IMSLP28383-PMLP62464-Garc A II Manuel - Hints On Singing PDF
IMSLP28383-PMLP62464-Garc A II Manuel - Hints On Singing PDF
IMSLP28383-PMLP62464-Garc A II Manuel - Hints On Singing PDF
BY MANUEL /GARCIA
TRANSLATED FROM THE
FRENCtl BY BEATA GARCIA
o
NEWStREVISED EDITION
Copyri.bt, 1894,
Price 8/6 net
By B. ASCHBRBERG &: CO.
Thi~ remarkable little work, first issued when Manuel Garcia was in his ninetieth
year, has now been before the public for a period of seventeen years. It is perhaps the
most concise and compact treatise on the Art of ~inging yet given to the world, but in its
original form (for which I was partly responsible) it has not proved entirely satisfactory,
while the publishers have lOr some time been anxious to bring it out at a lower price.
Hence this "new and revised" edition, the preparation of which I have undertaken
as a labour of love and endeavoured to carry out with due reverence for the wishes and
intentions of the illustrious author. I have corrected a good many errors and supplied
IIeveral omissions' which constant use has brought to light. I have re-arranged some of
the chapters, and here and there altered the grouping of the exercises so as to make them
easier of comprehension. With the same object in view I have ventured to insert a number
of explanatory ~tes and references, which I trust may be found useful both by teachers
and students. Otherwise it is hardly necessary to add that no change bas been made
either in the text or the technical content of the book.
That its value was adequately appeciated during the life-time of its venerable author,
there is some reason to doubt. True, it has become known in every part of the globe
where singing is taught through the medium of the English tongue. I ts terse, vigorous
language and clearness of definition have been especially recognised in the United States,
where the name of Manuel Garcia has been one to conjure with ever since the visits of his
most famous pupil, Jenny Lind, some seventy years ago. But in this country it was only
after he bad attained his centenary (in 1905) that musical folk fully realized what a
privilege it had been that the great teacher should have made London his home during the
entire latter half of his extraordinarily. long career.
It may be, therefore, that under these new conditions a much more extended sphere
of usefulness and popularity will be openedup for what Manuel Garcia so modestly styled
his "HINTS ON SINGING." As a matter of fact, the contents of this volume consists of a
great -deal more than mere U hints. It Apart from being his last word on the subject. they
embody all the profound knowledge, the penetrating observation, the rich experience, the
logical deductions and conclusions of three-quarters of a century of active devotion to the
study aDd practice of vocal science.
Let who may learn this U catechism," they cannot but feel that in doing so they come
in some measure under the spell of Manuel Garcia's wondedul teaching power. They
will certainly absorb from his rpsissima verba so much of his personal magnetism as can
be derived through the medium of the printed page. And such influence is a legacy worth
possessing, since it provides something more than a clue to that which he himself describe.
as very DearI )', Iif no t cui
quite, a "1os t art...
HERMANN I{LEIN.
PREFACE.
'.
SINCE the publication of .. L ' Art du Chant;'· the invention of the laryngoscope and
fifty years of additional experience have naturally enabled me to acquire many fresh
ideas, and also to clear up all my pre-existing doubts. The result of this I now offer
to the public in as concise and clear a form as I have found possible.
The study of the physiology of the voice bas been greatly facilitated by the use
01 the laryngoscope. This instrument, by laying bare the interior of the larynx,
shows how the glottis proceeds to produce sounds and registers. It shows, also,
the manner in which the ringing and veiled qualities are communicated to the voice.
These qualities-produced by the glottis-are distinct from the characteristics of
the voice called ti",IJru, and are originated in the pharynx by quue another
mechanism. All this should dispel _many false ideas afloat on the question
of voice production.
I introduce a few anatomical figures to facilitate my explanations. The study of
the anatomy and physiology of the vocal or.gans is not indispensable to the pupil, but
might be most useful to the teacher. It will enable him, when a defect is to be
amended. to detect the organ which is at fault, and to suggest the proper correction•
•• Trait~ Complet de l'Art du Chant," par P-Ianuel Garcia. Paris: Brandus et Cie., IJLto,
r
,
1
I
\
)
IV PREFACE.
For the pupil it is enough that. localising his sensations through his master's
explanations, he should learn to distinguish the various parts of hIS Instrument and
the manner of using them.
I have also added several exercises to give the pupil the opportunity of
applying the precepts set forth. At the present day the acquirement of flexibility is
not in great esteem, and were it not, perhaps. for the venerable Handel, declamatory
music would reign alone. This is to be regretted, for not only must the art suffer,
but also. the young fresh voices. to which the brilliant florid style is the most
congenial; the harder and more settled organs being best suited for declamation. It
would not be difficult to trace the causes of the decline of the florid style. Let it
suffice, however, to mention, as one of the most important. the disapperance of the
race of great singers who, besides originating this an. carried it to its highest point
of excellence. The impresario, influenced by the exigencies of the modem prima
donna, has been constrained to offer less gifted and accomplished virtuos« to the
composer, who in turn has been compelled to simplify the. role of the voice and
to rely more and more upon orchestral effects. Thus, siDging is becoming as
much a lost art as the manufacture of Mandarin china or the varnish used by
the old masters.
In adopting the form of question and answer, I have endeavoured to foresee
the difficulties likely to occur to an earnest student. subjoin a sketch of the
laryngoscope to satisfy the curiosity of any student who may be interested in the
subject. The laryngoscope consists of two mirrors. One of them. (very small.)
is attached to the end of a long wire and placed against the uvula at the top of
the pharynx, the reflecting surface turned downwards. It must be moderately
heated that it may not be tarnished by the breath. The other mirror is
employed to throw rays of light on the first. The form and disposition of
the mirrors will be shown more clearly by the following illustrations than by
any attempt at explanation*:-
.Observations on the Human Voice. by Manuel Garcia. Proceedings of the Royal Society of
'.nndon. Vol. VII. Meetin~ of May 24th, 185S. D. 399 to 410.
PREFACE.
I wish to express my gratitude to DR. S. G. SHATTOCK for his great kindness ill
undertaking to make finished drawings from my -rough sketches, and rectifying &1M
amore any physiological or anatomical description that was not strictly technical. I
have also to thank myoid pupil, MR. HERMANN KLEIN, for his indefatigable patience
and skill in preparing the MS. for the press and cOl'Jl8Cting the proofs.
MANUEL GARCIA.
CRICKLEWOOD.
LONDON, October. 18<)4.
INDEX.
PAG8 •
iv EurdIa, StadJ .r, Ity aU Voleu
....
20
Pnface to tile Flnt Edltt. v, vi, vii Exerciaea OD Light and Shade .•• 31
Abase of the Chest RfCister •.• 15 Exercises OD Timbres ••• 12
Accentuation ••• 46, S3, 60 Imp........ 70
Aeciaa:atura 42 EzpressiODbyColor, by Ornamentation 59, 65
AaDltJ, Stlldy of ... 19 Fattg• .r tile Vocal Orgao 18
. . . . . . . Dllcrlptloa of tile Vocal 1 Fultsla V.1ce PndactiOD 17
Appoggiatura
Arpeggios
••• 41, 66, 73
••• 34
Fe...e V".
Figures in Melody
DllcrtptloD of 8
5J
Articulation 48,49 Forte-Piano, The 31
Attack of Vocal SouDds ... 13 Glottic Action •.• 5
Attack of high Dotes with CODSOD&Dts ••• 50 Glottis, Stroke of the 13
BleDdlD' tile R.ten ... 21 Orace Nota (see Small or Grace Notes) 40
Blending the Regtsters (Tenor Voices) 39 Half-Breath S4
Break or Change of Voice 8 Interpretation S9
Breatblag (ResplratloD) ... . 3 Legato, The 20,32
BreatblD, ID Exercises 22 Male Voices, DescrlptloD of 10
Breatblng Places S4 Male Volees (Oe.raJ TreatmeDt) 17
Breathing, Manner of 13 Marcato, The 20
Breathing, Modes of 4- Messa dl Voce. Repeated Notes, Ac. 39
.breathIDI. Faults of S Mouth, Opening of the ..• 12
Breathing (Nasal Inhalation) 57 OrnameDts aud CbaDges 64
CMeaa. The 68 PlirasiDg ••• 51
ClirolBatic Scala .... Pauaga .•• 36 Pictorial Analogy 59
CoalODaDtl, Mecbul_ of tile 46 Pitch, Intensity, and Volume 7
Consonants. Functions of the 47 PortalBeDto, The •.. 22
Consonants, Use of the ••• 49 Portamento, Definition of the ... 20
Crescendo. Effect of the S9 Portamento, Characteristics of the 58,63
Dotted Notes 62 PreparatloD f . Emitting tbe 'tdce 12
Eflect, Choice of, and Aids to ••• ... SO PreparadoD of a Piece ••• ••. 59
INDES
PART I.
1. OBJECTS OF VOCAL STUDY.
Q. What is the object of vocal study?
A. To make the voice irreproachable in its intonation, firm, strong, flexible,
extended, and to correct its faults.
Q. Is that all ?
A. To teach the student the art of phrasing, to familiarize him with the different
styles, and to develop his expression.
-_ . __•••• •• - . - 6-
,.
FIG. I .
FIG. 2.
The Cartilqes of the Larynx viewed from
the front (S. G. SlltltttKlt). The Cartilqea of the Laryu riIwed &011:
behind (tIjUr ~).
I. Upper horn of the thyroid cartilage.
I. Upper born of the thyroid cartilqe.
2. Thyroid cartilage, articulatin!: by its inferior
2. Thyroid c:artiJqe.
hurn with the cricoid. 3. Santorini.
3. Lower horn of the tbyroid cartilage, articulatin!: .. Arytenoid of the right lido.
with the cricoid. S. Cncoid cartilage.
4. Cricoid cartilage. 6. Lower horn of tbe thyroid cartiiace. artic:lIIIlIII
with the cricoid.
S. Upper end of the trachea. 7. Upper eod of &he tncbea.
The epiglottis is not represented. The epiclottia it DOt .....-alA
r
a JnNTS ON SINGING.
bellows, furnishing the air necessary for the sonorous waves. They are placed, one on
each side of the chest. the expansion of which makes room for their inflation, and the
contraction of which compels them to expel part of the air admitted. Above comes
the Larynx, as sort of cartilaginous box; it is conspicuous in front of the upper part of
the neck, and forms that protection known as Adam's apple.
This box, in which every vocal sound is produced, is open at both ends, and
communicates by it.'! lower opening directly with the lungs through the T",adua, an
elastic tube; the higher opening communicates 'with the Pluuytu,and, when we
swallow, is closed by a sort of cartilaginous leaf, called the Epiglottis. The larynx is
surmounted by the pharynx, a large cavity which forms the back of the mouth j
it is limited behind by a proper muscular wall, in front by the pillars of the fawu.
I. Ellltachian Tube•
• • Soft Palate.
3. Anterior pillar of the
fauces.
4. TOllSiL
5· P : pillar of the
_ _ __ 6. EpiclOltis.
7. ArylenoiJ Carti1ace.
8. , .... cord.
90 Vocal ConI.
,.~fl.'" ----------------------------
__ __ _ _ _ _ _ _ _ _ _ _ __ _ __
,0. TnodtM.
_ II. QAophacus-
FIG. 3.
A Vertical Section of the head made to the left side of the middle line; tbe partition between the right and
left cavities of the nose has been removed, and the left nasal fossa exposed to view (MoJijittijrtllll -Sop/t»).
I. Opening into the pharynx of the Eustacbian tube 7. Arytenoid cart ilage or the lelt side.
--the pullllge which leads to the middle ear or drum . 8. False vocal cord.
2. The soft palate. 9. True vocal cord. Between the two is the ventricle
3- Anterior pillaJ or the fauces. of Morgagni .
40 Tonsil. 10. Trachea.
s- PoRerior piIlaref the falIees. II. (Esophagus. or KUllet.
6. Epi&lottia.
HINTS ON SINGING.
The pharynx communicates with the tuUIII jos.)-tZ, two cavities situated above the roof
of the mouth, and extending from the pharynx to the nostril. The palau is the roof
of the mouth; the anterior two-thirds are bony, the other third, called the sofl ;aIta,.,
is a movable curtain continued backwards from the hard palate. The pharynx, on
account of the numerous shapes it can assume, confers the colouring of ti",lJ,u OD
sounds produced in the larynx, and contributes to the formation of vowels.
3. RESPIRATION (BREATHING).
Q. What facts can you mention concerning the respiratory organs 1 The Luna.
A. The I-IlKS, as has been said, constitute the breathing apparatus, and contain
tbe air. which is the substance of sound. To be admitted into and expelled from the
.. - · •. •.3. ne Trachea.
Flc. 4-
The Lungi, Trachea. and Larynx. as viewed from the FronL
I. The thyroid cartilage or the larynx.
2. The cricoid cartilage of the larynx.
3. Trachea, or wind-pipe, terminating in the bronchial tubes which ramify through the lung aDd end ulti-
mately in the vesicles.
HINTS ON SINGING.
lungs, the air must traverse the mouth or the nostrils, the pharynx, the glottis, and the
trachea. The two acts of inhaling and of exhaling constitute respiration. The lungs
The Ribs and
Diaphraa m.
are contained in the chest, a sort of cage formed by twenty-four ribs, together with the
sternum. the vertical column, and the Diaphragm. This most important muscle (the
diaphragm) forms the base of the cage; it is convex. and holds the act of respiration
under its control
Ribo.
FIG. S.
The chest, • conical ca,."e which protects the lungs, is formed at the Lack by the vertebral column, hi kant
bJ the sternum. and on the sides by t_IYe n1ll Seven of these are united to the sternum, three are attached to
each other by a cartilaginous border, and t'lfO are floating. This cavity is closed at the base by a large thin
muscle, slightly convexed, called the midrilr 011 diaphragm. It separates the thorax from the abdomen, and plays
• most imponant part in the expansion and contraction of ~e lun!....
I. Draw a breath slowly through a very minute opening of the lips, then exhale
freely.
2. Breathe freely and exhale slowly through the same small opening.
3. Breathe freely and retain the breath during ten seconds or more.
N.B.-These exercises are independent of each other, and should never be continued
till fatigue ensues.
Q. Is it necessary always to regulate the pressure of the air from the lungs?
A. Undoubtedly. The glottis being under the direct influence of the lungs.
any jerkiness or other irregularities in the action of these organs affects the sounds
and impairs that continuous flow which is the charm of execution.
Q. What are the faults of lJ,eatlzing' ~~:~~h;:{1-
A. The greatest are that the breathing should be scanty, hurried, noisy, or
drawn in by raising the shoulders. When the air is inhaled gradually and not by
jerks, it docs not rebound. and is retained by the lungs without fatigue.
Q. How are these faults to be remedied '1 h The Remetl,
A. The first three by breathing slowly and deeply, and by opening wide t e
glottis.· The noisy aspirations are caused by a semi-opened glottis.
Q. How can you obtain the sensation of the glottic action ? ~~o~IOlliC
A. By coughing almost imperceptibly. The glottis then closes and opens;
through these actions we feel it distinctly.
• The importance of the laryu, u the producer of all .ocal munds, justifies 111 in ItudyiDg it more minutely
. thaD other parts of the instrument.
The (rame-work oC the larynx includes the following cartilages :-tha.thyroid, the cricoid, the two arytenoids,
lUfIDOanted by two nodules, called carti]~es of Santorini, and the epiglottis. These cutilages are movable b)
meaDS of appropriate muscles. The mtmor of the l~ narrow. toward the centre to a mere chink or fisaure
called the KID/tis. This opening. wbich can be seeD with the laryngosc;ope, is bounded by two edges placed one on
the right and the other on the left. These edges constitute tbe lips oC the glottis. Posteriorly they are formed by
tbe internalaurface of tbe arytenoid cartilages, aDd in front by the YOCa1 cords, The vocal corda are two deep folds
oC the mucou. membrane, In each of them, immediately beneath the edge of the fold, lies a band or elastic tissue
known as the inferior thyro-arytenoid ligament or true cord; the outer lide oC this fold is filled by the intemal thyro-
arytenoid muscle. At a little distance above these fold. are placed two othen called /tUs6 t",tiI, which are
separated from the Cormer by two cavities-the ventricles.
. The lips oC the glottis alone produce all YOCa1I011Dds, with their modifications of ringing and veiled quality, or
piano aDd forte. The space between the lips, iD the act of respiration, bas nearly the fonn of a horizontal isosceles
triangle, And becomes linear when preparinF to produce a sound. The triaogu1&r is the form of lileDce. the linear
of activity. Tbe closing of the lips I call' piDCbiDg of the glottis." (Fip. 6, 7, 8.)
·.·IJ
'.
FrG. 6. FIG. 7. FIG. 8.
PIO. 6.-Tb.e (I«IU, • seen witb laryngoscope during easy inspiration. I' Emine1lce formed by tbl cartilage
:Jl Santorini, wbich lies on the summit of the arytenoid cartilage. The epiglottis, tJ, isaen in t,ird's eye Yiew ; the
eminence close above the cords is ita •• cushion" (SJuJtt«j). IJ The true vocal cord between tb.ia aDd it.
fellow is the chink oC the glottis. t The false yocal cords.
FIG. 7.-Diagram of the larynx iD horizontal section, showing the chink of the Rlottia, bounded bebind by
the internal surfaces of tbe arytenoid and cricoid cartilages, aDd in front of these by the true vocal coras. The
dotted linea show the position of the cricoid cartil~e and YOCaI cords when the glottis is opened; the directiOD
01 the conlracting force (the crico-arytenoidous poetenor mUlCle) is indicated by the arrows.
'10. &-The .me pull showing the positioD of the arytenoid canilage and vocal cord. of the glottis, draWD
O~_ ,b. H..- Voice. bY........ av_ ~ 0 1 the RuyaJ Sociec7. Lc.cIoD. Vol VIL No... dB
6 HINTS ON SINGING.
4. SOUND (RESONANCE).
Q. What is so",,,"
A. The sensation made in the ear by vibrating air.-
Q. How does the glottis produce sounds?
A. The two lips of the glottis, which are separated in the act or breathin•• meet
when preparing to produce a sound, and close the passage with the degree of energy
,.
lI.
-. ,.
FIQ. 10.
I'JI1" 51
I'IcL f.-A ftIticalleCtloo althe 1:.. ynK earriM from IIide to .de, the uteriCK half of the SeclJoa beta.
represented.
•• CIlIhioD of the epiglollis.
.. Section of the thyroid cartilage.
3- SectioD of the ericoid.
... Section of the 6nt ring of the tracba.
So The fa1Je cord in seetlon,
6. The venlricle of Morgagnl.
7. 1 he true vocal COld in Iec:lion, ahowing the internal portion of the thyro-aryteooid muscle 111nl in the 'old
of the mucou memhnDe. It is by the aetioo of the true cordiltOpplog and opel1iog.the air poage that the vwce
II produced.
1"10. Io.-AD outline of the Laryu and upper aide of the Trachea u newed from its right Iide. Throop
the debt ala of the thyroid cartilage are shown the uytenoid cartilage, .. and the vocal COld, I, formine
toeether the debt Up 0( the Iiollis. The dotted lines show the poIition taken by the arytenoid ud cricoid car·
tIIl11f'1, ,,_, when the cricoid is drawn upwardJ by the contraction 0( the erica-thyroid muscle, &Ctlog u .hown by
the urowa. The dot, ~, of the WeriCK hom of the thyroid marks the ides! centre of movement. It will be
seen lhat the resalt iI to increase the diatauce between the vocal proceu of the arytenoid cartilqe ud the thyroid.
and in this _ , to tiehteD the vocal cord.
• When & cord of & mullic:al iDltnlment OIcillates, it cood_ the air 00 the lide It approach~ leaving
behind an amount of expanded air equal to that displaced; these two pomona of air, compreued ud expanded,
are inseparable, and form wbat is called & _ve oflOUnd. The _ves oflOGDd, in i n _ order, are propegated 00
either aide 0( the COld, and if the IUccaIioo be regular or rhythmic, ud Illfliclently rapid, they form & malicailOUDd.
AD, irreeular llICCesIion of_Yes produces only noise, In reaching the ear, the condenled portion of the air _ve
f _ in the memhrane which clOllelthe bottom of the uditory meatal; the rarefied portioa dra_ It O8t again,
ud these OICiJlatioa. transmit to the brain, by meaDI 01 the auditcKJ ouve. the vibrations which we appreciate
u_ncL
7
demanded by the nature of the sound and the power with which It Is to be emitted.
Then, being pushed upwards by the air, they give way and allow a portion of air to
escape, but immediately return to .their original contact, and recommence the action.
These intermittent emissions or explosions of air, when regular and rapid enough,
form a sound.
Q. Can you name any action which is an illustration of this'
.1. The action of the lips of a hom player.
Q. Are the sounds obtained always of the same character'
A No. They may be bright and ringing or veiled.
Q. How do you obtain these bright and veiled sounds 1 ~
A. If after every explosion the glottis closes completely, each impinges sharply
on the 1J'",/JtI1'ic ",emlJr-tltU, and the sound heard is bright or ringing. But if the glottis
is imperfectly closed, and a slight escape of air unites the explosions, the impressions
upon the tympanum are blunted, the sound being then veiled. The waste of air can be
verified by placing a lighted match before the mouth. The brighter sound does not
stir the flame, the veiled one will.
Q. Has this observation any importance? .r--~
A. Coupled with the theory of li",lJres and that of the breath, it puts the singer -
in possession of all the •• tints" of the voice, and indeed initiates him into all the
IeCrets of voice-production. (See Timb,.., page 11).
Q. What produces pitch 1 • Pit.
A. The number of explosions that occur In a given time. The greater the
Dumber, the higher the pitch.·
Q. What causes intensity of sound 1 =.....,.-
A Intensity of sound is not due to the amplitude of movement or the glottic
lips, but to the quantity of air which makes one vivid explosion. The resistance
offered by. the lips to the pressure of the lungs determines this quantity. The
amplitude is therefore a result, not a cause. After each explosion the glottis must
be reclosed; for if the air found a constant issue, the greater the expenditure of air
the weaker the sound would be.
Q. How is volume of sound obtained 1 v .I
A. The volume of sound depends on the expansion of the pharynx and or the .....
vestibule of the larynx.
Q. What range of vibrations can the human ear perceive ?
A According to Helmholtz from 16 vibrations to 38,000 in a second.
Q. How is the rising scale formed ?
A. By the gradual tension, shortening, and thinning of the glottic lip-.
• Humber of YlmUons required to fonn each note of tbe scale beliani'''l wltla II Do - 138. n - 144.
11II - 164. f. - 170. 101 - 199. 1& - ItU. Ii - 80-40. do - 25a. The octaft .baN lIlY noI8 - nqu.Irea twice the
DU.ber ellta 'fibration.. ..
8 HINTS ON SINGING.
"ice, and those above g oS' n must never be used lest the result be
p-~ Contraltos 00 not often possess more than a third of its extent.
distinctive, rise to its limits, generally F -4P- (for rare high notes see page 10)
s. The comparison of the .medium and the head registers will give us the
following results: The medium does not possess the same power of penetration as
the head register. The difference shows itself at once from the point of junction. In
robust organs, the two registers blend with ease; in weak or unhealthy organs thft
uniof' is often troublesome. The first two or three notes are inclined to break. lois
I. one of the difficulties in the contralto voice. Here is a table showing how the
registers are distributed :-
Contralto. l Sopran0ill
~~
Mezzo-Sop. For the
Tahleof Female Three J......Sopnoo.
Voices.
1'\
..,
Soprano. Voices. I Caatralto. !
. ..
~
.J
.61 r~
-.:J
~
- -
-.
,~
'":
Head Regilter.
JChest Register. Medium.
--r;r-
and even lower; and it may rise to pt!J..---- The baritone has
less volume but more ease and ring in the high notes; it extends from
.t:2. ~ .a.. b.t
~"'~·~--:_:iI:==::===:::=:t===
I"
The tenor includes from I' t!9 m I
and has a greater facility than the other two in using the falsetto and head registers.
The falsetto in men's voices, when good enough to be used, has the .same extent
as in women's. *
Table or Male Here is a table of male voices :-
Voice....
~ ,,- ~
"'"
Bus. Baritone.
.a.
"r.. Tenor.
~
~. ~. .a. ~
D=..t~
I I
i wE F
I#J J
• -nat I. to . , . it is capable of esteDdlna tbe liDa.'. OOIDpasa for ...eral DOtesbeyond the pure cbelt tODe. -beI'ey•
....1 ma, termiDate.-(Nou. H. KJ
HINTS ON SINGING. II
- ;"P::7
,
=:
FJ
6- M;:m. ed,
Q. Why do you give several notes to indicate the limits of the: registers ?
A. Because the limits are not invariable and depend on the state of the vocal cords. .
Q. Can a teacher change at will the pitch of a voice and tum a contralto or ~.Vo1.
mezzo-soprano into a soprano, or raise the pitch of a baritone to that of a tenor 1
A. The experiment has been tried, and, when the subject has been young and
vigorous, a short success has seemed" to justify the attempt, but, if not stopped in time,
the final result has been the inevitable ruin of the voice.
8. TIMBRE.
Q. What is meant by Timbre'
A. Every sound of the voice may assume an infinite variety of shades apart
from intensity. Each of these is a ti",lwe.
Q. What produces the variety of li",1J1'B$ r How proclaoed~
A. They are due, first, to permanent causes that aff~ct the voice of each
individual, such as the constitution, age, health or disease of the vocal apparatus;
secondly, to the action of the glottis; third, to the changes of form in the tube which
the sounds traverse.
Q. Can you explain these chan~es?
A. The path of the sound, being formed of elastic and movable parts, varies its
dimensions and forms in endless ways, and every modification-s-even the slightest-
has a corresponding and definite influence on the voice.
Q. How is a student to select from among these intricacies of ti,,,lwtf ~~c""
A. The ti",lw.s may be divided into two classes. the clear (bright), or opeD, and the
dark or closed. These t\VO opposite qualities ate obtained principally through the
agency of the larynx and the soft palate. The movements of these two organs are
always in a contrary direction. The larynx rises when the soft palate falls, and when
the larynx falls, the soft palate rises. The high vault produces the dark ti",bres, the
IO·Ner arch the clear ones. The arch rises when we are in the act of yawning, ad
falls when we are in the act of swallowing,
Opas-TIM BRat CLAIR tBri.htJ. CLos.n-TI..... 5o....s CD~.
PIG. I';.
'IG. 12. n....... of the same pau. slao.i. . tile 10ft .....
Verticel .ection from the froDt to the bKk'or the . 1m.ed aDd the laf)-u depreaecl.
e.e.d, 'bowing depression or the soft palate aDd -1aiP
pos \1in" of ,he laryas.
.2 HINTS ON SINGING.
14-
FIG.
~15-
FIG.
The space betweeD the tongue uad the palate u 11le space between the tODgUe . . . palate aac
lIeD tbroueh the lDOuth during the production or the DleDted during the production of dark Ii.",..
01..,. C.. bdcbd H.",..
......
to alO1lDeI" is DOt I " In the throat (4.•.• tbe larynlt) of the aln.er. It ia the sound itself. the attack of the DOte. beaiDDint oJ..D.
clear. aad true. upon the middle of that note. without pre1imlDary movement or action of ~ sort beFOllel the natura! act fill
N.SI-The suaesllon of aD aDaloa, betweea the IItroke of the "ottis aDd the act of coughm, fa lDteDdecltlmpl, to aiel tbe
at1ldeat in locatlDa the poaltlon and reaJlsina lbe fUDCdool of the alottle lip.. TheN is DO Deedto . . . tbiDk 01 Its app1loalloa.
. . . ardcalat.... or attukm, a "oca1eoUDd.-(No". Hit'
- - - - ----------
14 HINTS ON SINGING.
movement is considerably facilitated if it be tried with the mouth shut. Once under..
stood, it may be used with the mouth open on any vowel The object of this is
that at the start sounds should be free from the defect of slurring up to a note or the
noise of breathing.
Qaalitieaofa
Q. What are the principal qualities of a good tone 1
. IOOdToae.
A. Perfect intonation, absolute steadiness of sound, and beauty of ,,,,,/In.
These qualities-indispensable to good style -may be considered as. the tripod of
voice production.
AIUck. Q. How are sounds to be attacked ?
A. With the stroke of the glottis just described. The Italian vowels, a, e, as
iii the words a/'IIUI, semjwe, must be used. They will bring out all the ring of the voice.
The notes must be kept full and equal in force, This is the best mannet of develop-
ing the voice. At first the exercise must not exceed two or three minutes in
duration. .
Q. Why do you not use what is caIJed the .. messa di voce" ?
A The use of the ., messa di voce " requires a singer to be expert in the control
of the breath and of 1i.,IS.
* At, this elementary stage it would cause only fatigue.
be adopted, the notes (rom ~ "e:::- in contraltos, seldom offer any difficulty·
yet it sometimes happens, when the voice has not been exercised, that medium notes
only can be obtained.
Q. What is the cause 1
A The lips of the glottis do not come into close contact. These note.
-;i should be tried first. If the (Italian) vowels II and _ should Dot act
!P b ~ ...
efficaciously on the glottis, the vowel ; should be employed with firmness, but without
violence.
DeftJOpmeDt of Q. Will this method suffice?
CMM·ToDe. A. The ringing quality characteristic of these notes doubtless will appear
after a lew trials. The first sound being well established, the study should proceed
by semitones to G or F sharp in descending, and to E in ascending.
The next step is to group these sounds within the range by twos, threes, fours
and fives, thus: t
,.
• See -u... di Voce," page s.
t This exercise il chieS, intended f« low 9fOIceL Sopruoa woald be«ID • tODe 01' . . . two toaea b1&ber. bat Ia tbu
. . . limIt the study to tbne or four DOtes. ao .. aot to CUI')' tbe chest 9Oioetoo blcb.-(No,., H. KJ
,HINTS OX SINGING. IS
day. If it causes the slightest fatigue it must be stopped at once for the rest of the
day.
Q. Are the chest notes above E difficult in women's voices? Llaitatloa 01
A. Women, whose vocal cords are one third shorter than those of men, have ~t
greater facility than any tenor for producing the chest notes above E; but that part
of the voice, constantly employed (as happens in music written for women) would in
a comparatively short time iniure the whole instrument and reduce it to the state of
a "broken voice." (5.. below "Abuse of the Chest Relister").
flj~'t'~
" simile
6
;
•
The Italian i being the most ringing vowel, the same piachiDI of the glottis·
which gives it its brilliancy may be employed to give brilliancy to other vowels.
Passing from a ringing to a dull vowel on the same note may also be recommended
to improve the latter. Ex.: ia, ia, ia, ;e, u, ;1, io, ;0, io.
Q. Is there any cause for weakness in the medium besides the nature of the Abuse 01 the
organ? CbeII a.. ...
A. The abuse of the chest register, which sometimes has so weakened the
medium as to make it almost disappear.
Q. How can you restore it ?
A. By reversing the study of this portion of the voice and beginning with tbe The RelDfMb.
Dotes ft t:IZ .. ~9 which will be about all that can be obtained. The student
must exercise them till they are well established, then descend to the A or A flat i there
• Tbia ftpresllOD refen to the cloem, (ucI t1chteDlD-> of tbe lips 01 the alottl. delcdbed IDtbe authorl.lmport.at footDot•
• p. 5. la tbe alDam.of the vowel. (ee) it I. quite a Datural aDd automatlo prooeu.-(Nt*. H. K.)
.6 HINTS ON SINGING.
the student win do well to stop and to repeat the sounds both separately and in groups of
two and three Dotes, thus:-
A. The best place is between the third ~-ec== and, if the chest note it
Q. But does not this method introduce a real inequality 'in the vowel sound 1 GndU.- 01
A. I t does; and the apparent equality oi the notes in the scale will be the result :. 0::::::::-
of actual but weD- graduated inequality of the vowel sound. Without this maneeuvre,
the round yow. which are suitable to the higher notes, would extinguish the
ringing of the middle and lower notes, and the open vowels which give lelid to the
lower would make the higher notes harsh and shrill The' neglect or this proceeding
causes many voices to appear uaequal; but, I repeat, it Diust be used with moderatioD.
and taste.
13. MALE VOICEs-GENERAL TREATMENT.
Q How are male voices to be treated ?
A. Basses, Baritones, and Tenors should commence their daily study with 10Yf'
and easy DOtes. These should attacked with the stroke of the glottis· on the open
Italian vowels A, e, as they sound in the words alma,/uk.
Q. Why should you commence with an open ti",lJn, To obIalD a free
A. Because, in order to render the voice free and strong, the clear "",/w, is the .u., T--.
most efficacious with the vowels just indicated. Basses and baritones should rise as
a ..... .a..~ ~t:J~
far as ~ I. tenon to ~-----~
• passage , I ~:;;~
~;..~ ~ ......... ~
The next is the porlatIunto. or slur,
a a a a aaaa a
e • . . • • • • · ·
wltich is the gliding of the voice through every possible sound between note and note.
This colouring is designated by placing a curve ~ '-" over or under the Dotes
Then comes the staecatD. In this every sound is detached from its neighbour by as
interval of silence. It is indicated by dots • • • • • over the notes. Lastly, the
IUpiNtD, which consists in allowing some breath to escape before every note: ha, ba,
ba, he, he, he, &e. A very exceptional way, only used when a note is repeated
,
without a syllable belonging to it, is shown in the following example ~
-~ ..
• r i ' ...
'Uu
«'-
-
del
-
......
~
- - :>
.-
mio
.
......
... . ~
oar
)
l-, ~. ·
~1l r~
I
.. I
.. ...-.. -_.
I
The third and seventh degrees Qf the majur scale are often flat, more particularly fa
descending ; the augmented fourth, and the perfect 5th in arpeggios. All the
dissonances and chromatic intervals also require special care.
Q. Must the pupil sing the exercises only in the key of C ?
A. They may be transposed into as many keys as the extent of the voice will ~::r:
conveniently permit The pupil must curtail or suppress those which exceed that
extent.
18. STUDY OF SUSTAINED TONES.
Sc:aJe (or •
Q. What kind of scale is to be used when studying single sounds? prac:tiIin, Sin'"
A. The chromatic scale. comprising the three registers, limited as follows :- ~unds.
CAul ngister.-This register which, in the three voices, contralto, mezzo-soprano,
and soprano. starts at different points. must stop on the "lame note ~
(or all three. If eanied to its upper limit it would injure the organ.
Head ".egiste,..-In this elementary study, the head-notes must not be extended
the same notes as women, this register being, in men, the remainder of the voice of
childhood. As for the head voice, with rare exceptions, very few notes are generally
available, and these usually for tenors,
19. BLEN DING THE REGISTERS.
Q. How are the chest and medium registers to be blended? ~=::-t~C:
A. By passing repeatedly from the chest to the medium, and flue Wt"s4.(: This ~~fu:1(1
passage will take place on the following exercises :_ Re.;sten-.
22 HINTS ON SINGING.
.. r. JIl __
Exercise on the ~::~~'----:'-~~-+---r--II---+---+--..--.......--+-t.:""""""'-~--II---"""'~"""---u
.. ..
- -- -
r~
11.
-
r-
Portamento. ~ - .-. .-J r~
....
-'" -'"
,,~
.. ,-
-&-
~
.. ~ \.:.I
::11
..
.....
--.
....
JIS~ f: - ~J po - n
OD I he Third.
....
--
~
e..I.
...... ~
t .!T •
oil
IV =
T:T
.~ ==:,.
-cr
I
,-....
,-,.
r~
r~
: ..~
~
...
HINTS ON SIllGIllG.
~ .
............
...
HINTS ON SINGING.
:~ .
, .. ,
HINTS OM SINGIRG
E= v
I
HINTS Otf 81NGIIiG. 27
JJ. Oar-H...
JM]
•
I
• ne nanl bearlDc ~= illaumben OD tbil .... and the n~xl an 10 be IUD. ia . . . . .ioa. n. H. I .........
a IID.le br.'b.-(No". H. K.I .
. . . . . . . aP. tIleD cIoWD the.-l
HI1fT! 011 SI MGIKo.
.....
0. ........
........ I
...
•
•
•
, ~ ..----
...- ..--.-+-~-+--~
•
..".
On Six Nota.
...
....
Bsampln.
On EIlCb&
Not. .•
• The author IDtended each line of tbeM ra. to be IUDC in a aiD,Ie breatb. 5110........ found ralb. tmD'at fiat. t....
IlucleDt may take a rapid"balf breath" after the f~ " P . witlloat. boweYK.IDtemIpII., alae I'IID bJ a perceptible pa -
WoM.H.KJ
Eacb repetition of the followiDg must be rakeD a DOte bigb.., as sboWD by Eu.
G and b:
8111TS ON SIIIGIIiG.
• f! - n
·5
--------g:t==tg¥II
-
fla.~M&pi 01
;ixteeo Noe-.
.... - .-
....I _-
. - ..
.-----1
--------------------------------------0---------
......... v
---_ ... v
- -
1-.1 -.- -
.....1_--- -
~---~
~--
---
- ---------
l""" _ ..... _- -
~- :-
HIIiTS OR SIIiGING.
.-.v _,
'I
.J _
,,"v
~ ----
-8- •
,• .
..... .
~~-----------------I--+---------"----""
~ .
v
• Also know" 8 ... Staccato II IOaDd. « not.. Compare pales 210 and 40.
· Illlf1'5 ON SIIiGING.
~_&C~~.~~
au.ofSi.
1lO'-.
RSJ 4 I 4 2 5
3 6
'>
~
4
6 1:C
~ »~
2
I 3 7 2 4 7
I:e~~c::
BZI. of RI,be
lMnea.
> > > > >
~f!-:
7 ~. 8
>:> :>
~I:c =iWd !SUi
..
30R
> ...:>
Every note having received an accent, the piano and forte ought to be alternate, and
afterwards we interchange the accents (Exs, of 6 and 8 notes). Any other exercise
of fou.. six, or eight notes admits of similar combinations.
Lelacoand Q. What do you understand by lerato and staccato sounds?
&accatu Sound,-
A. That these two effects may be combined as has been seen with the piano
and forte.
Where notes are united in groups, the last note of the group must be quitted as SOOD
as touched.
~ ~
v
34
27. ARPEGGIOS.
• Sf:Dple arpe.lios (sun. both JcRiJlo aDd a*rccalo) OD the notes of the common cbord• • mftniODS thereof. marlie
.........illl advanaqe belOl'e tr'lnlltba~ more adyaneed nercises.-tNolc. H. K.)
HINTS 011 SllfGING. 3S
~~~~-~~
?£"SdJ
8111TS OK SINGING.
......
........
CIInaado
HIKTS OK SINGING. 3'
Diatonic'"
Chromatlo
P...,•.
,.------..~. . r"":,.::=====::::::'"
"
A ... -
. ..
--
rr-
,....... ; ~
... ,. "1
•
,
~
~... ~ Iii ~
'. -:
HINTS Olf SINGING.
=
L
..
I""
.
-
.. r-
,.,.". :....
-........f
'"
:t. - ,- .... - --
..,....
t l ,,- -- -a..-
I
li_
•
,- -- ..- ----
r-
---~
= :
-.-- - - ..".- ... - ......
'. ---- - --
- --
It. La_
r-
-- .-
- -
I.e..-
-
...
- - --.
-
Cbromatlo
Cad. . .
HINTS 011 5INmBG. 39
~---
Q. What are sounds with inflexions ? ~
A. These consist of a continuous series of small sounds gradually growing aad
diminishing individually, while the series increases and diminishes as a whole. There
are ether differences to be found further on.
A free note under a pause is generally swelled and diminished; when 1011I
enough, though measured, it receives the same treatment.
Useoftbe
M. . cUV~
Text. U Ir-@ E i
eI E r
'pUD· ta .. bel •• a·ro· fa
Mit"". (ROllI).
~ LArr/ulltl... ~ ~ LoDg. The Jut tbNe
I
Ir ~
~ IICIteI must be
.trictly equal ill
T.:T .s ftlue aDd weDac-
a me in • api • ra • to a me in • api • ra • to ra • to CeDted.
"Undulated sounds" are each slightly swelled and diminished with a dying pro- ~ «
longation.
CrwriUtI (M~)
~ c:::> .. <:>- <::::> c::::> c:::> <:>- <:>-
• ~==1~!1aIS"1=!1~1"f~~!~
L'as - PIt • to • - do • ra • bi • 1e d'UD te· De • ro or· ..t • • ..
.......N... Q. What are repeated notes 1
A. A series of equal repetitions of tbe same note that otherwise would have
been sustained Repeated sounds unlike detached 011ei must be legato.
--•-- -
_ . _I
n-
..... -
I ~ I.
- --- - .-
....-
I I I
Exec:atloa.
~Jr~
They arc obtained by ~rticulations of tile glottis, each producing a very rapid
appoggiatura of less, if possible, than a semitone. Aspirations must be carefully
avoided.
Q. Is this sort of passage still in use?
A. It was; nowadays a single repetition a note is only heard. or
Q. Have you any other method of repeating sounds?
A. The aspiration is employed, but only when one repetition is to be made.
=:01' "Detached
loaD....
sounds"· must cease as .soon as
brilliant voices.
emitted; they are appropriatfl oaly to
VariatiOD 01Mme. Pen1aDL
~i¥Jtit!i:~
II" COl pib non 1Di.. to
~~
0wM.. (.. ~"
. ~ . ::::- . ::::-
~e Errr Cr
Oh , . glio I an • • • 10 0 cor,. iJ cor, ttu
J' ...
= '1
de. - Iio 10 t'at- . . • de
JJJMrrz
D caw.
___10 tbell'Oupe 01 DOt• •iftll .. nccl_ 'or tM "for&e-DiaDo" OD Pac- 31.-(NoU. H.IC.)
IIINTS ON SINGING. 41
... ...
ray
•
- iIh'd....
.
Not 10 conecd,.
~.~1 C~
A. - pl. IU .. H 01& Ie I
~!!'"If
?
Del for • ta • na • to E - U 10. • na caD - teD • to D OIl
II~ Sew- (a-uo.).
PAOLINO.
¥,u~:plet. If the executant be not very careful in singing this ornament, the principal
note at the end will disappear, and this passage J~ .~! JA J will
become ~ J !J!11=3=
. . tiC
Adot-te·.. pie ....
~:
~-==-
J:ii
HINTS ON SllfGIIIG. 43
Q. What form is given to trills in diatonic succession; ~DiIIIIII
A. If the movement will allow it, every trill. either in the diatonic scale or in &
succession of disjointed intervals. receives the regular preparation and termination;
but if the movement be too animated, each trill starts with the auxiliary note, the last
trill alone ending in the regular way. The student must be able to submit every trill
to strict measurement, and even to distinguish and count every pulsation.
A ...II 8MI1III Shake on diatoaic seale.
~fttt-e
~~ ~ ; r. ~::::~;~~t:
~~~~- .,P
,--~==========.:=-
col per • don . no suI lab bit) Ii ICeD ..
pih He • to 1101 • • nD
Shake lum.
Q. What is a shake-tum?
A. The shake-turn consists in two heats of the shake ending with a tum. If
the turn is suppressed, there remains the double beat (rilJattuta tii Kola).
s-ac,. (HandeD.
" "
his war
.-
" I
notes in the midst of a trill The
pi _ pi
If the inserted notes are not produced with the utmost neatness, rapidity, precisioD
tal
...
It ought to be prepared and ended regularly when it is long.
__
fJ""'~
When the shake occurs at the end of a descending scale, it is not inelegant to
leave out the preparation :-
PI'F'1~=;:::~ ~m.-
.,. - . ca· r. IU par lie - t. che I'.· eI u·.iI·... it
Q. What are the defects of the trill ?
A. False intonation, caused by the intervals being too narrow or too wide;
rattle of the glottis or short aspirations, producing the trill known as trillo &a/rinD 01
etrlJtJlJ_~· jerks of the diaphragm instead of glottic action; and the drawing in of the
voice as soon as the oscillations begin, which causes a disagreeable noise. In singing
a trill the voice ought not to be drawn in, but decidedly pressed out with the same
evenness of 1,·mlJ,., as if it were a single sound.
aixrs OK SINGING. 45
PART II.
32. SINGING COUPLED WITH WORDS.
Q. Have we exhausted the subject of a singer's training 1 objects of
Punb-ShMIr
A. Certainly not.
Q. What further' studies are required?
A. The study of articulation, phrasing, expression, and the knowledge 01
different styles,
Q. Of what importance are words to melody ? ;a~ 01
A. Music, though the language of the emotions, can only arouse them in a Melody.
vague and general manner. To express any particular feeling or idea we must
make use of words. Hence the importance for the singer of delivering these with
the utmost distinctness, correctness, and meaning, under the penalty of losing the
attention of the audience.
Q. What are the elements of words "1 G :,:::,-ts
A. Vowels and consonants. The vowels are moulded by the shapes which
the vocal tube assumes while traversed by breath or by sounds; the consonants
result from the obstacles opposed to the issuing sounds or breath by the organs
of the mouth.
Q. How many vowels are there "1
A. Though grammariaDs admit generally nine (in Italian),· the Dumber is, in fact, Y-.l So. . . .
unlimited.
Q. How is this 1
A. The mouth being formed of elastic and movable organs, hKS an' unlimited
power of modifying its shape and capacity, and each change is a mould whereby
11 particular vowel is formed.
Q. Is there any analogy between vowels and timbres? ~~Vowell
A. The most intimate. We know that the changes of form in the vocal tube aDd Timbna.
determine analogous changes in the timbre. Vowel-shades and timbres are but two
different names to express the same modifications of sonority in the voice. The
result of this mutual dependence between Pharynx, Timbres, and Vowels is that a
change in one produces corresponding changes in both the others.
Q. Is the great variety of timbres of any practical use ? ~~=011 G
A. They are the physiognomy of the voice. They tell the involuntary emoticils
which affect us, and assume a more clear or covered tint. a timbre more brilliailt or
more obscure, according to the nature of those feelings.
Q. Can you explain by any examples 1 . Bum )
A. Vowels will not preserve the same shade of sound in a phrase of tenderness pes.
as in mockery, in anger as in joy, in regret as in prayer, or in menace, &c. Let us
take the air ., In native worth" (C"tltUm), or "Endless pleasures" (Smuu); the bright
open timbre, which would give a brilliant effect to both, would sound vulgar in
Ie Deeper and deeper still" UefJAtW), or in "Jerusalem" (St. Paid). As a further
illustration, let us suppose the question .e Are you coming?" to be put by an imperious
master, or an entreating lover, or a threatening accomplice. In each case the same
vowels would assume a different ring.
Q. Would not the modification of vowels disfigure the language? vModUIoatI.-) "
owe.
A. That might be objected, but the answer is that in the utterance of a thought
all the vowels are modified in the same proportion i their mutual relation remains
• 18 the 8nt edltloa theM wwels . . . Q1IOted. bat DOt ill • comprebaaibl. form. The IOUDdl referrect to are: - CaJa):
• faa fa bale): _ (u In belD; • (ee); • (u Ia bot): 0 (u III old): .. (u iD wooD: aDd ,. las iu cooD. The. . . . . . ,.. YO'"
1OUDd.: clJpJatbODlS Itand ia a .parat. oabICOI7.-(NoN. H.IlJ
HINTS O. 51.GINa.
unaltered; only as a whole have they taken the tint harmonizing with the passion
expressed. A landscape lighted by the sun or darkened by the clouds presents quite
different aspects. yet every object keeps its place and outline all unchanged.
In singing a melody we have to add to the prolongation the elevation, the intensity of
the sound and the timbre. These three characteristics constitute the pathetic accent
P.actiaas aldie O, What are the functions o( the vowels 1
Vo-·m. "
A Intonation, sustaining of the voice, expression or quality of timb,.., tonic
accent, and vocalization are all entrusted to the cafe of the vowel
..........
2. To beat time and mark the rhythm by their percussions.
(MODIt): + +
;----§f
@!piC' ~~.;--r---;~' r
N. - pik,,-,. . . .1 far· fal - 10 • De """'-11IO - ro • 10,
c-...
,A,ullllil
(Handel). + ~ +
s=='=c " s=c c S ~
C fgC-S-!l---....---fIII~
+
o rud • mer thaD the cher • rye 0 aweet· er thaD the her. ".
3. Through their varied degrees of energy they declare the state of activity 01
the sentiment. just as the vowels manifest its nature.
D_J-
(MOIart).
J4II'I"(J tUsai. RECIT.
~~~=========~~
II,.~~~--~...----_------IJ~~
• Pupils ou,hl to practise each CODIODaDt to obtain the correct maltel'J of it. articulation.-(Nole b~ ,It. A.""orJ
HIKTS 011 SJNGING.
... 1\
,~ + + +
.. - -
... ... : ... .....-
II -1I~ ~ ~ ~
....
~ ~
....' u
~
.....
~ ~ ='
itl . De . &. ce del ... eIre mi- 0-
tl
61
'11
1....
1\
- - •
I
...-.. .....-
I
.....:.
.,.-
'ltJ
<
lt~ - - t
~
I'..J - - ='
Or/_(Glck)
!{ECIT. ...
~~---e;....;---fIII::.-.a!i'~~:
Ir + ~;
+
bizJ
~ Sa • zia • ti IOf - re re at Son dis . 1~ • ra • to,
These sentences owe their force to the consonants; if vowels CO'Jld be substituted,
the cry of anguish would lose at once its poignant force, and no volume of sound would
restore it Besides, energy, in the deliverance of consonants, conquers the mechanical
resistance that groups of consonants oppose to the organs of speech by their number
or their nature. It gives travelling power to the words in a large /ocau.
EDere, of Q. How do you graduate the strength of articulation?
Alticulatioa.
A. The intensity of the voice and the extent of the space to be filled must
regulate the degree of power to be supplied to the consonants. Declamation
demands greater emphasis than speech, and singing requires more than declamation.
Hut it may be said again that no jerks, no force of voice can be substituted for the
clearness, precision, and energy of articulation, which alone can carry the: words to a
distance. Violence would cause singing to resemble barking. The best method is
to prolong each consonant as much as may be consistent with the character of the
piece.
Prolon,atioD of Q. Would not that prolongation be misleading as to which arc single or double
Consonaoll.
consonants?
A. I think not. The proportion should establish the difference. Single con
sonants must be obtained by a more rapid movement of the articulating organs, and
that raoiditv should be relative to the space to be traversed. Though always clear
IlllfTi ON SINGING.· 49
and precise, the consonants will be less rapid in a vast locality than in a small OD~
The double consonants are produced, without exception. by prolonging the silence
which precedes the explosion, as in wtJjJ-jJD, hll-to, and «-eo; and by maintaining
through the sounds the noise which forms the permanent consonant, as in lei-la,
aJltnz-fUJ. This also is the case when a consonant which ends a word begins the
~ ~ ~
~i j j ... •
• ;It .,
e-
;:- I ;I. ;Jt -~§
;r~----
The cur few tolls the knell or part infT day.
The low iftlherd winds alow o'er the lea,
The tlOuKh e man home . word plods
I)'
his WeD ry way,
Aad aye. the world to dark ness, and to me.
N. . ~
(11+ + + + ~
~¥'I Voi~ Jlk J ~r
co" . . . . • _ ,
eM • • pe' te
~~
Don· de· te
• 1'110" De . . " i1lS CllII
Q. Is it always possible to keep the words as the composer has placed them?
A. When high notes have to be sung on unfavourable vowels or articulations, or
when too many words embarrass the swift flow of vocalization, the singer is at liberty
to displace and even suppress certain words, provided he does not distort the seJll&
For eumple *:-
I ~
____trill~~~ I
ob • -180 reID. • • Fi • II • •
Ii • I
AttackJ'hb11b If it be necessary to place a consonant on a high note, there is the danger or slurring
=':'t.a up to or breaking on that note. This may be averted by beginning the sound with
the noise of the consonant
....
Snail
(Hudel). "'""' ~"'""' Also. .,. "'""'
~ ~
~J. II=~ ..,
Ob Jowe ba pi - ty,- 011 , • 0 • Yet 011 JOft
CoDtnetion or In Italian it happens frequently that syllables are in excess of the places assigned to
1I10 re
=:b. . them. This difficulty, caused by the vowels, is easily overcome by contracting two
or more. as the case may be, into one syllable. This contraction is regulated by the
presence or the absence of an accented vowel. Jf one of the number be accented, it
forms a distinct syllable with any other that may precede. and the vowel or vowels
that follow. if any, form a second syllable (a). All other consecutive non-accented
vowels are drawn into one syllable (6). In example (el. the note D represents three
notes.
• Thl. permiuion appli~& m.,re esPflda11y to the florid Italian 01' Handelio arias. The old composers bad little mercy OD
1M .In... III tbia respect... &beirmodem IIltupre.en kno. to their ooat.-(Nou. H. KJ
HINTS 011 SINGING• 51
~ 11!~
,.
+
ij.q ~
~ r. cia Ie
~
tel pal
~ ~
•
IE leil
"'-'
w&f I
....., &"
('
pro ..
ftI' a 0 l
37. PHRASING.
are fine specimens of musical prose. A yet more complete example of liberty in
melodic prose is to be found in chants and recitative. These, while obeying the rules
of prosody are independent of all rhythmic regularity or symmetry.
Q. What is phrasing? Ohjects in
Phruioa.
A. It may be simply to carry out the musical punctuation, or it may be, taken
in a wider sense, to give to each phrase its proper effect in the general conception of
a piece.
Q. With these two objects in contemplation, what are the principal subjects to
which the student must devote his attention?
A. Prosody, rhythm, the formation of the phrase, the choice of breathing-places,
expression and style.
Q. Prosody has been already treated. What do you mean by the word Rhythm
rhythm 1
A. The impression produced upon us by the periodical return of movement
and accent.
Q. What is a musical phrase? FOI'mation or II..
A. In rhythmical music, four bars (less commonly three, and more rarely ::.till Phrase,
two) constitute a musical phrase. This last dimension is, however, more generally
considered as a section than as a phrase, and generally takes a line of verse. In
musical prose the number of bars is arbitrary. A single phrase would give a vague
and incomplete impression, a second phrase of equal extent is needed to determine
Que: complete it Two such consecutive phrases may (orin a sentence or period. A
HINTS ON SINGING.
Phrase. Period.
SectiOD. SectioD. SeDteac:e.
G44
cJ oft haye 8bi
1] " ~ ~ ~.
----~--------I)hrase.------------
----,SectiOD-----
_ - - - - - - - - - - Phrase.-------------------Sentence or
---Section.----- -----SectioD-.- - - - - - - - Period.
-- .. - - . .. .-.. .. - - ..........
a .... .....
rl.
.6l
II
.,. ~
,;
~
........
-
"I
. ~
~ .-f,
L.- ~
~ .~ ~
~ ,~
. oJ
II
tJ ~
''-'~
1R"""11 .. ,.
- -- ~ ~
-- ~ ~ .- -- ,~
- .....
~
- ~
~ ~ ~
~
~
.~-..
- - - - - - - - - - - - - - . Phrase.------------
---.---Section. Sectioa. Period.
~ca~r§t ~r~
.... Di tc Dft· y. cbe fa. rlt Di... prj • ft die fa rb
IIDIft O. SlNGI.G. S3
_ _ _ _ _ _ _ PhI'ue. _
- -__Sec:tio& _ _ Section. _ _~ - -
Phr...
Sectioa. Section
~~ t- J==! t I~ , "e .~
~
v. - III o· .. a-mu Ie per 10 - dill' t'ap - pel I.
~JJ; 'IJ~.~i8tJ-.nm
Haste, haste, B1· men, haste I l l y • men, baste, th, torch pre • pare I • •
f= - rij4-.".r
~~ J 5Sid ~ 'r- ~-
-
~ J
• •••••••• . .• dy t
Love al • rea. . hal
haa · bt- eo.
1Ig
• This rule finds maD)' exception. in the compositions 01 Bach, Handel, Iiaydn, and others, (Au'hor'. NoN.)
tThe sabdiviaioDl 01 lentenees, phrases, aC., might be poiDted out in many of the ·xnmplt:' I)Oered. bat ..
• ...., cue attentlon is called to Lhe ..
pecw poiot under notice. CA.dhor's NottJ
.. ..
54
"...
HINTS 011 SINGING.
t. Sa. _t
S ff- LJm r - 2mE0..----r~
dckt eDt • I'll
~_~rn :;~!i':r5=U
~ par • lar
I
pen - snr
Section.
vor re -
i par
I 1'--- _
~
no ques .
@ICe ~
• Jar pen • .... Don.o co qaa .
~
~~I
,......-_......-~ ~;:.,
~_Eer~!Cj~ct~~_=~
ft _ in lUI DO oil De r Qael
• In these eumpleltbe! term ·'half-breath II occurs. It is meant to indiCilte a short. rapid inhalation. noi~:es~ly effecu~d
which doel not completely 611 tbe lun,s. but replenishes them suBicientiy to elJablc the li",~~r EO hnisla the phrule.-.\'uN. H. Ii.
HINTS ON SINGI_a. ss
~ 901
tJlj~
YOl-to lD'at ter ria
pr
~
",........
(Moart).
. t · to Ii · Da
~
Bat· ti hat • ti 0 bel
'.
Ma • aet • to .. taa pe - f t • fa 7Ar U· _ . . . n\
A
~ ~
, ; S C We ;J'v~ : I ;-. . j ;
qui co-me apel • U • _ Ie tue bot· te ad u • pet • tar
"...,.
(llaDCIeI). A
.
tr I'
i~-rrjr~'cgtrEI
v
l:Dd.lellloge, Se-me-le, .. • joys • • • • • • • • • • • • • • •
pJea~ • ares
HINTS ON SINGING.
, E---~+---f?-E ~---~-.-_ ~ .
Se • • • • I.. · Ie • a
B
...ar.
...
war.
~g~~======4c======-~=====~===4==::l~-=-~-=-=-=-=--=-=:-=-=--
-----------+---F-----U---------
•
ClwUt-. 0rtUIri.
(BKb).
dOD
n v Ir
~~=-==
tinn. a · 1;.1· Ia· tioa
IIIMTS OR SINGINo. 51
Q. Is It always possible to introduce words' IntroduetioD
A. III cases where this device is not convenient, if it be absolutely necessary to of \Yordt.
divide a word by breathing, the singer must then dissimulate the action with such art
that the audience ignores it absol utel}'. To betray the necessity by the slightest
noise, pause, 01 movement. would be a great fault. The preceding examples show
the importance of being in full possession of breath before a difficult point. As
it is not always possible to breathe deeply at the last moment, this must be done
at the nearest preceding long rest. while the partial expenditure needed in the interval
is recovered by half-breaths. As thus :-
N.... (BelliDi).
~tjjrlll.1nw4 "'I
t
A
Ctr
DeW ~l
cr
- II •
f::." t!:.~
~.=Jt='U~~~
"v "v "'I
• .•• te iI bel IeID - biaa • te leD·. .. . be e leD - • ftI
~1W'!1;
Ac - ceo-ti, COD • teD I i . · m fe • Ii oe
When a cadenza occurs after a long holding note, the singer, if necessary, may take
advantage of the orchestral accompaniment to breathe :-
Bucatlou.
Scher - Dn· do v.
HINTS ON SINGINC.
<> ..
Ia
~
The ending pp must be resumed fJP, 10 u to Ii"
the impression of being unmterrupted.
I":"
Breath after When two notes are united by a portamento and breath must be taken between the
J'ortamenro. two. this must be done after the portamento.
sv..... (a.-im1-
~~1'-9"--#&-'i-i~{tjj
QaaI .... • lior (e u d DOD
When to i.aen
r
In some particular cases the effect is enhanced by suppressing the rests which separate
aeals. the two phrases.
,,..,,. ill Alliwi (R..ual). Tat.
H.-til';'"
(M__).
the excitement of the Countess is clearly expressed by the figure repeated in all
1CCnd1Ug progression, and implies a musical crescendo. Again-.
60 HINTS ON SINGING.
fNp-., 01111.
1ROUIIIl).
very fJ. lepto
fJ "> >- f aDd equal Q o t e I . - - - -
Bi
Deb cal- mao del nel lOll • 110 per po. co Ie .. • • pe De
~.&b
f til.." •
=I jJ«tJ rilnl.fJ}) .1 caltJ.
Co 1 .
»>
.J
Fa ehe l'A-IDA· to be - _ mi yeo • pa con • 10· Jar
The Intease grief of Desdemona is expressed by a sort of repeated wail, and aleo
by the contrast of forte anti piano. This effect is especially marked on the seventh
bar, where the pp replies to the forte, and both effects are separated by a sli&ht pause,
which allows the car to apprehend the delicate efrc:ct of the second.
Nan rid andrai fu - fal-Io . ne a - mo ro· 10 not- te e ltior. no d'icetor· DO I:i. ran • do
As a further example I may cite the stretta finale of the first act of Do" GUnJ"""i.
abo the allegro of the terzetto in GuUltulf1U Tell In these cases the voice proceeds
by detached sounds much like the beats of a percussion instrument.
HINTS ON SIRGIIiG. 61
..........
~
_e
-
~
·- - -
r: -
- -- .-
-- ~ r~
---
IV I I I ~, ~
-5-,
IIIl
,.. t'
"
• -_ e
... - - ·· ... ~ ~ ~ ~
..,;-...,;-,;- ...
.-e.- .-
t ~- - ~-
- :
ftI. . . . .. , . I. . ,.,."..
• Del'
7" r C!l r"J ~ f3' J"l-tI-....-d-----..-r---F¥f4-=r_
1 tout, aul Ie .. - Del' toat, Ab I l'bon • aete hom- me
.•
.-
WI;/"""
(Ra.ioi).
r.
..AlJIgrw . . . .
.Y.
. ... . . ...
A
- re • prds c.. chona DOS
•
..
h•
tw ... b. 1..-
~----.
iI.- ... It. 1..-
-- • I' ••
..
,..-
..
~
a-----l
The suspensions and the cadenzas are proper places to introduce the ad libit".. la Ad libitum
these cases the singer is absolutely tree.
• 1'b. term ritardtNIdo is ... inQIacIecL but Is mom oommoaly "led to-day tbaD tb• .-cI rallcMlaUo. _blob ...
DncUt:allr lbe lIIWe DaeaDlnc.-cNoN. H. "J
62 BIRTS ON SINGING.
~ Q. What is an tlCC»lM'ando 1
A. The increased rapidity of movement to augument the vivacity of effect. The
works of Donizetti and Bellini contain a great Dumber of passages which, without
beariug the sign of the rallentando or acceleraJKb yet require their use. When a
singer thinks it right to risk retardations. prolongatiOllSt or accelerations, he must not
alter the movement of the piece, but have recourse to the tempo rubato. (See bel(\w).
C-T':..ucl Q. Do syncopation and contra tempo require any special accent?
A. Some consideration must be given to these forms of time on account of the
accent which always falls on the syncopated note and on the note In contra tempo
This accent gives piquancy to the passage. Example : -
~!jj
Si ...... Ii P_ Ie'-*': .-te-re a mil - • • • Ie pe·De
.. . -- . -.- ... -
--
ft
-..
-
-= -
---
~
~
!V
Per pie II DOD
- cIir-1Di - - ell 0
.- + !IlIl. . . .
:
-- - - -
;=
=
·dir .. _ • cti • 0
_.6 -I
..... . - I'
- .. . .-
....
-
I
...
.-
61 - ... : ~
.-
.'1'- ... ~ ~
.. ~
iV
Ne) - hI-aa . to E . .
---
for Ii 10
~ - . =- _.- +
-. ~ -
,.",
. .-
t!el
.-
for - ta -
- Da
-......... p: . . .
to E - Ii
M_
so
To render the tempo rubato effective. the accompaniment must be kept strictly I~
time.
Q. Have you any remark to make on dotted figures ?
A. In such passages a vowel should be assigned to the short note as well as to
the long. The repeated vowel must not be detached, but receive a slight additional
pressure of the breath. This gives vigour and determination, and is equivalent toa
slight accent
, . . . ....""".(HaadeI).
~~.JJ.__~:J.i-~9±J
Ie . •p h · • •.•. . ic me - lo-dy to mak~
• This ftrialion may have been quite usual at a period .hen sin.en went apected 10 aJt~r tbe test of a composer to suit
tIIeir iDdJviduat taate. Today. with BeetbcweD ill q-.doD. it would bard., be .......bl.. Tbe ulil,ty of the esamDle. however
.-ID.. (NoN.H.H.)
OI1(TS OK SII:fGIIiG. 63
;: ;
rat • fila • DOlDad pe • •
•Act" ... of. Dteae. --.-eN.... H. IlJ
81NTS OK SINGING.
ti , t
CJYIUi_ (HaJdu). INwt.
.
-..
.-
~ .IV
I~·
-
TX.
;-~
ADd the aD-pll Itnek
P'-
c ; 't
their im . . . .
,
•
. tal~
~
- _..~-
~
...
r ....
f!
and
... -
r• ; J
..... .
~~
.. '. , ,-I ~ - -
l' -'.- :ar~
-
~ ......
-n
_...-.I
~
_
r
.....
: r ...
I I
:
Q. Besides the isolated accents already mentioned, can you suggest 101M
example of ensemble colouring?
,~. The following:-
DtM GiI1f1llllll; (Mozart). ,,... ,,-
Jl1-£,; ; i ~ :.i ~ ~
1A • tcie • rb ea· ftI'. mi eHoc. chi e Ie ca· re tue ...
5'"EJ e ; i ~tPf====
na. ,.-• 1',.-;:'
~U § ;;:
ni De lie • ta poi S.· prO ba· cIar.
~l2
10 . •et
~
car
When an idea requires to be varied this should be done each time it returns eitl.er
wholly or in part; but great discretion is needed, lest the composition be injured.
Want of accordance between the spirit of a piece and the style of its embellishments
would have this result The .following variations might not be considered an
inappropriate illustration. The subject occurs in the duet" Dunque io son" (Ba,lJiwl, Tbeme .....
Rossini). and the first three changes are such as might be sung by the mezzo-soprano
voice (for which the r~l.· of Rosina was originally written), while the others (a, IJ, and
e), of course, could only be undertaken by a soprano :-
"i§tJ~
;1tf 41·. .... ~~
~nlEbt€ttJ~frtg-ltit-~
Ahta IfIO • • 10. a.~ vi COD flO ·au
~t;..t"1 ~
tuaai de • • • ft • • • q • ~CiOD
• 10 - Jar
.. ""!"
~ =~~=====
-
Alata :au -
e =:=
I
vi cca. ID • au.
The preceding rules are confirmed hy the practice of the best COOl posers, who them-
telves never reproduce the same thought several times without rejuvenating it by
Dew pJrects of voice or instrumentation.
Q. Have you any further use for ornaments? ...... If'
A. We prolong by.ornaments the expression of emotions on which the miad ~
is willing to linger.
66 HItfTS OM SI8GIMO
~r_
. 0 fOIl-ie 0 c:a . d lao. 0 c:a • d lao • Ihi
!Qjfij-ll-+-tJ- -
Che ia qaes·te . . . . . ia~ 10 ri · • • . . 1'• • _
N" /JtIIIM (Co,pok).
dardl • co
CUD· po io Ii • aor-DO
OrfH (Gluck). ~
:- .
-- -
h
-.
.- . ~
=
u -
ea. r. . m 1eD·.E• d -
. ~ #
- - *- -- - .... -
...,-....
-
--
:
...
. ,
- -
do-ve aD
di • ce
....r:, ...
~ftt~r- >
Deb vie :01 al· Ia 6 . Des • tra. Des - tra
Of two identical notes ending ~ phrase or a section of a phrase, and followed by ==~
a rest, the first always bears. the prosodic accent, and therefore must be turned into
an appoggiatura. Though Mozart has not marked the appoggiatura it must be
introduced. The exception to this rule is when the two notes are both an essential
part of an idea, when they belong to concerted voices. or when the harmony does not
permit the alteration.
HINTS ON SINGING.
chord alone.
r r I
~•••
Told ~ '·1.. • wel
1 _
-
...
, I I I I I II r 11 I I I I I I II I I j I II I I II I I If r r-
latroductlOD 01 The rule that the cadenza should be performed in a single breath can be avoided by
=:.& composing it of several words, the breath being taken between, thus :-
$ . . . . . .1"
(Bellini). r:
'~O~~J-Q-~~~~~C~~~
A .. • te· Del' ab all
b3.2\i_fJ~
DOD bo for - za Sovr& U leD 1& IDaD aU po-.
;=~~~~=r~=~~~~~
-~~~-·-~E c~Em
re-Yieu,et j'a. baD - Ie et" clear I D a · tm,preads ma
dOD - De seep-tre paD • CUD •
---. .. .
1':\
'._:
;:
fliNTS O. 8INGIMG.
r
-
lOll .
.-
Bet
- '. ...
..-
•
r
boD . . . .
-
s•
..•
..
,._( .,... ~
.. - • . ~ ..- LL..
~i--~ • ..-
.. '- -
~
~ r r
d .
~
tro YO- to tra • di
~
- tri • ce non
~
te- m... del mio do - _
~ JL
'. r
r r :- -
"
In the eighteenth century (see Baini and Reicha) the singer modulated according to Modulation
his fancy. Now this liberty is only accorded to artists who unite knowledge with pee- eMena.,
feet taste. The example A has been introduced by Mme Viardot in the 0"", of
Gluck
11 del _-ta! ab
" . ,.,.
il 11101 Da - tal
Ito "=' L
-.c
... =-.
V • I
•
ala 11 mio pe • nu
-&- l't~
- :0-'"
\.:..I
A.
. '-'"
Jc ftll bra • wef.. Ie • tre· ....
HINTS ON SINGING.
Ii ~
.....
The following example, though introduced by the celebrated singer Millioo, is too
irregular for imitation.
tr
...
L'•• man tee
43. EXPRESSION.
DefillitiOD. Q. What is expression?
A. Expression is the manifestation of the feelings.
laportance of
Appro-
Q. What considerations must guide us in the use of expression?
priateue••• A. Art comprehends all means, but employs only those suitable to special
requirements. The severe and intelligent choice of means and effects constitutes
what is called unity, which may be defined as a perfect accord of the parts of a whole.
The science which thus converges efforts to one common end is based on the exact
understanding of the comparative value of ideas. Nature attaches to every sentiment
a characteristic accent. To threaten or entreat in other timbres and other modulations
than those suitable to menace or prayer, far from exciting fear or compassion, would
simply give occasion for mirth. Each individual has also a distinctive manner of
expression, which alone is truthful and impressive. Age, habits, organization, sur-
roundings, modify a similar sentiment in different people, and the artist must vary hi.
colour accordingly,
HIRTS OM SINGINO. 71
Q. How can a singer transmit his emotions to an audience? SympAtbetic
A By feeling strongly himself: Sympathy is the sole transmitter of emotion FeeAiDa·
and the feelings of an audience are excited by our own. as the vibrations of one
instroment are awakened by the vibrations of another. The following example is
intended to illustrate the foregoing ideas .:-
Romeo has come to bid an eternal farewell to Juliet, who lies upon her bier. IllustratlOll
Fascinated by the sight, he stands in a sort of ecstasy and speaks as if she could hear (Entire Alil
him. Exaltation and tenderness must be carried to their utmost limit, and yet, how-
ever extreme, do not justify the use of trembling tones. They must be made manifest
by the choice of suitable timbres, the vigour of the colouring, and the accentuation.
Steadiness of voice is an indispensable quality, and even a momentary abandonment
seems quite unjustifiable.
R. . . (YaccaD·
Ie tu dor - mi ne
...
PtI/J, s1lltJtltA, . .
flilrJrtIIU
,1"",_ ,-... ,.11-nutaiIutJ _II.
-+i..-.......--t---..~Ir-"'"---"""'I':~
HIIiTS ON .MG1NO.
,
mo • re, a· mora con-dur-ra • Di a· .
... .. -
44. RECITATIVE.
Q. What is recitative? Defiw.ioa.
A. A C."tilma independent of rhythm and time. A free musical declamation.
For the voice it is of two kinds, namely, spoken recitative (parla,,',) and instrumental.·
The former is only used in the Italian ofJWtllJllifa, the latter in the tJjJIra seria. Notes
and rests are to be executed, not according to their written value, but as required by
the prosody of the language, the importance of the word in the sentence, and the
character of the sentiment to be delivered In recitative the clever singer has a
free hand. Auber has said: "Le recitatif est la page que le chanteur signe," t
Q. How do you apply the appoggiatura in recitative 1 ~~ra i.
A. When a sentence ends with two equal notes, in the Italian style, we raise
the first a tone or half a tone according to the degree of the scale. The raised note
becomes an appoggiatura. Sometimes a real note is used instead. In instrumental
as in spoken recitative, the voice should be perfectly unfettered by the accom-
paniment. Example : -
~
Mluid (R. . . .).
.. .....~~r--qt--E~ .
JIS E 1 ~~r~~---'--tl;~";
an - aeJ
And the aD· gel . aid an-to them, I' Feu DOt; for be • hold I I brio. YOUIood
~ ti • dings
X2~
to aU peo. pie I
~
~-7Dj...--~~ !
~.~
=r
• That Is. Recitatlye witb orcheltral accompaniment. or accompanied Recitative. The ··spokeD tt Recitatl.. here referred
to i! more geDetall, designated ••Recitati"o seeee.··-(Note. H. K.)
+ .. aMi'aU.,. is tbea pa,e which the .... er 'ttnl...
74 HINTS 011 SIKGIMO.
r· "1 I;t~
Ca Ie COlD • pa - pe • yo. i cbed·Ja aio- ja
- ~~ ~
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RIXTS OK SINGI.a. 7S
A. There is one called CantD di Maniera, created by singers whose voices were
wanting in great power, and though sufficiently supple for the execution of all kinds of
intervals, did not possess extreme agility. Small embellishments and arpeggiated
passages, often divided by syllables and inflections, formed an elegant, delicate style,
also known as Modi di Canto, well fitted for graceful sentiments, whether gay or
tender.
Q. What is the declamatory style? Canto neclam:u.
(»edamaIUr)'
A. Dramatic singing. It is nearly always monosyllabic, and almost entirely St)·le).
excludes vocalization. It is divided into the serious and the comic. These names
express the nature of the piece and the method of execution.
FI~(s.