Garcia, Manuel - New Teatrise on the Art of Singing

: : GARCIA'S NEW TREATISE OK TH1 ART OF WOn TBI mm Hili I ) < • A COMPENDIOUS METHOD OF INSTRUCTION, WITH EXAMPLES AND EXERCISES CULTIVATION OF THE VOICE, -a* I PROFESSOR OF SINGING AT VthE ROYAL ACADEMY OF MUSIC COMPLETE, $3.00. PART I, $1.50. BOSTON: OLIVER DITSON COMPANY. jrsw tobk! C. H. CHICA.GO P&IZAJ>MLPai4. J. E. BOSTON t DITSON & CO. LYON & HEALY. DITSON & CO. JOHN C. HAYNES & CO, the other — The leading qualities of the voice are two. and usually called "Adam's apple. in this respect. called the ventricles of the larynx. Air enters and escapes are to form the subject of our subsequent studies. form of the it glottis almost triangular . is completely closed during the act of deglutition. such as brightness or they are often called the lips of the glottis alone are the and to these ligaments. the ligaments being drawn closely together. II. — speaking voice) is the result of a few primitive and fundamental laws. —an much wider The than the real (inferior) glottis below. in issuing from the glottis. forming the circumference of the palate ergans. . the principle upon which sounds are produced. or lips. and one on the right . fulfilled placed below the organ of voice. The Lungs " Larynx " " Pharynx. and do not. The upper opening of the larynx. and are to CHAPTER organs. . Our object is to ascertain how these results are produced. a strong vibration both in the chest and back. and laterally b«" the distention of the ribs the vocal ligament below them and the space between these orifice Whether these two operations could folds is styled the upper (superior) glottis. — forms —The registers are as follow the protu- The Chest (voce di petto. as well as different degrees of volume and intensity. is II. e. by the contraction of the diaphragm. they furnish the wind required into.) termed the (whence —There first are different characters of voice. — the clear or open. . . or air supply.y lips.) The Head (voce di testa. holding a position development of the lungs in the act of inspiration. by a sort ©f introductory remarks on the construction and uses ox thc little lid. and to complete the IV. and the known part to Anatomists. gives to the sounds produced by the larynx a distinctive character. denominated chest-notes. perceptible alike to sight and touch in the male subject. . Vocal Organs. Experience proves that every variety of sound (including not only the singing voice. as the Trachea . downwards. (i. situated behind the tongue.— ) NEW COMPENDIOUS ON TREATISE THE ART OF SINGING BY MAJSTUEL GAECIA. &c. formed by two membranes. unite into a single highly-elastic pipe. I. these are called vocal glottis the closed or muffled. but (analogously. — that elastic cavity visible at the back of the mouth. in the lower tones of their voice. as they ascend to the throat. and the special III. though they act simultaneously. dulness. which wholly separates them from the abdomen. jaw. Apparatus I — The Lungs for the (the bellows or air-chest consider hereafter. this. not women. by a fold. may be effected simultaneously from above. — the posterior two-fifths being formed of cartilage. throughout its whole extent. by means of the numerous forms itj can assume. various Vibratory organ. and palate.) the chest receives the vibrations only contracting and enlarging so that at will. function of this organ is to circumscribe an elliptical space immediately above the lower it. by a multitude of minute tubes. communicates with the larynx. latter lips. The mechanism employed independent functions I. from the lungs.— The Larynx. as we may now remark. * The cause of this error is as follows :— Men. rising vertically up the anterior of the neck. tongue. the sets of — The voice. but even the shriek. have each their peculiar : and — namely. PART CHAPTER I. and the anterior three-fifths. — All sounds movable — parts.* These organs are enclosed by the ribs. upon the diaphragm. but when employed to form sounds. is echoed and reflected pharynx. producing the different sonorous vibrations. function of these parts is to give precision to the vowels. —The Lungs are the indispensable agents for respiration. of ligament. Reflecting organ.) exists. The Above the vocal ligament are two oblong cavities. experience in speaking or singing. stretching horizontally side. Secondly. which is free during the emission of vocal sounds. The bellows. and intensity. on the is left . timbre. called the epiglottis. III. the composed of palate. tongue. we shall trace a sketch of the different classes of vocal sounds. which as. in singing is the combined action of four between the tongue and the arch." narrow passage across it. that the latter are not of similar structure most persons erroneously suppose. process of articulation by the addition of consonants. * and it is this cavity which.) First. are sent through the mouth. The Falsetto (fassetto. the volume and quality of by transmission. and the organ next in may be I. we indebted becomes for the vibrations of the voice. which. performing functions analogous bellows of a church organ . shall linear. In the centre of this a II.) berance in the front of the throat. The articulating organs. to the harmonic Doord of pianos and violins. is In the act of inhaling. — the generator of the voice. give origin the sounds commonly and rest throughout their length. ligaments and the opening between them . Organs of the mouth. the for Before we proceed further to describe the functions by the vocal which that is to say. having no power to original Ike voice may be constantly modified. musical We . parallel to each of which is surmounted . called the bronchial tubes. : succession. and which never closes. teeth. Lastly. which. and the part performed by the vocal ligaments in this operation but The lungs are a receptacle accumulation of to air. classified according to register. by Thirdly. The larynx. and it extends to a gamut of three octaves. the voice is attained. that. hence it follows. In the male voice. within which every individual may find the compass of his voice. of that compass. The characters of the voice. but also different or timbres .-P~ Falsetto. from several modes of capable . a subject of the highest interest to the physiologist: but art. capacity. the tension of its sides. is. which is immediately dependent on the respiratory apparatus. the head sounds voice. registers. unless in exceptional . By the word register.—-and tongue. and. which does not belong character of each being impressed one class or the other. at the greatest extent of three registers. lastly. or reflecting organ. muffles the sound:. they may be divided into two leading classes or clear. The Pharynx. exist only as a value whatever to them cases The Italian public attach no and are at best but a poor resource. because all the registers are not upwards as high do and re . the different degress of brightness and dulness of sounds. All The open timbre imparts much brilliancy to the chest register. more usually effected is by the raising but we very much question whether this not mainly due to the confinement in which their ribs are habitually held. or vibratory organ. but not so strikingly as in the * Id Acoustics every torn octave h designated by a number: 1 applies to the octave chest. the head-voice. or sombre timbre to the . With men. shall and power. in practice. in fact. Pen** Yob* j Head V<Ao*. scde of the three registers is as follows and the volume and intensity of the On the Registers. In the head-voice. . those of a fixed nature. dullness. naturally admit of fluctuation. but when exaggerated. j> various qualities of the voice. — action of the soft —width Bead and extend from Register (voce di testa. firmness. — — the shape and capacity of palate. are too well known to require description here. and the closed. as form. to those which the voice of every singer possesses. the act of inspiration of the chest . because the organs being elastic. voice. other male singers do by vary high tenor voices. that tube. Apparatus II. and essentially from other sounds originating in mechanical means of a different i Chest* kind . secondly. depend on two conditions. be is fid- distinguished. It is well defined in the falsetto register. the contra-basso.— — — ) — : — De pci formed independently of each other. see that in the male. lik« th© sounds of th« harmonica. when it ia between mi 2 and la 2 * according to the nature of the as and ranges analyzed in different individuals. employed indiscriminately by all voices . as above The chest-register in the female voice commences with one of the sounds organ. Two or three notes are given as the possible limits of each register. even in the formation of the vowels. Bo to Si 9* aT?^ *° the 0°**™ above> ^^ *° on able - rendering this register pure and limpid. . as not being subjects that require our attention. but our that the head voice of the female exceeds that of the male in extern Dpinion perfect inspiration depends is upon their united action. extending itself as far as a twelfth the healthy or unhealthy state of the vocal conditions. the open. We enlarge upon them in the following chapters. are called buffi caricati. for example. individual voice is — They and first. This variety of timbres results. In comparing the we . the upon the whole compass of the voice. distinct As all the modifications they undergo are the result of two and opposite causes. when exaggerated. Ttie general forms the registers. variable character that can be assumed by generally consists of between a twelfth and two octaves. nor can they be employed. is voice. emission. volume. for by timbre. its The human exemplified. Apparatus The pharynx is III. are of the same quality and nature. such as the directions organ . however. is at least doubtful . it is fatiguing to a singer. and register. the latter only can descend below sol. which meant the peculiar. the chest is the principal register. the closed timbre sometimes produces a remarkeffect. the elevation and depression of the The sounds next in succession to the falsetto. the chest register that the falsetto is The effect is less observable in the low than in the high portion of a descends lower than in the female common to both . however great the modifications of exclude from our observations. its variable which sounds take in the vocal tube during name notes a3 the chest . nor can any vocal sound be emitted. for the cultivation of the vocal never. with the extent to which they can be opened. that all the sounds belonging to the same register Head. as. and from the modifications caused The falsetto register in both sexes commences nearly g w by the reflecting power of the pharynx on the emitted sounds. Register of the chest voice. -0. — and makes them dull and hoarse. and the inspira- quality and power. to use the extreme limits of each register. in the vibration of which the larynx at is first place. are called to -^St^-ft^ - T1 " — — — mere remnant of the boy's We shall confine ourselves here. — position of the lips. whether through the nose or mouth. brightness. the rich quality of This. and produces the registers to the organ which modifies the sound. and what. wrong to use them. — The Larynx. indeed. by which each and rises to fe & register l.-&r on the characterized. shall "We tory voice. There are not only different qualities. also. they may undergo. expressed by the terms. is to be understood a series of consecutive and differing homogeneous sounds produced by the same mechanical means. between the upper and lower jaws. Falsetto Register. each register. With females. makes the voice shrieky and shrill whereas the closed gives it breadth and roundness for by means of the latter only. it. when the aperture of the glottis is doZ do 4: " be minute. longest. should be very slight. which we have just called the pupil's attention. the larynx. depends the give the sound a veiled character. notes between sis and re§% of the female voice. We shall here confine ourselves to a few observations of details. that when the female soprano voice attempts to sound s/ by some musicians. or contraction of . behind. and shortening. which has much greater power of vibration the the voice. moreover. in the act of producing a sound so. partial opening all that is needed is an opening sufficiently small it. . the cartilages be still vibrating. respectively. a space. for the linear form. produce a through emitted. and which successfully . Intensity and Volume of Voice. in palate. opening the glottis separating. and at the it . another advantage derived from this complete closing of the The following is the process by which the glottis shortens its dimensions. exhibit a weakness and tremulousness in The question now very naturally occurs. Th« them are produced exclusively by the vocal tendons. employed by " " 1056 " some female voices. acquires glottis contraction of the glottis will be found the best corrective for the weakness to and escapes with sudden expansion of the contractions air. the cartilaginous but as the voice begins into come progressively forward their entire length. read before the Royal Society of London. to a practical sound is it becomes subject . to be remarked. the leaat the vocal tendons considerably lessened. air. which it holds during repose. the gradual ascending larynx drops. from the vibration of the when : the elasticity of the air opposed to The rush of air. pressure of air will rush through a minute aperture of the glottis. between called mi% and do±. contact from the back. towards the soft These two their lower notes. of course. is though gently. however. they do not always press against each . and will . the posterior. which it assumes during vocal action . lips of the glottis are employed in circumscribing the glottis. for more ample paper by the through which passes which tube. still further lessen the length of the vibratory orifice. is Perhaps the best idea which lips. that is. th« length of the glottis and as we have before observed. which alone are of cartilaginous substance. touch one another. to the dimensions that can be given to it by the tendinous parts alone which latter being acted on from Many First. voice. through the lips. The moment it emits a sound. and between si 2 and re$ 3 of the male. must therefore be pinched note of the voice to be produced. beginning below at the larynx. — accordingly as be either it the glottis closes dull. and the soft palate rises thus making the distance between of the sounds in the vocal scale causes the cartilages to into contact. all have the power of motion . and requires a greater expenditure of air. gradually it Formation of Timbres. cr. not strong notes. be observed here. that the the formation ov Sounds. on the rapidity with which the glottis opens and It is closes. however. serves to produce the most rapid beats with extreme of the air. retiring. or mezzo -petto. the mixed-voice. their full extent portions are set in motion portions . The glottis air. forms only a slight curve. and sing the high notes in w^*w below . causing successive and regular necessary that the glottis should be perfectly closed after each . that pressed to the mouth-piece of a trumpet.) the sounds generally become passage for the breath. to the influence of the vocal tube amplication. if we consider as a deep ation of the Italian I. the head voice) when at its shortest dimensions. narrow. rising. in . the glottis forms. this is frequently height or lowness of sound. which combine to form the glottis. or mi± and mi% Let it. most perfectly the function of a reflector to The falsetto. which. in by collapsing : the anterior extremities are always fixed. The falsetto (a term is the arch of the palate. glottis are in action proportion to the pressure given to the the cavity formed above the glottis. which. the sounds produced bright or Secondly. pure vibration. in tenor voices. set in vibration the entire and the latter dropping to meet whereas. beyond doubt. however. or half-opens. — the folds to or upper tendons surrounding may either. leave air towards the centre alone. referring the reader. which. by Formation of Registers. By t It the latter. the waste of breath would. both the cartilaginous and tendinous to ascend. nearly a right angle. those called head register. if the summits of and perfectly. contracting or expanding. and closing it constantly open. first case. close one upon the other. for escape of when by required. and ending above at the mouth . generally the more veiled of the two. having the power of lengthening or author. ofchei with that firmness which the beats require the consequence is. portions alone are When the tendinous mechanism of such sounds may be thus explained :—The stretched. by what mechanical action is The answer is this it is solely formed by periodical the voice formed ? The compressions and expansions of air during its exit from the glottis. is When the deepest produce weak. closing. owing to the pressure it there undergoes. and will enable tenor voices Each octave takes double the number of vibrations that are required by that immediately to extend the voce* compass of their chest register. and meeting the at their extremities. the sides of the . however * Th&do 1 requires 132 vibrations per second. is is most easily effected by the enunci- understand these movements of the pharynx. glottis. to that and of changing fulfils its curvilinear form published in the seventh volume of proceedings. expansions of give origin the voice. forming a curve at females in making them familiar with the chest-voice. — a tube. its which is commonly mis-applied and confounded with registers. — the pharynx may give the sounds The moment that a that pass the varied qualities of timbre.than of a right angle. as the vibrations is cease to be affected by the cartilages (which in the voice of both sexes the case on reaching two small internal lips in the larynx. because if The glottis should close entirely after each vibration. which are owing to the unsteadiness of the organ. escaping through the half-open orifice. chest-voice. its May 24th.f CHAPTER On in. Thirdly. Economy oi the breath glottis. by the tendons alone. As soon. in the second case. will be quite perceptible. in a thin but pure tone. We it shall the glottis and this contraction which E. is equally capable of application by the male in which case y dob 2112 " will serve to give clearness to the high notes of the bass. while the space between In this state of the organ. the vibration being effected at last come more and more them greater. Of these Intensity of sound depends on the quantity of air used in producing a extremities. diminishes the length of the reducing . causing below them an pure and perfectly steady. a more determined pinching. : — — some instances. facility. glottis that brilliancy of voice quickness of the vibratory orifice* alternations increases the length of the from the entire closing of the is after each beat. It is not The alternate and to dilations. it stifled tone. . it changes the triangular form. to develops is the reader can form of this action. or English the process that must be explained to and highly-elastic pipe. that the inversely to we may hence conclude. till they meet throughout This movement. at times extremely dull the case with the falsetto results . The process just described. which is placed an octave higher : both of and with less than would be required for trying the notes below. mechanical changes of which the vocal tube is susceptible. the notes sometimes happens. will different causes may tend to modify the timbres of the voice. 1855. and its sides firmly fixed. The pressure is to do 2 « « 264 528 " " " " " however. it unconsciously rises to re$ and mi$. Volume of sound depends on throughout. by add volume the sounds. that a strongly marked accumulation of elasticity. Hence the varieties of timbre will correspond to the multitudinous requires accordingly. and in the female the notes 4 and do & effort . Women's voices The Contralto. even Chest Register (voce di petto. is effects produced. are divided into four classes : — occupying the lowest place in the female vocal scale. and character. and this is precisely the condition said to be " broken. There also exaggerating the timbres. Let us not be misunderstood is we do not mean that if even Soprano — one- these last-named are very rare. important to female singers. The last enables him to of vocal music. of these considerations. to this. might occasion the entire loss of the voice. harmonic combinations". be seen from the preceding observations. and expression. they are never to be restored of a voice which is . highest should temporary illness. also that of the male. is . and rises fully as high. fatigue to the organ —and. the voice loses some of artist's This often occurs with opera singers. powerful. the effect. irregularities of the registers. it may be attributed to injudicious veal education. that. most remarkable portion descends almost as low.he latter especially. whereas the falsetto is veiled and soft. and. Well-directed and persevering study can alone ensure correct — perfect the mellowness and intensity of the sounds. soprani . $ It will are generally weak. and are therefore deficient in neatness. His talent must be cultivated from youth. all of which excesses cause temporary it. to develope the natural gifts of an organ energetic feelings . all and next : The Soprano. is essentially the basis of the female voice. penetrating. habits. by animated discourse. and of harmony as a science. voice. by uniting these. for whether the nature of the organ has been mistaken by the instructor.. their employment is not a matter of indifference one. fullness. and devoid of feeling and energy. though it naturally flexible. through notes. Whichever may be the lowest note of rarely or never go beyond." This prostration of the vocal . strong. high notes (the sombre a close relation between the different vowel sounds. this register seldom varies in It is the its compass. the Moreover. Classification of Cultivated Voices. and tbe memory both of melodies and qualifications. being In all female voices. The female voice. the best natural capacities require judicious direction. and every modification that a tube. effects. . — does greatly in intensity and sweetness. their vocal instrument. importance is As itself. utterly to destroy the voice. strength. The Soprano-sopracuto. is as follows : The compass of this register. form important with mezzi-soprani and it is merely the slave of routine. breadth. The perfect first essential for every singer in is mind . the result of vigorous. — to embellish them. in the scale. This subject will be especially considered when we speak of the fourth set of organs In conclusion. severe exercise requisite. The human voice in its often unequal. power. : — mouth. their characteristics. for the character of sonorousness to belonging to the register exactly opposite that of the other. alters its sound undergoes during character or quality. our observations on timbres may following brief precept or aphorism vibrations. i 3z: * 2E ^ this register. a place one-third above the Contralto." passage through the vocal CHAPTER V. and more its man. but that of some musical instrument. will inevitably destroy in the of in gives rise to a different timbre its . or of skilfully passing —whether its for the purpose of enlivening over a difficult passage. adapt songs and parts he has to execute. ability io sing tune. diet. — — — The sombre short is and gently-curved shape produces the bright timbre . and quickly lost. the following directions are. bj caused by the lengthened and strongly-curved form. being. are masculine. of the all laughter . the to chest being a high one. the voice which should be . as by a general as well as special education.Soprano. whether of or general conduct for every one of these must produce injurious A voice may be also seriously impaired by too i w si .) Contralto voices to which the chest registers belongs more exclusively. The Female Voice. &o. and quality requiring the force of the . by loud and continued assumed by the pharynx. vary Qualifications of the Pupil. the error is equally disastrous . or he has attempted by obstinate perseverance to convert a low voice into although both the chest and falsetto registers have the same compass. intricacies of and weighty This register it . that singers and soundness importance of whose of interests are vitally concerned in maintaining the health however. pliable than that of CHAPTER IV. or of restrained grief. these natural gifts were (which rarely the case) combined in a single result . fureibility it is only by means of study that a acquire Falsetto Register. flexible. it is only by the knowledge of harmony that a singer able to vary his songs extemporaneously. tremulous. and firmness. impaired. is tbt privileged interpreter of melody compass. as chest register . all which are necessary elements of good musical The the falsetto register accent and style. if often renewed. is and rapidity of execution. while the is frequently using the high notes in both chest and head register** . and of small I because any attempt to attain compass. according to the structure of the organs in individual singers. extend the compass singer can Hsides which. ~OT and organs occasionally occurs even during the period of study if it in which case. object and adapted the expression of impassioned and . stiff. but When once are also the most delicate. if study is. and will neve/ become great and is less distinguished in his profession. The great . heavy. and proves the natural state is proficiency. when. a healthy. inclusive of the deepest The special education of a singer comprises not only the study of solfeggio. individual. but the notes between Freshness and steadiness are the most valuable properties of a voice. sympathetic. be comprised — "Every change method producing those. easily injured. and bring out their peculiar is beauties. fresh. regards the first in The Mezzo. unsteady. real musical talent would be the for to attain that. vigorous of good compass. which is finer . in *ur opinion. or extend them beyond their power or capability. — level the sounds above. of the mezzo-soprano voice. In all cases. be not the result of organic disease. physical then a true love for music. are yet ill-governed. A are singer who has no knowledge and of the means by the art he which vocal professes. steady and longof the continued cultivation. The singer should shun all excesses whatever. nevertheless. but also for those which. not only for rebellious voices. and sweet constitution. not to transform expression of the milder sentiments. one-third above the Mezzo-Soprano.— holding the highest place third above the — —occupying . and suited to the Independently. especially the pianoforte.. intonation. to the compass and character of his voice. and the various forms more exertion than the clear) . it will at once comprehend The notes the guarding from injury. Let us add. 8 It is easier for tenors.the bass. t Head From 3? two to the ease most easily allied with that of the although . Chest. The The The The fche Bass.) -£2J less fulness than . in the upper parts . Falsetto. being supplied by the baritone. Falsetto. i facility . Tenor. (Bariton. being i i ^O^t. sounds are produced. — one third above the Baritone. m ^=§ Faisetto.) highest in the male vocal scale. Italy. and obliges him to have recourse falsetto but this The from classical compass for all voices. Head. Baritone. X thinner and I register. is rich and bright. compass and character of male voices may be classed as follows occupying the lowest place in the vocal scale. light quality. JP*5 *" The Contraltino (Counter. This voice. v& Falsetto. retaining thus other male voices differs essentially from the head whi^h power of changing the on any one of these notes. and more manageable seldom extends to two octaves. H^W-^ They find i A deplorable Soprano {sopra-acuto. Head. the inequality of the sounds will shock the ear. whereas the same notes in the falsetto register are sung with male voice. i Basso. the highest Voice.)«£ Hrf~ /^z^--a-*!* 1 Falsetto. This voice.) -<5>- some difficulty in reaching the falsetto notes. its compass any— j*% Chest. ^ -&- I modern music to is than baritones. Haute. _£2_ S Falsetto baritones. (Basse-Taille. which has and extends from Chest. . J?&~ Baritono. the rest. perhaps irreparably ease . and ba« In order. i : -&¥+ ^± Chest. Head. Bass singers ought to confine their voices to the chest register. extends from JGL V'-k- fe 1H *nr^ I Chest. —one third above the Bass. to avoid weakness in the low notes of the almost the same compass as the female contralto. Soprano. must be very sparingly used. must be exclusively reserved for the female voice. that two The Contraltino This.Soprano. been allowed as the limit of each this latitude. In the preceding table. chest. though possessing less volume than that last-mentioned.) notes tenor. s From —&- -&to i I by which In this voice. require such an amount of or three years of such exercise effort.— — i produced in the chest register. T^ ~~& 2 Falsetto.) would suffice to injure the voice. Chest. ^ Head. Head. -A\ Falsetto. therefore. being left to V transition from one to the other may be disguised. t^- M& s &- *?r&-f- Head. /feg'gg I Falsetto.Contre. however well the the effect. blend the timbre of the two registers otherwise. ?m f^j ar- Falsetto. singers will derive advantage from their use. Contralto. —one third above the Tenor. to combine the falsetto and too high for the .) brighter. and destroy the unity of which would be that of two singers alternately singing the same passage The head-voice. which. (Counter. chest registers. choice of the artist. because all voices r still more marked contrast wit a the chest-voice. little as by female voices but male ?& Tenore.Tenor. 1 m Falsetto. whether below or above. can be produced with nearly as much by and counter-tenors. they are comparatively weak in the lower ones. is (Tenor. the chest register is falsetto. also. The Baritone Voice. the compass in question should be formed by the union of the two Chest. registers. it it is more effeminate than any of the We the reserve four sounds common registers to the registers. Ml ' 9L_^/ ^$& Chest. The Bass in the Voice. caprice of fashion has almost excluded their place them from operatic vocalism. three or four notes register. ill -&Chest. as it forms a . in the schools of was resourse should always depend on to the facility or aptitude of the organ . — Mezzo. Register (voce di testa. possesses a clear. The Tenor Voice.) Table of Scales for the different cultivated Voices. because the pitch of m^m ( Contraltino. most fortunate cases. extending from Bcale. The Male Voice. tenor singer. Soprano voices owe their brilliancy principally the high Dangerous.Tenor. To this we must establish the following fact. are less developed in for instance. Thirdly. presents an forming the head-voice. This position of the tongue the thorax and diaphragm on the lungs. viz will end. compass. empty as long as must be confessed that all these exercises are at first extremely exhausting. is Whenever epiglottis the tongue rises or swells at air. that the separation of the jaws should be nearly uniform for described. There are several defects calculated to injure the beauty of the voice the most common of which we shall at once point out. resonant form. Too large a separation of the jaws tightens the pharynx. that by submitting the lungs to a particular exercise. column of on pinching the nostrils. steadiness. how to avoid it . too much relaxed. when we come to speak of Expression. first. . slight aperture for the passage of air.. until they possess an entire control over the breath the very element of sound. by which they give out again the air jus* action of breathing consists of lungs from the cavity of the abdomen — — Every change of timbre of which in all sounds are susceptible. a corresponding change of the tube of the pharynx. That sound is especially to be preferred. and extend lg its compass. Opening of It is generally believed that the the Mouth. before being emitted by the mouth air . more we open our mouth.—The pupil should gently and slowly inhale for a few seconds. the shape ear can always detect. Fill When the soft palate is . Besides. connected or unconnected. —Exhale completely. simply to raise the soft palate by inhaliag deeply. the pupil subject that we shall revert to here- The breath influences the it mode or character of vocal execution The to become dull and cavernous. by the head be erect. they would cause the air to escape all at once. or acquire a nasal character for the column of vocal possible time. for if mav be ascertained the finger. which is round. elasticity. after. will acquire steadiness of voice. point tonsils is alone sufficient to produce this also present another obstacle. that of expiration. that being vowel E. and It is the business of the master to correct these faults. the voice will probably air is reflected.xcel in and desideratum for every singer who would his art. however. and yet has no brilliancy. if the teeth be too nearly closed. therefore vault-like. the when charged with air. choked sound. No persons can ever become accomplished singers. and in counteracting them. with the mouth well opened. it drives back the to Of course the mechanical act of expiration precisely the reverse of on the column of ascending and causes the voice be inspiration. husky. base. easily Veiled Sounds. The tongue is its sounds into vowels. by which the lungs draw in the external air. Nasal Timbre. and mellow. The best by outwardly pressing the top of the larynx with method of correcting this defective timbre will be the chief agent employed in transforming thence inferred. as. and the chest regularly and slowly raised. ringing. depriving the pharynx ot ks how the vei led. originates inspired. which will be best effected by pronouncing the chapter we intend to treat of the quality of voices first . without exception. echoed immediately in the nasal fossse or cavities. It — very Cavernous or hollow-sounding Timbre. guttural. circumference of the lungs . ve at the same time shown 1. at their base. the initiatory step °. The two separate operations the first being that of inspiration. in such a way as to leave only a chest —After taking a deep the — the and keep them And. and the second. and at the same time show the best means of correcting them. 10 CHAPTER On the In this VI. we need the voice will assume a grating character. consisting simply in effecting a gentle. being capable of rendering either steady or vacillating. Fourthly. Italian L The Breath. and must be separately practised. By projecting the lips in a funnel . again very gently and slowly. —a By these means. order that the lungs may freely receive external air. is that produced by singing through a comb. This exercise consists of four distinct and. powerful or feeble. : — plays an important part. Be it that the veiled quality of the voice may be corrected remembered. parts than their possibly fine qualities may deserve. should the passage of the air through the glottis be attended Guttural Timbre. which should be done principally by the movements of its movements of the ribs and of the diaphragm were to take place suddenly. and muffled voice is produced. we may perceive whether the on leaving the larynx is directed against the nasal fossae it before entering the mouth. those are to be selected which in all respects best iuit the voice of the student. are tremulous . their power and elasticity will greatly increase. sufficiently capacious to allow of their full dilatation this. and as this capable of undergoing countless varieties of form. gradual preseure of emitted with a guttural. will be discussed. quently stops explaining all vibration of the voice . and give the voice a muffled : character r >bst?„ele for which young persons are liable. however. which is open. or whether this latter cavity. or. as all uncultivated voices have. or contracting the glottis. The swelling of the may . somewhat like the effect thai tha least endurable of all the qualities of voice. lungs. either certain marked defects. must be mellowness. — — the passions. harsh. We may all now to be add. besides being would make the throat both dry and stiff. contrasted with that slight and hurried inspiration which gives the lungs a slight supply. When the lungs have been gradually filled. the and the chest expanded. shrieking. Among all these shades and changes. while base should always remain tranquil. In — while many are deficient in power. they have the power of retaining the air without effort this slow and complete inspiration is what the Italians term Respiro. air should be exhaled inflated for the longest the physical powers will conveniently allow. this swelling to effect. We would remark. however. This double movement enlarges the compass or it is To insure easy inspiration. — — . vowels. much air as the chest can well contain. its it by any noise. Some. In neither case. and conse. offensive to the ear. The diaphragm should be lowered without any jerk. to prevent the formation of others . passes immediately through is The way to correct this fault. and leave the Secondly. Other qualities of the voice useful in their way and which serve to express quality of a sound.successive practical operations edges. breath. at all events. if any obstacle be offered the progress of the waves of sound the rising of the tongue at its voice will . and subsequently expand. after long intervals of rest. therefore. others nasal. The two first. expressive or the reverse. as . &c. the chest . without any jerking movement. requisite that the shoulders thrown back without stiffness. merely sufficient for a moment. and technically termed x the Mezzo Respiro. as First. until throughout their whole extent. namely. all it flexible tube is follows that the modifications of sounds are also numberless. also to discover and develope those qualities which the diaphragm — which and in effecting *is a wide convex muscle separating thf combine the greatest number of beauties and advantages. the gentle inspirations and expirations will be more equally effected by nearly closing the mouth. leaving them they are completely filled full liberty to with air. veiled. The assumed by the tube. by firmly pinching emission and the qualities of Voices. as a basis for the enure process. the mora and powerfully can sounds be emitted but this is quite a mbtake. whether natural or acquired. this plan (by which the lips. not capable of ascending high in the chest register. experience shows Chat the pupil should never in studying pass 8 The "221 sounds.11 shape. half palate. The Male Voice. besides which. Care however. These notes must not be held long. and to every kind of vocalization. the voice must be directed towards the summit of the pharynx in no case should any note above sol be taken more voices have been ruined by the injudicious : : use of high sounds than even by age. in consequence of their extremity . and then produce the sounds by a neat. the sound will must be taken to pitch the sound slur up to it. the which cannot immediately be rendered firm and normal. in it tone. When is the mouth assumes an oval . smilar to the action of the lips glottis is . Sometimes the youth of a pupil. on the vowel J. recourse must be had to some easier and more spontaneous sound belonging to the same register. in which case she must wait for age to strengthen the organ. the notes become heavy. fish. it would-be difficult to produce the same note singly these trials. they should not be attempted with too much force. Sometimes the Bhape. The function of the chest is solely to O (aw . and consequently the elasticity and mellowness of the sounds emitted. the sound will come out pure and ringing. or coughing out the notes of not uufrequeut. to attack each successively on every Italian vowel. without any attempt to raise it at either the muscles of the throat should be relaxed.are difficult to fix. which are round and clear. Some masters recommend the head. the tongue and other organs not concerned in the emission of the voice. and of a contraction of the glottis. however. with the which latter resembles the act of coughing. by a well marked slur. registers become equalized. be made by means of sustained notes. A vigorous slur . tones are lost for The general belief fact. without possessing any power whatever of and head useless. this thinness to register is thin. striking notes . thej form too great a contrast with the notes - of the when strongly emphasizing the letter P. . When the sounds are deep. may be corrected by using the close timbre with the chest. the more the bottom of must be opened. the easiest to produce . while the corners of the lips retire slightly. come out bright and round.) this the vowel A. they may be communicated by using similar means to all this fulness As preceding notes. is can alone remedy. &c. cold. In other cases. which time. the face has a hard. Basses should attack ' and I again -7^-. trial is not to low as the voice will permit. LO the after which. In this case. This movement. and facilitates the emisson of the chest notes. If this movement be properly executed. and the is w ISC I zz::s2=s. resolute articulation or stroke of the glottis. ^ p: bcr^- of tone must be attributed to want of skill . without stretchguttural. roundness. The tongue should and motionless. stifled. Articulation of the Glottis. i -to- & . are set in motion) has the disadvantage of merely disguising the faulty articulation and purity are simply the result of an arched position of the pharynx. prepared for articulation (as shown in page 5) by closing it. from a sound already mastered to the one which causes the difficulty. for on ease of movement (falling by its own weight) This register quickly exhausts the breath. but in point of they ouo-ht to naturally very be carefully economized. and uncertain air. \-&~&rT~*3 #= ^J- of bass voices. il <u use of the syllables Pa. by arching the soft This process must sometimes be extended to the extreme notes supply not to throw out violently.jg: . and the power of contracting the The most essential-feature. that the falsetto of the glottis. Ma. which causes a. will This result once accomplished. in other words. recommend the stroke of the the only way of eliciting pure and tenors at and firm sounds. Italian sound /must be brings the lips of the glottis nearer together. momentary accumulation of air below and it is then opened by a sudden and vigorous stroke. Although the foregoing observations apply following additional remarks must be attended their chest voice at to male voices as well. that acute want of practice . in €7 first because if not rounded. at once on the note itself. by : an energetic and short articulation of the glottis — The pupil being thus prepared. as before. until the throat has acquired great flexibility. be loose and gives it an agreeable form. a pupil occasion a similarly good result. We are now to consider the female falsetto voice. which will necessarily be a higher one. must be made : ~& TLe Italian vowel A must be made as clear as possible. but by passages for though it is easy to reach a sound in the excitement of a roulade. which keeps the lips gently pressed against the teeth. or feel for it. should draw in breath slowly. opens the mouth in just proportions. she may descend also by half-tones as — nor. like that of a the voice rendered dull and gloomy the rowels are imperfectly articulated. It is therefore by an identical process. upon the broad Italian vowel A. the most efficient method to reinforce and brighten them. The higher the sounds ascend. rendering the sounds aspirated. starting the throat from I *J . If the sounds in question be particularly weak and veiled. made in expelling some If the quality of the sounds should be thin and child-like (which is This stroke. difficult to register. the lower jaw should be allowed to fall by its own weight. is is. or stroke of the glottis. The voice must descend to the difficult note. even by voices whose pitch high. but be repeated The pupil may then ascend by half-tones several times in succession. La. with great caution process. owing Females should first attempt the chest notes ? which are generally found <&- and if well %j -&managed. of the head-yoice this glottis. The . and not to The pupil must also be warned against confounding the articulation stroke of the chest. ing the mouth too much. is extreme feebleness. correcting it. the may use indiscriminately the Italian vowels glottis as A or E to. as it If it prove and each note conquered should be allowed time to become firm before the next above is attempted for the formation o\ the throat must of necessity undergo certain modifications during the . in order to acquire precision in but in our opinion. We cannot too strongly recommend extreme looseness of its All the sounds of the head register below re may be the lower jaw. The of the falsetto register. — an neglected as inconvenience depends that of the organs placed beneath.) or. or the effort obstruction from the throat. To notes from open the mouth. and most unpleasing expression. should a pupil ZE21 9J be allowed to exceed the limits we here lay down. The preceding remarks apply to all Whether the voice is or is registers. to correct it. The Female Voice. causes a great loss of breath. and all but indistinguishable . which renders the sound produce any sound of the chest tried. uniting the registers should be chiefly confined to the following notes " vocalization. the the violin string — air— will obey a glottis regular and continued pressure will while. (Marcato. : — 12 of tenors. this study almost always disagreeable the master must therefore skilfully direct .. and continue it upwards I Between S Z22I these voices power of the voice. and resembling a therefore they should never be used except in the boy-chorister's voice shrill. dragging of notes will assist in equalizing the registers. tenors will take up the falsetto at re. Occasionally. by the more method of singing them constant exercise alone can overcome this difficulty. and employ the clear timbre. is tor the actual clear quality that the would be too thin. The explanations we propose to offer on this subject. this result forms the leading characteristics of it. viz. and then they are a source of trouble to the singer. effects are pleasing. closed timbre in these sounds should not be practised till a pupil has part . basses and baritones must adopt a precisely similar course of study for joining chest and head registers. as the rapidity and number of Neither need the pupil fear the sounds can be afterwards increased.) _£2_ sounds -Jt±- r. voice being veiled or muffled. uniting the falsetto and head registers. . the air must be subjected to a regular it to drag or slur over with the next. . which of the vocal scale.) (Pichettato. trembling. without interrupting the flow of voice yet When the chest voice is once firmly established (which not allowing case. As an example of this. task . as in pronouncing the glottis must also be M w -& Per che trtm £ . is most difficult to attain in this is If this caution be neglected. the or relaxations. care must be taken not to aspirate them. as that would only impoverish the voice. From re. and performed by passing alternately and In order that smooth vocalization may combine every essential. . also. and abandon it on reaching Of . chapter on sustained sounds. a few days. — — . . closed timbre. all. and not closing.) the pupil must immediately endeavor to unite that register any intermediate sound. indeed. 28 to are appropriate exercises for giving power and promptitude 32. will always last studied. boldly to attack the kind of hiccup which occurs in passing from one Sometimes. we may instance the organ and other wind instruments. however.) begin to round gently at ^\r~ and tenors at - 8 By viz.. and smooth manner. inclusive to the slur. it Unless care be becomes very difficult to produce them of a clear quality . it (Italian — Agilita legata e granita. will be found collected in the the functions of the down and bow on . glottis. and the Italian L \j pressed. Smooth or Legato Vocalization Union of the Registers. The only way to A and E CHAPTER Vn. . or. But J2L voices should. : -x Slurred vocalization is a series of sounds connected together by experience great difficulty in firmly enunciating sounds. should be the in the clear timbre. perform their functions.) . is even when heard in a very large room. : vocalization . and gliding. (Aspirato. This should at first be practised seldom. The scales No. . as it renders the tone disagreeable. Exercises for portamento or break . value. To should be in sing legato means* to pass from one sound sudden. Italian to combat this tendency. the two qualities agree .) . nature has herself undertaken this is but voices thus favoured are rare. but the Smooth Marked Detached Aspirated . there risk of the These modes of vocalization are greatly dependent on the manner which the lungs. vocalization is — faults which may be efficient cured by marking the notes. This kind of vocalization indicated in the exercises by the same sign as the Portamento di voce. in order to effect this. Jr^ [ I it L without exception. and pharynx. slur should be taken from This the last portion of the note quitted and its rapidity will depend on the it kind of expression required by any passage in which that its occurs. offer a phenomenon worthy of attention. nor should strong sounds be reduced to similate with weaker ones. The time occupied by a .) in mastered the bright timbre. should notes be aspirated. and timbre uninterruptedly from one register to the other. By no means For instance. to preserve an equable and progressive motion. . i ''W Instead of W fczP" Pei - ehe ma-ha-ha-ha - ha-ha-ha-ha - i. (Legato. emitting the with more and more openness. Bass singers should is The preceding rules apply equally to tenor and female voices . nor should tenors use above I as far as in the chest register. timbres.. Chest as well as falsetto sounds should be emitted with all the energy tf which they are capable. It must be made. To the pupil. In this as with the slurred sounds. give firmness to a voice. the vowel it would be better to close it slightly. However accomplished a singer may be. if necessary. or if the voice sunk to rise again directly afterwards. . the intonation must be perfect the notes should be equal in power. Generally. every other being only a variety used to color r m register to the other . whether in ascending or descending for. and executed slowly. . The reader will remark word rounding. taken. and the other rapidly. — they should be united in the same degree of smoothness. . indistinct. Glided or slurred (Con Portamento. staccato. the pharynx must assume form required for the closed timbre. Gliding or Slurring (Con Portamento. the larynx always tending to render them sombre. is here used this applies to the : particular vowel and meant the connecting of various sounds on any this may be accomplished in five different ways. but lowering the exercises a minor third. the effect produced would be In the ascending slur. massing to falsetto sounds. . and continuous pressure. on the other hand. undergo progressive contractions This mode. Above learners should avoid taking notes with a slur this is a very common and prevailing fault in bad appear singers.) The bright timbre alone can it make its the voice light and penetrating it is but though may communicate character to the entire compass 3 To slur is to conduct the voice from one note to another through all especially in this tenth of the chest register.) to another in a neat.. so as intimately to unite all the notes with each other. which connect sounds together without either it according to the nature of the voice he is cultivating. the sound. intermediate sounds. if one part of the slur were executed slowly. which is indicated by the following sign s* . the pupil must avoid opening perfectly detestable. the timbre of dragging the voice up or fulfilling that which should be neither too shrill nor too muffled. On Vocalization or Agility (Agilitd. on the contrary. a kind of echo is produced. vocalization : . many keys as the compass oi care being of course taken never to exceed this. pupils should therefore be warned against singing marking or detaching any notes in plain passages. and as equal . The passage #. and to separate them from one another by a finished singer. as before said. a principal resource for giving color and following exercises are classed in the order which seemed most . they help. Detached Sounds. To mark . — Example > > > > '(/ ^\ _ii*»l^^ «3 > >. in turn. if tie glottis. few weeks. instead of leaving them immediately. . times during the day degrees. The besides. instruct the pupil.: . Glottis. which corresponds — Detached Glottis— the alternating and sudden tensions of the — Lungs. and omit florid passages. glottis. extended. through the entire compass of the voice. breathe during its remainder. Equability of voice is .— sudden changes in the tension of the of the — Lungs. as weL power and value. Smooth. too early attempted. and in order to attain it. Aspirated — alternate contracDragging of the voice : . is. air. "We shall not. while the sounds all remain united . slurring. aaaa aaaa aaaa aaaa eeee eeee eeee eeee oooo oooo 0000 oooo Dull voices have no better method of articulating ^ CHAPTER VIII. > >[S"^"n >J> > > J^I^B^Jr* >J> > > * 1 ^L*ti&&&¥^\ ri am vm) eJ I'Jtf -#-•' W & set^ — — — Lungs. and by introducing natural limit. last more than five The first are produced by an elastic impulsion given on starting or six minutes but may be in a repeated after long intervals. the notes little ~oi which ought to be retarded a towards the end : — the part. feg ^jaf^jftg^ Jg or thus : — LZJ Marked Sounds. We must be careful sounds. may be . escape of air before the sounds. lips glottis. effect to rational to the author but each singing master can change absolutely requisite it. in the first instance. makes its whole extent familiar to the pupil. This study.—continued pressure. Exercises must at first be sung slowly. and. needs it . which is in effect done. equal and continued pressure of gradual changes in the tension of the lips of the glottis. without detaching them from one another this will be attained by giving a pressure to the and by dilating the pharynx. r^Xl r ** 8 " tions and distensions . This comprehensive mcde of studying enables the organ to pass with flexibility through all varieties of intonations . they receive a slight prolongaThe first of these is indicated by dots tion. the half hours' exercises may bo repeated four times daily. not to confound marked sounds with aspirated The pupil's first .Lungs. the proper method being to stop after the first note of any bar. it equalizes the vocal instrument. as he pleases. Detached Vocalization. advanced part of our system of instruction. and the attribute of an experienced. to give elasticity to stiff throats. — . agility : to glottis. agility: air. Sounds. and to correct the Observations on the mode of studying the exercises. detracting from their purity. — (Italian —Pichettata by a must commence with the emission of sustained notes occupy ourselves with the messa di voce (swelled notes. without straining it. vocalization: lips air.Besides the eclat which these accents impart to a passage. throughout every sound he should also avoid breathing abruptly in the middle of a passage. and inhaling become less frequent. Staccata. Legato vocalization being the most frequently used. Marke d notes. In any case. when used with taste. points. sounds is to lay a particular stress : on each. It vocalization helps to bring out the voice. the duration of a breath should never exceed its of speed. promptness and bo sign to indicate staccato . at all rates vocalizing. — — though only by very slow the length of the time . every exercise should be transposed into as the voice will with ease admit of. habit of gliding notes. equivalent to — t fcp^f fr5 start from the note just quitted. with varying degrees of must be increased. allow the breath to escape between them. elementary practice should not this . — continued and accented pressure of the Marked Glottis.. a pupil should keep the same timbre.— sudden changes in the tension of the of the — Lungs. Glottis. : 13 this The dragged or slurred ? ocalization ought to he used for correcting new fault. not more sufficiently and after intervals which must be long to rest the vocal organs.) which will be treated of at a more Each day's study of the voice. is The power of swelling notes tire. the second by dashes placed over the notes : — ¥- £^ ^P which is While singing exercises. The superabundant . — equal and continued pressure of Smooth Glottis. ought to be executed thus : Aspirated Vocalization. according to his pupil's requirements. and divided by inhalations . would only not If. Marked Vocalization (Agilita martellata. should be exercised on every vowel suspensions. several with each note.) distinct stroke of slight pause. — alternately pressed and in repose. Were it possible to give a representation of the different modes of executing a passage thus : — we Slurred Sounds. taken after the first note of every bar gradually the rapidity of execution These four ways of power. and a tie : — Marked sounds are half-an-hour after five or six months. aspirated notes.) Summary. This style is chiefly adapted to diatonic scales. 85 ffS JjPg m S P pg and not as follows ^5 j-u-& d We shall now should do it speak of this exceptional method. but must not exceed indicated by and very rapidly exhausting the lungs. as if repeating the same vowel for lungs wiry note in the passage. To detach sounds is to utter each individually the result of all other studies. until whole passages are sung rapidly in one breath. : If hereafter. will be correctly enunciated.) it is difficult to quit this first note at the proper moment. and keeping them perfectly smooth and the same interval is distinct. transitions from the chest to the falsetto Far from such transiregisters.) require remark. and require we might add inexhaustible. Example : — by so doing he remark that all scale. in songs.) actually written. inarticulated note. the rests of each bar. widening without lowest sounds of a scale. (13. The exercises (marked should be performed in two ways.. out the last note. tive whole tones of six notes aro to be accentuated.) should be all three . this habit will inevitably adhere to his style of singing. the first and both faults will be corrected by giving equal power to the third bars may be united in a single breath. It is first way is accelerated. less being avoided. changing the interval of a fifth to we prefer the following : that of a third. to mark the rhythm. . will save both time and fatigue of voice. 17. for combinations careful exercise. will harm and from the octave to the seventh degrees. 45. The half-tone between the third and fourth. demands. will frequently occur. our object being. 9. and the low one too high. and thus its value is almost always exaggerated. As for example : — Some be reverted or changed e op descending passages affect the ear disagreeably . they ought to but the distance of a fourth being awkward. and the difficulty patiently overcome. and disposed in the form of a scale according to the method above indicated. process should be adopted for every For should be written on each note of the gamut. will will be time to practice e. 14 quantity of air which remains in the lungs. This fault of of a scale 21. as well as gliding of words. are set in the We exercises from No. escape after a note. they should be boldly attacked. a pupil should contract the habit of drawling MaelzePs Metronome will be found of great service in studying flexibility . and 30. The same instance. an emphasis should be given to the approach one another. 43. The major third in the exercise of thirds. as soon as the first passages latter . the Time and perseverance alone can smooth down unpleasant break between these registers. Passages as likewise do the exercises 128 and 137. the first note of which is held (as in exerciser and 128. or simply transposed entirely by semitones. they must be strengthened Should the same thing occur with the the throat. and accompanying each passage by a single chord. difficult passage. The first character of a and the seventh in the exercise of sevenths. pM\(M!(M £*= Thus the flexibility its of the organ will be developed in equal measure l throughout extent. first notes of a descending scale glide. much more . 40 major key of do. the time is slackened in the former. and soprano voices ought to be able to go as high as J=132. besides. triplet which is generally the second. difficult to vocalize ascending than descending course retards the time. also the ascending distances of In all these cases the octave and the tenth (exercises 28. The pupil should put down in writing all passages that perplex him must with a pause on the last note but one. e o. and seventh and eighth In these intonations (the seventh especially) . as follows — bD mttifttpt^i the descending notes should be as follows 4th. 7. both having a tendency equal in value to succeed in this. we have made the last note of each scale as intervals of the latter. the high note descends. Exercises presenting the interval of a tritone (included between the fourth and seventh degrees. be done by excess. either The notes of the tripulets (Nos. extracted from the rest. are difficult to sing accurately. which would give to them the character of triplets. the Italian letter a. i require study. on each degree of the both in ascending and descending. — and The first. not by threes. 29. 8. When the time the voice. In examples 40 and 41. 11. than by want of elevation though the contrary would be the case in going from the fourth to the third. as they are we may be certain that the semitones are too wide — in other then. uiarked. if a singer only take care to keep the third and seventh high. tions degrees. that the third and seventh degrees are too low. 44. and accelerated in the all Dote has been uttered. in the following passage — . &c. and the notes follow without being exercise should b^ executed in the interit is rupted or glided. a passage should prove difficult. ing bar. it must be — 4th. should never be allowed to short as the rest. the note of the group should generally be accentuated. and accented. reproducing the passage to be studied. they should be slackened in time. or the low note ascends. for if. When to repeated several times in succession. a multitude of others. in the course of practice. 10. which ought to be clearly marked.) . u. When a descending scab. . is false.) the high note is generally taken too low. to 137. and vice-versa. The three consecu- As soon and as a pupil has perfectly acquired the pure pronunciation of it have a harsh sound. 33. to have it quitted immediately. first but by groups of two or six notes . should be omitted. but only so far as may be requisite to accustom the voice to produce them properly. 4th. also. without altering the In exercise 24 and 25. too. form. by suppressing the interven- notes. the accentuation of the note. To the following exercises are almost Fourths and If the fifths. 6 (see Part II. In the following exercises.) deserve special study. and pupils are always tempted to lower the augmented fourth by a semitone this lowering gives a modulation. which should be avoided on every occasion where it is not marked. I JQ. Intended to unite Falsetto. Tenor and JVP3 Counter-Ten or. JVP 4.. * Falsetto. ZZl Falsetto. the sam e on these notes " [^ 2Z2 ¥ I JVP 6.°2. ^ ^ 22 SPECIAL EXERCISE.°H. ofto ob o^o' 11 ^ Chest.>. due Contralto. GENERAL TABLE FOR THE EMISSION OF Each class of Voice must avoid exceeding its SOTJJVDS.- 1 T » r 1 _ —£^j-_-s_JL M S ill i ^ ^— [ y J r j * r 'J . EXERCISES ON VOCALIZATION. Mezzo-Sopran and Soprano°:$ O. Bass -Tenor and Baritone. &c.M° ''" 1' [j o^T^^^^ 3Z Faloctto. ^ "XT jT. limits. -^-t i ChestTp^ — . P"~ ^8* P= d &&. JVP 5. ' Chest. b^tfe.xs M »Hi.1-4 — — llj^ ll__8j: " |<y — c y •! r ^ id + —g>'d*'^ — i 1 ^ X-s*- \3 — jl i -n xji *---? » rn <Oi I i 3ffiis: t75 IPl g ffi: f^ Vocral «^ SE^fF i o a 2= ft £ ftfcE —y^=F^ ^£:^^ i \ wJ_g \ I "^3" ri=£ ~e- f & o fcjJ3~gG% p: #: f p4p Method 3ZC p -o- m 53867/ GARCIA'S .c/ — 'eM '^ —^ 1 1 1 1 i i i 1 1 l_ _£_ r lr «Lf ^ r _s_a r • ill~p df — r 4H ' — — 1 -i r r * r -> I-.'M°^ Falsetto. JV«1.— — CHAPTER — IX. ^>v r 33: & &C7 the same onfheseiiotes -*©- P |-0— • ^ A\ \lr j^j L^. o fto o tf o^ „ otto «>«o ° „»h. the Gamo |?o on DO : 331 f^ o m Falsetto. -- | JV. I Chest. tile chest and falsetto registers. 13. 33= I"j r pam ^ u mm &c =£3= pm UJJLUJ ^Jll 23867 . i ^^ 1 bs ^ I SC 15 ^ i -»7 ^ i > . «= xx: jsflfl &c H i |^S 19. I Si ^ i ^j . ^ s ^g ^ &c. >> — -^ :cc £S m I ^ah± £ 33= W^f* 18. d . ^ n I 14.— 16 9. j i fl j «Li I JJ^J iJJ-J ! JJJJiiJJJJJJJJJ UP i! ii is l> % H II i p -6 »- : % © 6 ». —& ? ——— & a ' "J. . xn xr 3X S 22 r\ ( O _ &=efe p ( Tf lf o \ ^^ 4 4 ==H ^ ps ii fl £====5 1==E=iE =£ ==£ o fe- -Si £ xs= * fl j» ^ &c 12. p ga^ta 1 ^ tS^yJ q^3 ^ 1 -©- =52 1 P^ 10. [y » ^P 3 rJ * ^L C ¥ J rj Q zs j * 3X b' »z-» 17. *: ZCC E d 331 ^ s ZEE fPi s i '4 •> 3 > 15. iJ i J J frN ' ntfi r r* ° i ' I'^i" grx FPp^ "XT" l ^f XX ~"7^ — ' 1 J2£> i -i r Jh^jhT|'f l if ' l | 1 JQ fag u. i 3 : s y°y° fa=fr r r i* 3^3 r r s r # £ C J i* i j J3%f P=n f rfffPggg-fn-"' » ^f*ai IJjJlfp ^ r m± V mir\m0tV Wi 3 I -. rvftn < « Si hlr||^JJBHv|g^| i r -F- P o : r r E i f=i r ^r r r I £ i i 23867. .?= j1%r i r m zcz r — ^^ 24 j^JjjJJJ 3 ^ 3=£ J 31 ^T-l Jjfljgfl' N r ¥ Ctfl"^-"-!^ tfONlr- i 25. fij .r — &c 20. ^fflhrrl f ^uu Ujjj^ i rfflJ^T 1 - f 7 34 jr^^llj^^l^^i^^ 3 •: -? ?^^^ • [^ i ^-^ ^E -p • a> iV =F=I ^ p 23867 . m m i J'^-IJ^U g. ..^/mi. $ ^m 30.18 28. fe^^ 1 i ^^ ^m z3 3 771 29. mm 3: &m m s-^-r r r ^ L^ * * r $ r S ^ £: r i r r rccu-l^rjccy- u^ n mji L n r rn^ ^ njjij m '" ' 1 1 ^JJTl lI . Ilmmrr^ jujanam i i nff 1 "^ fTt ! . J^j toi^ l £: ^ ^^ r i flT^ » 'lp"im J J r 4 7-l# 3* # 4 —«g iiEE £ :£= 23867 . 67. 55. 48. VIII.J J i J j j j j ii j j j j ii r j j"i 23867 i . 60. - i J J. exercises which are here indicated remarks in 64. chap. 50.20 Exercises of four notes. 49. 59. 62. 53. 54. 58. 61 53. to The 63. 56- 57. 61. 66. §i* ' i \ l il ^=^ must be written out according 65. " 83.21 Exercises of six notes. #^F# ^ § iw ^^^f *±" s £=FT C=fc3: m g^g 1 iS n d* P ^-^ ^ i ea S §= 86. pi ^s >'llriJ. P¥ iJ JJ ' J 23867 . • <f « * Tj Jjj p JP P Q -P J n J^OB-P^ PJ i i r i * t ' cflfcjcCtoa' r ' ^ i •'ctfccricCarcCflJr "-P^ !^P3 i^PO L PJp g u. 106. 10 4. : { 102. 103. / m m * 101. 105. J irjjjj^ -•*- -J-* V J iW " ' » J J -*L .J 22 Exercises of eight notes 100. • • 9 -0 JJ * -#l1 -#L * -• [JJ j-hj^tj-J •L —J -* 1 _-•I* ^J* 1 =ii _JJ -J 23867 . . 111.1 II «¥ I 83867 . 113. 108. Wi *V 1- •l*' 1 .1 III 1 . 109. 110.107. 112. P P—*H 1 h 1 ^^ 5 i #=£ £ 23867 . ^Fm i ^^JMQ JJJJJJJJJJ J JiL U 117.34 JJ4. 119. ^i pH ^m m m. 118. 25 Exercises of 16 notes 23867 -4% Exercises of 128. 32 notes. 129, 130 13J. aya^ ^mmmgg \ 132. wmitf^smffl ^ ^mmn^ ^ ^ 134. 135 136. ^38 67 : 27 138. 139. 141. j " ccg ^H iiJ^ctrJ i cair JB ifl%gi ffi HE WCm m r=r i ^ 3S ^ p r t> 25 #ee f F^ zzxx: f -©- XE j fifty \ r -i^crrjirrry ^iffff TOjjjffliflff jjj ^ir 5 ^ » ^f=F s *Vt- S=s n , r J» ^ i i P f 142. ^jzn jrH^gj- uu/ * 03E Pe^ i ps r fe 23867 * 28 LIGHT AND SHADE. As soon as a pupil can execute the preceding exercises on the Italian vowels a,e, e, i,o,b,u, in the time '-marked. H - 120, Maelzels Metronome, giving equal value, strength and clearness to all the notes; he may proceed to study light and- shade. Under this title we comprise prolongation of sounds, inflections, forte-piano, and the different ways of connecting sounds. on. PROLONGATION. In passages formed of equal notes, increase of value can be given to any one feet, or to support the voice on those parts of a bar which might otherwise of them in order to heighten ef_ be passed over. The following passage will be* thus modified. r + W%!MW!IF^ FORTE PIANO. of power Every passage piano, should be forte mezzo- forte, studied with five and fortissimo. degrees and given or sung first pianissimo, then INFLECTIONS. When a pupil has learned to give an is, uniform colouring to an entire esercise, he must next study to break will the tints; that to divide the exercise into different groups of notes, which he vocalize alternately piano and notes, all forte; these he will further subdivide, until he the others is This accent indicated remainining uniformly weak. by placing this sighn partial inflections by giving partial inflections upon separate The inflections should be given to each note in turn. ends ^ i over a note. Example of ^T^rT p /• iiiMfi-«»—-HHM«p<r jUHBMur 'mm*m w*trm*** M^mmmmmjK p i not f J p «! !••• !«» J*^^ raanHiH i which ought i to be strongly marked. I i iHwaiaHHi BMMwMmHMiHH i MMi »« I i The pirpil must make one general cres: and dim:, or vice versa, to a whole passage, until he has mastered the inflections. that is to say, notes separated from others in passages consisting of exercises Next follow staccato sounds, of four, six and eight notes. Legato and staccato notes must also be combined, just as we have combined pianos and fortes; for instance the second, or third note may each time be detached, while the others remain legato. Two may be legato, and three staccato, then three of each sort and so on through all the possible combinations. The portamento, legato, marcato, piano with its shades when applied brilliant staccato, to and asp irato, with their different colourings of prolongation, and the fortepassages constitute inexhaustible resources and enable the artist to give the most and life-like effects to his execution. To this subject we shall again recur in our chapter of phrasing. ARPEGGIO. In singing arpeggios the voice should pass with firmness and precision from note to note ^whatever their distance In order to do from each other: neither detaching nor slurring; but uniting them smoothly as on the piano. this, each sound must be quitted as soon as touched. ARPEGGIOS Exercises of 4 notes. 143 144 mpnffl Flfe <3— i :£2 Or .rye r ij r j j ^ w r i . rp-',J r r r mm ^ Tflffl * IT " > [ JJ y J*rtj f=t _. E=g=E : P-* ^ 93867 m « 29 it r 3C==* "i 14 ft i a m — §^ ^M^jiH $». ^^ i r r £: i r t r r r r r " * Si\Si^Sb^Mb^Sb^ i A P^ ine iZ-pfcz n j .: ^^ u r $££ P [> Exercises on 6 notes. y r *i 1ZH H ^ ^ i Exercises on 8 notes. i • r i 5 » r fearil I r -j^^h r I r m fe I >y tfjjJ r g^iJtS '' n I r J " " -F-^- =8 r -TV ? HI t sU » I J « | 2i iJ =? 9 147.n ^ # S ' £: 1 ± i i ^F 23867 . n -j n j SF .» 145. r ^pp -f #* w — r a m Sm ^ £=£ r r r r J t i I f 1 i^^^f^^m^ s r r - 1 ^%^%%^ =c=i= f f T 1 if^ —— _ r jf B II p f 23 887 ./ p 155. m jtfafjj jj i it m m m i# m M a ^ 154. f^ IV ^ 3ZE -O- MIJVOR SCALES.— r » 153. is r L » Lifdjijtftttrdj jffMtfdffy iiiMUJj i r g #: • » r i r r I r r r r r r iWMttWNMmM^WFWByn — i* i« f • • r i» i*- i r r r r r r £ r r i . *J JJ'OTj. and counting them mentally. three or four notes. r r r r r i' "t r T 23867 . during the first exercises. equality and purity of sounds. if a pupil should become confused. SCALES. these qualities are absolutely indispensable in scales and chromatic passages. As soon. 159. 31 If irreproachable correctness of intonation. as a temporary help. he ought to assist himself by dividing the proposed passage into groups of two. and in either case the result will be un_ pleasing from the effect produced by singing out of tune. CHROJVf^TIC i 156. These exercises like those preceding. Besides singing slowly during the period of study. are not agreeable to a listener unless the notes are so clearly and distinctly articulated. making the first of each group fall on the beat. a scale should be played on the piano while sung by the student. for however little it may falter. however as a learner's ear can regulate the intonation. requires both great firmness of voice and exquisite feeling of intonation. g & £58. the singers part should no longer be played. The exact division of any interval whatever into semitones.SCALES AND CHROMATIC PASSAGES. and even afterwards in songs. but chords substituted. if he wish them tp be pure. in the second does not attain the number of sounds forming the interval. as required. should be transposed by semitones. the singer in the first instance exceeds. and his voice lose its accuracy of intonation. and to master. which being the most difficult to sing. but. should avoid executing them very rapidly. A student in order to acquire delicacy and precision of intonation must study chromatic passages very slowly. every interval will become either too much increased or diminished. that each one may be counted. The chromatic scale can be adapted to every key. the instrument of course being quite in tune. constitute the perfection of every vocalized passage. r - jjjt^ l^htHJMJ^JujyjJljrj^^jp l i . j .^^^Wri . |: l^: WW ¥¥ '** A ^^ I% £ 1*-r- f-=- S r ^^ i £*£ &m |p 167..wri^ TO r r 1 163. li ^ ^!PJ> ttd i rcqjJPJfr . j/j^i-y £i -r f i r ~^ i » I r i y ll jjAJlUPiJ 1 U CJ^ MJJ J1 | i '. i rf . fl . i ^ sis •-*• # Wf m S = tt*£ r r r r J !i 1W J .j1 ir t ^ '' CLfLaj uacaf l Jnj.JJh ^ JJJJJIJ I * | .^ g^tp»?ppf 1 " 4 ^ w- ga ' ^ 4 ^ : ^ .JJ| ^P ^P' ^ 1 '" 3 165. i jj^^i^^ i j W WJ^ij ^. i^ p« £ « ft i*—i: 5^ *— £=i £e 166. >'ti. i(j^^ J^ i r - » .yg^j'^*'pr-'ig'- W JWbOTWi i P^ -©164. J1l ^ T>iJ7|. ^g 4: j: ^ Q9E p rfJ : P gs^ k»* - >r ' i*TT r f r i tj»4.oi i feM *> Tj !» H ^ ' =W te^rV 1 tao.32 163. «se M m f • $* te m W i 0&mm HH vr'^j &#* P^i ^ ^^ £ 1 1 23862 * -jj^^jgjjtti) al "n^jjiii» v^tma ' ^nm. These articulations must neitherbe aspirated. All those who force their voice out by sudden starts. the pupil will pass onto the chest register. and in the closed timbre. moreover. repeated sounds. the note should be pinched by a sort of appoggiatura of less than a quarter of a tone below. it is requisite that the vocal ligaments should by a gradual slackening. becoming gradually weaker as they approach the end —the last. Notes repeated while remaining on the same vowel. # These inflections may be arranged in different ways. they maybe of equal duration and power. to avoid sighing out the remaining breath from the lungs. Swelled Sounds with Inflections arEchoedNotes(Flmtati) These consist in an uniformly continued seriesof small swelled sounds. vibrar di voce. thirdly swelled notes with inflections. yet regulated.while strengthening or diminishing the notes .) and indicate this effect by syncopated notes : . which forms the foundation of a good style of singing. Great difficulty is usually found in swelling the same sounds if. This fact maybe easily ascertained during the emission of a note. and will dilate in proportion to the increasing intensity of sound.as the soundbecomes weaker. and destroying unity of coloring. thus causing more Some authors call this making the voice vibrate (Italian. purity of sound. Unchangeable firmness. Great singers usually employ them according to the following method. spinata di voce. particularly. .by this plan.to avoid useless attempts. and those who unnecessarily change the timbre. and perfect har- mony of the timbres. they gradually diminish in power. but a sufficient reserve of breath kept toterminate a note or passage easily. for each repetition. nor a mere trembling of the voice. from pianissimo to fortissimo.one breath carrying the voice from till . They are indicatedby the following marks: -=^: :>. he shouldbe sufficiently advanced in knowledge of the. Swelled Sounds*. .andso on. ^ > > > t. swelled sounds. returning afterwards by degrees to its original shape. the notes. fourthly. throughboth registers. one study is quite as necessary as the other. which occur s when they have reached half their length. Sustained Notes of equal power. secondly. without varying the position. sounds held on with equal power. a slight blow be given to the regionofthestomach. Care must be its subdivide the npt e which at first would have been a sustained one Each percussion is effected by the larynx rising or falling. The vowel must on noaccountbe altered .We again warn singers not to feel for their note by slurring up to it. to various changes of thepharynx ? producing constant difference in the timbres. or allow it to die away. in their combined action. vocal mechanism. taken neither to raise nor lower the intonation. andalsoto leadhimto expect some improvement at each freshi essay. are deficient in steadiness of sound.aftefthe voice ceases. sustained play of the respiratory organ— a firm contraction of the glottis— a free movement of thepharyn*(mechanical acts that should be quite independent of each other. i r r r r rr 3 iffl: r 2 nr^n £psf irz: During pianissijfto practice.and are increased by degrees. m The latter. and the elevation resulting from the pressure ceases as soon as the latter is removed. in spite of himself. correct that tendency of the tone to rise above it s proper pitch:the exact opposite being the plan pursued in returning from fortissimotopiaissimo.: 33 Steadiness of Voice. which sound is followedby another of less power and duration.withathirdofthet>reath. is as rare as it is valuable. Thebest singing masters used to exemplify a Messa divocehy the following scale: — J Increasing voice. in order to Full voice.— they first holdout a sustained sound. after which. will ri$e.(Messa di voce.) These soundsbeginpianissimo. and the pharynx tightened This done. and this isespecially the case with fe- male and tenor voices in the following compass: — On Sustained Sounds. should be divided. j- pianissimo to forte. if he proceed to expel air with increasing force and vigour. pupils must carefully study the system of compensations which we are now about to explain. The throat must contract and dilate with elasticity at each inflection. andbreak up into fragments the melody they execute.by the requirement of the passage) — constitute those mechanical means by which steadiness of voice can be attained. These movements are slight and rapid. In whatevr er position a singer may have his vocal tendons placed.to vacillation of the glotis.by which the intonation becomes untrue. the voice performs without interruption a series of percussions.These sounds. consti tut e a variety of sustained sounds.Therearefour varieties of sustained sounds: first. for. This fault is attributable to three leading causes: first .the effect will be to raise the voice a second/a third.or even more than that. ZZZl Decreasing voice. that is. at the moment of leaving one register for another.constitute steadiness of voice.are sustained witlyu i\dg viating steadiness. mezzoforte. the larynx will be fixed. which makes the sounds uneven and unsteady. they attain their utmost volume. as their title indicates. these should never be completely exhausted. otes fr r r r r r must be executed from weak to strong: ^ pif mi I 23867 lijj I U l O-fj I f .becausetheincreasing pressure of air increases also the tension of the vocal tendons. indeed can scarcely be heard. the reversemust be done. in this case. secondly. but to begin it at once with a neat stroke of the glottis Care shouldbe also taken. as in the act of executing the shake. but.-. henceyin order to produce perfect uniforjnity of intonation. to an irregular rush of breath. after which follows a long succession of echoes. and in order to overcome them. Repeated Notes. nor to take it with a shock of air from the chest. thirdly. thenext from forte to pianissimo. aij A well rapid beats and explosions. These sounds. multiplied to as great an extent as thebreath will allow. C7 £S={p H "i»p \ g #g>- Before a pupil commences the study of sustained sounds. and consequently the timbre. To extinguish the sound.These are very general faults. the pharynx willbe reduced to smallest dimensions. may follow an increasingor decreasingprogression. whether taken piano. so as to prevent it from making that sudden and rapid movement which produces the hiccup. or forte. . should commence the piano sound in the falsetto. when first practised. Hie study of sustained sounds depends on the principles laid down in those sections which treat of the breath and steadiness of voice. This important quality. untiHall sound at last disappears. fixing the larynx more and more. or echoed. till the time arrives for introducing them in songs. i i i i i i ii t5" t Z i. if the notes were blended together. and to produce a fine effect. ^— —^—*—& „ . whereas in rapid passages. 23807 a lia ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha . each repeatedbut once. which. as they only fatigue the throat a pupil will do well toavoid stu- tained and swelled sounds.. ing put the repeated notes. ^ a ^—™—^— ^ . the repetitions would be. Swelled Sounds (Messadivoce. Itis useless to swell soundsl)elow do as they are rarely em} In the above table. are only suitable to women. also. renders them perfectly distinct.. of repeating notes. also. ^ i. utterly confused and indistinct. should always quavers for each beat of No. i. be smooth and delicate.a minute portion of insonorous being allowed to escape by the glottis at each aspirated sound. &c. " i i ii^ -i£ ii ? ^ Ei ^ C IOIOI ClCCOIC C lj ' f-t^ — rr-^^ 1..^ 34 The percussions not being* perceptible and pleasin£ unless produced by light voices. as well as those swelled with inflections..„ ii T ih. 100 on Maelzei's Metronome. exercises are given for the study of sus- ployed. dying. this is what we have called aspirated and exJHlegro .) /T\ " i. a ceptional vocalization: — Such areperformedby -slightly breathair. Exercises on Repeated Sounds J E i t ¥ f There is another method. they should never exceed four semi v their succession. ^ „— n-^ . The same remark applies to high notes above lev. which is doneby simply producing rapid successions of them. A ttarn must begin with a bold sfoi-zando. and are indicated by metronome. and 26. . example: — " SINI. the note must be struck by the turn. so as to establishes clearness and intonation. it forms no part of the harmony. at No. l'au . or airiness. for example:— belong to the class of double appoggiature. in vocal music: it is simply composed of the union of the higher and lower appoggiatura. would take away the rapid and marked character which distinguishes the acciaccatura from the triplet. whereas the two others are termed grupetto. tura must be distinguished from the last sort. or of two demi semi quavers. and the turn placed in the middle of its duration.ro . In these exercises. another note as short as itself.cha-chas ^ r BB lm - -*-* 7 1 r de f Ha 1 & . also. w ith the leading note.the appoggiatura excepted. duration shouldbe that of a semiquaver. In the following example. half-a tone.— II Matrimonio segreto. fe Appoggiatura.^ kflflffflT I TlJflflg •) : f r ^ one tone.The steess given to this note should parry off the two others that follow. &c. 185. (such. half-atone. and to its end. three kind of appoggiatue occur as indicated: — RECIT. giature. mezzi-grupetti. 25. The voice. excepting the three forming the turn.-Sei Semi'ramede. Tt shouldbe studied. for instance. or grupetto. The essential character of a turnbeing rapidity andanimation. as in the annexed example: — iife its ^ p^ Pr'ia cne spun-ti in cie - - m 1 F5c. on the first of the three notes composing it.) Among the various combinations presentedby double appog-. and only rests and stops on the third. The one placed on the inferior tone is sel? dom used in modern music. very slowly. at atone and at half-a-tone distance.ra. r J • r zJ r i i r ^S Appoggiature mid small Notes The appoggiatura is the easiest of alWocal ornaments. The grupetto canbe affixed to the commencement of a note.va Pff#ii ' In the second case. andtwobelow. i . the mark <s^. . All other combinations of appoggiatura.— * ffi The mode of execution. the value of the note mustbe accomplished by the turn. 23867 . f< ¥ I flfy || half a tone.. so to speak.both ascending and descending. iz Bel .(Grupetto. one tone.la ma - go In the third case. Sesto che t'a- ma piu dellavita su a chepertuacoipadivenne: che per tuacoipa dimmer eo There are also single and double appoggiature. or small notes. and robs of their accent. the real notes of which it precedes. the note should first be fixed. at the interval of a tone or half-tone. Four appoggiaturas belong to each note— two above. The grupetto cannot exceed a minor third without loss of grace. The acciacca-. and therefore most necessary. The grupetto. or turn. The Turn. ^ ^"^ *^^ |^* Jfl^OflljM"^. as are found at examples No. page 37)— P{< | | W. it willonly posessthevalueofonesemiquaver. the most u seful and constantly employed As the word indicates.every note shouldbe sung piano.those are tobe distinguished which are formed by two or three consecutive notes. to its middle. Placed oveipany note whatever of the exercises. presented in the last example.100 of MaelM's Some authors call the first twoof these examples. this is a rapid little note preceding.33 n haha. at pages 20.the most common. In the first case. ROSSINI. (appoggiare. example: — CIMAROSA. at first. to lean. is.) an appoggiatura is that on which the voice lays a stress. example:— r 1 7 fy'i m s Las J ' 1 p mu .passes over these two notes. 184. to the third note. 173. Union of the Turn to the exercise N? to the first 48. note. The Turn at the commencement. to the fourth note 3 The following- /^ J ' IJ JF forms of Turns are named lattuta di gold.36 T 172. 23867 . to the second note. FRJS. E £ fy JJ i F^ Jj * I r^ f ^ Vp JJ J 'Hi 193 y i r n fflj %e^ fflr JB ^H'^r *fflr i j - J hi 194 rn FT] J J l ^y f r dU ^r-t-g? SsJBbJIp f ##^l g^ 195 ' ' J Bfij M*4 Wf ^rdjj ^ g£ i S5 ^B fliy^ jy.SMALL NOTES.. 190 {.flJ £ . ^ .ff5P r .^j» Jl^tt fa - and Turn.^.n 192 i ^ ^ Gmppetto. | 196 y^TOJfW^r^r fflj j. j»j 197 ffr ffl.'.PPf Jff f i J.'.BgB .J>J V| 198 „ mj %dB ^ w r f nw f ! i =#=*i 199 l^^Mj^W^r^CT ±= ^ £3* izra JB flw rt w„*p r ~\-4rij-^ ^ ^^ y 55 23867 m ^^ ^^ . i S^3 f . P i ^^1 ^ J. f^f i jm * 12 r ffl Jfff. ~=fj7irn OT^flWp^. 1 #£M ' i 185 1 J J ffr Ji H h ' P i p i i B i J H 186 187 188 189 Gmppetto. Trill dt ffij . W hen several notes attack 184 37 simultaneously one sound they must bebriskly executed. ^ 43S5SS3- 191 C7 JJJJJJJJjN«. ( shake with a turn.alsoisusedat a semi -.free. in ? ' practising the shake. furA trill thus prepared is to be developed according to the rules nish an example of an involuntary shake. the auxiliary note. for this is only a vocalized passage. without particular attention/the oscillation impressed on the throat cannot be instantly arrested. tone or tone below the principal.before finally terminand regular becomes the shake. and chromatic scales and.for tremulous movement. may be consideredastheextreme instance. Progressive Shake on the Diatonic Scale.free. "When the action ofthetrillhasbecomewideandeasy. and always on the principal. A third note.— never below. — above.byail Examples of the more simple terminations: fr good singers. and a few months study ought always to suffice for any pupil of ordinary abilities. The note bear-.the trill. limit of vocal rapidity. with which it unites. ribatutta di gola doubled trill jj or> lastly. that the succession of the trill is the most rapid kind of vocalization. and is a variety of trill. the voice must descend to the ular. succession of two contiguous notes It is indicated bythe letters and when this mark is placed over a note.) of a trillo raddopiato. should not attempt it. All good singers prepare and terminate a long shake ( stjch.outsidetheneck. the more correct tone or semitone below the principal note. to the slur of the voice. thatbetween 152= J.Major and Minor.p. This fact we adduce as a proof of the accuracy of our description. and not by the progressive articulation of two notes. so rapid. as occurs at a pause. which may precede or follow The trill. the termination. its preparation. is an alternating-. Tt maybe remarked. of the triUo lento. The trill does not result from two notes struck one after the other. SSr The Shake.because it fulfils both offices. which might be calledthe note of preparation. Ttmay belongto a single note. .-(Trillo. fta # 6* *+* % These preparations and terminations also infinitively varied: a few examples are given at page 42 Pupils should accustom themselves to terminate a shake at will.The trill is sometimes accomplishating on the latter.Old men. with gradually .and regular oscillation of the vocal ligaments. that sucha method is radically bad.atfirst. this opinion is quite erroneous. as for instance. and equal . there is usually no time: . as. to point the principal note.it is recommended. This sort of convulsive. . as requiring less contraction than more acute sounds:-. Tn almost every treatise upon singing. indeed. it signifies that the tr* f trill shouldbe composed of that note and the tone.) The shake.. or Trill. as is well known. there is a great gap. lastly. or molle (slow and trill. Tn owing to weakness.topracticetheshakewithin the limits of the following octave. in regular ascending or descending succcession. corresponding with a visable oscillation of the lar ynx. known as the trillo molle. or it maybeusedinmeasuredsuccession. Example: — When shakes are introduced into musical phrases Chest. The major and minor shake. it maybe applied to a. a practice totally inconsistent with the nature of the trill. Isolated Trill . In this instance. Tt is gen. — according to the chord. and hence we must express our opinion.inthebodyofthephrase:ifthe trillbe isolated. . bu siness will be to regulate its form. when erally believed that the trill is a natural gift. as in its termination. J Ml note. they must be ra pidly attacked on the higher note.) and that exibits the following varieties. and unfettered these movements are.increased rapidity. A factitious sort of trill maybe obtained by shaking the ouside of the throat with the fingers.) re- s of t If it series of disjointed notes. or with its execution. itmay assume the character of a trillo ( morden te. and the last trill receives. ing the trill is called the principal.. Pupils are therefore recommended to commence a trill rapidly by the spontaneous vibration of the glottis. oftheshake. and the one above. or semitone. also. rapid. up to the highest point. for example: — ed at once. 1 Falsetto. 200-J. of Maelzel s metronome (the greatest decree of velocity attainableby the human voice. however. or of termination. Tt consists in a rapid. whose voices are unsteady. always ends with the principal note.) by the tone or semitonebelow. and that the singers it is placed as follows: — ROSSINI Si Lin - do - ro mio sa The shake is obtained by a curious mechanism. to the diatonic be used in measured succession.up and down. as observed in the constant practice of the most celebrated singers 23867 . The learner will' do well. the next. i ¥ maybe ' i.34 ) and ended softly. with them it is irregular for sustained sounds (Messa di voce. therefore. therefore. in younger persons it should become quite r eg. not endowed with this graceful ornament.to prepare them. is very transient. than a shake. the oscillatory beats are replaced by a species of neighing. of all shakes. which renders it dotted. - Trillo Raddoppiato. or trillo cavil . instead of extending to the. but. In this case the slur is very slow. 23*67 . each trill has a definite termination. (Trillo lento or molle. designating hurried shake. well executed. The shake maybe applied to the portamento of the voice. Defects of the Trill. at page 36. Example: — Chromatic Sea le of Shakes The chromatic trill. and other subsequent writers. the notes may also be seperated to the.This trill is exclu sively suited to female voices: it is marked by the sign s^ chief defects of the trill arise from inequality in thebeats. in this case. asforexample: — Slurred Shakes. must beginby its higher notes. iri " fir £ "rfi'n'n} J exorbitant distance of a third. Tl Among these different forms. After. on singing. especially when the alternating interruptions are effected by strongly-articulatednotes. have similarly described this trill.whether ascending or descending. lino.in 1766. by imperceptibly raising or depressing the voice from one comma to another. The TOSI. etc. appoggiatura.with intervals of half a tone. The shake and turn. 39 Succession of Shakes on detached intervals. Shake with a Turn. Tosi. or a tone. The following is the most brilliant: Slow Trill. AVhen a succession of trills is executed on notes at greater intervals.. part.) is. -. a broken shake. the Abbe Lacassagne. too.the higher appoggiatura must precede the trill. known by the naine of trillo caprino. Example: — it a. whether in ascending or descending. or quavering. and their different methods of execution will receive full explanation in the second . this ornament has abeautiful effect. This is executed with greater rapidity than any other kind. or else it ends at an interval different from that on which it commenced. Again. like the turn. that given above. When purely executed by a sweet voice. ihthe middle ofa major or minor trill. lead to the double trill. Do uble Shake. but. m ^ }/r a_j£ a iH — m .accordingtothe key inwiiichithastobe executed. it is. Itisindicatedbythismark/w. This. Adagio. of which mention was made. often made on the lower minor. This ornament is obtainedby intercalating andintro ducing notes. so that the hearer may not distinguish the degrees by which it rises pr falls. hr s^_hr ^ hr . higher major second. is the most correct and safe. being then more like the gobbling of a turkey. or even a fourth. thesenotes divide a shake into many. MANCINI o § The trill.the least important. grupetto. Frequently. >J f) ^^rl.A.- 40 MEASURED TRILLS. terminations should be alternately stopped and maintained.ftfl ^^7^. 203. ^nW ^n^B £ . >• >• > ^ r* ^ > 200. The appoggiatura by which the trill is attacked should be more striking than every other note. 201 202.^Mi^nn * jwr' jrr K^ U'J fl 4 St * fr » > i >j i TRILL MORBENTE. ^— y 1 <? J t J J T J T y J v ^= 23867 . ) 23867 . to which it belongs in order to fix on his Effect. fr fr fr fr /rjr fr fr /rjrjrj* h ' fr > fr fr fr fr Jrjr /r fr fr fr £ £ \fc \!* & k fr fr fr fr fr fr ^ ^ hr ir fr fr fr fr fr fr fr fr After having studied each half of an exercise a learner should try to perform the whole in a single breath. who flourished in 1660. 205. a. The last the only successful executant. memory those delicate and difficult shades of intonation through which he has to pass. (see Tistoria d'Angelini Bontempi. will prove a real tour de force. 41 student should occasionally practice the chromatic scale. exercise so executed. of which was Chevalier Balthasar Ferri.CHRO MATIC TRILLS Before trying" the chromatic trill. he should calculate the length of his breath. develop equally the messa di voce and trill.42 EXAMPLE A so pupil having gone OF THE PREPARATION AND TERMINATION OF THE power to TRILL. will have acquired sufficient it blend a trill with the messa di voce. by which as to may be prepared. preceding them. some other passage. or thus far. To the effect this. f f ^ f 23867 ? rrr*rl ... or the passage fe f PPB EHj^^^' IM r^iJJJJJ]^ ^ mm ^m fr #n HBJBff iE P ffffffffff mm — /C\ is >&• r r * ll ppii E /C\ p^l ^r 5E . namely. When passages which require flexibility are to be executed piano. sides Of these the mouth is tne more important. for 1803. mouth and nostrils. page 34). properly so called. the vowels unavoidably receive its influence. velum palati. or speech connected with music. comparing these remarks with those previously made on th6 the reader will observe a close resemblance between this Fulness and steadiness of voice on words. does not always give to the vowels contains the same stress and sound. all contribute in turn to the modification of . Flexibility of two kinds." Where the singer De is Brosses. On timbres. mechanism and that of vowels. Consonants. demand a vigorous pressure of The agilitd di manura consists in delicate and elaborate passages. as in one of anger. In the word anima. spirit. The mode of distributing words over notes. in the high A singer who not understood wearies his auditors. and internal form. for as soon as any passion animates a speaker. first — di forza. less rapid than the former . This observation is most important in its results . as it# and internal organs are the principal agents of the tongue.) represents our ear the condition of the . the larynx. the its breath must be used very moderately. vol. and strike our ear by the clearness or dulness of their shadings. part of this work . vocal tube. namely. The is forte. entreaty. was stated that the mechanism of the : voice. after simply describing the action of the fourth set G de Brosses J Traite de la formation mecanique to it of organs. mouth. a flexible and nicely adjusted movement of the pharynx. of its diameter. raillery. indispensable. di maniera.— . in a correspondingly simplest sound We have first already treated of every three organs. form. or articulating apparatus. emitted therefrom (see deslangues. at the same time. . — 43 Summary of It Flexibility. have no inconsiderable share in the quality of Thus. ascending. and. pipe while air being forced through and all the differences in in its simple sounds indicate corresponding Italians differences a. The comprehends passages executed with vigor and PART CHAPTER L On Articulation In the first II. can. The vowels are the result of those modifications which and process of vocaliza- sounds receive in passing through the vocal tube. which. owing to its capability for thirdly. whereby they mutually depend on one another indeed. there number of vowels or shades of vowels. and on the action of the pharynx. Our remarks on heads : this subject will be comprised under the following Vowels. the a will Dot maintain the same sonorousness in a passage of tenderness. proceed to consider the aggregate result of their union. must necessarily be thrown out breath. e. represents vowels by means of a marked difference in the sound of each when Moreover. in would be impossible to enumerate the various modifications of the mechanical action which produces flexibility. it (4th Mechanism. in Singing. — emission of phenomenon connected with the voice. the organs of the contraction or expansion. palatial veil. a brief explanation will suffice. — dependent on two different things. • The The quantity of Vowels. word. by the modification its exit. length. and both issue through the same cavities. o. i. In composing the teeth. by a firm pressure of the The shape of the pharynx undergoes* less alteration for runs and arpeggios than for any other ornament. the French vowels. and notes of each register. e. requires the exertion of four distinct sets of organs first. and lips. his articulation will be deficient in ease and energy unlimited. different sound. the choice of timbre for each vowel produced by precisely the same set of organs as {he speaking voice. brilliant runs and dashing arpeggios. On The singing voice is Vowels* proposed effect. one cannot be altered without changing the other. the pharynx. but that is of power . . which is song. or menace. in singing. This style of vocalization rendered necessary by the passages often contain* is the breath. give to the voice. which. but as they are all based on the expenditure of air. — the different elements of speech their ever-varying play. by the lungs. a person pronouncing any it inasmuch as he has not learnt the secret of giving that development and equability to the voice. u . very neatness of articulation in singing is of the first is usually recognize only seven vowels. by obliging them to make The for practice of languages fully justifies the assertion of continual efforts to catch the sense of the words.) fact. the mouth. is The tion and shall now. which only require a moderate stream of breath. — the verbal or declamatory — A few examples will elucidate this : accentj . uttered by different individuals. and the pharynx reduced in dimensions. or reflective organ and fourthly. and u (oo) are absolutely destroys almost the effect of the music. and a greater development of the pharynx. on the contrary. Indeed. never- theless. of difficult and complicated intervals which the contrivance. The Memoirs of importance. though writing is invariable signs. and evenness of voice. there should be at least nine vowel-sounds e for. 1. o. and proves that the has not attentively analyzed' tho mechanism that produces both vowels and consonants. the : justly observes — "A all Berlin Academy of Sciences. and the brilliancy or sombreness of their timbre. Burja. quantity of Consonants. above all. and cannot employ at pleasure the timbre suitable to the passion he wishes to express. to maintain a perfect equality is throughout his voice. Supplementary observations. for it will enable the singer to determine what timbre for each vowel is best suited to the . for instance. these are aided by the jaws. or vibratory organ • the sounds produced. in a treatise on the relation between music and declamation page 77. — — muscles articulation. which he might attain in simple vocalization. or bellows secondly. To conclude rowels should always be mpo. however. from breath. with as little effort as possible. Te A and with power suitable to the 'phrase. Labials. by clever management. without the aid of the The o approaches the ou. — " Fin ch* han dal vino. it prior to the explosion which gives them utterance. ation. Complete closing. an exactly opposite process to that the ou approaches o . The open e approaches the e . and inconvenience To avoid this. as in /and v. like the o in the word monte. . and in five principal will sounds of every description. a pupil should open these vowels a little more than it. . immediately heard. by It has . spoken pronunciation. B (mixed) . likewise a riband may be passed over the chin. and gl. would be shrieky and misplaced " Fra poco a in the air of Consonants are produced by two different operations of the articulatory organs. The i (Italian) approaches the u. been observed that the voice is emitted by two channels the which is the nose. or must be confined to sighs. in order to obtain evenness of voice. Our experience proves all the the following exercises to be most useful in assisting pupils to master inflections of voice at pleasure.) and k. by going from the sombre each note should a note in pass gradually through . gives rise to a different total of the consonants and these combined. in use. A Class I. form the the syllable. that may be prolonged and s . while high notes would be shrill and shrieky whereas a vowel that is invariably covered. Two to another. when the consonant is These two opposite and indispensable movements are called respectively the preparation and explosion of a consonant and it is by this process that the letters p. of the jaw. as. and tied at the back of the neck. factotum della citta. This precept applies to each register throughout the entire compass. . Complete closing. with the successive organic operations :-^ very common fault with pupils. is filling with air. word madre. and to their explosive or sustained character. a . It is the distinctive character of these consonants to make no noise would give brightness to the low and middle sounds. giving in them a nasal tone when the latter is closed." Of Edgardo. reverse the exercise. I. of consonants into explosive and sustained —a division of the first importanceiin the art of singing. and the explosion of air heard at the separation. . x. The base of the tongue with the palatine arch. and so on with requisite to : — the former cavity for b and d. dull or covered timbre would produce a hoarse effect. — sustained n*> silent sal 'sound. required for — Sustained Consonants. grouped according to the names of the organs engaged in producing them. These consonants produce a whistling sound. 44 The For quality brilliant timbre should vary with every varying passion to be expressed. classification It from these two processes that we derive the such a case. The real efficacy of this exercise. and again separated. In the following to our table. between the upper and lower teeth. the second is accomplished by their perfect contact.* . instance. and make low ones veiled and dull. are reckoned is among the explosive consonants only the explosion or pharynx preceded by a slight noise lasting while the mouth When the rest. either by the tongue Italians have n. however. effective. a seeming equality results from a real. and entirely to change sounds. the stroke thp of attacked by . for example. M . . is to place sideways. The front part of the tongue with the palate. a bright belie in would evidently make the voice tone which suits Figaro's entrance " Largo al — the sentiment. Complete closing. like m. " Che faro senza Euridice." or in that fine air of Don Giovanni. articulatory organs always and fa\ assisted by the exercise for uniting the registers. f t. d. The end of the tongue with the teeth. is to stiffen the elevator-muscles. glottis.) if sung as they are spoken. no nasal vowels. plan for curing this. ways. — prepar— explosion. ngeh. properly so called for with them the nasal echo on n or m only takes place when one of these two consonants begins or ends pronouncing the letter .— Consonants. Do. will supply us with the following The a approaches the open o. and the latter for g.) and u (French. as view of the subject. The : its employment nude? any other circumstances only alienates the sense of words. -^. The lips act together in pronouncing p and m. as the a when sounded in the Explosive Consonants. lected and the explosion that follows is proportioned to the degree of preparation and amount of air collected to produce it an effect much the organs are first closed. class of consonants . This done. in another the most sombre to brightest the timbres. First or in that of Orfeo. gn. all the &> Produce and then. The upper teeth with the lower lip. resembling that of the stroke of the lips. — . or else they are given out with a continuous noise. — explosion. In forming them. glottis in attacking simple sounds. and between notes la 2 a transformation which enables a voice to be sustained from one syllable a result giving a much increased breadth of style. &c. insensibly rounding ascends. — further detailed in the chapter on Expression if the melody and words indicate deep grief. — is Vowels which are very acute as i (Italian. by this means. a singer should. the air is intercepted and colare enunciated. would give richness to high notes. according Pupils. This method applied to principle: — all vowels. every vowel * A Explosive P (pure) ." — by pressure of two parts of the instrument against each other. During preparation. as in k and g hard. if a melody breathe gaiety and animation. the consonants have been divided. or by the lips in sounding w. thus : — — act in combination. . whose function is to render the voice more of second sonorous when the mouth is open. such as ch. In the air so confined. b. it will enable a pupil to master all the movements of the throat. But. a vowel is is above indicated be brightened. as in t and d. modify a vowel. tbcmld be successively practised. immediiaHy below the lower lip. as in n and /. would contract the voice. . the eu. aspiration . clear these same organs. a small piece of wood or cork . it as the voice and brightening as it descends. and to produce at . — explosion. . into five different classes. : The noise thus emitted may be easily converted into a musical sound be given with uniform power throughout. o. is confined to the chest-register. . Each of the combinations above enumerated. — slight preparatory sound. . c. which we shall not attempt to describe . for the use of this latter must scrupulously avoid preceding these with an h.never blending with the vowel sound . or induces faults of which we havje treated in the First Part. also. . and the different and continuous sounds emitted by timbre can alone communicate appropriate brilliancy to the voice. If a vowel remained constantly open. and g hard. which render singing single breath . The first of these arises from a partial closing of the organs in various ways." ' Secondly — from is moment of their the incomplete and variable meeting ol On the other hand. and next to it. but well-concealed inequality of the vocal sound. n. — me ricovero. (Italian cio. or sustained sound. V. which is also the boldest. . and allow the echoing of a vowel. because they appear to be dictated consonant. silent prepara- Cjlass IV. on the most emphatic syllable that. in order to surmount any mechanical difficulty of articulation secondly. It is marked. sustained —explosion. abbandona. to render words audible in large buildings. Sustained L. according to the energy displayed in ics articulation. in each word. a cadence. K. either a mixed explosive. slight preparatory sound. P. . ation. indistinctness Negligence in this respect is the chief cause of The variable duration of the sounds. Their rise or fall in the gumut.. tion. accent. IV. Example : — Bella. accent. padre m'abbandona. requisite to distinguish the functions and mode of action peculiar to . indeed. and still more so in song. a preparation for the second. necessity for being understood. . H.. thus : — Temepo for Tempo Quesefo for Questo . T. Consonants serve to hurry or retard a passage." — Dante. To obviate this inconvenience. the two elements of speech correspond with those of melody vowels with sounds consonants with time. D.. The Complete closing. a stress upon consonants. — — silent prepara- Nella miseria. V may —explosion. N. chew the words. as the initiatory one. III. This emphasis answers to prolongation of vowels. in music is sung with words. Incomplete closing.— explosion. Finally. in proportion to the size of a building . Q : silent preparation. . emphasis is made stronger in declamation than in speaking. Complete closing. Others pronounce between the teeth. and by a stroke of the glottis. or a pause. C. — putting the by some acute passion and of course. trop-po. or r. led on by rapidity of thought. Incomplete closing. on one syllable only. The well-known phrase — lips and jaws into action when Desdemona. Complete — closing. They should always be prepared beforehand. soft . and incorrectness of articulation in singing. TH.) the Spanish Complete closing. Class III Linguodentals. troppo. — slight tion. Incomplete closing. for instance. effected by the vibration of the uvula. according to the will of him who articulates it. written accent. Q. S X. y ilcore. — — F may II. Belo. Bel-la. crudele.. and is simply caused by prolonging the time occupied in uttering it. R. Complete closing.) When In speaking. — consonants occur in succession. Expression depends greatly on the weight and strength given to articuGonsonants express the force of a sentiment. Amplest). Z. languidly drag — Otello. and the process which aids them in forming each from neglecting to give this subject due attention. Others employ the hard movements of the organs. crudelle. . in a word for example Che : — " Nessiin maggior dolore ricordarsi del Complete closing. Besides prosodaical accents. — laid — silent prepara- sempre. Italian C. whenever two be separated by dwelling . A little Sustained V. instead of Bello. Firstly. Linguo- R French hard J. in almost all languages. X. Incomplete —explosion. just as vowels express its nature. a student should consider the stress to be on certain consonants . soft. closing. Sustained sounds. hard G slight preparatory sound. It is quite useless . Dona. &c. explosion. first effect. Z. accentuated. even monosyllables and this accent varies with the expression of our feelings. the particular stress laid on the letters p. . that some singers add. /. instead of — The The attack of vowels . . as Gonteneto and Gonterto for Contento . closing. . it In each language. b. GL. We will now state under what circumstances consonants should be forcibly pronounced. H. Explosive D (mixed) .. consonants impart spirit to the stretta. farro. the tongue alone should be occupied. In on the . and. GL. precisely with the beat. for instance. instead of the soft. con-ten-to. to the movements required. in many would be quite misplaced. consitutes what is termed prosody. CH. 46 ' Explosive F (pure) Ci*ss silent preparation. its effect to Sarro. Explosive (mixed) Sustained Spanish G hard J. M. Saro faro. prepara- Linguogutturals. . 4 Se il % pa p - t± - m£ %$£ se il dre m'abbando bb na. n. . which destroys all on which the action of the organs •ceent which determines the is principally displayed. and the national accent. be. again. — . Accents. after ad libitum. which in Italian : voice exhibits the four following features — is generally m. the organ receives a certain shock. The second of these is preferable. Incomplete — Emphasis on Gonsonants. tempo felice — C (as in cena). emission of his voice independent of the articulation of consonants. as much precision. to give strength to the expression of Summary. whistlings of different kind. K. accent of sentiment. so as to make them unintelligible. as well as to to regulate or beat the time mark the rhythm. A strong and connexion of the notes. and so on. contento. first. as they alone are connected with our subject. ought to be expressed with. firmness* it is — at a fact. confine ourselves to the consideration of the grammatical and sentimental accents. E. they indicate the moments at which an orchestra . ris-plen-dere. Rossini. the most important word in a phrase always receiving the strongest emphasis. Sustained GN. Others. All words have an accent — ' Explosive pure C (Italian cio. in order that they may fall Fulness and steadiness of voice upon words. : —explosion. d p bb — owes half d. Explosive T (pure) . is — the grammatical easy to discern different kinds of accents : as In music. generally causes a speaker to lay On The human I. stops only gingle point of each word. Amplesso . il corre.. — sustained sound. troppo. Sustained TH (as in English the. be classed either among explosive or sustained sounds. Labiodentals. importance of the emphatic syllable. On Quantity (accento tonico. Various noises or continued whistlings. tory sound. which is 3 mixed explosives 5 sustained " B. Pupils should pay especial attention to the point at which the organs lation. S. is alone equally passages. Sustained vibration of the tip of tongue. if a singer be unable to render the roundness. . Their timbre. S . hard C. — explosion. —silent prepar- attention will soon enable a student to discover the accented portion . whistling. risplendere. GN.) 1ST.. S hard. the most important word should receive the strongest emphasis. logical or verbal lastly. . a person. the organs from one consonant to another. Donna.. We are always impressed by words strongly . and concluding cadences. L. it efficacious but. Their different degrees of intensity. Italian. however long that word may be . helps to complete the classification. We shall should blend with the voice. — —explosion. tion. they are to some sentiment thirdly. V. The last consonant in every syllable. for example : Explosive (pure) WiJLASS C hard. Galema for Galma . 5 pure explosives explosion. hence. abandonna. others which are cott^e in contact. or weakened after each Arnold. Duets for Soprano and Bass. Without such lie. is free. • that these first beats : — limit of the phrase or melodic verse thus — mark the •9§Had to r-t O o o a += 03 5 # O © Mozart Nozze di Figan -y-fc Voi che - Se sa e a - ^ Don r pe te che mor ne ve m 02 r-i O O O < - 3 8 a £e P=y te s'io - de l'ho nel cor. and so on for other consonants. the voice ought not to rest on any of them whereas.) " Quanto amor. . middle.re tu P obtain breadth of voice. p. For conformity with this precept.) "Ah! di veder gia parmi.) The term common used to indicate the accent that falls on the last syll» ble but ©ne of piani voices.) " La hiondina in gondoletta. they them this occurs when several must be contracted and to . Metastasio." Paer. three. 16. a singer should bear in mind the as well as rules for forming musical phrases. as in anguir . precepts. said to In such a m 9 To • *i JL2 i\ r 151 M Mon Rossini. amor." Rossini." Ricci. -*-# v S: %5A ¥-¥ v p. or end of a group. Duet for Soprano and Tenor. is essential ordinarily without suffering any interruption in the sound but such as for explosive consonants. " Gia d'insolito ardore. re-opening with a ridiculous. as in co mark its time and accent with regularity.) « Yous me connoissez tous. assistance.) " Se dovessi prender moglie. singing if the chest It is only the explosive consonants if the glottis be wanting in during their preparation. or f the organs of articulation. Ma la gioja h cosi rara." Cimarosa." Rossini. dwell there. the co — I and the gl form two channels on either side of the tongue. accent $ to fall attained by — — nte Thus. " Io ti lascio. the consonant coming in only at its close. the place of the tonic accent should be considered for if there be a group of vowels wholly unaccented." Rossini. or separated. I reason of this is. voice. or four vowels Duets for : A Rossini. singer is want method. 1 "^" m d'a pes mor ti y 3 ra piaccia *'"aH ::a in # se - no d'a - mor. the voice should pass on to the emphasized vowel. a *t « « Rossini. disjointed. : — consonants.." Fioravanti. not less pe . or an octave above in the head-voice of sopranos.— by the lips in that of m. .) two Basses." Coccia. A vowel should The as to receive the greater portion of the value of a note. air of : — Handel. il explosion the instant afterwards. " Amor.mor. or to In the following several where grouped together. and that each should perform its respective functions without interfering with the its others. uniting them in a single sound. i aality — the pronunciation defective or unintelligible. Donizetti. ( (Turco in Italian Ckiara di Boseniberg. 46 each of the four sets of organs in the vocal apparatus. heard in the chest-notes above mi s of tenor voices. § See. and afterwards slur over all succeeding This vowel may be placed at the ones. being naturally obliged to contract will completely close. ascertain under * The passage across the buccal cavity is here completely intercepted by the tongue in the case of the w. (Gazza Ladra. (Italiana in Algieri." Eossini. also. (Corradino. . t Airs for the Bass. or of a portion of it. distribution of words under music should be made in such a way This is In this way. Che a sofrrir mai non impara Le sorprese del piacer. IL. a syllable is appropriated to each separate note. and regular rush of the breath. from one syllable and from one note to another. (Italiana in Algieri." Rossini. Having advanced these general observations in detail. 11 Sacrifizio d'Abrama. without encountering any interruption.) "D'un hel' Tuso di Turchia. If during the articulation of certain These verses should be sung in the manner indicated Entra V uomo allor che nasce In un mar di tante pene Che s' awezza dalle fasce Ogni affanno a sostener.) "Sivadasisprezzilavita. « « " - Un secreto d'huportanza." Rossini. if there be one vowel accented. two. « " un dottor della mia sorte. or the vocalization of certain passages on high notes.) (Barbiere di Siviglia.§ In vocal music. viz. we again repeat. — . p. the glottis. (Elisir. nto.) " Come frenar il pianto." what circumstances vowels are to be contracted. we now proceed to a few The voice should flow on without interruption if We recommend the practice of note below.di . (from which every still accomplished singer we have grave.) ( " X " Mentre Francesco faceva accent is il brodo." Atjber. incongruously blended.) Besides these faults. perche mi pizzichi. badly placed words has the translator the Handel's. me — and n mbranza .re m'as du mau . (Turco in Italia. just as the the leading difficulties of syllabication^ group made but one equal and continued sound requires a constant . and of bad cases. this. as they combine all the pieces or fragments quoted in the or jerks.Example : — 1/ which completely stop the voice if the flow of voice be interrupted. the pharynx form timbres inappropriate to the sentiment. in which case. Tell. —Samson. Je s= ^ ^"^ '-^ ~ cres. (Matrimonio Segreto.) " Per piacere alia signora. according to the extent of the musical phrase.— . which a piece has be sung. those of prosody and to verification peculiar to that language in J>alila. different vowels m se - no mor . (Barbiere di Siviglia. its dimensions to produce high notes. — Guillaume p. the voice will be prolonged throughout the permanent consonants. piaccia in happens in have been arranged as in the second line." « <t Variations for the Soprano." Rossini. chap.* m causing the common The on the first beat of the second. (Gazza Ladra. for if one organ perform duties imperfectly hurry or slacken the emission of precision syllable — — if air — — would be broken up by too frequent interruption^ and seem meagre and unconnected. or fourth bar. the scrocci di voce —a laughable break of the voice to point out another." Rossini. Distribution of ivords with notes. " Che T antipatica vostra figura. PS o mio di It should to vie - 1©d'a - 3tjE ti S se : m^Wno d'a .) « *< " Largo al factotum della citta. io ti lascio. lack suppleness n? readiness. (Philtre. — the sounds emitted will be false. a pupil should neglect to sustain his breath with great resolution. or bound by slurring. exhibit audible nasal reverberation. The following are examples o* beginning. L Scoppa's treatise on Versification. It frequently Italian music that the number of syllables is too great for the notes attached to meet. (Cenerentola. pupils ought to recite words on one note. third. and stop the Ma per lui si raro e bene. in order to obtain a favorable open vowel. must commence the time. furnishes -0 gi — - fr— ft *r~ y ja example. divides a passage too frequently. *fc & •^ Hi Di crm gio in. Th's noise. a singer finds the vowels in two consecutive words. The passage (B). recoursa is may be had e^e the high one by means of a slight and rapid slur . allows a singer to try § bfc Spar - its accuracy. s The 7 \>*l • Spar * - -^5gi d'a - • ma ¥ • ro pian - - to syllable thus pronounced on a low note.—Nozze di Figaro. Donizetti. Mozart. to The blending encountered by together of several vowels is one of the chief retain and mark the measure or accent of a melody. —When the number of syllables and an jfe Di g^q gi - 1 o J a. it necessary to separate •N—tv che sa - Example : Voi pe - te che co sa e a - mor. Piu bel - lo. which : is only a sort of contraction.ta I - sa - u - ra. The mouth should : alone form the vowels in succession. fa - - - rb gio gio gio - - - - - - - - car. — Clemenza di Tito. ja. ro. Example a - mor.— — — — — — — — — 47 ± in Mozart. averting the effect of a gape 2nd. ^*J - J ro Jl in p&m E Fa Fa - (B) — Barbiere. care should be taken difficulties it. o. I E MU> SZC^ m Rossini. Ros s ini . DomzETTi. to a fu Wand l£ un lam-pp un sogno un. n. Examples (A) Mozart. Each —When may e. Some consonants. by the slight Lucia. he many fractions. N-N Ah man-te oh. Mozart. che l'aria e an - cor bru - mon In altering or re-arranging words. in order to take breath. (C) Cenerentola. thus removing all danger of a gi <Ta - - - ma - - ro pian - to.. m. il mio so —M r " r1f=^ 1 L tan - cen - - to trap - ro ro gio gio car. break in the voice. Cenerentola. (C) Elena. ^ di has a tendency to retard the 3 movement of the voice.si - sa al pi - e (Tun sa . as well as the slur. fa fa ' - - - - - - ro. car. . and yet not separated from the preceding one by a jerk. — The arrangement of example (C) shows : how a singer may avoid o words on high notes. To simplify is a circumstances must this rule be infringed. or go to make up Example : value of the high note. and only under peculiar foreigners in stud}'ing Italian singing. Bellini. this little lower one.li - ce ge - me a traffit . or to a slur.— Nozze ft-ft i^V &^^ ^TW=^ ft- i 5! -y* Fin i na e il As do .. b. Nun-zio vo-glio iz S 3 JF^E 3 33 Bi ^— 1 £ f \/ ^fff-g^/rt^ =s^j MM! ^*£ Rossini. on which the syllable articulated beforehand.^-Lucia noise produced in their articulation. elision must be used. di Figaro. deviate from the principle. Sometimes. note. car. vowel should be distinctly formed. for its execution . 3rd. this sort 1st. — Sonnambula. —Anna Bolena. a. which precedes the emission of the sound. it is better to perform N N0- the entire passage on a single syllable. piu bel - lo e a loea Ross ini . or syllables. (\\ di When o-in-l gio-ja e a vowel is repeated. will enable the voice to reach Cerca un li-do in cu-i vie - ta-to non . for example (A). — Donna del La go. Semira mide. d. — Don Giovanni. ^fffigg Frail pa dre e Ah fa un lam - po un so gno un. : The following are a few cases of pupil should suppose that the note bearing the two or tbree vowels into so divided — a singer meets with a lengthy passage of vocalization. e preparatory the full To avoid pronouncing syllables on high notes. which succeed each other uninterruptedly. and the firmness of his organ. car. r ( r \/ » I— —— te - r . &c. greatly assist the utterance of high notes. however. and melodies of every emphatic rhythm is at full — a performer it We verse ? have first to solve the question — what are the dimensions of melodic liberty to give an air any tint or expression he pleases. triple bar. in fact. nise each element of a phrase. way our ear may unfailingly recog- expect certain accents belonging to progressions. Pronunciation having been already Larghetto. Example Donna Anna. ornaments. si. 4th. is adopted. by way of contrast to non-accented beats. P series Las - cia ch'io piau - ga la du parts. choruses of Palestrina musical prose. . or as a substitute for others : Bellini. as well as ornament and — if we preceptible limits of duration. be successfully sung. given the various modifications introduced. all its effects. like language. be resorted to with the hap- In the preceding rules. — Don Giovanni. by those musical accents in vocal the phrase were divided by too frequent rests. Sounds. but more limited. In vocal music. Examples : and by the expression that words demand. . — Sonnambula. Whatever plan if. This specially-accented beat— called accented. or up-beats bass. — — 48 A change of vowel may. to satisfy the on the contrary. in certain syllables. the chanting and recitative ." net we shall now recur to it. would. na - tu - ra non. in a few moments. tu. *"' Na - ra. &c. explained in the preceding chapter. and they must be enclosed within certain easily In this great liberty with regard to expression. Ahi ! di spirti turba immensa . and monotonous impression its to avoid which. has to its the Phrase. . at the time of execution. under " Articulation in Song. still remains for the free inspiration of a skilful singer.16. divide the art of phrasing under the following heads : — 1st. This study enables us to distinguish ideas . breath . which are basis of the rest —namely." the the binary common bar. . are all examples of Phrasing. which are called unac- time.—i2ma/f?o. composing a melody. as they are partly determined . " Dal tribunal augusto :" the ** — serves to group the percussion by twos and all . our instinct would unite we have just enumerated pieces . time . appoggiaturas. melody. the choice of the rhythm and if symmetry would be lost. a singing master and pupil are at perfect liberty to add. the — if the sense allow it. a stronger accent is given to a prose and verse but prose pays no regard to regularity of certain portion of a bar. * misfat to su-o. the organ shall have been is and completing the effect of as.ro vecchio e ra piu for. we shall briefly explain the formation of a musical phrase. Other changes with the view of adding vigour may be admitted. In what may be called melodious verse. formation of the phrase 7th. there reigns a rhythmical instinct. CHAPTER On The fche II. no. produce only a vague .— . with accuracy. pond with the general character of the effects is piece. expression. and the places where breath must be taken also to To measure. 5th. syncopations. cented. a melody or its we have recourse to a is discover those parts of a musical idea which are to be accented by piano and forte. r\ ifejg tu - ra ah! non bril non bril . 2nd. which governs the general • character of a melody. a complete symmetry must be established between the different parts of a emotions. which is to strengthen expression. or beats. and with it. the repetition or interculation of a word or phrase. piest effect. of regular-spaced percussions. any given melody may be made to many different ance with this instinct.ra. formed of a strong and weak beat and the . convey no distinct ideas ments : they only awaken sentiexpress perfect regularity — required In compli- thus. threes. number of syllables. song . Formation of Music. HANDEL. & ra I sor - te. compieil misfat to su-o col dar-^li morre. — one or other of the monosyllables. by merely varying the accentuation. embracing This last kind is wholly influenced by prosodiac accents and excitement art of phrasing holds the highest position in vocal music. 3rd. ^^jmrhm^p^f E l'in - i deg-no che del po - ve. these difficult passages can always with the object of facilitating vocal execution. by long syllables. This series of successive beats. pronunci- ^-^r^^s^m^m Zit-to zit to Ross ini . An instrumentalist enjoys . time. bril - 16. piano. Again. unlike words. which always p:evail these various fragments in one continuous phrase. the feeling of that of the verse . Handel *s Alexander's Feast. We ation . of passion. Before examining further the art of phrasing. sustainedsounds. study of and modes of producing them. or the number of bars or symmetry of cadences.— Cenerentola. or even Marcello.t e com pie il ^^^^m^Mozart. we have to. suitably prepared. for down-beat. or constitute parts of a bar. the object : of that have been pointed out. which mark what called the and those which require the introduction of ornaments. senza stre-pi - to e ru - mo-re. in The 62nd Psalm of Largo in order to form the two elementary bars. either to inorea**. however were it constantly the same. if corres- Were the melodic phrase to be too much developed. ah. 6th. for This. the sole object of the various methods instance. Great scope. forte-piano piano. and may be called complementary notes. the ear requires to intervals be struck at equal m example — Mozart. — Don fit Giovanni. By a little be struck with the analogy existing Don Giovanni. not to a mere rest. the rest forms an integral part of the subject. or a is.- and quick. p- 1/ - po - co a me ri eo - ve ro. A beat can never be complete is till a second has been heard . triplets. and the Rossini. These figures are distinguished one In many of the foregoing examples. the precise meaning are heats and bars. from the other by some difference separating the end of one figure from the beginning of another. — that is. Don Giovanni. Tutto Mozart. sor - ri - de mi veggo in Students will remark. — Gazza ^ . serves either to strengthen or weaken a It is said. between the combination of several simple beats constituting a bar. These accents. serving as mi appendix initiatory beat only. These two and following example will show these three notes form melodic figures. after the second note. in counting as many bars as it distinguishes initiatory strong beats. Observations. enclosed between three or four primary times. following passage from Rossini's Gazza Ladra is a case in point Rossini. till the percussion of the initiatory time of the following bar then.— Semiramide. also. attention. rag . NlNETTA. +* is each beat included between two percussions. * Pointed notes. immediately after the here shown : also. —Don Giovanni. a strong and a weak one. ^ JPeriod. consequently. owing to character. £ ta test - na gran fes - ta fa pre - pa - rar. are rhythm and musical figure. A phrase. ation of by the co-oper- Edgardo. # " 0f ^~ 4 v~P 3?SS La m ££ la 0+K- Xnjuznzp Ja £ di -0 — - £ ve di m non e Ion - Mozart.sa ¥—!/ son co - piii sa fac - cio first bar. and. which. 6.— Nozze. whose sense necessarily more vague and - indefinite. which are indispensable for the completion of the melody these values and intonations. —which difference may consist of a short pause.^ weak or less strongly accented syllables. 8. X XX ^ WXVXX i Mv--N-fr t± Co - ±-0 nel +-r+ . Nina. fo* Allegro vivace. grouping the bars by twos and threes. indeed. between phrases are called half cadences. that suggests the idea of symmetry. been commonly termed a musical' phrase. phrases. and which we designate as a melodic verse : In quick movements. and the union of several bars forming a musical thought. and melodic is fa - j i j A 3 - -T- 5 la phrase . rhythmic cadence. that . Rossini. that in various examples there are rests placed iB£^ verse or K— Non so -0 — co . We annex an example of what comparison which the ear instinctively makes between two successive termed a melodic period Don Giovanni. longer note. and lacks rhythm. and to form a musical figure there must be at least two notes. the ear recognizes the sort of time belonging to the piece. —Don Giovanni. Las - cia ch'io pian ga sor - te mi a. ifeE mda -rem ia ~WZJB>. _« —Lucia harmony and rests. Coppola *±- . — Gaza Ladra. of a movement. will easily distinguish the Aided by tbese accents. . but ^Semiramide A the impression produced by the periodic accents of a its movement. completed heard . the ear NlNETTA. to be precise and first. Donizetti. The word rhythm intonations represents not the material part or form of the idea.no mi di - rai tiam mio ben da qui. the words conveying A Handel. that it is well rhythmed. only. . The combination of two phrases is : the least development complete. that of the same observed. In like manner. or one strong and two weak. :— Ladra. present to our ear striking divisions. when the same values are slow and unaccented : as tht equivalent to an expressive accent. and consequently is that also of would give only a vague and It is the isolated impression. while the musical figure. a learner will Phrase. as In the sketch that has been given of musical phrases. "fc i# #-¥-# rei ^^JJFto cor fe li J-*tEz i e non vor re . In is all these instances. 16. its gio when it prevailing values are short and marked . me Cherub ino. in the recurrence of the same melodic form.i mi tre ma tm po-co il -ceever-sa- re - ma puo bur-lar-mi an - cor puo bur - Jar mi an - cor. which divides the melodic verse into two sections. those. &c may Ira considered as m?«ical figuref. the sentiment may admit of eight or nine bars Mozart. section of a phrase.—— — N —— # — 49 formed of one strong and two weak beats. — sometimes. or unaccented and slow. a ms The rests i=£ vi Fin ehe nan dal cal - da I t la if single. In order to comprehend clearly the extent of a musical phrase. m to. £ ta - JEj£ *>* no par - ci - da rem ma . Both before and receive the to the after the first beats of a bar. ^ Zerlina. should be reproduced by a phrase of equal length with the of which a musical period is susceptible. on the other hand. It is this last compass fet of two or three bars. v—vLa ci 4— 4 k ¥—¥— mi di - —pdi ma - no la rai by some stronger accents. melodic figure is the shortest musical idea . whether accented rhythmic movement. groups attached thereto. of a more are formed marked character than those separating the bars. various notes will also be . . The Nina. uniting the bars themselves into groups. . we may easily distinguish a short Cesura. A rest. wh'ch. 4. which has m : V— Fra ». a bar Tut - to sbr - ri - de - re r mi veg^o in tor not is Section. on the contrary. on this account. cer - ca-me - nar. . nar. all Breath should be taken only on the weak accents . it being left to the singer termed mezzirespiri. we have by the distribution and length of the several ideas composing such melodies. — Von Ma Giovanni. The short rest in the fourth bar. them when required. although they should Pauses which separate phrases and semi-phrases.— Gazza Ladra. or notes.— Largo assai. which interrupts the even is sufficient movements of phrase. however. Haydn. which are regulated. are These are seldom indicated. to insert economized. it is. Rossini. by pauses.— Don Giovanni. nn. full breath . therefore. entirely agree with the latter. and are wholly distinct from those words. should be selected for taking a long. in order to increase the effect of a phrase. under certain circumstances. and. that of a bar. w Mozart. Nevertheless. rapidly taken.— Stabat Mater.e-ro a - mo * - • - re ah non a-^ves a ? ves - si il pet - - - to . : * me it is - nar. w ^ qui cornea - Mozart. should be strictly indispensable that the latter admit only of very short breaths. ously in words and melody. always easy in this way to to mark both members of cut an uniform movement of to the It is marked by the composer. Section of Phrase. senza al-cun or - di - ne la danz* a. will which pauses should be introduced. and inhaled whenever rests occur simultanew . it is Singing being regulated by the breath. Examples of the rules above laid down : — Zerlina. Del mio pri - mi . Such rests may be introduced even where not to the semiquavers. reconnect it after being previously divided. S In the certain cases. facilitate their execution.fl. Section of Phrase. like speeehes.' as Good melodies.fl nni. Fernando. l —Anna A Bolena.pn. the melodic period is displayed without any pause whatever. and without interruption in the uniform easily recognise the points at movement of its notes. little rests between figures On Respiration. either for a better development of ideas. allowable to unite its different parts by suppressing pauses which separate them as m annexed example lrkxrr 7WTTT Donizetti. or after the terminal note of a melodic figure this method enables the rests above explained belong exclusively to melody combined with har- a sino-er to attack the next idea or group at the beginning of its value. - zet - to la tua Zer .ro gnel - li - ±£ na 6^ "^J le g pet tar tue botte ad JR. Our ear. mony. as also. are divided before explained. rr ^-0 Bat - ti bat - tio bel Ma - zet - to la tua po - ve - ra Zer - li na sta . It may be observed. long rests.li - na sta - ro % li - na le tue te£^ tro - m ra - viin piazza qual - che gaz - za te - co an-cor gaz - za merfg quel - pzn: si - la cer - ca me - nar to - co ancor quella cer - ca me - nar. are of longer duration than those merely separating figures or groups of notes. Moderate. Sigi8mondo. 'vo-fa it is ra pi - - do 11011 tur-dar.—Nioberi P'i ) . melody more ing. however trifling. 33 g . a singer will find himself embarassed in his execution. uninterrupted phrases. " Oh. Rossini. Don Giovanni. illustration of our meaning.( » Allegretto. Rossini. and found requisite. if the second consonant be The preparation of this second consonant may be affected . a pause and cadenza occur. be obliged to divide a word. lively. Gazza Ladra. Should two consonants occur consecutively. breath must not . on the contrary. of inspiration In phrases where pauses are badly arranged. Breath ought never to be taken in the middle of a word. artist . or by simply quitting the sound without breath- — — in order to make the united by a slur of the voice.a pause.. Nanny. Mozart. should these by noise. to inhale.d 8"§ Pi 0> S3 O A 49 o3 a> a © B . * Ah & -H— — * '- F — fl 91 - ^^ IeS! n ti £ the accompaniment dol - ci con te When. by inhaling but in that case. wilt. would manifest inability and want of skill. however small. all pauses of the figure are indicated. be taken till after the slur has been executed : then the voice should attack the second note. by breathing through the nose thus : Tancredi. cor il cor il t'at ten-deanzio so t'at-ten-de t'attende il cor d'eh.* In melodies of long. Example — which.— S ! —— (B) Allegro. In those examples marked B. wilt thou the surname of the lady gang wi J l* me?" in which most ill-oft (/-educated singers take breath after .ta§ 12 S II aS Crociato. Nanny. artifice as completly to escape words intimately connected. Rossini. When two notes are 9 NlNETTA. is indispensable. where only a few rests occur of sufficent length to give oppor- tunity for taking deep breaths. a singer must avail himself of the noise made by Don Ottavkk Andante. the act for the betrayal of it — — be overlooked. Vkcmi. at the end of a long sustained Example : note. or between he should disguise the act with such detection . or sentence. either by breathing at each beat. Tancredi.a 1 J' i J ? U-U^U^k fre quen pal - Ja 3* 1* A a> tg . * As an " Oh. an may sometimes explosive. may be easily concealed.—" as if the latter we word were instance the favorate song or glee. in some cases. or any movement of the body. " Embrassons-nous .ri co - ve - ne - gletto i a - vel le lo. plus qu'a nos mal - heurs oh ciel Tempo lmo. remarks. the forty-four last bars constantly increase in rapidity. a piacere. " the stretta finale of Otello . col canto. " the allegro of the duet in Guillaume Tell. regular. should. when latitude is given to the vocal part. the In the quintett of Beatrice di Tenda. Arnold. and ensemble to music. m ff> ^> > rail. in order to enhance it* Rallentando expresses decrease of passion. It is also used as a preparation for the return of a theme or melody. the reverse of rallentando. On Accelerando is Accelerando.-. time is free. it follows the impulse ot passion and accents of prosody . un peuple e chappe a ses mal-heurs. . re - gards cachons nos pleurs rail. Lucia. and consists in slackening the rapidity of a measure. and stretta effect finale Don frequent irregularities of movement. Donizetti's music — and above all. Rossini. effected have recourse to the tempo rubato. free. we may cite the allegro of the trio in vigour. or shouts of enthusiasm. or stress on the consoword begins with a vowel or a consonant. if s^ a tempo. without indications either of rallentando or accelerando. ¥—¥ Pra bien - ^E - £££ S^l ro ra po tot - co a me Pher-be . all its parts at 31£ Irregularities in time are. pieces. If these notes were the rhythmic element would be destroyed.* manner by striking singer should avoid and the rhythm but little perceptible. chanting and recitatives are examples of free-measure. Thirdly. which. some moments absolutely independent* . time is slackened but this kind of free moveConsequently. demand great exactitude in into the value of ness. mel- Giovanni. Donizetti. On Rallentando. according as a only feebly struck.On Time. character (see regular when an Example B. et ne jour - nee un peu. like discourse.>^> Et que du moins cette jour-ne'e ^^p^_^^^^d^^H«4 que du moins u - je n'en dois smoi'zando. or Measure. Larghetto. rallentando. complete : —most important qualities. which rhythm — as we have said — is usually composed of notes of short Anna Maria c Cellini. ^ w ^J T m m ~ V Non piu ¥• - andrai far - fal - Jo nea mo - ro (A) Otello Allegro. the value of the notes is generally of a percussion instrument. to its execution. . for Time gives regularity. singer intends risking it. and leave the singer for passages. Every change introduced the notes. when. whenever a ment must not be arbitrarily introduced. viz. a voice produces the ancholy sentiments.) air is characterized by a very decided rhythm. HoBSim. Nozze di Figaro. and adds greater spirit and vivacity to the In ad libitum phrases. ff. firm- Examples A. without altering the movement of the time. Allegro. To mark time. as of a movement. Bellini's —contains a great nunber of time of the accompaniment must be well marked. as often the case in tender. (A) Figaro. and proceeds in like distinct blows. Rossini.ple e chnppe a ses ma l-heurs.— Guillaume Tell. be procured of both notes and rests acquired precision and steadiness are thus which few singers possess. in grace and elegance. (See above Example B. accelerando. in her Grammar is — duration. which will be noticed immediately. is correct. The com&c. the strong beats of a bar should be accented with As an example of this. t by means of a stroke of the glottis. " 2/ tempo "Warlike songs. £ A ses GUILLAUME. In such a case. f it On increases the volocity effect. &c. m 8 f4 * a piacere. long. marking the time too strongly. Certain pieces admit of the voice and accompaniment being alternately free and in strict rhythm . require both to be employed. des champs croi-tra sur ma pierre - so - §%= ^flL*-^1 ad libitum. Secondly. e. Ad-libitum. once. Cimarosa. from adopting the tempo rubato. time is (Hello. or giving it too regular and stiff a A Time Time is is of three different characters. when the entire value is rhythmic movements.) Suspensions and cadenza stop the accompaniment altogether. of Song. he must not diminish the time throughout but * This attack is nant. and mixed. Otello (B) Edgardo. their Canime della musica" This true . especially require strongly-accented and regular measure (see positions of Mozart. —" L'ira d'awerso of — mixed when the In such feelings expressed in a piece exhibit is fato . Mozart. while irregularities add interest and variety Time. rubato allows liberty mitted. to the detriment of the rest. upon this monotonous ground. or without discretion. f weak parts or beats of a Example : bar. By tempo rubato is meant the momentary increase of value. Donizetti. This prolongation is usually conceded to appoggiaturas. { again. non 3 la -sciar-ti lu -sin -gar. awkward and dull. while the total length to ©f the bar remains unaltered. yet in popular tunes the accents of the music regulate those of the words. and those which are naturally salient in the harmony. thus :- N— fcr § The tempo rubato. by permitting this preparation to take place Andante. alterations introduced by a singer will stand out in relief. . instead of the tempo rubato . till by an orchestra. he only becomes maintained . tempo uses a ritardando at the last bar but one. The annexed example illustrates phrase. the instant a chord changed. Example :— when a singer. This distribution of notes into long and short. all In require the voice and accompaniment to proceed in concert such cases. 3 I non Allegro. in thia Of the Forte-piano. las - ?#ciar 2H - -- ti. used affectedly. Count.theit accents of song are founded on the emphasis of spoken language. "which is given to one or several sounds. called accent. on the preceding notes Rossini. While the time was to their which should be resorted only slightly varied to only in passages where the harmony case. and on long syllables in words. and on the down-beats in a bar. accents . it is stable.— Barbiere. di - men - ti.non lasciar - ti In -sin -gar.co miei tor - men quan - ti To make tempo rubato accompaniment should be all preceptible in singing. and gives greater vehemence : Example Allegro Moderate. —Anna Bdlena. Anna. is useful in preparing a shake. the accents strictly and time of an and change the whereas. Count. An excellent perception of rhythm. fy* tf* Two artists of a very different class Paganini — —Garcia (the author's father) and part of a musician. in order to give spirit to the final cadences of a piece. they would abandon themselves — in any other to wo^d appear singularly difficult. Larghetto.te il cie lo spun-ta bel spun . applied to isolated notes. when required on the balance. Ti ram - men - ta il mi o cor - - do glio non las • ciar - ti. . ment would not be sufficient to give character to all kinds of rhythm. long syllables. The most regular fall * This passage presents an approximate example of the use which the author's late made of the tempo rubato.— a characteristic feature of their national music. make use of this liberty in. and great self-possession on the Allegro. The tempo rubato. breaks the monotony of regular movements. perhaps not to be rr it with elsewhere. — Gazza Ladra. as while aiming at spirit and enthusiasm. destroys all are also placed. and Accents on is Forte-piano. if r Ec - ^ d~ la co ri - den . way destroying single sounds. But as this arrange- popular songs. . Rossini. and although the Spanish language has a prosody quite as much accentuated as the Italian. Accelerando and rallentando movements . t Spaniards. the time is lost must be regained by accelerating other notes. are requisite for the adoption of this method. Lucia. Barbiere. father the prosodic accent.ta la bel mmm - ro - - - la au - ro ra. or else to the very end of the and give immense trouble our meaning :- an executant.— — 53 Tempo JRubato. or regularly maintained inspiration. much more frequently than Italians. however. excelled in the use of the tempo rubato. Ninetta. bursts of passion. A serious error is therefore com- This a good method for giving colour and variety to melodies. to notes placed on character of certaiu phrases. and so tortures the melody. to the voice only. (E) Rossini. Ah similar laws. do suol . (Example E. Accents. man pen The accent should proceed - The in stress.- re a - man - te^ (B) Figaro. Rossini. for instance. Norma. . sometimes graceful. too. placed on any one sound selected and the result to is for a moment rhythm.-Crociato.ro. (Example B. t ' per Pacini . again. — Barbiere.— Lucia /. Nr- .—in colouring a melody. tu so - - io amor We may likewise observe.— Bianca e Fallero.) is also which case the accent concurs with the prolongation on the same sound is — The contra-tetnpo bar.) (Example D.— Convitto di Largo. (Examples A. zit - to che Lin - do - ro perpar-lar - vi qui ver - ra.) on the note of every figure when repeated. •^ Ah non nrm Ah ffinn giun - ge ££ u - Syncopations present an example of this. —Norma. —Niobe. vie - ni che - t'a - rres - ta (A) Lucia. _ Tlo88im -Tancredl d -*-: •^ A vi - vn lam po di quel - la - - da. 54 AnimaBellini . Sonnambula. Bellini. — Italiana in Algieri. ~~ This is done to avoid monotony. are or else placed on appoggiaturas. must be slower and softer.-Bar^m (D ) MEYBBBiwn.-<: a^3 £M^ Zit - RossiNi. sie . — such. that both accent and prolongation follow nearly Slur of the Voice* Slurring is a method—sometimes full. &£0k Cie-loil mio labbroins pi - - - - ra. to. should be always laid on notes which.I — — . it should be strong. first and on pointed notei Em (Example C. -M -? nu - 9^T fifffe"H Sen za glo - — fr ai ria al - dosuol nu m - Alessandro. Al m s vi - vo lam - - po - da. Donizetti. +* Ah fi-gio an-zio-so il cor ii cor tat -- tende. and rapid.) and thus produce a striking effect. energetic. Examples : Tancredi. ^jSFF Sei di ghiaccio sei di stn - co sei di ghiaccio sei di stu - co vie - ni. as dissonancies from strong to weak. when applied to the expression of forcible sentiments. are difficult to seize. £ When used in tender 3§ non tron - i=^ re l» J e - Deh car sul fio - «I quel - quella in - nocen OS> te ta -fr-fc -*r - 4 - • car su \ it 1'in - nocen te e ta and graceful passages.) ~~ / V\ LlNDORO. Example :— Handel. requiring nice and delicate intonation. an example of accentuation on weak parts of a to interrupt the regularity of the or else (according to the artist's instinct) in passages of equal notes. (E) Rossini. (C) r tuo i => =- =r N I fre - quen - ti pal - pi - ti deh fre - na o co . and so avoid the difficulty of articulating words on high notes. h- to be suppressed in that passage. JBarbiere. one. Mozart. Messa di voce (swelled sound —drawn-out notes. Don Giovanni. are very determine. more correct method. passionate passages. substituting a regular portamento for the Example Lucia. above Donizetti. For instance. on under the slur passage Sara. produced whenever the voice drawled out while opening the timbre. Mozart. with the syllable of the second. similar to that of the harmonica (B). from negligence or want of taste. ro See Canto spianato. is executed not. - la - and the meiody becomes nauseously languid. Gra e - te*- ce. P : te^: 4 Gra ce. whenthe voice drags itself on the first syllable. or they may be slightly prolonged. toi me - me. and strengthened Spur Spur - gi This way is passages. and can scarcely be fixed first note . and then slur up to the high This style is ' Another of a most objectionable nature. pour fault. r am* d'a 1 Detached sounds are of two descriptions. "Hai padre of e sposo in its me" (Don will par la Den be correct as shown in A. This style is calculated for light and graceful sentiments. diforza. were the ClMAROSO. > . r P See section on " Legato sounds. allowed a little To avoid this fault. E vi - ta nel tuo se tria e A slur placed between two notes. Examples : ^^gp^^g Ques-teun no - % *Sq£ pB ^^i^^ 4mg?p - do av vi - lup - pa - to ques - t'eun grup - po rin - tree to Rossini. pour toi ^m me - fcri me. may be in observed. or sustaining the voice on words. a good resource for voices of small compass in single This has been noticed already in the section of " Words with a certain undulation or echo. either te singing would be rendered Some singers. Sacrifizio d' Abraham. Bellini Norma. Example : ISABEI/LE. is a sort of cat-like squalling. that pupils are constantly tempted to adopt it. . as The Yet circumstances under which the slur should be adopted. and incorrect l Giovanni.— — — — — 8& Norma. —Lucia. owing to its very effectiveness. in as shown -N- B: But rarely. The ever. drawling. Accent used by Madame Pasta. Robert le Dlable. influence of a strong or tender sentiment. all. they may assist themselves in taking a high note incorrect slur. By another. and with extreme judgment." Spar - gi d'a Detached or Staccato sounds. and may be quitted as soor as taken (A). this (A) iS •^ ^T Deh par la - method. Cenerentola. slur the voice endlessly. They commence a sylable on a low note. —we mean more motion in the higher than in the lower part and. the timbre should be closed with caution. should be employed for. that a slur will always be well placed. The second note its ought to be heard twice —once . either before or (B) fegEEEfej=| Deh par - j - after notes . frequently done." (A) Rossini. each having by carrying up the voice with the syllable of the is its syllable. and to amend connected with music. by its too frequent use. for the uses to which they may bf pian to adapted. Meyerbeer. in slurring. 9 nflf~"* The Breath. thus the rhythm and the spirit of the song are destroyed. is unhappily so easy.) ii i 3o: Spar | ^t L'a - Different kinds of swelled sounds have already been considered the First Part.) - the whole tenderness expression would te disappear. and difficult to it by any general rules. and again on own. the slur of the voice should be . the thinness of the high notes. Forte piano. ' pet-to fre - mer sento il cor nel.to.a pri-i - - e - ra . Pirata. forte-piano can affect short passages or entire periods. 3t^p Stentate. importance Semiramide. ^m ri - III. - A quei det-tia quel as pet-to fre - mer sen - to il cor nel. — Semiramide. pia pia no. che desta in naoi t'a mor . both strong and weak son fie i i pal - pi - ti che dea - ta in noi. Crescendo V fe for - 0^mie za . every musical idea. : Marked sounds Assur. i Period of uniform forte intensity Per S per la la zit to. e P &£^31^ p£sE|£ la sea - dal bal co - ne Two phrases—one B: crescendo. — that is. :=— — Otello. the other diminuendo S_ Per la *m pres - to an - dia - IS mo via di qua Ibid.— Mose. Period of uniform piano intensity Si ff ?=* Zit . p JZ. pointing notes of equal value. a vowel and the sforzando should be added to the short as well as to Having thus enumerated partial accents that to the various details of a melody. from the shortest to the longest. Diminuendo IV. and others of a similar character.— : : : : : — — ! — 66 (B) Allegro Assal Flauto Magico. and then diminuendo. tr £& £ n Ml ^4 Tal-tro I/uno al sen mi strin - ge l'al . .tro. Crescendo. forte-piano presents the following elementary varieties intensity. : Uniform —marked thus. only effective with smooth silvery voices . pet-to ce - lo a sten - to il mi - o ter - ror Repeated sounds. _ _ ^tmmm^ Rossini. as decided in character as the following. an - sea - la dal bal - co pres - to dia - mo via di qua Rossini. We cite this passage without venturing to recommend its study Bellini. n j-H r «—te Allegro. forfce- — Barbiere. Repeated sounds are. — Semiramide. The piano : following examples will illustrate the varying kinds of Rossini. P^ffi^ NlNETTA. Quan-tio Mi man - ca la vo - ce mi dim. except by female singers -T\ :— Rossini.. che desta in noi. Uniform intensity interupted by Much as we acknowledge the necessity of strongly pointing the above examples. but especially for bass. let us may be communicated now examine the general the long note. embracing whole phrases* In passages consisting of pointed notes. in my opinion. sen - to mo - ri - re Rossini. W £ rl j^i* for - r-=-j-»-i»0-^ La §g mie - *=£ pi - The I. we reprobate the habit of Allegro. St -\\ «-* 2 m Ah - P sem - S pre o - P- dia ta la mia me - mo - ria spe ^^ ro se fui Marked sounds. Example maestoso. Gazza Ladra. ZZ za pri ra glia II. Phrase of uniform piano intensity ± JDesdemona. N S Phrase. The Rossini. by this method the former gains vigour and : colorings of which whole ideas are susceptible. Andante are suitable for all voices. nor would I advise their use. V. non • fac • - cia con - fu -0—0sea - la ££ dal bal - co ne presto an - dia - mo via di qua Ibid. crescendo. ah che fa - fa Pointed notes. Diminuendo followed by glia - pi - i - VI. This lemark serve as a basis for what to exist frequently with composers. We have already shown how to color music. 6 Ross iNi. and prepares us for seizing effects. ensues after the rest produced with vigour With the above exception the The forte should answer ones. In the first case. link — namely. —Mose. of the melody should be attended its effect. that melodic ideas When the identical thought all repeated several times in succession. . on the contrary. the other weak mm Hd by will —one =m fie - crescendo. it should be separated from the forte by a slight after the bass. and . at other times. the coloring should be determined by the following considerations :— . Rossini. piano should follow the forte.— : — 57 Two sections of phrase—one piano. la danza si-achiil mi-nu-et- £ £ to J ~] —— r Mozaet. by employing the same or different values it we may observe piano omposed is by the If this values. expounded in several works. that follow. is tempo rubato and sometimes equal extent. Two melodic figures Two melodic figures —one strong. — —with same timbre and care only being taken that the phrases or periods be not toe is This manner wholly theatrical. is —especially if the first consonant that dando . con - so - - adapted to a graceful and buffo style - it is also adopted with equal success la. should be the impressed with an equal degree of force mity of long. and not in compliance with the forms of music. the thoughts might be well-connected. applies only to certain principle. ment. and special cases. in rarer instances. In coloring by to. the other forte A •gte Rosina. to Isolated accents to the and the tempo rubato. prescribing the application of crescendo to to pianissimo follows. should have is This method suits the liveliness of rapid and short ideas. Strike the C after the bass. all — the accelerando or ritar however delicate. all the delicacies slowly developed. f** ^suo - U -na ce po fa Full 3^ U - 6 vo - 3=m fa al nel na - - ce po - CO qui cor ^ ^ no v'ha Rossini. follows. its coloring should be sometimes the to the forte. especially Mozart or when the thought pursues common Cres. —Don Giovanni. Pergolese. to the crescendo or diminuendo This rest affords relief after loud notes.li - a chi l'a-le - man . Cres. it i§ correspond with each other. the chiaroscuro should be left to the senti- between the phrases. the other dim- inuendo : *$ di u ques - ro to In a great number of cases. as . equality of valuer—were not — an ascending or descending progression. the jorte in energetic passages in graceful forte-piano. or unifor- Q-Hri . —each intention. Every .—Barbiere. as ascending. PP f^j each different development should be submitted. their details. Desdemona Cres. crescendo. and diminuendo. ^^< 4 - 10 qui nel voice. When the the ' the second section of a phrase is composed of the same values t as A that composer makes one section of a phrase correspond with another of first. rather than the intonations. are employed chiefly to enhance sentiment. effect. transition Hence the rule from one degree of strength to another. and even each period. and suitable exclusively to thought* details. while. but could not be submitted to a foreseen coloring. as in the following examples Don Giovanni. Each melodic figure. — — a P £z Senzaalcun or-di-ne Cres.-— Otello. ah ^gja Andante. produces a marked effect u h- only when rest. Cres. Hking the note an instant ' : shown in the fol owing exam- and cannot be admitted as a general p e Larghetto. gno e. r~T"#r P ffi F m chi la fol . . — Siciliana.na fa-rai bal - lar Donizetti. —Sancia. in chamber and dramatic music. according to the sentiment of the phrase. diminuendo descending passages. each phrase. either by whole thoughts. a melody has been suspended by momentary pause. should all or culminating point of emotion and dramatic effect and at this important be longer than the other finales . either too high or too low for the voice of or the style of a . f * tf mm ± Veil - WW V le On Changes are introduced effect.. and ardour of expression. members of a melody and connected. ornaments. combine to than in piano. per me. Weber f*H —Robin CHAPTER des hois. This note ought to be lightly and instantaneously quitted for were it to be much prolonged. should give the greatest degree of effect..— Torquato 0£ follows : -*Ah si. &c. Tn the middle of phrases. immfm Lunga. the preparation of which must be protracted A phrase which would suddenly resume a tempo without preparing the n moment of tr attack. ZJ£Z~~ na ci. WOrk —declaimed or ornamented —may not be altogether suitable cas«. it being an error to give the same degree of strength even when the latter are required to be very powerful is . by means of consonants. because it marks the completion in tronchi either moment. inflexions. and in the same timbre as before Example :— A simple and natural reading chiefly depends on the way are begun. such as the cantabile. the diction must not only to the commencement of a song. the artist will be compelled to modify certain parts of a composition./r\ SL final . — Crociato. finals In slow admit of movements. £E5 ah si m? te - tr tr : fai_jg_g **4 pal - *=± me. te*-. are finished. taken. Donizetti. as in the following. M^ . the thought would cease to be distinct and elegant it # . pi - te - - ra. &c. for instance : pieces. care must be taken to avoid accenting heavily. in with the same degree of power. Desdemona. This precaution specially necessary in producing nowhere. it is resumed its inter- Suspensions-* Terminations —Reprises. larghi. The way marked by a too in which figures. P- s -i*** 5 nbnk ? tr IPH is suspended by a pause or phrase d piacere the precise moment when time should be resumed indicated by means of a consonant. be natural and even to a!l parts of . Example Eleonara. Changes. as. When effect all is energetic. besides which. consists in contrast. - fan -no cui =p^f ~t i5 Tasso. as tr tr tr me Terminations. improved by a termination indicating the exact moment of the reprise. periods. when applied to energetic sentiments. greater extent. III. brilliant An prepared by contrast . also. Care must be not to get rid of the air that the chest might retain after every rest. These finales will in be stronger words appoggiaturas. and notes requiring resolution . high notes. these same that follows them. per. per pal - pi - ra per me.— Otello.<5*S> Sf. or to enhance the : ^ — P- i ire - in pieces. —and longer. phrases. serious than in buffa music. a part may be in either grand Dieu is tour. exists be gradually swelled. a source of the most strongly-marked effects lest their effect should be that of a mere scream. — as a piano opposed to a forte passages composed of rapid sounds following a succession of sostenuto notes.-- . deserves our fullest attention. pal-pi - te - ra. A theme should be begun with a moderation of expression. also. all of a thought or discourse. Rests in a melody are silence following the final note of phrases. is rendered far more Suspensions and Reprises. even passionate and highly wrought feelings . &c. This kind of passage entirely changes its character. would throw the singer and the band into confusion this phrase would be Rossini. the P in . either This necessity may result from different causes an executant . Tasso. the movement is m ta =^ * S —&Ah l'af -?-/-#-. This ill-placed prolongation vulgarly called a queue. would absorb the period for renewing the breath. when it has to describe #-*- ± a : Meyerbeer. numbers of phrases. or portions of phrases.—— — — — K 68 If the shadings of the forte-piano are to be impressive. but only in proportion to the values preceding and the pause In movements of strongly-accented rhythm. but also to any sort of sounds. Generally speaking. bars form the crisis The note which ends a final period. . . they should always a passage. or an accompanied recitative. energy. suspended. which different Aria. from necessity. J? 3 for effects are displeasing efforts. when pro- 1 §SE Fug - 0—0- terbr— s-v 9+ pian - ^ ge - duced by sudden starts and unprepared This observation applies gi senipre re. in fact. § rae Vtts- Deh P^^m iSSs In these examples. — Torquato Tasso. in £ pe - Donizetti. Lento. for example : Annette. When ruption. vigorous articulation of time. polaccas. without such agreement. in of pieces. in sketching out their ideas. the merest discrepancy between the charactei its Jioritures of the piece and would constitute a striking fault. Andante. that melody must be unrestrained by the harmony. We especially insist or by an instrumental obligato accompaniment. he would do better it tions. new effects. Ornaments belong exclusively to the voice which melody. is very rarely that either author or public is pleased. is considered insufficient. When there is no accent to give color to melody. rather than deprive of its essential effects. &c. no change is allowable. However great the cleverness that may be displayed in these arrangements. It would be and and that some knowledge of harmony is wiser for an artist to give up a work ill-suited to the display of his talents. indispensable to their skilful introduction. to transpose it entirely.") Ornaments should be placed where the return of the same values. accent unsuitable to the air of Rossina in the Barbiere . their choice must. and ornamental accessories. but in trios. —because. Rossini. than be compelled to force his vocal powers. such ornaments as would be music prior to the present century. and skilful inspiration of their executants. o* where the coloring. it Before proceeding to develop any precepts referring to ornament. in their appropriate place. varia- Had he merely to perform an air. too. sempre a tempo. There are different kinds Example : Almavi^a. had to ornaments (or Jioriture.— 59 raising or lowering some passages. embellishments quartetts. for authors formerly. or detached duet. free whuh. and transgress the traditional laws of a standard As the ornaments do not contain in themselves particular sentiments. ornaments. it may be remarked. simplifying or embellishing others. languid for the character of the brilliant Count. recourse both of words and music.) This is the case with almost all used to depict a grandioso sentiment. stral che mi fe - ri lo stral che ^ mi stral che mi fe - - ri lo stral che last mi It will be at once perceived that the style of our for the strictest affinity example is too but be it understood. for instance. — * . Example to : composition. on the necessity its between the composition and In duets. would be Italian be regulated by the meaning For instance. the feeling they convey will depend on the way in which they are ac- We will is now consider changes urged by the necessity of producing cented . — to the as. from &c.it would be impossible and sustains the may be blended in both parts . Barbiere. to preserve the originality of character peculiar to each author Similar observations apply to the introduction of piano and forte as that of jioriture (refer to the chapter on " Formation of Phrase. reckoned on the talent of a singer to add at pleasure. that all embellishments should be soberly employed. notwithstanding. work. their very nature. must be entrusted order to suit them to the power and character of his vocal capability. rondos. to -#-*- & ri \/ Cimakosa Con : Matrimonio Segreto. Air. in my opinion.for instance. In Air. La Molinara. " Ah non giunge uman pensiero. great importance should be ascribed &c. to be rendered it is interesting. which it would be times without introducing well to swell with inflections If an opportunity present itself of imitatively painting a sentiment all alteration must not be neglected. the exposition of the theme alone should be preserved in follows the thought in its its transformed. Otello.. and are particularly adapted to receive These changes should be introduced more abundantly. Example : Cenerentola. as. who never repeat a thought several new effects. " La placida campagna. Variations. as in this way our ear and feelings are simultaneously pleased. as in The sense of the words determines." Cenerentola. Co . they have the and make no changes in essential parts of a melody." " Ah f je veux briser ma chatne. every time repeated." " Di piacer mi balza il cor. space." Donna del Lago. This rule respecting variety. ardire.me un Desdemona. Cavatina. should be varied." La Principessa in Campagna Air. ve - drb. . Effects of this kind are well suited to words presenting images of movement. in notes which are placed on the down heats. either for voice or instruments. expressions. that is. VPmi - d'l - sau - ra o pian. variations. — rapido. or thought. Tancredi. wholly Thus placed. gloria. " Nel cor piu non mi sento. A musical cavatinas idea. ?i d'l - sau - ra ed il mio pian - to tutta forza. and especially : m its last notes. in other cases. some pieces. all eco. simplicity. sen. " Jours de mon enfance. airs. lest the melody be entirely . ri - ve - dro." Sonnambula. " Tanti affetti al cor d'intorno. Variations by Garcia. this." Barbiere. " Una voce poco fa. fulfil prominent functions in harmony hence they should be cautiously modified by ornaments. TTZZ*. — charm of or in part. Rossini. . * 5 — Pieces whose beauty depends on as with a second part. Air.. Rondo." Sonnambula. and with ever-heightening variety and accent . £ The preceding rules are confirmed by the posers. nar. — rondos. These notes. and feelings which touch the heart. &c. effect. changes. the ornaments and character best adapted to the execution. polaccas. lampo.— — — 00 Rossini. recurrence of the theme. most minute details. are * There belong words. Rossini. or imitative harmony of sounds. is Pergolesi's "Sicilian :-— The following pieces seem to me well suited for this kind of study:— " Sovra il sen la man mi posa. eterno. " Nacqui air affanno. 5^ mf^irM pi ri fc ed rt\ dolce. Cenerentola. 1 'l 1 l" "1 1 1 I Jim lull mi Rossini. \ Con brio. Diamantsdela Couronm: the recitative preceding Nina's song. Appropriate ornaments always heighten the a portion of a phrase. besides containing the rhythmic accent." Pr£-aux-Clerc$. pi-do. Such. thai would be for the worse. Donna del Lago. the theme of which is so happy and characteristic. Rondo. &c." Gazza Ladra. To this category. also. it practice of the best com- to the following passage. Rondo. Cavatina. when terminating novelty. &c. on account of this light. If a measure be even. as well as by the nature of appoggiaturas. and so Ion ta - no e - ter - no eil tuo vi - ag - — as they are regulated by more precise rules. I £ *-*-+ £ Rossini.. — — 61 Coppola. but if the principal note simple ornament of a note it was written a small character. —Mose'.ne m Mose. — such as dwell on any disjointed intervals. had no syllable pecu- value . it is a its > PEgfc4pgj Qui nel 4& importance to the prosodaic accent. — Orfeo. and on a that tha long syllable in words pi ano or sdruccioli. cadence and melody of words are maintained. ( sa - ere anti - che pian - - te 6 6 6 jgmsi m Major Second. Battuta di gola.. which intervals . lastly. on the contrary. Ascending —Norma. ^" -=-£ K-K - 3 Lun - S gio. or even to simple appoggiaturas. in many cases. In recitative. Andante. or lays a stress. In Italian music an appoggiatura can scarcely be considered as an ornament. ptena voce. tuo stel - Dal « la - to so - glio Ques - - - te. m Appoggiaturas. Resurrezione. acciaccatura. them particular syllables. groups of two. 1 Gluck. and four appoggiaturas are sometimes added to real notes. for liar to itself. to write appoggiaturas in large notes. of which we have already spoken. chords nor attacked by connected — but in singing. recitatives excepted. and could it be dotted. the late power of her voice into the Madame Malibran used to throw the whole with the most sublime notes mi ri-suo-no minors. Minor Second mEH p-4 j^^. three. Among trills. The duration of an appoggiatura page 36. battuta di gola.. Descending Appoggiaturas. Rosina.) . of whieh shall presently speak in the chapter on Expression : here.$= H Bellini. our attention will be chiefly directed to appoggiaturas. — —which groups. the measure and note to which they belong. according to the number and dispo- their duration in the sition of the notes composing them. foreign to gives more This note itself is almost always the harmony.) An appoggiatura is. composers began. an appoggiatura borrows from a note twothirds of its be suppressed without interfering with the words. finally. (See Part I. sa - ere queste. the imitative accents of passion. Harmonists regard as appoggiaturas only the second majors and are not included in the In Rossini's cavatina. as its name indicates (appoggiare. what degree of importance ought to be given to an appoggiatura. r=r-f Appoggiaturas are written notes. -t^- W^ -&" Appoggiaturas. value of that note which intended to embellish . fulfil should be included those intervals which that function.—JvYna /T\ /SS s $ ^E effect. the many kinds of passages that can be employed for ornamenting phrases. we think that under the category of appoggiaturas. rallentando. • a= . Besides simple appoggiaturas. Minor Second. in two ways — in in small or in ordinary-sized varies extremely. or the measure uneven. and to assign advanced. Orfeo. turn or gruppettL (See Parti. turns.) a it ^» note on which the voice leans. by this means cor mi ri - n - suo - no. all is imitation. an appoggiatura receives half the it is In all old music. Andante. and to which preceptible value than to the resolutive note. Their value first is determined only in the last case . —Armide.—to lean on. Regarded in musical accent falling on the down beat of a It is bar. Gluck. take the name of double and triple being regulated by the character of a piece. To we these should be added. Rossini. Barbiere. and should resolve on the real note of the chord. After the time of Mozart and Cimarosa. *— rb 0-0 sen - - za Euri - di - ce ^m Can -eel - li il mio do - lor lemie me mo . a separate syllable was frequently The character of a melody will show better than any precepts that might be given to an appoggiatura. ^m Che fa H ande l Major Seconds . this little grace-note may be sung with rapidity. the appoggiatura was only the . . therefore. let tn. —Norma. The following table will serve to show the different ways of varying such notes fe^fe ^l ^4ff^pFMrfmr7mm^ i ^r-' rr-i'%^ if3 & m^-^i^f^m .tmfy £f gg Sometimes a harmony will not allow : any modification of the first of the two notes.—il'mfa.) The effect of two equal notes would be intolerable. 1 1 *= tttt tl MZWZWZK - X di-re il ve - : i o. gfctff Handel. the into an appoggiatura first always bears the prosodaic accent. as in the passage we give from Handel (Example C): (A) PUCITTA. frz-r •« I/au - fra ra - mi fle - bi - le ne ri - pe - te va il When the two first notes of a bar end a portion of a phrase.—Norma. Bellini. GUALTIERO. li ce ap - pie no non mi is X V-^9che ti Gior - no trag - £i - ade gli al - ta - - ri i pie de mm^ vo il tuo do - lo =± mm jr 7 T - "3- -i -g V. two or three appoggiaturas should be placed between the two sounds Norma. Principessa in campagna. Bellini . la O. MMILM non .) should bo converted (Example B. must be excepted those cases where the two notes form an essential part of the theme. its monotony. and for that reason.to.- X >0 *^ - -J tre - - ma - - - i •^ :- =E Mo D'u - rir men - dan - no. however.n La nal cal - - ma «rt ed il di - let. pfff - Ti - l I I r Bellini . Rossini- X i — ra te II #— brae - -f-p^# mi - cio o con - qui - se. qui - se O^eZZo. Pp- A *-*- A [AT ff F* 7 Y *F^ f */ r — h£—*r—? I NlCOLINI. From this rule.A fe - No. Linda. DONIZETTI. To break Norma.al - - ma ed il di - let - - *>. if similar in intonation te the second (Example A. P i g ft no che in - .—Pirato. (A) •^ T. 1 1 1 i P rrfffi.— 1 — 62 Double Appoggiaturas. (B) m let - 03) to. let - - to. . and the last terminated . Acciaccatura. the . use being to give animation to a note : A turn placed on the middle or end of a sound.i.— ^ — — — — — . bat . a note of the chord Zerlina. degrees. Ro s sini "*— f* —^r . are only ^— | ^rc f fafif| V r n me - —such as adagio trills and cantabile. — Don Giovanni.ti o bel Ma - set - to la tua po - ve - ra Zer - li - na.* — I. This mode of execution was a very great favorite with Madame Pasta. il dol. for instance Passage of G. according as the peculiarities it is either ecclesiastical was invariably preceded by an elaborate music is lively or melancholy. p. Instead of: - Bat . The acciaccatura is never used. — Variations. except in descending . •^ Presto.— this method is shake was long considered the indispensable termination of the cadence. they need not be if successive shakes are placed on consecutive. ah lamia fr | is an example of successive diatonic :— Teco aneorquella cer-ca nar lista Amelia. or chromatic first trill would be more elegant only is prepared.—Briganti. i rm ^m-Sfca - Dim. sv> S\5> Example <3SS> : i t^ ^ it 8-C J^h£fi E tu Amenaide. Rossini Armida. and always ended in a regular manner. and is all the best musicians whenever a shake of a sufficient length .pie - ta Turn. it The shake in all cases. (See also Part 38. may be used. Bianca e Faliero. It tuo This ornament occurs more frequently than any other. fuvw Mercadante . the most elegant. short shakes are made on disunited intervals. ^ P-m quando I tor - ne - ra - i al ben mio dol - ce a - mor ben mio ener- dolce a mor. and formed one of the mark»d peculiarities of her style. the notes are suddenly attacked by rapid turns. or on measure^ notes : and was held in special honour in all as. being sharply attacked by the auxiliary or upper note.. or passage . requires that the latter and usually assu mes the following forms should be firmly sustained. In these preparation as a preamble to the beat. middle. il we have it dol. compositions. David. obligato close to all vocal pieces. as in- Rossini. fP|«#fe doJ. §3 Instead of an appoggiatura. \i • na. Ad The turn. or it is. The following - tf | r[. Time has introduced new customs. as ot - te-ner . This change belongs to the composer rather than the artist.) length. by a termination corresponding used by The Shake. Rode. already observed. diatonic. all others Gazza Ladra. resembles the trill. Example : Mozart. • In Spanish songs. prepared and terminated is A -an regularly . or end of a note. placed on the cadenza. individual shakes in a series. and getic or tender. Ca ra per - te ques - t'a When prepared .ti. •s m but it + JPEI " tr --^ -< &MsidtijLz £ When each were terminated. I'm lie - to gior no k The preparation and termination of required in slow movements. is either prepared or not to its may be arrested suddenly. If the shake be long. its may be placed either at the beginning. Tancredi. the contrast between a notes without brilliant shake. Romeo e Giulietta. sex* to ^^ in - fiam. or on notes of long value. Trillo Raddoppiato ) : The redoubled trill can only be placed on a freely-sustained sound. '^*^ •"siiCjp ^= |S ±=r : i=t m The Turn and Shake. in all times. ihat the double turn.) are only different effects presented by various beats or vibrations of the throat. battuta. ended by a turn. non ha ce ten In songs of a mournful character." is ribattuta di gola. Almavivia. the preparation may be omitted without a l oss o f elegance for instance . isg^ The \tr JgpJtei&m&S? %F^ pSjpf =F?- pp ^tt^n^ m am. scale. any vibration of the larynx. or The extreme airiness of these ornaments.: § Per voi d'um vo af - - fet - - to sen - - to. il mi ^mi o duol i The Redoubled Trill. Barbiere. Whenever Rossini. the accidccatura. and seventh of the same chord :— ^ i The omo. i^SE :^zze 0'. 39. la pla-cida Eife m §^H m These forms may be employed on every note of the chord. shake. only a single beat (battuta di gola) made : repeated sound (called also ribattuta di gola. in the middle of its value. Example T-mmr redoubled Trill tr *• ' flr #-JH£-f-£* Pucitta. Otello.: — —— — — — : 64 There are. k-$w=P Pf prT* Scher zando va ? v4 P . . trill. 3rd. also.mar-si il ii». —Principessa - la pla-cida in campagna Campagna. and the sad sentiment of the melody. has. as well as the turn. when attacking it. (See also Part L. ^«r f*»* - t fee (Ribattuta di gola. either close. 7th. the two beats are called "ribattuta di gola. trill. the trill is immediately connected with a descending two ways of executing the chromatic shake—one by attacking each semitone. given them. Ma che val il mio duol. ^-^r non * ^ ha che e u^gf - ~^-^ ' s oh is ft tr **& dol 4 - £ con - goal. 1 FFF ¥p_rj F W9V000 *j f F ¥wwwwP following form applies only to a third. -&- &- -i 8 Non ha che e -^r - ' gual. Eomeo. fifth. Rossini. —thus producing a subdued avoided by slowly emitting the Example : ZlNGARELLI. and the are Sometime. as follows Allegro. as we have seen. a ready admittance into every may be mentioned. the other by a slurring shake.) and trill" (as has been explained) consists in a double beat of the larynx. style. some of which are interchanged to ornament a its ppgjjj trill.« Ljj mTzzdfPJS-e^ US] w m —^— *4 and the tat If the turn is suppressed. They at *^# It fragments of a note. "turjQ ^ Vr 5th. p. as well as the appoggiatura. Z)wi Giovanni.' and music. Mozart iVojize A' Figaro. all — — A The word cadenza |. arbitrio. all accompaniment hibit his taste. he must rigorously submit to the following The following example. However vivid the imagination. in almost every species of it rests. ] /T\ Rossini. dominant seventh. — Variation*.) it i The pause sign /T\ V£/ . Do - ve mi sta do - ve. followed by the perfect chords.) singers celebrated singer. to is - tan = ' *" - S^ifp ?F^ ^7 a |r I-. on the dominant seventh. on the last chord alone. These momentary suspensions are Examples : On the chord of Elena.te co - re nia con-so - lar ^E I WfWF? ^ The pause has upon which it is 1 -/CV- 3 §B notes rules : the effect of at least doubling the duration of placed. too irregular for imitation* . or else on the ninths. Wf^t. is a momentary suspension of a musical discourse. * M'Umo. closing cadenza is used exclusively on. 6 Contbssa. mi /T\ W^f EJ ? S deh all '±± /CN zfczz -T\ zrzfc zfczz Bode. modulated according to their own fancy. a sort of frame in which the singer places whatever will best exDuring the execution of such passages. this liberty is allowed only to artists of consummate musical and irreproachable taste. At present. or It is on two ^^ on leads to a final rest. rzzfczz i J f-f Mozart. or whatever ease of is suspended. Donna del Lago 2 *=Jm '* B s^ te. marked by the chiefly placed major and minor. though given by the is. we think. is also used to denote the fioriture . — Clemenza. execution a pupil may evince. that are placed there. do US - /CN<5\J> #-£ rr\ -3-*/7\ ve. called a perfect cadence. Mozart. —A cadenza must be wholly enclosed within the chord on which Down to the eighteenth century (see Baini and Reicha. is zz: jg • E ^i&i #-* 43 Zerlina. do - ve.the chord of J. Q^ 6 VlTEIXIA. representing. inversions belonging to these three kinds of chords. Ques-to do len .—— 65 Pause (Cadenza. Somnambula. Those small musical ideas. in the places by the composer. $ ±=± measure it.ro mora - mor del mio di . can only be dispensed with by composing a cadenza to several words. this caution is is rendered more must swell that note which precedes the cadenza before executing This rule. and avoids the impression of a vocal exercise. unequal in value. which thus end This also applies to those words on which the passage is placed. they are usually composed seventh are sometimes united. repeat the words. be made in a single breath. /T\ don-ne le sceptre et la grandeur ! destin prends le bon - heur. mais rendsmoi le #?a bonheur. A cadenza must fall exclusively on a long syllable give greater energy than one.te mi . should form a complete sense to correspond in harmony with the character of the piece. It is essential. if the : sense permits it. It is beyond all question better to adopt this method than to sever words by the breath. the passage must be vocalized on the exclamation ah ! Example Cenerentola Rossini. or by repeating a word and breathing in the interval Amina. f?S Cvs. Artaserse. as a singer La sor. Cadenzas are placed at the commencement of some pieces indicated . at the close of recitatives. W A cadenza should necessary.to ¥¥¥amor f^Pffl^^l ¥¥ ah /?\ Amor la co-lo . which effect in is done by many unpractised singers. execution. Bellini Allegro moderate. and sometimes even four different ideas. la sor - te mi - a can ah - can - gio. The syllabic cadenza may receive. Example /T\ : Meyerbeer. with a finer To prevent excess of ornament. three. therefore. an increase of declamatory songs. from the force and expression of the words. which serve to compose the cadenza.— L'ffioile du 6 . & J /-TN N IS %± w /T\ /T\ rr\ ¥-*- t 1=?=? -y— y- m .— Cenerentola. which gives them animation. . and chord is suppressed. Somnambula. Where however. It is the resource of buffo. ft—tcfr ?-*—* ^^^jv^l^g reviens et j'aban - 3L g V VYVV i 4-4-4 ma cou-ronne. . may to close the passage. to its length to that of the breath. which observed in all good schools. gio. VMM- ¥9- Us Base jjj %A H T TO i fc-M^ let. is not feasible. or even serious singers.— : —— — — 66 GlORDANI. and the passage which corresponds with the first of two. the two chords of | and To avoid monotony in developing these passages. Andante mosso. Nord. —two syllables that./SN - la co-lo-ro i #BJ ffl S 3 ^^E jpf. a singer also should reserve one or two syllables with which he this. Amina. and effect.a. Should the words not allow of a student need not fear. Example : Bellini . who are deficient in varied in light and shade. Elevation or depression of sounds. the friction may be changed into even into a rattle in the : throat. features. by &c. k -. 5. heul T error. sometimes accents. would be to make the singer ridiculous.— Turco in Italia. It devolves. Terror #-# d'un in . — Don Giovanni. suppressed and shrieky timbres. some violent though dissembled sentiment. our eyesight and hearing. In prayers or threats. according The united expression of countenance and namely. in all up Even while giving himself namely. of all The human instruments. >. when is breath. 8. Every person. . &c. whether during inspiration or expiration of the breath. The same sentiment varies in different people. if a consonant. has his individual way of feeling and mode — and therefore conveys a strengthened of expression. Different modifications of the breath. >. means by which they are pourtrayed. Modification of the articulation. unless he showed himself power. education. own feelings. trembling of sound. modulation which cannot be mistaken. and recite his role Modification of the Breath. 3. of the voice. if the vocal ligaments be brought into action. We have laid down those general principles on which the . it The is The speaks unaffectedly. the expression of features and voice attentively study the would present a complete words of contradiction. Our present task becomes here extended we touch upon the more hidden resources — those irregular* and seemingly-defective means which musical science allows. . feelings. «panting. Discordance between external action and accent of exterior circumstances. as grave faults. according to the state of the feelings. sighs. sobs. the very feeling he wished to kindle for emotion is purely 4. Use of sympathetic. for instance. should cases. at another. upon an artist to rouse and ennoble his he can only appeal successfully of expression. make himself acquainted is to with every particular relating to the personage that he as naturally as if giving utterance to his represent. the foundation on which expression in singing one time steady and long it based. voice appeals to two senses. &c. more or prolonged—of the to scru- against the walls of the throat. sobs. one by one. . to those is analogous to his own. first requirements of our art are based and have considered the voice as an instrube developed. Each of these subjects will furuish matter for fresh observations. or modulations were introduced than those appropriate for exciting pity or terror. the imitation We of which should constitute a pupil's chief study.- fe - li mW ha pa-dre Example ah! pa - (irehl . it is produced by a strong expulsion of ait L'er - ror. the note is aspirated : . voice betrays to his nature and position. hypocrisy. -fc La - ro var-mi is gliocchi - ne lie ta poi sa - pro ^ bi When proper the second method the adopted. shall only consider those modes of employment most Sighs.— being noisy. When Rossini. all ment. and its ment. art. according to age. since the different timbres. true accent communicated to our voice. of execution. Yain would be the efforts of an 2. — — by the friction —more their variety. a pupil must nevertheless retain sufficient tinize the freedom of mind to examine those transports. frHr--~ J. or In pursuing this first method. the artist skilfully to alter its coloring. are less produced air or less strong. accent. the compass of which had established. are as follows : the great law of Movements of the countenance. difficult &c. to the principal of which we will now direct our attention. A it. Fiorilla. heul Terror (Tun in -- fe - the breathing sound then heard before Example Desdemona. undergoes at changes. or even ^ - i £B> i pian 4 ^ «*** * Mozart. The — many different and agitated. to — purity and flexibility all indispensable elements of a correct style.— — — — — — 67 CHAPTER On Expression is 17. pupil. and compels his part. Nature has attached to each sentiment certain distinctive characteristics. if other timbres. The modes in which passion develops 1. their only effect Movements of the Countenance. in order to discover the In such tone suitable to each sentiment. This important operation will explain the secret of those mechanical processes. moan are heard. Different degrees of intensity in the voice. artist to excite the passions of his audience. respiration taken in the middle of a word. and to classify them. voico deprived the least interesting 7. fully affected by Emotion of the voice. m scie - Zehlina. impression to the mind. recommends. or attended We have hitherto excluded. &c. noise. A falsehood. therefore. and laughter. — as embarrassment. Rossini. sigh either conies before a note is or follows If it precedes a vowel. sentiments. the expulsion of air — the sigh in its sense— and it. to the strongest transports of passion. the sigh : ends a note. . For example On Analysis. short chiari-oscuri. 6. timbre. Movement of delivery. sighs. sobs.— Otello. accents. to be used under the inspiration of a bold and passionate moveitself Expression added to Melody. all assume eloquent and persuasive bursts into laughter. ma il cor Agitation caused by indignation fe#W Quegli eil Donna Anna. Agitation caused by dismay •^ ^1 In - #"* fe - li - ce. also allowed to fall before ^ ca . &c. Agitation caused by indignation. ex- opera-sma admits of it when the expression altation. Rossini. — Otetto. in the throat. though extensive compass. should be thus deeply affected. Agitation caused by terror and remorse o hI p c c TJn tern- rro o jour d'ef - ^m% froi — (Edipe a Cotonne. il ve - le - no be - ves - ti non far mot -to tra-fit to ca - dres-ti Rossini.ca al fin di pian - ge-re mo l'afflit - ta ver - gi - ne mo is ri che duol Pin gra-to ah else in On the Laugh. 2P 4-4 j Vmio fr-fr s-v 4-4 te car. suo pe - ri . to the tightness of the vocal tube. again. excessive joy. of painful sentiment depicting madness. by the noise of the air forced out **a - dre. the ease of a natural laugh should Every one who is be desirous of acting powerfully on others.tor .. Certain emotions are so poignant. Donizetti. Mozart. terror. and despair i Is t^t di - S un vi - Rossini.te ver go - gnar GBdipe. sal - vo. mio dre. —Lucrezia Borgia. .le £^ - m.pli - ce ment Desdemona.glio ai - tro non bra . ah r>/T3 _ - % drea-ma-to % ha h! all a m mes These methods of inspiration and expiration are combined in the y- following examples : ah padrea Desdemona.ro pa - any air is expelled :Mozart. disguised by a forced laugh. to opera-buffo.: : :: : : J 4 — : 68 The voice may be Donna Anna. Allegro vivace.— Don Giovanni. or music The laugh is a sort of spasmodic action.tra Sachini. Agitation caused by indignation and anger §5e Vi m - Rossini. — Otello. JL.ne-fi - ce del padre non du-bi-ta - pih gli ul-ti-mi accen-ti che l'empio pro-fe-ri Fernando. Emotion of the Voice. The breathing requires to be frequently and rapidly renewed but. —Don Giovanni. Agitation caused by joy dal Sal - vo. . which allows the voice to escape only by fits and starts both in ascending and descending it runs through a gamut of somewhat irregular. 5 o tour - o sup . that they cause an internal agitation. In vocal pieces.gis . Sighs. contempt. V v^ tu pe. substituted for the uninteresting coldness of the written note. which P— pa - ^ almost deadened as it begins. the voice is emitted by a sort of jerk. Ah o fi - dar - tia lui po - tea le tra - di . a. only can bestow a free and musical laugh. p — #— if di f >* - m ab - — Gazza Lad. —* nom ma - f m tu - 52ac e m ma .no has m hb tol . to **+* l =* do m - - tan-za ra - to ro vres . owing . it produces at each inspiration a rattle which betrays itself by a trembling of the voice. are produced is by an ascending slur of the voice. .ti ^ i sos-pi - rie ^b^s^^gr^r pian - to heumo-ri hen Paint - ta vergi - ne ahi di 4 uel salce ac Smorzando. I 4-4 Ma stanh calh fin heudi spar-ge re £ y_4-4-@. Lucrezia. can - to ma stan . Habit Laughter belongs exclusively only When this agitation is caused by indignation. Otello. " both in Semiramide." requires exaggerated. at a voice should be touching. taste. or energetic but concentrated. but becomes thereby incapable of phrasing any kind of sustained song whatever. in Donizetti's Lucia. in these examples. she must conclude : ils te tueront. . "Or or yedrai qual chiudo. A few trials will suffice to prove that every shade of passion. 0du ma M-i o ciel 1/- nel mvs - te - re I ^m Du pau Masaniello." can only be rendered in a round and brilliant voice at sight of the ghost of Ninus. or tears extorted by certain acts of anger. choice of timbre in no case depends on the literal sense of the words. A In chapter singer's will. fear. An artist who has contracted this also. Otello. b EEB WW V-M § v-fr-fr Io ere - I 7—Vche al - Pz± cu - W^» oh co k~N— ¥- — *3— - de - va no me ? il \w~w cie - 2 0¥--¥- N—N -0— scea miei la - *S men . "Raoul oppressed and faltering breath. in the Duo. Thus. the effect would be detestable. scolding by a moulding movement. and that each timbre could. ra far mi lan-guir si . the voice produces. for its expression or duration." in Rossini's Otello. however a peculiar way the physical condition. capacity.cri re # je 4-V- ¥—¥ -X# pas de - ±± - mmm tu m'as ne I les ai fen dus du mau- ftdfcf di - h de ari| re-mords — 0- —0— X se re. comes Desdemona. #E co - per -che fi - no . : now and become either brilliant or dull. Assur's terror On slight. require. these words. in real life. and. the words. and tenderness. intolerable habit. never fails to produce a pathetic the vocal organ experiences a vacillation called tha effect : Guillaume Tell. whereas. Ah ma raison s'e-ga ! - re pi - tie je meurs ah! The tremolo is employed to depict sentiments.— — 4 N — — — 69 When agitation is * Tremolo' 9 Kossini. allow a pupil to vary appropriately following examples will serve to : as anguish at seeing the imminent danger the expression of voice. . t £=52: f* m mi fi E# de le - vre seul a - cends a mavoix qui t'ap -pel - - le Count. displease in others . and rigidity of the vocal instrument. as they may be introduced . his voice. S^teE £-s m Bossini. if That imprecation of Edgardo. hollow. whereas. sentiments that are soft and languishing." and Qual mesto gemito. gives a peculiar stamp to every sound which it why emits. II. appears shrieky . if — when used . out of its place. Der Freyschutz. —why a sounds that please in singer. the intention be to represent anything extensive. If. the receive either the open or closed timbre. . ello s'evanouit. hors (Telle meme. the clear but flat timbre insipid the sombre brilliant timbre. —such very numerous combinations.ti ! lo s'u ni - Valentine ought not to sing. mon coeur de - chi - re oh ! ciel i£ oh! ciel je ne te ver - - - rai plus Desdemona. to prove its reality. Desdemona. then. This tube incessantly external ob- ti placa. in prayer. for instance Kossini. we observed that each sound could require the covered timbre. descriptive character. "Io credeva che alcuno. the sombre timbre and the muffled voice. ! "Deh ti ferma. full brilliancy of voice. changes. in " This contradictory use of timbres explains certain expressions. which. but rather declaim in an agonized and disordered voice. T0-i-w jours mqu'ilsont g~P o - f—0-*f - se pros . even. The They timbres are one of the chief features of a true sentiment . Muette. BEES Deh cal - Weber. on the contrary. and slightly covered. sounds of a corresponding the sombre and dull timbre. as may be who never varies why the clear observed even in simple conversation for instance. m Auber. hoarse. when properly brought in and executed. . gives only certain passages with truthfulness brilliant timbre. jects. of the First Part. of any one dear to us venge. MeyerbeerHuguenots. perdona. becomes fatiguing and ungraceful. are offer of a poignant character. reits The make the above observations Under those circumstances. . This. «- Tender reproach : Rf/w „ & Ira Cn - £ del -0&-0 Mozart. Otello. Owing to its wondrous elasticity. l'istante. -H produced by grief so intensely deep as wholly to overpower the soul. will effect in Timbres. —& —Nozze di Figaro. &c. "Maledetto sia diminish the firmness of the voice to as a frequent use of the tremolo tends make it prematurely tremulous. we altered the timbre which has been tested. be enunciated with open though abated sounds. or slender. Othello's proud defiance. like a mold. use should be adopted intelligible with great and in moderation . frequently reveal an inward feeling which our words disguise or even contradict. the choice of them cannot be neglected without com- mitting absurdities. « ha Arnold. it al^so depicts . but on that emotion of the soul from which they spring . These features. with aa Valentine. pecial cases Except in these esin any degree to not taken must be care just mentioned. should by reason of the moral exhaustion that over- not only open timbre. Many fine voices have been thus lost to art." after which. the noise of the breath In tenderness. for- mation. Mozart. J MfSi V0je Threatening Imprecation « m vous dois tout. because the breath cannot be held. and intense despair. expressed wholly without restraint. grief. t r 7Mi man . roughness. Ro s sini Mose". 1a - U mis se - 5 ma ven - con - dez ge - an - ce Mo'isE. gue op - pres - ? so. Deep grief: m •^ Andante. : Donize tti . hollow timbre Duke. j*\ \> 7-*-^^ & -4Guai se ti i^£ ±± - m ti sfuggeundet to tra disce un . Tenderness ^ftceg'E'f La Paulino.: : : . . and at a third by darl Terror and mystery deaden the sounds.— Guillaume Tell. Prostration Rossini -Otello. the voice comes out dull. Mystery mingled with terror —Don 4- Giovanni. Example :— Don Giovanni. —Matrimonio Segreto. — — — : : — —— 70 Imprecation. give to the voice a character of roundness. for example : Rossini. or violent sentiments.ti f<g\S> h-> 1/ che spun : in ciel l'au - ro - ra £ in -f~- ciel Tau ro - ra. last example. Larghetto. rendering them sombre and hoarse Andante. and hauteur. •^ Donizetti. threatening. Indignation P : Donizetti. This first series of timbres contrasts with that assumed by lively. Rossini. This flat character of voice is the opposite of that brilliant metalic timbre which suits the expression of vigorous sentiments. Ros sini . ci ££ la da - rem mi di - rai di si. Threat excited by covert hatred : . Wk T 7 E - ac so.ra. Lucresda.— Otelh. or severe command. Assur. —Don Giovanni.—Moise. The soft and affectionate character assumed by the voice when expressing love. and light timbre Don Giovanni. the accents of sorrow are shaded.ca -fla m - -**mi sen p - -g p— ^ mo - to n - In our despair. Example _ :— Rossini.— at one time by a tinge of melancholy. Andante. Semiramide. Or or ve - - - drai —Anna Bolena. —Don Giovannu m fe£ Fin eh' HE* cal - han dal vi-no da la tes - ta ££ u - *=fc fes - ^ na gran ta fa pre - pa -rar. Terror X^ |l y-^ J ni - a]* JW - ^ m ba. Cim aros A. UE- 4SZI ter in - com - pren - si - bil Di m deep grief. Martial enthusiasm Rossini. i Joy requires a lively. £* i=£ pia Cop - i - ni - qua it - Tes tre ven - det ta Martial or religious enthusiasm rounds the voice. brilliant.. partakes more of the clear than dull timbre. and makes clear and brilliant Example : Arnold. Gaiety Mozart. p£3E3E$ Io ere *-*-* f - f-l- Complaint Gia -de va che al - cu - no. to da quel la Mozart. mo - to. 94+4 r and indignation E - ra gia al cuanto avan - za - ta la not 4-4-4-4-0 _ _ w _ 5 r 94-0-0—0 stanza o - te quando nel-ia mia w ^ Ian - fr-N-Er-fr s-^ 4-4-4 1 — -fc:v lOL 94—4 sven - ve so-let-tami trovia per tu . Religious enthusiasm : gfc " Muttered threats. require a deep. and thus obscures the sounds :— Desdemona. ^m Pria fW0 .— Semiramide. Andante Sostenuto. v In the prostration which follows strong excitement.— Favorite. B E* A - -* mis. at another by paroxysms of .— Semiramide. —Don Giovanni. Sarcasm or raillery renders the organ metallic and shrill Raillery ^^sxim^-t^-^^ Et quoi de - Bertram. te che for - se ta - cen - do nie-pie - p>u bar-ba-ri sie te Edgardo. The timbres attain their of the soul. —Lucia di Lam mermoor. of rage ^nd despair Cimarosa. to the accents when used in pieces of : moderate expression . m^m fs^ Hai - P—0 V di - (*—0—* l -&^%" >5> /^—m ma - V to V il tra cie - lo ea - mor le - - det - to. timidity. Cimarosa. and thence of tears. —1st. whether elevated or concentrated. . . require open timbres} while serious sentiments. —Matrimonio Segreto. Sara. aH greatest exaggeration. form an important element in the success of a great singer.f M-U V l ^ In laughter.da e fie - ra quail' io 5 la bra qual' a - mor wm^ Rossini. the voice is Gio V - f te f V che - vi - net t~=r=fV V V fa - teal l'a - mo -V - re che fa - te al —H-*** mo - Pa - - re Pucita.. Figaro. — The the series of expressive accents obtained from changes of respiration. J. joy. _ ^ ^_ Meyerbeer. &c. suddenly interrupted.ro 77-9 il 22: fe vPdeh par - #==# la - sen che sen le - ri A f^m^^m^^m a. piercing. They start is employment of different timbres y form an . confusion. — Sacrijizio a" Abraham. cries. when the passions themselves reach their utmost limits.: : — — . Rossini — Barbiere. for instance Andante Carolina. which may be termed the language move in an opposite direction. apiacere. sighs. on the other hand. many important which cause prostration of the vocal organs fear. r i 1-f-t. which possess their best express sentiments exciting to the energy of the organs such as animation. and inarticulate language. made uy from an intermediate point. Donizetti. yi{r-PTr i rf]ri^fc^£ - ? • 7 1 Lar Allegro. . where the expression of the softer sentiments placed. ih ih ih ih. _ conforza. pride. interjections. de - ja tu trembles d'ef-froi :- ja Threats of grief and despair. - - go al fac to - turn del - la ci - ta lar - go Zerlina. La pla - ci - m ah ah : p—*f- 3EE quan : - da cam pa - gna . — 11 Allegro.—-Bobert le Diable. Those. are expressed by open. Mozart. la ri - chie - de Allegro moderato. Such exclamations excite as powerful emotions as speech. . Sounds that have no brilliancy serve to express poignant sentiments. Ifcr p—y- le - det - to sia Tis - tan - te Chest notes above effect fa are insufferable in the clear timbre. 1 - su ra . de - ja tu trembles d ef-froi. to si . m ma . &c. that burst out with violence. and convulsive grazioso. uh uh uh uh. heart-rending sounds Otello m j^ jzffczE Ah non tre - |L men.re sus - sur - ra - re sus - sur - ra - re io vo - glio sus - sur ^— - 1 £ -^ la ra - re ca - sa e la cit - ta From our preceding observations. covered timbres* &c.—Matrimonio Segreto. full brilliancy. Laughter Lei ri - der mi fa ah ah. rage. ^pde - ja. results may be deduced : Lively or terrible passions. S&S m —& m So che spi irt quell' I os - mm tia si Cimarosa. -* tSi *— vo - S=#=F Io Vglio sus V— &$ \/ - — . anger. terror. timbres pursue an exactly similar course to that of the The two opposite passions. the very shrillness of theii makes them more appropriate LlSETTA. to mi di - le - ta acute. but in this instance. 0-*-+ _ ra na fCl veg ircktr _ - ' \rr\ 'go il il con sail _ - gue rvr%a che tin - ge queir a - ra > < ? - ? * to il zm fer . —Principessa in Compagna. oh oh oh oh. 2ndly.— OteZZo. when bursting forth. demand dull or such as tenderness. The truth of an artist's conceptions. Parti. and . expression of terror. Ah! vieni. je devrais In pieces composed of several feelings divisions. because the natural outbreaks of jealousy originates them all. their intention and execution must be Tears. Unity. yet not indiscrimi- expression. premier finale d'Otetto. swelled sounds. having studied the predominanting feeling of a piece. duo nel Matrimonio Un bel uso. Thus we perceive Othello the victim nately of love. Rossini. The slightest modification in sentiment vehemence of a would influence tho The musical art employs every mode of execution. neously . are — obtain an insight into the leading passion of a piece. duo d'Otello. and the tact with which he exhibits them. Batti. originality. and not severity." that in female voices. As regards different degrees of intensity. the high chest notes are those most capable of rendering expression. and anguish. threatening. but stern warrior. which are are capable ot Elevation or Depression of Tones. The feelings. vous hair " seems to convey a threat. "Freres ingrats. but only according to the requirements of each situation and movement. n Changes in Articulation. falls to the composer. wild joy. crudel. and which kept in the shade gradations. appoggiaturas. Mozart. . after therein . energetic in vigorous and animated movements Trema. Division of phrases. &c. Fin ch' han dal vino. in An artist. As regards peculiar ideas. nel tuo sangue. Donizetti. which are more suitable for brilliant effects. pie - ta se il p. in order to give each piece peculiar phase. ciel. military ardour. Success in transitions depends peculiar features. Fioravanti. Auber. Thus Desdemona and Norma both implore their father's pardon. and violent grief. Descends. Don Giovanni. when once its roused. Rossini." rie^n c'est expressed by a more animated rhythm. Articulation marks Un segreto d'importanza. while quick sentiments. The traversing any distance. and render the voice tremulous and throbbing. by sorrow. cielo rendimi. Allegro. batti. A pupil. choice of those portions of a voice best suited to express any particular sentiment. though the grief expressed by Joseph is indicative of sorrow. such as rage. Nevertheless. will arise variety and delivery. slurs of the voice. of equal intensity. as. Andante. Sobs. passion. Moderato. constitutes This strict and intelligent selection of what is called Unity. ! Oh Amor. &c. nately. aria nel Barbiere di Siviglia. Gazza Ladra. felt as peculiar characteristics of each piece. impair the firmness of the vocal organs. Euggi. the articulation should ta scallerato. softened — and graceful movements. Rossini. — which may be means and effects but the first. this principle In compliance with of unity in its special applications. partial inflexions. rage. of joy. Rossini. terror. Rossini. prosody. but cannot be suddenly stopped. Mozart. pa. etc. one of the great divisions particular should be chosen. the phrase. On the important question of transitions and contrast. Largo al factotum. gives way with violence to all the transports of jealousy. enthusiasm. but the former is overwhelmed with confusion and shame. should all have the pupil's earnest attention he he will then decide which should be prominently exhibited. shame. while the other forgets her humiliation. Mozart. trema. . Rossini. fuggi. and change their character. are unimportant — be neglected. . less forget that the words must reach his auditors with perfect distinctness for if they cease for one moment be intelligible. is on the number and duration of their details. all interest is lost. a singer should first common both to Shylock and Othello who is a debased and persecuted usurer. which we have been speaking. the an a cantabile. who is a generous. musical design. Examples : — Podesta. own organ. it being the privilege of a great singer to intellect them at all effective. and — intercedes for her children with all the anguish and mother. crudele. Similar accents are not always suited to situations which would at first sight appear identical. rondo d'Anna Bolena. aria. Otello. defined as the perfect agreement of the different parts forming a whole. perche mi pizzichi. our readers are referred to the sections on Inflexion and Forte-piano. A singer. Otetto. should pass to an examination of each particular sentiment developed degrees of ornament. slow movements are generally those reserved for the dejection. should order to intro- observe the distinction between one Oantabile and another duce any changes required by his to the sentiment. fury. engage simultaneously (See Recitative. should not . Nozze di Figaro. than on the happy choice and skilful employment of them. by its variations the shadings of our passions. it is difficult or impossible to lay down any precise rules. dre m'abban-do - na may be to effected. duo de Don Juan. and Intensity of Voice. premier finale de Don Juan. sympathy with his efforts . passion can neither be excited nor extinguished instanta- Rapidity of Utterance. duo de la' Gazza ladra. cherishes a smothered hatred against his oppressors. It is strengthens the expression of sentiments. suffocation. These contrasts are harmonious. .) the and feelings of his audience. middle and low parts are more touching than the high. Voi che sapete. an entire part or character must be studied in its and converted into a striking type of vigor and The different elements of less in more or each phrase. of a musical composition. should consider which accent or ornament will best represent an idea. timbres. Rossini. The fragment of recitative : — will be found . Coppia iniqua. or ornaments appropriate rule —one Agitato Fra poco must be guided by the — and another . designated by the terms Adagio. and savage joy. as in the alter- transitions. Deh ? calma. " Casta Diva. in which are most appropriate to the dominant In Mehul's Joseph. surprise. taken one by one. what effects ought to be developed by From this investigation. In the same manner. usually fills Each passion studied in each period up. Mozart. o Rossini. harmony of Unity should be most gradual much in the least foreseen contrasts. Da chi However the syllabication p . and phrase. air de Don Juan. — while is impressed with that of " me ricovero" describes the overpowering grief of a spirit broken down In male voices. or vary it. create immediate Clearness of utterance in whispered pianissimo passages in order to render indispensable. for instance. by its various developments. even. The most minute in the ensemble is feature. while the other. progressions. a singer should never . which enables us to discover the and what by contrasts. duo nel Turco in Italia and In tender : Segreto. Mozart. Cimarosa. Those tints. la Muette." said Voltaire. for not one beaucoup.— . ! and repressed transports . and those passions only can give place to one other. &c. Anxiety. . p . completely disorder it. the ecstatic feeling of tenderness and dignity. ^ gran sala grosse" trill itself brilliantly strengthened. the size or description of buildings also in expressing Assur's agitation. is required . and formed by anticipation. said parations of the slurred. but a forcible utterance of the consonant m. for instance : should be taken before the word aurora. ! oh! should escape with violence. ia - Edgardo. and lastly. not violence. and purity. . Tenderness. just as much so would passion. Tancredi. verses.— — — — s — — — — : Rossini Otello. must be clear and vibratory.ti Poignant languishing. in an insipid. though quite as complicated : Count. if exaggeration much it feeling . or considerable volume of sound. let le - det te tri - . but require the covered. it and the clear timbre in all its brilliancy. and first effect . Certain singers have a very correct idea of a sentiment. and readings. be to sing a Donizetti Lucia. in Donizetti's Lucia. all the iSe % is -0— &fe ^t VTa - t • different styles are produced.lo > 73 u - m - see a miei la men . as well as more simplicity and devotion. il modes of execution. the syllables w be articulated and sustained with force . so long as the unity In a place of vast dimensions. If the style be changed. Sol in the chest voice will To adapt an effect to the magnitude of a building.. al- most choked for want of breath. Rossini. —fa and then the mi. extended notes. trill — the pre- marked contrasts.) marked sounds to a piece must be As regards theirs*.ti has two effects. P~ J£ Io ere - m - gri ef ^ meil tion m lo de-va che al-cu no oh co ! ^ si - Long and trembling moan. grace. and the syllable miei receive a turn exclusive of the prolongation . They are -first. but. song. '_ 8 Ecri - den-te il cie m lo * i=^»2 £ spun-ta la bel - la au The first division of this phrase is in a crescendo movement. ffl H i-\ m P - - see a mie ih ! hla men . " By il the words. in the third bar. remains within present suitable opportunities for applying this rule. The text should if possible. The exclama- lamenti should be full of emotion. Rossini. while the other notes take a bright timbre. Orfeo. besides. agree with the requires —the second more multiplied and more energetic means. and character of a composition is preserved. Variety of delivery is consequently legitiito-ae. which demands intense monotonous weari- some way. owing to fear or hesitation in giving expression to their feelings. This timidity often arises from named an erroneous notion of impropriety in exhibiting too surely. not- masses. — —The same reading cannot be given by all singers it is is required than in a theatre. of his audience." Desdemona expresses the depression that follows a violent shock. in which he sings. Gliick. Rossini's Semiramide. so as to complete the phrase with fulness. the notes do.• to na di ma ce Before entering into the question of us point out certain Tra - circumstances which often compel an artist to vary his resources and The So third the most energetic. Breath choice of means is requisite. for the theatre of Parma. Secondly. " Io credeva che alcuno. unshared by the audience. dra i f% $ » - ^lit - QgiL-^ ne tuoi bei ti ra l mi pa-sce - ro feflgETfrlf mi ri-v« - -0- dra . «t|*z=? Mi ri - s — - S^" flf •" v-N vi - dra i ti ri ve - dro ne tuoi bei ra - i mi pa -see - ro ^m^m mi ri-ve - He. From the varied use of the elements we have just studied.i ti ri • ve - drone tuo i bei ra - i mi pa-sce - ro . softened. — the second the weakest. A styles. be its characteristic expression. In the ensuing Oh come ! cielo s' unisce a miei lamenti " grief becomes an feeling. the illustrating a composition.'the prejudices and musical intelligence obvious that in a church. on a stage. because difference of power and organization would render such an attempt impracticable. FhR-*-^'jl Voice \# Io cre-de - 0-^r0va che al - 0—P cu - no oh! 5 ** - me il S cie. Barbiere. three different versions of the passage just Let us suppo&B themselves. do. composing his opera. no extreme effort of the breath. but be wrong. its highest degree of energy. in withstanding which. and separated by a moan. Fremer sento in cor net pettc secondly. the words miei and cie irresistible and wholly dominant far Sounds monotonous. are preferable to delicate and elaborate which produce a happy effect in a more confined space. the effects will be different. To give the curse of Edgardo. colours thrown out in Tancredi. should be emitted with inflections. means he may have at command for thirdly. should. and amidst sobs. less passion (Introduction adopted. and on animation of speech. The its canto declamato is spirit. he should is sacrifice as little as possible to false taste. or accompanied recitative. JOE £££==£* *m sa - - H re - mo e la gio . by which it is governed. an disrespect to the composer) to any artist has a perfect right (without When the in the same key. many modes ecclesiastical (stilo di of execution. Matrimonio Segreto. di bravura. to shew the complete independence of the singer : Mozart.o .) dramatic (stilo di teatro. passages of power. but continuous current in a vast contained air of mass whole the vibration pressure can put into of increasing the range of the voice. or recite. or the principal features of Thus." &c. Experience proves that the only way is at another retains a perfect independence.) third. maniera. guttural timbre. remains he alter their notation. and graceful forms. ' IMn 'Jhwnni.na non sono con te pro - po - an ordinary species of melody. and presupposes in an cases. sentiment . va con costor. and humour peculiar to comedy. —Experience Recitative.jel o mi. declamato. . are the predominant characteristics of these styles. announced in the accompaniment. then. viz . In both prosody regulates all the laws Thus the value of notes and rests.) and chamber music camera. and expose it Recitativo* "We have already observed music is (see section on Rhythn ) that sometime! strictly regulated by time. Dramatic style. The canto spianato admits of no division. dominant seventh occurs in the accompaniment.) varied. The first class includes those measured movements recitar*. key Spoken recitative seldom allows of ornaments. by the supply of and prolonged regular only breath. or canto. divided under two heads. thus breaking the monotony of the gamut. is free musical declamation. and executed Jlorito . on . from the Italian to declaim. will best teach a singer the meaning of the spoken recitative recitativo parlante. Ceneren- m execution determined. generally written for intermediate notes of the voice. instead of aiding the vocal organ. we suppress the time of every note. which. and we will content oursleves with observing that —and There are two kinds sung recitative recitativo instrumentale. and are called recitatives. and to serious risks. in 1723. elaborate and styles are Spoken Recitative (Recitativo Parlante. The first is touching and serious. —the —the is second. only give it a rough.o cjl spo-se - re - mo U^AwFf 4ft e la p= re - gio - jel lo mi - lo ci spo-se - mo ££Jlistofr e la gio - jel lo mi. by the dominant seventh.zan . commonly called song. as much beforehand as possible. the singer may resolve his part Vito the third major of the chord belonging to regular resolution. provided recitatives are in general only This third appertaining simultaneously to several chords. perfect acquaintance with the language in which he is singing. longer so distinct as they were in the last two centuries the nature of a composition that its hence it is no by Spoken tolo.— — — —— : 74 When a singer's voice is not sufficiently strong to fill a large building. This rule is absolute. with the grace. depend upon length or shortness of syllables. — serious These names execution. and expressing every variety of diction. for his mission it to form the public —not On to mislead by pandering to its ignorance of true art. The second embraces those which do — not admit of time. Don Opera Buffa. In our annexed example. (stilo di chiesa. is and resembles conversation. in sustaining it inclosure. Tosi. the voice should gradually resume the tone. CHAPTER As there are V. recitative is exclusively confined to the the Barbiere di Siviglia. executant. -& an - ^~ zio - 721 "g^—gg: sa di -&- -&- #* per ~GT come il V - t r col - ~& se & -J?—15r la -& sta dee- Su . S Don So (Don Giovanni. It is syllabic. so there are . bravura.') " Presto. which are made at the close : — : Giovanni. show that slurred sounds. Canto Jlorito comprises the canto di agilita. modes of utterance. present paragraph. those commonlj adopted are the grupetti. vien . This change should be terms portamento. saves him from Example of a long stroke on the same the risk of being out of tune. — Canto spianato — Canto — Canto and buffo. so that the change of nature of a piece. : There are &c. of a moderate. upon punctuation. i As j& •&—&e <v & 72-zr. the key may be perceptible. and the various Styles. Thirdly. finished and delicate. three leading styles on which Plain all the rest are based . many styles of composition. These several . recognized three classes —the This knowledge will prevent errors in accent or meaning from pauses introduced without judgment. Recitative is almost spoken as long as the same chord lasts but. The composer from time to time introduces modulations into his melody. di maniera. singer speaks while he sings. he should be cautious of making strained or exaggrated efforts. indicate the a modulation approaching. as Giovanni. -/T\- —Nozze di Figaro. in as much as a The melody of this kind of recitative stylej Florid style. when to must be considered as s'offre.— Olello. : an accompaniment should not interfere with the voice . w—pV^Veel £ quei lab - Una al - tra sor vi pro - cu - ran - que gliocchi brie - con 3?d ^^^E3g§ si --JZL' ^^m^mm^m^m^^^^^ bret - ti bel . tura is Sometimes. determine the precise uses of the upper and lower notes and rests give no correct indication of the time required to express . Mozart. Example :— Desdemona. style.— Dow Giovanni.— 75 The appoggiatura ment. to we will add the following observations :—-The written values of Though unable appoggiatura. Mozart."— of Donna Anna. it Were mai the recitatives of '* Sposa Euridice. —not indeed as an orna- syllable should have at least double the value of short syllables. all This elevation always occurs on the of two or three recurrence of rests placed at equal distances. chords ought either to be played in advance. as in buffo notes followed requisite that the of two or three by a rest should be changed into a higher or lower appoggia- Accompanied and finish e recitative may be closed by ornaments that give completeness tura. p-». Aceow>« to raise the voice on the long syllable of words piani or sdruccioli first plished singers avoid monotony in the form and movement of recitatives. it is in those feelings. oh Dei. Instrumental recitative expresses elevated and pathetic sentiments. In the body of phrases. also has its place in recitative. II Sacrifizio to d Abraham. first In serious. an appoggiatura is often replaced by and uniformity of accents. measured . as has been seen on page 73." be sung exactly as written. declamation would become intolerable.li quel- le di-tue-cia candide o - do - ro - se par - mi toccar giun ca - ta e flu -tar ro - se jFS=£iS£6E£&fe£fc8 i^^ EgEE£ Accompanied Recitative This a is (Recitativo Instiumentale. " Chi fragment of an and subject the regularity of music in measured pietk mi dice.— Don Giovanni. In either case. and should be sung in a broad and sustained prosody. Rossini. but followed by a rest. former. m=A pi - ^^^=^=^mm&^^^* £L — Equal and 32 long."-—-or of Cimarosa. or not struck until the voice aas ceased Donna Anna. by the feelings we will just observe that the latter is more pathetic than the the real one must be sought recitative. 1 (i Ma pa] per of either free or air. these magnificent specimens time. that note which bears the long Don Giovanni. f-rrV= -f ri d'l-sau - ra ed il mio pian - to g=y ed frfttatafc il mio In recitative. according to the taste of a singer. the prolongation of a note. repetition of the same note equal notes. f— g** 1 Ned 7) il sos - pi - ri d'Isau V—mio V- 3t pian slightly veiled. .) the latter. even a double appoggia- To our former rules regarding inserted between the two notes. - to. for producing these notes. and neatness of articulation. Lucia. & f son ^=F Ste Sara.) This style. as teriws to destroy may be found in in the parts of Don Giovanni. and retained the close of a symphony. the voice passing from note to either j$rk or This method also an artist to regain that composure which interruption. —Lucia. swelled sounds of every variety. firmest^ land . and restore methods mentioned in our First Part. The voice —though (owing separately. Donizetti. that pupil will use this opportunity for displaying the clearest. Serniramide. molli. Andante. movement and simplicity of form) the least attractive and — is 2. at the opening of a piece. tempo rubato. Say ¥—¥ Io pre .) by a passage. r v — Sacrifizio d f Cimarosa.) Rossini. is In the clnto it spianato. and variety of musical chiaroscuro.. may be happily employed. pauses after the opening symphonies of recitatives the interest of his audience.76 Frequency. singer to make long to gravity. delivery. (Example C. now will be confined employment. likewise be imperceptible. dur to their freedom and command so highly requisite. All other ornaments should be used sparingly. provided he enhances the expression of a composition.—Beatrice. he is so liable to lose in the presence of a large assembly. and using accents and colorings means of these elements. An executant may. has mastered the the least pardonable fault difficult art of givittf full effect to of every description. are—steadiness of voice. allow himself any liberty. Otello. whether (Example A. slurs. will also assist in to the respiratory apparatus most sonorous notes in his voice different but. till A few inspirations A and larynx. A linger who. it can be improved and embellished by piano. to the slowness of interesting. All changes of register must. Lucia. and give a pleasing lelief to a works of Gluck. the in Guillaume Tell. in the effects of a plain and severe style. and with \ suitable We by recommending a . slowly taken. Excellent examples cantabiles. the Cantatas of Porpora.gar ffff . is able to phrase every kind of melody. Abraham. repeating words. by introducing new pasaages. chords are united which were separated by the composer i BelliM . Plain Style (Canto Spianato. attention 1. Handel. as the reader of course recollects Ine subduing agitation. Donna Anna. Its chief resources (Example B.— Barbiere. and delicacy of the every note of any length or duration which presents itself in the timbres . Different appoggiatura&$ mordenti in and trills. in short. (B) j£_ i a - sciu . ghe - ro per i - £ N— fr -*?- f — T^# dun que io f- te Dun-que io son. On On any note of arbitrary value placed based entirely on the shadings of passion. in order to give the voice greater freedom. shall conclude this subject melody. or followed must be swelled en every note placed under a pause. Allegro ajitato.) 3. finest delicate shadings of the forte- cantabile. When a melody is insignificant. he will thereby increase his A distinctive feature of this style is that the melody should be note without smtNitth and and give prominence and importance assists unbroken. harmony. the most elevated of all. Rosina s ±S <A) so. of accompanied recitative a redundance of ornament. &c. \ Armida. and Grisi. Soprano. * 2. subdivided \^o digra^a. and high notes softened down to the sweetest The |$j?td style may. followed by a rest. svegliati." " Ahi se tu dormi Capuletti e Montecchi. $|eh in ornament and coloring." Rossini. Nozze di Figaro." Tenor and Bass. and execute with delicacy. andante. Haydn. this style." " In si barbara sciagura. style. e Giulietta. as : descending passages breath. " Plaisirs du rang supreme. arpeggios.) § Canto di bravura passion. should be in shorfy ^11 musical accents mentioned under the head " Art of Phrasing. Malibran. feeling. Taraburini. Canto di maniera. " Idolo del mio cor. Ah di spirti turba immensa. according the mode of execution. sensi^ty. Bravura Singing (Canto di bravura. and be easy of execution. energy. its brilliancy to the rapidity with trills. Nicoltni." Matrimonio segreto. must be short. * The following pieces are good exemplifications: ! "II dolce canto del Dio d'amore. and therefore assumes different names. " Ombra adorata. Terzetta. Handel. artist f and elasticity of voice. Corradini. The above rules inspecting carto spianato are applicable. Puritani. k Garcia. agilita. Rossini." Romeo Lucia. Handel. form the prevailing feature. Tutta raccolta in me. Duet between Elizabeth and Norfolk." " Giovinetto cavalier. Crociato." I Norma. 3. to quick movements of rondot i passage. were remarkable " Assisa al pie d'un salice. Pellegrini. which repeated notes should be separated very slightly by the must be carefully economized." I tnoi frequenti palpiti. In this." Muette de Portici. Coppola. tamento . ( When slurs this style is termed canto di por- Uanto at portamento. e in ! Niobe. &c. . and on t|$ quantity of breath that has required. Pregiera. the bravura style takes the name It abounds in roulades. When * great melodic intervals prevail. Romeo e Giulietta. in all their pveiity. and the portions of phrases." Pucitta. Nell* Ezio. Aria. Duet. brilliant vocalization. Tenor. This style owes lated." Robert le Viable. Rossini. " Pria clie spunti in ciel l'aurora. were not endowed with any high degree of more showy ornaments— such as rapid roulades. Mesdames Sontag and Damoreau. — The passages should This style is of canto di slancio. bursts of the cpianatq an uses mezza di voce. Nina. Roman z a. Otello. maintain times called the canto di grazia. In the Song of Contrivance (Canto di maniera. gantabile adagio. ( Canto di sbalzo. "Idole de ma vie. All intervals are produced by supple movements of the throat. and warmth of Let us endavour to characterize each separately. Sonnambula. and present alternately. and not thrown out \9 Canto di by shocks of the chest. The necessity for gradation obliges every phrase to begin piano. and of the same force as the end of the of Phrasing. Examples : light and moderate in force. vivid colorings. and. and with the same degree of power." " Deh calma o ciel. Energetic Roulade. Misabetta of Rossini. character by borrowing from the florid style . — - " Bel raggio lusinghiero. To these general considerations $hat the study of vocalization wholly useless for those who devote them. Meyerbeer. The voice should never increase in . Aria." to excluded from pianissimo. Mesdames Catalani. the melody must be resumed in the same timbre." Soprano and Bass. jff far more easy who have overcome Jleavy voices cannot attain perfection in any They are all suggested by the necessity for harmony and The note ending the small figures. Velluti. as in the canto Gradation ought to be in voice. consonants heavily articulated. but not drawlea. and is hence some- tained notes and ^tended passages. " II braccio mio." " Di tanti palpiti. variations. " Amor possente nume. When of imagination. &c." " Dove sono. tempo rubato forte-piano. " Di capricci. details already slightly noticed in a former chapter may be on the " Art selves exclusively to largo-singing.. the difficulties of finish. is the canto di agilita with the addition of power and The artists who possess a full voice." Rode.— — —% — —— — — 7? In each Iflg case. are best adapted for bravura singing. Languir per une bella.f is Many but singers. It allows singers to display their brakes occur in a song. as before. a flood of passionate feeling with roulades.. though sufficiently supple for the execution of difficult passages. )f qfyenteenth and eig||^enth centuries. only to a Jajgo movement * The remaining |o This style was probably introduced by singers whose voices were deficient in power. variations." " All' idea di quel metallo. and whose organs. slurs. Persiani. all the effects of light and shade . into 0.) This fertility is The final note of periods should be a little longer. these artists adopted passages composed of small figures. which notes are articu- Donna del Lago . Convittod' Alessandro. % 3. —Otello. admirably We give the following as examples : Air.—Nina.added some quite incorrect. Zingarelli. Examples in the : Trio of the 1. Stabat. sus- The canto di maniere is suited to graceful sentiments." X Garcia. Fac me t vere. Tancredi. often a certain exten$ retain the gravity of the largo. &c. " Ah si questo di mia vita. power during graceful. and M. lfj^-#- i 5E ±=h +-*torn - =£ Di ba si - len ^=m zio wrr ge - ge - lar lar mi fa ah! Desdemona." Bass. Canto di slancio. — though they. and here lower appoggiaturas are frequently employed. Canto di Agilita. all and all exaggerations. Ah non credea mirarti. Semiramide. continually change their f divided by syllables. maestoso. Canto di bravura. express grace. in or^er to attract at once the attention of an audience. . the richest embellishments. musicians used to commence with a K^ezza di voce. In brilliant arpeg- &c . trills. Italiana in Algieri. to those this assertion is Largo-singing vocalization.—" Casta diva. Ross ini. Conten ta conten ta conten ta io mo-ri-ro. lieu of the gios. in Otello." " Per che non ho del vento. Florid Style (Canto Fiorito. Otello. for their excellence in this style. Soprano and Tenor. subdivided into -2 Canto diforza. I am aware. This style combines arpeggios. the lfjjgth of a swelled note depends npon that of the ensuit adapted to the allegro of lively airs." Sorgete. t Mesdames Pasta." Zaria. &c." preceding note. " La placida campagna." " Qui la voce sua soave. flexibility. si bel giorno. Cavatina." " Semiramide. Barbieredi Siviglia. Pellegrini. * Eleazor. resembling. an artist must be endowed with . . and even then.* vowel. exaggerated forms. grammatical intelligible to all readers. The colorings are rapid and bold. Guido and Ginevra. for not elegant singing. of the extreme difficulty of such an undertaking. % is The buffo agility caricato.. where the long and tremulous. which masters more competent may elaborate and complete. are two though quite consistent with each other. Lablache. gual me . . me say. strong accents.') they can be used with the greatest advantage. — the singer should be weak portion of the bar ending a phrase. The Neapo- should be comic. I have presented the sketch of a useful resources employed in this style. just as much as if there were not words to divide them. and reduce to a system.—even more which are called than in serious declamation. success. and to excel in dramatic singing. the timbres. m a . finales short. in other respects. 78 Characteristic or Popular Songs: numerous turns. beforehand. The diction should be noble and elevated work. by means of a steady stream of the breath. rare merits. A vocalist whose constitution is well-established. humour and witty tricks are expected from him. what I have attempted. The reader is once more reminded that the glottis should. but of a diametrically opposite character. by continued is exercise of his art. as it quickly exhausts the resources of the voice. while the organs of speech pronounce the consonants which commence or follow each t To well establish the voice. from the regular Having thus reached the desired all vocali- close of its an ungrateful and laborious task.) which commence The Spaniards strew the notes. that shall be relying for their effect on dramatic accent. I imperfections still cannot conceal from myself that leave much to be Declamatory Singing (Canto Declamato. their songs with The like stylo parlante is the very soul of the opera buffo. and highly necessary. are the In conclusion. and slurs. all others are of a light. or fall The last syllable of the verse . a litans also differ less cry of joy. and do this in a similar manner style. Examples of Final Cadences. To is analyze correctly. and exclude almost zation . flexible and voluptuous Where they who speaks are possessed by buffo singers (buffo cahtante. has lost the freshness and elasticity of his organ. and to whom would be useless. latest period of his talent. he on a high and undecided sound. last note is for in all styles. plished singers. but not to the exclusion of those melodic graces. but their songs. and I was well aware. are only suitable to parody. The pupil must transpose every example according to the compass of his voice. Buffo Style (Stylo Parlante.- -&- del m 1 che te. f (as in Italian) on the down and beat of a final bar but on the up Here. In this style. the voice assumes a melancholy expression character. though with but let hope of sighs. and with frequent syncopations. and the air. is The rapid unexpectedly displaying rhythmic accents. prolong the sounds.) Dramatic songs are generally monosyllabic. does not beat. the only one who should adopt it . P -&16. which give great piquancy by the preceding . Above all. appoggiaturas. trivial. and Ronconi. To boldness and power the actor must constantly prevail over the singer. for affected. . and neat articulation of words indispensable." of X Garcia. is the only singer This kind of song almost invariably terminated by throwing the voice little his songs. those methods most frequently adopted by accomfaint quantity. . . buffo caricati. It is monosyllabic. excepting in the secondary to the comedian Polo. "Quand renaitra. expressive and unexpected transitions. it ought to be reserved for the and at the same time to articulate distinctly. Syllabication. Tamburini. the operas of Gliick. in the Jewess. a well-regulated strength of voice. and who. Ah ! che mai ra che mai sa - - ra. i tri - 2z£ on - 3 far. 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EG £ Ah I /T\ S3 ^ 1 - si 3$e i j g^pag j It- B^B Sen tc5 i #t **»-# fe ^f riFfflf J4^J •* i ^-vr-^-p-ff~\^^ B^ za po-ter mo V- 1 - rir. - - pi tar. SfegB pH . J - diar OT^ mi a! ^PPK non o - fe diar - ritard. Per .-££ per-don. o tempo. mi al . .lor. non o - diar - mi al - lor.don nor s P3E± per . K-^fi» O - diar mial- lor. . £ Ah! * u_f 4 r ±£ c-^lrv-7-^": del per-don mio fal - lir si - gnor ^ per - don.don Ah! • r L r— - ^3} mio fal Iir — S Ksf - ±-N"HP- I del gnor per don. non o • diar - - mi al . m Ah! che &m$\ m gio £ Ta il p pal —# pi - tar.85: p^^^0^ff^^jd^m^xsrrnp ^^m] . ^^m-sm^i le or-ror.lor. j ^f^^g^H=J=^a=£p Per .lor.don ah! ah! ^ffi H fe£ 5E ¥ «H'iJ*"iij £ tsig - . n\ (i §*—w Ah — jjji gio che mmtrfftip&& T~r» ^ il /r\ V- pal - pi - tar.! r f v f -£fcfefa^s^pi tar dar. non o - diar - mi a! - lor. P^jjg II s # m~0 ha psiii^ non ^^ ha. a dHbi= -tS>- fbJfe^t men. . a to L. /T\ I f-K J&-. te <3*£>>r /TN ftem E - ter - no eil do - lor. H 9 ca - - - - - - - - - - r>i pi - ra il ca - - - - rvi pi - ra. B. *4 n cor P non ha • + non ha. ± E tres lie. . ^52-^» A. i3 77T ~.— 66 1 — .ffll. i BB -Y-p-M-f-* HMMn^FPPEg to A men. - ^^ ter - no ^| eil do - lor. ^-<s -j-fii #y^rot^i pian - rtt» ^# s ge - ra. i [V &— ca r- II m /TN gii*: £ gfffif pi - -g._• • ss Hi m 1 KIDDER'S MUSIC TYPOGRAPHY.J l g - Bi gio ja pian - - - - - ge Accomp. 5 ca - ra il - - - pi - ra. imii i i 1 | in. __£ ~ rail.