Bel Canto Forum
Reviving the Golden Age of Opera one voice at a time
Contact
FAQ
Tools
Library
Forum
About
Hints on Singing
Embedded Scribd iPaper - Requires Javascript and Flash Player
Enable JavaScript in your browser to view this document as it was initially formatted.
Music Lib.
MT 820 G216 1891
P
HINTS ON SINGING BY MANUEL GARCIA
TRANSLATED FROM THE
FRENCH BY BEATA GARCIA
NEWs^REVlSED EDITION
Copyright, 1894,
Price 6/- net
By
E.
ASCHERBERG &
CO.
Asc})€rber^,I1opwood
j6
a^ncl
MorCimar
NEVn/
St.
Crew, Limited. London. W.
CO.
YORK
E.SCHUBERTH *
The axporiatioH of'thi* copy
to the
Lnited State* <^-A.ttterica
is
prohibiUd.
r^
HINTS ON SINGING BY MANUEL GARCIA
TRANSLATED FROM THE
FRENCH BY BEATA GARCIA
NEW^REVISED EDITION
Copyright, 1894,
By
E.
ASCHERBERG &
CO.
Price 6/- net
Asch€rber^,11opwood a^nd Crew, Limited.
J6
Mortimer
St.
London. \v^.
CO,
NEW YORK
E.SCHUBERTM %
The-exporiativn of tH/tcnfiy to the Unitfd iitates of America
is
prohibiUAm.
JNIV.
OF CALIF. LIBRARY. LOS ANGt Lt
PREFACE TO THE SECOND EDITION.
This remarkable
year, has
little
work,
first
issued
when Manuel Garcia was
in his ninetieth It is
now been
(for
before the public for a period of seventeen years.
treatise
perhaps the
but in
its
most concise and compact
original
on the Art of Singing yet given
it
to the world,
form
which
I
was
partly responsible)
has not proved entirely satisfactory,
it
while the publishers have for some time been anxious to bring
out at a lower price.
I
Hence
this
"new
and revised" edition, the preparation of which
have undertaken
as a labour of love and endeavoured to carry out with due reverence for the wishes and
intentions of the illustrious author.
I
have corrected a good many errors and supplied
I
several omissions which constant use has brought to light.
have re-arranged some of
the chapters, and here and there altered the grouping of the exercises so as to
easier of comprehension.
With
it
the
same object
I
in
view
I
have ventured
to insert a
make them number made
of explanatory notes
and references, which
is
trust
may
be found useful both by teachers
and
students.
Otherwise
hardly necessary to add that no change has been
either in the text or the technical content of the book.
That
there
is
its value was adequately appeciated during the life-time of its venerable author, some reason to doubt. True, it has become known in every part of the globe
is
where singrng
taught through the
medium
of the English tongue.
Its terse,
vigorous
language and clearness of definition have been especially recognised
in the
United States,
where the name
of
Manuel Garcia has been one
to conjure with ever since the visits of his
most famous pupil, Jenny Lind, some seventy years ago. But in this country it was only after he had attained his centenary (in 1905) that musical folk fully realized what a privilege it had been that the great teacher should have made London his home during the
entire latter half of his extraordinarily long career.
It
may
be, therefore, that
under these
new
conditions a
much more extended
sphere
of usefulness and popularity will be opened up for
his
"Hints on Singing."
all
As a matter
of fact,
what Manuel Garcia so modestly styled the contents of this volume consists of a
his last
great deal more than mere "hints."
Apart from being
word on the
subject, they
embody
the profound knowledge, the penetrating observation, the rich experience, the
logical deductions
and conclusions of three-quarters of a century of active devotion
to the
study ana practice of vocal science.
Let who
may
learn this "catechism," they cannot but feel that in doing so they
come
They in some measure under the spell of Manuel Garcia's wonderful teaching power. from his ipsissima verba so much of his personal magnetism as can will certainly absorb be derived through the medium of the printed page. And such influence is a legacy worth
possessing, since
it
provides something more than a clue to that which he himself describes
as very nearly,
if
not quite, a "lost art."
HERMANN
KLEIN.
.
MUSIC
LIBRARY
Mr
PREFACE.
—*—
Since the
fifty
publication of " L'Art du Chant," * the invention of the laryngoscope and
years of additional experience have naturally enabled
me
to acquire
many
I
fresh
offer
ideas,
and also
to clear
up
all
my
pre-existing doubts.
I
The
result of this
now
to the public in as concise
and
clear a form as
have found possible.
The study
of the physiology of the voice has been greatly facilitated by the use
of the laryngoscope.
This instrument, by laying bare the interior of the larynx,
proceeds to produce sounds and registers.
qualities are
It
shows how the
the
glottis
shows, also,
to the voice.
manner
in
which the ringing and veiled
communicated
These
the
qualities
— produced
timbres,
this
by the
and
glottis
— are
distinct from the characteristics of
in
voice
called
are
originated
the pharynx by quite
ideas
afloat
another
mechanism.
of
voice
I
All
should
dispel
many
false
on the question
production
introduce a few anatomical figures to facilitate
is
my
explanations.
The study
of
the
anatomy and physiology of the vocal ocgans
useful to the teacher.
It
not indispensable to the pupil, but
is
might be most
will
enable him, when a defect
to be
amended,
to detect the organ
which
is
at fault,
and to suggest the proper correction.
•"Traitd Complet de
I'Art
du Chant," par Manuel Garcia.
Paris
:
Brandus
et Cie., 1840.
—
IV
PREFACE.
pupil
it
For the
is
enough
that,
localising
his
sensations
through
his
his
master's
explanations, he should learn to distinguish
the
the various
parts of
instrument and
manner
I
of using them.
also
have
added
several
forth.
it
exercises
to
give
the
pupil
the
opportunity
flexibility
of
is
applying the precepts set
At the present day the acquirement of
not, perhaps,
is
not in great esteem, and were
for the
venerable Handel, declamatory
only must the art suffer,
florid
music woul-d reign alone.
but also
congenial
;
This
to
to
be regretted,
for not
brilliant
the
young
fresh
voices,
which
the
style
is
the
most
It
it
the harder and
difficult
more
settled organs
being best suited for declamation.
decline of
the florid
style.
would not be
suffice,
to trace
the causes
of the
Let
however,
to
mention, as one of the most important,
besides originating
influenced
offer
the disapperance of
it
the
race of great singers who,
of
this art,
carried
to
its
highest
point
excellence.
The
impresario,
by the
gifted
exigencies of
the
modern prima
virtuose
to
donna, has been constrained to
less
and accomplished
the
role
the
composer,
to
who
in
turn
has
been compelled
orchestral
to simplify
of
is
the voice and
rely
more and
lost
more upon
the
effects.
Thus, singing
or
becoming
used
as
much
a
art
as
manufacture of
Mandarin china
the
varnish
by
the old masters.
In adopting
the
difficulties
the
form of question and answer.
to
I
have endeavoured
1
to
foresee
of
in
likely
occur
to
an
earnest
student.
subjoin
a
sketch
the the
laryngoscope to satisfy the curiosity of any student
subject.
is
who may be One
of
interested
The laryngoscope
consists
of
two
mirrors.
them,
(very
at
small,)
attached to the end of a
long
wire and placed
turned
against
the uvula
It
the
top of
the
pharynx,
that
to
the
it
reflecting
surface
downwards.
the
first.
must
be
moderately
mirror
is
heated
may
not
be
of
tarnished
light
by
the
breath.
The
other
employed
the
throw
will
rays
on
The
form
and
disposition
of
mirrors
be
shown
:
more
clearly
by
the
following
illustrations
than
by
any attempt at explanation*
•Observations on the
Human
Voice,
24th.
by Manuel Garcia.
1855. p. 399 to 410.
Proceedings of the Royal
Society
of
London. Vol. VII.
Meeting of
May
—
PREFACE.
Laryngoscopic mirrors, half
size
:
I
wish to express
my
gratitude to Dr. S. G.
Shattock
for his great
kindness in
undertaking to
make
finished drawings from
my
rough sketches, and rectifying
strictly technical.
am
I
amove any physiological or anatomical description that was not
have also to thank
my
old pupil,
Mr. HERMANN KLEIN, for
his indefatigable patience
and
skill in
preparing the
MS.
for the press
and correcting the
proofs.
MANUEL GARCIA.
Cricklewood,
London,
October^ 1894.
LOWE AND BRYDONE PRINTERS
PRINTED IN GREAT BRITAIN BY LIMITED, LONDON, N.WJO
—
HINTS ON SINGING.
PART
1.
I.
OBJECTS OF VOCAL STUDY.
in its intonation, firm, strong, flexible,
Q. What is the object of vocal study? A. To make the voice irreproachable extended, and to correct its faults.
Q. A.
Is that all
?
teach the student the art of phrasing, to familiarize him with the different styles, and to develop his expression.
2.
To
DESCRIPTION OF THE VOCAL APPARATUS.
Apparatus
•
Q.
A.
A
Of what does the vocal instrument consist ? !• 1-1 /-\r r LOf four distmct apparatus which combme
their action
;
•! constituting the •! but with special Human voice.
:
functions, each being entirely independent of the rest.
These apparatus are
The The The The
Q.
Bellows 7iamely, Vibrator „ Reflector „ Articulator
the lungs.
„
„
glottis.
„
pharynx, and (when words are added) organs of the mouth.
at the base of the instruA. v!^^^°^ ''^atu*. ment. Essential organs of the respiration, the lungs perform the function of an organ
Give a concise de.scription of the vocal instrument. The Lungs, a sp(Migy matter where the air is stored, are
/
Fig.
I.
Fig. 2.
The
1.
Cartilages of the Larynx viewed from the front (S. G. ^hattock).
1.
The
Cartilages of the Larynx viewed froio behind (after Sappey).
cartilage.
2.
Upper horn of the thyroid cartilage. Thyroid cartilage, articulating by
its
inferior
2.
Upper horn of the thyroid Thyroid cartilage.
Santorini.
horn with the cricoid. 3. Lower horn of the thyroid
with the cricoid.
4.
5.
3.
cartilage, articulating
4.
5.
Arytenoid of the right
side.
Cricoid cartilage.
Upper end of
epiglottis
is
the trachea.
The
not represented.
Cricoid cartilage. 6. Lower horn of the thyroid cartilage, articalailx^ with the cricoid. 7. Upper end of the trachea. The epiglottis is not represeoted.
;
2
iriNTS
ON SINGING.
They
are placed, one on
bellows, furnishing the air necessary for the sonorous waves.
each side of the chest, the expansion of which makes room for their inflation, and the Above comes contraction of which compels them to expel part of the air admitted the Larynx, as sort of cartilaginous box; it is conspicuous in front of the upper part of the neck, and forms that protection known as Adam's apple. This box, in which every vocal sound is produced, is open at both ends, and communicates by its lower opening directly with the lungs through the Trachea, an the higher opening communicates with the Pharynx, and, when wc elastic tube swallow, is closed by a sort of cartilaginous leaf, called the Epiglottis. The larynx is surmounted by the pharynx, a large cavity which forms the back of the mouth
;
it is
limited behind
by a proper muscular
wall, in front
by the
pillars of the fatues
Fi(-..
3.
A
and middle line ; the partition between the right ). nasal fossa exposed to view {Modified from Saprey left cavities of the nose has been removed, and the left side. 7. Arytenoid cartilage of the left 1. Opening into the pharynx of the Eustachian tube 8. False vocal cord. the passage which leads to the middle ear or drum. True vocal cord. Between the two is the ventricle
Vertical Section of the head
made
to the left side of the
2.
The
soft palate.
9-
3.
Anterior pillar of the fauces.
Tonsil.
of Morgagni.
4.
5.
Posterior pillar of the fauces.
Epiglottis.
"
10.
Trachea.
CEsophagus. or gullet.
6.
HINTS ON SINGING.
3
The pharynx communicates with
of the
is
;
of the mouth, and extending from the pharynx to the nostril.
the nasal Jossce, two cavities situated above the roof The palate is the roof
mouth the anterior two-thirds are bony, the other third, called the soft palate, a movable curtain continued backwards from the hard palate. The pharynx, on account of the numerous shapes it can assume, confers the colouring of timbres on sounds produced in the larynx, and contributes to the formation of vowels.
3.
RESPIRATION (BREATHING).
the
iheLung* What facts can you mention concerning the respiratory organs ? A. The lungs, as has been said, constitute the breathing apparatus, and contain air, which is the substance of sound. To be admitted into and expelled from the
Q.
.
I.
'J'he
Thyroid Cartilage of the Larynx.
.2.
The
Cricoid Cartilage of the
Larynx.
Fig.
4.
The Lungs, Trachea, and Larynx,
1.
as viewed from the Front.
2.
3.
cricoid cartilage of the larynx. the lung and end Trachea, or wind-pipe, terminating in the bronchial lubes which ramify through
in the vesicles.
The The
thyroid cartilage of the larynx.
ulti-
mately
HINTS ON SINGING.
must traverse the mouth or the nostrils, the pharynx, the glottis, and the acts of inhaling and of exhaling constitute respiration. The lungs are contained in the chest, a sort of cage formed by twenty-four ribs, together with the sternum, the vertical column, and the Diaphragm. This most important muscle (the diaphragm) forms the base of the cage it is convex, and holds the act of respiration
lungs, the air
trachea.
The two
The Ribs and
Diaphragm.
;
under
its
controL
Ribs.
Diaphragm
(not represented).
Vertebral Column.
Fig.
5.
How
to tak*
Breath.
Modes
ot
HINTS ON SINGING
1.
5
lips,
Draw
a breath slowly through a very minute opening of the
then exhale
freely.
Breathe freely and exhale slowly through the same small opening. Breathe freely and retain the breath during ten seconds or more. 3. N.B. These exercises are independent of each other, and should never be continued
2.
—
till
fatigue ensues.
necessary always to regulate the pressure of the air from the lungs > The glottis being under the direct influence of the lungs, any jerkiness or other irregularities in the action of these organs affects the sounds and impairs that continuous flow which is the charm of execution.
Q. A.
Is it
Undoubtedly.
Q. A.
Whdit
dire
the /au/ls 0/ dreat/im^ ?
Shbg.
the air
"^
The
in
greatest are that the breathing should be scanty, hurried, noisy, or
raising the shoulders.
is
drawn
jerks,
by
When
is
inhaled gradually and not by
fatigue.
The Remedy
it
does not rebound, and
retained
by the lungs without
Q.
How
are these faults to be remedied
A
glottis.*
The first three by breathing slowly and deeply, and by opening wide The noisy aspirations are caused by a semi-opened glottis.
the
How can you obtain the sensation of the glottic action ? Q. A. By coughing almost imperceptibly. The glottis then closes and opens through these actions we feel it distinctly.
Acfioa'°'"°
;
* The importance of the larynx, as the producer of ail vocal sounds, justifies us in studying it more minutely than other parts of the instrument. the thyroid, the cricoid, the two arytenoids, The frame-work of the larynx includes the following cartilages
:
—
surmounted by two nodules, called cartilages of Santorini, and the epiglottis. These cartilages are movable by means of appropriate muscles. The interior of the larynx narrows toward the centre to a mere chink or fissure This opening, which can be seen with the laryngoscope, is bounded by two edges placed one on called i\ic glottis. These edges constitute the lips of the glottis. Posteriorly they are formed by the right and the other on the left. The vocal cords are two deep folds the internal surface of the arytenoid cartilages, and in front by the vocal cords. membrane. In each of them, immediately beneath the edge of the fold, lies a band of elastic tissue of the mucous known as the inferior thyro-arytenoid ligament or true cord the outer side of this fold is filled by the internal thyroAt a little distance above these folds are placed two others called false cords, which are arytenoid muscle. separated from the former by two cavities the ventricles. The lips of the glottis alone produce all vocal sounds, with their modifications of ringing and veiled quality, of The space between the lips, in the act of respiration, has nearly the form of a horizontal isosceles piano and forte. The triangular is the form of silence, the linear triangle, and becomes linear when preparing to produce a sound.
;
—
of activity.
The
closing of the lips I call
" pinching of
the glottis. "
(Figs.
6,
7,
8.)
Glottis Opened.
Glottis Opened.
Glottis Shut and Vibrating.
Fin.
6.
6.
Fig.
7.
Flo.
8.
a Eminence formed by the cartilage as seen with laryngoscope during easy inspiration, Fig. The epiglottis, d, is seen in bird's eye view ; the of Santorini, which lies on the summit of the arytenoid cartilage. b The true vocal cord between this and ili eminence close above the cords is its "cushion" {Shattock). c The false vocal cords. fellow is the chink of the glottis,
glottis,
—
—
The
Diagram of the larynx in horizontal section, showing the chink of the glottis, bounded behind by Fig. 7. The the internal surfaces of the arjtenoid and cricoid cartilages, and in front of these by the true vocal coras. dotted lines show the position of the cricoid cartilage and vocal cords when the glottis is opened ; the direction the contracting force (the crico-aryfenoidous posterior muscle) is indicated by the arrows. of
Fig.
8.
—The same parts showing the position of the arytenoid cartilage
tlie
and vocal cords of the
glottis,
drawn
lijs
Oh»ervooon»oo
HunukD Voice, by Manuel Garcia.
Proceeding* oi the RovaI Society of London, Vol. VII.
No.
ti.
>
HINTS ON SINGINa
i
4.
SOUND (RESONANCE).
made in the ear by vibrating air.* does the glottis produce sounds ? The two lips of the glottis, which are separated in the act of breathing, meet when preparing to produce a sound, and close the passage with the degree of energ)'
The
sensation
Q. A.
What
is
soiindf
Q. A.
How
together (by the arytenoid muscle), aad closing ihe glottia.
Fig. Fig.
9.
lo.
FlO. 9.
1.
—A
vertical section of the larynx carried
from side to
side, the anterior half of the Section
being
represented.
Cushion of the
epiglottis.
2.
3.
Section of the thyroid cartilage.
Section of the cricoid.
4.
5.
Section of the
first
ring of the trachea.
6. 7.
true vocal cord in section, showing the internal portion of the thyroarytenoid muscle lying in the fold of the mucous membrane. It is by the action of the true cords stopping and opening the air passage that the voice is produced.
The The The
false
cord in section.
ventricle of iMorgajjni.
Through of the Trachea as viewed from its right side. shown the arytenoid cartilage, a, and the vocal cord, b, forming together the right lip of the glottis. The dotted lines show the position taken by the arytenoid and cricoid cartilages, a c, when the cricoid is drawn upwards by the contraction of the cricothyroid muscle, acting as shown by the arrows. The dot, «/, of the inferior horn of the thyroid marks the ideal centre of movement. It will be
Fig. 10.
—An outline of the
Larynx and upper side
the right ala of the thyroid cartilage are
—
seen that the result
is
to increase the distance between the vocal process of the arytenoid cartilage
and the thyroid,
and
in this *
way
to tighten the vocal cord.
it
When
a cord of a musical instrument oscillates,
air
behind an amount of expanded
are inseparable,
either side of the cord,
equal to that displaced
condenses the air on the side it approaches, leaving these two portions of air, compressed and expanded, ;
and form what is called a wave of sound. The waves of sound, in inverse order, are propagated on and if the succession be regular or rhythmic, and sufficiently rapid, they form a musical sound. Any irregular succession of waves produces only nois-e. In reaching the ear, the condensed portion of the air wave forces in the membrane which closes the bottom of the auditory meatus the rarefied portion draws it out again, and these oscillations transmit to the brain, by means of the auditory nerve, the vibrations which we appreciate
;
Bs found.
HINTS ON SINGING
7
demanded by the nature
of the sound and the power with which it is to be emitted. Then, being pushed upwards by the air, they give way and allow a portion of air to escape, but immediately return to their original contact, and recommence the action. These intermittent emissions or explosions of air, when regular and rapid enough, form a sound. Q. Can you name any action which is an illustration of this } A. The action of the lips of a horn player. Q. Are the sounds obtained always of the same character ? A. No. They may be bright and ringing or veiled. Q. How do you obtain these bright and veiled sounds ? vi?ifd"sou"iis. A. If after every explosion the glottis closes completely, each impinges sharply on the tympanic membrane, and the sound heard is bright or ringing. But if the glottis is imperfectly closed, and a slight escape of air unites the explosions, the impressions upon the tympanum are blunted, the sound being then veiled. The waste of air can be verified by placing a lighted match before the mouth. The brighter sound does not stir the flame, the veiled one will. secret of Q. Has this observation any importance? J f Tone-Colont A. Coupled with the theory of timbres and that of the breath, it puts the singer in possession of all the " tints " of the voice, and indeed initiates him into all the
'''
secrets of voice-production. (See Timbre, page 11).
p»ch. Q. What produces pitch } A. The number of explosions that occur in a given time. The greater the number, the higher the pitch.* intensity of Q. What causes intensity of sound ? Sound. A T A. Intensity of sound is not due to the amplitude of movement of the glottic lips, but to the quantity of air which makes one vivid explosion. The resistance
•
/•
by the lips to the pressure of the lungs determines this quantity. The amplitude is therefore a result, not a cause. After each explosion the glottis must be reclosed for if the air found a constant issue, the greater the expenditure of air the weaker the sound would be.
offered
;
Q.
How
What
is
A.
Q. A. Q. A.
The volume
volume of sound obtained ? of sound depends on the expansion of the pharynx and of the
.*
voium* of
vestibule of the larynx.
range of vibrations can the human ear perceive According to Helmholtz from 16 vibrations to 38,000 in a second. How is the rising scale formed ? By the gradual tension, shortening, and thinning of the glottic lips.
Formation of
the Scale.
5.
THE SINGING VOICE— REGISTERS.
.''
Q. Is a voice of the same nature throughout its range A. Every voice is formed of three distinct portions, or registers, namely, chesty medium, and head. The chest holds the lowest place, the medium the middle, the head the highest These names are incorrect, but accepted.
•
mi = 164. fa = 170. sol = number of its vibrations.
Number
of vibrations required to
199, la
— 213-5, si =
form each note of the scale beginninfi with 230-40, do = 256. The octave above any note
fm )\
^^
"
^ D° = -
"28,
re
—
144.
requires
twice the
;
8
HINTS ON SINGING.
Q-
Defininooota
Register.
What
IS
a register
is
?
homogeneous sounds produced by one mechanism, differing essentially from another series of sounds equally homogeneous produced by another mechanism, whatever modifications oi timbre and of strength they may offer Each of the three registers has its own extent and sonority, which varies according to the sex of the individual, and the nature of the organ.
^
^
register
a series of consecutive
Q.
Mechanism of
registers.
How
are these three registers obtained
?
preparing to emit a sound the two sides of the glottis, which are Separated for breathing, shut the passage, and if the sound be a deep chest note, they become slightly tense. The whole length and breadth of the lips (comprising
A.
Whcn
the anterior prolongation, or process of the arytenoid cartilage and the vocal cord) As the sounds rise in the register the tension of are engaged in the vibrations. Meanwhile the contact of the inner the lips increases, and the thickness diminishes.
surfaces of the arytenoids will progress
and extend
to the
end of the vocal processes.
tnereDy shortening the vibratory length of the lips. The medium or falsetto* is the result of similar actions, save that the lips come into contact, not through their depth In both registers the glottis has its length diminished from but merely at their edges.
the back, by the arytenoids, which advance their contact
till
their adhesion
is
complete.
As soon
as this takes place, the falsetto ceases,
and the
glottis,
consisting of the vocal
cords alone, produces the head register.
large surfaces generates the chest register,
The
resistance opposed to the air by the and the feebler opposition presented by the
edges produces the falsetto.
Break orchanue
of the Voice
Q-
What
is
meant by the
^
child
it
-pj^g ^qj^.^ ^^ ^j^g
break of the voice " ? ^gg ^f puberty undergoes a transformation
"
;
from that of a
becomes that of an
adult.
?
;
Age
at
which
begin.
in boys it acquires virile power and drops an octave in pitch. Q. At what agc should the serious study of singing begin A. From sixteen for girls, and from eighteen for boys, according to strength and climate, but not until the change is complete, as any tampering at this delicate period
Q. A.
What
are those transformations
In girls the voice acquires
volume and strength
.?
may
ruin the voice for ever.
6.
Classification
DESCRIPTION OF FEMALE VOICES.
Q-
Are
j^^
all
and Range.
^
show.
female voices alike in extent and character ? 'Jhey arc divided into three classes on account of the differences they
They
are
The Contralto, which is the lowest voice The Mezzo-soprano which holds a middle The Soprano, which is the highest voice.
Q. A.
Chest Register.
position
;
and
Q. A.
What is the range of these voices ? Generally from an octave and a half to two octaves. How do you dcscribc the registers in female voices ?
The
chest voice which
is
the
lowest,
is
generally strong and
energetic.
especially in contraltos.
In
its full
extent
it
ranges from
^
tf
5.
to
was so employed by • The term "falsetto" is 110 longer in use as a name for the medium register in the female voice. It mechanism corresponds to that of the acute falsetto sounds which the male the author and his contemporaries, because its voice is capable of producing.— (A/o<#, H. KJ
—
—
9
HINTS ON SINGING
Q
A.
tcrvice,
Is
that extent available in practice
?
Certainly not
The two
jj
lowest notes are
in
most voices too weak
lest
to be o(
and those above
^
—
must never be used
the result be
the ruin of the whole instrument.
Q.
A.
Where does
the chest register begin in mezzo-sopranos and in sopranos
In mezzo-soprano the cnest register begins on
i 5
limitation.
?
;
m
soprano
about
7u
;
and both are submitted
to the
same
Q. A.
What
are the characteristics of the
is
medium
all
register
Medium
^^'^^'"'
The medium
equal in extent in
is
strength and quality.
It
female voices, and differs only frequently weak and veiled its extent in practice
;
in
is
from
tfk
^^
.
-
|
the notes below being devoid of power.
tJ
Q.
^What of the head
is
register
?
Head Register
A.
This register
the
highest,
and
its
sonority
is
the
most remarkable,
particularly in sopranos.
It invariably
begins on one of the notes in this third.*
its
ij
r^
^
—=
Contraltos
Cto
not often possess more than a third of
extent
.
-&
mezzo-sopranos
rise as
far as
^
^^ ~
and sopranos, of whose voice
it
is
distinctive, rise to its limits, generally
/U
t)
(for rare
high notes see page 10)
Q. A,
How
I.
do you compare the three registers ? The medium notes are weaker and more veiled than the corresponding
Comparison of
Regist^
chest notes.
2. They cause a comparatively much greater loss of breath, which is the Requiring a less vigorous contraction of the glottic reason of their veiled quality. lips than the chest notes, a relative relaxation of the vocal cord is felt when the
voice peisses from the chest to the
3.
medium on
is
Tne
is
point of sensation for the
the same note. same sound emitted
felt
{i.e.
mixed
tone.
H.K.)
point,
alternately
by the two
this
registers
not
identical, for there
a sudden displacement
this
of
accompanied by a shock of the larynx, and
higher the note
4.
is.
sensation
is
the
more marked the
in
Though
theoretically these
two registers! may have a ninth
common, from
B
to
D flat,
•
practice only admits a third
i w
s>-
The beginning
"mixed tone" forming the bridge between the medium and head i The chest and medium.
of the head register within the limits of this interval should be understood to imply the blending notes or (Note. K.) registers.
H
.
—
JO
5.
HINTS ON SINGING.
following results
The comparison of the medium and the head registers will give us the The medium does not possess the same power of penetration as The difference shows itself at once from the point of junction. In the head register. in weak or unhealthy organs the robust organs, the two registers blend with ease The first two or three notes are inclined to break. This uniofi is often troublesome. Here is a table showing how the (s one of the difficulties in the contralto voice.
: ;
registers are distributed
:
—
HINTS ON SINGING.
—
II
.
And
here
is
a table of the combined extent of the
Head.^£
human
voices
If?-
:
m^
Chest.
"C
i m
*'
22;
:«aE
:4te2:
£=£ ^
-^. This 5th is very iz rare, and when not spontaneous must never be attempt-
^ _ =
th-i
Table of
Voices.
Human
ed.
.^. Medium.
Q.
Why do
you give
several notes to indicate the limits of
registers
?
A.
Because the
limits are not invariable
Q. Can a teacher change at will mezzo-soprano into a soprano, or raise the pitch of a baritone to that of a tenor ? A. The experiment has been tried, and, when the subject has been young and vigorous, a short success has seemed to justify the attempt, but, if not stopped in time, the final result has been the inevitable ruin of the voice.
8.
and depend on the state of the vocal cords. the pitch of a voice and turn a c6ntralto or
Altering a voice
TIMBRE.
Varieties of Ti'mire.
meant by Timdre f A. Every sound of the voice may assume an from intensity. Each of these is a timbre.
Q.
is
What
infinite variety of
shades apart
How
produced
Q. A.
What
They
produces the variety of timbres?
are due,
first,
to
permanent causes that
third, to
affect
the voice of each
;
individual, such as the constitution, age,
health or disease of the vocal apparatus
secondly, to the action of the glottis
;
the changes of form in the tube which
the sounds traverse. Q. Can you explain these changes? A. 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.
Q.
A.
How
is
a student to select from
among
these intricacies of timbre?
Open and
7 imSres.
closed
The timbres mav
be divided into two classes, the clear (bright), or open, and the
These two opposite qualities are obtained principally through the agency of the larynx and the soft palate. The movements of these two organs are always in a contrary direction. The larynx rises when the soft palate falls, and when The high vault produces the dark timbres, the the larynx falls, the soft palate rises. arch rises when we are in the act of yawning, and lower arch the clear ones. The
dark or closed.
falls
when we
are in the act of swallowing.
Clair
iBright).
Open— Timbre
Closed— Timbre Sombre
(Dark).
Fig.
Fig. 12.
Vertical section from the front to the back of the head, showing depression of the soft palate and a high
13.
soft palatp
Diagram of the same parts, showing the raised and the larynx depressed.
position of the larynx.
IZ
HINTS ON SINGING.
£Sh
Fig.
14.
£%
Fig.
15.
The
space between the tongue and the palate as
seen through the mouth during the production of the dear (or brigbt) timbre.
space between the tongue and palate aug mented during the production of dark timbre.
The
Q.
What
exercise will give
command over
the various timbres f
A. This: In the same breath, on the same note, and on each of the vowels a, e, i, o, the student must pass through every shade of timbre, from the most open The sounds must be maintained with an (or bright) to the most closed (or dark). equal degree of force. The following table shows what change each vowel undergoes the process must also be inverted : in passing from clear to dark
;
A
E
approximates to
„
„
o.
eu in French. „ u in French. I „ „ u in Italian. O „ The Italian I and the French U in the head and high chest notes must be rounded rather more than in speaking, or their tint would be unpleasant. Carried to excess, these timbres would render the voice respectively hoarse and hollow, or harsh and trivial, like the quack of a duck. The student should thoroughly understand that the ring or dulness of sound is»
and mechanism, completely distinct from the open and closed timbres. ringing and dulness are produced in the interior of the larynx, independently of the position, high or low, of this organ, while the open or closed qualities of the voice require the bodily movement of the larynx, and of its antagonist the soft
in effect
The
Hence, any timbre may be bright or dull.* This observation important for the expressive qualities of the voice.
palate.
is
most
9.
PREPARATION FOR EMITTING THE VOICE.
Q. How do you prepare for emitting the voice ? A. By giving attention to the position of the body, the separation of the jaws» the shape of the throat, and the breathing. How would you describe the position of the body ? Q. A. The body must be straight, well planted on the feet, and without any other support the shoulders well back, the head erect, the expression of the face calm. Should the mouth be opened wide as a means of obtaining power and beauty Q.
;
of sound
}
This is a common error. The mouth should be opened by the natural fall of the jaw. This movement, which separates the jaws by the thickness of a finger and leaves the lips alone, gives the mouth an easy and natural form. The tongue must be kept limp and motionless, neither raised at the point nor swollen at the root. The exaggerated Finally, the soft palate must be raised as in taking a full breath. opening favours neither low nor high notes. In the latter case it may help the the face loses charm and the voice vocalist to scream, but that is not singing assumes a violent and vulgar tone. The real mouth of a singer ought to be considA.
;
ered the Pharynx
Compare observation on "Rin^infj and Veiled
Sounds.'" page
7.
—
LIBRA"
HINTS ON SINGING.
Q. A.
I3
Why
so
r
Because it is in the pharynx that is found the causation of timbres. The Still, if this door were facial mouth is but a door through which the voice passes. not sufficiently open, sounds could not issue freely. Q. How can you regulate the opening of the mouth ? A. Those who find it difficult either to diminish or increase the opening of the mouth will do well to place laterally between the jaws, from back to front, a small
oiece of
Q.
wood not thicker than a pencil. Are there other defects of a similar kind
Yes.
}
;
Defects.
;
A.
the lips for
Pushing the lips out like a funnel protruding the jaws the sake of showing fine teeth, and knitting the brows.
separating
Q. What is the remedy ? i,^^^^^ A. The chin might be held back by a band of paper round the neck, and pinned through the ends in front of the chin. This band, which ought not to be wider than a finger, acts, of course, as a reminder. Any one afflicted with these or kindred habits should sing before a mirror. Q. Have you anything to add to what has already been said about breathing? Manner of '^^' '"^' A. It may be added that when the lungs are completely filled with air, the natural tendency is to be quickly rid of the super-abundance. Consequently the sounds at the then they become weaker with the lessening of start are strong and often unsteady The majority of musical phrases demand the opposite method. On this the breath. account, the pupil should begin with a small amount of pressure, increasing it graduThe even flow of a long phrase, a long passage of ally as the supply of air diminishes. agility, the stability of a long note, all require a continuous and well-managed
;
pressure of the diaphragm.
locale to be considered ? steady pressure is especially felt in large Certainly. The necessity for a Air given out in jerks does not travel. halls and in places bad for sound. moderate and prolonged pressure, on the contrary, gradually puts in motion the whole mass of circumambient air the faintest sound, given in this manner, if not
Q. A.
Is not the size
and sonority of the
Sze oiucait.
A
;
drowned by the accompaniment, will reach the ears of the most distant {Maria Celloni.) sa respirare sa cantare."
10.
auditor.
"
Chi
THE ATTACK OF VOCAL SOUNDS.
'
Q. A. Q. A.
Q.
What follows after the preparation above noted ? The actual articulation or " stroke " of the glottis. What do you mean by the stroke of the glottis ? The neat articulation of the glottis that gives a
cVottrs."
=^=
precise
and clean
start
to a sound.
How do you acquire that articulation? A. By imitation, which is quickest of all but in the absence of a model, let it be remembered that by slightly coughing we become conscious of the existence and The stroke of the position of the glottis, and also of its shutting and opening action. somewhat similar to the cough, though differing essentially in that it needs glottis is only the delicate action of the lips and not the impulse of the air. The lightness of
;
* It is of the utmost importance that these observations should be careful studied and correctly understood. The meaning been seriously misrepreof the term "stroke of the glottis," which was invented by the author (French couP de la glotte). has a physical act of which there should sented, and its misuse has done a great deal of harm. To the student it is meant to describe precise and clean start be merely a mental cognizance, not an actual physical sensation. The "articulation" which gives the clem, It is the sound itself, the attack of the note, begmnmg to a sound" is not/e« in the throat (i.e.. the larynx) of the singer. action of any sort beyond the natural act ot clear, and true, upon the middle of that note, without preliminary movement or
:
simply to aid the A'.B.-The suggestion of an analogy between the stroke of the glottis and the act of coughing is intended to even think of its application, student in locating the position and realising the functions of the glottic lips. There is no need K^ when articulating or attacking a vocal sound. {Note.
H
14
HINTS ON SINGING.
is
Once under considerably facilitated if it be tried with the mouth shut. The object of this is used with the mouth open on any vowel stood, it may be thai at the start sounds should be free from the defect of slurring up to a note or the
movement
noise of breathing.
Q. A.
These
Q. A.
are the principal qualities of a good tone ? Perfect intonation, absolute steadiness of sound, and beauty of timbre. be considered as the tripod of qualities— indispensable to good style
What
—may
voice production.
How
With
are sounds to be attacked
?
The Italian vowels, a, e, as the stroke of the glottis just described. They will bring out all the ring of the voice. iri the words alma, sempre, must be used. The notes must be kept full and equal in force. This is the best manner of developing the voice.
duration.
At
first
the exercise must not
exceed two or three minutes
in
do you not use what is called the " messa di voce " > " messa di voce " requires a singer to be expert in the control A. The breath and o{ timbres.* At this elementary stage it would cause only fatigue of the
Q,
use of the
Why
10.
FEMALE VOICES.—THE CHEST REGISTER.
register
is it
Q.
On what
best to
commence
?
Unless one of the registers requires special care (as when the medium is If the former particularly weak) the singing of tones may begin on the chest or medium.
A.
be adopted, the notes from
yet
it
j
gjt
in contraltos,
seldom
offer
any
difficulty
•
sometimes happens, when the voice has not been exercised, that medium notes only can be obtained.
Q.
What
The
is
the cause
.?
A.
lips
of the glottis do not
should be tried
first.
come
into close contact.
These notes
e
m i
efficaciously
If the (Italian)
vowels a and
should not act
on the
glottis,
the vowel
i
should be employed with firmness, but without
violence.
Development of
Chest-Tone.
Q.
Will this method suffice
?
ringing quality characteristic of these notes doubtless will appear The first sound being well established, the study should proceed after a few trials. or F sharp in descending, and to E in ascending. by semitones to G
A.
The
The next
and
fives,
step
is
to
group these sounds within the range by twos,
threes, fours
thus : t
See " Messa di Voce," page 39. u. v u i ». Sopranos would begin a tone or even two tones higher, but in tnai + This exercise is chiefly intended for low voices. case limit the study to three or four notes, so as not to carry the chest voice too high.— {Note, H. K.)
•
—
HINTS ON SINGING.
—
15
^^m.
The same
exercise
:^z±:i^
^^
A
;
may be tried beginning on flat and A natural. long at a time should beginners sing ? Length of Q. A. Not longer than 4 or 5 minutes but this may be repeated three times a Beginner"' If it causes the slightest fatigue it must be stopped at once for the rest of the day. day. Q. Are the chest notes above E difficult in women's voices ? Limitation of A. Women, whose vocal cords are one third shorter than those of men, have it^gfster" greater facility than any tenor for producing the chest notes above E but that part of the voice, constantly employed (as happens in music written for women) would in a comparatively short time iniure the whole instrument and reduce it to the state of
How
;
a "broken
voice."
{See below
"Abuse
of the Chest Register").
11.
THE MEDIUM REGISTER.
L^^ka
'" '^e
Q. What is to be done when the medium is veiled, and lets the air escape by continuous leakage ? a A. The leakage is caused by the lips of the glottis being imperfectly closed. The ring can be obtained by attacking with a sharp stroke of the glottis every sound
e of Air
Medium.
of the interval
I^ 5
j,
^"1
:^22-
in the Italian vowels,
thus
:
J'^iJ^
J'\S^ J^^^
-t^^
a simile
e
i
The Italian i being the most ringing vowel, the same pinching of the glottis* which gives it its brilliancy may be employed to give brilliancy to other vowels. Passing from a ringing to a dull vowel on the same note may also be recommended Ex. ia, ia, ia, ie, ie, ie, io, to, to. to improve the latter. Is there any cause for weakness in the medium besides the nature of the Q. organ A. The abuse of the chest register, which sometimes has so weakened the
:
Abuse of
th
Chest Register.
medium
Q. A.
notes
as to
How
By
it almost disappear, can you restore it ? reversing the study of this portion of the voice and beginning with the The
make
Remedy,
22:
:fe
which
will
be about
all
that can be obtained.
The
student
there
must exercise them
•
till
they are well established, then descend to the
A
or
A flat
;
This expression refers
on
p, 3.
to the closing (and tightening) of the lips of the glottis described in the author's important footnote In the singing of the vowel i (ee) it is quite a natural and automatic process. [Nott. H. K.)
—
16
HINTS ON SINGING.
the student will do well to stop and to repeat the sounds both separately and in groups of
Two and three
notes, thus
:
-^
(Zf
g^IZ&XZ
<^
bo
r2_,s>_&c:^
:
ca
gy
^ g
>
rs?
g ^ —G
,
&C.-
I w
Development of Medium Tone.
2z=:fe
22:
22:
:&c^:
'^
^
"
P fii
zesL
22;
iT&c:
Each group
is to be repeated several times in the same breath. Q. How long must the practice last? A. At least a fortnight. As soon as the pupil can master these notes, the G then the F sharp, F, E, and E flat, or, if possible, D, and even must be attempted The voice will the more easily descend, if the pressure of the breath be weaker. lower. A strong contraction of the chink would infallibly bring back the chest notes. Q. Do you imply that the process just described would only produce dull notes ? A. Just so, dull and veiled notes. But they must be accepted as the outcome
;
until the
medium
Q.
What
A.
We
thoroughly established. done next ? must try to impart to the notes brilliancy and volume.
is
is
to be
That
is
done
by
returning to the practice of the process to correct veiled sounds.
(See preceding page).
What becomes of the chest register during that period } Q. A. During that period, which should last five or six weeks, not one chest note must be used. Q. What is meant by the transition from one register to another ? A. The passing of the voice from the chest to the medium register or the reverse. Nature has sometimes rendered the transition smooth, but in most cases
facility is the result of
long and attentive study.*
?
Q.
Which
is
the best place for the change of registers
A.
rounded,
The
it
best place
is
between the third
-trcr
and,
if the
chest note
is
will assimilate itself to the
medium.
12.
THE HEAD REGISTER.
;,
Unity of Tone-colour through the Scale.
of the head register ? This register forms the purest and brightest portion of the soprano voice but frequently the charming softness, so pleasing in the high notes, is per\'ersely turned into tormenting yells that almost injure the ear of the listener. Q. When singing a long scale, say a twelfth, do you keep the same tint
Q. A.
What
throughout ? A. If the exact timbre-sha.de were retained from top to bottom of a long scale To satisfy the ear with an impression of equality, the effect would be discordant. must increase the roundness of the high notes, and the singer by skilful gradation
reverse the process in descending
*
For exercises
to
be used for blending the chest and
medium
registers, see
page
21.
—
HINTS ON SINGING.
I?
?
1
QBut does not this method introduce a real inequality in the vowel sound
1 • 1
Graduation of
A,
It
does
;
and the apparent equality
ol
the notes in the scale will be the result
1
-11
1
1
^ow€l Sounds
intheScaie.
Without this manoeuvre, of actual but well- graduated inequality of the vowel sound. which are suitable to the higher notes, would extinguish the the round vowels
ringing of the middle and lower notes, and the open vowels which give iclat to the lower would make the higher notes harsh and shrill. The neglect of this proceeding
causes
many
voices to appear unequal; but,
I
repeat,
it
must be used with moderation
and
taste.
13.
MALE VOICES—GENERAL TREATMENT.
?
Q
A.
Italian
How
vowels
are male voices to be treated
Basses, Baritones,
and Tenors should commence
their daily study with
glottis*
low
and easy notes.
These should attacked with the stroke of the
on the open
Toobtainafree
as they sound in the words alma, fede. should you commence with d>n open timbre? Because, in order to render the voice free and strong, the clear timbre is the A. most efficacious with the vowels just indicated. Basses and baritones should rise as
a, e,
Q.
Why
far as
^
The open and
"^
T"
^
"
tenors to
^
?
y
^^-,
<rj
^^
iif
I
Q.
Are these high open notes
free timbre,
easily attained
A.
a long, patient,
which sometimes comes spontaneously, demands and careful study from singers who have veiled? their organ too much.
have great
difficulty
in giving the third
Formation of
Those with
this habit
^
otherwise than veiled, f and even then with effort and fatigue. Q. Can you recommend some other method ? A. The Portamento. (See page 20). The student ought to start from a bright
slur brilliant and ringing. note, and carry the voice to a veiled! one, keeping the notes are also Short scales of three, four, and five notes, commencing from bright
useful.
Q. Are not the chest high notes in clear bright hX"?Ilo'tes. slight veiling of A. When once the organ has been formed to the clear ttjnbre, a quality. the vowel will suffice to relieve the sound of its shrill or sharp long ought this study to last } Q. How least symptom of fatigue or unA. No more than ten minutes at a time, and the
shrill
?
timbre very
easiness should be the signal for a long repose.
14.
FAULTS IN VOICE PRODUCTION.
?
These are the most Guttural sounds, nasal sounds, tremolo, slurring. as shrieking, whining, weeping qualities striking others, such as flat, hollow sounds, or easily corrected. of voice,'we only mention in passing, as they are Guttural Sounds. objectionable of these faults ? Q. Can you define the most is noticed when the root of the tongue weighs on the A, The guttural sound of the sonorous waves. epiglottis, and that organ is pushed into the path
Q.
What
;
are other faults
A.
• t
See note, page
13.
..
The term "veiled" here
signifies
darkened or
^ u i^ > covered. —[Note, H. K.)
,,.,,,
I8
HINTS ON SINGING.
Q.
Is there a cure for this defect?
A Remedy.
The tongue must be kept limp, as it is when the yawning, or when breathing through the nose. The vowel " o." or the Italian u " may serve, or the tongue may be forcibly kept in its place by the handle of a spoon. These methods are good, but they require a fixed resolution to keep the tongue absolutely flat, loose, and still. Q. What is the tremolo ? A. The trembling of the voice.* This intolerable fault ruins every style of singing. Q. How is steadiness of sound to be regained when once lost ? A. As it arises from. successive jerks of the diaphragm and the oscillation of the larynx, or both, its correction is obtained by keeping the air submitted to a steady pressure of the diaphragm, and the larynx perfectly quiet while producing a sound. Q. How can you become conscious of the agitation of the diaphragm ? A. Any agitation of that organ is felt in the pit of the stomach, and experience proves that if the latter and the larynx are kept free from agitation, the unsteadiness of the voice ceases but both to be detected by the singer, require a keen observation, and, to be cured, an unyielding will. Q. Is the tremolo difficult to correct } A. It is very slow to cure, especially when it is brought on by the abuse of the chest or head registers. Q. What is a nasal sound ? A. Sounds become nasal when the soft palate is so much lowered that the voice This defect may be detected by pinching resounds chiefly from the nasal cavities. the nose while singing. To correct it, the soft palate must be raised as if yawning. Q. What is slurring the attack of a sound ?
A.
vcry
difficult One.
it
A
mouth
is
shut, also as
is
'*
in
;
A.
is
the act of
if
Next to the tremolo, it is the most universal and most distressing fault. It commencing a note by a rising slur. In correcting this habit, we must
If with a vowel, the note the note begins with a vowel or a consonant. a clean stroke of the glottis if with a consonant, the noise of the
;
notice
must
start with
consonant must begin on the exact intonation of the sound.
15.
FATIGUE OF THE VOCAL ORGANS.
ascribe the fatigue of the vocal organs
?
ailments of the vocal organs which concern the Besides the swollen tonsils, elongated uvula, tumours, polypus, anaemia, &c., physician colds, The practice of there are other causes such as misdirected study, or overwork.
different
Q. A.
To what would you
—
singing three or four hours a day will ruin the most robust organ three half hours a day at long intervals ought to be the maximum of study, and should give flexibility
;
Yet, if this should cause the least appearance of lassitude without risk of fatigue. uneasiness, it must be reduced, or stopped at once. or Q. Are there any other symptoms A. Hoarseness, relaxed throat, languor of the organ, which refuses to execute passages generally possible dryness or heat in the throat, difficulty in swallowing, fatigue after a few minutes' exercise, all these symptoms may quickly disappear after a little rest, with good simple substantial nourishment Should they persist, a doctor
.-'
;
must be consulted.
Notes of warning are constantly being sounded in the course of this work. All must be sedulously heeded, but none For every defect of method or fault of style a remedy is in this and the succeeding chapters. provided, nor can its value be overestimated. It is clear, however, that the author regards "prevention" as infinitely more vital student than questions of "cure." The latter is never absolutely certain, whereas, by avoiding mistakes at the outset and to the eschewing excesses of every kind, the singer need never apprehend serious trouble and is in a far better position to accomplish the labour essential for becoming a true artist.— UVo^e. H. K.)
•
more than those which appear
HINTS ON SINGING.
Q. A A.
I9
Advantage ©r Enforced Rests
Will not the voice lose its quality through interruptiner study? r r J j r n .t. 1 he cessation ot work lor days and even for weeks will not occasion the loss on the contrary, after an enforced rest, when work is resumed, actual of past study progress seems to have been made. To insist on singing while the voice is suffering
-ru
.-• 1
,
•
1
;
may
produce the worst results. Has the study of the piano any influence on the voice ? Q. A. A bad one if it is prolonged four or five hours a day. This, continued through the period of growth, keeps the vocal organ in a constant agitation, which, though quite imperceptible to the executant, weakens and exhausts the vocal instru-
pfMo"^praciice.
ment
Q. Has ordinary speech any effect on the voice ? A. Singers should be chary of their voices, speak little, and not read aloud. "Clergyman's sore throat" is a well-known result of the latter exercise. "Silence is
golden," should be the singer's device.
sparing in Speech.
Q. A.
scruple.
What is the use of transposition to singers ? To spare the most delicate and precious qualities
It
i
ran^poMii.m
of their voices, the velveti-
for singers, and ought to be used without be fitted for transposition, and would be disfigured by alterations, it would be better not to sing it than risk forcing the voice. The violent efforts required by a single air might be, and have been, enough to ruin a career. Q. What precautions should a singer take against climatic influences A. He should avoid sudden changes of temperature, never sing in the open air, and when passing from a warm to a cold temperature, especially after singing, he should protect his mouth and breathe through the nose ; in a word, if he desire to attain fame and secure wealth, everyone of his acts must tend to promote the healthy duration of his organ. "Chi dura vince" (He who lasts will conquer) Have you no observations to make on food and clothing ? Q. A. It is hardly necessary to remind the student that without nutritious diet and warm clothing the voice will not endure.
ness and the freshness.
was invented
If a piece should not
.?
fnfT^''"
Food and
Clothins;.
16.
STUDY OF AGILITY.
Q. While the faults of emission are mending, is there any other study to be pursued ? A. The acquirement of agility. Q. How is this to be obtained ? A. By the study of diatonic scales, passages of combined intervals, arpeggios, ^,^j^r<='^s to chromatic scales, turns, shakes, light and shade. Q. How long will this study take ^ A. Not less than two years. Q. Is agility the only result of this study A. When properly directed, it renders the organ flexible, even, mellow, besides whataflexiw* strengthening and preparing it for the florid style as well as for the plain and decla- achieve, matory {canto fiurtto, canto spianato, canto declamato, see page 75). Q. Cannot singers avoid all that trouble ? A. They cannot, but they do. Anyone who wishes to obtain proficiency in the art can no more avoid this amount of study than a violinist, a pianist, or any other
"i
20
instrumentalist
pieces.
HINTS ON SINGING.
A less ambitious singer may be content
if
with ballads or nota e ^arota
But even
the singer be gifted with a fine voice and talent, the organ will
culture,
show the absence of
Good
Vocalization.
by the uncertain and
irregular
manner
}
;
of uniting and
colouring the sounds. Q. What are the elementary qualities of good vocalization
A.
Q. A.
Firstly, perfect intonation
:
;
secondly, equality of note-value
;
thirdly, equality
of strength
The
Legato, Marcato, Portamento, Staccato and
Aspirato.
fourthly, equality of degree of legato
and
?
fifthly,
harmony of
timbres.
Are
there
many ways
:
of executing passages
There are five ways First, the legato, in which notes should flow distinctly and evenly, " perldes," i.e., smoothly, without either gliding or aspiration. This is the dominant characteristic of good vocalization all the others may be considered as The legato requires no special sign or indication. Next comes varieties of colouring. which means that an accent should be given to each note. This is prothe marcato, duced by pressing slightly on the pit of the stomach, causing a sort of rebound for every sound it may also be obtained by giving a vowel to every sound. This accent, which proceeds from forte to piano, is indicated by placing these signs TTTTTT o"
; ;
a passage
—
HINTS ON SINGING.
21
The third and seventh degrees of the major scale are often flat, more particularly in All the the augmented fourth, and the perfect 5th in arpeggios. descending dissonances and chromatic intervals also require special care. Must the pupil sing the exercises only in the key of C ? Q. A They may be transposed into as many keys as the extent of the voice will conveniently permit. The pupil must curtail or suppress those which exceed that
;
^fTxeST
extent.
18.
STUDY OF SUSTAINED TONES.
:
Q. A.
What kind of scale is to be used when studying single sounds ? The chromatic scale, comprising the three registers, limited as follows
C/iest register.
— This register which,
different
—
t^ltiliug singi«
5>ounds.
in the three voices, contralto,
mezzo-soprano,
and soprano,
for all three.
starts at
points,
must stop on the same note
would injure the organ.
g^
If carried to its
upper limit
register
it
Medium
register.
if
— This
this
must begin on
for the three
voices, or lower
possible.
Head register.
beyond
— In
elementary study, the head-notes must not be extended
i^^^
generally
for contraltos,
^
-Q
"^
ss>
for
mezzo-sopranos, or
-f ^\
S^
for sopranos.
Men
employ only the chest
basses
register,
which
in
this
study ought
J=2..
not to embrace more than a twelfth
:
^
baritones
y
g
IOl.
—
.£2-
tenors
Those who would study
as
in the falsetto will
have to do
it
on
the
same notes
women,
head
this register being, in
childhood.
available,
As
for the
voice, with rare exceptions, very
for tenors.
men, the remainder of the voice of few notes are generally
and these usually
19.
BLENDING THE REGISTERS.
:
Q. A. passage
medium registers to be blended ? bierdin^thT ^"'^ passing repeatedly from the chest to the medium, and vice versdr This ^l^^ lium Registers. will take place on the following exercises
are the chest and
How
By
One Tone.
Half a Tone.
r
-rzt
On
r
the
I **
same
note.
*
*^-
arv^^-yr
^
:&ci
I
Some
notes,
common
to both registers, are preserved to facilitate the transit
and meet
<he requirements of particular passage-^. At the first succession of notes must be short, and sung very slowly.
Later on a
long succession
the medium•
may
reach
T
= 100 of
metronome.
Care must be taken not
_^__^^___^^^_—^.^—^^—
—
to aspirate
.^^—
if
Although the term mixed tone \voxx mixte) is not used by the author it is obvious ihat these exercises for the lower refiisters were intended for the express purpose of developing and strengthening this particular tone which by correct breathing and well-rounded vowels will iorm usell io » perfectly easy and natural manner —(Sate H hi
blending Delped
—
22
'
—
HINTS ON SINGING.
20.
THE PORTAMENTO.*
Exercise on the Portamento.
i
^
r^_)'._r i-
u ^
xa:
-^^^-f^
::p2==
:^
^-
%
$ m=^
'•'^
^
:^
21.
r^:^
^^
_ri
BREATHING
IN EXERCISES.
.?
Brfa"th 'ii"^
Q.
How
do you regulate the breath when singing exercises
it,
Exercise*.
^
Whcn
the pupil cannot sing an exercise in one breath, he should not take a
hurried inspiration in the middle of
but stop on the
:
first
note of a bar, employing
the rest in refilling the lungs, example
JJ'^dJ
¥=^-rr-r^n^H^ i S
:e=^
J-y\^
^gi
—
p
^^s
^itit jT^*^ it^
zm
^^^^^m
Q. A.
the
first
^
A
hurried
What is the object To accustom the
is
pupil to
of these frequent and long pauses ? fill the lungs slowly and amply.
agitated.
;
inspiration
noisy, short,
and
At
first
the pupil
may
stop after singing
after the third
note of every second bar
or fourth bar.
*
later on it will suffice to stop At the outset the following exercise for the
63..
For remarks on the Use and Characteristics of the Portamento, see pages 58 and
HINTS ON SINGING.
22.
23
PREPARATION OF THE SCALE.
the
Second
i Ez -^
mm
rt
1
Z3SZ
II
II
1
1
1
1
M
i|
HINTS ON SINGING.
23.
*
PRACTICE OF MAJOR SCALES.
Ninth.
OcUve.
"Wtiut
Scalm
i
r
I
g
:a5:
I^=
Twelfth.
»
Seals Passages.
)=&
P'^^n^i^^
SE
1^
•
When
taken quickly these scales on the "octave" and "ninth" should always be sun* twice in a breath.— (jVote. H.K.)
^
HINTS ON SINGING.
25
^^
F=F
1^^
—
J
f
I
^^m
^^
fj
j-
-»-*
^
at^t;
Itl3t
:g:
^
J3=
^^^
:^=?
|:g^^^g^
^
J=t
^^J^
^^ 121
26
HINTS ON SINGING
^
/fiV.
^
^
I
:g\
-
tJ
(
-
I
-
—
I
=^^^
atit
^
»l^
^
24.
ta:fe^a:
5iF^
^
PRACTICE OF MINOR SCALES.
Q. A.
Harmonic and Melodic Minor
Bc-ale
Have you any remarks to make on the minor scales ? The 6th and 7th degrees need special care in both scales.
Passages.
P E^.
-^-^
S:
--it-
23:
I
^^t^
li^
^-
TOT
rc3z
^
33:
3t±
cc);
r^
^^^
——
^
=
HINTS ON SINGING.
255.
27
RUNS OR
"DIVISIONS."
3ti:^^
i'J'''r'rr
£^
^
i
-»-
On Two
Notes.
j^'r^^T^^?^ ^*^
ffi
* ^-^ * J
I
i
I
J
——
**^* «--^
T'
^*
J ^'
^ J r^-r^ J *J* • J*- M^t=t* "^*^
I
I
i
'
J*^
—
^_ # ^ »
—
On
Triplets.
On Four Noies
up the Scale
•
*
iunfi first up.
The runs bearing corresponding numbers on this page and the then down the scale each in a single breath. iSote. H.
—
next are to be sung in s'X(«ssion.
K.)
Thu« No
I
tbould tm
28
)n
HINTS ON SINGING.
Pour Notes
the
•wn
eale.
l-y-^rjT-
LLLT
LiS
|
if^lH-^
g^-^rf^?:3:jJ.
^l=ir^=i=i=^
^-T^
^niLl l r^iLi^p^f^^-^^
g
E
'
^-^^-^^^^
^ ^ fe^ ^^^
^
J.i;JJ"ij3
s^
^ J
1
^
i
S=C
¥
f
^^
F-
On
Six Notes.
s^
rtfc
-*4-H-
ri
^^^E
Eii
-MM-
Examples.
On
Eif;hi
Notes.*
*
student
The author intended each line of these runs to be sung in a single breath. Should that be found rather trying at first, tha may take a rapid "half breath" after the fourth group, without, however, interrupting the run by a perceptible pause.
\NoU. H. K.)
HINTS ON SINGING
eii
^
r
m
Examplet.
Each
a and
b'.
repetition of tbe following
must be taken a note higher, as shown by Exs.
^
\*
-
»—
Extended Ranti
30
HINTS ON SINGING.
a^
^
1
1^^
:?^
^~JTj^
* J *L
^ J
i^
^^g^^^;^
:^
5
M
z=^a:
S^
HINTS ON SINGING.
3i
7v
'
*^jjn
1^
3*
HINTS ON SINGING.
^>j;i^jjJ4'Ji^>^4%!
i r^
of
Legato and
Staccato bounds.
:&c.:
V
o
*
I
*
^-
^P
n=&c=i:
=p
5
7
5
8
"•
iftc
^Tt I^at
forte
—— *-«;
8 notes).
t—
afterwards
fou«"
Every note having received an accent, the piano and we interchange the accents (Exs. of 6 and
six, or eight
ought to be alternate, and
Any
other exercise
notes admits of similar combinations.
Q-
^
and
What do you Understand by legato and staccato sounds ? That thcse two efifects may bc Combined as has been seen with the piano
forte.
-jt:g.
t3t
Where
notes are united in groups, the last note of the group must be quitted as soon
as touched.
Q.
What
is
the use of
all
these combinations
?
A.
They form an abundant
life to
source from which the singer
may draw
the brilliant
colours which will give
his or her style.
Note once more
*
that breath,
where needed, must be taken as previously suggested.*
"Breathing in Exercises."— This and the following exercises are intended to be sun« rapidly both in the Ugaio and staccato manner. Sopranos should practise them a third higher, and, in working to perfect the aiaccato. limil bemselves chiefly to the head retiister.— UVote, H. K.)
Compare
21.
TIINTS
ON
SINGING.
33
On
the Interval
Fouith.
m
:g
..^
Jr-
-^
^
——
5
.
-
—^
1
rj.
.
d
—
,-«
i_
.
—
34
HINTS ON PINGINa
Interval of the
Fourth
(cent.)
P~"
27.
ARPEGGIOS.
How are arpeggios to be sung ? In singing arpeggios* the voice must pass with precision and firmness from one sound to another, whatever the distance between, neither aspirating, detaching, nor slurring, but executing the sounds as in playing the organ.
Q.
A.
Advanced
Arpeggio
Exercises.
)
m^.
I'
a
*^
. |.^^
I
^
IJi* >l
!
1
1
1
*'J*'
t^
M Si*! » <—*:3t .4.4^ «ii^"^-
^J
l
'.
M
i
^gy-^
I
m
^a
jzL-
3l
^^^^^^ ^
?
i
J
may b«
• Simple arpeggios (sung both legato and staccato) on the notes of the common chord, or inversions thereof, practised with advantage before trying these more advanced exercises. ^Note, H. K.)
HINTS ON SINGING.
3S
^^
^&
^•fJt
^^
^
?=:
-"r
5^^:^ itd^^
m
t
J=
—^
I-
•**av.
3^
^ ^ 4^ ^^ i w^
fi
^
^
^ ^m
I
f^
:}=:
%!-
J jg.
*J
i I
1*1
1
r
1
fl
I
i
36
HINTS ON SINGING.
28.
CHROMATIC SCALES AND PASSAGES.
chromatic scales and passages require any particular attention ? They do. They are only pleasant when absolute purity and firniness oi intonation renders each note of the passage easy of instant compreher«ion. Dissonances timidly given produce the effect of false notes. In descending chromatic scales we nearly always introduce too many sounds, showing that the intervals have been less than semitones. We facilitate a correct intonation by playing the notes on the piano, and also by grouping them by two, three, and four tones, and fixing in our memory the first note of each group this note, which acts as a land-mark, must
Q. A.
;
Do
fall
Chromatic scales must be studied very slowly and carefully for on a beat weeks and months, and even when sung in public they must not be hurried if
is
caterwauling
to be avoided.
Chrom&Uo
Scale in
Sections.
^^^^*^
^'
On Octave.
J^
-
f'
=^
M
n
On
Twelfth.
—
HINTS ON SINGING.
^
le
FigJia^^
J^
^
37
Chromatio
Triplets.
*-*-
-^
^^
*
—
^
nir'
r*
#
I
=t
^m
In these long passages breath must be introduced as indicated on page 22.
J'
'^
i^
J.
J^^t^ '«» — « "vfi- *
-«r
*^l?* *" *
H
•
-±
"^^j-"^-^
gs3^»vj~rE
^fe-
Chromatio
ArpegCioSi
^g)^^
i
-^g
|fe
I
b^
?
_A^
iSc
,,
b^
^
t>^
^^
^^-sr^
*-^'^f
mr^-
^
t=a
b
^
n
i
^^=tr ^'
!
r^
I I
^
t;!^
ijyg"
;^P
^
Ji
^^ wrA
.-'4--
I
I
I
,
I
.
LibJiW
^?^
»x^
-*
3
:f:
^rn^
^
^s j^^^^S
r-:
u^' it*r t.T
^^^ U
lO'
(\
^^^^
^^^
Chromatic Cadenza.
R*-
^
3bt
-r*-
^
I
r
-
^=^
:
^»^'- *^
&^S
>
^w
..
^^
—
A ^ n-a
—
.
.
—
HINTS ON SINGING.
29.
39
&C..
Sweiiedend
THE "MESSA
DI VOCE,"
REPEATED NOTES,
Are there different ways of emitting sounds ? Besides being equally sustained in any degree of power, sounds may be swelled and diminished, they may receive inflexions, and may be repeated and detached. Q. Will you explain these differences ?
Q. A.
Sound"
A. Sounds of equal power sustain their initial strength with unvarying evenness. Pianissimo sounds, like pianissimo passages, can be sung with the mouth nearly shut Swelled sounds {messa di voce) begin pianissimo and by degrees acquire increasing force till they arrive at their loudest, which should happen at half their length then the process should be reversed. Swelled sounds are indicated thus.
;
—==
,
1^11^==^
in
At
first
it
is
necessary to cut this exercise in
it
half, to
swell a
5'^™^'^ *°' Tenor Voice*.
sound
one breath and diminish
Is
it
in another.
it
Q.
difficult to swell
1
a note while passing on
medmm,
A.
tenors.
or from the
It is
r
medium
difficult
;
1
to the chest
but,
tfie
11
from the chest to the
?
very
once mastered, the change
notes
"TP-
may
be of great use to
They may
practise
on
i w
Q.
-Jhz
-t^Zi^
What
are sounds with inflexions
?
Sonmk^^tt
**
A.
These consist of a continuous
series of small
diminishing individually, while the series
sounds gradually growing and increases and diminishes as a whole. There
are other differences to be found further on.
free note under a pause is generally swelled and diminished enough, though measured, it receives the same treatment.
Robert* (Meyerbeer)
Barbiere (Rossini).
A
;
when long
dim.
iS'nv^j^
va
I
f^'^yl
va
!
K^
spun
-
_
r
Use of the Messa di Voce
^-JT^
-riz^
ta
la
bel
-
la
Text.
It
spun
•
22
la
ta
bel
•
la
I^ ^-^
"
Mitratu (Ros«0. Larghetto. §jt
Long,
^^
4
-
*
in
'
^ ^ ^~-Cz I^^ ' "j—
I^;
The
notes
strictly
last
three
must
be
a
me
in
spi
-
ra
•
to
a
me
-
spi
•
ra
-
to
,„
equal in value and well accented.
Undulated sounds
"
are each slightly swelled and diminished with
a dying pro- ^""j^^
longation.
Crociato (Meyerbeer)
L'as
-
p«t
to
40
Repeated Note..
HINTS ON SIMGINU.
QA.
What
are repeated notcs?
A
series of equal repetitions of the
same note
that otherwise
legato.
would have
been sustained.
Repeated sounds unlike detached ones must be
They are obtained by articulations of the glottis, each producing a very rapid appoggiatura of less, if possible, than a semitone. Aspirations must be carefully
avoided.
Q. A.
Q.
Is this sort of
It
;
passage
still
in
use
?
A.
was nowadays a single repetition of a note is only heard. Have you any other method of repeating sounds ? The aspiration is employed, but only when one repetition is to be made.
l -j^TT^in
stac&uo^°'
Sounds.
^ r
'
I
,^
p^r '-n;-^a=m
!30ca
mer
Ad ob
-
te
-
ne
-
re
vos
•
tre
-
oi
"Detached sounds"* must cease as soon as emitted;
brilliant voices.
they are appropriate only to
m ^
Variatioo of
Mme.
Persiani.
i&c
=s^
piii
^^^
non
e
to
Nel
CrvcimU (M ryvlMerV
cor
* » ^
Oh
t^""'
glio
!
^
l
an
US^cor,
>
!»
P »
.
»
!
» f
cor,
t'at
-
xio
-
so
i
^=^
ten
rmiFi\t fm/it fm.^^ ^
•
dean
do
ao
t'at
ten
de,
t'at
•
ten
•
de
30.
SMALL (OR GRACE) NOTES.
Q.
Do
you make any
A.
They
distinction among small or grace notes ? are classified as single and double appoggiature ^ acciauxzlure, gruppettt,
battuta e ribattuta digola.
* More commonly called "Staccato" sounds or notes. As a study for their facile execution, the singer should practita ataccato the groups of notes given as exercises for the " fort«-pi«no " on page 32.— UVo/«. H. K.)
HINTS ON SINGINC
41
The
Appocgiats
Q. What are appoggiature ?* A. Notes foreign to a chord. These notes are placed at a distance of a second The appoggiature, as above or below a real note on which they generally resolve. Every note has four their Italian name implies, are notes on which the voice leans. appoggiature, which are the four surrounding sounds at half a tone and a tone above
or below.
Q.
A.
ever
is
What determines the choice ? The descending appoggiatura
in the
is
taken at half a tone or a whole tone, whichis
degree of the scale
;
the rising appoggiatura
seldom taken,
in
modern
as
style,
at
a
tone distance.
is
In
some cases a note of the chord
?
serves
an
IndicatiM
appoggiatura.
Q. A.
How
an appoggiatura indicated
Q. A.
By a small note. What is its value } In common time it
if
and Value.
principal note be dotted, or
thirds of the value.
If the takes half the value of the note it ornaments. the measure be in triple time, the appoggiatura takes two-
This
little
note
may
is
value
when the duration
of the latter
even absorb the whole of the principal note's Finally, the appoggiatura prolonged by a tie
must sometimes be very quick Q. Can you continue your description } A. The acciaccatura consists of two rapid descending notes ornamenting a
note.
The
third
Acdaccatura
The gruppetto, or turn, presents the combination of the descending and ascending appoggiature with the pnncipal note the gruppetto never exceeds a mmor third, and should always be crisply executed.
.
•«**4
«
1't'ij
Exercises oo
the Turn,
;
Q.
How
It
is it
introduced
?
where placed
in the
A.
may
be placed at the beginning,
73.
middle, or at the end of a note.
For application •( the Appoggiatura see pages 66 and
42
(RoMim). Text.
HINTS ON SINGING.
Turn on
.
the
banning
r
of
th^.
note.
£xecutioiL
_««
-
The Turn
Illustrated.
^
Text.
Tut
Creation (Haydo).
to
sor
'
ri
-
de
-
re,
tut
-
to
sor
-
Turn
in the
middle of the note.
Execution.
Not so
correctly.
i
fcjp^
g| r.'^.
De-light
•
^"^ 1
\
\-r^ -^'i>^
.
-i^ 1
ii
r'l^j;
ish'd
ful
to
.
.
the
rav
-
ish'd sense,
X-
ish'd sense,
Semir»mid€ <i*
(Rocstni).
Ending tum. Ee Qg lurn.
^.^^
—
*s
r
^e=br,
J-'.
J
-
As
pi
-
rar
sol
oea
le
i?MMW (Zugartlli).
nel
for - tu -
na
•
to
E
•
li
Turn and
Acciaccatura.
MmtrimoHU SegrtU (Cimarow). Paolino.
HS
1)1
m
ia
' ^ 1 ^
3t
T3C
F
' i J i
'
,
V—/
I'au
-
che spun
-
tein
ciel
ro
ra
in
ciel,
I'au - ro
^S m
Incomplete Turo.
I
I
-r-
I
I
i
I
1
I
=t=
J j
,.
I
i^
If the
executant be not very careful in singing this ornament, the principal
note at the end will disappear, and this passage
^
J
J
J
J
J
•
will
become
Acciaccaucn
^^p 5
f^r r-nrrV'Tf^'^'-T^i Ad
ot
pie
i
31.
IVSbaka.
THE SHAKE OR
TRILL.
Q. A. A rapid, equal, and distinct alternation of two notes at the distance of a major or minor second, according to the position of the trill in the scales. Q. How is it produced ? A. By a very loose and swift oscillation of the larynx. The note that bears the shake is marked with the initial tr it is called the principal, and always combines with the second above at a tone or half a tone. The second note is called the auxiliary a third note placed at a second below the principal is also employed as a preparation and termination of the trill.
is
?
;
;
What
a shake
MndpaL
Aiudliary.
S
R"m
/L
Tenaioadoa.
*?
g
HINTS ON SINGING.
Q. A.
but
43
r
What form
If the
is
given to
will
trills in
diatonic succession
TritbinDiatofii*
movement
Saccenion
allow
it,
every
trill,
either in the diatonic scale or in a
;
succession of disjointed intervals, receives the regular preparation and termination if the movement be too animated, each trill starts with the auxiliary note, the last trill alone ending in the regular way. The student must be able to submit every trill to strict measurement, and even to distinguish and count every pulsation.
Anna BoUna
(Donizetti).
Shake on diatonic
scale.
I
^ ^Sl
col
tr
tr
jf
£
pe»
-
W
^\
V:.
J%
>1t^iJ/, life
^
-
'/\
si
\
=^
da
Shake oa
don
no
sul lab
bro
seen
La Gazsa Ladra
(Rossini.)
P^.
Q. **
A.
note
;
I
?
^.
lie
-
''^^
to
gioi
^
.
•
*.J
•
Diatonic distances
piu
no
How
are
trills in
chromatic scales executed
t
Jf^*" Lhroir.atie
.
In ascending a chromatic scale, each trill commences from the auxiliary in descending, it may begin with the principal note, or with a skip of a third.
^^l^^
tr
Shake turn.
Q.
WTiat
is
is
a shake-turn
]
A.
the turn
The shake-turn
consists in two beats of tlie shake ending with a turn. suppressed, there remains the double beat {ribattuta di golci).
If
Stfntlt. (Handel)
—
44
Shake with
;
HINTS ON SINGING.
tnrn.
tr
i^^^^
his
.S
^ *
*
q^:-3J
i
^
i
qj3a:."'j"jfj*"j^
war
Execution.
I
RerfoobUd TriS.
b
f :5c
his
r
I
r
g * ^
is
'I
^
'I
J ^ r
trill
?
Simile.
war
Q.
What
It
is
trill
a redoubled
or shake
?
trill.
A.
redoubled
the result of inserting certain notes in the midst of a is indicated by the sign ^v.
Repeated shake.
/TV
r^s
The
i
Termination.
*
r
1
<<
32:
:t^=tc
1f=¥=^
-
di
gio
ja
pal
pi
tar
pal
pi
tat
If the inserted notes are not produced with the utmost neatness, rapidity, precision of values, and correctness of intonation, the effect is ridiculous. Q. Must the shake always be regularly prepared and terminated } Preparation and
A.
paration,
Formerly the shake was always preceded by a more or and regularly terminated. Thus
less elaborate pre-
(f^r,,_.^j|.r:,^r:£;.nj
^
tr
Ti-
^H)^
It
ought to be prepared and ended regularly when
it is
long.
pr-T
When the shake occurs at the end of a descending scale, leave out the preparation
:
it is
not inelegant to
i r^
Defects of the
Trill.
JQ
0L^
^ S T^^
tr
3C^
4-
^^:^ ^=0st^
P==^
lie -
EE
ta
?s
che
I'a
•
^
ci
n &
sis
•
\
^
ril
spe
pur
mor
as
te
•
are the defects of the trill ? False intonation, caused by the intervals being too narrow or too wide rattle of the glottis or short aspirations, producing the trill known as trillo caprino 01 cavaUino ; jerks of the diaphragm instead of glottic action and the drawing in of the In singing voice as soon as the oscillations begin, which causes a disagreeable noise. a trill the voice ought not to be drawn in, but decidedly pressed out with the same evenness of timbre as if it were a single sound.
Q. ^^
What
A.
;
Hl^TS ON SINGING.
45
PART
32.
II.
SINGING COUPLED WITH WORDS.
the subject of a singer's training
?
Q. A.
Have we exhausted
Certainly not.
Furfhe^sLdj
Q. A.
What further studies are required ? The study of articulation, phrasing,
expression, and the knowledge of
different styles.
Q. Of what importance are words to melody } A. Music, though the language of the emotions, can only arouse them in a vague and general manner. To express any particular feeling or idea we must make use of words. Hence the importance for the singer of delivering these with the utmost distinctness, correctness, and meaning, under the penalty of losing the
attention of the audience.
importance
of
Meiody.
Q. A.
the
result
What
are the elements of words
° ?
Wo^I"'*
Vowels and consonants.
The vowels
vocal tube assumes while traversed
from the obstacles opposed to of the mouth. Q. How many vowels are there ? A. Though grammarians admit generally nine
unlimited.
i
are moulded by the shapes which the consonants by breath or by sounds the issuing sounds or breath by the organs
;
(in Italian),*
the
number
is,
in fact, Vowei sound*,
Q.
How
is
this
>
'
A. The mouth being formed of elastic and movable organs, has an unlimited power of modifying its shape and capacity, and each change is a mould whereby d particular vowel is formed. Q. Is there any analogy between vowels and timbres ? b^wl'en voweu A. The most intimate. We know that the changes of form in the vocal tube ^""^ ^""^'**determine analogous changes in the timbre. Vowel-shades and timbres are but two
different
names
to express the
same modifications
of sonority in the voice.
The
mutual dependence between Pharynx, Timbres, and Vowels is that a change in one produces corresponding changes in both the others, °^ Q. Is the great variety of timbres of any practical use ? rfmw"" A. They are the physiognomy of the voice. They tell the involuntary emoticns which affect us, and assume a more clear or covered tint, a timbre more brilliant oi
result of this
more obscure, according to the nature of those feelings. Q. Can you explain by any examples A. Vowels will not preserve the same shade of sound
.?
Examples.
in a
as in mockery, in anger as in joy, in regret as in prayer, or in take the air " In native worth " [Creation), or "Endless pleasures" {Semele)
brilliant effect to
phrase of tenderness menace, &c. Let us
;
the bright
in open timbre, which would give a As a further in "Jerusalem" {St. Paul). "Deeper and deeper still" {Jephthah),ox " Are you coming ? " to be put by an imperious illustration, let us suppose the question In each case the same or a threatening accomplice. master, or an entreating lover, ring. vowels would assume a different Q. Would not the modification of vowels disfigure the language ? welf"""' That might be objected, but the answer is that in the utterance of a thought their mutual relation remains all the vowels are modified in the same proportion
both,
would sound vulgar
A
;
The sounds referred to are a (ah); • In the first edition these vowels were quoted, but not in a comprehensible form. and u (as in cool). These are single vo*el i (as in bale); e (as in bell); » (ee); b (as in hot); o (as in old); u (as in wool) in a separate category.— (Note. H. K.) counds; diphthongs stand
: ;
—
46
unaltered
;
—
HINTS ON SINGING.
only as a whole have they taken the tint harmonizing with the passion expressed. landscape lighted by the sun or darkened by the clouds presents quite different aspects, yet every object keeps its place and outline all unchanged.
A
33.
vo^tsounds.
MECHANISM OF THE VOWELS.
some
indications regarding the
«,
e,
Q-
Can you
give
mechanism of vowels ?
{alma,
A. To zeffiro, vortice), and the English a (arm) and o (glory), it is required first that the jaw should be drooping loosely, secondly that the vocal arch should be expanded. The tongue should be flat and limp for the «, hollowed at the back for the o, and somewhat raised in the middle for the e {tregua). The closed / {nero) needs that the discance between the tongue and palate should be lessened, and that the edges of the tongue should touch the upper teeth at the sides. When the kalian and English i (io), ee (free) are to be uttered, the tongue still further reduces its distance from the palate, while its edges are pressed between the lower and upper molars. The closed o {volpe, correre) is the result of the expansion of the arch coupled with a very moderate rounding of the mouth. The increase of this movement will produce the Italian u and the
produce both the Italian vowels
o
English oor
Accent on
Q.
A.
What do you understand by the word accent The importance given to a vowel in a word. Among the various
.-"
inflexions of
the voice, distinguishable in different languages, there are two which most arrest our attention the grammatical and the pathetic. The first is the prolongation of certain
:
vowels
in
the word {accente tonico of the Italian), for example
Nessun maggior dolore Che ricordarsi del tempo
Nella miseria.
:
felloe
Dante.
Live for to-day
!
to-morrow's light,
To-morrow's cares shall bring to sight
—^JOHN Keble.
«
In singing a melody
Functions of the Vowels.
we have
the sound and the timbre.
to add to the prolongation the elevation, the intensity of These three characteristics constitute the pathetic accent
?
..
f.
Q, 7* A.
accent,
What
are the functions of the vowels
Intonation, sustaining of the voice, expression or quality of timhre^ tonic
and vocalization are
ail
entrusted to the care of the vowel.
34.
Definition.
MECHANISM OF THE CONSONANTS.
"What IS the mechanism of consonants } A. We have seen that consonants spring from the obstacles presented to issuing sounds by the organs of the mouth, viz.: lips, teeth, tongue, hard palate, soft palate, These organs combined in couples intercept every issue of sound, or partially &c. When the passage is completely closed the air accumulates behind the arrest it. organs, and it is only at the moment of separation that the consonant is heard as an
Q
—
explosion.
The Italian vowels being the purest and easiest that can be used for vocal purposes, they very properly serve as the fundamental basis for the study of tone-production and for the first attempts at "Singing coupled with Words." This does not mean, however, that our English vowels are formed or sounded upon a different principle. The contrary is the case. But there is this important distinction between the two languages, that, whereas the Italian vowels are all single sounds, the English (with one exception— the e) consist of double sounds or diphthongs. Hence the latter require more care in order to produce the correct proportion, balance, or combination of the respective sounds which form the vowel or diphthong, whilst preserving in full measure the identical volume of tone and beauty of timbre that would be obtained upon the single "free" Italian vowel. A good ear, refined utterance, and clever imitation will alone enable the student to obtain the desired result and so achieve a perfect pronunciation of the English language in singing.— (Note. H. K.)
—
—
HINTS ON SINGING.
Q.
A.
47
vauietie*.
What
/, py
are the consonants thus produced
?
t,
ch (as in chin),
k.
Each two organs can only produce one
?
explosive
consonant.
Q
A.
What
are the other consonants
If the
organs permit an issue from the mouth or nose, the noise of the consonants can continue as long as the breath. Thus are produced the Besides the explosives and the permanent conson/, m, «, th, r, s, s/i, w, x, y, gl, gn. ants, other consonants, called semi-explosives, share the characteristics of both series. They produce a slight murmur which lasts during the very short time taken by the vocal cavity to fill itself with air. These are g (hard), b, d, j\ It is during this resounding that they must be articulated so as not to be mistaken for their corresponding explosives.*
Q. A.
1.
The permanent.
What
are the functions of the consonants ^ Consonants are the skeletons of words Applied to song, they have three
:
Functions of the Consonant*.
distinct functions
2.
To convey the sense of words. To beat time and mark the rhythm by
NoMMt di Figmr0
(Morart).
j.
.
their percussions.
:t2=^
NonAeu and GalaUa
(Handel).
piii
an-drai
far
•
fal - lo
-
ne
a-mo-
ro
•
so,
(',
r
1
C~~t
O
^
-
:i2=tc
the
^^
O
sweet
-
rud
dier than
cher
T.
er
than
the
ber
•
ry.
3.
Through
their varied degrees of
energy they declare the state of activity of
its
the sentiment, just as the vowels manifest
Don Juan
(Morart).
nature.
Allegro assai. REGIT.
E
-H-q- * M ^g-rlJ-
=^=?«=
-»-^ S ^r
-
O De
i,
^
^ #
>
S^=
-P
-fe-
T
l? j^
•<
«^
J»J»'
•U 3tlt
-^K-
S
-=r
* Pupils
^^ F
:^:^^
»
-=t^
--
r
its
^
b5
i^^H-
w-w-
ought to practise each consonant to obtain the correct mastery of
articulation.— (A'o^e by the Author.)
48
HINTS ON Singing.
q_^
O
^
^
U'
=F
^
Que
-
V- iM
gli ^
il
^* r
De
-
i.
car
g§ St:
*]'.^
•;
;:
:
ET
I
&
iic
*:^t
—
:^r:«
^
-^^'-^
-F
t*-
—
HINTS ON SINGING.
and
precise, the
—
49
consonants will be less rapid in a vast locality than in a small onCf double consonants are produced, without exception, by prolonging the silence The which precedes the explosion, as in trop-po, tut-to, and ec-co and by maintaining through the sounds the noise which forms the permanent consonant, as in bel-la, This also is the case when a consonant which ends a word begins the colon-na.
;
word that follows non negar, do not touch, a song gives pleasure. Have you any other remarks to make on consonants ? Q. A. A few on the letters /, m, n, r, d. When they terminate the syllables, if The letters w, n. indistinctly given, the meaning of the word is obscured or lost. receive the nasal twang by closing the mouth with the lips for the letter m, and by The r ought to be rolled when it is an initial, as in r-age, the tongue for the letter n.
r-iver
;
Use
of certain
Consonants.
when
it is
double, as in ter-ror, or
when united with another consonant
to form
In any other case it must be produced by a a syllable, as in pro-digious, gr-ace. This rule, which belongs to the Italian single touch of the tongue against the teeth.
language,
is
applicable to English in singing.
lb.
Q.
STEADINESS OF SOUNDS COUPLED WITH WORDS. How do you define steadiness of sound
-0
?
Definition.
and continuous flow of sound, free from every sort of tremor or quavering. This definition holds good with words or without. Q. How does the want of skill in articulation aflfect singing ? A. If the singer has not carefully analysed and completely mastered the mechanism which produces vowels and consonants, the words, besides being indistinctly and incorrectly delivered, create obstacles which impede the smooth and harmonious flow Moreover, the act of articulation (if not of voice and the facile formation of timbres. well under control) causes a distinct jerk for each syllable, producing agitated and
firm
A, 'A
Steady Flow dl Tone.
detached sounds.
Q.
How
is
steadiness of sound to be regained
when once lost?*
Exercise to secure
Steadiness,
A. The remedy is obtained by keeping the larynx firm and the current of ait uninterrupted from note to note, from syllable to syllable, as if the series of sounds were a single and continuous note. Intoning might prove a remedy. Thus:
i S>
The
—
so
ifOKU di Figaro u at figi
(Mozart).
—
HINTS ON SINQING.
I
Voi
S
-
^
pe
-
=F=F
mor,
33 ll yi=^
Don- ne ve
-
^f r^c^ lT
l -
che sa
te
che
co-sai a
•
de
te
s'l6
I'ho nel
cot
Redistribution of Syllables or
Words.
always possible to keep the words as the composer has placed them ? high notes have to be sung on unfavourable vowels or articulations, or when too many words embarrass the swift flow of vocalization, the singer is at liberty does not distort the sense. to displace and even suppress certain words, provided he
A
Q.
Is
it
When
For example *
:
i?3?rrr^n
e cen- to
fa
-
r6 gio
-
trap car
^
rem
Fi
^
Attack of high
If
it
consoMnt
*
up
to or breaking
be necessary to place a consonant on a high note, there is the danger of slurring on that note. This may be averted by beginning the sound with
the noise of the consonant.
r
if jiziz
^
tjOh
I
-
Aiso.r
:^
oh
Jovo
Jove
P>
o
-
ve,
Contraction of
Towdl.""*"^*
In Italian
it
happens frequently that syllables are
in excess
of the places assigned to
them. This difficulty, caused by the vowels, is easily overcome by contracting two or more, as the case may be, into one syllable. This contraction is regulated by the presence or the absence of an accented vowel. If one of the number be accented, it forms a distinct syllable with any other that may precede, and the vowel or vowels All other consecutive non-accented that follow, if any, form a second syllable (a). vowels are drawn into one syllable {b). In example (f), the note D represents three
notes.
* This permission applies more especially to the florid Italian or Handelian arias. the singer in this respect, as their modem interpreters know to their cost. (Mote, U, K.)
The
old composers
bad
little
mercy on
—
HINTS ON SINGING.
51
:
33=3=
Ca
ri
3
luo
h
1
N
pn
^
mian^ni
4=5
di
aba
tel
-
ghio vio
pas
•
sa
^
mi
a
5^B
1^:
us
a
a
i w
Vi^
da
pot
-6^-»-V
f f r
—
M
U
TUO
1
I
pro
c
37.
PHRASING.
Regular and Q. Is all music subject to regularity of form ? Irregular Form. When A. By no means. Music is both regular and irregular in its form. In this case the submitted to the recurrence of symmetric accent it is regular. rhythmic instinct reigns supreme, as in verse. When free from regularity of accents, rhythm, and cadences, it is irregular, and, like prose, follows in its development metres of different length, obeying the impulses of inspiration.
Q.
Could you name any examples?
Musical Prose,
A.
The
following pieces
"
:
Caddi e ver " (Resurezzione), Handel, "Dignare" (Te Deum), Handel, "Tutta raccolta" (Ezio), Handel,
yet more complete example of liberty in melodic prose is to be found in chants and recitative. These, while obeying the rules oi prosody are independent of all rhythmic regularity or symmetry. Q. What is phrasing ? A. It may be simply to carry out the musical punctuation, or it may be, taken in a wider sense, to give to each phrase its proper effect in the general conception of
are fine specimens of musical prose.
A
Objects in Phrasing.
a piece.
Q. With these two objects in contemplation, what are the principal subjects to which the student must devote his attention ? A. Prosody, rhythm, the formation of the phrase, thechoice of breathing-places, expression and style. What do you mean by the word O. Prosody has been already treated.
Rhythm
rhythm } A. The impression produced upon us by the and accent.
Q.
periodical return of
movement
Formation of the'
Phrase.
a musical phrase } A. In rhythmical music, four bars (less commonly three, and more rarely still two) constitute a musical phrase. This last dimension is, however, more generally In considered as a section than as a phrase, and generally takes a line of verse.
is
What
number of bars is arbitrary. A single phrase would give a vague and incomplete impression, a second phrase of equal extent is needed to determine and complete it. Two such consecutive phrases may form a sentence or period. A
musical prose the
—
52
—
HINTS ON SINGING.
—
further development of the musical idea will require periods of equal or
extent,
and so on to the end of the
-Section.-
piece.
Here are some examples
-Phrase.
-Section.
:
Susanna (Handel).
Phrases of Four
Bars.
^
Ye
ver
=^^
•
',
S\J'.J-i-^^
ye
\
^"
wit
-
J'
it
dant
hills,
balm
-
y
vales,
Bear
ness
my
pain.
(low
-Phrase.-
Period.
-Section.-
-Section.
Sentence.
:?2:
-S
m-
^
tj
oft
•
J"
-
*^
^^
i
have Shi
nar's
flow
*ry
dales
Been taught
my
lov
ing
stram.
3
-Phrase.-Section.-Section.^
:P -^--
:f*=^
The wounded oaks
in
:s=^
:^:pt
yon-der
r ^ J
grove
>—
Sj-
:p=:^
^
Re
-
tain the
name
of
her
I
love.
The wounded
^
Period.
^
-^^ ^^
Phrase.-Section.
-Section.-
t=i=x
U=t
-Sentence or
-
-^-^ ^ttt
oaks
in
^a^
Re -tain
roll.
^
the
:k=|5:
of
^
her
I
1^2
love.
I
yon
name
"Ah
perfidol " (Beethoven).
-Section.-
s ?^?^=^
a
ft"
r
-^9-
^
mi
ad
.
•
Phrase.-
-Section
1
di
1
J
Non
dir
=it3t
mi ad
i
di
^
x6
Per
pi^
t^
non
dir
-
Phrase.
-Section.-
-Section.
Ij^ft—#-
— Period.
Z2
i
-bV f^=r:
-1^
:ff=p:
:S8t:
1
r^
l^
l^
te
gg—;&
pri
•
i*^l^ eiiK
-
\^
tc
:^
Di
va
che
fa
Di
va
che
—
HINTS ON SINGING.
Nmat
di Figarm
!
53
(MoaanX
Phrase..
M ^
Deh
vie
-Sectiofu.
^^
non
tar
•
^
gio
-
-Section.
Phraws
Ban.
o<
Thrae
dar
ja
bel
Phrase.
.Section..
.Section^
i
Vie
Uf*:
-
nl
o
-
ve
a
-
mo
re
per
go
der
t'ap
-
pel
Q.
Do
No.
these examples include every sort of phrase
}
A.
student,
tion.
They merely
present what seems necessary for the guidance of the
The
subject can only be adequately considered in a treatise on composi-
Rests placed after each recurring group of bars, semi-cadences used on the first beat* of the fourth or third bar, and the punctuation of the word. The first and last note of a section or a phrase are often respectively preceded' or followed by some notes necessary to
it
QA.
What renders each phrase of melody distinct ? The strong initial beat of the fourth or third bar, as
Accentuation of a Phrase.
may
be.
complete the musical idea (see preceding examples). Q. Are there any lesser musical forms } A. Figures, which are small groups of notes presenting a sense, two being the
smallest.
Mfk^y.'"
Q. A.
Stm^
ti±
How
By
the return of the
intonations.
Allegro.
do you distinguish figures in melody ? same small groups of notes with repeated or Here are examples t
:
different
(Handel).
S5=S i a-J s
~?1
s;.
Haste,
haste,
Hy
^^T^ m
men, hasie
!
^
men, haste,
1^
^ /j^-^^tTr:^^
thy
torch
^m
light- cso.
lly
-
pre
•
pare
Love
* This rule finds
t
al
-
rea
•
dy,
his has
many
exceptions in the compositions of Bach, Handel, Haydn, and others. (Authors
NoUi
The
subdivisions of sentences, phrases, &c,, miglit be pointed out in
is
many of
ihc •xnmples utiered, bat ir
••eiy case attention
called to Uie special point under notice. {Author's Note.)
!
!
—
54
Z>«> Freitehatt (IVeber).
HINTS ON SINGING.
AGATHR.
^^TF^
Siiss
:j;*=
^
W=p:
ciickt
f ^
it^;^
ent
:?=:
ent
ee
gen
QuD
i f
J;4
a
Siiss
l=t:
-J
^
ent
ft*tiickt
SE
*'
L-J
gen
ent
ge
ihm
Acu and GalaUm
(Handel).
Cease your
sonj;,
and take your
flight.
38.
BREATHING PLACES.
Ordinary Rule.
Exceptional Cases.
in the middle of a word or between words intimately united by grammatical sense. So, obviously, the singer must breathe where the punctuation of words and music agrees. Q. What if the melody, offering no rests.overtasksthebreathingpowerof thesinger? A. The knowledge of the extent of phrases, their sections, and figures will assist to find places where tc introduce rests (example A), and even, if necessary, to make those places by the interpolation of words (example B)."
Q, A.
Where is the singer to breathe ? Mere commoii sense forbids breathing
A
&i rrr
t'*
J.J^4
gan
no oh
De
•
i
auel
* In tliese examples the term ''half-breath" occurs. It which docb not completely fill the lungs, but replenishes them
is meant to indicate a short, rapid inhalation, noi«ie!essly effected Note. H. K. sufiicientSy to enable the sinfier to finish the phrase.
^
^
Li
It
HINTS ON SINGING.
55
vol
f-^r-^
t=w. e=M
fi^H^n^^f1^^ter
^
vol-to
m'at
r6
(MoanX
56
HINTS ON SINGING.
/r
ir
19
Ir
tr
tr
i-^W^^^^^jg"^^^
t^^
tr
tr
*
tr
^
.J^
'
tr
^
This passage may be sung
legato or with a detached note which pennits to take i breath.
S
_.^
I
J
'" "^
Christmas Oratorio
(Bach).
E|E^£
In
our
heart
^
-
rr r^
:l^
ex
-
-i^
j
ul
-
—
tlOD
felt
la
tr
^^^
ol
-
U
tioo
—
HINTS ON SINGING.
Q. A.
Is
it
— —
57
Introduction
of
always possible to introduce words
is
?
be absolutely necessary to divide a word by breathing, the singer must then dissimulate the action with such art that the audience ignores it absolutely. To betray the necessity by the slightest noise, pause, oi movement, would be a great fault. The preceding examples show the importance of being in full possession of breath before a difficult point. As it is not always possible to breathe deeply at the last moment, this must be done at the nearest preceding long rest, while the partial expenditure needed in the interval is recovered by half-breaths. As thus
not convenient,
if it
:
In cases where this device
Words.
Norma
(Bellini).
Start with full breath,
^y
f
^^ &
noi
r
vc!
-
m
noi vol
-
^xif^
^
sem-bian
'
^_r
V
i**
i i
^
gi
9
gi
il
bel
r-fi^j
te
:I
^
-
^ ^^^^^^S^
:t==
bel
sem
bian
•
te
sen
-
za
no
be e sen
Z3l
vd
Q. Have you any particular case to mention ? A. In the following example it is easy to conceal the inspiration the nose while preparing the explosive /, for example
:
^^^^
if taken
through
i°t^iatioa
tr ergs.
Tancredi
CRossinl).
t^-^
IS^
^^rjp
as
;>
P
Breath through the nose before the t.
^
3^^ ^r^^^T
if
:
gg
r6
fe
i
r^
li
:xe=:i
Ac
-
cen-ti,
con
-
ten
-
When a cadenza occurs after a long holding note, the singer, advantage of the orchestral accompaniment to breathe
I-
necessary,
may
take
a Principessa
Execution.
in Cantpag)'^ (Pucitta).
pp
?=: 1=^
1=21
S^f
s
Text.
^^
inhale.
pp
t:
Z2.
ssi^^i
Scher
-
?=:
?=:
?=2:
lan
-
do
va
ife;
at
q?=T^
g
ti*'^^
:4 i t
r-
n
m
rr^ -M-*^^
'
^53i
i -^
g^'fTt
^m
m-
m
^ d d ^ S
^
-
d d d d-ih
—
58
'
HINTS ON SINGING.
ritard.
^3^55
*--
f^^r*
^^
:;i2:S=Vt
i^
^
Vi:/
*:i*it
^VkJJi^
?|^
u
^cao:
la
S?
ci-dacam- pa-gna
pla
-
•^^The ending
pp must be resumed Pfi, so as to give the impression of being uninterrupted.
pp
m^^^=^
Breath after
^
^
£
g
Wlicn two notcs are united by a portamento and breath must be taken between the
^^^^
^.j^j^
Portamento
^^^j.
j^^
^^^^^
^f^^j. ^.j^^
portamCntO.
breath.
Sigismondo
(Rocsini),
f
When
^"^^^
to
'
particular cases the effect
—
is
«
«
m
—
•--'
f
enhanced by suppressing the rests which separate
ignor*
In
some
the two phrases.
ttUiana in Algieri (Rostini). rpext
Wr^Tri if
r=m n^
«
le
:&c.
ve
-
der
pa
-
trie
a
-
re
>i
I
nel
I
pe
-
ri
-
glio
Execution.
T
S5a i S
±i 55
&C.
a
re
•
•
ne
nel
pe
-
ri
-
glio
E #=if^^ -^'^^
8^
^
=S?=t
-#=F=F-p-
^ Vac ^
^
•
p ace
—
HINTS ON SINGING.
—
59
39.
PREPARATION OF A PIECE.
Is not a piece capable of various interpretations ? Q. hiTe^retliion. A. As sounds do not express exact ideas, but only awaken sensations, a given Nevermelody may convey meanings as various as it may be variously executed. theless, certain musical forms, such as progressions, appoggiaturas, dissonances, prolonged notes, and successions of the same figure, have accents which must be
observed.
must the student determine the colouring of a melody ? Colour. Compositions express a dominant feeling which is realized by various subsidiary ideas. Each of these, though subject to the prevalent effect, must preserve
Q. A.
its
How
Expressive
own
individuality.
Some
musical ideas
demand
a continuous suavity of delivery
;
others need gradual energy, others contrasts, &c.
Moderate
feelings will be best
expressed by the
Q. A.
mezza voce," keeping in reserve both piano and forte. Choice of Effect method to determine his choice of effect? finest pupil must read the words of the piece again and again till each shadow of meaning has been mastered. He must next recite them with perfect simplicity and self-abandonment. The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing. Light and shade, accent, The imitation of instinctive impulse sentiment, all become eloquent and persuasive.
"
Has The
the pupil no
must, therefore, be the object of this special preparation.
Q. Has not the student other sources of imitation ? exception A. A powerful means of exciting the mind to a vivid conception of the subject of » Subject. is to imagine the personage as standing before one, and let the phantom sing and act, criticising closely both efforts then, when satisfied with the results, to imitate them exactly. By faithfully reproducing the impressions suggested by this creature of fancy, the artist will obtain more striking effects than by at once rendering a piece.
;
Can you not suggest any other method ? Pictorial Another way is to recall some analogous situation in a work of art, for Analogy. ° J r T> example-: if we have to study the scene of Desdemona in the second act of Kossini s Oie//o, "L'error d'un infelice," one of the fine paintings of the Magdelene at the
Q.
A.
•'
•
•»
feet of Christ
might occur
to the
mind.
Grief and repentance could not assume a
more pathetic form.
Q. What is the next step } A. The means of rendering the general zispect of a composition being determined, each subordinate idea must be brought into relief. For instance, in the phrases
^oMM* di Figmrt (MoxartX
crescendo.*
i^3 f
Di
quel
-flff
^'M
zo
.—
q?=e 11
-
— —p
I
» ^
r
1»^
Ub
•
bro
men -
gner,
di
quel
lab
bro
CO
«?»
the excitement of the Countess
is clearly expressed by the figure repeated scending progression, and implies a musical crescendo. Again
in
an
6o
I'reghicra
HINTS ON SINGING.
Ottllo
very
f).
legato
notes.
and equal
Deh
cal
-
mao
ciel
nel
son
-
no
per
po
•
co
le
mi- e
pe
/
(Urn.
n
-
p
-«=: f
:
poco riten.'PP
eol canto.
-F-i-
5:
so
-
he Fa che
I'a
-
ma
-
to
be
ne
mi
ven
-
ga a
con
•
lar
The intepse grief of Desdemona is expressed by a sort of repeated wail, and also by the contrast of forte arrd piano. This effect is especially marked on the seventh bar, where the // replies to the forte, and both effects are separated by a slight pause» which allows the car to apprehend the delicate effect of the second.
40.
Importance.
TIME AND MARKS.
?
Q.
What
is
the importance of time in music
A. Time is the mainspring of music. most important element of rhythm.
Varieties of
Firmness and precision of time
is
the
Time.
Q.
Is
it
always regular?
A.
Exact Valt
It is regular, free, or
mixed.
its
Regularity of time
is
the law in the composi-
tions of Bach, Handel,
Haydn, Mozart, Cimarosa,
regularity
.-'
Rossini, &c.
Q. A.
How
By
do you preserve
maintaining the
full
value of rests as well as notes.
This exactitude
gives aplomb and also steadiness to the delivery, a quality possessed only by
good
musicians.
Rhythm and
Accent.
Q.
A.
How
To
is
time emphasized
}
bring time into bold relief in compositfons of decided rhythm, the strong beat, especially the first of the bar, must be accented. Warlike songs, and all other outbursts of enthusiasm, require a very marked and regular beat.
q?tz?c
Scund an
larm,
sound an
a
-
larm,
your
sil
Yer
trum
-
pets
sound
'
I*
?C^=^
r
fal
-
:5z=^
Non
piO andrai failo
-
f
-
^
^'5
^f=^=^
nea-mo
ro
so
not-teeKior- no
^
-
d'ir.-tor
no
gi
-
ran
•
do
As
a further example
I
may
cite the stretta finale of the first act of
Tell.
Don
Giovanni.
also the allegro of the terzetto in Guillaume
In these cases the voice proceeds
by detached sounds much
like the beats of a percussion instrument.
—
HINTS ON SINGING.
Q.
—
61
Can you name other modifications of time
?
^
A.
Q.
The
modifications of time are the rallentando, accelerando
ad
libitum^ tempc
'
" '***
nitato, syncopation,
and contra
tempo.-'
'loeRaiientaudo.
What
is
a rallentando?
A. By"rallentando,""adlibitum," "col canto," (as the names imply) is meant the slackening of speed in the accompaniment as well as in the singing for the sake ot
giving greater grace and charm to
Robert
some passage.
Examples
:
U D.abU
(Meyerbeer).
S^irn:
C'est
bien,
n=r=ii^
ce
•
-^'
la
I
IJ
^
-
peut te
me
ner
^ tout, ce
•
la
pcut te
me
^
ner
ft
k
tout, oui
te
33:
22:
22:
22:
raUniando.
Itno tetnPo.
^W^
me
-
.^ U:
Ah
!
ner
tout,
llion
-
nSte
hom me
-
10-
-0-
-m-
-0-
V
TT
;i
GuiiUiume Ttlt
(Rossini).
r
^
Allegro inoUo.
£
.jd
g
•
t.
f=F
ca
-12#^
•
^^^
ijgg^
—
A
•*i?
ses
re
gards
chons
ncs
»
It
Et
que
du
moins u
•
ne
jour
n^e
un
peu- pie h
•
chap
•
pe
ik
ses
mal
^
•
—-M
je
-f
n'en
dois plus
±z
^
\
E
^r
^—r-iS"
•
I
nio tempo.
m=:—f31=^
6
cicl
pleurs,
qu'inoo mal
"^
heurs
rallentando.^^
-^
u_
^r i
qie du
moins u
-
"
T
T^T
^
r ^
heiirs.et
ne jour- n^e un peu-ple 6-chap-pe i ses mal- heurs
The suspensions and
the.«;e
the cadenzas are proper places to introduce the ffa libitum.
is
in Ad
libitum.
cases the singer
The term riiardando same meaning.
absolutely
tree.
is
practically the
is not included, but (Note. H. K.)
more commonly used
to-day than the
word rallentando. which baa
•
—
62
Q.
A.
HINTS ON SINGING.
What
The
is
an accelerando
?
increased rapidity of
movement
to
augument the vivacity of
effect.
The
works of Donizetti and Bellini contain a great number of passages which, without
When a bearing the sign of the rallentando or accelerando yet require their use. it right to risk retardations, prolongations, or accelerations, he must not alter the movement of the piece, but have recourse to the tempo rubato. (See below).
singer thinks
Syncopation and Contra Tempo.
Q. Do syncopation and contra tempo require any special accent ? A. Some consideration must be given to these forms of time on account of the contra tempo accent which always falls on the syncopated note and on the note
m
This accent gives piquancy to the passage.
Example
:
*
"S^k
Si
3
^f=Jpu6,ah
si
q=t
St=5t:
-
ffi ^-itmil
fta P. atzit
ilfcifs
?2=
pe
=^
pu6
re
•
sis
te - re
is the tempo rubato? displacement of values (in melody) which increases the duration of some This licence favours the expression of passion and notes af the expense of others. aids the musical colouring, especially when repeating a phrase.
Q.
What
A.
A
"Ah,
perfido
1
" (Beethoven).
^\
i ;•
Per
.^
pie
:5c
-I
=^
—"—
dir -
m—
ad
di
U
non
mi
S^ ?^
'dir
+
mi ad
•
di
Rmuo « GiulitUa (Zingarelli).
pte
Nel
Nel
^
for
-
rr^
tu
-
.-t-
na
to
E
+
.^-
E^^
for
-
:f^
-^=^^
to
tu
-
na
E
li
To
render the tempo rubato
effective, the
accompaniment must be kept
.-'
strictly in
time.
to make on dotted figures passages a vowel should be assigned to the short note as well as to In such The repeated vowel must not be detached, but receive a slight additional the long. This gives vigour and determination, and is equivalent to a pressure of the breath.
Q. A.
Have you any remark
slight accent.
Jttdas Mttccmitnts (Handel).
EeE£
Ste
-
W
caph
'
^
^E
S?Ed a
»
^ m~v
^
£±
lirg-L4
ic
itze
me
)o-cly
to
make
Tliis variation may have been quite usual at a period when sinjiers were expected to alter the text of a composer to suit their individual taste. Today, with Beethoven in question, it would hardly be permissible. The utility of the example, however reoKiins. (Note, H. K.)
HINTS ON SINGING.
Q.
A.
63
Do you
To
suggest any special treatment for recurring words
?
SS^T*^
interpretations
avoid monotony, they should be submitted to various
rise to
such as the subject of the piece might suggest, thus giving
tng.
a variety of colour-
Q.
"^AHiat
are the characteristics of the />or/<Tme«/o?
(a)
9^^?"'^'"
feelings,
''«^"'«»*
A.
it
Energy
and grace
;
(^).
Applied to the expression of powerful
should be strong and rapid
Don Giovanni
(Mozart).
less so for
moderate or tender sentiments.
i^
Ti
par -la
il
£
ca
-
:is=t
» m
£
ro a
-i
te
hai
m
pa
^
*
dre,
1^
3cit:
hai
spo
-
so
^^
pa
•
apo
dre
in
me
^m W
±2
Don Giovanni
(Mozart).
^i^=^
ah
chi
:t£i:=J
di
mi
c«
mai
^
/
1 1 >
3
bar
-
^^M GUvaHHt (Moaart).
ggflj
g
|
Lj
vie
- ni al
-
'
la
fi -
'
Deh
^
for.
qoel
ba
•
ro
do
-
v**
?
nes
tra
o
te •
80
Q.
Is
there
any observation to be made with regard
to a singer's entree en
fSJ^"^™^
matitref*
A.
S^^"^"
commencement.
The calm expectation of an audience should not be shocked by a violent The passion suitable to the occasion will develop by degrees. On
the stage this precept
may be
completely disregarded when after proper announceis
ment any abrupt
Q.
violence or disorder
looked
after a momentary interruption a melody A done with the same strength and the same timbre as before.
Crocimie (Meyerbeer).
When When
a passage has been interrupted,
how
should
it
be resumed
resumed,
?
it
is
must be
Pscspir».p
•em - pre
pian
•
ge
•
re
^ i^
•
T»r^*ato r^uM (Donizetu).
TaSSO.
Eleonora.
Z2:
P
f
ah
I'af
•
'
^r- ^^
pe
-
:feS:
:5cn
Deb
a
ian
na
Actual start of a piece oe »cene.— (A/o/«. H. K.)
—
64
Terminating
notes.
HINTS ON SINGING.
Q. A.
length is to be apportioned to terminating notes ? Notes ending short syllables, figures, or sections of phrases should be quitted lightly and instantly if prolonged the effect becomes heavy and wastes the breathing time. The terminal beats of sentences and of instrumental recitatives receive value adequate to their importance in the idea, for then they represent the completion of ^he thought. These finals arc stronger and longer in serious than in comic music.
;
What
Cr^a/«Vw« (Haydn).
short.
short.
long.
^iwoo
-
^=^
ders,the
^-^-^
won
•
1&L
day sung,
ders
of the
fifth
"^
\
'rcj^
-JOl.
^
the
isolated
.?
iza:
S
already
Q.
A.
Besides
accents
mentioned, can you suggest some
example of ensemble colouring
The
following
:
Don Giovanni (Mozart).
V
41.
Justification.
ORNAMENTS AND CHANGES}
accent does not suffice to colour a melody, recourse must be had to suitable ornaments. Italian music, until the beginning of the nineteenth century, was of this kind.
Q. A.
Is
the singer justified in introducing ornaments or changes
When
The composers,
ment which
are
Wherf
adrni>sible
the singers supplied.
while giving the idea, counted on the accent and ornaVariations, rondos, polaccas, &c.. from their nature
left
to the inspiration of the executant.
be introduced into concerted music ? combine their ornaments but in concerted music wHere parts are of equal importance, no change is ever admissible.
Q.
A.
May ornaments
In duets singers
;
all
——
HINTS ON SINGING.
Q. What is the best place for ornaments or fioriturc ? A. It is a question which admits of different answers. the end of a phrase have the charm of the unexpected
:
65
Appropriate Use.
Fioriturc introduced at
Smutamlmla
(Bellini)-
When an idea requires to be varied this should be done each time it returns eiti wholly or in part but great discretion is needed, lest the composition be injured. Want of accordance between the spirit of a piece and the style of its embellishments would have this result The following variations might not be considered an inappropriate illustration. The subject occurs in the duet " Dunque io son" {Barbiere, Theme varied. Rossini), and the first three changes are such as might be sung by the mezzo-soprano voice (for which the rdL of Rosina was originally written), while the others (a, b, and c), of course, could only be undertaken by a soprano
;
:
Ah
tu
so
•
•
-
lo
a
-
mor
mi
de
•
vi
so
-
lar
Ah tu
sol
io
•
Ui.
The preceding
new
rules are confirmed
selves never reproduce the
by the same thought
practice of the best composers,
who themit
several times without rejuvenating
by
Expressio. tr
effects of voice or instrumentation.
Q. A.
is
Have you any
further use for
ornaments
?
We
prolong by ornaments the expression of emotions on which the mind o^SL*.
willing to linger.
66
HINTS ON SINGING
Execution.
Che
in ques-te
mu
•
ra in va
-
no
lo
ri
•
chia
ma I'a
•
mor
Nina paxta
(Coppola).
^^^
ai
^^
ven
ti
9or
-
di
or di
-
CO
f-gg^^
i
t>.
**.
^k^
Pi
movement
:^
^T
ti
or di
.
CO
Words which suggest images
&c., &c.
Crociato (Meyerbeer).
7-1
of
or extension, or those of an imitative
character, are adapted for ornaments, such, for instance, as vittoria, lampo, eterno,
%
—
Ks
«-•
^^
K
e
cam
-
vin
•
ci
-
to
•
re
dal
po
io
qui
ri
*
P
cam
-
po
io
qui
^ ^ ^r<'^,j-.
la
.
M
ri -
tor-
no
di
no
vel
-
li
(a
70-
tor-
no
iJ^J^LJl^
vo
-
N
-
g
Changes.
—JfgS^
ri
mi col
me
din
^^-^ f i.^
me-ra
fZZKl
i
-r»din
>
mi
col
A
-
la
When syllables are placed on high and When a composition is ill-suited to unpleasant.
resort to
;
Q. A.
Has a
singer no other occasion for introducing changes
difficult
notes and
make
the voice
the
means
of the vocalist, he
may
changes or to transposition but it is often wiser to abandon a work rather than spoil it and incur blame or impair the organ. In certain cases it is permissible thus bello, corty to eliminate a syllable or to restore one that has been suppressed will make hel, cor, and vice versd.
;
i
Appoggiatura
applied.
r3S
it
tern
-
q^^q
pra
i^^i
co
-
an
•
ra
tempra an
-
cor
lo
re
lo
au
•
da
-
ce
falls
How is the appoggiatura applied ? Q. A. The appoggiatura, an indispensable ornament in the Italian school of singing, on the strong beat of the bar (though not exclusively), «nd on the long syllables
—
HINTS ON SINGING.
of
67
{p)
words,
either
piani
:
{a)
(penultimate),
or
sdruccioli
(antepenultimate),
or tronchi
(c^.
Examples
^^
Di
Dinorah (MeyerbeerX
=s=!^
•
^
buo
gen
te
te
•
mi
^%K\
Orfeo (Gluck).
\
S
Che
r6
sen
•
za
Eu
m
£:
Si
^S
^
Deh
ie
.ni
aJ-U
fi
-
nes
•
tra,
nes
-
tra
R"'«an.<i
ending a phrase or a section of a phrase, and followed by always bears the prosodic accent, and therefore must be turned into an appoggiatura. Though Mozart has not marked the appoggiatura it must be introduced. The exception to this rule is when the two notes are both an essential part of an idea, when they belong to concerted voices, or when the harmony docs not permit the alteration.
identical notes
Of two
a rest, the
first
—
68
HINTS ON SINGING.
42.
Definition.
THE CADENZA.
suspension of the musical meaning,
Q. A.
or
What is a cadenza ? The cadenza is either a momentary
it is final.
Appropriate
Places.
Q.
On what
first
A.
The momentary suspensions
minor), their
chords do you find the momentary suspensions ? are chiefly found on the two triads (major and inversion, the dominant seventh, the two ninths, the first inversion of
>
the three last chords, and the augmented sixth.
Q.
And
the final cadenza
A.
On
the formula
^.
l_l
'-pr.
or simply the last dominant
chord alone,
Character.
Q. What other observations on the cadenza can you offer ? A. The ornaments give the singer opportunity to display his or her taste and tl* wealth of his or her resources. But whatever his imagination and facility may be, his cadenza must remain exclusively within the chord that bears it the cadenza should nev^r occur except on a long syllable, or if this be not convenient, on the exclamation **ah!" The cadenza ought to be performed, as far as possible, on a single syllable, and in a single breath.
;
Gmllaumt
TV// (Rossini).
r^ W
The
=;il4=L
:?ciqe
mf^
^^f>
*-t-rt
^
\
rT.
I
^S
TiTTt
i
l
ii
I
f
^^^^^
'
Tout
Tous i'
\h
•
ve i
re-gards
^^,Mn
Introduction of
\,S^\"
\^^
:
6^
rule that the
it
cadenza*
composing
cadenza should be performed in a single breath can be avoided by of several words, the breath being taken between, thus
non
ho
for
-
za
Sovra
il
sen la
man mi
po- sa
Syllabic cadenzas acquire greater effect by the power of the word.
t <*iU du Kord (Meyerbeer)
^
rc-viens,et
j'a
dt=^i
m
ban
-
don
-
ne
le scep-tre et la
gran
-
deur
I
Des - tin,prendsmacou
*^^AU^
^
HINTS ON SINGING.
69
m:
m
ron
•
^-^-^-^^=^
ne,
inais rencis-moi le
*—
^'^^^'r
•
^^
bon
-
qcac
boa
heur,
hear.
i
^m =£
fct—
ai
S»niunniula ( BelliuiX
» g
tro
>
tra
-
fa
d
i
u
•
-•-^
rg-;;
-
Ir-tr1^
>
.
i'
S
do
- lor
vo
laL^^r,
.
1
t
-^
A
^
•
to
di
th
ce non
-*-
le-
mer
-*-
del niio
/"TS
-•-
t^
n
i!
^
In the eighteenth centurj' (see Baini and Reicha) the singer modulated according to
his fancy.
fect taste.
Modulation;
Nov/
this liberty is
The example
only accorded to artists has been introduced by
who
unite knowledge with per-
Mme
Viardot
in the
Orfeo of
Gluck.
tr
^
tr
ri
-
ve
-
der
il
ciel na- tal,
il
suol
na
-
Ul
;
—
7C
HINTS ON SINGING.
m^ m
Ob -jet
de
*
a
-
T^
'
n
>
^
'
te
\ir
ren
mon
mour,
^
-
-^
Sj
^-
"1
H
^t
It'
Je vais
dreaa
jour,
Je vais te
:W:
ren
-
w
je
1
'
1
1
1
#,
«-»
je
dreau
jour,
bra
je
bra
ve,
I
I
b 'J tjJ b
bra
-i
J-J lpnm^
j
JbJuJbJ^J-J^^-ii:^
J^^J_J_b^^_fcLMM
,iu.afei^^^
i
J ,J
!^
i
J
5—1—
-J 1-
1111L
^
\
i
i.tr
-a^-r>-^
'^^^=¥=^^^
A
u6
£2-
$
The
'j'^Ji-l.jrr'
je
bra
•
ve
le
tre- pas,
je
bra -ve
le
-pai.
m
following example, though introduced by the celebrated singer Millico,
is
too
irregular for imitation.
M^
Definition.
L'a
-
man
te
.
£:
^:d±
fe
—
HINTS ON SINGING.
Q. A.
71
g
can a singer transmit his emotions to an audience ? Sympathy is the sole transmitter of emotion and the feelings of an audience are excited by our own, as the vibrations of one The following example is instrument are awakened by the vibrations of another. intended to illustrate the foregoing ideas Romeo has come to bid an eternal farewell to Juliet, who lies upon her bier. Fascinated by the sight, he stands in a sort of ecstasy and speaks as if she could hear
How
,n,p.^tijetic
By
feeling strongly himself.
f^««''"e
:
Illustration
(Entire Airt.
Exaltation and tenderness must be carried to their utmost limit, and yet, however extreme, do not justify the use of trembling tones. They must be made manifest by the choice of suitable timbres, the vigour of the colouring, and the accentuation.
him.
Steadiness of voice
is
an indispensable quality, and even a momentary abandonment
seems quite
unjustifiable.
Rome0 (Vaccaj)
>i*
I
M
^W
gUa-ti
sigh sustaitud
and era.
equal full noUs.
i m.
Ah
;i?=i
!
\
iiJ^J'JJJ±
se
tu
dor
i
^^^^^^^m ^
'5^ ^
^
^ ^K^^ ig
IlJ—5^
«3j^
vigorous
Full, smooth, ana slur. ^-^ well-sustained notes,
1
r*
p^
.^^j^yi
vieni
fug
gia
•
mo, fug
-
gia
-
mo
1
^--
4-M
:
tf
i
J
i
^
^^
—
1^
r
HINTS ON SINGING.
y
with Undertuss,
sustained full notes and equal strength and value.
p
with tendtmas.
^—
nm^0
sie-me
-
>
-
rm
ni.ah
i
9^ ^^—
vie
•
y
^
''
g^*^*^— ^^ *
mo m •
^^d
SIC
-
•
a-mo
-
vie
nifuy-gia
me
re •
.-?s^
evj.j
f
•
i
. 'S'^'a
-*j- g
'
sjg^^?^
:
b
rg-^
^^
£
3td
^
s=t
mo
-
-?
»
"
>»3 J
ci
-B
-J
aA
mlo ben
S
mi-a
re,
a
-
mor
con- dur
•
ra
sor-gi
mia
vi - ta
E^Ei jy-^^
^=^8^
r^g
^,-f—
^^
slightly undulated.
'^ r-
^
'^
^a ^
/«>*/.
gj
^J
'
^
-IT
^'^'/^
^^
l
1
P
i
^
I'
r
spe
•
^i
* rffT
•
'
«
S
mo
-
A-^^
a-
^^^5Pt$=f-^
morci con-dur
-ra
^^
vie
F^-'le.'LrL ^'i^
'
^s=< ss
^
1
me
a-mo
re
a
re,
r[
I
hc^'UL
^^g^^g'^^S^
-3r
i
4^
IP
**:
£e
mo
-
^^^ :^ *»g^ :^zci
^e^
ra vie
ni
3E ^2=y^
-
re
a
-
mor
con
-
dur
-
a
mo
-
re
m
—
—
HINTS ON SINGING.
;
73
r
V *^*T
.
'"
^
con
•
^^
-
ci
dur
ra.
B^
\
=4:
I
[P^
44.
RECITATIVE.
Defimnon.
A free musical declamation. Cantilena independent of rhythm and time. For the voice it is of two kinds, namely, spoken recitative (parlante) and instrumental.* The former is only used in the Italian opera buffa, the latter in the opera seria. Notes and rests are to be executed, not according to their written value, but as required by the prosody of the language, the importance of the word in the sentence, and the In recitative the clever singer has a character of the sentiment to be delivered. free hand. Auber has said " Le r^citatif est la page que le chanteur signe."t
Q. A.
What
is
recitative
?
A
:
Q.
A.
do you apply the appoggiatura in recitative } When a sentence ends with two equal notes, in the
How
Appoggiatura
Recitative.
in
Italian style,
we
raise
the first a tone or half a tone according to the degree of the scale. becomes an appoggiatura. Sometimes a real note is used instead.
The
raised note
In instrumental
as in spoken recitative, the voice should be perfectly unfettered by the accom-
paniment.
Example
:
^««aA
(Handel).
an =#«:
•
gel
$S^
e^
-
g-^^
"Fear not;
1
teite J '^
for
:;z=F
hold
I
And
the
an
-
gel
said un-to them,
be
-
I
bring you good
221
-^
^
*
ti
^
-
m
to
all
dings
peo
pie
i
ti
*^
-
dines
of great joy.
which
shall
be
all
peo
•
pie
;
i ^
J3
to is
+
^
"Rpcitative
i^
23:
U^
Recitative.
^
The "spoken"
Recitative here referred
* That is. Recitative with orchestral accompaniment, or accompanied more generally designated " Recitative secco." {Note. H. K.)
the page wliich
tlie singjir
signs."
74
Florid
Recitative.
HINTS ON SINGING.
The
begin,
SomtambuUi.
example of florid treatment in recitative occurs in Bellini's the ceremony of signing her marriage contract is about to Amina expresses to her adopted mother her happiness and her gratitude for the
following
When
tender care she has received since her infancy.
-^
f^ 'ZL
,
—
HINTS ON SINGING.
—
75
45.
ON THE VARIOUS STYLES.
:
are the principal styles of singing ? Stilo da Camera, Stilo di Chiesa, and Names (Old 1723 Tosi recognized three Modera). In modern times these divisions are not the same, but still there Stilo di Teatto. are three principal forms from which all the others are derived, namely :
Q. A.
What
In
ancl
Ca?ito spianato
Canto fiorito florid style. declamatory style. Cayito declamato Q. How do you describe the Canto spianato ? This, the noblest of all styles (but also the least lively on account of slowness A. of movement and simplicity of form), is based entirely on the degrees of passion and the variety of musical light and shade. The chief resources of this style (and nothing can replace them) are perfect intonation, steadiness of voice, propriety o{ timbre, clear and expressive articulation, swelled sounds of every kind, the most refined effects of
— plain —
style.
—
Canto Spianato
(Plain Styles.
piano and forte, the portamento, and the tempo rubato. This style, although the least favourable to rapid fioriture, admits of the use of the appoggiatura, turns, and shakes. Other ornaments, if employed, should harmonise with the slowness of its movement and the gentle nature of its expression. It is hardly necessary to remark that though brilliant passages are inappropriate, it is equally imperative to avoid heaviness and Time must be kept, dragging. In cantabile movements most phrases begin piano. In quick movements, on the contrary, time should be marked. but not accented. These rules are rigorously applied to Larghi and Adagii. The other slow movements,
such as Cantabile, Maestoau, Andante, &c., though retaining a certain gravity, are modified by borrowing from the florid style.
much
Canto Fiorito
(Florid Style).
do you describe the florid style ? This style abounds in ornaments. In it the singer may display the fertility of his imagination, and indulge in roulades, arpeggi, and rapid passages of all kinds. The execution should be light and the voice spared. When power and passion are applied to brilliant execution it becomes the bravura style.
Q. A.
Q.
How
Are
there other modifications of the florid style
}
Modidcatioas
A. There is one called Canto di Maniera, created by singers whose voices were wanting in great power, and though sufficiently supple for the execution of all kinds of intervals, did not possess extreme agility. Small embellishments and arpeggiated passages, often divided by syllables and inflections, formed an elegant, delicate style, also known as Alodi di Canto, well fitted for graceful sentiments, whether gay or
tender.
Q. What is the declamatory style } A. Dramatic singing. It is nearly always monosyllabic, and almost entirely excludes vocalization. It is divided into the serious and the comic These names express the nature of the piece and the method of execution.
Canto Declamat< (Declamatory
Style).
Finis.
The Mortimer
Series of Books
on Music
The Unashamed Accompanist
by
GERALD MOORE
;
This book was written in the hope that it might indicate the lines along which a would-be follower of the gentle art of accompaniment should work it was written to arouse more interest in and to show the importance of the accompaniment, in order that appreciation and enjoyment of good music may be enlarged and enriched to those who are not aware of
—
—
its
significance
Price
SIX SHILLINGS
net
Conducting Without Fears
A Handbook
Part One Part
-
for Beginners
byJOSEPHLEWIS
A
General Survey
Price
THREE SHILLINGS AND SIXPENCE net
Two
Choral and Orchestral Conducting Synopsis on Contents Author's Preface Chapter I - Arising out of Part i II - Choral Conducting ,, III - A Few Hints on Interpretation ,, IV - Orchestral Conducting ,, V - Cognate Brevities ,,
-
Price
FIVE SHILLINGS
net
The Chorus Master by LESLIE WOODGATE
This
little
book
will
prove of invaluable help to
of choral societies
all
leaders
net
Price
FIVE SHILLINGS
of all ages
Singing Without Tears A Handbook for Beginners
Price
byJOSEPHLEWIS
THREE SHILLINGS AND SIXPENCE net
The House
of Ascherberg 1 6 Mortimer Street, London, W. 1
L.B.717
UNIVERSITY OF CALIFORNIA-LOS ANQELES
L 008 005 742 5
CA
,
M-
rf -i
«.
'-
*"-#-»«»»
02 f)
<j ^^^^%nf9\^'^^
University of California Library
This book
is
Los Angeles 5 2000 ^pf( 2 DUE on the last date stamped below.
QUARTER
I.O^N
/j
JAN 1 3 2003
v^
JAN
1
eoo5
Phone Renewals
310/8;25"Si88
This document has been released into the public domain.
Discuss This!
Garcia, Manuel II
garcia
italian technique
treatise
Want to download or discuss this?
Register
in seconds.
Login/Register
Login
Register
Active forum topics
Trying to Find an Old Singing Teacher
Inhaling the voice
One Hour Payday Loan - Quick Cash Approval With Minimum Hassle of Documentation
One Hour Payday Loan - Quick Cash Approval With Minimum Hassle of Documentation
Who really understands bel canto?
more
Search this site: