Great Singers on the Art of Singing / Educational Conferences with Foremost Artists

by James Francis Cooke

Self-Criticism

If one should ask me what is the first consideration in becoming a success as a singer, I should say the ability to criticise one's self. In my own case I had a very competent musician as a teacher. He told me that my voice was naturally placed and did very little to help place it according to his own ideas. Perhaps that was well for me, because I knew myself what I was about. He used to say, "That sounds beautiful," but all the time I knew that it sounded terrible. It was then that I learned that my ear must be my best teacher. My teacher, for instance, told me that I would never be able to trill. This was very disheartening; but he really believed, according to his conservative knowledge, that I should never succeed in getting the necessary flexibility.

By chance I happened to meet a celebrated Swedish singer, Mme. Östberg, of the old school. I communicated to her the discouraging news that I could never hope to trill. "Nonsense, my dear," she said, "someone told me that too, but I determined that I was going to learn. I did not know how to go about it exactly, but I knew that with the proper patience and will-power I would succeed. Therefore I worked up to three o'clock one morning, and before I went to bed I was able to trill."

I decided to take Mme. Östberg's advice, and I practiced for several days until I knew that I could trill, and then I went back to my teacher and showed him what I could do. He had to admit it was a good trill, and he couldn't understand how I had so successfully disproved his theories by accomplishing it. It was then that I learned that the singer can do almost anything within the limits of the voice, if one will only work hard enough. Work is the great producer, and there is no substitute for it. Do not think that I am ungrateful to my teacher. He gave me a splendid musical drilling in all the standard solfeggios, in which he was most precise; and in later years I said to him, "I am not grateful to you for making my voice, but because you did not spoil it."

After having sung a great deal and thought introspectively a great deal about the voice, one naturally begins to form a kind of philosophy regarding it. Of course, breathing exercises are the basis of all good singing methods, but it seems to me that singing teachers ask many of their pupils to do many queer impractical things in breathing, things that "don't work" when the singer is obliged to stand up before a big audience and make everyone hear without straining.

If I were to teach a young girl right at this moment I would simply ask her to take a deep breath and note the expansion at the waist just above the diaphragm. Then I would ask her to say as many words as possible upon that breath, at the same time having the muscles adjacent to the diaphragm to support the breath; that is, to sustain it and not collapse or try to push it up. The trick is to get the most tone, not with the most breath but with the least breath, and especially the very least possible strain at the throat, which must be kept in a floating, gossamer-like condition all the time. I see girls, who have been to expensive teachers, doing all sorts of wonderful calisthenics with the diaphragm, things that God certainly did not intend us to do in learning to speak and to sing.

Any attempt to draw in the front walls of the abdomen or the intercostal muscles during singing must put a kind of pneumatic pressure upon the breath stream, which is sure to constrict the throat. Therefore, in my own singing, I note the opposite effect. That is, there is rather a sensation of expansion instead of contraction during the process of expiration. This soon becomes very comfortable, relieves the throat of strain, relieves the tones of breathiness or all idea of forcing. There is none of the ugly heaving of the chest or shoulders; the body is in repose, and the singer has a firm grip upon the tone in the right way. The muscles of the front wall of the abdomen and the muscles between the lower ribs become very strong and equal to any strain, while the throat is free.

In the emission of the actual tone itself I would advise the sensation of inhaling at first. The beginner should blow out the tone. Usually instead of having a lovely floating character, with the impression of control, the tone starts with being forced, and it always remains so. The singer oversings and has nothing in reserve. When I am singing I feel as though the farther away from the throat, the deeper down I can control the breath stream, the better and freer the tone becomes. Furthermore, I can sing the long, difficult Wagnerian rôles, with their tremendous demands upon the vocal organs, without the least sensation of fatigue. Some singers, after such performances, are "all in." No wonder they lose their voices when they should be in their prime.

For me the most difficult vowel is "ah." The throat then is most open and the breath stream most difficult to control properly. Therefore I make it a habit to begin my practice with "oo, oh, ah, ay, ee" in succession. I never start with sustained tones. This would give my throat time to stiffen. I employ quick, soft scales, always remembering the basic principle of breath control I have mentioned, and always as though inhaling. This is an example of what I mean. To avoid shrillness on the upper tone I take the highest note with oo and descend with oo.

The same thought applied to an arpeggio would be:

These I take within comfortable limits of my voice, always remembering that the least strain is a backward step. These exercises are taken through all possible keys. There can never be too much practice of a scale or arpeggio exercise. Many singers, I know, who wonder why they do not succeed, cannot do a good scale, the very first thing they should be able to do. Every one should be like perfect pearls on a thread.