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T_T.HAHT(EH_ D.A_THUAX C.C.CLAPP&E9 TSHEHHY. /'///'/,,,/," ”NW/1W 1 l'7'm7'11/m/1' I 7/, 11/1111 11 Ufrr/x '1” (’1’ //1’/ 1 1 \_ 111117 /////////;//7// [,1] NH” ' 175$ * QSSWB 5i V .0010 (‘\r1," <9 r M F g x w , . w «w _. 2 mm m_ . < . g _ _ ¢ ‘ ¥ . _ . b _ > ‘ . J FIRI;F§§ iii??? - C H A PTE R I . OF TH E STUDY OF SINGING. ' / The study of singing can be undertaken,before that age at which the voice is generally supposed to ehange. without any danger to the health or to the voice. But, during theperiod (fh‘ansiiz'on.it is necess— ary either to interrupt the exercises altogether,or to sing only very moderately, and entirely abandon the employment of sounds extremely-high or low. The skilful and conscientious teacher must de— fer-mine the best course for the interest of the pupil intrusted to his care. There are three things to consider in the art of singing;_ First,sentiment; second,v0ice; third,ex ecution. Sentiment and voice are chiefly the gift of nature. Study can develop and strengthen thennbut it cannot give them to one who is entirely destitute of them. Execution can be acquir. ed and perfected,with more or less labor, according to the aptness of the individual. As before singing‘well it is necessary to sing in some manner, we shall have to occupy ourselves. at first, with the voice and with its mechanism. We shall afterwards speak of musical sentiment, and of.the proper means for developing it. ’ ‘ CHAPTER H. OF THE VOICE, AND OF ITS FORMATION IN GENERAL. What is called the voice is the sound which human beings have the faculty of producing with their own organs. The lungs and the larynx are the principal agents of it;but it is modified by the co operationrof the maxillary sinuses,the nasal cavities, and the frontal sinuses . The greater or less opening of the upper extremity of the larynx, called the glottis, produce sounds more or. less grave . The purity of the voice depends upon the exact relation which there should be be— tueen the degree of opening of the glottis, and the degree of elevation of the sound which it is desired to produce. . “hat is called talent for singing consists then principally in the aptness to seize this relation. and in the promptness with which this organ can articulate the sounds which the mind has conceived. DIVISION or THE VOICE. The compass of sounds, formed by the human voice, may be presented by the following scale:— oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo 33 Soprano. a . 2 .).Ic:7.,1..0—:Sopran_0. 12C012tralto ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo f 2 Concordam cr Baritone. :3Tencr. This scale is formed, as may be seen, by six kinds of voice;— three male, (Bass, Concordant or Barytone, and Tenor) and three female, (Contralto, Mezzo-Soprano, and Soprano). It may be observed that No s. 1, 2, and 3,0f the female voice, correspond to Nos. 1, 2; and 3, 0f the 111310 EOiCC’ at Ithe distance of one octave above; thus the Contralto has the same coinipass as the oass. am, so on. OF THE REGIS"ERS OF THE VOICE. Men have the‘ faculty of forming two series of sounds, which are called registers of the voice. The. first series commences with the lowest note of the voice, and extends for the Bass as far -0- as Q:—— and is called the Chest—register. Above this sound would begin another series,which wouldbe called the Head—register;but the Bass voice has such a force, in its (‘hest i:-;;ist(‘r,that it is almost impossible to well unite or equalize these ~two qualities of sounds. lit-nee the use of sounds of the Head—register has been discarded in this kind of voice. Barytone and Tenor voices, which are softer and more flexil)le,can make. use of the two reg— isters; and these are distributed in the following manner. Tenor. . ('llHFV'Oit‘P. Head voice. {9r i ' i § ' I." AT” I _-j. ”""";f:f’. I l‘J—‘iH i TH E l 1 lA— _ ,j“"t9 “ :_‘: : ‘ I J - i ‘ a; s ' ' . Clln‘>t—\()l(‘e. . filletul \oiee. ........................................................................................ The female voice is divided into three series of sounds,or registers; the (‘hest , Medium , and Headsregisters. The (‘ontralto voice, which is the Bass of the female voice, rarely employs the Head—register. This voice. varies in its Capacities with almost every individual; hence it is impossible to fix the limits of its registers precisely. The Mezzo—Soprano and the Soprano,divide their sounds in the following manner. (liilltralto' ................................................................ “PM min E If) Clie>t~\oi4e0. J! )ll(ltlle~\'()lee.'—_ :— ! h,‘—-r.-r-_.-_Ill.: ftfi led l i ii 4"j—D—IFL—uw-fil l t 1 t fi U fl: ;::_*l- b i.— ~ 3 3 ' . I. 3 : . j' i I Chertw‘mee. ; . Middle-\oiee. . :val \(‘tmn ............................................................................................... CHAPTER 111. OF THE MANNER 0F EXERCISING THE VOICE. Experience has shown,that, in order to form the voice and equalize it,the pupil should sing much on the vowel sound a? and a, little also,but at a. later period,on the sound 1’13”" This is called vocalizing. . Vocalizing,by laying bare,so to speak,all the faults of the voice, whieh w ould be in part disguised by the employment of words,becomcs for this reason the most efficacious means of combatting them, The. conditons of good vocalizing are, first,to know how to hold the mouth well; second, to breathe well; third,to form and send forth the sounds of the different registers; fourth, to Pass insensibly from the sounds of one register to those of another; fifth, to attack and connect sounds for forming successions. We prOCeed to devote a special section to the analysis of each of these conditions . ' a * ¥~ ;\.:l\ in far. 'i..'-~inlzte. 5 ON THE POSITION OF THE MOUTH. The mouth should be kept smiling, without distortion,and opened sufficiently to admit the end of the forefinger. .1.he jaws should not remain always perpendicular one over the other, (as has been wrongly said,)b11t in the position which is most natural for the conformation of the pupil’s mouth. The tongue should be suspended,and placed in such a manner as to leave the greatest pos _ sible open space. ON THE RESPIRATION . A long and easy breathing is one of the most essential qualities for the singer. Hence we per— suade the pupil to practise holding. his breath for a long time, even without singing . - In order- to take in the breath, he shOuld be careful to make the chest rise and swell as much as possible. He should remain in this position as long as he can, and then he should let the breath flow out very slowly, until his chest has regained its natural position. ‘ Afterwards he should begin again, observing that the mouth is moderately open, as well in drawing in the air, as in pressing it out again. By this exercise, lungs of a moderate capacity will become able to furnish a well-pitched sound which will last from eighteen. to twenty seconds . TO FORM SOUNDS OF DIFFERENT REGISTERS. The sounds of the Chest-register shOuld be produced by sending forth the breath freely, and in such a manner as not to strike against any part of the mouth on its passage; the least rub— bing against the glands destroys the vibrating quality of the tone. Females will obtain them more easily by keeping the mouth a little rounded . The Medium sounds are produced by directing the breath against the-upper teeth . The Head sounds are made by directing the breath entirely towards the frontal sinuses . There are two faults to be avoided in the delivery of the voice;-— first, the guttural sound; second,the nasal sound . The first proceeds from the fact that the tongue is too much pressed backwards,and against the lower part of the mouth. It may be avoided by pushing the tongue ferward a little, and keeping it suspended. The second because the breath is forced into the cavities of the nose. With attention,beginners who may have a tendency to this, will be able to avoid it easily; but, in order to eradicate it with persons with whom it is a habit of long standing, there is no other means than that of making them vocalize at first upon the vowel I), then upon a and upon a, holding the nose pinched in such a manner that the breath can— not pass at all. This expedient is the only one the efficaciousness of which has been proved to us by experience; we point it Out without fear of ridicule, persuaded, as we are,that when the pupil shall have become able to send forth his voice in this manner, the fault will have disappeared entirely. Observe only this,that one should not attempt to sing with” woms in this manner; it is quite impossible. , Every sound Ought to be uttered without feeling or groping about for it Many pe Isons, when they are required to sound D0, are disposed to strike La or Si, and then lead the voice rapidly up to the required Do. This occurs frequently in striking notes which are pretty high. It is a fault which must be carefully avoided. “e must also avoid commencing a sound, by preceding it with a kind of prepaxation, which may be expressed by um. When one finishes a sound without having exhausted all the breath,it is necessary to use care to stop the remaining breath very gently, and not to fling it out with a kind of expiration very disad greeable to hear. "We. shoeld equally avoid shutting the mouth as soon as the soand is finished. EXERCISE FOR BRINGINGHOUT THE VOICE. EXERCISE 1. \OlCE. Slowly. . Plth FORTE. This Exercise should be performed by forming the sounds according to the pt‘lllt‘lplt‘s giv— en above, and breathing upon every rest. OF THE MANNER OF UNITING SOENDS ()F .l)ll“l<‘ERl“.t\'l‘ lll‘ltdfi't‘EIl-H‘. The. two registers of the male voice frequently afford unequal sounds. “hit-l: ‘.H)t'.l(‘l produce a. very disagreeable effect, if the ability to unite them could not be attained b}; study. The highest tones of the chest are very strong. by the very effort which till 3, requiremhile the first head—tones are very soft and often feeble. llenCe it is necessary tn apply one’s sclt'to strengtlr ening the. latter,and softening the former. As our organs pennlt us to produce the extreme sounds of one register, in the next register, the best mean- of uniting the tsm kinds of sounds. is to begin by making a single sound pass from the chest -l'l‘-;_"l.\l( t- to the head t't‘:;l\tt‘t‘.ttlt(l vice versa. . Having already remarked that in real Bass “flees the teaes tram tlte (‘hest are tun‘powerful to unite with those of the Head, what is here said is applicable only te. Baritone wit-es. .1... 2.4... ”Wu” 1.‘ .‘_.~13:‘-5 . ...-.. .1..-” ,....e.. . a. .1 ,, _ .1 EXERCISE FOR UNlTlNh THE CHEST AND llEA-l) VOICE-S. The lettc1 0 indicates Chest, the letter H, Head. Shem H ad. Chest. 1 C. " ll. . C. C. H. C. C. H. C. 5.1 E\ ERCISE 11. FOR A BARI‘TONE VOICE._ «5—- 9 .-5-' 6—' ~6~ The pupil will then pass alternately from the one voice to the other. on different 11 otes. /\ N 7:544. 3 :#£ EX ERCISE lll. in practising scales of any rapidity the voice must not be transfered upon the first note of either register, but continued in that about to be quitted as long as can he done without injsr~ ry to the quality of the tone . T0 ATTACK AND TO CONNECT HHJVDH. Sounds which should form connected successions, as diatonic and other scales,ought to be at— atcked boldly and connected, without sliding,( save in the case of Portamento, of which we shal‘ speak at a. later period. ) We should pass suddenly tr om one to the othe1,btt without givino' to c ach ot them an i1-puls1 ot the chest or ot the throat, which would make tht. singing resemble lllt 111;:1111c1 of. playing 1; ' 1‘” piano 0f one who shbuld strike all the keys successively with the same {Mgr-r. Hm chin. ,t lips.and the tongue, should remain entirely motionless. ' l ‘1- asfiiz'ulatimi ot' the sounds should be." {1,-1'112111 by thet‘w:.1irv.;c. a" h". it 8‘ EXERCISES FOR CONNECTING; SOUNDS. The master must take care to transpose these exercises into the keys which are suiteble for the different voices which are under his care, and to limit or extend them according to the capacities of each voice. But we recommend to him to insist on the time of the measure,and never permit the ' pupil to hasten or retard the movement when it has been once given . This is.the only means of governing the voice, or, as the Italians call it, fermar la wee. in performing these exercises the pupil should breathe only on the rests . In the first three of the following exercises,the execution of the measure in sixteenths may be omitted at first. No.1. 1 ‘ 0n the Interval 0f the 2nd. Moderate. if. x/ magi, _ , . D ’ . 2:1. a ;<;V—wn ,. / ;/ ix 10th5. ‘ £1 fl .- J v l . l 24 or THE MANNER 0F CARRYING THE VOICE. The true carrying of the voice, which the Italians call Portamento, occurs principally between . t {- * two sounds pitched at the distance of at least one third,and in a rather slow movement. it consists in quitting the first sound a little before the total expiration of its rhythmical value, in order to slide the voice upon the‘following sound, after the manner of a very slightly perceptible anticipation. This slide ought always to be made with augmenting the force,when the voice is carried upon 'a, higher I sound,and diminishing it when carried upon a lower soundn'lt is necessary to avoid with care lean- l iug strongly upon the carriage of the voice in descending. This would produce a kind ot'yawn,which ? would be very disagreeable. All this may be very nearly indicated in the following manner. ' The carriage of the voice will be much more easily understood, if it is practised with namingthe notes as we have marked it. . The carriage of the voice is also used,though much more rarely, between two notes which follow each other in the scale;but this only occurs in a very slow movement, and never twice in succession. EXAM I’LH IV. Execution. l ? “25‘, .fVF f‘ :5 The pupil should now repeat the exercises on the Intervals with Portamento. . “- 25 OF 178.13 MANNER OF PHRASING MELODY. Melody, like speech, is formed of periods . The period is formed of phrases, and the phrase is divided into melodic members. Each period has a conclusion or long repose, which is called a perfect cadence; it is like the full stop or period in speech. Each phrase has aless complete repose, which is called a. half—cadence: it is like the semicolon of speech; and,finally, each melodic member has a small repose, which is cal-led a quarter—cadence, and which may represent the comma of .~ oeech . . ilf any one should read without taking account of the pauses, his reading would be quite unin — telligible; just so if any one should sing without making the cadences perceived,he would alter the meaning of the phrases and render them tedious . 7 The art of phrasing consists, then, in setting forth all the melodic members of a phrase, or of a period, in such a manner as not to be confounded one. with another . To effect this, it is necessary, first, to know how to distinguish the beginning and the end of each melodic member; second, to regulate the breathing in such a manner as to complete the member. The examples which we shall give, will aid the pupil in becoming acquainted with the division of the phrase. We have pointed Out, in Chapter 111. how one ought to breathe for singing; but we ought to add here that besides the full breath, of which we have spoken, which can only be taken rather slowly and at the end of phrases, or upon rests, there is the half—breathing, which can be taken rapidly at need, at the end of each member. The mechanism of it is the same, only that as the action ofthe lungs is necessarily more rapid, a little more fatigue is experienced from it. Hence it is necessa— ry that pupils should accustom themselves to taking as few half—breathings as possible. For him who has studied and practised well the rests,- perfect cadence, an‘d half—cadences will almost al— ways be sufficient points of rest for breathing. ' We now present some periods, in which we shall indicate the indispensable full breathings by”, and the arbitrary half breathings by ’. ~ Every breath, large or small, ought to be taken at the expense of the value of the note which has just been left, and in such a manner as that the note, which follows the action of breathing, may be attacked in its strict time. ......................................................................................................................... ...................................................................................................................... ' First Phrase. 2 1 Second Phrase. ........................................................ E-\ A ‘1 PLE \ Fint Membe r. Second )Ieuber. ' leird‘Member. Fourth Member. : 9 n ' 3 Half Cadence. » Perfect Cadence. Andante. i ;4‘_: L l ;— i ; : In this period one should not breathe after the (-i which beginsthe second measure, because the melodic member only ends with E . .In like manner the breath shOuld not be proloned to the C of the third meaSure, because this note depends upon the member which commenced with the pre - ceding F, and which ends only with the I) of the fourth measure. T9? ! ‘VIII -A- ....__,.. —~ ,3. (a It would be a great fault to breathe after the B ofthe sixth measure,because this note is foreign to the accompanying chord, and the melodic member is concluded only with the A which follows. The breath must be prolonged till after the E of the seventh measure,because this note is not the compliment of a melodic member; but it depends upon the member commenced by the G which - precedes, and which is completed only with the C of the eighth measure. .................................................................................................. First Phrase. Second Phrase. First'_\lcn.l)er. ; Second Menlgrr. 2 - - 9! . ” EXAMPLE VI . ...................................................................................................................... Third Phrase . Fourth Phrase. End ..n.................: .............................. :..........................................:”............: otth‘ Third Member. ; Fourth Mentber. . 3 Fifth Member. :Sixth Member. 3 Periotd. \—_V ' _'_ The first two phrases of this period ought to be sung with a single breath for each . for these are composed of a single member. The third phrase may be divided into two members; consequently we have the opportunity for the half—breathing at the end of each of them. The fourth phrase may likewise be divided into two members, and we may breathe after the (i which finishes the tifth men}~ ber, and which commences the sixth. Let us observe, at this time,that whenever a sound of long du ration, in one measure, is prolonged upon a part of the following measure,this length by Syncope may be considered as a rest, and advantage may be taken of it, to draw upon it a half breath,bev fore striking the sound which immediately follows it. ~ - ............................................................................................................. A‘ , 1 First Phrase. - Second Phrase. Eizd j! . .......................... . ........................... z ................ iota-OgooclooEe-o-o-o-n: ................ : fifthrl I‘ \ ‘ZIIIPLE- First Member. 3 Second Menber. 2 Third Menler. ; Fourtli Member : Pyrimt . I . , 9! 9 ‘ ‘ '9 In the first phrase of this period the repose or quarter cadence occurs very harmoniously upoi the C of the second measure,but the melodic member should be prolonged as far as A. The Cit>t is similar with the second member, which is finished only on C of the fourth measure. In the second phrase. we would by no means breathe on the Hit, because this note is foreign to the chord; it is necessary to wait till after the A which follows it,before breathing. Examples might be. multiplied, and! yet only a small‘ part be given of the numerous and varieZl cases which may present {themselves These periods are sufficient to show the necessity of good application, to bec‘oming‘acquainted‘ with the beginning and the end of the musical member,in or- der not to interrupt them awkwardly by breathing. It is the master’s duty to guide the pup-i1 in this research, which may be done in practising vocalizing exercises . Let us observe only, that, whenever it is required to make a sustained sound, or a passage of great 1ength,we must be care- ful to breathe immediately before it, without regard to the completion of the member; the rule must, here, yield to the necessity. ’ OF THE MANNER OF GIVING LIGHT AND SHADE. In order to phrase well, it is not enough to comprehend and unfold the musical meaning; it is still necessary to give-to each phrase,to each member, a suitable coloring. Light and shade con— stitute the principal element of expression; and the artist who does not know how to put a great variety of color into his singing, will always be common—place and cold,howsoever fine amechan_ ism he may possess in other respects. Too much application,then, cannot be bestowed upon ac— quiring the faculty of producing at will ,fcrte and piano, and of passing gradually from one to the other. Persevering study of swelling sounds, is a great assistance in attaining this. With regard to- the use of this faculty, it has such varied forms that it is only by a sort of oral tradition that all the good can be transmitted which the exquisite feeling of the celebrated singers of past time has bequeathed to us, and which forms the inheritance of the modern school. We can only give some general rules, the application of which will develope in pupils the germ of expression and of taste which they have received from nature: I First, Every note of some duration ought not to remain of the same force from beginning to end; in general, it shOuld be a swell. Second, Every ascending phraseshould pass from weak to strong. Third, Every descending phrase should pass from strong to weak . Fourth, Every note foreign to the chord which accompanies it, if it has a short duration and is placed on the strong beat of the measure, or on the strong part of the beat, should be accented more strongly; from this come the name Appoggiatura, which is given to it in ltalyfi‘ In a measure of double time, the first part is strong, and the second weak . ln triple measure , the first part is always strong and the third always weak; the second part is sometimes strong and sometimes weak. If the part of the measure is composed of two crotchets,the first is strong and the second weak; if of quaVers, the first is strong and the second weak. ln general,wherever there is a succession of notes of equal value,the notes of uneven members are always strong,'and those of even members are always weak. Fifth, Every note foreign to the key in which it is found, should also be more strongly accented than those which immediately adjoin it. The difficulty consists in the choice of the degree of force which should be given to the differ— ent notes. It is just this which cannot be pointed out. lf aperson does not employ voice enough, he remains cold; if he employs too much, he becomes exaggerated. A good teacher will keep his pupils equally distant from these two extremes, and will know how to guide them in the application of light and shadow which is befitting to the particular character of each piece, to the dramatic situation , and .to‘the signification of the words for which the song is composed. Before occupying ourselves with the various embellishments of singing. we shall here give >Ol‘izt' very simple vocalizing exercises, upon which pupils can make application of all that has been me in respect to the mechanism of the voice and expression. " I ‘ H ' " ‘i f): v :..-- Chapter un 11:»: law} r wlinx Lt- ..; :fit‘g. N01. SOStPlllltO. Sempre legato e portando la voce. ’ t} 4 ; % l n Binf. Rinf. : .' <\ 1 >. I . __ __—_—.—————=.' ''''' dnlco .- 1,;{3-5, -‘ .- 1 . . ‘~__‘_._, 'i' a51.£.;.__..s...‘:..- f . ‘ : ' 3 9 d No.4. Allegretto. Sempi-e legato V L= ('01) forza. LII . - . .- . .. .,,,7-..', a, ”go‘s“. ". , .. . ., .— , . . .V x 1 -. E '1». ', ; . <'_,,- . . ; E MUdt‘Tflm- Svmpm legato. ' _ [/r’d ‘ - (— > \ l I 111011] )0. “‘0 . 1 Full. 4 >- .7 r lento. ,\ r 7 \ . \ ~- . I I I “" : t - 1 ' piu 1110550. A ’ /‘——-\-_ >- A .- 1 {HI Andante PSpI'BSSiV’O. Sempre legato e portnndo la voce. X013. ? T rr x,fi”—_\ /”—\ fl 11187110 VOCB . o ) .( I11 ( 1‘ I on r. e l e C C an dolce. ‘0 Andante. ‘ I W __ W -.4 M. S. dolce. ..,u., .,. A . ‘. ‘ ‘ ‘ :. . ,, . .35. t . . . 1 ¢ . , 3.51.. . .g§§.é Iain .fl ‘ ..¢ .4... “JUNK ,A.‘u ...m:}i.c;.,.;,u.s4 a. ‘ .,::,,».y‘. u. ‘«.,.h,.,.r.‘uu.v.m ; Mr; 1,! L». L 3:, wiwy. ”a ..,u...u\MI..!vmfl..iu.l Id. KM...» {enamwflwdfl WWW :r- :74 CHAPTER V. OF THE EMBELLIsHMENTs'OF SINGING. There are some conventional signs which are called ,by custom,Emhellishments of Singinw , ‘ These arerfi'rst , the Appoggiatura; sccond,the double Appoggiatura; third, the Gruppetto or turn; fourth ,the trill. We proceed to explainthese- in succession, pointing out the means of executing them. OF TH E APPOGGIATL’RA.* The Appoggiatura is a small note, placed immediately above,and sometimes below, an ordinal— ry note,in the following manner. When the Appoggiatura is above, it is "made at the distance of a tone or semitone,without chan- ging the key in which it is found . When it is be‘lOw, it is always made. at the distance ofa semi— tone, even when to effect this it is necessary to change the key . 1 _ ‘ ' ‘ its duration is commonly half that of the large note which follows it, and this value is taken out of the same note. The two Appoggiaturas, given above,'must be executed as if they were written thus: /‘\ When the Appbggiatura is found before a dotted note, it takes sometimes two thirds,sometimes one third of the value;this depends on the character of the melody, and a little on the accompaniment. Sometimes the small note is placed at a greater interval from the large note;but in that case it is always prepared for,that is to say, preceded by a note like itself. Prep. Prep- ,IXAM PLE The Italian term,dcrived from AppOggiare,(to lean upon,}sufficiently expresses the manner in which the little note should be executed; that is' to say, it should be accented more strongly than the large note which follows it. it is essential to be thoroughly acquainted with this principle, the exact observation of‘which, contributes much to coloring the melody, or,in other terms,sing_ ing with expression. L'EssON OR‘STUln’ 0F APPOGGIATURAS. Andantino. ' EXERCISE 17. ‘ Execution . .L , A"; t 3? The ()lti't'Oll'hoser‘“ undoubtedly adopted the use of the ~nmil notes, to MOM 11-“ (‘Ollf'd‘ion ‘0 El?“ ‘5‘" and ‘11“ doubt “Nth would b", cur-t upon the hurirony l)‘ the bresen'ce of a note t'Urt‘llel W ‘11“ chord 0“ ill“ ‘”"”z‘~’ PM“ Of iii" ”tenure. But as at this day 2!: ”mill tnde of notes of this kind are introduced into the melody, ““1110” 0W1“ i" “iii" ‘1‘" -\l‘l)°i-'.L'l“‘t'”“” i” ordinary 11““‘Stin‘umiiug m“ wine which they intend them to lime: by doingr tlxis,tho*y would avoid being: otten uni irttri H'it‘d li)’ [Wimm‘fh 0f in“PH-lid.” ””1 ‘it'al sentiment. I —— r 3 ’ ‘tl The Appoggiatura notes are often written in ordinary large notes , with their determined value. In the present state of music, composers should all adopt this mode of indication, {see page 42.; But as the manner in which the Appoggiatura is ,written makes no change in the color which i: should have, it is essential to knew 'how todistinguish it in the course of the melody. For this end we make the pupil acquainted with the following rule:— Every note;whether changed or not, which is foreign to the chord which accompanies it , and found on the strong beat of the measure, or on the strong part of the beat,is an Appoggiatura. , and shOuld be executed as such . ’ It must, however,be observed that if the Appoggiatura has not a ccr ain V‘dlLtC , it shouldbe Lit.‘ cented strongly only when it is reached by a. skip; for if in a diatomic succession of ~.l‘mt ante-gm“ which the first of two w0uld always be an Appoggiatui'a . a person should make an igit'it‘m-tioi‘i «:1 .» VOiCC upon each of them ,the singing would have all the ritii. iilomiicss of a. caricature. e 44 Here is. an example, in uhich we shall mark thus + all the notes which, according to the rule above stated,are Appoggiaturas,but in which we shall also indicate by j; placed over them,tho.~e which ought to pass without a perceptible inflection of the voite. Andante. /,._\ (/7 s 3 +. N t+ AT + I). \ A "v/wf“ EXAMPLE 8. \ ? . t . 2: ? , T t" ‘ . r OF THE DOUBLE APPOGGIATL‘RA. The Double Appoggiatura is_~a_lways made with the notes of the key , uhether ascending or de— scending. Its value is taken out of the large note which follows it. It is executed by articulating lightly the two little notes , and leaning the voiCe upon the large note . I A This embellishment is only employed in light pieces. Andante grazioso. H .J. E O EXAMPLE 9. /\./’\/\\ ON THE GRUPPETT0,0R TURN. 4” The Gruppetto is an embellishment, composed Of three sounds , forming sometimes three, some- times four notes, grouped together by adjoining degrees . It may be ascending or descnding , but its extent should never exceed a nunor thlrd. EXAMPLE 10 . Minor 311. Minor 31!. Major 311. Major 3d. Minor 311. Minor 8d. The note of the Gruppetto, lower than that which is affected by it, ought always to be at the distance of a semitone. From this it follows that the Gruppetto must sometimes be limited by a diminished third . a ' J EXAMPLE. When it is formed of three notes , as above, its value is always taken out of the note which pre_ " cedes it, in such a manner that the note which‘bears the (iruppetto shall retain exactly its assign— V ed place in the measure. \\ h1 n the (iruppetto is formed of four notes, its value 1s also taken from the length of the note which p1ecedes it, excepting the case where it is placed upon a dotted note. EXAMPLE 11. Tl:e.~eGr11H11-:ti are indicated tlzus: Execution . “e no“ gixe an exercise of every kind of Gruppetto,with their signs and the manner of execu — tino' the.m “e gixe this lesson With so great profusion of Gruppetti, only as a study, and not as a model to b1 tolloued; the use of this embellishment, as of all others, requiring to be rest1ainedby the good taste of the composer or the perf.ormer A J" Moderate. EX ERNSE 13. >- m Execution . Mm a M“. w.....u......~.._ --.*..~~...._ _ 1.3.3.}??? [... .. 1hr. H ..b Aifluyvvlwwflfi u b .... Humans 3.3.3.33? .3... $231.5. .... Hufluflwuwu .....fl......«:...n1,,..§..ur...hu...fl....+ .3 3. s 21...... . ... -.t... . ......Jlmu... [spa-rm.“ AIL “1.3%ch , . . .. la .. .., . . .l. O .....¢ £13...) .5 3.1.1.. . : .u. i. _. ... _ a :0 __o :2 “3 -. 1 OF THE TRILL. The Trill is indicated in the following manner. its execution consists in the rapid alternate stri~ king of the note on which, it is placed, and that which is immediately above it in diatonic order If any one has performed often ,(and with care,)the'fi1'st exercise whichwe have given for con— necting sounds, he Ought to possess already some facility for executing the trill with a moderate movement. /r Indications Execution. The execution of the Trill is generally very difficult; some persons, however, have such a f‘lexflJil— ity of the larynx, that they perform it quite naturally; in this case, we only reconnnend to them to be careful of the intonation; for it may happen to them to Strike the same sound, or two sounds, too near together, which would produce the effect of a trembling, or indeed to Silllic two sounds at the distance of an increased second, a fault equally insupportable to delicate 11 ms. We give the same advice to pupils who have not this great facility; and we will add,for their con— solation,that if the Trill costs them more trouble to acquire it, they are also more sure of per— forming it correctly. The most efficacious means for attaining it, is to practise it in strict time, counting the number of alternations to be made in the time of a given note. This practice should be done at first slow— ly, without moving the tongue or the chin, regarding with care the intonation of each of the two notes which form the trill, and avoiding a certain roughness in falling upon the lower note . This fault, to which a person is unfortunately too much inclined, is absolutely opposed to the light— ness which the trill ought to have Every trill, long or short, should have a conclusion; this conclusion is formed of‘one, two, or three notes , which composers sometimes write,but oftener omit. Examples. The first three conclusions are suitable for trills occurring in light pieces . The last three w011ld be better after trills of great length, and in pieces of a graver character The trill may commence with the lower note, or with the higher. It is important, in study to piactise both ways, in order to obtain more equality; for one is nat111 ally disposed to give a st1ong— er impulse to the first of the two notes. “11 call the first of two notes, or strong note, that which com'mences the equal alternations. l. 2. Examples . In the first of these two examples, the l) is the strong note, but in the second it is E , for these equal alternations only commence with E; the l) which precedes does not properly belong to the trill . and is as it were a preparation . lit “11 reconnnend to pupils never to change in 11 conclu>ion of two notes. that one upon which the trill ought to t'i11i~h.in fcr111i11ga per ‘1 «it 1'111i1'111'1' . . 49 As regards. the trill, with a, conclusion of one or of three notes, the equal alternations ought to be— gin with the lower note; by this means one is not obliged to accelerate or to retard this conclusion, in order to finish regularly in time. /r /r* EXAMPLE 1’2 . Ox Execution . /r {When the trill has a conclusion of two notes , the equal alternations ought to commence with the higher note, for the same reason. ’ /r #3 = EXAMPLE 13 . Execution . or : —— The old singers never executed the long trill, forming a cadence or half—cadence, without prece — ding it by a swelled sound, which they called Mas-w (if u Cr: and, furthermore, their alternations be— gan very slowly, and underwent four changes of quickness, as for example: —- . m ~ b». EXAMPLE 14.8 a Execution . Perth t Cadence . s‘ 5 Half Cadence. J 8 ~' \ (A ff .\ This system is good,but it requires a long breath. Modern singers have {in general, adopted the custom of commencing the trill without the Nessa di race, and of executing it without change at quickness . For study, the old manner is much the best, and we recommend it to pupils. in out} — nary use it is necessary to follow custom, so long as one has not the force of talent to rule it . r 00 . . . . . . . . lhe trill 1s sometlmes practised on a series of notes in the ascending or descending scale. It must have a conclusion. to each note; the ear is better satisfied with the slight repose which results . b b /r) EXAMPLE 15. Execution. The following is an exercise, containing an application of all the rules hitherto given, upon the trill . ' Moderate. ‘ /P . /P t} /,. EXERCISE 19. Execution . /,. /P )u r0 .\x ,"L‘. II /,. /’) we" Nx.‘ /,. /P 1" , \JI ox THE ROULADE OR \‘OLATA. ’ 0 The Roulade,(in ltalian, Iblata)is,in singing, the rapid series of sounds , distant tones, and half tones, from each other, which form what are called Rum on instruments Much lightness in the voice is necessaiy for executing it. When this lightness 1s not possessed nat— 111ally, it must be acquiled by a regular course of p1act1ce, following the precepts we have ah eadx gix en, Chapter 111, on the manner 01 attacking and connecting sounds . We will here add, that 1n order to attain a geod execution of the Roulade, one o11ght,-—. Piist,t(1 practise it very slowly at first, 1n order to ensure its intonation. Second,to increase tl e force in the ascending scales. Third, to articulate, with some firmness, the first sounds of the djscemling scales, and then to gradually diminish the force down to the lowest note. l‘omth, {RTFM 'erate the movement little by little, fixing the thought on the sounds which commence the strong pants ot the measure. , The following series of exercises will serve as a continuation to those given in Chapter I” . EXERCISES. t: E x E RC] 3y: 29. ”\\ :TI w _ i:«__h.w ; _ 7;. 2: :rl ___oi "‘"—‘f ‘3'" ’ n\. (\v} _\II..,.,. , I I" r EXERCISE 30. w“ 44 path-IA.’ “A.‘_.-Mw‘-nw~r.u A .A‘ w.» mu.” M; wd.“ _ . ".53.... A..1.. .. .-.l... . -.-»... .. . -.....1.‘ .... - .. . ,. ".... . . 1......4.1.Hufl..¢.-#.?.mn.w.uz.3. ”$1.... .... -..: . 4...... .1. I. u. ... .... . .. .. .. .1” I . EXERCISE 32. 60 ,\ EXEIH‘ISE ' i 33. I We recommend the frequent practice of the follom'ng exercise as particularly adapted for the devel— opment and equalization ot'the voice. bgz. EXERCHE 34 . <>~ M___~___._.__.__———m 0N sCALEs 1 111’ saw 1011111 (’1 lhese scales 1110 01 1ery dilticult execution. Independently of the gleat lightness, and 01 the clear. ness oi a1ticulati0n which they require, there is danger, when they are 01 a ce1tain length, of adding notes or of not gi1ing enough. To a1 oid this fault, and to ensuie couect intonation, it is necessa— 1y,— First, to ha1e a clear apprehension of the interval 11hi(h the first and the last note form; Sec- ond, to count the number of semi— tones which they include. and to reduce them- to measure tal1i1 1g care, in the study, that the last note shall fall on a stiong pa1t' oi the. measure. “e l1111'e arianged the. following exercises according to these principles, and we urge pupils to study them at first slowly, and always with much attention. . 1 CHROMATIC c AL 11:17 INTERVAL OF MAJOR AND MINOR THIRD. EXERCISE 35. INTERVAL 0F \ FOL'RTH.‘ EXERCISE 36. .' 1 531111 Baritone 1!‘1.;1f!ir :1 be; 1' 10:11- t1o1l11t11r l>v1§1ig ~11: 11"111‘ 11(111.},‘111lfor})1r 11;“ 1- which require ~r1 11.1;cli :- . 1 may. . .. INTERVAL OF A FIFTH. EXERCISE 37. I T11 ll'd- Tltird . I I\TER\ AL 0F \ MAJOR ~\\D MI\OR )IXTH. EXERCISE 38. ‘ Fourth. r-l-ITI-F-(f-i-E. Slxth. :--,-.- -.-‘----: \0TE.— “u hmv adoptud xhiw nmnnvr of writing Chromatic ~~('.~.L>\.inu1‘izr to hau- hrmm‘n thv mm‘w Mxich lwgin each part of the Hunt, ‘=(1I‘v,11'()rvof’t'wwumlt imvruul» 1; mn “hich thh amomion 0f tln- m1 ul mm lw mnrv ).1rticulnrl ' Huang-d. ’ l x E . ‘ ~ .- _ . V . , ., .7 .fi--.,-._.-__ “kw! . ‘ ”Fourth. ." Sixth. 52:31:}:1::g's‘iglfl'f'; mun—{In— Sufi) """ ()5 fl \ E erd :",r1;a;11;.""‘ SW = 1:11;];(‘11'7W‘ ‘ Fourth. _-.‘ .22 INTERVAL OF AN OCTAVE. , .......... ' ................. '.~- -. ~ 5* .4 ‘7 EXERCISE: 39. -—..‘ . fies? E -------------------- .Octzue I E ---------------------- HON.- we. !' 5.; ------- Sixth. mtg}; """ Sixth f : ------------------ Octaw / '----_ ------ :Si1.h." ' 1i“(. :1 f " - ' ' . .' - 1r . - ,, , . ¥ I I INTERVAL OF A TENTH. EXERCISE 40. ”NET- Fif'h T “It!“ 1 I Sui—111117-”OHM“. 3 Truth. ‘_ {9 352355: . ; ‘3 “1%" ' L'- 1 l u - 1 u..- 4 _ . a 1 , -. ‘ I ~ - ,E‘ ‘r f _ __'['....__._!l:irrp‘/¢Crif~ f , . ,~,._, 9,- CM V _ . .11 1 “-1 ,. ,. A.“ - _.4____ . a.“ .1- .,_.____4-___, 1 - ,1 ' '__"::""—’T”” ' K " ” , f Fig % - “‘ fL 1 '1' P'T“_—.:E'T‘amf"14 b ‘1 : - TIII-I—(I. - h _' O( I :I\ o --------- I I I 1 1h. ' .'- ‘55—..5-‘5—17-1-[({h '''' . :rIil-I-II ____________ I l I ‘ _ . . .- fl EXERCISE II. .hulI-Ih' I”"""""7 " . . u '£I:;E mp1. y; Fitth. I: 'l‘mh. ijmh. IIIIHI IE FitIII. ' ’IIIII1.T\§I‘IIII1. _______________________________ IIIII‘II. 7- FIIIII. I TQ‘IiIII. IvaIIIII. 5"‘II.1-;:I'.""s mm. 5 mm. 3 “”1”“ I\'I‘I§R\'\L OI’ .-\ FIFTEENTH. .............................................................. . ------------------------------------------- - FIIIMIII. ...................................... . .1‘I.: :«Immi I /~0— ::;.;.'.:.:::: ...... .?{<{Ii ””” WM . l ”h ‘ :is'L-‘tst 5 “ 1— ..————...— EXERCISE 42. L .,.___ E 65 We now present some vocali zed pieces a. little more difficult; we. will afterwards treat of all that has relation to singing with words. Sempre legato . /—-—~‘\ ' V N0. 9. Andante espressivo. A . “7., V «’5.- bl “- .H ,M- ~‘.~.. _‘ .i 66 _ \\ TYUPIO. S Allogr0.v §.,_ -_ ”WW-" MAI. Largo \ Sostmmtofz .22 ..nlm..ufin.m®HJ4fimH.w...........,.”....u,.... .. 2...-..,.-. -n?r§vh.fiflfififlmflw§?a 31. ..21 ...gwr]leruml....flwulwuhw .3. ......m. s ...... n . ., . .34... .# ,‘V ,4! I.“ A.a¢)e\o~,>«¢hu~ u«m.ww«m» u‘cflp‘utx‘unr‘ v- «a _. L I ‘ Hana, fl 1 y . .14, . 1.1. .ull. 111.15... . f ‘5 ,e .1. . , I .3 bx. it -uflu .gwumhmvasKfl fimfiwumflufivi mung saw? ..fi..‘.4.:...u..mH.., u}. a. u” . 2.11 . n u , - . - a A» \) k, ( m ml. 0h 1“ \n 9! / \._ rinf. riuf. J1" 4. _r- i: hqufiavydmduflllflumr .1...) .. $562 a. Admin. g... . ..,.. 5.1.. “6mm.” f§$fln5mwfltfifiuafll Ea . $3.15.. WA... $.71 1,,.¢.I.r15\r~,r.liufu.mn,..uhniw hi win r. I an. n . , . 130... 74 No.13. Allegro 8 Brillanto? . :H‘ .3313”: “34:3 yus? r? r— ,/..R . _,»\, .+ r 1; l9 RIO assai . I'allent . , 2:15! ,1. a 11.1! 1 ‘ A (Willsui ‘ .:.. V H . m . . . : fiaqcmunnwatxadkfljl lulWfiar .. l . nu 1. . ....H.v.vwfinfi‘nluiawntfiwflfli {A‘wawqiiuéflddiqwf . 1-. I 1...; , «9:5 I‘ I“... I ‘1 , w a l . . . I I. .0 m .1 Uh oh 9 50.5491): 79 CHAPTER V1. ON TASTE. True taste. consists in an exquisite judgment of what is appropriate; in an aptness to invest one’s self with the character of the piece to be performed; in adding energy .to it by analogous coloring, and in putting one’s self into a state of feeling, so well in accordance with that of the author, that there results a oneness, perfectas if it were the product of a single thought. He who~ possesses this faculty, knows how to put grace and spirit into gay pieces; elegance into thOSe which are only pleasing; sadness into pathetic songs; grandeur and mystery into religious music; warmth and transport into pieces where strong passions are in play. i This taste, which is as enduring as truth, from which its principles are drawn,can be formed only by study, by hearing great masters, and by reflection. ART OF ADORNING MELODY. The use of ornaments, which for the past eighty years has been carried to an extrcme,even to abuse, appears in our days disposed to return within more suitable limits. Composers seem disposed to give their ideas a turn, which, by having more precision, puts a check to the rage for decoration which has possessed common singers. .They deserve praise for this courage, which tends to free melody from the insipid vulgarities with which it is overloaded. There are two conditions dictated by good taste, and from which we should never swerve in adorning a melody.-— First, The adornment must never cha'nge or obscure the phrase. Sec— ond, The ornaments must always be of a character analogous to that of the piece. Thus it would be ridiculous to introduce light ornaments in grave and sustained pieces; . it would be equally so to employ impassioned accents in songs of a merely pleasing'and el- egant character. Aside from these two conditions ,which wholly depend 3:1 appropriateness , fashion claims much in the choice of ornaments; hence it would be superfluous to give positive modelsmhich, though good to—day, would be in a shOrt time, perhaps , no longer passable. We confine ourselves to presenting, on a small number of simple phrases, some ornaments which, by their variety of color, may be applied to melodies of very different character. It will be observed that the Appoggiatura, the Gruppetto or Turn, C‘onducimentij'k and Syn- copation are the principal agents employed in ornamenting the phrases here given . 5* Cordurmierti (COIid'iPit‘vrslame (lime little fragments which are m ployed uplifting two news separated Ly u (lirtam it lt‘:'\2:l . ilk”. \‘ . ‘ ' ‘ V ' ' T 5\) EXAM Pth FOR ILLISTRATIOfi. ?’ ; - First Melodic Phrasc. E Second Melo<fic l’ltrnsv. """"""" Wimplc Phrasvs. ' ‘ ORNAMENTS. Light. ‘ Tvndvr. .lmpassioncd. Brilliant. Elegant. Graceful . Moul‘nful . Majestic . Third Melodic Phrase. 5 Fourth Melodic Phraw. 5 TH EM E. A11 (111 n t 9. YAR.1. 0011 Express: VAR.2. Grazioso. VAR.3. Pom agitato. VARAL Allegro. VAR. 5. Largo. VA R . 6 . Allegro. PIANO. me EXAMPLE 0F_gg§_ RT OF MAKING VA RlATIONS. 81 5' "i fail-.55» €3\8‘: “ " .9235:;g‘:_ :1? va-x'. '_. :1 $47 — .- A . ._.‘_’.;._*.‘4.1:.-:4.“.-S A“ ., g a ' ‘ 83 0N CADENZAS, OB ORGAN—poms. « . o ‘ There are two kinds of Organ—points . First,that which is made on the dominant to pass to the tonic, and which the Italians call Cadmza, because it constitutes a perfect cadence; Second,that which.is made on the chord of the dominant alone , which constitutes a halllcadence,and which the Italians call Fcrnulta. Diatonic scales, chromatic scales, scales by intervals, in fine, all kinds of passageswhich have the notes of the chord of the dominant for bass, are the elements of these Organ—points. Taste must, in all cases,determine the choice of these passages; and it is indispensable that this Should be made according to the movement and general tone of the piece. ‘ 4‘! l. "l i ,3 é! i il (l l, ' Andante. " . 171' l 0. EXAMPLE 16. . i Perfect cadences. All , -. egrem Perfect Cadence. i /\ O i c ' J i Perfect Cadence. In oldairs ,the perfect cadence was always terminated by a ldng trill,in the following manner: i m " g“ Cadenccs of this kind, which the severe school prescribed to be executed with a single breath, required an immense Outlay of force by the lungs . It is, perhaps, in consequence of the fatigue resulting from it, that modern singers have abandoned its use. i m '7“ ' .‘J ‘i ‘5 EXAMPLE 17. - m ,n_.r . 0:: 5mm: Cadenza on the Dominant or Fermata . ~o-——ro—— - \‘J These Cadenzas may sometimes receive an extension of some notes which connect the dominant with the first note of the following phrase . This extension is called Conducimento. 0==§ éol-“za- EXAMPLE 15. CHAPTER YII. 0F ACCENH: Afin'irs APPLICATION To DIFFERENT PIECEs OF M[}HC. Accent is not the faculty of feeling,but the expression or manifestation of feeling, guided by taste. in its application. If the pupil has a good understanding of what we have said in the chap— ter on Taste, let him take into consideration, first, the time or the movement indicated by the au— thor at the beginning of the piece, and then the words for which it is composed,and he will‘know at once what accent must be given-to it. Thus, for. example: LARUO -. 2 Should be sung deliberately and smoothly, with great breadth and firmness of ADM‘JO . 9“ SOund . (iruppctti,t1‘ills, and ornaments of all kinds ,should be pCI'fOI'IDCd with breadth, CANTARILE.\ and the shading shOuld be mellowed so as not to present any very striking contrast. LARtiH ETTO . Should be sung in a manner either graceful, tender, or mournful , according ANDANTE . 2 ANIMNTINO- 8‘ cording to the words of the piece . The ornaments should keep pace with the ALLEHRETTO. ' to the epithet which commonly follows the indication of the movement,and ac— acceleration of time in the melody. ALLEH R0.- --------- Requires vivacity and brilliancy. AGITATO ----------- Requires emotion, warmth, passion, with few or no ornaments. PRESTO ------------ Requires spirit and lightness. - ‘ These different pieces might be sung with expression, without giving them a right accent. If the means of expression proper to Agitato sh0uld be employed in an Andante,the effect would be extravagant and ridiculous; if, on the other hand, Agitato should be sung as a simple Alle— gro, it would be insufficient and cold . Thus it is the feeling of what is appropriate, that is taste , which must determine the color proper to each piece, and the choice should be dictated, as we have said before,by previous examination of the words and of the melody itself; the character of this is often made known by an epithet which the author adds to the sign indic— ative of the movement. OF TH E RECITATIVE. Recitative is dramatic dialogue spoken with musical sounds. The best recitative is that which approaches most nearly to good declamation. As it would be extremely difficult to express in notes the variety of rapidity and slowness which answers to the movement of the passions, composers only indicate the ends of phrases by cadences, and the long syllables of words by notes placed on the strong parts of the measure, or on the strong divisions of the parts,leav- ing to the intelligence of the singer the care to dwell a longer or shorter time on each of them. From this it may be perceived how much reflection is necessary for the good execution of the recitative. The singer ought to be thoroughly impressed with the dramatic situation,with the character of the person , with the nature of the idea, and with the value of the words which ex— press it. If one of these considerations is neglected, there is great risk of accentuating con — ”my to the sense; for the same idea, the same word uttered by Othello, would not have the same color as if uttered by Figaro. I) ' _ ,5 The Italians long ago introduced the custom of frequently making Appoggiatura notes,or rath— er substitutions of notes, in certain places of the recitative; this gives indeed more elegance, and destroys a little of the monotony resulting from the frequent repetition of the same sounds. It is impossible to determine, beforehand, all the places where this substitution of note is practicable; but, in general, wherever the strong part of a beginning or an end of a phrase Off». recitative is formed of two equal notes, a note one degree higher may be put in place of the first of the two notes. ( EXAMPLE 19. Col—si ques—to mo_men—to per in_vo_larmi a sten-to dal vi—gi—le Mon Execution . ,5; sol per ve—der—ti e per [’11] — ti — ma vol—ta. EXAMPLE 20. Ec — co ci in sal — v0 oh fi_gli. ah do — p0 tan—te Execution . pe_ne .e tor—men—ti a bel—la pace in grem—bo Dio tragge il po-pol su-o. b: ..___-_ A ..~..... SC ’ EXANHHJCZI. Cin-ta e. la Reggia e lial dun-7.0 da fol—to stuol d’F-gi — mj , so pretende o — gnun che l’or-din gin da —to di con—gedo a—gli E—bre — i sin l‘i—YO- ca _ to. At the end of the phrase , this substitution may even be made, sometimes ,by a lower note, if it is preparatory, and if it is at the distance of a semitone only. EXAMPLE 22. Mambre all non sa—i Che del Dio di Mo-se nogel—lo sdegno. This kind of exchange should be less frequent in French recitative, especially at the beginning of a phrase “here it is not in fact really good, except when the note substituted,and that which follows it,belong to the same word. Q EXAMPLE 23. Que, je l’ai-me moi meme. Ses laruies mere-tiennent . ' La haine mus a-\ eugle. ,..,...r,i._s-,wt, -u “no ___ mm. 7.. '.\4,W.-M"A ._., .A. .. w,“ 7’ r_/A a ....m__r.. .e... _.../ m EXAMPLE 24, . S’arme contre 111a gloire. ~. lie—las! il fal-lait bien qu’une si noble en-vi—e . Admissable, but nr t so good. \ v/zr “é Ornaments and runs also are loften made in the ‘recitative; we do not wish to proscribe the use of them, for if they are well chosen, and appropriatelyvplaced, they may sometimes aid in the ex- pression of the sentiment indicated by the words. But good taste requires great moderation in ‘ their employment, especially in French recitative . Some very short passages, only, should be al— lowed at the end of the verse, and at the repose or melodic cadence . ()N PROXUNCIATION AND ON ARTICULATION Pronunciation, in singing, is subjected to the same rules'as in speech . Good pronunciation consists in giving to each letter, or to each syllable, the sound which belongs to it ; but as 5’}! - lables have generally more force and duration when sung, and as defects become thus more striking, it is necessary that the pupil , in singing, should take still more care to follow the di; rections of the grammar, for the formation of each syllable . The rolling of the R, the hissing oi‘ the S , ought not to be extravagant; but it is-necessary, above all, to apply one’s self to giying to each of the vowels the sound which is proper to it, but not to excess in the pronunciation of E and of F, which,to favor the emission of the Voice, should be uttered with the mmuh closed as little as possible . i The merit of a good pronunciation would disappear with the singer, if he did not add a good articulation, which consists in giving more or‘ less force to the consonants. The degree offorCe of articulation, ought to be subordinate to the sense of the words, to the dramatic situatimi, to the character of the person who is speaking, and, above ali,to the size of the room where one is singing, and to the number of' hearers. For such articulatitm as is indisw pensable in an Opera—house, becomes extra 'agant in a saloon, and such as would be sufficient in a saloon with few persons, would become, as it xix-re. srnothtrul by the pres ence of a much larger number;'because the air, which is the vehicle ot'sound, would cir— (‘ulate less freely. I We w'ould‘advise pupils to articulate rather vxti‘aVaganti ' in study; for then it‘ In a ing before people they lose. a little of their precision, they will still hate enngh to do well. “$1. .. a, twfism- {a CONCLUSION. . Having now set forth such rules as have been proved to us,by experience, to be'useful, it re— mains for us to say a. few words on the manner of governing the voice and practising. The voice is the finest of instruments, and also the most delicate. A well regulated life. is necessary topreserve it; all excess tends to destroy it; all violent exercise is hurtful to it . It is even necessary to abstain from singing too long at a time; for, as it is indispensable to al— ways sing with a full and sonorous voice, the organs woald suffer by too long continued exer— cise. The singer should be careful to leave off singing a little while before being fatigued. It is impossible to fix a limit to the time of'study; this depends on the strength of the individual. But we repeat that this study should invariably be performed, not always with the entire fulness of the capacities of the voice,but' always with an open and sonorous voice; nothing is more in— jurious, and nothing more retards theprogress than the habit of singing through the teeth, or of practising in a mere humming tone. The chest is fatigued , the throat acquires no real fa— cility, and the voice gains neither certainty nor development. 0 ON T E N T S. Page. Page. The Voice and its formation in general . . . 3 Of the manner of giving light and shade . . 27 Division of the Voice . . '. . . . . . . . 3 The Embellishments of Singing. . . . . 42 The. Registers of the Voice. . . ‘. . . . . 4 The Appoggiatura. . . . . . . . . . 42 Manner of Exercising the Voice. . . . . . 4 The double App0ggiatura . ’. . . . . . . 44 The position of the Mouth. . . . . . . . 5 The Gruppetto, or Turn . . . . . . . . 45 The Respiration . . . . . . . . . . . . 5 The Trill. . . . . . . . . . . . . is To form Sounds of different Registers . ' . . 5 The Roulade,or Volata . . . . . . .. . 55 Exercise for bringing out the Voice . . . . 6 On Scales by Semitones . . . . . . . . 61 Of the manner of uniting Sounds of different Chromatic Scales . . . . . . . . . . 6i ‘1 at . Registers. . . . . . . . . . . -. . 6 On Taste._Art ofadorning Melody. . . . Exercises for connecting Sounds . . . . . 8 (*adenzas, or Organ—pmnts . . . . . . 8 Musical Sentiment._Exprcssion . .. . . e. 19 Ol' Accent,and its application to different swelling sollnds I I o a c I o o 0 ,0 O O 2() ])i“(‘(.\s Of NlllSiC a . o n o o o g o 3“ Of the manner of Carrying the Voice. . . . 24 The Recitative. . . . . . . . . . . Of the manner of phrasing Melody . . . . 2.") On Pronunciation and on Articulation. . . 87 -r . -.....r. .u- l. 9 KY 4:. “ilk- * I, l ‘ a $ '4 E General Libra-y LD 21—60m-8857 ‘ University of California (08481810 ) ‘76 Berkeley . . ,.'.’.* . \ ,1 ‘. l'.‘;'n' v.—.‘ . "-1‘14 . . -':,. I‘ll .‘o'fl u. . e.. . v2» .‘. ..._ O'i l . ‘)A' . 'rn '.. )l‘ Hu'.’ ‘ujv7;'. 1'- 9.3.1:: . "3192 2‘34]? ' +er- 4. >0 O'I, 3% & £’I"‘.' . Z N3.f,'£.'z ¢ :1- "inf; .'.'. n. u- ,» 1