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TRAINING THE SINGING VOICE |
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tones and intervals in his own voice by relating them to the corresponding
standardized musical scale which he has previously learned to recognize. The singing of scales as a means of vocal exercise serves the purpose of familiarizing the student with the range and tonal composition of his own voice, and it is therefore an indispensable part of vocal training, according to the opinions of 17 authors and professional singers.
Many singing teachers begin with the practice of scales, although, according to one author, this is not always a wise procedure. James admits the importance of scale work for accomplished artists but would not give scale work to the beginner. [300, p. 11] Sigrid Onegin believes that "th.e greatest, most bneficial of all vocal exercises is the slow scale." [436] Tiie simplest kind of exercises, consisting of slow scales, sustained and single tones, arpeggios and other simple devices were the basis of Marches! *$ teaching, according to Mme. Frances Alda. [6, p. 299] Elizabeth Rethberg likewise claims that "the perfect scale is more important than a hundred operatic roles. . . . Let the roles wait until you have learned to singl**
[463]
The vocal benefits attributed to scale work are summed up in the following representative claims:
1. Developing flexibility. [Queena Mario 370; Clippinger 105, p. 87]
2. Promoting exact intonation and building coordinations of mindLj
muscle and ear. [Waters 647, p. 27]
3. Extending the range of the voice note by note and firming ike
upper tones. [KMngstedt 320, p. 21]
4. Developing tone and building a groundwork for all technique.
[Gota Ljungberg 350]
5. Probing the full possibilities of the voice. [Friederich Schorr 497]
Five different methods of scale practice are suggested, as follows:
1. "Work on the syllable 00." [Margit Bokor 54]
2. "Begin with slow scales not too loud and not in either extreme of range,** [Emilio de Gogorza 134}
3. "Soft humming of rapid scale passage . , . develops freedom and
flexibility." [Wilson 674, p. 6]
4. "Accent the first note of any group and sing the intervening notes, between accents, lightly/* [Henley 264]
5. Precede each note with the sound of h. "Instead of singing ah on
the notes, sing hah" [Henley 251]
Sir Henry J. Wood adds a hint on the practicing of arpeggios or harp-like |
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