The Head Voice and Other Problems: Practical Talks on Singing

by D. A. Clippinger

INDIRECT CONTROL

What is meant by indirect control? It means, in short, the automatic response of the mechanism to the idea. By way of illustration. If I should ask my pupil to make her vocal cords vibrate at the rate of 435 times per second she could not do it because she would have no mental concept of how it should sound: but if I strike the A above middle C and ask her to sing it her vocal cords respond automatically at that rate of vibration. It is the concept of pitch which forms the vocal instrument, gives it the exact amount of tension necessary to vibrate at the rate of the pitch desired, but the action is automatic, not the result of direct effort.

It may be said that in artistic singing everything is working automatically. There can be no such thing as artistic singing until everything involved is responding automatically to the mental demands of the singer.

Mention has been made of the automatic response of the vocal cords to the thought of pitch. That part of the mechanism which is so largely responsible for tone quality, the pharynx and mouth, must respond in the same way. This it will do unerringly if it is free from tension. But if the throat is full of rigidity, as is so often the condition, it cannot respond; consequently the quality is imperfect and the tone is throaty. The vocal cavity must vibrate in sympathy with the pitch in order to create pure resonance. It can do this only when it is free and is responding automatically to the concept of tone quality. To form the mouth and throat by direct effort and expect a good tone to result thereby, is an action not only certain of failure but exceedingly stupid.

VOICE TRAINING IS SIMPLE

There is a belief amounting to a solid conviction in the public mind that the training of the voice is so difficult that the probabilities of success are about one in ten. What is responsible for this? Doubtless the large number of failures. But this calls for another interrogation. What is the cause of these failures? Here is one. All students have done more or less singing before they go to a teacher. During that time they have, with scarcely an exception, formed bad habits. Now bad habits of voice production are almost invariably some form of throat interference, referred to as tension, rigidity, resistance, etc. Instances without number could be cited where students have been told to keep right on singing and eventually they would outgrow these habits. Such a thing never happened since time began. One may as well tell a drunkard to keep on drinking and eventually he will outgrow the habit. No. Something definite and specific must be done. The antidote for tension is relaxation. A muscle cannot respond while it is rigid, therefore the student must be taught how to get rid of tension.

TWO THINGS INVOLVED

There is nothing in voice training that is necessarily mysterious and inscrutable. On the contrary, if one will acquaint himself with its fundamental principles he will find that the truth about voice training, like all truth, is simple and easily understood, and when understood the element of uncertainty is eliminated. These principles are few in number, in fact they may all be brought under two general heads. The first is KNOW WHAT YOU WANT. The second is HAVE THE CONDITIONS RIGHT. The meaning of these statements can never be learned from a study of vocal physiology; nevertheless they contain all of the law and the prophets on this subject. Any musician may be a successful teacher of singing if he will master them. I use the word musician advisedly, because musical sense is of such vital importance that no amount of mechanical knowledge can take its place. To undertake the training of voices with only a mechanical knowledge of the subject is a handicap which no one can overcome.

It is universally true that the less one knows of the art of singing the more he concerns himself with the mechanism; and it is also true that the more one is filled with the spirit of song the less he concerns himself with the construction of the vocal instrument. People with little or no musicianship have been known to wrangle ceaselessly on whether or not the thyroid cartilage should tip forward on high tones. It is such crude mechanics masquerading under the name of science that has brought voice training into general disrepute. The voice teacher is primarily concerned with learning to play upon the vocal instrument rather than upon its mechanical construction, two things which some find difficulty in separating.