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Duval advises the young student to practice two half hours daily, two hours after eating, and rest the voice one day each week, during which she studies other subjects connected with her art. Oscar Saenger says: "One should practice in fifteen-minute periods, and rest at least ten minutes between. Sing only two hours a day, one in the morning and one in afternoon."
A man of wide experience, profound knowledge of his subject, commanding personality and winning courtesy, he impresses all who come within his radius that he knows whereof he speaks. A man who "knows what he knows" is one to be followed. Mr. Saenger had just returned from a season of travel over America as far as the Coast.
Theodore Baker, Gustav Saenger and others, have a direct relation to the establishment and maintenance of standards of musical mastery in general and, in the case of Gustav Saenger, with "Violin Mastery" in particular.
Thus, while the student is studying technic, he is acquiring much beautiful material." Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then three in the same way; afterwards four and five. Then the scale of one octave. Arpeggios are also most important. The trill is the most difficult of all vocal exercises. We begin with quarter notes, then eighths and sixteenths.
And here, for a time, we must leave him at his work. Mr. Oscar Saenger has been termed "maker of artists," since a number of our great singers have come from under his capable hands. He has a rare gift for imparting instruction in a way that is concise and convincing.
Mr. Duval advises the young pupil to sing tones as loudly and deeply as possible. Singing pianissimo is another fallacy for a young voice. This is one of the most difficult accomplishments, and should be reserved for a later period. Oscar Saenger: "The tone should be free, round and full, but not loud." Does the singer really hear himself is a question which has been put to nearly every artist.
The tone can be started with each vowel in turn, then mingled with the rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which melts into O and later changes to U, as the tone dies away. Bispham has the student use various vowel syllables, as: Lah, Mah, May, and Mi. With Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes.
Saenger when he found time to see the writer in his editorial rooms. "In a larger sense I think it has," was the reply. "Mastery of any kind comes as a result of striving for a definite goal. In the case of the violin student the road of progress is long, and if he is not to stray off into the numerous by-paths of error, it must be liberally provided with sign-posts.
Oscar Saenger: "The management of the breath is a most important factor, as the life of the tone depends on a continuance of the breath. The student must cultivate the power of quickly inhaling a full breath, and exhaling it so gradually that she can sing a phrase lasting from ten to twenty seconds. This needs months of arduous practice. In all breathing, inhale through the nose."
Saenger, that this method of vocal study can be taken up by one who knows really nothing of the voice, or singing, and can be used with success; that such a person can become a singer through self-study?" "It is indeed possible," was the answer; "and it is being done every day.
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