The Head Voice and Other Problems | Page 2

is this interesting page from
the arithmetic any longer considered a fit subject for debate in polite
society, but so far as we know this is the only thing that is immune.
Our musical judgments, which are our opinions, are governed by our
experience; and with the growth of experience they ripen into solid
convictions. For many years I have had a conviction that voice training
is much simpler and less involved than it is generally considered. I am
convinced that far too much is made of the vocal mechanism, which
under normal conditions always responds automatically. Beautiful tone
should be the primary aim of all voice teaching, and more care should
be given to forming the student's tone concept than to that of teaching
him how to control his throat by direct effort. The controlling power of
a right idea is still much underestimated. The scientific plan of
controlling the voice by means of mechanical directions leaves
untouched the one thing which prevents its normal, automatic action,
namely tension.
But, someone inquires, "If the student is singing with rigid throat and
tongue would you say nothing about it?" I would correct it, but not by
telling him to hold his tongue down. A relaxed tongue is always in the
right place, therefore all he needs to learn about the tongue is how to

relax it.
It has been hinted that he who subscribes to Dr. Fillebrown's
declaration that [A]"The process of singing is psychologic rather than
physiologic" has nothing tangible to work with. Now tone concept and
musical feeling are absolutely essential to singing, and they are definite
entities to one who has them. All musical temperaments must be
vitalized. Imaginations must be trained until they will burst into flame
at the slightest poetic suggestion. Musical natures are not fixed
quantities. They are all subject to the law of growth. Every vocal
student is an example of the law of evolution. Few people find it easy
in the beginning to assume instantly a state of intense emotion. These
things are habits of mind which must be developed, and they furnish
the teacher with definite problems.
[A] Resonance in Singing and Speaking, by Thomas Fillebrown.
To repeat, the tone is the thing, and how it sounds is what determines
whether it is right or wrong. And so we come back again to the ear,
which is the taste. Does it please the ear? If so, is the ear reliable? Not
always. If all teachers were trying for the same tone quality there would
be no need of further writing on the subject, but they are not. On the
contrary no two of them are trying for exactly the same quality. Each
one is trying to make the voice produce his idea of tone quality, and the
astounding thing about the human voice is that for a time at least, it can
approximate almost anything that is demanded of it. If a voice is ruined,
the ear of the teacher is directly responsible. It is useless to try to place
the blame elsewhere.
Truth is always simple. If it seems difficult it is due to our clumsy way
of stating it. Thought, like melodies, should run on the line of the least
resistance. In the following pages I have eschewed all mystifying
polysyllabic verbiage, and as Mark Twain once said, have "confined
myself to a categorical statement of facts unincumbered by an
obscuring accumulation of metaphor and allegory."
It is hoped that this book will be useful. It is offered as a guide rather
than as a reformer. It aims to point in the right direction, and "do its bit"

in emphasizing those things which are fundamental in voice training.
Whatever is true in it will reach and help those who need it. Nothing
more could be asked or desired.
[Illustration: (signed) D. A. Clippinger]
Kimball Hall, Chicago. May, 1917.

CONTENTS
INTRODUCTION I. VOICE PLACING II. THE HEAD VOICE III. A
GENERAL SURVEY OF THE SITUATION IV. HINTS ON
TEACHING V. THE NATURE AND MEANING OF ART VI.
SINGING AS AN ART VII. THE CONSTRUCTION OF A SONG
VIII. HOW TO STUDY A SONG IX. SCIENTIFIC VOICE
PRODUCTION BIBLIOGRAPHY

THE HEAD VOICE AND OTHER PROBLEMS.
I
VOICE PLACING
"The path of the sound, being formed of elastic and movable parts,
varies its dimensions and forms in endless ways, and every
modification--even the slightest--has a corresponding and definite
influence on the voice."
Garcia. Hints on Singing.
Vocal teachers are rated primarily on their ability as voice builders.
When students look for a teacher the first thing they want to know is:
"Can he build a voice?" His ability as an interpreter in most instances is
taken for granted. Why this is so is easily understood. There is a
moving appeal in the