A most effective means of self-accompaniment is the harp, and one moreover which adapts itself exquisitely to the subtle charm and changing qualities of the human voice, but only in the performer’s more serious moments. To twang at this instrument and pose above it in the attitude of the comedian, to pluck it banjo fashion, is to displease and jar the sensibilities of the most uninitiated of the audience.
The dual art is a stumbling-block to many a versatile artist, and its perfection needs a tremendous amount of persevering and diligent practice. There are some gifted performers to whom the art of pattering or reciting to music is inborn, and so extremely facile, but to the less fortunate it presents discouraging obstacles, and the power of improvising an accompaniment suitable to the anecdote or poem related is not given to the majority.
However, the student should remember and be encouraged by the fact that “steady effort attracts unknown powers to our aid,” and work on determinedly until the difficulty is mastered.
In studying the dual art, the beginner is apt to hammer the words to the accompaniment, or the accompaniment to the words, and it seems at first impossible to arrive at that perfect blending of voice and music which is essential to this kind of performance. Another extremely common fault is to emphasize the wrong word or the wrong note, with the result that the achievement becomes meaningless.
The ear should be trained to the rôle of an exacting critic, and when this power is developed it will demonstrate faithfully wherein the failure of co-operation lies.
Music should never be suffered to overburden the words of the poem or anecdote related. It is usually but a ground-work upon which the artist builds, “at most, an undercurrent of answering emotion.” The instant it flows through the floodgates of restraint it obliterates the meaning and the sense of the words as the waters of a burst dam obliterate the natural features of dry land.
Another serious fault to be found in the rendition of the inexperienced student is permitting the time of his accompaniment to swing into his voice. Against this he must be severely on his guard, or he will develop a wearisome habit of chanting in monotone.
While taking pains to blend his voice with his accompaniment, he must take equal care to keep both distinct and apart. This sounds paradoxical, but practice and self-criticism will prove that both are true and possible.
Music and Words
The speaker should learn to harmonize his music so exquisitely with his words that to the uninitiated the accompaniment seems rather extempore improvising than the result of toil and diligence. As a matter of fact, it is extremely rare that even the greatest artists dare trust to the inspiration of the moment to provide them with adequate accompaniment.