Voice production in singing and speaking, based on scientific principles

by Wesley Mills

Associated sometimes with this fault is another, which, indeed, often gives rise to the former—viz., "pumping," or attempting to vocalize after the breath power is exhausted. One should always have enough air in reserve to sing at least two tones more than what is required.

It will be observed that good singing and speaking are always physiological—i.e., they depend on the observance of well-known physiological principles; we wish we could add, principles clearly recognized by singers and teachers generally. It is to those who do that we would recommend the student of the vocal art to go at the outset of his career, otherwise much time may be lost and possibly much injury done. We distinguish, of course, between the teacher who recognizes physiological principles only practically and the one who does so consciously. The former may be an excellent and safe teacher, though, we think, not so good, other things being equal, as one of the latter type,—as yet somewhat rare.

At an earlier period we referred to the important matter of classifying the voice. It often happens that one who is a tenor is trained as a barytone, or a contralto as a soprano, and the reverse, only to discover later that a mistake has been made. If it could become the custom to have vocal consultations among teachers, as medical ones among doctors, the author is convinced it would be well. Often a patient is sent a long distance to consult a medical man, and to return to his own physician for treatment based on the diagnosis made. In these instances the doctor consulted is expected to write his views privately to the patient's doctor, and to recommend treatment. Why should the same not occur in the vocal teacher's profession? It is considered scandalous in the medical profession to "steal" another physician's patient, and why should not a similar etiquette prevail in the profession now under consideration? The teacher in doubt about a voice might thus obtain the views of another member of his profession, of longer experience, on such a vital point as the classification of a voice, and with satisfaction alike to himself and to his pupil. If the teacher or pupil were not satisfied with the diagnosis, another eminent vocal teacher might be consulted, which would only be following custom in the medical profession.

We would again remind the reader that voices are to be classified by quality, and not by range, at least not to any appreciable extent.

Of all persons, the singer should know himself. He must learn his limitations, and the sooner the better. At the outset of his career he may be able to take certain liberties with himself with apparent impunity, but sooner or later he will pay the penalty; so that we recommend him to live with all the care of an athlete in training. However it may be with other men, spirits in every form, tobacco, etc., are not for him. Both tend to irritate and relax if not to inflame the throat, not to mention their bad effects on the general health, both psychical and physical. This advice is all the more necessary when one considers the exacting nature of the professional life of the artist. Strenuous exertion tends to fatigue and exhaustion, with a natural desire to relieve them by some special means, such as alcohol. To do so is often but to make a beginning of the end. How many bright lights in the dramatic and musical professions have been prematurely quenched through indulgence in the delusive draught! If tonics, sedatives, etc., are to be taken, which should not be a habitual practice, they should be used only under the direction of a medical man, and not self-prescribed.

As the speaker and singer must often practise their art in an atmosphere that is far from pure, they will do well to carry out in a routine way some sort of mouth toilet on their return home and the next morning. Various simple mouth and throat washes may be used, such as (1) water with a little common salt dissolved in it; (2) water containing a few drops of carbolic acid—just enough to be distinctly tasted; (3) water containing listerine; (4) either of the last two with the addition of a pinch of bicarbonate of sodium to a teacupful of the fluid, when there is a tendency to catarrh.

The use of lozenges in a routine way is not to be commended, and those containing morphia, cocaine, etc., should be employed only under the supervision of a medical practitioner. Sometimes, especially in the case of nervousness, a licorice pellet or a particle of gum arabic serves a good purpose in aiding in keeping the mouth moist.

For one with a healthy throat the sipping of water is unnecessary, and the habit is one on no account to be learned, for the most admirable effect may be spoiled through the speaker stopping to sip water; there is the fatal and rapid descent from the lofty to the little.

It is much more important to avoid eating certain things which interfere with the voice than to take anything to improve it before singing or speaking. Each individual should learn just what he can or cannot with safety eat. Certain kinds of fruit, cheese, fat meat, pastry, nuts, occasionally even butter, not to mention puddings, etc., must be put on the list of what singers and speakers had better not partake of before a public appearance. But the quantity is quite as important as the quality of the food taken. About one half the usual quantity, at most, and of very simple but nourishing food, is enough for any one who would do himself justice before the public. If blood and energy be drawn off to the stomach by a large meal, it cannot be available for the uses of the artist. Moreover, a full stomach pressing up under the diaphragm greatly hampers the movements of this, the most important of all the muscles of breathing. Of course, the public singer or speaker should eat after his work is done, of what and how much he can best learn by experience.

As the author has felt called upon to condemn the use of alcohol in every form, he should, perhaps, point out that to take a cup of such a mild stimulant as tea or coffee during an interval, in the case of those who feel weary, is generally an unobjectionable, indeed, often a useful, procedure; but the less the artist coddles himself, especially while still young, the better.