Part 3 (1/2)
The exercises in Figure I are in the key of F in 4/4 time; those in Figure II are in E, 6/8 time; and those in Figure III are in B?, 4/4 time on eighth notes. All text is from the original.]
FIGURE I.
[Music: Ascending.
(Same figure tone higher.) (Again raised.) etc.]
[Music: Descending.
(Same figure tone lower.) (Again lowered) etc.]
The next figure, in which the voice ascends or descends four tones at each progressive repet.i.tion, has a different rhythm.
FIGURE II.
[Music: Ascending.
(Same figure raised.) (Again raised.) etc.]
[Music: Descending.
(Same, tone lower.) (Still lower.) etc.]
Another exercise figure is to use five ascending and descending tones.
In the ill.u.s.tration which follows, in the key of B flat, it is shown how the exercises may be sung, beginning upon the keynote, and keeping within the voice-compa.s.s.
[Music: FIGURE III. etc.]
[Music: (Same Ex. inverted.) etc.]
These exercises are to be sung with vowel-sounds, softly, four measures with one breath, if possible, and in strict time.
Only so many of these tone-groups may be sung in any one scale, as lie within the extremes of pitch set for the grade, but if different scales and upward and downward extensions of the same be used, then all possible combinations of tones in the major scale may be sung, that is, these exercise figures may upon a piano be repeated seven times in _any_ key, in phrases of four measures each, both ascending and descending, but, owing to the limitations of the vocal compa.s.s, only a certain number of ascending or descending phrases can be _sung_ in any one key.
While it is suggested that drill upon these musical figures or groups of tones may be given from scales, the teacher tracing out the tones with a pointer with a rhythmical movement, yet it is still better to practice these groups or some of them from memory, the teacher keeping time for and directing the cla.s.s.
[NOTE.--The directions given are for rooms in which the teacher has only a pitch pipe or tuning-fork to get pitch from. If there is a piano the drill work for tone will be conducted a little differently.]
Pages of musical phrases adapted to vocal drill might be given, but to what end except to produce confusion. Our greatest singers use but few exercises to keep their voices in good condition, but they practice them very often. The exercises suggested are intended for daily practice, and the fewer in number and simpler in form they are, the better will be the results in tone. This vocal drill which should precede or begin the daily music lesson must not be for over five minutes at most. Half of that time is enough, if it be spent in singing, and not frittered away in useless talk, and questions and answers. A practical application of the vocal drill is to be made to the note-singing from the book and chart, and to the school repertoire of songs.
The phrases voice-culture, voice-training, voice-development, etc., have been avoided in treating the subject of children's voices, because of possible misapprehension of their intended meaning. The terms are not, of course, inapplicable to children's voices, but they must convey quite a different significance than they do when applied to the adult voice.
In each case, the end of voice-culture is the formation of correct vocal habits; but it would seem, that while it is possible to develop the adult voice very considerably in power, range and flexibility, we ought, in dealing with children's voices, to adopt those methods which will protect weak and growing organs. The aim is not more power, but beauty and purity rather. It should not be inferred that beauty of tone is not equally the aim in culture of the adult voice, but in that case it is consistent with development of strength and brilliancy of voice, while with young children it is not. If the tone is clear, beautiful, well poised, and under the singer's control, then the training is along safe lines. If the tone is bad, harsh, pinched or throaty, then the training is along unsafe lines. When the parts act harmoniously together, and there is a proper and normal adjustment of all the organs concerned in the production of tone, the result is good. Bad tone follows from the ill-adjustment of the parts concerned in voice production. It is the office of the teacher to correct this ill-adjustment and bring about a perfect, or nearly perfect functional action. The teacher must judge of the proper or improper action of the parts concerned in tone production by the sense of hearing. No acc.u.mulation of scientific knowledge can take the place of a careful and alert critical faculty in training voice. Tone color must guide the school teacher in determining register as it does the professional voice trainer. But we can also call the mental perceptions of the child to our aid, and will find a more lively sense of discrimination in tone quality than the average adult shows. We can encourage the growth of high ideals of tone-beauty. We can cultivate nice discrimination. We can, in short, use music in our schools not to dull, but to quicken, the musical sensibilities of childhood.
CHAPTER IV.
COMPa.s.s OF THE CHILD-VOICE.
There is the greatest diversity of opinion upon this subject among those who have any opinion at all. It might be supposed that, among the thousands of educators who are interested in school music and in the singing of children generally, many might be found who have given the subject careful attention, but such does not appear to be the case. If we consult the musical literature published for children, the prevalence of songs suited to the contralto voice is noticeable, indicating apparently that the compa.s.s of infant voices at least is about the same as that of the adult contralto. If there is any generally recognized theory upon the subject, it would seem to be this; but from a physiological standpoint the voices of children are totally unlike the woman contralto, and especially is this true of children of from six to eight years of age whose songs are usually written so low in range. An error, started anywhere or at any time, of theory or of practice, if it once become incorporated into the literature of a subject, is liable to be frequently copied, and enjoy a long and useless life. So with this treatment of the child-voice. The error is in supposing that it consists of a limited number of quite low tones. It has its origin in the sole use of the so-called chest-voice of the child, and when the evident strain under which a child of six or seven years labors to sing up is observed, the conclusion seems safe that they cannot sing high. While, on the other hand, they manage with apparent ease to sing down even as low as