A COMPLETE

METHOD OF
SINGING i

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G-SCHIRMER- NEW* YORK-
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On,-
 E. DELLE SEDIE

A COMPLETE

METHOD OF SINGING
A THEORETICAL AND PRACTICAL TREATISE
ON THE ART OF SINGING

Pr., net 33.00

(In U. S. A.)

1 71372
G. SCHIRMER, INC., NEW YORK
Copyright, 1894, by G. Schirmer, Inc.
Copyright renewal assigned, 1923, to G. Schirmer, Inc.

, .
I •. * •
 PREFACE.

My preceding works, entitled " Esthethics of the Art of Singing and of the Melodrama,"

and "Vocal Art/' filled no less than seven volumes. ! now condense them to a single one, in

order to make more readily accessible to the pupil at least a summary of all that 1 consider

requisite for his complete musical and artistic education. And as he may perhaps desire to

have some subjects presented in fuller detail in the course of his studies, he will find in this

volume frequent references to my previous works ; the aim and scope of which, as well as

the actual conditions of the art of singing, I have stated in various prefaces to the aforesaid

works ; so I think it superfluous to speak again about them here. 1 will merely say that

continued experience of my principles, as applied in teaching, both by myself and by other

professors, has confirmed my opinion of their efficacy. I therefore confidently offer the public

this new edition ;

hoping it will be favorably received by all who occupy themselves with

the most beautiful of the fine arts.

 FIRST PART.
FIRST LESSON.

On the Mechanism of the Voice.

The organs which produce the human voice act with an anatomo-physiological analysis of the vocal
in a special manner. To facilitate their movements, organs, assisted by the anatomical plates.
it is necessary to know their structure and natural The notes accompanying them are those which
motions. For this reason we commence our lessons Dr. Mandl has inserted in my treatise L 'Art Lyrique.

Fig. I.

The head and the thorax bisected.

(i Vocal cords
A Larynx
y i
I
c **•
2 Epiglottis
•
1

B-B' Pharynx
C QEsophagus
'

} Lips
4 Dental arches
5 Tongue
D Oral cavity 6 Palatine arch
7 Soft palate
8 Uvula
9 Tonsils
E Nasal cavities H Lungs
F Trachea / Diaphragm
tf G Bronchial tubes.
ar
Fig. II

The larynx viewed from above (open Glottis).

i Vocal cords -gl. Glottis

~ar Arytenoid cartilages
2 Epiglottis -/ False vocal cords.
 THE LARYNX. " The oral cavity has the shape of an oval box.
It has an opening in front (the mouth) an inner wall
"The larynx (A, Fig. I) is situated in the centre
;

of the fore part of the neck

formed by the lips (3), and the dental arches (4) two
shape is almost that
; its
;

lateral walls formed by these arches and the cheeks;

of a triangular box open above and below. The pro- x

tuberance caused by it in the throat of man is known

the lower side formed mostly by the tongue (5) and
is

the upper side by the palatine arch (6) lastly, a back

as Adam's apple. This permanent opening of the ;

wall formed by the veil of the palate (7), which is

larynx is supported by two walls consisting of strong
The extremely mobile, and from the middle of which
cartilages. inner part is lined with a mucous
membrane and depends the uvula (8), while at the base of this latter,
presents two horizontal folds, the
commonly on each side, are the tonsils (9).
vocal lips (i), called vocal cords, whose
" The opening bounded by the veil of the palate
movements are opposed, and whose tension, length
and thickness produce the different tones.
and the root of the tongue, establishing communica-
tion between the oral cavity and pharynx, is called
"The epiglottis (2) is a lid fixed at the upper
the isthmus of the throat.
opening of the larynx ; by lowering itself during the
" The nasal cavities (E) consist of three channels,
action of swallowing, it prevents food from entering
the cavity of the larynx."
the openings of which are called nostrils. There are
Certain authors affirm that this organ exercises
the external and the internal nostrils; the latter com-
municate with the pharynx. These channels also
an influence on the resonance of the vocal tone, giv-
ing more fullness chiefly to the grave tones, and thus
communicate within the nose with other cavities
situated among the bones of the head. The larynx
acting as a resonance-chamber of the larynx.
"The space between the vocal cords through communicates below directly with the trachea (F),
which the air passes is called the glottis (Fig. II, gl.). which divides into the bronchial tubes (G), the final
The vocal cords are brought together, parted, dis- ramifications of which constitute the spongy tissue of

tended or relaxed by the arytenoid cartilages (Fig. II,

the lungs (H). These organs are placed in the bony
encasement of the thorax, composed of the ribs, the
ar.)\ over the vocal cords there are two mucous
collar-bone, the intercostal muscles, and the vertebral
folds called false vocal cords (/).
" The pharynx (B-B ) is a cavity situated behind
1 column.

the mouth its ordinary shape is that of a flattened fun-

"They rest on the diaphragm (Fig. I, lett. I),
;

the great horizontal muscle which separates the case

nel with the base turned upward, while the narrower
of the thorax from the intestines."
end opens into the larynx and the oesophagus (C).
Its dimensions are subject to great variations, due Note. We insist on the necessity ot attentively studying at

partly to age, sex and general development, and least the 1st, ad, }d, 4th, 5th and 6th lessons of this book while
partly to the extreme mobility of the larynx and the studying the lessons in Solfeggio contained in Book I ; for the pupil

soft parts of the oral cavity (D). will then better be able to execute these practical studies in con-
"Three cavities communicate with the pharynx: formity with the best phonic conditions for the easy and correct
The larynx, the oral cavity and the nasal cavities. production of vocal tones.

SECOND LESSON.

Vocal Tone and Respiration.

The voice is the result of vibrations of the vocal (2) By the shape given to the resonance-cham-
organs transmitted to the air. The ear perceives in ber.
tones three essential qualities : Pitch (acuteness or The resonance-chamber of the voice is composed
gravity), intensity (strength or weakness), and the of the pharynx and the neighboring cavities (the oral
timbre. cavity). On this subject Tyndall (') expresses himself
'Pitchdetermined by the number of vibrations
is thus:
in a given time. For the acute tones the number is " When the air is forced from the lungs through
greater than for the grave. the which separates the vocal cords, they are
slit

The amplitude of the vibrations, likewise calcu- thrown into vibration; by varying their tension, the
lated for a definite time, determines the intensity of rate of vibration is varied, and the sound changed in
the tone. pitch. The vibrations of the vocal cords are practically
The shape of the sonorous body, or the way in unaffected by the resonance of the mouth, though we
which it is set in oscillation, determines the timbre of shall afterwards learn that this resonance, by reinforc-
the tone but for the voice, which acts like the wind-
; ing one or the other of the tones of the vocal cords,
instruments provided with reed-pipes, the timbre is influences in a striking manner the clang-tint (timbre)
produced : of the voice."
(1) By the pressure of air against the reed (vocal
cords). (1) Sound. London: Longmans & Co.
 The generative element of vocal sound being thus fatigue the respiratory apparatus, and greatly impair
duly determined, we may assert that if the air, in as- the sonority, flexibility, and mellowness of the voice.
cending, causes the tone at the upper end of the To
emit the vocal tone spontaneously, the air
larynx, where the vocal cords are situated, this same must enter the lungs without any shock, and in such
tone will gather resonance in the oral cavity situated a way as to effect a complete average inspiration, so
above the larynx. Thus it is evident that the voice as to avoid an excessive dilation of the thorax.
follows an ascending course both for the grave and First of all, this ungraceful movement causes a
the acute tones ; consequently all pressure of air tow- useless effort to the respiratory organs, provokes the
ards the trachea (F, Fig. I) would only be injurious to escape of uncontrolled and diminishes the resist-
air,

the timbre of the voice, destroying and its flexibility ance of the expiration, which must always be slow
rendering the inflexions indispensable to sentiment and sustained. The inspiration ought to be renewed
and to musical expression almost impossible. before expiration is altogether accomplished. Thus
Thus, breathing constitutes the principal part in the jerky movements of the inspiration, which do not
the correct production of the vocal tones. give the lungs time to absorb the ambient be air, will
Respiration is effected by two different move- avoided. To draw the air into the lungs, a sudden
ments; the first, called inspiration, draws the atmos- and vigorous inspiration is not necessary it suffices ;

pheric air into the lungs. to raise the sternum, and this movement, aided by
This movement (depression) is produced by the the contraction or lowering of the diaphragm (i, Fig.
contraction of the diaphragm and the dilation of the I), permits the lungs to expand and to absorb a quan-

thorax ; that of expiration by the contraction of the tity of air, as a moist sponge absorbs the liquid to

chest or thorax and the relaxation of the diaphragm. which it is approached. Too forcible inspiration
The two movements follow each other continually causes an immediate expiration this causes a pant- ;

without interruption. ing respiration.

Expiration provides the larynx with the current
of air necessary to give vibration to the vocal tone, Note. To accustom the chest to retain the air, in order to
facilitate slow expiration, the following exercise will prove very use-
which finds its resonance-chamber in the oral cavity
ful. At first, let your respiration be of average fullness, conforming
and the pharynx. to what we said above, and as soon as the inspiration is effected,
To obtain this natural result, In its full extent and count in a low voice from i, 2, 3, up to the number you can easily

flexibility, we must avoid discharging from the mouth, attain without tension and complete exhaustion of the breath. Be
careful not to let any air escape between the articulation of the num-
by a violent expiration, the air set in vibration we ;

bers. After a short rest repeat this experiment several times in suc-
must allow time for the vibrations to propagate them-
cession,and the whole several times every day. This method ac-
selves in the resonance-chamber, so that each tone customs you to control your respiration, and your chest to moderate
may be transmitted far, in all its intensity, by the air the outflow of air, according to the exigencies of the singing voice.
which surrounds us; the mouth then acts as a speak- When you can easily execute this first exercise, try to pronounce
short phrases, being careful not to let any escape between
ing-trumpet. A tone should be propelled from the still air

syllables. This exercise is to be first executed on any one of the

resonance-chamber only by the regular and successive
notes most easily sung in the medium compass; after which, change
vibrations, i.e., by continuous sound; any movement the tone either higher or lower without exceeding the limits of the
contrary to this acoustic principle will unnecessarily medium compass.

THIRD LESSON.

Intensity of the Vocal Tone.

The intensity of the vocal tone may and should created for the special purpose of producing musical
depend on the amplitude of the vowel, that is, on the tones."
resonance of the tone in the oral cavity and the phar- Thus the intensity of the voice depends on the
ynx, and on the force of the impulsion given to the vigor with which the vocal cords make a tone vibrate,
vibrations of the tone. and consequently on the quantity of matter set in mo-
Dr. Fournie(i), in his v/ork Physiology of the voice tion.
and of the spoken word, comparing the vocal cords Pursuing the above comparison we may add, so as
to the lips, expresses himself thus : "The lips are to render this theory more intelligible, that the lips
formed of muscles which, while contracting, narrow while articulating the explosive consonants (labials),

the orifice of the mouth, giving to its edges a variable M, B, P, contract in such a manner as to effect the
density according to the degree of contraction compression of a quantity of air, the intensity of which
The vocal cords greatly resemble the lips ; and if the is more or less great according to the power of com-
tones produced by the former are evidently the pression exercised by the lips. By this action we
more harmonious, this is because these cords were produce three explosive motions in three distinct
grades of energy the contracting lips come in con-
;

(1) Thfsiologie de la voix ttdtla parole. Parif : Adrien Dela- tact and prevent the escape of air but this motion is ;

haye, Libraire-£drteur. executed with a weaker tension for the syllable ME

 "

than for BE, and when we pronounce the syllable PE, before the vocal tone has time to propagate its vibra-
the force of contraction is still more vigorous. These tions therein. For if the vocal tone vibrates in unison
three motions are identically the same, but they pro- with the air filling the mouth, which air the force of
duce three perfectly distinct articulations, by the dif- expiration has expelled, the new air, notwithstanding
ferent force of the pressure of the lips. This force its velocity, cannot come into vibration in the same
alters the physical conditions of the air in the mouth. conditions as that driven out; consequently, the voice
The more or less strong contraction of the vocal will have less intensity and carrying-power. It is a
cords must evidently determine the intensity of the mistake to think that, for singing, a great deal of
tone within limits corresponding to the degree of air- breath must be used; it suffices to articulate clearly
pressure. and with precision the tones which the " lips of the
So, if we consider the vocal instrument from this glottis" are required to produce.
both natural and logical point of view, we shall avoid Dr. Mandl, in the 2nd chapter of his scientific
all violent efforts hazardous to the voice, and shall work Hygiene de la voix, has admirably explained, by
likewise attain all the force and intensity of which it the aid of a laryngoscope, the production of grave and
is capable. acute tones. He writes: "When we examine the
To obtain this result, we have only to use with- glottis by the aid of the laryngoscope, during the
out exaggeration the vocal cords in the same sense as production of grave tones in the chest-register of the
the lips when articulating the syllable PE. For the voice (which we call lower register), we see the glottis
me^o-forte, in which the mean intensity requires less open to its full extent and the vocal cords vibrate in all

vigorous contraction of the vocal cords, their move- their length. In the production of acute tones form-
ment may be compared to the motion of the lips in ing the head-register (which we call upper register),
articulating the syllable BE. For the piano or weak only the fore part of the vocal lips is set in vibration.

tone, the syllable ME may serve as illustration. The constriction is much less strong for low tones
It has been demonstrated that the air around us than in the high tones of the chest-register; this ex-
sustains our equilibrium; consequently the mouth is plains the relaxation which we feel while passing from
always full of it, even when no sound is emitted. the lower to the higher register.
This air is therefore the first to transmit the vocal If the air passes through the glottis too forcibly,
tone, the production of which (independent of its pro- the tone will suffer an alteration in timbre and in-
longation, resulting from continued vibrations) must tonation ; and for the high notes, particularly, there is

necessarily be instantaneous. Hence a violent expir- a risk of paralyzing the vibrating motion of the vocal
ation from the chest drives out the air in the mouth cords; i.e., there will be absence of sound.

FOURTH LESSON.

Analysis of the Vocal Organs.

The vocal tone is formed by the articulated rect. We know that when we set a tuning-fork in
vowel. vibration, in order to hear its sound we must carry it

Physicists have tried to explain the phenomena to the ear. Mr. Koenig sets in vibration the first tun-
that produce the vowel. eminent men, Among these ing-fork, carries it to his mouth, and slowly pro-
Helmholtz has established a remarkable theory on the nounces the five vowels, commencing with A\ the
timbres, and developed his experiments so far as to fork remains mute up to the vowel O inclusive but ;

succeed in manufacturing an organ pronouncing the as U pronounced, the vibrations of the fork
soon as is

vowels A, E, I, O, U. ('). are reinforced by the sympathetic vibration of the air

In spite of this important discovery, the problem contained in the mouth, giving an immediate and
remained unsolved; every physicist examined these very clear sound to the musical tone produced by its
timbres from the standpoint of his own language. own vibrations. This experiment is repeated with
But on April 25, 1870, Mr. Koenig presented to the the other tuning-forks, and each answers to the cor-
Academy of France the result of his experiments, with responding vowel.
the aid of five new tuning-forks exactly an octave Dr. G. B. Bolza (in his Vocabularis Genetico-
apart in pitch. The vowel U corresponds to the note Etimologico of the Italian language, published in Vien-
B-flat (great Bp on the pianoforte) O, to (small) b- ; na in 1852), classed the vowels according to their
flat; A, to #-flat; E, to £*-flat; and I, to £Mlat. Thus acuteness in the same order as we find them in the
he determined, in a positive and uniform manner, the tuning-forks of Mr. Koenig.
tones corresponding to the five timbres or vowels. We
thought it useful to dwell on this demonstra-
This is how he proved that his observation was cor- tion, because it contains a lesson of great importance
and benefit Mr. Koenig's tuning-
for the singer. If

must be pronounced as forks, when brought to the mouth, find the reinforc-
(1) The vowels a, e, i, o, u, in Italian;

viz: ah, eh, ee, oh, oo. ing body sympathetic with the vowel pronounced,
and to which they were attuned, it is evident that the As each tone of the scale follows a phonetic order,
air in mouth vibrates in unison with the exterior
the varying according to pitch, we may assert that there
motor. Thus the modifications made in the oral cav- are as many intermediary vowels as tones, considered
ity by the constriction of the lips, must exercise a re- with respect to their particular tonality.
markable influence on the tone of the voice. The If we execute a scale on the vowel A, for in-
mouth may be considered as the adjustable resonance- stance, and observe the successive phonetic order, we
chamber of the voice. notice that the grave tones during their vibration give
We have seen that great B-flatanswers to the atimbre which approaches this same vowel A, some-
vowel U; but, as we know, in female and tenor voices what broad. This A gradually grows sombre in ris-
this tone does not exist.
ing towards the acute, up to F ; at
Having afterwards found that / corresponds to =pEi=!;
b\, it follows that we must set aside this vowel, be-
cause the corresponding tone does not belong to the the vowel becomes a little clearer, while
human voice.
3=q
The voice
typical vowels, O,
therefore usually has at
A, and E; the first belongs to the
its disposal three on A
i
sound approaching open O.
this vowel again becomes

This vowel disappears

close, its

grave tones, the second to the medium, and the third

to the high tones;
pend on these leading vowels.
all intermediate modifications de-

The conclusions arrived at through Mr. Koenig's

at B and C

mences to
i
:

approach the
with

French
D
m diphthong
it com-

EU,
tuning-forks were a powerful incentive to further
study of the motions of the lips, by means of which and on E Ei
p
— " the timbre of this diphthong
:{fo—
the timbres (vowels) may be variously shaded and
transformed; for
ing the
we must not forget that by modify-
timbres we can express human passions. We
shall again call attention to this subject when studying
is established.

serving the
The note F

preceding
in
vowel, tends
— I .

to
while pre-

approach
the effects of the crescendo and decrescendo. the close French E. toward the
As the voice rises
The principle of the transformation of the leading acute, the higher tones develop this last vowel more
vowels by the configuration given to the mouth and more. For all these shades we took the vowel
through the lips, was established some time ago by A as our point of departure ; but when we repeat the
eminent physiologists, and for the study of the shades exercise with another vowel we meet with them
of the voice we may profit by their scientific obser- similarly.
vations. For the present we will
simply observe that These vowel-shadings being the result of modi-
the two vowels U nnd / are almost out of the vocal fications made in the oral cavity (which is the mobile
diapason nevertheless, they must be pronounced in
; resonance-chamber of the voice) by means of the lips,
speech. it is clear that they undergo slight changes according

These vowels are pronounced in a special way, to the shape of the walls of the mouth.
i. e., they blend naturally with other vowels near The types which we have mentioned, may never-
which they lie (in the series), and conformably to the theless be considered as the main basis of the modifi-
tone of the voice. cations we speak of.

FIFTH LESSON.

Movements of the Larynx and Soft Palate.

Having examined the vocal tone (the vowel) of high notes, and its raising facilitates that of the
with regard to its sympathetic resonance in the grave ones.
mouth, we shall see under what homologous condi- Now, should we examine with a laryngoscope
tions it may be emitted with regard to the move- the act of emitting tone, an opinion opposite to mine
ments of the larynx. This organ, with relation to may be formed. To see the vocal cords with this
the singing voice, has two motions which ought to ingenious and useful apparatus, we must protrude
be taken into account, because of their influence on the tongue in order to place near the soft palate a
the timbres of the vocal tone. The first, called gen- small mirror, so as to reflect the larynx. We have
eral motion, consists in raising the larynx; the sec- noticed that the tongue, when protruded, causes the
ond, called particular motion, consists in modifying rising of the larynx ; thus this motion will give it an
the state of the vocal cords by the constriction of the invariably raised position.
muscles which adjust the aperture of the glottis. When the larynx is so raised we may emit high
Experience proves that, with regard to the tim- tones, but thin and shrill. It is true that we are dis-
bre, the lowering of the larynx facilitates the emission posed to raise it when we produce high tones, but if
we closely observe their timbre, we shall perceive that the tongue, and above, by the soft palate and uvula
they are thin, and excessively sharp and shrill. (Fig. I, At the sides are the two pillars of
D, 7, 8).
To sing correctly, it is necessary to give the voice the soft palate. All these parts are extremely mobile,
a flexible, homogeneous and round tone. and under the influence of muscular action can either
Therefore, the rising of the larynx in high notes expand or contract the vocal tube; these motions act
cannot be favorable to this production of vocal tones. progressively according as the tones fall or rise in
I shall not dwell too long on a subject so often dis- pitch.
puted, but will only point out the practical applica- The soft palate plays a considerable part in these
tion of my theory. movements, and, according to whether it is lowered
As said above, the tongue when protruded causes or raised, the sonorous column may pass through the
the larynx to rise; if you execute this movement nasal cavities or through the mouth.
while singing a high tone, you will acknowledge When the soft palate approaches is lowered, it

—
what we have already stated namely, that the tone the root of the tongue, and so narrows the sonorous
produced has a thin, sharp, shrill timbre. During its tube; the tone then resounds both in the nasal and
continuation retract the tongue little by little, and the oral cavities. If, on the contrary, the soft palate rises,
lowering of the larynx being effected under just the the bucco-nasal orifice will be almost closed, and the
same conditions as that of the tongue, you will hear sound will escape from the mouth. This vocal tube
a progressive change in the timbre, which will gradu- does not contribute directly to the production of
allygrow soft, flexible and round. sound, but favors its formation by the dimensions it

The same experiment, repeated without gradual is susceptible of assuming.

preparation, will produce two distinct vowels, the — The following illustrative plate will serve as a
first one sharp and thin, the second full and soft. practical study for the movements of the soft palate.

Fl FA
c V|*va#$A

1. Soft palate with the uvula.

2. Pillars of the soft palate.

3. Tongue.
4. Pharynx.

The application of this theory in a reverse sense, above plate there are only the three main
In the
to the grave tones, will yield similar results; the tone motions; on these depend all the gradations corre-
emitted when the larynx is lowered will have a thick sponding to the tones of the scale, and also to the
and veiled timbre, while the same tone emitted with movements of the larynx.
the larynx raised will be resonant, broad and flexible. Fig. I presents the type of the grave tone. The
According to this experiment, we conclude that soft palate lowered with the uvula (1) approaches the
the singer must lower the larynx for high tones, and root of the tongue ()). The pillars of the soft palate
raise it for grave ones. (Fig. Ill, 2, 2) are lowered with the uvula and with-
These motions of the larynx, as shown by us, drawn from the middle, so that the pharynx (Fig.
cause analogous movements of the soft palate, and Ill, 4) is almost hidden.
both contribute largely to an easy and flexible emis- This motion contracts the sonorous tube, and the
sion of the vocal tone. tone resounds in the nasal cavities and in the pha-
We have seen that the pharynx (Fig. I, B) con- ryngo-buccal cavities, i. e., through the entire length
stitutes the back part of the isthmus of the throat, the of the pharynx.
front part of which is formed, below, by the root of Between the position indicated in Figs. I and II,
 8

representing the type of the medium tones of the The following plate shows the effect of this
vocal scale, a series of ascending movements of the position.
soft palate takes place in direct ratio to the height of
the tones. The contraction of the isthmus of the
throat being considerably less, the vocal tone finds its

spontaneous resonance in the middle upper part of

the pharynx, and also in the mouth.
Fig. Ill presents the type of the high tone. Dr.
Fournie says: "The with the voice,
soft palate rises
and while the bucco-nasal orifice closes gradually, it
prevents more and more the resounding of the voice
in the nasal cavities. In the highest notes of the
vocal scale the closing of this orifice is complete; and
then we can see the pillars of the soft palate approach-
ing each other towards the middle, and forming a real
wall in front of the pharyngeal wall."
Fig. Ill presents very distinctly the position de-
scribed by Dr. Fournie.
By this configuration of the sonorous tube, the
voice resounds in the upper part of the pharynx and
in the mouth up to the frontal sinus. These natural
motions of the voice may be disturbed, delayed, or
even neutralized by a too strong expiration, which i. Lower jaw.
may cause the tongue to rise. 2. Tongue.
The with a movement contrary
soft palate rises
3. Soft palate.
to that of the larynx, following the same regular order 4. Isthmus of the throat.
of gradations; i. e., it rises as the tone rises, while 5. Larynx.
the larynx, to give the voice a homogeneous and easy 6. Pharynx.
tone, should descend by like gradations.
7. Nostrils.
Before finishing this explanation it is well to
warn the pupil against lowering the under jaw too Such an abnormal position of the mouth pro-
much, particularly for high tones. duces an imperfect and disagreeable timbre, the effects
The excessive lowering of the jaw considerably of which we have noticed above.
contracts the isthmus of the throat, and consequently These faults are avoided when the jaws are mod-
the amplitude of the tonal vibrations. erately opened.

SIXTH LESSON.

The Registers of the Voice and the Attack of Tones.

The analysis of the vocal organ has shown that while specific, is homogeneous as compared to another
the voice takes on a special timbre corresponding to tone of different pitch.
its both with reference to the tones composing
pitch, The earlier terms, chest-register, medium register,
the vocal scale, and to what concerns the blending of and head-register, may have had reason for existing
the tonal vowel with the vowel of the spoken word. so long as anatomical studies of the vocal organs had
By strictly observing the theory of vocal tones, not admitted of establishing the correct physiology
we shall readily obtain a homogeneous emission of of the voice.
the voice in all its compass. From have
the observations already made, we
This result causes us to inquire what the term noticed that the grave tones find their resonance in
registersof the voice means for, having learned that
: the whole length of the pharynx; and that by almost
the " ascending current of air passing the glottis, its completely closing the oral passage, by raising the
force movements executed by the
of pressure, the tongue and lowering the soft palate, the voice passes
larynx, and the shapes assumed by the pharyngo- in great part through the nasal cavities ; we now
add
buccal cavity, produce a shock which gives rise to that the voice when resounding in the whole pharynx
different timbres of the voice," one may ask: What finds a kind of sympathetic vibration in the higher
is the sense of the expression " registers," as applied part of the thorax.
to certain series of tones classed according to their This (very natural) phenomenon of resonance
various pitch ? was in all probability the occasion, that the term
Thanks to our preceding studies on the voice, we chest-tones was applied to low notes.
have seen that every tone may assume a timbre which, But if we merely reflect, that the vocal tone
comes from the vocal cords, and that the
being empty, cannot be considered as a resonance-
chamber, the inaccuracy of this term will be apparent.
The resonance of tones belonging to the medium
of the voice is produced, as already noticed, in the
middle high part of the pharynx, and in the corre-
sponding part of the mouth these tones buzz (so to
; chest-tones, although they belonged to the series of
speak) in the throat. This fact explains sufficiently
why the term medium register, or throat-tones, was
given to this series.
Finally, by almost completely raising the soft
palate, and drawing back the uvula, the passage of
the vocal tones through the nasal cavities is entirely
cut off, and they resound in the fore part of the
mouth, and in the frontal sinus; these tones being of
high pitch, find a resonance in the forehead, hence
the term head-tones.
Having thus explained the origin of these three
chest, not By continued practice of this fatiguing exercise
singers often succeeded in blending these three gra-
dations of the voice, and in rendering the tones of
the entire compass a little more homogeneous. Thus
a sort of mixed timbre was formed, corresponding to
the forte of the acute tones, which were called also
acute tones called, when sung piano, head-tones; to
a certain extent this resembles the effect of an imme-
diate crescendo executed on a high note.
Our future course of study on the crescendo and
decrescendo will practically prove that the exercise
spoken of above simply amounts to different grada-
tions of intensity in the tone, obtained by displacing
the harmonics; for it is evident that, when the
fundamental tone dominates, the timbre is full;
but when we detach from the fundamental tone
its higher harmonics, the timbre is comparatively

erroneous terms, we may add that they lead to move- weak.

ments contrary to the nature of the vocal organ, and Now we shall pass to the theory of the attack of
that if in a voice we find tones called transition notes tones ; that is to say, the way to make them vibrate
(the "break"), they are derivable solely from an without incurring the defect of a feeble production
abnormal direction {reflection, or deflection) given to called humming.
the resonant tone. be avoided by
This defect may We have noticed that the vocal sound is pro-
pupils who have not yet sung; but with those who duced by the shock of the air passing the glottis
have contracted these faulty habits we must use while expelled from the lungs, and in Lesson III we
means to eradicate them, or at least to lessen them. learned that the vocal cords act like the lips of the
In old methods of singing we find exercises in- mouth, when the explosive consonants P, B, M are
tended smoothly connecting the notes called chest-
for articulated; the movement corresponding to the first
notes to those of the medium, and these latter to those (p) produces the forte; to the second (b), the me^p
of the head; this is called blending the registers. forte; and to the third (m), the piano. The vocal
These exercises (of which we give an example) cords articulate, as it were, a dry syllable ha, in three
consist of tied notes, sustained long enough to allow different degrees of energy and constriction.
of a gradual change of timbre. The first note must The following exercises were written to train the
be produced with the so-called chest-register; the voice in this attack.
second, of the same pitch as the first, must be trans- The degrees of constriction 01 the vocal cords
formed into the vocal timbre called medium register; vibrating to obtain a fortef must correspond to the
and the third into the timbre called head-register. movement of the lips as shown by the syllable PE,
Example: just as those for BE correspond to the me^p forte,
(chest) (med.) (head) and those for ME to the piano. The syllables are
3C placed over the notes, and correspond to the signs
I£ X 1 under them.
10

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1.
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SEVENTH LESSON.
Formation of the Vowels.
We
have often spoken of the important influence similar to that in Fig. I), and the lips protruded so
of the vowels on the vocal tone. To correctly em- as to render the oral cavity as deep, and its opening
ploy them for obtaining a spontaneous production of as narrow, as possible, without closing it too far.
tones, we must proceed to a minute analysis of this Such an adjustment of the oral cavity will pro-
phenomenon. duce the pharyngeal resonance necessary to form U,
From the demonstration with the tuning-forks of and thus induce the intonation of a low tone approxi-
Mr. Koenig, and according to the opinion of many skil- mating to great fi-flat.
ful physiologists, we conclude that A occupies the cen- For the pronunciation of if, a necessary observa-
tre of the human voice; consequently, its production tion is offered sometimes the upper lip is protruded
;

ought to be most natural and easy; however, we and folded like a bird's beak over the lower lip,
observe that this vowel also requires a particular posi- which is drawn back this improper position deadens
;

tion of the organs of the mouth, which, if we propose the voice, as it almost entirely closes the mouth, and
to consider it as the primary type of the other vowels, must be carefully avoided.
we must bear in mind; for this vowel A, like the
others, may be produced under various phonetic con- i st group, from A to U: open o close u.

ditions. To facilitate study, for the sake of clearness,

The second group also commences with A,
we shall takeup the investigation of the vowels in
succession, following the same order as in Lesson V
reaching / by passing through E open and E close.
Reassuming the position of the mouth for A, we
of my Vocal Art.
have to bring the tongue forward a little with its
The position of the vocal organs in pronouncing the
centre near the palatine arch, at the same time slightly
letter A, which is considered the most easy and natural
lowering its root; the corners of the mouth will be
one for the production of tones, is the following:
slightly opened, thus narrowing the aperture.
The root of the tongue takes an intermediate po-
The pharyngo-buccal tube being so adjusted,
the
sition in pharynx, while the soft palate rises,
the
tone issuing from the larynx passes between the front
bringing its pillars somewhat towards the middle of
part of the tongue and the palatine arch.
the tongue, which is hollowed in the centre, its tip
Thus A will be transformed, and take on the
touching the lower jaw near the teeth. This position
sound of open E as in the word BEND.
is nearly that shown in Fig. II, Lesson V. This
After this, by a stronger impulsion given to these
vowel possesses a medium pitch corresponding to
movements, close E, as in the word TERM, will be
the tuning-fork for £'-flat of Mr. Koenig. Its pho-
produced its pitch approaches that of £*-flat.
netic accent is almost exactly that of the vowel A in
;

Then, to reach /, the root of the tongue is low-

the word FATHER.
ered still more, and its centre approaches the palatine
Taking A, then, as a basis for our demonstra-
arch, while its tip almost touches the lower front
tion,according to the classification found in my Vocal
teeth, and the lips are protruded a little.
Art, we will follow the movements shown there in
This last vowel sympathizes with the tone ^-flat
the ist group, in which, starting with A, we reach
of Mr. Koenig's set of tuning-forks but as to its vocal ;

U, passing through the intermediate gradations of the

production, it rather approaches close E or French U;
vowels open O (as in ROCK), and close O (as in
for this tone is beyond the ordinary range of the
ROME) we must; produce these vowels one after the
human voice.
other; at first, by preparing the corresponding mo-
tions separately; later, when these movements have 2d group, from A to /.• «—e open— <e close — /.

become quite familiar, we shall renew the experi-

ment in one breath, giving A its natural sound at The }d group passes from French (this A to U
once, and then, still sustaining this first tone, pass- group belongs more especially to the French lan-
ing to the other vowels, open O, close O, and U guage), and passes through the intermediate sounds
(OO), without letting any air escape between them. of French EU open and close. The following dem-
Open O requires the root of the tongue to be onstration will therefore be studied in conformity
slightly drawn back and raised, while the mouth is with the rules for French pronunciation.
brought gradually to an oval shape, never lowering Now, resuming the position for A, and bringing
the under jaw too much then the sounds produced
; the lips together so as to narrow the orifice of the
by the vocal cords will take immediately the true mouth, we
pronounce open EU, because this vowel
timbre of open O, as in the word ROCK; its pitch is is that which most nearly approaches the natural
approximately small b-dat timbre of the vocal tube, its position being almost
To obtain the close O, the lips are only to be identical with that for A, except as to the position of
protruded more, this vowel then corresponding to O the lips; however, open EU as pronounced in the
in the word ROME. French word fePREU VE, requires the lips to be less
This position for close O
will facilitate the pro- protruded than for close EU in the word FEU. This
duction of U, for which the tongue must be drawn last position of the mouth prepares that for French U
back and raised a little more (position somewhat in BROLE.
 )

19

The tongue is more hollowed in the middle than In Lesson IV we noticed that the movements of
for EU; the centre of its root brought close to the
is the larynx are associated with those of the root of the
palatine arch, and its tip is applied to the lower front tongue, and that these latter exert a peculiar influence
teeth, and is raised a little. The pitch of this vowel on the timbres of the voice; thus it is evident that the
is acute, since its form closely approaches that of movements of the tongue indicated for the formation
close E and / (French). of the vowels, must be effected in general with its
rear part, because those which require the action of
3d group,
the front part are used especially for the articulation
from A to French U of the consonants.

EIGHTH LESSON.
On the Timbres of the Voice.

The human voice is classed in two categories, the because one can sing in the sombre timbre with the
articulated voice and the modulated voice. To the larynx raised to its utmost.
former belongs all speech; to the latter, song; sing- According to Dr. Fournie, this phenomenon is
ing is usually associated with words, but articulation produced by the "resounding of the voice when the
is not indispensable to have to
it. Later we shall vocal tube is so adjusted that the dimensions of the
deal with this last form for the present we limit our
; cavity are as large as possible, and the orifices limit-
study to the modulated voice, its easy and correct ing this cavity contracted enough to oppose an easy
emission forming the basis of declamatory song. emission of air."
The question of the timbres is extremely compli- Thus again it is the oral cavity with its neighbor-
cated; for we must take into account: ing cavities, which by their adjustment determine the
(1.) The two principal timbres, the close, i. e. shades of the timbres by reinforcing certain harmonics
sombre voice, and the open, i. e. clear voice. of the given tone.
(2.) The and the
particular timbres of each voice, The use of the two main timbres of wh'ch we
characteristics which make us distinguish one from have just spoken must be limited to the domain of
another. expression and to the production of certain high
{}.) The timbres which constitute the phonetic tones; for if we employ either exclusively, we shall
conditions in relation to the degrees of vocal pitch impair the sonority of the voice in some cases, and
which we examined in Lesson IV. the easy production of tones in general, while causing
(4.) The intermediate shades between the ten the vocal organ considerable fatigue.
types examined, which shades are subject to the ex- Independent of the two main timbres, i. e. the
igencies of the accents given to spoken words; this close timbre and the open timbre, an attentive study of
obliges us to describe each motion of the vocal organs the general timbres of the human voice becomes in-
proper to these types. dispensable for uniting the dissimilar tones at the
(5.) The special timbres required by the expres- "break" in passing from one register to another.
ion of the spoken word as associated with senti- The importance of such study may be easily
ment, and their relation to pitch. (See observation appreciated. This theory seems to belong to a new
made in Lesson IV. school, but it was practised by the old masters of
(6. ) The inflections given to the timbres of the singing; and as that school has fallen into disuse, it

voice to express correctly the emotions of the soul for ; is with the exercises and
necessary to re-establish it

it is evident that love, hatred, sorrow, pleasure, com- theories based on the employment of vowels corre-
plaint, reproach, prayer, menace, etc., cannot be ex- sponding to the tones of the vocal scale.
pressed with a timbre of unvarying uniformity. Our aim is, therefore, to establish a school of sol-
The most eminent physiologists have studied the feggio so arranged that it may be studied with the aid
question of the vocal timbres in connection with the of vowels alone, or with the timbres corresponding
formation of the timbres of musical instruments. to the several phonic conditions of intonation.
This study has given rise to various, and some- The utility of applying the phonic vowels to sol-
times conflicting, opinions. Two principal timbres feggio is evident,does not hinder in any way
and it

were recognized in the voice, namely, the close and the complete education of the musician; we affirm,
the open; but the theories for their formation are not on the contrary, that this didactic arrangement aids
unanimously accepted. To familiarize the pupil as him apply successfully in practice the primitive
to
much as possible with very important point, we
this phonic properties of the vocal tone.
shall briefly consider the different opinions which Although we have often spoken of the vowels cor-
most nearly coincide. responding to the tones of the vocal scale, we must
The scientist Muller and Prof. Bataille agree again observe that this theory presents great difficulties
that the close timbre is produced solely by the lower- when we try to put it into practice the slight modifica-
:

ing of the larynx, which means that the opposite tions made in the initial vowel by the different tones of
movement produces the clear timbre. Mr. Segond the scale are so minute, that the ear could hardly per-
and Dr. FourniS say that the immobility of the larynx ceive them, if not aided by precise estimates and expla-
cannot be exclusively the cause of the sombre voice, nations. An exact perception of these delicate shades
 20

will be most easily promoted by the master's prac- The necessary instructions for the compass pe-
tical demonstration; nevertheless, it is necessary to culiar to each voice, and the way to develop it, will
explain the matter here as far as possible. be found in the chapter tAdvice to singers intending to
We shall therefore proceed by comparative ex- become professors, in my treatise on Vocal */lrt.
amples. The human voice commands a series of For the present we will only remark that each
tones of from 4 to 5 octaves, taking the sum of the voice has, under ordinary conditions, a compass of
compass of different voices. These different voices from \2 to 14 diatonic tones. shall therefore We
possess specific characteristics; the Soprano, Meagp- limit our demonstration to the range of 12 diatonic
Soprano, and Contralto, for females, and for males the tones, because the extreme low tones, as well as the
Light Tenor, Robust Tenor, Barytone, and Bass. Their extreme high ones, have almost the same shade as
peculiar timbres make us distinguish their different the next note above or below, accenting the timbre
character; but all, in their respective scales (com- of this latter a little more thus, in the high tone, the
;

pass), undergo similar shadings of the vowel, accord- vowel is closer, whereas in the lower ones it is
ing to the tonal pitch and the inflections peculiar to broader, approaching either O or according to the U
expression and sentiment. class of the voice.
The vowels corresponding to the pitch of the We add to the above comparative table a graphic
vocal tones (as shown in the following comparative demonstration, dividing the 12 diatonic tones into
table), will be identical in all the voices, excepting a four series following each other in ascending diatonic
few modifications required by the specific character of succession. (See next page.)
each voice. The 1 st series includes the first six notes of the
scale of C, in four sections.
The 2nd starts with A and extends to the follow-
COMPARATIVE TABLE ing C, in two sections.
The 3rd starts with C of the 2nd series, and stops
OF THE "PHONIC SHADES TROPER TO at the following E, forming two sections.
THE VOC^L S&ALE. The 4th series, also in two sections, starts with
E and extends to G.
The words placed opposite the notes serve to We see that the fifth corresponds to the vowel
of the tonic, and that the sixth takes the phonic
indicate the phonic accent of the vowel correspond-
character of the fourth. This is the reason that, in
ing to the vocal tone. In each word the vowel is
marked by the same special sign as the single the example in question, we divided the 1st series

vowel preceding. into four sections. By this arrangement we wished

to call the pupil's attention to the very delicate shades

^ open, as in the which change the initial vowel of this series.

word . . .
Bask Before passing to the application of the following
must carefully study the tones
=£= — /7 semi-obscure, as in jp *
exercise, the pupil

Ep~p * the word 1

. . .
.Fatner which from the vowels, in conformity with the
result
comparative table, so as to apply them with precision

i
Zclose, as the final
a m Dram _ to the musical notes with which they are united.
These exercises will be more fully developed in

l^*SZ? ~* "
the studies which follow this first demonstration.
Was We should not pass to the study of the intervals until
the phonetic vowels corresponding to the tones of
as in the n- r
i a open,
word
grave, as in the
EaSR
IT?*
the scale can be employed without the slightest un-
certainty concerning their formation.
We shall then be convinced of the advantage of

% g
fa
word
close, as in the
rr «j
F\.
such a method for the production of vocal tone, and
of the facility of obtaining the necessary modulations
"fr o
=^=1 °
I

Uptmon
• •
for correctly rendering the expression required by the
fft Word emotions. We shall also
be convinced that the voice
grave (aw in law), r\*/n cannot be supported or posed without detriment to
% fi
as in the Ital. w. .
*S U* U the timbre; for it must be sustained by the pressure
of air in the wind-pipes of the trachea and larynx.

i —
eu close,
French word.
as in the
.
w
~XRinr
/^ To render our demonstration more intelligible, we
think it well to examine the tones of the scale in their
grave as n t&*
a CtC
""-"
>

French word
*

. .
Feu diatonic succession, more particularly as the shades
which divide the semitones are not very noticeable;
however, their gradations will be explained hereafter.
rffi^ 1 in the French word J^ afttre For sharped notes the vowel corresponding to
the natural tone of the same name slightly approaches

l#=l ~ in the French word KtfraW the vowel of the following tone the contrary is the
case with flatted notes. To facilitate this study we
;
 +

21

place the sign g after the vowel of the sound marked flatted notes the t>
will be placed before the phonic
over the note which is sharped, while in the case of vowel.

a a a a a

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EXPLANATORY TABLE
OF THE FOLLOWING EXERCISES.

A Series I. F Series III.

1. First section.
1. First section.
Second "
Second "
2.
2.
"
> Third
4. Fourth " G Summary of Series I, 11, and III.

B The four sections combined.

H Series IV.
C Summary of Series I.
i . First section.
Second "
D Series II.
2.

1. First section.
Summary of Series I, II, III, and IV.
2. Second "

E Summary of Series I and II. K Major and Minor Scales in the four Series
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38
Ninth Lesson
The phonic intervals.

The object of our preceding was to lead the pupil to the practical produc-
studies
tion of the vocal tones under the phonic conditions peculiar to each with regard
to their pitch. In this lesson we shall continue the same study on broader lines.
From the diatonic scale we shall pass to the intervals, preserving the same didactic
arrangement followed in the preceding exercises. For this study it is necessary to
practise the intervals in their most regular and homogeneous phonic conditions; that
is, all tones must preserve a correct timbre while undergoing the changes required
by the changing pitch. In order to facilitate this study, we shall proceed by guide
and skip in the first exercise of each interval.

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The Chromatic intervals
The preceding studies have familiarized the pupil with the exact intonation of the
intervals arranged in regular order and in conformity with the phonic conditions prop-
er to each tone. To facilitate the application of this theory, we have till now proceeded
in diatonic order. It now becomes necessary to learn the chromatic sucession of the same
tones, for perfect familiarity with these closely approximate degrees of the scale serves
to render intonation very exact. This was our object in presenting, in Lesson VII of
Vocal Arty the study of infer vats by chromatics. As this lesson includes one of the
most essential parts in the didactic order of the studies of singing, the pupil may
refer to it. We give a few preliminary exercises on the phonic conditions of the chro-
matic tones.

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 86

TENTH LESSON.

The Crescendo and Decrescendo.

After the foregoing lessons on the regular and pharynx, they constituting the adjustable resonance-

phonetic order of the tones of the vocal scale, we chamber of the vocal organ.
shall take up the analytical study of the natural condi- In Lesson V we spoke of the movements of the
tions of vocal expansion and elasticity. lips and tongue, of the soft palate, and of the pharynx,
It consists mainly of the gradations in the inten- which modify the timbres of the voice, thus forming

sity of the tones, namely, the forte, me^o-forte and a number of different vowels ; the production of these

piano; it also treats of the crescendo and decrescendo, different timbres results from displacing the harmon-
these being the gradations by which we arrive at the ics composing the vocal tone, and this phenomenon
inflections required by emotion. determines the resonance of the tone towards a higher

But exaggeration of expression, and inexperience or a lower note, according to the direction one wishes

in art, may lead the pupil to produce the crescendo by to give to its resonance ('). Thus the numerous
increasing the pressure of air, or even by constraining vocal timbres are produced, which characterize the ex-

the respiration. This violent manner of augmenting pression and produce the intermediate shades proper

tonal intensity generally produces a harsh, shrill tone to the piano, me^o-forte, and forte, which constitute

and even false intonation, in fortissimo effects. On in great part expressive singing.

returning to the piano, i.e., by a decrescendo, he runs The resonance of the vocal tone has the property

the risk of interrupting the continuity of tone, or, of reinforcing one or another of the tones proper to

should no break occur, he will find difficulty in re- the vocal cords ; so that this resonance can assume a

straining the vibrations of the tone itself, on account higher or lower pitch without at all affecting the pitch

of the considerable constriction he must exert on the of the tone then in vibration.

vocal tube. Tyndall says that the promptness and accuracy

This effort, opposed to the very nature of the with which the vocal cords can change their tension,

vocal organs, would be highly prejudicial to the vocal their form and the distance which separates them, to
tones, and prevent the production of the shades re- which must be added the elective resonance of the

quired for expression. We have shown the in- cavity of the mouth, render the voice the most per-
conveniences of misunderstanding the causes which fect of musical instruments.

determine the acoustic effects of the crescendo and The intensity of the air passing the glottis, to

decrescendo; let us now examine these causes. We cause the vibration of the vocal tone, must correspond

know that the commotion produced in the air by the

(regular) vibration of an elastic, solid, or gaseous (i) The nature of the vocal tone is complex; i.e., it is composed
body, reaches our ear in the form of a tone ; that the of various simple tones which vary in pitch, and, when added to-

number of vibrations determines its pitch, while their gether, constitute the tone called fundamental, i.e., the lowest and

loudest, from which the tone takes its name. This tone is accom-
amplitude, together with the causes that provoke con-
panied by a series of others higher in pitch, which, when united,
cussion, determine its intensity. We have learned
form the timbre. If we attentively listen to a thick violoncello-
that the human voice acts by the aid of the air, which,
string set in vibration, we notice, besides the fundamental tone of the
forced from the lungs, passes the slit between the
string, a series of tones higher and fainter. These are called partial

vocal cords; and that these latter, thus set in vibration,

tones, or harmonics. They include the octave above the funda

produce the vocal tone. mental, the 5 th of the octave, the 2nd ocUve above, the major third

The voice is reinforced in the oral cavity and of the second octave, etc., etc.
with the sum of the qualities mentioned by Tyndall; of the vibrations does not, as long as the conditions of

otherwise the various degrees of fullness of the tone the shock remain the same ; consequently forte and
itself could not remain homogeneous, and both flexi- piano depend on the resonance or the displacement of
bility and intonation would suffer extremely. the harmonics of the tone itself.

This phenomenon can be explained by a simple If we attentively observe the continuation of a

experiment: Take a pitch-pipe with a reed, blow vocal tone during a decrescendo, we soon perceive
moderately into the mouth-piece, and the pipe at once that with the decrease of its intensity (gradually vary-

gives the tone; continuing the tone, decrease the ing the primitive type of the vowel) it approaches a

pressure of the breath, and the sound will decrease in vowel having a timbre more acute, without altering

intensity, producing the decrescendo; but, if at the it too much ; in a crescendo we notice the contrary

same time you diminish the degrees of the intensity of effect. Our observations show that the crescendo is

the air, the tone becomes lower. If you increase produced by the effect of the inferior resonance, and

them too much you will have the contrary effect; the decrescendo by the superior.

and if you still persist in increasing, the pitch-pipe As the harmonic nearest the tonic (fundamental)

ceases to sound. is the higher octave, it is evident that a tone produced

This proves that when matter is set in motion, it piano would cause the reinforcement of the harmonic
is subject to some special economic laws from which of the higher octave, to the prejudice of the tonic.

it cannot depart. By going from the piano to the forte, the harmonics

The vocal cords are in nearly the same condition of the tone sung will be gathered around the tonic,

as the reed of the pitch-pipe, as regards the pressure and thus reinforce the lower octave.

and intensity of the air setting them in vibration ; it is According to this natural principle of the change

for this reason that the air expelled from the lungs in the harmonics, we may establish as a theory, that

vibrates in unison with that in the mouth. The vocal the crescendo transports as resonance to the lower

cords form, as it were, a reed which, associating its octave, and that the decrescendo finds its resonance

vibrations with those of the air in the mouth, pro- in the higher octave.

duces in this sonorous tube the reinforcement of the The continuous emission of the human voice de-

vibrating tone. pends on the regular and constant pressure of the air

In Lesson VI, speaking of the formation of the corning from the lungs ; we must notice, then, that if

vowels, we learned that the air in the mouth vibrates the pressure of the breath against the vocal cords

in conformity with the several shapes given to the should diminish in intensity during a decrescendo, the

latter. tone would necessarily be lowered, since the cause of

These adjustments of the oral cavity reinforce the shock would have changed. If we too greatly

the fundamental tone or any harmonic. Thus it is increase the intensity and pressure of air during

that the human voice can produce, at the same time, the crescendo, the voice will rise higher than the

the fundamental tone, and the harmonics in diverse original tone.

proportions. The displacement of the harmonics of the vocal

The tone is that quality of sound derived from its sound must be made easier by the modifications of the
degree of gravity or acuteness ; both depend on the vocal instrument formed by the pharynx, the oral

number of vibrations made in a given time. The in- cavity, and the lips. We have already remarked that

tensity of the sound (which we must not confound when the voice passes from forte to piano or vice

with the tone) depends above all on the amplitude of versa, it causes slight changes in the initial vowel,

its vibrations and on the causes which determine the so as to reach either the superior or inferior reso-

initial shock, and not on the number of vibrations. nance, according as the tone is sung decrescendo or
The progressive weakening of the intensity of the crescendo. These changes are shown in the compara-

vocal sound does not imply a lowering of the tone; tive plate in Lesson VI, concerning the phonic vowels

because, though their amplitude changes, the number corresponding to the tones of the vocal scale.

/
 ,

88

Now we have learned how to consider the voca! the harmonics, the forte, uniting with the fundamental

tone according to its phonic conditions ; consequent- sound all its harmonics, engenders a tone of grave
ly we must regard each tone as formed by a special resonance corresponding to an A, inclining to open

vowel. O; it may be approximatively compared to A grave

We are acquainted with the vowels (Lesson VII) in WAS. We start with this vowel to effect our
used for the formation of a considerable number of demonstration, passing successively through the
secondary vowels of a weaker timbre; we may ex- vowels whose regular gradation conforms to the less-

plain this principle by comparing these vowels with ening of the intensity and the sharpening of the reso-
the harmonics of a tone, as that of a bass string on nance ; we thus succeed in producing the decrescen-
the pianoforte of violoncello. In fact, during the vi- do represented by E in HER. The tone adapted for

brations of a thick violoncello-string, we hear, besides our experiment will be represented by a note from the
the fundamental, other attendant tones of weaker tim- medium of the voice; its value will be that of a breve;
bre and higher pitch, called partial or harmonic and it serves to represent the initial vowel. On the
tones. Therefore, the intermediate vowels of a weaker upper staff will be written a number of crotchets cor'
timbre may be considered as harmonics of the vocal responding to the duration of the breve, representing
tone, since their phonic condition corresponds to tones the timbres or vowels effecting the displacement of

higher than the initial one. Having ascertained that the harmonics which, in forte, are grouped around

these slight shadings of the initial vowel result from the tonic. Above the crotchets we place vowels an-
the movements imparted to the organs of the mouth, swering to those in the comparative table.

we can systematize the practical study of the crescen- Example:

do and decrescendo with the aid of the phonic vowels
Decrescendo
noted in the comparative table in Lesson VI, in so
eu eu
far as the succeeding exercises have conduced to a

practical and regular application.

If O corresponds to the grave resonance, and

E to the acute, the interval which the voice must run

through to effect the crescendo and decrescendo, will

be included between these two extreme limits.

Crescendo
*
We must consider, however,
the comparative table (which

the high tones of the vocal scale require the produc-

tion of an E as in the word //£R, and

we
that according to

use as our guide)

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THER.
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Thus the two sonorous types of M. Koenig,
A as in FA- $
O and E, undergo a slight modification by the sing- Suono filato Son file Swell-tone
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practical demonstration.

Our first demonstration is applied to the decre- j r r r r r-f-f-f? r r r r r r r i

scendo, for the reason that, from the very nature of the

vocal instrument, the tone-producing organs can relax 1F 1

more rapidly after the vigorous shock given by the
forte ; and this agrees with our observations in Les- During this experiment the pupil must sustain
,
son IV, concerning the movements peculiar to the the tone by a retarded motion of the expiration, so as
vocal cords, according to the system elucidated by to avoid a sudden escape of the air, keeping the tho-
Dr. Fournie. rax raised in its natural position and without effort;
After what we have said on the displacement of for its lowering would let the air escape uncontrolled
 ;

89

consequently, the swell-tone would lose in tension of the vowel by degrees conforming to the vibra-

and firmness. Notice that the vowels placed above tions of the bass string of the pianoforte, and adapted
the notes have served to render our demonstration to the peculiarities of each voice. In order to help

clearer; but they must be considered only as a typi- him to reach this result, we have combined the ac-
cal guide intended to lead to the minute modifica- companiment with each note in the scale, so that his

tions necessary for the production of this acoustic ear may more readily follow the effect of the decreas-

effect of the vocal tone, without prejudice to the ini- ing vibrations of the tonic and the displacement of its

tial vowel characterizing the timbre set in vibration. harmonics, up to the resonance of its higher octave.

Let us now proceed to the decrescendo. By this means, this acoustic effect may easily lead the

We remember the exercise in Lesson IV, for at- voice to produce the decrescendo; provided the pupil

tacking the tone; in the same way we must proceed endeavors to make it follow the effect produced by

to set the voice in vibration in the forte of each tone the piano-string. This study must be executed slow-

in the following scale, and give to each the decre- ly, in order to give the ear time to perceive this phe-

scendo. nomenon, and the voice time to imitate it.

To prevent the pupil, preoccupied by the en- When the pupil can correctly execute the first

deavor to obtain this acoustic effect, from falling into scale ('), he may proceed to its higher transposition,

the very probable error of neglecting the phonic condi- by chromatic progression, in order to render the

tions of each single tone, we write over the notes the changes of pitch as homogeneous as possible with
vowels corresponding to their phonic condition ac- the first scale, by careful attention to the phonic

cording to the aforesaid comparative table. changes which it undergoes.

While studying the decrescendo we shall abstain

from indicating the intermediate vowels which served

(i) The word seal* refers only to the progression by conjunct de-
for explaining the phenomenon under consideration grees of the exercises in question, composed for the purpose of study-

for here the pupil must follow the transformation ing each tone separately.
90

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 91

When a vocal toue is to be united to another with a decrescendo, we must first en-
deavor resonauee of the higher octave on the first tone before passing to the
to obtain the
second, which, consequently, must produce a weaker timbre.
In the following exercise the decrescendo will be produced on the interval of a second,
as: C-D.
By the preceding exercise, we showed that the decrescendo on one tone, draws the latter
into a pianissimo, corresponding resonance to its higher octave, while preserving the in-
in
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ing exercise stops, can be composed of higher harmonics only, that is, it can be made sensi-
ble to the ear only when transported to the resonance of the higher octave. This phenom-
enon forms, to a certain extent, an analogous effect to the substitution of the interval of the
ninth for the second, that of the tenth for the third, and so on.

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The crescendo.

To obtain the effect of the crescendo,we must proceed in the contrary sense to that of
the decresce/tdo; in other words; by attacking the tone pianissimo and swelling: gradually to
forte.
Thus by the resonance of the higher octave, producing the weak tone, that one should
it is

attack the tone, then, by enlarging the vowel, one will approach insensibly, by very minute de-
grees, to A grave, as in WAS.
The pressure of the air against the vocal cords must increase naturally and without effort,

parallel with the descent of the resonance.

We must not exaggerate this action, for it may happen that a strong pressure of air ob-
scures the voice, while forcing the involuntary escape of the atmospheric air in the mouth.
To facilitate a comprehension of the transformation of the vowel in this exercise, the ap-
plication of which is much more difficult, we shall place above the first note the vowel cor-
responding to the high resonance while on the second will be seen the true vowel proper to
the special pitch of the same tone.
To show the acute resonance of the notes A, B, C, D, etc., the vowel will be invariably marked
thus: <f,
but the pupil must always endeavor to close it more and more as the resonance rises toward the
acute, by an E mute as in Bird.
The exercises follow.

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After careful practice of the preceding studies on the decrescendo and crescendo, we shall
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The following exercises must be successively transposed in pitch.

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The result of the preceding exercises will allow us to apply the effects of the crescendo
and decrescendo to a series of consecutive tones. In the following scale these effects are
applied.
The pupil ought to practise it in several successive keys; and in attacking the first tone he
must give the voice the resonance of the higher octave; the notes that follow will descend
in resonance to the lower octave by gradations equal to those of the ascending notes: a con-
trary effect will be produced by the descending movement.

Andante.

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The effect of swell-tones is prepared and obtained by the exercises given below. As the
studies practised hitherto have sufficiently prepared the voice for natural and easy expan-
sion, there is no need of too strong a pressure of air. The notes must be bound to each
other without dragging. By the resonance of the higher or lower octave, as the case may
be, the desired result will be attained, as before.
Thus, in decreseendo, one tone will be bound to another while passing from forte to pi-
ano, and in crescendo the contrary effect will be observed. When mezzo forte is reached the
passage to the note to be bound ought to be effected lightly and steadily.

11616
98
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The Echo.

There are two kinds of echoes, the echo produced immediately and the echo produced af-
ter a pause of greater or less duration. The first is obtained by means of an immediate decre-
seendo on the last tone of the musical phrase and by blending; this decrescendo with the first note of the
echo, carrying the voice from a grave to an acute timbre. In the second instance the last tone
of the musical phrase must be given with all its natural brilliancy, and then, after a pause, the
echo must be produced with the voice full, but sombre, in tone.
To obtain the effect of the echo it is necessary to give the voice a close, almost veiled, tim-
bre, restraining the breath slightly and at the same time opening the throat well; the tone (phrase)
must be given with an open vowel, and the echo with a closed one.

Allegretto. echo- - echo-

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io3

SECOND PART.
FIRST LESSON.

On Agility.

Agility is an essential requisite for singers, as We have just said that agility may be executed
much for the flexibility and mellifluousness of the with a slow as well as with a rapid movement, ac-

voice, as for the brilliancy needed in florid singing. cording to the idea which dominates the mind. A
By means of the flexibility of the vocal organ, the dili- melancholy idea originates in despair, fear, pain, or

gent student will finally be able to give his voice all resentment, and the passages of agility pertaining to

the inflections necessary for representing the passions these will necessarily be rapid ; but to express aban-

logically and naturally, and, to passages of agility, the don, tenderness, sadness, or the remembrance of a

color proper to the sentiment. happy past, agility must be slow and sustained : with
By passage of agility is meant the rapid, distinct, these two contrary movements we must associate the

and rhythmical vocal execution of several notes on inflections which give them the best and most natural

one syllable. expression and color, and this is why flexibility and
Agility demands a natural disposition analogous mellifluousness are indispensable to the voice for ren-

to that for the trill ; nevertheless, by constant and dering and executing passages of agility.

well-directed study, the deficiencies of nature may be The movement and rhythm of agility must,

remedied. The human voice, like instruments, must moreover, reflect the idea with which it is associated,

be conspicuous for its sonority, homogeneity and and this with the object of giving (by means of the
purity of timbre ; the syllables on which passages of !{allentando and <tAffrettando, applied almost simul-

agility are placed are always long, and the voice, taneously to the same phrase) that descriptive or

while preserving its brilliancy and purity, must intone imitative color which is necessary for reproducing the
clearly, and in a correct and facile manner, all the expression of the thought.
notes ; and this without effort, either real or apparent, It is also a great error to believe that passages

otherwise agility will become a cause of suffering, of agility are always well-placed on any syllable or
instead of a pleasure, to the ear of the auditor. Effort word whatever, without considering whether the
is often caused by the respiration when not regulated melodic situation, the sentiment, or the style, permit
according to the principles we have explained. they must always be apropos.
The most favorable vowels for singing are A, The first condition for success in this study is

E, and their relative intermediaries, they being best to know how to regulate and control the respiration.

adapted for giving fullness and intensity to tones. U We must be careful not to fatigue it with too long
is not favorable to just and even intonation, and / passages, when it is not yet well established. In

even less so, as it gives the voice a sharp and whining agility, as in sustained singing, one must not reduce

timbre. himself to the last extremity of the breath ; as, be-

It is a mistake to think that agility is out of place sides the fatigue imposed upon the breathing-appa-
in melancholy or passionate singing ; for we often ratus, the effect of the singing would be compromised
express a sad or sentimental thought better by a slow thus, if in the course of studies and exercises for ac-
or rapid succession of inarticulate sounds than by quiring agility of the throat and voice, we should
words. come across passages too long to allow the expiration

E. Dclle Ssdie. Part (I.

 104

to reach the end without effort, it will be well to guishable noise, in which only the first and last notes

divide them into two or more parts, being careful of the passage executed would be audible, rather

to stop at the end of each, and beginning the suc- than a musical effect.

ceeding part on the same note we left off at, until assages of agility must preserve the same time

the respiration has acquired the necessary facility to as the ensemble of the piece, except when the expres-

execute them without interruption. sion indicates otherwise. We must work slowly at

We must observe an irreproachable precision of first, accenting all the notes according to the given

the intervals, and here we shall point out more es- rules, and gradually increasing the movement as we
pecially intervals of seconds, which always tend to acquire facility. All the notes of an exercise or pas

lower the pitch ; also that of the major third, the sage must preserve the same nature, the same degree

first note of which has a natural tendency to rise of force and accent, and the same intensity. We
above the pitch, and the third note to descend. In must not go on to the study of inflections and shades,
the ascending scales, besides the intervals of seconds, until the mechanism of the throat and the flexibility

we must sustain the leading-tone, which is apt to of the voice are sure. As the vocal cords vibrate

be attracted by the tonic, and may often become in- the notes of a musical passage, one must see that

appreciable because of its precipitancy. they are well connected, in order to avoid any es-

In scales of octaves we must also accent the cape of air between them, which would produce a

subdominant, and in scales of ninths the dominant. disagreeable jerky effect; some throats have great

All exercises must be practised both ways, and, difficulty in doing this, and their execution is shaky,

whether the passages be slow or rapid, they must al- heavy or uncertain ; in this case all the notes must be
ways be regularly rhythmed and the movement must marked, and if this is not enough, the picchetiato
not be precipitated, as a too rapid emission of suc- sounds must be practised until the throat has ac-

cessive tones would produce confusion or indistin- quired the necessary flexibility.
 105

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3
l
Second Lesson.
Appog-giatura, Gruppetto, Staccato, Flautato, Repeated Sounds and Triplets.

Appoggiaturas are classed as simple appoggiaturas and acciaccaturas or crush-

ed notes. Both may be placed at various intervals (a second or more) from the note to
which they gravitate; the simple appoggiatura takes one -half of the value attributed
to its principal note, while the aeciaccatura glides promptly on to the principal note.
Both appoggiaturas receive from the voice an accent more marked than that given
to the principal note; but while the first, by its value, offers the voice opportunity
for expansion, the second, because of its rapidity, cannot do so; consequently it car-
ries its accent on to the note on which it falls, while producing* for itself a more
vigorous shock of the air that passes the glottis, that is, the stroke of the vocal cords
for the aeciaccatura is more vigorous than that for the appoggiotvra.
In the following" exercises we mark this difference by the sign i*. for the appog-
giatura, and this A for the aeciaccatura.

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The gruppetto.
The gruppetlo, with regard to the attack of the vocal tone, follows the order indicat-
ed for the appoggiatura; we must notice, however, that the accent which extends to
several notes in succession is more marked on the highest note: we shall give some
examples. The first line, marked by the letter G, gives the ordinary notation, while
the second marked E, illustrates the execution.

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The exercises following this first example serve to extend the scope of its practical
execution
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Staccato Tones.

The staccato produced by a slight contraction of the vocal cords: the expira-
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succession of tones the duration of which is so short that they produce the effect
of being instantly stopped by a rest equally short. The following- example
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makes
our explanation clearer.
The letter G marks the notation, and E the execution.

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We give here two more exercises on Staccato tones, but with the staccato pre
ceded by (or issuing" from) a legato tone.

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Flautato Tones.
The flautato is executed in the same way
prolonged bv as the staccato, but slightly
an instantaneous decresvendo. When the notes to be sung flautato are joined in groups,
each tone is carried on to the following" one without being detached, so that the vibra -
tions of the vocal cords, while remaining" the same, produce the effect of a succes -
sion of undulations, so to speak, on account of the devrcscendo promptly executed on
each tone, although bound to the following" one.

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Repeated Tones.
For repeated tones the vocal cords are set in vibration in the same way as for the stacca-
to and f/autato;hui the effect produced is not the same, for the notes being commonly grouped
-

by twos, and the decrescendo falling on the first, the effect of this almost effaces that of the
-

second; thus the most marked accent falls on the first note; it follows that the second unison
receives a more vig-orous impulse than that g-iven to the first.

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Syncopation

Syncopation produces remarkable results, above all with regard to expression; this irreg-
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stroke of the vocal cords, but care must be taken not to let a great quantity of air escape.

Allegretto

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Triplets.

The execution of triplets presents great difficulties. There are two tendencies to be avoid-
ed; that of disjoining the notes in ascending passages, and that of running them together in de-
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scending" ones.
We shall acquire perfect equality by reversing the accent, as we have indicated for the scales.

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The Diatonic Scales.

The Scales are of two kinds, the diatonic and the chromatic, both of them often employed
in rapid singing. The study of the scales ought to be the more diligently practised, as it con-
tributes greatly to render the voice flexible and homogeneous in all its timbres.
An easy and correct execution of the scales, which reveals the skill of the singer, consists in
the purity of each tone, in the blending of the crescendo and decrescendo, and in the accentsap-
plied without tension to the first note of each group composing the whole of the scale-, but the
pupil must take care that the effect of one tone does not diminish that of the next.

Sostenuto.

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182 The Trill.
The one of the finest ornaments of singing, may be executed with or without
trill,
preparation. In the first case, the two tones on which it is sung, begin their movement
slowly, and gradually augment their velocity. In the second, the trill must be attacked
rapidly, usually beginning on the higher auxiliary, i.e.: the major or minor second above
the principal note. The two first exercises given below will train the voice in the pre-
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 BRIGHAM YOUNG UNIVERSITY

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