instruction. The main purpose of vocal exercise is "to develop to the utmost of beauty and skill of which they are capable," the natural range, power and quality of the singing voice. [287] Clippinger rlaifm that the purpose of practice is "to establish automatic response of the vocal organs to musical ideas." [109] Herbert-Caesari adds that the development of muscular coordinations is the prime purpose. [269, p. 126] Keratin Thorborg would use preliminary practicing solely "to explore, to settle, and to warm up the tone quality of the voice." [612] No matter what Ms stage of development, the singer can never afford to neglect his daily practice. This is Wilcox's opinion. A singer is, in a sense, a vocal athlete who must use systematic exercise to keep himself in condition. {665] To avoid meaningless practice, every vocal exercise must have an express purpose. [Haywood 255] "A vocalise should not just be a number of notes, but should be treated as a beautiful phrase in its own right." pfureeH and Glenn 413, p. 294] The use of conventional vocalises as practice materials for all singers has little value, according to Yaroll. "All voice are not equally benefited." Exercises should rather be designed to correct the singer's own peculiar faults. [697] Henderson endorses the use of vocalises. He also gives the term a general meaning; referring to any type of vocal exercise. [243, p. 97]
Smpemkion of practice. Practice is supervised when it is carried on in the presence of, and under the personal direction of, the teacher, for purposes of authoritative guidance. (W) "The beginning student cannot practice alone/* says Clippinger, for the reason that his concepts of tone and freedom are as yet indefinite and unformed. "Therefore he will be strengthening his wrong habits." [112; 107] Henley is strongly opposed to unsupervised practice, no matter how intelligent the pupil may be. "No one ... can possibly . . . judge his own voice without ... the trained ear of an experienced teacher." [252; also Kwartin 325, Preface] Stanley also maintains that correction is the teacher's prerogative and should never be assumed by the pupil if the lesson is to have any value. Self-direction as in unsupervised practice then becomes a farce. [577, p. 332] Since the vocal student can hardly be trusted to practice alone it is desirable for the teacher to give a short lesson every day, especially during the early period of the pupil's development. [Halbe 221]
Clippinger fists a large number of questions on which the teacher must form a personal judgment during the singing lesson. Among them are the falowmg: Is the student's tone true to pitch or is it flat or sharp? Has it the right intensity or is it too loud or too soft? Is it resonant or breathy? |
||