£09738 AS USED AT THE ROYAL ACADEMY OF MUSIC, ROYAL COLLEGE OF MUSIC, GUILDHALL SCHOOL OF MUSIC. PRINCIPALCOLLEGES IN THE UNITED KINGDOM MANUEL 1. GARCIA, Nig ae the ysl den Putsta tall Price Ohit eviteo ay Rice Of ue ALBERT GARCIA LONDON LEONARD &CO 47, POLAND STREET. WiiIn this edition of my grandfather's “Art of Sin I have replaced a few of the exercises by some taken from the original edition, and have corrected a number of faults that have crept in from time to time in the course of reprinting. I have also somewhat abridged and slightly altered the letterpress in one or two places, with the idea of making it as simple as possible, ALBERT GARCIA. St, Joux’s Woop, Loxbox, August 1924.INDEX. ACCELBRANDO, ON Jolt st ACCENTS, ON : “ sectacearuna eo AD bistros, ows. APPOGGIATURE tt 0 ‘aScexbing “| ar) 3 Descexpisé” 0 poume © APPOGGIATURE AND SIAL NOTES 8 ARPEGGIOS 7 a ARTICULATION, Giiaxdis 18" os : INSINGING, ON 2 ASPIRATED SOUNDS, EXERCISES O¥ moe BARITONE, THE 6 BASS, THE : ‘ DREATH, THE : oe ne MODIFLGATIONS oF Hx” ot (CADENCES, EXAMPLES OF FINAL CHEST REGISTER. CONSONANTS, ON i EMPHASIS ON : BXPLOSISE SUSTAINED : COUNTENANCE, MOVEMENTS OF iE co CULTIVATED VOICES, CLASSIFICATION OF "Lg BXRRCISES OHSBRVATIONS ON THE MODE OF STUDYING THE EXPRESSION ADDED TO MELODY, ON. PRMALE VOICE, THE oo PLESIMILITY, SUMMARY oF" TD FORTE-PIANO OLOPTIS, ARTICULATION OF THE 7 HBAD REGISTER... coe aS INFLECTIONS. ” Lani, THE 2 os m CAUGH, ON THE mt tiowtaspsiape LUNOS, THE : ae : MALE VOICE,THE MEDIUM REGISTER 7 MOUTH, OPENING OF THE NOTES OF EQUAL POWER, SUSTAINED POINTED ~. ot Coomerearey a yo Mant eae " PAUSE a 7 @ PHARYSX, THE a4 PIRASE, FORBIATION OF | Soe PHRASING, ON : © PROLONGATION : om QUALIFICATIONS OF THE PUPIL, mom ‘RALUENTANDO, ON Lom ot RRCITATIVE oo o oF acoditrasiey oo SPOKEN | 0 REGISTERS, FORMATION OF 7 « UNION OF THE. REPEATED SOUNDS, EXERCISES 68 RESPIRATION, ON : a) SCALES AND CHROMATIC PASSAGES eM CHROMATIC we oe eee aL “MINOR .. » SnaKE, CHROMATIC 7 7 a DEFECTS OF « BRAMBLES OF tHik, wabrantirroN aNib TEAMINATION OF THE a na 1 BXRIGISES ON MEASURED Dow Do isonaTeE . 8 UL phogkissive, Ox tix wixvosie scaLE 740 1. REPOUBLED 7 2 SLOW en Poe {) SLCRRED” * Coe 2m : witna tire." sindive,BRAvURA. m DECLAMATORY suuk oF THE VOICE SONGS, CHARACTERISTIC o POPULAR SOUNDS, ON THE FORMATION OF WITH IyeLectioNs on BeHORD Sores, peach on staccato. LEGATO : ManneD aPKATED StL, BUFO wo OP AGrATY 3 Jn CONTRIVANCE 2 stom. SUSPENSIONS AND RESUMPTIONS ‘TEMPO RUBATO ‘TENOR, THE eects TERMINATIONS ‘TIMBRE, CAVERNOUS > OUTTURAL 7 fo NasaL ‘rnusnes, PORATION OF OS ‘TONES, ELEVATION ON DEPRESSION oF ‘TURN, THE UNION OF dine, 40 EXERCISE Now TL [LAND SHAKE, THE, TERNS eee UTERANCE, RAPIDITYOP 1. ‘VOCAL, ORGANS, IVTRODUCTORY REMARKS ON THE. CONSTRUCHION AND USES OF THE VOCALIZATION, ASPIRATED .. = DETACHED EXERCISES ON : OLIDED On SLURICE Marge 0 Okacuuary, ON i voror, INTENSIFY AND VOLLME OF | STEADINESS OF tee vor, EMOTION OF THE INTENSITY OF {._UPON WORDS, FULNESS &'STEADINESS OF voIGEs, OX THE EMISSION AND QUALITIES OF VOWELS,TTAMON an 7 _ oo ON 2 ae BESescuatece of WORDS WITH NOTES, DISTRIBUTION OF 8COMPENDIOUS TREATISE THE ART OF SINGING. MANUEL GARCIA. Edited by ALBERT GARCIA. PART I. CHAPTER 1 Istnopucrony Rexarks ox THE Coxsrauctton axo Uses (OF THE Vocat. ORGANS. ‘Tne mechanism employed in singing is the combined action of Jour sets of organs, which, though they act simultaneously, have cach their poeuliar and independent fupctions:—namely, 1. The Lungs, ‘The bellows, of air supply. My Larynx | Vibratory organ MIL) Pharynx ‘Reflecting organ, TV.) Orguns of the mouth ‘The articulating organs. (Ga, lips, tooth, tongue and palate.) Firsl.—The Lungs are the indispensable agents for respiration, ‘and are placed below the organ of voice, performing fanctions ‘analogous to the bellows of a church organ; that i to say, they furnish the wind required for producing the difrent sonorous vibrations. Air enters into, and escapes from the lings, bY a multitude of minute tubes, called the tronckial twbs, which, a8 they ascend to the theoat, nite into a single highly-lastic pipe, known as the Trachea, this, ring vertically up the front part of the neck, communicates with the larynx, —the organ next in Secon: The Larynx,—the generator of the voiee.—forms ‘the protuberance in the fragt of the throat, alld" Adam's apple." In the centre of this a narrow passage exists, formed by two membranes, stretching horizontally aeross it, one on the night side, the other on the lft; these ae called vocal ligaments: and ‘the opening between them is termed the glottis (whence they are often called the lifs of the glottis); and to these ligaments, oF lips, alone are we indebted for the vibrations of the voice. "In the act of inhaling, the form of the glottis i almost triangular: ‘but when employed to form sounds, it becomes linese, the ligaments being drawn closely together, We shall consider hereafter, the principle upon which musical sounds are produced, fd the part performed by the vocal ligaments in this operation but we may now remark, that the later are act of similar structure throughout their length,—the back two-fifths being formed ofeartilage, and the fot theee-fithe, af Hgament [Above the vocal ligaments are two obiong cavities, called the vestibales of the larynx, each of which is surmounted by a fold, holding a postion parallel to the voeal ligaments below them land the spice between these folds is styled the upper (superior) flottis—an opening mach wider than the real (inferior) glottis, below, and which never closes ‘The upper opening of the larynx, which is froe during the emission of voeal sounds, is completely closed during the act of Swallowing, by a sort of little fd, called the epigloi, situated Dbehind the tongue. Thirdly—The voice, in issuing from the glottis, is echoed and reflected by the plaryex,—that clastic cavity visible through the arch at the back of the mouth, and it is this cavity whieh, by ‘means ofthe numerous forms it can assume, gives to the sounds Froduced by the larynx a distinctive character. Last, —All sounds are sent through the mouth, which i com: posed of varius movable parts, the palate, tongue, jaw, and ‘the special function of these parts is to give precision to the vowels, and to complete the process of articulation by the additan of consonants, (CHAPTER IL Before we proceed further to describe the functions failed by the vocal organs, we shall trace a sketch of the differnt classes fof vocal sounds, which are to form the subject of our subsequent studies Experience proves that every variety of sound (including aot only the singing voice, throughout its whole extent, but even the shiek, and the speaking voie) isthe result ofa few peimitive and fandamental laws, and may be classified accorling to register, timbre, a intensity L—The registers are as flloes:— “The Chest. The Meum, ‘The Mead T.—The leading qualities of the voice are two,—the clear or ‘open, and the sombre oF lose. T1—There are different characters of voice, such as brightness for dalnes, as well as different degrees of volume and intensity. ‘Our first object is to ascertain how these results are produce. Avpanarus L—The Langs ‘The lungs arcenclosed by the ribs, and rest upon the diaphragm, which wholly separates them from the abdomen. The develop- ‘ment of the lings in the act of inspiration, may be effected down- wards, by the contraction of the diaphragm, and laterally by the Gistention of the ribs. Whether these two operatious could be performed independently of each other, is at least doubtful; but four opinion that perfect inspiration depends upon ther united action. Apparatus T.—The Lary. ‘The laryn, which is immediately dependent on the respiratory apparatus, forms the registers, the different degrees of brightness ‘anil dulness of sounds, and the volume and intensity ofthe voice, vite by eontttng ad enaeging ap to modily Bs wale ad aquaty of ie weeAppasros IIL—The Phayynx, ‘The pharynx i the organ which not oaly gives volume to the voice, through expansion, but also confers the various qualities or timbres on the sounds issuing from the larynx, besides helping to form the vowels, CHAPTER IL (Ox Te romsesti0N ov SOUNDS. ‘The question now very naturally occurs;—by what mechanical action ithe voier formed? The answer is this:~it is solely formed by periodical compressions and expansions of air during its exit from the glottis. The two small intemal lips inthe larynx, which ‘combine to form the glottis, or passage for the breath, clase one ‘upon the other, causing below them an accumulation of air, whieh, ‘owing to the pressure it there undergoes, acquires elasticity, and fseapes, with the sudden expansion of the glottis, through the lips, ‘The alternate contractions and dilation, causing successive and regular expansions of air, give origin tothe voice, and on the rapidity ‘with which the glottis opens and closes, depends the pitch of sound.* 1 The following is the process by which tle glottis shortens its dimensions. "The moment it emits a sound, it changes the triangular form, which t holds during repose, forthe linear form, which it assumes during vocal action : and ite sides firmly fixed, and meeting at their extremitie, leave towards the centr alone, 8 space for the escape of ait, when required. Tt is the back extremities, however, which alone have the power of motion ; the front extromiles are always fixed. When the deepest nate of the voice isto be produced, the sides of the glottis in ation through ‘oat their fall extent; tht is, oth the carlaginous and tendinous portions are set in motion: but as the voice begins to ascend, the ‘artlaginows portions come progressively forward into contact from the back, til they meet throughout their entire length. This ‘movement, of course, gradually diminishes the length of the glottis, reducing it to the dimensions that can be given to it by the ‘endinows parts alone; which latter, being acted on from behind, still further lessen the length of the vibratory orice Fommartox oF REGISTERS. “The word register means series of consecutive and homogeneous sounds produced by the same mechanism, and differing essentially from other sounds originating in mechanical means ofa different ind “The chest-voice, which has much greater power of vibration than ‘the medium, requires, accordingly, a more determined contraction bf the glottis; and this contraction is most ally effected by the ‘enunciation of the vowel E. The medium is generally the more Veiled ofthe two, and requires greater expenditure of air. These 1 their lower notes et in vibration the entire lengt ‘and, as we have before observed, the gradual 1s. ‘ending of the sounds inthe vocal scale causes the cartilages to feome more and more into contact, the vibration being elected at fast by the tondonsalone, "By the latter the glotis forms in &male voices, the notes called head register. Forxavtox oF Tiuaaes. Many diferent causes tend to modify the timbre of the voice Firsl Those ofa fixed nature, by which each individual oie is characterised, a8 form, capacity, volume, firmness and the healthy for unhealthy state of the vocal organ. Seiondly.—Accordingly as the glottis closes or hall opens, the sours produced willbe either bright or dul. Thirdly.—The folds or upper tendons surrounding it may either, by retiring, add volume to the sounds, or, by closing, product ‘a stied tone, ‘Fourthly.—The directions which sounds take in the vocal tube, during emission whether through the nose ormeuth,—the shapeand capacity of that tube, action of the soft palate,—width between the upper and lowor jaws,—pestion of te lips—and lastly, the levation and depression ofthe tongue. The moment that a sound is emitted, it becomes subject to the infuence of the vocal tube ‘through which it passes; which tube, having the power of lengthen- ing of shortening, contracting or expanding, and of changing its curvilinear form to that of aright angle, most perfectly ful the function of a reflector tothe voice. Hence the varietis of tine wll correspond to the maltitadinow® mechanical changes of wiich the vocal tube is susceptible. Wo shall understand these move- rents fwe consider the vocal tubeasa deep and highly-clastc pipe, beginning below at the larynx, forming a curve at the arch of the palate, and ending above at the mouth;—a tube, which, when at Hts shortest dimension, formscnlya slight curve, and at its longest, nearly right angle; the larynx in the fist case ising towards the soft palate, and the latter, dropping to meet it; whereas, in the second case, the larynx drops, and the soft palate rises; thus ‘making the distance between thom greater. The short and gently- curved shape produces the clear timbre, while the sombre is caused by the lengthened and srongly-curved form, ‘The clear timbre imparts much brillancy to the chest register, but when exaggerated makes the voice shricky and abril; whereas the sombre gives it breadth and roundness —for by means of the Jatter only, thevich quality of the voices obtained. This, however, ‘when exaggerated, mufles the sounds, and makes them dull and hoarse ‘The effct islets observablein the low than in the high portions ofthe voice. Intensity and Volume of Voice. Intensity depends on the force with which the aire driven from the lang, and on the amplitude ofthe vibrations which it can give to the voral cords, as well as on the siesof the larynx, thorax, lungs, pharyax and nasal cavities, The glottis should close entirely after each vibration, otherwise the waste of breath would produes weal, not strong notes The glotis must therefore offer resistance in proportion tothe pressure given tothe aie. Volume depends on the cavity formed above the glottis CHAPTER Jv, Quatinicarions oF tue Perit, ‘The frst essential for every singer ismind then a true love for ‘musi, perfect ability to sing in tune, and the memory both of relodies and harmonic combinations. "As regards physical quali cations the first in importance is the voice itself, which should be fresh, flexible, sympathetic, of good compas, powerful and sweet : and next to tis, ahealthy, vigorous constitution. Let us not be misunderstood: we do not mean that if even all these natural gts were (whichis rarely the case) combined in a single individual, real musical talent would be the result; for to attain Hat, even the best, natural capacities require judicious direction, steady and long-con- tinued cultivation. A singer who has no knowledge of the means by which vocal effects are produced, and ofthe intricacies ofthe at he profeses, is merely the slave of routine, and will never become great and distinguished in his profession, His talent must be cultivated from youth, by a genaral ae well as special education. ‘The special education of @ singer comprises not only the study of soffgei, but that of some musical instrument, especially the pianoforte, of vocal musi, and of harmony asa science. The ast ‘enables him to adapt songs and parts he has to execute, to the ‘compass and character of his voiee,to embellish them, and bring fut ther peculiar beauties Moreover, itis only by the knowledge ff harmony that a singer is able to vary his songs extempo- rancously,—whether forthe purpose of enlivening the effect, or of Slcifully passing over a dificule passage, when, through temporary illness, the voice loses some of itsnotes. This often occurs with‘opera singers, and proves theartist's proficiency. The human voice in its natural state is often unequal, tremulous, unsteady, heavy, and of small compass. Well-drected and persevering study can alone ensure correct” intonation,—perfect the mellowness and intensity of the sounds,—level irregularities of the registers, and, by uniting these, extend the compass; besides which, itis only by means of study that « singer ean acquire flexibility and rapidity ‘of exzcution. In al eases, severe exercises requisite, not only for still, rebellious voices, but als for those which, being naturally exible, are yet il-governed and are therefore deficient in neatness, breadth and firmness,—all which are necessary elements of good ‘musical accent and style Freshness and steadiness are the most valuable properties of a voies, but are also the most delicate, easily injured, and quickly lost ‘When once impaired they are never to be restored; and this is Precisely the conditionof voice which issaid tobe" broken.” This prostration of the voeal organs occasionally occurs even during the period of study; in which case, if i be not the result of organic Aisease, it may be attributed to injudicious vocal education; for whether thenature ofthe organ as been mistaken by the instructor, or he has attempted by obstinate perseverance to convert a low voice into a high one,the error is equally disastrous; the result of the latter especially being, utterly to destroy the voice. The reat object ofsudy is, to develop the natural gifts of an organ: motto transform or extend thom Beyond ther power ov capability. Let us ‘dd that singers wnose interests are vitally concerned in maintain- Jing the health and soundness of thir vocal instrument, wil at ance ‘comprehend the importance of guarding it from injury. The singer should shun all excesses whatever, whether of diet, habits or [general conduct; for every one of ‘these must produce injurious ‘effets. A voice may also be seriously impaired by too feequently using the high notes in both ehest and head registers; by exaggera- ting the timéres, and the force of the high nots (the sombre quality requiring more exertion than the clear); by loud and continued Taughter; by animated discourse, 8; all of which excesses cause temporary fatigue to the orgin—and, if often renewed, will inevitably destroy i. CHAPTER Vv, Crassincaniox oF Cuttvaren Vo1ces The Female Vote. ‘Women's voices are divided into four classes: The Contralo,—oceapying the lowest place in the female vocal scale ‘The Mezzo-Soprano,—occupying a place one-third above the Contralt, “The Soprano,—one-thied above the Mezz0-Soprano, ‘The Soprano-sopracuto,—holding the highest place in the sale; ‘one-third above the Soprano;—these last-named are Very rare Chest Register CContrlto voices, to which the chest register belongs more excla- sively, are masculine, strong, and weighty? power, fulness and ex- pression, form their characteristics. This register is less important ‘with mezzo-sopranos and sopranos; nevertheless itis essentially the basis ofthe female voee, ast is also that of the male. The com- ‘pas ofthis egster, inclusive of the deepest voices, sas fllows:— z= Whichever may be the lowest note of this register, the highest should rarely or never go vent SS} because any attemp: to attain the sounds above, might occasion the entire loss of the Medison Register. In all female voices, this register seldom varies in its compass though it does greatly in power and sweetness, The medium rdrises fully as high, asthe chest fe gemly weak, and devoid of feling and energy Te will bs seen from the preceding observations, that, although Doth the chest and medium registers have the same compas, thelr employment is not a matter of indilference; for the character of Sonorousntss belonging to the one, is exactly opposite to that of the other; the chest register being vigorous, penetrating, ead adapted to the expression of impassioned dnd energetic fecings ‘whereas the mediam is veiled and soft, and suited tothe expression. of the milder sentiments, or of rastfained grief. Independently, however, of these considerations, the following directions are, i fr opinion, important to female singers The notes— ‘produced in the chest register, require such an amount of effort, ‘that two or three sears of such exercise would sufice to injure the voice, perhaps irteparably; whereas the samenotes in the medium register ave sung with ease. In order, therefore, to avoid weakness in the low notes of the seale the compass in question should be formed by the inion of the two registers, — Mediom ‘Frod =e We reserve fer sounds cemnon to the eegiters, retaining thas tne power of changing the regsters om anyone ofthese note Head Regis. Supran wices owe ther bilaney principally to the ese with which the high sounds are produced; they ate comparatively watintielowrove, Thengitacsetton $5 The Male Voice. ‘The compass and character of male voicss may be classed as follows:— ‘The Bass,—oceupying the lowest place In the vocal scale The Bavitone,—one-third above the Bass ‘The Tenor,—one-third above the Baritone The Bass Bass singers ought to confine their voices to the chest register, Which, in the most fortunate case, extends fom ao The Baritone. ‘This voice, whigh has less fallness than the bas, is sich and right, and extend trom Lea et ae eS =. The Toner ‘This voice, though possessing less volume than that laste ‘mentioned, is brighter, and more manageable in the upper pats; ts compass seldom extends to two octaves. ‘Cat, ee teIt is easier for tenors, than baritones, to combine the falsetto and the chest registers, but this resource should always depend on the facility of the organ to blend the timbre of the two registers; otherwise, however well the transition from one to the other may ‘be disguised, the inequality of the sounds will destroy the unity of the effect. CHAPTER VL Ow THE matssiow ax THE quatmes oF Voices. In this chapter we intend to treat on the quality of voices. AIL ‘uncultivated voices have,withont exception, certain marked defects, or, at all events, are less developed in parts than their possibly fine ‘qualities may deserve. Some, for instance, are tremulous; others rasa, gttural, veiled, harsh, &c-; while many are deficient in power, compass, steadines, lasticity, and mellowness. It is the basinese of the master to correct these faults, whether natural or acquired, and in counteracting them, to prevent the formation of others; also to discover and develop those qualities which will combine the greatest aumber of beauties and advantages ‘That sound is specially to be preferred, which is round, ringing, and melion. Other qualities of the voice—useful in their way— ‘and which serve to express the passions, will be discussed, when ‘we come to speak of Expression. There are several defects caleu- lated to injure the beauty of the voice; the most common of which we shall at once point out, and at the same time show the best means of correcting them. Guutural Tire. ‘Whenever the tongue risesat it base, it drives back the epiglottis fn the columa of ascending air, and causes the wice to be emitted with a guttural choked sound, The best method of correcting this defective timbre isto keep the tongue flat asin yawning. Nasal Timbre. ‘When the oft palate is too much relaxed, the voice will acquire fa nasal character: forthe column of air is echood immediately in ‘the nasal cavities, before being emitted by the mouth ; on pinching the nostrils, we may perceive whethor the column of air on leaving the larynx is directed agsinstche masa cavities before entering the ‘mouth, or whether ie passes immediately through this hater cavity. ‘The way to cortect this fault, is simply to raise the soft palate By inhaling doeply, with the moush well opened. Cavernous or hollow sounding Timbre, ‘The voice will bacome dull and cavernous, if any obstacle be offered to the progres of the waves of sound; the rising of the tongue at its point is alone suicient to produce this effcet, The swelling ofthe tonsils may aso present another obstacle, and give ‘the voice a mufiled characte; thisswelling, to which young persons fare linble, presents an obstacle for forming the head-voiee, and ‘extending its compass Veiled Sound, {in explaining how the guttural, nasal, and cavernous voice is pro duced, we have at the same time shewn how to avoid it; we need tuerefore only add, thatthe least endurable ofall the qualities of voice, i that which is open, and yet has no Drillianey. Be it re- ‘membered, however, that the veiled quality ofthe vole may be cor- rected by firmly contracting the glottis, which is best effected by ‘pronouncing the vow E. The Breath ‘Nopersonsean ever Decome accomplished singers untilthey possess entire control over the breath—the very clement of sound. In order that the langs may frely receive external ar, the chest must be sulficiently capacious to allow of thei full dilatation ; and in ceffceting this, the diaphragm—which is a wide convex muscle separating the lungs from the cavity ofthe abdomen—plays an im- portant part. The action of breathing oonsists of two separate operations—the frst being that of inspiration, by which the lungs ‘aw in the external air; and the second, that of expiration, by ‘which they give out again th ar just inspired ‘To ensure easy inspiration, it is requisite that the head be erect, the shoulders thrown back without stifinst, andthe chest expanded. ‘The diaphragm shoald be lowered without any jerk, andthe chest regularly and slowly raised, This double movement enlarges the compass or circumference ofthe lungs; ist, at ther base and sub- sequently throughout thei whole extent, leaving them fall Uberty to-expand, antl they are completly led with air. When the lungs have been gradually filled, without any jerking movement, they have the power of retaining the airwithout fatigue: thisslow and complete inspirations what the Ttalians teem Respiro, as contrasted with that slight and hurtied inspiration which gives the lungs a slight supply, mercly sufficient for a moment, and technically termed the Mezzo Respiro. In neither case, however, should the passage of the ai through the glottis be attended by any noise, 36, besides being offensive to the car, it would make the throat both dry and sit. Of course the mechanical act of expiration is precisely the reverse of inspiration, consisting simply in cffeeting a gentle, gradual pressure ofthe thorax and diaphragm on the lungs, when charged ‘with air: forif the movements of the sbsandofthediaphragm were to take place suddenly, they would cause the ir to ecape all at once. ‘We would remark, that by submitting the lungs to a particular exorcise, their power and clastcity will greatly inerease. This, exercie, consists of four distinct operations now to be dssribed Firt.—The pupil should gently and slowly inhale for a few seconds, as much airs the chest can well contain, Sccondly.—AMter taking a deep breath the air should be exhaled again very gently and slowly. ‘Thiedly.—Fill the lungs, and keep them inflated for the longest possible time. And, Fourthly Exhale completely, and leave the chest empty as long asthe physical powsrs will eonvenientlyallow, tmst be confesrd that allthosexcrcise areat first extremuly exhausting, and must be separately practised, after long intervals of rest. The two first, hovwever,—tamely, the gentle inspirations and expirations—wil be more oqually effected by nearly closing the mouth, in sich away as toleaveconly a very slight aperture forthe passage of air. By these ‘means, the pupil will acquire steadiness of voiee,—a subject that we shall revert to hereafter. The breath influences the mode oF character of vocal exzeution ; being eapable of rendering it either steady or vacilating, connected or unconnected, powerfl o feeble, cexpreisive or the reverse Opening ofthe Mouth, 1 is generally believed that the more we open our mouth, the more casily and powerfully can sounds be emitted ; but thisis quite mistake. Too large a separation of the jaws tightens the pharynx, and consquently stops all vibration of the voice; depriving the harynx of ts vault-like, esonant form. If the toeth be too much losed, the voice will asume a grating character, somewhat like the cilect produced by singing through a.com. By projecting the lips in a funnel shape, the notes become heavy. When the mouth assumes an oval shape, like that ofa fsh, the voice is rendered dl, andgloomy; the vowels are imperfectly articulated, and al bt indis- tinguishable; besides which, the face has a hard, cold, and most wn- pleasing expression. To open the mouth, the lower jaw should be Allowed to fal by its own weight, while the comers of the lips retine Slightly. “This movement, which keeps the lips gontly’ pressed against the toeth, opens the mouth in just proportions, and gives ‘an agreeable form. The tongue should be loose and motionless, without any attempt to alee itat cther extremity; the maseles of the throat should be relaxed.Articulation of the Glos ‘The pupil being thus prepared, should inhale slowly, and then ‘emit the sounds by a neat stroke of the glottis, upon the broad Italian vows! 4.° This movementif properly executed, resembles the action of the lips when emphasizing the letter P. “The pupil must be warned agninst making an exaggerated sound fas if coughing violently, This coughing out the nots causes a ‘teat loss of breath, rendering che sound aspirated and uncertain intone Care mist be taken to pitch the sound at once, and nat slur up to The Female Voice. ‘Females should first attempt the chest hotes, which are generally found the ‘easiest to produce ;and if well managed, ©) fag p= ES thesound wil ome out pure and ringing.’ ‘These notes must nat be held Long bt be repeated several timesin succession. The pupl aay, thon ascend by asonesto == ater which she may de scondalso by hal-tonesas owas the voice wil permit, Thehigher the Hea ald nets alae eee de Ee se Soe crea oe ae Seat ee pupil should never jn studying pass = We are now to consider the female medium voice, Sometimes the notes from @)—=—ta-E= are dificult to fx, in consequence oftheir extreme fezbleness, In this case, a before, recourse must Joe had to some easier and’ more spontaneous sound defonging £0 the same register, which will nevssarily be a higher one. The voice must descend to the difteult nate, by a welhmarked ut. HEthe sovnds in question be particularly weak and veiled, the most eficient method to reinforce and brighten them, is ¢0 attack each soccesively on every Italian vowel, by an energetic and ‘hort articulation of the elotis: eS Ss a SES SE 1 the quality of the soundsshould be thin and childlige (whieh is not infrequent), this may be corrected by using the closed timbre with Une vowel A, bal © (aw), This process must some times be extended to the extreme notes of the medium register, GZ because, if not rounded, they form $00 great @ 7 contrast withthe ist notes Ge the head, which are round and clear, All the sounds of the head register below D may be neglected fas useless This register quickly exhausts the breath—an ine ‘convenience which time, and the power of contracting the glotis, can alone remedy. The most essential feature of the head-voice fs roundness. Sometimes this register is thin, caving to the youth of the pupil, in which ease she must wait for age to strengthen the organ. Inother case, thie thinness of tone must be attributed ‘to wait of skill; t0 correct it, the voice must be directed towards ‘the summit of thephazynx: in no ase should any noteabove G be taken: more voices have bein ruined by the injuicious use of hhigh sounds than even by age, The general belie is, that high tones are lest for want of practice; but in point of fact, they ‘ought to be carefully economised, even by voices whose pitch naturally very high,—nor, until the throat has acquired great Aebility, should a pupil be allowed to exceed the limits we lay, down, The trial is not to be made by means of sustained note, but by passages; for though it is easy to reach a sound in the excitement ofa roulade, it would be dificult to produce the same note singly: these trials, however, must be made with great caution ; and each note conquered should be allowed timcto become firm before the next above is attempted; for the formation of the throat must of necessity undergo certain modifications during te process, which canaot immediately be ‘endered firm and orm The Male Voice. Although the foregoing observations apply to male voices as wel, the following additional remarks must beattended to. Bastes should of tenors, offer @ phenomenon worthy of attention, Unless care bbe taken, it becomes very difficult to produce them of a clear quality; the larynx always tending to render them sombre, and they are a source of trouble to the singer. The only way to combat this tendency, and give fisinese to. voice, i to employ the clear timbee, emitting the Italian & and E with more and tore openness, snd tenors “6 too thin, The reader will remark that the word rounding, and rot closing, i here used. The sombre timbre in these sounds, should not’ be practised til a pupil has mastered the bright timbre, which is most dificult t0 attain in this part of the vocal sale. Ith eaution be neglected, Uhre is risk of the voice Being veiled or mufied The bright timbre alone can make the voice light and penetrat- Jing; but bass voices should, without exception, abandon it on reaching, QJ nor sould tenors ws above A= Union of the Registers. When the chest-voiee is once firmly established (which it should be in a few days), the pupil must immediately endeavour to unite that register with the next. Oevasivnally, indeed, nature his herself undertaken this task; but voices thus favoured are rae. To the pupil, this study isalmost always disagreeable; the master Bass singers should begin to round gently at for the actual clear quality would bemust therefore skilfully direct it according to the natute of the voice he is cultivating. Exercises for uniting the registers should ‘be chiefly confined tothe following notes: and performed by passing alternately and uninterruptedly fom fone register to the other. This should at first be practised seldom, and executed slowiy, as the rapidity and number of the sounds can b afterwards increased. Neither need the pupil fear boldly to attack the kind of hiccup which occur in passing from ‘one register to the other; constant exercise alone can overcome this dificulty. Chest a well ax medium sounds should be emitted with all the energy of which they are capable; nor should strong sounds be reduced to assimilate with weaker one, as that would only impoverish the voice. Tn passing to medium sounds, care must be taken not to aspirate them. In uniting the medium and head registers, the pharynx must asoume that form required for the closed timbre, CHAPTER VIL Oy Vocatizart0N on ActtrTy, By vocalization Is meant the connecting of various sounds on any particular vowel; and this may be accomplished in five ‘iflerent ways, viz. — Glided or Slated (Com Povtament) Smooth (Legato Marked + + (farcaioy Deeached |! (Pickett) Aspirated (aspirao ‘These modes of vocalization are greatly dependent ea the manner in which the lungs glottis, and pharyox, perform theit functions, Glided or Starred (Con Portamento}. ‘To slur is to conduct the voice from one note to another through all intermediate sounds. The time oceupied by a slut should be taken from the last portionf the note quitted; and iss rapidity will depend on the kind of expression required by any ‘passige in which it oceurs, This dragsing of notes will asst in ‘equalising tne registers, timbres, and power of the voce. Tt must bbe made, also, 19 preserve an equable and progressive motion, whether in ascending or descending; for, if one part of the slut were executed slowly, and the other rapidly, or if the voice sunk to rise again directly afterwards, the efect produced woold be perfectly detestable. Tn the ascending slur, the rap most avoid ‘opening the vowel; it would be better to close it sighiy. The talesNo, 23 t0 27 inclsive—are appropriate exerites fer ‘giving power and promptitude tothe aut, which is indicated By the following sign? —— ‘Above all, lamers should avoid taking notes with a slur; this is a very common and prevailing fat in bad singers ‘Smooth (Legato) To sing lgato means to pass from one sound to another im a neat, sudden, and smooth manner, without interrupting the fow ‘of woioe: yet not allowing it to drag or slur over any intermediate sound, Tn this cas, as with the slurred sounds, the ar must be subjected to a regular snd continuous pressure, 30 a8 intimately to unite all the notes with each cher, As an example of this, we ray instance the organ and other wind instruments, which consect sounds together without either portamento ot Break >this result forms the leading characteristics of vocalization, every other being only a variety used to colour it Tn order that smooth vocalization may combine every essential, the intonation must be perfect; the notes should be equal in power, value, and timbre—they should be united in the same agree of smoothness. Sometimes vocalization is trembling, indistinet, and gling,—faults which may be cured by marking the notes, or, if necessary, by the more efiient method of singing them staccato By no means should notes be aspirated For instance tego? Perch eheheha deteeta Instead of Poneto mee ‘The dragged or slurred vocalization ought to be used for ‘oncting this new fault. Legato vocaliration being the most frequently used, needs no sign to indiate it; pupils should there= fore be warmed against singing stacats, slurred, marked, ot datacreh.any notes in plain passage Marked (Marcato). To mark sounds is to aya partieular stress on each, without detaching them from one another: this willbe attained by giving fa pessare to the hinge: and by dilating the pharynx, as if repeating the some vowel for every notes the pasage,—which is in effect done. Example: ‘Marked vocalization helps to bring out the voice, and to correct ‘he habit of gliding notes. Dull voices have no better method of articulating notes. It is, besides, a principal resource for giving colour and eflet to florid passages. This style is chiefly adapted to diatonic scales, the notes of which ought to be retarded a Iitle towards the end: — = ‘We must be careful not to confound marked sounds with aspicated sounds The first are produced by an elastic impulsion given on Starting with cach note, while the sounds all remain united; aspirated notes on the contrary, allow the byeath to escape between them, detracting from their purity, and very rapidly exhausting the lungs. Marked sounds are indicated by dots, and a tie:— Detached (Pichettao.) ‘To detach sounds so utter eae individually by a distinct stroke of the glottis, and to separate them from one another by a slight pause. If, instead of leaving them immediately, they receive a Slight prolongation, a kind of echo is produced. The fist of these isindicated by dots; the econd by dashos placed over the notes 2 [Bosdes the ela which these accents impact to a passage, wien ‘used with taste, they help to give elasticity to stil ehroatsAspirated (Aspirato). This is done by simply producing rapid suocessions of notes each repzated but once; ‘Such ate performed by slightly breathing out the repeated notes 4 minute portion of insonorous air being allowed to escape tough the glottis at each aspirated sound, renders them perfectly dstinet whereas, in rapid passages, ifthe notes were blended together, the repetitions would be aterly confused and indistinct. Were it posible to give a representation of the diflerent modes of executing a passage we shoal do it thus: Smooth Sounds Marked Sound ‘These four ways of vocaliing, should be exercised on every vowel fn turn, through the entire compass of the voice, with varying degrees’ of power, at all rates of speed, and by introducing suspensions. ‘This comprehensive mode of studying enables the organ 10 pass with promptnessand flexibility through all varietios of fxtonations; it equalizes the voeal instrument, and, without straining it, makes fits whole extent familiar to the pupil CHAPTER VIII. OnseRvATiONs oN THE ADE OF STUDYING THE ExERcises, The following exercises arw classed in the order which seemed most rational the author; but each singing master ean edainge it, and emit any part, as he pleases, according to his pupil's ‘quirements. Equabiity of voice is absolutely requisite: and in order to attain it, every exercise should be transposed into as many keys 88 the ‘cmpass ofthe Voice will, with ease, admit of, eare being of course taken never to exceed this. The pupil's frst elementary practice should not last move than, five or six minutes; but this may be repeated after long intervals, several times daring the day ina few weeks,—though only by very slow degres,—the length of the time may be extended, bat mast not exesed halfan-hour; alter five or six months, the half-houre fexercies may be repeated four times daily, aot more; and after intervals which must be sufficient long to rest the voeal organs. “Bach day's study must commence with the emission of sustained notes ofthe voice. We shall not inthe fist instance, ceupy ours Selves with the messed voce (welled notes), which will be treated Of at A more advanoed part of our system of instruction. The power of willing notes is the result of all other studies, and the attnbute ofan experienced, finished singer. This study, if too early attempted, would only tte, not instruct the pupil While singing ex'reiscs, a papil should keep the samo timbre, 3s ‘well as equal power and valve, throughout every sound; he should Also avoid breathing abcuptly in the middle of a pacsage,—ilie proper method being to stop after the fist nove of any bar, breathe uring is remainder, and start fom the note just quitted. Th Sgt be exeuted ho 6 Feet 6 portly lee orci mat at fst be ung tly and divided by nations talons he Bat note of every bar dually the psy of 9 ‘execution must be increased, andinhaling become les frequent, tntit ‘whole passages are sung rapidly in one breath. In any ease, the duration of a breath should never exceed its natural limit. "The superabundant quantity of air which remains in the lungs, should never be allowed to escape after a note, Maclet’s Metronome will be found of great servies in studying flexibility: and soprano voices ought to be able to go as high as d= 182, Tn the following exercises, transitions from the chest to the medium registers, and viee-vers will frequently cour. Far form stich trusitions being aveided, they should be boldly attacked, and ‘he dlficalty patiently overcome. Time and perseverance alone can styvoth down the unpleasant break between these registers Tt is much more dificult to vocalize ascending than doending ‘passages; the time is slackened in the former, and acederated in ‘the latter; both faults will be corrected by giving equal power to all the notes, and Kevping them pertecely smooth and distinct, Exercises presenting the interval ofa trifone (included between the fourth and seventh degrees), deserve special study. The three consecutive whale foes have a harsh sound, and pupils are always tempted to lover the augmented fourth by «semitone; this lowering givesa modulation, which should beaveided on every occasion where ieisnot marked. Fourths and fifths also, ae dificult to sing aceu- rely, and require careful exerese. ‘Should the lowest sounds of a scale glide, they should beslackened jn time, and accented, with @ pause on the last note but one. Example: — In exercises, ar, 22, we have mde the last note oF each seale as short a5 the rest, oUF object being, to have it quit ime amoditely? fri, im the course of practic, a pupil should contact the habit of drawling out the last note, this habit will inevitably Adhere to his style of singin The halftone Between the third and fourth, and seventh and sighth dgeee il be eoroetly enunciated, if asinger only take care tokeep the third andseventh high. In Hheseintonations (the seventh speck) less harm will be done by excess, than by want of le tation though the contrary would bo ths ease sm going from the fourth to the third, and from the sctawe to the seventh digres. ‘When a descending scale ist, we may be entain that the semic tones are too wide—in other words, that the third and seventh egies are too Ine. When the time oft sal is acelrated, the first note of which i held (as inexereisce 18, 28nd 109), itis fic cult to quit this fest note at the proper moment, and thusits value is almost exaggerated. This fault, of course, retards the time, which ought to be clearly marked, as soon as the fst note has Ten uttered. In examples 34-42, the frst and third bars may be united in a single breath, by omitting the intervening Dar, and accompanying cach pasage By a single chord ‘The notes of the triplets (Nos. 37,38, &.) should bo all three equal in value; to succeed in this,an emphass should be given to fhe inastieuated note, which i generally the second. The character of a triplet demands, beside, the accentuation of the first note, Passages of six notes are to be accentuated, not by threes, which would give to them the character of triplets, but by groups of two or six notes; to mark the rhythm, the fist note of th group should gencrally be accentuated ~ As soon a8 pupil has porfoetly acquined the pure pronunciation ofthe Italian letter @ (Eng. "aX ") it wil bo time to practies en ¢ (Eng “2”).ando i (Eng.""e”)and (Eng. "00" too, will require stuly, but only so far as may be requisite to accustom the voice fo produce them properly ‘The papil should put down in writing all passages shat perplex him; by so doing he will save Both time and fatigue of woe,CHAPTER IX. EXERCISES ON VOCALIZATION. Exercises to unite the chest and medium registers, Medion pe Fhe. tho aos over anote. Examples:— > "> - geet = Ze 7 . Srrsrr> FP gr FS z The pupil must not make one general crews and dim,or oice rersa,to.a Whole passage, until he has mastered the inflections. Next follow staccato sounds. that is to say, notes separated from others in passages consisting of exer cises of four, Six and eight notes. Legato and staccato notes must also be combined,just as we have combined pianos and fortes, for instance, the second or third note may each time be detached, while the others “ remain legato. Two may’ be legato,and three staccato, then three of each sort, and soon through all the possible combinations. Examples a= i ARPEGGIOS, In singing arpeggios the voice shou!d pass with firmness and precision from note to note, whatever their dis. tance from eack other, neither detaching nor slurring, but uniting them smoothly, In order to do thisyeach sound must be quitted as Soon as touched. Exercises of 4 notes. iin BOR RRR an 15 izold Exercises of 6 notes. 117, 18. 7. f 18. Exercises of 8 notes.& oe = “ ep =— eae 122)MINOR SCALES. 126.aL SCALES AND CHROMATIC PASSAGES. If irreproachable correctness of intonation, equality and purity of sounds,constitute the perfectionof every rocelised pastage, these qualities are absolutely’ indispensable in scales and chromatic passages, which being the most difficult to sing, and to master, are not agreeable to a listener unless the notes are so clearly and distinct- ly articulated that each one may be counted. The exact division of any interval whatever into semitones, re. quires both great firmness of voice and exquisite feeling of intonation, for however little it may falterwrery interval will become either too much increased or diminished; the singer in the first instance exceeds, in the second does not attain the number of sounds forming the interval, and in either case the result will be unpleas ing from the effect produced by singing out of tune. A student in order to acquire delicacy and precision . of intonation, must study chromatic passages very slowly, and even afterwards in songs, should avoid executing them very ‘rapidly, if he wish them to be pure. Besides singing slowly during the period of study,he ought to assist himself by dividing the proposed passage into groups of two, three,or four notes,as required, and counting them mentally, making the first of each group fall on the beat. These exercises, ike those preced- ing, should be transposed by semitones. The chromatic scale can be adapted to every key, but, if a pupil should hecome confused, and his voice lose its accuracy of intonation; as a temporary help,during the first exercises, a scale should be played on the piano while sung by the student. AS soon, however, as a learner's ear can regulate the intonation, the singer's part should no longer be played, but chords substituted. CHROMATIC SCALES.32 134] 136. 137 136. 137. 138. 138. 139. 139.Seadiness of Voice ‘True intonation, unchangeable firmness, and perfect harmony of the timbres, constitute steadiness of voice, This important quality, which forms the foundation of & good style of singing, a8 rare as {tis valuable. All those who force their voice out by sudden start, ‘or allow it to die away, and those who unnecessarily change the timbre, and break up into fragments the melody they exeette, are deficient in steadiness of sound. ‘This fault is attribatable to three leading cxases: fist, to vacilation ofthe glottis, By which the intonation becomes untrue; secondly, to an inegular rush of breath, which makes the sounds unsteady; thirdly, co various changes of the pharynx, producing constant diferenees in the timbres, and destroying all unity of colering {A well-sustained play ofthe respiratory organo fm contraction fof the glottis—a free movement of the pharynx (mechanical acts that should be quite independent of each other, yet regulate, in their combined action, by the requirement of the passaze)—con- stitute those mechanical means by Which steadiness of voice can be attained, Sustained Sounds. ‘The study of sustained sounds depends on the principles laid ‘down in these sections which treat of the breath snd steadiness of voice, There are four varicties of sustained sounds: fist, sounds held on with equal powsr; secondly, swellsd sounds; thirdly, swuled notes with inftions; fourthly, repeated sounds, Sustained Notes of equal power, “These sounds, are sastaned with undeviating steadiness, whether taken piano, mezzo-fort, of forte. Swuled Sounds.—(Messa di vors.) ‘These sounds begin pianssimo, and are increased by degres, till they attain their utmost intensity, which occurs when they have reached half their ngth; after which, dy gradually diminish in over, vot! all sound at last disappears. They are indicated by the following marks: ——== —=—— These sounds, when first ractived, should be divided, one breath carrying the voice from planisino to fort, the next from forte to planssimo; one study, Js quite as necessary as the other. During pinnissimo practic, the pharynx willbe reduced to its smallest dimensions, aad wil diate in proportion to the increasing intensity of sound; returning afterwards by degroes to its original ‘tiapo, as the sound becomes weaker. Care must bo taken neith.e tosaite nor lower the intonation, while strengthening or diminish ing the notes, The vowsol must on no account be altered. We again warn sigers not to fel fo thie note by surring upto it, noe to take it with a sock of ait from the chest, but to begin it at ‘once with a neat stroke of the glottis Care should be also taken, after the voice ceases, to avoid sighing out the remaining breath from the ngs; these should never be completely exhausted, But a sficient reserve of breath kept to terminate a note or passage ly. 33, Groat difficulty is usually found in swelling the same sounds ‘through boc registers: and this is especially the case with female voices in the following compass:— ‘They stouid commerce the piano sornd in the medium register; for, by this plan, tho larynx will be fixed, and the pharyme tightened. This dons, without varying the pesition, and conse quently the timbre, the pupil will pass on to the chest rogistr, fixing the Iarynx more and more, so at te prevent it from making that sudden and rapid movement which produces the hiccup, ot the moment ef losviog one register for another, To iminish Une sornd, the reverse must be done: Swellsd Sounds sith Infections or Echoot Notes, ‘These consist in an uniformly contined sorics of small swelled sounds, multiplied to as great an extent as she breath wil alow. These infections may be arranged in diffrent ways that i, they’ may be of gual derstion and power; may fllow an increasing ot Aecreasing progression; arvd soon. Great singers usually employ ‘them according to the following method:—they fist hold out a sustained sound, with a third of the breath, which sound is followed by another of less power and dation; after which follows 1 long succession of echoes, beconing gradvally weaker a5 thes approach the end—the lat, indeed, ca scarcely bo hear. The thioat must comtract and dilate with elasticity a each incticn. Repeated Notes, [Notes repeated while remaining on the same vowel, constitute a variety of sustained sounds; but, in this rac, the voice performs, without interruption, a series of purcussions, iv anor € subivie the uote which at fist would have been a sustained one. Each percussion is effcted by the articulation of the glotis. These movements areslight and rapid; and prodice a sort of appoggiatura, fof ess than a quartertone below, for cach repetition, These articulations must neither be aspirated, nor 4 mere trembling of the voice, The pereussions not being perceptible and pleasing unless produced by light voices, are only sultable te women and to pro- Adace a fine floc, shey showld never exceed four semiquavers for each beat of No. 100 on Macze's Metronome; Also, should always be smooth and delicate + Some author cl this mhing he wie leat, ad indicts i ect Gee ee34 SWELLED SOUNDS. > a> SS EXERCISES ON REPEATED SOUNDS.EXERCISES ON ASPIRATED SOUNDS. 35 and therefore most necessary in vocal musics si APPOGGIATURE AND SMALL NOTES, _, compossd of tie union of the Righer aad Tower apogee. ‘Theappoggiatura is the vasiost ofall vocal ornarente iso, | Wrapviththe leading note The fare cannotexceste stor the most useful and constantly employed. As the word ini | third without loss of grace,and it mast beginwith a bold Cates OP POEE Ta eal ape aaatara rane cindy | sforzando,on the first of the three notes composing i. the vou avea stress ean eer Be aboveortelowinera | The stress given to this note should carry off the two tlpal notelf above tis taken a afore or semitone accords to| others that follow. Tt should be studied, at firstvery ow thescalesi below itis usually taken ata semitone. Anappeege| )y80 as to estabish its clearness and intonation, TWeturn afura takes its value from the note which it precedesyexeepr er] can be affixed to the commencement of a notetoits middie, the easeof adotted noteywhen fakes of te value Sud tovtsend. Inthe first caso. the notemust be strucby Example: the turn. Bxamples [ Seis abe a] as execuled 2 SRS SS ‘The acciaccatura is a rapid little note preceding,atthe | Tathe second case the note should first be fixed,anc theturn interval of a tone of halftone, another note, Inperform. | Placed im the middle ofits duration, Rxample:— ance it takes the smallest possible value from the note before which it is placed. = imi as executed. In the third case, the value of the note must be accomplished = bythe turn, Example: Cimnrosa— 11 Matrimonio greta THE TURNGrupetto. ‘The turn is,the appoggiatura excepted, the most common, Fri che aportiie ele 736 TURNS, ‘The Turn at the commencement. 144. = aS —— pee a ee oes zi 5 D wal 8 Pp ‘The Tarm ai the finish 1483] = Pie a =e Fo othe third note. 15h = GO a a P ‘othe fourthote s2.iger fe z oe ‘The following forms of Turns are named battule ai golg160] 161. 167, 168] 169. Gruppetto. SMALL NOTES. ‘When several notes attack simultaneously one sound they must be briskly executed. 37 betas” Saas 4 fat So ES py8 The State, or Tri The shake, san alternating, rapid, and equal suconson of to contigunas notes at dita of a tone or semitone, ard is Shrained by arp, fee ander oxilation of the wal lig ‘nents corepontng with sible oeilation ofthe ary ap a down, outside the neck, Tt is iicated by the letters and when this mark is placed over a note, it signifies that the shake | shouldbe composed of that mite andthe tone, o seilone, above, never below, —aconing to the chord. ‘ho pote beating the State called the principal and the one above, wth whieh ie ‘unites, te uiiary note A thd ote alo tend aa se tone or tre iow the princi, wth might be ale the mle of | reparation, oF of termination, bocanse it falls both offices The shai, however, always ends with the principal note, ‘The shake does not result from tro notes struck one after the other, with gragsally-inereased rapidity, up €© the highest point 28 for instance for this is only a vocalized passage, which may precede or fllow the shake; and isa varity of shake known as the ilo moll, ot when itis place as follows!— eat Barbies In almost every treatise upon singing, it is recommended, in practising the shake, to point the principal note, a practice totally nconsistent with the nature of the shake, or with its execution, by all good singers; and hence we mst express our opinion, that sch ‘a method is radically bad, Pupils are therefore recommended to commence a shake rapidly by the spontancous vibration of the slots, and not by the pregrissve articulation of «wo notes, taking tate 0 keep the throat a8 loose as possible. The learner will de ‘rel, at fis, to practice the shake within the limits ofthe following = next bes il bo replat Som The major a ior thatch the flowing artes "may bong to ae tote ota be wen menued ces in the bed a the Diese! ithe sake be tole, nay astme te character of tr mordate hake wih tare: afa lo radiates | Ste? on hy ofthe fl oleow shake Te ed Since ceca it maybe apled toss of ined cy tothe toni and chomate seks? and so the Sorel the ie Tolle Shate—Major and Minor Allgood singers prepare a terran Tong sake (wh for | Shake, with « Torn Redoute Shake | ‘This ormament is obtained by introducing notes, in the middle of ‘2 major or minor shake; these notes divide a shake into many. ‘When parely executed by a sweet voice, this ornament hae a Deautifl effet, especially when the aerating interruptions are effected by stronglyarticulated notes, Itis marked by the sign WA Example: stance, as occurs at a pavse), by the tone or semitone below. A shake thus prepared is to be developed according to the rules for svelled sounds (Messa dé voce, p. 33), and ended sofly. In its preparation, asin its termination, the voice mast descend to the tone or semitone low the principal note, before finally terminating on the latter; for example: — ‘These preparations and terminations may te also infinitely varied: a few examples are given at page 4& Pupils shoold aceastom themselves to terminate a shake at will, and always on the principal note; as, without particular attention, the escillation impressed on the throat cannot be instantly arrested, Shake with « Turn “This b executed with greater rapidity than any other kind; but, Uke the tur, is very transient. It is indicated by this mark ww, Tosi, the Abb? Lacassagne, in 1766, and other subsequent writes oo singing, have similarly described this tel, designating it's burial shake, a broken shake, ete. Example:— Slow Skate ‘This is of all shakes, the least important39 SLURRED SHAKES. ‘The shake may be applied to the portamento of the voice, whether in ascending or descending, by imperceptibly raising or depressing the voice from one comma to another, So that the hearer may aot distinguish the degrees by which it rises or falls. In this case the slur is very slow. DEFECTS OF THE SHAKE. The chief defects of the shake arise from inequality in the beats,which renders it dotted; the notes may also be separated to theexhorbitant distance of a third,or even a fourth, being then more fike the gobbling: of a turkey, than a shake. Again, it ts often made on the lower mivior, instead of extending to the higher major sucond;orelse it ends at an interval different from that on which it commenced. Frequently, too, the oscillatory beats are replaced by a species of neighing,or quavering, known by the name of Irillo caprino,or trillocarallino. ‘The shake,appoggiatura, grupetto, and their different methods of execution, will receive full explanation in the second part. EXERCISES ON MEASURED SHAKES. ‘The appoggiatura by which the shake isattacked should be more striking than every other note; terminations should be alternately stopped and maintained.PROGRESSIVE SHAKE ON THE DIATONIC SCALE. ‘When shakes are introduced into musical phrases in regular ascending or descending succession, thereis usually no time to prepare them. In this instance, therefore,they must be rapidly attacked on the higher note, and the last shake receives the termination. Example:CHROMATIC SHAKES. a Before trying the chromatic shalpa student should occasionally practice the chromatic scale to which it belongs,in onder tofixon his memory those delicate ‘and diffietlt shades of atonation, through which he has to pass, Effect. 174] 175. 7 E = z SSS EXAMPLES OF THE PREPARATION AND TERMINATION OF THE SHAKE. A pupil having gone thus far, will have acquired sufficient power to blendaa trill with the messa di roc, or some other passage By which it may be prepared. To effect this, he should calculate the length of his breath, so a8 t0 develop equally the messs dizice and the trilior the passage preceding them. eae : et a Hal 4 SUMMARY OF FLEXIBILITY. It would be impossible to enumerate the various modifications of the mechanical action which produces flexibilityzbutas they are all based on the expenditure of air,and on the action of the pharynx, a brief explanation will suffice. ‘When passages which require flexibilty are tobe executed piano, the breath must beused very moderately and thepharynx reduced in its dimensions. The forte,on the contrary, demand a vigorous pressure of the breath,and a greater developmentofthe pharynx. Flexibility is of two kinds,-di rea, of powen di maniera, of contrivance. The first comprehends passages executed with vigour and spirit,above all brilliant runs and dashing arpeggios, which,in ascending, must necessarily be thrown out by a firm pressure of the breath. The agitifa di maniera consists in delicate and elaborate passages, which only requirea moderate stream of breath, and a flexible and nicely adjusted movement of the pharynx42 PART Il. CHAPTER 1. Ow ArmevzaTion ax SixoMG. (4th Mechanism.) In the first past of this work it was stated that the mechanism ofthe voice, in singing, requires the exertion of four distinct sets of ongans:—fst, the hungs, or bellows; secondly, the larynx, or vibratory organ; thirdly, the pharynx, or reflective organ ; and Jourthi, the organs of the mouthor articulating apparatus. We have already treated of every phenomenon consocted with ‘the first three organs, namely,—emission of voice, and process of vocalization; and shall now, after simply describing theaction of ‘the fourth set of organs, proceed to consider the aggregate result fof their union, which is song, properly so called, or speech connected with musie. Neatness of articulation, in singing, is of the first importance. A singer who is not understood, wearies his auditors, and destroys ‘almost all the effect of the musi, by obliging them to make con- tinal effort to catch the sense of the words, Where the singer hhas not attentively analyzed the mechanism that produces bith, ‘vowels and consonants, his articulation will be defiieat in ease and energy; inasmuch as he has not learnt the secret of giving ‘that development and equability to the voice, which he might attain in simple vocalization, and cannot employ at pleasure the ‘ntbre suitable to the passion he wishro to express. Our remarks on this subject will be comprised under the following heads — Vowsls, Consonants, Emphasis on Consonants Fulness and steadiness of voice on words, Distribution of words with notes On Vor, ‘The singing voice is produced by precisely the same set of organs as the speaking voice, and both ksue through the same cavities, ramely—the mouth and nostril. Of these, the mouth is the ‘more important, as ite sides and internal organs are the principal ‘agents in articulation, In fact, the tongue, muscles composing the voeal tube,—teeth, and lips, all contribute in turn to the ‘modification of the different clements of sposch these are aided by the jaws, which, by their ever-varying play, have no incon siderable share in the quality of the sounds produced. Thus, the mouth, owing to its capability for contraction or expansion, can, bby the moiliiation of its diameter, length, and internal form, | sive to the voice, in its exit, a correspondingly different sound. ‘The vowels aro the result of those modifications which sounds receive in passing through the vocal tube, The simplest sound mitted therefrom, represents to our ear the condition of the pipe while air is being forced through it; and all the ditferenc:s, In simple sounds indicate corresponding differences in its form. ‘The Tlians usually recognise only seven vowel-sounds—a, 6, 2,4, 6, 2, m Ove should, however, recognize ten or more Shades of vowels, as each of the five vowels has, at last, two Gistinct sounds, "The practice of languages proves. that the number of vowels, or shades of vowels, & unlimited; for though writing reprevents vowels by means of invariable signs, there ‘2. marked difference in the sound of each when uttered by diferent individuals. Moreover, a person pronouncing any word doesnot always give to the vowels it contains the same stress and sound; for = s00n as any passion animates a speaker, the vowels, ‘unavoidably receive its influence, and strike our ear by the clear- nese of dulness of their shadings, and the bilianey or sombrencss ‘ot theistimire. In the word father, for instance, the @ will not ‘maintain the same sonorousness in a passage of tenderness, a8 in one of anger, railery, entreaty, or menace. (On comparing these remarks with those previously made on the limires, the reader wll observe a clote resemblance between this mechanism and that of vowels, wheteby they mutually depend om ‘one another; indeed, one cannot be altered without changing the ther. This observation is most important in its results; for it will enable the singer to determine what timire foreach vowel is best sulted to the proposed effect, and, at the same time, to ‘maintain a perfoct equality Uaroughout his voice. Indeed, the thoice of timbre for each vowel is dependant on two different ‘hings,—the verbal or declamatory accent, and evenness of voice. A few examples will elucidate this:— The timére should vary with every varying passion to be expressed. For instance,—if the melody and the words indicate deep grief, a bright quality would evidently make the voice belie the Sentiment. The brillant tone which suite Figaro's entrance in— “Largo al actotum del tt" coc in tha ine air of Don Giovanni, ~ would be dhrcky and misplaced in the air of Edgardo,— ra pom a mericove” or in that of Orfeo Che far senta Easiie" On the other hand, if a melody breathe gaiety and animation, clear time can alone communicate appropriate brilliancy to the voice In such a case, dull or covered dinbre would produce a hoarse fet.But, in order to attain eremness of voice, a singer shoul, by clover management, modify a vowel, insensbly rounding it as the ‘voice ascends, and brightening as it descends; by this means, a seeming equality reslts fram a real, but well-conecaled inequality cof the Vocal sound. This precept applis to each register through- font the entire compass, If a vowel remained constantly open, a8 the @ when sounded in the word father, i¢ would give brightness tothe low and middle sounds, while high notes would be shrill and shrieky; whereas a vowel that is invariably covered, like the in the word note, would give richness to high notes, andl make low ones veiled and dull. This method applied to all vowels, will supply us with the ‘allowing principle: ation Vowels) ‘The @ approaches the open o ‘The open e approaches the i. ‘The approaches the, without the aid ofthe tips. ‘Theo approaches the ot When a vowel isto be brightened, an exactly oppesite process to that above indicated is requisite: the ou approaches 0 @, @: land soon with the rest, Vowels which are wory acute—i (Italian), fand w (French),—~if/sung as they are spoken, would contract the voice, and inconvenience it. To avoid this @ pupil should open ‘these vowels a little more than is required for spoken pronunciax ton, Our experience proves the following exercises to be most useful in assisting pupile to master all the inflections of voice ‘which render singing effective. Produce a note ina single breath; pass gradually through all the dies, fom the brightest t the most sombre; and then, in another breath, reverse the exercise, by going from the sombr tach note should be given with uniform power throughout, The feal efficacy of this exercise, however, i confined to the chest- Tepister,asieted by the exercise for uniting the registers, it will cnable a pupil to master all the movements of the throat, and to produce, at wil, sounds of every description. thas been observed thatthe voice is emitted by two channels; the second of which is the nose, whose function is to render the voice more sonaross when the mouth is open, and entirely to Dhange sounds, by giving them a nasal tone when the Intter is Closed, either by the tongue in pronouncing the letter m, or by the Tips in sounding m. Italians have no nasal vowels, properly so called; for with them the nasal echo on m or m only takes place when one of these two consonants begins or ends the syllable, — never blending with the vowel sounds, for example, A... nl, Te... mpo. To conclude; toils should alsays be attacked by ‘he Sooke ofthe glo, and with power suitable tthe pase. Pupil however, must scrupblously avoid preceding these with an hy for aspiration; for the use of the latter must be confined to Sighs, Se. as further detaled in the chapter on Expression; is employment under any other circumstances only alienates” the sense of words, of induces faults of which we have treated in the First Part A very sommon fut with pups aie the elevatormusls of he Jon, A plo for coring ti place sideways, between the per and Jee tel ssn pce of wood ey cork; ews and aye asd ‘ver the chin, immediately Blow th ower ip and Sed te Back fhe feck,” Tie done every vows shoud berucuaeiy practise, wth st Me 43 (On Consonants Consonants are produced by two differnt operations of the articslatory organs Finst—by pressure of two parts of the Instrument against each other, and the explosion of air heard at the moment of thoir separation, Secondly —trom che incomplete and variable meetings of these same organs, and the different and continuous sounds emitted by the air so|confined, Tt is from these two processes that We derive the clasiication of consonants into explosive and sustained a division ofthe fist importance in the art of siaging Explosive Consonants. It is the distinctive character of these consonants to make no tise prior to the explosion which gives. them utterance. In forming them, the organs are frst closed, and again separated, ‘when the consonant & immediately heard. These two opposite and. indispensable movements are called respectively — the Dteparation and explosion of consonant ; and it ie By this process that the letters, f, 4, ¢ and 'f, are enunciated During preparation, the air i intercepted and collected; and the explosion that follows is proportioned to the degree of preparation and amount of air calleted to produce it; an effect much resembling that of the stroke of the glottis in attacking simpie sounds Bd, and g hard, also, are reckoned among the explosive consonants; only the explosion is proceded by a slight ross lasting while the mouth or pharynx is filling with ais,—the former cavity for b and d, and the later for g. Sustained Consonants, ‘These conconants produce a whistling sound, that may be prolonged at pleasure, such as ch, x, and s; or else they are given ‘out with a continuous noise, lke mm ge, 1, and gl. The fist of these arise froma partial closing of the ongans in various ways, Which we shall not attempt t0 deseribe; the second are ac. complished by their perfect contact. The noise thus emitted may be easily converted. into a musical sound; a transformation ‘which enables a voice to be sustained fram one syllable to another, =a rosult giving a mich increased breadth of style, Two articulatory ‘organs always act in combination, and in Ave principal ways, thus ‘The lips act together in pronouncing p and m. ‘The upper teeth with the lower lip, asin f and e, ‘The front fart ofthe tongue with the teeth, as in& and a ‘The front part ofthe tongue with the palate, as in» and J ‘The bate of the tongue with the palatine arch, as in & and op hard, Each of the combinations above enumerated, gives rise to a diferent class of consonants; and those combined, form the total ff the consonants in use In the following table, the consonants have been divided, according to our view of the subject, into five diferent classes, ‘grouped according to the names of the ergans engaged in pro= ducing them, and by reason of their explosive or sustained character. 4 xplonve P ure) Complete dosing sent propa ‘ones, cues) Bos in Complete closing aight preps Tabate ‘ory sound. expos44 BovlaiveF (our) Talon | Sistinad Vee ee Tacoplete clvng slight pre on patter oe exphsion esploave T um) = = = Complete doing alent prepa / ‘son —exposon, cussttt| papisive D mined) ~ = + -Completecosne.—sight pear “go story sound, —exploxon, [Setmer ttm 2+ tom tes alone (pam) € aan) Caetedoiag lent pre Eom sesand = - = = = «Sete itn fe pot Sen, x, «omg ing — wig St Na olen te coum, Ee nt a “Cops bene EES, [soma aun cant» omen ape FPapils should pay especial attention to the point at which the ‘organs come in contact, and the process which aids them in forming cach consonant, TL 8 from neglecting to give this subject dae attentca, that some singers add, to the movements required, others which are quite weles; for instance,—putting the ips and jaws into action when the tongue alone should be occupied Others, agnin, languidly drag the organs from one consonant to fanother, and allow the echoing of a vowel, thus!— Contencts for Contento; Temepo for Tempo; Belo for Bello; and so on, Others pronounce between the teeth, and, indeed, chew ‘the words, soas to make them unintelligible. Others employ the hard movements ofthe organs, instead of the soft, as— ‘Sano, il corre, crude, instead of — Sun, itive, dae, On Accents, ‘Tae human voice exhibits the four following festures!— 1. The variable duration of the sounds TL. Theie timbre IL Theie rise ofall in the gamut. IV, Their diferent degres of intensity. Tn each language, iis easy to discern different kinds of accents: as for instance,—the grammatical accene, writen accent, logicalot verbal accent, accent of sentiment, and lastly, the national accent. ‘We shal confine oursclves te the consideration of the grammatical and sentimental accests, a8 they alone are connected with our subject 1 speaking, a person, led on by rapidity of thought, stops only at a single point of each word, on the most emphatic sllable— that, in fict, on which the action of the organs is principally displayed. A strong aocent which determines the importance ofthe cmplatic syllable, constitutes what is termed prosody. Trismatked, {in almost ll languages, on one syllable only, in each word, however long that word may be, A little attention will soon enable a student to discover the accented portion in a word; for example:— “ Nessin maggior dale (Che rcordits del tempo flive Nall miséria"—Daxts, “Chimps paternls, Hebron, douce valle ‘Loin de vous a lang’ ma jeunésse exile [All words have an accent—even monosyllables; and this accent ‘varies with the expression of our feelings; the most important word ina phrase always receiving the strongest emphasis. Emphasis on Consonants ‘Besides prosodaical accents, a student should consider the stress to be laid on certain consonants; for example: — mo? sempre, troppe. ‘This emphasis answers to prolongation of vowels. We will now state under what circumstances consonants should be forcibly pronounced, Filly, in onder to surmount any mechanical Aificlty of articulation; secondly, to give strength to the express jon of some sentiment; thivdly, to render words audible in large Duildings, [Expression depends greatly on the weight and strength given to aticulation. Consonants express the force of sentiment, just as ols express its nature, We are always Impressed by words strongly accentuated, because they appear to be dictated by some acute passion; and of course the most important word should receive the strongest emphasis. ‘The necessity for being understood, generally causes a speaker to Jay stress upon consonants, in proportion tothe sxe ofa bulding: hence, emphasis is made stronger in deslamation than in speaking, and stil more so in song. The last consonant in every slab, ‘ought to be expressed With as much precision as the initistory fone, Negligence in this respect isthe chief cause of indistinctness and incoreetness of articulation in singing. In musi, the two elements of spech correspond with those of melody; vowels witk sounds; consonants with time Consonants serve to regulate or beat the time—to hurry or retard a passage, 3 well 3 to mark the rhythm; they indicate the moments at ‘which an orchestra should blend with the voice, after an ad libitum, cadence, of & pause. Finally, consonants impart spirit to the sircta, and concluding cadences. They should always be prepared n order that they may fall precisely with the beat. Palness and steadiness of voce upon words, When music is sung with words, if singer be unable to render the emission of hls voice independent of the aticulation of consonants, the organ reodivesa certain shock, which destroys all roundness, firmness, and connexion of the notes, To obviate this Inconvoniene, iti requisite to distinguish the functions and mode ‘of action pectliar to each of the four sets of organ in the vocal apparatus, and that each should perform its respective functions ‘without interfering with the others; for if one organ perform its dates imperfectly ifthe chest hurry of slacken the emission of air—if the glottis be wanting in precision—if the fow of voice be Interrupted, or weakened after each syllable—if the pharynx formsAimbres inappropriate to the sentiment,—or if the organs of artealation, lack suppleness or readines—the sounds emitted will ‘oe fale, disjointed, and of bad quality—the pronunciation defective or unintelligible. "In such eases, a singe is said to want method, Besides these faults from which every accomplished singer s fee), wwe have still to point out another, not less grave, viz, the seroce 4 voce—a laughable break of the voice ordinarily heard in the chest-notes above E of tenor voice, or an octave above in the hhead-voice of sopranos. If during the articulation of certain consonants, oe the vocalization of certain passages on high motes, pupil should neglect zo sustain his breath with great resolution, the glottis, being naturally obliged to contract its dimensions to produce high notes, wil completely close, and stop the voice, re-opening with a ridiculous explosion the instant afterwards ‘The voice should flow on without interruption, from one syllable ‘and from one note to another, just as if the group made but one ‘equal and continued sound; this requires a constant and regular flow of the breath A vowel should recsive the greater portion of ‘the value of a note, the consonant coming in only at its close, In thiaway, the voice willbe prolonged throughout the permanent consonants, without encountering any interruption. ‘Thus, m and exhibit audible nasal reverberation, asin comet, me— Moraes Monee ts Figaro. GER Voi che at poste che sa ‘For conformity with this precept a singer should Dar in mind the rules for forming musical phrases, as well as those of prosody and ‘versifeation peculiar to that language which apiece has to besung, Dass 45 ‘mbransa; the fand the gl form two channels on ether side ofthe ong, a8 in colle, L-anguir ; and so on for other consonants. Without such assistance, singing would be broken up dy too frequent interruptions and seem meagre and unconnected. It is enly the explosive consonants which completely stop the voice during their preparation. Example:— oot—Ceinune Tt fees" fr i st Gee cl oldu note, without sufering any interruption in the sound but sch asi ‘essential for explosive consonants. Distribution of words with nots. “The distribution of words under musie should be made in sucha way astomarkits time and accent with regularity. Thisisatined Dy causing the common accent to fallon the frst beat ofthe second, ‘third, or fourth bat, according tothe extent ofthe musical phrase, (of of @ portion of it.The reason of this i, that these fist beats ‘mark the limit of the phrase or melodie verse; thus:— pee ' k Wo ho nat coe Donte mde In vocal asic asylble appropriated teach separate note or to several where grouped togeti, or bound by srsng._ Inthe foe lowingairof Hance he transac has place the wordsbadly— Hawoat—Semion, ax jeer les A mene Hoe Ft should have been arranged thus:— Te frequently happens in Italian music that the number of syllables is too great for the notes attached to them ; this occurs ‘when several different vowels moct; in which ease, they must be ‘contracted, and to ascertain under what crcumstaness vowels are to be contracted, or separated, the place of the tonic accent should be considered; for if there be a group of vowels wholly tunaceented, the voie ought not to rest om any’of them ; whereas, if there be one vowel acosnted, the voice should pass on to the well there, and afterwards slur over all emphasizad vowd succeeding ones, uniting them in single sound, This vowel ‘may be placed at the beginning, middle, ar end of a group. Bxamples:— Moruen-—Nosee de Figaro, pe sfeae fi ewe deen ee SE wor Upiecieiy wo >» an dav mor rz semantle Telly pil bel-leoeme - nn Monae —Noct Figs. 9 = foal pst Fin clara & apoor ERicee ell mon = do ta - oo ‘The blending together of several vowels is one of the chist Sificaltiee encountered by foreigners in studying Italian singing ‘To simplify it, a pupil shoald suppose that the note bearing the ‘seo or tree vowels is divided into so many factions, which succeed ach other unintcrruptedly, Each vowel should be distincely formed, and yet not separated from the preceding one by a jerk. ‘The mouth should alone form the vowels in succession, averting the effect of a gape ate ste de ma moe 7 Ths tr comoa accents wd to neat a Seat Cat fl46 Sometimes, in order to take breath, a singer finds it necessary to separate the vowels in two comecutive words, Example tet 4 “Mozanr. é | te = assay When a vowel is repeated, eis st 28 must be used, which fs only a Example “avonnassn In altering or rearranging words, or syllables, care should be taken to retain and mark tie measure or accent of @ melody, and only under peculiar citcamstances must this rule be inringed. The fllowing area few cases of this sort — t3t—When asingermeets with a lengthy passage of vocalization, hhe may deviate from the principle, inorder to obtain a favorable ‘open vowel, ofr its execution ; for example (A) and.—When the number of syllables divides @ passage too feequently, and has a tendency to retard the movement of the voice, itis better to perform the entre passage on a single syllable, ‘The passage (B), famishes an example, 43rd.—The arrangement of example (C) shows how a singer may avoid words on high notes. oon Pog eee a lige TE] ge 23 See _ a = ea = ‘To avoid pronouncing syllables on high notes, recourse may be had to a lower one, on which the syllable is articulated before- hand, Exaniple:— Dowtanrrt—owr aE SS ‘The syllable thus pronounced on a low note, will enable the voice to reach the high one by means ofa slight and rapid slur; and this litle preparatory note, as well asthe sur, must commence the time, or go to make up the value of the high note. Some consonants, m, md, &c., by the sight noise produced in their articalation, greatly asist the utterance of high notes. Thisnoise, ‘which precedes the emission of the sound, allows a singer to try [Doma anna. : its accuracy, and the firmness of his organ, thus removing all danger of a break in the voice. Example:— Dostzirri—dnna Bolen, Cecaun ido iment vie-2at0 som de A change of vowel may, in certain syllables, be resorted to with the happiest effect. Whatever plan is adopted, these dificult passagescan abways be succesfally sung, if, atthe time af execution, the organ shall have been suitably prepared. This, in fact, is the sole object of the variows methods that have been pointed out, In the preceding rules, we have given the various modifieations| Introduced, with the object of faclitating vocal exceution. Other changes may be admitted, with the view of adding vigoar t, and completing the effect of song ; as, for instance, the repetition oF intercalation of a word or phrase the object of which is to srengthen expression, Example:— : Mozant-—Don Gowan =e compel misfat to 2:0, Ooo St === SaaS Sia ee‘Again, a singing master and pupil areat perfect liberty toadd— if the eens allow it,one or other of the morosylable, ah, no, si, ge a ote a7 ther to increase the number of syllables, ot as a substitute for Bescon —Soenambvle, CHAPTER IL Ow Purasmc, ‘The art of phrasing holds the highest position in vocal musi, embracing the study of all its effect, and modes of producing them ‘Sounds unlike words, convey no distinct ess; they only awaken sentiments: thus, any given melody may be made o express many diferent emotion, by merely varying the ccentvation. An instru ‘mentalist enjoys gret liberty with rgard to expression, 25 well as fomament; and if we accept certain accents belonging to pro- fressons, appoggiaturas, sistnined sounds, syncopations, and ‘nelodiee of very emphatic shythm—a performer is at fll Uber: to give an air any tint or expression he pleases fi eorrespond with the general character of the piece. In vocal music, the choice uf eects is more limited, as they are partly determined by those ‘musical accents we have just enumerated; by long syllables, whieh always prevail in vocal pieces; and by the expression that words, demand, which governs the general character of a melody. Great scope, however, still remains for the free inspiration of a sul singer. We divide the art of phrasing under the following heads — st, pronunciation ; 2nd, formation of the phrase; 3¢d breath; 4th, time; 5th, forte-piino; 6th, ormaments; th, expresion renunciation having been already explained in the preceding chapter, under “Articulation in Singing,” we shall not now recur toi [Before examining further the art of phrasing we shall brie" explain the formation of a musical phrase. This study enables, 1s to distinguish ideas composing 2 melody, and the places where breath must be taker; also to discover those parts of a musical ‘dea which age to be accented by piano of forte, and those which require the introduction of omaments, &e Formation of the Phrase. Masi, like language, ha its prose and verse; but its prose pays po regard to the number of bars or symmetry of cadences, oF feven to regularity of time ‘The Gand Psalm of Marcelo, for bass, “Dal tribunal augusto”; the Largo in Handel's Alesander’s Feast, Abit di spins turba {mmensa;" the choruses of Palestrina; chanting and recitative:, are all examples of musical prose, ‘This last kind fs wholly influenced by prosodic accents and excitement of passion. Tn what may be called melodious verse, on the contrary, there reigns a perfoct regulasity—requited to satisfy the thythmical instinct. Zn compliance with this instinct, a complete symmetry must be established between the diferent parts of a melody, and they must be enclosed within certain easly perceptible limits of uration, Tn thie way our ear may unfailingly recognise cach detent of a phase, ‘We have frst to solve the question-whstare the dimensions of elite vere ? Were the melatic phrase 1 be toomuch developed, the feeling of the vhiythm and symmetry would be lst, nd with i om bl that of the verse; but ifthe phrase were divided by too frequent, ‘ests, oUF instinct would unite these various fragments in one con= ‘invous phrase, Example:— Haxoet Rinaldo. fee o| Lavcia clio pinn-ge Ia da « am ort To measure, with accuracy, a melody or i parts, we have recourte 10 a series of rogularsspuced percussion, of beats, which ‘mark what is ealad the time, of constituent parts of & bar. This series of suenestive beats, however, were it constantly the same, would, ina few moments, produce only a vague and monotonows impression ; to avoid which, a stronger accent is given toa certain portion of a bar. This specially aecented beat called accented, ‘or down beat, by way of contrast to non-accented beats, which are called unaceented, or up-beats—serves to group the percussions ‘of twos and threes, inorder to form the two elementary bars, ‘which are the hasisof all the rst-—namely, the binary common bar, formed of & strong and weak best; and a triple bar, formed of ane strong and two weak beats. Aided by these accent, the far will easily distinguish the groupe attached thereto in counting 5 many bars as it distinguishes iitiatory strong beats. ‘A beat can never be complete till a sacand fas been heat; con= sequently, each beat is inclided Between two percussions, Ta like ‘manne, & ar i aot completed tl the percussion ofthe initiatory time of the following bar is heard; then, only, the ear recognises the sort of time belonging to the piece. By alittle attention, a learner will be struck with the analogy existing between the com Dination of several simple beats constituting a bar, and the unin ‘of several bars forming amusical thought. In order taccmpechend ‘larly the extent of a musical phrate, the ear requires to be struck ‘at equal intervals by seme stronger accents, which, wniting the bars themselves into groups, present to our ear striking divisions, These accents, of @ more marked character than thoce separating the bar, are formed hy the cooperation of harmony and rests, groping the bars by twos and threes,—that is strong and weal, (ne, or one strong and two weak. It is this last compass of two. or these bars, enclosed between three or fox primary times, which has been commonly termed 2 musical phase, and which we designate as a meade were, Examples:— in Examples: oder ts mace In quick movements, the sentiment bars Example ay admit of eight or wine Mosusr-—Don Giowanns —e Dow Guvanns, GEE Pe— fry == Fin che lau dal vi = no al