Tosi. (1647-1727) Observations on Florid Song.
That the development of the upper, or head voice, is the most difficult as well as the most important part of the training of the singing voice, will be readily admitted by every experienced singing teacher.
That the upper voice should be produced with as much comfort as the middle or lower, is scarcely debatable.
That a majority of singers produce their upper voice with more or less difficulty, need not be argued.
Why is it that after two, three or more years of study so many upper voices are still thick, harsh and unsteady?
There is nothing in the tone world so beautiful as the male or female head voice when properly produced, and there is nothing so excruciatingly distressing as the same voice when badly produced.
The pure head voice is unique in its beauty. It is full of freedom, elasticity, spiritual exaltation. It seems to float, as it were, in the upper air without connection with a human throat. Its charm is irresistible. It is a joy alike to the singer and the listener. It is the most important part of any singer’s equipment. Why is it so difficult and why do so few have it? Various reasons are at hand.
The spirit of American enterprise has found its way into voice teaching. It is in the blood of both teacher and pupil. The slogan is “Put it over.” This calls for big tone and they do not see why they should not have it at once.
The ability to use the full power of the upper voice when occasion demands is necessary and right, but merely to be able to sing high and loud means nothing. All that is required for that is a strong physique and determination. Such voice building requires but little time and no musical sense whatever; but to be able to sing the upper register with full power, emotional intensity, musical quality and ease, is the result of long and careful work under the ear of a teacher whose sense of tone quality is so refined that it will detect instantly the slightest degree of resistance and not allow it to continue.
The ambitious young singer who has been told by the village oracle that she has a great voice and all she needs is a little “finishing,” balks at the idea of devoting three or four years to the process, and so she looks for some one who will do it quickly and she always succeeds in finding him. To do this work correctly the old Italians insisted on from five to eight years with an hour lesson each day. To take such a course following the modern plan of one or two half hours a week, would have the student treading on the heels of Methuselah before it was completed.