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TRAINING THE SINGING VOICE |
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ferences." The speaking habits of the singing student should be supervised to the extent that "the greatest relaxation and freedom" of the Yoeai organs shall be developed. [421, p. 39] Brainerd advises singers to "speak in low, free tones, [thus] saving the speaking voice as well as the singing voice." [62] "Well spoken Is half sung," says Shakespeare. This should be the motto of every singing school [517, p. 80]
Spier suggests that the exact formation of each consonant should first be practiced silently and in speech before attempting singing. [570, Foreword] Other suggestions and comments relating to the Influence of speech on song are summarized in the following statements:
1. "The singer's work will be easier if, as a child, she is never allowed to form slovenly and unbeautiful habits of speech.'* [Frances Aida 5]
2. "The very first object of the one ambitious to sing well - - -
should be to learn to speak well.** [Everett 164]
3. Good diction means the acquisition of "perfect speech in singing." [Haywood 234]
4. A correct verbal impulse always Impels a correct vocal impulse. Let the word lead the voice in singing. [Gescheldt 200, p. 40; Samuels 487. P* 35]
5. Isolated abstract vowel production makes for difficult and Jhaz-ardous vocal practice. All vowels should be taught as a part of appropriate words having specific meanings. Thus defined, vowel practice promotes voice production. "Feel that you are talking on the vowel." [Shakespeare 517, p. 28; Henderson 240, p. 57]
6. "We sing the vowels and speak the consonants." [Ryan 480, p. 75]
7. "Every sound, be It vowel or . . . consonant, should be lieard like perfect talking as far as the voice can carry." [Shakespeare op. cit., P--51]
Grove suggests that the presence of an interested listener during the period of practice will help the singer to Infuse real meaning Into the words of his song. By this means, verbal vowel sounds will acquire **the uncompromising verity of Intelligible speech." [216] In a sense, all singing may be influenced by speech. If the vowel in the spoken word were prolonged "as it is in legato singing, there would be less difficulty In training . . . voices. [Chesnutt §6] "Sung vowels are the counterparts of spoken vowels, provided that the speech is correct/* [Proschowskl 458] On the other hand, Aikin is convinced that diction for singing is entirely tinlike spoken diction. "So much latitude Is permitted" in ordinary |
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