Equal freedom in the delivery of vowels and consonants.
Sufficient flexibility to meet all technical demands.
An ear sensitive to the finest shades of intonation.
An artistic concept or interpretive sense of the highest possible order.
The process of acquiring these things is not accretion but unfoldment. It is the unfoldment of ideas or concepts. The growth of ideas is similar to that of plants and flowers. The growth of expression follows the growth of the idea, it never precedes it. From the formation of the first vowel to the perfect interpretation of a song the teacher is dealing with mental concepts.
At the Gobelin Tapestry works near Paris I was told that the weavers of those wonderful tapestries use twenty-four shades of each color, and that their color sense becomes so acute that they readily recognize all of the different shades. Now there are about as many shades of each vowel, and the mental picture of the vowel must be so definite, the mental ear so sensitive, that it will detect the slightest variation from the perfect form. Direct control could never accomplish this. Only the automatic response of the mechanism to the perfect vowel concept can result in a perfect vowel.
All of those qualities and elements mentioned above as constituting the artist come under the heading KNOW WHAT YOU WANT.
The second step HAVE THE CONDITIONS RIGHT means, in short, to free the mechanism of all interference and properly manage the breath. This getting rid of interference could be talked about indefinitely without wasting time. It is far more important than most people suspect. Few voices are entirely free from it, and when it is present in a marked degree it is an effectual bar to progress. So long as it is present in the slightest degree it affects the tone quality. Most students think they are through with it long before they are.
This interference, which is referred to as tension, rigidity, throatiness, etc., is in the nature of resistance to the free emission of tone. It is not always confined to the vocal cords, but usually extends to the walls of the pharynx and the body of the tongue. The vocal cavities, the pharynx and mouth, exert such a marked influence on tone quality that the least degree of rigidity produces an effect that is instantly noticeable to the trained ear. These parts of the vocal mechanism which are so largely responsible not only for perfect vowels, but for perfect tone quality as well, must at all times be so free from tension that they can respond instantly to the tone concept. If they fail to respond the tone will be imperfect, and these imperfections are all classed under the general head “throaty.” Throaty tone means that there is resistance somewhere, and the conditions will never be right until the last vestige of it is destroyed. The difficulty in voice placing which so many have, lies in trying to produce the upper tones without first getting rid of resistance. This condition is responsible for a number of shop-worn statements, such as “bring the tone forward,” “place the tone in the head,” “direct the tone into the head,” etc. I recall a writer who says that the column of breath must be directed against the hard palate toward the front of the mouth in order to get a resonant tone. Consider this a moment. When the breath is properly vocalized its power is completely destroyed. Any one may test this by vocalizing in an atmosphere cold enough to condense the moisture in his breath. If he is vocalizing perfectly, he will observe that the breath moves lazily out of the mouth and curls upward not more than an inch from the face. The idea that this breath, which has not a particle of force after leaving the vocal cords, can be directed against the hard palate with an impact sufficient to affect tone quality is the limit of absurdity. If the writer had spoken of directing the sound waves to the front of the mouth there would have been an element of reasonableness in it, for sound waves can be reflected as well as light waves; but breath and sound are quite different things.
What does the teacher mean when he tells the pupil to place the tone in the head? He doubtless means that the student shall call into use the upper resonator. If one holds a vibrating tuning-fork before a resonating tube, does he direct the vibrations into that resonating cavity? No. Neither is it necessary to try to drive the voice into the cavities of the head. Such instructions are of doubtful value. They are almost sure to result in a hard unsympathetic tone. They increase rather than diminish the resistance. The only possible way to place the tone in the head is to let it go there. This will always occur when the resistance is destroyed and the channel is free.