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V
SCHIRMER'S LIBRARY v
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OF MUSICAL CLASSICS Y
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Vol. 1090 Y
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BEHNKE-PEARCE
Thirty

Voice-Training Exercises

For Soprano

$1.00

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 Helen Callaghan
Brantford.'Ont.

University of Toronto

Presented to the

Faculty of Music Library

by

George A. Smale
SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

EMIL BEHNKE
AND
CHARLES W. PEARCE
Thirty

Voice-Training Exercises

IN SIX EDITIONS

SOPRANO - Library Vol. 1090

MEZZO-SOPRANO — Library Vol. 1091
ALTO — Library Vol. 1098
TENOR — Library Vol. 1093
BARITONE - Library Vol. 1094
BASS - Library Vol. 1095

G. SCHIRMER, INC.
New York
PrUl.d In IK. U. I. A.
 ONTO
FACUL. SJC
LIB:
 PREFACE.
In compliance with a general request, we have undertaken the task of writing six books of
Voice-Training Exercises on the principles advocated in "The Mechanism of the Human
Voice," and in " Voice, Song and Speech."
Each book contains those exercises only which are required for one particular class of

voice. This plan has been adopted: — ist, Because it facilitates the distinct treatment of the
various voices necessitated by differences in their respective mechanisms; — 2nd, Because the
studies can be consecutive, instead of being intermixed with others not suited for the singer's
voice, thereby materially reducing the price of the work.
Exercises on Intervals, with which Vocal Tutors generally commence, although valuable
for teaching to read Music, have little or nothing to do with Voice-training proper, and are
therefore omitted.
The table of contents will show the lines upon which these Exercises are written. No
mention is made of theory ; and students are referred for all explanatory matter to the two
works mentioned above.
In order to remove unnecessary obstacles from the singer's path, everything has been
written out at full length, thus saving the trouble of key-transposition.
Great pains have been taken to make the Exercises not only useful, but also melodious
and attractive. We trust that our labors may meet with the approval of our professional
brethren and of the general public.

EMIL BEHNKE.
CHARLES W PEARCE.
 —
HINTS ON THE PROPER USE
OF
VOICE-TRAINING EXERCISES.
In the Preface to our books of Voice-Training Exer-
cises,we refer our readers for all matters of theory to
the "Mechanism of the Human Voice" by Emil Behnke,
and " Voice, Song, and Speech," by Lennox Browne,
F.R.C.S., and Emil Behnke.
One or two of the exercises, however, being on a
new plan, students may, at first, not understand their
use. We therefore think it advisable to offer a few
explanatory hints, which we hope will be sufficient to
show the practical results to be obtained.
It is admitted by all authorities, without exception,
that the production of good vocal tone necessitates:
ist, a supple open throat 2nd, bringing the tone
; movement depends. Let the student sing the exer-
well forward in the mouth. It is precisely in these
two fundamental requirements that singers frequently
encounter the greatest difficulty. The throat stiffens
the root of the tongue does likewise the throat
; importance as the singing. We cannot shut a door
narrows, the tone is shut in, and all its beauty is de-
stroyed.
The Exercises on " Resonance " are specially de-
signed to overcome these difficulties; and, curious as
they may appear to those to whom they are new, they
will be found most useful, and will save much time
and trouble.
The first part of these Exercises consists in singing
repeatedly and rapidly the syllable koo. Let the
student try this before a mirror, and he will see that
the larynx moves quickly up and down in the throat,
and that the root of the tongue describes similar
movements. A stiff attitude is hereby prevented,
and the throat assumes a natural and open position.
The second part of the Resonance Exercises con-
sists in singing either sustained tones, or legato
phrases, on the vowels 00, oh, ah. The student sings
00, which is the most forward vowel, and then lets
that vowel gradually and imperceptibly change into oh,
taking care to keep the oh where he previously had
the 00; that is to say, perfectly in front of the mouth.
He then, in the same gradual and imperceptible
manner, changes the oh into ah, again taking care to
keep the ah where he previously had the oh that is — cises be gradually increased.
to say, perfectly in front of the mouth.
The great practical usefulness of these exercises on
koo, koo, koo, koo, koo, oo-oh-ah,
Is therefore evident, and upon giving them a fair trial
they will be found to bring out the voice, and to favor
the production of pure tone, in a very surprising
manner.
The exercises on "Attack" are intended to assist
in overcoming frequently encountered in
difficulties
the striking of tones. It must be here borne in mind,
that the glottis is open in breathing and closed in
tone-production. While the glottis is open there can
be no tone and it is, therefore, obvious, that the clos-
;
ing of the glottis is the situ qud non of voice-produc-
tion. Consequently, it must be of the greatest benefit
to the voice to strengthen the muscles upon which the
cises devised for this purpose softly and staccato, being
most careful to take a slight inspiration, before every
tone, for the breathing in these exercises is of as much
unless we first open it, and the same is true with
regard to the glottis. By taking an inspiration, we
open the glottis. By singing a tone, we shut it and ;
by alternately repeating these acts, we give an enor-
mous amount of exercise to the opening- and closing-
muscles of the glottis. Let the student further bear
in mind that in taking the inspiration, as well as in
striking the tones, he should depend entirely upon
the action of the diaphragm he will then soon
;
acquire a true "shock of the glottis," the importance
of which is acknowledged on every hand.
There is no necessity to say anything about the
Exercises on Flexibility, on Sustained Tones, Sic, &c;
but a word may not be out of place respecting the
Transitional Exercises. These are intended to lead
out of one Register into another. The vowels are
given in the same order in which they occur in the
vowel-scale of nature, and will materially assist the
student in changing Registers. The Exercises should
be sung softly and staccato, and a slight inspiration
should be taken before every tone. Let each indi-
vidual vowel-group be sung six times before attempt-
ing the succeeding one, and let the speed of the exer-
It will be found that,
working upon this plan, any forcing of the Registers
is absolutely impossible, and that an extension of the
compass of the voice will become a matter of natural
growth.
EMIL BEHNKE.
CHARLES W. PEARCE
 1

CONTENTS.
PART
(Lowbr Thin Reoistbr.)
No. Paoi
i. First Stbp: Resonance a
.. .. ..
a. }
y Second Stbp: Attack
411 1 1 1
4
e
5
5.
" " " 6
6. " " " 7
7. Third Step: Flexibility 8
8. " " " 9
9. Fourth Step: Sustained Tones (Messa divoce, and Portamento) 10
" " " " "
io. 12
11. Fifth Step: Chromatic Phrases 14

PART II.

(Lower Thin and Upper Thin Registers.)

13. Transition to Upper Thin Register 15
\y First Step: Resonance 16

14. " " " 17

15. Second Step: Flexibility 18
16. " " f*
19
17. Third Step: Sustained Tones (Messa divoce, and Portamento) 20
• Q If II If II I* »2

19. Fourth Step: Chromatic Phrases 24

PART III.

(Whole Compass of the Voice.)

20. Transition to Upper Thick and Small Registers 26

21. On the Major Scale 30
22. On the Minor Scale )\
iy On Scale-passages yi
24. Flexibility 34
25. Arpeggios 36
26. On the Chromatic Scale 38

PART IV.
(Embellishments.)

27. The Turn, or Gruppetto (Cadential) 40

28. The Turn, or Gruppetto (Sequential) 4 1

29. The Shake (Trill) 4?

jo. Other Ornaments and Graces (Appoggiatura; Acciaccatura, Single
and Double: and Mordente) A)
 «

Part I.

First step:_ Resonance.

N? 1.

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 Second step: Attack.
N? 3.

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8

N? 7. Third step:_Flexibility.
Xote Where no special directions are given, the Exercises should be sung on any or all of the different
vowels, at the discretion of the teacher, as also, for the sake of pronunciation, on the syllables do, rr, mi,

ic; or on such words as Be/i^ario, &a.

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10

Fourth step—Sustained Tones.

N? 9.

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Fifth Step:_Chromatie Phrases.
N9 11

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Part II.
Transitional Exercise.

N9 12

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16

First Step: _ Resonance.

N9 13.

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Third Step:-Sustained Tones.

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 ;

S ch rme i R'S Library

of Musical Classics
Y
Y SONG COLLECTIONS
Y
Y The Library Volume Number is given in brackets: [1363)

V Album of Twenty-Five Favorite Songs [i363] »i.oo

Y ALBUM OF SACRED SONGS. A Collection of 22 Favorite Songs suitable for use In the churches.
High [1384]; Low [1385] 100

Y Anthology of Italian Song of the 17th and 18th Centuries. 59 Songs, i. e.

'
Y Book I [290]; Book II [291] ea. 2.00

Y Beethoven, L. van
AN DIE FERNE GELIEBTE (To the Distant Beloved) A cycle of 6 songs. Op. 98 g. e. High [616]; Low [617] .60
Y SIX SONGS, g. e. High [618]; Low [619] 60
Y
Brahms, J.
Y FIFTY SELECTED SONGS, g. e. Low [1581]; High [1582] 1.50

Y Chopin, F.
V SEVENTEEN POLISH SONGS. Op. 74. g. e. High [249]; Low [250] 75

Y FlELITZ, A. VON
Y ELILAND. A cycle of 10 songs. Op. 9. g. e. Medium [694]; High [695] 75

Y Foster, S. C.
Y ALBUM OF SONGS. 20 Favorite Compositions. Collected and edited by H. V. Milligan [1439] 1.00

Y Franz, R.
VOCAL ALBUM. 62 Songs, g. e. High [15721; Low [1573] ISO
X
Grieg, E.
SELECTED SONGS, Low 1-25
'.

g. e. High [1592]; [1593]

Liszt, F.
TWELVE SONGS, g. or f. & e. Low [1613]; High [1614] 1.00
J
Mendelssohn, F.
A SIXTEEN SELECTED SONGS, g. e. Low 11644]; High [1645] i 75

A SIXTEEN TWO-PART SONGS g. e . [377] 1-00

A Schubert, F.
A FIRST VOCAL ALBUM (3 Cycles, and 24 Favorite Songs), g. e. High [342]; Low [343] .... ; 3.00

A THE MAID0F THE MILL (Die sch6ne Mullerin) A cycle of 20 songs, g. e. High [344]; Low [345] 1.00

WINTER-JOURNEY (Die Winterreise) A cycle of 24 songs, g. e. High (3461; Low [347] 1.00
A TWENTY-FOUR FAVORITE SONGS, g. e. High [350]; Low [351] 1.25

SECOND VOCAL ALBUM. 82 Songs, g. e. [352] 3.00

t Schumann, R.
VOCAL ALBUM. 55 Songs. » e. High [1201; Low [121] 2.00

k WOMAN'S LIFE AND LOVE (Frauenliebe und -leben) A cycle of 8 songs, g. e. High [1356]; Low [13571 60

Tchaikovsky, P. I.

TWELVE SONGS, Low High [1621] 60

t g. e. [1620];

A Wagner, R.
Low 7S
FIVE SONGS, g. e. [1181]; High [1233]

(Languages of texts are shown in small letters e. - English ; f - French g. - German

: . ;

i.- Italian. Where there is no other indication, texts are in English only.)

All Schirmer Library volumes may be obtained in cloth bindings. Prices will be quoted on request.
I
{
rp
G. SCHIRMER, INC. NEW YORK
J Wl'
A-ioos
 Sch rme i R's Library
of Musical Classics
VOCAL STUDIES AND EXERCISES
SERIES ONE

The Library Volume Number is given in brackets: (453)

Y CONCONE, J.— Continued
ABT, F.
Y Op. 474. Practical Singing Tutor. For all Op. 11. 30 Daily Exercises. H [294]; L [555].. .75
Y Voices (Spicker). Op. 12. 15 Vocalises. Finishing Studies.

Y For Soprano or Tenor. Complete [453] 1.75 H [275]; M or L [276] 1.00

Part I: Production of Tone. Intervals Op. 17. 40 Lessons. Alto [247]; Bass or
Y [454] .60 Bar. [248] 1.00
Y Part II: Exercises for the Cultivation of
Fluency [455] 60 The School of Sight-Singing. Practical

Y Part III: 20 Solfeggi [456] 60 Method for Young Beginners (.Liitgen) [2451. • 1-25

Part IV: 12 Exercises on Vocalization

Y [457]. .60 DANNHAUSER, A. L.
Y For Mezzo-Soprano or Alto. Complete [458] 1.75 .
Solfege des Solfeges.
Bk. I [1289]; Bk. II [1290]; Bk. Ill [1291]. ea. .75
Part Production of Tone. Intervals
Y I:
[459] .60 The same. sp. Bk. I [1085] 75
Y Part II: Exercises for the Cultivation of
60 ESLAVA, D. H.
Fluency [460]
t Part III : 20 Solfeggi [461] '.
. . .60 Metodo de Solfeo (Carrillo). sp. Complete
Y Part IV: 12 Exercises on Vocalization
[462] .60
[1366] 1.50

Y For Baritone or Bass. Complete [463] 1.75 The same. Bk. I [1376]; Bk. II [1377];
Y Part I: Production of Tone. Intervals
[464] .60
Bk. Ill [1378]; Bk. IV [1379] .ea. .50

Y Part II: Exercises for the Cultivation of LAMPERTI, F.

Fluency [465] 60 The Art of Singing [1587] 75
Part III: Solfeggi and Exercises on Vocali-
zation [466] 60 Daily Exercises in Singing [570] 75
t Vocal Studies in Bravura (Liebling) [1633] 75
BEHNKE, E, PEARCE, C. & W.
30 Voice-Training Exercises.
For Soprano [1090] 1.00
LAMPERTI, G. B.
For Mezzo-Soprano [1091] 1.00 30 Preparatory Vocalises. Sop. [568] 1.25
For Alto [1092] 1.00 29 Preparatory Vocalises. Alto [569] 1.25
For Tenor [1093] 1 00
For Baritone [1094]
A For Bass [1095]
1.00
1.00
LOTGEN, B.
A BONA, P.
Vocalises (Spicker).
Bk. I: 20 Daily Exercises. H [654]; M [655];
A Rhythmical Articulation. A Complete L [656] 75
A Method [1170] .50 Bk. II: 20 Opera" ic Vocalises. M [930];
L[931] 75
A BONOLDI, F.
A Exercises in Vocalization. MARCHESI, M. C.
Sop. [117]; M.-Sop. [118]; Alto 119]. .60 Op. 1. Elementary Progressive Exercises
A BORDOGNI, M. [384] 1.00
A 25 Easy Vocalises in Progressive Order [82] . .75 Op. 2. 24 Vocalises for Soprano or Mezzo-
36 Vocalises in Modern Style (Spicker) Soprano 1.00
A For Soprano [432] 1.50
[391]

24 Vocalises for Soprano [5^7] 1.50

Op.
A For Mezzo-Soprano or Baritone [433] 1.50
3.

The Art of Singing. Bk. I: Ele-

Op. 21.
t CONCONE, J. mentary and Graduated Exercises [793]; Bk. II:
I Op. 9. 50 Lessons. H [1468]; M [242]; L [243] 1.00
30 Vocalises for Mezzo-Soprano [794] ea. 1.00

A Op. 10. 25 Lessons. M [244]; L[246] 1.00 Op. 32. 30 Vocalises ^Liebling) H or M [126]. . 1.00

A (Languages of texts are shown in small letters:

only. Other abbreviations used: H=High; M
.

=
= English;
Medium; L=Low;
t.= Italian; sp. = Spanish. Where there is no other indication, texts are in English
Bar. = Baritone; M.-Sop. = Mez*o- Soprano; Sop.* Soprano; Ten.= Tenor.)

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A Prices Subject to Change Without Notice

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