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FOR THE STUDY OF

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JOSEPH SMITH

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LIBRARY
Brigham Young University

GIFT OF

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Digitized by the Internet Archive

in

2012 with funding from

Brigham Young University

http://archive.org/details/voicesongpracticOOsmit

VOICE AND SONG

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VOICE AND SONG

A PRACTICAL METHOD
FOR THE STUDY OF

SINGING
BY

JOSEPH SMITH

I
Price, net, 33.00

G.

SCHIRMER,

INC.,

NEW YORK

Copyright, 1907, by G. Schirmer, Inc.

19454

Printed in the U.

S.

A.

THE LIBRARY
BR1GHAM YOUNG UNIVERSITY
PROVO,

UTAH

TO

MY WIFE

THE

/t

HUMAN

MONG

all Ike wonder/til varieties

instruments

artificial

excellent music,

ivhicli

of

discourse

where shale we and one that

can be compared

to

tJie

human

voice?

And

we find an instrument comparable

where

ca?i

to the

human

mind, upon whose stops the real

musician, the poet,

and

lays his hands,

compass of

VOICE

its

and

the

orator sometimes

avails himself of the e7itire

magnificent capacities ?

the length, the breadth, the height,

of music and

and the

Oh
depth

eloquejicef

RONS ON.

DIAGRAMMATIC SKETCH OF THE VOCAL APPARATUS

The

dotted

shows

outline

position of the Uvula relaxed

the

12

The Nose.

and

11

The Nasal Cavities.

10

The Upper Pharynx.

pendent.

When

mouth

the

throat, the

from the

off

The Hard Pa/ate.

Soft Palate

The Uvula

is

shut

Shows the position when

)
I

is

lowered and rests

upon

and

the

o jj. a _i
Soft
Palate J
I

back of the Tongue, which

vated

FC i

meet

to

Points

The Mouth (The Oral CavityJ.

The Tongue.

The Teeth.

The Lips.

The Lower Pharynx.

The Epiglottis.

it.

edge of the False

the

to

ele-

is

Vocal Cord,

TCt

Points

edge of the

the

to

True

Vocal Cord.

V Entrance

or Food-Passage.

Spinal Column

Within

larynx

Is

shown the entrance

to

the

leff ventricle < v >>

Larvnx <
J tne
Larynx.
oetween the edges
f
the False (FC\ ) and the
I

\ True (TC^) Vocal Cords

The
inp.

to the left Ventr'cle.

E Esophagus

shutting off the upper

pharynx, and when singV a high note. See
pages 32 and 53.

Arytenoid Cartilage.

X Adam's
T

Thyroid Cartilage.

Cricoid Cartilage.

Windpipe or Trachea.

(Vertebrae of the

Neck).

FIG.

I.

Apple.

THE THROAT AND ADJOINING STRUCTURES.

FRONT-;

F110NT

FRONT-*

Base of

5 Base of

Tongue.

Tongue.

Epiglottis.

False Cords.

Glottis.

N.B.

BUCK

THE GLOTTIS AND VOCAL

CORDS VIEWED FROM ABOVE.

T The Thyroid

Cartilage.

are

In

STRAINING,

closely

Glottis, i.e.,

3 The False Vocal

See

Cords.
Cords.

The Epiglottis.

cords"

Exercise

the opening between

opposed edges of the Vocal Cords

2 The True Vocal

the " false

approximated.

The
the

The Windpipe or Trachea.

N.B.

Vccal cords approximated.

N.B.

C The Cricoid Cartilage.

FIG. 4.

open for inspiration.

V The Ventricles.

N.B.

In

SINGING, the " true cords " are

closely approximated.

18 (b).

FIG. 6.

Glottis.

BACK-

Vocal Cords approximated

3.
THE GLOTTIS AND VOCAL
CORDS VIEWED FROM ABOVE.
Glottis

Cords.

2 True Cords.

FIG.

N.B.

Epiglottis.

3 False

THE GLOTTIS AND

VOCAL CORDS VIEWED
FROM BELOW.

FIG. 2.

True Cords.
I

BACK-f

VERTICAL TRANSVERSE SECTION OF THE LARYNX.

PREFACE.
It

impossible to learn from a book the " whole art of singing."

is

This book, therefore, has not been compiled

example.

used under

The
large

that

It

to take the place

student must have precept and

of a competent teacher, but to be

his instruction.

author offers

this contribution to the subject

number of the excellent manuals in use, and yet,

many will welcome such a method as is contained
The value of the method here set forth lies in its

embraces whatever

is

best in

Special attention

work on

the insistence throughout the

of experience

after years

He

is

familiar with a

teaching, he feels

in vocal

in these pages.

may

simplicity, completeness

be called to the exercises for artistic breathing, and to

the importance of perfect breath-control ; to the completeness of the

exercises for tone-production, voice-placing,

made of varied

with considerable diffidence.

and systematic arrangement.

prevailing methods, and adds much which has been found of value in years

of practical work with students.

sive use

The

and

upward and downward also to the extenand interval work for developing the. flexibility and agility

extension of compass

accentuation, etc., in scale

of the voice.

method will, of course, see to it that their pupita thoroughly understand

by means of a carefully thought-out series of questions and trials.

Teachers making use of

the details given in the text,

this

In the preliminary exercises for tone-production and voice-placing, which progress gradually from whisper to voice, the student should discover that " singing is sustained speech," and that to sustain a tone satisfactorily requires

not only perfect management of the breath, but also considerable practice to counteract the

In speech, the vowels are uttered and passed over quickly

ordinary habits of enunciation.

are always

more or

in singing,

they

less sustained.

Undisciplined voices require the utmost care and attention

fore, if the future

of the voice

is

to be at

all

at the

very commencement of training

agreeable and pleasant, the preliminary

work must be

there-

perfectly

mastered before proceeding further.

The

student cannot too soon learn, that provincialisms, and peculiarities of pronunciation, tolerated in

ordinary speech, are not only entirely out of place in singing, but are often the cause of much faulty and disagreeable tone in a voice.

Among
Adcock, "

the authors consulted and quoted are the following:

Bach,

Croker, " Handbook for Singers."

Cummings, " Breathing" ( Grove's Dictionary

Singer's Guide."

Allitsen, Song, " Love is

Arditi, Song, " II Bacio."

bubble."

ture ";

).

Curtis, " Voice-Building."

Curwen, " Standard Course

Christmas Oratorio St. John Passion.

Bach, A. B., " Musical Education and Vocal CulJ. S.,

";

"

The Teacher's Man-

ual."

Davies,

Principles of Singing."

"The

Voice and

its

Production."

Baker, " Dictionary of Musical Terms."

Barnby, Cantata, " Rebekah."
Benedict, Oratorio, "St. Peter"; Song, "Carnival

Deacon, " Singing" ( Grove's Dictionary

Delle Sedie, "Method of Singing."
Denza, Song, " May Morning."

of Venice."
Blackman, " Voice, Speech, and Gesture."

Donizetti, Operas, " Lucrezia Borgia," " Torquato

Brown and Behnke,

Ellis," Pronunciation for Singers";" Speech in Song."

).

Tasso."

"Voice, Song and Speech."

Bronson, " Manual of Elocution."

Cazalet, "On the Voice "; " On the Art of Singing."
Chaminade, Song, " L'ete."
Chater, " Scientific Voice."
Cohen, "The Throat and the Voice."

Farrar, "The

Human

Voice."

Garcia, " Hints on Singing."

Goetschius, " Theory and Practice of Tone-Relations."

Gounod, Opera, " Faust."

Gray, " Anatomy."

Crivelli, " Art of Singing."

ix

PREFACE.
Grove, "Dictionary of Music and Musicians."
Guttmann, "Gymnastics of the Voice."

Hand, " ^Esthetics of Musical Art."

Handel, Oratarios, " Belshazzar";

" Deborah";

" Esther"; " Jephtha"; "Joshua"; "Judas Macca-

Niecks, " Dictionary of Music."

Novello, C, " Voice and Vocal Art."

Novello, V., Song, " Thy Mighty Power."
Palmer, "The Rightly-produced Voice."
Parrott, Song, "To Her Portrait"; Song, "El
Wuish."
'

baeus"; "Messiah"; "Occasional";

"Samson";

The Human

Solomon"; "Theodora"; "Triumph of Time

Piltan, "

and Truth."

Plumtre, " Lectures on Elocution."

Potter, " Manual of Reading."
Prout, " Harmony, its Theory and Practice "; "Musical Forms "; " Applied Forms."
Randegger, "Singing "; "Twelve songs by Handel."
Richardson, " Voice Cultivation."
Riemann, " Dictionary of Music."

Haydn,
Hayes,

Oratorio, " Creation."

" Principles of Vocal Science."

Hartsough, " Voice-Development."

Helmholtz, " Sensations of Tone."
Helmore, " Italian Registers"; "Speakers and Singers "; " Method of Voice-production."
Holland, "Method of Voice-production."
Holmes, "Vocal Physiology and Hygiene."
Hullah, " Time and Tune."
Kelly, " First Principles of Voice-production."
Kitchen, "The Diaphragm."

Lamperti, "Art of Singing."

Lunn, " Philosophy of the Voice."
Lussy, " Musical Expression."

Marchesi, M., " Theoretical and Practical Vocal

Method."
Marchesi, S., "Vademecum."
Mathews and Liebling, "Dictionary of Music."
Mendelssohn, Oratorio, "Elijah."
Meyerbeer, Opera, " Dinorah."

Michael," Formation of

the Singing-registers."

Molique, Oratorio, " Abraham."

Voice."

Rogers, " The Philosophy of Singing."

Rossini, " Stabat Mater "; Opera, " Semiramide."
Rubinstein, Oratorio, " Paradise Lost."

Semple, "

The

Voice."
Shaftesbury, " Deep Breathing."
Shakespeare, " Art of Singing."

Spohr, Oratorio, "Crucifixus."

Stainer, " Choral Society Vocalisation."
Verdi, Operas, " Ernani," " Rigoletto."

Wagner, " Actors and Singers "; "

Walker, " Letters of a Baritone."
Walshe, " Dramatic Singing."

Warman,

" Practical Orthoepy."

Wieck, "Piano and Singing."

Wolffenden, " On Respiration."

Parsifal."

VOICE AND SONG.

CONTENTS.
PAGE.

Diagrammatic Sketch of the Vocal Apparatus

viii

Preface

ix

Table of Contents
Index to the Exercises
Introduction, and Simple Rules for Vocal Students
Elements of Music and Musical Notation:
Tone, Tone-names, Intervals; Whole Tone and Semitone;

xi

Relative and Absolute; Staves and

Duration,

Relative and Absolute;

Primary and Secondary

Rhythmical

Imitations;

Transposition;

Clefs;

Notes, Rests,

etc.;

xiii
i

Sharp and Flat;

Sharps,

Pace;

Pitch,

and Naturals;

Flats,

Metronome; Accent,

the

Time, and Time-signatures;

Full and Short Score defined and illustrated;

Irregular Accent, Syncopation,

Embellishments;

etc.;

Miscellaneous Signs and Abbreviations.

Posture and Breathing:

Inspiration,

24

Retention, Expiration:

Artistic Breathing

Breath-control, simple experiments in illustration;

Breathing-places.

Tone-Production and Voice-Placing. Enunciation:

Parti: Introductory; Tone defined; Enunciation; Tone-production,
Experiment illustrating right and wrong muscular tension
concerned in
;

28
position of parts

Primary Vowels

Part II:
Attack. Part

The Primary Vowel A; Characteristics of the Old

Italian School.
The
III: The Other Primary Vowels.
Part IV: The
Part V: Dipththongs, or Compound Vowels.
Secondary Vowels.
Table of the Principal
The Principal
Simple Vowels, with key-words and diacritical marks, arranged scalewise.
Compound Vowels.
analyzed;

Voice-placing.

Articulation

40

The Consonants, with key-words tabulated systemTable of Consonants (page 39).

atically; Consonants analyzed; Consonants, Single and Double, Initial and Terminal.
Pronunciation

43

Tabulated examples of

words of

Common

How

Errors.

Pronunciation

song (illustration from Mendelssohn's " But the Lord

Rules for Pronouncing

Italian,

French, and German.

is

may

be studied in the

mindful of His own").

Phonetic Exercises.

Extension of the Compass:

The

Registers

51

Table exhibiting the Registers and

explained.

their subdivisions in the

combined compass of the different voices. Nomenclature of the Different Registers.

Extension of Compass Upward
Optional Tones ( tones common to two registers ).
Downward.
Strengthening the Voice and the Respiratory Organs. Sostenuto
" Filar il tuono."
( II ) Sustained tones, increasing
( I ) Sustained Tones, even in power:
in power {crescendo ) and decreasing in power {diminuendo).
{ III ) Sustained tones, in the
" Messa di voce."

63

Scales

66

Major and Minor Diatonic Scales Ancient,

Harmonic and Melodic Forms of the Minor Scale. Diagram illustrating the " plan " of the
different scales.
Scale-construction.
Keys and Key-signatures tabulated. Solmization, the
Art of Singing by Use of Scale-Syllables. Solmization and Sol-fa explained.
Modulation.
Diatonic and Chromatic Scales

Definition.

Suggestions for the Study of Sight-singing.

Preliminary

Scale-practice.

differentiated.

help

for

The Legato

inexperienced

Style

defined

and

illustrated.

pianists.

Agility

and

Flexibility

VOICE AND SONG.

xii

The Chromatic

Scale

103

Harmonic and Melodic Form explained

page 67

Exercises.

Intervals:
Part

Possible Intervals in a diatonic major key.

Interval defined.

in the Singing

Part

no
II

Intonation

of Intervals: Tenuto, Legato, Staccato, Marcato, Portamento, Raddoppiato

and Syncopation explained.

Chords

127

Part

Chord defined

Triads, and Chords of the

Seventh. Part

Embellishments:

Arpeggi.

Acciaccatura, Mordente, Turn, Trill.

151

Free Recitative

146

The Appoggiatura,
Recitativo

II

" Recitativo a

Tempo

";

Wagner's Recitative,

Expression and Interpretation;

ici

Facial Expression.

Appendix

153

Eightv Passages Selected from Standard Compositions.

Analytical Index

181

VOICE AND SONG.

xm

INDEX TO THE EXERCISES.

69-71 Drill for articulating organs, 41.
72 Combinations of two or more consonants, 42.

Notation,
i

Pitch, 6.

Whole

tones and semitones, 6.

3 Transposition,

Form and
Form and

4
5

Pronunciation.

6.

relative value

of notes,

73-75 Syllables and words, 43.

io.

76

relative value of rests, io.

6 Tied and dotted notes,

is

9 Accents, to be located and graded, 13.

signature, 13.

notes to

and French, 49.

Extension of the Compass.

to Bars, to be placed in accordance with time-

Five

Lord
Pronun-

mindful of His own," 46.

ciation of Ital., Ger.,

8 Relative and absolute duration, io.

ti

errors, 44.

" But the

77 Pronunciation in the arioso

io.

Relative time-value of notes and rests, io.

Common

Preparatory Exercise, 52.

Extension upward, 53-59.

82-85 Extension downward, 59-62.
78-81

be monotoned under varied

time-signatures, 13.

12-13 Syncopation,

For Strengthening the Voice and the Res-

13.

piratory Organs.

Respiration.

86 Sustained tones
14 Inspiration, 24.

87 Sustained tones

16 Retention, with varied movements, 25.

18 Forced

88 Sustained tones

expiration,

strengthening

for

la

voce"

63.

(1) crescendo,

(2)

diminu-

endo, 63.

Expiration 25.

17

(1) piano, (2) mezzo-forte',

"Filar

(3) forte,

Retention, 24.

15

Sostenuto.

the

(1), (2)

and

(3),

" Messa

di

voce" 64.

breathing apparatus, 25.

19-28 Breath-control, and

Scales and Solmization.

breathing, 2628.

artistic

89 Scale-construction, 69.

Tone-Production and Voice-Placing.

studies,

29-31

The primary

vowels, 30.

The primarv vowel A, 3133.

41-45 The vowel O alone and in alternation
36-40

94
with

A, 33-34-

A,
56-60

The

vowel

6,
61-64

The

and

alternation with

97-100

78.

(b)

Twenty-

same, 80.

Minor mode, melodic form ascendform descending, 82.

(a) Scales in varied

for the

101
o, a, e

with

and

the

65-66 Diphthongs, or compound vowels,

alone

T02 Scales:

primary

and

times and rhythms for

flexibility, 86.

(b) Variations

same, 90.

Scales: Dotted notes, 91.

Major and minor

in

immediate

succession, 92.

103-104 Scale-passages for intonation,

^8.

flexibility

and

agility, 94.

Articulation.

agility

vowels, 36.

67 Consonants, 40.
68 The aspirate
H, 41.

Major mode,

ing, ancient

35.

alternation

96 Scales: Minor mode, harmonic form, 84.

and E, 35-36.
in

major and minor, with modu-

five variations for the

alone and in alternation with A,

secondary vowels u,

(a) Scales

95 Scales
in

alone and in alternation with

and U,

Concone

two

92 Sight-singing, 73.
93 Preliminary scale-practice, 75.

35 Tongue-drill, 30.

51-55 The vowel E

to

lation, 72.

32-34 Placing the voice, 30.

46-50 The vowel U alone and

A and O, 34-35

applied

90-91 Scale-syllables

Enunciation.

Chromatics.
105 Preparatory chromatic work, 103.

io6

The

chromatic scale, melodic form, 105.

VOICE AND SONG.

XIV

107

The

chromatic

lets,

108

The

scale,

harmonic form

trip-

122 Twenty-four major and minor triads in arpeggio, 136.

106.

chromatic

scale,

melodic form

quad-

123 Chords of the tonic and dominant seventh

in arpeggio

ruplets, 108.

varied rhythm, 138.

Fif-

teen variations for Ex. 123, 140.

109

Naming

Intervals.

124 Arpeggi on diminished seventh-chord, 141.

intervals, 112.

125 Diminished seventh-chord, harmonic form

Intervals

seconds,

fifths, sixths,

no
to i

116

of minor

fourths,

thirds,

126

sevenths, and eighths.

with

variations for the

as 125, with

127 Chords

Major, minor, perfect, augmented, and

diminished

Same

tenuto, legato, staccato, marcato, porta-

117 Intervals within the octave (simple inter-

vals); Recapitulatory, 121.

beyond the octave (compound

118 Intervals

intervals), 123.

119 Intervals

with

and tonic

rhythm

triad, 143.

varied, 144

diminished
melodic

seventh

form

of

and
minor

scale, 145.

practice of intonation, flexibility, agility,

mento, raddoppiato, syncopation, 112.

of the

tonic,

scale,

Embellishments.

The long appoggiatura, 146.

129 The short appoggiatura, 146.
130 The mordente, etc., 146.
131 The turn, 146.
132-136 The trill, 147-9.
128

Octaves progressing chromati-

Appendix.

cally, 125.

'Miscellaneous passages with words, for"

Chords.
120 Arpeggi

on

Tonic,

Dominant-seventh

the

Sub-dominant,
chords

in

and
major

ity,

keys, 129.

121 Arpeggi

on same chords

minor keys,

131.

tions for Exs. 120

as

120, but in

Twenty-five varia-

and 121

{a),

133-5.

80

of

Intonation,

Style,

Timbre, Sostenuto, Coloratura, Agil-

to

practice

Flexibility,

Legato,

Staccato,

Marcato, Portamento, Raddoppiato,

Dotted Notes, Triplets, Syncopation,

Embellishments, Recitativo,
zas, etc., 153.

Caden-

Voice and Son

INTRODUCTION.
"The

three requisites of a

"

responsibility of the pupil

The

good singer
is

are natural talent, artistic training,

as great as that of the teacher.

and practice."

If the pupil

may

with perfect right

may

with equal

feeling of respect,

and the de-

expect the teacher to bring to the lesson patience, good nature, and interest, the teacher
right ask for confidence, attention,

and zeal on the part of the pupil.

The

(Piaetorius.)

must be mutual
there must be harmony and perfect cooperation."
( E. Pauer.)
In using this book it is not intended that the exercises, etc., be studied in exactly the order given, but,
For instance, commence with
at the discretion of the teacher, different sections should be studied conjointly.
Notation (pitch and duration), Exercises i to 8 Posture and Breathing, Exs. 14 to 17; Tone-pro-

sire to

do the

best,

duction, Exs. 29 to 35; continue these together until in each subject respectively Exercises II, 20, and
39 have been satisfactorily accomplished. Then Ex. 86 for Sostenuto may be taken up, followed discreetly

Extension of the Compass; 93 for Scales; 1 10 for Intervals

at the same time carefully reviewing, and adding to, the preceding
exercises in Notation, Breathing, and Tone-production. The exercises for Articulation and PronunciaEasy Solfeggi, like Concone's Op. 9/ may be taken up as soon as fair
tion may follow Exs. 60 or 64.
progress has been made in Scales and Arpeggi.
" It is much to be desired that students of singing should at the same time become good musicians."
by the
;

commencing with Ex. 78

and 120 for Arpeggi always

series

for the

Deacon.)

Many good

have missed excellent professional opportunities from their lack of elementary

musical director requiring singers will naturally prefer those who can " read," not

vocalists

musical knowledge.

only because the rendition of any work entrusted to them

much

time at rehearsals will be so

The

less

will

be more surely correct, but also because his

taken up in tiresome repetition.

information on Musical Theory and Notation contained

in the

following pages

which a singer ought to be familiar. It is impossible to sing correctly and

an exact and practical knowledge of Music and its Notation.

is

the least with

effectively at all times without

Simple Rules for Vocal Students.

Beginners should practise several times daily, but not longer than ten or

As

the vocal muscles gain strength, the time

Don't

practise too

soon

after a

meal

may

fifteen

minutes

aim

to "

hear with the

his

(or her) own

at a time.

be extended.

at least

an hour should intervene.

All exercises and studies must be practised mentally before voicing them;
eyes."

student of singing

accompaniments.

is

This must be

satisfaction of the teacher.

it

who

competent

strictly

Even then

it

pianist will naturally

avoided until
will

all

details

be tempted to play

of the voice-part have been sung to the

be better to have the accompaniment played by some one

else,

being impossible to give the voice proper care and undivided attention while playing an accompaniment.

Take common-sense care of health. Avoid draughts and great changes in temperature check
Take plenty of outdoor exercise; plenty of fresh air (day and night); plenty
colds at the beginning.
;

simple,

wholesome food; plenty of pure cold water, both

When

regular outdoor exercise

morning immediately

is

in the

cup and

in the

all

of

bath; and plenty of sleep.

not available, the student should practise a course of calisthenics every

after rising.

In the case of a partially trained student, or of a student exceptionally gifted or advanced in any direction,

Advanced students may commence with

"

The Masterpieces

of Vocalization," a
1

most comprehensive

some of the preparatory

collection of studies, edited

exercises will not be required.

and graded by

Max

Spicker.

VOICE AND SONG.

S!

THE ELEMENTS OF MUSIC AND MUSICAL NOTATION.

The
may

elements of a Tone, or musical sound, are Pitch, Duration, Intensity, and Quality.

be
(

)
)

High, medium, or low in pitch.

Long, medium, or short in duration.

Loud, medium, or

soft in intensity.

(4) Fluty, reedy, or of some other

In

distinctive quality.

English-speaking countries, the

all

name

mainly used to

first

seven

differences in pitch of tones

letters

of the alphabet, repeated over and over, are

ABCDEFGABCDEFG, and
The interval
two exceptions,
(

A tone

half-tones

),

is

so on.

or distance between each of these sounds successively

called a

Whole Tone

the two exceptions

B C

because the interval between each pair, respectively,

peculiarity should be carefully

The

remembered.

(=

E-F

and

order

in alphabetical

are called

),

Semitones,

only half that of the others.

is

with

This

following table exhibits the names and intervals in step-

wise order from low to high.

INTERVENING
INTERVALS

(Whole

"I

DEF

BC

Tone-names.

tone.

Semi-

Whole

tone.

tone.

Whole Semi- Whole Whole

tone.

Di
and SO on.

Whole Semi- Whole

tone.

tone.

tone.

BC

A
tone.

tone.

tone.

The terms Whole step and Half-step are often used in place of the terms Whole tone and Semitone.
Modern music requires the use of a sound midway between each of the whole tones of the above
The alphabetical name immediately below or
succession, dividing each whole tone into two semitones.
above, with the addition of the term sharp or flat,
as

shown

NAMES FOR INTER-

VENING SOUNDS.
reason

"

why two names

as the student

sharp,

becomes

Musical notation

or

BC

soon

used

to

name

the intervening supplementary sound,

in the following table.

Tone-names.

The

is

sharp,

or

flat.

flat.

are given to these

D
rD

sharp,
or

J
(

EFiG

(Y

sharp,
or

flat.

supplementary sounds

and space

is

the art

degree of the staff

termed

represent the musical tones

named

in the jirst

qualified,
2

G sharp,

or

flat.

will

sharp,

B
V

a nd SO on.

or

flat.

be clearly understood as

and notation of scales. 2

of representing musical tones by means of written characters."

is

line

familiar with the construction

For the representation of the relative pitch of musical tones

and spaces is used, forming what is called the Staff.

Each

flat.

a series

of horizontal parallel lines

taken consecutively from below upward, they

of the above tables,

in alphabetical order.

Notice carefully, that the terms whole tone and semitone are used only to designate two intervals (distances) between sounds; whereas the term rone, un-

means a musical sound.

Scale, see page 66.

VOICE AND SONG.

This
line

staff

of the

is

made

absolute pitch by placing

to represent

formed variously :S

series, a special sign called the Clef,'

known

beginning of the

at the

jfij:

,>

::: etc.,

staff,

on the middle

which determines the

middle C (
261 sound vibrations per second), a pitch which
stands about midway in the combined compass of the adult male and female voices.
The clef, as its name
implies, is a key to the whole staff, the names of all the other lines and spaces being determined by it.
pitch so indicated to be that

as

ttt-

f*T>

-"

\ (
1 is

A~
/"

15

--c-

a
U

]:

11

"C

E
A

_G_

_?i_

Every eighth higher pitch is the result of exactly twice the number of vibrations required to produce
the lower pitch, and these two tones are
alphabetically
named alike; but it will be noticed, that on the
staff they are represented by dissimilar positions, that is, where a certain pitch is represented by a line, its

octave, 3 either above or below,

represented by a line; also

it

be represented bv a space, and vice versa, the octave to a space

will

may

or below middle C, thus

middle

As

the

it is

AG

may

be

named

in

agreement with

their location

the D E F G A B or C above middle C, the second D E F G and

F E D

or

be

be observed that octaves have always three lines and three spaces be-

In speaking of these different pitches, they

tween.

will

below middle C, the second B

not possible for any one single voice to produce

all

above

so on above

A GF

and so on below middle C.

the tones represented by the above Great

staff, smaller ones consisting of five lines and four spaces, suitable to the compass of each of the different

voices

Soprano

Treble^, Alto,

Tenor,

or Bass), 4 are selected from

This necessitates the use of two other

namely, the G-clef, formed thus v, and the F-clef,

clefs,

formed thus 9f, which, respectively, are placed on the

5

and four degrees below middle C,

as here

N.B.

lines representing those pitches, four degrees

above

shown

N.B.

it.

Set
2

Treble Staff, with G-clef.

-F
D -E-

For soprano (treble) voices, the five

upper lines are selected, and appear thus

-v

Bass Staff, with F-clef.

For bass

voices, the five lower lines, thus

-D-

Alto

For

Clef

Evolved from the Gothic

3
4

is

from the French

clef,

letter

middle

lines,

thus

Staff, with C-clef.

F
t?

r
^

Urn

17

D
H

JL

Ti

a key.

Octave is from the Latin or/ara, an eighth.

Soprano ( Italian ), the highest voice. Treble,

a corruption of the Latin triplum, third

i.

e.,

the superadded third voice, or part, of anciunt part-

Alto, from the Latin altus, high originally applied to high male voices. Tenor, from the Latin tenor, meaning a "holding-on " or "continuance"; hence,
chief melody, and also the high adult male voice to which it was formerly assigned.
Bass, from the Latin bassus, base, foundation the lowest part.
5 Corruptions of old forms of the letters G and F.

music.
the

alto voices, the five

VOICE AND SONG.

Tenor Staff with

DB"

And

seventh

for tenor voices, the third to the

It has

now become

music written

lines,

thus

rather general to use the G-clef and staff for

for a single voice

all

C-Clef.

-E-

"E

voices

more

-D-

especially in popular

the notation for tenors and basses being an octave higher than the actual

),

pitch of the voices.

For the comparatively rarely used high and low tones of a voice, these small staves,
thus
quires, are extended by adding short lines called Leger-lines, above and below

as occasion re-

Occasionally the sign 8va

for so far as the sign

The

will

and dotted

be met, indicating that the

line extend, represents a pitch

Tune

Melody

over or under which

staff,

it

appears,

one octave higher or lower than written.

on a staff" by noting ( marking)

For example, below at ( a ) a portion of a national
the line or space corresponding with the pitch required.
hymn-tune is noted at ( b ) the same tune is noted, but transposed 2 an octave lower in pitch. Relatively,
different tones of a

or

are successively indicated

(a) and (b) are alike, (proved by the

the intervals under which they are placed).

the successive intervals in the two examples

number of semitones contained

J

{a)

J_

CD

))

Pitch-name
Semitones

iL

fm
V

in

m
w

12

DC

112

figures,

which give the

B
1

f\

II

\J

rm
"V

(*)

Pitch-name
Semitones

An

-+

->

C
2

12

-0-

112

H
ii

C
1

made only with

exact transposition of the above to any degree other than the octave can be

use of characters called

Sharps and Flats, which, when placed on

3

to temporarily represent a pitch

a degree

of the

one semitone higher or lower than ordinarily.

following, are not exact transpositions of either

is

or

staff",

cause that degree

Examples (c) and [d)

above, because at the * in

c )

the pitch noted

too low by a semitone, and at the * in (d) too high by a semitone.

*
(

1f

-~

0-*

##

^#*.*N
BCB AGAGF

GGAFG AB
24222 11222229
/^
mm
***m
m FFGEFGAABAGFGFEF
23122 22222211
1/

(d)

-IF
-m
-^r
w.

a
W

a
m

II
\\

Leger
a
3

(sometimes spelled Ledger), from the French leger, light, slight, etc.
" to change the pitch of a composition higher or lower.
In every correct transposition the melodic and harmonic
See page 2.

Transpose,

the

effects are

unchanged.*

VOICE AND SONG.

In the following examples (e) and

{/)

line

the flat (p), the sign for lowering the pitch one semitone.

of course; but

in

name

alphabetical

naming
"

as

sharp," "

N.B.

flat,"

in (<?)

In notation the sign appears before the note,

"sharp" or "flat"

the Inflection the term

by the sharp (), the sign

or space on which it appears, and in {/) by

these errors are corrected

by one semitone, the pitch represented by any

for raising,

generally pronounced after the

is

and so on.
N.B. J

(')

<*

F#

A
2

12

N.B.

11

F|

^B
G

ms\
AABbAGFGF
2=1 1222211
*<

12

The above examples

(^) and
tively, of the original example (a).

Sharps or

flats essential

to a

Key

or Scale

when

are generally, once for

sign called the

Natural

the sharped or flatted degree to

For grammatical reasons

its

it

is

is

placed at the beginning of

all,

2
so placed they form the Key-signature.

occurring in the course of a composition are termed

Accidental sharps

used to cancel the

normal or natural

effect

or

or thus

(?\?),

(improperly thus

of a preceding sharp or

Of the

),

flat,

restoring

pitch.

sometimes necessary that

a particular line or space

are used; they are cancelled thus,

fcjtj

Other sharps or

flats.

represent a pitch two semitones higher or lower than normal; for this purpose the

and the Double-flat

three and four degrees respec-

are exact transpositions, lower by

(/")

each staff immediately after the clef;

flats

fajj

or

fi?,

should temporarily

Double-sharp

)>

reducing the effect one semitone,

cancelling the effect entirely.

following examples, (b) (c) and (d) (e) are exact transpositions, one degree (half-tone, or

whole tone) higher and one degree lower, respectively, of the two examples under (a).

Key

minor.

KeyFJf

minor.
l

(al)

frEEjEEEEll
Key

(a2)

Key B7

minor.

g= ^EE3EE!^EgE
Key GjL

(CI)

<P *
1

Key

or

Scale

:xi

-X9

= " A collection of

bear a fixed and definite relationship."

*

Kky-Signature.

See page

70.

Also see page 66

et scq.

minor.
i

(-)

^fc^^r-&>z;*p=

notes within the compass of one octave, of which the

Prout.

^^|

|l

Key B

*-

gtt^Sfe

(b2)

minor.

>

minor.
i

{bl)

first is

called the

Tonic,

or

Keynote,

II

to which note the others

VOICE AND SONG.

Key E

Key Gjf

minor.

mr^^m^^==[\

{d2)

(dl)
Key Ey minor

Key

(el)

minor.

minor

(**)

N.B.

It

understood that the sharps or

to be

is

flats

of the Signature affect not only the degree of the

upon which they appear, but all octaves above or below upon the same staff.
A feature of modern music is the frequent use of Chromatic Notes (notes

staff

of the prevailing key

The second

note in

see the notes indicated by the pointer (J,)

(

/) and the

being chromatic, because in each case the note in

above examples.

(2) of these same examples are not indicated as

question is the leading-note 2 of the prevailing key.
The

note but one

last

in the

in

necessary accidental 3 in the notation of the leading-note of minor keys gives

matic, but

modern musicians

Exercise

Name

i.

invariably class

it

foreign to the signature

as a

Diatonic Note.

the pitches noted on the following staves, ( a

or

(b

it

the appearance of being chro-

).

H>

(')

fcfE

wm*

t$

Exercise

2.

Point out every semitone in the succession of notes

Exercise

3.

Transpose, orally and

at sight,

the notes of Ex.

a ) or ( b ) of Ex.

or

(b)

1.

(N.B. The

one degree higher or lower,

transposition

throughout the exercise must be, uniformly, either a whole tone or a semitone above or below the original.)

is

Relative Duration of Tone is represented by varying the form of the note.

called a Whole Note ( ^ ), sometimes called Standard Note each addition

The most
to this

be seen that the second note

note

a solid

fias

time-value

signifies, its

Head

form reduces the

In the following table each note represents half the value of the one preceding

time-value one-half.
will

simple form

is

like the first, with the addition

The

one-half that of the whole note.

is

with a stem

formed

of a stem, and, as

third note, called

other forms are obtained by adding one or more

Hooks

it.

It

name HalfQuarter-note,
its

to the

stem of

quarter-note form.

Name. 6 * Whole

Half-

Quarter-

Eighth-

Sixteenth-

Thirty-second-

NOTE.

NOTE.

NOTE.

NOTE.

NOTE.

note.

Note.

1.

illustrating

J,

Relative

Numbers

and

Proportional
Values. 7

N.B.
or

e. g.

5.

Diatonic.
5 The head

1 6

32

16

JL

8
JL

16

32

16

The stem

may be turned

of a note

either

upward or downward without

affecting

its

duration

Chromatic.

See pages 67 and no.

See page 66.

of a nota is that part

Leading Note.

which determines

its

See page 67.

Accidental;

a sharp,

flat,

or natural not found in the signature; see pagfe

place upon the staff.

Occasionally a note formec

England these notes respectively are named Sc/nibreve, Minim, Crotchet, Quaver, Semiquaver, and Dcmisemiquaver
In days long ago, when the Minima, as its name implies, represented the shortest duration, two other
thus 11^', called Breve (= Double whole note ), is used.
* In

notes

now

obsolete

were used, the Large, or

Maxima,

),

and the Long, or Longa,

> ), then a half-note will represent twice and a whole note four times
7 For example, taking a Quarter-note to represent the unit (see third line of numbers, c
and thirty-second-notes, respectively, will represent halves, fourths and eighths of a unit.
Jiat unit while eighth, sixteenth,
;

VOICE AND SONG.

The
Whole

manner the

following table exhibits in another

of these different notes.

relative value

note
represents a duration
i

equal to 2 Half-notes

or to 4 Quarter-notes

or to 8 Eighth-notes

Is

J-

or to

^ -t

6 Sixteenth-notes

Half-note

is

i6th-notes, or to 8 32d-not.es; that

By

is

# -

:;-r- :;

; J-

that

Quarter-note

:;

IS
-

/-J-

}-

A- ;-

Eighth-note

is

equal in duration to 2 8th-notes, or to 4

equal to 2 i6th-notes, or to 4 32d-notes
and that 1
is

Dot

(placed on the right-hand side) a note

duration, adding one-half the value of the note; for example

(C

(t

is

made

to represent an increased

therefore a

o^

N
,

an J

J^

#r

"

^J

with the aid of numbers, taking an ##dotted Quarter-note to represent the unit,

illustrate

dotted notes will represent values as follows

Relative values

dots or even

S
J

4
J

'

J.

4+2

2+1

Hi

=6

=3

=1*

Dotted notes
Relative values

me

Undotted notes

Two

equal to 2 32d-nor.es.

the addition of a

Or, to

equal in duration to 2 Quarter-notes, or to 4 Eighth-notes, or to 8 Six-

teenth-notes, or to 16 Thirty-second-notes

i6th-note

J-

fj\W\* /////////JVVWV/////JV/JV*JV

or to 3 2 Thirty-second-notes

It follows, that

'

Three dots may

J.

be used (0

-LI

JL_|_l
4
8

2~Tj

or ? ); each additional dot increases the

For

duration of the note by half the value of the preceding dot.

illustration,

suppose an undotted quarter-

note (0) to represent one second of time, a dotted whole note(

.
) would represent six seconds, a doubledotted whole note

seven and a half seconds.

. . .
) seven seconds, and a triple-dotted whole note

his latter

&

combination

may be analyzed and

exhibited thus

= Triple-dotted whole

Note and dots:

Af

*r

Time-value:

"w

l = Seven and a half.

note.

AND

VOICE
may be produced by

Various prolongations

SONG.
The Tie or Bind is a
The following example ex-

tying or binding suitable notes.

above or below two immediately adjacent notes of the same pitch.

quarter-note prolonged to various lengths by means of tied notes and dots.

curved

line

hibits a

(L

{d

('>

(*)

(')

U)

(f)

m-

iv

II

II

-i

() time-value equals one half-note.

(C

(*)

"

a dotted quarter-note

=3

(0

C(

"

five sixteeenth-notes.

(d)

(C

<

"

five eighth-notes,

(0

CC

CI

"

fifteen thirty-second-notes,

<(

"

two quarter-notes.

((

c<

"

(/)

(*)

The

sign T\, called a

8th-notes).

(=7

double-dotted quarter-note

" Prolongations such as the above are endless

i6th-notes).

in variety."

Pause or Hold, placed over or under

a note, increases

its

duration ad libitum,

the will of the singer.

t-hat is, at

rest,

Ijuration of silence is represented by characters called Rests.

the form of which is shown in the following table

Each note has

its

corresponding

Notes
Rests

The

duration of a

""

low*:

like that

rest,

&

of a note,

may be

Students are ofter careless in their attention to

depends upon the exact observance of the signs for

J"
f

increased by the use of dots.

Much

rests.

The

silence.

of the good

effect

of a composition

student therefore should

make

himself

thoroughly familiar witn them.

The

student will find

o^each note successively

it

excellent practice to take a piece of music and mentally

in its relation to

some

pronounce the value

In the short example following, with an

suitable unit.

eigfitn-note for the unit, the values relatively will be as indicated

by the
-0-

p p
with a
quarter-note
for the unit,
the values
would be J

figures.

:i

-&-

and
so on.

or,

There
duration

is

is

H+m

=1+1

no specially formed note which represents

of frequent occurrence, especially

a third

modern music,

in

of any other note, and

the exigency

(or notes and rests) of one and the same value, which are to be performed
like value.

The

group

is

called a

under the group, thus:

Triplet, and

3
(a) # m
1

or

its

9
3

special

sign

is

(0/2/.

is

in

a figure 3

(0

i 3

as

this

met by grouping

fraction of

three notes

the regular time of two of

with a curved line over or

J\ V)

9 4
3

Sometimes the curved

Each eighth-note (or rest) in the foregoing groups represents onethird of a regular quarter-note; the quarter-note in group (d) represents two-thirds the value of a regular
In the following example, the value of each note as compared with the unit (a quarterquarter-note.
note)

is

line

is

omitted.

expressed by the figure immediatelv below the note.

VOICE AND SONG.

0000

1.

=1

:(

0-0
1

8>

=2

=1

*UV

# #
i__|_

=1

l_L_i

2+1

|_

^3 =1

Other extraordinary groupings occasionally occur where an irregular number of notes are to be sung in
the time of a regular number: two ( a Duplet ), or four ( a Quadruplet), in the time of three five (a Quin;

tuplet), or six

When
or sign

(a Sextuplet),

time of four; and so on.

in the

notes are to be sung in a detached or separated manner, the composer often uses a special

generally a dot over or under the note

= mezzo-staccato;

which

staccato

easier to write than the regular rest

f

to be

sung

-H

P
=

is

to be

r? D

"

eac

? f ? J~^"*f~J
*

--*-

sung

decreasing
1

'

to be

note ky a quarter of

decreasing

*-+

its

notes will represent values as follows

= three

eighth of a beat, ?

eighths of a beat, and so on.

beats,

often used as an

is

= fourth of
= two
!= one-half
J^
= one beat and
J = three-quarters of

beat,

beats,

a half,

of

example, taking the half-note to represent one beat, the other

duration

the

value.

In speaking of the relative value of notes (and rests), the word Beat (or Pulse)
for

of

each note by three-quarters

of

duration

the

each note one-half.

p
equivalent for the unit of measurement

its

Ival
value.

sung

of

duration

the

decreasing
staccatissimo

>

4:

for

word
example

(See page 16 for another definition of

this

a beat,

beat,

J\

= an

= three-

word.)

Tempo.
Absolute Duration
for

example,

M.M.

quarter-note (or

is

!=6o

indicated by a
signifies

Metronomic

pace (tempo) equal to 6o beats

equivalent) to occupy each beat.

its

commencement of

sign 3 placed at the

The whole

note,

units of time

under such

a sign,

the music;

per minute,

would represent

an absolute duration of four seconds, the half-note would represent exactly two seconds, and so on.

no metronomic sign
music

is

given, the pace

is

When

suggested by words, Italian as a rule, placed at the beginning of the

the exact pace and, as a consequence, the duration of the beat, being

left

to the singer's individual

taste.

Words
(

SLOW
I

I
r
j

MODERATE

Mezzo-staccato

Staccato

is

Largo.
Grave.
Lento.
Adagio.

Broad, wide, large.

Grave, heavy.
Slow, tardy.
Slow.

Andantino.
Andante.
Moderato.
Com(m)odo.
Allegretto.

Slower than Andante, but often used

Going

{Italian

),

is

in the

opposite sense,

rather slow).

( i.e.,

Moderate.
Convenient, easy, leisurely.

Rather quick

sometimes indicated thus

The Metronome

Suggesting Pace. 5
Tempo-marks. )

detached, separated.

(i.e.,

slower than Allegro).

Mezzo-staccato, semi-detached.

an instrument, actuated by clockwork,

for

measuring time.

Staccatissimo, extremely detached.

To whatever number the slider on the pendulum

caused to swing or beat that number per minute.

4

M. M. stands

Consult a " Dictionary of Musical

for Maelzel's

Metronome

Maelzel was the inventor of the instrument)

Terms"

for other words.

these letters are often omitted.

is

set, this latter

i.-

VOICE AND SONG.

10

FAST

i
i

Allegro.

Quick, cheerful.

Vivace.

Lively, sprightly, vivacious.

Presto.

Fast, rapid.

Prestissimo.

Very

The above words

fast.

by other words used

are often modified

conjunction

in

e.g.,

Allegro assai, very

quick.

In the course of a composition the following terms relating to pace occasionally occur:

Rallentando (abbreviated to rail.).

degrees.
*\
d
/
uu
^ j
r Slower by
;
&
( abbreviated to rit.).
Kitardando
J
Ritenuto (abbreviated to riten.). Retained, held back, i.e., suddenly
Accelerando (abbreviated to accel.). Quicker by degrees.
|

*.

slower.

Stringendo (abbreviated to string.). Drawing close, i.e., accelerating swiftly.

A tempo. In time. Used after either of the above.
Tempo rubato. Robbed time. Irregular time, retarding one note and quickening another
purpose of expression,

Tempo

as the singer's taste dictates.

In exact time.

giusto.

L'istesso tempo.

Used

In the same time.

ing the beat has been changed, but the beat itself

Ad

A
,

libitum.
piacere.

Not

Name

5.

is

but

at the singer's "will"

What

the following notes in the order of their time-values, beginning with the longest:

the notes

S*. g

j*

which correspond

tied notes

&>-.
1

-0-.

measurement;

<

-^

as the

0-0

dotted notes in the following?

-&-.

rests

Sh

S>

the following:

in

,-JUwJTaking

(<z )

a quarter-note for

the unit of

taking an eighth-note for the unit of measurement.

-*

Exercise

i&-

=u

-3

Express by numbers the value of the notes and

)

^
0*0-.N 0

S>

to the following rests:

would express the same values

-0

Exercise 7.

as before.

or "pleasure."
r

&

-*
Exercise 6.

same length

to be the

in strict time,

*
0Exercise

of a composition when the note represent-

in the course

Name

Rxercisf 4.

for the

Examine

8.

&-.

I*

-<3

carefully the following passages (rf),

(^

),

and

0~

r), and say whether, in performance, one

would occupy

longer or shorter time than the other.

J -80.
-f= o-

M. M.

(a)

=?

-(22-

f=

\)2

M. M. J* -80.

(*)

a
*s:

C'

M. M. ^=144.
c)

lJZ=2

m
-<s-

i=

l&

7=
Jj

VOICE AND SONG.

11

Time.

Time

= Metre)

Accent (emphasis, or stress). There are pri" The stress or emphasis, laid upon
namely, Strong, Medium, and Weak.

music

in

marily three grades of accent,

is

the regular recurrence of

the words of ordinary speech, affords a simple illustration of accent."

certain syllables in

following words slowly, pronouncing the syllables

(

at equal

E.g., recite the

Repeat each example several times.

intervals.

= Strong, M = Medium, W = Weak accent.)

w

{)-

RAC

TISE

AC

HAS

CENT

(0-

ClR

CUM

LO

CU

In musical notation the strong accent

CAL

CLAS

Vo

lar

IZ -

PHA

SIS

Reg

ING

EM

FIED

- SI -

EAR

I.Y

located by the Bar, a vertical line drawn across the staff thus:

is

This regularly recurring strong accent divides the music into equal portions called Measures
(sometimes called Bars).
The subordinate {medium and weak) accents divide the measures

The

into equal parts called Beats.

being in either

The

AL

TIO

Reg

(*)

Duple

= two

),

measures,

Triple

in

= three

agreement with the divisional number, are

or

),

Quadruple

time (duple, triple, or quadruple) of a composition

ture, placed

is

taken to represent the unit

shown by

is

is

by two

divisible

time-signatures the

upper

beat will be an ordinary undotted note

figure

e. g.,

is

or any multiple of two), the time

by three (or any multiple of three),

divisible

each measure, while the kind of note

in

the lower figure.

the note representing the beat

For Simple

time.

beginning, immediately after the Clef and Key-signature, and usually in the form of a

at the

Simple; when

= four

indicated by a sign called the Time-signa-

numerical fraction, the upper figure denoting the number of units

When

classified as

it is

always either

= simple duple

termed

is

termed Compound.

2, 3,

or 4, and the note representing the

measure containing the equivalent

time, each

of two auarter-notes.
1

or
o

(=

4. )

= compound duple

The Table

time, each

exhibits the different

measure containing the equivalent of two dotted quarter-notes.

Time-signatures, with corresponding Measure 2 and Beat 3 values.

Duple.
Accents ->

w.

s.

2
2

4
C/3

3
2

2
8

A
1

4
G
8

j.

The term Time

is

J.|

3
8

w.

&

_
1

w.

4
4

S.

W.

M.

often used as

12

rs

w.

16

'

J.

4*

is

12
16

N.B.

compound

of

music between any one primary accent, and the very next primary accent.

time-signatures the lower figure denominates a note which

is

only a third of the beat.

41

'

&

#
1

see page 7

J.I
rs

is

rs

rs

4'

if synonymous with duration

e.g., a half-note is equal in time to four eighth-notes
(see page 9).
portion of music between a strong accent (the principal accent) and the next strong accent.

Measure. The
Beat. The portion

12

4-

|S

"

etc.

is

r\

'

rS

IS

quick time, slow time,

In

K 10

(3

H
1

s.

Quadruple.

Triple.

e.g.,

The upper figure of Compound time-signatures is always either 6 (

three threes),
two threes), 9 (
\i (=four threes), and the note representing the beat will be a dotted note (divisible by three); e.g.,

also for the

term fact\

N.B.
by

AND

VOICE

12
is

often indicated

by the ancient sign g,

a similar character with a line

through

SONG.

combination of dot and imperfect

circle

and 9 or o

it, f.

Besides the primary or measure-accents, there are secondary accents, inferior in force to the primary,

which divide the beats into two, three, four or more

In the following examples,

the.

parts.

primary or measure-accents are marked

marked by dots, and their

more dots the note will have

(a) Simple duple time, two beats

s

=fr*

-3 s-

Simple

the

3
-1

-*-a

FTP;

# Frftf+^

triple time, three beats to the

\v

equivalent to the beat.

its

4b?
(

(explained above);

relative force

to the measure, a quarter-note or

shown by the number of dots

notes unmarked are unaccented.

the secondary accents being

stronger the accent, the

m, or

s,

measure, a half-note or

equivalent to the beat.

its

r m

^rrmi

&r

11

?*

#-a-3
FffiVa
HM -H-^t

-I

s t

j_J

Si

P #*
^_ ^_ <^_ -^ _
z: H3 z^zz:

B
f H -F+= R--FH*rm

The Double-bar

,__

two

vertical lines placed close together across the staff

of a composition or of an important portion of

The

it.

:)

marks the end

double-bar does not always coincide with the

place of the ordinary bar.

In music having several notes to each beat, the hooks (see page 6
are generally joined,

grouping the notes

in

Compare (a) and (b)

*=&=*$*^
P3- m~-u
#TT-f

-Jrd

special

I-

regular accent

emphasis and

" contracted

";

This simple plan enables the

following.

?$*$

S-J.

-I"

The

etc.,

pl|LgL

(*)

of eighth-notes, sixteenths,

accordance with the accentuation.

singer to locate the grammatical accents at sight.

(a)

is

is

*T^m

~*-jt-Jl,,H:

1"

':

i<

sometimes disturbed by Syncopation, that

is,

weak

^^

^ffpfffp

part of a measure

is

given

prolonged into a stronger part (without re-sounding), the accentuation thereby being

hence the term syncopation.

Examples

^m^m
\/

VOICE AND SONG.

Other irregular accents (for purposes of expression)
by the abbreviations

"Accent

The

the

is

sfz sf sjf ( sforzando

life

of music and

accent

depend upon the

the

bow

may be

lar practice this will

Exercise 9.

()

artistic

important feature of

there

fz (forzando),

Italian

by

words meaning

his vocal cords

and <, or

"forcing.'"'

of multitudinous variety of shading and intensity.

upon

>

special signs, a

(Mathews)

'

with his breath as expressively and

in the other,

varied accentuation, and

first,

or

are indicated

upon the strings of a violin with the bow. All the various effects of
management of the breath in the one case, and upon the artistic manage-

as a skilled violinist plays

An

>

practised vocalist should be able to play

easily

ment of

is

13

it is

Method

this

for Vocalists

is

the repetition of

the exercises with

of the utmost importance to the student that they should be so practised.

tendency to

"hammer out"

gradually give

way

to a graceful

and

accentuation.

artistic

-^-H^~y

U~3-^-

At

the accents in kindergarten style, but with careful and regu-

In the following, which are the accented notes, and of what grade are they

J-

many of

Strong,

Medium,

73-

Weak?

or

<>

^^?

Exercise 10.

Where,

J.

J'

The following
time-signature.
Mark the

Exercise
with the

in the following,

II.

-,

should bars be placed to make

time (say about

m&

accord with the time-signature?

L-

Jl-JsII

five

notes.

M. M. J _ 60 ) by

Monotone them (using

tapping at the

the syllable

commencement of each

La)

gi333^
i

2.

3^=^

Point out the syncopated notes in the following

3*
Exercise 13.

Monotone

the above (Ex.

12) and beat the time

=fe:

as in

Ex.

1,

in

accordance

beat with a pointer, or

several times.

c*)

(/)

Exercise

it

JU

measures (a toy) each contain

Each measure should be repeated

other suitable object.

II

AND

VOICfc.

14

For

them

Rhythms'

for himself,

to the notes of a scale with an

Here

and then monotone them

Ex.

as in

singer's education, the

n,

he should sing

also,

accompaniment which may be adapted from Ex. 93.

6

an abbreviated example in o time

is

Rhythms.

No.

^n

JB=t

(and often much neglected) part of the

additional practice in this important

student should invent

SONG.

ft-*-**-*

of the foregoing

Rhythms

=1=3 jr~L *

Scalewise, in

=4-

Key of

1-

__i

C.

etc.

*f

&I

#-H

a-.

i=^

\$m
5 -

fc

No. 4

ditto.

tf

#_

-H-

-000-

ft-P

-*

For example

p-

number of solfeggi, songs,

coupled with more or less close

=E=E
#

Measured motion

-P-

-&

II

_*-=pr

E*zz?z
"

and notice the unity of

tonal imitation.

4=

f^f=^

etc.,

:}

**

=fc

a regular grouping of long and short, accented

3=

S3

*-d

RHYTHM

I etc.

:<2:

student should also carefully examine a

obtained by rhythmical repetitions^ often

\\

-Fv-N

effect

be

The

it

*^

1=H=1:

and unaccented sounds."

VOICE AND SONG.

15

Embellishments.
Notes added to a composition by the composer or the singer solely for their ornamental effect, are called
Embellishments, or Graces. The most important are the Appoggiatura, the Acciaccatura, the Turn, and the
Trill.

The

embellishing notes are technically termed Auxiliary notes, and the note they embellish

called

is

the Principal note.

The time required for the execution of grace-notes is taken from the note they embellish.
The Appoggiatura ("leaning-note") is an accented grace-note added above or below a principal
and

generally written as a small-sized note corresponding in time-value to

is

value

and (c

a dotted note,

Examples

graces,

it

+\

Written

rt

3*:

=0.

time-

Its

namely (a) one-half an ordinary note, (b) two-thirds of

the whole value of the first of two tied notes.

determined by that of the note

is

intended length.

its

note,

*=

()

5-^-p
-V=r

4=
(*)

Sung

Modern composers

-<s>-

=#-pt

*s> P-

II

(O
-{5? P ^

s*

=t=5= II

often write the Appoggiatura as a note of the usual size and of the exact time-value

required.

The Short Appoggiatura

"giving

is

an auxiliary note above or below a principal note, executed rapidly,

kind offillip to the accent."

It

is

generally written as a small-sized eighth-note having a short

oblique line through stem and hook

(

Before the principal note.

Written

'0^

&-K

_E j

Sun g

After the principal note.

IS

J-

-Kfs

IE #-J

=r*-

h4

T=

gl

The Double-appoggiatura

consists of

two rapidly executed grace-notes added to

a principal note.

r*

=g:

J5_

(1)

(2)

pfi^l^lg^sil

Written

Sung

(3)

(5)

(4)

(6)

(T)

= 6)

= 7)

-*+*
V:

No.
principal

4 occur
note
No. 6
i

to

before the principal note;

is

often called a Mordente, and

Sometimes called the Acciaccatura

Mordente

No.
2

5 is

No. 7 an Inverted Mordente,

crushed note).

Italian), biting, cutting; also called a beat, or a

an example in which the ornament occurs after the

passing shak*

VOICE

16

The Turn,
a gruppetto

as its

name

signifies, is

or under a note

It

*Jdagio. (About

J=

should be sung thus

80. )Jllegro.(

J=

108.)Presto.(

144.) Presto.

re

re

?c
4=

Moderato.

S=sfl

(2)

(4)

(3)

(5)

(6)

^^^fe^^s^^a^fe^^^^gp

Sung:

Nos.

commences with the lower auxiliary note.

(

the

first

of the two

is,

of course, the principal

be sung as below:

re
:

it

the sign for the turn occurs between two notes

will

it

_;

and 6 are examples of the Inverted turn;

When

Written

in

OS

(1)

note),

), it

60.)Moderato.(

3\

Written

which the principal note alternates with two auxiliary notes

indicated by the sign re.
When the sign is written immediately over

is

the principal note

SONG.

an embellishment which winds around the principal note, forming

group of three or four notes

one degree higher and lower.

AND

re

re

re

re

O)

(2)

(3)

(6)

(5)

(4)
-

3-

y,

Sung:

f)

r-

tai
b

Sharps,
iary note

or naturals under or over the sign

flats,

^s>
re
s
thus, f as
^f

of the turn respectively, and must be sung accordingly

for

re

refer to the

lower or upper auxil-

example

re

fes

^^a

ll

The Trill

II

occupies the whole time-value of the principal note, and consists of a rapid and even alter-

nation of a principal note with an auxiliary note one degree higher.

In modern music the

commences upon the principal note, and always ends upon it (see example a below). If the
mence on the auxiliary, it is usually indicated by a small note prefixed to the principal note

trill

generally

trill is
(

see

to

com-

example

by two small-sized notes (see examples a and b).

The incomplete trill has no turn at the close (see example c).
The number of beats in a trill depends upon the time and pace of the composition, and the ability of
the singer; there should be as many beats as possible, consistent with perfect intonation and the characterb).

complete

trill

closes with a turn, often indicated

of the music

istics

See page

9,

ii.

which the

trill

occurs.

also Ex. 131.

Each recurrence
and

in

of the two notes

principal

and auxiliary

) is

called a beat.

This must not be confounded with the term "beat

"

defined on pages g

VOICE

AND

SONG.

17
tr

The
ters

line

sign for the

of the word
is

trill

trillo

tr

is

the

first

two

when prolonged,

let-

wavy-

Written

&

F^

generally added to the letters.

()
Q., nfr
aun
S

F-Jtt-

- y&sj

0^0-P-0p0-f

h t-+-i

0*-0
0-P-0-P t
1 h\t-

p+

&

N^
^

~w"

BS?

II

(*)

321

r f r r r f r r r f r r r r?

The

It

lower.

is

sometimes " prepared," that

trill is

indicated and sung as follows

is,

the principal note

F
+
P\\\

A
of

succession of

22ZZZir

or

trills ).

The

5-

or

111

II

=S^eL^^=IJ

following examples

is

called a catena di

trilli (

chain

show how they may be sung.

tr

tr

'
i *

or

ascending or descending by degrees or by skips

tr

Written

tr

Modern manner.

PI-mf-0-f m f h-? -?
^h

trills

preceded by an auxiliary one semitone

g_K

v-m

IZZ=I1

II

Ancient manner.

Sung

is

tr

4&

Written

15?

-&

11

Sung

or

or

m*-*

'

-#d
-3

-~

jtf^^p^g

^^j
._

pap
rt^r^iSSsiJI
gtjijsgs

VOICE AND SONG.

18

ii

i\

^ggHID

or

>

-H^

or

<

? d~

'

^*

Q~

1-^

&

i-

\-

-d

#r

Written

Sung

^ m-J

*-

^0f

T?0-fi

"

or

:m-

~i

#
i

i j

F-#- ?-0-P-m-

-0

0-0-0.-0-0-0t

taM^Mb

SfefeB

or

Long

trills

may be prepared and

the recurrence or rapidity of the beats graduated from comparatively

slow to the greatest possible velocity, somewhat as illustrated in the following examples.
tr-

Written

t-

-^

= 3&

1\

1(5
ID

21

Sung

h*0 M0

or:

'

_____

i_

ma "mmm

Instead of the ordinary turn at the end of a

trill,

|,

'

B_B

""""r."!!^!!!!

the following close

is

frequently used

tr

Written

&~

tH-r

ii

Sung

[!

r^^^M"'

"

VOICE AND SONG.

Intensity and Expression,

Pace (see page 9), so

like

19

far as possible, are indicated

The

placed either at the beginning or in the course of a composition.

words relating

by

Italian words,

following table exhibits the principal

Intensity (loudness or softness).

to

Word.

Meaning.

Abbreviation.

Pianissimo.

Very

soft.

Soft.

piano.

PP
P
mp

forte.

mf

Moderately loud.

Forte.

Fortissimo.

ff

Loud.
Very loud.
With a subdued voice (piano).
With half the power of the voice (medium force).
With full power of the voice (forte).

Piano.

Mezzo
Mezzo

Moderately

Sottovoce.

mezza voce.

piena voce.

m. v.

Crescendo.

cres. or

Diminuendo.

dim. or

Rinforzando.

rf

Sforzando.

sfz,

Morendo.
Smorzando.

smorz.

Calando.

cal.

Perdendosi.

perd.

==m^
^r==

Gradually increasing the force.

Gradually diminishing the force.
" Reinforcing "
with additional stress.
" Forcing "
special or sudden emphasis.*
;

>

sfy or

Gradually diminishing the power and the pace.

(

soft.

Implying both Dim. and Rail, combined).

few of the words indicating Expression are listed below.

For other words used

in

musical works,

consult a Dictionary of Musical Terms.

A.

At,

for, by, in, to,

in strict

i.e.,

with

time after an interruption.

Abbandonment

Abbandono.

by the beat

a battuta,

impassioned style

as

if

away by emo-

Lowering; abbassamento

Abbassamento.

di voce, low-

ering (in loudness) of the voice.

Affectionate

Affettuoso.

with soul, with

con affetto, with tenderness

nimbleness

con

agilita,

with

agility.

Agitated

To

All', alia.

the,

in a restless or agitated
at

alia cappella, in the

the, in

the,

Church

in

style

manner.

the style of;

all' antico, in

the ancient style.

Allargando.

Growing broader,

and louder.

"

The

force has to be suddenly

tender-

gradually slower

con

auima, with

animation,

spirit.
i.e.,

with fervid, strong

emotion.

Leaning on, supported.

tones which
in

ments, page
page 113.)
Ardent,
Ardente.
Aspirare.

To

Applied

to

glide over to the next without a

appoggiatura.

(See Embellish-

and Portamento di

15,

Voce,

fiery.

aspirate

to breathe audibly.

Occa-

sionally used to express very great emotion.

Very largo assai, very slow.

Ben. Well
ben pronunziato, well or clearly pronounced ben marcato, well or distinctly marked.

Assai.
i.e.,

con amore, with

Impassioned,

break, as

Lightness,

* X.B.

Animated

Appoggiando.

and pathos.

Agitato.

Animato.

Appassionato.

tion.

Agilita.

Loving, tender

ness.

con abbandono, in an

carried

Amoroso.

( though not too suddenly) reduced after the first grip of the tone.
The close of the sfz should not be softer than the
For example, in a passage marked /the actual attack of the sfz must be louder than /, and the end of the sfz must be not less than /. It
requires very great skill and delicacy to make a proper sfz in a passage marked /."
( Stainer.

level of force

marked.

VOICE AND SONG.

20
Boldness,

Bravura.

dash

spirit,

solo consisting

or

runs and

difficult

skill.

and

fire

Appendix, Nos. 76
Cesura.

Chiaro.

Clear, pure

con

brio,

ornamental

an

passage,

The

the voice.

with expression

warmth
for

of,

con espressione,

determined manner.
very sweet

dolcissimo,

Dolorous, plaintive

ed espressivo, sweet

sempre dolce

Energetic

of meaning.

full

Poco.

in a dignified, elevated style.

con grazia, with grace,

Light, nimble

But

con leggerezza, with light-

andante

not too
Maestoso.

Meno.

much

ma

non troppo, rather slow, but

noble

slower

piii

louder.

poco

piii mosso, a

little

more moved,
by

little,

by

Quasi.

adagio, poi allegro, slow, then quick.

Pompous, dignified pomposo ma non allepompous, but not quick.

;

Pressing, urging.

Almost,

as

if,

in

the

manner

of; un poco

piano, quasi da lontano, rather softly, as if from

Decided, determined

meno forte,

in a

deter-

bold,

style.

Playful

in

light,

playful, sportive

manner.
Free, easy

in an easy, nimble, agile

man-

Simple, plain

Semplice.

in a simple, unaffected, art-

with

majesty,

Senza.

Without;

senza

respiro,

without

taking

breath.

Marked, emphasized
;

i.e.,

less style.

so.

Majestic, stately,

Less

i.e.,

slow,

ner.

dignity, grandeur.

Marcato.

more

lento,

piii

full voice.

Sedate.

Sciolto.

Coaxing, caressing.

Scherzando.

ness, airily.

Ma.

Then

mined

Plaintive, mournful.

Lusingando.

and slower.
weeping, sobbing manner.
softer

degrees.

Risoluto.

Languid.

Leggiero.

declamatory singing.

afar.

Impetuous, violent, dashing.

Languido.

tempo ordinario, in the

a little faster; poco a poco, little

Posato.

gracefully.

Lamentoso.

Little

Pressante.

Graceful, elegant

Impetuoso.

performed by

be

to

Placid, calm, quiet.

gro,

facetious.

Grand

Grandioso.

quicker.

a voce plena, with

in a

more loud,

forte,

Pomposo.

Fiery, ardently.

Gay,

Grazioso.

More

Poi.

Fierce, wild, bold, vigorous.

Giocoso.

Full

Pieno.

vigorously accented and dis-

Expressive,

Fuoco, con.

slower;

with fervent emotion, in an

Tearful

i.e.,

tinctly phrased.

Fiero.

Passionate

Piangevole.

and expressive throughout.

Espressivo.

i.e.,

Dying away

Placido.

And

Energico.

i.e.,

i.e.,

effect.

Perdendosi.

with an expression

of pain.
E, or Ed.

proper

Speaking

Passionato.

Piu.

soft.

Doloroso.

fainter,

usual time.

Parlando.

in a delicate, refined style.

Sweet, soft, pleasant

and

moved,

less

a part

Ordinary, usual

Ordinario.

da capo, from the

in a decided,

Delicate

Dolce.

and

fainter

impassioned manner.

Decided

Delicate

voice.

particular instrument in conjunction with

mony and

beginning.
Deciso.

meno mosso,

Obliged

some

accompanist to

con duolo, with grief.

From, by, about,

Da.

non troppo allegro, not too quick.

Obbligato.

Chiaramente, clearly, limpidly,

con calore, with

full

the principal part, and indispensable to the har-

With

With

Not

more moved,

mosso,

piii

Non.

to 80).

keep closely with the voice-part.

Con.

Moved

Mosso.

distinctly.

Colla voce.

Dying away, growing

Morendo.

piece of music (v.

of a

pause, or break, in a verse.

;

much

con

slower and softer.

also

the close

usually at

vivacity.

Cadence

Cadenza.

fire

molto allegro, very quick

molta voce, with

Vivacity, sprightliness, spirit,

with

Much, very

Molto.

Brilliant, sparkling.

Brillante.

halfway between

soprano and contralto).

passages

designed to show off the singer's voice or

Brio.

mezzo-soprano, half-soprano,

aria di bravura, a

less

(an emphatic style).

loud

meno mosso,

less quick.

Serioso.

Serious, grave

Singhiozzo.

Sob

Mournful,

Mezzo.

Half; mezzo piano, half (or rather) soft;

sad, pathetic.

Sonoramente.
Sospirando.

an impressive

style.

the effect of a convulsive catch-

ing of the breath, as

Mesto.

in

if in

great sorrow.

Sonorously, with a
Sighing.

The

effect

full,

ringing tone.

of pure

breath-

VOICK AM) SONG.

sound softly and gently melting into voice-sound.
" An emotional effort, sometimes expressing
simple weariness, sometimes a lover's passion,
but frequently

only

Under.

Sotto voce y

subdued

a low,
Spiritoso.

Spirited, dashing.

Vivo.

Stentato.

Dragging, heavy.

Volante.

Lingeringly.

Teneramente.

Tenderly.

Timorous,

Timoroso.

becomes an execrable vocal

Un, uno, una.

voice.

Tardamente.

When habit-

con tristezza, in a

sad or melancholy manner.

in

i.e.,

it

See pp. id8, 152.)

Sadness, melancholy

vice.

Tristezza.

under the breath,

fluctuation of tone, effective

highly emotional passages.

in

ually indulged in,

that does not express itself in words."

Sotto.

A tremulous

Tremolo.

the utterance of a great grief

it is

21

un poco ritenuto, a

Lively, spirited, full of

Flying;
Flight:

Volata.

a rapid

slower.

life.

manner.

in a light, airv

i.e.,

little

run forming a melodic

embellishment.

fearful.

See page 9 for words relating to pace, also pages 63-65, and page 19, for words relating to force.

The "expression-marks" added

to the following

song

illustrate their use,

they can be in suggesting an effective rendering of a composition.

"LOVE

and show how very helpful

See page 151.)

A BUBBLE."

IS

Words by John Oliver Hobbes.

Music by Frances Allitsen.

a tempo

rail, e sospirando.

Allegretto,

mf

con tristezza

^m^^mi

iv-N

--f\

V- -V ^#-
Love

AAA

-H

*V Yj

Love

is

f a tempo,

NA

HM-
Love

ey,

is

is

f^

r ^ '

Love

*-**

And

lie,

is

Love

J^

-i

is

-1

con brio

t^ffjj

ah

la!

la

sin.

portamento.}

marcato.

La

,-feM
^~f

-* b^-^-W-

grin

^p

"N

|N-

/T\

-^-

is

Unto.

S7\P

7A

Love

'

energico.

A
i\

caprtccioso.

allegro.

And

sigh,

*f-

mon-ey,

cold

Lo ve

trou-ble,

T=W

1-

sweet hon

is

a piacere.
A
A

dolce con grazla.

Love

bub-ble,

is

cres.

Love

is

'-

-0-*- 0-V- -\rTo

joy,

adagio con tristezza.

ot<?//o

E?3
tread

you

A
mea

,.

vivace.
IV
A

/T\/

iF*^4M*- Mquicken

"

your pleasure,

True expression

is

*?-

ff-

fcztf
Love

sure,

marcato.

is

the

jEZ

-P

dirge,

To

fill

you

FV

with

fc^:
Love

grief.

is

'

northwind

^m

And man

the offspring of a sympathetic genius, which will ever remain the real test of the taste, culture,

bright wine,

To

a tempo.

marcato.

y_ _ ]* P*\P'P1
Love's

alleg ro.

^e

espress.

:=

/TS

dead
and

ability of

leaf.

an

artist."

(Stamer.)

VOICE AND SONG.

22

When
to be in

proper

the several parts of a composition are arranged one above the other on the same page,

Full Score

or

Open Score.

The

following

is

a short

example

it is

said

for four voices, each part with its

clef.

Maestoso.

Soprano.

f^ =

-#-

#-

Alto.

-- r-

'^E

-p=p:

llfe^ ?

Tenor.

-0

22

4 #

0-

f-

-r

:*

<2m=?==4

The

following example

is

:t

-V-

Bass.

T^- 8-

1=

fei

#z==i-

^"

==*=

=t

f-r

:i
-<^-

the same as the above, except that the clefs are those generally used in

mod.

ern vocal scores.

Maestoso.

K=t

Soprano.

-*-

t-

-<S>-

Alto.

^-

-*-

..

^=J

=t

3-

|-

w-

j,

I3_,

Tenor
(

an 8ve lower),

Sfe fejEEJ -F

B ass.

When

^=t=

*-

fcrrt:

-#

--F

close score.

The

parts are distinguished

^
-

-t^-

the four parts are compressed into two staves, as in the following example,

Score, compressed, condensed, or

-^-

it

is

called a

Short

by having the stems of the notes uni-

formly turned up or down.

Maestoso.

Jk.

Soprano.

0~ -0

KftAr

Alto.

-0

*
0-

^-.

-H-

-*

i-

-^-

mu

Tenor.
Bass.

The

term

ffor<?

i
zft

V-

f-

Part

" So

much

of a piece of

music as

is

performed by one voice or instrument."

^s t^
#

-r-

comes from the composers' habit of " scoring the parts," that

across all the staves.

1

i-

-JJA

is,

JL_

3^"

-s>-

drawing one long bai

AND

VOICE
Music

SONG.

23

two voices with pianoforte accompaniment generally appears

for

as follows

ist Voice.

2d Voice.

t==d
P #

~fi

* j:

1 -

-t

Z
H
r^--^,
L

w~

-j-

Piano.

E#:F

9^fci

with the two voice-parts on one

or, occasionally,

E r
=
i

t=

:tn

thus

staff,

'

-' m
* m r-0a- I
f-# '-*-a-F-# #
-s-1 P-
-a

_4

J=S

:
r

s=3=
--

r-#-L-a
-f-i

a
t.-0+.^+.e

^J

'+.?+.

^J^

1/

**

!j

I^J

Abbreviations and Other Signs.

" Dots, when written before a double-bar, indicate that the music

=?H =.

that the music to the following double-bar

be repeated"

volta,

= Seconda

time, and Ilda volta

i.e., first

repeats; the measure or measures

to

volta,

marked Ima (or

measure or measures marked Ilda

or

i.

i.e.,

FEE-

played instead."

Fine, "to the end " (see Appendix,

Pause or Hold

there, after a

Da

Capo.

Appendix, No. 60

whole

When

),

page

The word

8 ),

Fine

is

in

conjunction with

See Appendix,

Nos

and

and the

5,

).

).

when placed over

end)

Ima volta= Prima

a double-bar, signifies that the piece

is

to

end

frequently used for this purpose instead of the pause (see

).

rest

20, 36, 56, etc.

(/tn, see

No. 60

signs

i.) are then to be omitted at the repetition,

= Da Capo, means repeat "from'the beginning" (see page 53

D.S. = Dal Segno, means repeat "from the sign " (see page 103).
I

"The

second time, are often used

D.C.

A
A

repeated from the previous

to be

Dots, when placed after a double-bar, indicate

double-bar, or from the beginning of the piece:

is

is

often used to indicate silence for a whole measure

is

see

Appendix, Nos.

8,

whatever be the time.

two or more notes have

to be

sung

to

one

syllable, the notes generally

have

curved

line

slur)

over or under (page 21, also Appendix, Nos. 3, 4, 7, 8, etc.).

The curved line is also used to indicate
smoothness {legato; see page 74), and gliding [portamento ; see page 113).
Instances of these signs
will be found on page 21.
The slur is frequently used to indicate the phrasing of a passage (see Appendix,
1

Nos. 56 and 68
1

Phrasing.

"

).

The

art of giving the

'

sense

'

of a passage by accents

and

rests,

whether these are marked or not."

VOICE AND SONG.

24

POSTURE AND BREATHING.

Stand
weight

is

in

an easy attitude, head erect (not thrown back), body inclined slightly forward, so that the

upon one

poised mainly

To

with, the other foot.

foot,

which should be a

little in

advance

of,

and

at nearly

avoid stiffness and fatigue quietly change the position of the

feet,

right angle
at the

same

time transfering the weight of the body to the other foot.

Allow the upper arms to hang easily from the

shoulders, the forearms at nearly a right angle with the upper arms, the hands ( palms upward ) holding a
book in an easy and graceful manner, well forward, and at about the level of the waist. Always keep the
shoulders down, and as far distant from each other as possible.
Hold the upper chest comfortably expanded
at the front and sides.
"One of the most beneficial habits that can be acquired is that of carrying a full chest-position at all
times, at home, on the*street, or elsewhere.
This full chest-position is indispensable to the production
of a full, round tone of voice."
(Shaftesbury.)
1

Respiration.

"The management
The two

formed.

of the breath

essentials are

of the greatest importance in singing, as by

<good tone'

is

the

of breath will produce a tone in perfection,

The

it

power of controlling the quantity and force of air as it is expired;

By too great pressure of breath the form of the waves of sound most favor(

power of directing it.

a good tone is disturbed, while too

(2.) the

able to

is

pressure deprives the tone of strength.

little

and any increase or diminution of that quantity

certain quantity

will result in loss

management of the breath a primary

consideration.
The breath is the basis of a full, rich tone in singing, and on the management of it depends
the great charm and beauty of vocalisation, no less than the power of successfully executing phrasing,
according to the dictates of a poetical and intelligent mind."
( W. H. Cummings. )
of quality or p ower. J

old Italian masters of singing

made

the

Inspiration.

Exercise

Inhale

The upper

N.B.

14.

chest

must be held comfortably expanded

through the mouth, or

the nose,

Vvery slowly, calmly and

closed, or

mouth open,

pansion at the waist, until the lungs are completely inflated

front

abdominal wall below the waist

shoulders and collarbone

Let the breath escape

will

noiselessly,

by ex-

J
(

=a

the lower part, the sides, and the back under the shoulder-blades,

The

the time.

(2) through the nose, mouth

1(3) through

all

be slightly

full,

deep breath

).

The

chest, especially

must slowly and largely increase in girth.

drawn in. Particularly avoid raising the

= clavicular breathing).
freely, rest a

moment, then

repeat the exercise.

Retention.

"The

first condition of pure

and good singing

RESTRAINING OF THE BREATH."

Exercise

is

constant

(A. B. Bach.)

N.B. Keep the upper chest full all the time.

After a full, and fairly quick, inspiration, immediately seize and hold back the breath, and for
seconds continue to steadily resist its natural tendency to escape.
Retain it, not by any effort at the
15.

but by keeping the ribs and abdomen stationary.

of drinking)

all

The

throat

must be widely open

the time.

Exhale quickly, and

*

The

position of the chest

after a short rest repeat the exercise.

when prepared

to receive

a blow thereon.

expanded,

several
throat,

as in the act

VOICE AND SONG.

Exercise
then incline

While

(a)

16.

gently touching the lower teeth

While

(b)

move

all

Keep

times, also from shoulder to shoulder four times.

around, and the throat fully expanded

retaining the breathy gently

from side

it

retaining the breath, slowly turn the head from side to side four times,

up and down four

it

25

to side (left to right

and

freely

and right

move

to left)

all

the lower jaw

the time.

up and down

several times, also

Tongue and

several times.

the tongue

throat as in

{a)

above.

Expiration.

Exercise

Inhale quickly, retain the breath a second, then exhale through the

17.

calmly and noiselessly until

all

collapse during the process, but

the breath possible

is

slowly,

The upper chest must not

expelled from the lungs.

must be held firmly and comfortably

mouth very

full all the time.

may be

helpful for the student to exhale through the mouth with the lips almost closed (as
though about to whistle ). There must be no " blowing " allow the breath to escape in a steady and gentle

At

first it

stream with not enough force behind

of the mouth.

Later, the breath

it

may have behind

continuously bent at a right angle.

mouth and
It

is

6,

Finally, one should practise with

page 26.)

18.

For strengthening the breathing apparatus.

(a)

lips place a

a full, deep breath, retain

sible, carefully

the whole act of expiration from the beginning

perfectly controlled.

be

Between the

it

small tube having a very small outlet (a pinhole)

for a second, then

empty the lungs through

After

2.

the imprisoned air

Keep

the upper chest well expanded

full breathy inflate the ventricles

up

take

in,

the tube with as

avoiding any sensation of pressure in the head; the force must

the waist, and from the diaphragm.

will

just sufficient force to keep the flame steadily and

See experiment No.

of the utmost importance, that

Exercise

Ex. 18

it

of a lighted taper held within three or four inches

throat wide open.

to the end

()

to flicker the flame

come from

all

through the nose,

much

force as pos-

the muscles around

the time.

of the larynx and the windpipe by forcibly squeezing

against the firmlv closed glottis (as in straining).

Careful practice of this part of

not only strengthen the parts concerned, but will also very considerably increase their resonance.

(See page 32.)

Simple Experiments Illustrating Breath-Control.

is

The

and the aspera arteria

as the nose of the bellows to collect and convey the breath."
( Holder.)

(t

lungs, or bellows, supply a force of breath

Take an ordinary pair of hand-bellows having but one opening,

"mouth," which serves both for the entrance and exit of air.
( 1 )

To

Fill the
fill

illustrate

that at the

"nozzle'

(nose), or

Inspiration.

bellows in the customary manner.

(N.B.

Muscular action necessary

the bellows will not

of themselves.)

(2)

To

After

filling,

of the muscles

illustrate

Retention

"retain" the

air in

or

Holding the breath.

the bellows by

"holding" them open,

resisting

by

a decided action

their natural tendency to collapse.

N.B. To retain the air in the bellows by stopping or closing the outlet will somewhat illustrate the
manner of " holding the breath" by closing the glottis. See Exercise 18 (b ).
(3) To illustrate Natural expiration (i.e., Uncontrolled breath).
Fill the bellows, and then allow the air contained therein to escape freely, without help or hindrance.
(After filling the bellows, lay them on a table and allow them to collapse of their own weight or elasticity.)

gram at

Ventricle.

small cavity.

the beginning of this work.

The

entrances to the ventricles, one on either side of the larynx,

lie

between the false and the true vocal cords.

See Dia-

VOICE AND SONG.

26
4

To

Fill the

Forced expiration.

bellows and then forcibly expel the

5 )

To

Again

fill

illustrate

illustrate

air,

using considerable muscular

Controlled breath.
manner so

the bellows, and expel the air in a

flame of a lighted taper, held or placed within two inches

6

To

Once

illustrate

again

lighted taper

These

carefully controlled that

it

not flicker the

will

and directly opposite, the point of

of,

exit.

Controlled breath slightly intensified.

the bellows, and this time expel the air with just sufficient force to keep the flame of a

fill

placed as in No. 5 above

last

effort.

steadily

and continuously bent

two experiments should enable the student

at a right angle.

clearly to realize, that considerable practice will

be necessary to satisfactorily accomplish the object of Exercises like 86, 87 and 88.

What
The

artistic bowing

to the violinist, artistic breathing

is

is

to the singer.

following easily recognized signs are used in the exercises for the practice of

Artistic Breathing.

'\= Repeat;
= Inspiration
x = Expiration
h = Retention, or Hold
= Full, or Complete;
= Short, Incomplete, or Partial.
T =
and X
Full, or Complete inspiThe signs
combination with
and
are used only
= Short, or Partial inspiration x = a Complete expiration, and x Partial expiration. The
ration,
9

/T\

signs

in

'

/tn

|!

e.g.,

and x alone imply, respectively,

The customary musical notation

The student may find it helpful

comfortably

inspiration and an ordinary complete expiration.

full

indicates the duration of the respiratory sign over which

to

imagine himself gently whispering the exclamation "

it

Ah

placed.
" at the

is
!

(x) indicating expiration.

N.B. The upper part of the chest must be kept comfortably expanded all the time. Make careful
use of the metronome
never attempt a new pace until the preceding one is mastered.
Unless otherwise

sign

directed,
tion

commence

gradually

finally

each exercise with the

J=

to

40;

J=

first

metronome

120,

then

at

J=

= 120
100,

as efficiency

then J

=80,

is

gained, increase the dura-

then J

= 60, then

J =50,

= 40.

Exercise 19.

M. M. J=>

i t'
I

j:

m
2
'o
X

Exercise 20.

120 to

40.

-<5>

.5
're

-&-

-&-

Oh

Cl,

CL,
en

CO

M. M.

J=

120 to J

<u

'Sh

(4

ex,
CO

40.

-&-

Exercise 21,

l-L-i- -J-i-J-4
9

_l_
X

&-

<S>-

CD

&

VOICE AND SONG.

27

Exercise 22.

|^L_J_J__J

&

.J-i

XHXM

/7\

9-

I4

XMXH

XHXH

Exercise 23,

LL

>J>

L k #\

4'k "\
7 #7# 7-#
! .- 7 7-# 7#7--#r

"
KLiu
"
I

|l9H9H9H9H
S

IS

Js

7-

>
^
^
--7-#-7-#-7-#-7

7-#

s
>
>
>
p-7-#-7
7-'-7-H
"

II

XHXHXMXH XHXHXMXM XHXHX

IS

,\

9H9H9H9H 9H9H9H9H

is

^XHXMXMX

HXM.I

Exercise 24.

r_4- J.
/7\

ilJ

<^-

-s>-

<s>

-<5>

&-*

-<s-

HI
iM

-M

:|

Exercise 25.
1^"

&
9
I:

-<S>

f=*

-[^J - i-J
i-fi>M

H X

-<-

<S>

M X

Exercise 26.

M.M.

60.

PL

-^-

!&

*UV

-9 H X

-9

H X

N.B.

At x only

half

empty

the lungs, replenishing quickly at

$.

Exercise 27.

M.M. J = 6o.

I J

-^9

M-

J
-9

U i

M-

i
The

foregoing exercise,

No. 27,

carefully practised, will considerably increase the capacity of the lungs.

of breath between the four inspirations.

little

more, and so on.

The

first

indicated 9

should be as

full as

possible

There must be no escape

hold for four beats, then try to get in a

VOICE AND SONG.

28
Exercise 28.

In one breath count audibly, at the rate of one count a second, as high a number as possible.

N.B.

Let the retention between the counts bo perfect

breath must not escape, or be taken in, until after the highest

number has

been pronounced.

M. M.

J =60.

J.

JL

H
M
H
M

one

one
one
one

H
M
H
H

two

two
two
two

and so on

M
H
H
M

three
three

three
three

four
four
four

H
M
M

five
five

five

J?

J?

H
H
H

H
M
H

six
six

six

seven
seven
seven

M
H
M

eight

eight
eight

-,

H
H
H

_^_J
'|

nine

H
H

twenty

nine

thirty

H
m

forty

nine

continuing in the same manner to

ten

as far as possible.

Utter the numbers smartly.

Later, this exercise

may be

varied

by singing (instead of speaking)

M. M.

J=

the numbers.

60.

JL
9

JL

J-

J-

J-

one

two

three

four

and so on.

Breathing-Places

The

In singing words the "breathing-places" are regulated by the intent or meaning of the words.
breathing-place which the music alone would suggest

where the music for the several stanzas

ballads, etc.,

is

often quite different from that of the words

is

generally a repetition of that set to the

" In

the breathing-place will vary in the different stanzas.

"

careful study of the sense

Always breathe,

ning through several measures

in

good reading and

between words closely connected

rule,

cases the phrasing of the

the singer

is

reciting,

in sense.

Curwen.)

For unusually long passages

run-

i.e.,

(a full breath, or a

rapidly and inaudibly.

(See Appendix,

53.)

Breath should be taken at

all

and most short ones; but must not be taken

(separation).
(See Appendix, No. 66.)

long

of staccato

for the special effect

Where

stanza,

often obliged to replenish between closely connected words;

half-breath, as opportunity occurs) accomplished imperceptibly,

duced

first

never between the syllables of a

such cases the least awkward place (or places) must be chosen and the inspiration

Nos. 17 and

also in

words must rule."

soon enables the student to distinguish the verbal phrases."

as nearly as possible, as in

word, nor, as a general

all

rests

at

"

rests " intro-

there are no "rests" in the music, the time required for inspiration should generally be taken from

the end of a preceding note

see

note (see Appendix, No. 6

Appendix, Nos.

1, 2,

4, etc.), or

from the beginning of a weak or unaccented

never from the beginning of an accented note.

TONE-PRODUCTION AND VOICE-PLACING.

Part

I.

Tone.

A 'Tone',

<c

undulating;

in

or musical sound,

is

distinguished from sound or noise in general in being fxed, instead of

maintaining a certain location in the realm of sound, like the tone of a bell or whistle, in con-

tradistinction to the ever-varying

of the voice in singing and

in

moan of

The

the wind.

distinction

speaking, respectively; in the former case

is

most apparent

we produce

tones,

in

our treatment

by firmly maintaining

a certain degree of tension of the vocal cords for each utterance, while in speaking no such tension
tained,
'

and the voice therefore simply undulates."

The

Italian terms equivalent to these are respiro, breath;

The word

" tone " is also often used as a

synonym

for

pieno respiro, a

timbre or quality;

sus-

i.e.,

a par-

Goetschius.)
full breath, i.e.,

a complete inspiration

mezzo-respire, a half-breath,

tial inspiration.
"

is

e.g.,

a sweet tone, a harsh tone, a nasal tone, a guttural tone, etc.

VOICE AND SONG.

2J

Enunciation.
"

Enunciation

the audible result in the production of a vowel "' (voice-sound

is

Vowels

have an open position.

< are syllabic.

I are

The

).

vowels alone represent sounds

in

non-obstructive."

which the

Warman.)

breath

Being the only pure

fully vocalized.

is

voice-sounds which we have, they constitute the musical material of both speech and song, and are embodied

They

passionate and emotional expressions of voice.

in all

make, and

are free

open sounds, the simplest ones we

are capable of great prolongation.

They

produced

are

the larynx, and derive their character, or distinctive form of sound, from the

in

position and shape of the

mouth, tongue, and lips while uttering them.

To render these sounds full, clear, and pure in tone, free from nasal adulterations, and without gliding
into a different vowel (= form of sound), is an important object to attain, one that requires persistent care
and practice, and without which there can not be such a thing as a sweet musical voice. This practice
should be instituted
cords,
in

and

as a daily exercise until the respiratory

have gained

all

muscles work

harmony with the

in perfect

and unity of action to enable the student

sufficient strength

to

vocal

prolong the sound

pure and even tone.

The
heard

old Maestri di Canto

Laugh and Arm

the words

in

commenced

The

The Father

fications

is

most

technically as the

easily

Italian

A,

"

(A. B. Bach.)

exposed."

the

ah

most pleasing of

It has,

as
all

not inappropriately,

of Vowels.

position of the jaws,

looked upon

2
studies in tone-production with the simple vowel

known

vowels, and the one on which faulty tone

been called

all

as the singer's

lips,

tongue, uvula and throat

normal or standard

the enunciation of this Italian

in

may

be

All other vowels are the result of but slight modi-

position.

of this normal position.

Position for A.

Lower jaw

opening the mouth wide enough to admit the thumb edgewise between the

freely,

falls

Lips well open, corners slightly drawn back, leaving the extremities of the teeth

teeth.

oval shape to the

teeth

The throat

around.

all

The tongue

lips.

lying

flat,

and quite

roomy, the root of the tongue well depressed and the uvula

The

the mouth, gently touching the lower

free in

expanded ("come here"

fully

visible, giving an

as

in

drinking), making

spacious and

it

raised. 4

student should practise these positions with the aid of a hand-mirror,

they can be

silently, until

quickly taken, and firmly maintained for a reasonable time without the least feeling of rigidity or stiffness in
the parts concerned.

The

Experiment

following

perhaps enable the student to realize the important difference

will

in

muscular tension implied by the

terms Firm and Rigid.

Stretch an
for a

few seconds.

active );

much

straight out

Note

arm

at

keep

it

the

just suffice to

very

arm

once
from

longer one

with the vocal muscles

from the shoulder sideways.

Put the muscles into a

Now

the unsteady and painfully exhausting effect.

lifelessly, to

falls,

What

falling.

may

a difference

How

stiff,

least feeling

effort

intelligent student

Vowel is from
A simple vowel

from beginning

of

fatigue.

"

ruined voice."

told, that

power, and

more

effort

It is just

so

with the voice.

Practising

But with the muscles held

"

( in-

than will

how

tone produced

tone-production

just firmly, using

"
no

any attempt

at

systematically practised), a

flexibility.

tone-production during a passive state of the vocal muscles, can only

an idiotic whine.

the Latin vocalis, a derivative of vox, the voice.

is

one having a single unchanging form of sound, requiring "but one conformation of the mouth, without any motion of the organs

(Adcock.)

to end."
T>

will rapidly gain in beauty,

need hardly be

result in a silly, childish tone, or

firmly, using no

judicious guidance of a competent teacher, with suitable exercises regularly and

"singing-voice" developed which

absolutely passive

than will suffice to keep them steadily in the required position, a tone can be produced which will always be smooth and pleasant,

and (under the

The

it

unyielding condition, will be unsteady and disagreeable in every way.

under such conditions will quickly bring about serious throat trouble and

more

time hold

this

become

easy and comfortable everything feels as compared with the rigid state, and

continue holding out the arm without the

in a rigid,

unyielding, rigid state, keeping up the condition

relax, allowing the muscles to

Again stretch out the arm, but

the side.

stiff,

/r\

rt\

Pronounced Lahf, not Lawk, nor Lehf. N.B.

See Diagramma-tic Sketch of Vocal Apparatus.

In all key-words, dwell on the letters marked

<*.

of

speech

VOICE AND SONG.

so

THE PRIMARY VOWELS

A E

I.'

If the student will gently whisper the vowels in the order given below (following the direction of the

^-), he

pointers

mary vowels";

discover that the Italian

will

being the

occupies the middle place in the "natural order of pri-

the lowest in pitch), and

flattest (i.e.,

while the intermediate places are occupied by O, the second

the sharpest (i.e., the highest in pitch),

flattest,

This

and E, the second sharpest.

order should be well impressed upon the memory.

Exercise

icf.

-^

y.

Whispering, instead of voicing, these vowels

enables the student to concentrate his undivided

Exercise 30.

Exercise

A
A

u.

attention

on the shape of the vocal tube (mouth

and throat)

essential for their correct enunciation.

XL

<LNk..^
'U

-XLu

Proceeding upwards from A, the middle of the tongue

lips are

more and more rounded, being

gradually

whilst

and

have

tendency

to the dull

A common
Exercise

fault in

a syllable other

many

The vowel marked ^ must

distinctly

'U

The Timbre

U.

(i.e., quality) of

in either enunciation or timbre, the teacher

fault

and

is

and

bright

Below A,
clear

the

(chiara),

may

find

it

advisable to precede the fol-

than that given.

to

is,

and somewhat vigorously

be steadily held, and

form the
(

too far back in the mouth, making

the

word

each repetition of the

at

word Laugh

neither must any unvoiced breath be allowed to escape.

check in the attack,

open throughout.

raised for each higher vowel, the lips are

and obscure poseur a^).

English-speaking students

Pronounce

3 2.

is

closet for

For the purpose of eradicating some peculiar

lowing exercise with one on

-> A

it

5(2)

several times

the

word Arm

Breath and voice must

simultaneously.

start

several times.

There must be no

prolongation gradually increased.

its

" twangy."

disagreeably

The word Arm

will require the greatest care in this respect.

Put the mouth and throat in normal position

Exercise 33.

(= vowel A

then,

);

without moving the jaw, pronounce the

syllable

La

several times.

With

Exercise 34.

mouth and

the

throat in normal position

take a comfortably full breath

La

then, during one perfectly controlled exhalation, pronounce carefully the syllable

thus

M. M.

the

throat, jaws,

ww
La

La

La

must be no break

La

Lal

in the continuity

/T\

marked

lips

/Ts

LA

Pronounce

3
3

persistently

J--

'

in

the

3-

'

'3

J^
'

monotone 3

A-position,

d
3

the

H A

*
'

a
3

syllable

etc., but rather as

not faster than

reiterate the syllables at a

particularly avoid
as

first

M. M.

Don't

of tone.

movements

at

This exercise must not sound

lal

LA

and

===*

laL laL

L^T\
A

J'-

H A

M A

by the simple vowel

second:

four times,

H A

'3
'

La many

times

in

succession,

e.g.,

La La La La La La La La

a hand-mirror to detect faulty

N.B.

h La H LX H La

retain the breath a

Tongue-drill.

Exercise 35.

With

-* X-

:6o

La

four times, followed

and

moving

the

a sustained

vowel

60.

Carefully control the breath; there

Use

pace inconvenient for the proper placing of the tongue.

jaw up and down.

L was

though a sustained consonant

though

.J

being interrupted by a rapidly reiterated vowel A, thus

was being

interrupted

by

a rapidly reiterated

consonant L, thus

/7\

LA

etC.

as in true

troo

),

as in Oh,

as in Arm,

as in Eight (ate

),

las

in

pique (peek

).

When

pronouncing a keyword, linger on the

letter

/t\.

There must be no sensation

of " check " in the throat, at the

commencement

attack

of each

vowel

the throat

must

rime.
3

Monotone,

a single unvaried tone.

The

pitch should be about that of the student's ordinary conversational tone.

feel perfectly free

and open

all the

AND

VOICE

SONG.

3]

Showing Classification and Approximate Compass of Ordinary Voices.

Tabi.e

-<&
(

M\J

tf^\

<*rj

Cr

"

%J
t \.
k

m
%
r
S

m
i

Voices of

Mezzo-Soprano. Soprano.
Voices of Women

Men

all

their "fullest

Easy range

the part of the Compass'

and most

produced tones above

easily

&

^t>

Voices of women, having

guide the teacher.

will

| |,

may

those having these tones below this note, as contraltos

be classed as sopranos, or mezzo-

men's voices, tenors and

similarly with

baritones will have their fullest and most easily produced tones above
(

foundation-work should be practised.

In classifying voices, quality rather than Compass

sopranos

<-j

intermediate small notes indicate, approximately, the

within which

Alto, or
Contralto.

Tenor.

Baritone.

Bass.

The

-#-

-?1.

1
[

cs

<7~

-S--

9=

I,

and basses below."

Curwen.)
Voices are further

soprano
bass )

classified

tenore lirico, lyric tenor

basso profondo, a deep,

as soprano

sfogato, very high

tcnore robusto, robust tenor

heavy

bass.

The

soprano
;

soprano drammatico, dramatic soprano

tenore leggiero, light tenor

different voices also

may

basso cantante,

home

be described as suited to the

soprano leggtero, light

singing bass ( light, flexible

(

voce di camera ), or to the

stage ( voce di teatro).

TONE-PRODUCTION AND VOICE-PLACING.

Part

La.

heard

as

II.

words Laugh and Arm.

in the

Exercise ^,6.
M. M. = 6o.
A

4=^

gg

-h-H
i

^zl
^-h^^^j

^=F^i=te=&2=&=
i

=1=

\jb

'.\

'^

and so on.

pitch

From

instrument "get the pitch," noted

measure. 3

During the first beat of

overcrowding the lungs).
During the second
the next measure
beat "hold the breath," and prepare to articulate the consonant L thus (i) Put the mouth in normal (= A)
position, and (2) curve the point of the tongue upward to a position behind and just touching the upper
front teeth and the gums, leaving the sides of the tongue perfectly free.
At the third beat, using as little
breath as possible, instantlv "Produce the tone"" and sustain steadily (i.e., without the slightest
a well-tuned

in the

first

take in a comfortably "full breath " (avoid

tremor, or variation in either pitch or force) for the duration noted.

(still

without any change

in the position

ation in pitch) let the tongue quickly

1

2
3

See page 29.

See Note to Ex. 29.

the

first

beat of the third measure

of the throat, jaws, and lips; also without cessation of tone or vari-

move

to the

(normal) position

Compass, the range of a voice; "all the tones it can produce from lowest to highest."
The Teacher will note, on a separate sheet of music-paper, the pitch of the tones to be practised.
The Student should carefully read the instruction here given, over and over, mentally practising

thoroughly comprehended.
4

At

(i.e.,

lying

flat in

the exercise before voicing

the

it,

mouth and

until every detail is

VOICE AND SONG.

32
touching the lower teeth

all

around).

Sustain for the duration noted

point of the tongue quickly assume the

and sustain

position

then, at the third beat, again let the

up

carefully

to the first beat

of the

last

measure, when the point of the tongue again falls to the

position to be sustained for three beats.
At the
"
"
fourth beat
Release
(i.e., end the tone ) neatly and promptly, not by closing the mouth, but by sim-

mouth and

ply withholding the breathy allowing the

throat to retain the

position until the tone ceases.

Repeat the exercise over and over, also vary the pitch, but always keep well within the

easiest reach of the

voice.
Exercise 37.

M. M.

-#1

60.

4:

:te^:

pitch

77

iz

and so on.

pitch

L
\\

The

above exercise

is

to

be practised in a manner similar to the immediately preceding one, the only difference between the two being

in the duration respectively of the elements

the

alternates

is

to

be sustained

first

for three,

In the following exercise the consonant

which the breath

silence during

alone

is

and

and then
is

the

at

each recurrence

is

be sustained

to

one beat only, while the

with which

for four beats, as noted.

vowel

sustained during only half a beat, the

firmly held and the

for

position carefully maintained

then

at

during three beats, followed by one beat ot

the

first

beat of the

last

measure the vowel

attacked smartly, and firmly sustained for four beats.

is

Exercise J38.

M. M. -0
I

60.

and so on.

iBBL

-&-

-&-

pitch
II

" If the

letter

is

formed properly, the point of the tongue will give the exact place

the purest tone and greatest resonance."

" The

which the vowel

should be focussed to obtain

(Croker.)

peculiarly attractive tones of the Italians are

character of the tones of most English-speaking people

is

due
due

to their

custom of directing the waves of sound toward the

to their habit

The

lips.

guttural

of directing the sound-waves too much toward the back of the

(Cohen.)

throat."

"The

only criterion which can serve in judgment regarding the results obtained,

The

teacher."
teacher's

at

student therefore should faithfully carry out

comments and

all

the discriminating, accurately critical ear of the

is

instruction received, and, at each review of

work done,

carefully note the

advice.

Exercise 39.
Sing on a long, evenly sustained tone the simple vowel A, producing
that

"a

is,

chest fully
easiest

it

from the very commencement with the best possible quality,

tone, clear and pure, entirely free from pectoral gruffness, guttural suffocation, nasal twang, or oral thinness." 2

expanded

all

the time, otherwise the tone will lack volume.

Let the tone

rest

on the breath.

Exercise

all

Keep

the upper

notes within the

compass of the voice.

M. M. -'=6o

&

-&>-

pitch

pitch

,h

,M||:-

9M

and so on.

pitch

-9M

9H

||

||

^m

d&z:

Resonance, " The reinforcement of sound by sympathetic reflection."

Resonance-Cavities. "Besides the small cavities [the Ventricles; See Ex. i8b]of

the larynx which determine the original quality of tone, there

under the voluntary control of the singer, which modify it. These may be called
The lower pharynx from the epiglottis to the part where the uvula cuts off the entrance to the nose, and the arches of the palate, form the

ire three principal cavities

(

Throat.

entrance to the mouth

all

breath, or voice,

must enter

this cavity.

The upper pharynx and the cavities above the hard palate, from which all breath or voice can be cut off at pleasure.
Mouth. The cavity between the arches of the palate and the lips, the most modifiable of all the resonance-cavities." ( Ellis.) See Diagram.
( 3 )
2 " The chief characteristics of the old Italian school were clearness, smoothness, volume, intensity, compass, ease, and endurance." ( Lunn.)
According to Walshe, " The varieties of vocal timbre may be referred to a certain aggregate of species mellow to hard pure to husky sweet to harsh
(

Nose.

smooth

But there exists an attribute of timbre

to rough; clear to nasal; sharp to shrill; resonant to toneless; liquid to dry; laryngeal to guttural; flute-like to reed-like.
This is the quality
that may be associated with several of these varieties, impossible to describe, but by common consent designated in all countries as sympathetic.
that really touches the heart, and most vividly emotionises the musical sense.
As a rule this variety of quality is less developed in female than in male voices ; the
higher the range, the less sympathetic the tones ; it may be, often is, totally wanting in the highest tones of a voice possessing it largely in the chest range."
" In singing, great differences of quality in the tone can be made by alterations in the shape of the mouth. Generally speaking a wide, distended mouth gives the

sombre resonance, and greatly aids the

effect of tones or phrases which are serious and solemn.

A narrowed mouth and cheeks give the clear resonance, and assist the
expression of tones or phrases which are bright and joyful. A proper ordinary opening of the mouth gives the medium resonance suited to tones and phrases which are
( Curwen.)
quiet and peaceful."
3 " Consider the breath as a propellant power, which sends forth sound by remaining behind

it,

rather than as the sound itself."

Novello.)

VOICE AND SONG.

33

The Attack.
The

starting of a tone

shock of

To

trie glottis).

is

technically called the

Attack.

Garcia

be certain of a good attack the student should

(stroke or

calls it the coup de glotte

think the pitch, then, with

first

all

the parts concerned properly adjusted, start breath and tone simultaneously, striking the tone clearly and

smartly right in the middle of

The

pitch.

its

must be absolutely

attack

of breathiness or noisy explo-

free

siveness.

"

The power of recognizing bad execution helps the pupil to understand and enjoy that which is good."
The student will find it instructive to experiment on three ( frequently heard faulty ways of commencing a tone now to be described.
The vocal cords approximate for the production of the tone after the breath has started, resulting in
I.
)

a disagreeable " breathy attack."

Closing the glottis so firmly that the attack is accompanied with an extraordinary explosive
This is truly a " shock of the glottis " but not what Garcia means by coup de glotte.

II.

or

click.

effect

Adjusting the vocal cords to the pitch after the tone has started, producing a horrible " scoop "

III.

in

the attack.
N.B.

may

Exercise 39 must be perfectly accomplished before any attempt

is

made

(Ex. 40).

to practise the staccato

Exercise 86

follow Ex. 39.

STACCATO

Exercise 40.

Sing in one breath

( i.e., the proper

all

(detached, or separated, notes).

the tones contained in the four measures noted between the

commencement of each tone

must stop simultaneously,

"

there must be

AAA
^S
Practise

on

Give

repeats."

careful attention to the

above), and to the Release (i.e., the proper ending of each tone

no ragged edges"

||

AAAAAA

Attack

tone and breath

).

Keep

the upper chest fully expanded

the time.

all

fct

pitch

see

notes within easy reach of the voice.

all

J = 6o.

M. M.

"

aii a

so on.

pitch

H A

||

TONE-PRODUCTION AND VOICE-PLACING.

Part
made with

Satisfactory progress having been

III.

the vowel

A, the student should continue

production on other simple vowels^ exercising similar care and attention to details as
ceding exercises

he should

also,

and

in the

practice of tone-

immediately pre-

particularly, in every instance, assist the placing of the tone

use of the consonant L, and, unless otherwise directed, carefully maintain the normal

Italian

by

a discreet

A)

position

of the throat and mouth.

Exercise 41.
Lo.

as

heard in the words

"Lope"

and

"Oh!" (= a

Contract the

pleasant surprise).

they assume a nearly round

lips until

Don't protrude them.

shape.

Exercise 42.
Sing on one long, evenly sustained tone the simple vowel O.

" <5o, "

thus

O :==- 00,

nor must

it

M. M.
A

im

commence with

a slight

J- 60.

See Note to Ex. 29.

See " Release," Ex.

N. B.

sound of u (like

^m

pitch

"u"

-* --

in the

itez:

word "urge"),

-^zt^l.

v|

end

it

thus

to

and

must not glide into

===

so on.

pitch

h|:B

Let the vowel be pure from beginning

36.

The tongue must be

being heard as the tongue moves to

its

in place before uttering the

place,

making

LO

consonant L; carelessness

instead of

LO.

See Ex. 36.

in this

matter results in a prelusory sound like

a short

(as

in

"ill")

VOICE AND SONG.

34
Exercise 43.
Staccato and in one breath.

(See introduction

to

Ex. 40.)
'

M.M.J = 6o.

'

j *-

-*-

pitch

and

so on.

pitch

hohohohom

ho

9h||:o

ft*-*- --

:||

Exercise 44.
Sing in a legato

connected ) manner the two vowels

and

J = 60.

M. M.

and
1

Change from one vowel

breath, that the tone

and

eral quality

to the other

perfectly

is

steady and constant, while

maintained

fullness

quickly, avoiding any such drawling

at

effect as

:jj

pitch 1

jj:

"Ohwahohwah

";

the same time the individuality of each vowel

is

also,

so

so on.

carefully

control the

secured and the same gen-

tnus

"s

">

N>

y s

y v

y ^

O
y

s.

but not

o
is

Don't help the change from one vowel

with an impulse on each vowel.

change

to the other

by any special action of the breathing-muscles

the

very slight lip-action only.

the result of a

Exercise 45.

Serrate and

M. M. J =

iCH

-*

pitch

N.

6o.

as

it

Read

" Rude " and " True

Carefully avoid closing the

vowel has

natural pitch of this

in the

tendency

to

M.M. # = 6o.
l

Sing on one tone,

at

same

as

ob heard

make

in the

Who ?"

words "Loot," " Ooze," and "

protruding them too much, or the tone will be smothered.

lips or

the tone dull

Tongue

thicker

the root must be well depressed, or the tone will be guttural.

( see Exs.

29 and 30); hence it

is

customary

the simple

J=

6o.

modify

to

by

giv-

vowel

as

over

indicated,

staccato.

~j
-3
E^-1 0P* 1
0
9 *

-*

U-

uhUhUhUh

See remarks to Ex. 44.)

60.

=t

U
the other.

<Ty

B.

"

M. M. J =

N.

to end.

pitches well within the easy compass of the voice,

sostenuto.

Exercise 49.

pitch

pitch
:||

Exercise 48.

BEM. ^3EE

III

vowel pure from beginning

word "up."

Exercise 47.

M. M.

in sostenuto style, later in staccato style.

first

pitch

A
also keep each

part touching the teeth, the point rather lower than normal

Exercises 47 and 48.

;

the introduction to Ex. 41, page 33.)

somewhat the character of u

and over

.tat

and so on.

heard in the words

and narrower, no

ing

||:

slightly protruded.

Lips

The

>

Attend carefully to Attack and Release

Exercise 46.

*-

--

P
M

B.

Lu.

one breath.

in

n.

n.

---

UOUOUOU 9H
UAUAUAU9H
OUOAOUOAOU^h
UA OAUAOAU,h
O
A

UO
UA

V,

:p*

ana so on.

observe
slight

how
is

the lipaction.

Let the breath -control be steady and constant, keep the vowels pure, and exercise great care in changing from one vowel

to

VOICE AND SONG.

35

Exercise
Staccato.

Attack and release carefully.)

J =60.

M.

^H^i!
pitch

and

H
H

H
H
H

u
u

H
M

M
H

M
H
H
H

the introduction to Ex. 41, page 33.

Le,

y
u
Read

u
u
u
u

y
y

Exercise 51.

>=F-

o
A
O
A

M
H

heard

as

the

in

U
H U
H U
M U

H
H
H
H

*>

O
A

word " Eight"

-*

"-

H
H

same

an d so on.

as

" Late

in

'

" Ate.")
Middle of the tongue very slightly

become

or the tone will

(See remarks

Exercises 52 and 53.

J --60

M. M.

pitch

M.

E-

M.J = 60

(See remarks

Exercise 54.

-* --

J = 60

A >

EE.

Staccato.)

d=fe=d= ^^=g

-* -pitch

to preceding

E, thus

47 and 48.)

M. M.

II

to glide into the alphabetical

to preceding Exs.

(Sostenuto.)

-*--

:
Ozii-*

Also avoid any tendency

guttural.

Carefully avoid raising the root of the tongue,

Point of tongue and other parts normal.

raised.

||:E

"I

EhEhEhEhE

Ex. 44.)

(Legato.)

g=3=^s|

pitch 9

II

A
A

U E
y o
O E

A
O

AEAEAEAEAE9H
EOEOEOEO
UEUEUEUEUE9H
AOU OAEAOU E9M
OEAEOEUEO
O

Observe

how

slight

is

the

tongue-action.

Also

how

sligbr

ana

tongue

the

is

lip-action

in these.

Exercise 55.

i^i=
4~
pitch

||

H A H

Continue with vowels

Exercise 56.
Li.

(Read

heard in the

I as

.==5:

f-j^ ^i=d^P=j?^= z^--W=p^-=

Middle of the tongue

A H

E H

^3=^3=^3=zi=:
^J-^-tf^-^hj^t

-J

and so on

-I

Ex. 54 above.

in the order given in

introduction to Ex. 41, page 33.)

word " Police "

same

raised, leaving only

as

in

" Leap," " Eve," and " Please."

narrow passage, between the top of the tongue and the roof of the mouth,

for

the

emission of tone.

Carefully

This
to the

tube

is

resist

any tendency

the thinnest of

roof of the mouth

is

all

to close the teeth

the vowels

also

in singing

most contracted (see page 30)

also

keep the root of the tongue depressed, otherwise the tone will be spoiled.

the student must especially guard against

low

it

making

the tone thin

notes, in order to modify -the natural sharpness of this

may

be sung somewhat

like T

as

in

the

word "it."

by pressing the tongue too

vowel

the one for

which

Exercise 58.

Sostctiuto.

M. M.

J = 6o

*=

._.-

pitch

M. M.
tS>-

[|

1-

-* --\\

ii
s
pitch

Staccato.

J = 60

-y

|^I

_j_^

Hi

the vocal

Compare with revarks on vowe'

y, Ex. 46.
Exfrcise 57.

close

11
H

h=!I

VOICE

3(5

Exercise 59.

pitch

SONG.

Legato.

M. M. J = 60.

I1^3

AND

EI

EIE

nm
IEIEIEIEIEI
3

IAIAIAIAIAI
OI OIO IOIOIOIOIOI
u iu iuiuiuiuiui
y
EAOUOAE IEAOUOAEI
I

IA

E
Exercise 60.

M. M.

i'

i'

J -60.

'

'

Staccato.

ztttt
pitch

i'

'

II:

=r

H E H

Continue the exercise with vowels

hEm

^^^

fi
*?

II

and so on.

in the order given in

^.
9

Ex. 59 above.

TONE-PRODUCTION AND VOICE-PLACING

Part IV.

Secondary Vowels.
Exercise 61.

The

vowels u,

o, a, e,

now be

correlatives of the primary vowels, should

1,

carefully studied

and

practised.
I

st

lob ( 00

=u

as in

push

) as

heard in the

2nd

lo as

heard in the word lo-cution.

3rd

la as

heard in the word la-ment.

4th

le as

heard in the word led.

5th

II as

heard in the word lid.

word

look.

Exercise 62.
;

'.

_.

(2) Sing
/r\;

each pair of words several times successively, always lingering on the vowel marked

then immediately try the vowels alone.

||

||

Observe, that
5, a, e,

t ),

H Loom

look

H U

H Oboe

obey

H Arm

ask

H A

Eight

H E

2el

til

in these exercises

"secondary" vowel

= 60

00

II

Ho
Ha
He
Hi

(=E)

characteristics are represented

while the " primary " vowels are represented by capitals

U, O, A, E,

by small

letters

(u,

I ).

Exercises 63 and 64.

Practise the following pairs ofvowe'is.
tinct

throughout

its

duration.

Carefully bring out the characteristic sound of each, keeping each one perfectly pure and dis-

VOICE AND SONG.

Ex. 63.

Ex 64. Staccato.

Legato.

J=6o

M. M.

i04

37

^v w

-*---

;=:

<

pitch

||:

OOo

|:0

wm

V Z*

_z_

pitch

U M

||:

U M

M U

|:0h3mOhomO9m

|:

|:Eh

-1

A m

hA

9m

eHEHeHE9H:||

H A

Hi Ml

TONE-PRODUCTION AND VOICE-PLACING.

Part V.
Diphthongs, or Compound Vowels.
foregoing simple vowels^ several diphthongal, or compound, vowels,
so called because each one consists of two simple vowels " so closely blended, in ordinary speech, as to

There

sound

est duration

"

on the

radical

which

as in

A >

A >

as in "oil," consisting

OW

as in

is

"

O >

of

close.

(as in "

arm "

or")

gliding into

gliding into

as in "

T (

ill

"

),

with the accent and great-

T.

(as in"

(as in "ill,") with the accent and greatest

1.

o'wl, "consisting

of

(as in

arm")

gliding into ob

as in

ooze), with the accent on the

ob.

" mule "

not at

" consisting of

isle,

duration on the radical

radical

and the second the vanish or

radical or beginning,

principal diphthongs are

as in

QI

termed the

first is

to the

by a single impulse of the voice."

like one, uttered

The
The
I

are, in addition

all

is

compound of

"vanish," but the

gliding rapidly into 6b y with the accent

"body"

of the vowel

upon

the second element,

This reduces the

6b.

first

element (1)

to the function of a consonant.

In
the note

nging the
for

first

example

three of these diphthongs, sustain the radical

the accented part) and glide quickly into the vanish at the end of

must be sung
-<s>-

Iw^

thus

OI

iw
ow

not

-M

SiO

not

-0

fourth diphthong

U),

<s>-

O
not

thus

-&-

-Gf-

Thc

s>-

00

00-

having the accent upon the second element, must be sung

-,

-00

(you)

not

fp =^sl
00

J
or

J\

67 i.

In correctly pronounced English the vowels

compound of A
just

AND

VOICE

38

gliding into J ,and the latter of

and

( as in

gliding into u

"
in

fate

SONG.
" and " fold "

each case sustain the

are distinctly diphthongal, the former being

element, and glide rapidly into the second

first

UDon leaving the note

m
fa

simply as

e<

vanish"

is

EJ
-

fo

For the reason that the

F^^S^J

^=
it

-uld

trifle

lighter

not

fa

not

fo-

than in the

Id

three of the diphthongal vowels,

first

and

are often classed

"impure vowels."

Exercises 65 and 66.

Practise the diphthongs to a sustained tone,

Ex. 65.

=t

Sostcnuto.

m3

-* -9

later to

Ex. 66.

*m.

pitch

and

:OI-

II:

pitch

detached tones, on

OI

H QI

ow

qw

II

uif the
if

U H U

whole of the work contained

in the

i^m

-&-

I!

qw-

notes within easy reach of the voice.

Staccato.

-*

all

Hi Hi Hi Hi Hi
H OI

H OI

qw

qw

h OI

H OI

H 03"

qw

good

machine and pique,

<7\

<(

cc

it,

/7\

cc

eight and veil,

((

cc

end and

cc

ere

cc

cc

C(

cc

(C

cc

it

cc

10

cc

cc

awe and aught,

cc

cc

ode and tone.

ask and

ah and

cc

she and peek.

in

lynx and hymn.

in

ate

and

vale.

in

air

and ware.

last.

lark.

what and wad,

in

in

and sang.

11

cc

and where,

cc

let.

cc

cc

and him,

(C

at

like

/7\

links

cc

6 in wot and odd.

cc

6 in or and ought.

<(

06

cc

in

wool and good,

wolf and could,

I

in

pull.

in

whose,

cc

*3

cc

cc

truth and rude,

cc

cc

14

cc

cc

15

cc

cc

00
e

in

in

urn and fur,

{
utter

and sun.

?h

II

little,

tone, any vowel in the English language, as the

The Principal Simple Vowels Tabulated Scalewise

as in

qw

hUhUhUhOhU

remaining vowels are but slight modifications of those already practised.

preceding exercises has been thoroughly mastered, very

any, difficulty will be experienced in producing, on

H OI

'

cc

T in

cc

in

rood.
earn, like y in myrrh,
fir,

and

in

word.

other and son.

VOJCK AND SONG.

39

The Principal Compound Vowels (Diphthongs).

=

( =

The

hitter a

mouth.

for the sake of

singer

The

'crushed

knows,

too, that

his

oo

as

T )

in

as

is

y in style.
J

like

le,

in

boy

owl, like ou in out.

as

in

in

mu le,

ew

like

from the teeth, or right

in front

oy

like

oil,

from the palate, and that the former gives

the back

at

me'wl.

in

(the genuine palatal tone); and that the best tones are those that he

tone

'

in

="- ob

Singer knows he can sing

and the

'flat,'

as

=6
ow = A
Qi

"The

/7\

(= A

is

it

extremely

kind of resonance to

difficult to give this

roundness and fullness of tone something of the

that

40, exhibits

all

I,

etc.,

Riemann.)

commencing on page

following table, belonging to the section on "Articulation'

the middle of the

and

or to a bright-toned

of a vowel must be sacrificed."

strict characteristic

in

feels

the consonants of the English language in systematic order.

Table of Consonants.
1

Unvoiced.

VOICED.

Oral.

Oral.

Nasal.

Tv

as

as in

as

in

Tight.

D
G

Kick.

in

as

CHurch.

in

TH

as

in

S as

in

Seal.

SH

as

in

as

in

as

HW

as In

Rouche

in

roosh

).

Hue (HYoo).
WHeel (HWeel).

as

Gig.

NG

in

as in

as

Mumble).

'NGing

as in

in

e.g.,

singing)

Ink.

Revive).

(e.g.,

THy.
Rouge (roozh).

You (Yoo).

as in

(e.g.,

Nine.

as in

also like

Weal (Weel).

in

Rage, and

as in

TRue

ESe

r as in FaR, and

No

(preceding

vowel).

(terminal).

unvoiced correlatives
r

L
pure breath-sound

is

H"

" uh "

as
(

heard

in

its

Arm, and Chord (preceding

as in
as

Lily,

in

the whispered syllable

"

unvoiced
(Egzist).

is

For example, compare

pure vowel-sound.

Hu," with " u

/TV

soft

consonant).

and Lull.

would be

correlative

" as heard

in

the spoken

syllable

the short "neutral" vowel).

The sound
;

Mum

in

Zeal.

in

as

ZH

( Se"s )

as

Died.

Vive

as in

TH

THigh.

in

HY

"

as

Bubble).

(e.g.,

J as in Judge.

Fife.

in

as

Bub

as in

TV

CH
F

Pup.

G
the

of "hard"
is

the

same

as

same

is

the

same

as J, as in

as

K,

as in

Cake

Gem (Jem); Q

-f S, as in Exit

Eksit

/>

*V>

Kak )

is

the

same

and the voiced

soft

as
is

the

is

K,

the

same

as in

same

as

as S, as in

Casque

-f-

Kask

Cease
);

as in Exist

VOICE AND SONG.

40

ARTICULATION.
Articulation

is

the function of the organs of speech in the formation of a consonant.'

{have

a shut position,

are non-syllabic,

are obstructive.

Warman.)

There

two

are

classes

of consonants,

Unvoiced and Voiced.

In the production of unvoiced consonants the breath
simple breathing, but, on leaving the mouth,

of the tongue, teeth and

sitions

allowed to pass freely through the glottis* as in

is

has been shaped into peculiar characteristics by certain po-

it

lips.

Voiced consonants are the result of vocalized breath, shaped into peculiar characteristics by the tongue,

and

teeth

sonant

Every unvoiced consonant has

just as are the unvoiced consonants.

and, to three of them, there

It

lips,

is

added another having

its

correlative voiced con-

a nasal element.

important that the singer should be able to produce, intelligently and accurately, each element of

is

sound represented by the capital letters in the Table of Consonants on page 39.
"Quality of tone depends upon the vowels, but distinct utterance upon the consonants; if these are
(Adcock.)
not clearly articulated, the sense of the words will be entirely lost."
Consonants in declamatory speech require considerably more vigor in their articulation than they do in
In singing their articulation should be as vigorous

ordinary speech.

or even

as,

more vigorous

than, in

declamation.

The

exercise in this important part of a singer's training should be as follows

first

Exercise 67.

The word and

its

consonant element (marked

Table of Consonants, page 39 ) should be pronounced in immediate succession,

bring out the contrast.
In pronouncing the word, linger on the consonant marked ^.

in a whisper, exaggerating the consonant in order to

"The

mouth should be

freely

opened and firmly held

Whispering, instead of

served."

see

in position

proper for the formation of each sound, and every position carefully ob-

once voicing the words, enables the student to concentrate

at

his

undivided attention on the move-

ments and positions of the articulating organs.

After practising by lines,

from right

to

left,

they should be practised by columns, from the top down.

Finally, they should be

voiced, and uttered in a full, clear, exact and distinct manner.

Careful study and practice will reveal that the sounds represented by the letters P,
voiceless,

and incapable of prolongation by

same positions respectively

pre ceded by

M,

and

voiced breath

NG

The

) to

their

The

characteristic

and

fully trilled

and

forcible, also

less

are

momentary

made with

puffs

of compressed breath,

the articulating organs in exactly the

the characteristic difference

that the

"puff"

is

comes from keeping rhe mouth hermetically closed, allowing the sound

occurs only before vowels, and

is

is

vowel

example, the

they are very disagreeable

and

all,

is

last syllable

=
not
the Latin consonans, sounding together

or lips

when unduly

that

made by
;

is,

from the mouth.

the forcible expulsion of

and, although the sounds of their

prolonged.

produced by the upper part of the point of the tongue vibrating against the roof
trill.

as a

"voice-placer" (see Exs. 36-38).

of each of the following words must sound

humbl

humbul
"

any

much used

humble

Consonant, from

others being oral

consonants represent noises and hisses,

in other places requires scarcely

the most singable of

for

all

particular dispositions of the tongue, teeth,

),

voiced consonant

of

mouth by

and therefore singable

behind the gums.

cal to fulfil the office

B,

are

because, respectively, they also are produced by exactly corresponding po-

difference

and consequently unsingable

voiced correlatives are sustainable

just

that

escape through the nose, hence the term nasal in the classification,

remaining unvoiced

of the mouth

and K, the "puff" being

are classed as correlatives of P,

breath through channels formed in the

The

continuous expiration

and

and limited amount of voice.

a small

of the articulating organs

sitions
(

as for P,

little

people,

littl

peopl,

littul

as

It

sustained

is

sufficiently

vo-

peopul.

an articulate sound which requires

to

be combined and sounded with a vowel to be heard

distinctly."

Glottis, the variable A shaped owning between the Vocal Cords. Over it is the Epiglottis, the leaf-shaped cartilage at the root of the tongue which formf
cover for the aperture of the windpipe during deglutition.
The Vocal Cords are two opposed, highly elastic bands or lips, set in the Larynx ( the uppei

lid or

part of the windpipe, just where the

Adam's apple can be

felt ).

For the production of vocal tone, the vocal cords are

caused to vibrate by the expulsion of a steady current of air from the lungs.
See " Respiration," page 24

Tone, page 28

and the Diagrammatic Sketch

of the

Vocal Apparatus.

closely approximated,

and

their parallel edges

VOICE AND SONG.

The

aspirate

has no fixed conformation of the mouth.

through whatever position of the mouth

It

is

simply the sound of breath rather forcibly expelled from the lungs

required by the vowel following

is

11

Its

it.

impulse comes from the diaphragm.

For

illustration

and

practice pronounce the following

Exercise 68.

fu

HU

ist

= 00

Hoop.

as in

aspirate

r
(

vowel only

mouth

<

4th

HO
HA
HE

5th

HI

3rd

as in

Hope.

as in

HaYp.

as in

Hey

C(

CC

= ee

1
I

Heed.

as in

in

still

with

shape

of preceding vowel.

2nd

only,

H
H
H

(C

cc

cc

Exercise 69.
Successively with each of the consonants given in the table on page 39 combine the primary vowels

example

t(V\/\
1

VM^

I,

following

as in the

V\
/T **

UOA

%J

A /T\

A /7\

pitch

^\

M PO

H PA

M PE

B6

H BO

H BA

h BE

MU

H MA,

and so on.

MO

UP

B? H

'

M UB

PI

/T\ a

/T\ a

A /7\

PU

H OP

/Cv

OB, and

*>

/"?"

M AP

H EP

IP

so on.

II

Vary

the pitch at pleasure, but always keep well within the easiest reach of the voice.

N.B.

All unvoiced consonants,

"from

need great force and precision

their utter lack ofvocality,

in their artic ulatioii.

'

Exercise 70.

Monotone

lating the consonant,

Let the tone be

" The

PA,

the syllable

move

as nearly

the

an easy pitch, to the rhythm given below.

at

jaw up and down

continuous

as

is

|:

80 to

PA

each percussion of the consonant

object of the above

Open the mouth well

( Garcia.

vowel every time.

120.

PA

is

it

The

will, for a

PA

PA PA

tone,

when

moment,

PA

PA

PA

PA

voiced consonants are used,

take

on the

PA
will

characteristic quality of

to exercise the articulating organs in easy

PA

PA

alternating one class of articulation with another

^-J4*

for

example

PA

PA

SA

FA
LA

TA

FA, and

so on.

or

TA
KA

KA

LA, and

so on.

or

PA

GA

PA

GA,

PA SA

and so on.

:|

is

SA

PA

SA

PA

JL
SA

but at

in practice.

and rapid movement perfectly controlled,

^t_jL H- t_jL^

SA

whatever consonant

X-JW-J-

PA

be continuous, mainly on the vowel

Exercise 71.

or

for the

In articu-

See Ex. 35, page 30.

Extend Ex. 70 by

expanded throughout.

ljJ^^-L>-i-7-l^-J

the consonant at pleasure.

open vowel-position.

the throat well

compatible with a rapid and distinct articulation of the consonant.

4*

The

don't close the teeth.

consonants beat time and mark the rhythm by their percussion."

M. M.

Vary

freely, but

Keep

to

and from the wide

VOICE AND SONG.

42
Exercise 72.

Combinations of two or more consonants

for illustration

and

They may

practice.

are, generally,

very

The two

difficult to articulate clearly.

be combined with any suitable vowel and practised

after the

given below will

series

manner shown

suffice

the head of the

at

series.

Always
a

vowel

in

articulate the

between

-,-.

Lxample
1

the-

I?

for

example, BL, not

>.

tf )

BL

LD

\{b)

2nd series.
N.B.

consonants

tor Lxercise 72. {

[a) 1st series.(b)

consonants very distinctly, and

st

Series.

SP

SW

(swell)

SM

(smile)

(star)

STR

2nd
"

DTH (breadth) DZ

(adds)

GD

(single)

(axe)

LM

(whelm)

GL
KT
LN

(act)

(fallen)

LZ

(feels)

MD

ND

(and)

NG

PN

(open)

PS

RJ
RS

(charge)
(horse)

RK
RT

SN

(lesson)

SP

TL

(battle)

TN

BLD
NTS
SKT

(climbed)
(singing)

(drops)
(ark)
(heart)
(clasp)

(brighten)

(warbled)

DLZ

(daunts)

NCH

(asked)

STS

See Remark, Ex.

764'.

(idles)

(stanch)

(masts)

Combinations.

(snow)

(sleep)

(strong)

Initial

(shade)

(sphere)

(bagged)

OLD OLD OLD OLD OLD.

SH
SN

SF

word " ebbed

DR (dread)
KR (crown)
SHR (shrine)

(pray)

word "

the vowel take the greater duration of the note.

let

^cioud)

the

).

'

OLD OLD OLD

KL

(as in

(pray, not puray).

(grass)

SL
ST

PuR

GR

PR

not

OLD OLD OLD

(bride)

(glow)

PR,

BLA BLA BLA >h BLA BLA BLA BLA BLA.

BR

GL

combinations," carefully avoid putting

initial

combined with A ( as in the word " blarneyJ "

- \
combined with O ( as in the word " cold " ).

bless ").

(as in the

(bless, not buless )

"

In every case,

BL

BuL

In the

as possible.

KS

rapidly

BLA BLA BLA

BD

as

Series.

BL
FL
GZ
LB
LP

RL
RV
ST
TS

(spark)

THR

(thrall)

Final Combinations.

SKW

TR

TW

DL

(stifle)

FN

(often)

FS

(dogs)

JD

(alb)

LD

(pulp)

LS

(false)

(since)

MP (camp)
NT (sent)

(dropped)

RB

(girl)

RM

(serve)

RZ

(triumph)

(barb)

(arm)
(hers)

(last)

THN

(chats)

VD

FTS

(drifts)

NGZ (sings)
TLZ (battles)

(heathen)

(saved)

LDZ (folds)
PLD (peopled)
VNS (heav'ns)

(true)

(squall)

(twang)

(ebbs)

(felled)

(queen)

FR (frown)
PL (play)
SKR (scroll)

SK (sky)
SPL (splash)

BZ

(bridged)

(flew)

KW

(warble)

MF
NS
PT

FL

(cradle)

(laughs)

KL

(buckle)

LF

(shelf)

LT

(felt)

MZ
NZ
RD
RN
SK

(alms)
(sins)

(bard)
(turn)

(ask)

THS
VL

(births)

(evil)

LTS
RST
VST

DN

(gladden)

FT

(waft)

KN

(broken)

LK
LV

(silk)

(shelve)

MT

(dreamt)

PL
RF
RP

(people)

SL

(castle)

(serf)

(warp)

THZ
VN

(paths)

(even)

(bolts)

NKS

(first)

SKS

(lov'st)

ZNZ

(thanks)
(asks)

(seasons)

VOICE AND SONG.

43

PRONUNCIATION.

"He who
(

sing.

:f

Pacchiarotti.

"To
still

sing we/I in the Italian language

difficult,

scale of' singableness

and

D. Bennati,

in

attention

German more

of the

on the

iowest,

may be

easy in the Portuguese, and less easy

less

it is

and those of the English most

surely

',

will

We
We
We
you

good

desire

and quality. "

combined

and

stands

little

and these exercises."

attention

and enunciation.

act of articulation

enunciate vowels.

pronounce words.
and pronunciation, give every element

due quantity'

its

Give the vowel'in each word the

patible with distinct

As our language

difficult.

does require this

Sing each word of those given in the table of consonants (page 39

Exercise 73.

difficult,

articulate consonants.

articulation, enunciation

Warman.

it

the utterance of a word, the

is

it

the duty of the student to master the difficulty.

it is

do it, but
Curwen's "Teacher's Manual.")
few special exercises

" Pronunciation

If

easy, but

Spanish; while the customary vowels and consonants of the French language make

in the

and those

knows how to breathe and how to pronounce, knows well how to

).

principal duration of the note, the consonants taking

up

of the duration of the no e

as little

as

is

com

characteristic articulation.

Example.

-<Sh/7\

Mu-

Bu-

Pu-

flgU s?

-iS>-

-m

k)*-

Tigh-

H
d and so on.

Die-

Careful y avoid such errors as, for example, vowels gliding improperly: Fi-e'e-f, for Fife; adding a vowel-sound

Died, Pu-up,
for

and

Lull and

Weal

for

Pup

Miim

anticipating

"preluding"

making the sound uh

and dwelling upon

initial

at the

consonants, especially in words ending with L,

final

Mum,

consonants:

end of a word

Nine, Lull, Sauce, E-You, oo-Weal,

Pupuh

for

Pup and Thyuh

Thy

for

for

M,

Mum,

and

NG

De'e-

-d,

for

Mum,

Lull,

Nine, Lull,

commencing

Sa'uce,

You

or finishing voiced conso-

nants on a pitch other than that noted,

^^H

LJLsU^ ^l

gjbg
XT
e.g.:

RlT

for

VT-

anc

ive.

VI-

for

ive,

fl
ive.

For more extended practice the student should devise other words (or syllables) by combining

Exercise 74.

and vowels

V~

it

example

POP

Write or Right),

= Pope),
= Writ

RTT

),

PSP

),

VOIS

suitable consonants

= Pop SUP = Soup), SuP = Sup), KIT (= Kite), KTT = Kit),

= Voice), VlS = Vice), MAN (= Main), MaN = Man) and so on ad
(

infinitum.

Combine

Exercise 75.
easy pitch

for

12
;

Part, 2.

I.

consonant and a vowel in every

example, P and A, thus:

Trap,

3.

Apathy,

Apart, 4.

1.

5.

PA,

2.

aP,

3.

way

a-PA,

and sing the

possible

aP-a,

4.

5.

aP-PA,

-*-*-

*-4

E4=<

Xs
aP-

Bring out unmistakably and smoothly each element of the combination.

the

word."

within a

word

'*

'

Tis

his apathetic

middle of

voice" with

word, sound

like

are taken either at the

end of

note or

The
at

( the

end of the note

Is his a pathetic voice?

);

"

one (e.g., appalling apparition

this distinction

" She

[=a-p

is

difference

between Nos.

the beginning; this

(

is

aP-

regulated

by the

ap-a-nsh-un]

),

=11

carefully

sensible division o'

the beginning of the note ); in

Sheep-ear' d." 2

-PA

and 4 should be

of importance, and should be well practised.

peer'' d " with "

a-ling

PA

No. 4

it

wii

E.g., compare

Double consonants occurring

in the

but in derivatives and compounds, and where the

Questions of "quantity," or length, of vowels are decided for the singer by the composer of the music. " Long " vowels
In singing, the characteristic sound of each must be distinctly brought out.
( See Exs. 61-64.
See Ex. 76 (//).

" short" vowels to long notes.

a

'

words

3^fc

aP-a

In No. 3 the time for the consonant must be deducted from the succeeding vowel

be taken from the preceding vowel

notes of

PA

to

in the following

3r
-fS"-

observed

as

they would occur

Scrap-part.

" Consonants

(or syllables)

resultant syllable

may

be set to short notes,

and

VOICE AND SONG.

44
same consonant
teristic

the

is

letter

last

of one word and the

In

quality of the consonant.

"puff"

or

<

"The

explosion."

most

common

aP^PA,

of the next

keep the

lips

as in

No. 5)

closed during the

No.

5 ), the

double

effect is

the characteristic quality

^ between

is

the

made by prolonging

"

and addition of sounds

in syllables,

Potter.)

following selection will afford material for illustration and practice.

Exercise 76

).

Written.

Sounded.

Don't Substitute.

Again

a gen

Always

alwaz

Ay(e)

Aye

Desolate

desdlat

z for

Dew

da

J for D, or u

Dissolve

dizzolv

ss

Ere

ere (or ar)

e for e

God

God

Iron

Turn

ru tor ur

Irony

lurny {adjective)

Irony

Iruny (noun)

Of

ov

f for v

Oil

oil

Path

path (th unvoiced)

voiced th for unvoiced th.

Paths

pathz {th voiced)

unvoiced th for voiced

Real

real

u tor

a.

The
The
Us

the (before a vowel)

u for

e\

thu (before a consonant)

us

z for

With

with (th voiced)

th

Yes

yes

(when used

as a

word)

a for a.
a for e.

for a, or

(meaning yes)

a for

(meaning always)

for

for a

I.

a.
s.

(=

00) for u.

for zz.

(or a)

or a for 6.

= of iron

ru tor ur.

satire

ur tor ru.

for oi.

th.

for u.
s.

(unvoiced) for th (voiced).

tor

e.

Exercise 76 {b).

Written.

Don't Omit.

Sounded.
a

And

and

(making

'nd), or

d (making an

or a and d (making

Every

ev-e -y

Fields

feeldz

Govern

giivern

(making ev-ry).
d (making feelz).
er (making guv'n).

Insects

insekts

Looked
Old

lookt

ed

old

d (making

Real

real

Shall

shal

Softly

softly

Winds

windz

d (making winz).

(making

inseks).

(making look).

(making
(making
(making

the charac-

silence" which precedes the

two consonants.)

the

errors in pronunciation are found in the substitution, omission,

lapping of words in sentences."

The

first

example given above

the

51').

reel).
sh'll).

sofly).

'n').

),

and the over-

VOICE AND SONG.

45

Exercise j6 (c).

Don't Add.

Sounded.

Written.
1

Handsome

hansum

d (making handsum).

Kind

kind

Pray

pra

u (making pura), or e (making prae).

Rule

rul

Reel

reel

u (making

Splash

splash

u (making spulash).

The

the er

y (making the yer

ear

(=

rool)

(making ke^ind).
(making

u (making ru-ul).

re-ool), or
re-ul).

"the year").

Exercise 76 (d).
and

lble

audible
terrible

able,

responsible

Exercise 76

and etv

not utv

variety.

societv.

not uble.

Ttv

laudable.

ability

syllable.

charity

advisable.

nobility

not

ent and ant,

piety.

(<?).

ess

and ous,

darkness

goodness

countless

iss.

gracious.

continent

righteous.

eminent

not unt.

consonant,

precious.

student

not ur.

ltive

popular,

positive

narrative,

particular,

infinitive

superlative,

elegant.
nfant.

Exercise 76 (/).
or and

ar,

governor

counselor

superior

and

not atTve.

ative,

prohibitive

similar.

alternative.

Exercise 76 (g).
en and on, not

open

hasten

garden

prison.
(

= hasen

Occasionally the

listen

).

last

vowel

is

'n.

heaven

season.
(

omitted

lisen

soften

).

Heav'n,

Nos. 3 (rais'd), 6 ( lov'd), 7 ( inspir'd ), 13 ( bedeck'd

48 (encompass'd), 75 (call'd), and 80 (fill'st).

But very often it

curst); 36 and 51

is

better to

sound

it;

see

lis'n,
),

42

etc.;
(

pardon.
(

= sofen

see

).

Appendix,

resign'd to heav'n

),

Appendix, Nos. 26 (cursed, not

(strengthen, not strength'n

(broken, not brok'n, and looked, not lookt).

38 (risen, not

ris'n

73

VOICE AND SONG.

46
Exercise 76 (h).

The

To

overlapping of words,

etc.

be practised unti an aud tor can with perfect ease distinguish one sentence from the other of

each couplet.

'

His
His

his

stripes.

tripes,

his

tripes.

Make clean, make

Make lean, make

[
(

CS

A
A

clean.
lean.

<3
>*

1*3

O"

/^?
O"

good
good

star,

the

first

star.

tar,

the

first

tar.

deal,

eel,

good
good

lit

- tie

ass,

still

night.

Stud

- ied

Thine own name, thine own name.

That
That

rain,

that

rain.

Lasts

till

night, lasts

train,

that

train.

Last

still

night, last

aid,

your

aid.

raid,

your

raid.

Thy known

Small eyes,

small

eyes.

Small

small

lies.

Can
Can

Near home, near home.

Near Rome, near Rome.

lass,

Stud

food, this our

lies,

- tie

night.

This our

lit

till

kin.

no

A
A

aim, thy

known

aim.

The
The

- ceit,

men
men

pray,

with

his

acts,

with

his

axe,

one.

Let

all

owe one,

can

owe

one.

Let

tall

A
A

and

E.

and

D.

And
And

D,

de

sol-dier's steer,

no

and

- ceit,

sol-dier's tear,

can

E,

de

one,

and

zj*

ther side,

food.

his

ei -

His crymov'don,
His crime mov'd on,

kin,

&**?HI
& \\

nei - ther side,

A
A

eel.

food, this sour food.

Your
Your

On
On

deal.

This sour

i*j
o*

>

Beard de-scend-ing,

skin.

1*3

i*D

stood, the mass stood.

his

t*3
ZS

Beer de-scend-ing,

skin,

stood, the masts stood.

His
His

stripes,

1*3

1*3

The masts
The mass
The first
The first

sheep -ear'd.

Sheep-ear'd,

<="

She peer'd, she peer'd.

=i
~VT7

pray,

The

following Exercise 77 (a, b and c) is an example of how pronunciation may be practised in

In 77*2 the student's undivided attention is given to the exact pronunciation of each
the words of a song.
syllable in the

words

is

mindful of His own "

accomplishing

after satisfactorily

this,

the

rhythm and pace set by the composer of the music, illustrated in Ex.
can be done easily and distinctly, should the complete musical setting (Ex. 77^) be

are to be monotoned to the

and not

77<;

song " But the Lord

until this

essayed.
Exercise 77 (rf).

Pronounce each

syllable as indicated in the phonetic line ;

the

vowel of each

(marked

syllable

*tn )

is

to

be sustained

dwelt on)

for

about one second, deducting only the time required for a rapid, distinct and somewhat exaggerated articulation of the consonant" which

may

be either

at

the beginning or at the ending of a syllable.

/7\

BGT

THu

L6rD

Xz

But

the

Lord

is

Ri

Me"M

BerZ

re

mem

bers

mind

HfZ

IS

Vary

FuL

oV

hTz

ON

HE

ful

of

His

own,

He

CHiL

DR?N

BOW

DOWN

chil

dren.

Bow

down

/7\

Bi

/7\

i-7\

MfND

lT\

FOr

HiM

YE

MI

fore

Him,

ye

migh

/7\

/7\

For

THu

LorD

TZ

NEr

uS.

ty,

for

the

Lord

is

near

us.

C-'ESURA, or slight break in the continuity of tone, will be necessary for a sensible delivery of
this interval at pleasure.

/s>

t!

many

of these sentences; e.g.,

s>--^\

sheepHear'd

MakeHl ean

VOICE AND SONG.

Monotone

Exercise 77 (6).

The

N.B.
the

same time

the

( taking

phrase for example),

first

Lor

the

M. M.

a pitch suitable to the voice.

Lord V

the

Ex. 76/^)

see

lo

fu

sown.

fi

also review

Ex. 75

r^
-00-

mind

js

C\

,s

,n

But

mine

dis

V of

- ful

HisV own,

h He

and 4).

; / j

re

mem

His V

bers

chil

dren.

/*r\

>

,N

0-

0-

--*

rltard.

Lord Vis

mind

- ful

HisV own,

of

*>

A 1
B ow

down

>

#>

Lord V

mind

is

>

V of

- ful

migh

fore

own,

bers

HisV

migh

ty,

migh

chil

dren,

mem

re

9M

the

for

Lord

bers

near

is

us.

us.

mem

His

bers

9H

Yea,

the

0dren.

chil

(V)

near-

is

be

-i

&

Lord

the

Bow down

&

for

_#

HisV

-&-

re

ty

near

is

&

the Lord V

for

&-

-#-*-

ye

,N

J-

9H

-es^

J-

He

9h

the

-&-

j-i.

Him,V ye

ty,

mem

j__*_j_j.

HisV

i
Him,

re

#*

-&- -0

Him,V ye

fore

f #-*

be

Lord

be

But

tern po.

the

Bow down

9M

# #-

-4-

at

it :

66.

Choose

the following in legato style.

must not sound thus

it

discreet use of the C<esura (suggested thus

Jyidantlno.

continuity of tone throughout each phrase must not be interrupted unless distinct utterance, or the sense, requires

Bu

Make

(sing on one unvarying pitch

47

-y

us.

Exercise 77 (rf).

"BUT THE LORD

MINDFUL OF

IS

Arioso from the oratorio "

Andantino.
sKey

M. M. J

Music by Mendelssohn.

G.

j^zjizj:

But

Lord

the

mind

ful

#_^

iw

HisV

of

fct
s

-0
1

own,

Fe

He

But

LordV

Carefully hold the breath (indicated thus

after each inspiration, should

=

the

See page 71.

H)

become a regular habit;

fT\

/T\

V of

- M

mem

Key D.

RS

bers

His V
F

m-4-mh

-m

chil

R
4

-+ a tempo.
HisV

own,

the

Lord

re

mem- bers

His

moment after each inspiration (marked 9). N.B. This practice of holding the breath for a moment
not only steadies the breath, but gives the singer time to prepare for the proper attack of the following tone.

for a
it

T*rt-.

fV -

mind -ful

is

re

ritard

dren.

~#

'

-==

#
ft

Paul."

66.

Fe

St.

HIS OWN."

VOICE AND SONG.

48
M

dren,

chil

re

DmRDD

A minor.
R

Key

DR

His

bers

dren.

chil

PPS^S

mf

mem

MR

Bow

down

be

Him, V ye

fore

Key B minor.

MR

migh

9h

ty,

Lord V

the

for

mf

near

is

m Bow down

us.

be

Him,V

fore

migh

ye

ty,

Key G.

L.

Sk

DS

-fiL

*=*
"'"

cres.

Lord

for

the

fore

Him,

near

is

us,

rules for the pronunciation of Italian,

and never

vowels are very

impure vowels or diphthongs

"

before e or

which

consonant

nounce /

like l-y

before /

nounce gn

in

bed

a in bare

ee in beet

before r).

in bit ;

before a

vow-

"j

is

Consonants

like

r,

consonant).

somewhat

softer

the soft consonants are very

delicate.

lish.

m,

n, p, qu,

s, t, v, as in

Eng-

6 has no English equivalent; long

pronounced by forming the

short

by saying e

0,

French eu
(tip

of tongue

ii

syllable

first

is

dwelt upon; e.g.,

Accented

ii,

ai

and

ae

like a.

sd

" zd
ds

( at

(very

beginning of words
soft ts).

Long

ei like

au " ow
).

position;

bed

is

in-

the

pronounce

lips to

say 00 fas

the

ii

first

position; short

in bit) instead
is

the French

of ee.
u.~\

Diphthongs

forcibly marked.
/*.

lips in

by saying 7 (as

prolonged or dwelt upon rather than

before e and

bay

in

first

(as in

say

boot), and then saying ee (beet)

[N.B.

syllables take a less

( as

has no English equivalent;

with the

pronounce ek'-ko, not ek'-

lips to

\njeu)~\.

in

a doubled consonant occurs,

can be

[N.B. Long

stead of<7.

you.

"a

the

in

Where

sc

**

lips

long u by forming the

like sh,

and then saying

oh,

/'.

a roll

or u.

a in bare, but broader; 7 in bed,

like

[kan'-

explosive stress than in English, being

than in

against hard palate).

o].

English

1,

in

in ecco

General rule: Even the hard conso-

b, d, f,

before e or

the

boot; u in bull.

are

in

and n (pro-

canon

German

with the

y
pronounce with

nants

pro-

simple vowels as in Italian

Modified vowels:

mute.

aw, or oh (without the vanish u);

00 in

The

yon]).

bay (without the vanish 7)

like

[consonant]; e.g.,

sugli [pron. sool'-ye]),

in opinion.

u "

except

another

u, or

0,

with a consonant.

el, like

"

a,

syllables, or in accented ones ending

ay

Vowels
cc like t-ch

/,

like

short in unaccented

[pren. ah-mah'-reh].

"

be learned from a

will best

German.

/.

g " g hard before

alike ah or ah (never 2); e.g., amare

below.

as

c,

ch in chair before e or

as

they

are long in accented syllables

they terminate,

His

of

ful

near

is

c like k, before a, 0, u, or another conso-

be pronounced

to

For students located where this is not feasible, the following

German and French, taken from Dr. Theo. Baker's "Dictionary of

Vowels
clear,

( 9 )

mind

is

language unfamiliar to the student,

nant except

The

Lord

tke

for

*~ff*"

Lord

the

be helpful.

will

Italian.
General rule:

t-

German and French Pronunciation.

The correct pronunciation of songs in a

teacher who sings the language professionally.
Musical Terms,"

Italian,

H nYea,

Fe

in

eu and au
closely

long 7 in bite.

brow.

like

oi

drawn

more exactly

together).

ah'-ii,

AND

VOICE.
Consonants
f

h, k,

b and

m,

I,

d,

n, p,

as in Englisn.

t,

beginning

word

word

English; ending a

in

ble, like

p and

g usually hard, but

like

which g

like

th

or sylla-

in

end of

azure

and ung terminate,

word, with

Be'-bung

separate

the

position

a i-sound (e.g.,

qu "

kv.
roll,

or a harsh breathing.

a vowel, like z(soft); ending a

word

or syllable, like sharp

" sh.
g " z in

com-

compound word

the

gn

h
j

is

"

before

stumm, pron. shtum

(e.g.,

\_u as

in

between v and

softer,

is (also

when

w\

beginning a word).

Compound consonants:
without an English equiva-

when

lent;

after e,
is

it

soft ( set the

tongue as

it

is

hard

like the

if to

German

and

m,

short t as in English.

u.

a; but before /-final, or

and afterward practise

Example

in the

trahngkee /y l.

otherwise

sounding
(

in

as
is

accurately

or

as a

diphthong

(drawn

silent.

t-final

is

silent.

est,

et, es,

word

5.

is

as

final

syllables,

strong English stress

syllable

wanting

in

French

the gen-

slightly to accent

the last

words of songs phonetically

(illus-

eral rule

is

syllable.

77*3, b

and

c.

ver ?

Do

aS

SI

Z6

TE

VI

CH?N

do

as

si

so

te

vi

cin

Quan

7\

*>

*>

KWaN
I

VER

Non

/7\

Ti

Tl

Rl

Ti

ri

PAR

LA

par

la

cor

BEN

Ml

ben

mi

DA
d'a

/s\

KOR
-

ft

Dl
-

di,

on

of a polysyllabic

Music by Tito Mattel

arc

like e.

The

Accentuation.

closely together).

manner of Ex.

ez,

pronounced

aV-eet

boot.

like oo in

a (in bat), and

roll.

some one

German

to ah, i to

"NON E VER?"
e

m)

instead of after ) the

in Italian.

{N6N

Eng-

nasal in certain situations.

is

er,

//, is

exercise in foreign pronunciation, the student should rewrite the

trated below),

changed

s-final

ei like e.

ou and ou

ral h).

u to eu.]

closely together).

oi like oh-ah'

e.g. travailler [trah-

nasal effect

by

English

like

and frequently pro-

),

(ee);

[The

r with a

eu, eu and oeu like

(a guttu-

consonant

together with

and always long.

German

drawn
ai

sounded

usually

is

obtained

is

pronounced

e.g. Strich, pron. shtriy-h; after

and au,

as in Italian.

ai like

pronounce y, and breathe an h through

a, o, u,

and

nasal, see above;

almost silent in

Diphthongs:

beginning a syllable, or

a, b, u, ai, ei, ae, eu,

i,

is

;'.

preceding vowel; but the sound of e

or 1 like ee in beet

//.

a sibillant

<?-final

" ay in bay.
" e in there.
" German a,

v like/.
v (but

and

in azure.

vah-yay'], tranquille

polysyllabic words.

otherwise as in English.

bull]);

after

lish.

u in but:

e, e, e, e,

mute.

like

approach-

ing English 2.

p, beginning a word, usually like sh

/,

azure before

as in Italian.

as in Italian, but often shorter,

/'.

ch

longs the

like ah.

For

of

into the

and

c like / in song before e, e, e, e,

Vowels

words entering

English, with the follow-

as in

ing exceptions:

Zwi' schenaits'" musik" Bo'gen-

and

it

secondary

11

beginning a word or syllable, and before

au,

French.

with a

vowels

verbal ending of 3rd pers. plural).

Consonants

ham" merklavier'"

).

y (consonant).

is

compound

',

e. g.

j like

ch

In

always

is

forcible

depending on the number of

('"),

eng,

at

have

syllables

accent ("), sometimes a tertiary one

Italian in

syllable, the

and diphthongs are nasal (exception,

stress, as in English.

in

m, nd nt or mt

a following n,

the end of

at

like t.

before

ts

above.

s,

without the vanisn u.

like o long,

Modified by

Accented

ang,

sounded;

so

is

ing, ong

w "
x "
z "

like sh.

words there

words from the French and

sch

eu, and a.

e, i,

r either

like x.

respectively.

and u;

c like k before a, o,

eau

chs

sp and st, see

or syllable, as

49

SONG.

aN

JeL

Dl

an

gel

di

VIN
-

vin,

MOR
mor t

VOICE AND SONG.

50

PaL
Pal

The

PI
pi

TA

R6

ta

ro

No

NoN

Ah!

No,

non

No

no

C6R

itri

cor.

VER

STRI

No

N6

No,

ver !

no.

student must be particularly careful in pronouncing

and

that there

is

not the faintest change

to Tin the former, or to u in the latter.

The

curved

^m

1se^
)uan-do

as

connecting two adjacent vowels, indicates " confluent " vowels, sung to a single note

line

si

so a

pronounced much more

xample
>pi

in

take the place of English diphthongs, but are in Italian

cin

vi

te

"They

-j a- :

and separate."

distinctly,

Lrerman

"O

ISIS

UND

OSIRIS."
Music by Mozart

O
i

SiS

uND

sis

und

DeR

VIZ

HIT

Der

We

he it

SI

RiS

shSng

kSt

si

ris,

schen

ket

DEM

NOI

Geist

dem

neu

GIST

Dl

IR

DeR

VaN

DRuR

SHRiT

Die

ih r

der

Wan

d'rer

Schrit

iSHTiRKT

MiT

Ge

mit

Ge

Starkt

Carefully distinguish between

Example

in

French

and

DuLT
-

duld

PAR

eN
-

Te

Paar!

en

LeNG

V
KeT

len

ket,

te

Zl

IN

sie

in

Gi
Ge

FAR
-

fahr I

I.

"BERCEUSE.'
Music by Gounod.
/Ts

Ka*"

Tu

SHa^n

Quand

tu

chan

SWAR

LQ
Le

Tu
-

en

SE

ber

tes

an

soir

BER

Q
-

c'e

TRtf

ME

BRA

tre

mes

bras,

/7\

/7\

Ta

an
En

tend*

Tu

mS

Pa n

se

tu

ma

pen

se

Kl

Tu

RE

Qui

te

re

P6 n

TU

pnnri

tout

BA
has ?

VOICE AND SONG

lT6 n
Ton

(.

DU

SHa

Mil

RaP

PeL

doux

chant

me

rap

pe>

Lu
ie

LE

PLu

BO

Du

ME

ZHUR

Les

plus

beaux

de

mes

jours;

SHa"

Ah

than

TE

SHa"

ma

TE

SHa"

TE

TU

tez,

chan

tez

tou

Chan

In the phonetic

Ma

tez,

51

ZHUR
jours.

vowel, thus: a n or 6 n , indicates an "orinasal " vowel,

line a small n after a

in

which

the voice passes through both the nose and the mouth.

the

The French u is a peculiar combination of U

German #), having no English equivalent, and
" In colloquial French the

retained,

and

in the

final e

phonetic line

is

<?-mute

is

indicated by

u.

with either

or T (see remarks on the pronunciation of

represented in the phonetic line bv

u.

almost always (not always) omitted."

In singing,

it is

EXTENSION OF THE COMPASS.

The Registers.
The term Register

designates a portion of the compass peculiar to a particular adjustment of the

vocal mechanism.

There can be no hard and

fast rule as

to the exact place

where the change from one

register to the

much depends upon the conformation ot the vocal

The student, however, must strictly
facial lineaments.

next above or below occurs in the different voices, as so

much

organs, which in individuals vary just as

as

avoid forcing a lower register higher than the divisional place indicated in the table following, which exhibits,

approximately, the registers in the combined compass of the different voices.

;rd

or

High

Register.

2nd or Middle Register.

ist or

Low

Register.

2nd

series.

b*--#"

ist series.
f)

2nd

series.
,

^^.^S
fc

^MM^

^,hr
FT
AV

ud7ftjk*J3*
zm
ym\^

r-b*tj.H?

*r~^'

J^wiy gg,

.......

Soprano.

Contralto.
Tenor.
Bass.

For an extraordinary dramatic effect an experienced singer may carry a lower register higher than the
limit above noted, but it is always a " risky " procedure, and if indulged in too freely will result in blatant
open tone, strained vocal cords, and possibly a ruined voice.
On the other hand, an upper register may safely
be brought down several notes, thereby giving quite a number of optional tones, that
in

two

different registers.

is,

tones possible

VOICE AND SONG.

52

The

uniform compass depend upon the careful management of

the student should particularly practise the optional tones of the weaker register,

and

blending of the registers

these optional notes

a perfectly

way they equal the stronger.

" There are some heaven-born artists who instinctively blend all the registers, so that the whole voice
becomes one homogeneous wave of sound ;" but more often it is " an operation requiring an almost incredible amount of patience on the part of both instructor and instructed."
( Deacon.)
until in every

The nomenclature
sympathetic sensations

the different registers

for

"). is

duce sympathetic vibrations

based on either " physiological conditions, or

chiefly

The terms most

very varied and often confusing.

were Voce di petto

Italian teachers

Chest-voice

and Voce

in the chest,

di testa

Head-voice

the tones of which produce sympathetic vibrations in the head

Sketch).

The

terms Voce aperta

Open

( i.e.,

voice) and Voce chiusa

False chest-voice

a voice, as well

as

Lower and upper

The

).

term Falsetto

the frontal cavities

are,

still

sometimes called Voce mista

is
(

for the higher register of a voice,

Covered voice

of the lower and upper registers of the male voice, also were, and

middle register of the combined compass

of a voice, the tones of which pro-

for the lower register

False, or feigned

to the "feigned" voice of the adult

and Lower and upper thin

is

male

frequently used by the old

see

Diagrammatic

based on the tonal quality

),

much
Mixed

The Medium

used.

voice

or

or Petto falsetto

),

also often applied to the highest register of

Many modern

alto.

teachers use the terms

and Second series of the lower and

middle registers respectively, and the term Small for the highest register these names are based on corresponding conditions of the vocal cords, which vibrate either in their whole " thickness," " thin edge," or
thick,

to describe the

First

The French and German

"smaller length."

terms respectively for the three registers are Voix de poitrine

(

Mixed voice)

In practising the following preliminary exercise for the extension of compass, the voice

must not be

and Bruststimme

Chest-voice); Voix de fausset and Fistelstimme

and gedeckte Stimme (Covered voice

forced upward, but

entire absence

must gently

of rigidity

Voix de

False voice), or Voix mixte

and Kopfstimme

tete

Head-voice

).

from the lower to the higher note, with perfect breath-control, and an

glide

in the parts

Progress must not be hurried

concerned.

only when one tone can

be taken comfortably, should the student try the next, progressing by semitones as high as possible.
fully

note your teacher's advice and criticism (see page 32,

last

Preparatory Exercise for Extension

paragraph of Ex. 38

of

Care-

).

Compass Upward.

Sing two notes an octave apart in the easy manner one often hears or adopts in pleasantly calling the
attention of a child

M. M.

60.

who

at a short distance

is

(For men's

away.

voices read an octave lower,

and
_

Em
An
El

Ah

At

first

ma

na

la

9
9

h
H
H
h

:||:Em-ma

na

la

:ll:An
:||:

El

:||:Ah-

H
H
M

:||:Em
:

ma

:||:Em-ma

word " maw."

:||:Em-ma

Em

on

-P
.

ma

||

|:

and so on.

allow the vowel " a " of the second syllable to take on a

nearly like " a " in the

Tlw--

V -

w
v-=-p

w
"^=-p

__
*-^-p

v^~P

so

Also practise with the words

somewhat sombre

Lyj-lu, Lily,

covered

and Amy.

quality,

VOICE AND SONG.

When

N.B.
it

each

octave

Also

it

"Adam's apple" (see X

produced the larynx

in

Diagram), and observe that

the same low position as for the lower note.

maintains

should be noticed that for the higher note the pharynx

and that the

note,

the

correctly

is

on the larynx, allowing

when the upper note of

practising the foregoing exercise, the student should place a finger

upon

to rest gently

53

soft palate rises, shutting off the

will

be rather

less

expanded than

for the lower

upper pharynx.

In the following exercises for the Extension of the Compass Upward, the student should be able to
pass from one register to another without a noticeable " break."
Never forget that " good quality" is of far more importance than "great quantity."

Exercise

Prolong the
M. M.

(When

78.'

letter

J 60.

used for men's voices, read an octave lower.)

a little,

and be sure of the pitch

{Not faster.)

P*
MA H A

in the attack.

|jji|#f

J
J

-\%Mfcl

mA m A

^jipipi

%P^

jjjj

mAh Am Am

u=&
f=E=^=l
MA

MA m A MA

feggBptlilgi

ns

MA

m A m A mA

P *
MA M A

MA M A

>
B.C. 2 (an 8ve

MA m A
1

N.B.

D.C

H A m A

All exercises
is

and studies should be

an abbreviation

ot

the phrase "

higher).

caretully memorized, so that the

Da Capo," meaning "from

repeat an octave higher than the notation indicates.

the

maximum

head"

(i.e.,

of attention

may

be given to the voice.

from the beginning).

Following the further direction "8ve higher,"

VOICE AND SONG.

64
Exercise 79.

rrr^S

ffi

rt

kt

fefe

U-ri

^?

cjuir

ii

lix/

t*
IZ5

j^W

1.

I.

g^-cj-

*Je

'S-

4.

52

Jr

=z

Sm
T

p .

g.rj cjic;^[j
i

iS_

zz:

VOICE AND SONG.

Exercise
M. M.

80.

The

voice-part

^^

J =60, 72, or 80

is

to be read

an octave lower, when used

55
for

men's voices.

Sing softly.

56

VOICE AND SONG.

VOICE AND SONG.

Exercise 8i

Sing

softly. M. M. J =72

57

58

VOICE AND SONG.

VOICE AND SONG.

5fc

Extension of Compass Downward.

The

When

following exercises are for the extension of the compass downward.

used for men's voices,

read an octave lower.

Exercise 82.
Sing the following on the vowel

key before attempting the next lower key.

to finish of each group.

Slowly and

softly.

Keep

So

maintain the throat

far as possible

the upper chest well expanded

all

in

practise

one position from

one
start

the time.

M. M. J= 60

m^HF W s

^ r>~i~ifr
u.

:l

>

|:

C\
*

^^Mi:

U.

.O

ggl jy

u.

Thoroughly

(06), taking breath only as indicated.

5j

:^#i

^^

4h

m?

P0

u.

r\

^TF
I:

U.

r>

'~g

3 s
U

'

i
l:

7*

U.

I
57

'

# ^1

Variation.

lowest note

'

/Os

1 I C. 8Ve loiver,

Project the

somewhat

vig-

and

-ftftf

xMi

>J
i

'

J> J>

^mUh
Commence

on

Q p*
^-^

orously.

Exercise 83.

so

in

ksy suitable

to

the compass, that

is,

1
J5

SO-dft

:l

the one which introduces the

lowest true note.

Sing slowly and

>!&=?

$i

u.

softly.

M. M. Jr6o

3^ fl-U,
:|

U.

ion.
Variation
J

4 JJ
I
\ u.

? A crescen

r^/o

on

the lowest

note

M.M.J =60

53:

fr
-and-'

w=
U-

se-oa

^hf
?ar

:h

U~

>H:l

VOICE AND SONG.

60

Exercise 84. The voice-part to be read an octave lower, when used for men's voices.
N.B. Practice should be exclusively upon the vowel
(00), until the desired fullness of quality
When this is accomplished, take the other vowels in the order O, A, E, I
settled upon the voice.

M.M.

J = 80

^LTJLT

is

VOICE AND SONG.

61

VOICE AND SONG.

62

Exercise 85. Voice-part an octave lower,

M.M. J = o
.

for

men's voices.

VOICE AND SONG.

63

EXERCISES FOR STRENGTHENING THE VOICE AND THE

RESPIRATORY ORGANS.
Sostenuto.

(I.)

(To follow Exercise

39.)

Exercise 86. N.B. The chords on page 65 may be used to accompany this exercise.
Sustain a tone at an equal level of loudness, easily and gently, throughout the duration
noted.

Filar

tuono{

il

= to spin the tone).

the singer take or draw off the tone."

4F
-4-"
:

-&

= soft

mf {

= mod. loud

H.

carefully

Breath-pressure must always be

controlled and Never Forced.

Intensity
)

ume.

H<

)/(=loud)

A-------9H
The

page 32).

cavities (see

in the three

time, the

degrees of intensity (p, mf

and/") required in this exercise ; at the same

ence

il

"Just as the spinner draws the thread off the spindle, so must
A. B. Bach.)
N.B. There must be a decided differ-

difference

may

is

often confounded with vol-

" Intensity

is

loudness," and depends

upon

the degree of breath-pressure.

ume

is

fullness, or

" Vol-

roundness," and de-

pends upon a proper use of the resonating

be illustrated by plucking a tuning-fork with the

thumb and

hand while holding it by the stem with the left hand. A weak pluck gives but little
of either loudness or volume, a strong pluck gives greater loudness, but no increase of volume.
By placing
the stem of the fork on a suitable resonator (a table, for instance ), the addition of volume to intensity will
at once become apparent.
Perfection in the above exercise " can be reached only after a long course of training and experience.'*
Carefully maintain the proper " muscular tension "; if it relaxes one iota, the tone will fall off either in
forefinger of the right

In singing there

pitch or quality.

is

a constant tendency for a forte to relax into a mezzo-forte, and for a

-piano to increase to a mezzo-forte.

Commence on
trol

a pitch suitable to the individual voice,

improves, gradually

increase the duration to

and

= 40.

at a

pace of about J

= 60

as breath-con-

In piano singing the duration

may be

still

further increased.

At

sing exclusively on the vowel

first

succession,

and

in

vowels

later the other

may

be used, singly or in immediate

any order.

Sostenuto.

II.)

Exercise 87. The chords on page 6$ may be used to accompany this Exercise.
Sustain a Tone crescendo, 2 i.e., with gradually increasing loudness, from piano to mezzo-forte,
( 1 )
or from pianissimo to fortissimo. 2

N.B.

All the

parts

4t

moment

and held

(h)

at

about

M. M. J

= 96

gradually increase duration to

( r _^

concerned must be properly adjusted

Begin

-<5>-

&-

for

I!

before the*

tone commences.

delicately.
Sostenuto
See page

19.

= Sustained

i.e.,

As

the breath-pres-

sure

gradu ally

increases for the cre^

avoid

sharping the pitch.

taneously, very gently and

= 4a

scendo, carefully

Start the

breath and the tone simul-

one unvarying intensity to be maintained from beginning to end,

VOICE AND SONG,

64
Sustain a tone diminuendo*
piano, or from fortissimo to pianissimo*

(2)

The

vigorously.

^n

" Attack "

N.B.

with gradually diminishing loudness,

i.e.,

di-

f^|iz

& ^

-\ J

V&-^-

from mezzo-forte

and practice
fe c

attention
its

<j

decreases for the di-

<

per-

accomplishment

9H

breath-

pressure gradually

for

the

minuendo will require

much more

As

to

minuendo, carefully a-

void flatting the pitch.

than the crescendo.

Good

The

breath-control

is

absolutely essential for a correct performance of this part of " Sostenuto " work.

increase or decrease of loudness

customary sign for the

a series of jerks, thus,

must be

evenly accomplished from start to finish, as depicted by the

and

effect

ing the limit or climax of the effect too soon

the crescendo or diminuendo, as the case

over the whole duration as shown above; not, for example, like

as

"roomy"

as possible.

To

( i.e.,

the forte

may

be,

must be spread

this for a crescendo

Allow the pharynx 2

or like this for a diminuendo

the crescendo, so that by the time the climax

not by

Also carefully avoid reach-

and

is

to

expand gradually during

reached the interior of the

mouth

will

be

sustain a long crescendo needs considerable and increasing muscular energy;

same time carefully avoid forcing the tone or straining for the effect. During the diminuendo the
pharynx will gradually contract, resuming the normal position (page 29) by the time the piano is reached.
N.B. The tone must never be raised to a shout for forte, or reduced to a whisper for piano.
at the

Sostenuto.

(III.)

Exercise 88. The chords on page 65 may be used

N.B. This exercise demands the most finished and
be attempted until Exs. 86 and 87 are perfected.
must be constant and even.
"

Messa

On

is

More Important Than Large Quantity."

= display of the voice.

di voce

( 1 )

Good Quality

accompany this exercise.

artistic management of the breath, and must not
Note carefully that in all cases the alteration of power

the voice from very soft {pianissimo, abbreviated

a long-sustained tone, swell

loud (fortissimo, abbreviated^) and back again to very

Commence

at

about

M. M. J

= 96

&

4+

to

gradually increase the duration to J

N.B.

See page

Pharynx,

ff,

diminish

19.

the throat, see page 32.

3" Putting forth the

tone

must not vary

A
to

The

= 40.
J pitch

increase

to very

soft.

&

Commence pp,

pp)

voice," or " displaying the voice" in its full

dynamic range.

to

pp.

or quality.

in

either

AND

VOICE

SONG.

65

()

N.B.
-&-

=fl
X

A
Commence
(

limin ish

ff,

to

PP*

Practise a rather rapid crescendo

ness varied as

for

example

to

finish

with the same

power

as at the start,

and

maintain

pitch and

), (

and

( c

).

N.B. Both
pitch and quality
to

(rf)

cres. to

mf cres.

(^)
k

--------------------

(r)

The

/#/",

//",

/*, </z'ot.

to

mf;

cres. to /",

/*,

to

/,

cres.

to

cres. to

dim. to p; cres. to

a'zwr.

a
I

in a

key suitable

to the

,B=1

<//7w.

to/,to

mf;

dim. to p;

tof,

following accompaniments

commence

<j7ot.

may

mf, dim.

r/v/. to

i a

m=i

Ff?

u
& IK
a
m

cres. to

/",

dim. to

55
si

=5:51

(I

tr

&

t^.

jS

Always

N.B.

_s

3?

*
r

^tf

3 3

s=4=*

T^

-Prf

XT
a

~<3~

-s-

a
wa

-o^

..

^F

T-

r
J

-6*-1

gfei
* *

Fff

o
i

y 33
r

r
A

A-

1
A

feft

i rt

I
^p

=z:

5J

^
m

i>

f^
T
r
r

a-

-*%

*=*:

Ff

==TT

T*

II

-A

etc.

compass of the voice.

dim. to /.

be used for the exercises on the Sostenuto,

fc

tagg

r/vj. to/",

//*.

=*=^
1

t*
s
I

/,

m:

mf, dim. to p.

dim. to J*/} rrv/. to/", dim. to

<tvj. to

/",

r% *V

XT

to/,-

be unvarying

throughout.

cres. to

;;==-

gag

qualify-

throughout.

ff'

one

and diminuendo several times successively with degrees of loud-

following

in the

increase

Carefully

a=
Tf

S^

atzH

*
3^
V
1

VOICE AND SONG.

66

\i
If =s

'7

**

~si

rr

i^_f

to

iW:

i irr^

g^pp

M^

^V

'

*&*

^^=j

it*

tea

^
fiC.iw

8 higher

3H

-B*

4- i i j i
) p Y4
'

<

<

*M=

122

-s<-

4.

se

W2

The Diatonic

scale

is

employed

Of the

in

Modes
Forms of

two

there are three

the minor

a repetition of the first note at a different pitch

This octave-note

of a diatonic series

The

is,

of octaves,

is

is

the

first

two kinds of

are

as the

Major

(greater) and the

characteristic difference in the

whole tone."

The

Leading-note

(i.e.,

scale, this

on successive

eighth note, or octave,

a diatonic scale, therefore, contains only

two Modes of

Minor

mode, namely, the Ancient, the Harmonic, and

steps of a "

men and women

seven different

Every eighth note

it.

frequently heard

singing together one and the same melody.

a diatonic scale

is

the interval (distance) between the

interval being a semitone 4 greater in the

Of the three forms of the minor mode, the

The Harmonic form is a result of the
scale.
a

known

note of a repetition of the series at a higher pitch.

the voices of

and third notes of the

other ( minor ).

have

There

regular plan."

so to speak, a smaller likeness of the note one octave below

first

the

some

eight successive degrees of the staff

illustration

I.

Scale.

(varieties),

Diatonic Scale is a series of eight notes on

and spaces ) it ascends and descends chiefly by

notes.

is

f*

modern music, namely, the Diatonic 2 and the Chromatic.-

mode also
Melodic form.

lines

a succession of notes arranged according to

diatonic scale there are

(lesser)

the

-& ff

V=*

Part

SCALES.

"A Scale

22

13*4

Ancient form

as

its

name

one

implies

is

major

than

in

the

the original form of

prevailing harmonic system, which requires that every scale

one semitone only below the eighth note. The " unmelodious " wide interval (a

between the sixth and the seventh notes of the harmonic form is often reduced
to a whole tone by making the sixth note a whole tone above the fifth; hence the melodic form of the

whole tone and

a half)

minor mode.
The Diagram on page 68

The Technical Name

I

of

= Tonic.

The

tone

illustrates for

comparison the "plan " of the different

for each degree of a diatonic scale

from which

all

others are determined

also called

is

scales.

exhibited in the following

the

Keynote

(see footnote, page

list.

5 ).

The

first

degree

a scale.

V= Dominant.

The

dominating note, four degrees above the tonic (the

fifth

degree of the scale), next to the tonic the most im-

portant note in the scale (see page 128).

1

Scale

Diatonic, from

from the Latin scala, a ladder.

the Greek dia, by, or through, and tonos, a tone ( i.e., " through the tones or degrees of the scale " ).
" The Greeks are said to have used a colored string on their lyre for a sharped or flatted note."
( See p. 67.)
3 Chromatic, from the Greek chroma, color
pitch just as the term " half4 The word SEMITONE is here used as a term of measurement in calculating the distance, or interval, between notes of different
The semitone is the smallest interval used in practical music. On
Inch " is used in computing the distance between points in linear measurements ( see page 2).
C-Db,) Fg-G, Bb-BB, and so on. Two semitones equal
the piano it may be produced by sounding any two immediately adjacent keys, for example B-C, C-Cj, (
and DV-D:). ( Also see page no.)
one whole tone; for example, B-C5 includes B-C and C-CJf, C-D includes C-C3 and CJ-D (or, as the case may be, C-D'?
is

VOICE AND SONG.

67

= Subdominant. The under-dominant, four degrees below the tonic (the fourth degree of the scale)
midway (ascending) between the tonic and the dominant.
III = Mediant.
The note which
midway descending between the tonic and the subdominant.
VI = Submediant. The note which
II = Supertonic.
The note next above the
IV

is

is

tonic.

The

VII =Subtonic.
account of

its

The

note next below the

progressional tendency

notes of the scale

move

cided tendency to

may

The

tonic.

to the tonic ), called the

seventh of the scale, except in the ancient form of the minor mode,

Leading-note of the

V, and VIII

), as

to

Chromatic"

any diatonic

scale,

active notes (II,

IV, VI, and VII

indicated in the following by the arrows

VII

The Chromatic

The

II

or.

scale.

be divided into two classes, Active and Inactive.

to the nearest inactive ones (I, III,

is.

VI

have

a.

riV.

II

Scale.

and descends entirely by semitones, and is the result of adding five notes
dividing the " whole tones " into " semitones," as indicated by the broken lines in the

scale ascends

Diagram page 68 ).
There are two forms of the chromatic scale, the Harmonic ( or " true " form ), and the Melodu
(or "convenient" form ), the difference being one of notation only.
In the harmonic form, " no degree of
the staff has more than two notes upon it; and neither tonic nor dominant can be chromaticallv altered."
(

(See Ex. 107.)

always read as

It will

Description

>

Scale

Tonic, or
Keynote.

following description:

in the

j
)

Flatted
Supertonic.

Supertonic.

bH

II

=Step-Number
on Diagram
I

Minor

Mediant.

Major

Mediant.

Subdominant.

IV

Ill

i^III

Octave of
Tonic, or

Leading-note,
f

Sharped
Subdominant.

Dominant.

Minor
Submediant

Major

Submediant.

Minor

or

Keynote.

Subtonic.

Subtonic.

Major

to I

VI

bVII

VII

VIII

10

11

12

13

On

comparing the above with the Diagram on page 68, it will be seen that the degrees numbered 2, 4,
7, 9 and 11 are chromatic in a major key, and that those numbered 2, 5, 7, 10 and 11 are chromatic in a
minor key ( harmonic form of the scale ).

The

form reduces the employment of accidentals

melodic

minimum.

to a

The

the ascending scale are sharps of the respective diatonic notes immediately below
scale, flats

of the diatonic notes immediately above

Ascending Scale
J
Step-number
on Diagram
L
r

["Descending Scale

>

It

foregoing forms.

VIII

VII

13

12

flatted supertonic,

even though

jj

correctly described as a sharped

See pages

and

and, in the descending

based on the diatonic major

ftV

VI

ftVI

10

11

scale.

VII

VIII

12

13

VI

bVI

\>V

IV

in

bin

11

Hi

10

11

in

2, 4, 7, 9

and

jj

of a chromatic scale (see above),

bVII

is

chromatic notes

compare with Diagram, page 68, also

is not unusual to find in musical compositions a notation which is a mixture of both the
In chromatic notation, the
often does duty both as a ? and a
in lowering an already
ft

sharped degree or raising an already

is

ftlV

chromatic degrees are those numbered

with Ex. 106.

IV

III

ftll

=Step-number
on Diagram

The

II

#1

the following table

five

66.

it is

is

degree (see page 5). In the description of the harmonic form

alwavs correct to speak of a chromatically lowered supertonic as a

flatted

required for

its

subdominant with

notation; similarly, a chromatically raised subdominant

either a

or

a h for its notation.

VOICE AND SONG.

68

Examples

Major (harmonic notation

Chromatic Notation.

of

E Minor

).

m ****= ^^^^11
II

Major

wz%r-*
ii

Minor

VI

VII VIII

harmonic notation

iis^g^^^^n
V

IV

III

II

VI

vii

via

melodic notation).

IV

III

'

*r-

in

iv

melodic notation

*_
v

=gzggzzgzfcgzz^_IJ

vi

vii

vm

viii

vii

vi

iv

i)

II

).

w^^t^*^mMj^^s=3^mm
(i

The
page 105

II

III

IV

VI

VII

VIII

VIII

VII

VI

IV

'

III

II

student should also carefully compare and study the notation of the chromatic scales given on
et seq.

Diagram.
Illustrating the

"Plan"

of the Different Scales.

SCALES.
Chromatic.

Diatonic.

Minor Mode.

Major Mode.

The

i)

Standard Scale.
VIII

Ancient Form.

Harmonic form.

Melodic form.

VIII

VIII

VIII

VII (J)

VII (J)

VII
VII

VI

VI

VI

VI

(t)

13 ==

12 ==

VII

11 ==

bVII

IV

IV

IV

=
8

t>VI

= V
flV

6== IV
5==

III

II

VI

10 ==

7 ==

IV

VIII

III

III

III

II

II

II

==

III

bin

3 == 11
2 == bii

==

VOJCE AND SONG.

mode of a

be seen that the diatonic major

It will

"

ing the interval of a

semitone " between

scale consists

two upper degrees

the

of two similar

Tetrachords ),' each contain"whole tone " between each of the others.

of four degrees

series

and vn

( in - iv

59

vm

and

),

called

W. tone.w. tone, semit.

(I
1

II

vi

III

IV

vii

vm

mode

In the ancient form of the minor

form there

is

tone " separating the

" wn l e

preceding form

to the

tetrachords

between degrees
(

is

called the tone of disjunction ( iv

between degrees n

the semitone intervals occur

an augmented interval (a tone and a half

lower half of course corresponds

two

vi

in

and v

and vn and two semitone

v ).

In the upper half of the harmonic

- VI.

intervals

between v

and

vi

vii-viii); the

The

semitone between ii-in, the characteristic feature of the minor mode).

upper

half of the melodic form exactly corresponds to the upper half of the major mode.

Exercise 89.

Read, from

left to

any one of the successions of eight tone-names

right,

/) where necessary, and so bring the succession into conformity with any
preceding diagram
the first name, exactly as specified, to be the tonic or keynote.
(i.e., a

H or

specified

below

the

at

same time add inflections

desired one of the diatonic scales depicted in the

For example,

between degrees

make

to

111 -

iv

commencing with

the succession

and vn

vm )

must read thus

it

>

succession

A as

commencing with

it

mode

C#

11

in

IV

VI

VII

VIII

without inflection of any kind,

i.e.,

commencing with C,

..

just as

it

stands,

must read

it

is
is

in exact
in

agreement with
accord with

perfect

C D Eb F G Ab B C

with the plan

of the harmonic minor,
r

)
y

semitone.

w. tone,

<
(

II

III

IV

VII VIII

VIIth

VIIIth degree

Bb

flat

sharp

c#

flat

Db

Eb

Gb

Ab

flat

sharp

flat

G
A

flat

The

student must constantly bear in

the other letters successively

the higher one of two names widens the

when

whole tone,

A-

that the adjacent tones,

uninflected are

interval, but

the opposite effect, contracting the interval

A-

mind

when
B$

when

names of tones

named B

whole tone apart

applied to the lower one,

it

and
(

tone and a half,

A$ - B

see page 2 ).

contracts the interval

a semitone

F, uninflected, form semitone intervals,

applied to the higher name, and widening the interval

VI

VIth

and

succession

.,

example
r

for

Vth

For example

(
v

Gjf

w. tone.

semitone,

The

mode.

F#

IVth

all

agree

appears in the series given below,

it

intervals occur

IIIrd

that

,.

make

which the semitone

in

IInd

and

to

mode (

of the major

1st

The Tonic.

N.B.

to the plan

w. tone,

the plan of the ancient form of the diatonic minor

the 1plan of the major
J

conform

w. tone.

The

A - Bb

Also, that a $ applied to

a

when

b similarly applied has

applied to

a semitone,

just

the lower name.

Ab - B

tone

a half.

student desirous of becoming thoroughly familiar with the different scales, should transcribe the workings of Ex.

musical notation.

Tetrachord, from

the Greek tetrackordos, " having four strings."

89

into ordinary

VOICE AND SONG.

70

The
staff,

sharps or

forming what

flats essential

is

called the

to a

Key

are generally,

and once

for

placed at the beginning of each

all,

For example, the musician knows

Key-signature.'

"

that

/y =

signifies

fl

" the key of

minor key having F

sharp for its tonic (" the key of F sharp minor ") a glance at the music quickly decides which of the two,
through its tonic and dominant harmonies 2
at the
because the composer generally establishes the key
The signature of a minor key is always in agreement with the ancient form of the scale the
very beginning.
key having

either the major

for

its

tonic (briefly,
;

major

"), or the

inflections necessary to the

forms requiring the raised seventh, or the raised

appear as accidentals be-

sixth,

fore the respective notes as often as they occur. 3

minor

Ancient form

).

~+r9~

minor

Harmonic form

).

&!

~+-~ 9 ~

minor

Melodic form

).

II

""*"
T
T
N.B.

N.B.

Table exhibiting the Key-signatures.

Major Keynote

Minor Keynote

Flat Keys

The memorizing of

"?

n^m

Minor Keynote

sw

fa
E>
g

student remembers, that each additional sharp in the signature,

!>

key-

the

signatures will be facilitated if the

Major Keynote

Major

kh
*'

Sharp Keys

Ab

Db

bb

occur in

the successive keynotes,

the order of ascending

t*S

Sim-

fifths.

ilarly, in flat keys, the

order

of descending

= ascending

fourths

fifths (

Also, that the

).

sharp keys

B,

Enharmonics of the
keys

Cb,

Gb

is

last

and

three

last

Db

that

three

F$ and C$)

al>

and

are
flat

B = Cb,

F# = Gb, and C# = Db.

and minor scales are related, each to the other, in two ways I. Through a common tonic
or keynote, spoken of as tonic major, or tonic minor to the other.
II. Through a common key-signature
spoken of as relative major, or relative minor to the other, as the case may be.
For example: C major is the tonic major to C minor; and, vice versa, C minor is the tonic minor to

C
C

scales

major.

major also

is

the relative major to

minor, and, vice versa,

minor

is

the relative minor to

major.

maior

I'

II.

Tonic major

to

Relative major to

minor.

minor

minor.

f
I

I*
ii.

Tonic minor

to

Relative minor to

major.

E?

major

^B
A

minor.

I.

{ II.

to

Relative minor to

major.

its

relative

I.

Tonic major

to Et? minor.

>

major.

be seen from the above examples that the submediant

It will

keynote of

Tonic minor

II.

6th degree

minor; and that the mediant (3d degree) of any minor

Relative major to

of any major scale

scale

is

minor.
is

the keynote of

the
its

relative major.

the

and 6. - See Chords Part I ) preceding Ex. 120.

a general rule an accidental affects not only the note before which it is placed, but also, unless cancelled, all subsequent notes of the
measure; and, should a note- so affected be prolonged by a tie into the following measure or measures, the accidental still holds good.

See pages

N.B.

same
*

As

Enharmonic means

" similar in pitch

but different in notation."

same pitch

in

VOICE AND SONG.

71

SOLMIZATION.
The Art
There

They

ing.

the teacher

The
as in "

some

is

may

among

diversity of opinion

undoubtedly useful

are

Singing by use of Scale Syllables.

of

also be

mnemonics

as

used advantageously

following syllables

may

teachers as to the value of syllables in the practice of sing1

of Solfeggi. 2

in the practice

be sung to the degrees of the standard (== major) scale

Syllables

II

III

IV

Da

Ra

Ma

Fa

Sa

For the chromatic notes of the

vowel

scale the

For sharps the next sharper vowel

e., O ), as below

(i.e.,

VI
La

the above syllables

in

U O A E

plan based upon the " natural order of vowels"

VIII

Ta

Da

changed

is

accordance with

in

(the primary vowels; see page 30).

Eight)

as in

VII

used, and for flats the next flatter one

is

Normal

De

Sharps

For the
vowel U.

Solfeggi

Fe

Ma

Ra

The

Fa -

Mo

Ro

Se

Sa

vowel

To

Lo

So

would be used, and

for the

See " Suggestions" following Ex. 91.

ability to sing a composition correctly at sight.

Teachers use the syllables

Syllabic

names

CJ

Bb

D
D

C$

D3 E

Mi

Fa

D
D

E
E

E|j

G
G

Ff

Gl A

La

Sol

Si

GA

FJ

The Movable-Do method, whose fundamental

A
Ab

Re

Fixed-Do Method.

Do
C

Re

I!

Do

principle

Mi

DE

Sol

FJ

Efc>

G
G
G

Fj

G$

Do

key-relationship,

is

Fa

La

Si

Do

ABC
A
B
Ab Bb
A B

being the syllabic

Cjf

C
C
name

key or chromatic variation

of

double-flat, tne

Exercises or Studies which are sung to syllables: those sung to one vowel are called Vocalizzi.

Do Re Mi Fa Sol La Si Do ( Sol-Fa syllables) in one of the two ways following:

method,
in which Do is the syllabic name for all the notes bearing the letter-name C, regardless
F"ixed-Do
The
(
)
D's, Mi for all the E's, Fa for all the F's, and so on.
3

Da

Ta

La

rarely occurring double-sharp, the

'Sight-singing.
2

Re

Da

Flats

all the

the vowel "a''

3
;

Arm."
Scale-degrees

( i.

study of Sight-singing, and (at the discretion of

in the

Re

Mi,

D
D
D
D

E=KeyC
E

Re

for

and so on.

= Key
= Key Eb.
= Key E.
I).

Eb

for the

keynote

every scale

in

"the syllables

represent always the same intervals, but not always the same pitch."
II

III

IV

VI

Do

Re

Mi

Fa

Sol

La

or,

Eb

E
F

G
A

or,

F
G

Ab

Bb

or,

FJ

Gjf

or.

Bb,

Scale-degrees
Syllabic

names
(

Movable-Do Method.

Letter names
(

for

example

These

syllables are derived

aid to his pupils

from a Latin hymn

the successive lines of the

hymn

que

ant

RE

lax

Do

B
CJ

Key

D = Key

D.

Eb

D2

=
=

Key Eb
Key E.

so on.

-<S

r*
so

re

fi

bris

MI

ra

j-,

ges

&-

to

rum

<
FA

The
in France,

mu

tu

syllable SI

where

UT

rum,

SOL

ve

pol

the initials of Sancte Ioannes) was added at a

is still in

lu

much

the suggestion in this

LA

ti

later date

bi

re

also, for the sake of

turn,

Sane

euphony, the syllable

UT

te

lo

was changed

to

an

nes.

DO

(except

use).

Syllables are more used in elementary work than elsewhere, just the time

hence

B
and

VIII

Ti

which was employed by a Benedictine monk, Guido d'Arezzo (about 995-1050), as a mnemonic

-~S3

UT

B
c

beginning on the successive tones of the hexachordal scale

;i
9-

to St. John,

VII
Si

method, that the Italian

their usefulness in other directions.

when a student

of singing needs all possible help in the formation of a good quality;

be used in the syllables, rather than the varied vowels of the older system.

This in no way detracts from

VOICE AND SONG.

72

Corresponding notes (not degrees) of

Major.

Ei?

im

n.b.

major and minor

relative

scales take similar syllables.

Minor (harmonic form).

The
The

B-l

$$

i:i

Da

Ma

Ra

Ta

Fa

Ds

the bridge-note, that

one word, the

first

The most
one sharp or one

is,

by which

the note

syllable

common

is

Da

Ta

La

two

to

key being

keys, the

left

from one key

a singer in syllableizing passes over

very short, sustaining the note on the second syllable

Da

Ma

sa,

more or

ML

$ m

3E

(.princ. key,

"_

jM

i
R

one

than preceding key).

flat less

^
F

IDS

22

by Concone, with

syllables

and modulation indicated.

(-Usp)

-'

-DM
M

3^

key).

Study No. 6 of Op.

Andante sostenuto

Se

IPf

_ L D

Fe

(Key G minor (principal key).

fc

Se

e
S

SEfe

*
M

_ D M

-&

IDS

Key

-MR

major (relative major of key having one flat more

Ef>

lJ

^Pf
TL

-#

'

than princ. key).

I^J

#
[ML

Se L

L T

&*-

mt

Jp IfMp

f^'lf
_ T

(Key G minor (princ. key

jMS

f
L

ft

3=
M

=y=
D

-&

-H-

^5t*

T L

(Key G major (tonic major of princ.

pri
key).

as

(Key F (princ.

more than preceding

Exercise 91.

called

is

or to keys having for their signature

(Key F

note

G-

key, one flat

'Key C (one flat less than preceding key).

77-

syllables are uttered

--

MR

jRS

The two

change of key.

is,

this

sa, etc.

JML

-e^

Ra

la,

-&-

~
d
s
(Key Bb (one flat more than princ. key).

that

and the key being entered

Key F (the principal or prevailing key of the composition).

IE

Modulation,

to another.

L?

Se

of Op. 9 by Concone, with syllables and modulation indicated.

-G-^

jM

Fa

than the prevailing key, or than the immediately preceding key.

less,

Exercise 90. Study No.

Moderato J:8S)

fea

Ma

Ra

frequent modulations are to keys having either the same tonic, or the same signature
flat,

following studies, marked with the initial letters of the scale-syllables, contain instances of

note under which tzvo syllables are indicated,

E.g.,

VOICE AND SONG.

73

SUGGESTIONS FOR THE STUDY OF SIGHT-SINGING.

If the student

(A

Exercise 92

Da Ta La

the scale-syllables, stepwise ascending, thus:

Ma Ra Da

Sa Fa

nounce

VI

VII

( VIII

IV

III

II

you point

step, as

(DLFRTSMD),
:-{,,,,
Next

VII

11'

III

to scale-( stepwise

These

>

IV
(

VI iv

VI

11

<
( in

to

place of the keynote

Da, vary

Da

until

by

progression, that

that

),
)>

,-

(or
make a copy
fj or
v

iu
skipping
other
step
rr o every
j
r

III

it

and V
oro-

can be named unhesitatingly.

for

(DMSTRFLD)

<

III

VII

,
1

II

IV

,
1

vi VIII
1

and

V ascending,
5

,
1

I,

thirds

by

common.

the most

is

page 127)' ascending and descending, thus

triads, see

v v

III

in

and so on.

and name

to

the successive lines,

syllabically

up and down the whole of the

thirds ),

by taking some other

the

space) to represent Da, and so on,

line (or

has occupied every possible position on the

Vary

staff.

time with some one line or space repre-

a reasonable

after practising

is,

the exercise

u
thus:

any step called

until

>

v VII VII

or the successive spaces (progressing

senting

on the diagram, over and over,

it

Using the adjoining blank staff, point

,.

(RFLLFR)<MSTTSM)
II

,.

thirds also should be practised in groups of three

<

f
urn to the diagram
of the scale on page
o
re

descending.

>

1
^ VIII' VI IV

I, and descending, thus;

-]

11
j
b
u
11 li
u .u" thirds
Especially
practise naming
o the svliables bv
J
j
r
r

thus

71.*
page
r o

see

name of each

the syllabic

helpful.

L).'

to

(A) Thoroughly memorize

(

may be found

not already a "sight-singer," the following suggestions

is

~^^^^f^^^^^^^^^^f^^ffff^_

staff.

(C ) Now practise naming and locating fifths (line to line, skipping one line; or space to space, skipping one space ); D up to S
and S down to D, R up to L and L down to R, M up to T and T down to M, etc.; and sevenths ( line to line, skipping two lines, or,
space to space, skipping two spaces); D up to T and T down to D, R up to D and D down to R, M up to R and R down to M, etc.
will easily bfi
fourths and sixths
( D ) When the work under ( C ) has been satisfactorily accomplished, the remaining intervals
located, from the fact that, respectively, they are one degree of the staff smaller, and one degree greater, than fifths; also it may be observed

two notes forming

that, like octaves, the

(

the interval

E) Choose a convenient key, and

example,

11

in

iv

II.

vm

vn

vi

vii

vn,

vi

vii

viii

vi

on the

dissimilar positions

staff

see page 3).

vm

:||:

vi

v iv in

v iv

vi

vn

iv

in

iv

III

11

11

in

:||:

11

11

11

vn,

vi

v,

11

:||:

iv

in

11

iv

iv

iv

iv

v vi vn

vi

111

11

vi

vm

:||:

vn

vn

/T\

II:

11

vn,

:||:

vi

vii
(

II:

in

11

(F)

in

11

much

sing the syllables scalewise ascending and descending, varying the order as

as possible

for

by the step-numbers below:

as indicated

II:

occupy

in

11

11

11

:[|:

in

11

vii

iv

in

11

in

iv

iv

in

(E

Transcribe the foregoing exercises

11

:||:

11

111

11

111

iv

111

11

iv

vm

vn

vi

iv

vi

vm

vm

:||:

in

11

vm

vm

vn

:||

:||

vm

vii

v and so on.

and so on

iv

vn,

vi

vm

.-Jl

etc., etc.

notation, in several suitable keys, and sing from the transcribed

into ordinary musical

copy.

This work

N.B.

is

sound of the note he

transcription, mentally hear the

(

the

1,

G)

III,

and should be persistently practised

particularly valuable,

Study the inactive tones of the scale

v and

vm

vm,

vm

:||:

III

m, v and vm

can be sung with certainty and ease

until they

:||:

vm

v in

:||:

same time he

making the

is

writing.

is

( 1,

until the student can, at the

vm

:||:

see page

in

First, the

).

any order and

m vm

67

:||:

and

in various keys

vm

111

:||:

vi'n

for

v,

second, the

example

:||:

1,

v and

vm

v.
v,

ill

(H)

m
111

vm

:||:
:||:

in

:||:

Transcribe, etc., as in

(I) Study
rsc: page 67

First, the

v.

:||:

111

:||:

V v

:||:

vm

:||:

vm

vm

m vm

:||

1
(

and so on.

).

Emphasize and

vn, for example thus

vm

v VI vn

the active tones of the scale (11, iv, vi and

N.B.

).

11

third,

II:

II:

linger on the tone

1

vm vn vm

:||:

vn

carefully observing the

),

mental

effect

and progressional tendency of eacb

marked X-

vn

vm

:||:

vii,

:||:

vm

vn

vm

vu

vm

vm

:||:

vm vn vm

:||

and so on.

Third,

vii

in vii

vm

:|j

N.B.

and so on.

Second, the

iv, thus:

II:

11

N.B.

Exercises

Of course,

if

to

and

to

L may

/7\

iv
J

in

:||:

iv

:||:

vii

vm

fv

111

:||:

iv

be practised conjointly.

preferred, the syllables Do, Re, Mi, etc.

page 71

),

or

any others suitable

to the purpose,

may

be used.

the vi, thus:

VOICE AND SONG.

74
N.B.
VII

VIII

VI

via vi v

:||:

vi

in

.11:

vi

vm

in vi v

:||:

VIII

VI

III

vii

vm

vi

vm vn vm

vi

v iv

vn

It

II.

iv

in vi

vn

vm

S*
vii

fl

:||:

vm

:||

vm

:||:

vm

fl

and so on.

vli

Fourth, the n, thus

vn,

fi

(J) Transcribe the exercises of ( I ) as in (F).

(K ) Take a book of simple melodies ( Hymn-tunes,
(

or under

each note write the number corresponding to

decided impression of

until a

it

is

made on

iv

:||:

made

in

vi

:||:

v n

fi

select

:||:

vm vn vm

for instance);

:||

vm

:||:

uncommon

it

:||:

vm

vm

}.

some melody

free

from accidentals, note the key, and ove*

such easy tunes, melodies containing simple modulation and chromatic notes

in reading

for a sight-singing

aloud.

The minor mode

progressions and the "bridge-note" in modulation.

This book not being intended

fl

and so on.

should be essayed; also the writing of the step-numbers should gradually be discontinued, finally omitting

very

vm

step in the scale; look the tune over several times (singing mentally, not audibly),

its

the mind; then sing

After satisfactory progress has been

11

II:

manual,

fuller

information for

all

indications, except perhaps

for

should be similarly studied.

study must be sought elsewhere.

this

Still, if

the stu-

dent practises a few minutes daily on the plan outlined above, he will, with occasional help from his teacher, soon gain a sufficient knowledge

of the

himself further exercises which will gradually perfect him in

art to devise for

SCALES.
(

Exercise 93 is to be sung
being the main considerations.
Sustain each note

note to note,
or dragging.

its

The

very desirable accomplishment.

II.

To follow Exercise

in legato"

86.

(connected) style; accuracy of pitch and precision of movement

exact duration and with uniform loudness (see page 63

the voice rise (or

let

Part

this

as the case

fall,

may

be) suddenly

In progressing from

).

and rapidly without jerkiness, slurring

stream of sound should be continuous, resembling a series of steps

e.g.,

-&-

IS'

-&-

Equally loud

throughout, thus
:

not with a fading or

diminishing effect on
each

note,

after a

thus

"bulging"

at-

tack.

Carefully maintain the open position of throat and mouth, sing slowly (at

duce the tempo gradually,

finally

singing

After satisfactory progress has been

grades of staccato

For example
(a)

see pages 9

and 23

about

made

in

#=96),

and

re-

keys within the compass.

the legato style, this exercise

staccato.

fci

mAhAmAmA9m

(c)

-* ~~

may be

practised in the three

tfs>-

d"

LCc

*>H
1

Attack

mouth and

throat steadily in the position of whatever vowel

the Italian legare, to
is

tie,

to bind.

changed so that the

first

"Legato

Ah

*h

Ah

Ah

Aw

any taking

of tension if the vocal cords

between the other notes there must be no escape of

and Release each note with the utmost precision, and keep the

(during the rest)

breath, nor

of breath.

staccathsimo.

?hAh
A H Ah Ah A

breath only at the sign

LEGATO, from

144,

(/>)

? A

&->

in all

about

?nexzo-staccato.

Take

it

first

is

is

in practice.

obtained in singing when, without break,

tone really passes into the second."

(Riemann.)

i.e.,

without interrupting tne current of

air,

the degree

VOICE AND SONG.

Preliminary Scale-Practice.
Exercise 93.

N.B.

Commence

in a

key suitable to the compass of the voice.

75

VOICE AND SONG.

76

P-7

r^rT

i&

=S

m E

})

-O-

P&

-&-

IE

>

--

XT

ie

A.

s S

3E
--

-O-

IE

IE

^*
IE

3T
=

IE

IE

i ^ s ^
IE ^
p
IE

-O-

IE

IE

IE

^r

IE

=8=

-Q_

-O
-O-

-O-

t IE

IE
^=

IE

IE

IE

A.

g s & ^
IS

IE

IE

fi^

_o_

-o-

IE

IE

A.
_Q_

&

IE

=8=

IE

IE

s s

./#
rai

rcc

zn
-e-

IE

A..

^ ^ s

IE

jQ_

-etZEE

JXCgn 8 higher

VOICE AND SONG.

who
To

Students
voicing them.
is

of

neglected, or,

accomplish

sight- readers

this in all

done

the best,

at

"

are not expert

"

find

keys requires more pianistic

skill

To

than

is

always available

the consequence

enable the student to help himself, he

may

that scale-practice

is,

take a thin card or sheet

illus-

and measurements.

tration

Inch cs

The

'

'

diatonic major scale has

card (or

"rule"

is

T?f

all its

'

For all wide intervals the pointers must be

measure jg of an inch from point to point.

ij inches

from point to point, the two narrow intervals

same

intervals, relatively, exactly the

The

in all keys.

tonic

is

always represented by

placed behind the ends of the black keys, resting on the white keys, and pointer

the card over, and on the back similarly

The two

N.B.

pointers

make

"rule"

for the

minor

Now,

caused to stand exactly

over the centre of the end of any one key, the other pointers will indicate the keys to be sounded for the scale of which

Turn

before

a pianoforte

paper eight inches long by two or three inches wide and mark thereon "pointers," exactly in agreement with the following

stiff

if this

sound the tones on

helpful in preliminary scale-practice to

it

only two or three easy keys.

in

77

the tonic,

is

scale.

marked $vi and $vn should be made extra long and with red

ink,

all

others with black ink.

The

black

pointers will then indicate the keys to be sounded for the ancient form of the minor scale, while for the harmonic form the red pointer

(instead of the black pointer

and vn )

will

upper octave

be used

) will

and

for the

melodic form, the keys indicated by the red pointers

These "rules" may be extended

be sounded.
) for

vn

so as to

embrace two octaves

vm

and $vn

j|vi

of vi

( instead

of the lower octave will be the

Jfvii

of the

use in the practice of intervals and chords.

Exercises 94 to 96 are first to be thoroughly and carefully practised with medium loudness ( mf) in
Later they may be practised on the other vowels, as well as with varied dylegato style on the vowel A.
namics,

e. g.,

sempre forte;

'

sempre piano; crescendo ascending, diminuendo descending, and vice versa

notes of the scale alternately piano and forte, thus

with different grades of staccato.

etc.

the

also practise

f
,H

The

on pp. 80-81 should not be commenced

variations

Exs. 97 to

memorized before any attempt is made to sing

suggested by the teacher, may be introduced.

The
in

it

through the whole compass of the voice.

scale-passages, Exercises 97 to 100, for "flexibility"

"agility."

on page 90.
By the former

The
is

student must carefully

meant "the

ability

loudest," with the "timbre [quality or color]

by the words"

one note

and by the

to another,

Sempre
Nuance

to music."

Italian

),

French

latter,

interval

shade, hue, or tint.

Here

it

should be sung

at

least twice

power of tone from the softest to the

illustrate and heighten the sentiment expressed

to graduate the

necessary to

may

be."

move

with ease, certainty and rapidity from

Croker.)

loud throughout ).
( sempre forte
has reference to the " variations in force, quality, and tempo by means of which

always, continually, or throughout

),

agility,"

Suitable nuances?

legato

"the ability of the voice to

however great the

and "

be perfectly

and staccato; practice may also be varied

distinguish between the terms "flexibility" and

one breath, either alternately forte and piano, or alternately

as suggested

been made with

or " pattern " of the variation selected for practice should

The "model"

101.

until considerable progress has

artistic expression is

given

VOICE AND SONG.

78

Major Mode.

Scales.

Exercise 94 (a).
M. M.J: 80

Always commence

N.B.

4 jri

wwm

pfe
-^

^r

,.1

3A,

* ^g

7
J

>

'

P^A

ggfe

-o-

~*-

A.

f-

^
7

'*
1
T|

SI ^

*=*

-J-

^
J

p * r

?H A.

&i

~&-

toe 3<

&

fe

e_

*=*

gap

-o-

$ 1

-e-

^
B
=F

^
4

f
^

i>A

'

e#

-*t

65

3E=

i E*
-&-

-|S^-

>

If
j

*=#

-o-

o-

-9

i
4

ig

*:

HE

PE

3E

ITT

J-e-

IE

is

es F^ ^
-o-

aft

**

)H

*>

3:

>tf

i 4a^

y>

ft

-^-

>XT

/,

m
f=*fc

--

S:

P^pi

o-

^^ ^

%'

T==^i

ZEE

2^

^^m

-S

^
^
S

to the voice.

^ ^t

XE

^-

key suitable

=*

n:
//

I,

"

in a

/ EF

DO

$ EC
>

VOICE AND SONG.

-of-

m^

Si

feEfEJ

p*r

p=*=*

pp

It
1

fc=

f^

SE
m

>

tir

^s

-Jfg-r

mm rl

fa j

'n''.'

Be

"

ai

fc

P^

-o-

P.

i,

4==a6

^P^P

M A.

l=i=f

-*

-J.

^f^^

^m

fej
?H

~-

km

H
A

^=P=f

i
-J.

t7TT

=R

-O-

tE

3=

C.

-U-

HE
an

8V.U

XT

>

ft*

or

*&

D.

jgg

~e*

if

3^=

ZEE

3 o-

HO-

i SS

ft

F^pP^

il
ZEE

e=

fe

*^

/P

-o-

SI

"T5

iE^

--

-o-

^=<fc=f

3CC

33

1d

pp

351

2^
>j.

jo_

JS

f
>

tf

&
P
/
rr

pf^
M
j

XE

2E=

It

f
,H A

IS

imn
Ppi
_OL

l-

Aft

>M

TT

3
31

"

#=E=r

A
s

IP/
P

higher

See

1
horn:

VOICE AND SONG.

80
Exercise 94

Variations

).

for Exercise 94*2.

^^^
i

^g

j^fftf>r?crCf

^T jj3aJ

V*f*

3:

-a4

jj;jjjiJ^J ^cfTrcr^^NJ^jjjj

'

]=
*J

'

isi
h"

?t

JjJg|g^ p^rmc&i^ JiJ^ij

an3

so on

<

flJi^fflE^rjfcjfGr'^i^^

j^ffiiJp^Effccr p^i&ccrEf
i

jgjij js^jggrp-^r&^ij^

iiPjiS

^^

-#

z=

*r?

10
and
so

on

z=

^j]^

nr3J3U.3 soon
J..0^Jt
.

^jg JifeHP
J

and
so on

jjjj^JjJ JSJ^ctrcIr P'ciftCrcrr'^jjjJjJ i

i

12

14

13

^P
15

^^J%

-awiso on

and

J*J

16

and

;-*j<-**

^j^j ^g^tfrr#^ ^a^i

i

so on

'

"-l

--^

Variation, transformation

of a

theme by means

of harmonic, rhythmic,

and melodic changes.

so on

VOICK AND SONG.

81

i^^^^i^ ^^W^j
i

23

4W v^

J J

p ^jj ^^p
l

JS

':$

JJJJj

"v

JJJ

J j J J

ij>

_j~^

VOICE AND SONG.

82

Minor Mode.
Ancient Form descending.)

Scales.

Exercise g$.

Melodic Form ascending,

M. M. J =72

*V

rj

\\'.

qp

tj/j

* V

fj-

H A.

(*-

in

^>
6>

<9

ffg

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st

iw

iii

jab

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D.C. an.

Lc

higher

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rv

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i
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f>

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a^ &
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EC

i #
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9

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mg

zzz:

P\

jA

te

s
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fl

ft#

3a

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VOICE AND SONG.

84

Scales.

Exercise 96.
M.

M.dr72

Harmonic Form.)

)H

'2

-6

Jf

t=*9*

pp^

Minor Mode.

<S

>

m^
1*

S1"

w=%

(9

r^F

B
-o-

22

^s

PrW tw
%

[>

-O-

WaF

VOICE AND SONG.

LtS

if

['

&

-o-

?H

tt&
g

-6

<S>

E^ fr

'

85

i'J

<y

' j

3p

c~t

*#

=f3=3

\&
s*:

-5*

-6

yy=^
g

%=% il=
22

=a
^=

Z2=ZS

==
Z2ZZS

4^:

-o-

-o

jEE

A.

J^

22

5=*
F3

Iff

e-#

)H

ft

*3~~5
q Kg

^=g=g=jg
!^

$=*=P

-eP-

<3

Ba

-fi

?s
tra

Kr
i

ft-

S^P

G ==j

/>

gr

-<?

&

?f

)M

XO

mr

=*

x
*

3E

-j^

=g *gn:
3E

/2

HE

&
w

Vn

iet^t f

*
*

im

I*

--

las

jz

[^

=*
ff

(C?

te

^iS

i*

-o-

-o-

--

%
3

3E

OL

k=jg

IE

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#"

2t=zi
=2h-~

^m

nry mte
i>

3=3

;"

/>

as*

5*

(9

>

Z22

7f

3F
==>

3
^i

IP

3=
iH

fc*

IE

fj

rj

&

'
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--

==4?2
i

i=S5

i>

&fe2ij

TT'tr-^f
fZTj-t-n

iM

<>

r^

%=%

gg

TOf

3
Irs-

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**
D.C. an

8 higher

-o)

GL

Z2.

^^I

-fi

-C-

fe

-O
3CE

^a

VOICE AND SONG.

86

Exercise 97.
N.B. Repeat the two measures
Not slower than M.M.

J =120

For Agility.
as

many

times as one breath will comfortably allow.

VOICE AND SONG.

Exercise 98.
Not slower than M. M. J-

^^m

For Agility.
108

Triplets.

87

VOICE AND SONG.

88

Exercise 99. Agility (cont.).

a M.M.J=lOS

Repeat each key

as

many

times as one breath will comfortably allow.

VOICE AND SONG.

Exercise ioo.
M. M.

Agility (continued).

Triplets.

= ii2____

m W m Wf
=#=

/-

>h

89

II

1;

^~

s#

<

<:

a-

=^=fl
-z*

*#

^g

feF^^4 *=4
T
V =*
>

Uiznz

^ j=i

"

|>-BT.

i=t*

r!

'

^m

VOICE AND SONG.

90

Variations

4sl

?-++

for Exercises

^JeJ

97 to 100.

in

Also in the manner of

(g)

and

(h)

above

VOICE
Exercise ioi.
Commence
tt

Scales.

at about

M.M. J- too

jjjOTSSo
A

Dotted Notes.

>

mm

P-G-

i*

rr ?

#-j^#

)M

aj

-J-*
1

^-#

eJxTcDU

k*

J3

9^3

^Ol-e-

*-wi

u^

2=

**

cliJ

% ^
r

.m

ggp
^.1

bxr

a:

as

tji

8=
^op-o-

t 3
F3
ii

=0

^-

*S=:
io_

nr

^Qg^ ^
)H

y1

s
_m

t&

S
hfct

^Ji
ie

p;

n^iiffJ rrr>-

e^P

^
rT

P T Pp

A-0-

XI

ctcj J

^^
#

ftgi%

^2

ft*

c/

O-

pS pff

-=-

IE

f g#

mm
%

=-U

==

ny-. ^#

Si

Tl~

^>

-O-

T p 1*
U^

S&

TT~

i
fi.wyu+ws.z
g

M_J*

IE

vw

*=s

^j^^i^-m

p* j.^w^m

&

91

3E

^fe
^rJ*
fefe

AND SONG

gin

=:

^^

Jggrr^

iK

jg^ I*
n

A^A A

XL

zn

JH

3?

'i>

P"

J3p-rr.rcr

^b

Cr

s=s

D.

=
(J.

an 8 higher

VOICE AND SONG.

92

Exercise 102.

M.M.

4t

J = 80

Major and Minor

Scales.

In immediate succession.

VOICE AND SONG.

1
grr^
Sf

93

!Sl
-*-

i g&

dt&

rf

r^rt-rjp^ H-cj irpric/rclri;

i^j

i
gg
Z21-

JL

-o-

wk

^
^'

*
2?

arc 8 higher

o-

-o-

5-

-is*-

lb-**

3fc

VOICE AND SONG.

94

For Flexibility, Agility and Intonation.

Exercises 103 and 104.

At
note

first

practise these exercises

each measure

in

as facility in

be taken only at the places marked

taken only at the places marked

somewhat slowly, about M.M. J = 60, taking breath after the first
every manner is gained, gradually increase the pace until breath need
f

after satisfactory

finally, let the

may

exercises

*.

be practised in the staccato style

also they

may

be varied in the manner sug-

gested for Exs. 97100, page 90.

Commence and end

Exercise 103.

in a

N.B.

key

suitable to the

compass of the

voice.

Carefully locate the Semitones. 2

Jh A

is

*j

p-t=

-&-

IZ2

*
2

-0

J2.

^5

colla voce

Purr Intonation,

See Ex. 89

N.B.

),

absolute correctness in pitch and quality.

page 69.

is

pace be such that the exercise can be sung correctly and

with perfect ease taking breath only at the place marked

These

progress, again increase the pace until breath

n
f

-o-

IV
--

VOICK AND SONG

95

96

VOICE AND SONG.

VOICE AND SONG.

97

VOICE AND SONG.

98

Exercise 104. Practise 1st,

M. M. at first atout J = 72^

legato;

2nd, staccato.

Carefully locate the Semitones.

VOICE AND SONG.

99

9-

100

VOICE AND SONG.

VOICK AND SONG,

101

10?

VOICE AND SONG.

VOICE AND SONG.

The Chromatic
(

103

Scale.

See page 67.)

Preparatory Exercises.

These preparatory

exercises

played on a well-tuned instrument

105^ to e) should be practised

(

pianoforte preferably

Later

quarter-notes beginning each measure are to be played.

and lowest

until finally the student

is

follows:

At

each note

first,

still,

is

to be

Later, only

unison with the voice.

in

as

play only the extreme notes

able to sing with perfect accuracy a chromatic scale,

the

highest

up and down,

without accompaniment.

There
flat in

often a tendency to expand the semitones, causing the intonation to sharp in ascending, and to

is

descending.

Commence

in

For men's voices

each series at a pitch suitable to the compass of the individual voice.

the exercises must be transposed one octave lower.

Exercise 105 (a).

M.M. J

n
Kim
W* W

= 60

felJTir"
i^FinSnp
J *!>*
1

i.

fa*

i j.^W'V

8*r
U.^W.W

l>J-[jJ)

'

BElj

M:i -^ lj -^V* ^^u-h.j^j*

5
MLUJm
KiW^

WH^^^tttr

J- P
i.^J'V.J
CTTp

'

i##D

IJ.

p m

J-

j.^>u>

|J.J) #J-^>lj|J

l^piplf'-pfp

l-

^
jL^-itp

t- emte ||,J
1
:

ir'iptir

pa

l:

J.l|Jf -yi||J

Pj

|:

J.| Jl

I'mr-ip

4
i

Dal segno

means "from

p-bp4 |J
l

l,

Wri

r-"pi"r"'Pfr

the sign

H^

=b

hft*p

if^ir^ir
Dal segno

N.B.

&"fsee fourth

$ and sing an

rt'-p

'r'W

<.

Octave higher than written

staff).

Exercise 105 ().

M.M.

60

P iBiPi

mpm

^^i.j^i^:iiJHi:iT

^iT

"w wu
jl

nMirrtfrirtfr^ri

H :j ^JIJ ^
|

^x^r

ft

r r
i

tf

rtiirn

Dal'segno% and sing an Octave higher

VOICE AND SONG.

104

Exercise 105 (c).

M.M. J

= 76

^Ippfiiliii1
Bjl

Pg3?3g

ffi

n^

vi^i' jij iiw^

jgg

hji

y jj

lY^T^T^f

Dal segno

% a?id sing

an Octave higher

Exercise 105 (d).

M.M.

J = 92

ig H

1*1

H>J

hi
53

g Vjg^

bJj4^^^-^^

JTJ'iiJ

'fri

P^g
i

,J1P

iJ

n>

J"p

iJ_g_j

gpg|l
1

h*

p
\hm

l;p
|

^^B^

mJ

h^i

^M

r
f

\p

"lt

nT

M.M.

17

^ "t^r

zx

b
i

T ^L

^rr^

Dal segno
Exercise 105

% and

I.

hpzU

= 108

j^V

iJ^. U

tiJVJl^J

JbJ

ii

ii

"

j^S=B
i

P3S3J

P^^
r

''

'^V

zat

g| ^ gj y ^g
i

::^
r

Lf

sing an Octave higher

(<?).

^H^^^j^lJIJ y
*

p*

a^=

\,

^^^^Pfl

i
i"U

J JJ

teitei

E BCT
2).

C.

|Ji

an

W* higher

VOICE AND SONG.

105

Chromatic Scale.
Melodic Form,

Exercise 106.
Practise:

marcato

1st,

M.M. about J

2nd, legato

yd,

staccato.

= 96

Cs

BlPPPIP^
$m

J bJ
I

JuJ

J J b 5tW
1

==:

=:

/?N

je;

1 jw

fe
wfny2

J ^J J

jjJ

JtfJ

i^

Ii

^J*
it
p ftWl

*.,!>

J J
i

&

The

signs

^y

x, or

9-0-

3[

ri*rrr

-P-B

s&a 3"
esp
+

Sf^fafi !-

$,

tnt

5^
&*

tj

*44P

SB

it:

fef

*"

r\

5tZ2

3*
rt\

P5S#
^5W

fe%- [foW
E

minimum,

as a matter of convenience to the reader

see pp. 67-68

ie^

EC
m
S **

an ascending scale, and the signs b, W, or 2 for

scale in its notation reduces the employment
chromatic
the
of
form
This

for temporarily raising the pitch of a line or space are used before all chromatic tioics of

tempora.-ily lowering the pitch are used before all chromatic notes of a descending scale.
oi accidentals to a

HE
lap

ZE ift

*
11

*fa ***
P^f

^JJii'jjJ

5PW L

i!2:

*_>

Si

is

III

mi

VOICE AND SONG.

IN-

Chromatic Scale.
Exercise 107.
M. M. about
,,

fa

Practise 1st, legato

Z$L

"

V
i

jj

v
p3

JTJ

w=*

5J?=;P8^
a*^
-tr

ng=gd

1
'*
^

.._.-,

,_

r r

=|

tM

T* w

t 1

ll*

rn

-. 1-

No

degree of the staff has more than two notes upon

it;

and neither

tonic nor

J "J

j ij

-i

4*"

y=i

j tfjTrjiJ-

l|J^I|J

jP

=<
i-

1$

#S

rJr

IS

2nd, staccato.

^.

*1
^M 1

J = 96

jgsf^F*

=t

Harmonic Form.

(Triplets.)

dominant

is

chromatically altered (see page 67).

^=J
9-

>

VOICE
zczaa

gig

AND

^ F^r

SONG.

r r ^r

r>

107

H J
g
s|Bl

I,

g d ud

2>-

y^

*&
!i

gjpilgi

4&
WuK

ggg

r ^r

rSnff3
P

334

&.

*v
31IE

gg
P

-?#-

1* d

l;d_

VOICE AND SONG.

108

Chromatic Scale.
Exercise 108.
M. M. about

4 fa

Practise:

ist, legato;

(Quadruplets.)

2nd, staccato.

J = 96

Melodic Form.

rr^-

VOICE AND SONG.

109

VOJCE AND SONG.

liO

INTERVALS.
Part
The

two tones

difference in pitch between

val used in music

other chromatic,

called the

is

called a semitone (half-tone).

is

e.g.,

m^

or

I.

it

upon

latter

up

to

B)

called a third because

is

and called minor thirds

=3

semitones

in the interval.

includes three degrees of the staff;

it

the larger one

),

upon the num-

expressly stated.

is

one semitone

also are thirds, but as each of these latter contains

qualified

the former depends

number of semitones contained

the

Intervals are always reckoned upward, unless the contrary

I

diatonic, the

See Footnote, page 66.

l^|*zz|.

and the

includes,

smallest inter-

whole tone includes two semitones, one

Intervals have both a numerical and a qualifying denomination

ber of degrees of the staff

The

Interval between them.

= 4 semitones

than

less,
)

G B,

they are

being called a major

I.

Taking the standard

scale

the diatonic major scale

( i.e.,

as a basis for classification, the intervals

formed between the first degree ( tonic or keynote ) of the scale and all the others in succession, will be a
major second, a major third, a perfect fourth, a perfect fifth, a major sixth, a major seventh and a perfect
octave, as exhibited in the following example, in the key of E flat:
1-11
Scale-degrees.>
i-vi
i-vii
i-viii
i-iii
i-iv
i-v

Intervals

in

major.

flat

Name

On

<

2nd

3rd

4th

5th

M 7th

6th

8ve.

M = Major, P = Perfect.)

of Semitones.
2
11
12
4
9
7
5
" Inversion " 3 these intervals become respectively a minor seventh,
>

a perfect fourth, a

minor

Scale-Degrees.

Intervals

third, a

n-viii.

>

<?

g?

of Interval.^

Number

wmm^mm

minor second and

a perfect

unison

for

minor
example
a

sixth, a perfect fifth,

m-viii. iv-viii.

v-vm.

vi-viii. vii-viii. vin-viii.

m 6th P 5th

P4th

in

major

flat

Inverted.

Name

>

Number
1

of Interval.

of Semitones.^ 10

Chromatic Semitone.

*;

7th

So called when the two notes

In perfect intonation there

inary division of a whole tone

is,

relatively,

interval

be seen that a chromatic semitone

of the semitone are

into nine equal parts

commas )

is

on the same degree of the

staff, is called

prime,

staff,

called

Commas

),

and

wider than a diatonic semitone

is

chromatic

<

-Db-

-diatonic-

may

be simply illustrated by an imag-

locating in that division the notes forming the two semitones

= 4 commas

by one

diatonic

>Cjf*

= minor, P= Perf.)

Diatonic Semitone

comma

= one ninth of a

here depicted so divided, and the two semitones formed by the notes Cjf and
I

(m

one of them being altered by an accidental

a slight difference in the width of chromatic and diatonic semitones, which

For example, the whole tone C -

10
P

2nd

semitone, whose two notes are on different degrees of the

3rd

*D

Db

whole tone

and

so on

).

at once

).

-chromatic-

as well as for the flat of the tone above

tuning

CJ = Db, Dff = Eb,

is

so

tempered and

EJ =

Ft?, FtJ =EjJ,

it,
(
This slight departure from perfect intonation simplifies the construction, and, as a consequence, the playing, of "keyed" instruments immeasurably.

For perfect intonation,

it

in every key, a system of 53 degrees within the compass of an octave would bs required
In singing with piano or organ accompaniment, the voice of the singer ( governed by the ear ) intuitively adjusts itself to this system of

ment, which

it will

properly located.

In instruments oi fixed intonation having twelve semitones of equal width within the octave (as the piano, or organ), the

equalized, that one and the same sound answers for the sharp of the tone below

Equal tempera-

always near enough to perfect intonation to satisfy the most delicate ear. At the same time, it must be remarked, that of all the beautiful music
ever performed, there is a special charm in that of an 7<accompanied quartet of voices, by good executants, who instinctively and skillfully adopt perfect intonation
is

in their singing.

For a

fuller explanation of this subject,

the student should look

up "Temperament"

in a

good Dictionary of Musical Terms; or

in a treatise

Acoustics.

Major, " larger," opposed to Minor, " smaller." All minor

3 Inversion (turning upside down, reversing position ), raising
a

intervals are one semitone smaller than otherwise corresponding major intervals.

the lower (or lowering the higher) of the notes forming an interval to

its

octave.

on Musical

AND

VOICE
It follows, that all
fifths

and

fourths

Also

will

it

SONG.

Ill

seconds, thirds and fourths on inversion become, respectively, sevenths, sixths and

and

vice versa, sevenths, sixths

that the octave

on inversion become, respectively, seconds, thirds and

fifths

and the unison on inversion become

and an octave.

a unison

be observed that, except in the case of the perfect intervals, inversion reverses

VIII'

Perfect intervals on inversion remain perfect.

The

VII"

between any two notes of

possible intervals

major key are as follows

a diatonic

VI 1

The student should prove each interval on the adjoining " plan " of the major scale ( showing three
The small figure, by its position above or below the degree-number ( Roman numeral ), indicates a

N.B.

octaves

).

degree

in the

upper or lower octave

respectively.]

V1

Five major seconds, each containing two semitones, between steps

See page

I"

major intervals becoming minor, and minor intervals becoming major.

"quality,"

the

n, n

in, iv - v,

and

- vi,

vi

vn.

4.

IV'

Two

minor seconds, each containing one semitone, between

steps

ill -

steps

and vn

iv,

Page

-VIII.

14.
lu-

Page

Three major

thirds, each containing four semitones,

Four minor

thirds,

between

each containing three semitones, between steps

11 -

and v

vi,

in

iv,

v,

vi

Page

vn.

5.

vn

and

vin,

I I

n\
ll'

5.

Six perfect fourths, each containing five semitones, between steps

vn

in, iv

Page

- in'.

- iv,

v,

in

vi,

vm,

vi

and

16.

One augmented

VIII

"

fourth (also termed the

tritone

"

fourth) containing six semitones, between steps iv

vn.

VII

Page 116.
Six perfect
vi

in

v,

11

vi, in

vn,

iv - vin, v

and

- 11',

Page 117.

One
Page

each containing seven semitones, between steps

fifths,

VI

diminished

(the inversion of the tritone 2 fourth) containing

fifth

six semitones,

between

steps

vn

- iv*.

17.

Four major

each

sixths,

containing

nine

between

semitones,

steps

- vi,

vn,

iv

and v

n',

in 1

Page 118.

IV

Three

minor

sixths,

each

containing

eight

semitones,

between

in

steps

vin,

and vn

vi - iv',

1
.

III

Page 118.

Two

major sevenths, each containing eleven semitones, between steps

Five minor

vn

- vi 1 .

Page

sevenths,

each

between

containing ten semitones,

steps

vn, and iv

11

III -

Page

in'.

n',

- iv 1 ,

19.

vi -

v 1 , and

19.

Seven perfect octaves, each containing twelve semitones, between steps

Page

vm,

1%

n 1 , in

- in',

and so on.

.vm

20.

VII

An

N.B.

augmented fourth

is

one semitone larger than a perfect fourth;

this

interval

is

sometimes called a

pluperfect fourth.

.vi

diminished

Intervals

one semitone smaller than

fifth is

formed by two notes of any one diatonic

Intervals

are further

and require

lows the dissonance

upon

is

is

sometimes called an imperfect

Consonant

the ear;

fifth.

or Dissonant.

Consonant

dissonant intervals leave an unsatisfied

by a consonant

to be followed

and

scale are called diatonic intervals.

classified as either

intervals leave a satisfied effect

effect,

a perfect fifth,

interval.

This consonance which

fol-

,iv

termed the Resolution of the dissonance.

.III

The

only consonant intervals are the perfect fourths, fifths and octaves, and the

major and minor thirds and sixths

all

other intervals are dissonant.

Chromatically raising or lowering one of the notes of a diatonic interval, alters the
quality of the interval.

Intervals which are a chromatic semitone larger than either major or perfect, are
called augmented',

and

intervals

which are achromatic semitone smaller than either minor

or perfect, are called diminished.

one reason why the term " perfect "

This

Tritone =

is

three-tone

( i. e.,

composed

is

applied to the normal fourth and

of three whole tones).

fifth.

VIII

,1

VOICE AND SONG.

112
All intervals chromatically

Example.

augmented or diminished

termed chromatic

are

^E^3=^

intervals.

S^

J
J^^ ^^ ^pl -^^^a
i ^rs
^?
-^-^ "^
-^^ "t^
-^f' -^
I

Interval.-**'

Name.-^
Semitones

2d.

m 2d. A 2d. m 3d.

2.

>

1.

3.

-^-

-tf*'

M 3d.

P4th.

A 4th. D

4.

5.

3.

M=

Major,
N.B. AbbreviationSo
Exercise 109. Name the following

6.

and say

6.

5th.

5th.

M 6th.

6th.
8.

8.

7.

-&-

9.

in

&=h*4*=h=\

is;

what diatonic key they may be found.

intervals

-&-

5th.

-(^

m = minor, P = Perfect, A = Augmented, D = Diminished.

*?1-=ri^=iz=iz^=zi-^-|-g=-|
&

-<*-

-*-

-^-

is?;

risr

<s>

is;

&

-&~
-&-

\-e&-

ife
-t*&\
l?IS=l=2?Z3l^^2zt^J(s=lz^22l
Iteszb

INTERVALS.
Part
Exercises iio to 116.
The first part of each exercise

sung slowly

about

steadily maintained,

S = 60

);

is

II.

for the practice of

either

in the singing

without slurring or jerking

legato (i.e.,

unvarying loudness

Intonation

of intervals.

It

is

to be

Remark, Ex. 93); and with a

(b) sempre piano, or (c) sempre

see

sempre mezzo fort e,

Each group of four notes is to be repeated as many times as one breath will
comfortably allow, always finishing with the note marked ^.
These exercises grow more difficult as the interval becomes wider; therefore thoroughly master each
one before proceeding to the next following. The intonation throughout must be perfect, the voice proOf course, it is not
gressing to and from each note forming the interval with certainty and unhesitatingly.

forte (see Remarks, Ex. 86).

expected that the "variations" to each interval are to be mastered before proceeding to the next wider inter-

The

val.

variations alone will provide material for practice long after the intervals alone have been mastered.

Variations

dynamic

effects

1, 2,

and

marked.

3 (for "flexibility"

No

and "agility"; see page 77) are

sudden change of force should occur as the voice

to be

legato,

moves from note

must be

an d the

sung

constant

with the

to note

the

and even, ex-

Remarks, Ex. 87).

Should preparatory work be needed for the crescendo and the diminuendo on " moving notes," the

actly in accordance with the sign (see

of Ex.

o to 116 may be used

* jL
""

;-

thus

first

part

^ T^TF

'

,-

C=7_
tez

H=~
EscE^iztSE

and
so
on.

M 2d C - D of the example above, may be found in the Key of C major or minor I - II ; G major or minor, IV - V ; F major V -VI; B flat
major VI- VII; and A minor III - IV. The A 2d C - D3, third measure of example above, is to be found only in the Key of E minor VI - VIL
Of the three forms of the minor scale, the harmonic form alone should be used for this locating of intervals.
2 Memorize each variation thoroughly, before
attempting to sing it through the key.
1

For example.

major

II -III

flat

The

AND

VOICE

SONG.

In Variation 4, the notes are separated; repeat each group of four notes as in the first part of the exershort stroke under or over a note is the special sign for tenuto ( Ital., " held "), abbreviated ten.;

cise.

the note

to be carefully

is

Variation 5

and firmly held

Of course,

particular attention.

to be

is

> (a)

time-value.

its full

The "attack" and

thus

and

softly, neatly

0-0 4 f 9 m m m # # _ # _*__#__*_
.

Variation 6, each note

Variation 7

sung

to be

is

for the practice

is

one note

to the other

the glide

is

diminuendo

ment
to

is

is

rapidly (see

time for

its

is,

passing from

in

"

carried."

mental effect of an ascending portamento delivered crescendo

is

impassioned, that of

As an

languishing.

Remarks

In legato

Ex. 93).

to

exercise the portamento

is

is

may be

It

sung slowly or rapidly, crescendo or

a

descending portamento delivered

exceedingly valuable, and should be practised assiduously

The
is

exercise

is

being carried,

accomplishment must be taken from the

being

but as an orna-

TihHLui^=4

In the second part of

which

is

special

and peculiar

measure

this exercise ( third

of each note should be taken up

in the

faults the

teacher

To

facilitate this,

This practice

may deem

it

which

the object of

portamento.

equal to the interval being sung.

Variation 8

is

the equalizing and smoothing of the voice

the student

also considerably aids

advisable to

commence

may imagine

the

the

whole duration

himself vocalizing a circle, the diameter of

"blending of the

the practice of intervals in the

registers.

"

For the correction of

manner of Variations 4

or 7.

("redoubled"); the repeated note is the result of a

similar action of the diaphragm to that required in uttering the consonant H.
tone.
Repeated notes sung with the aspirate produce the effect of laughter.

for the practice of the Raddoppiato

is

gentle impulse, produced by a

There must be no cessation of

As

The

constant, the voice never lingering at any one point.

be practised slowly, anticipating the note to which the voice

thus

marked).

heard to pass very softly through every possible gradation of pitch between the notes forming the interval

should be used only rarely and with great discrimination.

it

II

the chest firmly pressed out, produce the

movement being executed

never from the beginning of the note to which the voice

The

diminuendo.

is

Keep

notes.

of the Portamento di voce (carrying the voice); that

present but not perceptible, the

movement, however,

an emphatic or marked manner (marcato

in

of the interval the voice perceptibly glides and anticipates the second note.

In portamento the voice

a note,

require

There must be no cessation of tone between the

marcato by action at the diaphragm.

end of

will

and may be varied by singing the notes of

delicately,

*^OT3
In

"release"

breath must not be taken, or allowed to escape, between the notes.

performed

the interval in threes and fours

the

113

a preliminary exercise the student

should practise repeated notes both with and without the aspirate

()

4-

In this the continuity of tone

broken by the

Ha

ia

I*

-0-

ha

na

-0-

-0-

In this the vowel

five aspirations.

five times
f

"a"

J*

(<)

II-

(*)

lh

Time

||:

Tenuto often

v
la

la

la

la

signifies, in addition to its

la

i-l\r t
9

M
H

:1a-

:1

HI a

lh

is

heard

on one continuous note.

In Variation 9 the syncopated notes (see page 12) must be strongly accented. The following
"Tap " out the time carefully (see Ex. 11, page 13 ).
helpful as a preliminary exercise.

4*

is

:1a

ordinary meaning, a slight emphasis and retardation.

J
v

-0v

la

la

v
la

||

la

111

1-lr
9

H
H

11

may be

VOICE AND SONG.

114
Exercise 110

(to follow

Intervals: Seconds

Ex s. 86 & 93)

M.M. o

**

60

fa

e&P

fa

tiQoo'l J

lr

M
""""

ff\

o"o" 1 d

|-

rT\

-JH

Cv

ni

/?\

iiOfclO. ^

o"o*>

-|*

A_

OH

-?M

||

r\

fa

fa

fa

^=

3E
--

---

/?\

/?\

XE

-&-

A-

m
/TVT\

/?\

- .o%1 ^^fi^

-JM

-JM

/?\

ffS

Variation

/TN

'

-JH

P
am

m = minor)

(M = Major,

For Intonation

A_

.)H

fa
-

IE

O-

fa

/*

JCL_

For Flexibility
M.M. about d =96

mm

legato
zz

>H #A-

fc&

>H

far

-far

=8=

::

/?\

mm

Variation 2
For Flexibility and Agility

Variation 3
For Flexibility, Agility, and Triplets
M.M. J =96

M.M.

J =96, increasing the pace as facility in execution is gained

legato

legajo_

8#
PEP

soon

Variation. 4
For Tenuto

y*?

M.M.J

J*

bj7Tt|T>: ji|

/XhAmAhXh A)

4m
''

and
so on

X__

fa

p'a.

uouo

/*\

gj

for

Low

o"o"

/^\

J = 60_

J*

V V V

tf4

.g

>

Variation 9
For Syncopation
M.M. J = 60

*&
^W/JJJfJ*M
V V

'

>

V V

Voices

fa

tiQo

m
o"o"

fa

^rreCT<

m
o
o"o

fa

fafa
IDE

)M

)H
/?\

u,

ljjJJjjJjIji-HP

(a) //if)..
1..

A
$)p }A-

M.M.

u!
..

M.M. J =60

B=3

Key and Accompaniment

Variation 6
For Marcato

For Portamento di voce

J = 60

Variations as above, but in key of C

fa
JOL

A-

JM

OH

?H

fa

/?\

-o-

-&~n~

fa

fa

DCE

-O-

/T\

IE

IT

-)M

-)M
ff\

jh

p'A'A'A'A'Aa'AA
Ay m
Variation 8
For Raddoppiato

M.M.

JJ A.

tnd-

sooit

11

Variation 7

$M

jja-

Variation 5
For Staccato
il u
M.M.J Z72

=72

fc
;;^

-and-

)H

30 on

?H

ififc

and

o d

fa

A
fa

fa_
35=

VOICK AND SONG.

115

Intervals: Thirds
Exercise

(Mr Major,

111

m
nn" tv

fTs

o,o

-o

r\

m = minor)

r\

1Ooo.

11

/?\

IV.il
11

zz

M
/O
^r*>;
O *>

U <H
il 11

A-

A_

Oo^o
O

?z^:

^/C\

XX

(a)////"]

(b) /I

|i

.)w

-JH

Variation

ie

-o-

9^
5

A_

-)H

-)H

A.

.)M

A_

.JM

A_

-JM

(c)/!

Xf~

xe.

XE

-&-

HZ

-t-

-o-

-o-

IE

XE

-&-

r\

-O-

XE

(See preceding Exercise for M.M.,etc)

-t

ML]

p A-

J J

J J

A-

jm

Is

-artt

so on

gg

-o-

XE

o
3BE

XE

-O-

Variation 3

Variation 2

w(/

AmAmAmA.h

Ajm

jJAAAAAAAA A

Variation 7

Variation 9

Variation 8

>

Key and Accompaniment for Low Voices

M
m
M
m
r\
/?\
C\
O^O

11. .41

>

Oo^o
O

fa
-6*

EZZEEXE
XEZXX

zz

^o^o:
O O

.;m

A_

/?\

/T\

/yy?\

I'v>h)-
11

)H

*N

JM

/Tv

A
r?\

-JH

A.
r?N

OH

A.

A_

^
XE

T5

fa

fa

-o-

-o-

XE

Variations as above, but in key of

3E

-)H

A_
C\

XE
XT

-?h

/?\

XE

IE

O-

VOICE AND SONG.

116

Intervals: Fourths
(PrPerfect,

Exercise 112
P

(c)

**

/?\

o o

ono

o o
o o

(a) //(A
(b) />>

/C\

/T\

if

AzAugmented

O O ^
II

'

41

/?s

41

/^

/C\

g a

If

o.

o o

/^rt\

o o
g if

ill

^:^
f

A.

.)H

-)h

-JM

A_

A_

.;h

A_

.)M

A_

-)M

A_

)H

/)
/TV

C\

y?\

3B
T^

-&-

xj
r\
zSz

~rt~

-o-

C\

-o-

xj:

xc

--

-o-

E
/?\

-o-

xi-

--

-o-

II'

Variation

(See Ex.

no

for M.M.,etc.)

fa

Variation 3

Variation 2

=fe=3

pA
Variation 4

Variation 6

Variation 5

fc

AmAhAmAm

A)m

vwv v
w/*A

Key and Accompaniment

r\

o o
CI 15

for

Low

r>

O &
41

if

>

r\

o o

o o

A )H

Voices

IT\

o o

Variation 9

Variation 8

# AA AAA AAA A)

Variation 7

r\
:

vi-

o
if

o:
If

22

ogo be

gJ

g&\o <p
-&
ffif i43^
If
,

(a)////]
(b)

p\

rt\

)H

A.
/?s

.)H

A.

.JH

/?\

A.
/?\

.)m

A.

.JM

A-

?gE5E

uc

Variations as above, but in key of

flat

^
xj-

-o-

xf

/?\

rtN

/?\

XE

.)H

xn
-o-

xr
B

A_
/7\

/T\

,!H

VOICE AND SONG.

117

Intervals: Fifths
(P= Perfect

Exercise 113

m
(a)

mf)

ft

n o
n

o o

n n

o-

-o

if

o.
o-

ft
If

-o

la

tf\

it

If

-z

Do o

/rs

o o
o o
-

if

if

tfVTS

zz

<a*3

TJ

A.

-JH
(c)

ft

D= Diminished)

A.

Oh

A_

.)H

A_

-JM

A_

Oh

A_

.JM

/)
ft

^^
ft

Variation

-o-

Tt~

--

XE

-o-

C\

/?S

-o-

3a:

QJ

-3-

o
-o-

n:

33:

-o-

n
ft

(See Ex. 110 for M.M.,et c.)

Variation 3

JtifA.

hAhIhAm

AAAaXaAA A)

Variation 7

4-

/?\

&

)M

/?\

for
P

-O

T3

O- -O-

X5

A.

.JH

A.

/T\

/?N

p
-JM

ft
*f

i
5
^-* *=N

w/A

.J

A.

-?H

A.
/C\

ft

ft

o o;
o o

tv

o o

3X~

9IS

Voices

rt>

p n

J1 PJH
m ^^ L*
[3

pA

Low

/)
/?\

ffi

li i
y

-O

Key and Accompaniment

P

7X3"

(c)

Variation 9

Variation 8

i JE3
c^

w/* A

A A

a
*l

o-

iv
l\

ftft

/?\

-o

^3

IT

o o

3JL

V^5

OH A_

.)*

A.

A_

Oh

ft
AJL

XT

--

3X

-or

to-

ft
-o-

tt
Variations as above, but in key of

xr

n:

^-

ii

VOICE AND SONG.

J18

Intervals: Sixths
(Mr Major, mzminor)

Exercise 114

o o:
o o

*N

it

o o

o o

41

o o

11

/^

mo o /C\ m -9-11 11
:o o -f

/?\

o o
o n

/?N

/TN.C\

"XT

(a)////)

A.

)M

A.

.)H

Iffi

3=

111
Variation

&

3X

-O-

(See Ex. 110 for M.M.,etc.)

A.

-)H

-JM

/7\

rt\

(C\

A_

-)K

P^ ?

* r

fr **]Jl
i

i>A

}H

-}H

.)H

/T\

/?S

&

HI

-O-

-o-

HI

31=

3E

O-

^s^

A-

and
soon

)M

t*

5513

*r

-XT"
-

B
Variation 3

/^

Variation 2
l

-and-

fi'i'i

T TTFi

'-P

Variation 4

)Ki*-d

j* -

J]l

B ji^ij*
iJAAAAAAAA

>

^p

^^

Mia n;

fv

wj/AmAhAhAm Aj

jJ|jjfct
tp

PlifIl

Variation 6

Variation 5

lJ)t
pfc-4^ Aj^Jhf

joon

^\

Variation 7

Aj M

V V

#
Y

*-i

;h

rtif'k.

Variation 9

Variation 8
-A

m
A_
A
Key and Accompaniment for
M
M
m
/?N
n\

Low

tf\

*=

-o
15

o-

TO

ii

Voices

-e
-^

X3

rs

77

L"j'U"

|:

K\

m
ii

ij-

/?\

O
n

o o

/T\

/?N/?N

O-il

o~>,

ii

X3

a)///)
(b)

(c)

/)

-}H

4=

,C\

A.

r\

r\

_JH

-)M

A_

-JM

A_

-}h

A_

351

r\
Vf

T5

.^H

Variations as above, but in key

XE

:&
of-

33:

XE
IE

r\

-4.V

VOICE AND SONG

Intervals: Sevenths
(Mr Major, mr minor)

Exercise 115

A.
U.

(b)
)) />

fa

o oa

,_

r\

g de
o o

i.

Variation

1 (See

Ex.nojbr

HjjjJJJ
p

C\
IT

ti

'
I

aJ

>H

II

-JM

4V

--

'ti

/C\

#
^

P. h=-

A.

-)H

JM

r\

o o

/)

(c5

119

o o
o o
A.

o o
ii a

/?\

mo-

/C\

/T\

rt\

tfN

^*E

-o-

^cc

A_

-)M

-JM

o-

/T\0\

SI XX

A__

)H

-&TI"

-o-

M.M.,etc.)

WjIjp^^

A^-

^
S

Variation 2

Variation 3

pA

Variation 4

Variation 5

h
*
tr^y-'T-IJ

#[/*

AmAmAhAm

3^
^ is*1^
j

2>AAAAAAAA

I 2
A

^3

A_

(a)*/]

/!

vi'imjjjju

A.

2?

^f

A
Cs

mj A

JH

>

g
g o

o:

/?N

*i

o O

o o

J**
ffs

7?s

IE

A_

/?\

-)H

Variations as above, but in key of

flat

mzo:

ii

ii

fa fafa
vri

)H

;m

/C\

ft\

ft\

"Q~

xjo-

ice

T5

fa

-JM

fa

k5

)M

A>

fe

^-

/>

tt
^
BB
g u^ a
i'*JUVLl
3

Key and Accompaniment for Low Voices

M
C\m fa m
^ M
fete
o
o g
o o
g p
(c)

Variation 8

Variation 7

(b)

Variation 6

)H

A_
/?N

17\

XJl

-e-

XE

EC

VOICE AND SONG.

120

Intervals: Octaves
(P= Perfect)

Exercise 116
/?\

(a)////')

(b)

(O

/)

-o

O"

-o

it

&T

-O

tv

t*

00 .^., o
r

o-

ii

:o

a a

fl

..

A.

-)H

-JH

/C\

/C\

si!-

P^

XE

XE
--

"TV

Variation

3E

-?H

C\

--

--

A_

-)H

C\

/CN

331

I7\

A.

-JM

->H

X~

xt
"

TT

-^-

xc
XE

--

(See Ex. no for M.M.,etc.)

pAVariation 4

Variation 6

Variation 5

w/AhAhAhAh
A hAmAmAm
mf

A>)
A

2>AA

AAAA AA A)

:>A

:\

A.
A
h
Key and Accompaniment for

r>

r\

11

O'

Low
/?\

4>

(c)

/)

)M.

_JH

o
)H

*J

ii

o;

)H

A
/T\

/?\

5
sy
Variations as

$
above,

XE

&

VA/

=8=

but in

key of

>

ii

_
J"
-JH

17\
II

O Or

..

A.
/?\

n o
o o

<7\

,H

-)H

A_^

/?\

C\

-O-

XE

T#>

IF

JOE

-o-

ZEE

e-

r\

/T\

mf'k.

r\

/?\

11

O ^

PPf&

3^P3fe

Voices

(a)tnf
(b)

)h

^A

BE

2>A.

M
JJ

furnr^i'iu;^-'^
11

Variation 9

Variation 7

B-

f\

-O-

XE

-&-

TV

VOICE AND SONG.

Exercise

Simple Intervals

17.

Practise 1st, legato

Commence with M.M. about

121

Recapitulatory.

2nd, staccato.

J = 96

To_repeat

_,

-0-m-

w -m*

#
-m-

^S u

*at

i3
9 v*^*

Pi

25

i=*

J^Ji-g

r3 r3

I
1

fl

*~5

* ).?

I
^

J.

-^

,ii

*~

Jw

i=5

tt

^i
To

Jj J

*"

t=*
gfa
*

r^

i^t

^m

r3 r3

I*^f
*

3PS

T*

gfe
f

f3

M\kl

si

T=f

To

iV-

To

ll

f=i

T^

*~?

g
*

To

<l

'

repeat

*-*

;z

To

ll

on the

first

i'inish

d'l

*-*

^=P

at the second beat; the note

finish

ft&

Commence singing

?
1

mmmWz^m^m
m
m
S
*~*

$p pp\\pp

P*

repeat

flfi

W V

^*flrti

r3j

*~?

*)

w-

II

iA-4

t*5-

To repeat To finish

**~c*

i'inish

XJiJ^i

*ta

FT

To

II

& p

15

a B=i=

repeat

i'inish

^-yr

1 1

tt
1

ri
23:

Ifels

To

II

i
f

z:

To repeat
gg *i
<

r3i

j J

fe

i
I P ip

Jf:

i
P

^3

'

finish

^-^

-m-

fe

To

II

^^

*
beat

is

to be

sung only

in the repetition

*
i

122

VOICE AND SONG.

122

To

Wfe

MfjU3JJi

J
3

t*

s^

*=*

<

;8=

E^

To

II

finish

TJiP:ricrcritfci

repeat

P#

*=^
#

9-

iTo repeat llTo finish

*f

frjUW^jIM
J*i

is

*=

j]

i-

P=t

Pi

rr

<

H=*

p-*-^-*

~ c
?

- r

^ ^

i i

^P

I*

-.i

*=*

z:

i;

To repeat

To

II

finish

P=S

t=*
-^

&J

P
ym

S=*

t=

""CJ CJ

llJjQl^lH

i=*

mm

i*l

fc=fc

(^

fei P* dE*

I
s=

WZZZM

^
i

ft

HE

i=S

fP

V P _P

*=*

mm
To

II

i i

"p

is

rwif-=+

Commence sipping

X*

#=S

IB

#-J:
at the

al i

second beat; the note on the

first beat is to

CJ

fl""P

0-i

*)

cJ

-n

II

m&

-ft

i g fe
To repeat To

i fe

finish

CJ 'CJ cJ

i
(I

*=*

iI

*-*

fl J '"CJ

ITo repeat

j^

-j

finish

F=#

pj

tt

rfci

To

II

ITo repeat

&

Mi

*=*

*=q*

A
3=1

be sung only

Hi

D. C. an 8Vf higher

finish
i

^ m
a

Ji

in the repetition

te.

AND

VOICE
-.

C.XERCISE
....

At

Compound

l8.
.,

..

than

....

j
M.M.#=60

m
* # * *

mm

*-+

Intervals.'

legato

and

staccato.

ra ra

p~p
1

juffl^

i *

=S=i

123

a
ifi;
g

i je=

^H t>~7

first not faster

n
rractise

SONG.

013

8B

ee=

to

011 QTJfTO
^

'* *

**S#*

y.

3E

bW 1^i u

^
^

4
2ZZ

^ S S P ^^ g
a
^ ^
^

*L

ftE

maim

#4

ipnjTJi",JTJi,rm
TT

""*

Intervals larger than an octave are called

Compound

up n o

* # j

ptes*

I7D17D, 17D cm
j *oj}y
J a i J
J. J
J j J3

^5

Intervals.

Intervals which do not exceed an octave are called Simple Intervals

see page 121

).

VOICE AND SONG.

124

&

r f

f r r

xLrLclrtoLclr",

I 1 \nrinr

.,

*=

i se^

iJL

'

8-

JE=

?=
F

221

^^

=fl^

'

cljjcliJ

s;

Cidcid

a;

w&

n-

14
a

*=

I*4

=*

feiE=
3

i"-ff

^
''

^^ f

3^
^
P
em Pll
mrmr~,

te
i

-T-

tfanartflfga

as
8-

See

1
1

4s

) k ig|

iS

""'"'"tLd cLCJ 'U-CJ

si
4

mm J/Jdz
!

ir^-Dfli

AAA

A-

eidad'OiJdd

(9-

at i

te

*=

. i r r

i jjUj to Uj ''^[^ dd cLd

lLcJ

cLd

|J
,

c^

j
f-

3E

''Si
:

3!3=:
i

^^

i
^

USE

fflc

'

*-H*

s;

5
m pi
p

te

te

-iH-

3S

fWiirrrfifrrrii
8-

ifeF^z
e?

3e=

>
i

s= vS=
J1

8-

b= ^?f? w
-t^-

#e

1!

U2-

VOICE AND SONG.

To

Exercise 119.

125

be sung strictly legato, and with considerable vigor.

key suitable to the voice, and, if necessary, adapt to the compass by omitting the portions between corresponding cue-letters; from A (ascending) go to A (descending), or from B go to B,

Commence

or from
'

C go

to C.

M. M.

J = 72

*
)

1i

31

3E

in a

I*

S^

*fi=i:P3=

3e

s
P

F^f

If

If

\A

wm
%
&A

r^y
*

i\

>

9#

^f

M^fe
?

Sjff ^

tt

if

i^E

9^5

-#^ii#-

*4

lp

:S

13

;::

H|:

V
re

t
i*

is

^
*

126

VOICE AND SONG.

VOICE AND SONG.

127

CHORDS.
Part

"

A Chord

is

I.

combination of not fewer than three notes, each

at the distance

of either a major or a

minor third above the note next below it. The lowest note, upon which the chord is built, is called the
Root. The most important, and the most frequently used chords, are those called common chords,
which are made by placing either a major or minor third and a perfect fifth above the root. If the third be
major the chord is called a major chord
if the third be minor, it is called a minor chord."
( Prout.)
Any chord consisting of two thirds placed one above another (making in all three notes) is called
Every common chord is a triad, but not every triad is a common chord, a common chord being
a triad.
,

made up of consonant

The

intervals only

following exhibits

Triads

all

&

be observed that

all

1 1 1

).

the diatonic triads possible in the key of

Root, or scale-degree
on which triad is based.
It will

see page

#&-

S.a

ii

in

IV

<y

major.

S
<s>

ii

VI

VII

these triads, except the one having the

vnth degree of the

scale for its root,

common or consonant chords ; and that those having i, iv and v for their roots are major, and those having
ii, in and vi for their roots are minor triads.
The one having vn for its root has a diminished fifth for one
of its constituent intervals, and in consequence is a dissonant chord. Any triad so constituted is called a
are

diminished triad. 2

The

following example exhibits

form of the

C minor

the diatonic triads in the key of

based on the harmonic

scale).

Triads

ia:

Root, or scale-degree on
which triad is based,

Of

all

i;

:te

on the

because the

fifth

triads consist

ii

and vn

of the

triad

of two thirds

an augmented

one major,

v and vi

iv,

i,

VII

for their roots are

and the one on the in

are diminished triads,

is

VI

these triads, only those having degrees

triads based

'S

<SSZZIS

IV

III

ii

isr

&-

Further,

fifth.

the other minor

it

is

common chords.

generally termed the

When

key

Primary triads of a

any note of

should be observed that the consonant

superposed;

are those having degrees

and that the dissonant

i,

iv

and v

a chord, other than the root,

is

the bass (lowest -part), the chord

:

22:
(-

%
Root-pos.

in

the

they are

&

st

Inv.

is

said to be in-

with the root in

( i.

e.,

as

bass with the root

bass.

The

following

&

-&-

11

2nd Inv.

Triad, a union

>.

iu speaking of the different triads, they are often called Tonic triad, Supertonic triad, Mediant triad, Subdominant triad,
of the root

and

for their roots

Every triad, therefore, can appear in three positions, namely Root-position

the bass), and two Inversions.
In a "first inversion" the original third will appear
transferred to an upper part.
In a "second inversion" the original fifth will be the
example exhibits the triad of C major in root-position and both inversions.

name

triads also

key.

verted.

technical

ne

an augmented triad, so called

consist of two superposed thirds, but, in the case of the diminished triad, both thirds are minor,

augmented triad both thirds are major.

The most frequently used triads of

of three.

see pp. 66-67).

and so

on, tn agreemei.t With the

VOICE AND SONG.

128

By adding another

Of all
the

third

on the top of a

on the

possible chords of the seventh, that

most important,

g-

fo

we get

degree of a scale

fifth

is

Dominant Chord of the Seventh.

called the

is

thus:

triad,

chord of the seventh.

most frequently used, and, being

It has three inversions:

-S 52

Root-pos.
Tl'is particular

chord of the seventh

For example, the chord

the key.

or minor

because of

B and

the

is

F sharp.
The Dominant seventh-chord

it

dominates (governs or determines)

cannot belong to any other key than that of

1?

Every

the F.

3rd Inv.

called dominant because

~"

((T)

2nd Inv.

ist Inv.

scale with flats requires BJ?at y

and every

major

scale with sharps

requires

major and two minor) zfc

3rd

contains the following intervals

in its root-position

3rd

two

fifths

(one

Three

perfect, the other

thirds

one

diminished)

3rd.

one minor seventh

I

5th.

The

5th.

7th.

student should similarly analyze the inversions, and describe the intervals contained in them.

^s^
For example, the

first

inversion

minished

da contains two minor thirds

-Q
o
one perfect fourth

fifth

chord of the seventh having for

its

chord

a diminished seventh.

fifths,

and

The

diminished seventh

H,

and one minor

sec-

-<S>-

root the leading-note of the harmonic form of a minor scale,

Diminished Seventh-chord, because the

The

one major

_2_

called a
is

H,

interval

is

between the root and the highest note of the

h^

root-position of this chord contains three minor thirds, two diminished

examples

in

A minor

inversions should be similarly analyzed

chords of the seventh on other degrees of the

r..o

the student should also construct and analyze triads and

scale.

CHORDS.
Part
" The singing of Arpeggi

The

broken chords

II.

good vocalization."
be sung /egato, the voice

has always been considered a test of

following exercises therefore should be diligently practised.

They

are to

passing from one tone to the next with precision and firmness, without slurring, jerkiness, or detaching the
notes (see

Remarks on Ex.

Commence

in a

93, page 74).

key suitable to the individual voice, and continue throughout the compass.

If need be, Exs. 120 and 121

may be

simplified,

four parts, as indicated by the " cue-letters" A, B,

when beginning

C and D, working

their practice,
it

by dividing them

out as follows

into

First, sing the por-

marked A several times (in one breath), and finish with D (omitting B and C)
Second, practise the
portion marked B alone for a while, and then sing A and B, in immediate succession, several times in one
Third, learn the portion marked C, preparatory to singing the three
breath, finishing with D, as before.
portions A, B and C in immediate succession (as many times as one breath will comfortably allow), closing with D.
tion

The: -rpeggiated chords of this Exercise are (

second inversion of the dominant seventh-chord, closing
-

A
(

the root-position of the tonic triad,

D)

with the root-position of the tonic triad.

the second inversion of the subdominant triad,

and

C)

the

VOICE AND SONG.

Arpeggi.
Exercise 110 {a).

M.M.J = 108

4 3j

*
I

129

Major Mode.

Chords of the Tonic, Subdominant, and Dominant Seventh.

FP

PiP
ra//.

7^

^7

-o-

"*F

3?

^e:

XT

-o--

w
3

"
g! 4
i pi

7 11

^o-=-

XOLE
XT-

m//.

IT

/^

^-o-

DOC

HE

St
J-*

:ee

"or

VOICE AND SONG.

130

rail.

-o- 2 t>

I t:

M-J

rt\

te

21
2:

ii

J*

e-*
-O^
-e-=-

JE

,.'

:::

is
*EE

D.C.a?i8VP higher

VOICE AND SONG.

Arpeggi.
Exercise 121 (a).

.31

Minor Mode.

Chords of the Tonic, Subdominant, and Dominant Seventh.

rail.

K\

S
XE

;:3?:

3p

fiB:

--=-

HE

"On

--'-

&'
:ze

VOICE AND SONG.

132

SS
=8

rail.

n\
o-*-

BE
Ijja*

JQj

y:

It

-e-=-

SS2

Ia

kfc

B.

J#=s

pP^

4
jg

Sbbb
e^-r

XL*

te*

_o_

2ZZZ^

#
AS
P=fe

3E

-o-1-

B.

D.C. an 8V.e higher

f
3

ri

J
r

fese
eu-h

rail.

^
lis*

gjg

-_

at
1-

-O-

IE

VOICE AND SONG.

The

following Variations are to be practised in

all

133

keys suited to the voice, accompanied with the

chords of Ex. 120, simply sustained as there written, or appropriately adapted; for example:

Variation

i^i

-g

**=K

Variation 15

-rr

n n

g3=^

ep

3E

9^

m
and so on

Variation 23

fft v]

^ Q
J3

jpi pi

and
so on

^^

2? 1

Carefully memorize the particular variation to be practised, before taking

of the voice.

These

it

through the whole compass

77) may be introduced at pleasure.

practice in the minor mode, accompanied with the chords

Suitable nuances (see Foot-note, page

variations

may be used

as

models

for

(or adaptations of the same) given in Ex. 121.

It will

71

be found a valuable aid to distinctness and ease

et seq.)

some of

in articulation to

occasionally syllableize (see p.

sung somerrrspcndingly grouped and pro-

these variations; especially those in which three or four n'tcj ar

to b.

what rapidly to one beat. To facilitate this, the syllables should be c

nounced as one word, with the primary and secondary accents in agreement with the time-signature (see
pp.

sada

1-12).

E.

g.,

Var.

samadama sadasama

1
;

Damasa dasama, Dafala

and so on.

dalafa,

Rafasa tasafa, Damasa da

Var. 9

Dama-

VOICE AND SONG.

134

Variations

Exercise 120 {b).

for preceding Exs.

P
*

f^^l

J
d *
i
'J.*

JT^

-4rr:

jT^J

3=f=3^

|ii

^J

|:i

ffPtrpFJ]

also

11

jp

^
r^^-^

p$HpFT.

J7i

^
J

J.yJ-jj.j*^

^jjTOjgJ^

3=

mrm

jj

ftflr\\nflflr\\nnnnA*$$
*
#

-#

j*

also

*m =

*d

4^pgig^p^i
^

^ J7

I:

120 and 121.

[i

flfj
*

'

fl

fl

^^ ^

rifiP -rfrtprtjOftf^
*
d
*

jirrrnjn

and so on

VOICE AND SONG.

13

4
5 ?
1

mm

^1J1
J
J

m* PW'TUri
is

ja

* >

2e=

and so on

as

j-j.
J^mimJJ]
# ^
~

#-=

'

-rng

&Lz*d

s
^P^

ff^ J

22

_kX-

g^=p

1_^.

m jppjf F F fflM ?

Pjfp

24

ffl

mm

=r*=

fc
^

#-=^#

=j= J J

18

19

JiJjj jijjJJfetoj^j gflij

j jJffiOj/jijJji
j

16*^ ^#
17

^r

135

iP p

'

3^ Ipl ^FJV
'

rrJ^T l^JTr n

r^jiffi^teJJJJif

^^jJ^pTpTJj)ij)jJ

r;rpJj jjij^j

ii

p)TpTTj)

^TJ^J
!

i^^Jpii

VOICE AND SONG.

Major and Minor Triads.
(a)

Exercise 122 (a).

At

than M. M. J = 80

first not faster

=3=

'

9^
<

)-.

if

fe

fe

fr

r fa

high voices.

ii

3=3^

Variations for the above

*
\>M.

S w ^r%

t
i

fit*

ii 1

fa

P#

ga

k*

^n

^*

[ft

'

1-

f
it

0$?0 m

-0

pip
i
Pi

Z>.

>

#^n

i
s

P^PP

=M

ZZ3E

fc g8

fl^r#>

*=*

>

3eeeE3

fi E

3
<

igrj

wm i ^ i

g gg

^ m

*=i^
I
1

pi

E^J3

fc

staccato, for

(b)

?=i 3 3

fe

1*

^P

-*

'

legato,

3E^t3

tt
wE*

and so on (four measures

ii^igffr^rf^g

reading an 8^3 higher

ds

m i^#
^^m
%

to

i@

^ek

one breath)

E=K

VOICE AND SONG.

J37

Major and Minor Triads.

Exeicise 122 (b).

(a)

(b)

legato,

first

3E

not faster than

M.M. J-

&* *?*

K=3

P^

Tff=^r-y-$

^-j^JJW j

^
^-#

ho

$*

3E

JP]JP]JJ

P^

JP3J333j

^JJ

=?=^

tJHJWj
i
*

j j

u j j
'

^p

^3

*d

w
^T

In

mm

'
I

fa

S3 a

firr

J"ri

p PS

E? |

^r^

^rjfitrlt

<

id

f3

C.

reading an S^e higher

Variations for the above

"

fegji
/?.

j^'llil^'

^p
^g
3
r

ff

heHt^j

|3

*#-

=i

m^-j
j^^

94-U-J-ag=*
jj%j^

jj"*jjj*jj

!2

lP^j J^J

jl[ftf[fi

f-

JJ'JJJ'JJ

if

+*

-1

i
Pi

-#-rr

3E

[pj^ij^jVijb
S

'JJ'JJJ'JJ

r$

^m

'

^
I

gp

S3

rf

low voices.

wmpw^w^m^w^

At

?i

staccato, for

so oq (four measures to one breatb)

VOICE AND SONG.

138

Major Mode.

Arpeggi.

Chords of the Tonic and Dominant Seventh.

Exercise 123 (a) and ().

At

practise

first

exercise, thus

and B

as

two separate exercises;

later sing

them

immediate succession

in

one

as

M.M.J = 120

,A

3F

mm

in

mlJ^i r jj.|j-tfH
w
-m

3*

2:

CS

/O,

TT

&

430

-&-*-

HE

"O"

o-*

IP

P2

"ir^

^J;

"

---

-o^-

J;

<l

XE

TJT

be:

xr

i
jjjnri

o-*

rr

m&
I*

-S

*-#

w
C\

e>

xs^

33:

It

-o-2-

P fw

TQJ&a

7!'

Mj'CJl 3^Ji f^i

/7\

--

BE

!l

tffc

/7\

jfag

ICC

gg

3E

^-s-

3-

T^fl

VOICE AND SONG.

^^

$&,

# P

M
I

XE

S3

^JCC;

^e

fes*~^
w

-;

IE

-O-

T^

5a
tjO.

11_

xc

fcj*

==^

/?\

Is

139

Jirrf

frpU

XE

22:

S-5-

-o-

i MJ rrfirr.u
I
f

1 J

to

^Be
t7\

e- 1

*
x

Pi

I
oJ^Cj

m-

i-Sxi'

^ej:

Cj
/C\

1 XEt

^fff

U--

&

XE

ip'

gjj

i
C\
iE
g-l*-3),

I;,

n
-o-1-

ttM

*
u.
;;^#
ffi

;f

p?

W
:a:

r\

liLXE

iipEE

fr'

^J.
9-9-

8te highei

rnrrri r j
t

^m

Uin.rt

Meg*

1zzz:

D. C. an

If

IE

--

XE

-i

PrJ

rs

XE

rj

r*

-&-

r*v

3E

tez

VOICE AND SONG.

140

Variations

Exercise 123 (c).

Observe the phrasing

carefully (legato

and

for preceding Ex. 123.

First time sing as directed

staccato).

(a), then repeat as directed by the undermarking (b)\

also practise silently until

by the earmarking
perfectly

memorized

before audibly voicing them.

m
gppg

y-#

j>

(a)

I(b)^

f m p

s
w n^

= = -|

(a)

(a)

|S,
||

.J-'Jujhiw
<tf
8

(a)

BE:

#^dfc

<>

3E
(tf

Accentuate
carefully

| ~
\

in

ac-

cordance with
the time-signature.

VOICE AND SONG.

Arpeggi.

Minor Mode.

Diminished Seventh-Chord.

Exercise 124 (a)

(a)

to (c).

See page 128.

141

VOICE AND SONG.

142

y^

iH*\

?
?
I
f
rrf^
H
J
'
"
"
j
9>
8

jjtJ
c>

A /
}
+|
:

-L-.

'

^r

ujj u.y
r

Lr

tr

^-

fr

r r

ifttrf
*-=

fa?
r

r r

1*44/

pr

-\\

J J
"

H
^

1d

JJ

'

*
i

B.C.

an H v-e higher

D. C.

an 8ve higher

D.C.

an 8V? higher

fee

3EE

flJ

E
7?.

gg

=pi"

S3

fc-

\\

=Ji
-ir J

"

te

C.

an 8V? higher

ll

VOICE AND SONG.

Arpeggi.
Exercise 125.
M. M. J=132

Minor Mode.

Diminished Seventh-Chord, Scale

harmonic form) and Tonic Triad.

143

VOICE AND SONG.

144
Exercise 126.

VOICE AND SONG.

145

Minor Mode.
Arpeggi.
Exercise 127 ( a ) and ( b ).
Chords of the Diminished Seventh and Tonic, with Scale (Melodic form).

s
^ffl^J^^^ijJ^ ^^tf

13

i
9^

P
i

I-*

a=^

W
EEBzi

VOICE AND SONG.

146

Embellishments

The

Model

following

compass of the voice.

fortably within the

(

Also
50 see page

Exercises are to be thoroughly memorized, and then practised on

The

may

chords on page 65

all

notes com-

be used as an accompaniment

1 c.)
15.)

The Long Appoggiatura

Ex. 128
ah Moderato

about Jr80

EE|E

to

be sung

pi

^B

The Short Appoggiatura

Ex. 129
q a Moderato

^^

J =80

-t#

to be sung:

*-

The Mordente,

Ex. 130
Moderato

:&3^

etc
JrHO
rat)

f^&Tnnhy

to be sung:

The Turn
Ex. 131 (a to I)
Adagio
>

p
*

ry
I

Allegro

j-

Moderato

^ (|i
,,

Must be executed smoothly, lightly and rapidly

cv

rresi o
Presto

"

If

___

sung\J

to be

sung

to be

sung (J=

to be

sung (J=144)
(

(fc%

to be

sung

(m

= o,

(J = 80)

cv

m
W

108)

(V

1
Moderato

HP

to be

cv

(C)

/i

/abouO

-,

Allegro

(J= 80)

CV

to

be sung (J=108)

\ J JJ Jf

Presto

v>

pi g
J.

Moaerato
^ Moderato

Presto
1 re u

(0^
55

.,

(V

2M

(J= 144)

to be

sung (J=so)

to be

sung (J=

* & e

sung

144)

jB

| J J

j 1

j J' J

JJJi'

ST35BE

<v

Presto

(V

j^Ea
Allegro

sung

Moderato
^3

to be

^^J

^~

=H

to

be .sung <J=108)

P iJjJJM

a^S
jJj

VOICE AND SONG.

The
(

The
The

ability to sing a

" beautiful

"

trill

147

Trill.

See page 16.)

can be attained only after long and persistent daily practice.

notes must be perfectly legato, of equal power, and exact in intonation

not a goatl'ike wabbling of one note

notes,

" Playford,

in his

'

it

bird\\V.z

warbling of two

(trillo caprino).

Introduction to the Skill of

have heard of some that have attained

after this

Musick

manner,

'

1655

),

commenting on

in singing a plain-song

of

the shake says,

six notes

up and

'

six

down, they have in the midst of every note beat or shaked with their finger upon their throat, which by
often practice came to do the same notes exactly without.'
It seems then clear that the original intention
of a shake was to produce a trembling effect, and so the modern custom of beginning with the principal
note

may

(Grove's Dictionary of Music.)

be held justified."

Exercise 132 must not be put into practice until the

(pp.

first

three variations of Exs. 110, 11

J,

and 112

4-1 16) have been well mastered.

Commence
and sing

each

trill

with a thorough inflation of the lungs, retain the breath a moment, then attack

softly with the breath-pressure perfectly controlled, constant

mouth must continue immovably open

and steady, from

the chin, lips and tongue perfectly

the exercise carefully maintain the characteristic quality of whatever vowel

Exercise 132.
Commence

still all

is

first

to last.

The

Throughout

the time.

in practice.

Preparatory.

not faster than M.

M.

J = 60

HA

If

ggftff

S-*

w.

in

*t

and so on

h
#lf

00
For accompaniment

see (hat of Ex. 88.

90-

mnmm

if

e;

IP

Exercise 133.
M. M. about

J = 72

7.

>

0m
s&m ^m
.

j *t

and so on

For accompaniment
see that of Ex. 88.

VOICE AND SONG.

148

The

tones forming the

trill

must be accurately intoned.

Carefully guard against a gradual narrowing

degenerate into a tremolo (see p. 21 ), or a vibrato in tune neither with the

[N.B. Vibrato, " a tremulous effect differing from the tremolo in not
principal note nor with the auxiliary.

of the interval, or the

trill

will

fluctuating from the pitch, partaking of the nature of a thrill, or a series of very rapid partial interruptions

(Baker.)]

of the pitch."

The

Exercise 134.

Trill.

At first not faster than

m
M

--

gs
m

3E=

"

i?3
as above

a
2

=s

3E

--

-o-

jOl

(Tv

fi\

^
TT

r\

/O

/?\

--

iiu
aw o

^>

H
I
P^Ei
4ft

S8

in

May
may

/?s

.fl|

-^

^
1^^

XE

31

3T

S ^3^

-o-

^^

Cs

/?\

E=^

J s

TT

Tl~

4r*

feSr-*'

s f j==]
?

fl\

^
1

itself

J =120

rs

Ut

M.M.

USS=

ff\

-o-

33:

be sung in other keys, with an accompaniment adapted from Exercise 93

also, the exercise
at first be abbreviated by omitting either the third or fourth measure, or both.
;

VOICE AND SONG.

The

trill is

and most difficult at the extremes of the compass therefore, it must be satthe "easy range" before taking in the higher and lower tones of the voice.

least effective

isfactorily

accomplished

When

trill

the

149

in

occurs where two registers meet, both tones must be produced in the higher of the two reg-

Deep, heavy voices are not suited for this embellishment.

Practise ist, piano throughout; 2nd, mezzo forte throughout; 3rd, messa

isters.

di voce as indicated.

Exercise 135.
At first not faster than M.M.

=(

*%3=

and so on

and so on

For accompaniment
use that of Ex. 88.

Exercise 136.

M.M.

J=132

JMiu,

tt

/P i^

=-=="=_-__-_^^_

B=pBB=5=5=B==:-===BBB=a:B=pp:a:

rTTmm

111111

11

i+h

^h

h^h

HiJJJJJJJJJJ JJJJIIIlJ

IE

xc

_EE

-=-\

VOICE

150

*&

AND

s^a^

jfp-

gEgrr

r r r r r

rr

gp
ftt

ri

^fe

SONG.

-o-

--

&

^=

LLZI

^^

HI
I ^^
i&

a
gaa
ggi

iH

3r

351

CV

IE

rtv%++
4p> 4^

CrC^p^

8pse=
P

t+n-%*
4^

njz W3
S^S^

&
May be sung

in

other keys.

3
he

TE

IE

^T

=8=

-o-

For accompaniment
see Ex. 93.

US

XE

O-

XE

-e-

VOICE AND SONG.

151

RECITATIVO.
"All music, even the
cadence.

With

simplest, resembles

regard to the former there

is

poetry in requiring regularity of accent and system in

a greater strictness in

music than

verse; for, with very rare

in

exceptions, the accents recur at perfectly regular distances throughout a piece of music.

music

to prose

is

found

to be

in recitative,

which

is

The

only analogy in

simply declamation sung instead of spoken."

Prout.)

(A)

Ex. 69 (Appendix, page 190) is an example of free recitative, "in which the object of the composer has been to express as accurately as possible the sense of the text by the inflexions of the music, just

good reader would deliver it

declaim it with more expression."
( B ) Appendix No. 70 is an

as a

while the performer

absolutely free in tempo, so as to be able to

Prout.)

of recitativo a tempo.

illustration

tory, rather than melodious, just as

is left

the case with the free recitative

is

of plain chords, but of some rhythmic figure or figures, so that

time at his discretion."

Wagner's
paniment."

it is

this the vocal

portion

is

declama-

but the accompaniment consists, not

impossible for the singer to vary the

Prout.)

from the above "

recitative differs

the ancient cadences,

"In

etc.,

being abolished

in the perfectly natural

musical inflection of the vocal part

and the richly instrumented and marvelously pregnant accom-

Baker.)

EXPRESSION AND INTERPRETATION.

"

As

the tendency of poetry

is

to exalt the thought, so that of music

mind

aspirations of the poet are to raise the

elevate

to a higher

it

and

to music for the latter

Poetry in

fuller

and

be composed

exaltation of the emotions.

We

rhythmical or metrical

in

What

poetry

is

poetry of form,' so music

tion."

the means are adapted to the end.

if

Music,

lines.

in its

outward form,

is

a composition of varied sounds

to

thought, music

may

As

to feeling.

is

be called the poetry of sound

composed

in rhythmical pro-

we speak of

in painting or in sculpture

the

and, internally, the poetry of feeling and emo-

Bronson.)

" There

is

not any musicke of instruments, whatsoever, compared to that which

when

to

read poetry for the former, and resort

or tones, expressed in such style as to imply the elevation of the affections, and

'

the

external form should be expressed in language that implies the elevation of the sentiments, and

its

portion.

As

to exalt the affections.

and sentiments, so those of the musician are

to higher flights

vocal music both effects are produced

in

is

made of

is

voyces,

voyces are good and y same are well sorted and ordered."
(William Byrd.)
The human voice is the most perfect musical instrument in existence and is capable of variation in exy

pression to an extent unattainable with lifeless constructions.

In singing words, the chiaroscuro

light

and shade

should be suitable to the sentiment expressed

love

and the timbre (tone-color or quality) of the voice

or hate, hope or despair, joy or grief,

etc., in all their

phases.

The

natural use of the voice in the expression of congratulations, as

of condolences

in the reciting

realized illustrations of the principal

it

who

singer

is

it

in the expression

of a martial poem, as compared with the reciting of a pastoral one

ing of a p<ean or an epithalamium, as

"A

compared with

compared with the singing of a lament or an

timbres ( clear and sombre ) of the voice.

epicedium, are

the singall

easily

not able to recite his part according to the intention of the poet, cannot possibly sing

(Wagner.)
There is no real difference, as regards expression and feeling, between recitation and song therefore,
studying a new song, the words should first be read over and over, and recited until their meaning is

according to the intention of the composer."

in

thoroughly understood.

The

student should then mark exceptional breathing and caesural places, using the sign

and the sign v

example, a pleading emphasis thus

diminuendo
i

),

"

An

Baker.)

harmonic formula

( i. e.,

sforzando, " forced ");

succession of chords

leading to a

for the

former

for
and peculiar emphasis may be marked
a rapid
a bold, forceful emphasis thus
(
a somewhat marked emphasis thus a (marcato).

special

< (=a rapid crescendo

or by the abbreviation sf

Cadence.

or movement."

words which demand

for the latter; also,

momentary

> =
:

or complete musical repose

the close or ending of a phrase, section

VOICE AND SONG.

152

Places appropriate to either a sudden or a gradual change in pace

change

in

loudness

dynamics),

more or

of a pause

less

orous portamento, a sospirando, a singhiozzo, a morendo, a

manner by words or

indicated in the customary

may

the tremolo or the vibrato

much overdone, and

be used; but

on a

tempo

),

to either a

signs (see page 19

this, like

changes in timbre,

may be

In the expression of intense feeling,

).

the portamento,
effect

sudden or gradual

single note or a rest, a tender or a vig-

sot to voce y etc., as well as

of being the agreeable

so, instead

hold

may be (and

is,

too often) ve^/

imagined by the singer, becomes

in reality a

disagreeable defect to an auditor.

Of

course, there

much of

is

and which only the good

signs,

The

and accentuation which cannot be expressed by written

and culture of an artist can reveal.

true expression

taste

best source of instruction, after that of an experienced teacher,

The

strumental as well as vocal.

way he

is

hearing

first-class artists, in-

student should avail himself of such opportunity as often as possible.

knowledge of inestimable value.

Young singers often ruin the beauty and freshness of their voices, making them sound old and wornout, either by hurrying and forcing their progress, or in vain attempts to imitate the matured timbre of
experienced singers whose voices have been ripened by years of well-directed and conscientious study.
" Every pupil should keep before his mind as the goal of his ambition, to make his voice an instrument capable of producing beautiful tones and let him set this down for a fact, that beauty of tone
and ease of production are so interrelated that you can not have the one without the other. The two form
Everything that is correctly used will grow
the foundation of good singing and the long life of the voice.
The voice that is easily produced will grow more powerful with each year. But let
strong by use.
power or range be the goal, let the pupil bend ali his energies toward getting as much volume as possible
In

this

will gain

from

his voice,

and just

labored, and in the

as surely the voice will lose

end be another ruined voice

Finally, after having perfected both vocal

whatever quality

add

to

to the list."

it

may have

had, sound forced and

Karleton Hackett.)

and verbal technique, the student must give some attention to

Facial Expression,
which should be a natural

of that of the voice, and which

reflection

play of the features around the eyes

2c

Upward

or raised

5.
6.

Rolling the eyes

8.

9.

10.
1 1.

shame, humility, disappointment.

disgust, aversion, listening.

tranquillity, satisfaction, self-complacency.

Staring

expresses despair, rage, madness, jealousy.

distraction, pain, rage, jealousy.

boasting.
despair.

fear, terror, despair,

consternation.

malice, anger.

when

natural, express veneration, tranquillity

elevated, admiration,

The Head
,

grief, perplexity, diffidence,

joy, delight, hope, pride, admiration.

Glaring madness, revenge,

Vacant
Fixed and wide
Flashing

The Brows, when

hatred;

determination, courage.

ForwardAverted
Around

7.

honor

example

"Looking downward, they express

4.

"

for

1.

3.

''

in singing displays itself chiefly in the

also

is

wonder,

langour, indifference;
denial, disapproval

when

it

indicates dignity, confidence, courage,

knit, jealousy,

Erect,

inclined forward, humilty, diffidence,

assenting or nodding, agreement, consent, acceptance;

tossing, disdain, scorn,

Nervous and inexperienced

anger, remorse,

fear, terror, desire, joy.

expressive in position and motion

thrown back, pride, vanity, mirth

anger."

shame, grief; inclined

aside,

denying or shaking, dissent,

Potter.)

singers often allow the face to

become

dull

and expressionless, while others,

probably from an honest endeavor to carry out the favorite adage, " pleasant face makes pleasant tone,"
will put on a smirk at the beginning of a song and carefully wear it, scarcely varying a single crease, right

through to the end

153

APPENDIX.
Works

Miscellaneous Passages Selected from Standard

and adapted for the practice and study of

'NTONATION, STYLE, TIMBRE, SOSTENUTO, COLORATURA, AGILITY, FLEXIBILITY, LEGATO, STACCATO,

MARCATO, PORTAMENTO, RADDOPPIATO, DOTTED NOTES, TRIPLETS, SYNCOPATION,

EMBELLISHMENTS, RECITATIVO, CADENZAS,

In

etc.

marked

these passages, the Breathing-places, Phrasing, and Expression, are carefully

all

The signj

in Interpretation.

for inspiration

remind the student,

are intended to

and retention

that, after each

and calmly "hold the breath "

( '

h) placed

inspiration

moment.

for Practice

commencement of each

at the

throughout the selection

in practice,

selection

he must

See Footnote, page 47.)

In the following pages, the notes on which special accent-marks (a or >) are placed, must never be

steadily

The

inordinately forced.

sage in which

it

for a

strength of an accent

is

regulated by

In a vigorous passage, like

occurs.

No.

its

situation,

and the character of the pas-

em-

29, for example, the accentuation will be very

marked); whilst in a passage like No. 42, it will be as in ordinary speech

felt
"
rather than heard.
In No. 16 the note on " I
is marked > as a reminder that the metrical accent has its
place there.
Phrases which commence with three notes in a weak part of a measure of simple time, are often imSimilarly in No. 49, where three i6th-notes are to be
properly accentuated on the first of the three notes.
phatic, or ben marcato (well

sung

to the one syllable

in the

manner of

No. 49) they

"A."

R,

are written thus

A thorough comprehension

six notes are written thus,

'

'

i
j

Review Variations 19 and

'-i%

six i6th-notes are

i

!.

act imitations or repetitions,

on

See page \\

but in the illustration

mark

special

(=-), should

of time and time-signatures would

et seq.

In agreement with the time-

subdivided into three twos,

,i; ordinarily, the

Students, in their accentuation of this passage, often subdivide the

producing an

20, page 81.

of the three, singing them

^^

one group, thus

grouping which, without the aid of the

errors well nigh impossible.

No. 38, the groups of

threes,

fault with pupils to accent the first

are usually written in

proper accentuation.

make the commission of such

group into two

common

These notes

a triplet.

sufficiently indicate the

signature of

It is a

effect

These long

very different from that required by the composer.

florid passages are, in

different degrees of the scale, of

some one

many

instances,

initial figure

more or less

ex-

In No.

or pattern.

38 the second measure tonally imitates the first measure if it were a real and exact imitation, G and
have to be sharped, which would take it out of the original tonality ( Key of D major) into that of
;

D would
E

major.

The

student should similarly analyze other passages (see Nos. 30, 32/35, 39,41, 43,45,54,55, 64, etc.).
When studving such passages the student should first thoroughly learn the initial figure (or figures), and

practise each repetition well before singing the

whole passage.

Passages like that to be sung to the word "charming" in No. 13 must be lightly, smoothly {legato}

and

Particularly note in this passage the change

distinctly rendered.

properly performed
of sound.

The

high

so often hears this

indeed a "charming"

it is

flat

must be taken

taken with a rush and,

flat

of vocalization, otherwise

bit

clearly

from 32nd-not.es

and calmly

if

turn

reached at

all,

it

to i6th-notes;

when

becomes just an ugly smear

the corner, so to speak, gracefully; one

only hurriedly touched as though

it

were

something hot.

Within the customary

been added.

may seem

sight,
tion,

The

it

original editions
practice.
cc

it

have

accentuation implied thereby very considerablv simplifies the execution of what, at

first

curved

lines

to be an extremely difficult passage.

In the finished performance of a cadenza

this

accentua-

of course, must never be unduly prominent.

Finallv,

and

of the cadenzas Nos. 76 to 80, short subsidiary curved

lines

long

must be
;

stated that very few of these special markings for accent, etc., will be found in the

in this

The

Method

they are simply suggestive interpretations for the purpose of instruction

experienced teacher

may

(apiacere) interpret

many

Get your voice disciplined and clear, and think only of accuracy.
will show itself in your singing." ( Ruskin.

of the passages altogether differently.

If

you have any soul worth expressing,

154
Sources of the Excerpts in the Appendix.
1

"O

"Angels, ever

Handel.

thou that tellest" (Messiah)

and

bright

fair"

(Theodora) Handel.

"The trumpet shall sound" (Messiah)

" Thy glorious deeds " (Samson)
"A May Morning"' (Song)

4
5

Handel.

Handel.

Denza.

6 " Slumber, beloved " (Christmas Oratorio) Bach.

"Thy

Handel.

glorious deeds" (Samson)

8 " Ev'ry valley " ( Messiah )
" Oh, had I Jubal's lyre " (Solomon)
7

Handel.
Handel,

io " Sacred raptures

ill" Thus
12

Solomon

'

Lord

saith the

to

Handel,

Cyrus

"

"With verdure clad ( Creation)

"The marv'lous work" Creation)
"With verdure clad ( Creation)
" Honour and arms
(Samson)

Haydn.
Haydn.
Haydn.

'

13

14

'

15

16

Handel.

'

" (Samson)
17 " Let the bright seraphim

18" Dear

love

thine aid

19 "

I will

extol

"The daughters of the city"

" From mighty kings "

21

22

Handel.

Saint-Saens.

(Abraham)
(Stabat Mater)

20 " Pro peccatis"

Molique.
Rossini.

24

Honour

Judas Maccabeus) Handel.

Handel.
and arms " (Samson)

" W'hen warlike emblems

'

30 " Honour and arms

31 "
32 "

Most

When

warlike ensigns

Handel.

48 "
49 "

follow

Thee

mighty pens

(Creation)

Creation

'

37 " Waft her, angels " ( Jephtha )

38 " O thou that tellest" ( Messiah
"
39 " From mighty kings
valley

'

John Passion
Messiah )

( Crucifixion
50 " When this scene
"
51 " Arm, arm, ye brave

Haydn.
Handel.
)

Bach.

Handel.
Spohr.

(Judas Maccabeus) Handel.

Chaminade.
52 " L' Ete" [Summer] (Song)
(Stabat Mater)
2 " Cujus animam
(Samson)
54 " Thy glorious deeds
:

Rossini.

Handel.

'

55 "

From mighty

"

kings

$6 " But
57

"

On

who may abide"

mighty pens

Messiah

Handel.

Haydn.

(Creation)

58 " Inflammatus" (Stabat

Mater)

>

Rossini.

61 "

"Jewel Song" (Faust)

How

vain

man"

is

Gounod.

Judas Maccab.)

62 " Farewell, ye limpid springs

66 "II Bacio" (Song)

"To Her

71

"ElWuish"

Handel.

Handel.

Handel.

Handel.

Arditi.

70

Handel.

Chaminade.
62 " L' Ete" [Summer] (Song)
Novello.
64 " Thy mighty power " ( Song )
"
(Messiah)
Handel.
65 " Why do the nations

Haydn,

Handel.
)

Jephtha

69 "

Handel.

Handel.

"

Handel.

Mendelssohn.

Judas Maccabeus

Messiah

"

Handel.

Handel.

'

40 " Ev'ry

St.

67 " Carnival of Venice " (Song)

68 " Shadow Song " (Dinorah)

Haydn.

(Samson)
2S " Honour and arms
(Elijah)
36 " Hear ye, Israel

mourn

as a

dove"

Benedict.

Meyerbeer.

(St. Peter)

Portrait" (Song)

Benedict.
Parrott.

(Song)

Parrott.

72 " Once more has heaven''

(

Judas Maccabaus

"

'

thou that tellest"

The Lord worketh wonders

On

Haydn.

'

"

Occasional Oratorio
"
(

34 "

(Samson)

beautiful appear "

22 "

"

Judas Maccabeus
"

45 " Why do the nations " ( Messiah )

46 " With verdure clad " (Creation)
(Jephtha)
47 " Pour forth no more

'

kings

Handel.

"

From mighty

Handei.

43 "In the battle " (Deborah)

44 " The Lord is great " (Creation)

Z-

Handel.
25
( Occasional Oratorio)
Haydn.
16 " Now vanish
( Creation )
"
(Samson ) Handel.
27 " Let the bright seraphim
Handel.
(Esther)
28 " Pluck, root and branch
29 "

Handel.

(Rebekah) Barnby.

23 "

(Judas Maccabeus)
42 " Guardian angels
( Triumph of
Time and Truth )

(Judas Maccabeus) Handel.

"

Thee

"

"

!"

Samson and Delilah

The Lord worketh wonders

'

(Be/shazzar) Handel.

"

41

Paradise Lost) Rubinstein.

"Thy rebuke"

(Messiah)
74 " For behold "(Messiah )
75 " Ha Ho Ward of the woods
-7-2

Handei.

Handel.
!"

Parsifal ) Wagner.

76 "Infelice" (Ernani)
77 "Com' e bello" (Lucrezia Borgia)
78 "Iol'udia" (Torquato Tasso)
" (Rigoletto)
79 " Parmi veder
80 " Bel raggio " (Semiramide)

Verdi.

Verdi.
Donizetti.
Verdi.
Rossini.

165

Appendix.
See List of Sources, on page opposite.

(A 152)

Andante

am
fe
g^

22li

Be

2.

^m
f=f

hold

your

ii

;n
w.
/

take

allegro

care

z;

trum-pet__ shall

sound,

i i

17

f^ps

i
tr

r
the

\WttFW-.

ci
be

Jl

it:

2>

rais'd..

tg

t r-t
:

cresc.

shall

=S*

lead shall
-dead

the

__

and

i^-a

-'-

-fi

"F

Allegro

wp

(J =116)
-

^=:

a
)

mp_

cresc.f
^5

i-Xi =*
trum-pet_
j

#-

sound.

it

your

tC^

I*

--*

100)

(J =

cresc.

to

ffl

I*

me

H*

God!

JEF^i

&-

The

GodT

your

m^

hold

Pomposo ma non

fa p

^9-

Larghetto (^=60)

*g

Be

Take,

"

'

m Whilst airs of joy

EE

'1

from

thence did

flow..

XE

VOICE AND SONG.

156
5

Allegro con spirito(J,.w^.

so

if
Co
ome

out,

come

out

I
.

and

greet

V-N1

K 7

J'%

p% in

K j

in

p m

ii

one,

lov'd

&

the

'

en

E
7"

zs

J3

VOICE AND SONG.

7

Allegro

(J=ii6)

i
r i"j>\ru
)H Thy

12^^

glo - rious deeds

i
in

spird

my_ tongue,

whilst

ty?//.

r?Y.

*=

=^
airs

of_ joy

Largo e pomposo(J=y)8)

^
i

157

t 3=f

^
-^

That from the

ris -

mg_

to

the_

^m

set -

ting sun.

f
from thence

a
did

,i

flow.

ii

VOICE AND SONG.

158

Andante

(J>=92)

E)

^ w

marcato

j> J>

Though

3E

could

end thee

=E*

,k 4

'

(
a blow, though

at

end thee at

cou ld

$=f
f 7

p
*

*"
J)

cresc.

^^
^

t=t **J

3EEE

a blow.

3T~w

17

a 4 Andante

UPP

(J =92)

^ ^g

h Their loud

gte

up-

33^

#-#

&

-lift -

ed

ff

d.

.h

an - gel

trum

pets

(j)

blow,

ISP

SS ^|

JuZ

their

/>

?#rr

^
P

PPM'

fet

loud

tf

at

up-

-lift-ed

an -gel

trum

B
-

pets

R.Trr

rrrr

~J b

( blow.

33

VOICE AND SONG.

13

Moderate

Thou

<J= M)

volt

jjj.j> J.

s
cin
3

159

i^

heed

=3

I 1

me,

And

from_

^P^

^
sT

I
*/

danger

me

seCZZ

m rrw
rrfj>
f

/j.

free

S3
>

&

VOICE AND SONG.

160

Andante

21

(J = 58)

to

1
/l

?W Ye
'lL

let

Allegro

(J = 104)

24

*s

come

it

to

repeat

to finish

pass ,0)0

Lord,

my

God.

God.

marcato \
5

When

| j^^JI

war

like

en

wave

signs

on

high.

=t

Allegro (Jno4)

25

s
i

/ marcato

&

And

trum

Allegro
v,

i
a

pierce

the
1

vault

SI
sky.

ed

I*

/.

l
(J = i2o toi:)

4
w

pets

^3!
26

3s

Af

fright

ed

fly

P
the

curs

ed

fiends

hell.

--

XT

pl

4 fs351
-

ZEE

-4&-

J&

VOICK AND SONG.

27

Andante

mf

(J z 92)

<

Ji

Their

up

loud

an

ed

- lift -

gel

trum

161

i
-

pets

blow.

it

-&-

9^Pf
=
*

Allegro moderato

29

Allegro

/T\

^
?

-&-

k 1

(J =

*-

rit.K

And

tri -

(J = 104)

Or

fK marcato

76)

.#=

3
I

umphs,

p
umphs

tri

her

in

mm

5'

Moderato cantabile

$m

fame.

? w*
4

3^

-c

3
.

ro's

ry-

9SS
*- *r
31

glo

p
i

he

# 5

=i

(J)= 100) j

p
The

gen

tly

slop

ing

J
hills.

VOICE AND SONG.

162

32

Allegro

j j j- j j j j j J J J J j J J

J'
1

trum

iSEEi

- pets

pierce

the

jj

vault

sIn

w/

SB

cresa

P
And

(J = 104)

&
cresa

'

* .
::

1?

gg

^f[fpp
-

ed

a
?=

7=

sky,

*-

1
1

and trumpets pierce the

+ *

^j^p
vault

ed,

vault - ed

sky.

gMg
"

=0

-6

II'

33 Allegro

(J = 100)

-#m

h=

s
h

The

Lord

work - eth

won

'Re-

il

34 Moderato

(J

iJJJj>
-

jjjjjjjjji

ders.

=104)

3E

*k
2:

35

Allegro

P3P

(J = 100)

fc

maroj

2:

Or glo

ry

1F=TFS

^=s
*

5^ ad lib.
i

J^pPfFffl

*=

>

in thy

^
J>LU

ver - throw.

3= f
f
r

VOICE AND SONG.

36

Allegro maestoso

ijii'i

\
(S*-

>

I
\

For

as2^

^m

+-

(l

= 84)

W-^
Waft.

her___

through

j-

-^
4
M
Z
ee
3B

^
a

i-

*
to

-6

to finish

repeat

"~

the

skies.

^p
m
i

skies.

2SZ
-o-

T5

IE

Andante

(J = 152),

jP|

3 i
p
g =Egj

And the

~9

m
ae

s^-

fee

<?

W'

v
Andante larghetto

^=U

ft

It 11: I

W&

"

Iff

'

cresc.

will

thee

i 2?

Hm
FT
H

God_

thy

3ee3e

strengthen

/*.

i,

in\\-i

37

163

Mmm
I

(J = 132)

^
the Lord,

un-

JjjjjJJJ JJJJ

f^

'

jj
cresc.

glo

II

9~grw

p s

I
J

-*7

the

fe

glo

ry

P
of

the

Lord

s
ry

VOICE AND SONG.

164

39

Allegro

(J = 104)

&-*

m His

glo

ry, )

* -

^m

*>

ry

to

Larffo

'M

(J): 100)

p
j
m Guard -ian

P'
an

p.

P'

p
- gels,

J)

pro-tect me,; And

in

^^

^p

i
co//a

ggjf

to

wee

heavn

glo

Ji

10

raise.

J>

>-i

di-rect me,jWnile re

'

fr

1=

ry

gs

lz=5:

vir - tue's paths

^~*

Jl^

j)

i
F

sign'd

ra//.

**# P^^f

p
z^His

raise,

^y=#

fe

rt^

wm

42

glo

His

bove.

f
-a-

s_

VOICE AND SONG.

43

Allegro

165

(b=ii6)

with

We'll

slaug

ev-er

for.

and for ev

er -

more

M
I

gtf

|H
45

Allegro

h His

an

T*

M=S=*
V-M

ttttt*

--

he

SP *=A
0)

oint

E=S

p
ir:
--

~5~

tu repeat

y
.?

is

>

S
ed.

ll

jj

"

(J = i2o)

'5

more.

His

..

to finish

3F^

His

*=*

an

ed.

i
77

w^

VOICE AND SONG.

166

Andante

46

(J)z96)

VOICE AND SONG.

50

Larghetto (J>noo)

P\

32

50 Allegro

(J -=88)

^#^=

i~y

3^

fi

sweet bird of spring.

gfffff

pm

53

m\

j>

**
6

>

>

ate

^^ Lfh

see

ness

mm

hum

ttt t

t Jh[/P''

j- 5 -

Let

O)

Thy_

=** t

gffpf

zz:

lov

mg

im

me

cheer.

m~t

&-*-

ttt t

m.

fefc

as

3E

g
kind

Thine

cline

<s^-

& Nl

v~i

me

hear

fa*

BE

S?
and

in

-JL

ttt

0)

~vl_^

f#
fclzi

19-

ear,

(J = 100)

EH

h Lord,

fcfc:

Allegro maestoso

S
i

*!*
r~i

/a

li/E
(repeat

f)

pF^f

bly.

When

Thee.

pray

S|TT

ITTT

m;m=pt

pi

-#-

J-

Pis

:^

VOICE AND SONG.

168

54

Andante

h Whilst airs

V
J: L

a
i

flow.

tf

PN^
*

4 * I =f=?

Andante

joy

thence did

of

nun
T==r

i
4

(J = ii6)

**

(J. =72)

Smile

->

=1

* ?=^F

Prestissimo

3==

marcato

(J = 144;

it
m

JB
Jfi

For

I 3*=g
#>

fj

S*

fe

He

I9

2;

ypf

jti

fflffrrLr

*>

56

is

like

re

j
-

T^_J

fin

^2:
4>

r-

JJ J J

VOICE AND SONG.

er's

H-*-

+-#

Moderato

57

^
I
j

(J - to

P . *

P
Her

z:

pp^

graziosament e

' m

==*

$
(?)

soft,

^^

I
m

*>

fire.

ii

169

/>

L
l

v=*

5EE

<

3E

r=f

VOICE AND SONG.

170

58 Andante maestoso

(Jz66)

And

^^5

titf
m

J j J

i3

Fn

fff

*v

* f

H j

dwell

j'iii

m
er

If f

i
J?j>
#=* jJ

ev

for

iy

i i
p I f i

mu f

^-J-H

1s
j

if

=#
(?)

(dwell).

Jjgjjjjj^j^jjjjj'jjjjj lp

^
59

J^|rrl-^J-^Jr-Jr-|r^lr^r^lr^r

Allegretto

^fe

JH
anfa

llllllllll;
Iff!

v w

^zzi

(J=l32)

I
cresc
BZaJI

CO! jpK

jjjpjB

P-

1^0 W

3=t

f>

<

5=

to repeat

ti
H^?-

Ml

Ah!.

M-m

3:

*=f

^^

L to finish

-s-*-

VOICE AND SONG.

60

f_

Grandioso

|i

-\\\%a<llib)

fafe

=i

rm

**\

hom

age

Andante

^=

(J

be

kings

cresc.

fore

zee)

"7

The

val

J>

our

of

gi

do

^^
=^=^^^^^-^
=J

r r r r r r r r r

shall

f="

*4-

^^
'

ji

la-dy.jand

fcE

*yA
s

171

r p r

acccl.

--

gan

VOICE AND SONG.

172

62

Larefhetto

(J = hh

ad

lib.)

PP~

joy,

=^=^:

##

9*

V
")

>

Repeat ad

jjK

lib.,

for practice

VOICE AND SONG.

Why

Con

molt'

i^5>*

anima

peo-ple

up- on

rt

3^

5^

me,

ii
I

I V

I I

^ i

3EE*E

turn -

ing,

f
t

(J)

S
yes,

re - turn -

r?
JEE*E

ing

from

s
* *
3=

M
my

Z3

9
e

ex

Tie

far__

A-

iu.)

a -way.

TT
e

a^J

^^ ^

,j

3j

9 I
fc

r r
0)
morn- ing^ glad-some ray,_ Re-

me

up- on

f 5
fe

\A

dawns

dawns

ma

e brio, e ben marcato(4-=76)

A
A
A
A

Ti

the

'"Brierht
ght - ly
lv

p * #

do

173

in

VOICE AND SONG.

174

67

Andante con moto (0= m'

68

Allegro animato(J. =

-y# j^
-

Ah

re-ply!

k>

b'l>

rt

92)

.Well

r:

*fe

pp

dolce

^r_j-^_4

^
y

B y

?=^ ^^

Andante con moto(J

Tnfci
n""

7
i

r^
=

p^p
ft

Fr=^

"

7 *p

^^3

jg

5=^
=7^

==g

= 76)
QJ
*

sung!

W^

La-bornot to comfort me,

J) i)
m For

1 1 r

will

weep bit-

ter-ly,

VOICE AND SONG.

dolce ass a

^aPPP t

tjt-ng
;

m
^Uj
'

will

weep

Lento e sostenuto (Jr

P^

bit-ter-ly,

*
)

46)

^S

5E

i*>

^fafc
3IT

dream in_
rs

as
i3^

t5^-

i
vain!

#p-

2* r#.

2=

72

Andante con moto

mourn as

13

colla voce
cat

Tjr

C<?// 170 C6

is

fe

*PLiiHy )ri|
^

m 'm
m%

/?\

b2

JL t
3>#

dl

M Ah, Ar-abmaid,I

lips!.

^^^
TTTt
TTl
fc

**/!'*
Moderatomezza
voce

(J = 56)

Sweet,si-lent

# * ?

zm m

in

PP

^e
(^

7)

rfl/W

-.

lids!

juyo r*Y.

i p
p
Sweet, downcast

^^ ^

mourn

4*-

>m

175

(J = 69)

j.

n:

J>J-

.h

jTEE

St

gll

rpw^

**

VOICE AND SONG.

176
40

Largo
-*!:

b=6

Nos. 73 to 75 are the examples of Recitativo referred to

^ R ec {t

?m Thy

te

^N

re-buke

pip

brok -

hath

Jr

58, ad

His

*?

J)

He look- ed

He

He

for

r
some

of

heav-i-ness;

ifrTpp
'

to have

pit-y

on

Him,

J)

hath

J'

but there

brok- en His heart.

M'f

was no

man,

^ *^

ra

to

nydU
t

'

p'P" 1

nei-ther found He

$oJx

=-

com-fort Him-,

but there was no man,

ITE

-O-

i^

i
P1-0-

35:

of

full

is

;sfe3=i

re-buke

ri

-O-

xs:

an - y

Thy

TT

it

J-

EIE

^=

p"

J)

Ipppplpp
full

is

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heart,

is:

heav-i-ness,

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VOICE AND SONG.

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examples of "Cadenzas," defined on

~

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rail.

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VOICE AND SONG.

180

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ly

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VOICE AND SONG.

181

ANALYTICAL INDEX.
Large numerals refer

A, the father of vowels, 29

31

Italian, 29

to pages

with an accompanying small numeral, to a footnote on that page.

the primary vowel, 29,

position of parts concerned in

the enunciation of, 29.

A, a secondary vowel, 36.

A, in English, an impure or diphthongal vowel,

Absolute
Accent:

duration, 9

Expiration, 25;

Inspiration, 24; Release, 32;

ment of

38-

medium,

11; primary, 11; regular,

11; secondary, 12;

strong, 11; syncopated, 12, 113; weak, 11.

Acciaccatura, 15.

chromatic

24

Breve

1.

Cadence,

Active notes of a

scale, 67.

Cadenza, 20.

Ad libitum,
Agility

and

AI fine,

23.

Cancel (Natural),

Catena di

Compass 31, 51 staff, 3 voice, 3 ( ), 31.

Analysis of chords, 127, 128; of consonants, 40;
:

of intervals, 110-111

of primary vowels, 30;

clavicular, 24

deep,

6
.

trilli,

5.

17.

C-clef, 3.

Chain of
4

Sostenuto,

flexibility differentiated, 77.

2.

151*.

Caesura, 20, 46

Alternating vowels, 34.

Alto

),

8, 10.

Alphabetical names for differences in pitch,

24

Bridge-note in modulation, 72.

Broken chords (Arpeggi), 128.
" But the Lord " (Arioso ), 46, 47.

Accompaniment,

scale, 67.

Artistic, 13, 26,

note-form

63

in a

Retention,

64
breathing-places, 28
:

5,

24

63, 64.

Breathing

Irregular, 12, 13; measure, 11;

Accidentals,

the, 24,

deep (full), 24; manageAlso see Attack, 33;

63, 64.

support, 32;

Respiration,

pitch, 3.

47

trills,

17.

Characteristics of the old Italian school, 32.

CHEST-register, -voice, 52.

Chiara, 30.

of time-values, 79.
Ancient form of minor scale, 66.

Chiaroscura, 151.

Aperta, Voce, 52.

Chord, 127: common, 127; consonant, 127,

Chiusa, Voce, 52.

the diminished seventh, 128;

Appoggiando, 19.
Appoggiatura, 15, 146

see also Appoggiando.

" But the Lord

mindful of His own," 47.

Arpeggi (Broken chords), 128; how to practise,
Arioso

is

Artistic accentuation, 13; breathing,

Attack (starting of a tone), ^, 3o( 2 ),
intervals, 69, III

13, 26, 63, 64.

31.

double-bar, 12.

cant ante, 31

portion of a

staff,

voice 3(

).

pri-

intervals, 112; notes

of a

scale,

105; scale, harmonic (or

true) form, and melodic (or convenient) form
67,

chromatic and diatonic semitone

no; how

to practise scale, 103.

of voices, 31.

trill,

11

a regular

16; a unit of measurement, 9.

8.

registers, 52,

Clear resonance, 32.

Clefs,

profondo, 31.

3.

Comma (interval), no.

Common chord, 127; errors

of pronunciation, 44

46.

113 (Var. 7).

Control, 24, 52, 63, 64

Compass:

Of

extension

tied ) notes, 8.
:

scale,

67, 71;

Classification

Beat, a regular part of a measure,

Bound (
Breath

a,

Clavicular breathing, 24.

Bass, compass, 31, 51

Bind ( Tie ),
Blending the

66 3

differentiated,

15.

Baritone, 31.

Basso

6,

explained, 67

triad, 127.

Auxiliary (embellishing) notes,

;

inversion of

127; major, 127; minor, 127.

Chords: Broken, 128; of the seventh, 128;

Chromatic

Articulation, 40, 43.

Bar, 11

of the dominant

mary, 127.

128, 133.

Augmented

seventh, 128; dissonant, 127;

of

holding, 24, 25,

voices, 31

extension upward, 52.

downward, 59

exercised, 31.

portion

first

to he

VOICE AND SONG.

182

Complete

Compound

Embellishments,

16, 17.

trill,

123Q

intervals,

time, 11

Consonant and vowel, combinations

Consonant

chord, 127; interval,

Consonant

vowels, 37.

Enharmonic,

in.

nasal,

oral,

40;

40;

tabulated,

Covered tone,

Attack

Da

capo

Equal temperament, no.

scale, 67.

7-9
16

how

tones,

63

on moving

chromatic notation, 68

four-part score, 22-23

46-48,

lish,

embellishments,

primary and sec-

pronunciation in Eng-

German,

Italian,

and

rhythmical and tonal imitation, 14

23, 53".

),

of time-values,

French,

pianoforte accompaniments, 14,

49-51;

D.C.

analysis

ondary accents, 11-1 2

to practise, 63, 112.

flats, 5.

Examples illustrating

33.

),

sustained

tones, 112;

Crotchet, 6 6

70.

Epiglottis, 40 2 .

52.

Crescendo on

Singableness, as compared with

Essential sharps and

Convenient (melodic) form of chromatic

(

to sing, 146 et seq.

Errors of pronunciation, 4346.

Contralto, 31, 51.

glotte

how

Enunciation, 29, 43.

combinations of two or more, 42

39; unvoiced, 40; voiced, 40.

Coup de

others, 43.

of, 41, 43.

as a voice-placer, 32, 40.

Consonants: Analyzed, 40;

English language

15

transposi-

Dal segno (D.S. ), 23.

Deep breathing, 24.

use of scale-syllables in solmization, 72.

Degree of the

see

tion,

staff, 2.

Demisemiquaver

note-form), 66

Diagram of the

scales,

68

use of expression-marks,

etc.,

21

Also

Appendix.
Consult special index.

Exercises.

of the vocal apparatus,

4-6

133;

Exhalation

Breathing

),

25.

Experienced versus inexperienced singers, 152.

viii.

Diatonic,
tone,

66

6,

no

intervals,

111

scale,

66; semi-

Experiments

in;

interval,

seventh-chord,

128;

triad, 127.

Diminuendo on
tones, 112

Diphthongs, 37

Breath-control

illustrating

sustained tones, 64

how to practise, 64,

how to sing, 37.

on

moving

In-

(3)

Natural expiration,

(4)

Forced expiration,

(5)

Controlled

(6)

Controlled breath

slightly

ditions

112.

(1)

(holding the breath),

spiration, (2) Retention

triad, 127.

Diminished

breath,

intensified,

" Firm "

25

illustrating the con-

" Rigid "

and

of muscular

tension, 29.

Displaying the voice (Messa di voce), 64.

Expiration (Breathing), 25.

Dissonant chords, 127; intervals, in.

Dominant, 128; of a scale, 66; seventh-chord, 128;

Expression, 151, facial, 152 words indicating, 19.

Extension of compass downward, 59 upward, 52.

triad,

127

7;

for Repeat, 23;

for

Faulty

7.

appoggiatura, 15; bar, 12

flat,

sharp,

dotted notes, 7;

Duple (Two ) time,

ii

compound,

11

simple,

n.

Rests),

relative,

6;

8.

Dynamics (Force),

19.

of silence

no, in,

Fine, 23.
rigidity differentiated, 29.

Fixed-Do method,

71.

Flat

2,

(inflection),

Flexibility

and

Force

Easy range of a voice ( Compass ), 31.

Eighth, interval of an, 3, 66, no, in.

Forcing the

Eighth-note, 6

Four (Quadruple)

-rest, 8.

Elements of a tone,

2.

4; double,

5.

agility differentiated, 77.

E, a primary vowel, 35.

E, a secondary vowel, 36.

117.

tuono, 63.

il

Firmness and
Absolute, 9;

tone-production, 30.

F-clef, 3.

Filar

9.

Duration:

attack, 33

Fifth (interval),
43, 44.

5.

Doubled consonants,
Duplet,

Falsetto, 52.

Faults of pronunciation, 43.

Staccato, 9.

Double

Facial expression, 152.

Dots: For Prolongation,

Dotted notes,

(intensity), 63; words having reference to,

19.

registers, 52.

Foreign pronunciation, 4851.

ple, 11.

time, ii

compound,

11

sim-

VOICE AND SONG.

183

Fourth (interval), no, in, 116.

Free recitative, 151.

Larynx, 40

French pronunciation, 49,

Leading-note,

Full

50.

pronunciation, 48, 50.

staff", 3.

facilitate

reading, 12

form extraordinary time-values,

to

Long, or Longa

" Love

8, 9.

how to practise,
Half-breath {Mezzo respiro), 28.
(aspirate

39

),

HALF-note, 6
66

rest, 8

Lower jaw,

step (interval

), 2

tone,

2,

of chromatic

scale,

67

of minor

Low

relative, 70

Maxima

note, 6.

Held ( Tenuto), ii3( )High register, 51.

Hold ( Pause ), 8.
Hooks, 6 use of in grouping
;

Medium

(Var. 6

note-form

),

).

scale,

67;

resonance, 32

triad,

127

2
.

2
.

scale,

67; of a minor

scale, 66.

I,

diphthong, 37, 38, 39.

a primary vowel, 35,

Melody noted
Mess a di voce,

I,

Metre ( Time),
Metronome, 9.

1.

secondary vowel, 36.

Relative pitch), 4.

64.
11.

Imitation, rhythmical and tonal, 14.

Mezza

voce, 19.

Inactive notes of the scale, 67.

Mezzo

respiro, 28

Incomplete

Middle C, 3; register, 51.

Minim ( note-form ), 6 6
Minor, 66; chord, 127; interval, no;

trill,

16, 17.

Inexperienced versus experienced singers, 152.

cient,

Intensity and volume

tonic, 70.

differentiated, 63.

Mixed

Interpretation, 151.

112, 113

no; compound, I23(') how to

simple, 121,
inverted, no, in
;

Modulation (Change of key),

Monotone, 30

pronunciation, 48, 49

),

Mordent e,

Mouth,

72.

15, 146.

29

as a

resonance cavity, 32.

Movable-Do method,

71.

Muscular tension, importance

of, 29, 63.

Music, value of knowledge of rudiments and no-

signature, 5, 6, 70

to the

Musical sound

Mutual

a scale, 66.

note-form

relative, 70;

in singing, 34, 35, 39.

= Tone

and sound

Musical terms, helpfulness of

3.

as a voice-placer, 32, 40.

Large

(an-

tation, 1.

relationship, 70

Keynote of

of, 29.

(Clef),

scale

pared with English, 43

tone-production, 32.

staff

staccato, 9.

Voce mista), 52.

123'.

Modification of vowels

Inversion of a chord, 127; of an interval, no, in.

Inverted mordente, 15 turn, 16.
singableness of language as comItalian A, 29

Key,

voice

sing,

Intonation, 94', 112.

Jaw, position

soprano, 31

harmonic and melodic), 66;

Inhalation (breathing), 24.

2,

Inflection, 5, 69.

Intervals,

66;

scale,

Melodic form of a chromatic

notes, 12.

no;

interval,

silent, 23.

19, 63.

tonic, 70.

20, 113

Measure, ii
Mediant, of a

Head-register, -voice, 52.

I,

register, 51.

Marcato,

scale, 66.

Hygienics,

position of, 29.

Major, 66; chord, 127;

Head, of a

Loudness and softness (Intensity),

41.

Harmonic form

),

bubble," song illustrating use of expres-

is

note-form

sion-marks, 21.

Guttural tone, 32, 35.

2.

Lips, 29, s^y 34Long appoggiatura, 15, 146.

15.

to

Var. 8).

(')

Lines and spaces (Staff"),

Grouping of notes

Leger-lines, 4.

40
Graces (embellishments),

113

6, 67.

Legato, 34, 74

Glottis,

of,

Leaning-note {Appoggiatura) i 15, 146.

G-clef, 3.

Great

ventricles of the, 25'.

Laughter, imitation

breath, 24; chest habit, 24; score, 22.

German

6
.

Names
Nasal

in general, 28.

in interpretation, 21.

responsibility of teacher

and pupil,

1.

(alphabetical) for differences of pitch,

2.

consonants, 40; quality, 32; resonance, 32.

VOICE AND SONG.

184

Natural,

5 ; in chromatic notation, 67.

Natural order of primary vowels, 30.

Nomenclature of the vocal registers,

Nose, as a resonance cavity, 32

see Articulation, 40

sion and Interpretation, 151

Letter L, 32

Notation of pitch, 2 of duration, 6.

Note: Whole, half, quarter, eighth, etc., 6; group;

Noting
Nuance,

O,

dotted, 7; grouping of, 8;

bound), 8.
tune or melody,

4.

77*.

a primary vowel,

'>

2>Z

English, an impure or

Respiration,

Quaver

note-form

66

),

tone-ending

32,

),

Resonance,

Tempo

^y

32, 39

Respiro, 28

9.

Retention of breath, 24.

Rhythm,

8, 23.

no, in.

Perfect intervals,

Pharynx, 32
Phrasing, 23

Plena voce,

Root of
Scale,

suggestions for exercise

a chord, 127.

66(

5',

66

or low, 2; absolute, 3; relative,

Portamento di voce, 113

Var. 7); also see Appog-

Scales

Prepared

trill,

Primary

accent,

name

technical

68

illustrating

how

(Ex. 38),

Score, compressed,

53.

major,

each

for

the

" plan " of the

to practise, 74, 77.

Scoring the parts, 22.

17.

n,

12

triads,

127

Second (Interval), no, in, 114.

vowels, 30.

accents, 12

Prolongation

Semibreve

note-form

Dotted notes,

Pronunciation, 43
languages,

43

German, 48

tied notes, 8.

English compared with other

Faults

how

of,

43
to practise, 46

Italian,

48;

9.

Four) time,

ii

compound,

Semiquaver

sim-

Seventh
in,
Sex tup let,

Shake

9.

good, 32

Italian, 32

34,

39;

classified,

sympathetic, 32

2
.

32

s
;

Also

vowels, 36.

),

note-form
:

2(

),

66

),

6
.

66

chromatic and diatonic,

4
;

no;

locating at sight, 69, 94.

Chords of

Sharp
Short

the, 128; interval

of the, no,

119.
9.

Sforzando

Quality (Timbre), 28% 32%

Semitone,

French, 49

necessity for special exercise to attain good, 43),

open, and short, 22.

full,

Secondary

Quadruplet,

diatonic, 66

66-67.

a,

Principal note of an embellishment, 15.

Quadruple
ple, n.

Scale-syllables for solmization, 71, 72.

Practice, rules for, 1, 3i( 3 ), 32

Beat

( ),

66

a,

Diagram

different,

Posture, 240

32 (Ex. 38), 53(').

31

1,

chromatic, 67

mode of

degree of

2.

giando, 19.

Pulse

in, 14.

66; minor (ancient, harmonic, and melodic),

19.

High

Rules for students,

64.

Pieno respiro, 28.

Pitch

14

Rigidity and firmness differentiated, 29,

Petto falsetto, 52.

1

passages, 23.

Part in a score, 22.

Hold),

Rests, 8, 9.

113

cavities, 32.

Palatal tone, 39.

Pause

),

Respiration, 24.

39-

words suggesting,

),

7,7,,

Oscura, 30.

Sostenuto,

Oral consonants, 40.

Optional tones, 51.

Pace

Raddoppiato, 113 (Var. 8).

Range of the voice ( Compass), 31.
Recitativo a tempo, free, Wagner's, 151.

Release

tone, 51.

a diphthong, 37,

24;

51

-rest, 8.

Repeated notes ( Raddoppiato

Requisites of a good singer, 1.
Resolution of dissonance, in.

OW,

Register,

blending of the, 52, 113 (Var. 7).

Relative duration of tones, 6
keys, 70
major
and minor, 70; pitch, 2.

the, 4.

77 ;
Primary vowels,

Octave, 3, 66 sign ( 8va ) for

QI, a diphthong, 37, 38, 39.
score, 22

Flexibility,

et seq.

Registers, 51

diphthongal vowel, 38.

O, a secondary vowel, 36.

Open

Expres-

Quintuplet, 9.

63

QuARTER-note, 6

ing, 8, 12.

30 et seq.;
Resonance, 32';

tied

Nuances, 77
Pronunciation, 43

52.

Notes: Accented, 11;

Enunciation, 29

Trill

intensity
),

),

19

how

to sing a, 19*.

147.

(inflection),

2,

4; double,

5.

appog^iatura, 15, 146; score, 22.

VOICE AND SONG.

Tenor,

Sight-singing, suggestions for study of, 73.

Signature: For

staff

Clef ), 3

for key, 5, 6, 70;

intervals,

Sixth

interval

Slur

curved

cato,

ill, 118.

for phrasing,

23

mezzo

for

stac-

for portamento

di

3
.

Solfeggi, i(

71.

),

tempo

as a
)

resonance cavity

Sombre resonance, 32.

Song " Love is a bubble "

Time (Metre), 11; compound,

51

31,

Tone

with Crescendo, Diminuendo, and

di voce, 63-65.

Speed ( Tempo), words having reference

Spinning the tone [Filar il tuono), 63.

degree

Standard

how

of, 2

whole, 2

scale,
trills (

Supertonic of a

127% 128

triad,

triad,

also see 66 4 .

127

triad,

Syllables, in "sight-singing"

127

Trill,

17.
2

and "solfeggi,"

Classification

Temperament,
Tempo ( Pace ),

names

6, 7;

Time-signatures,

9.

and compass of
for

9, 19

equal,

general differenti-

32;

holding

no.

etc.,

voices, 31

scale-degrees,

Vowels

(sostenuto),

scale,

128
4

66

triad,

5.

staff, 3.

15, 16,

147; complete, 16; incomplete, 16;

;

how

to sing the, 147 et seq.

Triple-dotted note,

7.

ii

compound, 11; simple,

11.

Possible intervals in a diatonic major key,

Musical terms,

in

Trillo caprino, 147.

in a voice, value of, 32.

time-value of notes,

Technical

Triple (Three) time,

71.

prepared, 17

Var. 9).
Tables Consonants in systematic arrangement, 39 ;
Key-signatures, 70; Registers, 51; Relative

in

28% 32
Musical sound), 2 ;

(=

= Quality),

4.

Triads Consonant and dissonant, major and minor,

augmented and diminished, 127.

Syncopation, 12, 113

and

Triad, 127.

Sustained tones {Sostenuto), 63 how to practise, 63.

Swelling the tone ( Messa di voce ), 64.

Sympathetic quality

2,

Tremolo, 21, 148.

triad, 127
67
Catena di trilli),

67

127

scale,

starting a (attack), 30, 32;

(release),

Transposition, 4,

Subdominant of a scale, 67
Submediant of a scale, 67

11

Treble, 3(

Subtonic of a

66

signature, 11

Footnotes

Tongue, 29, 32, 33*, 35 drill, 30.

Tonic: Major and minor, 70 of a

3.

6.

Stem of a note, 6.
Step (interval) Half,

32

63- 6 5Tone-production, 2839.

to practise, 33, 74, 113

the great,

),

11; duple, triple

whole) note,

Succession of

Interval), 2

ending

to, 9.

Staccatissimo, 9.
;

Pharvnx

simple, 11

Tone (Vocal), 28;

Staccato, 9 mezzo, 9
(Var.5).

simple,

ated, 28.

Sot to voce, 19.

(=

11

also see p. 11,

11

30, 32, 39.

Sostenuto, 63C)

Staff,

),

Exs. 38 and 39 )
musical sound and sound

sfogato, 31.

Mess a

Quality

table, 11

drammatico, leggier 0, mezzo,

and quadruple,

for terms indicating ex-

pression and interpretation), 21.

Soprano,

sug-

notes, 8.

Timbre

), 9.

Solmization, 71.

intensity, 19

4,

Third (interval), no, in, 115.

THiRTY-SEcoND-note, 6 -rest, 8.
Three (Triple) time, ii compound,

n.
Throat, 29
Tied ( bound

voce, 23.
Sol-fa, 7

staff,

Tetrachord (Scales), 69.

line ), for legato, 23

31;

indicating expression, 19

gesting pace

time, 11; vowel, 29*.

-rest, 8.

no,

),

robusto,

lirico,

voice, 31, 51.

Terms

123C)

SixTEENTH-note, 6

leggiero y

Tenuto (Held), 113

Rests), 8, 23.

Silent measure, 23.

Simple

4
t,

Tension, muscular, 29, 63.

for time, 11, 12.

Silence, notation of

186

66,

scalewise, 38.

67

Triplet, 8.

Tritone, 111.

True or harmonic form of chromatic

Tune, notation of, 4.
Turn,

Two

scale, 67.

15, 16, 146.

(

Duple) time,

ii

compound,

U, a diphthong, 37, 38, 39.

U, a primary vowel, 34.
U, a secondarv vowel, 36.
Unaccompanied singing, charm

of,

no.

simple, 11.

VOICE AND SONG.

186

Unit of measurement ( duration

Unvoiced consonants, 40.

),

67,

7, 8, 9, 10.

Voice-placing, 28-39.
Voices, classification of, 31.

Uvula, 29.

Volume and

Variation, 8o(').

Vowel and consonant in combination, 41, 43.

Vowels, 29; alternating, 34; compound (diph-

Varieties of vocal timbre, 32*.

Ventricles of the larynx, 25'.

thongal

Vibrato, 148.

Vocal
40

ple, 29

apparatus, diagrammatic sketch

2
;

tone,

how produced, 40

2
;

of, viii;

cords,

tube, 30.

aperta, 52

52

chiusa, 52

di teatro, 31

Voiced consonants, 40.

di camera, 31

di testa, 52

di petto ,

mist a, 52.

),

2
;

37 ; primary, 30 secondary, 36
tabulated scalewise, 38.

note,

6;

step (interval

Words

Voca/izzi, 71.

Voce

Whole

intensity differentiated, 63.

rest, 8,

23; tone (interval),

terms

indicating

expression,

{tempo

10.

Young

sim-

), 2.

musical

), 9,

marking
19

intensity,

suggesting

singers versus mature singers, 152.

19

pace

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