HOW TO SING.

Dominion, Volume 4, Issue 1049, 11 February 1911, Page 13

HOW TO SING.

SOME RATHER GOOD HINTS. The Attack True and Pure. On tho nights when I sing (says Caruso) I tako nothing after luncheon except perhaps a sandwich and a glass of Uhianti, until after the performance. Tho uso of spirits is sure to inflame the ilelicato littlo ribbons of tissuo which produco tho singing tone, and then— nddio to a clear and ringing high C! Though I indulge occasionally in a cigarette, I advise all singers, parlicularly youug singers,'against this practice. A baritone who tries to increase his upper rango by main strength will surely : in timo loso his best lower notes, and I a light tenor who attempts to force out notes lower than his rango will never bo able to sing legitimate tenor roles; and after two or three years may not be able to sing at all. To have tho attack true and pure one must consciously try to open tho throat not only in front, but from behind. One can open tho throat perfectly without a perceptible opening of the mouth, merely by the power of respiration. Falsetto, Breathing, and Mezza Voce. It is the ability to tako in an adequate supply of breath and to retain it until required that makes—or, by. contrary, mars—all singing. A singer with a perfect sense of pitch and all tho good intentions possiblo will often, sing off the key and bring forth a tono with no vitality in it, distressing to hear, simply for lack of breath control. The voico is naturally divided into three registers: the, chest, medium and head. In a man's voico of lower quality this . last is known as "falsetto,'' but in tho caso of a tenor ho may uso a tono which sounds like falsetto, but is reallv merely a' mezza voce, or half voice*.. This legitimately belongs to a man's compass; a falsetto does not. -The most important register is the medium, particularly of tenors, for this includes, the greater part of a tenor's voice, and can be utilised even to. the top of his range, if rightly produced. Singers, especially tenors, are very apt to throw tho head forward in producing the high notes, and consequently get a throaty, strained voice, which is so disagreeable. To avoid this one should try to keep the supply of breath ■. down cs far toward the abdomen as possible, thus maintaining tho upper passages to tho •head quite freo for tho emission of tho voice. Remember, also, to sing .within yourself as it were—to feel tho tones all through your being; otherwise your singing will possess no sentiment, emotion, or authority. It is the failure to accomplish this which.has produced so many soul-less artists. "• " ': '■ -The artistic uso: of/the "half voice is a very valuable adjunct in all singers. It may bo defined simply as the natural voice produced softly, but with extra strength of-breath. It is this breathy quality, however, which one must bo careful never to exaggerate, or the tono will not carry—that gives that velvety effect to tho tono that is so delightful.' Mezza voco is just a concentration of the full voice, and it, requires, after all, as much breath' support. A soft note which' is taken with tho "head voice," without being supported by a breath taken from tho diaphragm, is a helpless sort of thing. It does not carry, and is inaudible at any distance, whereas tho soft note which docs possess tho deep breath support is - penetrating, concentrated, aud most impressive. Another 'important point is. that with a piano note; properly taken in the-reg-ister which'is proper to it,;there is no danger of having to change the position of tho throat,.and consequently the real charaoter ofitho note,'when ; making a crescendo and: again diminishing it. It will' be tho samo note continuing to sound, . ■ ' •■ . "..

"Unless Diction Is Good." No tinker can bo called a r great artist unless his diction is good. Soino persons'claim .that a too dis- ' tinct 'or •' too' much. insisted ,',up6rij ( ' spoils tho real voice quality, hut this' should not bo tho case if tho words aro correctly and naturally.brought'out. I would aver that a lino enunciation, far from interfering with it, aids tho .voice production, makes it softer and more, concentrated; but dictiou should act rather as a framo for tho voice, and never replaco it. .'•'.. , . Many too ambitious students aro their own worst enemies in v tho culture cf their voices. Beoauso they have a largo vocal power, they want to shout all tho time, in spito of the repeated, admonitions of their: masters, who beg them to sing piano. ,Biit they hear- nothing. except .the noiso they mako- themselves. Such headstrong, ones will, never make a career,, even with the finest voices in tho world.. Their teachers should dovote attention to thoso who merit and want to study seriously.