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BOSTON:
P&IZAJ>MLPai4.
J. E.
BOSTON t
NEW COMPENDIOUS
ON
TREATISE
MAJSTUEL GAECIA.
PART
CHAPTER
I.
I.
The upper opening of
the larynx, which
is
free
vocal sounds,
is
little lid,
Vocal Organs.
by
Thirdly.
the
sets of
The
and
reflected
pharynx,
that
elastic
cavity visible
at
in singing is the
between the tongue and the arch, forming the circumference of the palate
ergans, which, though they act simultaneously, have each their peculiar
:
and
namely,
*
and
it is
this cavity
itj
can assume,
by the larynx a
distinctive character.
is
II.
The
Lastly.
various
Vibratory organ.
Reflecting organ.
. .
composed
of
&c.
III.
is to
IV,
The
articulating organs,
process of articulation
First.
The Lungs
and are
to
CHAPTER
organs,
II.
fulfilled
the
for
by the vocal
which
that
is
wind required
into,
we
Air enters
and escapes
from the lungs, by a multitude of minute tubes, called the bronchial tubes,
which, as they ascend to the throat, unite into a single highly-elastic pipe,
Experience proves that every variety of sound (including not only the
singing voice, throughout
its
known
part
to
up
the anterior
of the neck,
speaking voice)
is
the organ
next in
may be
I.
classified
succession.
forms
The
the protu-
petto.)
berance in the front of the throat, perceptible alike to sight and touch in the
In the centre of
this a
II.
exists,
The
on the
is
left
ligaments
termed the
(whence
There
first
are
different
characters
of
voice,
such as brightness or
and
volume and
intensity.
we indebted
becomes
Our
object
is to
ascertain
how
form of the
it
glottis
almost triangular
sounds,
shall
We
;
Apparatus I
The Lungs
for the
consider
hereafter,
the
sounds are
produced, and the part performed by the vocal ligaments in this operation
but
The lungs
are a receptacle
accumulation of
to
air,
and do
not, as
that
the
latter
are
the
sounds
commonly
and
rest
denominated chest-notes.*
ribs,
three-fifths,
of ligament.
upon
The
Above
the vocal ligament are two oblong cavities, called the ventricles of
the larynx,
parallel to
each of which
is
surmounted
;
by a
fold,
holding
position
development of the lungs in the act of inspiration, may be effected simultaneously from above, downwards, by the contraction of the diaphragm, and
laterally b" the distention of the ribs
Whether
upper (superior)
glottis,
an
much wider
The
than the
function of this
organ
is to
* The cause of this error is as follows : Men, not women, experience in speaking or singing, in the lower tones of their voice, a strong vibration both in the chest and back; but (analogously, in this respect, to the harmonic Doord of pianos and violins,)
the chest receives the vibrations only
to original
Ike voice
may
be constantly modified.
De
is
at least doubtful
but our
that the
that of the
male in extern
Dpinion
upon
With
more usually
effected
is
by
the raising
but we very
much
Apparatus
II.
Pen** Yob*
Head
V<Ao*.
The
larynx, which
is
forms the registers, the different degress of brightness and dulness of sounds,
registers
is
as follows
On
the Registers.
-0- -P~
Falsetto.
By
the
word
register, is to
i
Chest*
kind
hence
it
Head.
are of the
quality
"We
Two
elastic, naturally
admit of fluctuation.
its
The human
exemplified,
is
voice, at
The
chest-register in
when
it
ia
between
mi 2 and
and ranges
upwards as high
do and re
as, for
example,
employed
indiscriminately
by
all
voices
also, it is fatiguing
to
The
dullness,
shall
We
In the male
is
it
extends to a
gamut
of three octaves,
Apparatus
The pharynx
is
III.
j>
be
is
fid-
distinguished,
or
timbres
for
by timbre,
may
find the
can be assumed by
each register, even in the formation of the vowels. This variety of timbres results, in the
vibration of which the larynx
at
is
first
place,
capable
The
commences nearly
g w
by the
reflecting
They
and
first,
those of a
fixed nature,
by which each
and
rises to
fe &
register
l,-&r
on the
characterized, as form,
extending
itself as
far as a twelfth
organ
secondly,
its
variable
tube,
the
the tension of
its
sides,
action
of the soft
width
Bead
and extend from
Register (voce di
testa.
to
-^St^-ft^
-
T1
"
mere remnant of the boy's
We
possesses.
distinct
As
all
the
modifications
and opposite causes, they may be divided into two leading classes
or clear, and the closed, or sombre timbre
to the
;
the open,
upon
exist only as a
The Italian public attach no and are at best but a poor resource. nor can they be employed, unless in exceptional ;
are called buffi caricati.
All
The open timbre imparts much brilliancy to the chest register, but when exaggerated, makes the voice shrieky and shrill whereas the closed gives it breadth and roundness for by means of the latter only, the rich quality of This, however, when exaggerated, muffles the sound:, the voice is attained.
;
In comparing the
we
;
The
effect is less
portion of a
common
to both
and
register.
* Id Acoustics every
torn
octave
chest.
Bo
to Si
9*
aT?^
* the
0** above>
^^ * on
able
-
harmonica.
CHAPTER
On
in.
the cartilages be
still
vibrating, they
ofchei
the consequence
is,
that the
notes between sis and re% of the female voice, and between si 2 and re$ 3 of
the male, exhibit a weakness and tremulousness in
The question now very naturally occurs, by what mechanical action is The answer is this it is solely formed by periodical the voice formed ? The compressions and expansions of air during its exit from the glottis.
:
some
instances,
which are
owing
As
which combine
to
form the
glottis, or
mi and mi%
Let
it,
become
passage for the breath, close one upon the other, causing below them an
accumulation of
elasticity,
air,
it
contraction of the glottis will be found the best corrective for the weakness
to
through the
lips.
The
alternate
and
to
dilations,
causing
successive and
regular
expansions of
give
origin
the voice.
is
partial
opening
all
that is
needed
is
to
develops
is
when
:
The rush of
air,
however, that
orifice, will
closes,
depends the
this is frequently
to
quickness of the
vibratory orifice*
alternations
increases
the
length
of
the
after
each beat.
Economy
oi
the breath
glottis.
The following is the process by which the glottis shortens its dimensions. The moment it emits a sound, it changes the triangular form, which it holds
during repose,
for the
linear
form, which
it
Intensity
and Volume of
Voice.
and
its
and meeting
the
towards the
centre alone,
a space,
for
escape of
when
by
required.
Of
these
in
producing a
pure vibration.
because
if
The
glottis
should close
entirely after
each vibration,
all
opening the
glottis
separating,
and closing
it
doubt,
in
by
collapsing
When
the deepest
The
glottis
air.
to
Volume
of sound depends on
that
is.
back,
till
they
meet throughout
Formation of Timbres.
reducing
;
to the
given to
it
by
which
latter
Many
First,
will
different causes
may
timbres
of the
voice.
behind,
still
accordingly as
be either
it
bright or
Secondly,
retiring,
the
folds
to
or
upper tendons
surrounding
may
either,
by
add volume
by
Formation of Registers,
closing,
produce a
through
emitted,
it
stifled tone.
it,
Thirdly,
that pass
We
shall
here
confine
ourselves
to
few observations of
details, to a
practical
sound
is
it
becomes subject
;
to
the influence
more ample
paper by the
through which
passes
May
and of changing
fulfils
its
curvilinear form
proceedings.
,than
The
falsetto,
chest-voice,
the
the voice.
Hence
mechanical
changes of which
the
vocal
tube
is
susceptible.
We
it
shall
the glottis
and
this contraction
which
E,
is
is
if
we
consider
as a deep
must be explained
to
and
highly-elastic
The
falsetto (a
term
is
at the
mouth
a tube, which,
its
which
is
when
at its shortest
longest,
generally the more veiled of the two, and requires a greater expenditure of
air.
first
These two
their
and the
latter
dropping
to
meet
them greater.
by
By
t It
mi% and
sometimes happens, that when the female soprano voice attempts to sound
s/
by some
the notes
4 and do &
effort
it
head
register,
which
is
both of
and with
less
Th
When
the tendinous
employed
summits of
and
perfectly,
is
the vocal
tendons
considerably lessened.
pressure of air will rush through a minute aperture of the glottis, which, however
* Th&do
facility.
The
pressure
is to
do 2
264
528
"
" "
"
"
however, should be very slight,
when
doZ
do
4:
"
be minute.
The
successfully
;
employed by
"
"
1056
"
some female
voices, is equally capable of application
by the male
in
which case y
dob
2112
"
will serve to give clearness to the
Each octave takes double the number of vibrations that are required by that immediately
to extend the
voce*
compass of
in
w^*w
below
The
sombre
short
is
while the
is
high
notes
in
both
chest
and head
register**
bj
There
also
a close relation between the different vowel sounds, and the various forms
we speak of
laughter
all
and,
if
in the
of
in
passage
CHAPTER
V.
The Female
Voice.
pliable than that of
CHAPTER
IV.
The female
voice,
which
is
finer
;
and more
its
man,
is
tbt
privileged interpreter of
melody
The
perfect
every singer
in
is
mind ;
physical
ability
io
sing
tune,
harmonic combinations".
importance
is
As
itself,
regards
the
first
in
the voice
which should be
;
and next
:
The Soprano, one-third above the Mezzo-Soprano. The Soprano-sopracuto, holding the highest place
third above the
occupying
;
in
the scale;
we do
not
mean
that if even
Soprano
one-
would be the
even
the
best natural
capacities
continued cultivation.
A
are
singer
means by
the art he
which vocal
professes,
is
effects
produced,
intricacies
of
and weighty
This register
it
merely the slave of routine, and will neve/ become great and
is less
His
talent
soprani
nevertheless,
is
by a general as well as
special education.
The compass
The special education of a singer comprises not only the study of solfeggio, but that of some musical instrument, especially the pianoforte, The last enables him to of vocal music, and of harmony as a science.
adapt songs and parts he has to execute, to the compass and character of
his
voice,
to
embellish
them,
their
peculiar
is
beauties.
3z:
*
2E
^
this register, the
Moreover,
it is
able to
whether
its
for the
purpose of enlivening
highest should
temporary
illness,
proficiency.
The human
voice in
its
often
unequal,
compass.
intonation,
perfect the
mellowness
and
intensity
of
the
sounds,
level
the sounds above, might occasion the entire loss of the voice.
Hsides which,
fureibility
it
is
acquire
Falsetto Register.
is
In
all
cases,
severe
exercise
In
all
its
compass, though
it
naturally flexible, are yet ill-governed, and are therefore deficient in neatness,
breadth,
and firmness,
all
The
the
falsetto register
and
rises
fully as
high,
as
chest
register
but
the notes
between
Freshness and steadiness are the most valuable properties of a voice, but When once are also the most delicate, easily injured, and quickly lost.
impaired, they are never to be restored
of a voice which
is
;
and
$
It will
~OT and
in
which case,
be seen from the preceding observations,
that,
be not the result of organic disease, it may be attributed to injudicious veal education; for whether the nature of the organ has been mistaken
by the instructor, or he has attempted by obstinate perseverance to convert
a low voice into
same compass,
their
employment
is
not
a matter of indifference
one,
is
belonging to the
register
exactly opposite
chest
being
is
equally disastrous
the result of
vigorous, penetrating,
object
and adapted
The great
;
an organ
energetic feelings
whereas the
falsetto is veiled
and
soft,
not
to
transform
expression of the milder sentiments, or of restrained grief.
whose
of
their
vocal instrument,
it
will
at
once comprehend
The
notes
the
guarding
from injury.
diet, habits,
effects.
The
whether of
or general conduct
for every
produce injurious
voice
may be
also
seriously impaired
by
too
i w
si
effort,
that two
The Contraltino
This, the highest
Voice.
(Counter- Tenor.)
would
perhaps
irreparably
ease
whereas the same notes in the falsetto register are sung with
male
and ba
Bcale, the
registers,
s
From &-
-&to
i
I
by which
In
this voice, the chest register is
falsetto,
X
thinner and
I
register,
t
Head
From
3?
two
to the ease
although
;
it
it
is
more
We
the
common
registers
to the
differs essentially
whi^h
Dangerous.
lower ones.
i
:
-&+ ^
Chest. -A\
Falsetto.
t^-
M&
s
&-
*?r&-f-
Head.
Bass,
compass and character of male voices may be classed as follows occupying the lowest place in the vocal scale.
Mezzo- Soprano.
Baritone,
Tenor,
one
JP*5
*"
one
third
i
^O^t.
T^
~~&
Falsetto.
The Bass
in the
Voice.
Soprano.
Bass singers ought to confine their voices to the chest register, which,
most fortunate
cases, extends
from
JGL
V'-k-
fe
1H *nr^
I
Chest.
^=
Faisetto.
^
Head.
Head.
H^W-^
They
find
i
A
deplorable
Soprano {sopra-acuto.)
-<5>-
some
difficulty in
i
Basso.
ill -&Chest.
Falsetto.
Head.
(Basse-Taille.)
-2J
and
bright,
Ml
'
9L_^/
^$&
Chest.
m
Falsetto.
_2_
S
Falsetto
baritones,
v&
Falsetto.
i
facility
;
J?&~
Baritono. (Bariton.)
notes
tenor,
much
by
and counter-tenors,
little
as
by female voices
but male
?&
Tenore.
chest.
?m
f^j
ar-
Falsetto.
(Tenor.)
in
its
compass
any j*%
Chest.
/feg'gg
I
Falsetto.
Head.
Chest.
-&-
I
modern music
to
is
m^m
(
Contraltino.
Haute- Contre.)
Hrf~
/^z^--a-*!*
1
Falsetto.
Chest.
Head.
Italy,
him
to
have recourse
falsetto
but
this
The
from
classical
compass for
all voices,
in the schools of
was
otherwise,
transition
from one
to the other
may be
which would be that of two singers alternately singing the same passage The head-voice, also, must be very sparingly used, as it forms a
.
because
all
voices r
still
; ;
10
CHAPTER
On the
In
this
VI.
which
is
Be
it
may be
corrected
or contracting the
glottis,
chapter
we
that being
vowel E,
Italian
L
The Breath.
and
who would
his art;
without exception,
either certain
marked
developed in
for instance,
may
deserve.
Some,
are tremulous
shrieking,
&c.
No persons can ever become accomplished singers, until they possess an entire control over the breath the very element of sound. In
while
many
may
must be
mellowness.
whether natural or acquired, and in counteracting them, to prevent the formation of others ; also to discover and develope those qualities which
the diaphragm
which
and
in effecting
*is
combine the greatest number of beauties and advantages. To this we must establish the following fact, as a basis for the enure process, viz
will
end, therefore,
plays an important part. The two separate operations the first being that of inspiration, by which the lungs draw in the external air; and the second, that of expiration, by which they give out again the air jus*
action of breathing consists of
all
inspired.
flexible tube is
The
assumed by the tube. Among all these shades and changes, those are to be selected which in all respects best iuit the voice of the student. That sound is especially to be preferred, which is round, ringing, and mellow. Other qualities of the voice useful in their way and which serve to express
quality of a sound, the shape
by the
head be erect, the and the chest expanded. The diaphragm should be lowered without any jerk, and the chest regularly and slowly raised. This double movement enlarges the compass or
it is
To
stiffness,
circumference of
the
lungs
first,
at
their base,
and subsequently
expand, until
full liberty to
with
air.
when we come
to
speak of Expression.
There are several defects calculated to injure the beauty of the voice the most common of which we shall at once point out, and at the same time show the best means of correcting them.
When the lungs have been gradually filled, without any jerking movement, they have the power of retaining the air without effort this slow and complete inspiration is what the Italians term Respiro, as
;
contrasted with that slight and hurried inspiration which gives the lungs
In neither
case,
Guttural Timbre.
it
by any noise, as, besides being would make the throat both dry and stiff.
is
Whenever
epiglottis
base,
it
Of
be
air; for
if
mav be
ascertained
the finger.
The
best
by outwardly pressing the top of the larynx with method of correcting this defective timbre will be
the chief agent employed in transforming
thence inferred.
The tongue is
its
movements of the ribs and of the diaphragm were to take place suddenly, they would cause the air to escape all at once. We would remark, that by submitting the lungs to a particular exercise, their power and elasticity will greatly increase. This exercise
consists of four distinct and- successive practical operations
edges, while
We
may
all
now
to be
add, that the separation of the jaws should be nearly uniform for
described.
vowels.
as
First.The pupil should gently and slowly inhale for a few seconds, much air as the chest can well contain.
Nasal Timbre.
When
is
;
too
much
for the
column of vocal
possible time.
being emitted
by the
mouth
air
column of
on pinching the nostrils, we may perceive whether the on leaving the larynx is directed against the nasal fossae
it
The way
soft palate
by inhaliag
empty as long as must be confessed that all these exercises are at first extremely exhausting, and must be separately practised, after long intervals of rest. The two first, however, namely, the gentle inspirations and expirations will be more equally effected by nearly closing the mouth, in such a way as to leave only a
chest
After taking a deep the the and keep them And, Fourthly. Exhale completely, and leave the
Secondly.
breath,
lungs,
air should
be exhaled
inflated
It
very
Cavernous or hollow-sounding Timbre.
By
subject that
we
The breath
influences the
it
mode
The
to
become dull and cavernous, if any obstacle be offered the progress of the waves of sound the rising of the tongue at its
voice will
;
point
tonsils
is
effect.
The
swelling of the
may
;
character
r
>bst?ele for
which young persons are liable, presents an forming the head-voice, and extend lg its compass.
Opening of
It is generally believed that the
the
Mouth.
easily
Veiled Sounds.
more we open our mouth, the mora and powerfully can sounds be emitted but this is quite a mbtake, Too large a separation of the jaws tightens the pharynx, and conse;
quently stops
explaining
all
how
is
produced,
therefore
Besides,
if
how
to avoid it
we need
the voice will assume a grating character, somewhat like the effect
thai
By projecting the
lips in
a funnel
11
shape, the notes
become heavy.
fish,
When
is
the
We
are
now
to
Sometimes the
the voice
the
rowels are imperfectly articulated, and all but indistinguishable ; besides which, the face has a hard, cold, and most unpleasing expression. To
notes from
open the mouth, the lower jaw should be allowed to fall by its own weight, while the corners of the lips retire slightly. This movement, which keeps the lips gently pressed against the teeth, opens the mouth
in just proportions,
be
loose
and gives it an agreeable form. The tongue should and motionless, without any attempt to raise it at either
the muscles of the throat should be relaxed.
Articulation of the Glottis.
In this case, as before, recourse must be had to some easier and more spontaneous sound belonging to the same register, which will necessarily be a higher one. The voice must descend to the difficult note, by a well marked slur. If the sounds in question be particularly weak and veiled, the most efficient method to reinforce and
brighten them,
is
extreme feebleness.
-to-
& - are
difficult to fix, in
consequence of their
extremity
glottis
The pupil being thus prepared, should draw in breath slowly, and then produce the sounds by a neat, resolute articulation or stroke of the glottis, upon the broad Italian vowel A. If this movement be properly
executed, the sound will
must be taken to pitch the sound slur up to it. or feel for it.
come out bright and round. Care however, at once on the note itself, and not to
The
pupil
must
also
which
latter
made
in expelling
some
is
may be
the chest, causes a great loss of breath, rendering the sounds aspirated,
stifled,
and uncertain
air,
in
it
tone.
The
is
solely to
O (aw ;) or, in other words, by arching the soft This process must sometimes be extended to the extreme notes
supply
not to throw
out violently.
prepared for articulation (as shown in page 5) by closing it, which causes a. momentary accumulation of air below and it is then opened by a sudden and vigorous stroke, smilar to the action of the lips
glottis is
;
The
in
7
first
because
if
notes
of the
when
Some
il
<u
Ma, &c,
this
lips,
the
tongue and other organs not concerned in the emission of the voice,
are set in motion) has the disadvantage of merely disguising the faulty
articulation
and purity are simply the result of an arched position of the pharynx, and of a contraction of the glottis, they may be communicated by using similar means to all
this fulness
As
preceding notes.
It
is
therefore
by an
of
the glottis,
and head
useless.
registers
become
equalized.
correcting
it.
We
may be
ease of
movement
(falling
by
its
own
weight)
an
neglected as
inconvenience
depends that of the organs placed beneath, and consequently the elasticity
which time, and the power of contracting the The most essential-feature, of the head-yoice
this
glottis,
is
roundness.
Sometimes
the youth of a pupil, in which case she must wait for age to strengthen the organ. In other cases, this thinness
to
register is thin,
owing
Females should
first
attempt the
<&-
and if well %j -&managed, the sound will come out pure and ringing. These notes must not be held long, but be repeated The pupil may then ascend by half-tones several times in succession.
the easiest to produce
;
^ p: bcr^-
of tone must be attributed to want of skill ; to correct it, the voice must be directed towards the summit of the pharynx in no case should any note above sol be taken more voices have been ruined by the injudicious
:
:
The
general belief
fact,
is
is,
that acute
want of
practice
but in point of
they ouo-ht to
naturally very
LO the
may
pupil
ZE21
9J
we
The
;
trial is
not to
The
from
I
*J
the
must be opened.
be made by means of sustained notes, but by passages for though it is easy to reach a sound in the excitement of a roulade, it would-be difficult to produce the same note singly these trials, however, must be made
:
~&
TLe
Italian vowel
A must be
made
ing the
If
it
prove
and each note conquered should be allowed time to become firm before the next above is attempted for the formation o\ the throat must of necessity undergo certain modifications during the
;
;
process,
difficult to
register,
Italian
sound /must be
together,
and
facilitates
A vigorous slur
;
from a sound already mastered to the one which causes the difficulty, will This result once accomplished, a pupil occasion a similarly good result.
to
male voices as
well, the
may
or
to.
'
and I again
-7^-,
the only
way
of eliciting pure
and tenors at
and firm sounds. When the sounds are deep, they should not be attempted with too much force. The preceding remarks apply to all Whether the voice is or is registers, and to every kind of vocalization.
not capable of ascending high in the chest register, experience shows
Chat the pupil should never in studying pass
The
"221
sounds,
\-&~&rT~*3 #=
^J-
is
ISC
zz::s2=s;jg:
; :
12
of tenors, offer a phenomenon worthy of attention.
taken,
it
Unless care be
becomes very
difficult to
larynx always tending to render them sombre, and then they are a source
of trouble to the singer.
give firmness to a voice,
Italian
to combat this tendency, and employ the clear timbre, emitting the with more and more openness. Bass singers should
is
The preceding rules apply equally to tenor and female voices ; basses and baritones must adopt a precisely similar course of study for joining chest and head registers, but lowering the exercises a minor third.
and
CHAPTER Vn.
On Vocalization or Agility
(Agilitd.)
and tenors at
By
viz.
:
vocalization
;
is
that the
would be too thin. The reader will remark word rounding, and not closing, is here used this applies to the
:
particular vowel
and
meant the connecting of various sounds on any this may be accomplished in five different ways.
sounds -Jt-
r.
From
re,
but the
Smooth Marked
Detached
Aspirated
...
.
.
(Legato.)
(Marcato.)
(Pichettato.)
till
a pupil has
part
(Aspirato.)
in
is
most
risk of the
These modes of vocalization are greatly dependent on the manner which the lungs, glottis, and pharynx, perform their functions.
Gliding or Slurring (Con Portamento.)
The
make
its
but though
may communicate
To
slur
is
to another
through
all
Jr^
I
it
L
without exception,
intermediate sounds.
from
This
and
its
occurs.
effects
are pleasing.
But
J2L
voices should,
abandon
it
on reaching
Of
- ;
above
I
as far as
it
re,
and continue
it
upwards
Between
Z22I
these voices
power of the voice. It must be made, also, to preserve an equable and progressive motion, whether in ascending or descending for, if one part of the slur were executed slowly, and the other rapidly, or if the voice sunk to rise again directly afterwards, the effect produced would be In the ascending slur, the pupil must avoid opening perfectly detestable. the vowel it would be better to close it slightly. The scales No. 28 to are appropriate exercises for giving power and promptitude 32, inclusive to the slur, which is indicated by the following sign s*
;
-x
Slurred vocalization
is
that
which should be neither too shrill nor too muffled. The explanations we propose to offer on this subject, will be found collected in the
air
will
obey a
glottis
while,
However accomplished a
singer
may
be,
undergo progressive
contractions
This mode,
last studied.
;
Above
this is
a very
common and
prevailing fault in
bad
appear
singers.
is
even when heard in a very large room, and resembling a therefore they should never be used except in the boy-chorister's voice
shrill,
;
by the same
closed timbre.
(Italian
To
should be in
yet
When
is
not allowing
case,
a few days,) the pupil must immediately endeavor to unite that register
any intermediate sound. In this as with the slurred sounds, the air must be subjected to a regular
it
but voices thus favoured are rare. To the pupil, this study almost always disagreeable the master must therefore skilfully direct
;
and continuous pressure, so as intimately to unite all the notes with each other. As an example of this, we may instance the organ and
other wind instruments, which connect sounds together without either
it
is
cultivating.
Exercises for
portamento or break
this result
m
register to the other
;
alternately
and
In order that smooth vocalization may combine every essential, the intonation must be perfect the notes should be equal in power, value,
;
and timbre
uninterruptedly from one register to the other.
they should
This should at
first
be practised seldom, and executed slowly, as the rapidity and number of Neither need the pupil fear the sounds can be afterwards increased.
boldly to attack the kind of hiccup which occurs in passing from one
Sometimes, vocalization
is
faults
which may be
efficient
by the more
By no means
For
instance,
Chest as well as falsetto sounds should be emitted with all the energy tf which they are capable; nor should strong sounds be reduced to
similate with weaker ones, as that would only impoverish the voice, massing to falsetto sounds, care must be taken not to aspirate them.
i
''W
Instead of
fczP"
Pei
-
ehe
ma-ha-ha-ha
ha-ha-ha-ha
i.
uniting the falsetto and head registers, the pharynx must assume
form required for the closed timbre, and the Italian L \j pressed, as in pronouncing the
glottis
must
also
be
M w
-&
Per
che
trtm
13
this
The dragged or slurred ? ocalization ought to he used for correcting new fault. Legato vocalization being the most frequently used, needs
it ; pupils should therefore be warned against singing marking or detaching any notes in plain passages.
,
promptness and
bo sign to indicate
staccato , slurring,
This comprehensive mcde of studying enables the organ to pass with flexibility through all varieties of intonations ; it equalizes the vocal instrument, and, without straining it, makes its whole extent
Marked
Summary.
To mark
;
sounds
is
them from one another this will be attained by giving a pressure to the and by dilating the pharynx, as if repeating the same vowel for lungs wiry note in the passage, which is in effect done.
Example
^\
_ii*l^^
^L*ti&&&^\
ri
am
vm)
eJ
I'Jtf
-#-'
&
set^
Lungs, equal and continued pressure of Smooth Glottis. sudden changes in the tension of the of the Lungs, continued and accented pressure of the Marked Glottis, sudden changes in the tension of the of the Lungs, alternately pressed and in repose, which corresponds Detached Glottis the alternating and sudden tensions of the Lungs,continued pressure. Aspirated alternate contracDragging of the voice : - - Lungs, equal and continued pressure of gradual changes in the tension of the lips of the glottis.
vocalization:
lips
air.
Glottis,
air.
glottis.
agility:
air.
lips
glottis.
agility
to
glottis.
vocalization
Glottis,
r^Xl r **
8
"
tions
and distensions
aaaa aaaa aaaa aaaa eeee eeee eeee eeee oooo oooo 0000 oooo
Dull voices have no better method of articulating
CHAPTER
VIII.
Marke d
notes.
It
The
and
effect to
it,
and omit
florid passages.
This style
is
Equability of voice
is
and in order
to attain
it,
many keys
as the compass oi
exceed
this.
We must be careful
sounds.
The
pupil's first
;
last
more than
five
The
first
are produced
by an
elastic
or six minutes
but
may be
in a
with each note, while the sounds all remain united ; aspirated notes, on the contrary, allow the breath to escape between them, detracting from
their purity,
few weeks,
though
may be
;
indicated
by
Marked sounds
are
half-an-hour
may
bo
and
after intervals
which must be
Detached Vocalization.
(Italian
Pichettata
by a
must commence with the emission of sustained notes occupy ourselves with the messa di voce (swelled notes,) which will be treated of at a more
Each
day's study
of the voice.
"We
Staccata.)
distinct stroke of
slight pause.
To
detach sounds
is
the result of
all
finished singer.
This study,
not
If, instead of leaving them immediately, they receive a slight prolongaThe first of these is indicated by dots tion, a kind of echo is produced.
^ ^P
which
is
While singing exercises, a pupil should keep the same timbre, as weL power and value, throughout every sound he should also avoid breathing abruptly in the middle of a passage, the proper method being to stop after the first note of any bar, breathe during its remainder, and
as equal
;
equivalent to
t fcp^f
fr5
start
The
passage
#.Besides the eclat which these accents impart to a passage, when used with taste, they help, as before said, to give elasticity to stiff throats.
Aspirated Vocalization.
85 ffS JjPg m S P pg
and not as follows
^5
j-u-&
We shall now
should do
it
speak of
this exceptional
method.
Were
it
possible to
thus
we
Slurred Sounds.
Smooth. Sounds.
feg ^jaf^jftg^ Jg
or thus
:
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Marked Sounds.
Detached Sounds.
Exercises must at
first
first
vocalizing, should
in
must be increased, and inhaling become less frequent, until whole passages are sung rapidly in one breath. In any case, the duration of a
breath should never exceed
its
of speed, and
by introducing
natural
limit.
The superabundant
14
quantity of air which remains in the lungs, should never be allowed to
short as the rest, our object being, to have
it
if,
out the last note, this habit will inevitably adhere to his style of singing.
to
be able
to
go as high as J=132.
The
half-tone
In the following exercises, transitions from the chest to the falsetto Far from such transiregisters, and vice-versa, will frequently occur.
tions
difficulty
patiently overcome.
the
Time and perseverance alone can smooth down unpleasant break between these registers. The exercises (marked
should be performed in two ways;
be done by excess, than by want of elevation though the contrary would be the case in going from the fourth to the third,
will
harm
When
a descending scab,
7, 8, 9, 10, 11,)
actually written,
and
The
first,
as they are
we may be
in other
words, that the third and seventh degrees are too low.
When
the time
interit is
rupted or glided.
uiarked.
It is
first
way
is accelerated, the first note of which is held (as in exerciser and 128,) it is difficult to quit this first note at the proper moment, and thus its value is almost always exaggerated. This fault of
of a scale
21,
33,
much more
;
difficult
to vocalize
passages
latter
;
the time
is
first
and
the
third bars
may be
notes,
distinct.
When
to
The
notes of the tripulets (Nos. 43, 44, 45, &c.) should be all three
;
the high note descends, or the low note ascends, both having a tendency
equal in value
The major
inarticulated note,
triplet
which
is
The
first
character of a
and
note.
Passages
as likewise
do the exercises 128 and 137, also the ascending distances of In all these cases the octave and the tenth (exercises 28, 29, and 30.) the high note is generally taken too low, and the low one too high.
Exercises presenting the interval of a tritone (included between the
fourth and seventh degrees,) deserve special study.
tive whole tones
triplets,
first
to
mark
accentuated.
The
three consecu-
As soon
and
have a harsh sound, and pupils are always tempted to lower the augmented fourth by a semitone this lowering gives a modulation, which should be avoided on every occasion where it is not marked.
;
will
be time to practice
e, e o,
may be
requisite to
Fourths and
If the
fifths,
also,
are
difficult to
we might add
inexhaustible.
careful exercise.
first notes of a descending scale glide, they must be strengthened Should the same thing occur with the the throat. widening without lowest sounds of a scale, they should be slackened in time, and accented,
The
down
him
must
Example
We
exercises from
No. 40
major key
The same
instance.
process should be
For
last
As
for
example
Some
be reverted or changed
e
op
they ought to
we
bD
mttifttpt^i
the descending notes should be as follows
4th.
:
difficult, it
must be
4th. 4th.
extracted from the rest, and disposed in the form of a scale according to
the method above indicated, or simply transposed entirely
by
semitones.
pM\(M!(M
*=
Thus the
flexibility
its
throughout
extent.
CHAPTER
IX.
EXERCISES ON VOCALIZATION.
GENERAL TABLE FOR THE EMISSION OF
Each class of Voice must avoid exceeding
its
SOTJJVDS.
limits.
due
Contralto,
JV1.
ZZl
Falsetto.
O- xs
M Hi.>.H;'M^
Falsetto. --
JV.2.
Bass -Tenor
and Baritone.
"XT jT,
ofto
ob o^o'
11
^
Chest.
I
JQ.
Tenor
and
JVP3
Counter-Ten or.
fto
tf
o^
otto
>o
h..M ''"
1'
[j
o^T^^^^
3Z
Faloctto.
b^tfe;
^ ^
22
SPECIAL EXERCISE.
Intended to unite
Falsetto.
tile
JVP 4.
I
Chest.
&c.
the Gamo
|?o
on
DO
331
f^ o
m
Falsetto.
JVP 5.
'
Chest.
P"~
^8*
P=
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2Z2
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JVP 6.
*
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As soon as a pupil can execute the preceding exercises on the Italian vowels a,e, e, i,o,b,u, in the time '-marked. H - 120, Maelzels Metronome, giving equal value, strength and clearness to all the notes; he may proceed to study light and- shade. Under this title we comprise prolongation of sounds, inflections, forte-piano, and the different ways of connecting sounds.
on.
PROLONGATION.
In passages formed of equal notes, increase of value can be given to any one feet, or to support the voice on those parts of a bar which might otherwise
of
them
in
order to
heighten
ef_
be
passed over.
The following
passage will
be* thus
modified.
W%!MW!IF^
FORTE
PIANO.
of power
Every passage
piano,
should be
forte
mezzo- forte,
degrees
and
given or sung
first
pianissimo,
then
INFLECTIONS.
When
a pupil has learned to give an
is,
to
vocalize
alternately
piano and
notes,
all
forte;
these he will
the
others
is
This accent
indicated
by giving partial inflections upon separate The inflections should be given to each note in turn.
ends
^
i
over a note.
Example of
^T^rT p
/
iiiMfi--HHMp<r
jUHBMur 'mm*m
w*trm*** M^mmmmmjK
i
not
! ! ! J*^^
raanHiH
i
which
ought
i
to
be
strongly
marked.
I
iHwaiaHHi BMMwMmHMiHH
i
MMi
I
The
pirpil
must
make one
general
cres:
and
dim:, or
vice
versa, to a whole
passage,
until
he
has
mastered
the
inflections.
that is to say, notes separated from others in passages consisting of exercises Next follow staccato sounds, of four, six and eight notes. Legato and staccato notes must also be combined, just as we have combined pianos and fortes; for instance the second, or third note may each time be detached, while the others remain legato. Two may be legato, and three staccato, then three of each sort and so on through all the possible combinations.
The portamento, legato, marcato, piano with its shades when applied
brilliant
staccato,
to
and asp irato, with their different colourings of prolongation, and the fortepassages constitute inexhaustible resources and enable the artist to give the most
To
this subject
we
ARPEGGIO.
In singing arpeggios the voice should pass with firmness and precision from note to note ^whatever their distance In order to do from each other: neither detaching nor slurring; but uniting them smoothly as on the piano. this, each sound must be quitted as soon as touched.
ARPEGGIOS
Exercises of 4 notes.
143
144
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Exercises on 8 notes.
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MIJVOR SCALES.
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23 887
SCALES
31
If irreproachable correctness of intonation, equality and purity of sounds, constitute the perfection of every vocalized passage, these qualities are absolutely indispensable in scales and chromatic passages; which being the most difficult to sing, and to master, are not agreeable to a listener unless the notes are so clearly and distinctly articulated, that each one may be counted. The exact division of any interval whatever into semitones, requires both great firmness of voice and exquisite feeling of intonation, for however little it may falter, every interval will become either too much increased or diminished; the singer in the first instance exceeds, in the second does not attain the number of sounds forming the interval; and in either case the result will be un_ pleasing from the effect produced by singing out of tune. A student in order to acquire delicacy and precision of intonation must study chromatic passages very slowly, and even afterwards in songs, should avoid executing them very rapidly, if he wish them tp be pure. Besides singing slowly during the period of study, he ought to assist himself by dividing the proposed passage into groups of two, three or four notes, as required, and counting them mentally, making the first of each group fall on the beat. These exercises like those preceding, should be transposed by semitones. The chromatic scale can be adapted to every key, but, if a pupil should become confused, and his voice lose its accuracy of intonation; as a temporary help, during the first exercises, a scale should be played on the piano while sung by the student, the instrument of course being quite in tune. As soon, however as a learner's ear can regulate the intonation, the singers part should no longer be played; but chords substituted.
CHROJVf^TIC
i
156.
SCALES.
&
58,
159.
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23867
32
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33
Steadiness of Voice.
Unchangeable firmness, purity of sound, and perfect har-
mony of the timbres,constitute steadiness of voice. This important quality, which forms the foundation of a good style of
singing, is as rare as
it is
out by sudden starts, or allow it to die away, and those who unnecessarily change the timbre, andbreak up into fragments the
unity of coloring. sustained play of the respiratory organ a firm contraction of the glottis a free movement of thepharyn*(mechanical acts that should be quite independent of each other, yet regulated, in their combined action,by the requirement of the passage) constitute those mechanical means by which steadiness of voice can be attained.
aij
A well
rapid beats and explosions. This fact maybe easily ascertained during the emission of a note, a slight blow be given to the regionofthestomach,the effect will be to raise the voice a second/a third,or even more than that; and the elevation resulting from the pressure ceases as soon as the latter is removed; henceyin order to produce perfect uniforjnity of intonation, from pianissimo to fortissimo, it is requisite that the vocal ligaments should by a gradual slackening, correct that tendency of the tone to rise above it s proper pitch:the exact opposite being the plan pursued in returning from fortissimotopiaissimo. The vowel must on noaccountbe altered .We again warn singers not to feel for their note by slurring up to it, nor to take it with a shock of air from the chest; but to begin it at once with a neat stroke of the glottis Care shouldbe also taken,aftefthe voice ceases, to avoid sighing out the remaining breath from the lungs; these should never be completely exhausted, but a sufficient reserve of breath kept toterminate a note or passage easily. Great difficulty is usually found in swelling the same sounds
if,
.
fe-
On
Sustained Sounds.
C7 S={p
"ip
#g>-
Before a pupil commences the study of sustained sounds, he shouldbe sufficiently advanced in knowledge of the. vocal mechanism,to avoid useless attempts; andalsoto leadhimto expect some improvement at each freshi essay. Hie study of sustained sounds depends on the principles laid down in those sections which treat of the breath and steadiness of voice.Therearefour varieties of sustained sounds: first, sounds held on with equal power; secondly, swelled sounds; thirdly swelled notes with inflections; fourthly, repeated sounds.
The latter, particularly, should commence the piano sound in the falsetto, and in the closed timbre; for,by this plan, the larynx will be fixed, and the pharynx tightened This done, without varying the position, and consequently the timbre, the pupil will pass onto the chest register, fixing the larynx more and more, so as to prevent it from making that sudden and rapid movement which produces the hiccup, at the moment of leaving one register for another. To extinguish the sound, the reversemust be done.
.
These consist in an uniformly continued seriesof small swelled sounds, multiplied to as great an extent as thebreath will allow. #
These inflections may be arranged in different ways; that is, they maybe of equal duration and power; may follow an increasingor decreasingprogression;andso on. Great singers usually employ them according to the following method; they first holdout a sustained sound,withathirdofthet>reath, which sound is followedby another of less power and duration; after which follows a long succession of echoes, becoming gradually weaker as they approach the end the last, indeed can scarcely be heard, The throat must contract and dilate with elasticity at
each inflection. j-
pianissimo to forte, thenext from forte to pianissimo; one study is quite as necessary as the other. Thebest singing masters used to exemplify a Messa divocehy the following scale:
J
Increasing voice.
Repeated Notes.
Notes repeated while remaining on the same vowel, consti tut e a variety of sustained sounds; but, in this case, the voice performs without interruption a series of percussions, in order to
Full voice.
ZZZl
Decreasing voice.
rr
3
iffl:
r
2
nr^n
psf
irz:
During pianissijfto practice, the pharynx willbe reduced to smallest dimensions, and will dilate in proportion to the increasing intensity of sound; returning afterwards by degrees to its original shape,as the soundbecomes weaker. Care must be
its
subdivide the npt e which at first would have been a sustained one Each percussion is effected by the larynx rising or falling, as in the act of executing the shake. These movements are slight and rapid; moreover, the note should be pinched by a sort of appoggiatura of less than a quarter of a tone below, for each repetition. These articulations must neitherbe aspirated, nor a mere trembling of the voice.
.
taken neither to raise nor lower the intonation,while strengthening or diminishing the notes .These are very general faults; and in order to overcome them, pupils must carefully study the system of compensations which we are now about to explain. In whatevr er position a singer may have his vocal tendons placed, if he proceed to expel air with increasing force and vigour, the notes, in spite of himself, will ri$e;becausetheincreasing pressure of air
increases also the tension of the vocal tendons, thus causing more
Some authors call this making the voice vibrate (Italian, vibrar di voce,) and indicate this effect by syncopated notes :
.
t;
otes
fr
pif
mi
I
23867
lijj I
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^
34
The percussions not being* perceptible and pleasin unless produced by light voices, are only suitable to women; and to produce a fine effect, they should never exceed four semi v
quavers for each beat of No, 100 on Maelzei's Metronome; be smooth and delicate.
"
i,
i
ii
t5"
t
i,
ii
ih,
"
i
ii^
-i
ii
? ^
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^
C IOIOI ClCCOIC C lj
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rr-^^
1,
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i.
i.
In the above table, exercises are given for the study of sus-
ployed. The same remark applies to high notes above lev, which,
as they only fatigue the throat a pupil will do well toavoid stu-
tained and swelled sounds, as well as those swelled with inflections, or echoed.
dying, till the time arrives for introducing them in songs, &c.
E i t
There is another method, also, of repeating notes, which is doneby simply producing rapid successions of them, each repeatedbut once; this is what we have called aspirated and exJHlegro
.
a
ceptional vocalization:
being allowed to escape by the glottis at each aspirated sound, renders them perfectly distinct; whereas in rapid passages,, if the notes were blended together, the repetitions would be. utterly confused and indistinct.
23807
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ha ha ha ha ha ha
ha ha ha ha ha ha ha ha
ha
33
haha. &c.
^"^
*^^
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Jfl^OflljM"^.^
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I
TlJflflg
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one tone.
i
.
fe
Appoggiatura.
zJ
i
i
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The appoggiatura is the easiest of alWocal ornaments; also, the most u seful and constantly employed As the word indicates. (appoggiare, to lean,) an appoggiatura is that on which the voice lays a stress; it forms no part of the harmony, the real notes of which it precedes, and robs of their accent. Four appoggiaturas belong to each note two above, andtwobelow, at atone and at half-a-tone distance. The one placed on the inferior tone is sel? dom used in modern music. In the following example, three kind of appoggiatue occur as indicated:
RECIT.
,
the mark <s^. All other combinations of appoggiatura, (such, for instance, as are found at examples No. 184, 185, page 37)
P{<
|
W.
f<
flfy
||
half a tone.
ma
piu dellavita su a
There are also single and double appoggiature. The acciacca-. tura must be distinguished from the last sort; this is a rapid little note preceding, at the interval of a tone or half-tone, another note as short as itself. The voice, so to speak,passes over these two notes, and only rests and stops on the third; for example:
belong to the class of double appoggiature, or small notes. The grupetto, or turn, is,the appoggiatura excepted,the most common, and therefore most necessary, in vocal music: it is simply composed of the union of the higher and lower appoggiatura, w ith the leading note. The grupetto cannot exceed a minor third without loss of grace, or airiness. A ttarn must begin with a bold sfoi-zando, on the first of the three notes composing it.The steess given to this note should parry off the two others that follow. Tt shouldbe studied, at first, very slowly, so as to establishes clearness and intonation. The grupetto canbe affixed to the commencement of a note, to its middle, and to its end. In the first case, the note must be struck by the turn; example:
r
1
fy'i
s
Las
'
mu - cha-chas
^
r
BB
lm
-
-*-*
7
1
r
de
f Ha
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&
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In the second case, the note should first be fixed, and the turn placed in the middle of its duration; example:
" SINI.-Sei Semi'ramede. ROSSINI.
*
ffi
The mode of execution, presented in the last example, would take away the rapid and marked character which distinguishes the acciaccatura from the triplet.
.
iz
Bel - la
ma
go
In the third case, the value of the note mustbe accomplished by the turn; example:
iife
its
^ p^
Pr'ia
cne
spun-ti in
cie -
m
1
F5c.
l'au - ro - ra.
Some authors call the first twoof these examples, mezzi-grupetti; whereas the two others are termed grupetto, and are indicated by
metronome. Placed oveipany note whatever of the exercises, at pages 20, 25, and 26; it willonly posessthevalueofonesemiquaver, or of two demi semi quavers. In these exercises,every note shouldbe sung piano, excepting the three forming the
turn, or grupetto.
23867
36
T
172.
FRJS,
The Turn
at the commencement.
173.
48.
note;
to the
second note.
to the third
note.
3
The
following-
/^
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23867
SMALL NOTES.
W hen several notes attack
184
37
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185
ffr
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186
187
188
189
Gmppetto.
190
{,'.;
Trill
dt
ffij
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.^.^j Jl^tt fa
-
and Turn.
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191
C7 JJJJJJJJjN.
192
^ ^
Gmppetto.
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23867
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.
SSr
succession of two contiguous notes It is indicated bythe letters and when this mark is placed over a note, it signifies that the tr* f trill shouldbe composed of that note and the tone, or semitone,
not endowed with this graceful ornament, should not attempt it; this opinion is quite erroneous. The trill does not result from two notes struck one after the
other, with gradually - increased rapidity, up to the highest point;
as for instance;
above, never below, according to the chord. The note bear-, ing the trill is called the principal; and the one above, with which it unites, the auxiliary note. A third note,alsoisusedat a semi -. tone or tone below the principal, which might be calledthe note of preparation, or of termination,because it fulfils both offices. for this is only a vocalized passage, which may precede or follow The trill, however, always ends with the principal note. Tt is gen- the trill; and is a variety of trill, known as the trillo molle, when erally believed that the trill is a natural gift, and that the singers it is placed as follows:
ROSSINI
Si
Lin
do
ro
mio
sa
The shake is obtained by a curious mechanism. Tt consists in a rapid,free,and regular oscillation of the vocal ligaments, corresponding with a visable oscillation of the lar ynx,up and down,outsidetheneck. A factitious sort of trill maybe obtained by shaking the ouside of the throat with the fingers. This fact we adduce as a proof of the accuracy of our description. Tt maybe remarked, also, that the succession of the trill is the most rapid kind of vocalization; so rapid, indeed, thatbetween 152= J, of Maelzel s metronome (the
greatest decree of velocity attainableby the human voice,) and that
maybeusedinmeasuredsuccession,inthebodyofthephrase:ifthe
trillbe isolated, itmay assume the character of a trillo
(
morden te.
(
shake with a turn;) of a trillo raddopiato, ribatutta di gola doubled trill jj or> lastly, of the triUo lento, or molle (slow and
trill.)
re-
s of t
If
it
Isolated Trill - Major and Minor. oftheshake, 200-J, there is a great gap. This sort of convulsive, All good singers prepare and terminate a long shake ( stjch,for tremulous movement, therefore, may be consideredastheextreme instance, as occurs at a pause,) by the tone or semitonebelow. limit of vocal rapidity.Old men, whose voices are unsteady, furA trill thus prepared is to be developed according to the rules nish an example of an involuntary shake; with them it is irregular for sustained sounds (Messa di voce,p.34 ) and ended softly. Tn owing to weakness; in younger persons it should become quite r eg. its preparation, as in its termination, the voice must descend to the ular,free, and unfettered these movements are, the more correct tone or semitone below the principal note,before finally terminand regular becomes the shake.The trill is sometimes accomplishating on the latter; for example: ed at once; and a few months study ought always to suffice for any pupil of ordinary abilities. Tn almost every treatise upon singing,it is recommended, in
?
'
practising the shake, to point the principal note; a practice totally inconsistent with the nature of the trill, or with its execution,byail
good singers; and hence we must express our opinion, that sucha method is radically bad. Pupils are therefore recommended to commence a trill rapidly by the spontaneous vibration of the glottis, and not by the progressive articulation of two notes. The learner will'
do well,atfirst,topracticetheshakewithin the limits of the following octave, as requiring less contraction than more acute sounds:-.
1
Falsetto.
fta #
6*
*+*
These preparations and terminations also infinitively varied: a few examples are given at page 42 Pupils should accustom themselves to terminate a shake at will, and always on the principal,
.
i maybe
'
i. J
Ml
note; as, without particular attention/the oscillation impressed on the throat cannot be instantly arrested.
Chest.
"When the action ofthetrillhasbecomewideandeasy, the next, bu siness will be to regulate its form. The major and minor shake, as
observed in the constant practice of the most celebrated singers
23867
AVhen a succession of trills is executed on notes at greater intervals,the higher appoggiatura must precede the trill; but, in this case, each trill has a definite termination. Example:
Chromatic Sea le of Shakes The chromatic trill,whether ascending or descending, must beginby its higher notes,with intervals of half a tone, or a tone,accordingtothe key inwiiichithastobe executed; asforexample:
Slurred Shakes.
The shake maybe applied to the portamento of the voice, whether in ascending or descending, by imperceptibly raising or depressing the voice from one comma to another, so that the hearer may
not distinguish the degrees by which it rises pr falls. In this case the slur is very slow.
on singing, have similarly described this trill, designating hurried shake, a broken shake, etc. Example:
it a.
}/r
a_j
iH
m
.
Tl
Among these different forms, that given above, is the most correct and safe.
The following
is
of all shakes,
The shake and turn, well executed, lead to the double trill.
Defects of the
Trill.
Do uble Shake. -
Trillo
Raddoppiato.
This ornament is obtainedby intercalating andintro ducing notes, ihthe middle ofa major or minor trill; thesenotes divide a shake into many. When purely executed by a sweet voice, this ornament has abeautiful effect, especially when the alternating interruptions
are effected by strongly-articulatednotes.This trill is exclu sively suited to female voices: it is marked by the sign s^
chief defects of the trill arise from inequality in thebeats, which renders it dotted; the notes may also be seperated to the.
The
TOSI.
iri
" fir
"rfi'n'n}
J
exorbitant distance of a third, or even a fourth, being then more like the gobbling of a turkey, than a shake. Again, it is. often made on the lower minor, instead of extending to the. higher major second; or else it ends at an interval different from that on which it commenced. Frequently, too, the oscillatory beats are replaced by a species of neighing, or quavering, known by the naine of trillo caprino, or trillo cavil
.
-.
lino.
Adagio.
MANCINI
The trill, appoggiatura, grupetto, and their different methods of execution will receive full explanation in the second
;
part.
hr
s^_hr
hr
,
23*67
40
MEASURED TRILLS.
The appoggiatura by which the trill is attacked should be more striking than every other note; terminations should be alternately stopped and maintained.
>
>
>
r*
>
200.
201
202.
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>J f)
St
fr
>
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i
TRILL MORBENTE.
203.
<?
^=
23867
41
which
it
belongs
in
memory
those delicate and difficult shades of intonation through which he has to pass.
205.
fr
fr
fr
fr
/rjr
fr
fr
/rjrjrj*
'
fr
>
fr
fr
fr
fr
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fr
fr
fr
\fc
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&
fr
fr
fr
fr
fr
fr
^ ^
hr
ir
fr
fr
fr
fr
fr
fr
fr
fr
After having studied each half of an exercise a learner should try to perform the whole in a single breath.
exercise so executed, will prove a real tour de force,
The
last
the only
successful
executant,
of
which was
Chevalier
Balthasar Ferri,
who flourished
in 1660.
(see Tistoria
d'Angelini Bontempi.)
23867
42
EXAMPLE
A
so
pupil having gone
OF
TRILL.
or
blend
trill
may
be prepared.
To
the
effect
this,
develop
equally the
messa
di voce
and
trill,
or the passage
fe f
PPB
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23867
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43
Summary of
It
Flexibility.
spirit;
above
all,
brilliant
runs and
would be impossible to enumerate the various modifications of the mechanical action which produces flexibility; but as they are all based on the expenditure of air, and on the action of the pharynx, a brief
explanation will
suffice.
by a firm pressure of
the
The shape of
When
The
is
forte,
The agilitd di manura consists in delicate and elaborate passages, which only require a moderate stream of breath, a flexible and nicely adjusted movement of the pharynx.
This style of vocalization
rendered necessary by the
passages often contain*
is
of two kinds,
first
di forza,
less rapid
but that
is
of power ; di maniera, of
difficult
and complicated
intervals
which the
contrivance.
The
PART
CHAPTER L
On Articulation
In the
first
II.
Of
these the
mouth
is
tne
more important,
as
it#
in Singing.
it
(4th
Mechanism.)
fact,
vocal tube,
muscles
articulation.
In
composing the
teeth,
and
lips, all
part of this
work
;
was
mechanism of the
:
have no inconsiderable share in the quality of Thus, the mouth, owing to its capability for
by the
modification
its exit,
of
its
diameter,
a correspondingly
simplest sound
We have
first
emission of
different sound.
The vowels
The
tion
and
shall
now,
de Brosses
of organs, proceed to consider the aggregate result of their union, which is song, properly so called, or speech connected with music.
Burja, in a treatise on the relation between music and declamation
and
all
the differences in
in
its
differences
a, e,
form.
The
Memoirs of
importance.
the
:
justly observes
"A
all
Berlin Academy of Sciences, for 1803, page 34), very neatness of articulation in singing is of the first
is
e, i,
;
o, o,
u ; never-
theless, there
for,
in the high
A singer who
destroys almost
by
obliging
them
to
make
The
for
Where
the singer
De
is
has not attentively analyzed' tho mechanism that produces both vowels and consonants, his articulation will be deficient in ease and energy
unlimited;
though writing
is
number of vowels or shades of vowels, represents vowels by means of a marked difference in the sound of each when
Moreover, a person pronouncing any
it
inasmuch as he has not learnt the secret of giving that development and equability to the voice, which he might attain in simple vocalization, and
cannot employ at pleasure the timbre suitable to the passion he wishes
to express.
uttered
by
different individuals.
contains the
same
stress
and
sound; for as soon as any passion animates a speaker, the vowels unavoidably receive its influence, and strike our ear by the clearness or
dulness of their shadings, and the brilliancy or sombreness of their
timbre. In the word anima, for instance, the a will Dot maintain the same sonorousness in a passage of tenderness, as in one of anger, raillery,
Our remarks on
heads
:
Vowels.
Consonants.
entreaty, or menace.
The The
On
timbres,
comparing these remarks with those previously made on th6 the reader will observe a close resemblance between this
The mode
Supplementary observations.
mechanism and that of vowels, whereby they mutually depend on one another indeed, one cannot be altered without changing the other. This observation is most important in its results ; for it will enable the singer to determine what timbre for each vowel is best suited to the
;
On The
singing voice
is
Vowels*
proposed
effect,
and, at the
same
produced by precisely the same set of organs as {he speaking voice, and both issue through the same cavities, namely,
and evenness of
voice.
accentj
; ;
44
The
For
quality
brilliant
instance,
if
would evidently make the voice tone which suits Figaro's entrance
" Largo
al
the sentiment.
The
: its employment nude? any other circumstances only alienates the sense of words, or induces faults of which we havje treated in the First Part.
Don
Giovanni,
Of
Edgardo,
Consonants.
in the air of
or in that of Orfeo,
me ricovero."
by
Secondly
from
is
moment
of their
On
these same organs, and the different and continuous sounds emitted by
In
It
effect.
division of
the
first
it
as
the
voice
and brightening as it descends; by this means, a seeming equality results from a real, but well-concealed inequality of the vocal sound. This precept applies to each register throughout the entire compass. If a vowel remained constantly open, as the a when sounded in
the
Explosive Consonants.
It
is
make no
noise
would give brightness to the low and middle sounds, while high notes would be shrill and shrieky whereas a vowel that is invariably covered, like the o in the word monte. would give richness to high notes, and make low ones veiled and dull.
word madre,
it
them
utterance.
In forming them,
all
The a approaches the open o. The open e approaches the e ; and next to it, the eu. The i (Italian) approaches the u, without the aid of the The o approaches the ou.
and again separated, when the consonant is These two opposite and indispensable movements are called respectively the preparation and explosion of a consonant and it is by this process that the letters p, f t, c. (Italian cio,) and k, During preparation, the air is intercepted and colare enunciated. lected and the explosion that follows is proportioned to the degree of preparation and amount of air collected to produce it an effect much
the organs are
first closed,
immediately heard.
glottis in
and
among
When
the rest.
is filling
with
air,
a vowel
is
is
above indicated
be brightened, an exactly opposite process to that the ou approaches o ; o, a ; and so on with requisite
to
:
latter for g.
is
Vowels which are very acute as i (Italian,) and u (French,) if sung as they are spoken, would contract the voice, and inconvenience To avoid this, a pupil should open these vowels a little more than it.
required
for
Sustained Consonants.
spoken pronunciation.
the
the
effective.
all the &> Produce and then, in another the most sombre to brightest the timbres, from breath, reverse the exercise, by going from the sombre each note should
a note in
These consonants produce a whistling sound, that may be prolonged and s ; or else they are given out with a continuous noise, like m, n, gn, I, and gl. The first of these arises from a partial closing of the organs in various ways, which we shall not
attempt to describe
;
the second
is
The
may be
sound
be given with uniform power throughout. The real efficacy of this exercise, however, is confined to the chest-register, and between notes la 2
a transformation which enables a voice to be sustained from one syllable a result giving a much increased breadth of style. Two to another,
articulatory organs always
and fa\ assisted by the exercise for uniting the registers, it will enable a pupil to master all the movements of the throat, and to produce at
;
ways, thus
act in combination,
and in
five principal
been observed that the voice is emitted by two channels the which is the nose, whose function is to render the voice more of second sonorous when the mouth is open, and entirely to change sounds, by
It has
;
giving
in
them a nasal tone when the latter is closed, either by the tongue Italians have n, or by the lips in sounding w. no nasal vowels, properly so called for with them the nasal echo on n or m only takes place when one of these two consonants begins or ends
pronouncing the letter
;
The lips act together in pronouncing p and m. The upper teeth with the lower lip, as in /and v. The end of the tongue with the teeth, as in t and d. The front part of the tongue with the palate, as in n and /. The base of the tongue with the palatine arch, as in k and g hard.
Each of the combinations above enumerated,
class of consonants
;
the syllable, -^- never blending with the vowel sound ; as, for example, To conclude rowels should always be mpo. ngeh, Te A and with power suitable to the 'phrase. glottis, the stroke thp of attacked by
.
in use.
In the following
to our
table, the
Pupils, however,
aspiration
;
must scrupulously avoid preceding these with an h, or must be confined to sighs, &c, as
view of the subject, into five different classes, grouped according to the names of the organs engaged in producing them, and to their explosive or sustained character, with the successive organic operations :-^
very common fault with pupils, is to stiffen the elevator-muscles, of the jaw. plan for curing this, is to place sideways, between the upper and lower teeth, a small piece of wood or cork ; likewise a riband may be passed over the chin, immediiaHy below the lower lip, and tied at the back of the neck. This done, every vowel
Explosive
(pure)
Complete closing,
ation,
Class
I.
Do.
(mixed)
.
Labials.
prepar explosion. Complete closing, slight preparatory sound, explosion. Complete closing, sustained n*>
silent
sal 'sound,
little effort
as possible.
explosion.
46
'
Explosive
(pure)
Ci*ss
silent preparation, explosion. be classed either among explosive or sustained sounds, according to the energy displayed in ics articulation. The
Complete closing,
F may
II.
Labiodentals.
first effect, which is also the boldest, helps to complete the classification.
consitutes what is termed prosody. It is marked, in almost all languages, on one syllable only, in each word, however long that word may be ; and is simply caused by prolonging the time occupied in uttering it. A
little
Sustained V.
Incomplete closing,
ation,
Explosive
(pure)
....
be, according to the will of him who articulates it, either a mixed explosive, or sustained sound. The second of these is preferable.
V may
explosion.
silent prepar-
in
a word
for
example
Che
Complete closing,
tion,
Class III
Linguodentals.
Explosive
explosion.
silent prepara-
Nella miseria."
Dante.
tempo
felice
(as in cena), Z.
whistling.
.
even monosyllables and this accent varies with the expression of our feelings; the most important word in a phrase always receiving the strongest emphasis.
;
'
Explosive pure
(Italian cio,)
1ST,
Complete closing,
tion,
explosion.
silent prepara-
Cjlass IV.
Sustained L, GL,
Sustained
GN,
Linguo-
R
French hard
J,
CH, X,
S
.
S, soft
Sustained sounds. Sustained vibration of the tip of tongue. Incomplete closing, whistlings of different kind.
closing,
Incomplete
Emphasis on Gonsonants.
Besides prosodaical accents, a student should consider the stress to be on certain consonants ; for example
:
Explosive (pure)
WiJLASS
hard, K, Q,
V.
Explosive (mixed)
Sustained Spanish
G hard
J,.
, .
Complete
closing,
laid
silent prepara-
sempre, troppo.
prepara-
Linguogutturals.
.
.
tory sound,
Incomplete
This emphasis answers to prolongation of vowels. We will now state under what circumstances consonants should be forcibly pronounced.
Firstly, in order to
difficulty of articulation
Summary.
5 pure explosives
explosion.
;
to render
P, E, T, Italian C, hard C, K,
silent
preparation,
In
on the
;
first,
which
is
mixed
explosives
5 sustained
"
explosion.
soft,
Example
Bella,
Bel-la,
contento,
con-ten-to,
risplendere.
ris-plen-dere.
C, H, R,
S hard, S
X, Z, TH,
V, &c.
Pupils should pay especial attention to the point at which the organs
lation.
Expression depends greatly on the weight and strength given to articuGonsonants express the force of a sentiment, just as vowels express its nature. We are always impressed by words strongly
;
and the process which aids them in forming each from neglecting to give this subject due attention, that some singers add, to the movements required, others which are
cott^e in
contact,
consonant.
It is
quite useless
for instance,
putting the
by some acute passion and of course, the most important word should receive the strongest emphasis. The well-known phrase
lips
Otello.
the organs from one consonant to another, and allow the echoing of a
vowel, thus
Temepo for Tempo Quesefo for Questo ; Galema for Galma ; Belo, Dona, Amplest), instead of Bello, Donna, Amplesso ; and so on. Others pronounce between the teeth, and, indeed, chew the words, so as to make them unintelligible. Others employ the hard movements of the organs, instead of the soft, as
Gonteneto and Gonterto for Contento
; ;
4
Se
il
%
pa
p
-
t
-
m %$
se
il
dre m'abbando
bb
na,
padre m'abbandona.
bb
owes half
d.
its effect to
Sarro, farro,
il corre,
abandonna,
crudelle, instead
of
The The
attack of vowels
;
the particular stress laid on the letters p, b, and by a stroke of the glottis, is alone equally
passages,
it
efficacious
but, in
many
Saro faro,
y
ilcore,
abbandona, crudele.
On
The human
I.
Accents.
a stress upon consonants, in proportion to the size of a building ; hence, emphasis is made stronger in declamation than in speaking, and still more so in song. The last consonant in every syllable, which in Italian
:
is
generally m, n,
/,
or
r.
much
precision,
Negligence in
cause of
The
and incorrectness of
articulation in singing.
H.
III.
Their timbre.
Their
gumut.
IV.
In each language,
for instance,
is
the grammatical
as
In music, the two elements of speech correspond with those of melody vowels with sounds consonants with time. Consonants serve to hurry or retard a passage, as well as to to regulate or beat the time mark the rhythm; they indicate the moments at which an orchestra
;
and
We
shall
should blend with the voice, after ad libitum, a cadence, or a pause. Finally, consonants impart spirit to the stretta, and concluding cadences.
in
may
fall
On
When
In speaking, a person, led on by rapidity of thought, stops only gingle point of each word, on the most emphatic syllable that, in
music
is
if
at a
fact,
all
is
principally displayed.
strong
To
obviate
this
inconvenience,
importance
to
46
each of the four sets of organs in the vocal apparatus, and that each
should perform
its
duties imperfectly
if
air
would be broken up by too frequent interruption^ and seem meagre and unconnected.
assistance, singing
if
the chest
if
.Example
1/
if
weakened
after each
Arnold.
readiness,
the
false, disjointed,
and of bad
cases,
i aality
In such
m 9
To
*i JL2
i\
r 151
M
Mon
Rossini.
Guillaume
p.
Tell.
-*-#
v
S:
%5A - v
p.
p.
singer
is
want method.
is free,)
accomplished singer
we have
pe - re m'as du mau - di - re tu P obtain breadth of voice, pupils ought to recite words on one note,
is essential
ordinarily
sopranos.
glottis,
its
precepts,
we now proceed
to a
few
The
or jerks, from one syllable and from one note to another, just as
the
this,
we
again repeat,
Distribution of ivords with notes.
A vowel should
The
as to
receive the greater portion of the value of a note, the consonant coming
in only at its close.
distribution of
mark
its
attained by
nte
Thus,
nto,
me
and n mbranza ;*
causing the
common
The
on the
first
the
co
and the gl form two channels on either side of the tongue, as in anguir ; and so on for other consonants. Without such lie, I
reason of this
is,
thus
mark
the
9Had
to
r-t
O o o a
+=
03
5 # O
Mozart
Nozze di Figan
-y-fc
Voi
che
-
Se
sa e a
-
^
Don
r
pe
te
che
mor
ne
ve
m
02
r-i
O O O
<
8 a
e P=y
te
s'io
de
l'ho nel
cor.
this precept,
be sung.
In vocal music, a syllable is appropriated to each separate note, or to In the following several where grouped together, or bound by slurring. badly placed words has the translator the Handel's, air of
:
Handel.
Samson,
Je
s=
^"^
'-^
cres.
1
"^"
m
d'a
pes
mor
ti
ra
piaccia
*'"aH
::a
in
#
se
-
no
d'a
mor.
PS
o mio di
It should
to vie
-
1d'a
-
3tjE
ti
S
se
:
se
no
mor
;
piaccia in
happens in
have been arranged as in the second line. It frequently Italian music that the number of syllables is too great for
meet; in which
case, they
ascertain under
* The passage across the buccal cavity is here completely intercepted by the tongue in the case of the w, by the lips in that of m. " Amor, amor, perche mi pizzichi." Fioravanti. t Airs for the Bass. " un dottor della mia sorte."
what circumstances vowels are to be contracted, or separated, the place of the tonic accent should be considered for if there be a group of vowels wholly unaccented, the voice ought not to rest on any of them whereas, if there be one vowel accented, the voice should pass on to the
emphasized vowel, dwell there, and afterwards slur over all succeeding This vowel may be placed at the ones, uniting them in a single sound. The following are examples o* beginning, middle, or end of a group.
two, three, or four vowels
Duets
for
:
Rossini.
(Barbiere di Siviglia.)
(Barbiere di Siviglia.)
*<
Eossini.
" Gia
d'insolito ardore."
<t
Duet
for
Rossini. (Italiana in Algieri.) "Sivadasisprezzilavita." Rossini. (Gazza Ladra.) Yous me connoissez tous." Atjber. (Philtre.) " La hiondina in gondoletta." Paer. " Io ti lascio, io ti lascio." Cimarosa. (Matrimonio Segreto.) " Per piacere alia signora." Rossini. (Turco in Italia.) " Come frenar il pianto." Rossini. (Gazza Ladra.) "Ah! di veder gia parmi." Rossini. (Corradino.) " Quanto amor. Donizetti. (Elisir.) " Se dovessi prender moglie." Rossini. (Italiana in Algieri,)
two Basses.
"
-
Un
secreto d'huportanza."
Rossini.
(Cenerentola.)
"D'un hel' Tuso di Turchia." Rossini. " Che T antipatica vostra figura."
Ricci.
(
(Turco in Italian
Ckiara di Boseniberg.)
(
"
X
il
brodo."
Coccia.)
falls
on the
last syll
47
in
Mozart.Nozze
di Figaro.
it
necessary to separate
Ntv
che
sa
-
Example
Voi
pe
te
che
co
sa e a
mor.
Mozart. Clemenza
di Tito.
Bellini.
Sonnambula.
Piu
bel
lo,
piu
bel
lo e a loea
Ross ini
Semira mide.
*fc
&
^
Hi Di
crm gio
in. ja,
(\\ di
When
o-in-l gio-ja e
a vowel
is
is
only a sort of
contraction.
Example
mor.
di Figaro.
Mozart. Nozze
ft-ft i^V
&^^ ^TW=^
ft-
5!
-y*
Fin
i
na
e
il
As
do
- si -
sa al pi
e (Tun
sa
- li -
ce
ge
me
traffit - ta
sa
ra.
che
l'aria e
an
cor
bru
mon
to
The blending
encountered by
is
retain
and mark the measure or accent of a melody, and only under peculiar
To
simplify
is
The
pupil should suppose that the note bearing the two or tbree vowels
into so
divided
many
fractions,
Each
When
may
e, o,
vowel should be distinctly formed, and yet not separated from the preceding
one by a jerk.
for
example (A).
divides a passage too frequently,
2nd.
When
the
number of syllables
and
an
jfe
Di
g^q
gi
-
J a,
^
di
movement of
the voice,
it is
better to perform
N0-
furnishes
-0
gi
fr ft
*r~ y
ja
example.
3rd.
The arrangement
how
a singer
may
avoid
Examples
Giovanni.
I E
MU>
SZC^
m
Rossini.
Nun-zio
vo-glio
iz
JF^E
33
Bi
^
1
f
\/
r
(
r
\/
te -
r ,
^*J
-
J
ro
Jl
in
p&m
E
Fa Fa
-
(B)
Barbiere.
il
mio
so
"
r1f=^
1
tan
cen
-
to
trap
-
ro ro
gio gio
car, car,
...
fa fa
'
-
ro, ro,
fa
rb
(C) Cenerentola.
Ros s ini
Cenerentola,
(C) Elena.
^fffigg
Frail
pa
dre e
Ah fa un
lam
po un so
gno un.
N-N
Ah
man-te
oh.
to a
fu
Wand
un lam-pp un
sogno un.
e
preparatory
the full
To
may be had
e^e
by means
this little
articulated beforehand, or
to a slur.
to
make up
Example
Some
consonants, m, n, d,
b,
&c, by
the slight
Lucia.
DomzETTi.^-Lucia
noise produced in their articulation, greatly assist the utterance of high notes.
Th's noise, which precedes the emission of the sound, allows a singer to try
bfc
Spar
-
its
all
danger of a
gi
<Ta
ma
ro
pian
to.
Anna Bolena.
s
The
\>*l
Spar
*
-
-^5gi
d'a
ma
ro
pian
to
syllable thus
Cerca un
li-do
in cu-i
vie
ta-to
non
48
syllables,
be resorted
In the preceding
rules,
we have
to,
piest effect.
Whatever plan
if,
is
adopted, these
difficult
may be admitted,
song
;
be successfully sung,
suitably prepared.
at the
effect of
as, for
This, in fact,
of
which
is to
strengthen expression.
Example
Donna Anna.
^^jmrhm^p^f
E
l'in
-
ve- ro
vecchio e
ra piu for- t e
com pie
il
^^^^m^Mozart. Don
Giovanni,
misfat to su-o,
if
it,
one
si,
either to inorea**,
number
Bellini.
Sonnambula.
*"'
Na
na
tu
ra
non,
bril -
16.
r\
ifejg
tu
-
ra
ah!
non
bril
non
bril - 16.
CHAPTER
On
The
fche
II.
choruses of Palestrina
musical prose.
are
all
examples of
Phrasing.
embracing
This
last
kind
is
of passion.
study of
In what
may be
perfect regularity
required
In compli-
thus,
to
many
different
ance with this instinct, a complete symmetry must be established between the
different parts of a
An
instrumentalist enjoys
;
and
if
we
way our
ear
may
unfailingly recog-
expect certain accents belonging to progressions, appoggiaturas, sustainedsounds, syncopations, and melodies of every emphatic rhythm
is at full
a performer
it
We
verse
?
have
first to
what
liberty to give
an
air
any
corres-
Were
much
piece.
symmetry would be
lost,
and with
it,
but
more
by
would unite
by long
syllables,
Examples
and by the expression that words demand, which governs the general
character of a melody.
still
We
ation
;
1st,
pronunci-
^-^r^^s^m^m
Zit-to zit to
3rd, breath
4th, time
5th, forte-piano
piano, piano,
senza stre-pi
to
ru
mo-re.
6th,
ornaments;
already
Larghetto.
HANDEL.i2ma/f?o.
we
shall
now recur
to
it.
Before examining further the art of phrasing, we shall briefly explain the
formation of a musical
phrase.
P
series
Las
cia
ch'io
piau
ga
la
du
parts,
&
ra
I
sor
-
te.
also to
To measure, with
accuracy, a
melody or
its
we have
recourse to a
is
discover those parts of a musical idea which are to be accented by piano and
forte,
called the
were
it
Formation of
Music, like language, has
to
its
the
Phrase.
;
but
the
down-beat, by
way
time.
cented, or up-beats
bass, " Dal tribunal augusto :" the
**
by twos and
all
;
threes, in
order to
the rest
namely,
triple bar,
Ahi
di spirti turba
the binary
common
bar,
and the
49
formed of one strong and two weak beats.
will easily distinguish the
Aided by
NlNETTA.
Rossini.
Gaza Ladra.
many
bars
as
it
till
consequently,
+*
is
each beat
In
like
manner, a bar
Tut
to
sbr
ri -
de
re r
mi veg^o
in
tor
not
is
Section.
completed
heard
;
till
then, only, the ear recognizes the sort of time belonging to the piece.
attention, a learner
will
Phrase.
By
little
Don Giovanni.
between the combination of several simple beats constituting a bar, and the
union of several bars forming a musical thought.
In order
to
comprehend
be struck at equal
m
example
Mozart. Don
fit
Giovanni.
ifeE
mda -rem
ia
~WZJB>.
vvLa
ci
4 4 k
mi
di
-
pdi
ma -
no
la
rai
by some stronger
groups,
by
the co-oper-
Edgardo.
Donizetti.
_
Lucia
harmony and
rests,
threes,
that
is,
a strong and a
weak
It is this last
compass
fet
of two or three bars, enclosed between three or four primary times, which has
m
:
V
Fra
p-
1/
-
po
co a
me
ri
eo
ve
ro.
;
fo*
Allegro vivace.
Don Giovanni.
Don
Giovanni.
a ms
The
rests
i=
vi
cal
da
I t
la if single,
ta
test -
na
gran
fes
ta
fa
pre
pa
rar.
phrase,
and consequently
is
that also of
and
first.
rhythmic cadence.
the
susceptible.
We
Don Giovanni.
#
"
0f
^~ 4 v~P 3?SS
La
m
la
0+K-
Xnjuznzp
Ja
di
-0
ve
di
m
non e
Ion
-
Mozart.
Don Giovanni.
JPeriod. ^ Zerlina.
ta
-
JEj
*>*
no
par
-
ci
da rem
ma - no
mi
di
rai
tiam
mio
ben
da
qui.
"fc
i#
#--#
rei
^^JJFto
cor
fe
li
J-*tEz
i
e non vor
re
- i
mi
tre
ma tm po-co il
-ceever-sa-
re
ma
puo bur-lar-mi an
cor
puo
bur
Jar
mi an
cor.
Observations.
A
rest,
melodic figure
is
and
to
form a musical
figure there
must be
at least
two notes.
from the other by some difference separating the end of one figure from the
beginning of another,
which
difference
may
of the same
these
weak
notes.
The
Nina.
Coppola
*-
Nina,
Gazza Ladra
is
a case in point
Rossini.
:
Ladra.
NlNETTA.
Gazza
XX
WXVXX
Mv--N-fr t
Co
-
-0
nel
+-r+
m
to.
me
Cherub ino.
Tutto
Mozart. Nozze.
sor
ri -
de
mi veggo
in
also, that in
iB^
verse or
K
Non
so
-0
co - sa
!/
son
co
-
piii
sa
fac
cio
first
bar,
In the sketch that has been given of musical phrases, the words conveying
Handel.
fa
j
A
3
-
-T-
5
la
phrase
; those,
necessarily
more
vague and
-
indefinite, are
Las
cia
ch'io pian
ga
sor
te
mi
a.
^Semiramide
by the
periodic accents of a
its
Rossini. Semiramide.
;
rhythmic movement.
rag
- -
and quick, or unaccented and slow, serves either to strengthen or weaken a It is said, also, of a movement, that it is well rhythmed.
its
gio
when
it
marked
In
is
all
these instances, the rest forms an integral part of the subject, and
lacks rhythm,
when
as tht
melodic figures.
* Pointed
Largo
assai.
Good
regulated,
we have
by
is
movement
of
its
notes.
Our
Fernando.
Section of Phrase.
Section of Phrase.
The
movements of
phrase.
it is,
Such
rests
may be
the semiquavers,
the
It
is
development of ideas, or
notes, as
also,
all
reconnect
it
It
may be
observed, that
this
method enables
the rests above explained belong exclusively to melody combined with har-
group
distinct
Pauses which separate phrases and semi-phrases, are of longer duration than
those merely separating figures or groups of notes; long rests,
therefore,
full
breath
little rests
between figures
On
Respiration,
it is
admit only of very short breaths, rapidly taken, and, on this account, are These are seldom indicated, it being left to the singer termed mezzirespiri.
to insert
Examples of the
down
Zerlina.
^
qui cornea
-
Mozart. Don
Giovanni.
rr
^-0
Bat
-
ti
bat
tio
bel
Ma
zet
to
la
tua
po
ve
ra
Zer
li
na sta - ro
gnel -
li
na
6^ "^J
le
g
pet
tar
tue botte
ad
JR.
w
Mozart.
Von
Ma
Giovanni.
zet
to
la
tua
Zer
- li
na
sta
ro
%
li -
na
le
tue
te^
tro
-
m
ra
-
viin
piazza
qual
che
gaz
za
te -
co an-cor
gaz
za
merfg
quel
-
pzn:
si
-
la
cer
ca
me
nar
to
co ancor quella
cer
ca
me
nar,
nar,
cer
ca-me
nar,
senza al-cun
or
di -
ne
la
danz*
a.
S
In
the
certain cases, in order to increase the effect of a phrase,
:
*
me
it is
-
nar,
;
allowable to unite
its
different parts
as
annexed example
Anna A Bolena.
nn.fl
nni.pn.fl.
Del
mio
pri -
mi
- e-ro
mo
* -
re
ah
non
a-^ves a ? ves
si
il
pet
to
(B)
Allegro.
Vkcmi.Nioberi
P'i )
.a
J'
J ? U-U^U^k
fre
quen
pal
Ja
3*
1* A
a>
tg
,d
8"
Pi 0>
S3 O
A
49
o3 a>
B
,(
Allegretto,
33
.ta
12 S
II aS
Crociato.
cor
il
cor
il
t'at
ten-deanzio so
t'at-ten-de
t'attende
il
cor
d'eh.
'vo-fa
it is
ra
pi
do
11011
tur-dar.
melody more
ing,
lively, all pauses of the figure are indicated, either by breathing at each beat, or by simply quitting the sound without breath-
in order to
make
the
be taken
till
been executed
:
Example
which,
in
some
cases, is indispensable.
When
two notes
are
NlNETTA.
Rossini.
Gazza Ladra,
Rossini.
Sigi8mondo.
artifice
as completly to escape
In
melodies of
long,
uninterrupted
phrases, where only a few rests occur of sufficent length to give oppor-
tunity for taking deep breaths, a singer will find himself embarassed in
his execution, should these
by noise,- a pause, however small, or any movement of the body, however trifling, would manifest inability and want of skill. Should two consonants occur consecutively, the act
for the betrayal of
it
be overlooked.
artist
;
of inspiration
may
sometimes
explosive.
may be easily concealed, if the second consonant be The preparation of this second consonant may be affected
;
thus
Tancredi.
Moderate.
Rossini.
Tancredi.
*
Ah
&
-H *
'-
fl 91
-
^^
IeS!
n
ti
the accompaniment
dol
ci
con
te
When,
to inhale.
at the
note, a pause
singer
must
made by
Don Ottavkk
Andante.
Mozart.
Don Giovanni.
* As an
we
word were
instance the favorate song or glee, " Oh, Nanny, wilt thou the surname of the lady
gang wi
l*
me?"
in which
most
ill-oft (/-educated
On
Time.
of Song, remarks,
which rhythm
as
we have
said
is
Anna Maria
c
Cellini, in
her
Grammar
is
duration.
" 2/ tempo
Canime
della
musica"
This
true
for
Time
ness,
to its execution.
and ensemble to music, while irregularities add interest and variety Time, or Measure, is correct, when the entire value
is
rhythmic movements.
the notes, should, without altering the movement of the time, be procured
acquired
precision and steadiness are thus which few singers possess. To mark time, the strong beats of a bar should be accented with As an example of this, we may cite the allegro of the trio in vigour. " Embrassons-nous ; " the allegro of the duet in Guillaume Tell,
complete
most important
qualities,
from adopting the tempo rubato. Secondly, time is free, when, like discourse, it follows the impulse ot passion and accents of prosody ; chanting and recitatives are examples
of free-measure.
Thirdly, time
is
(Hello,
fato
and
stretta
effect
finale
Don
Giovanni,
ancholy sentiments.
long,
manner by
striking
singer should avoid and the rhythm but little perceptible. marking the time too strongly, or giving it too regular and stiff a
Time Time is
is
character (see
regular
when an
Example B.)
air is characterized
(A) Figaro.
Mozart.
Nozze di Figaro.
^ w ^J T
m m
V
Non
piu
andrai
far
fal
Jo
nea
mo
ro
(A) Otello
Allegro.
Rossini.
Otello
(B) Edgardo.
Donizetti.
Lucia.
m 8 f4
*
a piacere.
Larghetto.
Pra
bien
-
^E
-
S^l
ro
ra
po
tot
co a me Pher-be
- ri
co
ve
ne
gletto
i
vel
le
lo.
e.
des
champs croi-tra
sur
ma
pierre
so
%=
^flL*-^1
ad
libitum, a piacere, col canto, &c.
if
s^
a tempo.
all its parts at
31
Irregularities in time are, rallentando, accelerando,
On
Rallentando.
once, in order to enhance
it*
Rallentando expresses decrease of passion; and consists in slackening the rapidity of a measure, in grace and elegance. It is also used as a preparation for the return of a theme or melody.
,
HoBSim. Guillaume
Tell.
Arnold.
ff>
^>
>
rail.
A ses
GUILLAUME.
re
-
gards
ff,>^>
Et que du moins
cette jour-ne'e
^^p^_^^^^d^^H4
que du moins u
-
plus
heurs
oh
ciel
Tempo lmo.
un peuple e chappe a
ses mal-heurs, et
ne jour
nee un
peu.-.ple e
chnppe a
ses
ma l-heurs.
On
Accelerando
is
Accelerando, f
it
On
increases the volocity
effect.
Ad-libitum.
;
In ad libitum phrases, time is slackened but this kind of free moveConsequently, whenever a ment must not be arbitrarily introduced. singer intends risking it, he must not diminish the time throughout but
* This attack
is
nant, according as a
by means of a stroke of the glottis, or stress on the consoword begins with a vowel or a consonant. If these notes were the rhythmic element would be destroyed.
effected
have recourse to the tempo rubato, which will be noticed immediately. Certain pieces admit of the voice and accompaniment being alternately
free
and in
strict
rhythm ; when
latitude
is
In the quintett of
rapidity.
Donizetti's music
and above
all,
Bellini's
contains
a great nunber of
time of the accompaniment must be well marked. (See above Example B.)
Suspensions and cadenza stop the accompaniment altogether, and
leave the singer for
both to be employed.
53
Tempo
JRubato.
By
tempo rubato
is
increase of value, "which is given to one or several sounds, to the detriment of the rest, while the total length
to
This distribution of notes into long and short, breaks the monotony of regular movements, and gives greater vehemence
:
Example
Allegro Moderate.
Anna.
Donizetti.
Anna Bdlena.
Ti
ram
men
ta
il
mi
cor
do
glio
non
las
ciar
-
ti,
non
3
la
-sciar-ti
lu
-sin -gar.
I
non
Allegro.
las
-
?#ciar
2H
-
--
ti.non lasciar
ti
In -sin
-gar.
Ninetta.
Rossini.
Gazza Ladra,
di
men
ti- co
miei tor
men
quan
ti
and time of an
and change the
whereas, tempo
uses a ritardando at the last bar but one, instead of the tempo rubato ; as
while aiming at spirit and enthusiasm, he only becomes
maintained
upon
this
monotonous ground,
awkward and
dull.
alterations introduced
by a singer
This prolongation
is
character of
certaiu
phrases.
long syllables, and those which are naturally salient in the harmony.
all
In
lost
notes.
com-
This
Example
when a
cadences of a piece,
Lucia.
.
Larghetto.
fy*
tf*
Two
artists
Paganini
Garcia
and
part of a musician, however, are requisite for the adoption of this method,
to
is stable,
or
regularly maintained
inspiration,
till
by an
orchestra, they
in
any other
to
wo^d
appear singularly
difficult,
an executant.
illustrates
phrase.
An
Allegro.
Count.
Barbiere.
again,
is
by permitting
Andante. Count.
thus
:-
fcr
The tempo
rubato,
if
r
Ec
-
d~
la
co
ri -
den
- te il
cie
lo
spun-ta
bel
spun - ta
la bel
mmm
-
ro
la
au
ro
ra.
all
when required on
the
way destroying
single sounds.
father
bar, in thia
Of
the Forte-piano,
and Accents on
is
called accent.
The most
regular
fall
* This passage presents an approximate example of the use which the author's late made of the tempo rubato. t Spaniards, much more frequently than Italians, make use of this liberty in.theit
on
But as
this arrange-
popular songs; and although the Spanish language has a prosody quite as much accentuated as the Italian, yet in popular tunes the accents of the music regulate those of the words, a characteristic feature of their national music, perhaps not to be rr it with elsewhere.
54
AnimaBellini
.
.
Sonnambula.
Accents,
again, are
or else
placed
on appoggiaturas,
first
Em
(Example C,)
(Example D.)
on the
when
repeated.
Ah non nrm Ah
ffinn giun
ge
u
-
this.
The
in
stress, too,
(Examples A.)
is also
which case the accent concurs with the prolongation on the same sound
is
The contra-tetnpo
bar,
is for
moment
rhythm,
~~
This
is
done
to avoid
and thus
produce a striking
effect.
(Example B.)
~~
V\
LlNDORO.
Rossini.
Italiana in Algieri.
^jSFF
Sei
di
ghiaccio
sei
di
stn
co
sei
di
ghiaccio
sei
di
stu
co
vie
ni,
vie
ni
che
t'a
rres
ta
(A)
Lucia.
Donizetti. Lucia
/,
t
'
per
Pacini
.
Niobe.
Nr-
(C)
r
tuo
i
=>
=-
=r
fre
quen
ti
pal
pi
ti
deh
fre
na
co
- -
re
man
te^
(B)
Figaro.-<:
a^3
M^
Zit
-
RossiNi.-Bar^m
(D )
MEYBBBiwn.-Crociato.
to,
zit
to
che Lin
do
ro perpar-lar
vi
qui
ver
ra.
+*
Ah
fi-gio
an-zio-so
il
cor
ii
cor tat
--
tende.
(E)
Rossini. Bianca
e Fallero.
(E)
Rossini. Barbiere.
&0k
Cie-loil mio labbroins
pi
-
ra.
Ah
similar laws.
tu
so
io
amor
We
may
methodsometimes
full,
energetic, sometimes
to the
it
should be strong,
and rapid.
Examples
Tancredi,
Tlo88im -Tancredl
-*-:
^
A
vi
-
vn
lam
po
di
quel
la
da.
Al
m s
vi
-
vo
lam
po
da.
Norma.
Bellini.
Norma.
When used
in tender
3
non tron
-
i=^
re
J
e
-
Deh
car
sul
fio
I
quel
-
quella
in
nocen OS>
te
ta
-fr-fc
-*r
-
4
-
car
su \
it
1'in -
nocen
te
ta
softer.
Example
Handel. Convitto di
Largo.
-M
-?
nu
-
9^T
fifffe"H
Sen za
glo
-
fr
ai
ria al
dosuol
nu
m
-
Alessandro.
do
suol
8&
Norma.
diforza.
Bellini
Norma,
Accent used by
Madame
Pasta.
vi
ta
nel
tuo
se
tria
its syllable, is
executed
not, as
The
Yet
first
note
and
difficult to
it
by any general
rules.
The second
note
its
once
.
may be
in
observed, that a slur will always be well placed, whenthe voice drags
itself
on the
first syllable,
and again on
own.
The
ever,
passionate passages,
on
under the
slur
passage
Sara.
influence of a strong or tender sentiment.
For
instance,
were the
ClMAROSO.
Sacrifizio d' Abraham.
h-
"Hai padre
of
e sposo in
its
me" (Don
will
Giovanni, Mozart,)
-
expression would
te
disappear.
in
as
shown
-N-
B:
But
rarely,
this
(A)
iS
^
^T
Deh
par
la
-
method, owing to
its
by
its
te
Some
singers,
from
(B)
fegEEEfej=|
Deh
par
-
j
-
after notes
thus the rhythm and the spirit of the song are destroyed,
la
Example
ISABEI/LE.
Meyerbeer.
Robert
le
Dlable.
P
:
te^:
4
Gra
ce,
Gra
e
-
te*-
ce,
pour
toi
^m
me
-
fcri
me, pour
fault,
toi
me
me.
is
unhappily so easy, that pupils are constantly tempted to adopt it, and so avoid the difficulty of articulating words on high notes. They commence a sylable on a low note, and then slur up to the high
This style
is
'
Another
sort
To
avoid this
fault,
one.
By
another,
more
may
assist
themselves in
we mean
more motion
and,
Example
Lucia.
above
Donizetti. Lucia.
all,
Messa
drawn-out
notes,)
ii
3o:
Spar
|
^t
L'a
-
may
bf
pian
to
adapted.
>
,
r
Legato sounds.
nflf~"*
The Breath,
Spar
gi
d'a
am*
d'a
1
or they
may be
slightly prolonged,
and strengthened
Spur Spur
gi
This
way
is
passages.
a good resource for voices of small compass in single This has been noticed already in the section of " Words
This style
is
amend
Examples
^^gp^^g
Ques-teun
no
-
do av
vi
lup
pa
to
ques
t'eun grup
po
rin
tree
to
Rossini.
JBarbiere.
Mozart.
Don Giovanni.
66
(B)
Allegro Assal
Flauto Magico.
3t^p
Stentate.
St
-\\
-* 2
m
Ah
-
P
sem
-
S
pre o
-
P-
dia
ta
la
mia
me
mo
ria
spe
^^
ro
se
fui
Marked
sounds.
:
Marked sounds
Assur. Andante
Example
maestoso.
^tmmm^
Rossini.
..
Semiramide.
pet-to
fre
mer
sen
to
il
cor
nel,
'
pet-to
fre
mer sento
il
lo
a sten
to
il
mi
ter
ror
Repeated sounds.
Repeated sounds
are, in
my
P^ffi^
NlNETTA.
tr
&
n Ml
^4
Tal-tro
I/uno
al
sen
mi
strin -
ge
l'al - tro,
ah
che
fa
fa
Pointed
notes.
In passages consisting of pointed notes, as decided in character as the following, a vowel and the sforzando should be added to the short as well
as to
the
importance Semiramide.
The
Rossini. Semiramide.
that
is,
n j-H r te
Allegro.
rl
j^i*
for
-
r-=-j--i0-^
La
g
mie
-
*=
pi
-
The
I.
Uniform
marked thus.
ZZ
za
pri
ra
glia
II.
Crescendo
V fe
for
-
0^mie
za - a
pri-i
ra
^m
ri
-
III. Diminuendo
IV.
Crescendo,
V. Diminuendo followed by
glia
pi
i -
Much
as
we acknowledge
we
The
piano
:
forfce-
Barbiere.
Si
ff
?=*
Zit
- to,
i
Period of uniform forte intensity
Per
S
per
la la
zit
to,
pia
pia
no,
non
fac
cia
con
fu
-00sea
-
la
dal
bal
co
ne
presto
an
dia
mo
via
di
qua
Ibid.
e
P
&^31^ psE|
la
sea
dal
bal
co
ne
Two phrasesone
B:
S_
Per
la
*m
pres
-
to
an
dia
IS
mo
via
di
qua
Ibid.
p
JZ.
an
-
sea
la
dal
bal
co
pres
to
dia
mo
via
di
qua
Rossini. Mose.
JDesdemona.
Quan-tio
Mi
man
ca
la
vo
ce
mi
dim.
sen
to
mo
ri
re
Rossini.
:=
Otello.
pal
pi
ti
che
dea
t'a
mor
57
Two
sections of
phraseone
piano,
A gte
Rosina.
Rossini.Barbiere.
^^<
4
-
10
qui
nel
voice.
f**
^suo
-
-na
ce
po
fa
Full
3^
U
-
6
vo
-
3=m
fa
al
nel
na
ce
po
CO
qui
cor
^ ^
no
v'ha
Rossini.
Mose.
Two
melodic figures
Two
melodic figures
one
strong,
the other
weak
mm
Hd
by
will
one
=m
fie -
inuendo
*$
di
u
ques
-
ro
to
left to
the senti-
between the phrases, the thoughts might be well-connected, but could not be
submitted to a foreseen coloring.
ment; while,
at
following considerations
:
;
When
the
the
'
is
as
A
that
first, its
we may observe
piano omposed
is
by the
If this
When
it i
This lemark
frequently with
common
Cres.
link
Don Giovanni.
P z
Senzaalcun or-di-ne
Cres,
la
danza
si-achiil mi-nu-et-
to
J ~]
Mozaet.
Don Giovanni.
r~T"#r P
ffi
chi la fol
- li -
chi l'a-le
man - na
fa-rai bal
lar
Donizetti.
Cres.
Sancia.
ah
^gja
Andante,
gno
e.
Pergolese.
Siciliana.
Cres.
PP
f^j
This rest affords relief after loud notes, and prepares us for seizing
effects,
all
however
especially
if
the
first
consonant that
dando
in graceful
Every
;
transition
Hence the
rule
only when
rest.
expounded
in
several
pianissimo follows,
it
ascending, and
special cases,
diminuendo
shown
in the fol
owing exam-
p e
Larghetto.
Desdemona
Cres.
6
We have
already shown
how
by whole thoughts, or
unifor-
Q-Hri
their details.
In the
first
mity of
long.
effect,
with
care only being taken that the phrases or periods be not toe
is
This manner
slowly developed.
In coloring by
to.
of the melody
should be attended
its effect.
Each melodic
figure,
each
This method suits the liveliness of rapid and short ideas, and
;
con
so
it is
la.
Strike the
C after the
bass,
in
68
If the shadings of the forte-piano are to be impressive, the diction must
not only to the
commencement of
it
be very powerful
is
a passage.
When
effect
all
is
be gradually swelled.
high notes,
This precaution
nowhere.
consists in contrast.
brilliant
An
prepared by contrast
;
is
rendered
far
more
Suspensions and Reprises.
&c,
&c.
When
ruption.
it
is
resumed
its inter-
Suspensions-* Terminations
Reprises.
in
with the same degree of power, and in the same timbre as before
Example
A simple
which different
Aria.
members of a melody
and connected.
theme
when
it
has to describe
#-*-
a
:
Meyerbeer. Crociato.
J?
when
pro-
1 SE
Fug
-
00-
terbr
s-v
9+
pian
-
^
ge
-
duced by sudden
starts
and unprepared
gi
senipre
re.
its
character,
when
Example
Eleonara,
Tasso.
rae
Vtts-
Deh
P^^m
iSSs
In these examples, the movement
is
m
ta
=^ * S
&Ah
l'af
-?-/-#-.
te*-.
in
pe
-
Donizetti.
Torquato Tasso.
ZJZ~~
na
ci.
fan -no
cui
=p^f
~t
i5
Tasso.
M^
;
P-
-i***
nbnk
?
tr
IPH
is
the precise
indicated
by means
moment of
tr
Donizetti. Torquato
0
follows
:
-*Ah
si,
E5
ah
si
m?
te
-
tr
tr
fai_jg_g
**4
pal
-
*=
me,
per
pal
pi
ra
per
me,
;
per
me,
per.
pi
te
ra.
into confusion
this
phrase would be
Rossini. Otello.
Desdemona.
Lento.. immfm
Lunga.
tr
tr
tr
me
Terminations.
pal-pi
te
ra.
The way
marked by a
too
in
which
figures,
and
for
were
it
to be
much
#
;
besides which,
for
In slow
admit of
greater extent, but only in proportion to the values preceding and the pause
P in
,<5*S>
Sf,/r\
SL
final
;
crisis
The
and
at this important
be longer than
because
it
either
moment, vigorous
articulation of time,
by means of
consonants, inflexions,
all
of a thought or discourse.
These
finales will
in
be stronger
words
combine
to
than in piano,
and
longer,
also,
serious than in
example
Annette.
Weber
f*H
Robin
CHAPTER
des hois.
III.
f
*
tf mm
Veil
-
WW
V
le
On
Changes are introduced
effect.
Changes.
from necessity, or to enhance the
:
P-
i
ire
-
in pieces, either
This necessity
may
result
a part
may be
in either
grand
Dieu
is
tour.
low
or the style of a
;
Care must be not to get rid of the air that the chest might retain after every rest.
This ill-placed prolongation
vulgarly called a queue.
taken., also,
WOrk
declaimed
or ornamented
may not
be altogether suitable
59
raising or lowering
some
of pieces, too,
free
whuh, from
&c.
must be entrusted
order to suit them to the power and character of his vocal capability.
and
to the
Had he
merely to perform an
air,
than deprive
of
its
essential effects.
Before proceeding to develop any precepts referring to ornament, it may be remarked, that all embellishments should be soberly employed,
in their appropriate place,
is
is
pleased.
It
would be and
is
wiser for an artist to give up a work ill-suited to the display of his talents,
than be compelled to force his vocal powers, and transgress the traditional laws of a standard
As
work.
way
in
ac-
We will
is
now
by the
necessity of producing
cented
new effects. When there is no accent to give color to melody, recourse both of words and music. had to ornaments (or Jioriture.) This is the case with almost all used to depict a grandioso sentiment, would be
Italian
music prior to the present century; for authors formerly, in sketching out their ideas, reckoned on the talent of a singer to add at
pleasure, accent
unsuitable to the air of Rossina in the Barbiere ; the merest discrepancy between the charactei
its Jioritures
would
and ornamental
accessories.
There are
different kinds
Example
Almavi^a. Andante,
sempre a tempo.
Rossini.
Barbiere,
stral
che mi
fe
ri
lo
stral
che
mi
stral
che mi
fe
ri
lo
stral
che
last
mi
It will
example
is
too
but be
it
We
especially insist
on the necessity
its
In duets, embellishments
quartetts,
ornaments,
may be
but in
trios,
&c, no change
is
allowable.
composition.
melody;
00
Rossini.
Donna
del Lago.
nar,
'l
l"
"1
1
Jim
lull
mi
Rossini.
Tancredi.
ve
drb,
ri -
ve
dro.
effect,
when
terminating
novelty,
A musical
cavatinas
idea, to
be rendered
it is
interesting, should
be varied, wholly
Thus
and make no changes in essential parts of a melody, that is, in notes which are placed on the down heats. These notes, besides containing the rhythmic accent, fulfil prominent functions in harmony hence they should be cautiously modified by ornaments, lest the melody be entirely
;
charm of
repeated.
as
These changes should be introduced more abundantly, and with ever-heightening variety and accent ; the exposition of the theme
alone should be preserved in
follows the thought in
its its
transformed.
simplicity.
most minute
details.
Example
Cenerentola.
Rossini.
Cenerentola.
\
Con
brio,
Co - me un Desdemona.
Rossini.
Otello.
pi-do.
5^
mf^irM
pi
ri
fc
ed
rt\
dolce.
VPmi
-
d'l
sau
ra
pian- to
-#-*-
&
ri
\/
Cimakosa
Con
Matrimonio Segreto.
?i
d'l
sau
ra
ed
il
mio
pian
to
tutta forza.
Variations
by Garcia,
sen,
TTZZ*.
The preceding rules are confirmed by the posers, who never repeat a thought several new effects, either for voice or instruments.
or thought,
it
com-
and especially
:
m
its last
notes,
which
it
would be
all alteration
this
way our
The
execution.
Effects of this kind are well suited to words presenting images of movement, space, or imitative harmony of sounds, &c. ; as,- for instance,
rapido,
eterno,
all
eco,
lampo,
gloria,
ardire.
To
this
category,
also,
some pieces, the theme of which is so happy and characteristic, thai would be for the worse. Such, in my opinion, is Pergolesi's "Sicilian :- The following pieces seem to me well suited for this kind of study: " Sovra il sen la man mi posa." Sonnambula. Cavatina. " Ah non giunge uman pensiero." Sonnambula. Rondo. " Una voce poco fa." Barbiere. Cavatina. " Nacqui air affanno." Cenerentola, Rondo. " Tanti affetti al cor d'intorno." Donna del Lago. Rondo. La Molinara. Variations. " Nel cor piu non mi sento." " Di piacer mi balza il cor." Gazza Ladra. Air. " La placida campagna." La Principessa in Campagna Air.
are
* There
belong
In
Air. Air.
Pr-aux-Clerc$.
Diamantsdela Couronm:
&c,
&c., &c.
61
Coppola.JvYna
/T\
/SS
s
$
^E
effect.
^"
-=-
K-K
-
3
Lun
-
S
gio.
To
we
shall presently
Among
trills,
the
many
so
Ion
ta
no
ter
no
eil
tuo vi
ag
by more
precise rules.
-t^-
W^
-&"
Appoggiaturas.
An
appoggiatura
is,
as its
name
indicates
gives
more
This note
itself
is
almost always
the
on the
chord.
late
Madame Malibran used to throw the whole with the most sublime notes mi ri-suo-no
minors, which
intervals
;
but in singing,
we
that function,
such
as dwell
>
PEgfc4pgj
Qui
nel
4&
Regarded
in
down beat of a
It is
bar, and on a
that tha
by
this
means
cor
mi
ri -
suo
no.
Orfeo.
Gluck.
Orfeo.
Descending Appoggiaturas.
Minor Second.
^m
Che
fa
H ande l
Major Seconds
Resurrezione.
*
rb
0-0
sen
-
za
Euri
di
ce
^m
Can
-eel
li
il
mio do
lor
lemie
me mo - ne
m
Mose.
Andante.
*-*-+
Rossini.
m
Appoggiaturas.
a=
;$=
H
Bellini.
Mose'.
Ascending
Norma.
Minor Second
mEH
p-4
j^^. tuo
stel
-
Dal
la
to
so
glio
Ques
te,
sa
ere queste, (
sa
ere anti
che
pian
te
jgmsi
m
Major Second. Andante,
1
Gluck.
Armide.
r=r-f
Appoggiaturas are written
notes.
in
two ways
in
in small or in ordinary-sized
varies extremely.
In
all
intended to embellish
but
if
it
was written
value
may be sung
with rapidity.
In
recitative,
The
character of a melody will show better than any precepts that might be
given to an appoggiatura.
began, in
many
and
to assign
advanced, what degree of importance ought to be given to an appoggiatura. Besides simple appoggiaturas, of which we have already spoken, groups of
two, three, and four appoggiaturas are sometimes added to real notes, or even
to simple appoggiaturas,
them
particular syllables.
Their value
first
is
last case
which
number and
dispo-
their
duration in the
sition
name
The
duration of an appoggiatura
page 36,
Battuta di gola.)
62
Double Appoggiaturas.
Linda.
DONIZETTI.il'mfa.
GUALTIERO.
P
i
g
ft
no
che in
-
.A
fe
-
No,
pfff
-
Ti
-
r
Bellini .Pirato.
li
ce ap
pie
no
non
mi
is
V-^9che
ti
Gior
no
trag
ade
gli al
ta
ri
pie
de
mm^
vo
il
tuo do
lo
= mm
jr
7
T
-
"3-
-i
-g
V.
Pp-
A
*-*-
A [AT
ff
F*
*F^
*/
h*r?
NlCOLINI.
Rossini-
i
ra
te
II
#
brae
-
-f-p^#
mi
-
cio
con
qui
se,
qui
se
O^eZZo.
frz-r
I/au
-
fra ra
mi
fle
bi
le
ne
ri
pe
te
va
il
When
the two
first
first
if similar in intonation te
the second
(Example B.)
The
effect of
From
this rule,
however, must be excepted those cases where the two notes form an essential part of the theme, as in the passage we give from Handel
(Example C):
(A)
PUCITTA.
Principessa in campagna.
(A)
T.n La
nal cal
ma
rt ed
il
di
let. let
tn. - to,
la
O.al
ma
ed
il
di
let
*>.
(B)
m
let -
03)
to,
let
to.
gfctff
Handel.
1 1
1
i
rrfffi,tmfy f gg
Sometimes a harmony
first
To break
Norma.
its
Norma.
Bellini.
Norma.
Bellini .Norma,
MMILM
non
- -
>0
*^
-
-J
tre
ma
i
^
:-
=E Mo
D'u
rir
men
dan
no.
1 1 *= tttt tl MZWZWZK
-
di-re
il
ve
o.
The
following table will serve to show the different ways of varying such notes
fe^fe ^l ^4ff^pFMrfmr7mm^
i
^r-' rr-i'%^
if3
& m^-^i^f^m
3
Instead of an appoggiatura, a note of the chord Zerlina.
may be
used.
Example :
Mozart. Don
Giovanni.
Instead of:
Bat
- ti,
bat
- ti
bel
Ma
set
to
la
tua
po
ve
ra
Zer
li
na.
\i
na.
artist.
Rode.
Variations.
Acciaccatura.
The
acciaccatura
is
as in-
Rossini. Bianca e
Faliero.
Ad
The
turn, as
ot
te-ner
,pie
ta
Turn.
fP|#fe
doJ,
il
dol,
il
we have
it
dol.
already observed,
its
may be
turn placed on the middle or end of a sound, requires that the latter
and
Example
<3SS>
t^ ^ it 8-C J^hfi
E
tu
Amenaide.
Ro s sini
"* f* ^r
Tancredi.
P-m
quando
tor
ne
ra
al
ben
mio
dol
ce
mor
ben
mio
ener-
dolce
mor,
compositions.
It
tuo
is either
ecclesiastical
music
is
lively or melancholy.
In these
resembles the
trill.*
I., p.
The shake
in all cases,
is
may be
arrested suddenly, or
it is,
by a termination corresponding
used by
The Shake.
38.)
length.
A
-an
regularly
; this
method
is
all the
best
in special
honour in
all
Passage of G. David.
Rossini Armida.
s m
but
it
JPEI
"
tr --^
-<
&MsidtijLz
When
each were terminated.
degrees, the
.
rm
^m-Sfca
-
Dim.
Ca
ra
per
te
ques
t'a
When
prepared
;
made on
only
is
all
others
Gazza Ladra.
^
Presto.
I'm
lie -
to
gior
no
k
^
|
^rc
f fafif| V r n
me
-
such
as adagio
trills
and cantabile.
The
following
tf
|
r[;i;
ah lamia
fr
|
is
nar
lista
Amelia.
fuvw
Mercadante .Briganti.
This mode of execution was a very great favorite with Madame Pasta, and formed one of the markd peculiarities of her style.
64
There
are, as
we have
seen,
Whenever
Rossini.
Barbiere.
the
trill is
two ways of executing the chromatic shakeone by attacking each semitone, the other by a slurring shake. scale, the preparation may be omitted without a l oss o f elegance for instance
;
Almavivia.
-&-
&-
-i
8
Non
ha
che e
-^r
-
'
gual,
^-^r non
ha
che e
u^gf
-
~^-^
'
s
oh
is
ft tr
**&
dol
4
-
con
-
goal,
non
ha
ce
ten
brilliant shake,
trill.
Example
i^SE
:^zze
0'.
Ma
che
val
il
mio
duol,
il
mi
^mi
o
duol
i
The Redoubled
Trill.
p. 39,
Trillo
Raddoppiato
)
:
The redoubled
trill
Example
T-mmr
redoubled Trill
tr
'
flr
#-JH-f-*
Pucitta.
Principessa
-
la pla-cida in
campagna
Campagna.
k-$w=P Pf prT*
Scher
zando va
v4
P
.
la pla-cida
Eife
^H m
isg^
The
\tr
=F?-
pp
^tt^n^ m am.
1
fifth,
^
i
The
omo.
"turjQ
Vr
5th.
3rd.
7th.
'^*^
"siiCjp
^=
|S
=r
:
i=t
m
The Turn and Shake.
^r
f**
-
t
fee
(Ribattuta di gola.)
and
trill" (as
has been explained) consists in a double beat of the larynx, ended by a turn, as follows
Allegro.
Otello.
Rossini.:
Per
voi
d'um
vo af
fet
to
sen
to,
sex* to
^^
in
-
fiam- mar-si
il
ii.
Ljj
mTzzdfPJS-e^
US]
w m ^
*4
and the
tat
If the turn
is
and the
are
made
repeated sound (called also ribattuta di gola,) are only different effects
presented by various beats or vibrations of the throat.
They
at
*^#
It
fragments of a
note, either
close.
trill,
to
ornament a
its
ppgjjj
trill,
when attacking it, in the middle of its value, or The extreme airiness of these ornaments, has, in all
times,
may be
style.
65
Pause (Cadenza,
arbitrio.)
it
i
The pause
sign /T\ V/
.
is
on two ^^ on
marked by the
chiefly placed
major and minor, on the dominant seventh, inversions belonging to these three kinds of chords. closing cadenza is used exclusively on- the chord of J, followed by the
perfect chords,
all
is
last
Examples
On
the chord of
Elena.
]
/T\
*=Jm
'*
s^
te.
to
is
tan
'
*"
S^ifp
?F^ ^7
a
|r
I-,
Q^
6 VlTEIXIA.
rzzfczz
J f-f
Mozart.
Clemenza.
Contbssa. Mozart
iVojize A'
Figaro.
is
zz:
jg
^i&i
#-*
43 Zerlina.
Mozart.
Z)wi Giovanni.
Wf^t.
Do
-
ve
mi
sta
do
ve,
do
US
-
/CN<5\J>
#-
rr\
-3-*/7\
ve,
do
ve,
mi
/T\
W^f EJ ?
S
deh
all
'
/CN
zfczz
-T\
zrzfc
zfczz
Bode.
Variation*.
Ques-to do len - te
co
re
nia con-so
lar
^E I WfWF?
^
The pause has
upon which
it is
1
-/CV-
B
notes
rules
:
and music, a sort of frame in which the singer places whatever will best exDuring the execution of such passages, all accompaniment hibit his taste. However vivid the imagination, or whatever ease of is suspended.
representing, in almost every species of
it rests.
modulated according to their own fancy. At present, this liberty is allowed only to artists of consummate musical and irreproachable taste.
execution a pupil
may
evince, he
to the following
The following example, though given by the is, we think, too irregular for imitation*
66
GlORDANI.
Artaserse.
may
to
two
syllables
that,
fear, if the
:
sense
permits
it,
Where
however,
is
ah ! Example
Cenerentola
Rossini. Cenerentola.
W
A cadenza should
necessary, as a singer
La
sor- te
mi
- a,
la
sor
te
mi
can ah
can
gio. gio.
=
measure
it.
It is essential, therefore, to
its
is
rendered more
must swell
observed in
all
dispensed with by composing a cadenza to several words, or by repeating a word and breathing in the interval
Amina.
Bellini
Allegro moderate.
.
Somnambula.
It is
beyond
all
question better to adopt this method than to sever words by the breath, which
effect in
is
singers.
The
syllabic cadenza
may
receive,
declamatory songs.
Example
/T\
Meyerbeer. L'ffioile du
6
.
Nord.
f?S
Cvs.
fttcfr
?-**
^^^jv^l^g
reviens et j'aban
-
3L
g V VYVV i 4-4-4
ma cou-ronne,
mais rendsmoi
le
#?a
bonheur,
/T\
don-ne
le
le
bon
heur.
who
are deficient in
varied in light and shade, which gives them animation, and avoids the impression of a vocal exercise.
execution.
ideas,
which serve to
in the places
is
placed.
with a finer
To prevent
To
seventh are sometimes united, and the passage which corresponds with the
first
of two, three, and sometimes even four different ideas, unequal in value, and
chord
is
suppressed.
Example
Bellini
Somnambula.
Amina.
Andante mosso.
VMM-
9-
Us
Base
jjj
%A H T TO i
fc-M^
let- to
amor
f^Pffl^^l
ah
/?\
Amor la co-lo - ro
mora
la co-lo-ro
#BJ ffl
3 ^^E
jpf.
&
J
/-TN
IS
w
/T\
/T\
rr\
-*-
1=?=?
-y y-
67
CHAPTER
On
Expression
is
17.
recommends,
to
are as follows
art.
efforts of
an
2.
3.
fully affected
by
Emotion of the
voice.
for
emotion
is
purely
4.
5.
6.
Use of
sympathetic.
feelings, since
It devolves, therefore,
upon an
artist to
to those
is
The human
instruments.
Movement
of delivery.
voico deprived
7.
8.
to
Each of
of the voice.
In
prayers or threats, for instance, if other timbres, accents, or modulations were introduced than those appropriate for exciting pity or terror, their only effect
Movements of
the
Countenance.
voice appeals to two senses,
would be
to
make
to his
and
of expression.
exterior circumstances,
some
its
coloring.
as embarrassment,
In such
and voice
words of
contradiction.
with every
represent,
and
Modification
of
the
Breath,
own
feelings.
it
The
is
The
speaks unaffectedly,
true accent
communicated
to
changes, being
noisy, panting,
based.
The
many different
and agitated,
at another, short
chiari-oscuri,
&c; sometimes
&c.
We
up
of execution,
sighs, sobs,
and laughter.
sufficient
tinize the
means by which they are pourtrayed, and to classify them. This important operation will explain the secret of those mechanical processes, to the principal of which we will now direct our attention.
by
the friction
more
produced
air
or less strong,
more or
prolongedof the
to scru-
the breath.
sobs, or
In pursuing
this first
method, the
friction
may be changed
into
even into a
rattle in the
:
be brought
into action.
For example
On
Analysis.
Fiorilla.
Rossini. Turco
in Italia.
suppressed and shrieky timbres, trembling of sound, respiration taken in the middle of a word, or attended
frHr--~ J.
. >.
. >.
-.
by
&c.
We
first
to
all
Our
present task
we touch upon
those
^
-
i B> i
pian
^
***
Mozart.
Don Giovanni.
m
scie
-
Zehlina.
-fc
La
ro
var-mi
is
gliocchi
ne
lie
ta
poi
sa
pro
^
bi
When
proper
the sigh in
its
sense and
it.
moan
are heard.
A
it.
or follows
If
it
aspirated
:
if
a consonant,
--
fe -
Example
Desdemona.
When
Rossini. Otello.
the sigh
:
ends a note,
it is
ait
L'er
ror,
Terror
#-#
d'un in
- -
fe
li
mW
ha
pa-dre
Example
ah!
pa
(irehl
::
68
The voice may be Donna Anna.
also allowed to fall before
^
ca - ro pa
-
by an ascending
which
P
pa
-
almost deadened as
it
begins,
by
**a
dre,
mio
dre,
ah
r>/T3
_
drea-ma-to
%
ha
h!
all
m
mes
combined in the
y-
following examples
ah padrea
Desdemona,
Rossini.
Otello.
4-4
Ma stanh calh fin heudi
spar-ge re
y_4-4-@.
- ti
^
i
sos-pi
rie
^b^s^^gr^r
pian
-
to
heumo-ri hen
Paint
ta
vergi
ne
ahi di
4 uel
salce ac
Smorzando.
can
to
ma
stan - ca al fin
di
pian
ge-re
mo
l'afflit
ta
ver
gi
ne
mo
is
ri
che duol
Pin
gra-to
ah
else in
On
the
Laugh,
of painful sentiment
depicting madness.
disguised
by a forced laugh, or
music
The laugh is a sort of spasmodic action, which allows the voice to escape only by fits and starts both in ascending and descending it runs through a gamut of somewhat irregular, though extensive compass. The breathing requires to be frequently and rapidly renewed but, owing
; ;
Emotion of
the
Voice.
it
which betrays
itself
by a trembling of the
voice.
in the throat.
In vocal
is
be
desirous of acting powerfully on others, should be thus deeply affected.
When
this agitation is
opera-sma admits of
it
when
the
expression
by a
sort of jerk.
Lucrezia.
Allegro vivace.
Donizetti.
Lucrezia Borgia,
^1
In
-
#"*
fe
li -
ce,
il
ve
le -
no be
ves
ti
non
far
mot -to
tra-fit
to
ca
dres-ti
Rossini.
Otello.
Sal
vo,
sal
vo,
suo
pe
ri - glio
ai -
tro
non bra - ma
il
cor
fe#W
Quegli
eil
Donna Anna.
Mozart.
Don
Giovanni.
2P 4-4
j
Vmio
fr-fr
s-v
4-4
te
car- ne-fi
ce
del padre
non
du-bi-ta
Fernando.
Agitation caused by indignation
and anger
5e
Vi
m
-
Rossini.
#
if
di
>*
m
ab
-
Gazza Lad,
JL.
a.
v^
tu
pe- no
has
m
hb
tol - le
^
-
m. *
nom ma -
m
tu
-
52ac
e
m
ma - gis - tra Sachini.
to
**+*
l
=*
do
m
-
tan-za
ra
to
ro
vres - te ver
go
gnar
GBdipe.
Agitation caused
by
terror and
remorse
o hI
p c c
TJn tern-
rro
o
jour d'ef
-
^m%
froi
(Edipe a
Cotonne.
5
o
tour
-
sup - pli
ce
ment
Desdemona.
Agitation caused by indignation, contempt, and despair
i Is
t^t
di
-
S
un
vi
-
Rossini.
Otetto.
Ah
fi
dar
tia
lui
po
tea
le
tra
di - tor
69
When
agitation
is
* Tremolo' 9
Kossini.
This,
-H
produced by grief so intensely deep as wholly to overpower the soul, when properly brought in and executed, never fails to produce a pathetic
Guillaume Tell.
S^teE
-s
m
Bossini.
Otello.
ha
Arnold.
T0-i-w
jours
mqu'ilsont
g~P
o
-
f0-*f
-
se
pros - cri
re
#
je
4-V-
-X#
pas
de
-
mmm
tu m'as
ne
les ai
fen
dus
du mau-
ftdfcf
di
-
h
de
ari|
re-mords
0-
0
X
se
re,
mon coeur
de
chi
re
oh
ciel
i
oh!
ciel
je
ne
te
ver
rai
plus
Desdemona.
b EEB WW V-M
v-fr-fr
Io ere
-
I
7Vche
al
-
Pz
cu
-
W^
oh
co
k~N
-
*3
-
de
va
no
me
?
il
\w~w
cie
-
0---
NN
-0
scea miei
la
-
*S
men
- ti
!
lo
s'u
ni
Valentine ought not to sing, but rather declaim in an agonized and disordered voice, the words, "Raoul
oppressed and faltering breath, she must conclude
:
ils
with aa
Valentine,
ello
s'evanouit.
MeyerbeerHuguenots.
Ah ma raison s'e-ga
!
re
pi
tie
je meurs
ah!
The
tremolo
is
employed
life,
are
offer
of a poignant character,
of any one dear to us
venge, &c.
such
imminent danger
or tears extorted
by
The
make
even,
intelligible
with great
and
in
moderation
Except in these esin any degree to not taken must be care just mentioned,
;
make
it
prematurely tremulous.
An
artist
who
also, full brilliancy of voice; whereas, on the contrary, these words, "Io credeva che alcuno," in Rossini's Otello, should by reason of the moral exhaustion that over-
becomes thereby incapable of phrasing any kind of sustained song whatever. Many fine voices have been thus lost to art.
intolerable habit,
comes Desdemona, be enunciated with open though abated sounds. Othello's proud defiance, in the Duo, "Or or yedrai qual chiudo," can
only be rendered in a round and brilliant voice
at sight of the ghost of Ninus,
;
On
slight, will effect in
Timbres.
A few trials will suffice to prove that every shade of passion, however
a peculiar
way
ti placa, perdona," and Qual mesto gemito," both in Semiramide, require, to prove its reality, the sombre timbre and the muffled voice. If, in these examples, we altered the timbre which has been tested, the effect would be detestable.
!
"Deh
ti
ferma,
in "
changes, and, like a mold, gives a peculiar stamp to every sound which
it
why
emits.
Owing
to its
wondrous
why a
singer,
jects, as
may be
for instance, if
when used
;
out of
its
the clear
but
flat
timbre insipid
the sombre
and dull
timbre, hoarse.
descriptive character.
The
They
true sentiment
the choice of
mitting absurdities.
choice of timbre in no case depends on the literal sense of the words, but on that emotion of the soul from which they spring ; sentiments that are soft and languishing, or energetic but concentrated,
In chapter
singer's will,
we
Thus, in prayer,
fear,
receive either the open or closed timbre, and that each timbre could, at a
In tenderness,
:
now and
become
These
features, as they
may be
Kossini.
Otello.
m
Auber.
Muette.
Desdemona.
BEES
Deh
cal
-
Weber.
Der Freyschutz.
0du
ma
M-i
o
ciel
1/-
nel
mvs
te
re
^m
Du
pau
Masaniello.
t =52:
f*
m
mi
fi
E#
de
le
vre seul
cends a
mavoix
le
Count.
Tender reproach
Rf/w &
Ira Cn
-
del
-0&-0
Mozart.
&
Nozze di Figaro.
#E
co
-
per -che
fi
no
ra
far
mi
lan-guir
si
70
Imprecation, threatening, or severe command, give to the voice a character of roundness, roughness, and hauteur.
Example
_
:
Rossini. Otelh.
Indignation
P
:
Donizetti. Favorite.
J MfSi
V0je
Threatening
Imprecation
m
vous
dois
tout.
^
Donizetti.
Or
or
ve
drai
Anna Bolena.
*
i=
pia
Cop
ni
qua
it
Tes
tre
ven
det
ta
clear
and
brilliant
Example
Arnold.
Martial enthusiasm
Rossini. Guillaume
Tell.
B E*
A
-
-*
mis,
1a
-
U
mis
se
-
5
ma
ven
-
con
dez
ge
an
ce
Mo'isE.
Rossini.Moise.
Religious enthusiasm
gfc "
Muttered
threats,
Wk
T
7
E
-
ac
so,
UE-
4SZI
ter
in
com
pren
si
bil
Di
deep
grief,
Donize tti
Lucresda,
Larghetto.
Threat excited by covert hatred
:
j*\
\>
7-*-^^
&
-4Guai
se
ti
i^
-
m
ti
sfuggeundet
to
tra disce
un
.
mo
to.
Deep
grief:
m
^
Andante.
Ro s sini
Mose".
t r 7Mi man - ca
-fla
m
-
-**mi sen
p
-
-g
p ^
mo
-
to
In our
despair.
last
example, the accents of sorrow are shaded, at one time by a tinge of melancholy, at another by paroxysms of
;
grief,
and
at a third
by darl
Terror and mystery deaden the sounds, rendering them sombre and hoarse
Andante. Semiramide.
for
example
Rossini. Semiramide.
Terror
X^
|l
y-^ J
ni
-
a]*
JW
-
m
ba.
to
da quel
la
Mozart.
Mystery mingled with
terror
Don
4-
Giovanni.
94+4
r
and indignation
za
ta
la
not
4-4-4-4-0 _ _ w _ 5
r
94-0-00
stanza o
-
te
^
Ian
-
fr-N-Er-fr
s-^
4-4-4
tu
- ra.
In the prostration which follows strong excitement, the voice comes out
dull,
because the breath cannot be held, and thus obscures the sounds
Desdemona.
Prostration
Rossini
-Otello.
Assur.
p3E3E$
Io
ere
*-*-* f
-
f-l-
Complaint
Gia
-de
va
che
al
cu
no.
gue op
pres
?
so,
This
flat
character of voice
is
the opposite of that brilliant metalic timbre which suits the expression of vigorous sentiments.
This first series of timbres contrasts with that assumed by lively, or violent sentiments, expressed wholly without restraint. The soft and affectionate character assumed by the voice when expressing love, partakes more of the clear than dull timbre.
Andante.
Example
Don Giovanni.
Mozart.
Don
Giovanni.
Tenderness
^ftceg'E'f
La
Paulino.
Andante Sostenuto.
ci
la
da
rem
mi
di
rai
di
si.
Segreto.
i
Joy
requires a
lively, brilliant,
^m
Pria
fW0
- ti
f<g\S>
h->
1/
che spun
:
in
ciel
l'au
ro
ra
in
-f~-
ciel
Tau
ro
ra,
and
light timbre
Don Giovanni..
Gaiety
fe
Fin eh'
HE*
cal
-
han
dal
vi-no
da
la
tes -
ta
u
-
*=fc
fes
-
na gran
ta
fa
pre
pa
-rar,
11
Allegro.
Figaro.
Rossini
Barbiere.
yi{r-PTr
i
rf]ri^fc^
-
Lar
Allegro.
go
al fac
to
turn
del
la
ci
ta
lar
go
Zerlina.
Mozart.
Don Giovanni,
1-f-t- f M-U V
l
^
In laughter, the voice
is
Gio
V
-
f
te
f
V
che
vi
net
t~=r=fV V V
fa
-
teal
l'a -
mo
-V
-
re
che
fa
te al
H-*** mo
-
Pa
re
Pucita.
Principessa in
Compagna.
La
pla
ci -
m
ah ah
:
p*f-
3EE
quan
: -
da cam
pa
gna
;
to
mi
di
le
ta
for instance
Andante
Carolina.
Cimarosa.
Matrimonio Segreto,
Laughter
Lei
ri
-
der
mi
fa
ah
ah,
ih
ih
ih
ih,
oh
oh
oh
oh,
uh uh uh
uh.
Sarcasm or
shrill
Raillery
^^sxim^-t^-^^
Et
quoi de
-
Bertram.
^_
Meyerbeer.-Bobert le
Diable.
^pde
-
ja,
de
ja
tu
trembles d ef-froi,
;
de
ja
tu
trembles d'ef-froi
:-
ja
Threats of grief and despair, when bursting forth, are expressed by open, piercing, heart-rending sounds
Otello
j^
jzffczE
Ah non
tre
-
|L
men- da
fie -
ra
quail' io
5
la
bra
qual'
mor
wm^
Rossini. OteZZo.
la
ri -
chie
de
Allegro moderato.
Sara.
S&S m &
m
So
che
spi
irt
quell'
I
os
-
mm
tia
si
0-*-+
_
ra
na
fCl
veg
ircktr
_ -
'
\rr\
'go
il
il
con sail
_ -
gue
rvr%a
che
tin
ge
queir a
ra
>
<
?
-
? *
to
il
zm
fer - ro
77-9
il
22:
fe
vPdeh
par
-
#==#
la
-
sen
che
sen
le
ri
A f^m^^m^^m
a. J.
to
si
te
che for
se
ta
cen
do
nie-pie
p>u
bar-ba-ri
sie
te
Edgardo.
apiacere.
conforza.
,
m^m fs^
Hai
-
P0
V
di
-
(*0*
l
-&^%"
>5>
/^m
ma
-
V
to
V
il
tra
cie
lo
ea
mor
le
det
to,
m
ma
.
Donizetti.
py-
le -
det
to
sia
Tis
tan
te
fa
when used
in pieces of
:
moderate expression
theii
Cimarosa.Matrimonio
Segreto.
-*
tSi
*
vo
-
S=#=F
Io
Vglio sus
&$
\/
-
su
ra ,- re
sus
sur
ra
re
sus
sur
ra
re
io
vo
glio sus
sur
^
-
-^
la
ra
re
ca
sa e
la
cit
ta
results
may be deduced
Lively or terrible passions, that burst out with violence, require open timbres}
while serious sentiments, whether elevated or concentrated,
demand
dull or
covered timbres*
&c.
The
the
2ndly.
employment of
different timbres y
form an
,
made uy
which
may be termed
the language
move
in
an opposite direction.
The timbres
attain their
of the soul.
Such exclamations
aH
greatest exaggeration,
when
n
Changes in Articulation.
Articulation marks
Un segreto d'importanza. Cimarosa, duo nel Matrimonio Un bel uso. Rossini, duo nel Turco in Italia
and
In
tender
:
Segreto.
by
its
energetic in vigorous
as,
softened
articulation
should
ta
scallerato.
Voi che
sapete.
Batti, batti.
Ah!
Deh ?
calma, o
Rossini,
la Muette.
Otetto.
Descends.
Auber,
cielo rendimi. Rossini, duo de la' Gazza ladra. Coppia iniqua. Donizetti, rondo d'Anna Bolena. Largo al factotum. Rossini, aria nel Barbiere di Siviglia. Fin ch' han dal vino. Mozart, air de Don Juan.
!
Oh
Amor, perche mi
pizzichi.
Fioravanti,
aria.
Anxiety, shame, terror, &c, impair the firmness of the vocal organs, and render the voice tremulous and throbbing. Sobs, suffocation, and anguish, completely disorder it. Examples
:
Podesta.
Moderato.
Rossini.
Otello.
Da chi
However
the syllabication
pie
ta
se
il
p. pa. dre
m'abban-do
na
may be
to
effected,
less
his auditors
one moment
be
on the number and duration of their details, than on the happy choice and skilful employment of them. The truth of an artist's conceptions, and the tact with which he exhibits them, create immediate
indispensable,
sympathy with
his efforts
it
them
at all effective.
engage simultaneously
(See Recitative.)
the
and
feelings
of
his
audience.
Rapidity of Utterance.
neously
to
of equal intensity.
The
feelings,
when once
its
roused,
The
A singer, in
An
artist,
order to intro-
own
one Agitato
Fra poco
and
dignity,
middle and low parts are more touching than the high, which are more
suitable for brilliant effects.
while
is
impressed with
that of "
me
down
rendering expression.
As
regards different
and Forte-piano.
Unity.
by sorrow. Similar accents are not always suited to situations which would at first sight appear identical. Thus Desdemona and Norma both implore their father's pardon; but the former is overwhelmed with confusion and shame, while the other forgets her humiliation, and
mother.
The
The
mode of
and
movement.
constitutes
This
strict
and
intelligent selection of
what
is
called Unity,
which may be
means and
effects
In compliance with
of unity in
its
common both to Shylock and Othello who is a debased and persecuted usurer, cherishes a smothered hatred against his oppressors, while the other, who is a generous, but stern warrior, gives way with violence to all the transports of jealousy. As regards peculiar ideas, their intention and execution must be
Tears, rage, and savage joy, are
Each
passion
up,
by
its
and phrase, taken one by one. Those tints, in which are most appropriate to the dominant In Mehul's Joseph, the phrase, "Freres ingrats, je devrais
divisions,
slow movements
vous hair " seems to convey a threat, though the grief expressed by Joseph is indicative of sorrow, and not severity.
and repressed
transports
threatening,
&c,
are
unimportant
," rie^n
c'est
A pupil, after
therein
;
appoggiaturas,
he
what
effects
ought to be developed by
From
this investigation,
which enables us
to discover the
harmony
of
Unity should be
most gradual
much
transitions.
These contrasts are harmonious, because the natural outbreaks of jealousy originates them all. On the important question of transitions and contrast, it is difficult or impossible to lay down any precise rules. Success in transitions depends
peculiar features,
originality.
In the same manner, an entire part or character must be studied in its and converted into a striking type of vigor and
The
different elements of
less in
more or
each phrase.
will
be found
Rossini
Otello.
FhR-*-^'jl
Voice
\#
Io cre-de
-
0-^r0va
che
al
-
0P
cu
-
no
oh!
5
**
-
me il
S
cie- lo
>
73
see a miei
la
men - ti
Poignant
languishing.
P~ J
Io
ere
-
m
-
gri ef
^
meil
tion
m
lo
no
oh co
!
^
si
-
Long and
trembling
moan.
ffl
i-\
P
-
see
a mie
ih
hla
men
- ti
By
il
Desdemona
In the ensuing
Oh come
!
cielo
s'
oh! should escape with violence, and amidst sobs; the syllables w be articulated and sustained with force ; and the syllable miei receive a turn exclusive of the prolongation ; and lastly, the words miei
and
cie
irresistible
al-
the second
more
energetic means.
The exclama-
lamenti should be full of emotion, and separated by a moan. If the style be changed, the effects will be different, though quite as complicated
:
Count.
Rossini.
Barbiere.
'_
8
Ecri
-
den-te
il
cie
m
lo
* i=^2
spun-ta
la bel
-
la
au
The
first division
of this phrase
is
in a crescendo
movement;
not-
masses, and
readings,
Gliick, in
withstanding which, the notes do, do, should be emitted with inflections,
fa and
then the
the pre-
marked contrasts, are preferable to delicate and elaborate which produce a happy effect in a more confined space. composing his opera, Orfeo, for the theatre of Parma, said
parations of the
slurred, softened,
and formed by
anticipation,
trill itself
brilliantly strengthened.
To
require the covered, while the other notes take a bright timbre.
Breath
choice of
means
is
its
characteristic expression.
its highest degree of energy, on a stage, no extreme effort of the breath, or considerable volume of sound, is required ; but a forcible utterance of the consonant m,
To
The
remains within
Let us suppo&B
themselves, unshared
by the audience.
named
much
it
feeling
but
be to sing a
Donizetti
Lucia, ia
-
Edgardo.
song, which
demands intense
monotonous weari-
some way.
From
elements
we have
iSe %
is
-0
&fe
^t
VTa
-
A
styles, let
le
det
te
tri
-
.
.
to
na
di
ma
ce
Tra
The
So
third
They are
-first,
also in
secondly, the
illustrating a composition,
means he may have at command for thirdly,,'the prejudices and musical intelligence
obvious that in a church, less passion
(Introduction
adopted.
Secondly.
Rossini's
Semiramide,)
marked sounds
to a piece
must be
As
regards theirs*,
by
all
singers
it is
is
more
simplicity
and devotion.
because difference of power and organization would render such an attempt impracticable. Variety of delivery is consequently legitiito-ae,
so long as the unity
is
preserved.
t|*z=?
Mi
ri -
S^"
flf
"
v-N
vi
dra
ti
ri
ve
dro
ne
tuoi
bei
ra
mi
pa -see
ro
^m^m
mi ri-ve
-
He.
dra
i
f% $ -
^lit
-
QgiL-^
ne tuoi
bei
ti
ra
mi
pa-sce
ro
feflgETfrlf
mi ri-v
-
-0-
dra
- i
ti
ri
ve
drone
tuo
bei
ra
mi pa-sce
ro
74
When a singer's voice is not sufficiently strong to fill a large building, he should be cautious of making strained or exaggrated efforts, which, instead of aiding the vocal organ, only give it a rough, guttural timbre,
and expose
it
Recitativo*
(see section
on Rhythn
that sometime!
strictly regulated
by
time,
and
to serious risks.
independence.
The
first
class
includes
those measured
movements
recitar*,
by the supply of and prolonged regular only breath; of a moderate, but continuous current in a vast contained air of mass whole the vibration pressure can put into
of increasing the range of the voice,
in sustaining it
inclosure.
commonly
those which do
not admit of time, and are called recitatives, from the Italian
to declaim, or recite.
Thirdly,
Experience
Recitative, then,
is
meaning of the
spoken recitative
recitativo parlante,
we
and
he should
is
to
not
On
to
mislead
by pandering
to
its
CHAPTER
As
there are
V.
by which it is governed. modes of utterance, depend upon length or shortness of syllables, upon punctuation, and on animation of speech. This rule is absolute, and presupposes in an
cases,
In both
prosody regulates
all
the laws
Thus
Styles.
is
singing.
many
many modes
ecclesiastical
(stilo di
of execution.
the
This knowledge will prevent errors in accent or meaning from pauses introduced without judgment.
(stilo di chiesa,)
dramatic
(stilo di teatro,)
camera.)
varied,
The
first is
the
the
is
third, finished
and
delicate.
These several
;
hence
it
is
no by
Spoken
tolo,
Don
execution
determined.
:
There are
&c.
It
is
syllabic,
on which
Plain
all
stylej
Florid style,
Dramatic
style,
Jlorito ;
declamato.
The
The
its
canto declamato
is
spirit, and humour peculiar to comedy. The composer from time to time introduces modulations into his melody, thus breaking the monotony of the gamut, and expressing every variety of diction. Recitative is almost spoken as long as the same chord lasts but, on
;
serious
These names
execution.
indicate the
Thus, the
key may be
perceptible.
terms portamento, bravura, maniera, show that slurred sounds, passages of power, and graceful forms, are the predominant characteristics of
these styles.
announced in the accompaniment, as much beforehand as possible, by the dominant seventh. In our annexed example, we suppress the time
of every note, to shew the complete independence of the singer
:
Mozart.
-/T\-
Nozze di Figaro,
.
i
As
j& &&e
<v
&
72-zr.
vien ;
-&
an
-
^~
zio
-
721
"g^gg:
sa
di
-&-
-&-
#*
per
~GT
come
il
V
-
r
col
-
~&
se
& -J?15r
la
-&
sta
dee-
Su - zan - na non
sono
con
te
pro
po
an ordinary species of melody, an disrespect to the composer) to any artist has a perfect right (without When the in the same key. remains he alter their notation, provided
recitatives are in general only
This third appertaining simultaneously to several chords, saves him from Example of a long stroke on the same the risk of being out of tune.
dominant seventh occurs in the accompaniment, the singer may resolve his part Vito the third major of the chord belonging to regular resolution.
'
IMn 'Jhwnni.
S
Don
So
(Don Giovanni.') " Presto, va con costor," &c. key Spoken recitative seldom allows of ornaments; those commonlj adopted are the grupetti, which are made at the close
:
Giovanni.
JOE ==* *m
sa
-
re
mo
la
gio
- jel
mi- o
cjl
spo-se
re -
mo
U^AwFf 4ft
e
la
p=
re
-
gio
jel
lo
mi
lo
ci spo-se -
mo
Jlistofr
e
la
gio
jel
lo
mi- o
75
The appoggiatura
ment, but
followed by a rest.
also has
its
of short syllables.
Aceow>
monotony
in the
recitatives, all
of two or three
equal notes.
is
often replaced
by
Don Giovanni.
Mozart. Don
Giovanni.
p-.
wpV^Veel
quei lab
-
Una
al
tra
sor
vi
pro
cu
ran
con
3?d
^^^E3g
si
--JZL'
^^m^mm^m^m^^^^^
bret
-
ti
bel
- li
quel-
le
di-tue-cia
candide
do
ro
se
par
mi
toccar
giun
ca
ta
flu
-tar
ro
se
Accompanied Recitative
This
a
is
(Recitativo Instiumentale.)
the latter,
it
Were
mai
the recitatives of
'*
(i
Ma
pa]
per
of
either free or
air,
measured
when
to
must be considered as
s'offre,
fragment of an
and subject
pietk
mi dice,"
time.
To our former
rules regarding
inserted between the two notes, as has been seen on page 73.
to
we
will
Though unable
appoggiatura,
former.
by the
feelings
we
must be sought
recitative,
it is
in those feelings.
first
In serious, as in buffo
notes followed
of two or three
by a
rest should be
changed
Accompanied
and
finish e
recitative
may be
closed
Example
Desdemona.
Rossini. Olello.
f g**
1
Ned
7)
il
sos
pi
ri
d'Isau
Vmio
V-
3t
pian
slightly veiled.
-
to.
m=A
pi
-
^^^=^=^mm&^^^*
L
Equal and
32
long,
f-rrV=
-f
ri
d'l-sau
ra
ed
il
mio pian
to
g=y
ed
frfttatafc
il
mio
In
recitative,
:
chords ought either to be played in advance, or not struck until the voice
aas ceased
Donna Anna.
Mozart. Dow
Giovanni.
76
Frequency,
in order to give the voice greater freedom, chords are united
BelliM .Beatrice.
When
a melody
is insignificant, it
piano, slurs,
articulation.
A linger who,
by
introducing
new
difficult art
of every description.
An
In the clnto
it
spianato,
a redundance of ornament, as
teriws to destroy
may be found
in
in
the
parts of
Don Giovanni;
the
in
Guillaume Tell;
Serniramide, Otello,
in
in
and
trills,
may
melody.
We
by recommending a
;
singer to
make long
to
gravity.
melody should be
note without
smtNitth
and
unbroken,
the
voice
passing
from
note to
either j$rk or
an
artist to
interruption.
All
changes
be imperceptible.
he
is
A few inspirations A
and larynx, that
pupil will use this opportunity for displaying the clearest, firmest^ land
;
subduing
agitation,
and restore
methods mentioned
in
attention
1.
to the slowness of interesting,
now
will
be confined
employment.
The
voice
though (owing
separately, or followed
must be swelled en every note placed under a pause, whether (Example A.) by a passage.
at the opening of a piece.
movement and
and
is
2.
On
On
(Example B.)
3.
aresteadiness
of voice, harmony,
itself in the
timbres , swelled sounds of every variety, finest delicate shadings of the forte-
cantabile.
(Example C.)
Rossini. Barbiere.
Lucia.
Donizetti.
Lucia,
Andante. Rosina
<A)
so.
Say
Io
pre
ghe
ro
per
i
-
fr
-*?-
T^#
dun
que
io
f-
te
Dun-que io son,
&
son
^=F Ste
Sara. Allegro
ajitato.
v
Sacrifizio d
f
Cimarosa.
Abraham.
(B)
j_
sciu - gar
ffff
7?
In each
Iflg
adapted
to
the
allegro
of lively
airs,
to
has required.
variations,
&c. *
2.
The
In the
di maniera. )f
commence with a
The above rules inspecting carto spianato are applicable, in all their pveiity, only to a Jajgo movement * The remaining
|o
This style was probably introduced by singers whose voices were deficient in power, and whose organs, though sufficiently supple for the execution of
difficult passages,
lieu of the
gios,
gantabile
though they,
were not endowed with any high degree of more showy ornaments such as rapid roulades,
flexibility.
In
brilliant arpeg-
&c
composed of small
figures, often
a certain exten$ retain the gravity of the largo, continually change their f
character
by borrowing from
The canto
di maniere
is
is
hence some-
^tended
passages.f
is
Many
but
singers, I
am
aware, maintain
To
selves exclusively to
largo-singing;
to those
this assertion is
Largo-singing
vocalization.
jff
far
more easy
They are all suggested by the necessity for harmony and The note ending the small figures, and the portions of phrases, followed by a rest, must be short, and of the same force as the end of the
of Phrasing."
preceding note.
The
final
little
longer, but
not drawlea.
brakes occur in a song, the melody must be resumed in the same timbre, and with the same degree of power, as before.
When
of imagination,
artist
f
and
elasticity of voice.
In
this, as
in
the canto
Gradation ought to be in
voice,
all
and shade
bursts of the
cpianatq an
consonants
heavily
articulated,
all
and
all
exaggerations,
should be
excluded from
pianissimo.
this style,
and
down
to the sweetest
The
|$j?td
style
may, according
the
mode of
The
different
names, as
descending passages
breath, which
Canto di
by shocks
of the chest.
agilita. into
0.
\^o digra^a.
(
When
slurs
this style is
Uanto at portamento.
3.
into
-2
tamento ; and here lower appoggiaturas are frequently employed. % 3. Bravura Singing (Canto di bravura.)
Canto di bravura
passion.
is
of power and
The
artists
who
brilliant
vocalization,
and
warmth of
Let us endavour
to characterize each separately.
Examples
in the
Trio of the
1.
Canto di Agilita.
which notes are
articu-
Donna
del
Lago ;
Misabetta of Rossini.
its
When
*
name
It
be easy of execution,
of canto di slancio.
Examples
light
and moderate
in force.
admirably
Air, Soprano,
* The
"II dolce canto del Dio d'amore." Rode, variations. "Idole de ma vie." Robert le Viable. " Plaisirs du rang supreme." Muette de Portici.
Ah
di spirti turba immensa. Handel, Convittod' Alessandro. Tutta raccolta in me. Handel, Nell* Ezio.
Tenor.
Fac me
t
vere.
Haydn,
Stabat.
" La placida campagna." Pucitta. " Pria clie spunti in ciel l'aurora." Matrimonio segreto. Languir per une bella, Italiana in Algieri.
Aria."
Casta diva."
I
Norma.
svegliati."
Bass.
..."
Niobe.
si
bel giorno."
" Ahi
se tu
dormi
Capuletti e Montecchi.
" Ah
si
Zaria.
Romeo
Lucia.
e Giulietta.
" Bel raggio lusinghiero." " Per che non ho del vento." " Qui la voce sua soave." " In si barbara sciagura." " Dove sono." "
Semiramide.
Puritani.
Duet, Soprano and Tenor. " Amor possente nume." Soprano and Bass. " Di capricci." " All' idea di quel metallo." Tenor and Bass, t Mesdames Pasta, Persiani, and M. Velluti.
\
Armida.
Corradini.
Barbieredi Siviglia,
Semiramide,
Roman z a.
Cavatina.
Pregiera. Aria. Terzetta.
Nozze di Figaro.
Sonnambula.
Ah
" Assisa al pie d'un salice. " II braccio mio." " Di tanti palpiti." " Deh calma o ciel. " Ombra adorata." " Giovinetto cavalier."
Giulietta,
Meyerbeer,
and
Grisi.
Crociato.
k Garcia, in Otello,
Mesdames
Catalani, Malibran,
Nina.
Energetic Roulade.
Coppola.Nina.
lfj^-#-
5E
=h
+-*torn
-
Di
ba
si -
len
^=m
zio
wrr
ge
-
ge
lar
lar
mi
fa
ah!
Desdemona.
Conten
ta conten
ta conten ta io mo-ri-ro.
78
Characteristic or
Popular Songs:
numerous
turns,
The
like
It is monosyllabic,
,
the
preceding
The
rapid
The
last
indispensable,
down
and
but on the up
Here,even more
which are called
the
singer should be
weak
but not
melodic graces,
The
where the
In
assumes
a melancholy expression
character.
all
Where they
who speaks
are possessed
by
The buffo
agility
caricato,
is
his songs,
and
to
whom
would be
useless.
Above
all,
he
cry of joy.
The Neapo-
humour and
do
this in
a similar manner
style.
close of
its
leave
much
to
be
difficulty of
such
an undertaking.
To
is
Syllabication, grammatical
quantity,
plished singers,
success.
hope of
sighs, expressive
and unexpected
transitions, appoggiaturas,
and
In conclusion,
me
The
and elevated
may
elaborate
and complete.
buffo caricati.
To
the actor
must constantly
vocalist
whose
constitution is well-established,
exercise of his art, has lost the freshness and elasticity of his organ,
the
only one
it
it
ought
to
and at the same time to articulate distinctly, are two though quite consistent with each other, and highly necessary. The reader is once more reminded that the glottis should, by means of a steady stream of the breath, prolong the sounds, just as much as if there were not words to divide them; while the organs of speech pronounce the consonants which commence or follow each
t
To
rare merits,
latest period of his talent, as it quickly exhausts the resources of the voice.*
vowel.
and the
air,
"Quand
renaitra," of
X Garcia, Pellegrini, Tamburini, Lablache,
and Ronconi.
The
pupil must transpose every example according to the compass of his voice.
-&16.
m
a
- -
-&-
del
m
1
che
te.
gual
me
p^ ^ X4=t^^^^^^mr^ ^gwrn^fffffr-W^ffipB
=
No
il
79
cor
non
ha
il
cor
non
ha.
Ah
che
mai
ra
che
mai
sa
ra.
No
il
cor
non
ha
il
cor
non
ha.
Ah
che
mai
ra
che
mai
No
il
cor
non
ha
il
cor
non
ha.
Ah!
che
mai
sa
ra
che
mai
sa
ra.
m
ifc 36 &~
Si
7&-
s0l^0l0^m
*&
ta.
^
I
v'<>.
ifei^ m
No
per
E
v'e
per
*i
No
per
i h ~*^iN
i E
v'e
ci
-
A.
J
,J*
=*=
per
v'e.
if
= i fe
Ah
tan
S
-
ta
mi - a
fe -
li
ta
ah
tan
ta
mi a
-
lfcD g ''-l
! l
fe
li
ci
ta.
fefc=FS* fes
Vor
-
-U1J
rei
#te
ft*
#-P-#res tar
5 S
vor
-
te
^f
LA,
con
te
con
rei
pP^
Era
fc=5
<^^-
as cazni
pal
-
ate
tri
-
le
me a
on
far
s
fra
le
con
con
te
res
tar.
i
tri
-
2z
on
-
far.
^^
Pa
**
sa
:44zUJ
go
rai
mm wmw^s^ ^^S
-^
pa
sa
-
rai
mio
cor
go
rai
sa
rai
mio
?or.
Ifca
2
22:
22:
BO
&-
m
gnor.
Si
ce o
gnor
ZL
Bar
ba
t^
do
lor
do
& lor.
- m
Si
di
I
ce
^S^
0M0
pa
ce
-pz-
mor
di
mor.
C"
fi=m
c
c
-
v
ri
'
w
-
U
scher
-
0^0 s
.
y
-
y
-
s:
K
scher
-
nein-vi
taa
de-ree
zar
ne in
vi
ta a
ri
de
re e
zar.
i^
No
per
VE&
me
non
v*e
5^ 3
mag
-
gior
pe
nar
non
v'e
mag
gior
pe
nar.
^-f
Non
^^S-^tt^h-%=^
per
gfe^t
non
v'e.
per
ra.
rf
do
va.
f-rorr
dal
rrrr
pia
ri
r
frrr^^fp^^^ilg^
sal
-
tan
do
va
do
va.
*gp-
*-
W-
81
Di qua
di la
vola
il
pen - sier
di
qua
di
la
di
qua
di
la
vola
il
pen-sier
vola
il
pen
- sier
di
qua
di
la
di
qua
di
la,
va
di
qua
di
la
vo
la
di
qua
di
la.
Ijl^^g^^^ferfc^g
Gia
fre
do
va
^^^gpp^f^ ^^^
g
fre
-
me
do
va
fre
men
do
Vo
lail
pen
sier
di
qua
di
la
di
qua
di
la.
Non
per
me
per
me
non
v'e
pie
ta
v'e
pie
ta.
Ah!
v*in
gan
ne
ra
v'in
gan
ne
^
mi
*
(
g-3E
&
To
free the voice
I
from the accompaniment, the singer
^ I^r g
Guer
-
IP
ra.
EEft tee
zf
Guer
''J y#
mk-m+mtk
7n
Pal
[rW^f^-r
p|
trffTffr
^^a^^^^^^=^^^fm^w m
Mi
fa ge
- lar.
diar
o diar
mi
al - lor.
3E
iditc
clie
mai che
ma
ta
- ro.
Del
te
^m^m^mt^^pt m^TP
^i
Tu
o
bel
' r
rr
^^
r . j jjjjj j /LJJ^'^Jj.jf
i
** g 3^
f
-
cor
diar
mi
al
lor.
te S5
35
82
i^WjlJTJ^
O
diar
mi ah
non
diar
mi
al
^JX,rrrtfff^|Siilite^
m
5-!
diar
mi
/r\
al
m
lor.
lor
Lento.
p
f\
5?=
^^ tr
mo
-
D'affan
------/T\
no
io
d'af
fan
no
m
-
ri
ro.
3^5
<
^ #fe^^^^^
^fiS^fe
ve an
dro.
Bfes j^
Morro
ft gg
g^^gl^
di do-lor.
Mor-ro
p^mmm?^W?*)^^* ^pgtn#^^p
Amor
durrk.
fhTtrtg"
^^?^..^^
ro
di do-lor.
Implo
implo
ro ognor.
^Ep
/T\
^llfe
&
S^
!>('
I
g 'f
;
ft-
&-
=4
tr
Ah!
te
83
=farT7ffr
Sem
^^^^^
pre,
sem
^^^^^^g^^^^SJ
pre
pe
nar
per
te.
&
Bril
aKaw-seaa
si
Mragnnlggada
il guardo laile-uardo la
^tf^W
ubei^
-
^J
-
y^ -jj mJ-j
^^
jvJI .
_--J
bal
za
il
cor.
^
E
vo
-
poa-^
laalciel
la
vo
laal
ciel.
R5
i^-
msm^m
gia
nel se
On
deg
gia nel se
no
on deg
no
il
cor,
(|te
4
zb^z
^^^pj^g^^gSgg^g^^^^^^^^
Bril
n
-Til
la
il
guar
do
e bal
za
cor.
3 ma? zhk
3*feri=
-f-
*-"
^^fe^^-^^i^^
le
k
^
Bitnrd.
L'e gua
non
--
ta
ite
to
mm
zsz:
sen
to lan-guir.
^^isS w$:
i
Sen
*=3=^P==p:
Ah
-i
del
suo do
- lor.
P^jz^i^Sp*
to
li
1Hsl
Ian
-
BE
E
i^^^^^^^n^
za o - gnor. -P-
fe^^^^^ ^#^^^SB^ffi
guir.
^"WFi-W,
t^
to
Sen
M'incal
r^-
OSee
^PS
^EZZ^
ser mobil,
tt
Ah
l'es
-----
^!
mo
bil
in
- fe - del.
in
1S1
84
psg
|^!^1
Qtrlslong^
-&-
ffig
ffirff
rr\
=F#
-(S1
co o
-
Te
gnor.
^^^m^^
Var
nn
im
^JE-
/rs
^TN
p^ei^^^
Ah
ah
#-i!V
spa
-
^
ri.
EG
Ah
I
/T\
S3
^
1
-
si
3$e
i
j
g^pag
j
It-
B^B
Sen
tc5
#t
**-#
fe
^f riFfflf J4^J *
i
^-vr-^-p-ff~\^^ B^ za po-ter mo
V-
rir.
j^fflMffi
Ah:
Ah:
p
w w
*
^=3
-
il
se
gre
to
del
mio
cor.
<&>
0m
i#-
^
-
di
gio- ja pal
rail.
pi
tar.
^^iS
Non
(
&+****
^JH
o
-
if* lH-^-JiU
con
-
g
te.
gnor
m^?g=&i W*=^
vi
-
di
piu.
SfegB
pH
85:
p^^^0^ff^^jd^m^xsrrnp ^^m]
,!
r f
-fcfefa^s^pi
tar dar.
^^m-sm^i
le or-ror.
o tempo,
diar
OT^
mi
a!
^PPK
non
o
-
fe
diar
-
ritard.
- lor,
mi
al
- lor,
non o
diar
mi
a! -
lor.
K-^fi
O
-
diar
mial-
lor,
non
diar
mi
al
- lor,
non o
diar
mi
al -
lor.
n\
(i
*w
Ah
jjji
gio
che
mmtrfftip&&
T~r ^
il
/r\
V-
pal
pi
tar.
m
Ah!
che
&m$\ m
gio
Ta
il
p
pal
#
pi
-
tar.
^f^^g^H=J=^a=p
Per - don
ah!
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