PRE FA C E

It pp superfluous and aimless to add a new singing ethod t those

a ears -
m o

already before the public Howev r during many years devoted to lesson
. e ,

giving I have obs rved far too oft n how little att ntion is paid nowadays t
,
e e e o

i ndividuali ing No two persons are exactly alike much l ss any tw pupils
z .
,
e o .

In vocal teaching especially it does great mischi f t try t mak one sho fit
, ,
e o o e e

every foot I feel that thos of my colleagues will agree with me w h still
. e ,
o,

possessing a thorough knowledge f the B l C t have ofte undergone o e an o , n

similar exp riences ' t the power of true vocal art even in t his decadent
e . e ,

p riod has lost but l ittle of its effect on enth siastic auditors This is proved
e ,
u .

by th ever renewed successes of M arc lla S embrich and others as co trasted

e -
e n

with the great multitud of natural singers and dubious sp cialists with
e
“ ”
e

more less voic It is this fact in particular w hich ncourag s

or e . to gath r, ,
e e m e e

together the fr its of my xperi nce in this little volume for the ben fit f
u e e ,
e o

my w pupils and other earnest vocal stud nts L t it be added that this
o n e . e

m thod has been tested by time and that I can trace it back to the Italia
e , n

singing masters Gasparo P h i tti ( d

-
Giovann i Battista V elluti
ac c er o .

(d. and others .

S hould the technical information contained in these pages be found useful

in wider circles and d its part to w ard attracting and preserving many a talent
,
o

to the service f the divine art of song it would give the a thor th liv liest
o ,
u e e

satisfaction .

G B LA M PE R I . . T .

D RES D E N , 19 0 5 .
 ' eneral O b se r v at i ons

The true method of singing is in harmony with nature and the law s of

h ealth .

C h ie f Re q u i r e m e n ts fo r th e P u p i l

V oice musical talent health power of apprehension diligence and , , , ,

pati nc e e .

C h ief Re q u i r e m e n ts f o r th e Te a c h e r

Experi nce a sensitive ear and th gift of intuit on and individuali ation
e ,
e i z .

The V ocal O rgans may b described briefly as a pip with double re d e e -

e ,

blown by m ans of diaphragm d lungs Th V oice r sults from the

e an .
”
e e

projection of air c rr nt against th V ocal Cords in varyi g degrees f

an -
u e e n o

t nsion In forming the voice three groups of muscles coop rate namely the
e .
,
e , ,

Breathing muscles the V ocal muscles d the S ound modifying muscles

-

, ,
an -
.

Th ode f breathing required for artistic singing is diaphragmatic

e m o

breathi g It is the sole method by which a sing r can cond ct su ffi cient

n . e u

air tranquilly and with a minimu of exertion from th lungs to the vocal
‘

,
m ,
e

organs .
*

andl w ri t s i n h i Hygi en d la voix pag 1 4 2 A long th

P rof L M . . e , s e e ,
e ,
:
“
s as e

br at h i ng i a bdomin l (d i aphragm ati c ) no t a in u pon th voc a l organ can proc d from

e s a s r e s ee

th ch t
e es N i th r will th l a rynx nor th pharynx b
. t in mo t ion by th g n t l
e e e e e se e e e

br athi ng v ry th i ng r main at r t A f t r ins p iration th r for th voc a l org a n

e ; e e e s es . e , e e e, e s ar e

in a po i tion t o a rry t pro p rly a nd wi t ho ut a ny h indra nc t h at migh t o th rwi h av

s c ou e ,
e e se e

b n au d by pr c ding con t ra c tion th mov m n t n c ary t o low xp ul i on of

ee c se e e s, e e e s e e ss a s e s

th eair Br ath i tak n asily thro ugh th wid op n glo tti

. e s e P g 17 5 e e e- e s . a e , :

S ing i ng vo i w r pr rv d m ch b tt r and long r by th old I ta li a n m th od

-
c es e e ese e u e e e e e ,
as

ta gh t by Rubini P o pora t than by

u mod rn m th ods w h ich t ach (or at l a t
, r , e c .
, o ur e e ,
e e s

p rmi t) clavicular br athing A d th o t a ch r who f vor di aph ragm at i br athi ng

e e . n se e e s a c e c an

lik wi how th b t r ul t
e se s e es es s .
1 . Di a g ram of t h e A ct i on of t h e D i a ph ragm

f'
In spiratio n . 5 Expiratio n
. .
 7

Pre l i m i nar y S t u d i es
( V ocal Gymnastics)
l . P o s iti o n of th e Bo d y

The position f the body must be easy and natural Throwing the weight
o .

on the right foot which should be slightly adva ced let th pupil look s traight
,
n ,
e

ahead much as if ga ing a pict r and in a w holly unconstra i ned posture ;

,
z on u e,

the expr ssion of th face compos d and pleasant and th h ad er ct i li

e e e ,
e e e ,
nc n

ing n ither forward e backward Take care above all that the muscles f nor .
, , o

neck and throat are t unnecessarily tens ; the entire attitude m st be easy no e u

an d unconstrained Hold the shoulder joints free and loose w ith the shoulders
.
-
,

slightly thrown back t allow the chest d freedom in front without raising o ue ,

it For the present th arms may hang loosely

.
,
e .

2 . Th e Br e a th i n g

B fore taking breath — which must b d one at first only through th mouth
e e e ,

not through the nose —the mouth should b opened wid nough to p rmit the e e e e

for finger t pass between the upper and low r t th ( corr ct aperture
e o e ee e

D ra w breat h deeply but quietly We breathe f the lungs but not wi th

, . r om ,

the l gs un .
*

Th pr i n i pal br a t hing m u scl i s th d ia p h ragm a m c u lar par titi on dividing th

* e c e -
e e , us e

o rgans of th ch s t ( l ng h ar t) from th a bdominal organ ( liv r stomach

e e u s, Iti e e s e , , s

a ttach d t o th backbon th low r ribs a nd th fron t inn r wall of th abdom n a nd

e e e, e e , e e e e ,

ri i n th form of a dom t o th h igh t of th fo u rth r ib Th ac t of br a th i ng proc d

ses e e e e e . e e ee s

as follow Th m u cu lar t is u of th di aphragm con tr a c ts drawing th dom of th d i

s e s s e e , e e e a

ph g ra downw ard a nd forming i n th l u ng c vity abov i t a r ar fi d a ir spac i n t o w h ich

m , e -
a e e e -
e,

th a ir fl ow ( passiv ly ) t o co n t ract th atmo ph ric pr ss u r

e s e T his is I p i ti o u e e s e e e . ns ra n .

By virt of th ir own l a tici ty 'a nd by r a on of pr ss r f ro m h x p and d thorax '

ue e e s e s e u e t ee e ,

th l ng e uw k t o con tract t h
s no x rting a slight p ull on th d pr s d dom of th
see , us e e e e e se e e

dia p hragm fu r th rmor th d pr ss d abdominal organ

; e i n a s tat of t n ion which
e, e e e e s ar e e e s

s triv for r l x ati on d to pr ss ur by th di t nd d m u c lar w ll of th abdom n and

es e a , ue e e e s e e s u a s e e

p lvis ; and t h i comb i n d pr ur fro abov a nd b lo w p h

e s p th do m of th d i
e e ss e m e e us es u e e e a

ph gra to th h ight of th fo urth rib Thi i s E p i ti o

m e e e . s x ra n .

I t c nno t b t oo t rongly mphasi d t h t th diaphr gm is th princip a l a nd s n t i l

a e s e ze , a e a e e se a

br a thing m cl ( if i t ho ld b crip p l d br at hing wo ld c as and d ath ns ) and tha t

e -
us e s u e e , e u e e e e ue ,

E xpira t ion i s ff ct d chi fl y by th abdominal m u scl s

e e Th r
e al o call d au xili ry
e e e . e e ar e s so - e a

br a thing m scl s t hos of th

e -
ck b a ck a nd t hora x w h ic h may a id in s s taining an
u e e e ne , , , u

impair d br a t hing b t
e n v r r p lac th r g lar f nc t ion of th diaphragm T h i
e ,
u c an e e e e e e u u e . s

show t ha t a harp dis tinc tion b tw n ch s t a nd abdomin a l br athing s ch

s s was e ee e e ,
u as

f orm rly g n rally acc pt d canno t b maintain d H nc

e e e fi rs t nd a vor m
e t b to
e , e e . e e , o ur e e us e

str ngth n dia p hragmatic br athing and th i can b accomplish d only by sys t ma tically
e e e , s e e e

d v loping th abdomin a l m uscl s I t follow t ha t t ha t par t of h body in which th

e e e e . s, t e e

diap hragm m u s t h av fr t play ( f rom n v l to br astbon vi w d f ro m o tsid ) m s t

e ees a e e e , as e e u e , u

i n no way b h am p r d t o fr dom of mov m n t Th clo thing ho ld b mad in

e e e as ee e e . e s u e e

conformi ty wi t h this r l u e .
 8

2 . Th e Vocal O rgans

VV i n d pipe ( tr ac h ae a)
Larynx
V ocal Cor d s an d Glottis
'

E pigl o tt
To ngu e

V i l of th P alat ( soft
e e e

palat ) w ith ' vula ( ff )

e ,

Rig h t T onsi l
Ha d Palat
r e

T he ca v iti s of th P harynx Ch st d H ad ( mouth nos

e e ,
e an e ,
e, e tc .

) form
th e c m p un d soun d ing b d of th voc l air current
o o -
o ar e a -
.
 9

The air draw in ( to speak ) in the form f a globular mass i nw t so o s no o

be v ry gently and gradually expelled Th Italian expr ssion fi l i l t

e .
*
e e ar uon o ,

to spin t the tone most aptly characteri es the required mode f expiration
ou ,
”
z o ,

which must proceed as naturally and unconstrain dly as the prec ding inspira e e

tion As lo g as it causes the pupil t fe l any x rtion he has t acquired

. n o e e e ,
no

the right m thod Note the time required for inspiration and expiration in
e .

seconds and try to prolong this tim gradually When y have made wi t h
,
e . ou ,

due caution some progr ss r peat th x rcis s veral times in succession b t

,
e ,
e e e e e e ,
u

no t over t times N w try again t prolong th time f de p inspiration ; in

en . o o e o e

particular th paus b tw en inspiration and expiration while holding the

,
e e e e ,

breath should be prolong d as much as y can

,
e ou .

T h act of tone production is in

e contrary motion to that f breath -
o

taking ; the pull f th diaphragm go s parall l with th inspiration o e e e e ,

whereas the push f the abdominal muscl s is f lt to oppos i t ( obs rve th

o e e e e e

mov m nt f the abdominal walls) although both stand in causal conjunctio

e e o ,
n .

Th b e th p increases regularly as th pitch in th ton s ris s With

r ea ~
r e ss u r e e e e e .

ins ffici nt pr ssur the ton lacks in st adiness ( pp ggi ; that is the steady
u e e e, e e a o o ,

air pr ssure the vocal cor d s during ton production ) Higher breath pressur
-
e on e- .
-
e

pr supposes deeper inspiration Eac h and v ry ton must have steady support '
e . e e e

The vocal point f support must be car fully distinguished from the points f
o e o

resonance m ntioned furth er on e .

W think it advisabl at first to attempt x rcis s in breathing and later

e e, ,
e e e ,

in ton attack only under th teacher s personal supervision ; for j ust at this
e -
,
e
’

stag muc h harm may b done which is hard to undo afterward s Re son
e e . a
'

Breath control is th foundation of all vocal stu d y It se ms hardly n cessary

-
e . e e

t warn against fatiguing th pupil

o e .

As soon as th diaphragm f nctions as d sired and th rul s for br athing

e u e ,
e e e

have be taken to heart and rightly applied th following Ex rcis

en
y be ,
e e e m a

take up n .

3 . To n e a
a tta c k a n d Re s o n a n c e

The ton s prop r for use in these exercises are the tones f the M dium
e e o e

Register L t the pupil op n his mouth as explained before take br ath

. e e ,
e ,

and sing with w ll open d throat on the syllable la beginning on his com
e -
e
“
,
”

par ati v el
y b st tone e, betwe n e p i an o and fo r te . Th e tongu e

should b held as flat as possible and muste , no t arch upward . The a in l should a

ce l ebrate d singing mast e r V e ll uti once w a rn e d a cl e rgym an against a 'e rky s tyl e
Th e -

of s pe aking a s i t wo u ld v e ry soon caus e hoar se n e ss A ll p u blic sp e ak e rs an d also offi ce rs

, .
, ,

te ach e rs e tc sho uld le arn to spe ak nat urally that is at th e pro pe r p i tch a nd above a ll
, .
, , , ,

things draw i ng bre ath q u ietly a nd dee ply a nd n e v e r to ove rtax th e voice
, , .
 10

soun d lik th at in fath r B auty and po er ton d pend

e e .
*
e w of e e ,
n o t si m l
py
u
pon a corr ct ton attack b t also on the reso ance f th o c both c est
e e -
,
u n o e V i e in h

and h a d W ith aew ll op n

.
d throat th ton should sound t st a d y free
e -
e e ,
e e ou e ,

and s norous lik ot h at of a violin ioloncello

,
O nee ought t fe l th or V .
o e e

appoggio ( point of support) O nly a voic thus solid l y founded will carr .
e
“
y ,
”

and al w ays b plainly audibl ev n in p i i ie

T h point f aim f the e e an ss m o . e o or

ton s of th M dium Regist r is th front of th hard palat

e e e e e e e .

S t u d i es i n T on e

Th vocal r gist
e rs are d t rmined by th di ff r nt points
e
f r sonance
e
f e e e e e o e o

th ton s ; r th
e od of b reathing always r mains th same Th re are three
e
'
e m e e e . e

vocal r gist rs varying according to the ind ivid ality f th voic am ly

e e ,
u o e e, n e

th C h s t M di m and H ad R gist r
e e ,
A high flexibl e f male voice is
u ,
e -
e e . .
,
e e

t rm d a
e e

C o l o r a tu r a S o p r a n o

and to this w shall w d vote our att ntion Th D iatonic M ajor S cal giv s
e no e e . e e e

us th b st material for practic b ca s of the d iffic lty in taking th major

e e e, e u e u e

T h ir d S ixth and S ,
th i ,
ev en

E x e rc i s e 1.

la la la la la la la la e tc .

* this v e ry fi rs t e x e rcis e th e individ u al di ff e re nc e s of th e b e ginn e rs will b e man

In ,

i f e st V ocal ability and f u t u r e s u cc e ss d e p e nd o nly t oo larg e ly on th e sha p e of th e mo ut h

.

and si ze o f th e tongu e Th e p oss e ssor o f a broad fl at mo u t h can hardly e ve r l e arn t o sing

.
,

p ian o W e hav e o u r dou bts conc e rning th e s u cc e ss o f a forcibl e t raining of th e t ong u e by

.

m e an s of ins tr u m e nt s and th e lik e W h e n th e tip of th e tongu e c u rls u p t h e re will a lways

, .
,

b e t ro u bl e f rom this almos t in e radicabl e d e f e c t I t is som e ti m e s a good p lan t o b e gin with .

as a p re p aration f or th e a h with a normal position of th e tongue Tak e care that

th e laryn x ( carrying th e vocal cords ) do e s n o t ris e u nna tu rally high whil e singin g o th e r
.

w is e th e ton e will so u nd thro a ty from th e n arrowing of th e vocal tub e M e chanical ,

”

and grammatical f au lts o f sp e e ch m ust b e ov e rcome T h e in 'u rio u s s t rok e of th e glo t tis
.

'
.

sho u ld u nd e r n o consid e ration b e e m p loy e d in t on e at tack ; i t r u ins th e voice and o u ght -

,

i n s p it e o f th e a pp are nt c e rtainty attain e d i n t on e p rod u c t ion t o b e wholly e sch e w e d

,

-
, .

'T o d e t e rmin e th e n at u ral r e gist e rs o f any voic e r e q u ire s th e e x p e ri e nc e and ac u t e e ar

o f th e t e ach e r I n this p artic u lar many an ill d e e d is don e Th e cap abili ty o f vocali z ing
.

on high ton e s a ff ords a cl e w o f som e val u e S om e coloratur a sopranos have no d e v e lop e d

.

ch e st r e giste r
-
.

i Th e minor T hird i s e asi e r to tak e than th e ma'or which acco u n t s f or th e p romin e nc e

o f th e minor mod e i n Folk m u sic
,

-
.
 11

The singer wh ile att ntive to h voic should observ in a mirror the
,
e er e, e

opening f the mo th and expression f th face but she must sing t into
o u o e ou

the room t against th wall

,
no e .

Rem
f ar k The teacher
or must decide
th e w h ich tone in the
Teac h er . on

medi m register th l sson shall b gin He should neither s ing with the pupil
u e e e .
,

n or accompany h on th piano with the tone she is singing A a matter f

er e . s
‘

cours only a w ll tun d instrument ought to be used O nly wh th pupil

e, e -
e . en e

feels unc rtain should the t ach r sing t her and support her with the piano
e ,
e e o ,

in unison He sho ld also sho w her the proper posture f the mouth and
. u o ,

br ath with her though without singing It is r markable what an impor tant
e e , . e

r ol suggestive action plays in vocal ins truction Nervous clearing f the

e . o

throa betwe n the ex rcis s should b p r mptorily forbidd n P y sp cial

t e e e e e e e . a e

attention to the op ning f the mouth to th tongue and to the facial expres
e o ,
e ,

sion H re th old saying is applicable Th y is th mirror f the soul

. e e ,
“
e e e e o .
”

T h pupil must also avoi d a list ning attitude while si ging because it tends
e e n ,

t sti ff n the muscles f the throa t

o e o

Binding of tw tones ( l g o e at
o ) .

la e tc .

following ton must be bound clos ly to the first much as i

Th e e e ,
n pian o
playing wh n the first fing r must not b l ifted till th second one
,
e e e e strik s e .

T h r fore do not sing the tones d t t h d l

e e ,
This x rcis e a c e e e e is a l so
to be sung only f nearly p ; and the rul s alr ady given must b
m ,
e e e strictly
obs rved e .

E xe rc i ses fo r S t ead y i ng t h e Vocal A tta c k

L arg e 9 m ar c ai o

to C
l
an d so on

la la la 13 ( i n c us i v e )
 12

in

I n th e abov e x rcises obs rv a stric t l g t a smooth and unbroke

e e , e e e a o, n

passag fro e m one ton to th oth r T h br ath n must not b int rrupt d
e e e . e e i g
e e e

inth e lungs ; for it is a vicious d injurious habit to finish a passag with ex

an e
h anst d lu gs
e R m mb r t h at no s all p rt of th artistic ff ct sought by
n . e e e , m a e e e
the
vocalist d p nds pon a corr ct clos ; at th clos
e e u should b in the
e e e e one e

sam physical attitud as if

e int n d d to continu singing W have alr ady
e o ne e e e . e e

bri fly r mark d that i passing from low tones to high r on s the br athing
e e e , n
e e e

must p oc d in a contrary s ns T h h gher the tones the d p r the

r ee e e : e i ee e
b r at h ing '
,
e
 13

Vocal De v elo p ment and Blend i ng o f t h e Reg i ste rs ,

( Compare O bservations on C hange of Register , page

‘3 Mo d e r ate .

l a ln l a la la

Th e ac
nding ton e s c e g c
s e in E x .
( a) ar e to b u ng l g
e s e a to Th e tah e c e rm ay s n i g to
p upil b u t n e v e r w i th h e r
.

th e , .

After take only a short breath and return in p t

0
2
t style t l w ,
o r a m en o -
o o c
‘
.

The tim value of a note after which

e- takes breath ( in this case will be o ne

slightly abbr viated but in such a anner as t to be perc ptible to the lis
e ,
m no e

t ner Whil taking breath th mouth must not be closed A stud nt with
e . e e . e

plenty f br ath may ven sing the whol exercis in

o e br ath Above all
e e e o ne e .

things see that th position f the mouth is correct and that it readily and
, e o
,

naturally adapts itself to each succ ssiv higher tone e e .

O high d b ( Ex b ) a change f r gister will usually occur

n . Here b gins o e .
*
e

the h ad voice so call d becaus the point of r sonance is felt in the h ad

e -
, e e e e .

L t the pupil try to sing d b f h d b

e O high d b the lower jaw us t sink - -
a -
. n m

somewhat further tha in the medium r gister d the r sona c f the tone
n e ,
an e n e o

should be distinctly felt i th top f th h ad ear the front but not in th n e o e e n

, e

for h ad or in the back of th h ad To mak this point plainer l t the

e e e e . e
,
e

pupil sing hig h d b li ( l ) with a short pause b fore taking the h ad

on
“ ”
ee , e e

tone Th mouth Op ning w ill b come slightly rounded the vow l shad d
. e -
e e
, e e

towards I the first half of th

“
o .
”
xercise the l g t must no account
n e e ,
e a o on

be cha ged into a dragging over f

n ton into th other -
o one e e .

N B If the skip of a Fourth mak s this xercise t d iffi l t—partie

. .
e e oo cu n

l ly for a weak medium r gister and short br ath —let the following xercise
ar e e e

preced it e

*S
om e ti m es no t ti ll d or e b, ac c ord i ng t o th e i nd iv id al har
u c ac et r of th e vo i c e .
 14

In ord r to bi d the tones well to keep the breathing quiet and ( later)
e n , ,
to

bl n d th r gist rs prop rly the following xercise wil l s rve

e e e e e ,
e e

L en to es pr ess ivo .

l a la l a l a _ la
C o n ti n ue on suc

c e ss x
ve d egre es .

N B At this stag w woul d call attention to the correct an er of

. . e e m n

taking br ath N v r tak br at h at the b but aft r the strong beat f th

e . e e e e ar , e o e

ne xt m asur e e .

T h high marked with a f rmata must glide into and die away b
2
e 0 e M on
, ,
.

A chang of r gis t r occurs on 41 In thes exercis s

e e sho ld never r ach
e 0
2
. e e o ne u e

the e xtr m limit of th vocal rang ; for this r ason th note f was assumed
e e e e e e
2

as high st ton which n d not be tak as a standing rul for all cas s
e e, ee en e e .

S om b ginn rs find th n xt ex rcis mor difficult than thos prec d

e e e e e e e e e e

ing sp cially when th br athing is t und r full co trol In such cas s

,
e e e e no e n . e

skip to th x rcis following it e e e e .

la 13 'a
to F( in c l usi v e)

NB fail to not the ch ang of regist r her ' ( Though in some

. Do not e e e e

voic s i t may t occ r till d )

e no u .

D not forg t that br athing and voice production are in contrary

o e e -

moti n W hil th t ach r is singing th pupil should feel by applying the

o . e e e e e
,

palm of th hand how th air pr ss works

e , e -
e .
 15

the last ex rcise the head tone will speak more r adily if aided by
In e ,
-
e

a slight extra pr ssure d it i also allowable to draw a littl br ath through

-
e ,
an s e e

th nos As w said b for th resonanc must b f lt on top of the h ad

e e . e e e, e e e e e ,

about wher th pari tal bon joins th frontal b on ( frontopari tal suture)
e e e e e e e .

T h follo w ing r mark is highly important

e d th pupil s h o ld give it
e ,
an e u

s rious att ntion It is a vicious fault to let th ton br ak ff abruptly at

e e : e e e o

th clos which happ ns wh

e e, fails to hav br ath in r s rve d to e en one e e e e an

r mai n with op n mouth in th same postur As a continual r mind r f

e e e e . e e o

this fault w shall the following small note app nded to the f ll melody
e u se e u

note to indicat unmistakably th prop r time for th close

,
e e e e .

An d an te .

Exercis 4 is to b s g i ebreath H ad tones indicated by e un n one . e -

ar e

s quar ot s How high th progr ssive transposition can xt nd d p n d s

e n e . e e e e ,
e e

on skilfuln ss d vocal quality — sel d om abov h O notes marked with

e an ,
e e . n

an exclamation point loo k out for pur intonation -

,
e

Vocal A g i l i t y (C olorat u ra )

It is an important matter to train th voice in fl xibility Ev n voic s e e . e e

w hich are aturally rebellious and h avy

n sur to gain by it i m llowness e ar e e n e

an d b auty W h n th training is insuffici nt coloratura passag s are often

e . e e e ,
-
e

slurr d ov or d liv r d j rkily ( lli ) Each indivi d ual ton must

e e r, e e e e c av a na . e

sound full and round T h is howev r will b th cas only w h n th sing r s .

,
e ,
e e e e e e
’

d liv ry combin s th l g t with th d t he— wh n h ton productio is at

e e e e e a o e e ac
’

e er e -
n

onc w ll supported and light Th mod of breat h ing r mains unchang d ;

e e -
. e e e e

ev en in rapid passages no ss ntial alt ration i th bodily attitu d and so e e e n e e

forth should occur Th abov not d style of ton production might most . e e- e e -

aptly b t rm d t t a style w hich xclu d s from th outset the call d

e e e sos en u o , e e e so -
e
“
bleating tone Coloratura passages m ust b sung strictly in tim and
”
.
-
e e,
 16

nev r rapidly but rath r slowly

e ,
e .
*
Whe the pupil has no natural gift
n ,
do no t
waste tim on coloratura study
e .

B fore b ginning to practise the above Ex rcise the intonation f the

e e e , o

difficult int rvals shoul d b sta b lished ; practis them with i ntentional
e e e e

emph asis Wh n singing th r maini g tones pitch th m with r f r nc t

. e e e n ,
e e e e e o

the starting tone ( k ynote) marked

-
Assume low as a point f r st from
e 0 o e ,

which the following ton s proc d in ever wid ning circles ; or imagine a ball
e ee -
e

b ounding from th ground i r gularly increasing l aps

e N l g t ' the fol
n e e . o e a o

lowing Ex rcise is to b sung t t

e e sos en u o

Th e high g forms th point

e of d partur wh nc th oth r ton s
e e e e e e e ar e

pitch de . T he first half of th x rcis is pr paratory ; the second should b

e e e e e e

sung p i an o .

Mo d er ate .

A void marking tim e wi t h h e ad hands or fee t

, , .
 19

T ur n s .

C h romat i c S cales
( P ure Intonation
Mo d e rato .
 20

Detac h ed T ones S taccato

practice ust b v ry cautiously proce d d with In contrast
S tacc a to -
m e e e e .

with th pr c d ing e t the ton s are

e e w execut d short as indicat d by
m ar c a o , e no e ,
e

d ots or s h ort d ash s over th not s Wh n the pupil shows natural aptitud
e e e . e no e

for this vocal sty l the short t t should t be practis d t frequ ntly
e s acc a o no e oo e ,
as

it might asily injur the voic First f all the head r sonance must come
e e e . o ,
-
e

into action A slight extra pr ssur but without waste f breath makes th
.
-
e e, o ,
e

ton sp ak asily Not s mark d w ith t t dots los half th ir time

e
“
e
”
e . e e s acc a o - e e

valu ; those mark d with w dg shap d dash s lose about three quarters
e e e e -
e e -
.

A ll g tt e St
rc
ati i o ac c ss m

S u sta i ned T ones , and t h e M essa d i Voce

Not until th voic h gain d d cid d agility and facility shou l d th
e e as e e e ,
e

pupil b gin to practis sustain d ton s tog th r with the 'M di

e e
( the e ,
e e essa vo ce e

long , d d d
e ve n d ) P ractis strictly in time
c r esc en o an the vowel
ec r esc en o . e ,
on
“
h b ginning v ry p i d l tting th ton sw ll gradually t Tak
a ,
e e
f
a n o an
t e e e e o or e . e

car t h at no int rruption or abrupt incr ase occurs in th smooth sw ll

e e e e e
 21

still less

While we have hitherto aimed at bringing th ton as far forward as possibl e e e,

w must
e w carry it furth r back towar d th pharynx
no T h diaphragm must
e e . e

work easily and elastically like In d ia rubb r letting th air stream t gently
,
e , e ou .

Th M e di essais produc d sol ly by breath control T h spinni g out of

voce e e -
. e n -

the ton ( fi l l e ) is v ry difficult ; it ust be managed with the tmost

ar e a voce e m u

circumspection and not at tempted at ll until now In the d

, d the a . ec r esc en o

breath pressure decreases v ry gradually and venly thus

-
e e , :

Alwa s think f the tone f a violin Th pi —as it were the daughter not
y o o . e an o ,

the shadow f th f t — m st float lightly on th lips ; h nce the saying

,
o e or e u e e ,

c a n tar e a
fi or di labbr a .

the clos the breath should not be exhausted but should be suitably
At e
,

graduat d and husband d M or over

e ought to b able t sustain a tone
e . e ,
one e o

eighteen twenty seconds

or .

Le n to .

an d so on

Th e P o rtam e nto

( from p t
P o r tam to carry ) signifies the g ntle carryi g over ( t
en to o r a r e, e n -
no

dragging ov r) of -
tone to anoth r In doing so the second tone is bar ly
e one e .
,
e

audibly anticipated at the end f the first The voice d scrib s so to speak o . e e , ,

an upward or downward curve while th p p ggi remains u moved ,

e a o o n .
 22

t en voice and b r athing act i the same direction and the pp ggi
e n ,
a o o

( point o f s pport) is a bandon d the result is awkward draw ' ( if take

u e ,
an ,
or n

slow r) a long d ra w n howl a v ry com on fault ; do not sing thus

e -
,
e m

Opposit of th p t
The t ( which adds gr at charm to the sty l e if not
e e o r an i en o e ,

too ft n mployed ) is th D irect Attack of th high r or lower tone ( d i l i

o e e e e e s an c o ,

or ll p ' )
a as 0 .

S p cial stu d i s for th p t

e t not r quired here b caus s ffici nt
e e o r a m en o ar e e ,
e e u e

Opportunity w ill b foun d in th solfeggi d vocalises for pward or

e ,
e an ,
u

do w n w ard p t ti as i d i t d b y th
o r am en l g t slur T h wid r th int rval
,
n ca e ,
e e a o -
. e e e e ,

th mor difficul t th ex cution

e e R fined taste is essen tial to th proper
e e . e e em

pl ym nt of this vocal d vic

o e e e .

Rem
f ar k No mor or xercises will
th e b eed d if the
Teac h erp pil . e e e n e ,
u

shows ability I fact l ss d pends on th ex rcis s th ms lv s than th

. n ,
e e e e e e e e on e

mann r in w hich th y are practis d and appli d ' seless fatigu and dis
e e e e . e

cour g menta e c rtainly not lead to succ ss in study

c an e e .

Female Vo i ces
C o lo r a tu r a S o p r a n o

D ra m a ti c S o p ra n o ( or Hi g h M e z zo = S o p r a n o )

He ad Re gi ste r
t
-

M e d i u m Re gi s er
Ch es t R gi t
-
e s er

o S oprano al so cal l d D ra atic Sopra o is a less fl xi b l f male

T h e M e zz -

, e m n , e e e

voic w ith d v lop d ch st r gist r and d ium compass T h cours of study

e e e e e -
e e m e . e e

is arly th sam as for th coloratura soprano ; it b gi s by d v lopi g the

ne e e e e n e e n

m ed iu r gist r a d d ing lat r th h igh r d lo w r ton s How many of the

m e e , e e e an e e .

pr c d ing x rcis s s h ul d b practis d d p n d s w holly pon th character f

e e e e e o e e ,
e e u e o

th voic d th pupil s tal nt

’
e e an e e .
 23

O b se rv at i ons on C h ang e o f Reg i ste r

often h appens
It again hearing a beautiful voice after the l apse of ,
on

years that we are astonish d at its loss f sonority and m llown ss ; chang s
,
e o e e e

o f register are plainly audible the voice is apt to break and no lo ger follows ,
n

th artistic intentions
e The cause may gen rally be tr ced to wrong d v lop. e a e e

ment and treatment For instanc if th ch st regist r be forc d up . e, e e -

e e un

n aturally the voice must necessarily suff r A giv n voic should t b

,
e . e e no e

cl ssified simply according to its actual compass but also according to its
a ,

ti b m As for the correct employment f the registers general rul s can

re . o ,
e

hardly be formulated T h re are female voices for example in which the . e , ,

r gisters are naturally blended that is in which the unbiass d listen r scarcely
e , ,
e e

n otic s the passage fro one to the other W here this is t the case the
e m . no ,

teacher must continu training until the pupil is able to bl nd th r gist rs e e e e e

smoothly S hould th however b unabl to distinguish th diff er nce in

. e e ar , , e e e e

tone ff ect it arg es a d f ctiv nat ral tal nt in th pupil Th tones near to
-
e ,
u e e e u e e . e

th change f register must always b tak n with gr at care

e o S i g f g slowly e e e . n e- -

on l As the chest voice ( of a m o soprano) pass s ov r into th ediu

a .
-
e zz -
e e e m m

regist r although the charact r ti b of th tone must naturally chang

e ,
e or m re e e,

yet the volume and general ff ct f th ton should remain th same ; in oth r e e o e e e e

words the ton s should be so v nly match d that the balanc f tone is h ld
,
e e e e e o e

l vel from th lo w est to th high st not of th scal Even min nt vocalists

e e e e e e e . e e

oft n sing imp r flat head tones at th

e d of a passage ascending from the
u e, -
e en

low r r gister This results from a w akn ss of th diaphragm which is

e e . e e e ,

u nable t support the tone by full pr ssur T h er is no do bt that the

o e e . e u

great r part of th d i ffi culti s encounter d at a c h ang f regist r as well as

e e e e e o e ,

the un v n tones withi e and the sam r gist r may be trac d to faulty
e n one e e e ,
e

br athing At a chang f r gist r esp cially th br athing must be calm

e . e o e e ,
e ,
e e

and asy W h en it is so and wh th body is i a nor al position with

e .
,
en e n m ,

mouth and pharynx suitab ly o p n d no will xperi nc difficulty at a e e ,

one e e e

change of r gister Curiously enough teach rs e still to b found who

.
,
e ar e e

Simply allow th solfeggi to b transposed inst ad of aki g d allowance

e e , e m n ue

for th di fferenc s f register in differ nt kinds f voices In such cas s one

e e o e o . e

n ed t b surprised to h ar f vocal d f cts which cannot r sult wh n the

e no e e o e e e e

voic is naturally develop d — Th refore first of all learn to breathe correctly '
e e e , ,

Following th exercis s solf ggi are now to b studied To acquir a

e e ,
e e . e

pure pronu ciation f the vow ls always practise

n d i f l l
o i e ,
on o re m a so a S ,

obs rving the rules giv n below

e e

1 . For th vowels i open th mouth about a fi g b

e d th a , e, ,
e n er r ea .

2 . For th l ips shoul d assum an only slightly roun d ed form

0 ,
e e .

3 . In the medium r gist r ton s the vowels a d i s h ould be felt e e ,

e on e n
near th front f the hard palate ; the tones f the head r gister should be felt
e o o -
e

to vibrat in the top f the skull n ar the front

e o ,
e .

4 P ronounce the consonant sharply in

. l and i s so s .

5 T w successive consonants ending

. o word and beginning the ext ,
o ne n

must be sung separately ; for instance l l not ll ,

so ,
a, so a .

A class of voice becoming more and mor rare is the Contralto Alto e or .

W h at is nowadays usually understood as alto was formerly termed a deep ,

m o p
ez z -
The modern opera rep rtory seldom affords opportunity for a
s0 r an o .
-
e

genuine deep al to to participate : and present day composers though they may -

write for this oice pay little attention to its compass and p culiarities S mall
v , e .

wond r then that

e , altos are gradually b ing conv rt d into me o sopranos
, o ur e e e zz -

For the sake f brevity we shal l disc uss bot h these classes ( hig h and l w
o o

alto ) under the head f o

Dee p Fe mal e Vo i ces

The beauty f a l w voic resides in the h t gi t with the d velop

o o e c es o
re s er , e

ment f which o ought to begin the m dium and head registers following
one ,
e -
.

In low voices th m dium r gist r i ry w ak and r quires special care

e e e e s ve e ,
e

for its prop r dev lopme t T h low and high bor d er tones
e e n not to be
. e
“ -
”
ar e

added till lat r At first the main point is considered to be chest resonance
e .
,
-
,

wit h a w ll op n d pharynx A alto voice witho t suffici nt pp ggi does

e -
e e . n u e a o o

not carry and sounds dull and hol low ( Compare Tone attack and Reso
,
.
“ -

nanc e, page ”
Approach the d evelopm nt f the high tones only with the
on e o

utmost caution When the ch st voice is forc d up too h igh the h ad voice
. e -
e ,
e -

los s in m llown ss and carrying pow r ; how many beautiful alto voices have
e e e -
e

b en ruined— aused to br ak — by this unnatural method The diagram given

e p e

above sho w s quite acc rately th relations f th various registers In cas a

u e o e . e

d ep alto has no natural gift for coloratura d not try to forc its inclination
e ,
o e

unn c ssarily for such purposeless practice may asily lead to forcing the voice
e e ,
e

and acquiring the t l It is a d i ffer nt matter wit h the hig h alto which
r em o o . e ,

oft n has a atural tal nt for coloratura whenc it is called coloratura alto
e n e ,
e

in contradistinction to dramatic alto “

.
”

Alto singers not seldom inclined to pronounc the ah lik oh a

ar e e
“
e
“

d f ct whic h should be contended against fro

e e the very first exercises the m on

attack .
 25

In general th rules alr ady given should b observ d

, e e e e .

Aft r suffi ci nt pr paration ( position of th body br athi g and attack)

e e e e ,
e n ,

similar vocal studies are t be tak n p as for soprano o e u .

M ale Vo i ces

From anatomic reasons ( larger pharynx and long r vocal cords) male e

voices sound an octave lower tha f mal voices Through mutation th boy s n e e . e
’

voice which much resembles the female voice becomes ith r a high or a de p
, , e e e

male voice .

Hi g h M ale V o i c es

Tenor ( H roic e ,
Ly ric and L ight Tenor )
, .

De e p M a l e V o ic es

Baritone ( Bass and Tenor Bariton ) -

e .

Bass ( d eep and high ; the latter is the b fi a o ) .

O ne of th se class s too the genuine baritone ( not to be confounded with

e e , ,

the high bass) is gradually disapp aring for c rtain r asons As a typical e e e .

bariton we would name Giorgio Ronconi for whom D oni etti wrot op ratic
e ,
z e e

r oles The light tenors too

. b ing gradually sup rse d d by the heroic
, ,
ar e e e e

tenor .

B sid s the regist rs alr a d enumerated ( ch st m di m and h ad) the

e e e e y e ,
e u ,
e ,

mal voice poss ss s a fourth w h ich r nd rs it ess ntiall y d iff r nt from the
e e e ,
e e e e e

f male voice na ely the mix d voice ( i ixt ) wrongly called fal
e ,
m ,
“
e
”
no se m e ,
“

setto And the v ry fact that th training of this r gist r has b n gl ct d

.
”
e e e e ee ne e e ,

may b the chief r ason that w hav so f w emine t t nors and th at artists
e e e e e n e ,

endowed wit h great vocal pow rs often mistak q ti ty of ton for q li ty e e u an e ua .

How f w sing rs th re
e who can sing with half br ath how few who
e e ar e
“ -
e

know how to control or employ the di or an ff ctiv buoyant p i m essa r ac e e e e, an o

And may not this be attribut d to faulty methods f breathing ? e o

Te n o r

Ch e st- Re gi s te r

The proper cultivation of a tenor voic requir s gr at exp ri nc and e e e e e e,

forms the most di ffi cult task for the singi g teacher O n the ton s b d and d z; n -
. e ,
c
, ,
 27

When the mouth is not Opened wide e ough the d ntal tone results
7 . n ,
“
e

from th tonal r sonance th t th e e on e ee .

8 W akn ss f the laryngea l muscles and vocal cords may cause the
. e e o

t
r em o ol Th r fore
. should spare the voice and t sing with full force
e e ,
o ne no .

W hen a good pp ggi is acquired and the voice speaks to the teacher s
a o o ,
“ ” ’

satisfaction the following stu d ies may b taken up ; s ing them at first on la
, e * “ ”

( l h ) and then ( l g like the French lé ; acute é not broad e) Th

“ ”
a ,
l on e a , ,
. e

most difficult tones for the tenor voic are e

la si and Wherever th y occur give them especial attention

m i, fa . e , .

T h course f study is the sam as for S oprano only the trill exercises
e o e ,
-

may b omitted We consid r this an d ig i fi d embellishment for a man s

e . e un n e
’

voic d r j ct i t use from the standpoint Of m sical sthetics

e , an e e s O ur b u ae . o ser

vati on the soprano cours remain in force h re

o ns e e .

la la la
 28

We would r mark fi ally that all controv rsi s and disputes touching
e ,
n , e e

the development f th t nor voice usually qu i t pointless for the simple

o e e ar e e ,

r ason that nothing more can b mad f any given voice w h

e aturally e e O ,
en n

train d and dev loped than the giv n anatomical conditions p rmit No
e e ,
e e .

m ethod whatev r will ver succ ed in making som thing great t f every
e e e e ou o

voic for that would c rtain l y b un atural —contrary to natur e What then is
e, e e n .
, ,

the singing teacher s chief problem ? L t us tak the Italian terms for onc
-
’

e e ,
e

P ( pp ggi )
osa r e a i l pp
o
g gli
ar e l , ( t place de elop and qua l
sv u ar e, e ua ar e a vo c e o ,
v ,
e

i
ze the voice ) Thes are w and al w ays th fundamental d as f the
. e no e i e o

t chnics f the b l t And verybody o ght to l arn to sing according to

e o e c an o . e u e

correc t methods at least so as t d v lop th m uscles mployed in singing ;

, ,
o e e e e

which is also to b warmly recomm n d ed from a hygienic point f i w mor

e e o V e ,
e

particularly for p rsons having w ak lungse e .

T h r maining classes f voice Baritone and Bass we shall include under

e e o , ,

the head of
Dee p M ale Vo i ces

T he above diagram exhibits the usual compass of th s voic s e e e .

 29

The Bariton e is id d th typical male voice Its v ry ame indi cons e re

‘

e
’

. e n

cat s this— b gt
e d p sounding We h ave already remark d that this
ar o n os : ee -
. e

l f voice is und rgoi g a gradual process f lo w ering Its ordinary

'

c ass o e n o . com

pass is from A to f

vocali ing the tones d sing th wit h br adth Of tone but t

_
In z c, ,
e, em e ,
no on

broad ( law) T h m dium r gister starts f t ; keep the pharynx w ll

a . e e e on e

Opened High is the limit f th head r gister ; beginning about

. 6 the o e -
e on c
’
,

half chest resonance is r inforc d by h ad r sonance The chang f regist r

-
e e e -
e . e o e

must be equali ed b forehand A good pp ggi m ore esp cially w h z e . a o o, e en

th chest register has first b e d veloped insures strong high tones High
e -
e n e , .

e sho ld be su g broadly but rat h r darkly

l
u n , e .

The developm nt Of the High Bass calls f special observations e or no .

_ _

The to es n of the m edium regist r e ar e to be sung wit h an open somewhat ,

round h a .

eep Bass ( b p f d ) diff rs from the high bass as th de p alto

T he D asso r o on o e ,
e e

from the high by great r bread th and sonority f th low tones Be very care
,
e o e .

ful not to force the ch st r gister up too high T h di fficulty in aking th e -

e . e m e

low st ton s speak ti s th voic and for this reason a careful development
e e
“ ”
re e e,

of the m dium r gist r should b aim d at

e e e e e .

Th e T ec h n i cs o f S peec h and S ong

anguag and S ong rar ly go hand i hand Th Italian language is the
L e e n . e

chi f xc ption to this rul b ing th one b st adapt d for artistic song
e e e e, e e e e on

account of its w alth f vowels d l ack of aspirat s M ost Italians naturally

e o an e .

pronounce th op vow l a ( ah ) corr ctly wher as oth r nationalities

e en e
“ ”
e ,
e e

hav to mak a special stu d y f i t ; th English for instance often shade

e e o e , ,

ah toward or ”
For us howe er the G rman languag is th first in
a 0 .
,
v , e e e

ord r T h vow ls i ( ) and Fr nc h u (ii ) are h ard to sing on th high

e . e e
“ ”
ee e
“
e

not s W shall take no singer t task for cha ging th position f such
e . e o n e o

words for substituting oth rs with mor uphonious vo w ls — provid d that

,
or e e e e e

he poss ss th technical a b ility to vocali the abov nam d vowels on high

e e ze e -
e
 30

tones The pronunciation f the vowels having been sufficiently practised in

. o

th solfeggi and vocalises we eed dwell no long r

e their quantity ( as long ,
n e on

or short) ; for a pure pronunciation free from dial ct and sharply articu lated ,
e ,

is a pr r quisite e e .

W proce d t the Germa diphthongs pronounced

e e follow o n ,
as s

ai and i h e a
i

a and h n en a
u

ah au ''

The first owel must b prolonged as much as possible and the second sung short
v e , .

T h pronunciatio f the consonants presents greater difficulties tha that

e n o n

o f the vow ls Consonants are vocal e unvocal T h vocal nasal consonants

. or . e

(
m , g) r quire no sp cial remark
n ,
n e O pinions di ffer concerning th correct e . e

pronunciation f g at th d Of a word or syllable In the words ' a g and

o e en . ni
'

h i lig the soft sound f g ( the German palatal h ) is pref rable ;

e ,
the other
o c e on

hand we pronounc w g like w k g like l ( kh) although we say w h

,
e e ee ,
sa sa e za ,
ec

genommen ( not w hg ) because of the two successive

ecg The C
en o m m en
'

s
. on

sonants h and h peculiar t the G rman language and therefore familiar

e ar e o e ,

to all Far more unfavorable for vocal art are the numerous doubl d
.
*
e con

sonants and combinations T h ton accent always falls the vowel ; g . e e -

on e . .
,

pronounce If i l not Hi l Wh r no ambiguity is created the final

-
m m e ,
m -
m e . e e

and initial consonants may be draw together g mild n M ondlicht n ,

e . .
,
im e
”

( English parall l i b l but make

e a distinction
: betw
“
en n inA

nO e e

Nacht and in Acht ( parall l a tall and at all

“
S ome sentences are e :
“ ” “

so crowded with combinations f consonants as positively t hinder the freedom o o

o f d liverye T h b st w y to ov rcome such difficult word complexes i to

. e e a e -
s,

try to tr at entir s nt nces like

e word t dwell on th ow ls and to glide
e e e o ne ,
o e v e ,

lightly over the consonants though without b coming indistinct In xtr m ,

e . e e e

emotion the voice is som times int ntionally od lated into a sp aking tone e e m u e ,

as wh n Fidelio exclaims i th scen in the subt rranean prison Tot erst

e ,
n e e e ,
“ ’

s in Weib ' ( first kill h i wif ) T h same l ik wis occurs i so gs and

e
”
s e . e e e n n

ballads in any sharply and passionately declaim d passages

,
or e .

S ome Remar k s on M u s i cal S t y le

No has as yet ass rt d his ability to t ach the correct interpr tation f
on e e e e e o

music alth ough attempts have b en made specially f lat years to d duce
. e ,
e o e ,
e

* s p e aking stu d e n ts u n a cq uain te d w ith ' e rm an a n e xplanation a pp e a rs

Fo r E ngli sh -
,

d e sirabl e : Th e hard or g u ttu ral c h is m e re ly a ro ugh bre a thing as i f o n e w e re t ry ing , ,

ge ntly t o cl e ar on e s throa t th e so f t or p al a tal c h is obtain e d by s e tting th e t ong u e as i f

,

’
, ,

to p rono u nc e ye a nd th e n r eta i n i n g th e to n gu e i n th a t p o si ti o n bre a th i ng ( whisp e ring)

thro u g h b e t w e e n t o n gu e and hard palate —T RA N S L A TO R S N O TE
, , ,
’
he . .
 31

rul s f universal application from int rpretations inspired by musical feeling

e o e

and refin d taste As a noteworthy ssay on this su b j ct we would r co m n d

e . e e e m e

Lu ss
y ' unst’
sd m sikalisch n V ortrags ( Art of M
es usical Int rpretation
u ) e e ,

publis h e d by L k t L ip ig — work which stimulates ind p n d nt think

eu c ar ,
e z
*
a e e e

ing about music which one hears Innate talent how v r must b second d .
,
e e ,
e e

by anoth r gift— artistic tast which is most cl arly xhi b it d i th d ynamics

e e, e e e n e

( to e power) and corr ct t mpo ( instinct for time ) Compositions of Old n

n -
e e . e

times are Often play d too fast even as early 1 75 2 ' an t in his Essay
e as u z,
“

on P laying the German Flute makes the same obs rvation Esp cially i ,
e . e n

works by th old mast rs with rar indications of the tempo one should
e e ,
e ,

guar d against a too hurri d ll g Everything writte about th mbellish

-
e a e ro . n e e

m nts of t h os days has fail d to s ttle th qu stions nvolved Artistic taste

e e ,
e e e e i .

is a great r h lp than inter sting historical discussions M a an ld vocal

e e e . ny o

grace lik certai forms of the trill and th rapid r p tition of

,
e n ton ( com ,
e e e o ne e

pare Caccini has become totally obsol te

,
e .

Correct musical acc ntuation depen d s firstly on th rhythmic phrasing e , ,

e ,

and s con d ly e ton acc nt and word accent Here the g neral th ory of
,
on e -
e -
. e e

music steps in ; the theory of th strong and weak b eat of consonanc and e ,
e

dissonance and f metrics For a good styl th art of corr ct phrasing is of

,
o . e e e

the high st importanc P hrasing is simply musical punctuation w hich f

e e .
,
re

que tly coincid s w ith t hat f the words Th sha d ing or usical
n e O . e ,
m n u a n c es,

Of a phras will d pen d on t mpo and g n ral charact r of the comp osition
e e e e e e .

Although s nt nc s shoul d nev r be tor asund r by thoughtl ss breathing

e e e e n e e ,

th r are tim s neverth l ss when one is oblig d to take breath before a w

e e e ,
e e ,
e ne

word It is n v r p rmissi b l to s parat th conj unction

. e e e d from a fol e e e e
“
an

lowing sent nce which i t joins to what pr c d s ; br ath must be tak

e e e e e en

beforehand .

In the Recitati v ( from i t to narrat ) singing most nearly approach s

e r ec ar e, e ,
e

ordi ary speech Th chief r quir ment for this vocal style is that the sing r s
n . e e e ,
e
’

imagination should be fir d by th giv n situation O ne of its forms the e e e .

, so

calle d i t ti r ee with a rath r sketchy chord accompaniment was form rly

a vo seceo , e -
,
e

employed to hasten th cours f th dramatic action and as a m ans of joining

e e o e ,
e

the principal numb rs of the opera or to put th pic ( narrative) elem nt in

e ,
e e e

musical shape more especially for narrating previous occurrences It p

,
. re re

sents the light and asy conversational tone of ev ry d ay life W hat an l

e e . evo u

tion that of this simple m sical form into the r cit tiv s f a V rd i and yet
, u e a e o e ,

more i nto th r citative styl of Richard Wagn r in which tone accent and
e e -
e e ,
-

word accent coincid and bl nd in a mann r unknown befor ' I th Wag r

-
e e e e n e ne

drama th vocal part is wrought into a sy p h onic tissu of tone and only a
e m e ,

sing r with a perfectly trained voice

e satisfy the demands of the musical c an

Th e la te st P ari s e di tion ( 19 0 4) i s e n ti t le d Trai té de l

’
e xpr essi o n m u sical e .
 32

d eclamation Richard Wagner himself writes

. vocal technics as follows , ,
on :
“
It is certain that i other study is such assi d uous individual attention
n no

r quired as in singing lessons It demands ev r vigilant supervision f th

e ,
-
. e -
o e

least d etails and un w arying pati nce in most arduous practice t ac q u i re a

,
e e ,
o

really faultl ss developme t f the human voic particularly in Germany under

e n o e,

the infl ence f the German languag Wher as in learning all instruments
u o e . e ,

th elaws f their t chnics r st a firm foundation and may be ta ght the

o e e on ,
u

student in accordance with fixed rules by any thoroughly trained executant

, ,

on a given instrument th t chnics f vocal art to this day an nsolved

,
e e o are u

pro b l m S imply our Observatio of the fact that th theory of singing has
e . n ,
e

not be n taught with genuine success in a single German Conservatory is

e ,

suffici nt vidence f this diffi culty

e e o .
”

After finishing the most importa t vocal ex rcises the student may begin n e ,

the study of light Arias ; f example or

C oloratura S oprano L a S o n n am bu la , L e lV o zze d i Figar o

D ramatic S oprano Otello ( R ossi
n i , S em i r am i d e
)
M e o S oprano zz -
L a Favo r i ta
High Alto D o n S ebas ti an o (D oni etti )
z

L w Alto
’
o : L I ta li an a i n A lger i
Light T nor e I P u r i ta n i ( e ) B llini
L yric Tenor L uc i a d i L am m er m oo r

D ramatic T nor e P o li u to ( D oni etti)z ,

l l P r ofeta
Baritone : M ar i a d i Roh an ( D o n i z e tti ) and I l Bar bi er e d i S i vigli a
High Bass S em i r a m i d e ( R ossini )
L w Basso : Ro ber to i t Di avo lo

Regarding them as studies all arias are to be su g in Italian ; the more d iffi ,
‘

cult languages will be considered later T h first step is to ascertain th . e ,

e

prevailing mood to b interpreted according to which the t mpo and style can
e ,
e

th n b determined The singer must cl arly understand what the poem

e e . e

expresses before und rtaking serious study of the melody What poet d
,
e . an

composer f lt wh i le cr ating the composition must be felt ( or bett r

e etd) , ,
e ,
r e- c r ea e

by the sing r No interpretation can rightly be called perf ct until the po tical
e . e e

and musical co c ption is exhaustively set forth ; until the b

n e carried away ear e r ,

by the artistic ff ct forgets th artist i rapt cont mplation f the art work
e e ,
e n e o -
.

—Breathing and phrasing must be settled and all expression marks carefully ,
-

not d e .

Th Arioso and the S ong make still higher demands on the artisti
e c

capacity T h mod rn German D i d in particular presupposes great technica l

. e e e , ,

C oll e c t e d W ri tings vol vi ii p , .

, . 1 99 .
 33

skill and powers f interpretation to rend r it ffective t m rely by potent

o e e ,
no e

charact ri ation and f rvor f styl but also from a p r l musical vi wpoint
e z e o e, u e y e .
*

P o w rful declamation cannot make

e p in th long run for d f ctive ton u ,
e ,
e e e

production and ill traced melodic lin s W r it otherw ise h w d for pur
-
e . e e ,
o sa e

vocal art whic h should find in the conc rt hall d ivorced fro th actualiti s
,
e -
,
m e e

of the dramatic stage a fi ld for fr sh triumphs ' ,

e e

N w h w sho ld a S ong
o ,
b st di d ? R ad through th po m
o u e u e e e e

car fully and make m nta l note of its cont nt T h n play the m lo d y th rough
e ,
e e . e e

slo w ly S p cially difficult int rvals must be stro gly impr ss d on th

. e e n e e e e ar .

It is a good plan to pass ov r gradually from th speaking ton to th singing e e -

e e

ton D uring this tim the S ong emerg s i nebulous co tours before the
e . e e n n

stud nt s fancy When the xpression marks

e
’
obs rv d its form grows
. e -
ar e e e ,

cl ar r and cl arer until th accompanim nt b ing ad d d it gains its true

e e e , e e e e ,

l i and a w ll d fin d shap

co or s By dint of singing du bi us passag s ov r and
e -
e e e . o e e

over with a d eci d d int rval bet w

,
the r p titions d istinctn ss and
e fi e ee n e e ,
e con

d nc are obtain d
e e A d finally what we hav l arn d has to b e . mori ed n , , e e e e m e z .

T h sing r is not invaria b ly o b lig d to follow th compos r s intimations ’

e e e e e

exactly ; tak for xampl th passag in D i b id n Grenadi re by S chu

e, e e, e e
“
e e e e

m ann S w ill ich li g n d h orch n still wie ine S childwach i Grab

,
o e e un e ,
e
’
m e,
”

for whic h f t is dir ct d B ut such cases are exc ptional ; as a rul th

or e e e . e e e

author s written instructions should be h ld by the pupil as most pr cious

’
e e

suggestions .

A W ord on t h e S tudy o f Reles

The v rsatility d man d d of mod r t g i g exclud s t a r
e e e o ur e n s a e s n ers e ,
o ce

tain extent th possi b ility of th ir attaini g r al min nce in y direction

, e e n e e e an one .

W hat an amount of d iligenc d ene rgy is required m r ly for masteri g the e an e e n

r p rtory f a court th atr ' Form rly it was diff r nt ; the sing r sang f w
e e o e e e e e e e

rOl and thos only for which h was adapt d No w adays it may happen
es, e e e .
,

that t d ay a coloratura soprano has to sing Rosin e to morrow M ignon and th

o ,
-

,
e

d y aft r
a Of th V alkyries This is t simply frivolous but a i against
e one e . no ,
s n

th spirit Of art
e L ib rall y ndo w d th atr s should strictly d fine th various
. e e e e e e e

character sp ci lti s and spar th voic s T h r is no l ck f vocal tal nt ;

-
e a e , e e e . e e a o e

b t th conditions of mo d rn
u e t nfavora b l to ord rl y d l p t The e ar ar e u e e eve O m ei i .

singer does not study lo g no gh b gins his stag career nrip and v ry n e u ,
e e -
u e, e

s ld i nde d grows up i to th gr at Ol
e o m e And besid s t h ere is th n e
“
e
”
r es . e ,
e

fairly ov rwh lming crop of m diocrity forc d in music school s of v ry d gree

e e e ,
e -
e e e ,

tud nts again t too m c h L i d singing at fi rst th

W e warn s e s u e -
, e rang e be ing too limi te d
and th n u m ro ton r p ti tions calc lat d to tir th voic ;
e e us e- e e u e e e e coloratu ra sopranos i n ,

part ic lar ho u ld t k t his warning t o h art

u , s a e e .
 0

tha it can bear A natural method strengthens the body and the vocal organ
n

the singer hims lf must w be car ful to avoid ev ryth i ng which ight aff ct
e no e e m e

h o ce n'ur ously A strong thoro ghly train d organ will by no means

is V i i i .
,
u e ,

as many rroneously think h ruined by Wagner s music ; the fata l mistak is

e ,
e
’
e

rath r that nripe rtists un d ertake th most d ifficult tasks befor poss ssing
e ,
u a e e e

th necessary ability
e And ven a sing r with but a small voic and obliged to . e e e,

limit hims lf to a arrow range ought to mak e i i t l lig t s lection from

n ,
e an i e en e

among thes f w Ol T much song singing as we said b for i harmful

e e r es . OO -
,
e e, s .

Besides pecial hygienic dir ctions should b followed W wo ld refer to

,
S e e . e u

th before m ntion d w ork by P rof ssor D

e -
M andl ( German titl
e eGesund e r . e :

h tl h
ei s e d which gives mos t xc ll nt advice v n for minor
re er e e e ,
e e

indispositions S pac forbids our entering into all d tails W w arn the
. e e . e

sing r against unnec ssarily loud speaking sp cially i the mor i mportant
e e ,
e e n e

rOl O ne ought not to sing soon after eating ; and it is injurious to t much
es . ea

butter or fatty food i gen ral P ractising with od ration and with frequent n e . m e ,

int rruptions w hav already a d vis d For th r st

e ,
should l ad a well
e e e . e e ,
one e

r g lat d life d avoid whatev r might affect the syst m inj uriously For
e u e ,
an e e .

the same reason sho ld stop singing ntirely during indisposition and
,
o ne u e ,

allow th vocal organ to rest Avoid above all su d den changes f temperatur
e .
, ,
o e,

which may easily give rise to catarrh whos unpleasant ff cts should t be ,
e e e no

u nd restimat d by a vocal artist Of all p rsons

e e C oddling on th other ,
e .
“
,
”
e

hand op s every av nu to dis as ;

,
en should rather se k r fug in h arden e e e e one e e e

ing th syst m Br athing through the nose in the Open air and an avoidance
e e . e ,

of overheating sports and pleasur s self vidently wise precautions e ,

ar e -
e .

C oncl u s i on

It has be n endeavor to set before th vocal stud nt the fun d amental

e our e e

principles of the technics of th B l C t i a concis for In closing a f w e e an o n e m .

,
e

gen ral O b s rvations

e to be mad W hat is the b st age to b gin study
e ar e e . e e ,

and how lo g ought to tak l ssons ? Neither qu stion

n b answ red one e e e c an e e

Off ha d as all sorts

-
n f subordinat
,
points also r quir consideration A o e e e .

young man should begin wh n his voice is fully d veloped aft r r aching e e , e e ,

say the age of twenty As for th f mal voic there is no reason ( except a
,
. e e e e,

possible consideration f physical d v lopment) why training should t begin o e e no

as early as possibl let say in the sevente nth y ar It was form rly the
e, us e e . e

custom t study at least four fi y ars v n in Italy th land f so g

o or ve e ,
e e , e o n

ful speech ; nowadays the shortest cours i usually thought the b st with ,
e s e ,

cons qu nces v rywher in evid nc P rf ct d v lopm nt alone should be

e e e e e e e . e e e e e

the id al T h en away w ith all high fl w schem s and foolish illusions

e .
-
o n e ,
 36

mental training—will aid the artist everywhere in his future career and prove ,

o f th g atest advantage
e re And all i and p rsons with weak lungs
. an e i n c s, e or

h art should practis vocal gymnastics at least f from four to six onths
e ,
e , ,
or m

u nd r the supervision of an instructor for the exercis s in deep breathing

e : e

required by art vocalism t only expand the chest and stre gthen the
-
no n

p ctoral muscl s and lung tissue but also promote in particular the g neral
e e -
, e

circulation of th blood the heart action and th cha ge f matter ( These

e ,
-
,
e n o .

last remarks addr ss d esp cially to young wom n f weakly ph ysique )

ar e e e e e o .

Whil sp aking f vocal d liv ry we emphasi d th value f a knowl d ge f

e e o e e ,
ze e o e o

th g n ral theory f music including the intervals

e e e o Ability to play th piano
, . e

is not absolut ly ss ntial but is a great advantage to th sing r who will th n

e e e ,
e e , e

not al w ays be d ep ndent upon th accompanist But it wo ld ov rtax his

e e . u e

physical strength to d d y consid rable piano practice to his strenuous vocal

a an e -

studi s ; either
e study or the other ' The human voice is th os t pr cious
one e m e

o f m sical instruments and more d licate than any othe

u ,
O nly a singer w h e r
. o

can sing w ll is able to endo w it with sustained force and expressiveness It

e .

is a atter of b t a short series f successi e tones —yet w h t a d ifl

m u in o v a e r en c e

e ff ect between the finished artist and a bungler ' The sing r who i once in e s

possessio f a perf ct ly trained voic wil l preserve this inestimable treasure

n o e e,

till an advanced age H w rich a reward for a few years of sensibl

. o d e an

diligent study reinforced by ord erly mo d of life ' S away with all arti
,
an e O

fi i li ti
c a and reckless theori i g ; let us return to the simple natural method '
es z n ,