ELEMS.VOCNAV.

Schirmer’s Library of Musical
Classics
G A ETA NO NAV A
ELEMENTS OF
V O CAL 1 ZA Tl O N
YOUNG BEGINNERS
TWELVE LESSONS
COWTA1N1NG
4 PROGRESSIV E EXERCISE.S AND }
IN TWO
VOL. I.
MOL. II.
CADENCES
YOLUMES
PRELIMINA RY REM AR KS AN D
L LEMENTA RY L XE RCISES
MBELLISHM ENTS
N E ¥V YO R K : G. SC H IR M ER
BOS TO S ‘ BOSTON M USI C C0.
INDEX.
VOL. 1.
PRELIMINARY REMARKS.
On Vocalization
On the Parts Constituting the Vocal Organ
On the Female Voice in PartiCLtlilf
On the Different Registers of the Several Voices
On the Chest-tones
On the Falsetto Tones
On the Head-tones
On the Contralto Voice
On the Mezzo-soprano Voice
On the Soprano Voice
On Blending the Different Registers
On the Good and Bad Qualities of the Voice
On the Possible Way of Correcting some Bad or Faulty Voices
On Respiration
On Intonation
On the Attitude of the Person while Singing
On the Proper Mode of Exercising and Preserving the Voice
EXERCISES.
I. Exercises on the Messa Jr’ voce
II. On the Vibration of the Voice
Exercises for Attacking and Leaving the Sound with Prompt
and Pure Intonation
IV. On the Portamento
V. On Scales
VI.
VII.
VIII.
IX.
X.
XI.
XII.
13401
VOL. 11.
On Vocal Embellishments
On the Appoggiatura
On the Acciaccatura
On the Mordent
On the Turn
On the Trill
On the Half-trill
On the Semitonic or Chromatic Scales
Exercises on Triplets
On Detached Notes, and staccati and smor ali Tones
On the Arpeggio
Exercises on Reiterated Notes, and on Gorgheggi of Various
Kinds
On the Free Cadence, or Hold
„„
3
4
4
4
4
F
5
5
S
5
6
6
6
y
y
2
9
12
i6
9
2I
39
46
§O
*4
68
79
PRELIMINARY REMARKS.
ELEMENTS OF VOCALIZATION.
On Vocalization.
HE mechanical part of the art of singing
is acquired almost entirely by means of
exercises in vocalization, which exercises consist in singing a given Solfeggio, using merely
the vowels. This is the on ly way of developing the voice, and of rendering it flexible and
ready for all the material difficulties of singing. The practice of this kind of Solfeggio
must be preceded by some preparatory exercises, in order to acquire the art of increasing
and diminishing the voice at pleasure, of
emitting the voice f ull and broad, of well
regulating the respiration, of passing from
one register to another without a break, of
carrying the voice, of connecting the tones,
swelling them, diminishing the same tone
with an insensible grad ation, of detaching
them, and, lastly, the art of executing all the
ornaments of singing with grace, lightness,
and precision. This is the essential aim of
the exercises which are proposed here, for
young beg’i nners ; and to these exercises they
must, therefore, devote their selves without
delay, but only when the vocal organ is fully
developed, and when, by an elementary study
of Solfeggio, they have acquired the capacity
of taking every interval with precision, and
of reading mu sic with faciIity.
However, I have thouglit it best to place before
these practical exercises sore e indis- pensable
hints about the vocal organ, the proper method
of treating it, etc., etc., so that the reader may
learn all the importance of an
T
have given only those most necessary, and in
themselves sufficient to develop a beautiful
agility of voice, as well as to prepare the voice for
execu ting all other ordinary difficulties of
singing. Besides, the maxim can never be
sufficiently inn pressed, that the gorgheggi the
isolate, the frifZi, and the most com plicated
passages of l›ravura, are not the ruby means of
producing effect, as merely mechanical, be cause
the most important part of singing consists in
something that cannot be explained by rules : it
consists in imparting to it anima- tion (passion),
in characterizing it in such a way that it may
produce the righ t expressio n, in depicting
various feelings. This requires a rich phantasy, a
free and active imagination, strong feeling, and
the deepest penetration of a given i ale, in order
that such a rñ/z may be rendered with all the mod
ifications of vrhich it is susceptible, and may
touch the heart of the audience.
On the Parts Constituting tne Vocal Organ.
Among the instruments capable of producing tones variously modulated, the hu man
voice is certainly the most perfect. To pos- sess
a pleasing, melod ious, expressive voice fit for
singing, is a precious gift of Nat ure ; and
although this gift cannot be acquired by art and
study, yet art and study can greatly im- prove a
mediocre voice ; they may, a1so, cause serious
deterioration, when badly directed. The beau ty
of the voice depends upon the perfection of all
those parts that constitute the vocal apparatus.
The vocal apparatus consists of a cylindrical
tube which, beginning at the rear of the mou th,
ends in the Inn gs,
instrument, which, without doubt, is the most
and is called the loyrries
its upper ex-
noble of all instruments, and may also know ho
w to preserve it against any disorder as far as
possible. Therefore, in these exercises, I
tremity is called the larynx, and is formed of
various cartilages. The two upper edges of the
larynx are covered with two ligaments,
cal!ed the vocal cords. These form some- thing
like two lips, with an oval opening called the
gZo//ii and over this lies a cartilage called the
cpigloffi’s, which closes it. It is be- yond all
doubt, that the essential organ of the voice is the
larynx, through whose opening, the glottis,
passes the air compressed by the lungs ; thence
result the formation and the modification of the
tones. To the further modifi cation of the voice
also contribute the uruZa and the tonsils. The
tongue, the teeth, the pharynx, the lips, an d the
nasal cavities contribute to the sounding of the
voice, in dependence on the lun gs, which, as
agents of breathing, have an influence on the
duration and on the intensity of the sound. The
development of the lary nx is not complete before
the period of pu berty, and in temperate climates
begins, as a rule, at the twelfth or thirteenth year
of age in females, and ter- minates with the
twentieth year. When this period begins, it is
sometimes necessary to suspend vocal exercise,
because for some time the voice is incapable of
modulation.
Therefore, not before the period of puberty,
nay, only when all the air-passages—the lungs,
the trachea, the larynx—are com pletely developed, is the proper time for endeavoring to
train the voice. The vocal organ would be
exposed to great d anger if, before reaching
puberty, one should try to give to the voice
power and extension. Consequently, during the
period of early youth, it will be preferable to
limit oneself to correcting the principal faults
in the emission of tones and in the articulation
of words.
On the Female Voice in Particular.
The female voice, ascending from the grace
notes to the acute notes, is divided into three
classes: ontralfo, mezzo soprano and soprano.
These th ree classes, taken together, embrace the
compass of two octaves and a half, count- ing
from F grave to C acute in the treble clef.
Each of these voices has its individual com pass,
whose tones are classified as grave, tncdium, and
aru/r. The grave tones are majestic ; the medium,
of blended effect ; and the acute, lively and
brilliant-
The possession of one kind of voice rather than
another depends upon the aperture of the
larynx, i. e., upon the glottis, whose dimen- sions
correspond to the different kinds of voice.
They differ according to sex and age ; the glottis
of a woman being smaller than the glottis of an
adult man by about one-third.
On the Different Registers of the Several Voices.
The tones forming the series peculiar to
each species of voice, are not all of one and
the same color. A practised ear, with a little
attention, soon notices the difference existing
between different groups of tones in one and
the same voice, consisting in a diverse mode
of resonance. Some tones are formed with
open sonority ; others are more subdued : and
others are piercing, almost strident. On this
is based the classification as chest-tones, falset to tones, and head-tones.
On the Chest-tones.
Chest-tones are those which are derix-edf
rom the simple action of the larynx, which, graduall
y rising in the emission of a given number of
tones, pushes the glottis, and com- pels it to open
itself at last, near the isthmus of the throat. The
voice in this register is penetrating and metallic
; but the highest tones have little volume, owing
to the extreme contraction of the vocal tube. The
contralto voice is that which comprises most
chest- tones, as we shall see further on.
On the Falsetto Tones.
The falsetto tones follow im madiately after the
chest-tones ; when the larynx can rise no higher,
the larynx comes to place itself con- veniently at
a lower point, wherefore the throat being able
to extend itself freely, the wid th of the vocal tube
is increased, and there- fore one can modulate a
given nu mber of medium tones (especially in
soprano and mezz o-soprano voices), which
mediu m tones are accordingly called blended,
and serve as a bridge between the chest-tones
and the still higher head-/anri. The to nes thus
modi- fied, although more or less obscure,
acquire an extraordinary volume, and are
highly advantageous to dramatic accentuation.
L s J
On the Head-tones,
The nostrils or nasal cavities are two large
cavities (separated by a thin partition), whose
rather wide posterior openings lead to the
pharynx, and augment the vocal tube when they
remain uncovered through the contrac- tion of
the rr/Z of the palate. By sk ilfu lly directing the
sound of the acute tones towards these cavities, a
certain resonance is created, which gives to the
voice great intensity. The tones thus obtained are
those called head-tories. This register may be
called a continuation of the preceding falsetto,
extended to the acute tones t hrough the access of
the sound to the nasal cavities, as indicated above.
On the Contralto Voice.
This is the lowest of the female voices. Its
speciality consists in the wide range of chesttones of which it is naturally susceptible, by
reason of the greater expansion of the
*Call/i as com pared with that of the soprano. The
compass and division of the contralto voice
may be seen in the following scale:
The contralto voice has an expressive and
virile character, which thrills and captivates the
hearers ; in concerted pieces especially it is of
astounding eflect. But it may be observed here
that it is not always easy to train this kind of
voice, especially in girls who have not yet
reached the age of puberty; the less evil consists
in not compelling them to emit chest-tones,
unless they are absolutely spontaneous,
otherwise the larynx is forced to rise ex
cessively. Besides, only a throaty, harsh tone
could be obtained, and grave harm would be
done to the natural development of the vocal
organ. Moreover, one note more or one note less
in a given register does not at all alter the
speciality of the voice.
On tke Mezzo-soprano Voice.
The mezzo-soprano voice is that which,
embracing a middle compass between soprano
and contralto, participates in the quality of
both in the gran and arofr notes.
The com
pass and the peculiarities of the mezzo
soprano voice are seen in the following scale
3fediuin com;fnss the best)•
To avoid repetition concerning the action of
the vocal organ in the emission of tones, we
shall always refer to what we have said above
when speaking of the parts that con- stitute the
vocal organ and the different registers,
recommend ing to young beginners to observe
these rules strictly in their daily exercises.
On the Soprano Voice.
The soprano voice, accord ing to the general
classification of human voices, is the most acute.
It extends, generally speaking, from I ower C
to acute C in the treble clef, and is divided in the
following manner :
Observe here that some soprano voices—
especially the most acute—very often do not
possess any tones in the r/iei/-rr&ii/r -. \Vhen
this deficiency, which is caused by the narrowness of the glottis, is manifested, no notice
need be taken of it, and no strain must be
caused to force the larynx to form such tones ,
a better method to obtain the pi oposed end
being, in this case, to apply the same tern perament with which is rendered possible the
emission of the medium tones—that is, the socalled falsetto or closed tones.
However,
though the tones thus obtained may be ex
tremely obscure, especially in the grorr tones
C, D and E, they can be rendered voluminous
and expressive enough with practice.
On Blending the Different Registers.
Evenness of tone through the entire com- pass,
(rom the gravc to the aro/e, is, withou t doubt, an
enviable quality. Some voices have it by nature
; but others, although beautiful, resonant, and of
wide compass, have the faul
6 j
of a too perceptible break between the different registers. This fault cannot be corrected
otherwise than by the sacrifi ce of some tone at
the extremity of that register which is difficult
to be blended with the next one. For instance,
let us su ppose that a contralto may find rapidly
running the voice through its full compass
difficu It, because, when reach- ing the note A or
B flat, the chest-voice finds it hard to proceed,
owing to na eeting the falsetto,- or, still
continuing, a difference is noticed as if another
voice should be sub- stituted. Well, then, let this
contralto try to anticipate, on th e note A or B
flat, the change of register, and the obstacle (if
not at once, at least after persevering practice)
will finally disappear. This substitution does
no harm to the beauty of the voice, and z ill
also prove o I great advantage in singing raiifablle
espe- cially between two neighboring tones of
different registers. The same rule may be
applied to every sort of voice.
On the Good and Bad Qualities of the Voice.
A good voice is clear, reson ant, full, tuneful,
easy, flexible, even, soft, of wide range ; in short,
a voice which unites sweetness wit h power. On
the contrary, a voice is called bad which is
feeble, thin, strident, nasal, throaty, out of tune,
hoarse, veiled, etc. In this last case, however,
when the veiled tones are strong enough to fill
any large place, owing to the affiriity they
possess with the usual manner of expressing
certain senti- ments, they please, delight, and
captivate the human heart with their admirable
quality— being never harsh, never s tridulous.
This exception, however, refers only to female
voices, owing to the speciality of their com- pass.
On the Possible Way of Correcting some Bad or
Faulty Voices.
Without entering into a tedious enumeration of faulty voices, we will speak only of the
most common and frequent, pointing out the
corresponding remedy, which may at least be of
some help to those who study singing only for
pleasure and as a pastime, although it may
also bring advantage in more import- ant cases.
A voice which is harsh and stridu lous needs to
be sweetened and purified. To succeed, the
voice m ust be controlled or retained within that
limit or deyree which is propor- tioned to the age
and to the power of the singer, and at the same
tim e calculated to produce the sweet effect to be
expected from good execution. This result may
be obtained by continued practice of ml/eg gi“ and
vocali’z•i on notes of easy medium range, to
which af terivards can be added, at the proper
time, the grave and acute tones proper to each
voice, alwa ys keeping in view the blending of all
the registers. Therefore, it is only by placing
and equaliz ing the voice that its harshness and
strid uIous quality can be cor- rected, and the
singer obtain a pleasing and sure execution,
with hope of still further improveme nt.
A voice limited in compass, and rather weak,
is somewhat at a disadvantage, because it can
be efficient only in small rooms. Only study—
logical, and well directed—can correct it, giving
to it those helps which can render it richer
and stronger. Practice of iaZ/rggz m ust be
mod ified as above, and limited to the actual range
ot the voice ; and, at last, the voice will acqu ire
poz'er and sonority. These obtained, it z•ill be
proper to try to extend the upward compass of
the voice, with the application of the heart'req•i“sIer, without pre- tending to succeed all at
once, but gradually, with moderation and
perseverance. By this method, a volume of voice
has often been obtained that before it seemed
hopeless to try to obtain.
On Respiration.
Respiration takes place in the lungs, through
their expansion and contraction. The emission
of air is called expiration.
The art of taking
breath, and economic ing it so that the laryn x
may be at any time su fficiently supplied to
render the sound full and round, is of the
greatest importance for the vocalist. Inspiration
may be effected in two different ways : long,
when one has time to make it with ease ;
short, when one is compelled to take breath at a
propitious moment of a phrase where there is
no rest. Whatever may be the quantity of breath
one possesses, on•
must know how to employ it in the formation
of the tones, and in their combination and
gradation. As the grave tones require much
breath, one must learn how to husband it dun
ng their emission, in order that it be not
exhausted in the course of their duration. Tones
less grave allow the em ployment of more
breath in the act of their vibration. The
respiration must also be considered as the
punctuation of musical speech ; therefore it is
necessary to know how to discern those places
most opportune to take brea'.h at with- out
interrupting the melodic phrase. The use of
the short or half-respiration is to be com
mended, and will help when one has not a long
breath.
In such a case, breath may be
s!ti1lfully taken in some less important part of
the phrase, on any weak beat of the measure, or
after a very small fraction of a strong beat,
and always so that the breath may su pply to the
voice a fi tting degree of intensity, and not give out
before the con- clusion of the phrase. It is
impossible to sing well, u nless one breathes
with perfect art.
On Intonation.
Next to the respiration, one of the most inn
portant elements of singing is, without doubt, the
intonation —that is, the degree of voice properly
and precisely suited to every sound, whether
combined or detached ; for there is nothing so
unpleasant in music as false intonation. First of
all, one must never force the voice—for instance,
by singing on notes too high or too low— but
must al ways use only those notes that can be
taken easily.
\Vith this maxim, breathing it the right time,
and having practised the intervals, which are
the elements of every melody, one is certai
to intone rightly ; it being well understood
that one must possess a good musical ear, this
being the principal requisite in order to sing
with just and perfect intonation.
On the Attitude of the Person when Singing.
The vocalist must, in general, adopt a
dignified attitude of tne body, avoiding whatever is ungraceful, or any affected movement,
which is noticed only in those of little educationand less taste. Therefore, the singer,
with the further object of rendering the emission of the voice moi-e free and easy, must, to
begin with, hold the head erect, without making
any unsuitable motion with the shoulders, the
arms, or any other part of the body. A graceful
attitude must be preserved, the singer standing,
in order that the voice may be more easily
emitted, especially during the lesson ; the
attention is not to be dis- tracted by the effort of
trying the voice before others.
On the Mode of Opening the Mouth in Singing.
The mouth is the part of the vocal tube which
acts in articulation ; therefore, the opening of the
mouth should always corre- spond to the
natural s‹ und of each vowel. Here we must
observe,
that
opening
the mouth
immoderately, as some modern teachers
require from their pupils, is apt to cause the
voice to be throaty ; besides, the jaws being too
much stretched, diminish in consequence that
flex ibility necessary to give the voice its natural
sonority, and the result will be a voice at once
stifled, harsh, and heavy.
On the Proper Mode of Exercising and Preserving
the Voice.
It is a maxim, that the preservation of the
voice, like that of health in general, requires a
re’gi’iiie both regular and moderate. Some
special rules f ollow.
First, a voice, however fine and good, may
deteriorate when forced beyond proper limits.
To express our idea more clearly we add, that
this forcing does not alone co.isist in compelling the voice to render at will that stronger
degree of intensity of which the lu ngs are
capable, but, more especially, in com pelling the
voice to ascend to an u nnatural register— for
instance, when the chest-tones are pushed
above the limit. In this case, the forcing may
do great harm, not only to the beauty of the
voice, but even to the health—as happens
sometimes, unfortunately, through the carelessness of some masters. Even regulc r exercise of the voice must be pursued with
moderation ; because a singer who practises
without judgment for several consecutive
hours, until the voice gets tired, will find
himself com pelled to interrupt his practice for
[ 8 ]
some time. Therefore, daily
practice must
sleep, because the voice is
then more or lessnot last longer
than about two hours, well
hoarse ; therefore it will
be wise to let a chosen and
distributed.
By this
means the
couple of
hours pass before beginning vocal
vocal organ may, in a short
time, acquire
exercise,
during which interval the stomach
remarkable strength and endurat›ce.
may be stayed with a light
meal.To singThe stomach is as
essential to the vocalist in the
open air, to dance, to run, to
falk as the larynx and the
lungs.One cannot
loudly
and excitedly, to read in a loud
voice,sing without deep respiration,
and one cannot
etc.—all
these things may cause an
alteration breathe without eating
to repair the losses
in the
vocal organs.
So, also,
immoderatecaused by exertion.
Thus we conclude, that
laughter soon produces
great exhaustion of the singer must
be careful to live well, because
the larynx, and greatly
dries the throat.on insufficiency of
nutrition, more than on exTherefore it would be
unwise, just before cessive exercise
of the voice, may depend the
singing, to abandon
oneself to mad merri-loss of the
voice, and, worse still, the decay
ofment. But to proceed: It will be
necessaryhealth.
Therefore,
the singer must seek
for the singer to leave to
all parts of theproper nourishment
in animal food, rather
thorax perfect freedom of
action, which isthan in vegetable,
and the moderate use of
especially to be
recommended to females generous
and pure wine must not be withheld
;who, notwithstanding the numerous
diatribes but one should abstain from
spirits, which exerlaunched
against stays and bodices, obslicise a fatal effect on the vocal cords.
One nately continue compressing
their waists in tnust not sing during
the time of digestion, these narrow
prisons, following a senseless and
because it would interrupt its
progress ; most barbarous fashion.
It is evident that besides, great
disorder would be caused in the
action of the lungs will meet, in too
tight a the circulation ; to say the
least, one would dress, with
resistance to the easy introduction
•<nd by singing out of tune. As a
general of air, and to the wellregulated emission rule, it is best not
to sing before two hours of it, so
that in rapid inspiration the air
have elapsed after each principal
meal.
On
introduced will be
insufficient, and at expira- the other
hand, there is no great inconvenience
tion the stays will act so as to
precipitate in eating after having
sung ; however, it is its movement.
These considerations, very better to
allow the system a few moments'
serious from an artistic poin t of
view, are rest. One must not sing on
an empty stomach,
much more
important from that of the ores- or
immediately after awaking from the
night’s ervation of health.
9
Lesson I.
Exercises on the 3/rssa Yi ro rr .
The Messa di voce is indicated by the sign » set over a note of long duration,v ich signifies
th:it such note must be cornmenced or intoned planissirt , then swelled gradually to the utmost
forte, and then gra,dua113• dimini*hed to the former pianissinto, finally leavinJ it promptly on
the beat. By such exercise the art of taking breath and of economizing it are required, so that there
may be suffi üiont to hold and color the sound, both of which are of the gre‹itest importance
in singing.
Sut!h an exercise, like every other, must, however, be male with moderation, in order not to
fiitigue the chest at the outset, and incur the risk of losing the voice entirely.
Yoice.
13401
IO
The same Exercise in Eå.
Largo assai sostenuto.
13401
The same Exercise in G.
I
I
’”
Lesson II.
0n the vibrati on of the Voice.
The vibration of the voice rons is ts in that portion of the messa di zoce whivh passor by this other A which is placed
es from forte to piatio. It is indicated by the sign
over or ttnder the note to be accented. Its degree of power mtist be always in rapport
with the color of the musical phrase, and in every case without imparting to the chest
a jerk or violent action.
Exercises on tones d iminished from ports to piano.
Larg‘o.
Vibration of the voice, or accent, on the firs4 of two notes slurred I ogether.
Yibration of the voice, or accent, on the first of four notes slurred together.
Moderato.
^*
6.
'
u
**
In D.
In Eb.
The vibration of voice serves as an accent on those notes which, in the melody, pass
as Appoggiature.
1.
’l“he Viiiration of voice is the indispensable accent in syncopation .
Andante mosso.
9.
In the following exercise the singer must take breath at the places indicated by the comma ' .
lO.
L esc• on III.
Exercises for attacking and leaving the tone with free and pure intonation.
To atta ck tire tone means to i7i/oiie if, to emit the A•O1Ce, v’1iic’li must be done with free dom and purity on any interval, whether in y zhn o or forte, without dragging it, and in sur'h
.i manner that the tone m;ty be neither guttural nor nasal.
ñloderato.
11.
In the following exercise, attention must be paid to the alternating p2ano and /orfe.
And ante.
12.
Exercise as above.
13.
Exercise as above, and alternation of
forte and
iñiio on the some phrase repeated .
Andante .
14.
'
Exercise on tones struck or sounded with g raduated augmentation of strength, without detaching them .
"
c,
13 401
o
c
oc
Exercise on tones sounded with strength diminishing to the pi’an1ssvro, » ithout detach-
ing them. *1
»
fl
t340t
›•T•
L esson IY.
On the legato and portartento.
The portamenfo, oz oarryi’ng of the voice, is a mode of singing opposed to the stac - ccfo
(deta‹ hed) . It is of two different kinds. One consists in connecting or smoot h ly binding all
the tones thiit com)iose a given phr:i se; this is p• i er13• called s ing i n p lrgato as in the
followinfr example.
Andante espressivo.
This leg ato style is that generally employed in sing ing, yet alu'ays without rif
f’et‘tation or grimace, in order thnt the singer miiy not appear ridit:ulous or ted ioti s ;
the well - trained singer should never dev iate f’rom the rule of bind ing tlegare9 'and
i‘arrying (portare) the voice, excer
i n those ‹:ases where the contra.r3• is expressly
indicated .
The other kind of porfe»ieafo takes place only between tn•o con.junct or disjunct notes,
ash:eiiding or descending, and, in most instances, in tempo sostentito. It is produced b3• antieipatir›g on the first tom, as it were, the sound of the f’ollowinp, drapying ox•er it light - ly
the voice u'ith a rapid inflection, as if it should pass through ::n iridef’inite number of intervals
:ilmost imperceptible to the ear.
To explain this more charly, an exa Fle follows:
Model.
Execution.
Exercises on the porlamento.
Another exercise on binding and c arrying the voice.
Larghetto.
19.
”
L e s s o n Y.
On the Scales .
Practice on the diatonie scales in major and minor, is of the greatest importance,es- pecially
for the purpose of acquiring agility. In order to obtain pure intonation, especial- ly on certain
difficult degrees, it will be of great benefit to study some preliminary exer- cises on divers
degrees of these scales, beginning on three conjunct notes, then on four, five, etc., arriving at
the octave; or even beyond, as may be seen below.
Major Scales.
Exercise on three conjunct notes.
âloderato.
Cc
mv
13401
-m.
.
-
Exercise on four conjunct notes.
âloderato.
(Always legs/r and accented as before .)
“
ñloderato.
22.
{3401
Exercise on five conjunct notes .
23
Sloderato.
Exercise on six conjunct notes.
24
Exercise on seven conjunct notes.
Jiloderato.
(With only one breath.)
24.
In DF major.
In D major.
In EF major.
In E major.
1.140J
In F major.
In Gb major.
In G major.
In Ab major.
In A major.
In Bb major.
(340í
26
Complete scale ascending and descending, up to the sixth degree.
ñloderato.
(With only one breath.)
27
ri
lit40i
Scales exceeding the octave .
38
'I'o the ninth.
Moderato.
26.
.
The same scale ascending and descending.
27.
f34OJ
To the tenth.
Dl(iderato.
The same scale ascending and descending.
Moderato.
Moderato.
30.
To the eleventh.
The same scale ascending and descending.
Moderato.
To the twelfth.
âloderato.
3i?.
l340j
32
The same scale ascending and descending in different keys.
In Eb major.
»
—
Portamento, and vibration on the first note of the descending scale.
âloderato.
34.
In
13401
Db maj or.
Moderato.
Nb
...
..
34
35
Moderato.
36.
37.
86
To the ninth.
âloderato.
37
To the tenth.
Moderato.
40.
t340l
To the eleventh.
3ß
àloderato.
To the twelfth.
To the thirteenth.
Schirmer s l ibrary of ?r1usical
G 4 E T 4 NO N 4 ¥ A
ELE¥ENTS OF
V O CAL 1 ZA TI O N
YOUNG BEGINNERS
TWELVE LESSONS
GONTAININ G
ii
P ROGft ESSI VE EXERCISE.S ANIN 3 § EA DENCES
IN TWO VO EUMES
VOL. I.
PRELIMI N A RY REIfl AR KS AND
NETVYORK: G SC1ERMEB
i8n;
IND EX.
VOL. I
PR ELIMHA RY R EMARKS.
„,
On Vocaliz tion
On the Piirts Constituting the Vocal Organ
On the Fem‹ile Voice in Particular
On the Different Registers of the Several Voices
On the Chest-tones
On the Falsetto Tones
On the Head-tones
O+ the Contralto Voice
On the Mezzo-soprano Voice
On the Soprano Voice
On Blending the Different Registers
On the Good and Bad Q_uaIities of the Voice
On the Possible Way of Correcting some Bad or Faulty Voic es
On Respiration
On Intonation
On the Attitude of the Person while 5inging
On the Proper Mode of Exercising and I°reser ving the Voice
EXT ECISES.
1. Exercises on the Mes sa ‹ll voce
II. On the Vibration of the Voice
III. Exercises for Attacking :inr1 heaving the Souncl with l°ronipl
and Prii‘e I ntonation
IV. On the Portamento
V. On Scales
4
4
4
4
7
i6
i9
VI. On Voc.t 1 Embellisla i4aents
O n tlac Appoggiatur.i
On the Acciaccatur:i
On the Mordent
On thc Turn
On the Trill
VII.
Vlll.
IX.
X.
X|.
XI I.
1340J
On the Half-trill
On the Scmitonic or Chromatic Scales
Exercises on Triplets
On Detached Notes, and s/errc/i and smor mli Tones
On the Arpeggio
Exercises on Reiterated Notes, and on Gorghegg‘i oL Various
Kinds
On the Free Cadence, or Hold
J9
o
5o
7°
79
Lesson VI.
On Vocal Embellishments.
The principal emb8llishments of the melody are the Appoggiatura, the Nrezhccab‹ra, the Mordent, the f’urn, and the 7’riff.
On the Appoggiatura.
The appoggiatura is a small note, in most cases foreign to the harmony, whi t'h small
note precedes a note of whose value it generally takes the half. The app og- giatura may
be executed 8ither ascending or descending; in ascending it is always at an interval
of a semitone from its princip ml note, while in descending it may be at on interval of
a whole tone, or of a semitone, according to the mode (nitvj or or minor)¡ and may be
sometimes at even a wider interval. It is most important to give to it exactly the value
which it represents, and which is subtracted from the pr in- cipal note, and to accent it
correctly, vibrating the voice more or 18ss upon it.
Exercises on the Appoggiatura.
(Transpose into other keys, up to the ke)• of fit.)
44.
45.
40
46.
Series of Appoggiature in acce1erated time.
tWith only one breath, and always err.srezzJ».)
47.
On the Acciaccatura.
The acciac caturci (which may be easily confounded with the appoggi’utstra) is
a small note ascending or descending, with which a certain impetus or v ibration of
voice is g lven to the note with which it is closely connected, Its impercepti - b1e
value appears to be subtracted from the preceding note or rest, as in the fo1 - lowing
example:
bIodo1:
Execution.
(N. R. This grace is ordinarily ralled an "unaecented appoggiatlira.”)
1340R
The following prat'tica1 exercise in better adopted to give a notion of the effect of the wcieec«-
fi‹ra.
Moderato.
Similar to the effect above indicated will be that of the following exercises.
Moderato.
(Acciaccatura ascending.)
42
àloderato.
Andante.
On the Hordent.
The Hordenf consists in the union of two small noten, which without any appar- ent
value, with a rapid anä light gliding of the voice, pass to rest upon the follon ing note. It
is found, as a rule, between two notes of the same pitch, but sometimes be- tween two
notes of different pitch; the mordent may also be preceded by a pause
‹rests, or attacked instantaneously. It also serves as a preparation and as a termination to the trill, and ita character is well suited to light and playfiil singing.
(N.B. 'Phia $P&Cf lB Ordinarily oalled an "unaooented double appoggiatura!')
Exercises on the Mordent.
Andante.
(840B
Mordent differing front the preceding.
Andante.
Another Mordent, preceded by a Rest.
54.
In the following model an appoggial:vra is met with, which, in its mode of execution, is more like the Mordent.
Execution.
Exercise on the above -nentioned Mordent.
Andante.
s)$•
0n the Turn.
There are two kinds of Turns, one of three, the other of four small notes. They are
either ascending or descending, and may be indicated by a sign of abbreviation, as will be
seen in the proper place. But Turns are generally written out in full, and the signs adopted
serve only as a convenience.
The Turn, of whatever kind it may be, is executed in at least the value of on eighth-note,
and when it is found between two eighth-notes it must be Oxecuted in the value of a tGthnote, which is subtracted from the note or rest preceding. To make this more clear, the
following eaamples are glven:
‘I’jzrO aBcend‘tag,
t6ree aotea.
The same descending.
Execution .
Execution .
Turn ascending,
four notes.
The same descending.
Executlon.
Execution.
(N. B. Theae turns are ordinarily oalled Baek Turns.)
Exercise on ascending Turns, composed of three notes,
and represented by the sign 2.
56.
Turn descending, of three notes, represented by the sign=
Sloderato.
Exercise on Turns preceded by a rest.
The Turn on a dotted no4e must be exeouted so tha4 the tone of the principal note may be repeats
ed on the value of the dot, reserving to the subsequent note its aotual Value.
do del.
Exercise on Terns on Dotted notes .
ñloderato .
Exercise on Turns between two eighth-notes in rapid tempo.
60.
»
Practise this also in the keys of E end El.
Exercise on Back Turns of four notes, represented by the sign 9.
Aiidante .
61.
49
Exercise on Turns of four notes, represented bp the sign e•.
âlaestono.
62.
e
g
p
°
Turns of four notes between the interval of a fourth.
Maestoso.
63.
Turns of four notes between different intervals.
C340S
Practise this also in the ko.y of A.
turns of four notes, between the interval of a second, descending.
65.
N.B. In the three preceding exercises, the Turn may be also of th e first species, that is,ascending, here we have given the preference to the more ordinary variety.
O n the Trill.
The trill consists of two neighboring tones alternated with ve1o city and perfee t equality.
This orn‹iment, which in former times was deemed indispensable in singing, is less often
met with in modern music. However, it must be practised, as being of great use in
freeing the voice, :tnd rendering it softer and lighter.
Introductory Exercise to the Trill.
Andante mosso.
66.
i 340 ñ
Another Exercise as above.
67.
In the preceding exercises it will be obserx-ed, that the trill may have the interval of
a tone or a semitone; this depends on tire key, or on the degree which the principal note
or'cupiex in the given scale.
(3&0G
63
Exercises on Cadenzas with the Trill.
The trill may iisually be made in a final Cad8nee, or sustain8d on the fifth of the key,
in which case it requises preparation and termination, that is, it must be prec8d- ed by
a Mordent and foll0w8d by another Mordent or a Turn. At the point of resolving it, the voice
must dwell a little on the principal note, especially at a pause or holà. (m)
Exemple.
Executioo.
Example.
The Examples given must be practised in all possible keys.
0n the Half-shake.
(Inverted Mordent.)
Among the numerous shakes of various descriptions used by the old Masters is found the
socalled Half-shake 6JemifrifJo, InY8rted Mordent), which, on account of its frequent use, must
be practised. It consists in repeating only once the first of two consecutive toneswhere- fore it is
composed of only three notes, light and quick, as in the following ex ample.
'This ornament of the Melody requires equal precision and elearness, so that the shake may become
find and pleasing.
(9409
54
Exercise on the Half-shake.
Andante.
68.
The Half-shake is more frequently used in connection with the Mordent in the
following way:
Mode1.
Execution.
Exercise on the Half-shake and Mordent.
Andante.
69.
13402
Lesson VII.
"
0n the Semitonic or Chromatic Scales.
The Chromatic or Semitonic scale is that which progresses by consecutix•e semitones,
.ist'onding or descending. The chromatic scal8 is one of the most difficult exercises in
vocalisation, and constitutes a kind of bravura almost indispensable for female voices.
Therefore, for improving the intonation, and rendering the voice fleaible, and adapting
it to this kind of agility, great scope is afforded by the practice of the following scales, beginning
by filling out ohromatically the intervals of the third, fourth, fifth, etc., to the
octave inclusive.
As the chromatic scale is a. rather abstract melodic line, it follows that it may be eas- ily
falsified by some semitone more or less impure. The safest guide for avoiding this fault, is,
besides the value of the notes which serve to measure its number, to fiz well in the ear
the interval which passes between the note that begins and the note that ends the chromatic
scale. For this object the following will be found of great utility.
Chromatic Exercises.
Interval of a major third filled with four semitones, and of a minor third filled with three
semitones.
Interval of a natural fourth filled with five semitones, and of an augmented fourth filled
$7
Interval of a natural fifth filled with seven semitones, and of a diminished fifth fill8d
with sia.
72.
‘Interval of a major sixth filled with nine semitones, and of a minor sixth filled with eight .
Moderato.
59
Interval
of a minor seventh filled with ten semitones.
âloderato.
t340S
6t
Interval of a major seventh filled with eleven semitones.
75.
These scales cannot descend in th8 S&me manner, because they do not offer a regular
chromatic progression; yet the chromatic scale descending from the major seventh to the
tonic may be frequently met with in practice.
62
Complete chromatic scale.
Interval of an octave filled with twelve semitones.
Moderato.
76.
63
Tha same scale, independent of the jump of an octave.
Moderato.
í3405
“
Lesson
Exercise on Triplets.
A succession of triplets offers a species of bravura- singing interesting and brilliant
enough to desem•e a special exercise.
Allegro.
78.
43404
Øb
Moderato.
66
83.
Moderato.
67
84.
^
Moderalo.
^
i
Chromatic Scale in Triplets.
°
.
›z
*
g8
Lesson IX.
0n detached notes, and staccato and smorEdto (sm0theredi tones.
The dotted notes must be executed so that every tone shall be isolated and short,
substituting an equivalent rest for their detracted value.
San:h dotted notes, when combined with the slur as in the following example , are executed
detached, with a kind of retardation thus giving to the phrase an expressive character.
Exercise on tegato and staccato notes.
The first of the slurred notes must always be lightly accented, and
notes must be eaecuted pianissimo.
Moderato.
86.
the detached
60
In the following exercises, the detached note also offers on opportunity of taking
breath where it is neede d.
JI0 SS0.
87.
Also to be praetised in other keya.
70
Allegro scherzoso.
89.
A continued series of detached notes constitutes partially that kind of singing which is called
marfefJato (ham mered). It is seldom used, and almost exclusivelyon the high notes of the
Soprano. It is executed with a very slight jerk of the throat at every note; is rath- er of a
comic character, and is well suited to imitate laughing.
90.
I340B
0n Tones c ut off /Frnnsâ? and extinguished N ur<afi‘
These consist in a given series of notes tied two by two, the groups separated by a very short
rest. The first of the two notes must be slightly accented, itnd the second extinguish- ed and
stopped. This kind of ornament may serve in graceful singing, and it is also excel - lent to
express vivid emotion, or pain.
91.
To be repeated in other keys.
âloderato.
92
Lesson X.
0n the Arpe g g io.
Any group of notes formed by successive chord -notes is called an Ar pegg i’o. Although su‹’h
a species may appear more suitable for instrumental musir: , yet sometimes it is well applied in
vocal music. The following exercises will be found useful, not only for the pms - tice of the
Arpeggi’o but also for rendering the inton:ition morr' and more f irm.
âloderato.
93.
To be repeat ed in other keys.
ñloderato.
94
‹
To be reported in other keys .
Iloderato.
96.
13402
97.
To be repeated in other keys.
Moderato.
99.
J340€
›
›
›
›
›
›
101.
Moderato.
Lesson XI.
Exercises on reiterated notes, and on or dr
i (warblings) of various kinds.
To be repeated in other keys.
lOb‘.
78
leggermente
107
(3402
109.
ñloderato.
111.
1340?•
78
Moderat
13402
Lesson XII.
On the free Cadenza at the Hold.
An arbitrary melody which is created by the x-ocalist when not written by the Composer, and executed at the end of an Aria or during a Hold, is called a Cadence (Cadenzaj. Such
a melody may be suspended on the fifth (the dominant), or may full on the tonic.
The Cadence must be founded principally on the iitessa di zoee after which it is al- lowed
to the singer to display all the agility possessed by his voice.
In order to succeed well in these liberties or licenses, one must first be sure and free
in modulating, one must hold and measure the breath so that the gorgheggf’o may nev- er
be interrupted by the necessity of taking breath; and, lastly, one must possess .i certain
creative power, together with a perfect knowledge of the chords, with which the vocalist may
be able most conveniently to introduce cadences best adapted to his own vocal abilities.
In the following exercises we offer some examples of free cadenzas, who se number, howex•er,
may be multiplied almost infinitely by the fancy of the composer or of the executant.
Free Cadenzas suspended on the fifth of the key.
Adagio.
7.
8.
is.
16.
Free Cadenzas on the fifth, resolving to the Tonic.
17.
19.
20.
21.
18.
82
24.
25.
26.
łû40z*
31.