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INSTRUCTIONS
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THE ART OF

SIMGIWG
WITH

$mlu

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BY

V*m&m$, k

D.

CRIVELLI.
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BOSTON:
PUBLISHED BY OLIVER DITSON &
CO., 277

WASHINGTON STREET.

Parts of the

Mouth and Throat brought into

action in the Cultivation of the

Human Voice.

Thi9 Plate represents

all

the parts of the

which are brought into action in the cultivation

mouth and of the throat and development of

;

the voice

is

shown by the

position of the vocal organs in the throat,

as I have before observed.

the human voice. When the mouth is shut, the tongue takes the shape of A, B, C. E is the uvula F, the soft palate G, the passage which communicates with the nose II, the larynx ; I, the Epiglottis; K, the Windpipe; L, the Glottis, or opening of the Larynx, passing through which the breath in ascending from the lungs, produces the vocal sounds M, the cervical vertebrae N, the cavity of the throat 0, the cavity of the mouth. r Jhe windpipe has a natural elevation and depression, and therefore gives the larynx a movement either downward towards N, the cavity of the throat, or upwards towards 0, the cavity of the mouth. In producing the grave sounds, the windpipe, K, descending, the larynx, II, is inclined towards the cavity of the throat, N; and in passing from the grave to the acute sounds, the windpipe gradually ascending, raises the larynx, which then inclines towards the cavity of the mouth, and this is the cause of those sounds to which the name of "head voice" is given. During this action, the interior muscles of the larynx dilate or contract in dilating they produce the grave, and in contracting the acute sounds. The elastic action of the muscles gives lie glottis the power of forming itself into a variety of spaces, and as every sound requires a particular space in which to be produced, so from these various paces are derived all the sounds of th voice. But the quality of
; ; ;
;

In pronouncing the open sound of the Italian a, the mouth has a The tongue lies flat, as A, D, C, The soft palate, F, and the uvula, E, stretch towards G, the passage communicating with the nose, and thus form a space sufficiently large to allow the sound to pass through it quite freely, and with a capability of expansion. This is the only position proper for pracall others produce injurious effects and bad habits, of which I tice will mention the following 1st. The projection of the lips, as in pronouncing the vowel o. This position, by compressing the muscles of the throat, prevents a free expansion of the sound, which, consequently, is thick in quality, and deficient in power of vibration. 2d, Too much lateral extension of the lips, produces a weak quality of sound, because in this position the muscles of the throat become stiff, and therefore the sound has but little power of vibration, and no capability of expansion. 3d. To close the teeth too much, produces an effect almost similar The whole space, therefore, to that caused by shutting the mouth. becoming contracted, the tongue curving itself nearly as A, B, C, in the plate, and the soft palate and uvula descending, the sound is no longer able to issue freely, but introducing itself into the passage, G. which communicates with the nose, it becomes, in consequncee, nasal.
pleasant, smiling appearance.
; :

INTRODUCTORY REMARKS

The

following Exercises are the result of an analytical study, and of

many

years' experience in

directing the formation of voices, and are offered to the vocal

Student with much confidence, as

being of the

first

importance

in the cultivation

of the voice.
;

By
how

these Exercises the Master

may

acquire a knowledge of the vocal organs of the Pupil

and

far the functions

of respiration

may be rendered

available to sustain with firmness the expansion

of the voice

This important analysis should be made on the exercise of the scale of progressive long note?

=n

-F

Afterwards the Pupil should pass to the Exercises composed on the

intervals, or

mechanical divisions of the octave ; by which

may be

ascertained not only the correct-

ness of ear which the Pupil possesses, but faulty intonation, as well as impurity of tone,

may be

corrected, whether caused by any peculiarities in the structure of the vocal organs, or by bad habits

acquired
in

in

childhood

which defects are injurious

to the clearness

and sweetness of the voice even

speaking.

By

these Exercises

may be

ascertained what extent of firmness and flexibility the organs of the

voice are naturally capable of; what degree of elasticity they

may

acquire without being injured

and whether they require particular attention

in

order to render them capable of resisting the pres-

sure of the breath, during progression on the scale, without becoming tremulous.

Having arrived
voice, the

at a

knowledge of the obstacles that are

first

to

be conquered

in the formation

of the

most important study which should

it

be attended

to, is the sustaining

of the voice, and

its

expanding

in

such a manner as

to preserve

it

equal, round, and clear, throughout

is

whole extent.
,

To

obtain these indispensable qualifications, the best exercise

the scale of sustained semitones

by vwhich, together with the other progressive scales as

perfectly equal

far as the shake, the voice

its

may be rendered
its

and

flexible,

and

will,

from

its

lowest to

highest extremity, always preserve

natural character.
It is necessary to observe that
it is

impossible these very important qualifications can be obtained

;

unless the ear be perfectly formed, and accustomed to guide the production of tone

for otherwise

the Pupil incurs the danger of falling into the

common

defects of producing the tone guttural, nasal,

or dental,

all

which defects render the voice inharmonious and unequal.

is

All this demonstrates of

what great importance the exercise of the Scales

for the

development of the vocal organs, and how

ijicorrect are the opinions

of those

who

consider them unnecessary, and who, although they are the

true principles of the art of singing, consider

them as mere pedantry.

steadiness, equality, and flexibility of voice,

The Student

then having acquired, in

some degree,

ne should now endeavor to obtain pure articulation, and the power of elucidating clearly the musical
phrases of which a perfect melody
is

composed.

For

this

purpose, the ancient masters have composed not only Cantabile Melodies, called Solfeg-

gios, but they

have adapted to the sounds of the musical alphabet the monosyllables Do, Re, Mi,
facilitate the

Fa, Sol, La, Si, both to

acquirement of good articulation, and to accustom the Student

to sustain purely the accented vowels, as well in the

portamento as

in

passages of rapidity.
firm and clear.

Distinct articulation will soften voices naturally harsh, and render

weak ones more

The Singing Master who

them
to

has studied analytically the various qualities of voices, instead of forcing

into a character different

from their natural organic construction, will by gentle means be able

make

the most of even very limited powers in the Student.

His experience must have shown him

its

the obstacles that are to be overcome, in order to develop every voice in

to

true character, and

how

form

it

perfect in clearness, roundness, and equality, as before stated.

is

In the high Soprano and light high Tenor voices there

renders

generally a degree of weakness which

them almost

indistinct

from the

Do

to

the

Mi m

and feeble to the octave.

In some voices, from the same octave upwards to the

ity,

Mi A

the sounds are of a thin qual-

produced with much closeness of the throat

while in others they are harsh and disagreeable.

to correct in the formation of the voice. &j*
-=

All these peculiarities a good Master should

know how

In the light high Tenor voices the vibration from

almost of the character of falsetto.*

Do

to

Mi ^

is

close head tone,

In consequence of this peculiarity, these voices require

much

care in their cultivation, in order to

render the middle and lower parts firm, equal, and round, as, from their delicate construction, by
being forced, they

may become tremulous, and

of
full

incapable of sustaining firmly.

(Ital.

The

voices of

Mezzo Soprano and

Tenor
to

tenore robusto) are distinguished by being

\

naturally melodious and

round from

Do

Re ^

and

in

some

cases,

from

Si

flat

to

Sol

&==
perfectly formed should possess an equality of tone from the lower Si
bo.
flat

These voices when

the upper one 5FE

to

and they require the greatest care

in their

formation

for

should they be

forced in the smallest degree upwards, they will

tion.

become

harsh, and often incapable of just intona-

The
of the

Baritone voice demands, likewise, great attention in

'

its
.

formation, because, in consequence

g:

facility

with which

it

produces the Re, Mi, Fa,

^
i

==

f it

may be

mistaken by an

inexperienced Master for a Tenor voice.

So called

when

the

Male imitates the voice of the Female

from the adiective

false,

that

is.

not natural

The

Baritone, by being forced, instead of being gently exercised on the upper notes, may, in the
full quality,

attempt of the Master to render these of a more round and

veiled, or
ters,

become harsh, or

feeble

and

perhaps the voice in

its

entire extent

may remain an

imperfect mixture of the two chaiuc-

of Baritone and Tenor.

full

So, on the contrary, the

Tenor voice

in general extends

with

facility to the

Bass Sol

S
it

and having

at first

some

difficulty
it,

on the Mi, Fa, Sol,

the Master might, in forcing

totally different

on those sounds, destroy

each other.

for the

two

qualities of

Tenor and Baritone are

loin

The Re, Mi, Fa

and molodious,
octave

of the Baritone, instead of being produced

in

a tone round, char,

I

similar to the Tenor, are of a holloiv

it is

head quality; and from the Sol frE

its

to the

distinguished from the

Tenor voice by

strength and fulness.

In the voices of Contralto and Bass, there are similar

of their being of a quality hard, and frequently harsh.

difficulties to

be overcome,

in

consequence

In the Contralto voice, from the Sol

ficiently flexible
;

gJE;

to the

octave

SB

the tone

is

firm, but not suf-

and

in

many
-a:

there

is

s-

a disjunction, caused by the weakness of that part of the voice _ -s- -e.

on the Fa, Sol x

fcti

and the Re,

Mi

it is
it is

or from the middle Sol

^^

to

the octave

In order, then, to make

the

this voice flexible,

B -"^
it

In some

harsh, and in others thin or veiled.

it

necessary to cultivate

[M l. from the Sol ti^-g

:to

to

Mi

The same method ought

of
flexibility this

before extending
to

to its

two extremities, namely, from Mi |S >

in

Sol^fl

HE

be observed with the Bass voice,

it

order to give
-

it

the greatest degree

to the

voice
it

is

susceptible of, by exercising

from the Sol

HE

'

Re IE
its

before extending
character.

from the low

Mi

to the high

Mi

preserving

always

round

The advantages
to

to

be derived from the following Exercises are, that

are found
all

in the first scale

from

Do

Solfe

the obstacles to be overcome in the development of the vocal

organs, and in the formation of the high Soprano,

voices
;

Mezzo Soprano,

light high

Tenor, and
;

full

Tenor
voices

and by transposing

this

and the other scales a fourth lower under

Do m

S6l.\
"ST

the

-o-

of the Contralto, Baritone, and Bass,

It

may

also be advantageously cultivated.

art of

would seem that the knowledge of the theory of the

Singing

is

falling into neglect,

and
art

hence arise various opinions entirely opposed to the philosophical principles upon which every ought to be founded.
It is

therefore necessary to

mark

the great difference between those singers

who

are educated in the rules of the art, and those

who

sing only from being gifted by

is

Nature with a
and

certain degree of taste and a

their voices better

good

voice.

Whilst the singing of the former

more

descriptive,

adapted to express with ease on modulated sounds the true sense of the word*

that of the latter, on the contrary,

is

not only uncertain, but, being ignorant of the rules of the art,

they cannot give that light and shade necessary to express the various passions, excepting, perhaps,
in

an exaggerated manner, passing from extreme force to an excess of softness, and the more they
less

become animated the

It

capable are they of using their voices properly.

may appear

extraordinary, that in Italy, the seat of vocal music, there should exist so

much

difference in the talents of vocal performers.

class of singers
is

But

in all the schools,

whether public or private, the

distinct

from the other students, those of composition as well as those studying the

different Instruments, as the latter study solfeggios only in reference to

music

in

general.

It often

happens that

in this class

are found

some who,

in

consequence of the development of a musical genius

interest, leave the
;

and a beautiful voice, and of being excited both by inclination and

originally

study they haa

undertaken, and follow the career of a theatrical or concert singer

in the solfeggios, instead

and, being only

mechanically exercised

of studying the principles of the

art,

and the propei

;

development of the vocal organs, they abandon themselves inconsiderately to their genius
consequence of
efforts

and

in

they are obliged to

debilitated, that

make

to

produce
to

effect in their singing, the vocal

organs
the

become
art,

in time so

much

when they ought

become the glory and support of

they are compelled to stop in their career.

avoid a result so mortifying,
it is

To

necessary that the true principles of the theory of the art of

singing should be communicated to every musical student, which knowledge, even should the pupil

be deprived of physical strength, or voice, would always be found extremely useful, as

it

would not

only enable him to produce a greater effect in his instrumental performance, but he might avail himself of these principles with success, should

he devote himself to the teaching of singing.

is

The

object of the following Observations

chiefly to point out the

manner of

practising the Exer-

cises contained in the present work, not only as relates to the

management of

the voice, but also the

correct formation of the various positions of the

mouth and

lips.

OBSERVATIONS ON THE MANAGEMENT OF THE VOICE, ETC.

ought to be directed to the manner of forming and sustaining the voice. The best means of by constantly practising the Scales arranged in Semibreves taking care to begin each note in a tone firm and distinct, yet not too loud afterwards swelling it out, though not to excess, and then gradually diminishing it to the softest piano. RULE 2d. To produce an exact intonation requires great care and to attain this essential point, it will be necessary to guard against the two
1st.

RULE
;

The

chief attention of the Student

attaining this object

is

extremes of opening the mouth too wide, or closing

it

too

much

as the consequence will be in the one case a guttural,

and
;

in the

other a nasal tone.

the occurrence of a

To

avoid these defects, the Student ought to practise the Solfeggios with the vowel A, shaping the
it

mouth

as

if

smiling

and

in

rapid passage pay strict attention to hold

constantly fixed in the

same

position.

By

these precautions, the too

common
The

defect of inadvertently

changing the vowel

in father,)

into

or

will

be avoided, a defect which completely destroys the equality of the tones.

In producing this sound the

Italian

A, (pronounced as a
it is

should at

first

be exclusively used.

mouth should not be opened wider

in singing

than

in

speaking with

word far ; the tongue should be slightly hollowed and touching the lower teeth, and kept perfectly motionless during the performance of even the most difficult of the Exercises. The passage from the throat into the nostrils should be closed, and the greatest care taken to avoid a guttural, nasal, or deutal tone. Most of the future progress of the Pupil "depends upon this first step. After having obtained the pure sound of the
distinctness the

A, the Student may practise the same Exercises with the E, (as a in fate,) the I, (as e in eel,) O, (as o in old,) U, (as oo in ooze ;) and when those sounds can be produced with facility through the entire compass of the voice, he may proceed with the Solfeggi at the conclusion of the work.

RULE
RULE

3d.

The Pupil ought

It is also

to practise the

Solfeggios every day with the monosyllables Do, Re,

&c,

to facilitate the reading of music

and

afterwards he must vocalize, to render the voice united and flexible, and at the same time familiar with the different musical periods and phrases.
4th.

necessary to be cautious not to force the voice from the chest beyond
its

its

natural limits, as there

is
is

nothing which more

that of taking in the
(viz.

impedes the drawing out of the voice and uniting

tones with sweetness than this over exertion

and hence the best method

Falsetto those notes which cannot be produced from the chest, and studying the manner of uniting the two registers of the voice

voce di petto
after this

and voce di

testa) in

such a way as to render their junction or point of union imperceptible.

By

practising

and vocalizing the Gamut

method, the voice

will daily

improve both
it is

in quality

and power.

RULE

5th.

During practice

necessary to pay great attention to the attitude and carriage of the body, as well as to the proper form and
slightest

position of the mouth,

this description will

and to guard against the

movement

either of the chin or

mouth

in

executing a turn or a division

any bad habit of

in the

prove not only highly prejudicial to the voice, but give to the performer a most ungraceful appearance, whether

chamber

or on the stage.

RULE

6th.
;

Confidence and self-possession are indispensable in order to overcome the fear and embarrassment generally excited by the presence

of an audience

but these are requisites only to be acquired by long and constant exercise in the solfeggios and vocalization, by which alone a

readiness in the vocal organs and a certainty of execution can be acquired.

RULE
RULE
a shake

7th.

The

voice should never be so

much

strained in the higher notes as to produce a screaming shrill sound

it

but, on the contrary,

it

should always be carried to those notes with particular sweetness and softness, unless
pointed manner in their performance.
8th.

be in passages requiring more energy of expression, or a more

Although the shake

is

extremely

difficult

to

be acquired by those who are not gifted by nature, nevertheless

;

it

ought not to be
to execute

neglected, but, on the contrary, assiduously cultivated by a constant exercise of the voice in appropriate passages

and although the power

it

may

not be attained in an equal degree of perfection with those

who

possess

it

naturally* yet the constant practice of

is

will

give facility to

the voice, and at the same time clearness and sweetness in the manner of blending the two notes of which the shake

composed.

RULE
j

9th.

The graces and embellishments used

in singing

should not be too profusely lavished, nor placed indiscriminately and without

the

judgment they ought to be introduced in consonance with the character of the melody, and in order to enforce the sense of the words, and penetrate mind of the hearer with the sentiments of the poet. This observation deserves particular notice, as it is not uncommon to hear many singers who,
any other passion, and so on, rice versa.
It is a serious

in expressing terror, introduce embellishments better adapted to the expression of joy than
fault,

and cannot be too soon corrected

it

displays not only specimens of the worst taste, but efforts which can never kindle anv other interest in the

hearts of the auditors than that of criticising with severity.

The

singing master, therefore, ought to be particularly strict and

attentive on these

important points, or he can scarcely hope to succeed

in

producing an accomplished singer.

;

RULE

10th.

In the exercise of Singing,

it is

necessary to be cautious that the organs of the throat do not become too dry by exertion

that the

teeth be not too

much

closed

that the lips do not approach

each other too closely, or become too

only a peculiar elongation of the chin and extension of the jaws, but also fatigue and lassitude.
exercised often and not too long at a time
;

much distended sideways for hence arises not The voice ought not to be too much forced, but
;

by which treatment
This

it
(-;;,-)

will

expand

its

powers equally without faltering or trembling.

become accustomed to produce mark is used for taking breath.

its

tones with facility and firmness, ;;nd to

instance,

11th. Consideration and management are necessary with regard to those places in the song where it is most proper to take breath for must not be done in the middle of a word, unless in the case of a long passage or an agitated expression but it may be done with propriety at the end of a musical phrase or period. It must always be taken when the note is to be prolonged, before a cadenza and before a close,
;

RULE

it

in

order to have the

full

command

of the voice in the execution of those passages and embellishments with which
in singing, it is necessary to

it is

usual to terminate a song.

RULE
may

12th.

To

attain

any degree of perfection

know something

of history and dramatic poetry, that the performer

identify himself with the character

tenderness, &c.
propriety.

It is

he represents, and be thus enabled to give correct expression to the various affections and emotions, as mind of a singer ought to be sufficiently cultivated to enable him to declaim recitative with feeling, energy, and equally necessary for him to know the science of harmony, and to be qualified to accompany himself, that he may not have occasion
In short, the

for the assistance of a master. I sincerely

hope that the above observations and suggestions

will

answer the purpose

for

which they have been composed

and as
it

this publication
will

does not originate in any other motive than the anxious desire to render myself useful in

my

profession as a Singing Master, I trust

be received

by the

public with that indulgence which productions of the kind generally experience.

D.

CRIVELLL


10 CRIVELLI'S

ART OF SINGING.

PROGRESSIVE EXERCISES.
EXERCISE ON THE MESSA DI VOCE,
Or swelling and diminishing the sounds, with a semihreve
to swell
in

each bar, to accustom the voice to hold a note with steadiness,

in the intonation,

and diminish gradually the sound, thereby acquiring firmness

and guarding against

faltering.

VOCE.

M
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CRIVELLI'S

ART OF SINGING.

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THE CHROMATIC SCALE.

This exercise contains the elementary principles of the cultivation and development of the voice for by the judicious commencement of its practise, is acquired a proper command of the breath to sustain and strengthen every sound without tremor while it conduces to the correct cultivation of the ear, by which the ability is acquired to maintain the voice equal in clearness, fulness, and quality of tone, throughout the scale. T'ie practise of this exercise likewise corrects the various degrees of weakness, found more or less in all uncultivated voices, which occasions those breaks so harsh and unpleasant in the
; :

regular progression of sound and execution added to which, the study of this scale begins to facilitate the elasticity of action in
;

the larynx, and accustoms the ear to the correct intonation of In practising the voice upon this the most minute interval. scale the greatest attention must be paid to deliver each sound, sustaining the voice steadily without effirm, clear, and full fort, and gradually though delicately increasing it throughout the consecutive semitones, preserving always the same quality from the commencement of the scale to the end.

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13

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28
key of

CRIVELLI'S .ART OF SINGING.

Six Exercises to be practised in those keys which are best adapted to the voice of the student. To render these exercises suitable to a Bass, Baritone, or Contralto voice, it will be necessary to transpose them into the
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Boston Public Library

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I

No.

Oct.,

1883, 20,000.]

BOSTON PUBLIC LIBRARY.

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