Lessons Must be Adequate
Bearing in mind the absolute necessity and real joy in vocal work, it confounds and amazes me that teachers of this art feel their duty has been accomplished when they donate twenty minutes or half an hour to a pupil! I do not honestly believe this is a fair exchange, and it is certainly not within reason to believe that within so short a time a pupil can actually benefit by the concentration and instruction so hastily conferred upon her. If this be very plain speaking, it is said with the object to benefit the pupil only, for it is, after all, they who must pay the ultimate in success or failure. An hour devoted to the minute needs of one pupil is not too much time to devote to so delicate a subject. An intelligent taskmaster will let his pupil demonstrate ten or fifteen minutes and during the same period of rest will discuss and awaken the pupil's interest from an intelligent point of view, that some degree of individuality may color even the drudgery of the classroom. A word of counsel from such a mistress of song as Lehmann or Sembrich is priceless, but the sums that pour into greedy pockets of vocal mechanics, not to say a harsher word, is a regretable proceeding. Too many mediocrities are making sounds. Too many of the same class are trying to instruct, but, as in politics, the real culprit is the people. As long as the public forbear an intelligent protest in this direction, just so long will the studios be crowded with pathetic seekers for fame. What employment these infatuated individuals enjoyed before the advent of grand opera and the movies became a possible exhaust pipe for their vanity is not clear, but they certainly should be discouraged. New York alone is crowded with aspirants for the stage, and their little bag of tricks is of very slender proportions. Let us do everything in our power to help the really worthy talent; but it is a mistaken charity, and not patriotic, to shove singers and composers so called, of American birth, upon a weary public which perceives nothing except the fact that they are of native birth and have no talent to warrant such assumption.
I do not think the musical observers are doing the cause of art in this country a favor when columns are written about the inferior works of the non-gifted. An ambitious effort is all right in its way, but that is no reason to connect the ill-advised production with American hopes. On the contrary, it does us a bad turn. I shall still contend that the English language is not a pretty one for our vocal exploitations, and within my experience of the past ten years I have heard but one American work which I can sincerely say would have given me pleasure to create, that same being Mr. Henry Hadley's recently produced Cleopatra's Night. His score is rich and deserving of the highest praise.
In closing I should like to quote again from Mme. Lehmann's book an exercise that would seem to fulfill a long-felt want:
"The great scale is the most necessary exercise for all kinds of voices. It was taught me by my mother. She taught it to all her pupils and to us."
Here is the scale as Lehmann taught it to me.
It was sung upon all the principal vowels. It was extended stepwise through different keys over the entire range of the two octaves of the voice. It was not her advice to practice it too softly, but it was done with all the resonating organs well supported by the diaphragm, the tone in a very supple and elastic "watery" state. She would think nothing of devoting from forty minutes to sixty minutes a day to the slow practice of this exercise. Of course, she would treat what one might call a heavy brunette voice quite differently from a bright blonde voice. These terms of blonde and brunette, of course, have nothing to do with the complexion of the individual, but to the color of the voice.