"Whatever the relations of music, it will never cease to be the noblest and purest of arts." Wagner.
VI.
"CUNEUS CUNEUM TRUDIT."
VOCAL TONE.
All vocal tone used in singing when produced at the vocal bands is small and probably always about alike. The tone which we hear is "colored", "re-inforced" etc., on the way from the vocal bands to the outer air. In order that the tone shall carry well and be heard in purity throughout a hall, the initial tone must be added to. This is done by its reverberation in cavities where there is confined air. By confined, is meant, air which is not being greatly disturbed. There are four such cavities, or chambers, in connection with the production of voice. The chest, the ventricles, the inner mouth and the nose. To have the tone resonant the air in these chambers must be held in confinement. The way they can be utilized is best illustrated by the drum. A blow on the drum-head sets the air in the drum into vibration and that air re-inforces the tone caused by the original blow. Tone made by the vocal bands is re-inforced by vibration in the chambers of the body, and the connection of these chambers with the outer air sets into vibration the air of the room.
Something might be said about the thickness of clothing to be worn over the chest while singing. It is certain that thick woolens worn during singing, absorb much of the vibration of the tone and lessen the amount of voice. Tone comes from the whole body and chiefly from the chambers in which air is confined. Our singing tone does not come out of the mouth alone. It comes from shoulders, back and chest without going near the mouth.
The stillness with which the air is held in the chambers of vibration has much influence upon the volume of tone, and upon the quality. Just now we will consider the chamber within the mouth. The space between the back of the throat (as seen in a mirror) and the teeth is this chamber. The air in this must be held as still as it can be. The practical way of doing it, and the way of telling pupils how to use themselves so that they can do it, tax the ingenuity of the teacher. A picture, or an image, is the best way perhaps. The air in the mouth should be like the water of a still lake. Into it, at one end, a gentle stream may flow. It does not disturb the lake. It causes a ripple where it enters. It may raise the elevation of the water in the lake, and the superfluous water may flow off at the other end of the lake. Now, suppose a mountain stream comes rushing into the lake. It stirs everything up, and rushes out at the outlet in the same rough way. In the still chamber of air in the mouth there must be no "mountain streams." The quiet lake must be imitated. A little air, which has been vibrated at the vocal bands may enter it, and not disturb it. That initial tone, always a quiet one, will be re-inforced by vibration in the mouth and will issue forth large and round. The amplitude of vibration will determine its volume. The shape and size of the cavity of reverberation can constantly and instantly change and by such change the tone can be regulated.
The chamber of still air cannot be utilized unless the organs of respiration are working correctly and strongly. A forceful blast of air sent through the mouth will dissipate all vibrating waves. It is useless to try to the initial tone until after the diaphragm is in good working order. When that is all right then employ the re-inforcing chamber in the way given above and resonance of tone will be obtained. It is by so using the respiratory column and re-inforcing the tone made by the vocal bands that a person can be made a good vocalist in a few weeks. It is not necessary to take years to cultivate the voice. (It is to make a good singer.) From five to eight weeks, if the student does right, will perfectly cultivate a voice.
TRUE ART IS DELICATE.
All true art is delicate. Music is the most delicate of all arts. Music is expressed through thought and emotion. In this, music has much the advantage over sister arts. The sculptor can chisel his thoughts into marble, and there they can imperishably remain. To what small extent can he express human emotion! The painter also places his thought on canvas. As his art is more easily within his grasp, to change at will, he is enabled more fully to express emotion than is the sculptor. His finished work remains. While at work upon it he may change here and there to suit himself. That line and that shade of color, if not satisfactory, can be changed. Not so in music. At one stroke—in one tone even—the musician must express his emotion—and that expression, once uttered, is all that he can use of his art. It is a delicate thing and requires sure thought, complete mastery of emotion, and perfect ability in execution. Each and every stroke must be perfect.