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Anyway, French and German people understand what I am trying to say, and that is very encouraging. In voice-training I have still the same old difficulties to contend against; and the fulfilment of my wish to speak well seems O, so far away!
For not only did the old Italian masters understand the voice in its physical aspects; they also insisted, because they understood it so well, on a course of voice-training which lasted long enough to give the pupil complete ease and entire control of technic. The story of the famous master, Porpora, and his equally famous pupil, Caffarelli, is worth recalling.
The formula which follows is systematically and logically arranged for the study and development of fundamental principles through or by the means of these flexible vitalized movements. In this way I hope to make these ideas plainer and more definite to pupil and teacher. Every correct system of voice-training is based upon principle, theory, and the devices used to develop the principles.
To each alike is voice-training essential, if artistic results are to follow; neither rhetorical training on the one hand nor musical training on the other will alone suffice.
Consciously or unconsciously they taught on sound physiological principles, and they insisted on the voice-training absolutely necessary to the attainment of the best art. However talented any individual may be, he can only produce the best results as a singer, actor, or speaker, when the mechanisms by which he hopes to influence his listeners are adequately trained.
Many tendencies of the present day work against successful voice-training worst of all, perhaps, the spirit of haste, the desire to reach ends by short cuts, the aim to substitute tricky for straightforward vocalization, and much more which I shall refer to again and again.
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