delle sedie-belcanto tecnique

7/27/2019 delle Sedie-belcanto tecnique

1/208

A COMPLETEMETHOD OF

SINGING i

tL

G-SCHIRMER-y^&r^NEW* YORK-


2/208

LIBKAKYBrigham Young University

72+JT3 NA:c ' 171373.E8

\


3/208

/

-

\


4/208

Digitized by the Internet Archivein 2012 with funding fromBrigham Young University

http://archive.org/details/completemethodofOOsedi


5/208

On,-


6/208


7/208

E. DELLE SEDIE

A COMPLETE

METHOD OF SINGINGA THEORETICAL AND PRACTICAL TREATISEON THE ART OF SINGING

Pr., net 33.00(In U. S. A.)

1 71372G. SCHIRMER, INC., NEW YORK

Copyright, 1894, by G. Schirmer, Inc.Copyright renewal assigned, 1923, to G. Schirmer, Inc.

, .


8/208

I . *


9/208

PREFACE.

My preceding works, entitled " Esthethics of the Art of Singing and of the Melodrama,"and "Vocal Art/' filled no less than seven volumes. ! now condense them to a single one, inorder to make more readily accessible to the pupil at least a summary of all that 1 considerrequisite for his complete musical and artistic education. And as he may perhaps desire tohave some subjects presented in fuller detail in the course of his studies, he will find in thisvolume frequent references to my previous works ; the aim and scope of which, as well asthe actual conditions of the art of singing, I have stated in various prefaces to the aforesaidworks ; so I think it superfluous to speak again about them here. 1 will merely say thatcontinued experience of my principles, as applied in teaching, both by myself and by otherprofessors, has confirmed my opinion of their efficacy. I therefore confidently offer the publicthis new edition ; hoping it will be favorably received by all who occupy themselves withthe most beautiful of the fine arts.


10/208

FIRST PART.FIRST LESSON.

On the Mechanism of the Voice.The organs which produce the human voice act

in a special manner. To facilitate their movements,it is necessary to know their structure and naturalmotions. For this reason we commence our lessons

with an anatomo-physiological analysis of the vocalorgans, assisted by the anatomical plates.

The notes accompanying them are those whichDr. Mandl has inserted in my treatise L 'Art Lyrique.

D Oral cavity

Fig. I.The head and the thorax bisected.

(i Vocal cordsA Larynx i c 1 **yI 2 Epiglottis

B-B' PharynxC QEsophagus'

} Lips4 Dental arches5 Tongue6 Palatine arch7 Soft palate8 Uvula9 TonsilsE Nasal cavities H LungsF Trachea / Diaphragm

tf G Bronchial tubes.Fig. II

The larynx viewedfrom above (open Glottis).i Vocal cords -gl. Glottis

~ar Arytenoid cartilages2 Epiglottis -/ False vocal cords.

ar


11/208

THE LARYNX."The larynx (A, Fig. I) is situated in the centre

of the fore part of the neck ; its shape is almost thatof a triangular box open above and below. The pro-tuberance caused by it in the throat of man is knownas Adam's apple. This permanent opening of thelarynx is supported by two walls consisting of strongcartilages. The inner part is lined with a mucousmembrane and presents two horizontal folds, thevocal lips (i), commonly called vocal cords, whosemovements are opposed, and whose tension, lengthand thickness produce the different tones.

"The epiglottis (2) is a lid fixed at the upperopening of the larynx ; by lowering itself during theaction of swallowing, it prevents food from enteringthe cavity of the larynx."

Certain authors affirm that this organ exercisesan influence on the resonance of the vocal tone, giv-ing more fullness chiefly to the grave tones, and thusacting as a resonance-chamber of the larynx."The space between the vocal cords throughwhich the air passes is called the glottis (Fig. II, gl.).The vocal cords are brought together, parted, dis-tended or relaxed by the arytenoid cartilages (Fig. II,ar.)\ over the vocal cords there are two mucousfolds called false vocal cords (/)." The pharynx (B-B 1 ) is a cavity situated behindthe mouth ; its ordinary shape is that of a flattened fun-nel with the base turned upward, while the narrowerend opens into the larynx and the oesophagus (C).Its dimensions are subject to great variations, duepartly to age, sex and general development, andpartly to the extreme mobility of the larynx and thesoft parts of the oral cavity (D).

"Three cavities communicate with the pharynx:The larynx, the oral cavity and the nasal cavities.

" The oral cavity has the shape of an oval box.It has an opening in front (the mouth) ; an inner wallformed by the lips (3), and the dental arches (4) ; twolateral walls formed by these arches and the cheeks;the lower side is formed mostly by the tongue (5) and xthe upper side by the palatine arch (6) ; lastly, a backwall formed by the veil of the palate (7), which isextremely mobile, and from the middle of whichdepends the uvula (8), while at the base of this latter,on each side, are the tonsils (9)." The opening bounded by the veil of the palateand the root of the tongue, establishing communica-tion between the oral cavity and pharynx, is calledthe isthmus of the throat." The nasal cavities (E) consist of three channels,the openings of which are called nostrils. There arethe external and the internal nostrils; the latter com-municate with the pharynx. These channels alsocommunicate within the nose with other cavitiessituated among the bones of the head. The larynxcommunicates below directly with the trachea (F),which divides into the bronchial tubes (G), the finalramifications of which constitute the spongy tissue ofthe lungs (H). These organs are placed in the bonyencasement of the thorax, composed of the ribs, thecollar-bone, the intercostal muscles, and the vertebralcolumn.

"They rest on the diaphragm (Fig. I, lett. I),the great horizontal muscle which separates the caseof the thorax from the intestines."

Note. We insist on the necessity ot attentively studying atleast the 1st, ad, }d, 4th, 5th and 6th lessons of this book whilestudying the lessons in Solfeggio contained in Book I ; for the pupilwill then better be able to execute these practical studies in con-formity with the best phonic conditions for the easy and correctproduction of vocal tones.

SECOND LESSON.Vocal Tone and Respiration.

The voice is the result of vibrations of the vocalorgans transmitted to the air. The ear perceives intones three essential qualities : Pitch (acuteness orgravity), intensity (strength or weakness), and thetimbre.

'Pitch is determined by the number of vibrationsin a given time. For the acute tones the number isgreater than for the grave.

The amplitude of the vibrations, likewise calcu-lated for a definite time, determines the intensity ofthe tone.

The shape of the sonorous body, or the way inwhich it is set in oscillation, determines the timbre ofthe tone ; but for the voice, which acts like the wind-instruments provided with reed-pipes, the timbre isproduced :

(1) By the pressure of air against the reed (vocalcords).

(2) By the shape given to the resonance-cham-ber.

The resonance-chamber of the voice is composedof the pharynx and the neighboring cavities (the oralcavity). On this subject Tyndall (') expresses himselfthus:

" When the air is forced from the lungs throughthe slit which separates the vocal cords, they arethrown into vibration; by varying their tension, therate of vibration is varied, and the sound changed inpitch. The vibrations of the vocal cords are practicallyunaffected by the resonance of the mouth, though weshall afterwards learn that this resonance, by reinforc-ing one or the other of the tones of the vocal cords,influences in a striking manner the clang-tint (timbre)of the voice."

(1) Sound. London: Longmans & Co.


12/208

The generative element of vocal sound being thusduly determined, we may assert that if the air, in as-cending, causes the tone at the upper end of thelarynx, where the vocal cords are situated, this sametone will gather resonance in the oral cavity situatedabove the larynx. Thus it is evident that the voicefollows an ascending course both for the grave andthe acute tones ; consequently all pressure of air tow-ards the trachea (F, Fig. I) would only be injurious tothe timbre of the voice, destroying its flexibility andrendering the inflexions indispensable to sentimentand to musical expression almost impossible.

Thus, breathing constitutes the principal part inthe correct production of the vocal tones.

Respiration is effected by two different move-ments; the first, called inspiration, draws the atmos-pheric air into the lungs.

This movement (depression) is produced by thecontraction of the diaphragm and the dilation of thethorax ; that of expiration by the contraction of thechest or thorax and the relaxation of the diaphragm.The two movements follow each other continuallywithout interruption.

Expiration provides the larynx with the currentof air necessary to give vibration to the vocal tone,which finds its resonance-chamber in the oral cavityand the pharynx.

To obtain this natural result, In its full extent andflexibility, we must avoid discharging from the mouth,by a violent expiration, the air set in vibration ; wemust allow time for the vibrations to propagate them-selves in the resonance-chamber, so that each tonemay be transmitted far, in all its intensity, by the airwhich surrounds us; the mouth then acts as a speak-ing-trumpet. A tone should be propelled from theresonance-chamber only by the regular and successivevibrations, i.e., by continuous sound; any movementcontrary to this acoustic principle will unnecessarily

fatigue the respiratory apparatus, and greatly impairthe sonority, flexibility, and mellowness of the voice.To emit the vocal tone spontaneously, the airmust enter the lungs without any shock, and in sucha way as to effect a complete average inspiration, soas to avoid an excessive dilation of the thorax.

First of all, this ungraceful movement causes auseless effort to the respiratory organs, provokes theescape of uncontrolled air, and diminishes the resist-ance of the expiration, which must always be slowand sustained. The inspiration ought to be renewedbefore expiration is altogether accomplished. Thusthe jerky movements of the inspiration, which do notgive the lungs time to absorb the ambient air, will beavoided. To draw the air into the lungs, a suddenand vigorous inspiration is not necessary ; it sufficesto raise the sternum, and this movement, aided bythe contraction or lowering of the diaphragm (i, Fig.I), permits the lungs to expand and to absorb a quan-tity of air, as a moist sponge absorbs the liquid towhich it is approached. Too forcible inspirationcauses an immediate expiration ; this causes a pant-ing respiration.

Note. To accustom the chest to retain the air, in order tofacilitate slow expiration, the following exercise will prove very use-ful. At first, let your respiration be of average fullness, conformingto what we said above, and as soon as the inspiration is effected,count in a low voice from i, 2, 3, up to the number you can easilyattain without tension and complete exhaustion of the breath. Becareful not to let any air escape between the articulation of the num-bers. After a short rest repeat this experiment several times in suc-cession, and the whole several times every day. This method ac-customs you to control your respiration, and your chest to moderatethe outflow of air, according to the exigencies of the singing voice.When you can easily execute this first exercise, try to pronounceshort phrases, being still careful not to let any air escape betweensyllables. This exercise is to be first executed on any one of thenotes most easily sung in the medium compass; after which, changethe tone either higher or lower without exceeding the limits of themedium compass.

THIRD LESSON.Intensity of the Vocal Tone.

The intensity of the vocal tone may and shoulddepend on the amplitude of the vowel, that is, on theresonance of the tone in the oral cavity and the phar-ynx, and on the force of the impulsion given to thevibrations of the tone.

Dr. Fournie(i), in his v/ork Physiology of the voiceand of the spoken word, comparing the vocal cordsto the lips, expresses himself thus : "The lips areformed of muscles which, while contracting, narrowthe orifice of the mouth, giving to its edges a variabledensity according to the degree of contractionThe vocal cords greatly resemble the lips ; and if thetones produced by the former are evidently themore harmonious, this is because these cords were

(1) Thfsiologie de la voix ttdtla parole.haye, Libraire-drteur.

Parif : Adrien Dela-

created for the special purpose of producing musicaltones."Thus the intensity of the voice depends on the

vigor with which the vocal cords make a tone vibrate,and consequently on the quantity of matter set in mo-tion.

Pursuing the above comparison we may add, so asto render this theory more intelligible, that the lipswhile articulating the explosive consonants (labials),M, B, P, contract in such a manner as to effect thecompression of a quantity of air, the intensity of whichis more or less great according to the power of com-pression exercised by the lips. By this action weproduce three explosive motions in three distinctgrades of energy ; the contracting lips come in con-tact and prevent the escape of air ; but this motion isexecuted with a weaker tension for the syllable ME


13/208

than for BE, and when we pronounce the syllable PE,the force of contraction is still more vigorous. Thesethree motions are identically the same, but they pro-duce three perfectly distinct articulations, by the dif-ferent force of the pressure of the lips. This forcealters the physical conditions of the air in the mouth.The more or less strong contraction of the vocalcords must evidently determine the intensity of thetone within limits corresponding to the degree of air-pressure.

So, if we consider the vocal instrument from thisboth natural and logical point of view, we shall avoidall violent efforts hazardous to the voice, and shalllikewise attain all the force and intensity of which itis capable.

To obtain this result, we have only to use with-out exaggeration the vocal cords in the same sense asthe lips when articulating the syllable PE. For theme^o-forte, in which the mean intensity requires lessvigorous contraction of the vocal cords, their move-ment may be compared to the motion of the lips inarticulating the syllable BE. For the piano or weaktone, the syllable ME may serve as illustration.

It has been demonstrated that the air around ussustains our equilibrium; consequently the mouth isalways full of it, even when no sound is emitted.This air is therefore the first to transmit the vocaltone, the production of which (independent of its pro-longation, resulting from continued vibrations) mustnecessarily be instantaneous. Hence a violent expir-ation from the chest drives out the air in the mouth

before the vocal tone has time to propagate its vibra-tions therein. For if the vocal tone vibrates in unisonwith the air filling the mouth, which air the force ofexpiration has expelled, the new air, notwithstandingits velocity, cannot come into vibration in the sameconditions as that driven out; consequently, the voicewill have less intensity and carrying-power. It is amistake to think that, for singing, a great deal ofbreath must be used; it suffices to articulate clearlyand with precision the tones which the " lips of theglottis" are required to produce.

Dr. Mandl, in the 2nd chapter of his scientificwork Hygiene de la voix, has admirably explained, bythe aid of a laryngoscope, the production of grave andacute tones. He writes: "When we examine theglottis by the aid of the laryngoscope, during theproduction of grave tones in the chest-register of thevoice (which we call lower register), we see the glottisopen to its full extent and the vocal cords vibrate in alltheir length. In the production of acute tones form-ing the head-register (which we call upper register),only the fore part of the vocal lips is set in vibration.The constriction is much less strong for low tonesthan in the high tones of the chest-register; this ex-plains the relaxation which we feel while passing fromthe lower to the higher register.

If the air passes through the glottis too forcibly,the tone will suffer an alteration in timbre and in-tonation ; and for the high notes, particularly, there isa risk of paralyzing the vibrating motion of the vocalcords; i.e., there will be absence of sound.

FOURTH LESSON.Analysis of the Vocal Organs.

The vocal tone is formed by the articulatedvowel.

Physicists have tried to explain the phenomenathat produce the vowel. Among these eminent men,Helmholtz has established a remarkable theory on thetimbres, and developed his experiments so far as tosucceed in manufacturing an organ pronouncing thevowels A, E, I, O, U. (').

In spite of this important discovery, the problemremained unsolved; every physicist examined thesetimbres from the standpoint of his own language.But on April 25, 1870, Mr. Koenig presented to theAcademy of France the result of his experiments, withthe aid of five new tuning-forks exactly an octaveapart in pitch. The vowel U corresponds to the noteB-flat (great Bp on the pianoforte) ; O, to (small) b-flat; A, to #-flat; E, to *-flat; and I, to Mlat. Thushe determined, in a positive and uniform manner, thetones corresponding to the five timbres or vowels.This is how he proved that his observation was cor-

(1) The vowels a, e, i, o, u, must be pronounced as in Italian;viz: ah, eh, ee, oh, oo.

rect. We know that when we set a tuning-fork invibration, in order to hear its sound we must carry itto the ear. Mr. Koenig sets in vibration the first tun-ing-fork, carries it to his mouth, and slowly pro-nounces the five vowels, commencing with A\ thefork remains mute up to the vowel O inclusive ; butas soon as U is pronounced, the vibrations of the forkare reinforced by the sympathetic vibration of the aircontained in the mouth, giving an immediate andvery clear sound to the musical tone produced by itsown vibrations. This experiment is repeated withthe other tuning-forks, and each answers to the cor-responding vowel.

Dr. G. B. Bolza (in his Vocabularis Genetico-Etimologico of the Italian language, published in Vien-na in 1852), classed the vowels according to theiracuteness in the same order as we find them in thetuning-forks of Mr. Koenig.We thought it useful to dwell on this demonstra-tion, because it contains a lesson of great importanceand benefit for the singer. If Mr. Koenig's tuning-forks, when brought to the mouth, find the reinforc-ing body sympathetic with the vowel pronounced,


14/208

and to which they were attuned, it is evident that theair in the mouth vibrates in unison with the exteriormotor. Thus the modifications made in the oral cav-ity by the constriction of the lips, must exercise a re-markable influence on the tone of the voice. Themouth may be considered as the adjustable resonance-chamber of the voice.We have seen that great B-flat answers to thevowel U; but, as we know, in female and tenor voicesthis tone does not exist.

Having afterwards found that / corresponds tob\, it follows that we must set aside this vowel, be-cause the corresponding tone does not belong to thehuman voice.

The voice therefore usually has at its disposal threetypical vowels, O, A, and E; the first belongs to thegrave tones, the second to the medium, and the thirdto the high tones; all intermediate modifications de-pend on these leading vowels.

The conclusions arrived at through Mr. Koenig'stuning-forks were a powerful incentive to furtherstudy of the motions of the lips, by means of whichthe timbres (vowels) may be variously shaded andtransformed; for we must not forget that by modify-ing the timbres we can express human passions. Weshall again call attention to this subject when studyingthe effects of the crescendo and decrescendo.

The principle of the transformation of the leadingvowels by the configuration given to the mouththrough the lips, was established some time ago byeminent physiologists, and for the study of the shadesof the voice we may profit by their scientific obser-vations. For the present we will simply observe thatthe two vowels U nnd / are almost out of the vocaldiapason ; nevertheless, they must be pronounced inspeech.

These vowels are pronounced in a special way,i. e., they blend naturally with other vowels nearwhich they lie (in the series), and conformably to thetone of the voice.

As each tone of the scale follows a phonetic order,varying according to pitch, we may assert that thereare as many intermediary vowels as tones, consideredwith respect to their particular tonality.

If we execute a scale on the vowel A, for in-stance, and observe the successive phonetic order, wenotice that the grave tones during their vibration givea timbre which approaches this same vowel A, some-what broad. This A gradually grows sombre in ris-ing towards the acute, up to F ;

the vowel becomes a little clearer, while=pEi=!; at

on A i 3=q this vowel again becomes close, itssound approaching open O. This vowel disappearsat B and C :i with D m it com-mences to approach the French diphthong EU,and on E Ei:{fop" the timbre of this diphthongis established. The note F inI . while pre-serving the preceding vowel, tends to approachthe close French E. As the voice rises toward theacute, the higher tones develop this last vowel moreand more. For all these shades we took the vowelA as our point of departure ; but when we repeat theexercise with another vowel we meet with themsimilarly.

These vowel-shadings being the result of modi-fications made in the oral cavity (which is the mobileresonance-chamber of the voice) by means of the lips,it is clear that they undergo slight changes accordingto the shape of the walls of the mouth.

The types which we have mentioned, may never-theless be considered as the main basis of the modifi-cations we speak of.

FIFTH LESSON.Movements of the Larynx and Soft Palate.

Having examined the vocal tone (the vowel)with regard to its sympathetic resonance in themouth, we shall see under what homologous condi-tions it may be emitted with regard to the move-ments of the larynx. This organ, with relation tothe singing voice, has two motions which ought tobe taken into account, because of their influence onthe timbres of the vocal tone. The first, called gen-eral motion, consists in raising the larynx; the sec-ond, called particular motion, consists in modifyingthe state of the vocal cords by the constriction of themuscles which adjust the aperture of the glottis.

Experience proves that, with regard to the tim-bre, the lowering of the larynx facilitates the emission

of high notes, and its raising facilitates that of thegrave ones.

Now, should we examine with a laryngoscopethe act of emitting tone, an opinion opposite to minemay be formed. To see the vocal cords with thisingenious and useful apparatus, we must protrudethe tongue in order to place near the soft palate asmall mirror, so as to reflect the larynx. We havenoticed that the tongue, when protruded, causes therising of the larynx ; thus this motion will give it aninvariably raised position.When the larynx is so raised we may emit hightones, but thin and shrill. It is true that we are dis-posed to raise it when we produce high tones, but if


15/208

we closely observe their timbre, we shall perceive thatthey are thin, and excessively sharp and shrill.

To sing correctly, it is necessary to give the voicea flexible, homogeneous and round tone.

Therefore, the rising of the larynx in high notescannot be favorable to this production of vocal tones.I shall not dwell too long on a subject so often dis-puted, but will only point out the practical applica-tion of my theory.

As said above, the tongue when protruded causesthe larynx to rise; if you execute this movementwhile singing a high tone, you will acknowledgewhat we have already statednamely, that the toneproduced has a thin, sharp, shrill timbre. During itscontinuation retract the tongue little by little, and thelowering of the larynx being effected under just thesame conditions as that of the tongue, you will heara progressive change in the timbre, which will gradu-ally grow soft, flexible and round.

The same experiment, repeated without gradualpreparation, will produce two distinct vowels,thefirst one sharp and thin, the second full and soft.

the tongue, and above, by the soft palate and uvula(Fig. I, D, 7, 8). At the sides are the two pillars ofthe soft palate. All these parts are extremely mobile,and under the influence of muscular action can eitherexpand or contract the vocal tube; these motions actprogressively according as the tones fall or rise inpitch.

The soft palate plays a considerable part in thesemovements, and, according to whether it is loweredor raised, the sonorous column may pass through thenasal cavities or through the mouth.When the soft palate is lowered, it approachesthe root of the tongue, and so narrows the sonoroustube; the tone then resounds both in the nasal andoral cavities. If, on the contrary, the soft palate rises,the bucco-nasal orifice will be almost closed, and thesound will escape from the mouth. This vocal tubedoes not contribute directly to the production ofsound, but favors its formation by the dimensions itis susceptible of assuming.The following illustrative plate will serve as apractical study for the movements of the soft palate.

Fl cFA

V|*va#$A

1. Soft palate with the uvula.2. Pillars of the soft palate.3. Tongue.4. Pharynx.

The application of this theory in a reverse sense,to the grave tones, will yield similar results; the toneemitted when the larynx is lowered will have a thickand veiled timbre, while the same tone emitted withthe larynx raised will be resonant, broad and flexible.

According to this experiment, we conclude thatthe singer must lower the larynx for high tones, andraise it for grave ones.

These motions of the larynx, as shown by us,cause analogous movements of the soft palate, andboth contribute largely to an easy and flexible emis-sion of the vocal tone.We have seen that the pharynx (Fig. I, B) con-stitutes the back part of the isthmus of the throat, thefront part of which is formed, below, by the root of

In the above plate there are only the three mainmotions; on these depend all the gradations corre-sponding to the tones of the scale, and also to themovements of the larynx.

Fig. I presents the type of the grave tone. Thesoft palate lowered with the uvula (1) approaches theroot of the tongue ()). The pillars of the soft palate(Fig. Ill, 2, 2) are lowered with the uvula and with-drawn from the middle, so that the pharynx (Fig.Ill, 4) is almost hidden.

This motion contracts the sonorous tube, and thetone resounds in the nasal cavities and in the pha-ryngo-buccal cavities, i. e., through the entire lengthof the pharynx.

Between the position indicated in Figs. I and II,


16/208

8representing the type of the medium tones of thevocal scale, a series of ascending movements of thesoft palate takes place in direct ratio to the height ofthe tones. The contraction of the isthmus of thethroat being considerably less, the vocal tone finds itsspontaneous resonance in the middle upper part ofthe pharynx, and also in the mouth.

Fig. Ill presents the type of the high tone. Dr.Fournie says: "The soft palate rises with the voice,and while the bucco-nasal orifice closes gradually, itprevents more and more the resounding of the voicein the nasal cavities. In the highest notes of thevocal scale the closing of this orifice is complete; andthen we can see the pillars of the soft palate approach-ing each other towards the middle, and forming a realwall in front of the pharyngeal wall."

Fig. Ill presents very distinctly the position de-scribed by Dr. Fournie.

By this configuration of the sonorous tube, thevoice resounds in the upper part of the pharynx andin the mouth up to the frontal sinus. These naturalmotions of the voice may be disturbed, delayed, oreven neutralized by a too strong expiration, whichmay cause the tongue to rise.

The soft palate rises with a movement contraryto that of the larynx, following the same regular orderof gradations; i. e., it rises as the tone rises, whilethe larynx, to give the voice a homogeneous and easytone, should descend by like gradations.

Before finishing this explanation it is well towarn the pupil against lowering the under jaw toomuch, particularly for high tones.The excessive lowering of the jaw considerablycontracts the isthmus of the throat, and consequentlythe amplitude of the tonal vibrations.

The following plate shows the effect of thisposition.

i. Lower jaw.2. Tongue.3. Soft palate.4. Isthmus of the throat.5. Larynx.6. Pharynx.7. Nostrils.

Such an abnormal position of the mouth pro-duces an imperfect and disagreeable timbre, the effectsof which we have noticed above.

These faults are avoided when the jaws are mod-erately opened.

SIXTH LESSON.The Registers of the Voice and the Attack of Tones.

The analysis of the vocal organ has shown thatthe voice takes on a special timbre corresponding toits pitch, both with reference to the tones composingthe vocal scale, and to what concerns the blending ofthe tonal vowel with the vowel of the spoken word.

By strictly observing the theory of vocal tones,we shall readily obtain a homogeneous emission ofthe voice in all its compass.

This result causes us to inquire what the termregisters of the voice means : for, having learned thatthe " ascending current of air passing the glottis, itsforce of pressure, the movements executed by thelarynx, and the shapes assumed by the pharyngo-buccal cavity, produce a shock which gives rise todifferent timbres of the voice," one may ask: Whatis the sense of the expression " registers," as appliedto certain series of tones classed according to theirvarious pitch ?

Thanks to our preceding studies on the voice, wehave seen that every tone may assume a timbre which,

while specific, is homogeneous as compared to anothertone of different pitch.The earlier terms, chest-register, medium register,and head-register, may have had reason for existingso long as anatomical studies of the vocal organs hadnot admitted of establishing the correct physiologyof the voice.

From the observations already made, we havenoticed that the grave tones find their resonance inthe whole length of the pharynx; and that by almostcompletely closing the oral passage, by raising thetongue and lowering the soft palate, the voice passesin great part through the nasal cavities ; we now addthat the voice when resounding in the whole pharynxfinds a kind of sympathetic vibration in the higherpart of the thorax.

This (very natural) phenomenon of resonancewas in all probability the occasion, that the termchest-tones was applied to low notes.

But if we merely reflect, that the vocal tone


17/208

comes from the vocal cords, and that the chest, notbeing empty, cannot be considered as a resonance-chamber, the inaccuracy of this term will be apparent.

The resonance of tones belonging to the mediumof the voice is produced, as already noticed, in themiddle high part of the pharynx, and in the corre-sponding part of the mouth ; these tones buzz (so tospeak) in the throat. This fact explains sufficientlywhy the term medium register, or throat-tones, wasgiven to this series.

Finally, by almost completely raising the softpalate, and drawing back the uvula, the passage ofthe vocal tones through the nasal cavities is entirelycut off, and they resound in the fore part of themouth, and in the frontal sinus; these tones being ofhigh pitch, find a resonance in the forehead, hencethe term head-tones.

Having thus explained the origin of these threeerroneous terms, we may add that they lead to move-ments contrary to the nature of the vocal organ, andthat if in a voice we find tones called transition notes(the "break"), they are derivable solely from anabnormal direction {reflection, or deflection) given tothe resonant tone. This defect may be avoided bypupils who have not yet sung; but with those whohave contracted these faulty habits we must usemeans to eradicate them, or at least to lessen them.

In old methods of singing we find exercises in-tended for smoothly connecting the notes called chest-notes to those of the medium, and these latter to thoseof the head; this is called blending the registers.

These exercises (of which we give an example)consist of tied notes, sustained long enough to allowof a gradual change of timbre. The first note mustbe produced with the so-called chest-register; thesecond, of the same pitch as the first, must be trans-formed into the vocal timbre called medium register;and the third into the timbre called head-register.Example:

(chest) (med.) (head)

I 3C X 1

By continued practice of this fatiguing exercisesingers often succeeded in blending these three gra-dations of the voice, and in rendering the tones ofthe entire compass a little more homogeneous. Thusa sort of mixed timbre was formed, corresponding tothe forte of the acute tones, which were called alsochest-tones, although they belonged to the series ofacute tones called, when sung piano, head-tones; toa certain extent this resembles the effect of an imme-diate crescendo executed on a high note.

Our future course of study on the crescendo anddecrescendo will practically prove that the exercisespoken of above simply amounts to different grada-tions of intensity in the tone, obtained by displacingthe harmonics; for it is evident that, when thefundamental tone dominates, the timbre is full;but when we detach from the fundamental toneits higher harmonics, the timbre is comparativelyweak.Now we shall pass to the theory of the attack oftones ; that is to say, the way to make them vibratewithout incurring the defect of a feeble productioncalled humming.We have noticed that the vocal sound is pro-duced by the shock of the air passing the glottiswhile expelled from the lungs, and in Lesson III welearned that the vocal cords act like the lips of themouth, when the explosive consonants P, B, M arearticulated; the movement corresponding to thefirst(p) produces the forte; to the second (b), the me^pforte; and to the third (m), the piano. The vocalcords articulate, as it were, a dry syllable ha, in threedifferent degrees of energy and constriction.

The following exercises were written to train thevoice in this attack.

The degrees of constriction 01 the vocal cordsvibrating to obtain a fortef must correspond to themovement of the lips as shown by the syllable PE,just as those for BE correspond to the me^p forte,and those for ME to the piano. The syllables areplaced over the notes, and correspond to the signsunder them.


18/208

10

1.c. i PE PE PE BEE

i PE PE BE PE ME3HfPE

s-

ME

ME2 izr i ii J- f

f f f P

m PE BEfPE

PME Ji n n^m j i j i f

/'^i PE BE

/"

ME PE BE

PME

se m i i i pmf P f f/iifPE BE. PE BE

PME

ZEE ^f mf-

9-'

f mf6

feiPE BE

7 " fePE ME PEBE ME

^m Pf>f f m S^V?5TJ.

c.

S i i if^T?^^f11646

Copyright, iS94, by G. Schirmer, Inc.Copyright renewal assigned, 1923, to G. Schirmer, Inc.

Printed in the U.S. A.


19/208

11

i PE

ifPE _ BE PE ME

1 PfPE

BE

mfMEPME

fPE

fPE BE

f mf f P PMEn n r^^ J J J i?^ /-

PE BE ME PE BE

PME

5 ^ Pr ^PE BE. P^

(T

PE BE

i>

ME1 1at

f mf- f mf PPE ME ME PE

6

PE BE**

PE ME PE BE MEJ J. J'Jf mf- P f f"f P

I i fr f f ^m 3E fTf 5^ g11646


20/208

12

I iEI 2Eim m jCC

zd=jt

d wezm m m -&-5

6^m 3EZZMINm116*6

i $ 4 =wP^

? P m *


21/208

13

22

3

gg

-#-

SE

3t

i &zzg - # #^=^ i di igi 6^ig & i# ^^ $* *3 i * ^^^=^ i? 2tPI s irn n n^m J j j j -a-

m ^m:I i i

i s ij j. jg

f

^Z^jlZ^Z^XX

i

11646

m 9^^


22/208

14

r u r $u u u^^

i^m$

w#*

t-o-

f

^ fpr r r pp p

in

zz:

6 f ^ Pm j j j j ** * a^: f PP -yp pZI I fs p H_ f

CJ LT CJ EEEBIi

5

6

i

is

r r r

3:J

Ppr r r p f

J i Mi "'^^^

1.1646


23/208

15

2i PrD r *

iLT LJ LJ^^

(JLu* llt urn

f f

r r r

r r r P

lIi

f

i ^ni is z a^ J ? * S -*-

-

^ :zz^ a=^. m:i n n .n=gi j j j j

6

11646

i

*i

j. i i 3

-P"@a*=:


24/208

16

2

1bft

i--

Ii i fe4ft *

6 I nff j~^jt j^mi s e-!5- M # '

fe I SEv 9 - . 4 -TTTT H=~iS f

J2 JH

2 i 1 ZEEi mi l J. 3^ s 5 5rfi J g 1

6 is J. m m*h i aj r-pw r-w!

|-f^^ 15ratM ^t^rr^ -v-v;i ==116*6


25/208

17

fm ^ pi

XT4n j-j j j J i i P^i j>j J J J'

PPi6if

1164b

1 ?^ /Si-J pif PP

i*

** f i I SP ^ ^rIE


26/208

r8

SEVENTH LESSON.Formation of the Vowels.

We have often spoken of the important influenceof the vowels on the vocal tone. To correctly em-ploy them for obtaining a spontaneous production oftones, we must proceed to a minute analysis of thisphenomenon.From the demonstration with the tuning-forks ofMr. Koenig, and according to the opinion of many skil-ful physiologists, we conclude that A occupies the cen-tre of the human voice; consequently, its productionought to be most natural and easy; however, weobserve that this vowel also requires a particular posi-tion of the organs of the mouth, which, if we proposeto consider it as the primary type of the other vowels,we must bear in mind; for this vowel A, like theothers, may be produced under various phonetic con-ditions. To facilitate study, for the sake of clearness,we shall take up the investigation of the vowels insuccession, following the same order as in Lesson Vof my Vocal Art.

The position of the vocal organs in pronouncing theletter A, which is considered the most easy and naturalone for the production of tones, is the following:

The root of the tongue takes an intermediate po-sition in the pharynx, while the soft palate rises,bringing its pillars somewhat towards the middle ofthe tongue, which is hollowed in the centre, its tiptouching the lower jaw near the teeth. This positionis nearly that shown in Fig. II, Lesson V. Thisvowel possesses a medium pitch corresponding tothe tuning-fork for '-flat of Mr. Koenig. Its pho-netic accent is almost exactly that of the vowel A inthe word FATHER.

Taking A, then, as a basis for our demonstra-tion, according to the classification found in my VocalArt, we will follow the movements shown there inthe ist group, in which, starting with A, we reachU, passing through the intermediate gradations of thevowels open O (as in ROCK), and close O (as inROME) ; we must produce these vowels one after theother; at first, by preparing the corresponding mo-tions separately; later, when these movements havebecome quite familiar, we shall renew the experi-ment in one breath, giving A its natural sound atonce, and then, still sustaining this first tone, pass-ing to the other vowels, open O, close O, and U(OO), without letting any air escape between them.

Open O requires the root of the tongue to beslightly drawn back and raised, while the mouth isbrought gradually to an oval shape, never loweringthe under jaw too much ; then the sounds producedby the vocal cords will take immediately the truetimbre of open O, as in the word ROCK; its pitch isapproximately small b-dat

To obtain the close O, the lips are only to beprotruded more, this vowel then corresponding to Oin the word ROME.

This position for close O will facilitate the pro-duction of U, for which the tongue must be drawnback and raised a little more (position somewhat

similar to that in Fig. I), and the lips protruded soas to render the oral cavity as deep, and its openingas narrow, as possible, without closing it too far.

Such an adjustment of the oral cavity will pro-duce the pharyngeal resonance necessary to form U,and thus induce the intonation of a low tone approxi-mating to great fi-flat.

For the pronunciation of if, a necessary observa-tion is offered ; sometimes the upper lip is protrudedand folded like a bird's beak over the lower lip,which is drawn back ; this improper position deadensthe voice, as it almost entirely closes the mouth, andmust be carefully avoided.

i st group, from A to U: open o close u.The second group also commences with A,

reaching / by passing through E open and E close.Reassuming the position of the mouth for A, we

have to bring the tongue forward a little with itscentre near the palatine arch, at the same time slightlylowering its root; the corners of the mouth will beslightly opened, thus narrowing the aperture.

The pharyngo-buccal tube being so adjusted, thetone issuing from the larynx passes between the frontpart of the tongue and the palatine arch.

Thus A will be transformed, and take on thesound of open E as in the word BEND.

After this, by a stronger impulsion given to thesemovements, close E, as in the word TERM, will beproduced ; its pitch approaches that of *-flat.

Then, to reach /, the root of the tongue is low-ered still more, and its centre approaches the palatinearch, while its tip almost touches the lower frontteeth, and the lips are protruded a little.

This last vowel sympathizes with the tone ^-flatof Mr. Koenig's set of tuning-forks ; but as to its vocalproduction, it rather approaches close E or French U;for this tone is beyond the ordinary range of thehuman voice.

2d group, from A to /. e open


27/208

19The tongue is more hollowed in the middle than

for EU; the centre of its root is brought close to thepalatine arch, and its tip is applied to the lower frontteeth, and is raised a little. The pitch of this vowelis acute, since its form closely approaches that ofclose E and / (French).3d group,

from A to French U

In Lesson IV we noticed that the movements ofthe larynx are associated with those of the root of thetongue, and that these latter exert a peculiar influenceon the timbres of the voice; thus it is evident that themovements of the tongue indicated for the formationof the vowels, must be effected in general with itsrear part, because those which require the action ofthe front part are used especially for the articulationof the consonants.

EIGHTH LESSON.On the Timbres of the Voice.

The human voice is classed in two categories, thearticulated voice and the modulated voice. To theformer belongs all speech; to the latter, song; sing-ing is usually associated with words, but articulationis not indispensable to it. Later we shall have todeal with this last form ; for the present we limit ourstudy to the modulated voice, its easy and correctemission forming the basis of declamatory song.

The question of the timbres is extremely compli-cated; for we must take into account:

(1.) The two principal timbres, the close, i. e.sombre voice, and the open, i. e. clear voice.

(2.) The particular timbres of each voice, and thecharacteristics which make us distinguish one fromanother.

{}.) The timbres which constitute the phoneticconditions in relation to the degrees of vocal pitchwhich we examined in Lesson IV.

(4.) The intermediate shades between the tentypes examined, which shades are subject to the ex-igencies of the accents given to spoken words; thisobliges us to describe each motion of the vocal organsproper to these types.

(5.) The special timbres required by the expres-ion of the spoken word as associated with senti-ment, and their relation to pitch. (See observationmade in Lesson IV.

(6. ) The inflections given to the timbres of thevoice to express correctly the emotions of the soul ; forit is evident that love, hatred, sorrow, pleasure, com-plaint, reproach, prayer, menace, etc., cannot be ex-pressed with a timbre of unvarying uniformity.

The most eminent physiologists have studied thequestion of the vocal timbres in connection with theformation of the timbres of musical instruments.

This study has given rise to various, and some-times conflicting, opinions. Two principal timbreswere recognized in the voice, namely, the close andthe open; but the theories for their formation are notunanimously accepted. To familiarize the pupil asmuch as possible with this very important point, weshall briefly consider the different opinions whichmost nearly coincide.The scientist Muller and Prof. Bataille agreethat the close timbre is produced solely by the lower-ing of the larynx, which means that the oppositemovement produces the clear timbre. Mr. Segondand Dr. FourniS say that the immobility of the larynxcannot be exclusively the cause of the sombre voice,

because one can sing in the sombre timbre with thelarynx raised to its utmost.

According to Dr. Fournie, this phenomenon isproduced by the "resounding of the voice when thevocal tube is so adjusted that the dimensions of thecavity are as large as possible, and the orifices limit-ing this cavity contracted enough to oppose an easyemission of air."

Thus again it is the oral cavity with its neighbor-ing cavities, which by their adjustment determine theshades of the timbres by reinforcing certain harmonicsof the given tone.

The use of the two main timbres of wh'ch wehave just spoken must be limited to the domain ofexpression and to the production of certain hightones; for if we employ either exclusively, we shallimpair the sonority of the voice in some cases, andthe easy production of tones in general, while causingthe vocal organ considerable fatigue.Independent of the two main timbres, i. e. theclose timbre and the open timbre, an attentive study ofthe general timbres of the human voice becomes in-dispensable for uniting the dissimilar tones at the"break" in passing from one register to another.

The importance of such study may be easilyappreciated. This theory seems to belong to a newschool, but it was practised by the old masters ofsinging; and as that school has fallen into disuse, itis necessary to re-establish it with the exercises andtheories based on the employment of vowels corre-sponding to the tones of the vocal scale.Our aim is, therefore, to establish a school of sol-feggio so arranged that it may be studied with the aidof vowels alone, or with the timbres correspondingto the several phonic conditions of intonation.

The utility of applying the phonic vowels to sol-feggio is evident, and it does not hinder in any waythe complete education of the musician; we affirm,on the contrary, that this didactic arrangement aidshim to apply successfully in practice the primitivephonic properties of the vocal tone.

Although we have often spoken of the vowels cor-responding to the tones of the vocal scale, we mustagain observe that this theory presents great difficultieswhen we try to put it into practice : the slight modifica-tions made in the initial vowel by the different tones ofthe scale are so minute, that the ear could hardly per-ceive them, ifnot aided by precise estimates and expla-nations. An exact perception of these delicate shades


28/208

20will be most easily promoted by the master's prac-tical demonstration; nevertheless, it is necessary toexplain the matter here as far as possible.We shall therefore proceed by comparative ex-amples. The human voice commands a series oftones of from 4 to 5 octaves, taking the sum of thecompass of different voices. These different voicespossess specific characteristics; the Soprano, Meagp-Soprano, and Contralto, for females, and for males theLight Tenor, Robust Tenor, Barytone, and Bass. Theirpeculiar timbres make us distinguish their differentcharacter; but all, in their respective scales (com-pass), undergo similar shadings of the vowel, accord-ing to the tonal pitch and the inflections peculiar toexpression and sentiment.

The vowels corresponding to the pitch of thevocal tones (as shown in the following comparativetable), will be identical in all the voices, excepting afew modifications required by the specific character ofeach voice.

COMPARATIVE TABLEOF THE "PHONIC SHADES TROPER TOTHE VOC^L S&ALE.

The words placed opposite the notes serve toindicate the phonic accent of the vowel correspond-ing to the vocal tone. In each word the vowel ismarked by the same special sign as the singlevowel preceding.^ open, as inword . . . the Bask== 1 /7 semi-obscure, as in jp *Ep~p * the word . . . .Fatner

Zclose, as the finalDram_i a m

i%l^*SZ? ~* " Was

a open, as in the n- rword EaSRfa grave, as in the IT?*word rr j

"fr g I o close, as in the F\. fft=^=1 Word Uptmon

fi grave (aw in law), r\*/nas in the Ital. w. . *SU*Ueu close, as in the ~XRinrFrench word. . /^w

Feu

%ia CtC grave > as *n t&*""-" French word . .rffi^ 1 in the French word J^afttrel#=l ~ in the French wordKtfraW

The necessary instructions for the compass pe-culiar to each voice, and the way to develop it, willbe found in the chapter tAdvice to singers intending tobecome professors, in my treatise on Vocal */lrt.

For the present we will only remark that eachvoice has, under ordinary conditions, a compass offrom \2 to 14 diatonic tones. We shall thereforelimit our demonstration to the range of 12 diatonictones, because the extreme low tones, as well as theextreme high ones, have almost the same shade asthe next note above or below, accenting the timbreof this latter a little more ; thus, in the high tone, thevowel is closer, whereas in the lower ones it isbroader, approaching either O or U according to theclass of the voice.We add to the above comparative table a graphicdemonstration, dividing the 12 diatonic tones intofour series following each other in ascending diatonicsuccession. (See next page.)

The 1 st series includes the first six notes of thescale of C, in four sections.

The 2nd starts with A and extends to the follow-ing C, in two sections.

The 3rd starts with C of the 2nd series, and stopsat the following E, forming two sections.

The 4th series, also in two sections, starts withE and extends to G.We see that thefifth corresponds to the vowelof the tonic, and that the sixth takes the phoniccharacter of the fourth. This is the reason that, inthe example in question, we divided the 1st seriesinto four sections. By this arrangement we wishedto call the pupil's attention to the very delicate shadeswhich change the initial vowel of this series.

Before passing to the application of the followingexercise, the pupil must carefully study the toneswhich result from the vowels, in conformity with thecomparative table, so as to apply them with precisionto the musical notes with which they are united.

These exercises will be more fully developed inthe studies which follow this first demonstration.We should not pass to the study of the intervals untilthe phonetic vowels corresponding to the tones ofthe scale can be employed without the slightest un-certainty concerning their formation.We shall then be convinced of the advantage ofsuch a method for the production of vocal tone, andof the facility of obtaining the necessary modulationsfor correctly rendering the expression required by theemotions. We shall also be convinced that the voicecannot be supported or posed without detriment tothe timbre; for it must be sustained by the pressureof air in the wind-pipes of the trachea and larynx.

To render our demonstration more intelligible, wethink it well to examine the tones of the scale in theirdiatonic succession, more particularly as the shadeswhich divide the semitones are not very noticeable;however, their gradations will be explained hereafter.

For sharped notes the vowel corresponding tothe natural tone of the same name slightly approachesthe vowel of the following tone ; the contrary is thecase with flatted notes. To facilitate this study we


29/208

21

place the sign g after the vowel of the sound markedover the note which is sharped, while in the case of

flatted notes the t> will be placed before the phonicvowel.

1 fri J M i ) J-ffl *mna a a a ajOl A* 3 I 3 A -* _ a a a a a a a*& -&-* ^=zz: = hA Aa

$*-v-.& eu eu

~J21. i t=teuEJen* -^ ^

Aa-J- J I I J 4-=\

321

i

ix # a a a a*m^M -*>-a A tf^lEo -


30/208

zz

1.m a a a a a^2c. |

t

isi

77 7)

.^^J-^ * :f rr

P4frjH*XE

i

a a a amTV

Sa 2S 325 3-rr ^r

^ a a_ 2. a aa_ afl - j J U el N J 1 1

4. aaa aaa aa

IS

3E3E ? EF m 3TSZEE

V-'ii B J j:gr"fl

2* #

^r

XE

Bi a a a a a a - 2.a a a a amm^- -

I

TT ffff# 77 1 fITT 5S i iTIZC=^ s ym f XEfa^ #, fl -- - _ * _ _ 4.a a aaa a a a ^ yvaa aaa aaaaaP^ IS P^Hf3pg -J J 1 1/


31/208

23m a a a a a a ai j j i j j j === =3=3=3=3=3=5 & j j ij." iimwmvj j jj i jTJ J J i i Efe

1. D$ ig=xf2 XE^gr^ XE

o a oJ P I J^^IEXE

XE

XE

Tf~ I

XE

XE

2. aI^=XE

I 33a nr& XE:.a fXE*XE

XE^r

XE

aXE

XE^T

XE

E aa aa aa aa aa aa o o o a a a a aaE mm *-TH-*L ~n xrS m 5=g ^* 8=5~3=S-

7Jw* 2^

3 or^XE XE XE XE XE IE XE XE XE XE XEO- ^- W

1. F

$O

3="=

i5S

XE

XE

eu o en o

XE

XE

XE

XE

XE

XE3=

XE

2.

i to

g n

Pg n=^=

^=^=f

eu eu eu o

PXE=8=

XE

XE=8=

XE

XE

XE=8=

XE

11646


32/208

24 G a a a a a a o a3 I^ f ^b 4- J_ 4 * 4*4 * 4^j:$m ine e fet S s lEEEts S S= ;eS fefc S ^I o

o eu eu o eu eu i J J r ! r- rte rrnrpr ^4mm mm *i ifefc l fs5 Inrfr I:3=fc * t IS

1. H ei:u. e$W HE

ell e

ZEEa S i.-&-S 3:5EBE 3=

XE

IE

euIT

sIE

2. euXE IE

iS SSe e

' ~K

fc=g

eu

s

a a aS o eu ow vr=0 IEgt=g11I m IE

SI 6 -- IES-'

eu eu1 (9 P

ea * 9 eu e_n 9 P e eu a ^ eu o0 n =

/

1

i

1

_^ -IB ' ... ^ -i r

r

_C

. , ,? =2

JZ__:3 -0 1 . 1 -fi 1Z'

5 11646


33/208

25

ffH a P a a1 J I a_ a a .-f-h-IB

H 6* fl fi cJ sl_ d 1 g) J 1. . .

wm

6 Jm* -8B M

z 1 B 1- o . .

K 7T a a a a afe

^ o o \> o

RF^ ppi^ fc^-(9I II E=5z^ 3 23.

Cm. 3 *BT U 4- & fi>-^P _E15 3 IE 3

Il|0i eu eu5 % g a zz

I fc 4s 63 IZC tj H 3 mB B B3 f B ^*^W 6 flfi z=i rst-fi- re 3E5 t fi fitf *y*

* a a a a a H a4^_CL j fl n & L - r. _gj eJ

r &*

4^4,

4B

H-P6B

Ir-a [=j=jj =gL-a [fl N a ^4=-/ > 1 > 1 1 1 > L_e 1L_e '

EH (J D eu9 1eu ._ 9 "3 a a a a 1 ?n (8 H g V

H= fi fi o 1

fa^

fi -> i 9 9 J 5 8 1 ft =*\i , r*fiB or^ ' O B G> G\ ' li

11646


34/208

26

4.Dki

na a a a o

wte?7.

I2t

^*- J

^

i o o eu o^ zz: W^E 3:3:

P

##F^ o eu eu e eu eu o i aPi*m # #aag 3_33

3

B2 :z- 3Andante.

i a a a a oP? i o# eu o to P5 ^, ~a^m m ^m SB Si F ?k5-Dm. 1 WW w3 eS I 5Eii eu eu o bor^r'r J j n ^P>i # ^H2 m

% m wzSL m 1st i t ** fetEg s3^

5.

I 2 3a : *

iiAndante.

a "a a a o o euW i rJ f I f ^ 1 a i eJ^ Z2I mi6.

D.3 ^

w- zr-6-

# tf

=8

-fi-

^=-tf-

#27 # tf # #11646


35/208

o u eu e

f r r ' r J J n# p-

.*> h r r 1 P"-9-

# a+& ==*:

:2i# &-IWZLUL

27

Andante sostenuto.^ " ^4 a a a a o u eueue a aW~ W~TF i jjjjM JJB t2

i iw&7.El..

fT ^ ^^^ 41 xe IE m nXEi o eu eu4 o a a a IS Jjjjl oils PPm 22^r


36/208

28 LentoIT o omm d*

AP Si3^fffft.E. f f If Igig * IffH ji *

^ w 0^ X IP T - saM g S S S In feEl I M^fe^B^ BE f iit fit^fj ; *

o eui o3"

a

? #-"iaP

Ik * nt * *si * eifOt eu e eu'4 ^ feEEE JTlJfftff l "HIZmm t fe f\ jr> >Ugl -fi- 1^ -fi- Sm11646


37/208

Lento. 39171372

* T^U J>-y a$ 00 eu e eu*

? HitS11646

-6

w=i i^ \iUHiusi? Sm:


38/208

30Andantino.

a a a o o eu eum a a af m^r m i m^$m Tasto So11.

F. ^ S J2M =R= 1o o a a a an g * J) J) I J) J; \) IJfSP i T | F *!-' I*

[? Tasto ;

4): I ft* s s aEfeIPAndantino.

a "a a o o eu eu e" teu a a

f'^li J J U pip ^P ^J^12.Fm.

a a o o a a a a aii?* isi pJ'JMJ^J'l ^^ap J J' F116*6


39/208

31

Andante.a 7a a 77 o eu eu oftiH jj. im j i irjj i p r^[j J3.B i >-jj>

a#g^ iH= 5TT ^F=F- ifczS -- J y y13.F|. w$$m h: k h "33: 1E5jfS-j-^ *z* -y-y- 5^

# fteu eu a a a a a o aW J>|i^J]|J. II^P? F ^ S Pffi* * ifMl S3: i^EE ) g ! 3E ^5 fc*=5

si ^ t 5 i ^SrB 5s 3^: 5=^: i=3 B ^^3^3fcfc

Andante.a a" a o o eu$ eutf o eu

ii *jiji i >^-'i i tp'pi |l f *p |i i f > f i [fflfl i > U'

i*fcO-Jm SB *)? y p k14

Fjtm* y~w

- r 3z

^fy i3z hZ=3t k-y S ') 8 i iSeu eutf a a a a a o a^ ||tt r p i nt ig 1 1 yj'ij -^=1^4^1^

&i=t jjjS:*5 I BEE flF

*Htf i>> ^^ fe k 1EETS ^F

** fe s;11646


40/208

32

ifcmAndante sostenuto.

a a 7> o eu eu e a a ai *=P zz:nrr J i ^iJ-L^^ff2 -0-p$m -e^- ^ XI XI ^ ^t XT15.Gk ^T ^ &r VS^ IE 3E XE XE XE --J--O-^- -- tf

a o o o eu o eu euJ 1 J J J 1 J

oXT.

[' p I [' f 'J 1 sllr r i r r r /v g p-rr-- ^ -o- * 3*?^ ^ V

XEwXE-O- XE

XT -O- TT TT"

Andante sostenutoa a o o eu eua o o eu eu o eu e o o

If " '' frr rir cj|J ritJ i rrrf u' i r a-fijwm6.G.

-6 35 35 33 35* # I ^ *s 35 32 3 32


41/208

33

$o eu o A Aa a a a eu

fck U I u* f J J i J JJ n i , in4JJ pP l e jO.T I Sf^ s g ~~ffrJ ^^^ i 22 * XC 6- o-

Andante sostenuto.a a ~o o eu euPB JflcJ/Cff o o[jj^LtfUf 1

P J j J J8.GM * *^te 3S| -15 A A A Aoeuooaaaa aoeua o aa o api ccrcxrcyr ^"J^j j^ i i^Lcr^^fi'i^g siMi ff ^PPPi > i 1 1 i v9SSjsgff?i Pf s 3; n.

19.At.

Largo.a o o eueu e a a a a a

.'wwc ; l c: =g : y ; j; i p j;SN^I

|S ceHJ^r'Pf jJJJJ jjj i jj J'-^-^m^Jii^pi

j j.= . P i ; i:- P --- -4-^ r;- ^; f! j ;^ do:*og a

11646


42/208

34

ILargo.

a "o o eu eii e*W4-3 p r p r I aS a a a a^Z3i 5#gjgg i0.

Abm.^^5

zs:

I &3 prr Irj* i cxj ^J J cxJ* r~ P Jjj;iJ JB j: j W a "1 am J i^^ -6 P-1 0- m ?me J) J Jv [Xi Hp^ IEteg j; j; j,^ i* i=fe3E*^^1 ^m J>J M^^

Andantino.

inni o eu eu F=# rjJUU-g iiii i j i ^^1.A. yWtF

ft a aa a a

I *=*=# izfc m a * m =* m.S *'/.l__U.i mst r=?fe v5116*6


43/208

35mu eu eg cp r P r Lg& no:4*s J l-MXUMm

sag # PfTft*HE&XT

Andantino.a "o o eu eu a a a a aT

[l jfw^ccr^OTrrprprp J wj33j3^cJJ i r-* , ECr J?jfa tfj: J: i 3 ; I Wrt t^2.

Am. S w & W3i a mrm p ttJ-Jj

eu eJJ^^icucrjuj^ i rpxir lctt^-i^ M bMpf=t__* ^ i ^ji'j:f 3t-e-^-XE

23.A#m

mm. i-^^wt- $ l pi a ^p ^^p T]JTJ l r fill#M i i i teEHiiff fc

o o eu eu a a a a a ap ii p inj i -^ -r>j i j ^ Ji= a cr lt i gi i jj ife i27.

Bm.i S

K^ n jffi-Jj.fljj.niit^p =* T] j g 1 ^g|* I . mm1 i jgp^11646


46/208

38 Ninth LessonThe phonic intervals.

The object of our preceding studies was to lead the pupil to the practical produc-tion of the vocal tones under the phonic conditions peculiar to each with regardto their pitch. In this lesson we shall continue the same study on broader lines.From the diatonic scale we shall pass to the intervals, preserving the same didacticarrangement followed in the preceding exercises. For this study it is necessary topractise the intervals in their most regular and homogeneous phonic conditions; thatis, all tones must preserve a correct timbre while undergoing the changes requiredby the changing pitch. In order to facilitate this study, we shall proceed by guideand skip in the first exercise of each interval.

iAndante. SPP^ m J *' ' *4 54 i * i #28.

c.w.

3T 1 m*P^Pf ri ^ m ^^ ^a -&-oiNi g i ^ %-f

sT

ir r r p p P

?J ^f^ E PUHAJ Kl^^ #m b; ^^ J J J- J>o /7X7 3Bt-a 1*^0=frrf

(i *

11646


47/208

39

3e P iw r*ir r r^J1^ ^ LJ^r l-:xtCZî ^F^ t * w- ** if

Og r r f i i ILT-fii * *P? i*^ ^ r^N s g i ^:i -*1 g r i j p

ir

* i -e-

P1 if- 1

J-J^JL-r r g p

i1J JjJiIJ J i_UL^jî pp^ ? s-r Jr r r r- P ^ X IEP 3E- XE 3Ql XE6oderate spii ^j" J tHJ^g *^^F9.c. V fl* 31 w W p 5 gge* T3 *T7

j j ioUJ \ i i j jêg=;#-

N^FfSte:h: ^=^

==F 1 ^ -~|:

- 0-

m:

f^^ i11646


48/208

40Andante.

30.Fm.

|te jjtjj J i JS j i JJv^j j i g^pfe I Jau u Jyw ^ rr Pi i

irf^ fcm*i b*S 3 P*^ ^ r ri'T r ^r^r if^cH p z^##i zz: *U CNi^ ^i

*i

rC\Q6 * f ^ i

3? fe*

ifv 1/J? Jl/71 i tfg J fe i tfl r r i n^lr r is P^ 1 1 f3T7 rr fr 15^jg r i r ft fe ^p^ i 1P

31.G*.

Andante^"j.jjJ-Jl i j Jnj.JJ- Jj i j J*u. JJJ-flu p

Wi^i. g = XE 331

W'lV B^ ^ XE j*r11646


49/208

41

^j.jir^ar j r'U-crrcfi ' 1 r< i r - &T^^s^e 2E^^ XE XT3tfe^r ^ ^^r rnrefrcrir Nir r-r r - ^^* Q.s?p A. A.55Hi XE xefr)y r Qr - Ef i r r ir'crJ - ctt J *'r ^^r Jn r - J3j. ,bi

si JUL li- s ^1S^ XE XT 3X -O-toi r ji i j- jj j. jau j*u- jjj. jau j hj. ja d I o .SiHi

XE XE XE XX XE JQ.

XE XE XE11646


50/208

42Sostenuto.

(faj I =pi* ^ bpflf g g=^F SB32F.ia-L-fl.1!W* 3s^ ip Bim

+m e5=E^vw *-!i^j.J pJ i J^J j> J ^i^tff" HPi1E3E JjUU- ^ 3=^3-n# --** #-J-#1^ e^ p^p^ ^=^JM[ g a JTfli J jj i 5 ^fe ^ IfPi ^# f # 1*1

juTTl ISi 17 fAndantino.

$Ai$L{Jr&i


51/208

43

\ifM.--*^M^ \ r r nJ4!_i tf i ^^fe P f * t r^5 =; a^3^^ ms i^ i^^S Sw^m i i . > i ? ^r fJ gEJ |g | 8f/|J ttjJ I j j#*II Wn i f* * *s ^ i s s i^

PP - at ^zi f?^ if i ff W*o *^^ m ^ee i=lE=fc fcm o t* r^ j i ,j>r Jjjyj^p Gt ?fe Cs t i *ai fis33 m ^^"d* I j J I ^gi J ^ T

=#=*=

r^^p * p ^pp I*=dfc M^g|*=*Se

11646


52/208

44Moderate

m Ibzz^HT m* Uetc^T m3zzs:-n

=1S fei Pi ^z5t jtb^jw i ,.' jiHjTB-nn i j.^i* 5 17 =B 2341* g

Moderato^ i a f P i. _*.# 5 I JJ! iW i fe^35.

D. r^ in *zm & ^i i f33

11646


53/208

45

(gig ir i r iPrtirr r

!?' J m J J^s=*= i ff i ^r=*

i

2t

I1

^ CTifcWF* ^ i2 ~cri* i w* r31 npi xr xrModeratef (i jggpi fe rpiJ j)j JMnp-"^a rJiffrJVJIgp i cj i r rj pr i36.Dm.'S^ J. ttJ- ^ R i-

Pi J>r ir^ljjir pJ- i ^C Lf i 'r f j s

i>f f -i r tf t irf to ** m=M^ J. ii P^ I p2

tf'Lifr i J_ i?3 |f^^ lls r^ c^ S &Efeteag 3P^ jg^i^ Si ^zfcjfcfea7 111646


54/208

46

PSSostenuto. pr Cf J Jl *3E "3*3 f pr cj^^S -CL.37. B 1 s XE

j| J-r-jrr pr r r p

'

J - r' ^irr rf J>J J"^s xr rO-1- XT XE

^ j ^gp J J) j J3 r p if J. m i ^J j)j jJj I*m^g A.3 3Z 3E*S3 XT

jl^^^d^J J) J 5 *EE l i i i* &-*-

S 3E11646


55/208

47

Andante#SP nJ J> i PnJ ^ til^ i PnJ %t|ji^ir J] ife38.Gm. r~f r-r ** 9 =3wH j jji i i

fe=B In P 53Eill fc^f fc 1 4 J 1 " f^Ff^^ -9- 3:--iv PllJ ^l^_J:i tE *iP* Pi? pi w r t~ rw ii ^^ to E - - ^:i tf ^- B i- * * Rj P i^E ^^ C IE *11H46


56/208

48Andante.la *~r i P P

:ifci s s9.Ab.

f J #r i i r * im %

#'\j * j i br i ez: r * r i:i3s#=* 4**3^ | t I S fe i i^P^i& ^mm i

r r r i r r^

j j j j j \i j j j j

^ ^ ^tem -o- ^^ r ' J J J ir


57/208

49Moderate

4 g pfini i r * ij:3Jjjj lP ^40.c.

ir f 17^^ P P Zn^r.r-TO i .i^Ba

i i9T3: H5 *5 tfy? 19- zz: zz: ij ) i r =* ^^ u^j-Jeffl *is IE ZSas: -^ -fi-& -4 in IB^^ ntf i i^ryflflra^ ir j * i fj^TOn^ *Se ^ 33 -5y=p ^ a fg

7J

I

i ^^#s11646

P

P ftf tt


58/208

50Andantino sostenuto.

i i ;i j r rTccrr ^ sS5 ,fn> jj p#3E ^ J41.A!>. nzza wr*MXX m & ts :*=* __ fc iL_

& mm j j i ^P #*f r J r in rf^r H ^* !-J^t T32*gg r j i is* & 3=fe *=*I^Lff^ i ' 1 ' i 5c221 SP? 0^- jbzg:i te m MJE= J i*\ tt T*l'^"i> J I J i=E ^^ 3ei t* fer53 'r i j ,J PS=^==f 22

P^ R ^f*gli 1 1 f i^ i =f f^ *sfc i P -#^ w ti ^r=#*gig j j t i!;pFt S i P ^ d^1164H


59/208

51

i &i\V]r >> i 'jiJ'i j. i j- u^rtm

si J. F ^^m*E ap:e=e ICZC :=: 3e:=:I !*Bp ^ P S SP

?t*32:s IPi *_*f 3Em^i &1 * e=k s i~IP zz: 5 ^fe S 9pai

PrTgJ9 I 6^PP Wm m22 m. 1^i p& ii j?==*#* S a iff6-S 1 fT *s? f in: IZZ HE n: r~ fea idi P& 3E r j r 1 i ~77~r ^^&M

Iff * J H S ji r fi

^gpj 3BBtj*^r in:&fcfe

11646


60/208

5%Moderatete*vut Jj^N~ffi g#3e=- Pi Ite m

42 ^Sli'> :ffgg li r

pt I iiss ii^1^^ PP^ P?^ fr/Ui-QSi Si iea i ., dtoS rpPD3 p pi ctrMjia^^p *i$*h*i w pff^ s^^ife^ s$*ig | * if . ^ ? i p^^pm U--J3TTj^Zr Cj^- i r' [yir^CD, | r~CQ, | r * < * I^ r>rr-

JoJEsi15fp

1^

1 7

5 U]J^J HP=r=?= ^i *** fr i j j>JQ i J J>.S ifcSI

:* sm r r w- g j==

kmp^ E:US

11646


61/208

Andante.

$far

53

V99

wan HZ

ph mmi fc Ws v &-o- TT

11646


62/208

54Andante atfeE z= g I J im wt=+==d

& *44.F.

* *** * * rrrt * _ _ ^ssT .?000 t rrr r rJ J J P * i i 31^7# fc 3^^^ f **#* * * tit ? * fIT "3T zza***:3 fP 0-0-0 =EEJ 0- mw ~:V 0-0-0

i ^ 1i j^-f4^E^FfS ^P^9- j^ *i^Z^ ll t l ^T3 = S ^m G- m km P r r:J ?sM*j ^ E3 * teF=i M

#E

fw

=F f i f ^ cjr j^^ ^mM i mi te ---J: * * * * ***# 1 j-j-l- ^^ b _ ==r1-- =r f # p p iJ ' J _: *11646


63/208

=^^=^ :

4h

mV,

i

[;rJ.

:ss:

sw ztm P2I ^^P\

ezzi

^53351 tf

^ IB7TT J2nr W W W/f Ltj a i I J J J J L

-i *+-f-*gp Mi 3 3 3 3 bd 0*00 \>9

0- A f . p1 111 1 1

fr r r rry |^ _.... ^ V 1 r LLr f r^fe? $

-6 te

* t t t t W 6S^m2i n TZZ

i rrm* 3S:

:ee:=: ' J [,=

=*N5-

igglt

11646


64/208


65/208

57

iit _GL i=iIP MJJj^J'^ k

I

g st-s#f^lp 3E * 'J*&*Et PP * ^i ft* i

P j ^J


66/208

58

i * 3=fr Si*

r9r* # * * * in r ? J?J J ^Tm? fii i 1 1P^f. T^^"^ m m P tip P n *p u J- JjJlu . m " v

g K 1r r rr j*5S55S5B5S

*f 4 d -i 4 # # #/._n .-J i| J f 1 * f S 1 ^ JJJJ

'

mm J^*= ip ff l=fe* 1=1 1 1 I I Is *mm s

5 w 1** "w j j j | -0- :4- 0- 0- # * 5 s fw

SI 1164K>


67/208

59

ii ri P -^-*ir p- f Tff f f . 1ft J r tu i 1 r

Mni a - m-M-m J g H 1 4- 5 H *i>>J * - 3' '* 4* 4 j / 4 | | i^ ^U-^,^^ 1 1 r f r i *'

1 r r * * m

.

- ' i 4>

j r i

-m f-%+*y * *J J # * #t): j ^3 j___ J 5 'ff "1 J J j

yI* Jiiii

J ff 3 -1 * * 444

i

=a_3 .^iZ^4 # #4 4 i h^ ifi ffg^^ I^ J I J [J :

> > ^ 4 8 i 8 # =|:S s sSESi* T^T -6^ fr j * j II

I

* m a' * -#-#-

^J3 :-#^Pf |j > i *.i fe^ f * j

11646


68/208

60 The Chromatic intervalsThe preceding studies have familiarized the pupil with the exact intonation of the

intervals arranged in regular order and in conformity with the phonic conditions prop-er to each tone. To facilitate the application of this theory, we have till now proceededin diatonic order. It now becomes necessary to learn the chromatic sucession of the sametones, for perfect familiarity with these closely approximate degrees of the scale servesto render intonation very exact. This was our object in presenting, in Lesson VII ofVocal Arty the study of infervats by chromatics. As this lesson includes one of themost essential parts in the didactic order of the studies of singing, the pupil mayrefer to it. We give a few preliminary exercises on the phonic conditions of the chro-matic tones.

Intervals of Thirds.Andante.

JTpyi>J3ii]j I iy jTJhJJJj j U Jl J?yJl"33J \P

4V ** 2=3= S S S = *XE XE ffXT XTThese intervals must be carefully practised with regard to the homogeneity of the different tones

and their unity of timbre, as well as with regard to their intonation.11646


69/208

61

I s**=s w m t -jz & fc 6JpMi'J^ p fEg$3S _CL _o_* * S^ g #t o

I*Allegro

-3 3-E 1 IIPP * a ** -#- fe * 47.

c. * J J J * i P^i j jjjjjflu'j sg ; r id-cH 'r rg^

ffl -## iN^*PPl^ p i

i B r cJ-Jai P f ^ fe

=iP ^^i t 3t

i a i 3 " * J =? w-g.^* witfc E * j? j j i i 1 ia IE rrp

si/

i

11646


70/208

62 Andante.2M^^hS^ mm i jjjjjt-i-m zê^zy mS Pi J m w w8.

c.STT t~7 i n i

^P r p | mm j> ^^ igg r i arcT'T j i r?'x?r 1 1 TOr > i&gir * i ?M J *PHi j * e be i ** te *#cat>- y i * * i k

V i^= 1# m i!!#

JgwgJ t |J>jgJ I 1 QJ^J I [J^,QJ \ 1 j^j 1 IIP m* # w &W--*J: flf fe .^ PHH^ * m

Moderate

fe P^P* j' l f r rJJ L*im^Sf Siza feE* m s 49. *' 11 1 * = âgHE ^ ^ &pm T j j i J 3P PP1;#î ir> ti 1 1 ^ us PH mg r i - * SP ^^ SEE*^

J*a \ * Si.b.'t: ^SC *ife^ I 1S r ! m Hr ? rrr'r fefjjy =llBIti I

//.

ty//Y.^^


71/208

63a tempo,fo=gm f i W j rtH=^'

i^^jp^# tempo.W& vm % P J ! J j P=i

i M>=* s | .. p| ^ p~rYt 1 A * Am& rail.

11646


72/208

64

ITempo I.

g EC f 22: I# fc*tA?=^ # mM I i jjJ Js s t * p * -sfe ^ -^^g nfc ^Si 1^ 1 r 1 s m 1 j 1 spia jm m 1

/#//.

PfiF5^^ f a tempo^m r twma tempo^M ii^

&$m 1 ^ ; JCJ3 JJ3^ ^ J31 JJsE 4 I 1 j 111646


73/208

65feV PP mm m m E'^^J3 " 1^S ! 3=jEEE| * *s i *z:1#=3 ^^

1H i i i i* $i fc*em#is* jflplJ^TJ^^ ^ ^^g^rr * $ b=fe # # ^JrBfeE?jamjp fr] o ^= ^n:^^ i J HElps mzm P

l

1^^^ H^ r%jjnjj21164b


74/208

66Intervals of Fourths.Andante.

i Guide. Interval,E iJ^ J j V 3Z j pB tsj b : *ii50.

c.** -aS J. g^ C f25~

I P*B* ih~r,tJBr3 p >r ' i*^gaOTrÎ 1 * P r ^35 35 Ff I 3:r^ * s: "O h^ B 3335 P * P a:-&pi J it.y^r HHi rcacgrr^ zz:I?

ps i 35[S f P #

s 36 Z2_ /2_ =f*pz: 5ZII r'tSrr * ^H i ê^H i itjjr ^^^j tipgii

3fe

^ 6 -g s

to |SPE ft

PP33zz=b:t? zr

fpî ? rsiin: ^

11646


75/208

67

m i j ujb s?=* J IrJJffl J * ^^# P 6 =0 E , fl Tf -0- r h77 HZf ^ ^*> g E g

Jzfl_ 3 fe sS- * f i 21 a:| j>jgj I M J 1 UPj 1 1 J j i j ffl r i r : 'i O^? ff ^^r i:17 # 5 #5

i iXT

g t>g PI -- IE#=*

i Andante.i i> ] j j ^p jvt j'i hpiee* NNNee ff51.

F.

* J-* * i i 1 J J iii S tePPPP

fe r * fr P i fo p (Tj p pj p p^jj nzzj p W i

r pm * 0-i i i j

PPPP35:

J TT

11646


76/208

68

52F.

Allegretto

*^ P^3 g P ig r p ir^ iint^Es s # * If* ii 5 ma: I *J5IJ.P ^1 *

1^ r-JMjT lT^ I JlJl l f"p^r r -W- = > ^ r "^ 5 i S m m 3F P *^ I? "T Wm5 V j 23E f p yi fert * -n . I'rh* fc* 1 "''cm 6^ js|| il ^ i a s 5kS *1^ fc 1 IS mw&ftsz


77/208

69

is * g i g P9 9? *

^\

* ?p * *S fcz

&titm T"m

4Intervals of Fifths.Sostenuto.

j^ggj*1 -6- M^PT-'^M J ttJJrf J L$

53c. XTE^ TE x+xe x*- TF

S -o~ XE IEXE TO -O-ip u ^J nfr iÛ4^g^PF zz zz: ipîIgpp

I 33: xe -- XE no: xr IEXEXE

TEXE

-- -O- -O-

XE^ XE XE XEXE XE XE- XE1 1 JTr feffi?r JTp^^ ^33 =i22 *-**>*

XEX*- -O- XEXEXE

XEXE

XE XE -O- -O-XTXE- xe XE XEm XE XE XE XE

s^ 17 fc-&0 *+ V* J jffi J {îj :iis

oxirxe

XE

XEXEXE

-O-

XE

~XE

XE3- f-6

-6

Pllb46


78/208

70Andante

lit n mi S ~ Z[73iP lc; 1s 1 ^=5= j J) j J saf? ns - i54.C m j Jw j) i fe# P^P PÎ LTîEJL^riCTiLtfiûr'cJ^

3S =3f

3=!pig

f Tl;: J> j p ^^ i 6-f^ p t j> t i ;^^^Moderato.

#" S&~& l tJ^'^Jj i i ^jijjpiî-jjj ii g d j j a l ^ ^rt 'J teas55.C P


79/208

71

i &:^j * giiBISg j |jSlSgp||gjcIrfe a ^i^3 fa S tekZ3ii^^S *g ^> r ' j s i5^^ 5 @ irf Hp Nettjr'mJ *B Mt 2^ ptrV* 5S^ ^

ifc a f w i g |j| f h5e ir=^ 2Tfc J ail r J*ii ^r-^L^rlT i,^ t IUI IUI i m m m m i m m=a

> :=> ^. "^" "T"* > ~. > ^~cl '^r: "* '


80/208

72

$ i * V^r^" 2* ^H *lW PP _, ~1~ _, JP3 9 P"gHH / J I fe

SP^" *-J^_C ^ -fiM-ijrH tH J 1 i S3pi-# ^^ # #

i J Jr i i i

iIP zr [J- J)IS i5^1m m g *'- *# #

yj J -i-4 l=i=i #J j J = / r *gJH+ J I J- J) Sfei#--

1 S -s-r -- #^j.aai j J i f * #=y *

1IU46


81/208

73

p i* r "jtJ* r i ^ tfJ J r -L- * $ n^ i r'pfgjdiFf f

.v t . i3 1p^ 23f p*

r rr F7

S * SsUNf mmId j J'LElf u.' J'fTT i 'jl!In^^ p ^^I*** mi** V V ^* j *s ^p ' j i j- j>^jnr ggjpj hJ : I J7j1 zz:

g i 1 refill itL'jtEf l jji'rIj

i J ' i^ciXj^ g ^p ^^ o if> I tfj'jf^ 1 &

D. C. aI Fine.

~&-

4v m m3 ^rrfrW=z$ *-"-*-

tit

5p : H't l' iY

:pPa^ ~C? 2:D. C. ul Fine.11646


82/208

74

IIntervals of Sixths.Andante.E *T*** *tz wW0$

57.c.

=zm THE Hm P 1 I

ft 3 I23: "3 IE HEUi i ec * ^rJTOJj51! iV

(25 26h

* l: o3 HETT

I; ig J gg| zz: :zz ^S fc ?-## *=?^ 3D:

^ -o-ir 3E IE *11646


83/208

75

^tj. J i j^^lBf ^ 3d" f zm2 2:-#=0 2: :s

3T* Cs^ TT~ IE

Allegretto

|m 1^3 J==l I I58.F.

9 w

mm ^ sI fc #=** # ^,*** m

*=*mm.mm i

s r r i i P-

tE|! i wm wm mm3E ^11646


84/208

76 Moderato.itF^Ff ftpp .yr " cjir ' r a *i t j'k=3# ^9.Bb. f^ k #^ =F^ 3= ^ *=r r * *r T

t ^pp * # tempo& -*-ZF JSrail.i F=* gB ^^g^T * a tempo m^p^z/ /

^fc .-/p J =3=;i 1 5! 3 ^ 3E^ f e Hifiii i f f î i5 ^ Î*K-m rgw^ zz: Cîr i-8 >i^ ^ -V .yMi pN#^ i t TT * f*s* fe

I *fcfe^ ^=^= 22: ~^- //r* *r=.V s s $Jc I

N' J t t$f

5E

Si^Q:*=**E

*1 *2:

f i

11646


85/208

77

SV. *%^* * =9= J uJ J W^=5o

$ w ks 3E i O^ **! %% 9ag ^ k kp r / t r=FIF- Jff f

t 51 flJ i rfl i rVp1 1 Y-m> 2uJiiBEp ^ # m9

^=4 i^ i tas # # #^#i=f *=* zzz: ZFb H

!e= Z2I* ^J J LLP*-=-e-=-

iEEt * (3& i r0- I Ib

b s^cfeF

Iezz:

b^ r- r i rfr JmLLTHlffl ^F5511646

# 1-

d

kg1Jy=

o5= i4- i-a-

b :1=1 i

p

-6-


86/208

78

Intervals of Sevenths.Sostenuto.

*J "J JbJ J it

#60.c.

a ^ BE 2? ff=zaa: s-* 22: ^TJJ^i p is ill*E* ijJK"*^

$i^i W=1 7i - 42_z: a: 9-

:a: 9- E

fep=fP^^S35 te | || JbT] EJjjgft$ ZEE -O-1* r f r^


87/208

79

B j I {17 CNv < e C^J,1

Oir r e

t 32*Ov

Andante ij hp r i i T ;5azeeJ#S ^ *mmi J 5*61F. Hi 5^^ i=^sees E^ i fe tem t=J= i i ^f^^^ n: f ^ rr z JE r i tmPi ^^ i e i=i d ^1ELP * j i'm* 3EE

^^fe

^P ^SPIS

gEgE :3EE

S oEE11646


88/208

Andante

11646


89/208

s 81S^i r

-o- S PSi i i i

*="nj~rS

4 1: P^E^= P.1 Ifffe

I

J- ^J"^r*9 9

j ; '

I* S r tr'tJPf *5>-;*p^ li * t J3J73 JlJ73i*-Iff I ^F *** Hfc Wae s ^ IBF* m? S^ Pg3SS a J:rr ii3 kW ui* m m#1 *J *i J *

/Y///.

/). C. daI %


90/208

82Intervals of Octaves.Moderate > s ^ 5

m LinirjjfrJaji;* sS: BE o-s^ JJZ jxs ax:

AndanteE f S ? ^ m r r e V *I ^^4.c. ^=f * eeSe3 5 *m 1 i J i 3=g=i=EE3 S3f s 2 s; rcx^^ oppî

;#i i i

7 li l têês;r i r i

11646

* J 31 J

i3E


91/208

83

Allegro

i ^E=S 65.E.pmrta i

$x *

zx iE^^=

j i J V'fX *

**x

Ila r i fir PHP s: x=y*.fij*Pill

Wv% i '^m rr. i i ^ J7-g g -J-Jrg~-


92/208

84

M a tempoS fit Wl>^. 1^iQ ^i* * *? #^#H i=:*H=="== 55f t,jsji;^j3, F^tt 44 M insmiM#= 5=H=^ *:f - E fe3 -^#-_m ** f tUt m j rs l># : 1ZjC -7-= r*rWp i y t ip -ry*=^ft&1 n


93/208

85

t& iSi j j j

it

zzz: ^^^=553? I.*f T * ^ si it j T=r ^ fefc^:!^?^^;P a.th pn f-J.farir^rr mm 3;- 1* ^fatam Vj'UF tS* I16^m w^ fir2 &E J^ & * m?=^.-* S h:

if

p JjfrEBrtLUf ' IHH^PiHtfff g jrcSr-rr^in * s ^ i35ft m m Si tttSB m^ 3E J

I

^J-rf> )f $r j 1 j f i.j,f J i j t |i'jr , j iii irj\^ii'i 1j jHft J I I J

a*PPUJ> 8 I I \i^ H1 ? t *

j 'ijj 1 ji 4 j iw # # fl rf

3^

3=11646


94/208

86

TENTH LESSON.The Crescendo and Decrescendo.

After the foregoing lessons on the regular andphonetic order of the tones of the vocal scale, weshall take up the analytical study of the natural condi-tions of vocal expansion and elasticity.

It consists mainly of the gradations in the inten-sity of the tones, namely, the forte, me^o-forte andpiano; it also treats of the crescendo and decrescendo,these being the gradations by which we arrive at theinflections required by emotion.

But exaggeration of expression, and inexperiencein art, may lead the pupil to produce the crescendo byincreasing the pressure of air, or even by constrainingthe respiration. This violent manner of augmentingtonal intensity generally produces a harsh, shrill toneand even false intonation, in fortissimo effects. Onreturning to the piano, i.e., by a decrescendo, he runsthe risk of interrupting the continuity of tone, or,should no break occur, he will find difficulty in re-straining the vibrations of the tone itself, on accountof the considerable constriction he must exert on thevocal tube.

This effort, opposed to the very nature of thevocal organs, would be highly prejudicial to the vocaltones, and prevent the production of the shades re-quired for expression. We have shown the in-conveniences of misunderstanding the causes whichdetermine the acoustic effects of the crescendo anddecrescendo; let us now examine these causes. Weknow that the commotion produced in the air by the(regular) vibration of an elastic, solid, or gaseousbody, reaches our ear in the form of a tone ; that thenumber of vibrations determines its pitch, while theiramplitude, together with the causes that provoke con-cussion, determine its intensity. We have learnedthat the human voice acts by the aid of the air, which,forced from the lungs, passes the slit between thevocal cords; and that these latter, thus set in vibration,produce the vocal tone.The voice is reinforced in the oral cavity and

pharynx, they constituting the adjustable resonance-chamber of the vocal organ.

In Lesson V we spoke of the movements of thelips and tongue, of the soft palate, and of the pharynx,which modify the timbres of the voice, thus forminga number of different vowels ; the production of thesedifferent timbres results from displacing the harmon-ics composing the vocal tone, and this phenomenondetermines the resonance of the tone towards a higheror a lower note, according to the direction one wishesto give to its resonance ('). Thus the numerousvocal timbres are produced, which characterize the ex-pression and produce the intermediate shades properto the piano, me^o-forte, and forte, which constitutein great part expressive singing.

The resonance of the vocal tone has the propertyof reinforcing one or another of the tones proper tothe vocal cords ; so that this resonance can assume ahigher or lower pitch without at all affecting the pitchof the tone then in vibration.

Tyndall says that the promptness and accuracywith which the vocal cords can change their tension,their form and the distance which separates them, towhich must be added the elective resonance of thecavity of the mouth, render the voice the most per-fect of musical instruments.

The intensity of the air passing the glottis, tocause the vibration of the vocal tone, must correspond

(i) The nature of the vocal tone is complex; i.e., it is composedof various simple tones which vary in pitch, and, when added to-gether, constitute the tone called fundamental, i.e., the lowest andloudest, from which the tone takes its name. This tone is accom-panied by a series of others higher in pitch, which, when united,form the timbre. If we attentively listen to a thick violoncello-string set in vibration, we notice, besides the fundamental tone of thestring, a series of tones higher and fainter. These are called partialtones, or harmonics. They include the octave above the fundamental, the 5th ofthe octave, the 2nd ocUve above, the major thirdof the second octave, etc., etc.


95/208

with the sum of the qualities mentioned by Tyndall;otherwise the various degrees of fullness of the toneitself could not remain homogeneous, and both flexi-bility and intonation would suffer extremely.

This phenomenon can be explained by a simpleexperiment: Take a pitch-pipe with a reed, blowmoderately into the mouth-piece, and the pipe at oncegives the tone; continuing the tone, decrease thepressure of the breath, and the sound will decrease inintensity, producing the decrescendo; but, if at thesame time you diminish the degrees of the intensity ofthe air, the tone becomes lower. If you increasethem too much you will have the contrary effect;and if you still persist in increasing, the pitch-pipeceases to sound.

This proves that when matter is set in motion, itis subject to some special economic laws from whichit cannot depart.

The vocal cords are in nearly the same conditionas the reed of the pitch-pipe, as regards the pressureand intensity of the air setting them in vibration ; it isfor this reason that the air expelled from the lungsvibrates in unison with that in the mouth. The vocalcords form, as it were, a reed which, associating itsvibrations with those of the air in the mouth, pro-duces in this sonorous tube the reinforcement of thevibrating tone.

In Lesson VI, speaking of the formation of thevowels, we learned that the air in the mouth vibratesin conformity with the several shapes given to thelatter.

These adjustments of the oral cavity reinforcethe fundamental tone or any harmonic. Thus it isthat the human voice can produce, at the same time,the fundamental tone, and the harmonics in diverseproportions.

The tone is that quality of sound derived from itsdegree of gravity or acuteness ; both depend on thenumber of vibrations made in a given time. The in-tensity of the sound (which we must not confoundwith the tone) depends above all on the amplitude ofits vibrations and on the causes which determine theinitial shock, and not on the number of vibrations.The progressive weakening of the intensity of thevocal sound does not imply a lowering of the tone;because, though their amplitude changes, the number

of the vibrations does not, as long as the conditions ofthe shock remain the same ; consequently forte andpiano depend on the resonance or the displacement of

delle sedie-belcanto tecnique

Documents