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Nor can one discover in this music a distinctly original sense of either rhythm of harmony or tone-color. The E-minor Symphony, for all its competence and smoothness, is full of the color and quality and atmosphere of Tchaikowsky. It is Tchaikowsky without the hysteria, perhaps, but also without the energy. In all the music of M. Rachmaninoff there is something strangely twice-told.
But we are not concerned with the music of angels or of orientals, but with our own. With these twelve, with their possible variations in pitch, loudness, and tone-color, the musician has a rich and adequate material. All the elements of an aesthetic experience are present in striking simplicity even in the single musical tone.
If you linger on one of them too long, you will get your feet wet! You must cross, vite!" If the poets lead us from one mood to another over a bridge of words, the words themselves are not the goal of the journey. They are instruments used in the transmission of emotion. Specific Tone-Color It is obvious, then, that the full poetic value of a word cannot be ascertained apart from its context.
Yet even among this better class of pianists the notion seems to prevail that the main object of the right-side pedal is to enable them to prolong a chord or to prevent a confusion of consecutive harmonies. This is one of the functions of the pedal, no doubt, but not the most important one. The chief service of the pedal is in the interest of tone-color. Let me explain.
Stanzaic law must follow emotional law, just as Kreisler's accompanist must keep time with Kreisler. All the rich devices of rhyme and tone-color must heighten and not cloy the singing quality. But why lengthen this list of truisms? The combination of genuine lyric emotion with expertness of technical expression is in reality very rare.
Dangerous as it is to characterize the qualities of the sound of a word apart from the sense of that word, there is undeniably such a thing as "tone-color." A piano and a violin, striking the same note, are easily differentiated by the quality of the sound, and of two violins, playing the same series of notes, it is usually possible to declare which instrument has the richer tone or timbre.
It usually consists in writing off the melody of a song in other words, playing the 'tune' on an instrument instead of hearing it sung with words or in the case of a piano composition, in writing off the upper voice, leaving the rest intact, regardless of sonority, tone-color or even effectiveness, and, furthermore, without consideration of the idiomatic principles of the instrument to which the adaptation was meant to fit.
He also knows that when you sound a single note, say G, on the violin or piano, you seem to hear only a simple tone, but on listening more closely you will find that it is really a compound tone or a complete chord, the fundamental tone being accompanied by faint overtones, which differ in number and relative loudness in different instruments, and to which these instruments owe their peculiar tone-color.
Vitalized emotional energy, the "Singer's Sensation," is the true motor power of the voice. Devices. A study of tone-color and tone-character; the idealized tone, applied and developed by the use of words and sentiment.
The movements as given in my book, "Position and Action in Singing," and as here given, develop these conditions. They give the singer physical vitality, freedom of voice, spontaneity, absolute automatic breath control, and make self-expression, emotional expression, and tone-color, not only possible but comparatively easy. Singing is self-expression, an expression of thought and feeling.
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