Advice to Singers

by Frederick James Crowest

Contralto.—The quality of a true contralto voice is so peculiar that it is impossible to mistake it for any other voice, although other voices may be mistaken for it. Of course, there are exceptional cases in which the contralto and mezzo-contralto are combined in one voice: the lower range being of full and pure contralto quality, while instead of the somewhat limited upper notes of the contralto, a rich mezzo-contralto range of notes may develop themselves; and in such a case careful training will be able to soften these two into each other, so that a complete voice of peculiar charm and great usefulness will result. But such cases, if not rare, are certainly the exception and not the rule, the deep and powerfully resonant tone of the true contralto being comparatively seldom met with. There is generally an awkward break between the low B and the D above it in this voice, and E♭ or E are the highest notes within reach of the average contralto. Voices of this class are better adapted for a species of ballads, for solemn declamation, or music of a calm and flowing character, than for elaborate execution or lively melodies. But here again exceptions must be made in favour of those who have the physical means, as well as the artistic skill, to study such music as that of the Page in "Les Huguenots," Arsace in "Semiramide," or "La Cenerentola." For an average English contralto, however, the best line of study is in good songs and ballads, and, chief of all, oratorio music.

Alto.—The alto, or counter-tenor voice, is said by a well-known English alto singer to be "simply a development of the falsetto—generally the falsetto of an inferior bass voice." It is said to be almost peculiar to English singers, and to that fact is ascribed its extensive and effective use in the fine works of the English Cathedral School of composers. Of course, in a voice which is so artificial, there must be expected a worse "break" than usual—the break in this case being the point below which the falsetto cannot be extended, and where the natural "chest" quality of tone has to be used. This break generally lies near the same place as the contralto break—if anything, rather higher—say between C and E in the middle of the voice. The effective notes of an alto usually lie in the octave of B or B♭, and the repertoire of music for which this voice is suited is comparatively limited. That repertoire, however, includes the greater number of oratorios, a good deal of fine old Italian music, and a few old English songs; while a singer of cleverness and cultivation will find many ballads which he may make his own by the help of transposition and style of delivery.

Great pains must be taken by the possessor of an alto voice in the formation and production of a good tone. The voice must be made to sound as natural as possible; and, if necessary, power must unhesitatingly be sacrificed to sweetness. There is great danger of producing a harsh, reedy, or nasal tone, which, to the hearer, is simply distressing or offensive.

Above all, let him be content to develop his own means, and to keep to music suited to or written for his voice. A good alto will make no effect, and will do his voice and style harm, if he "poaches on the preserves" of other voices—tenors, for instance, or basses—(singing the songs of the latter an octave higher). I once heard an alto—a fair singer so long as he stuck to his own work—make an absurd exhibition of himself by attempting the great song "Love Sounds the Alarm," in "Acis and Galatea," at a public concert!

Let him also beware of the snare of contralto music. The alto in a man is totally distinct from the contralto in a woman. The tone is utterly different—the best notes of the one are certainly not the best notes of the other; and although in certain cases a contralto may sing with good effect music written for a male alto (e.g. in some oratorios), yet the converse is scarcely ever true. The low notes, which are so fine in a contralto, and so unlike any other tone except perhaps a few notes of some tenors, are utterly wanting in charm, and generally in power, in a male alto; while the sweet and ringing middle notes of the latter are far more effective in alto music than the (frequently) weak and uncertain middle notes of a contralto. Choose your music as you name your voice, by the quality of tone you can produce, and not by the range of notes.

Tenore-Leggiero.—The tenore-leggiero or "light tenor," is the male voice corresponding to the female soprano; it is perhaps the most delicate and difficult to manage of all human voices. In the present day, when fashion is all in favour of noise, it is difficult for any but the strong-minded to stand firm against the tendency to shout and bawl, which appears to be the highest aim of many singers, and the highest admiration of most audiences. Now for a light tenor to attempt this style of singing is simply suggestive of the old fable of the frog who tried to make himself as big as the bull, and burst in the attempt. There is a modern school of singing which, though it may be suitable enough for heavy voices such as basses and robust tenors, is fatal to light and delicate voices. The style of singing, and of music to be sung, by this voice, is quite different from that appropriate to strong and full organs; and, if you are the possessor of a light tenor, you must at once rid yourself of the common amateur fancy (a fancy, too, by no means confined to amateurs) that you must imitate a certain ever-popular living tenor, whose name has passed almost into a proverb as typical of the perfection of English singing. You cannot be a "Reeves" or a "Braham," therefore it is only waste of time and strength for you to try. But there is a great deal of music which neither a "Reeves" nor a "Braham" could sing, which is well within your reach; and more than that, there is a great deal of excellent music which, though you cannot sing it like them, you may render very effective in a totally different style. Very often a pianissimo is quite as expressive as a fortissimo, and grace and sweetness are frequently an excellent substitute for power and force. You must be content to recognize that the latter are out of your reach, and that the effects which you can produce are to be attained by other means.

However, while assuring you that power and force are not given to you, I do not mean to say that voices of your class need be at all inaudible in a space however large. The tone of a light tenor is generally clear, resonant, and penetrating; sometimes there is a metallic ring about it which is extremely pretty, if not forced. I have heard a light tenor, singing at the back of the Covent Garden stage, send his voice clearly out into the great theatre, with apparently more ease than his "robust" friend, who was shortly afterwards vociferating at the footlights.

A light tenor must be careful not to force up the lower register of his voice beyond its natural and easy limit. The charm of the voice is in the perfect blending together of the lower, middle, and upper registers, and to do this the upper notes of each register should be equally at command, as the upper notes of that register or the lower notes of the one above it. In order to attain this, the change from one register to another should generally be made considerably lower than the place where the real "break" in the voice comes. For instance, supposing the "break" to be on E♭, the singer should be able to change his register as low as B or B♭, and to take all the notes between those two places, either in the upper or lower register, with equal effect.

In voices of this character there is often one note which requires to be made—i.e., which is so naturally defective in tone and quality that it can only be produced effectively by imitating as nearly as possible the quality of the register above or below it. This note is generally E, F, F♯, or (sometimes) G, between the middle and upper registers; and if you find that you unfortunately have such a refractory note, remember not to try and force the tone of it from the next note above or below; e.g., if your bad note is F, do not try to improve it by singing E well and then passing on to the F; but try and form the note from the fifth above or below (whichever it happens to resemble most in tone). Rounden the refractory note—give it a full tone in practising, and produce it well from the chest, letting the sound reverberate from the centre of the roof of the mouth—neither too far back towards the throat, nor too much on the teeth. Your teacher, if he knows his business, will soon put you into the way of this. Voices vary so much that these very general remarks must suffice here; but each voice, if it has its peculiar difficulties, has also, doubtless, its peculiar charm; and for light tenors, rich in both charms and difficulties, the rule is all-important: Do not try to imitate anybody else, but let your aim be to do the best that can be done with such natural gifts as you may have, aided by the best training that you can procure for them.