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January 20th, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
175
AN "ASTOUNDING STATEMENT."
For these reasons, are the tongue and the mus- practice, all filling about three quarters of twenty
The nasal cavities are rather of a negative value cles of the neck used by singers, and not for the lessons each, but with a single quarter voices im-
in speaking and singing, and it is rather astound- purpose of lifting or depressing the larynx, as prove in every desirable way, and the measure of
ing to hear Dr. Ward say, "As we all know, the Browne and Stoerk believe; in the well-trained this success depends entirely on the amount of
nose is a prominent adjunct to vocalization, the singer, however, whose larynx is under complete practice given the exercises.
That the method is the outgrowth of years of
potency of its canals being absolutely necessary control, these movements are minimized.
to singing, more especially the higher notes of the Whilst the complicated adjustments and move- experience as a teacher of voice and singing, and
register, as in their rendition the tone waves go ments are being elaborated in this most beautiful differs from all others, as his pupils, coming from
and perfect of musical instruments—the human almost every prominent teacher in the world,
entirely through the nasal organs."
Now I cannot imagine from what source Dr. larynx—it is of prime importance that the act of assert.
HOWARD'S INCONSISTENCY.
Ward drew this amazing statement, and it is too respiration, which supplies the initial impulse for
uncharitable to suppose that his own observation voice, should be continued in such a way that air He pronounced my voice tenor of good quality,
led him into such au eggregious error, but it ia cer- ia supplied in the proper manner, proper quality, above the average, and said that the fact that I had
never studied before and my youth were greatly in my
tain that exactly the reverse of what he Btates is and at the proper time.
favor.
true.
LACK OP EXPRESSION.
He advised me to take lessons at his rooms, as
It is absolutely necessary in producing a clear Singers who have had no correct schooling in
note, that as the sound wave originated at the cords, this particular, quickly sing themselves out of he thought I would advance more rapidly than
traverses the larynx and mouth cavity, the nasal breath; and to such individuals, expression in with the written lessons; that they were very use-
passages should be cut off from the mouth by the song is an impossibility—they have no reserve ful to those residing at a distance, but he' always
advised the taking of lessons at his rooms when it
soft palate, for if this is not effectually done the force.
sound acquires a nasal character.
"In singing, the respiratory movements should was possible for pupils to do so.
It may be demonstrated by holding the name of be performed without strain or effort; they should Read the article by Mr. Howard, entitled "The
a candle before the nostrils; when a vowel is sung, be so regulated as to make inspiration short and Feasibility of Written Instruction," etc., in the
August number of the Voice, and his numerous
no air issues from them.
easy, and expiration slow and prolonged."
The nasal character given to the voice during an Faulty singing would often find its remedy in a testimonials, and notice the inconsistency!
attack of coryza, or nasal catarrh, finds the same proper conception of such truths, if masters would I think I sang E on this occasion; but I am posi-
explanation: because the nostrils are filled up with give more heed to the simplest physiological prin- tive I sang G on several previous trials, but with
considerable effort. He thought A would surely
swollen mucus membrane and secretion, the air in ciples of their art.
the nasal cavity not finding its natural egress acts In many matters they rather direct their pupils be reached, and possibly B.
as a barrier to the approach of the soft palate to the too much, than not enough, and prescribe abso- The testimonials' had the effect of settling all
wall of the pharynx, and the nasal cavity, thus re- lute
my doubts, and I decided to try the method, and
methods for the performance of certain voice soon
maining incompletely shut off from the mouth, movements
began.
which
should
be
left
entirely
to
the
becomes a chamber of resonance and imparts to pupil's own efforts.
From the very beginning, I thought the exercises
the sound a peculiar twang.
were very pecuiiar, but, as I thought I saw con-
THE TEACHER'S DUTY.
siderable improvement ahead, I paid no further
ERRING IN GOOD COMPANY.
It is in ai'ticulate singing that the teacher has attention to this, and went about telling my friends
Dr. Ward errs again, if he believes that the rise the greatest latitude for instruction, for in the of the wonderful method, and ridiculed their
and fall of the voice is accompanied by a rise and formation of words during singing the mouth arguments in favor of the Italian and other
fall of the larynx; but here he errs in such dis- cavity is principally concerned; and his duty here methods, and even induced a relative to try it.
tinguished company as Lennox, Browne, and is the duty of the trainer in elocution.
It proved a little more successful than in my case,
Hoerk, whose conclusions must certainly be based The higher the note, the more difficult is the act although I think certain teachers could have done
upon faulty observation.
of articulation, and such difficulty can only be much more in the same time.
The larynx ordinarily retains its position inde- overcome by proper methods of instruction.
"RESPIRATORY PROCESS."
pendent of variation in pitch and intensity of the I would advise all teachers and singers to study We were THE
then
engaged tipon the respiratory
voice, and all those motions which have been the able and exhaustive works of Browne and process, which I will
endeavor to explain.
believed necessary to such variations are due to Mandl upon this important subject.
First, I had exercises to "gain control" of the
its close attachment to the tongue, in many of
Of course, no master can create a Malibran, a abdominal muscles and diaphragm, and to loosen
•whose movements it becomes involved.
Mario, or a Catalini; but it is equally true that tha rib muscles.
The idea that the larynx rises and falls during without
intelligent guidance such artists would Then the diaphragm and abdominal muscles
change of tone-pitch seems to derive some support
were to be "opposed to each other."
world.
from the habit of singers (usually untrained ones) never have been able to so enthrall the
The breath must be inhaled through the mouth,
BALTIMORE.
of stretching the neck when they produce high
the chest raised, the abdomen must not be pressed
notes and shortening it when they descend the
outward." Then in expiration, the diaphragm
ABOUT THE HOWARD METHOD.
scale.
must be felt to push downward, the abdominal
To
the
Editor
of
THE
MUSICAL
CRITIC
AND
TRADE
This act is natural and in some measure really
muscles inward (though the abdomen must not be
REVIEW:
assists the voice, but for a reason entirely inde-
visibly drawn in), thus forming a kind of equal
pendent of its effect upon the position of the
DESIRE to relate my experience with the balance.
larynx.
"Howard Method."
This process draws down the rib muscles and
It must be remembered that when the vocal I do not make a charge *f incompetency, but ribs and compresses the lungs, thus expelling the
cords are once set into vibration, the windpipe will state my own case, and will endeavor to con- breath.
itself becomes a resonant chamber, and the swing- centrate and localize my remarks as much as pos-
A NEW SENSATION.
ing of its walls reacts upon the original tone pro- sible.
This
ineffable
sensation
in the abdomen seemed
duced at the cords.
HOW THE METHOD WAS ADVERTISED.
*Savart proved that a tube of constant length I became aware of the existence of this method very hard to establish. Sometimes I was told I
wo»ld produce a large range of notes if its sides through numerous advertisements I had seen, in had it perfectly, and then not quite. I would oc-
were made elastic and susceptible of variations in which it was claimed that the compass of every casionally sing a tone which seemed to me rather
thin and nasal, but Mr. H. assured me it was a
tension.
voice could be extended, enabling tenors to reach
tone.
The windpipe is such a tube, composed of a C, baritones A, etc. I sent for a circular which con- beautiful
We now began with the laryngeal process. All
series of superimposed circular cartileges, which tained a number of very enthusiastic testimonials kinds
of exercises wei*e used, such as protruding
are defective in their posterior segments. This from singers, speakers, clergymen, teachers, etc., the tongue
while the jaws were moved from side to
continuous defect along the back of the windpipe which made a very favorable impression.
side, swiaging the head back and at that moment
is supplied by a soft membranous band which is
"The cardinal principles" were very nicely ex- stretching the tongue still further, always being
perfectly flexible.
plained, claiming that "the method had been conscious of blowing out breath and occasionally
applied with unvarying success," that "the re- singing a tone in this way, which, of course, made
THE TECHNIQUE OF THE BUSINESS.
Now, when a deep tone is produced, the walls sults of this physical method are surprising, a ridiculous sound.
of this tube is thrown into vibration along with the almost incredible," and concludes with the follow- The object of this was to gain control of the
cords, and modify the fundamental tone accord- ing assertion:
muscle extending from the tongue to the bone
"Mr. Howard exhibits these statements, not in a above the larynx, in order to raise the larynx.
ingly; but when a high note is sung, the muscles
of the neck, which take no part in ordinary voice, spirit of speculative bravado, but with full con- Up to this time no vocal exercises were used,
contract, and by pressing upon the sides of the fidence, and with the hope that they may be criti- except a kind of laugh, hah! hah! hah! on two,
tube hinder the free vibration of its walls, at the cally examined and put to practical tests.
three and five notes of a scale (intended as a
"He knows, and unhesitatingly asserts, that the foundation for execution, although nothing further
same time changing its circular aperture into an
whole
rank
and
file
of
voice
teachers
are
either
elliptical one, which has the effect of directing the
was done in this direction during the course), and
current of air exactly upon the free edges of $,ke contradicting or practically ignoring the funda- the attacking of single tones, mostly on high notes
cords—the only parts of these structures which mental laws of tone which have been disclosed by and always with chest tones. The use of the head
vibrate during the rendition of tones in a very high the wonderful accoustic discoveries of the past voice was altogether out of the question, as there
few years; that they employ exercises which im- are no registers in the voice(?) and the form of the
register.
Again, in the production of bass notes, the base prove the voice a little, if at all, only at the ruin- ords must be the same for high as for low
of the tongue, and with it the epiglottis, is de- ous expense of the natural functional process; that tones.
pressed towards the cavity of the larynx, whereby they often confirm the very errors they have un- Besides these exercises, I had exercises in sigh-
an obstacle is presented to the free passage of the dertaken to remove; that' certainly they do not ing, groaning, coughing, and a sort of cat-call.
air current, a part of which is thus forced into the touch the faults of laryngeal and respiratory mus
MAKING HIMSELF RIDICULOUS.
ventricles of morgagin (two small pouches just cular action.
I practiced these very diligently and con-
"These practices and movements are so definite scientiously, incurring the ridicule of all who heard
above the two vocal cords); these pouches being
distended with air, are concerted into additional and positive, and have been written out with such me.
resonance chambers, and assist in impressing upon exactness, that pupils at a distance, who can take I remember on one occasion, when I was sighing
lessons only by mail, may be greatly benefited, as and groaning in the most heart-rending manner, a
the sound a guttural character.!
these enthusiastic testimonials plainly prove."
friend suddenly entered and anxiously inquired
•Quoted by Brown—"Medical Hints on Production and Man-
what the trouble was.
THE "MODUS OPERANDI."
agement oi the Singing Voice," London, 1877.
I was very much surprised when I was told to
t i n this connection, a very interesting fact it) mentioned by
In
answer
to
further
inquiries,
I
was
informed
Huxley, who lound that in the anthropomurplioid a^es, the ven-
get a song. I had frequently been told that vocal
tricles are immense pouches which they can fill with air aiid pro- that the lessons were usually sent twice a week,
(ConHnwd on page. 177.)
duce that low, rumbling growl peculiar to this class of monkeys. each containing one to four exercises for daily
1