VOICE 
 
 maaumaatMoiWM 
 
 k3 'V..^ 1 
 
 A PRACTICAL METHOD 
 
 FOR THE STUDY 
 
 OF 
 
 SINGING 
 
 BY 
 
 JOSEPH SMITH 
 
 1^ 
 
 NEfF 7VRK: G, SCHf''''^'Ek 
 
 II 
 
BOUGHT WITH THE INCOME 
 FROM THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 Henrg M. Sage 
 
 X891 
 
 % ^.^m.^....mmK ^/kfci... 
 
 9963 
 
Cornell University Library 
 MT 825.S65 
 
 Voice and sona;a JPractlcaJ,, '"fi||?,?^^^ 
 
 3 1924 022 369 437 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022369437 
 
VOICE AND SONG 
 
=^^AiiY 
 
 VOICE AND SONG 
 
 A PRACTICAL METHOD 
 
 FOR THE STUDY 
 
 OF 
 
 SINGING 
 
 BY 
 
 JOSEPH SMITH 
 
 k. 
 
 NEfF rORK: G. SCHIRMER 
 
 1907 
 
Copyright, 1907, by G. Schirmer. 
 
 I94S4 
 
 Stanbope pcesg 
 
 1. aiLBON COMPANY 
 ■ OBTON, U.S.A. 
 
TO MY WIFE 
 
THE HUMAN VOICE 
 
 AMONG all the wonderful varieties of 
 
 artificial instruments which discourse 
 
 excellent music, where shall we £nd one that 
 
 can be compared to the human voice? And 
 
 where can we find an instrument comparable 
 
 to the human mind, upon whose stops the real 
 
 musician, the poet, and the orator som,etimes 
 
 lays his hands, and avails himself of the entire 
 
 compass of its m.agnificent capacities ? Oh ! 
 
 the length, the breadth, the height, and the depth 
 
 of music and eloquence! 
 
 BRONSON. 
 
DIAGRAMMATIC SKETCH OF THE VOCAL APPARATUS 
 
 8 The dotted outline shows the 
 position of the Uvula relaxed and 
 pendent. 
 
 When the mouth is shut off 
 from the throat, ihe Soft Palate 
 is lowered ana rests upon the 
 back of the Tongue, which is ele- 
 vated to meet it. 
 
 FC\, Points to the edge of the False 
 Vocal Cord. 
 
 TCf Points to the edge of the True 
 Vocal Cord. 
 
 If Entrance to the left Ventricle. 
 
 E Esophagus or Food-Passage. 
 
 S Spinal Column f Vertebrae of the 
 Neck). 
 
 12 The Nose. 
 
 11 The Nasal Cavities. 
 
 10 The Upper Pharynx. 
 
 9 The Hard Palate. 
 
 8 The Uvula ) Shows the position when 
 
 [ shutting off the upper 
 
 and V pharynx, and when 8ing~ 
 
 \ inj a high note. See 
 
 Soft Palate J pages 32 and 53. 
 
 7 The Mouth (The Oral Cavity). 
 
 6 The Tongue. 
 
 5 The Teeth. 
 
 4 The Lips. 
 
 3 The Lower Pharynx. 
 
 2 The Epiglottis. 
 
 1 The Larynx. 
 
 ' Within the larynx is 
 shown the entrance to 
 the left ventricle (V), 
 between the edges of 
 the False (FGi ) and the 
 True (TOfJ Vocal Cords. 
 
 A 
 X 
 T 
 C 
 IV 
 
 Arytenoid Cartilage. 
 Adam's Apple. 
 Thyroid Cartilage. 
 Cricoid Cartilage. 
 Windpipe or Trachea. 
 
 FIG. I. THE THROAT AND ADJOINING STRUCTURES. 
 
 FRONT' 
 
 niONT • 
 
 5 Base of 
 Tongue. 
 4 Epiglottis. 
 3 False Cords. 
 2 True Cords. 
 1 Glottis. 
 
 B&CK 
 
 FIG. 3. THE GLOTTIS AND VOCAL 
 CORDS VIEWED FROM ABOVE. 
 
 N.B. Glottis open for inspiration. 
 
 V The Ventricles. 
 
 T The Thyroid Cartilage. 
 
 C The Cricoid Cartilage, 
 
 W The Windpipe or Trachea. 
 
 N.B. In STRAINING, the '• false cords " 
 are closely approximated. See Exercise 
 18 (b). 
 
 BACK -J 
 FIG. 2. THE GLOTTIS AND 
 VOCAL CORDS VIEWED 
 FROM BELOW. 
 
 N.B. Vocal Cords approximated 
 
 FRONT -^ 
 
 5 Base of 
 Tongue. 
 4 Epiglottis. 
 3 False Cords. 
 2 True Cords. 
 1 Glottis. 
 
 BACK- 
 
 FIG. 4. THE GLOTTIS AND VOCAL 
 CORDS VIEWED FROM ABOVE. 
 
 N.B. Vocal cords approximated. 
 
 1 The Glottis, i.e., the opening between 
 the opposed edges of the Vocal Cords. 
 
 2 The True Vocal Cords. 
 
 3 The False Vocal Cords. 
 
 4 The Epiglottis. 
 
 N.B. In SINGING, the " true cords " are 
 closely approximated. 
 
 FIG. 5. VERTICAL TRANSVERSE SECTION OF THE LARYNX. 
 
PREFACE. 
 
 It is impossible to learn from a book the " whole art of singing." The student must have precept and 
 example. This book, therefore, has not been compiled to take the place of a competent teacher, but to be 
 used under his instruction. 
 
 The author offers this contribution to the subject with considerable diffidence. He is familiar with a 
 large number of the excellent manuals in use, and yet, after years of experience in vocal teaching, he feels 
 that many will welcome such a method as is contained in these pages. 
 
 The value of the method here set forth lies in its simplicity, completeness and systematic arrangement. 
 It embraces whatever is best in prevailing methods, and adds much which has been found of value in years 
 of practical work with students. Special attention may be called to the exercises ior artistic breathing, and to 
 the insistence throughout the work on the importance oi perfect breath-control ; to the completeness of the 
 exercises for tone-production, voice-placing, and extension of compass upward and downward ; also to the exten- 
 sive use made oi varied accentuation, etc., in scale and interval work for developing the flexibility znd. agility 
 of the voice. 
 
 Teachers making use of this method will, of course, see to it that their pupils thoroughly understand 
 the details given in the text, by means of a carefully thought-out series of questions and trials. 
 
 In the preliminary exercises for tone-production and voice-placing, which progress gradually from whis- 
 per to voice, the student should discover that " singing is sustained speech," and that to sustain a tone satis- 
 factorily requires not only perfect management of the breath, but also considerable practice to counteract the 
 ordinary habits of enunciation. In speech, the vowels are uttered and passed over quickly ; in singing, they 
 are always more or less sustained. 
 
 Undisciplined voices require the utmost care and attention at the very commencement of training ; there- 
 fore, if the future of the voice is to be at all agreeable and pleasant, the preliminary work must be perfectly 
 mastered before proceeding further. 
 
 The student cannot too soon learn, that provincialisms, and peculiarities of pronunciation, tolerated in 
 ordinary speech, are not only entirely out of place in singing, but are often the cause of much faulty and dis- 
 agreeable tone in a voice. 
 
 Among the authors consulted and quoted are the following : — 
 
 Adcock, " Singer's Guide." Croker, " Handbook for Singers." 
 
 Allitsen, Song, " Love is a bubble." Cummings, " Breathing " ( Grove's Dictionary ). 
 
 Arditi, Song, " II Bacio." Curtis, " Voice-Building." 
 
 Bach, J. S., Christmas Oratorio ; St. John Passion. Curwen, " Standard Course"; " TheTeacher's Man- 
 
 Bach, a. B., " Musical Education and Vocal Cul- ual." 
 
 ture "; Principles of Singing." Davies, " The Voice and its Production." 
 
 Baker, " Dictionary of Musical Terms." Deacon, " Singing " ( Grove's Dictionary ). 
 
 Barnby, Cantata, " Rebekah." Delle Sedie, "Method of Singing." 
 
 Benedict, Oratorio, " St. Peter "; Song, " Carnival Denza, Song, " May Morning." 
 
 of Venice." Donizetti, Operas, " Lucrezia Borgia," " Torquato 
 Blackman, " Voice, Speech, and Gesture." Tasso." 
 
 Brown and Behnke, "Voice, Song and Speech." ELLis,"PronunciationforSingers";" Speech in Song." 
 
 Bronson, " Manual of Elocution." Farrar, "The Human Voice." 
 
 Cazalet, "On the Voice "; " On the Art of Singing." Garcia, " Hints on Singing." 
 
 Chaminade, Song, " L'ete." Goetschius, " Theory and Practice of Tone-Rela- 
 Chater, " Scientific Voice." tions." 
 
 Cohen, "The Throat and the Voice." Gounod, Opera, " Faust." 
 
 Crivelli, " Art of Singing." . Gray, " Anatomy." 
 
PREFACE. 
 
 Grove, "Dictionary of Music and Musicians." 
 
 GuTTMANN, " Gymnastics of the Voice." 
 
 Hand, " ^Esthetics of Musical Art." 
 
 Handel, Oratarios, " Belshazzar"; " Deborah"; 
 " Esther"; " Jephtha"; "Joshua"; "Judas Macca- 
 baeus"; "Messiah"; "Occasional"; "Samson"; 
 Solomon"; "Theodora"; "Triumph of Time 
 and Truth." 
 
 Haydn, Oratorio, " Creation." 
 
 Hayes, " Principles of Vocal Science." 
 
 Hartsough, " Voice-Development." 
 
 Helmholtz, " Sensations of Tone." 
 
 Helmore, " Italian Registers"; " Speakers and Sing- 
 ers "; " Method of Voice-production." 
 
 Holland, "Method of Voice-production." 
 
 Holmes, "Vocal Physiology and Hygiene." 
 
 HuLLAH, " Time and Tune." 
 
 Kelly, " First Principles of Voice-production." 
 
 Kitchen, "The Diaphragm." 
 
 Lamperti, " Art of Singing." 
 
 LuNN, " Philosophy of the Voice." 
 
 LussY, " Musical Expression." 
 
 Marchesi, M., " Theoretical and Practical Vocal 
 Method." 
 
 Marchesi, S., "Vademecum." 
 
 Mathews and Liebling, "Dictionary of Music." 
 
 Mendelssohn, Oratorio, "Elijah." 
 
 Meyerbeer, Opera, "Dinorah." 
 
 Michael, " Formation of the Singing-registers." 
 
 MoLiQUE, Oratorio, " Abraham." 
 
 NiECKS, " Dictionary of Music." 
 NovELLO, C, " Voice and Vocal Art." 
 NovELLO, v.. Song, " Thy Mighty Power." 
 Palmer, "The Rightly-produced Voice." 
 Parrott, Song, " To Her Portrait "; Song, " El 
 
 Wuish." 
 PiLTAN, " The Human Voice." 
 Plumtre, " Lectures on Elocution." 
 Potter, " Manual of Reading." 
 Prout, " Harmony, its Theory and Practice "; "Mu- 
 sical Forms "; " Applied Forms." 
 Randegger, "Singing "; "Twelve songs by Handel." 
 Richardson, "Voice Cultivation." 
 RiEMANN, " Dictionary of Music." 
 Rogers, "The Philosophy of Singing." 
 Rossini, " Stabat Mater"; Opera, " Semiramide." 
 Rubinstein, Oratorio, " Paradise Lost." 
 Semple, " The Voice." 
 Shaftesbury, " Deep Breathing." 
 Shakespeare, " Art of Singing." 
 Spohr, Oratorio, "Crucifixus." 
 Stainer, " Choral Society Vocalisation." 
 Verdi, Operas, " Ernani," " Rigoletto." 
 Wagner, " Actors and Singers "; " Parsifal." 
 Walker, " Letters of a Baritone." 
 Walshe, " Dramatic Singing." 
 Warman, " Practical Orthoepy." 
 WiECK, " Piano and Singing." 
 WoLFFENDEN, " On Respiration." 
 
VOICE AND SONG. xl 
 
 CONTENTS. 
 
 PAGE. 
 
 Diagrammatic Sketch of the Vocal Apparatus viii 
 
 Preface ix 
 
 Table of Contents ♦ xi 
 
 Index to the Exercises " xiii 
 
 Introduction, and Simple Rules for Vocal Students i 
 
 Elements of Music and Musical Notation : 2 
 
 Tone, Tone-names, Intervals; Whole Tone and Semitone; Sharp and Flat; Pitch, 
 Relative and Absolute ; Staves and Clefs ; Transposition ; Sharps, Flats, and Naturals ; 
 Duration, Relative and Absolute; Notes, Rests, etc.; Pace; the Metronome; Accent, 
 Primary and Secondary ; Irregular Accent, Syncopation, etc.; Time, and Time-signatures ; 
 Rhythmical Imitations; Embellishments; Full and Short Score defined and illustrated; 
 Miscellaneous Signs and Abbreviations. 
 Posture and Breathing : 24 
 
 Inspiration, Retention, Expiration; Breath-control, simple experiments in illustration; 
 Artistic Breathing; Breathing-places. 
 Tone-Production and Voice-Placing. Enunciation : 28 
 
 Part I : Introductory ; Tone defined ; Enunciation ; Tone-production, position of parts 
 concerned in ; Experiment illustrating right and wrong muscular tension ; Primary Vowels 
 analyzed; Voice-placing. — Part II: The Primary Vowel A; Characteristics of the Old 
 Italian School. The Attack. — Part III: The Other Primary Vowels. — Part IV: The 
 Secondary Vowels. — Part V: Dipththongs, or Compound Vowels. — Table of the Principal 
 Simple Vowels, with key-words and diacritical marks, arranged scalewise. — The Principal 
 Compound Vowels. 
 Articulation : 40 
 
 Table of Consonants (page 39). — The Consonants, with key-words tabulated system- 
 atically; Consonants analyzed; Consonants, Single and Double, Initial and Terminal. 
 Pronunciation : 43 
 
 Tabulated examples of Common Errors. How Pronunciation may be studied in the 
 words of a song (Illustration from Mendelssohn's " But the Lord Is mindful of His own"). 
 Rules for Pronouncing Italian, French, and German. Phonetic Exercises. 
 Extension of the Compass : 51 
 
 The Registers ; explained. Table exhibiting the Registers and their subdivisions in the 
 combined compass of the different voices. Nomenclature of the Different Registers. 
 Optional Tones (tones common to two registers). Extension of Compass Upward; 
 Downward. 
 Strengthening the Voice and the Respiratory Organs. Sostenuto : 63 
 
 ( I ) Sustained Tones, even in power : " Filar il tuono." ( II ) Sustained tones, increasing 
 in power {crescendo ) and decreasing in power {diminuendo). { III ) Sustained tones, in the 
 " Messa di voce." 
 Scales : 66 
 
 Definition. Diatonic and Chromatic Scales ; Major and Minor Diatonic Scales ; Ancient, 
 Harmonic and Melodic Forms of the Minor Scale. Diagram Illustrating the " plan " of the 
 different scales. Scale-construction. Keys and Key-signatures tabulated. Solmization, the 
 Art of Singing by Use of Scale-Syllables. Solmization and Sol-fa explained. Modulation. 
 Suggestions for the Study of Sight-singing. The Legato Style defined and illustrated. 
 Preliminary Scale-practice. A help for inexperienced pianists. Agility and Flexibility 
 differentiated. 
 
xii VOICE AND SONG. 
 
 The Chromatic Scale : 103 
 
 Harmonic and Melodic Form explained ( page 67 ) ; Exercises. 
 Intervals: iio 
 
 Part I : Interval defined. Possible Intervals in a diatonic major key. — Part II : Intonation 
 in the Singing of Intervals : Tenuto, Legato, Staccato, Marcato, Portamento, Raddoppiato 
 and Syncopation explained. 
 Chords : 127 
 
 Part I : Chord defined; Triads, and Chords of the Seventh. — Part II : Arpeggl. 
 Embellishments: 146 
 
 The Appoggiatura, Acciaccatura, Mordente, Turn, Trill. 
 Recitativo : 151 
 
 Free Recitative; " Recitativo a Tempo"; Wagner's Recitative. 
 Expression and Interpretation: 151 
 
 Facial Expression. 
 Appendix : 153 
 
 Eighty Passages Selected from Standard Compositions. 
 Analytical Index 181 
 
VOICE AND SONG. 
 
 Xlll 
 
 INDEX TO THE EXERCISES. 
 
 Notation. 
 
 1 Pitch, 6. 
 
 2 Whole tones and semitones, 6. 
 
 3 Transposition, 6. 
 
 4 Form and relative value of notes, lo. 
 
 5 Form and relative value of rests, lo. 
 
 6 Tied and dotted notes, lo. 
 
 7 Relative time-value of notes and rests, lo. 
 
 8 Relative and absolute duration, lo. 
 
 9 Accents, to be located and graded, 13. 
 
 10 Bars, to be placed in accordance with time- 
 
 signature, 13. 
 
 11 Five notes to be monotoned under varied 
 
 time-signatures, 13. 
 12-13 Syncopation, 13. 
 
 Respiration. 
 
 14 Inspiration, 24. 
 
 15 Retention, 24. 
 
 16 Retention, with varied movements, 25. 
 
 17 Expiration 25. 
 
 18 Forced expiration, for strengthening the 
 
 breathing apparatus, 25. 
 19-28 Breath-control, and artistic breathing, 26-28. 
 
 Tone-Production and Voice-Placing. 
 
 Enunciation. 
 
 29-31 The primary vowels, 30. 
 32-34 Placing the voice, 30. 
 
 35 Tongue-drill, 30. 
 36-40 The primary vowel A, 31-33. 
 41-45 The vowel O alone and in alternation with 
 
 A, 33-34. 
 46-50 The vowel U alone and in alternation with 
 
 A and O, 34-35- 
 51-55 The vowel E alone and in alternation with 
 
 A, O and y, 35. 
 56-60 The vowel I alone and in alternation with A, 
 
 O, y and E, 35-36. 
 61-64 The secondary vowels u, o, a, e and 1 alone 
 
 and in alternation with the primary 
 
 vowels, 36. 
 65-66 Diphthongs, or compound vowels, 38. 
 
 Articulation. 
 
 67 Consonants, 40. 
 
 68 The aspirate — H, 41. 
 
 69-71 Drill for articulating organs, 41. 
 
 72 Combinations of two or more consonants,42. 
 
 Pronunciation. 
 73-75 Syllables and words, 43. 
 
 76 Common errors, 44. 
 
 77 Pronunciation in the arioso " But the Lord 
 
 is mindfiil of His own," 46. Pronun- 
 ciation of Ital,, Ger., and French, 49. 
 
 Extension of the Compass. 
 Preparatory Exercise, 52. 
 7S-81 Extension upward, 53-59- 
 82-85 Extension downward, 59-62. 
 
 For Strengthening the Voice and the Res- 
 piratory Organs. Sostenuto, 
 
 86 Sustained tones : (i) piano, (2) mezzo-forte, 
 
 {'^ forte, ''■Filar la voce," 63. 
 
 87 Sustained tones : (i) crescendo, (2) diminu- 
 
 endo, 63. 
 
 88 Sustained tones : (i), (2) and (3), " Messa di 
 
 voce" 64. 
 
 Scales and Solmization. 
 
 89 Scale-construction, 69. 
 
 90-91 Scale-syllables applied to two Concone 
 studies, major and minor, with modu- 
 lation, 72. 
 
 92 Sight-singing, 73. 
 
 93 Preliminary scale-practice, 75. 
 
 . 94 {a) Scales : Major mode, 78. (l?) Twenty- 
 five variations for the same, 80. 
 
 95 Scales : Minor mode, melodic form ascend- 
 
 ing, ancient form descending, 82. 
 
 96 Scales : Minor mode, harmonic form, 84. 
 97-100 (a) Scales in varied times and rhythms for 
 
 agility and flexibility, 86. {¥) Variations 
 
 for the same, 90. 
 loi Scales : Dotted notes, 91. 
 102 Scales : Major and minor in immediate 
 
 succession, 92. 
 103-104 Scale-passages for intonation, flexibility and 
 
 agility, 94. 
 
 Chromatics. 
 
 105 Preparatory chromatic work, 103. 
 
 106 The chromatic scale, melodic form, 105. 
 
XIV 
 
 VOICE AND SONG. 
 
 no 
 to ^ 
 ii6 
 
 107 The chromatic scale, harmonic form ; trip- 
 
 lets, 106. 
 
 108 The chromatic scale, melodic form ; quad- 
 
 ruplets, 108. 
 
 Intervals. 
 
 109 Naming intervals, 112. 
 Intervals — seconds, thirds, fourths,"" 
 
 fifths, sixths, sevenths, and eighths. — 
 Major, minor, perfect, augmented, and 
 diminished — with variations for the 
 practice oi intonation, flexibility, agility, 
 tenuto, legato, staccato, marcato, porta- 
 mento, raddoppiato, syncopation, T12. 
 
 117 Intervals within the octave (simple inter- 
 
 vals) ; Recapitulatory, 121. 
 
 118 Intervals beyond the octave (compound 
 
 intervals), 123. 
 
 119 Intervals : Octaves progressing chromati- 
 
 cally, 125. 
 
 Chords. 
 
 120 Arpeggi on Tonic, Sub-dominant, and 
 
 Dominant-seventh chords in major 
 keys, 129. 
 
 121 Arpeggi on same chords as 120, but in 
 
 minor keys, 131. Twenty-five varia- 
 tions for Exs. 120 and 121 {a), 133-5. 
 
 122 Twenty-four major and minor triads in ar- 
 
 peggio, 136. 
 
 123 Chords of the tonic and dominant seventh 
 
 in arpeggio ; varied rhythm, 138. Fif- 
 teen variations for Ex. 123, 140. 
 
 124 Arpeggi on diminished seventh-chord, 141. 
 
 125 Diminished seventh-chord, harmonic form 
 
 of minor scale, and tonic triad, 143. 
 
 126 Same as 125, with rhythm varied, 144. 
 
 127 Chords of the diminished seventh and 
 
 tonic, with melodic form of minor 
 scale, 145. 
 
 Embellishments. 
 
 128 The long appoggiatura, 146. 
 
 129 The short appoggiatura, 146. 
 
 130 The mordente, etc., 146. 
 
 131 The turn, 146. 
 132-136 The trill, 147-9. 
 
 Appendix. 
 ' Miscellaneous passages with words, for 
 the practice of Intonation, Style, 
 Timbre, Sostenuto, Coloratura, Agil- 
 ity, Flexibility, Legato, Staccato, 
 Marcato, Portamento, Raddoppiato, 
 Dotted Notes, Triplets, Syncopation, 
 Embellishments, Recitativo, Caden- 
 zas, etc., 153. 
 
 to 
 
 80 
 
Voice and Song. 
 
 INTRODUCTION. 
 
 " The three requisites of a good singer are natural talent, artistic training, and practice." (Praetorius.) 
 
 " The responsibility of the pupil is as great as that of the teacher. If the pupil may with perfect right 
 expect the teacher to bring to the lesson patience, good nature, and interest, the teacher may with equal 
 right ask for confidence, attention, and zeal on the part of the pupil. The feeling of respect, and the de- 
 sire to do the best, must be mutual — there must be harmony and perfect cooperation." ( E. Pauer.) 
 
 In using this book it is not intended that the exercises, etc., be studied in exactly the order given, but, 
 at the discretion of the teacher, different sections should be studied conjointly.' For instance, commence with 
 Notation (pitch and duration). Exercises i to 8 ; Posture and Breathing, Exs. 14 to 17; Tone-pro- 
 duction, Exs. 29 to 35; continue these together until in each subject respectively Exercises 11, 20, and 
 39 have been satisfactorily accomplished. Then Ex. 86 for Sostenuto may be taken up, followed discreetly 
 by the series commencing with Ex. 78 for the Extension of the Compass; 93 for Scales; i 10 for Inter- 
 vals; and 120 for Arpeggi ; always at the same time carefully reviewing, and adding to, the preceding 
 exercises in Notation, Breathing, and Tone-production. The exercises for Articulation and Pronuncia- 
 tion may follow Exs. 60 or 64. Easy Solfeggi, like Concone's Op. 9,^ may be taken up as soon as fair 
 progress has been made in Scales and Arpeggi. 
 
 "It is much to be desired that students of singing should at the same time become good musicians." 
 ( Deacon.) 
 
 Many good vocalists have missed excellent professional opportunities from their lack of elementary 
 musical knowledge. A musical director requiring singers will naturally prefer those who can " read," not 
 only because the rendition of any work entrusted to them will be more surely correct, but also because his 
 time at rehearsals will be so much less taken up in tiresome repetition. 
 
 The information on Musical Theory and Notation contained in the following pages is the least with 
 which a singer ought to be familiar. It is impossible to sing correctly and effectively at all times without 
 an exact and practical knowledge of Music and its Notation. 
 
 Simple Rules for Vocal Students. 
 
 Beginners should practise several times daily, but not longer than ten or fifteen minutes at a time. 
 As the vocal muscles gain strength, the time may be extended. 
 
 Don't practise too soon after a meal ; at least an hour should intervene. 
 
 All exercises and studies must be practised mentally before voicing them; — aim to " hear with the 
 eyes." 
 
 A student of singing who is a competent pianist will naturally be tempted to play his ( or her) own 
 accompaniments. This must be strictly avoided until all details of the voice-part have been sung to the 
 satisfaction of the teacher. Even then it will be better to have the accompaniment played by some one else, 
 it being impossible to give the voice proper care and undivided attention while playing an accompaniment. 
 
 Take common-sense care of health. Avoid draughts and great changes in temperature ; check all 
 colds at the beginning. Take plenty of outdoor exercise; plenty of fresh air (day and night); plenty of 
 simple, wholesome food ; plenty of pure cold water, both in the cup and in the bath ; and plenty of sleep. 
 
 When regular outdoor exercise is not available, the student should practise a course of calisthenics every 
 morning immediately after rising. 
 
 ' In the case of a partially trained student, or of a student exceptionally gifted or advanced in any direction, some of the preparatory exercises will not be required. 
 = Advanced students may commence with " The Masterpieces of VocaUzation," a most comprehensive collection of studies, edited and graded by Max Spicker. 
 
 1 
 
2 VOICK AND SONG. 
 
 rHE ELEMENTS OF MUSIC AND MUSICAL NOTATION. 
 
 The elements of a Tone, or musical sound, are Pitch, Duration, Intensity, and Quality. A tone 
 may be 
 
 ( I ) High, medium, or low in pitch. 
 
 ( 2 ) Long, medium, or short In duration. 
 
 ( 3 ) Loud, medium, or soft in intensity. 
 
 ( 4 ) Fluty, reedy, or of some other distinctive quality. 
 
 In all English-speaking countries, the first seven letters of the alphabet, repeated over and over, are 
 mainly used to name differences in pitch of tones : 
 
 A B C D E F G A B C D E F G, and so on. 
 
 The INTERVAL or distance between each of these sounds successively (=: in alphabetical order ), with 
 two exceptions, is called a Whole Tone'; the two exceptions — B-C and E-F — are called Semitones, 
 ( half-tones ), because the interval between each pair, respectively, is only half that of the others. This 
 peculiarity should be carefully remembered. The following table exhibits the names and intervals in step- 
 wise order from low to high. 
 
 Tone-names. A BC D EF G h^ BC Di 
 
 Intervening \ ( Whole Semi- Whole Whole Semi- Whole Whole Whole Semi- Whole f 
 
 Intervals. 
 
 tone. tone. tone. tone. tone. tone. tone. tone. tone. tone. 
 
 The terms Whole step and Half-step are often used in place of the terms Whole tone and Semitone. 
 
 Modern music requires the use of a sound midway between each of the whole tones of the above 
 succession, dividing each whole tone into two semitones. The alphabetical name immediately below or 
 above, with the addition of the term sharp or flat, is used to name the intervening supplementary sound, 
 as shown in the following table. 
 
 Tone-names. A i B 
 
 Names for Inter-) ^ a sharp, 
 VENING Sounds, j ( b flat. 
 
 and so on. 
 
 The reason why two names are given to these supplementary sounds will be clearly understood as 
 soon as the student becomes familiar with the construction and notation of scales.^ 
 
 " Musical notation is the art of representing musical tones by means of written characters." 
 For the representation of the relative pitch of musical tones a series of horizontal parallel lines 
 and spaces is used, forming what is called the Staff. 
 
 Each line and space is termed a degree of the staff; taken consecutively from below upward, they 
 represent the musical tones named in xkvt first of the above tables, in alphabetical order. 
 
 I Notice carefully, that the terms -uihole tone and semitone are used only to designate two intervals (distances) between sounds; whereas the term tone, un- 
 qualified, means a musical sound. 
 " Scale, see page 56. 
 
VOICE AND SONG. 
 
 This staff is made to represent absolute pitch by placing at the beginning of the staff, on the middle 
 line of the series, a special sign called the Clef," formed variously :^ :|^ h^ |^ etc.," which determines the 
 pitch so indicated to be that known as middle C (= 261 sound vibrations per second), a pitch which 
 stands about midway in the combined compass of the adult male and female voices. The clef, as its name 
 implies, is a key to the whole staff, the names of all the other lines and spaces being determined by it. 
 
 
 
 
 
 
 
 G 
 
 
 
 
 
 
 
 G 
 
 
 D *= 
 
 
 
 
 
 ■ E 
 
 
 
 
 
 
 
 
 n t: 
 
 
 C 
 
 
 
 
 
 
 
 
 A ^ 
 
 
 
 
 
 
 A 
 
 F 
 
 G 
 
 
 
 !•' 
 
 
 
 
 
 
 
 E 
 
 
 H' r i> " 1 
 
 r<~ 
 
 D 
 
 
 
 
 
 ft ^ B 
 
 
 
 
 
 1 
 
 \j 
 
 
 B 
 
 
 
 
 
 1/ 
 
 
 a 
 
 1? 
 
 
 
 
 
 
 
 
 F 
 
 
 1 (» . " JK „ 
 
 
 
 
 E 
 
 
 
 ° (3 , 
 
 TJ 
 
 
 
 
 
 
 
 
 
 
 
 A p 
 
 
 
 
 
 
 A 
 
 
 G 
 
 
 
 ■ .J, 1 
 
 
 
 
 
 
 
 
 Every eighth higher pitch is the result of exactly twice the number of vibrations required to produce 
 the lower pitch, and these two tones are — alphabetically — named alike; but it will be noticed, that on the 
 staff they are represented by dissimilar positions, that is, where a certain pitch is represented by a line, its 
 OCTAVE,' either above or below, will be represented by a space, and vice versa, the octave to a space will be 
 represented by a line; also it may be observed that octaves have always three lines and three spaces be- 
 tween. In speaking of these different pitches, they may be named in agreement with their location above 
 or below middle C, thus — the DEFGABorC above middle C,the second D E F G and so on above 
 middle C ; the B A G F E D or C below middle C, the second B A G F and so on below" middle C. 
 
 As it is not possible for any one single voice to produce all the tones represented by the above Great 
 STAFF, smaller ones consisting of five lines and four spaces, suitable to the compass of each of the different 
 voices ( Soprano [ Treble^ Alto, Tenor, or Bass)," are selected from it. 
 
 This necessitates the use of two other clefs, namely, the G-clef, formed thus ^, and the F-clef, 
 
 formed thus §1,5 which, respectively, are placed on the lines representing those pitches, four degrees above 
 and four degrees below middle C, as here shown : 
 
 N.B. 
 N.B. 
 
 i 
 
 For soprano ( treble ) voices, the five 
 upper lines are selected, and appear thus : 
 
 For bass voices, the five lower lines, thus : 
 
 Treble Staff, with G-clef. 
 
 I 
 
 Bass Staff, with F-clef. 
 
 -A 
 
 ^=^^ 
 
 G 
 
 "E" 
 
 For alto voices, the five middle lines, thus : 
 
 Alto Staff, with C-clef. 
 
 i 
 
 
 I Clef is from the French clef, a key. 
 ' Evolved from the Gothic letter C. 
 
 3 Octave is from the Latin octava, an eighth. 
 
 4 Soprano ( Italian ), the highest voice. — Treble, a corruption of the Latin triplum, third ; i. c, the superadded third voice, or part, of ancient part- 
 music— Alto, from the Latin 'aA«J, high ; originally applied to high male voices.— Tenor, from the Latin tenor, meaning a " holding-on " or " continuance "; hence, 
 the chief melody, and also the high adult male voice to which it was formerly assigned.— Bass, from the Latin bassus, base, foundation ; the lowest part. 
 
 i Corruptions of old forms of the letters G and F. 
 
VOICE AND SONG. 
 
 Tenor Staff with C-Clef. 
 
 And for tenor voices, the third to the seventh lines, thus : 
 
 m 
 
 C B" 
 
 It has now become rather general to use the G-clef and staff for all voices ( more especially in popular 
 music written for a single voice ), the notation for tenors and basses being an octave higher than the actual 
 pitch of the voices. 
 
 For the comparatively rarely used high and low tones of a voice, these small staves, as occasion re- 
 quires, are extended by adding short lines called Leger-lines,' above and below ; thus : 
 
 Occasionally the sign 8va will be met, indicating that the staff, over or under which it appears, 
 
 for so far as the sign and dotted line extend, represents a pitch one octave higher or lower than written. 
 
 The different tones of a Tune or Melody are successively indicated on a staff by noting ( marking) 
 the line or space corresponding with the pitch required. For example, below a.t (a) a. portion of a national 
 hymn-tune is noted ; at ( /^ ) the same time is noted, but transposed' an octave lower in pitch. Relatively, 
 the successive intervals in the two examples (a) and (/^) are alike, (proved by the figures, which give the 
 number of semitones contained in the intervals under which they are placed ). 
 
 
 / m «**'#<■• II 
 
 (a) 
 
 iL •••«(♦• •!••••• II 
 
 fm II 
 
 
 vU 11 
 
 Pitch-name : 
 Semitones : 
 
 '^CCD BCDEEFEDCDCBC 
 
 
 V 11 
 
 
 /L li 
 
 (^) 
 
 rm ^ II 
 
 "V m m * m II 
 
 Pitch-name : 
 Semitones : 
 
 ^CCDBCDEE FEDCDC BC 
 
 An exact transposition of the above to any degree other than the octave can be made only with the 
 use of characters called Sharps and Flats,' which, when placed on a degree of the staff, cause that degree 
 to temporarily represent a pitch one semitone higher or lower than ordinarily. Examples (f ) and [d) 
 following, are not exact transpositions of either ( ^ ) or ( ^ ) above, because at the * in ( f ) the pitch noted 
 is too. low by a semitone, and at the * in {d) too high by a semitone. 
 
 (O 
 
 m 
 
 — •— 
 
 G 
 
 — •- 
 G 
 
 A 
 
 F 
 
 — •— 
 G 
 
 -9— 
 A 
 
 B 
 
 — •— 
 B 
 
 
 C 
 
 * 
 
 —0— 
 B 
 
 • 
 A 
 
 -0— 
 G 
 
 • 
 A 
 
 —0~ 
 
 G 
 2^"" 
 
 —0- 
 F 
 
 — •- 
 G 
 
 — ri 
 
 {d) 
 
 ■" 
 
 F 
 
 F 
 
 2 
 
 — •- 
 G 
 3 
 
 —0- 
 
 E 
 
 1 
 
 F 
 
 2 
 
 — •— 
 G 
 2 
 
 
 
 A 
 
 A 
 
 2 
 
 —0— 
 
 B 
 
 5 
 
 A 
 
 2 
 
 — •— 
 G 
 
 
 
 F 
 
 —0- 
 
 G 
 
 2 5 
 
 F 
 
 > 
 
 — •- 
 E 
 
 I 
 
 
 
 F 
 I 
 
 =B 
 
 'Leger ( sometimes spelled Ledger ), from the French leger, light, slight, etc. 
 
 = Transpose, " to change the pitch of a composition higher or lower. In every correct transposition the melodic and harmonic effects are unchanged." 
 
 3 See page 2, 
 
VOICE AND SONG. 
 
 In the following examples (e) and (/) these errors are corrected; in (e) by the sharp (|$), the sign 
 for raising, by one semitone, the pitch represented by any line or space on which it appears, and in (/) by 
 the Jat (7), the sign for lowering the pitch one semitone. In notation the sign appears before the note, 
 of course; but in naming the Inflection the term "sharp" or "flat" is generally pronounced after the 
 alphabetical name ; as " F sharp," " B flat," and so on. 
 
 (0 
 
 i=^^ 
 
 N.B. i 
 
 N.B. i 
 
 -^~ 
 
 •=jp^=f=H 
 
 GGAFjfGABB CBAG AGF#G 
 = 2 3 122 = 11222211 
 
 $=*=«=^,I^,=' 
 
 N.B. i 
 
 (/) 
 
 -m^?^ 
 
 B 
 
 FFGEFGAABbAGFGFE F 
 = 2312 2=1 1222211 
 
 The above examples (e) and (/) are exact transpositions, lower by three and four degrees respec- 
 tively, of the original example (a). 
 
 Sharps or flats essential to a Key or Scale' are generally, once for all, placed at the beginning of 
 each staff immediately after the clef; when so placed they form the Key-signature.' Other sharps or 
 flats occurring in the course of a composition are termed Accidental sharps or flats. 
 
 A sign called the Natural ( tj ) is used to cancel the eflFect of a preceding sharp or flat, restoring 
 the sharped or flatted degree to its normal or natural pitch. 
 
 For grammatical reasons it is sometimes necessary that a particular line or space should temporarily 
 represent a pitch two semitones higher or lower than normal ; for this purpose the Double-sharp ( ^ ), 
 and the Double-flat iyV), are used; they are cancelled thus, mL or jll?, reducing the efi^ect one semitone, 
 or thus [] (improperly thus t|t| ), cancelling the effect entirely. 
 
 Of the following examples, [b) [c) and {d) {e) are exact transpositions, one degree (half-tone, or 
 whole tone) higher and one degree lower, respectively, of the two examples under (a). 
 
 I i 
 
 {al) 
 
 Key Ftl minor. 
 
 Key A minor. 
 
 {a2) 
 
 | =^j^fe^._=^i= E^|j 
 
 Key G minor. 
 
 Key B]7 minor. 
 
 I , i 
 
 {br) 
 
 ^M=^iE=^E^^^^m '-> ^^^^^^^^^^m 
 
 Key B minor. 
 
 {cr) 
 
 i, I 
 
 Key Gtt minor. 
 
 ' Key or Scale = " A collection of notes within the compass of one octave, of which the first is called the Tonic, or Keynote, to which note the others 
 bear a fixed and definite relationship." ( Front. ) Also see page 66 et seq. 
 » Key-Signature. See page 70. 
 
VOICE AND SONG. 
 
 Key E 
 
 minor, 
 
 (dl) 
 
 iel) 
 
 {d2) I 
 
 Key G minor. 
 
 {e2) 
 
 i 
 
 ^M'Elgzlgz^bazzj^ ^fl 
 
 N.B. It is to be understood that the sharps or flats of the Signature affect not only the degree of the 
 staff upon which they appear, but all octaves above or below upon the same staff. 
 
 A feature of modern music is the frequent use of Chromatic Notes (notes foreign to the signature 
 of the prevailing key' ) ; see the notes indicated by the pointer ( J, ) in the above examples. 
 
 The second note in ( / ) and the last note but one in (2) of these same examples are not indicated as 
 being chromatic, because in each case the note in question is the leading-note'' of the prevailing key. The 
 necessary accidental'^ in the notation of the leading-note of minor keys gives it the appearance of being chro- 
 matic, but modern musicians invariably class it as a Diatonic Note.'' 
 
 Exercise i. Name the pitches noted on the following staves, ( <j ) or (^ ). 
 
 
 i 
 
 i? 
 
 ■if^ ~ 
 
 I 
 
 m 
 
 r- 
 
 --^' 
 
 -^' 
 
 It 
 
 I 
 
 (N.B. The transposition 
 
 Exercise 2. Point out every semitone in the succession of notes ( a ) or (^) of Ex. i. 
 Exercise 3. Tran.spose, orally and at sight, the notes of Ex. I ( ij ) or (^) one degree higher or lower, 
 throughout the exercise must be, uniformly, either a zuhole tone or a semitone above or below the original.) 
 
 Relative Duration of Tone is represented by varying the form of the note. The most simple form 
 Is called a Whole Note ( ^ ), sometimes called Standard Note ; each addition to this form reduces the 
 time-value one-half In the following table each note represents half the value of the one preceding it. It 
 will be seen that the second note is formed like the first, with the addition of a stem, and, as its name Half- 
 note signifies, its time-value is one-half that of the whole note. The third note, called Quarter-note, 
 has a solid Head^ with a stem ; other forms are obtained by adding one or more Hooks to the stem of a 
 quarter-note form. 
 
 Name.* -^ Whole Half- Quarter- 
 note, note. note. 
 
 Numbers 
 illustrating 
 Relative 
 and 
 Proportional 
 Values.' 
 N.B. 
 ^ or 
 
 Note. 
 a 
 
 c 
 d 
 e 
 
 f 
 
 a 
 1 
 
 2 
 
 4 
 
 8 
 
 16 
 
 32 
 
 1 
 
 'i 
 
 1 
 
 2 
 4 
 8 
 16 
 
 4 
 
 4 
 
 jL 
 
 2 
 
 1 
 
 2 
 4 
 8 
 
 Eighth- 
 
 Sixteenth 
 
 note. 
 
 note. 
 
 .^ 
 
 ^ 
 
 i 
 
 A 
 
 i 
 
 1 
 
 1 
 
 2 
 
 i 
 
 1 
 
 \ 
 
 2 
 
 1 
 
 4 
 
 2 
 
 Thirty-second- 
 
 note. 
 
 32 
 
 1 
 16 
 
 J_ 
 
 8 
 
 i 
 
 4 
 
 1 
 
 2 
 
 e-g-: 
 
 The stem of a note may be turned either upward or downward without affecting its duration • 
 
 I Chromatic. See pages 67 and i io. ^ Leading-Note. See page 67. 3 Accidental; a sharp, flat, or natural not found in the signature; see pagft 
 5. 1 Diatonic. See page 66. 
 
 5 The head of a not; is that part which determines its place upon the staff. 
 
 '• In England these notes respectively are nam3d Semibreve, Minim, Crotchet, Quaver, Semiquaver, and Demisemiquaver . Occasionally a note formed 
 thus ||(5J|, called Breve (= Double whole note ), is used. In days long ago, when the Minima, as its name implies, represented the shortest duration, two other 
 notes ( now obsolete ) were used, the Large, or Maxima, ( [— — | ) , and the Long, or Longa, ( td ) . 
 
 7 For example, taldnga Quarter-not^ to rrpresent the unit (see third line of numbers, <:—>"), then a half -note will represent twice and a whole note four times 
 that unit ; while eighth, sixteenth, and thirty second-notes, respectively, will represent halves, fourths and eighths of a unit. 
 
VOICE AND SONG. 7 
 
 The following table exhibits in another manner the relative value of these different notes. 
 
 1 Whole note o " 
 
 represents a duration 
 
 equal to i Half-notes J : J 
 
 or to 4 Quarter-notes J J J J 
 
 or to 8 Eighth-notes J^ ^1^ ^1^ ^ ^ ^ ^ ^ 
 
 or to i6 Sixteenth-notes ^^_ >_ ^N_ ^^_ ^- J^- ^^_ J'- ^_ J"- J^_ ^^_ J^- J^^ J^- J^- 
 
 or to 32 Thirty-second-notes s^S^s\\\ J^J^s\ J^J^J^s\\\\\ d J^J^S d\^J^J^d J^J^J^J^ 
 
 It follows, that I Half-note is equal in duration to 2 Quarter-notes, or to 4 Eighth-notes, or to 8 Six- 
 teenth-notes, or to 16 Thirty-second-notes ; that i Quarter-note is equal in duration to 2 8th-notes, or to 4 
 i6th-notes, or to 8 32d-notes; that i Eighth-note is equal to 2 i6th-notes, or to 4 32d-notes ; and that i 
 i6th-note is equal to 2 32d-notes. 
 
 By the addition of a Dot (placed on the right-hand side) a note is made to represent an increased 
 duration, adding one-half the value of the note ; for example : 
 
 a a 
 
 = 
 
 (5 
 
 therefore a 
 
 a c 
 
 = f 
 
 s 
 
 (C C( 
 
 a. 
 
 N 
 = ^ 
 
 N 
 S 
 
 <c a 
 
 S 
 an S 
 
 = ^ 
 
 } 
 
 cc a 
 
 ! i 
 
 J 
 
 I I I 
 
 I N ^ ^ 
 
 4-^4" 4 4 
 
 Or, to illustrate with the aid of numbers, taking an K«dotted Quarter-note to represent the unit, tne 
 dotted notes will represent values as follows : 
 
 Undotted notes 
 
 a 
 
 ei 
 
 1 
 4 
 
 4 
 
 > 
 
 Relative values 
 
 4 
 
 2 
 
 1 
 
 \ 
 
 i 
 
 Dotted notes 
 
 • 
 
 a • 
 
 • • 
 
 .^ 
 
 }. 
 
 Relative values 
 
 (4+2 
 I =6 
 
 2J-1 
 -3 
 
 1+i 
 
 l-Ul 
 
 — 3 
 
 8 
 
 Two dots or even Three dots may be used (1^ • • or ^ . • • ) ; each additional dot increases the 
 duration of the note by half the value of the preceding dot. For illustration, suppose an undotted quarter- 
 note {0) to represent one second of time, a dotted whole note( ^ . ) would represent six seconds, a double- 
 dotted'whole note { /^ " ) seven seconds, and a triple-dotted whole note ( ^ . . . ) seven and a half seconds. 
 1 his latter combination may be analyzed and exhibited thus : 
 
 Note and dots : g • • • = Triple-dotted whole note. 
 
 i i i i 
 Time-value: 4 + 2 + 1 + 4 = Seven and a half. 
 
8 
 
 VOICE AND SONG. 
 
 Various prolongations may be produced by tying or binding suitable notes. The Tie or Bind is a 
 curved line above or below two immediately adjacent notes of the same pitch. The following example ex- 
 hibits a quarter-note prolonged to various lengths by means of tied notes and dots. 
 
 («) (M (O (^) (O (/) {g) 
 
 -^ 
 
 i 
 
 ■t- 
 
 fl^^^l]^^ 
 
 («) time-value equals one half-note. 
 
 a dotted quarter-note ( = 3 8th-notes). 
 
 five sixteeenth-notes. 
 
 five eighth-notes, 
 
 fifteen thirty-second-notes. 
 
 two quarter-notes. 
 
 a double-dotted quarter-note (=7 i6th-notes). 
 " Prolongations such as the above are endless in variety." 
 
 The sign /rv, called a Pause or Hold, placed over or under a note, increases its duration ad libitum, 
 that is, at the will of the singer. 
 
 JjuRATioN OF SILENCE is represented by characters called Rests. Each note has its corresponding 
 rest, the form of which is shown in the following table : 
 
 (0 
 {d) 
 
 (O 
 
 (/) 
 
 Notes ; 
 Rests : 
 
 . J J 
 
 ^ 
 
 
 ) 
 
 _? 
 
 The duration of a rest, like that of a note, may be increased by the use of dots. 
 
 Students are ofter careless in their attention to rests. Much of the good effect of a composition 
 depends upon the exact observance of the signs for silence. The student therefore should make himself 
 thoroughly familiar with them. 
 
 The student will find it excellent practice to take a piece of music and mentally pronounce the value 
 of each note successively in its relation to some suitable unit. In the short example following, with an 
 eigntn-note for the unit, the values relatively will be as indicated by the figures. 
 
 Unit 
 
 or, with a 
 
 quarter-note 
 
 for the unit, 
 
 the values 
 
 would be 
 
 -^2 2 
 
 =^- 
 
 -^- 
 
 =2+1+4 
 
 1 
 
 hi+i+i 
 
 P- 
 
 ^1 
 
 1 
 
 i 
 
 ^ 
 
 2 2 
 
 and 
 so on. 
 
 There is no specially formed note which represents a third of any other note, and as this fraction of 
 duration is of frequent occurrence, especially in modern music, the exigency is met by grouping three notes 
 ( or notes and rests ) of one and the same value, which are to be performed in the regular time of two of 
 like value. The group is called a Triplet, and its special sign is a figure 3 with a curved line over or 
 
 under the group, thus : [a) 
 
 or 
 
 3 
 
 (^)wM^\ (0 U,{d)j 
 
 n-oA 
 
 us 
 
 Sometimes the curved line is omitted. Each eighth-note ( or rest ) in the foregoing groups represents one- 
 third oi ■&. regular quarter-note; the quarter-note in group {d) represents two-thirds the value of a regular 
 quarter-note. In the following example, the value of each note as compared with the unit ( a quarter- 
 note ) is expressed by the figure immediately below the note. 
 
VOICE AND SONG. 
 
 1 = 1. 
 
 ['^^ 
 
 -d"j- 
 
 -•- 
 
 4- 
 
 J i 
 
 i ii 
 
 1 
 
 1 
 
 =1 
 
 = 1 
 
 
 
 J- 
 
 2 
 7 
 
 2 
 ¥ 
 
 = 2 
 
 -•— •- 
 
 J- 
 
 j:^j 
 
 1 1 
 
 I— ^' 
 
 2 
 "S" 
 
 1 
 "S" 
 
 1 
 "2" 
 
 0-0- 
 
 1 1 i 
 6 6 6 
 
 
 =-3 =1 
 
 -&- 
 
 = 1 =1 =1 =2 
 
 Other extraordinary groupings occasionally occur where an irregular number of notes are to be sung in 
 the time of a regular number: two (a Duplet), or four ( a ^adruplet), in the time of three; five (a ^in- 
 tuplet), or six ( a Sextuplet), in the time of four ; and so on. 
 
 When notes are to be sung in a detached or separated manner, the composer often uses a special word 
 or sig n ( gen erally a dot over or under the note ) which is easier to write than the regular rest ; for example : 
 
 r decreasing the duration of 
 
 ^ 
 
 ? 
 
 ^ mezzo-staccato;^ to be sung 
 
 H — S-\~S - ^-^S ~J—S—- < each note by a quarter of its 
 6*' I value. 
 
 ^ 
 
 ■■ Staccato -^ 
 
 to be 
 
 sung 
 
 -*f-h-«f-| 
 
 m^^i 
 
 decreasing the duration of 
 each note one-half. 
 
 ^^=f^: 
 
 : staccatissimo ; to be sung 
 
 N 
 
 ^ 
 
 
 N 
 
 
 -S-«? 
 
 «_S SJ 
 
 i-m S{_! 
 
 >-^-«? 
 
 
 m ' 
 
 W, T 
 
 1 J ^ 
 
 m ' 
 
 
 
 \^ 
 
 _k__ 
 
 
 — 1 
 
 r decreasing the duration of 
 -I each note by three-quarters 
 I of its value. 
 
 In speaking of the relative value of notes (and rests), the word Beat (or Pulse) is often used as an 
 equivalent for the unit of measurement ; for example, talcing the half-note to represent one beat, the other 
 notes will represent values as follows : «5 = two beats, J = one-half beat, ^ =^a. fourth of a beat, ^ ^ an 
 
 eighth of a beat, iC?. = three beats, ! ^ = one beat and a half, J . = three-quarters of a beat, J^. = three- 
 eighths of a beat, and so on. (See page i6 for another definition of this word.) 
 
 Tempo. 
 
 Absolute Duration is indicated by a Metronomic sign' placed at the commencement of the music ; 
 
 for example, M.M.'' J = 6o signifies a pace (tempo) equal to 6o beats ( units of time ) per minute, a 
 
 quarter-note ( or its equivalent ) to occupy each beat. The whole note, under such a sign, would represent 
 
 an absolute duration of four seconds, the half-note would represent exactly two seconds, and so on. When 
 
 no metronomic sign is given, the pace is suggested by words, Italian as a rule, placed at the beginning of the 
 
 music ; the exact pace and, as a cbnsequence, the duration of the beat, being left to the singer's individual 
 
 taste. 
 
 Words Suggesting Pace.' 
 
 ( Tempo-marks. ) 
 
 f Largo. Broad, wide, large. 
 
 Grave. Grave, heavy. 
 
 Lento. Slow, tardy. 
 
 ^ Adagio. Slow. 
 
 SLOW 
 
 ■ Andantino. 
 Andante. 
 MODERATE ^ Moderato. 
 Com(m)odo. 
 
 Slower than Andante, but often used in the opposite sense. 
 
 Going (i.e., rather slow). 
 
 Moderate. 
 
 Convenient, easy, leisurely. 
 
 Allegretto. Rather quick (i.e., slower than Allegro'). 
 
 " Mezzo-staccato is sometimes indicated thus : |— 1»— ^ |* f | 
 
 = Staccato (^Italian ), detached, separated. Mezzo-staccato, semi-detached. Staccatissimo, extremely detached. 
 
 3 The Metronome is an instrument, actuated by clockwork, for measuring time. To whatever number the slider on the pendulum is set, this latter is 
 caused to swing or beat that number per minute. 
 
 4 M. M. stands for Maelzel's Metronome ( Maelzel was the inventor of the instrument) ; these letters are often omitted. 
 
 5 Consult a " Dictionary of Musical Terms " for other words. 
 
10 
 
 VOICE AND SONG. 
 
 FAST 
 
 r Allegro. Quick, cheerful. 
 
 J Vivace. Lively, sprightly, vivacious. 
 
 I Presto. Fast, rapid. 
 
 Prestissimo. Very fast. 
 
 I 
 
 The above words are often modified by other words used in conjunction ; e.g., Allegro assai, very 
 quick. 
 
 Iji the course of a composition the following terms relating to pace occasionally occur : 
 
 Rallentando (abbreviated to rail.). ] 
 
 RiTARDANDO ( abbreviated to rit.). | ^^^^^"^ ^^ ^"g-"""'- 
 
 Ritenuto (abbreviated to riten.). Retained, held back, i.e., suddenly slower. 
 
 Accelerando (abbreviated to accel.). Quicker by degrees. 
 
 Stringendo ( abbreviated to string.). Drawing close, i.e., accelerating swiftly. 
 
 A TEMPO. In time. Used after either of the above. 
 
 Tempo rubato. Robbed time. Irregular time, retarding one note and quickening another for the 
 purpose of expression, as the singer's taste dictates. 
 
 Tempo giusto. In exact time. 
 
 L'istesso tempo. In the same time. Used in the course of a composition when the note represent- 
 ing the beat has been changed, but the beat itself is to be the same length as before. 
 
 Ad libitum. \ ^^ . . . . , . , . „ 
 
 n c Not m strict time, but at the singer's "will" or "pleasure. 
 
 A piacere. I ' & r 
 
 ExERCiSF 4. Name the following notes in the order of their time-values, beginning with the longest: 
 
 Exercise 5. Name the notes which correspond to the following rests: 
 
 ^ 3 — _ s — 9- 
 
 ExERCisE 6. What tied notes would express the same values as the dotted notes in the following? 
 
 Exercise 7. Express by numbers the value of the notes and rests in the following: ( a ) Taking a quarter-note for the unit of 
 measurement; ( i ) taking an eighth-note for the unit of measurement. 
 
 • S s)-. m-:—^-m—0—0-&-. •—• • — ^H-d—0^^f^^'S ^ m mm 
 
 Exercise 8. Examine carefolly the following passages ('»), (^ ). and ( <'), and say whether, in performance, one would occupy a 
 longer or shorter time than the other. 
 
 (<z) 
 
 i 
 
 M. M. J = 80. 
 
 m 
 
 a^^EE^=& 
 
 -fff=^ 
 
 =22= 
 
 =?2= 
 
 i^ 
 
 ZZ^2 
 
 {b) 
 
 s 
 
 M. M. -^ = 80. 
 
 t==-r 
 
 g^M^ 
 
 =^=t= 
 
 w 
 
 i 
 
 M. M. J^=i44- 
 
 f— ^ 
 
 P 
 
 ^ 
 
 I 
 
 c) 
 
 --I [ 
 
 ^==t 
 
 m-- 
 
VOICE AND SONG. 11 
 
 Time. 
 
 Time' {^ Metre) in music is the regular recurrence of Accent (emphasis, or stress). There are pri- 
 marily three grades of accent, namely. Strong, Medium, and Weak. " The stress or emphasis, laid upon 
 certain syllables in the words of ordinary speech, affords a simple illustration of accent." E.g., recite the 
 following words slowly, pronouncing the syllables at equal intervals. Repeat each example several times. 
 ( S = Strong, M = Medium, W =^ Weak accent.) 
 
 (a) — I Prac 
 
 (')- \\ 
 
 s 
 
 w 
 
 s 
 
 w 
 
 s 
 
 w 
 
 RAC 
 
 - TISE 
 
 HAS 
 
 Y 
 
 AC 
 
 CEN 
 
 S 
 
 w 
 
 w 
 
 M 
 
 w 
 
 w 
 
 ClR 
 
 - CUM ■ 
 
 - LO - 
 
 cu 
 
 TION ■ 
 
 - AL 
 
 ■\Wy 
 
 S w w S w 
 
 I Reg - U - LAR CLAS - SI 
 
 {d)- 
 
 s 
 Vo 
 
 CAL 
 
 M 
 IZ 
 
 ING 
 
 s 
 Reg 
 
 w S w 
 
 w 
 
 - FIED EM - PHA ■ 
 
 - SIS \ 
 
 w M w 
 
 
 U - LAR - LY I 
 
 
 
 In musical notation the strong accent is located by the Bar, a vertical line drawn across the staff thus : 
 
 I ■ This regularly recurring strong accent divides the music into equal portions called Measures 
 
 (sometimes called Bars). The subordinate {medium and weak) accents divide the measures 
 into equal parts called Beats. The measures, in agreement with the divisional number, are classified as 
 being in either Duple (^two ), Triple (^ three), or Quadruple ( = four ) time. 
 
 The time (duple, triple, or quadruple) of a composition is indicated by a sign called the Time-signa- 
 ture, placed at the beginning, immediately after the Clef and Key-signature, and usually in the form of a 
 numerical fraction, the upper figure denoting the number of units in each measure, while the kind of note 
 taken to represent the unit is shown by the lower figure. 
 
 When the note representing the beat is divisible by two ( or any multiple of two ), the time is termed 
 Simple; when divisible by three (or any multiple of three), it is termed Compound. 
 
 For Simple time-signatures the upper figure is always either 2, 3, or 4, and the note representing the 
 beat will be an ordinary undotted note ; e. g., a = simple duple time, each measure containing the equivalent 
 of two quarter-notes. 
 
 The upper figure of Compound time-signatures is always either 6 ( = two threes ), 9 ( = three threes ), 
 or 1 2 ( =four threes ), and the note representing the beat will be a dotted note (divisible by three) ; e.g., 
 0(^/1. ) = compound duple time, each measure containing the equivalent of two dotted quarter-notes. 
 
 The Table exhibits the different Time-signatures, with corresponding Measure' and Beat' values. 
 
 Duple. 
 
 Triple. 
 
 Qtjadruple. 1 
 
 Accents. — > s. 
 
 w. 
 
 
 s. w. 
 
 w. 
 
 
 S. W. M. 
 
 w. 
 
 ( 
 
 2=1 
 2 ^ 
 
 ci 
 
 
 3 _ 
 
 2 
 
 n 
 
 <ri 
 
 4 _ 
 
 2 ~ 
 
 ei e^ 
 
 J 
 
 i 
 
 2 _ 
 4 ~ 
 
 J 
 
 4 
 
 3 _ 
 
 4 ~ 
 
 J J 
 
 
 
 4 _ 
 4 ~ 
 
 J J . 
 
 
 
 ( 
 
 2 _ N 
 
 8 ~ ^ 
 
 4 
 
 3 _ 
 
 8 ~ 
 
 / i' 
 
 4 
 
 4 _ 
 8 
 
 ^" / / 
 
 4 
 
 
 -4 
 
 6 _ 
 
 4 ~ ^• 
 
 a • 
 
 9 _ 
 4 ~ 
 
 ^ • r:^ • 
 
 si • 
 
 
 12 _ 
 4 
 
 a ' gi ' a ' 
 
 1 
 
 1 
 
 6 _ 
 
 8 ~ 
 
 d • 
 
 4 • 
 
 9 _ 
 
 8 ~ 
 
 4 • 4 • 
 
 y • 
 
 
 12 _ 
 8 ~ 
 
 4 ' • 4 ' 
 
 • 
 
 "( 
 
 6 _ 
 16 
 
 4 ' 
 
 4' 
 
 9 _ 
 16 ~ 
 
 4 ' 4 • 
 
 i: 
 
 12 _ 
 16 ~ 
 
 ^ ^ ^ 
 4 ' 4 ' 4 ' 
 
 s 
 4 • 
 
 I The term Time is often used as if synonymous with duration ; e.g., a half-note is equal in time to four eighth-notes ( see page 7 ) ; also for the term /««, 
 e.g., quick time, slow time, etc. (see page 9). 
 
 - Measure. The portion of music between a strong 3.ccexit (the principal accent) and the next strong accent. 
 
 3 Beat. The portion of music between any one primary accent, and the very next primary accent. 
 
 •* N.B. In compound time-signatures the lower figure denominates a note which is only a third of the beat. 
 
12 
 
 VOICE AND SONG. 
 
 N.B. ^ is often indicated by the ancient sign g, a combination of dot and imperfect circle ; and ^ ^^ 2 
 by a similar character with a line through it, ^. 
 
 Besides the primary or measure-?icc&nts, there are secondary accents, inferior in force to the primary, 
 which divide the beats into two, three, four or more parts. 
 
 In the following examples, t\\& primary or measure-a.ccents are marked s, m, or w (explained above) ; 
 the secondary accents being marked by dots, and their relative force shown by the number of dots — the 
 stronger the accent, the more dots the note will have ; notes unmarked are unaccented. 
 
 ( a ) Simple duple time, two beats to the measure, a quarter-note or its equivalent to the beat. 
 
 s w s w 
 
 s w 
 
 r»-a-a- 
 
 r#^ 
 
 
 m 
 
 •^^ 
 
 H^ 
 
 H 
 
 ( b ) Simple triple time, three beats to the measure, a half-note or its equivalent to the beat. 
 
 SWWSWWS W W s w w s w 
 
 B: 
 
 y^E^ 
 
 -J^ 
 
 ^: 
 
 tt- 
 
 -m 
 
 ?^Ei^f 
 
 S3 
 
 m 
 
 ^0 
 
 r»^-K^- 
 
 -3-B-# 
 
 -^^0 
 
 5 
 
 P^m-'^-m^^^-i—f-0m- 
 
 -^-0 
 
 --tPf^ 
 
 W-sb 
 
 W 
 
 w 
 
 >--7^:::F^p::F=^f'^P=p^:^^^^ 
 
 s . w w s 
 
 The Double-bar (two verticaHines placed close together across the staff 1 ) marks the end 
 
 of a composition or of an important portion of it. The double-bar does not always coincide with the 
 place of the ordinary bar. 
 
 In music having several notes to each beat, the hooks ( see page 6 ) of eighth-notes, sixteenths, etc., 
 are generally joined, grouping the notes in accordance with the accentuation. This simple plan enables the 
 singer to locate the gram'matical accents at sight. Compare (a) and (b) following. 
 
 ^-T^^^^ ^-^^— . r-fK^^U^ ^-^-^^, — fe» . ^ — fc— ^■ ^ ^ 
 
 (a) 
 
 
 {b) 
 
 
 -#-#-ar^-,» 
 
 1 — I — w-jg-\ — w—- 1 1 1 1 
 
 _fe-:^ 
 
 w 
 
 The regular accent is sometimes disturbed by Syncopation, that is, a weak part of a measure is given 
 special emphasis and is prolonged into a stronger part ( without re-sounding ), the accentuation thereby being 
 " contracted "; hence the term syncopation. Examples : 
 
 $ 
 
 i 
 
 4j 
 
 ^ 
 
 la^ 
 
 g 
 
 i i 
 
 fe 
 
 m^. 
 
 a 
 
 i i 
 
 f« • 
 
 ^^ w 
 
 ^-0 
 
 sb_y- 
 
 ^ 
 
 V V 
 
VOICE AND SONG. 
 
 13 
 
 Other irregular accents (for purposes of expression) are indicated by special signs, a v > and <, or 
 by the abbreviations sfz sf sff{sforzando), or fz [forzando), Italian words meaning "forcing." 
 
 "Accent is the life of music and is of multitudinous variety of shading and intensity. ' (Mathews.) 
 
 The practised vocalist should be able to play upon his vocal cords with his breath as expressively and 
 easily as a skilled violinist plays upon the strings of a violin with the bow. All the various effects of 
 accent depend upon the artistic management of the breath in the one case, and upon the artistic manage- 
 ment of the bow in the other. 
 
 An important feature of this Method for Vocalists is the repetition of many of the exercises with 
 varied accentuation, and it is of the utmost Importance to the student that they should be so practised. At 
 first, there may be a tendency to "hammer out" the accents In kindergarten style, but with careful and regu- 
 lar practice this will gradually give way to a graceful and artistic accentuation. 
 
 Exercise 9. In the following, which are the accented notes, and of what grade are they — Strong, Medium, or Weak? 
 
 ( a ) ^J S-J ^U^-J- 
 
 * 
 
 J^^^n:!-^- 
 
 -j::3-J 
 
 II 
 
 ( b ) i-i^-j^^-j^j-^,^^i^jt-j--n::j^ 
 
 (o ^^5^g^3g ^|(.)^E^^^i^(.) ^^^gij;^^ 
 
 (/) 
 
 ^ ^sg;?^ ^^ 
 
 Exercise 10. Where, in the following, should bars be placed to make it accord with the time-signature? 
 
 t J. >^-^^-^« ^. q J n JU-^L 
 
 ± 
 
 -j:^-^^j- 
 
 Exercise ii. The following measures (<j toy ) each contain five notes. Monotone them (using the syllable La) in accordance 
 with the time-signature. Mark the time (say about M. M. J =60) by tapping at the commencement of each beat with a pointer, or 
 other suitable object. Each measure should be repeated several times. 
 
 {a) 
 
 ia) (b) {c) id) (,) 
 
 Exercise i 2. Point out the syncopated notes in the following : 
 
 ai 
 
 fe^^ 
 
 ^^ 
 
 Exercise i 3 . Monotone the above (Ex. 1 2 ) and ieat the time as in Ex. 11. 
 
14 
 
 VOICE AND SONG. 
 
 For additional practice in this important (and often much neglected) part of the singer's education, the 
 student should invent Rhythms' for himself, and then monotone them as in Ex. 1 1, also, he should sing 
 them to the notes of a scale with an accompaniment which may be adapted from Ex. 93. 
 
 Here is an abbreviated example in n time. 
 
 Rhythms. 
 
 iJ=:i: 
 
 >^El 
 
 ^ 
 
 ^fr 
 
 H-*=^-*= ^-" 
 
 m { 
 
 U^i=^M ( 
 
 fc:S3--S 
 
 i^^^H 
 
 $M 
 
 =My: 
 
 -0—0- 
 
 No. I of the foregoing Rhythms Scalewise, in Key of C 
 
 ^F^=l^ 
 
 H h 
 
 ^ ^ ^ 
 
 ■0 0- 
 
 etc. 
 
 ii 
 
 
 r- 
 
 
 No. 4 ditto. 
 
 r 
 
 t 
 
 ■Or. 
 
 A ■0-. 
 
 f^^ 
 
 -i^ 
 
 
 :1-^: 
 
 ^3=^ 
 
 «i^*^ 
 
 s 
 
 A — H — i— etc. 
 
 ' d~^4-^ - 
 
 ^ 
 
 ^ 
 
 
 n-:^^- 
 
 S=? 
 
 4 
 
 r- 
 
 0^^J^^ 
 
 ^ ' 
 
 r:s; 
 
 r 
 
 :(2i 
 
 T" 
 
 '?' 
 
 The student should also carefully examine a number of solfeggi, songs, etc., and notice the unity of 
 effect obtained by rhythmical repetitions, often coupled with more or less close tonal imitation. 
 For example : 
 
 t 
 
 W- 
 
 i 
 
 ^=^— * 
 
 ■X 
 
 i 
 
 :t: 
 
 -• •- 
 
 I 
 
 •tf • — — — F#- 
 
 ^=F=t: 
 
 m 
 
 p 
 
 I: 
 
 =P f P 
 
 :^=i 
 
 • — * — ^ 
 
 i^^: 
 
 
 i^ 
 
 --^f 
 
 p^^= j^ 
 
 -(Si-r 
 
 B 
 
 fef 
 
 :1=r: 
 
 F= 
 
 -(^T- 
 
 ^ 
 
 Rhythm : " Measured motion : a regular grouping of long and short, accented and unaccented sounds." 
 
VOICE AND SONG. 
 
 15 
 
 Embellishments. 
 
 Notes added to a composition by the composer or the singer solely for their ornamental effect, are called 
 Embellishments, or Graces. The most important are the Appoggiatura, the Acciaccatura, the Turn, and the 
 rrill. 
 
 The embellishing notes are technically termed Auxiliary notes, and the note they embellish is called 
 the Principal note. 
 
 The time required for the execution of grace-notes is taken from the note they embellish. 
 
 The Appoggiatura ( " leaning-note ") is an accented grace-note added above or below a principal note, 
 and is generally written as a small-sized note corresponding in time-value to its intended length. Its time- 
 value is determined by that of the note it graces, namely {a) one-half an ordinary note, {b) two-thirds of 
 a dotted note, and {c) the whole value of the first of two tied notes. 
 
 Examples : 
 
 Written : 
 
 ii 
 
 ;^ 
 
 ^ 
 
 ^^^- 
 
 l^igil^^^^i^ais^ 
 
 15-^—^-*?- 
 
 11 
 
 {a) 
 
 {b) 
 
 (O 
 
 Sung : 
 
 P=E=S=^3=£E=E=z^il:|-£=:zt:iE=tii=t=S=&st- 
 
 PI^E^ 
 
 0M 
 
 Modern composers often write the Appoggiatura ?i5 a note of the usual size and of the exact time- value 
 required. 
 
 The Short Appoggiatura' is an auxiliary note above or below a principal note, executed rapidly, 
 "giving a kind o? fillip to the accent." It is generally written as a small-sized eighth-note having a short 
 oblique line through stem and hook : 
 
 {a) Before the principal note. 
 
 {b) After the principal note. 
 
 Written : _ 
 
 i 
 
 3: 
 
 ^'- 
 
 :^ 
 
 :t: 
 
 P^m^nSiii 
 
 Sung: 
 
 1^ 
 
 ^-•--# 
 
 S^ 
 
 ^^^—0 
 
 • P 
 
 llligl^a 
 
 ^^ j^ 
 
 The DouBLE-APPOGGiATURA consists of two rapidly executed grace-notes added to a principal note. 
 
 1 — fi B ■--« ■— ^ i-iW 1^ — jH r H^ r- SS 1- 
 
 Written : 
 
 :^: 
 
 4\ 
 
 li^ipigElSlii^^i^lSl 
 
 (1) 
 
 (2) (3) 
 
 (4) (5) 
 
 (6) 
 
 (7) ( = 6) ( = 7) 
 
 Sung : 
 
 %^^^^^m^m^wm^^m 
 
 No. I to 4 occur before the principal note ; No. 5 is an example in which the ornament occurs after the 
 principal note ; No. 6 is often called a Mordente,' and No. 7 an Inverted Mordente, 
 
 • Sometimes called the Acciaccatura ( crushed note). 
 
 2 Mordente (Italian), biting, cutting; also called a beat, or 3, passing shakt. 
 
16 
 
 VOICE AND SONG. 
 
 The Turn, as its name signifies, is an embellishment which winds around the principal note, forming 
 a gruppetto ( a group of three or four notes ) in which the principal note alternates with two auxiliary notes 
 one degree higher and lower. It is indicated by the sign iAS . When the sign is written immediately over 
 or under a note ( the principal note ), it should be sung thus : 
 
 Written 
 
 Sung; 
 
 ^Adagio.{hhont J — 60.)Moderato.( J = 80.) Jllegro.( J — 108.)Presto.( J — 144.) Presto. Moderato. 
 
 ^m wf^^^^i^^'^ ^^t ^^ 
 
 Nos. 5 and 6 are examples of the Inverted turn; it commences with the lower auxiliary note. 
 When the sign for the turn occurs between two notes ( the first of the two is, of course, the principal 
 note ), it will be sung as below : 
 
 Written ; 
 
 S>5 6 «>S i, CSS 
 
 S\!> 
 
 (AS 
 
 m 
 
 SPB 
 
 (1) 
 
 (2) 
 
 (3) 
 
 (4) 
 
 (5) 
 
 (6) 
 
 Sung: 
 
 Yi^^^^^^m^^^m^^mi 
 
 b b 
 
 Sharps, flats, or naturals under or over the sign ( thus, '^ ''^ '^^ '^) refer to the lower or upper auxil- 
 iary note of the turn respectively, and must be sung accordingly ; for example : 
 
 T 
 
 ^-1,-F 
 
 •^ r III ^ 
 
 The Trill occupies the whole time-value of the principal note, and consists of a rapid and even alter- 
 nation of a principal note with an auxiliary note one degree higher. In modern music the trill generally 
 commences upon the principal note, and always ends upon it (see example a below). If the trill is to com- 
 mence on the auxiliary, it is usually indicated by a small note prefixed to the principal note (see example 
 b). A complete /nV/ closes with a turn, often indicated by two small-sized notes (see examples a and b). 
 The incomplete trill has no turn at the close (see example c). 
 
 The number of beats^ in a trill depends upon the time and pace of the composition, and the ability of 
 the singer; there should be as many beats as possible, consistent with perfect intonation and the character- 
 istics of the music in which the trill occurs. 
 
 and II. 
 
 ' See page 9, also Ex. 131. 
 Each recurrence of the two notes ( principal and auxiliary ) is called a ieat. This must not be confounded with the term ''beat " defined on pages 9 
 
VOICE AND SONG. 
 
 17 
 
 tr. 
 
 The sign for the trill is tr ( the first two let- 
 ters of the word trillo ; when prolonged, a wavy- 
 line is generally added to the letters. 
 
 Written 
 
 Sung: 
 
 -£i>- 
 
 ^^ 
 
 jr^: 
 
 w 
 
 (") 
 
 pfE ^^ a^^p^l 
 
 i 
 
 J 
 
 tr 
 
 '-&' 
 
 A 
 
 -^*- 
 
 131. 
 
 I 
 
 tr^^ 
 
 '721. 
 
 :b 
 
 {h) 
 
 (0- 
 
 i: 
 
 -P-#-^-.V#-P-#^ 
 
 ~! — I — I — I — I — h 
 
 g^E^^^^f] If^^zg^^^^Mll 
 
 ^ lllll III I 
 
 The trill is sometimes " prepared," that is, the principal note is preceded by an auxiliary one semitone 
 lower. It is indicated and sung as follows : 
 
 Written ; 
 
 m 
 
 ^%r 
 
 is: 
 
 i-m 
 
 tr 
 
 -&- 
 
 221 
 
 a-iH 
 
 U- 
 
 tr 
 
 -&- 
 
 LSI 
 
 El 
 
 Ancient manner. 
 
 Modern manner. 
 
 Sung: 
 
 
 A succession of trills ascending or descending by degrees or by skips is called a catena di trilli ( chain 
 of trills ). The following examples show how they may be sung. 
 
 Written 
 
 i: 
 
 tr 
 
 tr 
 
 tr 
 
 
 fe' 
 
 S>~ 
 
 1 
 
 Sung: 
 
 * 
 
 ^^ L I I I 
 
 ^■^ — ■ 
 
 ■f^— ^' 
 
 j^^^-j^=jT3 v*^=^ * — J^lj- f^-g^f-g^f— •^•-^^'^'^ 
 
 -(^- 
 
 H 
 
 or 
 
 I: 
 
 pg^^^ 
 
 !=^=^:^=j A 
 
 •-J— •- 
 
 T^^-f—f-f-f-f- f-^^-^'^-* ^ ~^ ^; 
 
 ± 
 
 ^^^^ig 
 
 ^^" 
 
 ■1 A 
 
 ^f^^^£^^p^^^i|iiS=H 
 
18 
 
 VOICE AND SONG. 
 
 or 
 
 --=:=f 
 
 ^ A 
 
 ■^■— ^ 
 
 3^-^:-^^^";-'^-z^j^;^=^= w^|H ^^^ 
 
 or 
 
 -4/—^ — -H-H- 
 
 ii§^^2rSiH3i^^^^=SSE^^i^H 
 
 Written : 
 
 tr 
 
 tr 
 
 tr 
 
 tr 
 
 t 
 
 m 
 
 U I 11 I I i I A A A 
 
 or 
 
 „ U I 1 ^ I I l —^ AAA 
 
 -t:K i— ■■^■Ii^Imi— Ik ■ b»kMM»^»^^Ca , ,i-J- 
 
 -•-^-•-+t--»^ 
 
 ■^■^k 
 
 -I — h 
 
 fc=t=H 
 
 feliJ 
 
 or 
 
 ^'^■ "i " 
 
 ^SJ^SEg^J^j^L^^^^^E^r^Effe-zpil 
 
 Long trills may be prepared and the recurrence or rapidity of the /^^a/j graduated from comparatively 
 slow to the greatest possible velocity, somewhat as illustrated in the following examples. 
 
 tr; 
 
 Written : 
 
 =P 
 
 I^ 
 
 (2. 
 
 i^iiij 
 
 Sunt 
 
 
 "' ^ii^^ 
 
 Instead of the ordinary turn at the end of a trill, the following close is frequently used : 
 
 Written 
 
 :sH- 
 
 fe^ '""^ ^ ^=^^^^^=^^^#-1=^-=^ 
 
VOICE AND SONG. 
 
 19 
 
 Intensity and Expression, like Pace (see page 9), so far as possible, are indicated by Italian words, 
 placed either at the beginning or in the course of a composition. The following table exhibits the principal 
 words relating to Intensity (loudness or softness). 
 
 Word. 
 
 Abbreviation. 
 
 Meaning. 
 
 Pianissimo. 
 Piano. 
 
 PP 
 P 
 
 Very soft. 
 Soft. . 
 
 Mezzo piano. 
 Mezzo forte. 
 Forte. 
 
 mp 
 mf 
 
 f 
 
 Moderately soft. 
 Moderately loud. 
 Loud. 
 
 Fortissimo. 
 Sottovoce. 
 
 ff 
 
 Very loud. 
 
 With a subdued voice {piano ). 
 
 A mezza voce. 
 
 m. V. 
 
 With half the power of the voice ( medium force ). 
 
 A plena voce. 
 
 
 With full power of the voice {forte). 
 
 Crescendo. 
 
 Diminuendo. 
 
 Rinforzando. 
 
 cres. or — ==:zZ, 
 
 dim. or ' =— 
 
 rf 
 
 Gradually increasing the force. 
 
 Gradually diminishing the force. 
 
 " Reinforcing " ; with additional stress. 
 
 Sforzando. 
 Morendo. 
 
 sfz, sf, or :==' A 
 
 " Forcing " ; special Oi sudden emphasis.* 
 
 Smorzando. 
 
 Calando. 
 
 Perdendosi. 
 
 smorz. 
 
 cal. 
 
 perd. 
 
 1 Gradually diminishing the power and the pace. 
 (Implying both Dim. and Rail, combined). 
 
 A few of the words indicating Expression are listed below, 
 consult a Dictionary of Musical Terms. 
 
 For other words used in musical works. 
 
 A. At, for, by, in, to, with ; a battuta, by the beat ; 
 i.e., in strict time after an interruption. 
 
 Abbandono. Abbandonment ; con abbandono, in an 
 impassioned style ; as if carried away by emo- 
 tion; 
 
 Abbassamento. Lowering; abbassamento di voce, low- 
 ering ( in loudness ) of the voice. 
 
 Affettuoso. Affectionate ; con affetto, with tenderness 
 and pathos. 
 
 Agilita. Lightness, nimbleness ; con agilita, with 
 agility. 
 
 Agitato. Agitated ; in a restless or agitated manner. 
 
 AH', alia. To the, at the, in the, in the style of; 
 alia cappella, in the Ckurch style ; all' antico, in 
 the ancient style. 
 
 Allargando. Growing broader, i.e., gradually slower 
 and louder.' 
 
 Amoroso. Loving, tender ; con amore, with tender- 
 ness. 
 
 Animate. Animated ; con anima, with animation, 
 with soul, with spirit. 
 
 Appassionato. Impassioned, i.e., with fervid, strong 
 emotion. 
 
 Appoggiando. Leaning on, supported. Applied to 
 tones which glide over to the next without a 
 break, as in appoggiatura. { See Embellish- 
 ments, page 15, and Portamento di Voce, 
 page 113.) 
 
 Ardente. Ardent, fiery. 
 
 Aspirare. To aspirate ; to breathe audibly. Occa- 
 sionally used to express very great emotion. 
 
 Assai. Very ; largo assai, very slow. 
 
 Ben. Well ; ben pronunziato, well or clearly pro- 
 nounced ;. ben marcato, well or distinctly marked. 
 
 * N.B. " The force has to be suddenly ( though not too suddenly ) reduced after the first grip of the tone. The close of the sfz should not be softer than the 
 level of force marked. For example, in a passage marked /the actual attack of the sfz must be louder than /, and the end of the sfz must be not less than /. It 
 requires very great skill and delicacy to make a proper sfz in a passage marked /." ( Stainer. ) 
 
20 
 
 VOICE AND SONG. 
 
 Bravura. Boldness, spirit, dash ; aria di bravura, a 
 solo consisting of difficult runs and passages 
 designed to show off the singer's voice or skill. 
 
 Brillante. Brilliant, sparkling. 
 
 Brio. Vivacity, sprightliness, spirit, fire ; con brio, 
 with fire and vivacity. 
 
 Cadenza. Cadence ; also an ornamental passage, 
 usually at the close of a piece of music {y. 
 Appendix, Nos. 76 to 80). 
 
 Cesura. A pause, or break, in a verse. 
 
 Chiaro. Clear, pure ; Chiaramente, clearly, limpidly, 
 distinctly. 
 
 CoUa voce. With the voice. The accompanist to 
 keep closely with the voice-part. 
 
 Con. With ; con calore, with warmth ; con espressione, 
 with expression ; con duolo, with grief. 
 
 Da. From, by, about, of, for ; da capo, from the 
 beginning. 
 
 Deciso. Decided ; in a decided, determined manner. 
 
 Delicate. Delicate ; in a delicate, refined style. 
 
 Dolce. Sweet, soft, pleasant ; dolcissimo, very sweet 
 and soft. 
 
 Doloroso. Dolorous, plaintive ; with an expression 
 of pain. 
 
 E, or Ed. And ; sempre dolce ed espressivo, sweet 
 and expressive throughout. 
 
 Energico. Energetic ; vigorously accented and dis- 
 tinctly phrased. 
 
 Espressivo. Expressive, full of meaning. 
 
 Fiero. Fierce, wild, bold, vigorous. 
 
 Fuoco, con. Fiery, ardently. 
 
 Giocoso. Gay, facetious. 
 
 Grandiose. Grand ; in a dignified, elevated style. 
 
 Graziose. Graceful, elegant ; con grazia, with grace, 
 gracefully. 
 
 Impetuose. Impetuous, violent, dashing. 
 
 Lamentoso. Plaintive, mournful. 
 
 Languide. Languid. 
 
 Leggiero. Light, nimble ; con leggerezza, with light- 
 ness, airily. 
 
 Lusingande. Coaxing, caressing. 
 
 Ma. But ; andante ma non troppo, rather slow, but 
 not too much so. 
 
 Maestoso. Majestic, stately, noble ; with majesty, 
 dignity, grandeur. 
 
 Marcate. Marked, emphasized (an emphatic style). 
 
 Mene. Less ; meno forte, less loud ; meno mosso, 
 less quick. 
 
 Mesto. Mournful, sad, pathetic. 
 
 Mezzo. Half; mezzo piano, half (or rather) soft; 
 
 mezzo-soprano, half-soprano, ( halfway between 
 soprano and contralto ). 
 
 Melto. Much, very ; molto allegro, very quick ; con 
 molta voce, with much ( = full ) voice. 
 
 Merende. Dying away, growing fainter and fainter, 
 slower and softer. 
 
 Messe. Moved : meno mosso, less moved, i.e., slower; 
 piu mosso, more moved, i.e., quicker. 
 
 Non. Not ; non troppo allegro, not too quick. 
 
 Obbligato. Obliged ; a part to be performed by 
 some particular instrument in conjunction with 
 the principal part, and indispensable to the har- 
 mony and proper effect. 
 
 Ordinarie. Ordinary, usual ; tempo ordinario, in the 
 usual time. 
 
 Parlando. Speaking ; i.e., declamatory singing. 
 
 Passionate. Passionate ; with fervent emotion, in an 
 impassioned manner.- 
 
 Perdendesi. Dying away ; softer and slower. 
 
 Piangevele. Tearful ; in a weeping, sobbing manner. 
 
 Piene. Full ; a voce piena, with full voice. 
 
 Piu. More ; piu lento, more slow, I.e., slower ; piU 
 forte, more loud, I.e., louder. 
 
 Placide. Placid, calm, quiet. 
 
 Peco. Little ; poco piu mosso, a little more moved, 
 i.e., a little faster ; poco a poco, little by little, by 
 degrees. 
 
 Pei. Then ; adagio, poi allegro, slow, then quick. 
 
 Pompeso. Pompous, dignified ; pomposo ma non alle- 
 gro, pompous, but not quick. 
 
 Pesate. Sedate. 
 
 Pressante. Pressing, urging. 
 
 Quasi. Almost, as if. In the manner of; un poco 
 piano, quasi da lontano, rather softly, as If from 
 afar. 
 
 Risolute. Decided, determined ; In a bold, deter- 
 mined style. 
 
 Scherzando. Playful ; in a light, playful, sportive 
 manner. 
 
 Scielto. Free, easy ; in an easy, nimble, agile man- 
 ner. 
 
 Semplice. Simple, plain ; In a simple, unaffected, art- 
 less style. 
 
 Senza. Without; senza respiro, without taking 
 breath. 
 
 Serieso. Serious, grave ; In an impressive style. 
 
 Singhiezzo. Sob : the effect of a convulsive catch- 
 ing of the breath, as if In great sorrow. 
 
 Sonoramente. Sonorously, with a full, ringing tone. 
 
 Sospirando, Sighing. The effect of pure breath- 
 
VOICE AND SONG. 
 
 21 
 
 sound softly and gently melting into voice-sound. Tremolo. A tremulous fluctuation of tone, effective 
 
 " An emotional effort, sometimes expressing 
 simple weariness, sometimes a lover's passion, 
 but frequently it is the utterance of a great grief 
 that does not express itself in words." 
 
 Sotto. Under. Sotto voce, under the breath, i.e., in 
 a low, subdued voice. 
 
 Spiritoso. Spirited, dashing. 
 
 Stentato. Dragging, heavy. 
 
 Tardamente. Lingeringly. 
 
 Teneramente. Tenderly. 
 
 only in highly emotional passages. When habit- 
 ually indulged in, it becomes an execrable vocal 
 vice. (See pp. 148, 152.) 
 
 Tristezza. Sadness, melancholy ; con tristezza, in a 
 sad or melancholy manner. 
 
 Un, uno, una. A ; un poco ritenuto, a little slower. 
 
 Vivo. Lively, spirited, full of life. 
 
 Volante. Flying; in a light, airy manner. 
 
 Volata. Flight : i.e., a rapid run forming a melodic 
 embellishment. 
 
 Timoroso. Timorous, fearful. 
 
 See page 9 for words relating to pace, also pages 63-65, and page 19, for words relating to force. 
 
 The " expression-marks " added to the following song illustrate their use, and show how very helpful 
 they can be in suggesting an effective rendering of a composition.' ( See page 151.) 
 
 i 
 
 Words by John Oliver Hobbes. 
 Allegretto, mf /^ 
 
 I: 
 
 fi 
 
 S: 
 
 V_^fe: 
 
 A A 
 
 " LOVE IS A BUBBLE." 
 
 Music by Frances Allitsen. 
 rail, e sospirando. a tempo ores, 
 
 con tristez,%a. - '^ 
 
 ^;^-^- 
 
 g-V— -1^— •-*- 
 
 ^- 
 
 ^ 
 
 ^--N— «- 
 
 -•-H- 
 
 — ^ 
 
 5=^-: 
 
 E=^gEE^^^ 
 
 iF%=e 
 
 A r^^ 
 
 ^-^- 
 
 Love is a bub-ble. Love is a trou-ble. Love is a sigh. And Love is a grin ; 
 
 i 
 
 dolce con grazia. 
 A AAA 
 
 «A A 
 
 K ffy — b- 
 
 a ptacere. 
 A A 
 
 J. a tempo, energico. 
 J ^ 
 
 /TNi 
 
 lento. 
 
 /r\ 
 
 pp 
 
 m — !■; 
 
 ^ife-ff 
 
 •— ^ 
 
 =r^- 
 
 ^. 
 
 i-^-^- 
 
 ^-^ 
 
 Love is sw^eet hon - ey. Love is cold mon-ey. 
 
 Love is a lie. 
 
 And Love 
 
 caprtccioso. 
 
 (^ portamento .\ 
 '^'f con brio. 
 
 allegro, f^ >■ ^^ ^^\ ^ -A ^/ con brio^_______ 
 
 La 
 
 la 
 
 la! 
 
 marcato. 
 ah ! Love is a joy. To 
 
 
 
 
 adagio con tristezza. 
 
 molto espress. 
 
 
 allegro. 
 
 A 
 
 
 r\ 1 
 
 
 ^ k. ^ 
 
 
 fc 
 
 V !"^ S' 
 
 
 ^ s 
 
 il^ tt- l» 1 
 
 ^LT" 
 
 m . 
 
 m J m ^ *" 
 
 
 N 
 
 ^ N 
 
 »x 
 
 t+M 1 - - 
 
 life ^^-. 
 
 _*I=^ H^— ^ 
 
 -\ 1^ —ffi — • ^^— 
 
 i — a — j^~i i— 
 
 -/ ^ \/ 
 
 — 1 
 
 P 
 
 t^- 
 
 — ^ — 
 
 •-» 
 
 1- J ^ 
 
 — • 
 
 1 m ^ 1 
 
 
 
 -h- 
 
 b^ — ^ 
 
 tread you a mea - sure. 
 
 Love is a dirge. To fill you with grief. Love is bright wine. To 
 
 vtvace. 
 
 i 
 
 11 L/( L/t^L.1- ■ 
 
 j.marcato. ^ 
 /r\/ A -==« A 
 
 -f-^- 
 
 _fL_ 
 
 ^^e 
 
 marcato. 
 
 rf\i 
 
 tempo. 
 
 ^.-^ — •-«-h»-^ 
 
 quicken your pleasure, Love's the north wind 
 
 iwind . . And man . . . the dead leaf. 
 
 I " True expression is the offspring of a sympathetic genius, which will ever remain the real test of the taste, culture, and ability of an artist." ( Stainer.) 
 
22 
 
 VOICE AND SONG. 
 
 When the several parts' of a composition are arranged one above the other on the same page, it is said 
 to be in Full Score or Open Score. The following is a short example for four voices, each part with its 
 proper clef. 
 
 Soprano. 
 
 Alto. 
 
 Tenor. 
 
 Bass. 
 
 -h 
 
 Maestoso. 
 
 ^:; 
 
 -^^ 
 
 4:: 
 
 :'^f: 
 
 / 
 
 ^ 
 
 :^ 
 
 / 
 
 §43 
 
 'f — ^ 
 
 -^-t- 
 
 j-i**,.. 
 
 
 
 '0 — •- 
 
 t- 
 
 f='-E 
 
 t-"^^ 
 
 
 fz^ 
 
 li 
 
 :-_fc=h 
 
 f= 
 
 • — P- 
 
 :^=J 
 
 i: 
 
 
 2^ 
 
 3 
 
 tS*-*- 
 
 The following example is the same as the above, except that the clefs are those generally used in mod- 
 ern vocal scores. 
 
 Soprano. 
 
 Alto. 
 
 Tenor 
 (an 8ve lower). 
 
 Bass. 
 
 Maestoso. 
 
 Wi 
 
 -A=l 
 
 i 
 
 I. 
 
 / 
 
 ^ 
 
 -• — « 
 
 / 
 
 
 / 
 
 mi 
 
 ± 
 
 ^=^i 
 
 •- — ^ 
 
 .0 — 0- 
 
 ^=^=f 
 
 ^^= 
 
 
 t^^ 
 
 ^=^= 
 
 • — ^ 
 
 -b^- 
 
 -f — d- 
 
 ^i=^ 
 
 ^: 
 
 When the four parts are compressed into two staves, as in the following example, it is called a Short 
 Score, compressed, condensed, or close score. The parts are distinguished by having the stems of the notes uni- 
 formly turned up or down. 
 Maestoso. 
 
 Soprano. 
 Alto. 
 
 Tenor. 
 Bass. 
 
 4 
 
 it 
 
 X 
 
 4r~~0 •- ' 
 
 — i » • 
 
 f 
 
 r 
 J J i 
 
 ^ 
 
 t=^- 
 
 f- 
 
 I ^ I 
 
 I ^ I 
 
 li 
 
 :4- 
 
 -• •- 
 
 J=i 
 
 -H- 
 
 i- J^ 
 
 -0 P 
 
 ^^= 
 
 _« — — ^. 
 
 r 7 
 
 -• — •- 
 
 ^ 
 
 I 
 
 r 
 
 The term jcorif Comes from the composers' habit of " scoring the parts," that is, drawing one long bar 
 across all the staves. 
 
 ' Part ■ " So much of a piece of music as is performed by one voice or instrument." 
 
VOICE AND SONG. 
 Music for two voices with pianoforte accompaniment generally appears as follows 
 
 23 
 
 1st Voice. 
 
 2d Voice. 
 
 Piano. 
 
 -4,- J — iJ3=#: 
 
 >?^4, i — »- 
 
 fc^ 
 
 . -A- ± 
 
 i ^ 
 
 p£^ 
 
 I 
 
 
 • - - • ^- 
 
 — 1^- 
 
 
 =^-- 
 
 :t= 
 
 ?= 
 
 ^i^ 
 
 S^ 
 
 
 -^^ 
 
 ^ 
 
 I 
 
 h-h"^- 
 
 -- 1 ^-H ^^=1- 
 
 -^ • 
 
 f-^P: 
 
 -&- 
 
 -Zir- 
 
 5 
 
 i^-i- 
 
 or, occasionally, with the two voice-parts on one staff, thus 
 
 *-*--_=* 
 
 
 kX 
 
 -A-- 
 
 ^= 
 
 • — p/ 
 
 CJ ^ U r J ^ U CJ ^ ^ LlJ ^ u^ '-J cj u 
 
 Abbreviations and Other Signs. 
 
 " Dots, when written before a double-bar, indicate that the music is to be repeated from the previous 
 double-bar, or from the beginning of the piece : =?J^. Dots, when placed after a. double-bar, indicate 
 
 that the music to the following double-bar is to be repeated " : = 
 
 -. " The signs Ima volta = Prima 
 
 volta, i.e., first time, and Ilda volta = Seconda' volta, i.e., second time, are often used in conjunction with 
 repeats; the measure or measures marked Ima (or i.) are then to be omitted at the repetition, and the 
 measure or measures marked Ilda (or a.) played instead." See Appendix, Nos. i and 5. 
 
 D.C. = Da Capo, means repeat "from the beginning" (see page 53 ). 
 
 D.S. = Dal Segno, means repeat " from the sign " (see page 103). 
 
 Al Fine, "to the end " (see Appendix, No. 60 ). 
 
 A Pause or Hold ( ^^, see page 8 ), when placed over a double-bar, signifies that the piece is to end 
 there, after a Da Capo. The word Fine ( end ) is frequently used for this purpose instead of the pause ( see 
 Appendix, No. 60). 
 
 is often used to indicate silence for a whole measure (see Appendix, Nos. 18, 
 
 A whole rest 
 
 20, 36, 56, etc. ), whatever be the time. 
 
 When two or more notes have to be sung to one syllable, the notes generally have a curved line ( slur) 
 over or under (page 21, also Appendix, Nos. 3, 4, 7, 8, etc. ). The curved line is also used to indicate 
 smoothness [legato; see page 74), and gHding [portamento; see page 113). Instances of these signs 
 will be found on page 21. The slur is frequently used to indicate the phrasing' of a passage (see Appendix, 
 Nos. 56 and 68 ). 
 
 ' Phrasing. " The art of giving the ' sense ' of a passage by accents and rests, whether these are marked or not.' 
 
24 VOICE AND SONG. 
 
 POSTURE AND BREATHING. 
 
 Stand in an easy attitude, head erect ( not thrown back ), body inclined slightly forward, so that the 
 weight is poised mainly upon one foot, which should be a little in advance of, and at nearly a right angle 
 with, the other foot. To avoid stiffness and fatigue quietly change the position of the feet, at the same 
 time transfering the weight of the body to the other foot. Allow the upper arms to hang easily from the 
 shoulders, the forearms at nearly a right angle with the upper arms, the Junds ( palms upward ) holding a 
 book in an easy and graceful manner, well forward, and at about the level of the waist. Always keep the 
 shoulders down, and as far distant from each other as possible. Hold the upper chest comfortably expanded 
 at the front and sides.' 
 
 " One of the most beneficial habits that can be acquired is that of carrying a full chest-position at all 
 times, at home, on the -street, or elsewhere. . . . This full chest-position is indispensable to the production 
 of a full, round tone of voice." (Shaftesbury.) 
 
 Respiration. 
 
 " The management of the breath is of the greatest importance in singing, as by it a ^ good tone ' is 
 formed. The two essentials are ( i ) the power of controlling the quantity and force of air as it is expired; 
 (2) the power of directing it. By too great pressure of breath the form of the waves of sound most favor- 
 able to a good tone is disturbed, while too little pressure deprives the tone of strength. A certain quantity 
 of breath will produce a tone in perfection, and any increase or diminution of that quantity will result in loss 
 of quality or power. The old Italian masters of singing made the management of the breath a primary 
 consideration. The breath is the basis of a full, rich tone in singing, and on the management of it depends 
 the great charm and beauty of vocalisation, no less than the power of successfully executing phrasing, 
 according to the dictates of a poetical and intelligent mind." ( W. H. Cummings. ) 
 
 Inspiration. 
 
 Exercise 14. N.B. The upper chest must be held comfortably expanded all the time. 
 r ( 1 ) through the mouth, or "j 
 
 Inhale ^ (2) through the nose, mouth closed, or >very slowly, calmly and noiselessly, by ex- 
 1(3) through the nose, mouth open, J 
 pansion at the waist, until the lungs are completely inflated ( = a full, deep breath). The chest, especially 
 the lower part, the sides, and the back under the shoulder-blades, must slowly and largely increase in girth. 
 The front abdominal wall below the waist will be slightly drawn in. Particularly avoid raising the 
 shoulders and collarbone (^clavicular breathing). 
 
 Let the breath escape freely, rest a moment, then repeat the exercise. 
 
 Retention. 
 
 "The first condition of pure and good singing is constant 
 restraining of the breath." (A. B. Bach.) 
 
 Exercise 15. N.B. Keep the upper chest full all the time. 
 
 After a full, and fairly quick, inspiration, immediately seize and hold back the breath, and for several 
 seconds continue to steadily resist its natural tendency to escape. Retain it, not by any effort at the throat, 
 but by keeping the ribs and abdomen stationary. The throat must be widely open ( expanded, as in the act 
 of drinking ) all the time. 
 
 Exhale quickly, and after a short rest repeat the exercise. 
 
 " The position of the chest when prepared to receive a blow thereon. 
 
VOICE AND SONG. 25 
 
 Exercise i6. {a) While retaining the breath, slowly turn the head from side to side four times, 
 then incline it up and down four times, also from shoulder to shoulder four times. Keep the tongue 
 gently touching the lower teeth all around, and the throat fully expanded all the time. 
 
 {b) While retaining the breath, gently and freely move the lower jaw up and down several times, also 
 move it from side to side ( left to right and right to left ) several times. Tongue and throat as in {a) 
 above. 
 
 Expiration. 
 
 Exercise 17. Inhale quickly, retain the breath a second, then exhale through the mouth very slowly, 
 calmly and noiselessly until all the breath possible is expelled from the lungs. The upper chest must not 
 collapse during the process, but must be held firmly and comfortably full all the time. 
 
 At first it may be helpful for the student to exhale through the mouth with the lips almost closed (as 
 though about to whistle ). There must be no " blowing " ; allow the breath to escape In a steady and gentle 
 stream with not enough force behind it to flicker the flame of a lighted taper held within three or four inches 
 of the mouth. Later, the breath may have behind it just sufficient force to keep the flame steadily and 
 continuously bent at a right angle. (See experiment No. 6, page 26.) Finally, one should practise with 
 mouth and throat wide open. 
 
 It is of the utmost importance, that the whole act of expiration from the beginning 
 to the end be perfectly controlled. 
 
 Exercise 18. [a) For strengthening the breathing apparatus. 
 
 Between the lips place a small tube having a very small outlet (a pinhole) ; take in, through the nose, 
 a full, deep breath, retain it for a second, then empty the lungs through the tube with as much force as pos- 
 sible, carefully avoiding any sensation of pressure in the head; the force must come from the muscles around 
 the waist, and from the diaphragm. Keep the upper chest well expanded all the time. 
 
 (^b) After 2. full breath, inflate the ventricles' of the larynx and the windpipe by forcibly squeezing 
 the imprisoned air up against the firmly closed glottis (as in straining). Careful practice of this part of 
 Ex. 1 8 will not only strengthen the parts concerned, but will also very considerably increase their resonance. 
 (See page 32.) 
 
 Simple Experiments Illustrating Breath-Control. 
 
 " The lungs, or bellows, supply a force of breath ; and the aspera arteria 
 IS as the nose of the bellows to collect and CONVEY THE BREATH." ( Holder.) 
 
 Take an ordinary pair of hand-bellows having but one opening, that at the " nozzle " ( nose ), or 
 "mouth," which serves both for the entrance and exit of air. 
 
 ( I ) To illustrate Inspiration. 
 
 Fill the bellows in the customary manner. ( N.B. Muscular action necessary ; the bellows will not 
 fill of themselves.) 
 
 (z) To illustrate Retention or Holding the breath. 
 
 After filling, " retain " the air in the bellows by " holding " them open, resisting ( by a decided action 
 of the muscles ) their natural tendency to collapse. 
 
 N.B. To retain the air in the bellows by stopping or closing the outlet will somewhat illustrate the 
 manner of "holding the breath" by closing the glottis. See Exercise 18 {b). 
 
 (3) To illustrate Natural expiration (i.e.. Uncontrolled breath). 
 
 Fill the bellows, and then allow the air contained therein to escape freely, without help or hindrance. 
 (After filling the bellows, lay them on a table and allow them to collapse of their own weight or elasticity.) 
 
 ' Ventricle. A small cavity. The entrances to the ventricles, one on either side of the larynx, lie between the false and the true vocal cords. See Dia- 
 gram at the beginning of this work. 
 
26 
 
 VOICE AND SONG. 
 
 ( 4 ) To illustrate Forced expiration. 
 
 Fill the bellows and then forcibly expel the air, using considerable muscular effort, 
 
 ( 5 ) To illustrate Controlled breath. 
 
 Again fill the bellows, and expel the air in a manner so carefully controlled that it will not flicker the 
 flame of a lighted taper, held or placed within two inches of, and directly opposite, the point of exit. 
 
 ( 6 ) To illustrate Controlled breath slightly intensified. 
 
 Once again fill the bellows, and this time expel the air with just sufficient force to keep the flame of a 
 lighted taper ( placed as in No. 5 above ) steadily and continuously bent at a right angle. 
 
 These last two experiments should enable the student clearly to realize, that considerable practice will 
 be necessary to satisfactorily accompHsh the object«of Exercises like 86, 87 and 88. 
 
 What artistic bowing is to the violinist, artistic breathing is to the singer. 
 
 The following easily recognized signs are used in the exercises for the practice of 
 
 Artistic Breathing. 
 
 »= Inspiration ; h = Retention, or Hold ; x = Expiration ; |I l|= Repeat; 
 
 /-^^ =r Full, or Complete; . ^ Short, Incomplete, or Partial. 
 
 The signs rrs and • are used only in combination with » and X ; e.g., T = a Full, or Complete inspi- 
 ration, ; = a Short, or Partial inspiration ; ^ ^ a Complete expiration, and x a Partial expiration. The 
 signs » and x alone imply, respectively, a comfortably full inspiration and an ordinary complete expiration. 
 
 The customary musical notation indicates the duration of the respiratory sign over which it is placed. 
 
 The student may find it helpful to imagine himself gently whispering the exclamation " Ah I " at the 
 sign ( X ) indicating expiration. 
 
 N.B. The upper part of the chest must be kept comfortably expanded all the time. Make careful 
 use of the metronome ; never attempt a new pace until the preceding one is mastered. Unless otherwise 
 
 directed, commence each exercise with the metronome at J = 120; as efficiency is gained, increase the dura- 
 tion gradually to J^ 40; first J= 120, then J = 100, then J=:8o, then J = 60, then J =50, 
 finally J = 40. 
 
 Exercise 19. 
 
 M. M. J = 120 to = 40. 
 
 L |: 
 
 
 'iS>- 
 
 CO 
 
 -<5>- 
 
 Oh 
 
 --r (S?- 
 
 12 
 'o 
 
 
 -.m- 15>~ 
 
 a, 
 
 -<S>- 
 
 2 
 
 a. 
 
 CO 
 
 -iS- 
 
 .h 
 
 On 
 H 
 
 (4 
 
 Exercise 20. M. M. J= 120 to J= 40. 
 ^, 
 
 If- 
 
 -<S>- 
 
 -i5>- 
 
 -&- 
 
 Exercise 21. 
 
 , H , H , H , H 
 
 
 ^i--4-; 
 
VOICE AND SONG. 
 
 Exercise zz. 
 
 -&- 
 
 J— jJ-J-i-J-j— J-j-J-i-U^^-^; 
 
 XHXH XHXH XH 
 
 « H :i 
 
 Exercise Z3. 
 
 ^ ^ h 1^ V 
 
 • • 
 
 -N -N -^« j\ 
 
 • • s 
 
 
 -J-*?— J— ^— •— ^— J— ^— I 
 
 »H»H»H?H 9H?H>H»M »H9H»H?H »H»H9H»M 
 
 h ^ 1^ ^ 
 
 -•'-^-•-^-•-^-•-^ J^J^J—^f—0—J—J—^- -J— f — J— 5?— •— ^— J-7-4 
 
 • • 
 
 XHXHXHXM XMXHXHXM XMXMXMXH XHXMX MXH. 
 
 Exercise 24. 
 
 
 -«■- 
 
 » H -X MX 9 M X- 
 
 -<5>- 
 
 J— i-J^ 
 
 » H X- 
 
 -S'- 
 
 -|-|-«-i=|=^^^4 
 
 -M X 
 
 " :| 
 
 Exercise 25. 
 
 I: 
 
 -(&- 
 
 » M X- 
 
 -iS>- 
 
 -iS>- 
 
 >J_^_J_1_ 
 
 -M » MX- 
 
 '^ 
 
 -(S* 1 iS>- 
 
 -e>- 
 
 ^^ 
 
 Exercise z6. 
 
 M.M. J =60. 
 
 4^J 
 
 ~G>' 
 
 )J,^^^.l^. 
 
 -G>- 
 
 ••-• — 0-S-Si — \—t5>-^ — ^—w 
 
 » H X- 
 
 » M X 
 
 9H X 
 
 » H X 
 
 X : 
 
 N.B. At X only half empty the lungs, replenishing quickly at ;. 
 
 Exercise 27. 
 M.M. J = Co. 
 
 T (S)— ^ -WW h*- 
 
 4— P-J ULj— j-J-i— 
 
 ? H 9 H- 
 
 -» H- 
 
 -> H- 
 
 -X H 
 
 The foregoing exercise. No. 27, carefully practised, will considerably increase the capacity of the lungs. There must be no esctpe 
 of breath between the four inspirations. The first ( indicated '^ ) should be as full as possible ; hold for four beats, then try to get in a 
 little more, and so on. 
 
28 
 
 VOICE AND SONG. 
 
 Exercise 28. 
 
 In one breath count audibly, at the rate of one count a second, as high a number as possible. 
 
 N.B. Let the retention between the counts be perfect ; breath must not escape, or be taken in, until after the highest number has 
 been pronounced. 
 
 M. M. J =60. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r -J s 
 
 . ;• 
 
 
 J^ 
 
 
 J^ 
 
 
 ^ 
 
 
 J* 
 
 ~1- 
 H 
 
 six 
 
 H seven H eight 
 
 M 
 
 nine 
 
 H 
 
 ten H 
 
 ; H 
 
 one 
 
 H 
 
 two 
 
 H 
 
 three 
 
 H 
 
 four 
 
 H 
 
 five 
 
 
 one 
 
 M 
 
 two 
 
 H 
 
 three 
 
 M 
 
 four 
 
 H 
 
 five 
 
 H 
 
 six 
 
 H seven H eight 
 
 H 
 
 nine 
 
 M 
 
 twenty H 
 
 
 one 
 
 H 
 
 two 
 
 H 
 
 three 
 
 M 
 
 four 
 
 H 
 
 five 
 
 H 
 
 six 
 
 H seven H eight 
 
 H 
 
 nine 
 
 H 
 
 thirty H 
 
 
 one 
 
 ar\A cf 
 
 H 
 
 1 nn 
 
 two 
 
 M 
 
 three 
 
 H 
 
 
 
 continuing in 
 
 the same manner to 
 
 
 
 
 forty H 
 
 Utter the numbers smartly. 
 Later, this exercise may be varied by singing ( instead of speaking ) the numbers. 
 
 M. M. J = 60. 
 
 ^-J- 
 
 three 
 
 four H and so on. 
 
 Breathing-Places. 
 
 In singing words the "breathing-places" are regulated by the intent or meaning of the words. The 
 breathing-place which the music alone would suggest is often quite different from that of the words ; also in 
 ballads, etc., where the music for. the several stanzas is generally a repetition of that set to the first stanza, 
 the breathing-place will vary in the different stanzas. " In all cases the phrasing of the words must rule." 
 " A careful study of the sense soon enables the student to distinguish the verbal phrases." ( Curwen.) 
 
 Always breathe, as nearly as possible, as in good reading and reciting, never between the syllables of a 
 word, nor, as a general rule, between words closely connected in sense. For unusually long passages (run- 
 ning through several measures ) the singer is often obliged to replenish between closely connected words; 
 in such cases the least awkward place ( or places ) must be chosen and the inspiration' ( a full breath, or a 
 half-breath, as opportunity occurs ) accomplished imperceptibly, i.e., rapidly and inaudibly. ( See Appendix, 
 Nos. 17 and Ci2-) 
 
 Breath should be taken at all long rests and most short ones; but must not be taken at " rests " intro- 
 duced for the special effect oi staccato (separation). (See Appendix, No. 66.) 
 
 Where there are no "rests" in the music, the time required for inspiration should generally be taken from 
 the end of a preceding note ( see Appendix, Nos. i, 2, 4, etc.), or from the beginning of a weak or unaccented 
 note ( see Appendix, No. 6 ) ; never from the beginning of an accented note. 
 
 TONE-PRODUCTION AND VOICE -PLACING. 
 
 Part I. 
 
 Tone. 
 
 " A ' Tone',^ or musical sound, is distinguished from sound or noise in general in h&\ng fixed, instead of 
 undulating ; in maintaining a certain location in the realm of sound, like the tone of a bell or whistle, in con- 
 tradistinction to the ever-varying moan of the wind. The distinction is most apparent in our treatment 
 of the voice in singing and in speaking, respectively; in the former case we produce tones, by firmly maintaining 
 a certain degree of tension of the vocal cords for each utterance, while in speaking no such tension is sus- 
 tained, and the voice therefore simply undulates." ( Goetschius.) 
 
 > The Italian terms equivalent to these are resfiro, breath ; pieno resfiro, a full breath, i.e., a complete inspiration ; mezzo-respiro, a half-breath, i,e., a par- 
 tial inspiration. 
 
 = The word " tone " is also often used as a synonym for timbre or quality; e.g., a sweet tone, a harsh tone, a nasal tone, a guttural tone, etc. 
 
VOICE AND SONG. 29 
 
 Enunciation. 
 
 " Enunciation is the audible result in the production of a vowel "' ( voice-sound )= 
 
 rhave an open position. 
 Vowels J. are syllabic. 
 
 I are non-obstructive." ( Warman.) 
 
 The vowels alone represent sounds in which the breath is fully vocalized. Being the only pure 
 voice-sounds which we have, they constitute the musical material of both speech and song, and are embodied 
 in all passionate and emotional expressions of voice. They are free open sounds, the simplest ones we 
 make, and are capable of great prolongation. 
 
 They are produced in the larynx, and derive their character, or distinctive form of sound, from the 
 position and shape of the mouth, tongue, and lips while uttering them. 
 
 To render these sounds full, clear, and pure in tone, free from nasal adulterations, and without gliding 
 into a different vowel (=form of sound), is an important object to attain, one that requires persistent care 
 and practice, and without which there can not be such a thing as a sweet musical voice. This practice 
 should be instituted as a daily exercise until the respiratory muscles work in perfect harmony with the vocal 
 cords, and all have gained sufficient strength and unity of action to enable the student to prolong the sound 
 in pure and even tone. 
 
 The old Maestri di Canto commenced all studies in tone-production with the simple vowel"" A (ah) as 
 heard in the words Laugh' and Arm — known technically as the Italian A, — " the most pleasing of all 
 vowels, and the one on which faulty tone is most easily exposed." (A. B. Bach.) It has, not inappropriately, 
 been called The Father of Vowels. 
 
 The position of the jaws, lips, tongue, uvula and throat in the enunciation of this Italian A may be 
 looked upon as the singer's normal or standard position. All other vowels are the result of but slight modi- 
 fications of this normal position. 
 
 Position for A. 
 
 Lower jaw falls freely, opening the mouth wide enough to admit the thumb edgewise between the 
 teeth. Lips well open, corners slightly drawn back, leaving the extremities of the teeth visible, giving an 
 oval shape to the lips. The tongue lying flat, and quite free in the mouth, gently touching the lower 
 teeth all around. The throat fully expanded (" come here," as in drinking ), making it spacious and 
 roomy, the root of the tongue well depressed and the uvula raised.'' 
 
 The student should practise these positions with the aid of a hand-mirror, silently, until they can be 
 quickly taken, and firmly maintained for a reasonable time without the least feeling of rigidity or stiffness in 
 the parts concerned. 
 
 The following Experiment will perhaps enable the student to realize the important diiFerence in muscular tension implied by the 
 terms Firm and Rigid. 
 
 Stretch an arm straight out from the shoulder sideways. Put the muscles into a stiiF, unyielding, rigid state, keeping up the condition 
 for a few seconds. Note the unsteady and painfully exhausting effect. Now relax, allowing the muscles to become absolutely passive ( in- 
 active ); the arm at once falls, lifelessly, to the side. Again stretch out the arm, but this time hold it firmly, using no more effort than will 
 just suffice to keep it from falling. What a difference ! How easy and comfortable everything feels as compared with the rigid state, and how 
 very much longer one may continue holding out the arm without the least feeling of fatigue. It is just so with the voice. A tone produced 
 with the vocal muscles in a rigid, stiff, unyielding condition, will be unsteady and disagreeable in every way. Practising " tone-production " 
 under such conditions will quickly bring about serious throat trouble and " ruined voice." But with the muscles held just firmly, using no 
 more effort than will suffice to keep them steadily in the required position, a tone can be produced which will always be smooth and pleasant, 
 and (under the judicious guidance of a competent teacher, with suitable exercises regularly and systematically practised), a 
 " singing- voice " developed which will rapidly gain in beauty, power, and flexibility. 
 
 The intelligent student need hardly be told, that any attempt at tone-production during a passive state of the vocal muscles, can only 
 result in a silly, childish tone, or an idiotic whine. 
 
 ' Vowel is from the Latin vocalis, a derivative of vox, tlie voice. 
 
 = A simple vowel is one having a single unchanging form of sound, requiring "but one conformation of the mouth, without any motion of the organs of speech 
 from beginning to end." (Adcock.) 
 
 /7\ /^ rt\ 
 
 3 Pronounced Lahf, not Lawf, nor Lehf. N.B. In all key-words, dwell on the letters marked /^. 
 
 4 See Diagramma-tic Sketch of Vocal Apparatus. 
 
30 
 
 VOICE AND SONG. 
 
 THE PRIMARY VOWELS : U A E 1/ 
 
 If the student will gently whisper the vowels in the order given below (following the direction of the 
 pointers ^), he will discover that the Italian A occupies the middle place in the "natural order oi pri- 
 mary vowels"; U being the flattest (i.e., the lowest in pitch), and I the sharpest (i.e., the highest in pitch), 
 while the intermediate places are occupied by O, the second flattest, and E, the second sharpest. This 
 order should be well impressed upon the memory. 
 
 Exercise 29^. U 
 
 Exercise 30. ( U 
 
 A 
 
 O 
 
 Exercise 3 i . 
 
 I — ^ E 
 
 I 
 
 A 
 A 
 
 A 
 
 E 
 O 
 
 U. 
 
 u. 5 
 
 Whisperir,g, instead of voicing, these vowels 
 enables the student to concentrate his undivided 
 attention on the shape of the vocal tube (mouth 
 and throat) essential for their correct enunciation. 
 
 ^E ^E^ --rE ^E^, -^E ^E^ 
 
 ^u u ^u 
 
 Proceeding upwards from A, the middle of the tongue is raised for each higher vowel, the lips are open throughout. Below A, the 
 lips are gradually more and more rounded, being closeet for U. The Timbre (i.e., quality ) of E and I is bright and clear (c/iiara), 
 whilst O and U have a tendency to the dull and obscure ( oscura ). 
 
 For the purpose of eradicating some peculiar fault in either enunciation or timbre, the teacher may find it advisable to precede the fol- 
 lowing exercise with one on a syllable other than that given. 
 
 A common fault in many English-speaking students is, to form the A too far back in the mouthy making it disagreeably " twangy," 
 
 Exercise 32. Pronounce distinctly and somewhat vigorously ( I ) the word Laugh several times ; ( 2) the word Arm several times. 
 The vowel marked rr, must be steadily held, and ,at each repetition of the word its prolongation gradually increased. There must be no 
 
 check in the attack, neither must any unvoiced breath be allowed to escape. Breath and voice must start simultaneously. The word Arm 
 will require the greatest care in this respect. 
 
 Exercise 33. Put the mouth and throat in normal position ( = vowel A); then, without moving the jaw, pronounce the syllable La 
 several times. 
 
 Exercise 34. With the mouth and throat in normal position (A ) take a comfortably _/a// breath and retain the breath a second : 
 then, during one perfectly controlled exhalation, pronounce carefully the syllable La four times, followed by the simple vowel A four times, 
 
 thus : f 5 H La H La H LX H LX H A H A H A M A H 
 
 S 
 
 Exercise 35. Tongue-drill. 
 
 With the throat, jaws, and lips persistently in the A-position, monotone^ the syllable La many times in succession, e.g., 
 
 at first not faster than M. M. J = 60. Carefully control the breath ; there 
 
 La La La La La La La La La La La La 
 
 must be no break in the continuity of tone. Don't reiterate the syllables at a pace inconvenient for the proper placing of the tongue. Use 
 a hand-mirror to detect faulty movements ; particularly avoid moving the jaw up and down. 
 
 N. B. This exercise must not sound as though a sustained consonant L was being interrupted by a rapidly reiterated vowel A, thus : 
 La'l — laT — laI? — laL — etc., but rather as though a sustained vowel A was being interrupted by a rapidly reiterated consonant L, thus : 
 
 L/7\ /t\ ^7\ fT\ 
 A LA LA L -V etc. 
 
 marked / 
 
 time. 
 
 ' Pronounce U as in true ( troo ), O as in Oh, A as in Arm, E as in Eight ( ate ) , I as in pique ( peek ) . When pronouncing a keyword, linger on the letter 
 " There must be no sensation of " check " in the throat, at the commencement ( attack ) of each vowel ; the throat must feel perfectly free and open all the 
 3 Monotone, a single unvaried tone. The pitch should be about that of the student's ordinary conversational tone. 
 
VOICE AND SONG. 
 Table Showing Classification and Approximate Compass of Ordinary Voices. 
 
 31 
 
 
 
 rv 
 
 
 
 
 
 -i9- 
 
 ■i9- 
 
 
 / 
 
 
 
 
 '" in 
 
 
 
 .. 
 
 HI 
 
 1 
 
 _i 
 
 
 
 
 m 
 
 1 
 
 FT) 
 
 
 m 
 
 
 II 
 
 1 
 
 " y rD 
 
 
 • 
 
 
 
 m 
 
 { 
 
 
 ■0- 
 
 
 ♦ 
 
 4- 
 
 
 1 
 
 o- 
 
 
 ro 
 
 
 
 1 
 
 * l. 
 
 
 c 
 
 
 
 ~ 
 
 1 
 
 J — ,_ 
 
 » 
 
 Ki 
 
 
 
 
 \ 
 
 (S 
 
 
 
 
 
 Bass. Baritone. Tenor. 
 Voices of Men 
 
 Alto, or 
 
 Contralto. Mezzo-Soprano. Soprano. 
 Voices of Women 
 
 The intermediate small notes indicate, approximately, the Easy range — the part of the Compass' 
 within which all foundation-work should be practised. 
 
 In classifying voices, quality rather than Compass will guide the teacher. Voices of women, having 
 
 their "fullest and most easily produced tones above rfe ^ E|:| , may be classed as sopranos, or mezzo- 
 
 sopranos ; those having these tones below this note, as contraltos ; similarly with men's voices, tenors and 
 baritones will have their fullest and most easily produced tones above E§±iE=^En, and basses below.'' 
 ( Curwen.) 
 
 Voices are further classified as soprano sfogato, verj high soprano ; soprano drammatico, dramatic soprano ; soprano leggiero, light 
 soprano ; tenore lirico, lyric tenor ; tenore robusto, robust tenor ; tenore leggiero, light tenor ; basso cantante, singing bass ( light, flexible 
 bass ) ; basso profondo, a deep, heavy bass. The different voices also may be described as suited to the home ( voce di camera ), or to the 
 stage (^voce di teatro). 
 
 TONE-PRODUCTION AND VOICE-PLACING. 
 
 Part II. 
 
 La. a as heard in the words Laugh and Arm. 
 
 Exercise 2)(^. 
 M. M. « = 6o. 
 
 A 
 
 ^ 1=^= 1^^^ 
 
 ■& G>- 
 
 ^= ^^ilz-i | :J2a-^iilzzlz Fg 
 
 ^=ri: 
 
 ^ — ri- 
 
 :s: 
 
 £?|:t|szz| ^"d 
 
 so on. 
 
 pitch-note° 
 
 pitch 
 
 9 H 
 
 A L A H 
 
 » M L 
 
 L A M 
 
 pitch 
 
 From a well-tuned instrument "get the pitch," noted in the first measure.' During the first beat of 
 the next measure take in a comfortably " full breath " (avoid overcrowding the lungs). During the second 
 beat "hold the breath," and prepare to articulate the consonant L thus : (i) Put the mouth in normal (= A) 
 position," and (a) curve the point of the tongue upward to a position behind and just touching the upper 
 front teeth and the gums, leaving the sides of the tongue perfectly free. At the third beat, using as little 
 breath as possible, instantly "Produce the tone"^ and sustain steadily (i.e., without the slightest 
 tremor, or variation in either pitch or force) for the duration noted. At the first beat of the third measure 
 (still without any change in the position of the -throat, jaws, and lips ; also without cessation of tone or vari- 
 ation in pitch ) let the tongue quickly move to the A ( normal ) position ( i.e., lying flat in the mouth and 
 
 1 Compass the range of a voice ; "all the tones it can produce from lowest to highest." 
 
 2 The Teacher will note, on a separate sheet of music-paper, the pitch of the tones to be practised. 
 
 3 The Student should carefully read the instruction here given, over and over, mentally practising the exercise before voicing it, until every detail 
 thoroughly comprehended. 
 
 4 See page 29. 5 See Note to Ex. 29. 
 
32 
 
 VOICE AND SONG. 
 
 touching the lower teeth all around). Sustain for the duration noted ; then, at the third beat, again let the 
 point of the tongue quickly assume the L position and sustain carefully up to the first beat of the last 
 measure, when the point of the tongue again falls to the A position to be sustained for three beats. At the 
 fourth beat " Release " (i.e., end the tone ) neatly and promptly, not by closing the mouth, but by sim- 
 ply withholding the breath, allowing the mouth and throat to retain the A position until the tone ceases. 
 Repeat the exercise over and over, also vary the pitch, but always keep well within the easiest reach of the 
 voice. 
 
 Exercise 37. 
 M. M. -J =60. 
 
 A A 
 
 mIe 
 
 d22^ 
 
 :t=r 
 
 :i2^ I c J 
 
 resr 
 
 pitch pitch 
 
 II : » H L A^ jL A :|| Ij: , H 
 
 The above exercise is to be practised in a manner similar to the immediately preceding one, the only difference between the two being 
 in the duration respectively of the elements L and A ; the L at each recurrence is to be sustained for one beat only, while the A with which 
 the L alternates is to be sustained first for three, and then for four beats, as noted. 
 
 In the following exercise the consonant L is sustained during only half a beat, the vowel A during three beats, followed by one beat of 
 silence during which the breath is firmly held and the A position carefiilly maintained ; then at the first beat of the last measure the vowel A 
 alone is attacked smartly, and firmly sustained for four beats. 
 
 Exercise 38. 
 
 M. M. -•— 60. . 
 
 i 
 
 g^ 
 
 ±Z2Z 
 
 and 
 
 pitch 
 
 pitch 
 
 "If the letter L is formed properly, the point of the tongue will give the exact place at which the vowel A should be focussed to obtain 
 the purest tone and greatest resonance."' (Croker.) 
 
 «' The peculiarly attractive tones of the Italians are due to their custom of directing the waves of sound toward the lips. The guttural 
 character of the tones of most English-speaking people is due to their habit of directing the sound-waves too much toward the back of the 
 throat." (Cohen.) 
 
 "The only criterion which can serve in judgment regarding the results obtained, is the discriminating, accurately critical ear of the 
 teacher." The student therefore should faithfully carry out all instruction received, and, at each review of work done, carefiiUy note the 
 teacher's comments and advice. 
 
 Exercise 39. 
 
 Sing on a long, evenly sustained tone the simple vowel A, producing it fi-om the very commencement with the best possible quality, 
 that is, " a tone, clear and pure, entirely free from pectoral gruffness, guttural suffocation, nasal twang, or oral thinness. "° Keep the upper 
 chest fiilly expanded all the time, otherwise the tone will lack volume. Let the tone rest on the breath.' Exercise all notes within the 
 easiest compass of the voice. 
 
 M. M. J = 60 
 
 g^I 
 
 * 
 
 :bii 
 
 d&z: 
 
 :t=^ 
 
 gp^ 
 
 and so on. 
 
 pitch 
 
 pitch 
 
 pitch 
 
 1H\ 
 
 -?H; 
 
 »M 
 
 ->H-\ 
 
 'H 
 
 1 Resonance, " The reinforcement of sound by sympathetic reflection." 
 
 Resonance-Cavities. "Besides the small cavities [the Ventricles ; See Ex. i8b ] of the larynx which determine the original quality of tone, there 
 are three principal cavities under the voluntary control of the singer, which modify it. These may be called : 
 
 ( I ) Throat. The lower pharynx from the epiglottis to the part where the uvula cuts off the entrance to the nose, and the arches of the palate, form the 
 entrance to the mouth ; all breath, or voice, must enter this cavity. 
 
 ( 2 ) Nose. The upper pharynx and the cavities above the hard palate, from which all breath or voice can be cut off at pleasure. 
 
 ( 3 ) Mouth. The cavity between the arches of the palate and the lips, the most modifiable of all the resonance-cavities." ( Ellis.) See Diagram. 
 
 2 " The chief characteristics of the old Italian school were clearness, smoothness, volume, intensity, compass, ease, and endurance." ( Lunn.) 
 
 According to Walshe, " The varieties of vocal timbre may be referred to a certain aggregate of species : mellow to hard ; pure to husky ; sweet to harsh ; smooth 
 to rough ; clear to nasal ; sharp to shrill ; resonant to toneless ; liquid to dry ; laryngeal to guttural ; flute-like to reed-like. But there exists an attribute of timbre 
 that may be associated with several of these varieties, impossible to describe, but by common consent designated in all countries as sympathetic. This is the quality 
 that really touches the heart, and most vividly emotionises the musical sense. As a rule this variety of quality Is less developed in female than in male voices ; the 
 higher the range, the less sympathetic the tones ; it may be, often is, totally wanting in the highest tones of a voice possessing it largely in the chest range." 
 
 " In singing, great differences of quality in the tone can be made by alterations in the shape of the mouth. Generally speaking a wide, distended mouth gives the 
 sombre resonance, and greatly aids the effect of tones or phrases which are serious and solemn. A narrowed mouth and cheeks give the clear resonance, and assist the 
 expression of tones or phrases which are bright and joyful. A proper ordinary opening of the mouth gives the medium resonance suited to tones and phrases which are 
 quiet and peaceful." ( Curwen .) 
 
 3 " Consider the breath as a propellant power, which sends forth sound by remaining behind it, rather than as the sound itself." ( Novello.) 
 
VOICE AND SONG. 
 
 33 
 
 The Attack. 
 
 The starting of a tone is technically called the Attack. Garcia calls it the coup de glotte ( stroke or 
 shock of tne glottis). To be certain oi -i. good attack the student should first think the pitch, then, with all 
 the parts concerned properly adjusted, start breath and tone simultaneously, striking the tone clearly and 
 smartly right in the middle of its pitch. The attack must be absolutely free of breathiness or noisy explo- 
 siveness. 
 
 " The power of recognizing bad execution helps the pupil to understand and enjoy that which is good." 
 The student will find it instructive to experiment on three ( frequently heard ) faulty ways of com- 
 mencing a tone now to be described. 
 
 I. The vocal cords approximate for the production of the tone after the breath has started, resulting in 
 a disagreeable " breathy attack." 
 
 II. Closing the glottis so firmly that the attack is accompanied with an extraordinary explosive effect 
 or click."^ This is truly a " shock of the glottis " but not what Garcia means by coup de glotte. 
 
 III. Adjusting the vocal cords to the pitch after the tone has started, producing a horrible " scoop " in 
 the attack. 
 
 N.B. Exercise 39 must be perfectly accomplished before any attempt is made to practise the staccato (Ex. 40). Exercise 86 
 may follow Ex. 39. 
 
 Exercise 40. STACCATO (detached, or separated, notes). 
 
 Sing in one breath all the tones contained in the four measures noted between the " repeats." Give care&l attention to the Attack 
 ( i.e., x!d& proper commencement of each tone — see above), and to the Release' (i.e., t\ie. proper ending of each tone : — tone and breath 
 must stop simultaneously, " there must be no ragged edges" ). 
 
 Practise on all notes within easy reach of the voice. Keep the upper Chest fully expanded all the time. 
 
 M. M. -J = 60. 
 
 AAA A AAAAAA A 
 
 ^^^. 
 
 ^ 
 
 ^= 
 
 ^^ 
 
 m 
 
 ts^ 
 
 f and so on. 
 
 pitch p ~ 
 »H ll:A 
 
 AhAmA hA hA 
 
 pitch 
 ? H : II 9 H 
 
 TONE-PRODUCTION AND VOICE-PLACING. 
 
 Part III. 
 
 Satisfactory progress having been made with the vowel A, the student should continue practice of tone- 
 production on other simple vowels, exercising similar care and attention to details as in the immediately pre- 
 ceding exercises ; he should also, and particularly, in every instance, assist the placing of the tone by a discreet 
 use of the consonant L,^ and, unless otherwise directed, carefully maintain the normal ( Italian A ) position 
 of the throat and mouth. 
 
 Exercise 4 1 . 
 
 Lo. O as heard in the words "Lope" and "Oh!" (=a pleasant surprise). Contract the lips until they assume a nearly round 
 shape. Don't protrude them. 
 
 Exercise 42. 
 
 Sing on one long, evenly sustained tone the simple vowel O. Let the vowel be pure from beginning to end ; it must not glide into 
 "ot), " thus : O ==-00, nor must it commence with a slight sound of u (like ««u" in the word "urge"), thus : u — = O 
 
 ¥ 
 
 M. M. J = 60. 
 
 A A 
 
 :6<2i 
 
 3 
 
 vl and so on. 
 
 pitch 
 
 pitch 
 
 O 
 
 » h; 
 
 9 M 
 
 O- 
 
 f H 
 
 • See Note to Ex. 29. 
 
 2 See " Release," Ex. 36. 
 
 3 N. B. The tongue must be in place before uttering the consonant L ; carelessness in this matter results in a prelusory sound like a short if ( as in " ill " ) 
 being heard as the tongue moves to its place, making TLO instead of LO. See Ex. 36. 
 
3^ VOICE AND SONG. 
 
 Exercise 43. 
 
 Staccato and in one breath. (See introduction to Ex. 40.) 
 
 M. M. 1^60. , , .... 
 
 ^Ei^Eg 
 
 fi=qZ^=q::^ ^ ^ j^ q-|_J_j._-=j j: ^S^^^ j? and so on. 
 
 pitch p pitch 
 
 >h||:o mo hohohohoh o»h:|| t h 
 
 Exercise 44. 
 
 Sing in a legato ( connected) manner the two vowels O and A : 
 M. M. J =60. 
 
 t^E 
 
 pitch 1 H 
 
 : o A 
 
 i^^^E^^Ei^EM^I^ 
 
 -I ^>^_- .^ N. 
 
 and so on. 
 
 O 
 
 O 
 
 U 
 
 O 
 
 t O ' H :|| pitch » M ||: o k 
 Change from one vowel to the other quickly, avoiding any such drawling effect as " Ohwahohwah "; also, so carefully control the 
 breath, that the tone is perfectly steady and constant, while at the same time the individuality of each vowel is secured and the same gen- 
 eral quality and fullness maintained ; 
 
 tnus : 
 
 but not : 
 
 O 
 
 A 
 
 O 
 
 O 
 
 o 
 
 o 
 
 o 
 
 o 
 
 with an impulse on each vowel. Don't help the change from one vowel to the other by any special action of the breathing-muscles ; the 
 change is the result of a very slight lip-action only. 
 
 Exercise 45. 
 
 S'orrato and in one breath. 
 
 M. M. J = 60. 
 
 ^^ 
 
 -S- 
 
 i=:S= 
 
 ^ 
 
 and so on. 
 M:|| pitch , H 
 
 pitch »h||:0 h a h O h a h OhAhOmAhO 
 
 N. B. Attend carefully to Attack and Release ; also keep each vowel pure from beginning to end. 
 
 Exercise 46. ( Read the introduction to Ex. 41, page 33.) 
 
 Lu. U as heard in the words " Rude " and " True " ; same as 00 heard in the words "Loot," " Ooze," and " Who ?" 
 
 Lips slightly protruded. Carefully avoid closing the lips or protruding them too much, or the tone will be smothered. Tongue thicker 
 and narrower, no part touching the teeth, the point rather lower than normal ; the root must be well depressed, or the tone will be guttural. 
 
 The natural pitch of this vowel has a tendency to make the tone dull ( see Exs. 29 and 30); hence it is customary to modify U by giv- 
 ing it somewhat the character of ii in the word "up." 
 
 Exercises 47 and 48. Sing on one tone, at pitches well within the easy compass of the voice, the simple vowel as indicated, over 
 and over ; first in sostenuto style, later in staccato style. 
 
 Exercise 47. 
 M.M. J = 60. 
 
 ^ 
 
 sostenuto. 
 
 ^ 
 
 Exercise 48. 
 M. M. J — 60. staccato. 
 
 i=^=i!=^=ij*^ 
 
 ^ 
 
 pitch 1 H [|: y » H :j| 
 
 Exercise 49. ( See remarks to Ex. 44. ) 
 
 M. M. J= 60. 
 
 .V 
 
 pitch 
 
 1 
 
 U 
 
 u 
 
 umUhUhUh y 
 
 X 
 
 g^ 
 
 IC 
 
 ^,t=^ 
 
 and! 
 
 pitch 
 
 y 
 y 
 y 
 u 
 
 o u o 
 
 A U A 
 
 O A O 
 
 A O A 
 
 U 
 
 u 
 u 
 u 
 
 o u 
 
 A U 
 O A 
 
 O UO UOUOUOU »H 
 A UA UAUAUAU»M 
 OUOAOUOAOU9H 
 
 O 
 
 u 
 
 OAUAOAU,H 
 
 observe how 
 slight is 
 the lip- 
 action. 
 
 N. B. Let the breath-control be steady and constant, keep the vowels pure, and exercise great care in changing from one vowel to 
 the other. 
 
VOICE AND SONG. 
 
 35 
 
 m 
 
 Exercise 50. 
 
 Staccato, ( Attack and release carefully.) 
 M.M. J = 6o. 
 
 J^lE^=^=J=z^^ 
 
 ^^^^ 
 
 and so on. 
 
 pitch 9 H 
 
 y 
 y 
 
 : y 
 
 . u 
 
 M 
 H 
 H 
 H 
 
 o 
 
 A 
 O 
 
 A 
 
 H 
 M 
 H 
 H 
 
 U 
 U 
 A 
 O 
 
 H 
 H 
 H 
 H 
 
 O 
 
 A 
 O 
 A 
 
 H 
 H 
 H 
 H 
 
 U 
 
 u 
 u 
 u 
 
 H 
 H 
 H 
 H 
 
 O 
 
 A 
 O 
 
 A 
 
 H 
 H 
 H 
 H 
 
 U 
 U 
 A 
 O 
 
 M 
 H 
 H 
 H 
 
 O 
 
 A 
 O 
 
 A 
 
 H 
 H 
 H 
 H 
 
 -S -- 
 
 U ? H 
 
 U ? H 
 
 U » H 
 
 U 9 H 
 
 Exercise 51. Read the introduction to Ex. 41, page 33. Le. E as heard in the word "Eight" ( same as A in "Late" 
 and "Ate.") 
 
 Middle of the tongue very slightly raised. Point of tongue and other parts normal. Carefully avoid raising the root of the tongue, 
 or the tone will become guttural. Also avoid any tendency to glide into the alphabetical E, thus : A =^ EE. 
 
 Exercises 52 and 53. (See remarks to preceding Exs. 47 and 48.) 
 M. M. J = 6o ( Sostenuto.) M. M. J = 6o ( Staccato.) 
 
 i 
 
 ^-IS- 
 
 ^ 
 
 T!=^ 
 
 ^ 
 
 pitch ? H ||: E- 
 
 '» H 
 
 > > > > > > > 
 
 pitch »H|i:EH Em EhEhImEhEjh 
 
 Exercise 54. ( See remarks to preceding Ex. 44.) 
 M. M.J = 60 {Legato.) 
 
 pitch » H 
 
 II :E A E AE AE AEAEAEAEAE»h 
 
 II :E SEOE OE OEOEOEOEOE»h 
 
 |^E yEUE UE UEUEUEUEUE9H 
 
 ||: EAOyO AE AOUOAEAOUE^h 
 
 :EA EOE UE SEAEOEUEOE^h 
 
 Observe how slight is the 
 tongue-action. 
 
 Also how slight is the 
 tongue and lip-action 
 in these. 
 
 Exercise 55. 
 
 S.a — S.s^ — S.« Sl! 
 
 ^ 
 
 =S^ 
 
 I 
 
 ^-^ 
 
 pitch »H II ."Eh Ah Eh Ah and so on 
 
 Continue with vowels in the order given in Ex. 54 above. 
 Exercise 56. (Read introduction to Ex. 41, page 33.) 
 
 Li. I as heard in the word " Police " ( same as E in " Leap," " Eve," and " Please." ) 
 
 Middle of the tongue raised, leaving only a narrow passage, between the top of the tongue and the roof of the mouth, for the 
 emission of tone. 
 
 Carefully resist any tendency to close the teeth ; also keep the root of the tongue depressed, otherwise the tone will be spoiled. 
 
 This is the thinnest of all the vowels ; the student must especially guard against making the tone thin by pressing the tongue too close 
 to the roof of the mouth ; also in singing low notes, in order to modify the natural sharpness of this vowel — the one for which the vocal 
 tube is most contracted (see page 30) — it may be sung somewhat like 1 , as in the word " it." Compare with remarks on vowel 
 v., Ex. 46. 
 
 Exercise 57. Sostenuto. 
 M. M. J = 6o 
 
 i 
 
 Exercise 58. Staccato. 
 M. M. J = 6o 
 
 PE 
 
 ^ 
 
 -S— -- 
 
 i 
 
 p=l JJ!_=1_ 
 
 -&-5r 
 
 pitch 9 H ||: i- 
 
 ' H: 
 
 pitch 9 H ||: I H I H I H i' H I ? H-l 
 
36 
 
 VOICE AND SONG. 
 
 Exercise 59. 
 
 M. M. J = 60. 
 
 Legato, 
 
 ^^. ^^=:^iid :=j E^E^EaEjE^jEEj ^^_jrjiz'^ g; 
 
 pitch ? H 
 
 I E I E I E I E 
 i A I A I A I A 
 
 I E I E I E I E I ? H : 
 I A I A I A I A I 9 H 
 
 I 01 010 lOIOIOIOIOI ?H 
 1 UI U lU lUIUIUIUIUI 1 H 
 
 I EAOyOAE lEAOUOAEI »h: 
 I E I A "i O I U I O i A I E I A I 9 H 
 
 Exercise 60. Staccato. 
 
 M. M. #1 = 60. 
 
 4= 
 
 -«- 
 
 ^ 
 
 :i^^ 
 
 ^tegS^^i^^gjE^i:^l^ijg^ ^H 
 
 pitch » H II: i' H E H I H E H and 
 
 » M : 
 
 Continue the exercise with vowels in the order given in Ex. 59 above. 
 
 TONE-PRODUCTION AND VOICE-PLACING. 
 Part IV. 
 
 Secondary Vowels. 
 
 Exercise 61. 
 
 The vowels u, o, a, e, 1, correlatives of the' primary vowels, should now be carefully studied and 
 practised. 
 
 I St loo ( 00 :^ u as in push ) as heard in the word look, 
 znd lo as heard in the word lo'-cution. 
 3rd la as heard in the word la-ment. 
 4th le as heard in the word led. 
 5th IT as heard in the word ltd. 
 
 Exercise 62. 
 
 ^ . (.. \ each pair of words several times successively, always lingering on the vowel marked 
 
 ; then immediately try the vowels alone. 
 
 H Loom H look 
 
 H Oboe H obey 
 
 H Arm h ask 
 
 H Eight H e't 
 
 M &1 H TU 
 
 = H y (= 00) H u (= 00) 
 : H O HO 
 
 |: H A Ha 
 
 |:H E H S 
 
 :H I (=E) H t 
 
 Observe, that in these exercises "secondary" vowel characteristics are represented by small letters (u, 
 o, a, e, 1 ), while the " primary " vowels are represented by capitals ( U, O, A, E, I ). 
 
 Exercises 63 and 64. 
 
 Practise the following pairs of vowels. CareMy bring out the characteristic sound of each, keeping each one perfectly pure and dis- 
 tinct throughout its duration. 
 
■^ 
 
 Ex. 63. Legato. 
 M. M. J = 60. 
 
 A 
 
 VOICE AND SONG. 
 
 Ex. 64. Staccato. 
 
 37 
 
 pitch ? H ||: U u U u U u U u U ? H :|| 
 
 Ij: O 5 O o O o O o O » H :|| 
 
 ||: A a A a A a A a A ? H :|| 
 
 ||: E e E e E e A e A » H :|| 
 
 11: I 1 I i I i I i I » H :|| 
 
 yj^^-f- . - 
 
 s* ^ ^ ^ ^ — •■ 
 
 -^-^-^ — 
 
 pitch » H 
 
 :Uh u hUh u mU »H: 
 
 
 :Oh 3hOh hO ?H: 
 
 
 :Ah aHA H a hA »H: 
 
 
 :EHeMEHeHE»H: 
 
 
 :"iH ihI Hi Hi "H:! 
 
 TONE-PRODUCTION AND VOICE-PLACING. 
 
 Part V. 
 
 Diphthongs, or Compound Vowels. 
 
 There are, in addition to the foregoing simple vowels, several diphthongal, or compound, vowels, 
 so called because each one consists of two simple vowels " so closely blended, in ordinary speech, as to 
 sound like one, uttered by a single impulse of the voice." 
 
 The first is termed the radical or beginning, and the second the vanish or close. 
 
 The principal diphthongs are 
 
 I as in " isle, " consisting of A (as in " arm " ) gliding into i ( as in " ill " ), with the accent and great- 
 
 est duration on the radical : A '=— 1. 
 
 01 as in "oil," consisting of 6 (as in" or") gliding into 1 (as in "ill,") with the accent and greatest 
 duration on the radical : =— i. 
 
 OW as in " owl,"consisting of A (as in ^m " ) gliding into 00 (as in ooze), with the accent on the 
 radical : A ==- 00. 
 
 U as in " mule " is a compound of 1 gliding rapidly into 00, with the accent upon the second element, 
 which is not at all a "vanish," but the "body" of the vowel : 1 — 00. This reduces the first element (i) 
 
 to the function of a consonant. 
 
 In singing the first three of these diphthongs, sustain the radical ( the accented part) and glide quickly into the vanish at the end of 
 the note ; for example : 
 
 i 
 
 -is- 
 
 i 
 
 w 
 
 must be sung 
 
 thus 
 
 i 
 
 i 
 
 WS^ 
 
 -*-r^ 
 
 01 
 
 o 
 
 l^^L 
 
 thus 
 
 i 
 
 ii^ 
 
 not 
 
 not 
 
 not 
 
 ^ 
 
 ^ 
 
 fe^ 
 
 O 
 
 ^ 
 
 OW 
 
 A 00- 
 
 The fourth diphthong ( U ), having the accent upon the second element, must be sung 
 
 w 
 
 Eg 
 
 (you) 
 
38 
 
 VOICE AND SONG. 
 
 In correctly pronounced English the vowels A and O (as in " fate " and " fBld" ) are distinctly diphthongal, the former being a 
 compound of A gliding into ^ ,and the latter of O gliding into u ; in each case sustain the first element, and glide rapidly into the second 
 just upon leaving the note 
 
 i 
 
 ^ 
 
 g> ' ? . fi rf^f^ ^ 
 
 ^m 
 
 fo. 
 
 -It 
 
 -uld 
 
 not 
 not 
 
 f-a— 1- 
 
 fn — u- 
 
 -Id 
 
 For the reason that the "vanish" is a trifle lighter than in the first three of the diphthongal vowels, S and are often classed 
 simply as "impure vowels." 
 Exercises 65 and 66. 
 
 Practise the diphthongs to a sustained tone, and later to detached tones, on all notes within easy reach of the voice. 
 Ex. 65. Sostenuto. 
 
 Ex. 66. Staccato. 
 
 I te 
 
 pitch 1 H ||: r 
 
 II: 01- 
 
 :qw- 
 
 : U— 
 
 ' H 
 
 ■' H 
 
 ' M 
 
 ' M 
 
 pitch ? H 
 
 IhI hI hI Hi Hi Hi 'H 
 01 H 01 H 01 M 01 H 01 M 01 M 01 » H 
 qW H OW H OW H OW H QW H QW H QW > H 
 
 tTHOMUHOHDHtJHO^H 
 
 if the whole of the work contained in the preceding exercises has been thoroughly mastered, very little, 
 if any, difficulty will be experienced in producing, on good tone, any vowel in the English language, as the 
 remaining vowels are but slight modifications of those already practised. 
 
 The Principal Simple Vowels Tabulated Scalewise 
 
 I 
 
 1 
 
 3 
 
 4 
 
 5 
 6 
 
 7 
 8 
 
 9 
 10 
 
 II 
 
 12 
 
 13 
 
 14 
 15 
 
 i 
 
 i 
 
 as 
 
 (C 
 
 in machine and pique, 
 " It, links and him. 
 
 like 
 
 cc 
 
 E in she and peek. 
 y in lynx and hymn 
 
 E 
 
 cc 
 
 " eight and veil. 
 
 cc 
 
 A in ate and vale. 
 
 e 
 
 cc 
 
 " end and let. 
 
 
 
 e 
 
 (( 
 
 " ere and where. 
 
 cc 
 
 a in air and ware. 
 
 a 
 
 cc 
 
 " at and sang. 
 
 
 
 a 
 
 cc 
 
 " ask and last. 
 
 
 
 A 
 
 cc 
 
 " ah and lark. 
 
 
 
 a 
 
 cc 
 
 " what and wad. 
 
 cc 
 
 6 in wot and odd. 
 
 a " " awe and aught, 
 
 O " " ode and tone. 
 
 o " " in wolf and could, 
 
 y « " truth and rude, 
 
 u " " urn and fur, 
 
 u " " latter and sun. 
 
 " 6 in or and ought. 
 
 " 06 in wool and good, 
 
 " u in pull. 
 
 " o in whose, 
 
 " 06 in rood. 
 
 " e in earn, like y in myrrh, 
 
 " T in fir, and 3 in word. 
 
 " 6 in other and son. 
 
VOICE AND SONG. 
 The Principal Compound Vowels (Diphthongs). 
 
 39 
 
 I 
 
 I ( :^ A =— I ) as in isle, like y in style. 
 
 2 
 
 QI ( = 6 ::^ 1 ) as in oil, like oy in boy. 
 
 3 
 
 QW ( ^ A >- oo ) as in owl, like ou in out. 
 
 4 
 
 U ( = 1 -= oo ) as in mule, like ew in me'wl. 
 
 " The Singer knows he can sing his A in front from the teeth, or right at the back from the palate, and that the former gives a 
 -flat,' and the latter a 'crushed' tone (the genuine palatal tone); and that the best tones are those that he feels in the middle of the 
 mouth. The singer knows, too, that it is extremely difficult to give this kind of resonance to a U or to a bright-toned I, etc., and that 
 for the sake of roundness and fullness of tone something of the strict characteristic of a vowel must be sacrificed." ( Riemann. ) 
 
 The following table, belonging to the section on " Articulation " commencing on page 40, exhibits all 
 the consonants of the English language in systematic order. 
 
 Table of Consonants. 
 
 Unvoiced. 
 
 Voiced. 
 
 Oral. 
 
 Oral. 
 
 Nasal. 
 
 P as in Pup. 
 
 T as in Tight. 
 
 K as in Kick. 
 
 CH as in CHurch. 
 
 F as in Fife. 
 
 TH as in THigh. 
 
 S as in Seal. 
 
 SH as in Rouche (rSosh). 
 
 HY as in Hue (HYoo). 
 
 HW as in WHeel (rfWeel). 
 
 B as in Bub (e.g., Bubble). 
 D as in Died. 
 G as in Gig. 
 J as in Judge. 
 
 V as in Vive ( e.g.. Revive ). 
 TH as in THy. 
 
 Z as in Zeal. 
 
 ZH as in Rouge (roozh). 
 
 Y as in You (Yoo). 
 W as in Weal (Weel). 
 
 /7\ 
 
 M as in Mum (e.g.. Mumble). 
 N as in Nine. 
 
 NG as in 'NGing ( e.g., singing) ; 
 also like N in Ink. 
 
 No unvoiced correlatives 
 
 R as in Rage, and TRue (preceding a vowel). 
 R as in FaR, and ESe ( terminal ). 
 r as in Arm, and Chord (preceding a consonant). 
 L as in Lily, and Lull. 
 
 H is pure breath-sound ; its correlative would be a pure vowel-sound. For example, compare 
 " H " as heard in the whispered syllable " Hu," with " u " as heard in the spoken syllable 
 " uh " ( the short " neutral " vowel ). 
 
 The sound of "hard" C is the same as K, as in Cake (Kak) ; soft C is the same as S, as in Cease 
 (Ses); soft G is the same as J, as in Gem (Jem); Q is the same as K, as in Casque ( Kask ); X 
 unvoiced is the same as K -|- S, as in Exit ( Eksit ) and the voiced X is the same as G -)- Z as in Exist 
 (Eg^zist). 
 
40 VOICE AND SONG. 
 
 ARTICULATION. 
 
 Articulation is the function of the organs of speech in the formation of a consonant.' 
 
 C have a shut position. 
 Consonants ^ are non-syllabic. 
 
 I are obstructive. ( Warman.) 
 
 There are two classes of consonants. 
 Unvoiced and Voiced. 
 
 In the production of unvoiced consonants the breath is allowed to pass freely through the glottis,' as in 
 simple breathing, but, on leaving the mouth, it has been shaped into peculiar characteristics by certain po- 
 sitions of the tongue, teeth and lips. 
 
 Voiced consonants are the result of vocalized breath, shaped into peculiar characteristics by the tongue, 
 teeth and lips, just as are the unvoiced consonants. Every unvoiced consonant has its correlative voiced con- 
 sonant ; and, to three of them, there is added another having a nasal element. 
 
 It is important that the singer should be able to produce, intelligently and accurately, each element of 
 sound represented by the capital letters in the Table of Consonants on page 2,9- 
 
 " Quality of tone depends upon the vowels, but distinct utterance upon the consonants ; if these are 
 not clearly articulated, the sense of the words will be entirely lost." (Adcock.) 
 
 Consonants in declamatory speech require considerably more vigor in their articulation than they do in 
 ordinary speech. In singing their articulation should be as vigorous as, or even more vigorous than, in 
 declamation. 
 
 The first exercise in this important part of a singer's training should be as follows : 
 
 Exercise 67. 
 
 The word and its consonant element (marked -^ ; see Table of Consonants, page 39 ) should be pronounced in immediate succession, 
 in a whisper, exaggerating the consonant in order to bring out the contrast. In pronouncing the word, linger on the consonant marked /r,. 
 "The mouth should be freely opened and firmly held in position proper for the formation of each sound, and every position carefiilly ob- 
 served." Whispering, instead of at once voicing the words, enables the student to concentrate his undivided attention on the move- 
 ments and positions of the articulating organs. 
 
 After practising by lines, from right to left, they should be practised by columns, from the top down. Finally, they should be 
 voiced, and uttered in a full, clear, exact and distinct manner. 
 
 Careftil study and practice will reveal that the sounds represented by the letters P, T and K are momentary puffs of compressed breath, 
 •voiceless, and incapable of prolongation by a continuous expiration ; that B, D and G are made with the articulating organs in exactly the 
 same positions respectively as for P, T and K, the "puff" being less forcible, also — the characteristic difference — that the "puff" is 
 ^r^ceded by a small and limited amount of voice. 
 
 M, N and NG are classed as correlatives of P, T and K because, respectively, they also are produced by exactly corresponding po- 
 sitions of the articulating organs ; their characteristic difference comes from keeping the mouth hermetically closed, allowing the sound 
 ( voiced breath ) to escape through the nose, hence the term nasal in the classification, all others being oral — that is, from the mouth. 
 
 The remaining unvoiced ( and consequently unsingable ) consonants represent noises and hisses, made by the forcible expulsion of 
 breath through channels formed in the mouth by particular dispositions of the tongue, teeth, or lips ; and, although the sounds of their 
 voiced correlatives are sustainable (and therefore singable ), they are very disagreeable when unduly prolonged. 
 
 The fiiUy trilled R occurs only before vowels, and is produced by the upper part of the point of the tongue vibrating against the roof 
 of the mouth just behind the gums. R in other places requires scarcely any trill. 
 
 The voiced consonant L is the most singable of all, and is much used as a "voice-placer" (see Exs. 36-38). It is sufficiently vo- 
 cal to fulfil the office of a vowel ; for example, the last syllable of each of the following words must sound as L sustained : 
 
 humble little people, 
 
 = humbl littl peopl, 
 
 not humbul littul peopul. 
 
 1 Consonant, from the Latin consonans, sounding together ; " an articulate sound which requires to be combined and sounded with a vowel to be heard 
 distinctly." 
 
 2 Glottis, the variable A shaped opening between the Vocal Cords. Over it is the Epiglottis, the leaf-shaped cartilage at the root of the tongue which forms 
 a hd or cover for the aperture of the windpipe during deglutition. The VocAL Cords are two opposed, highly elastic bands or lips, set in the Larynx ( the upper 
 part of the windpipe, just where the Adam's apple can be felt ) . For the production of vocal tone, the vocal cords are closely approximated, and their parallel edges 
 caused to vibrate by the expulsion of a steady current of air from the lungs. 
 
 See " Respiration," page 24 ; Tone, page 28 ; and the Diagrammatic Sketch of the Vocal Apparatus. 
 
VOICE AND SONG. 
 
 n 
 
 The aspirate H has no fixed conformation of the mouth. It is simply the sound of breath rather forcibly expelled from the lungs 
 through whatever position of the mouth is required by the vowel following it. Its impulse comes from the diaphragm. For illustration and 
 practice pironounce the following : 
 
 Exercise 68. 
 
 [St HU I" . u- 1 ^ U (vowel only) 
 
 (as m Hoop. J •■ ^ -^ ' 
 
 2nd HO 
 3rd HA 
 4th HE 
 
 as in Hope. 
 as in HSrp. 
 as in Hey ! 
 
 5th Hi T' T"!^, I 
 I as in Heed, j 
 
 O 
 A 
 E 
 
 ^ H 
 
 — ^ H 
 
 — ^ H 
 
 — ^ H 
 
 — ^ H 
 
 aspirate only, with 
 mouth still in shape 
 of preceding vowel. 
 
 Exercise 69. 
 
 Successively with each of the consonants given in the table on page 39 combine the primary vowels U O A E I, as in the following 
 example : 
 
 ik J -^-i 
 
 s 
 
 ^ 
 
 -0-i- 
 
 pitch ? H 
 
 A^ A^SN A /T\ A/7N A /r\ /7\ /^ /7\ A /T\ A 
 
 PU H PO H PA H PE 1^ PI H ' H UP H OP M AP 
 
 J H PO H PA H PE 1^ PI H ' H UP H OP M AP H 
 J H BO H ^A H IBE H bT M » H UB H OB, and so on. 
 MU H MO H MA, and so on. 
 
 bO 
 
 Up 
 
 H » M 
 
 Vary the pitch at pleasure, but always keep zae/I within the easiest reach of the voice. 
 
 N.B. All unvoiced consonants, "from their utter lack of vocality, need great force and precision in their artirulatioii.'' 
 
 Exercise 70. 
 
 Monotone the syllable PA, at an easy pitch, to the rhythm given' below. Keep the throat well expanded throughout. In articu- 
 lating the consonant, move the jaw up and down freely, but don't close the teeth. Open the mouth well for the vowel every time. 
 Let the tone be as nearly continuous as is compatible with a rapid and distinct articulation of the consonant. 
 
 " The consonants beat time and mark the rhythm by their percussion." (Garcia. ) 
 
 J=l 
 
 M. M. •'=80 to 
 
 1 
 
 >. ^ > ^ > >-.Lj^_ J 
 
 f H |: PA PA PA PA PA PA PA PA PA PA PA PA » h :| 
 
 Vary the consonant at pleasure. The tone, when voiced consonants are used, will be continuous, mainly on the vowel A ; but at 
 each percussion of the consonant it will, for a moment, take on the characteristic quality of whatever consonant is in practice. 
 
 The object of the above is to exercise the articulating organs in easy and rapid movement perfectly controlled, to and from the wide 
 open vowel-position. See Ex. 35, page 30. 
 
 Exercise 71. 
 
 Extend Ex. 70 by alternating one class of articulation with another ; for example % 
 
 f^^L-j J^^_^L^L^ ;- / j^-.^-^ 
 
 JL 
 
 4 
 
 PA SA PA SA PA SA PA SA PA SA PA SA 
 
 or TA FA TA FA, and so on. 
 
 or KA LA KA LA, and so on. 
 
 or PA GA PA GA, and so on. 
 
 \ 
 
42 
 
 VOICE AND SONG. 
 
 Exercise 72. 
 
 Combinations of two or more consonants are, generally, very difficult to articulate clearly. The two series given below will suffice 
 for illustration and practice. They may be combined with any suitable vowel and practised after the manner shown at the head of the 
 series. 
 
 Always articulate the consonants very distinctly, and as rapidly as possible. In the " ;'»;'///j/ combinations," carefiiUy avoid putting 
 a vowel in between the consonants ; for example, BL, not BuL (bless, not buless ) ; PR, not PuR (pray, not puray). 
 
 Example for Exercise 72. | ^ ^ ) ^^ combined with A ( as in the word " blarney " ). 
 
 \ (i>) LD combined with O ( as in the word " cold " ). 
 
 M. M. 
 
 = 60. 
 
 ^ 
 
 ^^l=g=^ 
 
 ^ 
 
 t 
 
 -t 
 
 ^- 
 
 {a) 1st series.— BLA BLA BLA •> h BLA BLA BLA ? H BLA BLA BLA BLA BLA. 
 {b) 2nd series.— OLD OLD OLD 5 h OLD OLD OLD » h OLD OLD OLD OLD OLD. 
 N.B. In every case, let the vowel take the greater duration of the note. 
 
 {a) 
 
 
 1ST Series. Initial Combinations. 
 
 
 
 BL (as in the word "bless"). 
 
 BR (bride) 
 
 DR (dread) 
 
 FL (flew) 
 
 FR (frown) 
 
 GL (glow) 
 
 GR (grass) 
 
 KL (cloud) 
 
 KR (crown) 
 
 KW (queen) 
 
 PL (play) 
 
 PR (pray) 
 
 SF (sphere) 
 
 SH (shade) 
 
 SHR (shrine) 
 
 SK (sky) 
 
 SKR (scroll) 
 
 SL (sleep) 
 
 SM (smile) 
 
 SN (snow) 
 
 SP (spark) 
 
 SPL (splash) 
 
 SKW (squall) 
 
 ST (star) 
 
 STR (strong) 
 
 SW (swell) 
 
 THR (thrall) 
 
 TR (true) 
 
 TW (twang) 
 
 {V) 
 
 
 2ND Series. Final Combinations. 
 
 X 
 
 
 BD (as in the word "ebbed") 
 
 BL (warble) 
 
 BZ (ebbs) 
 
 DL (cradle) 
 
 DN (gladden) 
 
 DTH (breadth) 
 
 DZ (adds) 
 
 FL (stifle) 
 
 FN (often) 
 
 FS (laughs) 
 
 FT (waft) 
 
 GD (bagged) 
 
 GL (single) 
 
 GZ (dogs) 
 
 JD (bridged) 
 
 KL (buckle) 
 
 KN (broken) 
 
 KS (axe) 
 
 KT (act) 
 
 LB (alb) 
 
 LD (felled) 
 
 LF (shelf) 
 
 LK (silk) 
 
 LM (whelm) 
 
 LN (fallen) 
 
 LP (pulp) 
 
 LS (false) 
 
 LT (felt) 
 
 LV (shelve) 
 
 LZ (feels) 
 
 MD (climbed) 
 
 MF (triumph) 
 
 MP (camp) 
 
 MZ (alms) 
 
 MT (dreamt) 
 
 ND (and) 
 
 NG (singing) 
 
 NS (since) 
 
 NT (sent) 
 
 NZ (sins) 
 
 PL (people) 
 
 PN (open) 
 
 PS (drops) 
 
 PT (dropped) 
 
 RB (barb) 
 
 RD (bard) 
 
 RF (serf) 
 
 RJ (charge) 
 
 RK (ark) 
 
 RL (girl) 
 
 RM (arm) 
 
 RN (turn) 
 
 RP (warp) 
 
 RS (horse) 
 
 RT (heart) 
 
 RV (serve) 
 
 RZ (hers) 
 
 SK (ask) 
 
 SL (castle) 
 
 SN (lesson) 
 
 SP (clasp) 
 
 ST (last) 
 
 THN (heathen) 
 
 THS (births) 
 
 THZ (paths) 
 
 TL (battle) 
 
 TN (brighten) 
 
 TS (chats) 
 
 VD (saved) 
 
 VL (evil) 
 
 VN (even) 
 
 BLD (warbled) 
 
 DLZ (idles) 
 
 FTS (drifts) 
 
 LDZ (folds) 
 
 LTS (bolts) 
 
 NKS (thanks) 
 
 NTS (daunts) 
 
 NCH (stanch) 
 
 NGZ (sings) 
 
 PLD (peopled) 
 
 RST (first) 
 
 SKS (asks) 
 
 SKT (asked) 
 
 STS (masts) 
 
 TLZ (battles) 
 
 VNS (heav'ns) 
 
 VST (lov'st) 
 
 ZNZ (seasons) 
 
 « See Remark, Ex. 76^. 
 
VOICE AND SONG. 
 PRONUNCIATION. 
 
 43 
 
 " He who knows how to breathe and how to pronounce, knows well how to sing.' 
 ( Pacchiarotti. ) 
 
 "To sing well in the Italian language may be easy, but it is less easy in the Portuguese, and less easy 
 still in the Spanish ; while the customary vowels and consonants of the French language make it difficult, 
 and those of the German more difficult, and those of the English most difficult. As our language stands 
 lowest, on the scale of ' singableness ', surely it is the duty of the student to master the difficulty. A little 
 attention and a few special exercises will do it, but it does require this attention and these exercises." 
 ( D. Bennati, in Curwen's " Teacher's Manual." ) 
 
 " Pronunciation is the utterance of a word, the combined act of articulation and enunciation. 
 
 We articulate consonants. 
 We enunciate vowels. 
 We pronounce words. 
 If you desire good articulation, enunciation and pronunciation, give every element its due quantity' 
 and quality. " ( Warman. ) 
 
 Exercise 73. Sing each zvord of those given in the table of consonants (page 39 ). 
 
 Give the vowel m each word the principal duration of the note, the consonants taking up as little of the duration of the no:e as is com- 
 patible with distinct and characteristic articulation. 
 Example. 
 
 i 
 
 IE 
 
 EE 
 
 W 
 
 I 
 
 Pu- 
 
 Bu- 
 
 Mu- 
 
 Tigh- 
 
 Di. 
 
 -d and so on. 
 
 Carefiily avoid such errors as, for example, vowels gliding improperly: FT-ee-f, for Fife ; adding a vowel-sound : Dee- 1 -d, for 
 
 Died, Pu-iip, for Pup ; anticipating and dwelling upon final consonants, especially in words ending with L, M, N and NG : Lull, Mum, 
 
 for L'ull and Mu'm ; "preluding" initial consonants : Mum, Nine, Lull, Sauce, E-You, 6b- Weal, for Mu'm, Nine, Lijll, Sauce, VSu 
 
 and W'e'al ; making the sound uh at the end of a word : Pu'puh for Pup and Thy" uh for Th'y ; commencing or finishing voiced conso- 
 nants on a pitch other than that noted. 
 
 fcj ^ J^J -=B 'l- d )-^ — : 
 
 i 
 
 IE 
 
 i 
 
 e-g- 
 
 — a 
 
 Ive, and 
 
 - Ive, for 
 
 Va- 
 
 -Ive. 
 
 Exercise 74. For more extended practice the student should devise other words ( or syllables ) by combining suitable consonants 
 and vowels ; for example : POP ( = Pope), PoP ( = Pop ), SUP ( = Soup), SuP ( = Sup), KIT (= Kite), KYT ( = Kit), 
 rXt ( = Write or Right ), RTT ( = Writ ), V6lS ( =Voice ), VTS ( = Vice ), MAN ( = Main ), M aN ( = Man ) and so on ad 
 
 infinitum. 
 
 Exercise 75. Combine a consonant and a vowel in every way possible and sing the resultant syllable (or syllables) to notes of 
 easy pitch ; for example, P and A, thus: 1. PA, 2. aP, 3. a-PA, 4. aP-a, 5. aP-PA, as they would occur in the following words : 
 I. Part, 2. Trap, 3. Apart, 4. Apathy, 5. Scrap-part. 
 
 12 3 4 6 
 
 i 
 
 ^^m 
 
 ^r^^i^ti-u^^ m 
 
 4iz 
 
 te^ 
 
 z w=^ 
 
 — PA 
 
 "t., 
 -PA 
 
 r 
 
 aP- 
 
 Va 
 
 -PA 
 
 PA H 
 
 aP H 
 
 aP- 
 
 Bring out unmistakably and smoothly each element of the combination. The difference between Nos. 3 and 4 should be carefully 
 observed : " Consonants within a word are taken either at the end of a note or at the beginning; this is regulated by the sensible division of 
 the word." In No. 3 the time for the consonant must be deducted from the succeeding vowel ( the beginning of the note ); in No. 4 it will 
 be taken from the preceding vowel ( the end of the note ); this distinction is of importance, and should be well practised. E.g., compare 
 ' ' ' Tis his apathetic voice ' ' with ' ' // his a pathetic voice ? " — " She peer* d ' ' with • ' Sheep-ear^ d^' Double consonants occurring in the 
 middle of a word, sound like one ( e.g. , appalling apparition [=a -p a-1 1 ng ap- a -r fsh-un ] ), but in derivatives and compounds, and where the 
 
 • Questions of "quantity," or lengtli, of vowels are decided for the singer by tlie composer of the music. " Long " vowels may be set to short notes, and 
 " short " vowels to long notes. In singing, the characteristic sound of each must be distinctly brought out. ( See Exs. 61-64. ) 
 » See Ex. 76 {h). 
 
44 
 
 VOICE AND SONG. 
 
 same consonant is the last letter of one word and the first of the next ( as in No. 5 ), the double effect is made by prolonging the charac- 
 teristic quality of the consonant. In the example given above (No. 5) the characteristic quality is the "silence" which precedes the 
 " puff" or " explosion." ( aP:SPA, keep the lips closed during the /^between the two consonants.) 
 
 "The most common errors in pronunciation are found in the substitution, omission, and addition of sounds m syllables, and the over- 
 lapping of words in sentences." ( Potter.) 
 
 The following selection will afford material for illustration and practice. 
 
 Exercise 76 {a). 
 
 Written. 
 
 Sounded. 
 
 Don't Substitute. 
 
 
 A 
 
 a (when used as a word) 
 
 a for a. 
 
 
 Again 
 
 igen 
 
 a for e. 
 
 
 Always 
 
 alwaz 
 
 6 for a, or u for a 
 
 
 Ay(e) 
 
 i (meaning yes) 
 
 a for i. 
 
 
 Aye 
 
 a (meaning always) 
 
 1 for a. 
 
 
 Desolate 
 
 desolat 
 
 z for s. 
 
 
 Dew 
 
 da 
 
 J for D, or u (= 5o) for u. 
 
 
 Dissolve 
 
 dizzolv 
 
 ss for zz. 
 
 
 Ere 
 
 ere (or ar) 
 
 e for e (or a) 
 
 
 God 
 
 God 
 
 a or a for 0. 
 
 
 Iron 
 
 liirn 
 
 ru for ur. 
 
 
 Irony 
 
 iiirny {adjective) = of iron 
 
 ru for ur. 
 
 
 Irony 
 
 iruny (noun) = satire 
 
 iir for ru. 
 
 
 Of 
 
 ov 
 
 f for Vo 
 
 
 Oil 
 
 oil 
 
 1 for oi. 
 
 
 Path 
 
 path (ih unvoiced) 
 
 voiced th for unvoiced th. 
 
 
 Paths 
 
 pathz (ih voiced) 
 
 unvoiced th for voiced th.. 
 
 
 Real 
 
 real 
 
 u tor a. 
 
 
 The 
 
 the (before a vowel) 
 
 ii for e. 
 
 
 The 
 
 thu (before a consonant) 
 
 e for u. 
 
 
 Us 
 
 us 
 
 z for s. 
 
 
 With 
 
 witji (tk voiced) 
 
 th (unvoiced) for th (voiced). 
 
 
 Yes 
 
 yes 
 
 1 ror e. 
 
 
 Exercise 76 {b). 
 
 Written. 
 
 Sounded. 
 
 Don't Omit. 
 
 And 
 
 and 
 
 J a (making 'nd), or d (making an'), 
 ( or a and d (making 'n'). 
 
 Every 
 
 ev-e -y 
 
 e (making ev-ry). 
 
 Fields 
 
 feeldz 
 
 d (making feelz). 
 
 Govern 
 
 guveirn 
 
 er (making guv'n). 
 
 Insects 
 
 insekts 
 
 t (making inseks). 
 
 Looked 
 
 lookt 
 
 ed ^ t (making look). 
 
 Old 
 
 old 
 
 d (making ol'). 
 
 Real 
 
 real 
 
 a (making reel). 
 
 Shall 
 
 shal 
 
 a (making sh'll). 
 
 Softly 
 
 softly 
 
 t (making sofly). 
 
 Winds 
 
 windz 
 
 d (making winz). 
 
VOICE AND SONG. 
 
 45 
 
 Exercise 76 (c). 
 
 Written. 
 
 Sounded. 
 
 Don't Add. 
 
 Handsome 
 
 hansum 
 
 d (making handsiim). 
 
 Kind 
 
 kind 
 
 e (making ke;;4nd). 
 
 Pray 
 
 pra 
 
 ii (making pura), or e (making prae). 
 
 Rule 
 
 rul (= rool) 
 
 e (making re-ool), or u (making ru-iil). 
 
 Reel 
 
 reel 
 
 u (making re-ul). 
 
 Splash 
 
 splash 
 
 u (making spiilash). 
 
 The ear 
 
 the er 
 
 y (making the yer =^ "the year"). 
 
 Exercise 76 (d). 
 
 ible and able, not iible. 
 
 audible — 
 terrible — 
 responsible ■ 
 
 Exercise 76 (1?). 
 
 ess and oils, 
 
 goodness ■ 
 darkness - 
 countless ■ 
 
 laudable. 
 
 syllable. 
 
 advisable. 
 
 ity and ety. 
 
 ability — 
 charity — 
 nobility — 
 
 not iss. 
 
 gracious. 
 
 righteous. 
 
 precious. 
 
 contment — 
 eminent — 
 student — 
 
 not' uty. 
 
 variety. 
 
 piety. 
 
 society. 
 
 ent and ant, not unt. 
 
 consonant. 
 
 elegant. 
 
 infant. 
 
 Exercise 76 (/). 
 
 or and ar. 
 
 governor — 
 superior — 
 counselor — 
 
 Exercise 76 (g). 
 
 not ur. 
 
 popular. 
 
 particular. 
 
 similar. 
 
 itive and ative, not ative. 
 
 positive — narrative, 
 
 infinitive — superlative, 
 
 prohibitive — alternative. 
 
 en and on, not 'n. 
 
 open — prison, 
 hasten ( = hasen ). 
 
 garden — season, 
 listen ( = lisen ). 
 
 heaven ■ 
 soften 
 
 pardon. 
 ( = sofen ). 
 
 Occasionally the last vowel is omitted — Heav'n, lis'n, etc. ; see Appendix, 
 Nos. 3 (rais'd), 6 (lov'd), 7 (inspir'd), 13 (bedeck'd), 42 (resign'd to heav'n), 
 48 ( encompass'd ), 75 (call'd), and 80 (fill'st). 
 
 But very often it is better to sound it; see Appendix, Nos. 26 (cursed, not 
 curst); ;^6 and 51 (strengthen, not strength'n ) ; 38 (risen, not ris'n); 73 
 (broken, not brok'n, and looked, not lookt). 
 
46 
 
 VOICE AND SONG. 
 
 Exercise 76 {h). 
 
 The overlapping of words, etc. 
 
 To be practised unti 
 
 an auditor can with perfect ease distinguish one sentence fi-om the other of 
 
 each couplet. ' 
 
 2 
 
 s 
 
 3 
 
 
 
 fS> 1 
 
 • 
 
 (S> -^ 
 
 J. ^- 
 
 "-^ 
 
 \>\) ^ f^ 
 
 
 
 
 
 ^ \t 
 
 r She peer'd, she 
 
 peer'd. 
 
 The masts stood, the masts stood. 
 
 Beer de-scend-ing, - 
 
 
 1 Sheep-ear'd, sheep 
 
 -ear'd. 
 
 The mass stood, the mass stood. 
 
 Beard de-scend-ing, - 
 
 ^ 
 
 J His stripes, his 
 
 stripes. 
 
 The first star, the first star. 
 
 On nei-ther side, J 
 
 tf 
 
 \ His tripes, his 
 
 tripes. 
 
 The first tar, the first tar. 
 
 On ei ther side, - 
 
 rt 
 
 r Make clean, make clean. 
 
 A good deal, a good deal. 
 
 A lit - tie lass, - 
 
 r- 
 
 1 Make lean, make 
 
 le'an. 
 
 A good eel, a good eel. 
 
 A lit - tie ass, - 
 
 1^ 
 
 j His skin, his 
 1 His kin, his 
 
 skin. 
 
 This sour food, this sour food. 
 
 His crymov'don, - 
 
 - 
 
 kin. 
 
 This our food, this our food. 
 
 His crime mov'd on, - 
 
 - 
 
 r That rain, that 
 1 That train, that 
 
 rain. 
 
 Lasts till night, lasts till night. 
 
 Stud y de - ceit, - 
 
 - 
 
 train. 
 
 Last still night, last still night. 
 
 Stud - ied de - ceit, - 
 
 r 
 
 ^ 1 Your aid, your 
 I Your raid, your 
 
 aid. 
 
 Thine own name, thine own name. 
 
 The sol-dier's tear, - 
 
 - 
 
 raid. 
 
 Thy known aim, thy known aim. 
 
 The sol-dier's steer, - 
 
 r 
 
 f Small eyes, small 
 * 1 Small lies, small 
 
 eyes. 
 
 Can no one, can no one. 
 
 Let all men pray, - 
 
 ^ 
 
 lies. 
 
 Can owe one, can owe one. 
 
 Let tall men pray, - 
 
 ^ 
 
 „ J Near home, near 
 1 Near Rome, near 
 
 home. 
 
 A and E, A and E. 
 
 And with his acts, - 
 
 ^ 
 
 Rome. 
 
 A and D, A and D. 
 
 And with his axe, - 
 
 - 
 
 The following Exercise 77 (a, 1/ and c) is an example of how pronunciation may be practised in 
 the words of a song. In yja the student's undivided attention is given to the exact pronunciation of each 
 syllable in the song " But the Lord is mindful of His own " ; after satisfactorily accomplishing this, the 
 words are to be monotoned to the rhythm and pace set by the composer of the music, illustrated in Ex. 
 77,^; and not until this can be done easily and distinctly^ should the complete musical setting (Ex. 77^) be 
 essayed. 
 
 Exercise "]"] (i*). 
 
 Pronounce each syllable as indicated in the phonetic line ; the vowel of each syllable (marked /"rv ) is to be sustained ( dwelt on ) for 
 about one second, deducting only the time required for a rapid, distinct and somewhat exaggerated articulation of the consonants which 
 may be either at the beginning or at the ending of a syllable. 
 
 ^ 
 
 BuT 
 
 THu 
 
 LorD iZ MIND 
 
 FuL oV 
 
 HiZ 
 
 
 ON HE 
 
 ^ 
 
 But 
 
 the 
 
 Lord is mind 
 
 ful of 
 
 His 
 
 
 own. He 
 
 
 ( Ri 
 
 mIm 
 
 BerZ HiZ 
 
 /7\ 
 
 chTl 
 
 drIn 
 
 BOW 
 
 
 DOWN 
 
 
 ^ re 
 
 mem 
 
 bers His 
 
 chil 
 
 dren. 
 
 Bow 
 
 
 down 
 
 Bi 
 
 FOR 
 
 hTm 
 
 /7\ /T\ rt\ 
 
 YE MI tT 
 
 For 
 
 ths 
 
 LSrD 
 
 /7\ 
 
 Tz 
 
 NEr uS. 
 
 be 
 
 fore 
 
 Him, 
 
 ye migh ty. 
 
 for 
 
 the 
 
 Lord 
 
 is 
 
 near us. 
 
 1 A C«3URA, or slight break in the continuity of tone, -will be necessary for a sensible delivery of many of tliese sentences ; e.g., 
 
 2 Vary this interval at pleasure. 
 
 sheepHear'd MakeHlean 
 
VOICE AND SONG. 
 
 47 
 
 Exercise 77 (i). Monotone (sing on one unvarying pitch) the following in legato style. Choose a pitch suitable to the voice. 
 N.B. The continuity of tone throughout each phrase must not be interrupted unless distinct utterance, or the sense, requires it; at 
 the same time ( taking the first phrase for example ), it must not sound thus : 
 
 Bu - the - Lor dis mine fii - lo - fi sowi 
 
 " Bu - the - Lor dis mine fii 
 
 Make discreet use of the Ciesura ( suggested thus V ; see Ex. 76A') ; also review Ex. 75 (3 and 4 ). 
 Andantino. M. M. J = 66. 
 
 -• •- 
 
 » H But the 
 
 -•-^ — « 4 4 — m — •- 
 
 LJaTTTTX}- 
 
 -• — •- 
 
 Lord Vis mind-fulVof His V own, 9 M He re - mem - bers His V chil - dren. > H But the 
 
 { 
 
 .-TN 
 
 J- ^^_JUU^Ui.--^i_j- 
 
 ritard. 
 
 J^_J_j^/_ 
 
 a tern 
 
 po. 
 
 nj-^-i\ 
 
 Lord V is mind - fill V of HisV own, ? h the Lord re - mem - bers HisV chil - dren, » H re - mem bers HisV 
 
 -G- 
 
 ^-J^J-^ 
 
 i-U-^J- 
 
 "-U 
 
 chil dren. 
 
 2 \ 
 
 »M Bow down be fore Him,V ye migh - ty, » m ' for the Lord ^ is near V us. 9 h 
 
 J— /-J^J— J^AJ-J J i i^^.L-J. 
 
 -&- 
 
 -J— i-^-^ 
 
 Bow down be - fore Him,V ye migh - ty, 9M for the Lord V is near — V us. 9^ Yea, the 
 
 f -J^^'-/-J^^-/- J— i-J 
 
 -/-J^i_L^-4-^-/-/- 
 
 (^ Lord V is mind - fill V of HisV own, 9h He re - mem - bers His chil dren. » h Bow down be - 
 
 4 
 
 2 \ ^11 I 
 
 I 
 
 fore Him, 9H ye migh - ty, »M for the Lord (V) is 
 
 -y us. 
 
 Exercise 77 (-^ ). 
 
 I 
 
 i 
 
 Andantino. M. M. J = 66. 
 L S s 
 
 BUT THE LORD IS MINDFUL OF HIS OWN." 
 
 Arioso from the oratorio " St. Paul." 
 
 • ' Music by Mendelssohn. 
 
 :Key G. 
 S 
 
 Fe 
 
 S. DMS SFM R R 
 
 m 
 
 3 
 
 ii- 
 
 31 
 
 ^5; 
 
 i^m 
 
 ■S=r 
 
 t^ 
 
 P. 
 
 ' '■ ^ I*- 
 
 :| 
 
 ^ 
 
 » H But the Lord V is mind - fill V of HisV own, 9 H He 
 D S L S S Fe L 
 
 D T 
 D D /T^ /T^ 
 
 KeyD. 
 RS S 
 
 mem bers His V chil 
 M s F M R 
 
 3:33^ 
 
 H- 
 
 t^ 
 
 -i- 
 
 -0 0- 
 
 '•-d 
 
 1* 
 
 dren. » H But the LordV is 
 
 ritard. 
 mind - ftil V of HisV own. 
 
 9 M 
 
 ' (I tempo. 
 the Lord 
 
 re - mem- bers His V 
 
 iCarefuUy hold the breath (indicated thus H) for a moment after each inspiration (marked 9). N.B. This practice of holding the breath for a moment 
 after each inspiration, should become a regular habit ; it not only steadies the breath, but gives the singer time to prepare for the proper attack of the following tone. 
 2 See page 71. 
 
48 
 
 VOICE AND SONG. 
 
 D M R D D 
 
 Key A minor. 
 
 DR R M 
 
 j^^^=j^^ 
 
 » H Bow down be fore Him,Vye 
 
 Si 
 
 L Se 
 
 li 
 
 M M 
 
 Key B minor. 
 
 MRRMF FF F M 
 
 =*^;3= 
 
 migh 
 
 cres. J 
 
 ty, 9H for the Lord V is near V us. 
 
 ml 
 
 ^^=^ 
 
 -& 
 
 » H Bow down be - fore Him,V ye migh 
 L S S Fe L 
 
 ty. 
 
 J dim. 
 
 > H for the Lord (?)^is near V us. 
 
 Italian, German and French Pronunciation. 
 
 The correct pronunciation of songs in a language unfamiliar to the student, will best be learned from a 
 teacher who sings the language professionally. For students located where this is not feasible, the following 
 rules for the pronunciation of Italian, German and French, taken from Dr. Theo. Baker's "Dictionary of 
 Musical Terms," will be helpful. 
 
 Italian. 
 
 Vowels : 
 
 General rule: The vowels are very 
 
 clear, and never to be pronounced as 
 impure vowels or diphthongs ; they 
 are long in accented syllables which 
 they terminate, — shert in unaccented 
 syllables, or in accented ones ending 
 with a consonant. 
 
 alike ah or ah (never 2 ); e.g., amare 
 [pren. ah-mah'-reh] . 
 
 e " ay m bay (without the vanish T) ; '? 
 in bed ; a in bare (before r). 
 
 i ' ^^ in beet; 7 in bit; / before a vow- 
 el, like y ( consonant). 
 
 o " aw, or oh (without the vanish «); 
 in opinion. 
 
 u " 00 in boot; u in bull. 
 
 Consonants : 
 
 General rule: Even the hard conso- 
 nants are somewhat softer than in 
 English; the soft consonants are very 
 delicate, 
 b, d, f, 1, m, n, p, qu, s, t, v, as in Eng- 
 lish. 
 
 c like k, before a, o, u, or another conso- 
 nant except c, as below. 
 
 c " chin chair before e or /,- cc like t-ch 
 before e or /'. 
 
 g " g hard before a, o, u, or another 
 consonant ; except before / ( pro- 
 nounce _§■/ like l-y [consonant]; e.g., 
 sugli [pron. sool'-ye]), and n (pro- 
 nounce gn like n in canon [kan'- 
 yon]). 
 
 g " j before e or ;. 
 
 h is mute. 
 
 j like y in you. 
 
 r, pronounce with a roll (tip of tongue 
 against hard palate). 
 Where a doubled consonant occurs, 
 the first syllable is dwelt upon; e.g., 
 in ecco [pronounce ek'-ko, not ek'- 
 o]. — Accented syllables take a less 
 explosive stress than in English, being 
 prolonged or dwelt upon rather than 
 forcibly marked. 
 
 sc like sh, before e and /. 
 
 sd " Z(/ ( at beginning of words ). 
 
 z " ds (very soft //). 
 
 German. 
 Vowels : 
 
 The simple vowels as in Italian ; y 
 like German / or a. 
 Modified vowels: 
 
 a like a in bare, but broader; ~e in bed. 
 
 b has no English equivalent; long o can be 
 pronounced by forming the lips to say 
 oh, and then saying 5 ( as in bay ) 
 with the lips in the first position; 
 short 0, by saying ? (as in bed ) in- 
 stead of 3. [N.B. — Long 5 is the 
 French eu ( mjeu)'\. 
 
 u has no English equivalent; pronounce 
 long u by forming the lips to say oo (as 
 in boot), and then saying ee (beet) 
 with the lips in the first position; short 
 u, by saying T (as in bit) instead of i?^. 
 [N.B. — Long a is the French a.] 
 Diphthongs : 
 
 ai and ei like long Fin bite. 
 
 ae like a. 
 
 au " ow in brow. 
 
 eu and au like oi ( more exactly ah' -it, 
 closely drawn together). 
 
VOICE AND SONG. 
 
 49 
 
 Consonants : 
 
 f , h, k, 1, m, n, p, t, as in English. 
 
 b and d, beginning a word or syllable, as 
 in English; ending a word or sylla- 
 ble, like p and t respectively. 
 
 c like k before a, o, and u; like ts before 
 e, i, eu, and a. 
 
 g usually hard, but like z in azure in 
 words from the French and Italian in 
 which g is so sounded; — ang, eng, 
 ing, ong and ung terminate, at the 
 end of a word, with a i-sound (e.g., 
 Be'-bun^'). 
 
 j like J (consonant). 
 
 qu " kv. 
 
 r either with a roll, or a harsh breathing. 
 
 s beginning a word or syllable, and before 
 a vowel, like z(soft); ending a word 
 or syllable, like sharp s; before t and 
 p, beginning a word, usually like sh 
 (e.g., stumm, pron. shtilm [a as in 
 bull]); otherwise as in English. 
 
 V Uke/. 
 
 •V " V (but softer, between f and lu). 
 
 s. " ks (also when beginning a word). 
 
 z " ts. 
 
 Compound consonants: 
 
 ch is a sibillant without an English equiva^ 
 lent; when beginning a syllable, or 
 after e, i, a, 6, u, at, ei, ae, eu, and 
 au, it is soft ( set the tongue as if to 
 pronounce J!, and breathe an h through 
 it ; e.g. Strich, pron. shtriy-h; after 
 a, 0, u, and au, it is hard (a guttu- 
 ral h). 
 
 chs like x. 
 
 sch like sh. 
 
 sp and St, see s, above. 
 
 th like /. 
 
 Accented syllables have a forcible 
 stress, as in English. In compound 
 words there is always a secondary 
 accent ("), sometimes a tertiary one 
 ("'), depending on the number of 
 separate words enterihg into the com- 
 position of the compound word ; 
 e.g. ,Zwi' schenakts"'musik", Bo' gen- 
 ham" merklavier'" . 
 
 French. 
 Vowels : 
 
 a as in Itafian, but often shorter, approach- 
 ing English a. 
 
 a like ah. 
 
 e " urn but: ^-final is almost silent in 
 polysyllabic words. 
 
 e " ay 'm bay. 
 
 e " «■ in there. 
 
 e " German a, and always long. 
 
 i or 1 like ee in beet ; short i as in English. 
 
 o as in Italian. 
 
 u like the German a. 
 
 Diphthongs: 
 
 ai like German a; but before /-final, or //, is 
 pronounced as a diphthong (ah'-ee, 
 drawn closely together). 
 
 ai. and ei like e. 
 
 eu, eu and oeu like German o. 
 
 oi like oh-ah' (drawn closely together). 
 
 ou and ou like oo in boot. 
 
 eau like 'o long, without the vanish u. 
 Modified by a following n, m, nd^ nt or mt 
 at the end of a syllable, the vowels 
 and diphthongs are nasal (exception, 
 — verbal ending of 3rd pers. plural). 
 Consonants as in English, with the follow- 
 ing exceptions: 
 
 c like s in song before e^ e, e, e, and /. 
 
 ch " sh. 
 
 g " 2 in azure before e, e, e, e, and ;'. 
 
 gn as in Italian. 
 
 h is mute. 
 
 j like z in azure. 
 
 II after / is usually sounded like English 
 y ( consonant ), and frequently pro- 
 longs the / [ee); e.g. travailler [trah- 
 vah-yay'] , tranquille [ trahngkee'''] . 
 
 n nasal, see above; otherwise as in Eng- 
 lish. [The nasal effect is accurately 
 obtained by sounding n {ox m') 
 together with (instead of after^ the 
 preceding vowel; but the sound of e 
 is changed to ah, i to a (in bat), and 
 u to eu.'\ 
 
 m, nasal in certain situations. 
 
 r with a roll. 
 
 s-final is silent. 
 
 t-final is silent. 
 
 er, et, es, est, ez, as final syllables, are 
 pronounced like e. 
 
 Accentuation. The strong English stress on 
 some one syllable of a polysyllabic 
 word is wanting in French ;the gen- 
 eral rule is slightly to accent the last 
 syllable. 
 
 For exercise in foreign pronunciation, the student should rewrite the words of songs phonetically ( illus- 
 trated below), and afterward practise in the manner of Ex. Tja, b and c. 
 
 Example in Italian. 
 
 jNoN 
 
 I Non 
 
 } 
 
 VER 
 
 ver ? 
 
 "NON E VER?" 
 
 Music by Tito Mattel 
 
 jKWaN D5 kS SI Z6 
 
 (, Quan - do as si - so 
 
 TE VI CHIN 
 
 te vi - cin 
 
 JTI PAR LA i BEN 
 
 I Ti par - la i ben 
 
 Tl 
 
 TV 
 
 Rl KOR 
 
 DI 
 
 di. 
 
 aN 
 
 Ml 6 
 
 DA 
 
 MOR 
 
 mi - 
 
 d'a 
 
 mor. 
 
 JeL DI 
 
 VIN 
 
 
 gel di 
 
 vin. 
 
 
50 
 
 VOICE AND SONG. 
 
 PaL PI TA R6 I No 
 
 fPaL 
 
 I Pal 
 
 ta 
 
 STRI C6R 
 
 stri cor. 
 
 A No NoN 
 
 Ah ! No, non 
 
 E VER No N6 
 
 e ver ! No, no. 
 
 The student must be particularly careful in pronouncing E and O that there is not the faintest change 
 to t in the former, or to u in the latter. 
 
 The curved line connecting two adjacent vowels, indicates "confluent" vowels, sung to a single note; 
 
 i 
 
 SEE 
 
 J J j~~J I J =^"^ " They take the place of English diphthongs, but are in Italian 
 
 Quan-do as si - so a te vi - cin 
 proHounced much more distinctly, and separate. 
 
 Example in German : 
 
 "O ISIS UND OSIRIS." 
 
 o 
 
 o 
 
 I SiS 
 
 uND 
 
 und 
 
 o 
 
 o 
 
 Music by Mozart.. 
 
 SI RiS SHeNG KeT 
 
 // - ris, schen - ket 
 
 {DdR VIZ HTT gist DEM NOI eN PAR 
 
 (. Der Wei- he it Geist dent neu - en Paar ! 
 
 d! fR DiR vaN drSr shrTt TJ lIng kIt 
 
 Die ihi- der Wan d'rer Schrit - te len ket. 
 
 shtIrkt 
 
 MiT 
 
 /7\ 
 
 Ge 
 
 DuLT 
 
 
 <2> 
 
 IN 
 
 G6 
 
 FAR 
 
 Starkt 
 
 mit 
 
 Ge 
 
 duld 
 
 sie 
 
 in 
 
 Ge 
 
 fahr! 
 
 Carefully distinguish between I and I. 
 Example in French : 
 
 " BERCEUSE.' 
 
 Ka- Tu SHa" TO BER SE 
 
 Quand tu chan tes her - ce e 
 
 Music by Gounod. 
 
 f Ld SWAR 
 
 I Le soir 
 
 a" TRw ME BRA 
 
 en tre mes bras. 
 
 a" Ta" TLi Ma Pa" SE 
 
 En tends - tu ma fen s'e 
 
 U 
 
 Kl TO RE P6" TU BA 
 
 Qui te re pond tout has ? 
 
VOICE AND SONG. 
 
 51 
 
 To" DU 
 
 Ton doux 
 
 SHa" Mu 
 
 chant me 
 
 RaP 
 
 rap 
 
 PeL L^ 
 
 ^t 
 
 PLU 
 
 BO 
 
 Du 
 
 ME 
 
 ZHUR 
 
 I Les 
 
 plus 
 
 beaux 
 
 </^ 
 
 mes 
 
 jours; 
 
 A SHan 
 
 TE 
 
 tez. 
 
 Ma 
 
 ma 
 
 
 BeL 
 
 /7\ 
 
 Li/ 
 
 Ah ! chan 
 
 bel 
 
 /^, 
 
 ISH^n 
 
 1 Chan 
 
 /7\ 
 
 TE 
 
 SHa"" 
 
 
 TE 
 
 TU ZHUR 
 
 tez. 
 
 chan 
 
 
 /^z 
 
 /aa y»arj-. 
 
 In the phonetic Hne a small n after a vowel, thus: a" or 6", indicates an "orinasal" vowel, in which 
 ttie voice passes through both the nose and the mouth. 
 
 The French a is a peculiar combination of U with either I or T ( see remarks on the pronunciation of 
 the German ii ), having no English equivalent, and represented in the phonetic line by ii. 
 
 " In colloquial French the final -e (^-mute) is almost always (not always) omitted." In singing, it is 
 retained, and in the phonetic line is indicated by a. 
 
 EXTENSION OF THE COMPASS. 
 The Registers. 
 
 The term Register designates a portion of the compass peculiar to a particular adjustment of the 
 vocal mechanism. 
 
 There can be no hard and fast rule as to the exact place where the change from one register to the 
 next above or below occurs in the different voices, as so much depends upon the conformation of the vocal 
 organs, which in individuals vary just as much as facial lineaments. The student, however, must strictly 
 avoid forcing a lower register higher than the divisional place indicated in the table fallowing, which ex- 
 hibits, approximately, the registers in the combined compass of the different voices. 
 
 1st or Low Register. 
 
 i 
 
 _2nd series.I 
 
 2nd or Middle Register. 
 
 2nd series. 
 
 [st series. 
 
 ^gzsy^d 
 
 ^^is gfe ^ j 
 
 3rd or High Register. 
 
 
 S^jal?^ 
 
 Ei|i^2i!Je 
 
 Ri4^ 
 
 ^.^* pr^ 
 
 ISOPRANO. 
 
 Contralto. 
 
 Tenor. 
 
 Bass. 
 
 For an extraordinary dramatic effect an experienced singer may carry a lower register higher than the 
 limit above noted, but it is always a " risky " procedure, and if indulged in too freely will result in blatant 
 open tone, strained vocal cords, and possibly a ruined voice. On the other hand, an upper register may safely 
 be brought down several notes, thereby giving quite a number of optional tones, that is, tones possible 
 in two different registers. 
 
52 VOICE AND SONG. 
 
 The blending of the registers and a perfectly uniform compass depend upon the careful management of 
 these optional notes ; the student should particularly practise the optional tones of the weaker register, 
 until in every way they equal the stronger. 
 
 " There are some heaven-born artists who instinctively blend all the registers, so that the whole voice 
 becomes one homogeneous wave of sound ;" but more often it is " an operation requiring an almost incred- 
 ible amount of patience on the part of both instructor and instructed." ( Deacon.) 
 
 The nomenclature for the different registers ( chiefly based on either " physiological conditions, or 
 sympathetic sensations ") is very varied and often confusing. The terms most frequently used by the old 
 Italian teachers were Voce di petto ( Chest-voice ) for the lower register of a voice, the tones of which pro- 
 duce sympathetic vibrations in the chest, and Voce di testa ( Head-voice ) for the higher register of a voice, 
 the tones of which produce sympathetic vibrations in the head ( i.e., the frontal cavities ; see Diagrammatic 
 Sketch). The terms Voce aperta ( Open voice) and Voce chiusa ( Covered voice ), based on the tonal quality 
 of the lower and upper registers of the male voice, also were, and still are, much used. The Medium or 
 middle register of the combined compass is sometimes called Voce mista ( Mixed voice ), or Petto falsetto 
 ( False chest-voice ). The term Falsetto ( False, or feigned ) is also often applied to the highest register of 
 a voice, as well as to the ''feigned" voice of the adult male alto. Many modern teachers use the terms 
 Lower and upper thick, and Lower and upper thin to describe the First and Second series of the lower and 
 middle registers respectively, and the term Small for the highest register ; these names are based on corre- 
 sponding conditions of the vocal cords, which vibrate either in their whole "thickness," "thin edge," or 
 "smaller length." The French and German terms respectively for the three registers are Voix de poitrine 
 and Bruststimme ( Chest-voice); Voix de fans set and Fistelstimme ( False voice ), or Voix mixte ( Mixed voice) 
 and gedeckte Stimme (Covered voice ) ; Voix de tete and Kopfstimme ( Head-voice ). 
 
 In practising the following preliminary exercise for the extension of compass, the voice must not be 
 forced upward, but must gently glide from the lower to the higher note, with perfect breath-control, and an 
 entire absence of rigidity in the parts concerned. Progress must not be hurried; only when one tone can 
 be taken comfortably, should the student try the next, progressing by semitones as high as possible. Care- 
 fully note your teacher's advice and criticism ( see page 32, last paragraph of Ex. 38 ). 
 
 Preparatory Exercise for Extension of Compass Upward. 
 
 Sing two notes an octave apart in the easy manner one often hears or adopts in pleasantly calling the 
 attention of a child who is at a short distance away. 
 
 M. M. ^ = 60. (For men's voices read an octave lower. ) 
 iTs -■ — ^r\ 'TV 
 
 and so on. 
 
 I. 
 
 2. 
 
 3- 
 4- 
 
 V>-/' V 
 
 Em - ma ? H :|h Em 
 
 An - na ? H :||: An 
 
 El - la , H :||: El 
 
 Ah 7H :||: Ah- 
 
 'P y^^P ^-^-p ^=^p V^-^ M^=~p 
 
 ma 9 H :||:Em-ma 9 h :||:Em ma 9 h :||:Em-ma » h :||:Em-ma 5 |^ :||: Em ma » h =11= 
 
 na » H :||:An - na 5 H : : 
 
 la 9 H :||: El - la 9 H :||: !- and so on. 
 
 — 9 H :||:Ah 9 H :||: 
 
 At first allow the vowel " a " of the second syllable to take on a somewhat sombre ( covered ) quality, 
 nearly like " a " in the word " maw," Also practise with the words Lu-!u, Lily, and Amy. 
 
VOICE AND SONG. 
 
 53 
 
 N.B. When practising the foregoing exercise, the student should place a finger on the larynx, allowing 
 it to rest gently upon the "Adam's apple" ( see X in Diagram), and observe that when the upper note of 
 each octave is correctly produced the larynx maintains the same low position as for the lower note. 
 Also it should be noticed that for the higher note the pharynx will be rather less expanded than for the lower 
 note, and that the soft palate rises, shutting off the upper pharynx. 
 
 In the following exercises for the Extension of the Compass Upward, the student should be able to 
 pass from one register to another without a noticeable " break." 
 
 Never forget that " GOOD quality" is of far more importance than "great quantity." 
 
 Exercise 78.' (When used for men's voices, read an octave lower.) 
 Prolong the letter M a Httle, and be sure of the pitch in the attack. 
 
 M. M. J— 60. {Not faster.) 
 
 s 
 
 3^-=^-]=^ 
 
 j^T^—4-^ir 
 
 ^-^ 
 
 MA H A H A H A - 
 
 
 M 
 
 
 MAh Ah Am A- 
 
 % 
 
 ;#- 
 
 f^i: 
 
 P ^.. 
 
 MA H A H A H A 
 
 ^ p . ^ 
 
 i 
 
 y 
 
 »=F^^ 
 
 » 
 
 p ^ 
 
 MA M A M A M A ■ 
 
 P ^ 
 
 I 
 
 m 
 
 -k 
 
 ^=rM^¥Nfe^^ 
 
 MA H A H A M A - 
 
 P 
 
 D.C.' {^an 8ve higher). 
 
 I 
 
 ia£^s]jjf#£ijh 
 
 ■I h— l^-^-B 1- 
 
 n 
 
 :t= 
 
 I 
 
 Pr^ 
 
 MA H A H A H A ■ 
 
 P 
 
 H 
 
 I N.B. All exercises and studies should be carefully memorized, so that the maximum of attention may be given to the voice. 
 
 B D.C. is an abbreviation of the phrase " Da Capo," meaning "from the head" (i.e., from the beginning). Following the further direction " 8ve higher," 
 repeat an octave higher than the notation indicates. 
 
54 
 
 Exercise 79. 
 
 ^•t^S i jxv^ 
 
 VOICE AND SONG 
 
 :* 
 
 Eg 
 
 feja 
 
 ^g^ 
 
 £3 
 
 i 
 
 i 
 
 n 
 
 fc 
 
 6= 
 
 ^E^ 
 
 i^^ 
 
 ^ 
 
 ^ 
 
 S 
 
 i* 
 
 ^^ 
 
 i^ 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^p 
 
 1^ 
 
 t^ 
 
 ) H 
 
 m 
 
 ^ 
 
 i 
 
 ^ 
 
 r 
 
 Ir 
 
 i 
 
 yhfj 
 
 *4 
 
 I/ i ciir^'Ilr 
 
 EE 
 
 ^ 
 
 ^EE3 
 
 Itti 
 
 i 
 
 ) H 
 
 ajir ^ I "J 
 
 p 
 
 
 p 
 
 ^ 
 
 E^ 
 
 J=^ 
 
 i 
 
 i 
 
 i 
 
 pi 
 
 
 ife 
 
 Arr^M . 
 
 J I I f 
 
 :\an-\ \ uii \ ( 
 
 ft=K 
 
 i 
 
 tt 
 
 ) w A. 
 
 > ." 
 
 ^^ 
 
 ^ 
 
 P 
 
 ^ 
 
 ^E 
 
 ^ 
 
 m 
 
 ')--h\ I ^ 
 
 ^ 
 
 ^ 
 
 i 
 
 i 
 
 kfe 
 
 fe^ 
 
 ±* 
 
 ggFp=^ 
 
 ? H 
 
 ^tririrrrri fi Lr 
 
 V^l'i>i I ^ 
 
 ^ 
 
 Ie3; 
 
 mm 
 
 I 
 
 P 
 
 
 ^ 
 
 ft 
 
 ^ 
 
 iipi 
 
 m 
 
 ^ 
 
 p 
 
 ^ 
 
 p^ 
 
 jkzz 
 
 =b 
 
 fe^ 
 
 ^ 
 
 ^p^p^^^ 
 
 ^^^^^^^^ 
 
 RC. an 
 
 8 
 
 ^ 
 
 ^ 
 
 * 
 
 i t ' i T 
 
 ^ 
 
 1^ 
 
 w 
 
 m 
 
VOICE AND SONG. 
 
 55 
 
 Exercise 8o. The voice-part is to be read an octave lower, when used for men's voices. Sing softly. 
 
 60, 73, or 80 
 
 M. M. J 
 
56 
 
 VOICE AND SONG. 
 
t 
 
 Exercise 8i. 
 
 Sing softly. M; M. J=73 
 
 VOICE AND SONG. 
 
 S 
 
 m 
 
 r^JJTi 
 
 t 
 
 — — ,o> 
 
 57 
 
 \ \ ^ \^\\' f M r ^ -1 1 ^ I ^^ 
 
 (#-^ 
 
 li 
 
 t^ 
 
 1 H A- 
 
 r«^. 
 
 s 
 
 ^ 
 
 ^^m 
 
 m 
 
 s 
 
 A A A 
 
 ) H 
 
 ^^ 
 
 P 
 
 J H 
 
 i=* 
 
 i> 
 
 coto voce ad lib. 
 
 rail. 
 
 1^ 
 
 W^Pi^ 
 
 P 
 
 1 
 
 ^^ . -.^ 
 
 ";?*= 
 
 -izi 
 
58 
 
 VOICE AND SONG. 
 
VOICE AND SONG. 
 
 59 
 
 Extension of Compass Downward. 
 
 The following exercises are for the extension of the compass downward. When used for men's voices, 
 read an octave lower. 
 
 Exercise 82,. 
 
 Sing the following on the vowel U (00), taking breath only as indicated. Thoroughly practise one 
 key before attempting the next lower key. So far as possible maintain the throat in one position from start 
 to finish of each group. Keep the upper chest well expanded all the time. 
 
 Slowly and softly. M. M. J= eo 
 
 =sz 
 
 *^f* 
 
 O 
 
 'U. 
 
 t 'I i|{j. I ha I- t-^i ^ 
 
 , :| 
 
 I U ^ II b'li 
 
 |: IL 
 
 ) -I 
 
 *^ 
 
 W 
 
 m 
 
 x:_ 
 
 "" ■ J -I 1^ v.— 
 
 (^ 
 
 ) 1 
 
 lllf ' ^ 
 
 f I I J J I i '1 
 
 77F« 
 
 i 
 
 /o 
 
 o 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 7T¥ 
 
 s 
 
 ♦— ^ 
 
 • «< fe 
 
 u_ 
 
 I: U- 
 
 w 
 
 $ 
 
 m 
 
 Cs 
 
 S^ 
 
 r ' . :| f^ 
 
 u. 
 
 u 
 
 1= ,U- 
 
 i 
 
 a 
 
 /0^ 
 
 t 
 
 ^ 
 
 ^ 
 
 ^Jijji-i ' ! w » ,i^ 
 
 u. 
 
 ? 3 
 
 Variation. Project the /1 M.M.J =60 
 
 f7. 8«J9 /o^iieTj 
 and so on 
 
 lowest note somewhat vig- 
 orously. 
 
 g /|A1.M .J=60 o. /O 
 
 - and. 
 
 Hso-ea: 
 
 U_ 
 
 -v V V 
 
 _ « U M U :> » M Is. U. 
 
 ^ ni H I :l 
 
 Exercise 83. Commence in a key suitable to the compass, that is, the one which introduces the 
 lowest true note. 
 
 Sing slowly and softlr- M. M. J=6o 
 
 |.' U 
 
 :|: U. 
 
 
 y , 'I u , 'I y J 
 
 Variation. ^m-m..^^=bo 
 ■^ A crescendo on (fhX J M ' 
 the lowest 
 
 M.M.J =60 ^, 
 
 ij ' ^' ^^^4i ' ^ 
 
 ^ 
 
 ImF- 
 
 ©■eft 
 
 note: 
 
 U- 
 
 JK:h U- 
 
 ;«:l 
 
60 VOICE AND SONG. 
 
 Exercise 84. The voice-part to be read an octave lower, when used for men's voices. 
 N.B. Practice should be exclusively upon the vowel U (00), until the desired fullness of quality is 
 settled upon the voice. When this is accomplished, take the other vowels in the order O, A, E, I. 
 M.M. J = 80____ — — — _ — . ___^ 
 
 ^LUJ 
 
VOICE AND SONG. 
 
62 VOICE AND SONG. 
 
 Exercise 85. Voice-part an octave lower, for men's voices. 
 ,. M.M. J = 60 
 
VOICE AND SONG. 
 
 63 
 
 EXERCISES FOR STRENGTHENING THE VOICE AND THE 
 
 RESPIRATORY ORGANS. 
 
 Sostenuto." ( I.) 
 
 (To follow Exercise 39.) 
 
 xLxERciSE 86. N.B. The chords on page 65 may be used to accompany this exercise. 
 
 Sustain a tone at an equal level of loudness, easily and gently, throughout the duration 
 noted. 
 
 Filar il tuono{ = to spin the tone). "Just as the spinner draws the thread off the spindle, so must 
 the singer take or draw off the tone." ( A. B. Bach.) 
 
 '■:^-. 
 
 -V-G>- 
 
 t- 
 
 (, )p ( = soft) 
 (2) mf( 
 (3)/(=loud) 
 
 A 
 
 9 H. 
 
 mod. loud ) 
 
 » H 
 
 - »H- 
 
 N.B. There must be a decided differ- 
 ence in the three degrees of intensity (p, m/ 
 and/") required in this exercise ; at the same 
 time, the Breath-pressure must always be 
 carefully controlled and Never Forced. 
 
 Intensity is often confounded with vol- 
 ume. " Intensity is loudness," and depends 
 upon the degree of breath-pressure. " Vol- 
 ume is fullness, or roundness," and de- 
 pends upon a proper use of the resonating 
 
 A ------- ,M 
 
 cavities (see page 32). The difference may be illustrated by plucking a tuning-fork with the thumb and 
 forefinger of the right hand while holding it by the stem with the left hand. A weak pluck gives but little 
 of either loudness or volume, a strong pluck gives greater loudness, but no increase of volume. By placing 
 the stem of the fork on a suitable resonator (a table, for Instance), the addition of volume to intensity will 
 at once become apparent. 
 
 Perfection in the above exercise " can be reached only after a long course of training and experience." 
 Carefully maintain the proper " muscular tension "; if it relaxes one iota, the tone will fall off either in. 
 pitch or quality. In singing there is a constant tendency for a. forte to relax into a mezzo-forie, and for a 
 piano to increase to a me%zo-forte. 
 
 Commence on a pitch suitable to the individual voice, and at a pace of about J =: 60 ; as breath-con- 
 trol improves, gradually increase the duration to J = 40. In piano singing the duration may be still 
 further increased. 
 
 At first sing exclusively on the vowel A ; later the other vowels may be used, singly or in immediate 
 succession, and in any order. 
 
 Sostenuto. ( II.) 
 
 Exercise 87. The chords on page ic, may be used to accompany this Exercise. 
 
 ( I ) Sustain a' Tone crescendo^ i.e., with gradually increasing loudness, from piano to mezzo-forte, 
 
 or from pianissimo to fortissimo.'' Begin at about M. M. J = 96 ; gradually increase duration to J = 40. 
 
 N.B. All the parts 
 concerned must be prop- 
 erly adjusted and held for 
 a moment (h) before the 
 tone commences. Start the 
 breath and the tone simul- 
 taneously, very gently and 
 delicately. 
 
 ^ 
 
 ;4j 
 
 -&- 
 
 it\ 
 
 m 
 
 9 H 
 
 :a 
 
 ? H 
 
 'As the breath-pres- 
 sure gradually 
 increases for the cr^'- 
 jcfWojCarefully avoid 
 sharping the pitch. 
 
 I Sostenuto = Sustained ; i.e., one unvarying intensity to be maintained from beginning to end. 
 a See page 19. 
 
64 
 
 VOICE AND SONG. 
 
 (2) Sustain a tone diminuendo, "^ i.e., with gradually diminishing loudness, from mezzo-forte to 
 piano, or irom fortissimo to pianissimo.^ 
 
 
 -<5>- 
 
 •) H 
 
 A 
 
 ^^ [ As the breath- 
 
 i:3t|l pressure gradually 
 J^ decreases for the di- 
 minuendo, carefully a- 
 void flatting the pitch. 
 
 -»H 
 
 N.B. "Attack" 
 vigorously. The di- 
 minuendo will require 
 much more attention i 
 and practice for its per- 
 fect accomplishment 
 than the crescendo. ^ 
 
 Good breath-control is absolutely essential for a correct performance of this part of " Sostenuto " work. 
 The increase or decrease of loudness must be evenly accomplished from start to finish, as depicted by the 
 
 ' ; not by 
 
 customary sign for the effect. 
 
 a series of jerks, thus, C 
 
 and 
 
 ^^^ 
 
 Also carefully avoid reach- 
 
 ing the limit or climax of the effect too soon ; the crescendo or diminuendo, as the case may be, must be spread 
 
 I I 
 
 over the whole duration as shown above; not, for example, like this for a crescendo ^""^^^ ^ "^ «" 
 
 or like this for a diminuendo 
 
 Allow the pharynx^ to expand gradually during 
 
 the crescendo, so that by the time the climax ( i.e., the forte ) is reached the interior of the mouth will be 
 as "roomy" as possible. To sustain a long crescendo needs considerable and increasing muscular energy; 
 at the same time carefully avoid forcing the tone or straining for the effect. During the diminuendo the 
 pharynx will gradually contract, resuming the normal position (page -29) by the time the piano is reached. 
 N.B. The tone must never be raised to a shout ior forte, or reduced to a whisper ior piano. 
 
 Sostenuto. ( III.) 
 
 Exercise 88. The chords on page 65 may be used to accompany this exercise. 
 
 N.B. This exercise demands the most finished and artistic management of the breath, and must not 
 be attempted until Exs. 86 and 87 are perfected. Note carefully that in all cases the alteration of power 
 must be constant and even. 
 
 " Good Quality is More Important Than Large Quantity." 
 
 Messa di voce = display of the voice.' 
 
 ( I ) On a long-sustained tone, swell the voice from very soft (pianissimo, abbreviated pp) to very 
 loud (fortissimo, abbreviated^) and back again to very soft. 
 
 Commence at about M. M. J = 96 ; gradually increase the duration to J = 40. 
 
 N.B. The tone 
 must not vary in either 
 pitch or quality. 
 
 9 H 
 
 Av^. 
 
 :± 
 
 -i5>- 
 
 -iS>- 
 
 '" •• A 
 
 Commence ^^, increase to ff, diminish to 
 
 pp. 
 
 1 See page 19. 
 
 2 Pharynx, the throat, see page 32. 
 
 3 " Putting forth the voice," or " displaying the voice " in its full dynamic range. 
 
VOICE AND SONG. 
 
 A 
 
 Commence ^, 
 
 diminish 
 
 65 
 
 N.B. Carefully 
 finish with the same 
 power as at the start, 
 and maintain one 
 pitch and quality 
 throughout. 
 
 9 M 
 
 ( 3 ) Practise a rather rapid crescendo and diminuendo several times successively with degrees of loud- 
 ness varied as ( for example ) in the following {a), {b) and ( c ). 
 
 N.B. Both 
 
 pitch and quahty 
 
 to be unvarying 
 
 . . . s throughout. 
 
 ((?) p cres. to mf, dim. to p; cres. to mf, dim. to p; cres. to mf, dim. to p; cres. to mf, dim. top. 
 {b) mf cres. to f, dim. to mf; cres. to f, dim. to mf; cres. to f, dim. to mf; cres. tof dim. to mf. 
 ^(c) p cres. to f, dim. top; cres. tof, dim. top; cres. to f, dim. top; cres. tof, dim. top. 
 
 The following accompaniments may be used for the exercises on the Sostenuto, etc. N.B. Always 
 commence in a key suitable to the compass of the voice. 
 
 a 
 
 ^m 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 m 
 
 fete 
 
 ^^ 
 
 ^ 
 
 n 
 
 
 'ffyf 
 
 ttl 
 
 i 
 
 ^ 
 
 fliS. 
 
 m 
 
 ^ 
 
 
 W 
 
 i^r^TT 
 
 ^ 
 
 r 
 
 ^ 
 
 f- 
 
 f 
 
 ^ 
 
 ^ 
 
 TT 
 
 
 =^t=;v^ 
 
 -T^^ — A- 
 
 W Ji 
 
 ^ 
 
 i^E 
 
 i^=y 
 
 ^_j?L?L 
 
 :i:4=jii 
 
 3 
 
 ■fi" !-•■ 
 
 i^ipf 
 
 . Jr ' . "I I 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r "r r '^ " n 
 
 r 
 
 ^ 
 
 r 
 
 f 
 
 r 
 
 T 
 
 1 
 
 "TT" 
 
 "XJ- 
 
 (I 
 
 s 
 
 ^^^^=7^ 
 
 -A-^V- 
 
 ^^H ^f^ 
 
 Jail 
 
 y. 
 
 IeeS 
 
 «4 
 
 t4 i^ 
 
 ^ 
 
 ^; 
 
 iS.- 1^. 
 
 
 ^ 
 
 P 
 
 ^ 
 
 ^ 
 
 f 
 
 f= 
 
 ^ 
 
 ii 
 
 r- 
 
 r 
 
 M 
 
 f 
 
 T 
 
 5=* 
 
 ^ 
 
 ^^ 
 
 ^— A^ 
 
 l4 
 
 ' A A 
 
 Iff 
 
 S^ 
 
 W 
 
 i 
 
 rir 
 
 *> * 
 
 
 * 
 
 tt 
 
 ^ 
 
 V=f^ 
 
 p=ii 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
66 
 
 VOICE AND SONG. 
 
 ^ 
 
 D.G.cwi Sveh/igher 
 
 ^H* 
 
 ' t » 11 
 
 -o- 
 
 m 
 
 XT" 
 
 m 
 
 A A 
 
 S 
 
 m 
 
 #^ 
 
 2Z2 
 
 > ■ 
 
 in 
 
 • > 
 
 ^^r* 
 
 ^^^ 
 
 ' )' ^ ' ^r i^ 
 
 ^ 
 
 e 
 
 s 
 
 SCALES. Part I. 
 The Diatonic Scale. 
 
 "A Scale' is a succession of notes arranged according to some regular plan." There are two kinds of 
 scale employed in modern music, namely, the Diatonic^ and the Chromatic.'' 
 
 Of the diatonic scale there are two Modes (varieties), known as the Major (greater) and the Minor 
 (lesser) mode ; also there are three Forms of the minor mode, namely, the Ancient, the Harmonic, and 
 the Melodic form. 
 
 A Diatonic Scale is a series of eight notes on eight successive degrees of the staff ( i.e., on successive 
 lines and spaces ) ; it ascends and descends chiefly by steps of a " whole tone." The eighth note, or octave, 
 is a repetition of the first note at a different pitch ; a diatonic scale, therefore, contains only seven different 
 notes. This octave-note is the first note of a repetition of the series at a higher pitch. Every eighth note 
 of a diatonic series is, so to speak, a smaller likeness of the note one octave below it. A frequently heard 
 illustration of octaves, is the voices of men and women singing together one and the same melody. 
 
 The characteristic difference in the two Modes of a diatonic scale is the interval (distance) between the 
 first and third notes of the scale, this interval being a semitone'' greater in the one ( major ) than in the 
 other ( minor). 
 
 Of the three forms of the minor mode, the Ancient form ( as its. name implies ) is the original form of 
 the scale. The Harmonic form is a result of the prevailing harmonic system, which requires that every scale 
 have a Leading-note one semitone only below the eighth note. The " unmelodious " wide interval (a 
 whole tone and a half) between the sixth and the seventh notes of the harmonic form is often reduced 
 to a whole tone by making the sixth note a whole tone above the fifth ; hence the melodic form of the 
 minor mode. 
 
 The Diagram on page 68 illustrates for comparison the "plan " of the different scales. 
 
 The Technical Name for each degree of a diatonic scale is exhibited in the following list. 
 
 I = Tonic. The tone from which all others are determined ; also called the Keynote ( see footBote, page 5 ). The first degree 
 of a scale. 
 
 V = Dominant. The dominating note, four degrees above the tonic ( the fifth degree of the scale ), next to the tonic the most im- 
 portant note in the scale (see page 128). 
 
 1 Scale is from the Latin scala, a ladder. 
 
 = Diatonic, irom the Greek dia, by, or through, and /onos, a tone ( i.e., " through the tones or degrees of the scale " ). 
 
 3 Chromatic, from the Greek chroma, color : " The Greeks are said to have used a colored string on their lyre for a sharped or flatted note." ( See p. 67.) 
 
 4 The word Semitone is here used as a term of measurement in calculating the distance, or interval, between notes of different pitch ; just as the term " half- 
 mch " is used in computing the distance between points in hnear measurements ( see page 2 ) . The semitone is the smallest interval used in practical music. On 
 the piano it may be produced by sounding any two immediately adjacent keys, for example B-C, C-CJ, ( = C-Db,) FJ-G, Bb-BB, and so on. Two semitones equal 
 one whole tone; for example, B-CJ includes B-C and C-C#, C-D includes C-CJf and CJ-D (or, as the case may be, C-Db and DIt-DJ). (Also see page no.) 
 
VOICE AND SONG. 
 
 67 
 
 IV = SuBDOMiNANT. The under-dominatit, four degrees below the tonic ( the fourth degree of the scale). 
 
 HI = Mediant. The note which is midway ( ascending ) between the tonic and the dominant. 
 
 VI == SuBMEDiANT. The notc which is midway ( descending ) between the tonic and the subdominant. 
 
 II = SupERTONic. The note next above the tonic. 
 
 VII=SuBTONic. The note next below the tonic. The seventh of the scale, except in the ancient form of the minor mode, is, on 
 account of its progressional tendency ( to the tonic ), called the Leading-note of the scale. 
 
 The notes of the scale may be divided into two classes. Active and Inactive. The active notes ( II, IV, VI, and VII ) have a de- 
 cided tendency to move to the nearest inactive ones (I, III, V, and VIII), as indicated in the following by the arrows : 
 
 I 
 
 II 
 
 V 
 
 VI 
 
 VII 
 
 The Chromatic Scale. 
 
 A Chromatic' scale ascends and descends entirely by semitones, and is the result of adding five notes 
 to any diatonic scale, dividing the " whole tones " into " semitones," as indicated by the broken lines in the 
 Diagram (page 68 ). 
 
 There are two forms of the chromatic scale, the Harmonic ( or " true " form ), and the Melodic 
 (or "convenient" form), the difference being one of notation only. In the harmonic form, " no degree of 
 the staff has more than two notes upon it ; and neither tonic nor dominant can be chromatically altered." 
 (See Ex. 107.) It will always read as in the following description: 
 
 Description > 
 
 Scale * 
 
 ^Step-Number 
 ON Diagram 
 
 Tonic, or 
 Keynote. 
 
 I 
 
 I Flatted 
 I Supertonic. 
 
 bll 
 
 2 
 
 Supertonic. 
 II 
 
 ( Minor 
 ( Mediant. 
 
 J7III 
 
 4 
 
 ( Sharped 
 ( Subdominant. 
 
 #iv 
 7 
 
 Dominant. 
 
 V 
 
 8 
 
 j Minor 
 J Submediant. 
 
 i?VI 
 
 ( Major 
 I Submediant. 
 
 VI 
 
 10 
 
 ( Minor 
 I Subtonic. 
 
 bvii 
 
 11 
 
 ( Major 
 i Mediant. 
 
 Ill 
 
 5 
 
 Leading-note, 
 or Major 
 Subtonic. 
 
 VII 
 
 12 
 
 Subdominant. 
 
 IV 
 
 Octave of 
 
 I Tonic, or 
 
 Keynote. 
 
 VIII 
 
 13 
 
 On comparing the above with the Diagram on page 68, it will be seen that the degrees numbered 2, 4, 
 7, 9 and II are chromatic in a major key, and that those numbered 2, 5, 7, 10 and 11 are chromatic in a 
 minor key ( harmonic form of the scale ). 
 
 The melodic form reduces the employment of accidentals to a minimum. The five chromatic notes in 
 the ascending scale are sharps of the respective diatonic notes immediately below ; and, in the descending 
 scale, flats of the diatonic notes immediately above ; the following table is based on the diatonic major scale. 
 
 ^ I Jl II #11 III IV %\N V JV VI JVI 
 ^1234 5 6 7 89 10 11 
 
 ( Ascending Scale 
 := Step-number 
 
 VII 
 12 
 
 VIII 
 13 
 
 on Diagram 
 
 r Descending Scale 
 =Step-number 
 ON Diagram 
 
 VIII VII bvii VI bvi V bv IV III bin ii >ii i 
 
 13 12 11 10 9 8 7 6 5 4 3 2 1 
 
 The chromatic degrees are those numbered a, 4, 7, 9 and 1 1 ; compare with Diagram, page 68, also 
 with Ex. 106. It is not unusual to find in musical compositions a notation which is a mixture of both the 
 foregoing forms. In chromatic notation, the j;] often does duty both as a I? and a || in lowering an already 
 sharped degree or raising an already flatted degree (see page 5). In the description of the harmonic form 
 of a chromatic scale (see above), it is always correct to speak of a chromatically lowered supertonic as a 
 /a//(?^ supertonic, even though a [] is required for its notation ; similarly, a chromatically raised subdominant 
 is correctly described as a sharped subdominant with either a it or a n for its notation. 
 
 I See pages 5 and 66. 
 
68 
 
 VOICE AND SONG. 
 
 Examples of Chromatic Notation. 
 
 E Major ( harmonic notation ). 
 
 u Ik 
 
 E Minor ( harmonic notation ). 
 
 ^^pp^^ Pipg^g igB ilppi^-fe^^^^ii] 
 
 I • 11 • III IV 
 
 V • VI • VII VIII ) 
 
 (I ■ II 
 
 III • IV • V VI 
 
 E Major ( melodic notation ). 
 
 i=^^=^fs=r^->^-il- 
 
 :m:. 
 
 *=^ 
 
 ^^•E^^. 
 
 ^ 
 
 (• 
 
 II • in IV 
 
 VI ■ VII VIII VIII VII • VI 
 
 IV m ■ II • i) 
 
 E Minor ( melodic notation ). 
 
 • 3# 
 
 I- 
 
 * • 8* 
 
 :#* 
 
 -•-•-#*- 
 
 ■!'•_*- 
 
 ' e~17i 
 
 ^E^^^^^m 
 
 (l • II III • IV • V VI • VII . VIII VIII • VII • VI V • IV • III II • l) 
 
 The student should also carefully compare and study the notation of the chromatic scales given on 
 page 1 05 et seq. 
 
 Diagram. 
 
 Illustrating the "Plan" of the Different Scales. 
 
 SCALES. 
 
 Diatonic. 
 
 Chromatic. 
 
 Major Mode. 
 
 Minor Mode. 
 
 The Standard Scale. 
 
 Ancient Form. 
 
 Harmonic form. 
 
 Melodic form. 
 
 VIII 
 
 VIII 
 
 VIII 
 
 VIII 
 
 13 = VIII 
 
 VII 
 
 
 VII (t) 
 
 VII (#) 
 
 12 = VII 
 
 
 VII 
 
 
 
 II = bVII 
 
 VI 
 
 
 
 VI (t) 
 
 10 = VI 
 
 
 VI 
 
 VI 
 
 
 9 = OVI 
 
 V 
 
 V 
 
 V 
 
 V 
 
 8 = V 
 
 
 
 
 
 7 = «IV 
 
 IV 
 
 IV 
 
 IV 
 
 IV 
 
 6= IV 
 
 III 
 
 
 
 
 5 = 111 
 
 
 III 
 
 III 
 
 III 
 
 4 = bill 
 
 II 
 
 II 
 
 II 
 
 II 
 
 3 = 11 
 
 
 
 
 
 2= bll 
 
 I 
 
 I 
 
 I 
 
 I 
 
 I = I 
 
 
 
 
 
 
VOICE AND SONG. 
 
 69 
 
 It will be seen that the diatonic major mode of a scale consists of two similar series of four degrees ( called Tetrachords ),' each contain- 
 ing the interval of a " semitone" between the two upper degrees (iii-iv and vu- viu), and a "whole tone" between each of the others. 
 
 w. tone.w. tone, semit. 
 
 ( V - VI 
 
 II IV ■» 
 VI VII - VIII I '^^^ " wli°l^ tone" separating the two tetrachords is called the tone of disjunction ( iv - v ). 
 
 In the ancient form of the minor mode the semitone intervals occur between degrees ii - iii and v - vi. In the upper half of the harmonic 
 form there is an augme/iteii inteival (^a tone and a half ) between degrees vi and vii and too semitone intervals (between v - vi and vii-viii); the 
 lower half of course corresponds to the preceding form ( semitone between ii - in, the characteristic feature of the minor mode ). The upper 
 half of the melodic form exactly corresponds to the upper half of the major mode. 
 
 Exercise 89. Read, from left to right, any one of the successions of eight tone-names specified below ; at the same time add inflections 
 (i.e., a Jjl or a y) where necessary, and so bring the succession into conformity with any desired one of the diatonic scales depicted in the 
 precedmg diagram ; the first name, exactly as specified, to be the tonic or keynote. 
 
 For example, to make the succession commencing with A conform to the plan of the major mode ( in which the semitone intervals occur 
 between degrees iii - iv and vii - viii ) it must read thus : 
 
 > A B Cjf D E Y% G# A 
 
 VII VIII 
 
 w. tone. w. tone, semitone, w. tone. w. tone. w. tone, semitone. 
 
 The succession commencing with A as it appears in the series given below, i.e., without inflection of any kind, is in exact agreement with 
 
 the plan of the ancient form of the diatonic minor mode. The succession commencing with C, just as it stands, is in perfect accord with 
 
 ^ O T) Fl> F C Ab R C "i 
 the plan of the major mode ; to make it agree (for example ) with the plan of the harmonic minor, it must read \ \ 
 
 ^ ' ( I II III IV V VI VII VIII } 
 
 The Tonic. 
 
 1st 
 
 IInd 
 
 IIIrd 
 
 IVth 
 
 Vth 
 
 VIth 
 
 VIIth 
 
 VIIIth degree 
 
 A 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B flat 
 
 Bt> 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 B 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 C sharp 
 
 c# 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D flat 
 
 Db 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 D 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E flat 
 
 Eb 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 E 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 F sharp 
 
 n 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G flat 
 
 Gb 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 G 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A flat 
 
 Ab 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 N.B. The student must constantly bear in mind that the adjacent tones, named B C and E F, uninflected, form semitone intervals, 
 and that all the other letters successively when uninflected are names of tones a whole tone apart ( see page 2 ). Also, that a ji applied to 
 the higher one of two names widens the interval, but when applied to the lower one, it contracts the interval ; a b similarly applied has just 
 the opposite effect, contracting the interval when applied to the higher name, and widening the interval when applied to the lower name. 
 For example A - B =- a whole tone, A - B| ^ a tone and a half, A^ - B = a semitone ; A - Bb = a semitone, Ab - B ^ a tone 
 and a half. 
 
 A student desh-ous of becoming thoroughly familiar with the different scales, should transcribe the workings of Ex. 8g into ordinary 
 musical notation. 
 
 ' Tetrachord, from the Greek ietrachordos, " having four strings." 
 
70 
 
 VOICE AND SONG. 
 
 The sharps or flats essential to a Key are generally, and once for all, placed at the beginning of each 
 staff, forming what is called the Key-signature.' For example, the musician knows that B= signifies 
 
 either the major key having A for its tonic ( briefly, " the key of A major "), or the minor key having F 
 sharp for its tonic (" the key of F sharp minor ") ; a glance at the music quickly decides which of the two, 
 because the composer generally establishes the key — through its tonic and dominant harmonies^ —at the 
 very beginning. The signature of a minor key is always in agreement with the ancient form of the scale ; the 
 inflections necessary to the forms requiring the raised seventh, or the raised sixth, appear as accidentals be- 
 fore the respective notes as often as they occur.^ 
 
 C minor ( Ancient form ). 
 
 C minor ( Harmonic form ). 
 
 ^^ 
 
 II 
 
 N.B. 
 
 C minor ( Melodic form ). 
 
 ^0^* 
 
 A^ 
 
 ^B 
 
 T T 
 
 N.B. 
 
 Sharp Keys 
 
 Major Keynote C 
 Minor Keynote a 
 
 Flat Keys 
 
 i 
 
 Major Keynote C 
 Minor Keynote a 
 
 Table exhibiting the Key-signatures. 
 
 G 
 
 e 
 
 D 
 
 b 
 
 fc#= 
 
 % 
 
 A 
 
 M 
 
 E 
 
 li«p 
 
 B 
 
 %i±. 
 
 
 :isl 
 
 aj 
 
 F 
 
 d 
 
 Bb 
 
 g 
 
 
 Eb 
 c 
 
 ^^r 
 
 ri 
 
 Ab 
 f 
 
 fcr 
 
 S: 
 
 ¥- 
 
 Db 
 
 bb 
 
 m 
 
 Gb 
 
 eb 
 
 
 Cb 
 ab 
 
 The memorizing of the key- 
 signatures will be facilitated if the 
 student remembers, that each ad- 
 ditional sharp in the signature, and 
 the successive keynotes, occur in 
 the order of ascending fifths. Sim- 
 ilarly, in flat keys, the order is that 
 of descending fifths ( = ascending 
 fourths ). Also, that the last three 
 sharp keys ( B, Fjf and Cj|) are 
 Enharmonics'' of the last three flat 
 keys ( Cb, Gb and Db ) ; B = Cb, 
 F# = Gb, and C# = Db. 
 
 Major scales and minor scales are related, each to the other, in two ways : I. Through a common tonic 
 or keynote, spoken of as tonic major, or tonic minor to the other. II. Through a common key-signature^ 
 spoken of as relative major, or relative minor to the other, as the case may be. 
 
 For example : C major is the tonic major to C minor; and, vice versa, C minor is the tonic minor to 
 C major. C major also is the relative major to A minor, and, vice versa, A minor is the relative minor to 
 C major. 
 
 C major. \ ^- "^""'"^ '"^i°'' '° ^ '^'"°''- 
 
 II. Relative major to A minor. 
 
 C minor. \ ^- ^onic minor to C major. 
 
 II. Relative minor to EJ? major 
 
 %^^m 
 
 ■t. JLZL 
 
 I ^ji: 
 
 . . 1 I. Tonic minor to A major. 
 
 A mmor. { ■' 
 
 II. Relative minor to C major. 
 
 ;e 
 
 El? majc 
 
 I. Tonic major to Eb minor. 
 II. Relative major to C minor. 
 
 It will be seen from the above examples that the submediant ( 6th degree ) of any major scale is the 
 keynote of its relative minor; and that the mediant (3d degree) of any minor scale is the keynote of its 
 relative major. 
 
 I See pages 5 and 6. = See Chords ( Part I ) preceding Ex. 120, 
 
 3 N.B. As a general rule an accidental affects not only the note before which it is placed, but also, unless cancelled, all subsequent notes of the same pitch in 
 the same measure ; and, should a note so affected be prolonged by a tie into the following measure or measures, the accidental still holds good. 
 
 4 Enharmonic means " similar in pitch but different in notation." 
 
VOICE AND SONG. 
 SOLMIZATION. 
 
 n 
 
 The Art of Singing by use of Scale Syllables. 
 
 There is some diversity of opinion among teachers as to the value of syllables in the practice of sing- 
 ing. They are undoubtedly useful as mnemonics in the study of Sight-singing,' and (at the discretion of 
 the teacher ) may also be used advantageously in the practice of Solfeggi.^ 
 
 The following syllables may be sung to the degrees of the standard (^ major) scale ;^ the vowel "a'' 
 as in" Arm." 
 
 Scale-degrees I II III IV V VI VII VIII 
 
 Syllables Da Ra Ma Fa Sa La Ta Da 
 
 For the chromatic notes of the scale the vowel in the above syllables is changed in accordance with a 
 plan based upon the " natural order of vowels" U O A E 1 ( the primary vowels ; see page 30). 
 
 For j/^^r/>j the next sharper vowel (i.e., E as in Eight) is used, and iox flats the next flatter one 
 ( i. e., O ), as below : 
 
 Sharps 
 Normal 
 
 ^ De Re 
 
 > Da — Ra — Ma 
 
 Fe Se Le 
 /f /> /^ 
 
 Fa Sa La 1 
 
 Flats 
 
 > Ro Mo 
 
 *< i^ *^ 
 
 So Lo To 
 
 For the rarely occurring double-sharp, the vowel I would be used, and for the double-flat, tne 
 vowel U. 
 
 1 Sight-singing. The ability to sing a composition correctly at sight. See " Suggestions " following Ex. 91 . 
 
 2 Solfeggi : Exercises or Studies which are sung to syllables : those sung to one vowel are called Vocalizzi. 
 
 3 Teachers use the syllables Do Re Mi Fa Sol La Si Do ( Sol-Fa syllables) in one of the two ways following: 
 
 ( I ) The FiXED^Do method, in which Do is the syllabic name for all the notes bearing the letter-name C, regardless of key or chromatic variation ; Re for 
 all the D's, Mi for all the E's, Fa for all the F's, and so on. 
 
 FixED-Do Method. 
 
 ^ Syllabic names Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si Do Re Mi, and so on. 
 
 CDEFGABC DEF GABCDE= Key C. 
 
 Letter-names D E Ff G A B Cf D E F( G A B C| D E = Key D. 
 
 EIr F G Ab BI7 C D Efci F G Atr Bb C D Eb = Key Eb. 
 
 E F$ GJt A B CJ DJ E Ff Gjt A B C D E = Key E. 
 
 ( 2 ) The MovABLE-Do method, whose fundamental principle is key-relationship, Do being the syllabic name for the keynote in every scale ; "the syllables 
 represent always the same intervals, but not always the same pitch." 
 
 Movable-Do Method. 
 
 Scale-degrees 
 
 
 I 
 
 II 
 
 III 
 
 IV 
 
 V 
 
 VI 
 
 VII 
 
 VIII 
 
 Syllabic names 
 
 
 Do 
 
 Re 
 
 Mi 
 
 Fa 
 
 Sol 
 
 La 
 
 Si ( Ti ) 
 
 Do 
 
 
 
 c 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B 
 
 C =KeyC. 
 
 Letter names 
 
 or, 
 
 D 
 
 E 
 
 n 
 
 G 
 
 A 
 
 B 
 
 Ct 
 
 D = Key D. 
 
 ( for example ) 
 
 or, 
 
 Eb 
 
 F 
 
 G 
 
 Ab 
 
 Bb 
 
 C 
 
 D 
 
 El^ = Key Eb 
 
 
 or, 
 
 E 
 
 Ff 
 
 G« 
 
 A 
 
 B 
 
 ct 
 
 DS 
 
 E = Key E. 
 
 
 or. 
 
 F 
 
 G 
 
 A 
 
 Bb, 
 
 and so on. 
 
 
 
 These syllables are derived from a Latin hymn to St. John, which was employed by a Benedictine monk, Guido d'Arezzo ( about 995-1050 ), as a mnemonic 
 aid to his pupils ; the successive lines of the hymn beginning on the successive tones of the hexachordal scale : 
 
 (^ ^ — 1_ 
 
 UT que 
 
 lax 
 
 RE 
 
 bris 
 
 MI 
 
 ra ges 
 
 to 
 
 FA - mu 
 
 The syllable SI ( the initials of Sancte loannes) was added at a much later date ; also, for the sake of euphony, the syllable UT. was changed to DO (except 
 in France, where UT is still in use ) . 
 
 Syllables are more used in elementary work than elsewhere, just the time when a student of singing needs all possible help in the formation of a good quality, 
 hence the suggestion in this method, that the Italian A be used in the syllables, rather than the varied vowels of the older system. This in no way detracts from 
 their usefulness in other directions. 
 
72 
 
 VOICE AND SONG. 
 
 Corresponding notes (not degrees) of relative major and minor scales take similar syllables. E.g., 
 El? Major. n.b. I C Minor (harmonic form). 
 
 Da Ra Ma Fa Sa La Ta Da La Ta Da Ra Ma Fa Se Ls 
 
 The following studies, marked with the initial letters of the scale-syllables, contain instances of Modulation, that is, change of key. 
 The note under which tzvo syllables are indicated, is common to two keys, the key being left and the key being entered ; this note is called 
 the bridge-note, that is, the note by which a singer in syllableizing passes over from one key to another. The two syllables are uttered as 
 one word, the first syllable very short, sustaining the note on the second syllable : Da sa. Ma la, Ra sa, etc. 
 
 The most frequent modulations are to keys having either the same tonic, or the same signature ; or to keys having for their signature 
 one sharp or one flat, more or less, than the prevailing key, or than the immediately preceding key. 
 
 Exercise 90. Study No. 5 of Op. 9 by Concone, with syllables and modulation indicated. 
 Moderato (Jzss) 
 
 m 
 
 5=22 
 
 a 
 
 ^ 
 
 ^^ 
 
 s 
 
 -i — r. 
 
 zsL 
 
 |M S R D R M ML 
 
 <Key F (.the principal or prevailing key of the composition). 
 
 L F R 
 
 D 
 
 M R 
 
 351 
 
 i 
 
 3r: 
 
 „, - D S M D 
 
 Bb (one flat more than princ. key). 
 
 ^^ 
 
 }ML S 
 (Key F^ 
 
 ^ 
 
 ^ 
 
 ri 
 
 f 
 
 F M R D T S 
 
 I Key F (princ. key, one flat less than preceding key). 
 
 ^ 
 
 -o- 
 
 i 
 
 t 
 
 Iff, 
 
 ^ 
 
 - M MR D D 
 
 Key C (one flat less than preceding key). 
 
 m 
 
 -DM 
 
 M R 
 
 ^ 
 
 JDS F 
 
 <Key F(pri 
 
 rinc. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 1^ ^ jL J I J . M 
 
 ML L F R 
 
 D 
 
 rait. 
 M R 
 
 D 
 
 M S R D R M 
 
 key, one flat more than preceding key). 
 
 Exercise 91. Study No. 6 of Op. 9 by Concone, with syllables and modulation indicated. 
 Andante sostenuto (J=80) 
 
 ^m 
 
 ^ 
 
 ^ 
 
 i 
 
 J 
 
 p 
 
 ^ 
 
 ^ 
 
 |M" -^ 1 L D M 
 
 iKey G mijior (principal key>. 
 
 _ Se Fe 
 
 M 
 
 -m 
 
 - L D 
 
 t 
 
 1 
 
 i t I ^-T'l'''^ 
 
 i 
 
 53 
 
 ^ 
 
 M 
 
 M 
 
 Se 
 
 iJI 
 
 * 
 
 __ -MR D - TL 
 
 K^y Eb major (relative major of key having one flat more 
 
 ^ 
 
 ^S 7 J I J I IvJ ^ 
 
 $ 
 
 S — - D M S 
 than princ. key). 
 
 i 
 
 -&-^ 
 
 D 
 
 T F F M 
 
 D 
 
 m 
 
 m 
 
 i 
 
 T F M 
 
 ,0 
 
 i 
 
 
 rir^r i firrg 
 
 ^m 
 
 "J—* 
 
 }ML - - SeL T 
 *Key G minor (princ. key\ 
 
 LT D -TD R_ DTLTL SeM 
 
 Key G major (tonic major of princ. key) 
 
 S^ M D 
 
 ^^&^ 
 
 D 
 
 -s*^ 
 
 D 
 
 i^ 
 
VOICE AND SONG. 73 
 
 SUGGESTIONS FOR THE STUDY OF SIGHT-SINGING. 
 
 If the student is not already a "sight-singer," the following suggestions may be found helpful. 
 Exercise 92 ( A to L).' 
 
 (A) Thoroughly memorize the scale-syllables, stepwise ascending, thus: < > , and descending, thus ; 
 
 ( Da Ta La Sa Fa Ma Ra Da ) ,rr. ii- rii /1 r-\j 
 
 ■< V , see page 71.' Turn to the diagram of the scale on page 1 1 1 (or make a copy ol it ), and pro- 
 
 ( VIII VII VI V IV III II I [ "^ ^ ' ° ^ ^ ^ ^•' J' f 
 
 nounce the syllabic name of each step, as you point to it on the diagram, over and over, until any step called for can be named unhesitatingly. 
 
 (DMSTRF LD") 
 Especially practise naming the syllables by " thirds " — skipping every other step — thus: < ill ([■ ascending, and 
 
 , (DLFRTSMD), ,. 
 
 thus : ■< , I I I >■ descending. 
 
 (^ vm' vi' iv' 11' VII v III I ) ° 
 
 Next to scale-( stepwise ) progression, that by thirds is the most common. 
 
 These thirds also should be practised in groups of three ( triads, see page 127) ascending and descending, thus ; i [■ 
 
 (RFL LFR) (MSTTSM1 , 
 
 i y < > and so on. 
 
 (^ II IV VI VI IV II ) (^ III V VII VII V III J 
 
 ( B ) Using the adjoining blank staff, point to and name syllabically the successive lines, 
 
 or the successive spaces ( progressing by thirds ) , up and down the whole of the staff. Vary the 
 
 place of the keynote ; that is, after practising a reasonable time with some one line or space repre- 
 
 senting Da, vary the exercise by taking some other line (or space ) to represent Da, and so on, 
 
 until Da has occupied every possible position on the staff. 
 
 (C ) Now practise naming and locating Jift/is (line to line, skipping one line; or space to space, skipping one space); D up to S 
 and S down to D, R up to L and L down to R, M up to T and T down to M, etc.; and sevenths ( line to line, skipping two lines, or, 
 space to space, skipping two spaces); D up to T and T down to D, R up to D and D down to R, M up to R and R down to M, etc. 
 
 ( D ) When the work under ( C ) has been satisfactorily accomplished, the remaining intervals — fourths and sixths — will easily he 
 located, from the fact that, respectively, they are one degree of the staff smaller, and one degree greater, than fifths; also it may be observed 
 that, like octaves, the two notes forming the interval occupy dissimilar positions on the staff (see page 3). 
 
 ( E) Choose a convenient key, and sing the syllables scalewise ascending and descending, varying the order as much as possible ; for 
 example, as indicated by the step-numbers below: 
 
 11: VIII VII VI VII vi V VI v IV v iv \n iv m 11 m 11 i 11 i vii, i : : i 11 ni iv iv ui 11 i : : viii vii vi v v vi vii viii 
 
 11: I II I VII. I :|I: i vii, vi, vii, i 11 i :l|: 1 11 ni 11 i vii, vi, v, vi, vii, i :[|: i 11 u i 11 m iii n iii iv iv iii iv v and so on. :l| 
 11: I II III I II HI II III IV n III IV III IV v in iv and so on :||: vm u' m' ii' vm vii vm :l| etc., etc. 
 
 ( F ) Transcribe the foregoing exercises ( E ) into ordinary musical notation, in several suitable keys, and sing from the transcribed 
 
 copy. 
 
 N.B. This work is particularly valuable, and should be persistently practised until the student can, at the same time he is making the 
 
 transcription, mentally hear the sound of the note he is writing. 
 
 (■ G ) Study the inactive tones of the scale ( i, in, v and vm ; see page 67 ). First, the i and viii ; second, the i, v and vm ; third, 
 the I in V and vm, until they can be sung with certainty and ease in any order and in various keys ; for example : 
 
 11: I III V VIII :||: vm v iii I :|l: i vm v m :|l: vm I v m :||: i v m vm :||: i vm m v :||: i v, i m i :||: i v, m i :||: i v v, i :|| 
 
 ||: I III V V III :||: vm iii' iii v :||: I 11 m v, i :|l: i in v vi vn vm.:|l: i m i v i vm :|j: vm v vm iii vm i :|l and so on. 
 
 (H) Transcribe, etc., as in (F). 
 
 (\\ Study the active tones of the scale ( 11, iv, vi and vii ), carefully observing the mental effect and progressional tendency of each 
 rsep Daee 67 ") N.B. Emphasize and linger on the tone marked '^. 
 
 ^w Vol) ' . ^ "^11 '^11 ^,, T' ^ ^ 
 
 * First, the vn, for example thus : 11: i vm y'li vm : : i vii .vm : : i vii, i : : i m v vm vii vm : : vm vn vm v vii vm 111 vn vm i :|| 
 
 N.B. I t 
 
 'and so on. Second, theiv, thus: 11: i n m iv m :||: i n^ m :||: i vn vm iv m :||: i iv m vli vm :|| and so on.— Third, the vi, thus : 
 
 N.B. J J" 
 
 I Exercises A to D and E to L may be practised conjointly. 
 
 a Of course, if preferred, the syllables Do, Re, Mi, etc. ( page 71 ), or any others suitable to the purpose, may be used. 
 
74 
 
 VOICE AND SONG. 
 
 N.B. 
 
 11: viii VII VI V :||: 
 
 I * 
 
 /jv /^ /r\ 
 
 11: I IV III VI V VII 
 
 III VI V : : I III VI V viii 
 
 VIII III VI V 
 
 I VII VIII VI V : : viii vii viii vi v iv in 
 
 VIII :|| and so on. — Fourth, the n, thus : 11: i ii i :||: 
 
 I III 11 I 
 
 1 VIII II I 
 
 VIII II III I 
 
 i-1 
 
 VIII II' VII VIII 
 
 I VII VIII n I :||: i Ci> viii vu viii :|| 
 
 IV III VI V fi' viii v"n VIII :|| and so on. 
 
 ( J ) Transcribe the exercises of ( I ) as in (F ). 
 
 ( K ) Taiie a booic of simple melodies ( Hymn-tunes, for instance ) ; select some melody free from accidentals, note the key, and over 
 ( or under ) each note write the number corresponding to its step in the scale; look the tune over several times (singing mentally, not audibly), 
 until a decided impression of it is made on the mind; then sing it aloud. 
 
 ( L ) After satisfactory progress has been made in reading such easy tunes, melodies containing simple modulation and chromatic notes 
 should be essayed; also the writing of the step-numbers should gradually be discontinued, finally omitting all indications, except perhaps for 
 very uncommon progressions and the "bridge-note" in modulation. The minor mode should be similarly studied. 
 
 This book not being intended for a sight-singing manual, fuller information for this study must be sought elsewhere. Still, if the stu- 
 dent practises a few minutes daily on the plan outlined above, he will, with occasional help from his teacher, soon gain a sufficient knowledge 
 of the art to devise for himself further exercises which will gradually perfect him in this very desirable accomplishment. 
 
 SCALES. Part II. 
 ( To follow Exercise 86. ) 
 
 Exercise 93 is to be sung in legato'' (connected) style; accuracy of pitch and precision of movement 
 being the main considerations. 
 
 Sustain each note its exact duration and with uniform loudness (see page dj, )■ In progressing from 
 note to note, let the voice rise (or fall, as the case may be) suddenly and rapidly without jerkiness, slurring 
 or dragging. The stream of sound should be continuous, resembling a series of steps ; e.g.. 
 
 P 
 
 "S?" 
 
 -&- 
 
 m 
 
 Equally loud 
 throughout, thus : — > 
 not with a fading or 
 diminishing effect on 
 each note, thus : -^ 
 after a "bulging" at- 
 tack. 
 
 Carefully maintain the open position of throat and mouth, sing slowly (at first about J= 144, re- 
 duce the /^»2/)o gradually, finally singing it about m = ^(i), and in all keys within the compass. 
 
 After satisfactory progress has been made in the legato style, this exercise may be practised in the three 
 grades oi staccato (see pages 9 and ^'^^ ). 
 
 For example : 
 (a) mezzo-staccato. 
 
 (b) staccato. 
 
 (f) staccatissimo. 
 
 9 H Ah 
 
 m^^m 
 
 Ah Ah A 9h 
 
 'hAhAhAhA?h Ah Ah Ah A?h 
 
 Take breath only at the sign 9 (during the rest) ; between the other notes there must be no escape of 
 breath, nor any taking of breath. Attack and Release each note with the utmost precision, and keep the 
 mouth and throat steadily in the position of whatever vowel is in practice. 
 
 - Legato, from the ItaUan legare, to tie, to bind. "Legato is obtained in singing wlien, without break, i.e., without interrupting the current of air, the degree 
 of tension of the vocal cords is changed so that the first tone really passes into the second." (Riemann.) 
 
VOICE AND SONG. 
 
 75 
 
 Preliminary Scale-Practice. 
 
 Exercise 93. N.B. Commence in a key suitable to the compass of the voice. 
 
VOICE AND SONG. 
 
 $ 
 
 m 
 
 
 XE 
 
 -O- 
 
 m 
 
 31= 
 
 3i: 
 
 J H A. 
 
 w 
 
 mi 
 
 ¥ 
 
 -o- 
 
 =8= 
 
 311 
 
 ~CT~ 
 
 jnc 
 
 ^ 
 
 IDI 
 
 S 
 
 S 
 
 mc 
 
 ) H A_ 
 
 ^ 
 
 35= 
 
 -O- 
 
 =8= 
 =11= 
 
 311 
 
 J M A_ 
 
 ~rT~ 
 
 ^ 
 
 =0= 
 
 -o- 
 
 =a= 
 
 ^ 
 
 -o- 
 
 f 
 
 
 > « 
 
 1^ 
 
VOICE AND SONG. 
 
 77 
 
 Students who are not expert " sight -readers" find it helpful in preliminary scale-practice to sound the tones on a pianoforte before 
 voicing them. To accomplish this in all keys requires more pianistic skill than is always available ; the consequence is, that scale-practice 
 is neglected, or, at the best, done in only two or three easy keys. To enable the student to help himself, he may take a thin card or sheet 
 of stiff paper eight inches long by two or three inches wide and mark thereon "pointers," exactly in agreement with the following illus- 
 tration and measurements. 
 
 D 
 I 
 
 R 
 11 
 
 M 
 
 The Major Scale. 
 F s 
 
 L 
 
 T 
 
 D 
 
 III 
 
 IV V 
 
 VI 
 
 VII 
 
 VIII 
 
 For all wide intervals the pointers must be i^ inches from point to point, the two narrow intervals 
 measure ^^ of an inch from point to point. 
 
 Inches l^ i^ ^^ 
 
 The diatonic major scale has all its intervals, relatively, exactly the same in all keys. The tonic is always represented by 
 
 Now, 
 
 if this card (or "rule") is placed behind the ends of the black keys, resting on the white keys, and pointer i caused to stand exactly 
 over the centre of the end of awy one key, the other pointers will indicate the keys to be sounded for the scale of which i is the tonic. — 
 Turil the card over, and on the back similarly make a "rule" for the minor scale. 
 
 The Minor Scale. 
 
 T 
 
 II 
 
 D 
 
 III 
 
 R 
 
 IV 
 
 M 
 V 
 
 F 
 VI 
 
 FE 
 
 #VI 
 
 s 
 
 VII 
 
 SE 
 #VII 
 
 I 
 
 L 
 VIII 
 
 N.B. The two pomters marked jfvi and ^vii should be made extra long and with red ink, all others with black ink. The black 
 pointers will then indicate the keys to be sounded for the ancient form of the minor scale, while for the harmonic form the red pointer j|vii 
 {instead of the black pointer vn ) will be used ; and for the melodic form, the keys indicated by the red pointers \v\ and Jfvn ( instead of vi 
 and vn) will be sounded. These "rules" may be extended so as to embrace two octaves (viii of the lower octave will be the i of the 
 upper octave ) for use in the. practice of intervals and chords. 
 
 Exercises 94 to 96 are first to be thoroughly and carefully practised with medium loudness ( mf) in 
 legato style on the vowel A. Later they may be practised on the other vowels, as well as with varied dy- 
 namics, e. g., sempre forte ;^ sempre piano; crescendo ascending, diminuendo descending, and vice versa; the 
 
 etc. ; also practise 
 
 
 m^ 
 
 t f 
 
 'H A 
 
 P f P f P f 
 
 .,H 
 
 notes of the scale alternately piano and forte, thus : 
 with different grades oi staccato. 
 
 The variations on pp. 80-81 should not be commenced until considerable progress has been made with 
 Exs. 97 to loi. The "model" or " pattern " of the variation selected for practice should be perfectly 
 memorized before any attempt is made to sing it through the whole compass of the voice. Suitable nuances^ 
 suggested by the teacher, may be introduced. 
 
 The scale-passages. Exercises 97 to lOO, for " flexibility" and " agility," should be sung at least twice 
 in one breath, either alternately /or/^ and piano, or alternately legato and staccato; practice may also be varied 
 as suggested on page 90. The student must carefully distinguish between the terms " flexibility" and 
 " agility." By the former is meant " the ability to graduate the power of tone from the softest to the 
 loudest," with the '■'timbre [quality or color] necessary to illustrate and heighten the sentiment expressed 
 by the words" ; and by the latter, "the ability of the voice to move with ease, certainty and rapidity from 
 one note to another, however great the interval may be." ( Croker.) 
 
 1 Sempre (Italian), always, continually, or throughout; { semf re forte ^\oui throughout ). 
 
 2 Nuance ( French ) , shade, hue, or tint. Here it has reference to the " variations in force, quahty, and tempo by means of which artistic expression is giren 
 to music." 
 
78 
 
 Exercise 94 (a). 
 M. M.J -80 
 
 # 
 
 VOICE AND SONG. 
 
 Scales. Major Mode. 
 N.B. Always commence in a key suitable to the voice. 
 
 ^m 
 
 m 
 
 tt 
 
 W 
 
 ^^ 
 
 fW^ 
 
 ^^ 
 
 * 
 
 tf 
 
 ) H A 
 
 ^ 
 
 ^ 
 
 7 H 
 
 ^3 
 
 f^ 
 
 SI 
 
 i> 
 
 / 
 
 u. 
 
 s 
 
 :^ 
 
 351 
 
 301 
 
 # 
 
 (^ >^// 
 
 ^ 
 
 ^^^^^^ 
 
 '^^'^ 
 
 ^^ 
 
 ^ 
 
 * ^ ; i I J 
 
 5H 
 
 ^ 
 
 ^ 
 
 f^ 
 
 ^^ 
 
 ^ 
 
 p 
 
 /, 
 
 A 
 
 P 
 
 * 
 
 -o- 
 
 f^ 
 
 jtl l sj, ,../•. 
 
 ^& 
 
 'X-l~^ 
 
 ? 
 
 ^^ 
 
 ?^ 
 
 
 ^ 
 
 ) « 
 
 ^ 
 
 » « j j 
 
 ^P 
 
 "¥ 
 
 ^M 
 
 p 
 
 M 
 
 3-»- 
 
 -o- 
 
 S 
 
 ^ 
 
 -o- 
 
 -o- 
 
 f= 
 
 r 
 
 # 
 
 'jf-TT- 
 
 r i p V r 
 
 ^Es 
 
 ? 
 
 ^^ 
 
 ? 
 
 i 
 
 5 H A. 
 
 ^ 
 
 ^& 
 
 ) »■! 
 
 # 
 
 ^^ 
 
 /^ 
 
 3 
 
 mi 
 
 ■(S>-' 
 
 ^ 
 
 \>L 
 
 :^ 
 
 TV- 
 
 r 
 
 
 b^ 
 
 ^ 
 
 i 
 
 H A. 
 
 5 H 
 
 ^3 
 
 ^ 
 
 p 8 I 
 
 ^ 
 
 i> 
 
 /. 
 
 ^ 
 
 -o- 
 
 t 
 
 xk 
 
 ^ 
 
 a 
 
 -o- 
 
 ^ 
 
 fepSEEE^ 
 
 1" 
 
 i 
 
 ^^ 
 
 bty 
 
 ^ 
 
 ^ 
 
 ^^ 
 
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 3^ 
 
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 ^ 
 
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 ^ 
 
 JW 
 
 ^ 
 
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 »-»- 
 
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VOICE AND SONG. 
 
 79 
 
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 ±ES 
 
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 fm 
 
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80 
 
 VOICE AND SONG. 
 
 Exercise 94 (i>). Variations for Exercise 94^. 
 
 # 
 
 jjjjjJ I JJJ.'^J^^ ^ 
 
 @g 
 
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 10 
 
 iJJJg ^ OJ^ 
 
 s 
 
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 ^J.ijg - bj:^ 
 
 and 
 
 Jl • J 
 
 so on 
 
 ^^ 
 
 so on 
 
 ^ 11 
 
 jjjj^JiJN3J?Jcfririp^L[r[^[& i Ji^ S 
 
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 13 
 
 14 
 
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 J-^^J^JJ^ 
 
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 ^ ^ Jl]J^JjJ'°°°" 
 
 # 
 
 j^^jgi JJ^J^E^E^Tp #Ear^ i Jg^jjJJjgj^ij e 
 
 16 
 
 17 
 
 18 
 
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 ^^ Jt^JT?] 
 
 and 
 
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 ^m 
 
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 ^i^^ 
 
 • Variation, transformation of a theme by means of harmonic, rhythmic, and melodic changes. 
 
VOICE AND SONG. 
 
 81 
 
 
 '^''rrrj^ -^ m 
 
82 VOICE AND SONG. 
 
 Tj. Scales. Minor Mode. 
 
 ilXERCISE 95. 
 
 . . -, J ( Melodic Form ascending, Ancient Form descending.) 
 
 m 
 
 is 
 
 wm 
 
 y^^ 
 
 "m 
 
 ^ 
 
 J H A 
 
 ) H A- 
 
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 3=^ 
 
 
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 s=^ 
 
 ^ 
 
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 iie 
 
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 f^ 
 
 TT 
 
 ^ 
 
 J H A- 
 
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 zn: 
 
 H 
 
 ^^^ 
 
 ''J -v fj . 
 
 f)5F 
 
 g fV ^ .^ 
 
 -o^ 
 
 i^ 
 
 {2_ 
 
 . P 'If^ ^ 
 
 W-U 
 
 19 K 
 
 ^^ 
 
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 m 
 
 7HP 
 
 ^^^ 
 
 rsz 
 
 ^ 
 
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 XT 
 
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 m 
 
 t=^ - 
 
 -r.- «=^ 
 
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 ^ 
 
 zzzzzz^zz; 
 
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 S 
 
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 p ^^7-1 
 
 fe 
 
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 s 
 
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 ■" 'j jTTj 'I 'i-'^r * i'T^ 
 
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 s 
 
 ^ 
 
 ^. tip \ 
 
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 ■s- 
 
 m 
 
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 fe 
 
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VOICE AND SONG. 
 
 83 
 
 mp 
 
 J p \' 'ir~ff-i r T^ 
 
 W^ ^ 
 
 rsz 
 
 ^ 
 
 ^ 
 
 22=3 
 
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 te 
 
 a 
 
 A. 
 
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 « 
 
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 tr (^ ^ 
 
 JH 
 
 p^g 
 
 fe 
 
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 PP 
 
 9 9 9 
 
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 ptpt. 
 
 f^^ 
 
 Q_ 
 
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 ?/;jL>. 
 
 J J. iif^ ^tf' I r j [- \^ t i^. I ^ 
 
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 9 9 
 
 ^^ 
 
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 ^=F 
 
 ttptt]^ 
 
 f f^^ 
 
 r^ f g 
 
 fr^ 
 
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 ^ 
 
 iHab 
 
 S 
 
 g — ■? — rg 
 
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 S 
 
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 r^-^ 
 
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 m 
 
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84 
 
 Exercise 96. 
 
 III. M.i)=72 
 
 VOICE AND SONG. 
 
 Scales. Minor Mode. 
 
 ( Harmonic Form.) 
 
VOICE AND SONG. 
 
 85 
 
86 
 
 VOICE AND SONG. 
 Exercise 97. For Agility. 
 
 N.B. Repeat the two measures as many times as one breath will comfortably allow. 
 Not slower than M.M. J =120. 
 
 i 
 
 M^ 
 
 ijfl A ^^ f0f^] — n 'i-^,^ I f — 
 
 ^^^ 
 
 ^ 
 
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 ^ 
 
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 ^1 
 
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 U4 
 
 A 
 
 U5- 
 
 pf 
 
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 j ^li^i J jjfflJp^^^ 
 
 f33S^ 
 
 sr 
 
 5 
 
 A 
 
 7 H 
 
 J» 
 
 BfegS 
 
 4t 
 
 i 
 
 tfe 
 
 33 
 
 k4. 
 
 i 
 
 4-t~^ 
 
 iJ. 
 
 :iM 
 
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 HE 
 
 1^ 
 
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 m 
 
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 r^ 
 
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 ^=j=?^ 
 
 ^ 
 
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 y I p yw 
 
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 ^ 
 
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Exercise 98. 
 
 Not slower tha n DJ. M . J = 108 
 
 4fc 
 
 VOICE AND SONG. 
 For Agility. Triplets. 
 
 87 
 
88 VOICE AND SONG. 
 
 Exercise 99. Agility (cont.). Repeat each key as many times as one breath will comfortably allow. 
 
 as3^g^^^ 
 
Exercise ioo. 
 
 M.M.J = 112 
 
 VOICE AND SONG. 
 Agility (continued). Triplets. 
 
 89 
 
 2^ i^ 
 
 s^ i.r 
 
 ^ ., ,,)M -^ — ' =1 VH A — : : = — 
 
 ^ 
 
 )W 
 
 "): %f i A ^— S 
 
 s 
 
 ^ 
 
 r ^ j V ij i 
 
 f-H- 
 
 f^ 
 
 
 ^ 
 
 4— j^ 
 
 l>77. 
 
 =f=^^ 
 
 u=l 
 
 r 
 
 i*=^^ 
 
 iJi 
 
 i 
 
 # 
 
 f^Ai 0m \ ^ \ ^ Mi i .1 Ni^. 1:^75 ^ 
 
 ^^np: 
 
90 VOICE AND SONG. 
 
 J, nn Variations for Exercises 97 to 100. 
 
 |ij jjJJT^ir f^^rjj^ ii j - 
 
 
 Also in the manner of (g) and (h) above- 
 
Exercise ioi. 
 
 Commence at about M. M. J = 100 
 
 VOICE AND SONG 
 Scales. Dotted Notes. 
 
 91 
 
92 VOICE AND SONG. 
 
 Exercise 102. Major and Minor Scales. In immediate succession. 
 
 M.M. J 3 80 
 
 m 
 
 ) ^> 
 
 ^^ 
 
 ^ 
 
 K 
 
 ^ 
 
 i 
 
 * 
 
 'i ij jjltnrn ^jj^^jj^fii]^;^^^ 
 
 f 
 
 pi 
 
 ) w 
 
 ^#ri 
 
 ^ 
 
 ^ 
 
 ffi 
 
 * 
 
 3^1 jtj ^ i 
 
 ) « 
 
 ^ 
 
 ^ 
 
 * 
 
 * 
 
 ^ 
 
 he: 
 
 ^ 
 
 Cg^j i j^i^La'^jijn^}^ 
 
 ^Ffc 
 
 ^ 
 
 ^^ 
 
 li 
 
 Si 
 
 ^ 
 
 ai 
 
 ^ 
 
 La-^^i; i ?^g 
 
 * 
 
 ^^ 
 
 *fc 
 
 i 
 
 )W 
 
 ^ 
 
VOICE AND SONG. 
 
 93 
 
 |J"ujTrirrriii^iLg 
 
 D C. an SOJIiighcr 
 
 U'' \i\i 
 
 t* 
 
 ^ 
 
 -)5^^ 
 
 
94 
 
 VOICE AND SONG. 
 
 For Flexibility, Agility and Intonation.' 
 
 Exercises 103 and 104. 
 
 At first practise these exercises somewhat slowly, about M.M. J = 60, taking breath after the first 
 note in each measure; as facility in every manner is gained, gradually increase the pace until breath need 
 be taken only at the places marked f ; after satisfactory progress, again increase the pace until breath is 
 taken only at the places marked 9 ; finally, let the pace be such that the exercise can be sung correctly and 
 with perfect ease taking breath only at the place marked ». 
 
 These exercises may be practised in the staccato style ; also they may be varied in the manner sug- 
 gested for Exs. 97-100, page 90. 
 
 Commence and end in a key suitable to the compass of the voice. 
 
 Exercise 103. N.B. Carefully locate the Semitones.' 
 
 ?rji-.n:j^ij^jTjgj^i 
 
 )^ A' 
 
 i 
 
 W 
 
 2 
 
 2 
 
 *J — . 
 
 ^ 
 
 i 
 
 ^ 
 
 i 
 
 9 fi 
 
 m 
 
 f 
 
 f 
 
 m 
 
 =22 
 
 I Pure Intonation, absolute correctness in pitch and quality. 
 = See Ex. 89 ( N.B. ), page 69. 
 
VOICE AND SONG 
 
 95 
 
96 
 
 VOICE AND SONG. 
 
 1'^Mfi i ig^.gg 
 
 i 
 
 
 ^ 
 
 CDl: 
 
 g 
 
 <?o//a »oee 
 
 ^ 
 
 f* 
 
 -o — 
 
VOICE AND SONG. 
 
 97 
 
98 VOICE AND SONG. 
 
 Exercise 104. Practise 1st, legato; 2nd, staccato. Carefully locate the Semitones. 
 M. M. at first alout J = 72_ 
 
 P 
 
 ^ ? -^i^ I I - ^ 1 I ^ ^ ^ ^ 
 
VOICE AND SONG. 
 
 99 
 
100 
 
 VOICE AND SONG. 
 
VOICE AND SONG. 
 
 101 
 
 
lOJJ 
 
 VOICE AND SONG. 
 
VOICE AND SONG. 
 The Chromatic Scale. 
 
 ( See page 67.) 
 Preparatory Exercises. 
 
 103 
 
 These preparatory exercises ( 105a to ^) should be practised as follows: At first, each note is to be 
 played on a well-tuned instrument ( pianoforte preferably ) in unison with the voice. Later, only the 
 quarter-notes beginning each measure are to be played. Later still, play only the extreme notes ( highest 
 and lowest ) ; until finally the student is able to sing with perfect accuracy a chromatic scale, up and down, 
 without accompaniment. 
 
 There is often a tendency to expand the semitones, causing the intonation to sharp in ascending, and to 
 flat in descending. 
 
 Commence in each series at a pitch suitable to the compass of the individual voice. For men's voices 
 the exercises must be transposed one octave lower. 
 
 Exercise 105 {a). 
 M.M. J = 60 
 
 1 
 
 ^m 
 
 ^m 
 
 ^^^F^^^^^^^^^^^ 
 
 MiMhJ.,i 
 
 #.»' F-it*' ii^ 
 
 J. J) v-^i^ ij ^ f j.#j) i J- kji V ' ^•^^•^^' ' ^^-'-i-'^ ' U ^ I I - j.^j^i y^^\ 
 
 I bJ.i|Ji IJ- i J^'U M J.jtiil||J. i |>V ^ U. |[J'' I .'4ii| J t t iiJJ'ilj,.^ ^ 
 
 as 
 
 M^- l il^J i |: | J. | |J>|bp-H.p^ l J ^ | : J.| | J) | ) .-Y iJ ! l:l.^ip ^^ 
 
 .r^ 
 
 r-ip ii if' i pi^r » tf^p i f^P ^ I 'r ^ tT'V i 'r'Plr t tr'^p^^y 
 
 j'r'p i fV:i'r '■ tr'ipi''r^Pi"rt ir''pirV;iru--*r"P ^M 
 
 * 
 
 2>a/ segno ^ and sing an Octave higher than written. 
 N.B. Dal ^egno ^ means "from the sign ^"Csee fourth staff) „ 
 
 Exercise 105 (^). 
 M.M. J= 60 
 
 Dal segno ^ and sing an Octave higher 
 
104 
 
 VOICE AND SONG. 
 
 Exercise 105 (c). 
 M.M.J = 76 
 
 ^ 4 kJ^lJ^J^'*^ ^J ' ^J J^J^" 4 h^ ^^ ''«■'"' I ' II Wt^i^^ 
 
 Exercise 105 (d). 
 M,M.. J = 92 
 
 I^al segno ^ and sing an Octave higher 
 
 w^^^^^^^^ 
 
 ^^^^^p 
 
 4t,j \^ \r=^ 
 
 vy~f^\^ 
 
 tij ^ '^^ 
 
 ^^ 
 
 «f — ^# 
 
 i 
 
 ^^ 
 
 uhiJ J I i,.h ;J il4-'iji:JIl-J:i4^J-l4^ 
 
 g^ 
 
 j J i .;T3 I ^r \iTWT ''^ I 'T 'T r-trtJ 
 
 1^ 
 
 I u i i. j^r lY \i^ \ \ \^s I ''f "t .V I r ''cj i V ' '^ 
 
 Z>a7 segno ^ a?irf a'?«^ a« Octave higher 
 
 Exercise 105 {e). 
 M.M. J = 108 
 
 ^^P^^^^^^^ 
 
 U Jul -^ a 
 
 J hiJ f r I tl 
 
 'If ''IT l l l ^i | ''<i^ l W l|J i |J^I J I 
 
 ^ 
 
 ^ 
 
 iRir 
 
 2). 6?. a« 8ve higher 
 
VOICE AND SONC. 
 
 Chromatic Scale. 
 
 ( Melodic Form." ) 
 
 105 
 
 Exercise io6. 
 
 Practise: ist, marcato ; ind, legaio ; ^rd, staccato. 
 
 M,M. about J = 96 
 
 ^ 
 
 jV^^^ ' i*^^* - 
 
 r\ 
 
 ^ ^ MmU^4 
 
 ^m 
 
 ^ 
 
 '0 
 
 m^ 
 
 ^ 
 
 -6^ 
 
 ^ 
 
 '"'j^jJ.ii ' j^^J^'fl^^i'^^ i r 
 
 1 
 
 i 
 
 yi^ 
 
 ^rfflpf^ 
 
 ^ 
 
 §w 
 
 ^i 
 
 tfcefe 
 
 ^ 
 
 ■«^ 
 
 ^m 
 
 m 
 
 n 
 
 ^^ 
 
 ^ ^^ 
 
 ^^ 
 
 jA 
 
 ? 
 
 i 
 
 /^ 
 
 ijjjijjji^^^ 
 
 ^ 
 
 
 I 
 
 I 
 
 si^ 
 
 ^^ ^ 
 
 J 
 
 I 
 
 «s 
 
 i 
 
 1 
 
 I 
 
 w 
 
 u. 
 
 ^ 
 
 j*j=f^ 
 
 ^^ 
 
 o 
 
 V2V 
 
 #^1* 
 
 ^^ JljJ I J J j 
 
 4J <^K* I * 
 
 ^^'^1 Jl^jj . 
 
 as 
 
 ^^ 
 
 ^ 
 
 ^p 
 
 /r\ 
 
 »s^ 
 
 ^ 
 
 ? 
 
 p 
 
 ? 
 
 JO- 
 
 T^i % TF 
 
 itm 
 
 ik 
 
 ff^ 
 
 I 
 
 ^ 
 
 ^^^ 
 
 Tjr 
 
 ^ 
 
 ^P 
 
 s 
 
 3n= 
 
 ^ 
 
 ^ 
 
 jtpqfcjl 
 
 S 
 
 r\ 
 
 ^ 
 
 P=l»: 
 
 WE 
 
 i 
 
 ^ 
 
 *il* 
 
 4 
 
 j^^iijbp | Wp»p|E: 
 
 ffWp-fi'f^ 
 
 m 
 
 D.S.an 8'oe higher 
 
 i 
 
 ;i5=a: 
 
 3 
 
 *P 
 
 i* 
 
 ^^H 
 
 ^ 
 
 ^ 
 
 tFgff=g 
 
 i 
 
 «► 
 
 i 
 
 
 «^ 
 
 f 
 
 " The signs I, X, or B for temporarily raising the pitch of a line or space are used before all chromatic notes of an ascending scale, and the signs b, bb, or tl for 
 temporarily lowering the pitch are used before all chromatic notes of a descending scale. This form of the chromatic scale in its notation reduces the employment 
 of accidentals to a minimum, as a matter of convenience to the reader ( see pp. 67-68 ) . 
 
loe 
 
 VOICE AND SONG. 
 
 i 
 
 Chromatic Scale. (Triplets.) Harmonic Form.' 
 
 Exercise 107. Practise ist, legato; and, staccato. 
 ^ M. M. about J = 96 
 
 yJ^Bjyr ^ 
 
 I No degree of the staff has more than two notes upon it; and neither tonic nor dominant is chromatically altered (see page 67). 
 
107 
 
 ^ ^ J u J \'^ ^i^T ^f 't "r I I '-dr r ^r_/ ^^ i ^ 
 
 1 
 
108 
 
 VOICE AND SONG. 
 
 Chromatic Scale. ( Quadruplets.) Melodic Form.' 
 Exercise io8. Practise: ist, kgaio ; ind, staccato. 
 M.M. about J = 96 
 
VOICE AND SONG. 
 
 109 
 
110 
 
 VOICE AND SONG. 
 INTERVALS. 
 
 Part I. 
 
 The difference in pitch between two tones is called the Interval between them. The smallest inter- 
 val used in music is called a semitone (half-tone). A whole tone includes two semitones, one diatonic, the 
 
 rb* In * |. See Footnote, page 66. 
 
 other chromatic,^ e.g., 
 
 ^ 
 
 Intervals have both a numerical and a qualifying denomination; the former depends upon the num^ 
 ber of degrees of the staff it includes, and the latter upon the number of semitones contained in the interval 
 Intervals are always reckoned upward, unless the contrary is expressly stated. 
 
 ( G up to B ) is called a third because it includes three degrees of the staff; g| '"" 
 
 E; 
 
 -£r 
 
 and ~-^ ^ ' = '~ | also are thirds, but as each of these latter contains one semitone less, than G - B, they are 
 
 qualified and called minor thirds ( = 3 semitones ), the larger one ( = 4 semitones ) being called a major '■ 
 third. 
 
 Taking the standard scale ( i.e., the diatonic major scale ) as a basis for classification, the intervals 
 formed between the first degree ( tonic or keynote ) of the scale and all the others in succession, will be a 
 major second, a major third, a perfect fourth, a perfect fifth, a major sixth, a major seventh and a perfect 
 octave, as exhibited in the following example, in the key of E flat: 
 
 Scale-degrees.-^ i-ii i-iii i-iv i-v i-vi i-vii i-viii 
 Intervals in 
 E flat major 
 
 Name of Interval^-* M 2nd M 3rd P 4th P 5th M 6th M 7th P 8ve. ( M = Major, P = Perfect.) 
 Number OF Semitones.—* 2 4 5 7 9 11 12 
 
 On " Inversion " ' these intervals become respectively a minor seventh, a minor sixth, a perfect fifth, 
 a perfect fourth, a minor third, a minor second and a perfect unison ; for example : 
 Scale-Degrees.—* ii-viii. iii-viii. iv-viii. v-viii. vi-viii. vii-viii. viii-viii. 
 Intervals in 
 E flat major 
 Inverted. J 
 
 Name OF Interval.^^ m 7th m 6th P 5th P4th m 3rd m 2nd P prime, (m 
 Number of Semitones.— > 10 8 7 5 3 i o 
 
 minor, P= Perf ) 
 
 m 
 
 I Chromatic Semitone. So called when the two notes of the semitone are on the same degree of the staff, one of them being altered by an accidental 
 
 A semitone, whose two notes are on different degrees of the staff, is called a Diatonic Semitone j-i 
 
 Jn perfect intonation there is, relatively, a slight difference in the width of chromatic and diatonic semitones, which may be simply illustrated by an imag- 
 inary division of a whole tone ( interval ) into nine equal parts ( called Commas ), and locating in that division the notes forming the two semitones ; it will at once 
 be seen that a chromatic semitone ( = 5 commas ) is wider than a diatonic semitone ( = 4 commas ) by om comma ( = one ninth of a whole tone ). 
 
 For example, the whole tone C - D is here depicted so divided, and the two semitones formed by the notes Q% and Db properly located. 
 
 -chromatic ►^ff* diatonic > 
 
 I 
 
 -r- 
 
 -diatonic- 
 
 ->Dk^ 
 
 ■1 r — 
 
 —chromatic- 
 
 -f 
 
 -r 
 
 »D 
 
 In instruments of fixed intonation having twelve semitones of equal width within the octave ( as the piano, or organ ), the tuning is so tempered and 
 equalized, that one and the same sound answers for the sharp of the tone below it, as well as for the flat of the tone above it ( Cf = D'J, DJ = E», EJ = Fb, Ftt =Et, 
 and so on ). This slight departure from perfect intonation simplifies the construction, and, as a consequence, the playing, of "keyed" instruments immeasurably. 
 For perfect intonation, in every key, a system of 53 d3grees within the compass of an octave would b3 required ! 
 
 In singing with piano or organ accompaniment, the voice of the singer ( governed by the ear ) intuitively adjusts itself to this system of Equal tempera- 
 ment, which is always near enough to perfect intonation to satisfy the most delicate ear. At the same time, it must be remarked, that of all the beautiful music 
 ever performed, there is a special charm in that of an unaccompanied quartet of voices, by good executants, who instinctively and skillfully adopt perfect intonation 
 in their singing. 
 
 For a fuller explanation of this subject, the student should look up " Temperament " in a good Dictionary of Musical Terms ; or in a treatise on Musical 
 Acoustics. 
 
 = Major, "larger," opposed to Minor, " smaller." All minor intervals are one semitone smaller than otherwise corresponding major intervals. 
 
 3 Inversion (turning upside down, reversing position ), raising the lower (or lowering the higher) of the notes forming an interval to its octave. 
 
VOICE AND SONG. 
 
 Ill 
 
 VIIl' 
 
 VIl' 
 
 VI' 
 
 III' 
 
 VIII = I' 
 
 It follows, that all seconds, thirds and fourths on inversion become, respectively, sevenths, sixths and 
 fifths ; and vice versa, sevenths, sixths and fifths on inversion become, respectively, seconds, thirds and 
 fourths ; that the octave and the unison on inversion become a unison and an octave. 
 Also it will be observed that, except in the case of the perfect intervals, inversion reverses 
 the " quality," major intervals becoming minor, and minor intervals becoming major. 
 Perfect intervals on inversion remain perfect.' 
 
 The possible intervals between any two notes of a diatonic major key are as follows : 
 
 [N.B. The student should prove each interval on the adjoining " plan " of the major scale ( showing three 
 octaves). The small figure, by its position above or below the degree-number (Roman numeral), indicates a 
 degree in the upper or lower octave respectively.] 
 
 Five major seconds, each containing two semitones, between steps i - ii, ii - in, iv - v, v - vi, and vi - vii. 
 See page 1 1 4. 
 
 Two minor seconds, each containing one semitone, between steps iii - iv, and vii - viii. Page 1 1 4. 
 
 Three major thirds, each containing four semitones, between steps i - in, iv - vi, and v - vii. Page 115. 
 
 Four minor thirds, each containing three semitones, between steps 11 - iv, iii - v, vi - viii,. and vii - 11'. 
 Page 1 15. 
 
 Six perfect fourths, each containing five semitones, between steps i - iv, 11 - v, 111 - vi, v - viii, vi - 11', and 
 VII - III'. Page 116. 
 
 One augmented fourth (also termed the " tritone"" fourth) containing six semitones, between steps iv - vii. 
 Page 116. 
 
 Six perfect fifths, each containing sevsn semitones, between steps i - v, 11 - vi, iii - vii, iv - viii, v - 11', and 
 
 VI - III'. Page 117. 
 
 One diminished fifth (the inversion of the tritone° fourth) containing six semitones, between steps vii - iv'- 
 Page 1 1 7. 
 
 Four major sixths, each containing nine semitones, between steps i - vi, 11 - vii, iv - 11', and v - in'. 
 Page 118. 
 
 Three minor sixths, each containing eight semitones, between steps in - viii, vi - iv', and vii - v'. 
 Page 118. 
 
 Two major sevenths, each containing eleven semitones, between steps i - vii, and iv - iii'. Page 1 19. 
 
 Five minor sevenths, each containing ten semitones, between steps 11 - viii, iii - n', v - iv', vi - v', and 
 
 VII - VI'. Page 119. 
 
 Seven perfect octaves, each containing twelve semitones, between steps i - i', 11 - n', in - in", and so on. 
 Page I zo. 
 
 N.B. An augmented fourth is one semitone larger than a perfect fourth; this interval is sometimes called a 
 pluperfect fourth. 
 
 A diminished fifth is one semitone smaller than a perfect fifth, and is sometimes called an imperfect fifth. 
 
 Intervals formed by two notes of any one diatonic scale are called diatonic intervals. 
 
 Intervals are further classified as either Consonant or Dissonant. Consonant 
 intervals leave a satisfied effect upon the ear; dissonant intervals leave an unsatisfied 
 eifect, and require to be followed by a consonant interval. This consonance which fol- 
 lows the dissonance is termed the Resolution of the dissonance. 
 
 The only consonant intervals are the perfect fourths, fifths and octaves, and the 
 major and minor thirds and sixths ; all other intervals are dissonant. 
 
 Chromatically raising or lowering one of the notes of a diatonic interval, alters the 
 quality of the interval. 
 
 Intervals which are a chromatic semitone larger than either major or perfect, are 
 called augmented \ and intervals which are achromatic semitone smaller than either minor 
 or perfect, are called diminished. 
 
 I This is one reason why the term " perfect " is applied to the normal fourth and fifth, 
 a Tritone = three-tone (i.e., composed of three whole tones ) . 
 
112 VOICE AND SONG. 
 
 All Intervals chromatically augmented or diminished are termed chromatic intervals. 
 Example. 
 
 mii=i=i=fei=i^i=i^i^i^ 
 
 -a-^^\>s=> -.»^ ^' 
 
 ^.— ^ 
 
 Interval.^*^ -«^ ^ -^^^ '^'^'^ -^^ -»-' ■»- -^ -*" -^- '^' -^ '^ 
 
 Name.- M 2d. m 2d. A ad. m 3d. M 3d. P 4th. A 4th. D 5th. P 5th. A 5th. m 6th. M 6th. 
 
 Semitones.^ 2. i. 3. 3- 4. 5. 6. 6. 7. 8. 8. 9. 
 
 N.B. Abbreviations. M = Major, m = minor, P = Perfect, A = Augmented, D = Diminished. 
 
 Exercise 109. Name the following intervals and say In what diatonic key they may be found.' 
 
 ■i9- 
 
 W^§i\^mm'^W\^^^^^^^^m\^ 
 
 
 
 INTERVALS. 
 
 Part II. 
 
 Exercises no to 116. 
 
 The first part of each exercise is for the practice of Intonation in the singing of intervals. It is to be 
 sung slowly (about £? = 60); legato (I.e., without slurring or jerking; see Remark, Ex. 93); and with a 
 steadily maintained, unvarying loudness ; either (^) sempre mezzo forte, {b) sempre piano, or (f) sempre 
 forte (see Remarks, Ex. 86). Each group of four notes Is to be repeated as many times as one breath will 
 comfortably allow, always finishing with the note marked '^. 
 
 These exercises grow more difficult as the interval becomes wider ; therefore thoroughly master esch 
 one before proceeding to the next following. The intonation throughout must be perfect, the voice pro- 
 gressing to and from each note forming the interval with certainty and unhesitatingly. Of course, it Is not 
 expected that the "variations" to each interval are to be mastered before proceeding to the next wider inter- 
 val. The variations alone will provide material for practice long after the Intervals alone have been mastered. 
 
 Variations' i, 2, and 3 (for "flexibility" and "agility"; see page 77) are to be sung legato, with the 
 dynamic effects marked. No sudden change of force should occur as the voice moves from note to note ; the 
 
 an 
 
 d the 
 
 must be constant and even, ex- 
 
 actly In accordance with the sign (see Remarks, Ex. 87 ). 
 
 Should preparatory work be needed for the rr^jf^w^o and the diminuendo on " moving notes," the first part 
 of Ex. 1 1 o to 116 may be used ; thus : 
 
 i:^jJg=: ^— =:=:c c===i • [:=z:: l_ — =iz~ 1 and 
 
 ' For example. The M 2d C - D of the example above, may be found in the Key of C major or minor I - II ; G major or minor, IV - V ; F major V - VI ; B flat 
 major II - III ; E flat major VI - VII ; and A minor III - IV. The A 2d C - DJ, third measure of example above, is to be found only in the Key of E minor VI - VII. 
 Of the three forms of the minor scale, the harmonic form alone should be used for this locating of intervals. 
 
 ' Memorize each variation thorouglily, before attempting to sing it through the key. 
 
VOICE AND SONG. 
 
 113 
 
 In Variation 4, the notes are separated ; repeat each group of four notes as in the first part of the exer- 
 cise. A short stroke under or over a note is the special sign for tenuto ( Ital., " held "), abbreviated ten.; 
 the note is to be carefully and firmly held its full time-value.' The "attack" and "release" will require 
 particular attention. Of course, breath must not be taken, or allowed to escape, between the notes. 
 
 Variation 5 is to be performed softly, neatly and delicately, and may be varied by singing the notes of 
 the interval in threes and fours ; thus : 
 
 '^^^m^^rn^i 
 
 ^ 1% 
 
 (*) 
 
 *lS|1 
 
 
 In Variation 6, each note is to be sung in an emphatic or marked manner {marcato = marked). 
 There must be no cessation of tone between the notes. Keep the chest firmly pressed out, produce the 
 marcato by action at the diaphragm. 
 
 Variation 7 is for the practice of the Portamento di voce ( carrying the voice); that is, in passing from 
 one note to the other of the interval the voice perceptibly glides and anticipates the second note. In legato 
 the glide is present but not perceptible, the movement being executed rapidly (see Remarks to Ex. <^2)' 
 In portamento the voice is heard to pass very softly through every possible gradation of pitch between the notes forming the interval ; 
 the movement, however, is constant, the voice never lingering at any one point. The time for its accomplishment must be taken from the 
 end of a note, never from the beginning of the note to which the voice is being "carried." It may be sung slowly or rapidly, crescendo or 
 diminuendo. The mental effect of an ascending portamento delivered crescendo is impassioned, that of a descending portamento delivered 
 diminuendo is languishing. As an exercise the portamento is exceedingly valuable, and should be practised assiduously ; but as an orna- 
 ment it should be used only. rarely and with great discrimination. The exercise is 
 to be practised slowly, anticipating the note to which the voice is being carried, 
 thus : 
 
 In the second part. of this exercise (third measure) the object of which is the equalizing and smoothing of the voice — the whole duration 
 of each note should be taken up in the portamento. To facilitate this, the student may imagine himself vocalizing a circle, the diameter of 
 which is equal to the interval being sung. This practice also considerably aids the " blending of the registers." For the correction of 
 special and peculiar faults the teacher may deem it advisable to commence the practice of intervals in the manner of Variations 4 or 7. 
 
 Variation 8 is for the practice of the Raddoffiato (" redoubled ") ; the repeated note is the result of a 
 gentle impulse, produced by a simihr action of the diaphragm to that required in uttering the consonant H. 
 There must be no cessation of tone. Repeated notes sung with the aspirate produce the effect of laughter, 
 As a preliminary exercise the student should practise repeated notes both with and without the aspirate : 
 
 (a) 
 
 
 ^ 
 *• 
 
 -l 
 
 -J- 
 
 -l- 
 
 Ha ha 
 
 ha ha » 
 
 {b) 
 
 9r' 
 
 A 
 
 A 
 
 na 
 
 A 
 
 -0- 
 
 ha 
 
 9 H 
 
 9 M 
 
 ~a 
 
 9 M 
 
 In this the continuity of tone is 
 broken by the five aspirations. 
 
 In this the vowel " a " is heard 
 five times on one continuous note. 
 
 In Variation 9 the syncopated notes (see page 12) must be strongly accented. The following may be 
 helpful as a preliminary exercise. "Tap " out the time carefully (see Ex. 11, page 13 ). 
 
 ^S 
 
 D-O^-J^^-Hf 
 
 .1. ^ 
 
 W ||: 
 Time || : 
 
 V 
 
 la . 
 
 V 
 
 V 
 
 la 
 
 la II la 
 
 H 
 H 
 
 la 
 la- 
 
 V 
 
 la 
 
 V 
 
 la 
 
 4-i- 
 
 9 H 
 9 ■ H 
 
 2 3 
 
 I Tenuto often signifies, in addition to its ordinary meaning, a. slight emphasis and retardation. 
 
lU 
 
 Exercise 110 (to follow Ex's.se&es) 
 For Intonation 
 M.M. o = 60 
 M /^ M /?\ m 
 
 VOICE AND SONG. 
 
 Intervals: Seconds 
 
 (jM : Major, m = minor) 
 
 «A 
 
 ^ M 
 
 M 
 
 /Tn M ,C\ ni /T\ /?\/fr\ 
 
 I n t;^ — ;^— 1 II »!,-«* 1 ^, ll tiv — r 
 
 - I I - tiOnO-lfv - || .o**o**. | p 
 
 s 
 
 o*^o^* 
 
 o»o"-^ •"""" 
 
 p 
 
 r&fs^a 
 
 I»TI«- 
 
 ■)f) 
 
 (Bimf 
 (b) 
 
 (c: 
 
 -JH 
 
 -)H 
 
 -?H 
 
 -)H 
 
 « 
 
 s 
 
 r:\ 
 
 r\ 
 
 rs 
 
 r\ 
 
 /T\ 
 
 -JM A- 
 
 -}H A_ 
 
 -JM A_ 
 
 nz 
 
 S 
 
 311 
 
 HI 
 
 ^ 
 
 ^ 
 
 r\ 
 
 S^ 
 
 r\ 
 
 
 ^ 
 
 ^ 
 
 r\ 
 
 33C 
 
 
 /^ 
 
 XE 
 
 Variation 1 
 
 For Flexibility 
 M.M. about J =96 
 les-ato 
 
 ift 
 
 P 
 
 ^ 
 
 and 
 
 • • g 
 
 00 on 
 
 
 J» 
 
 m 
 
 A- 
 
 =— )H 
 
 A- 
 
 =§= 
 
 
 ^ 
 
 ^ 
 
 
 Variation 2 
 
 For Flexibility and Agility 
 M.M. J =96, increasing the pace as f'acilify in ex- 
 ecution is gained 
 M lcgato___ 
 
 t 
 
 ¥ 
 
 JJJJJ J I J J JJ J JJ I J 
 
 ^iESF 
 
 Variation 3 
 
 For Flexibility, Agility, and Triplets 
 M.M. J =96 
 
 m 
 
 % 
 
 and 
 
 Boon 
 
 30 on - 
 
 ^A- 
 
 Variation. 4 
 
 For Tenuto 
 
 M.M. «* = 73 
 
 Variation 5 
 
 For Staccato 
 M.M. J :72 
 
 i^A- 
 
 Variation 6 
 
 For Marcato 
 M.M. J: 60 
 
 ->H 
 
 j/^/^AmAmAmAm A) m 
 
 Variation 7 
 
 For Portamento di voce 
 a#. M.M. J = 60 
 
 .'pKk'kVkVk'k Aj M 
 Variation 8 
 
 For Raddoppiato 
 M.M. J =60 
 
 nifk 
 
 V V V V V V 
 
 Variation 9 
 
 For Syncopation 
 M.M. J = 60 
 
 ^A H A H 1>A 
 
 p A. 
 
 i 
 
 Key and Accompaniment for Low Voices 
 
 M /?\ M /^ m /?\ M /r\ 
 
 P 
 
 .^u^u 
 
 oooo 
 
 M 
 
 > M 
 
 M 
 
 QJlptl Ig) II tlOpO 
 
 /?\ 
 
 m 
 
 -o"»*»^ 
 
 :oOtio: 
 
 m 
 
 .) H 
 
 /?\ /TvCN 
 
 ^osson: 
 
 f 
 
 =y^ 
 
 -)M 
 
 -5M 
 
 -jM A. 
 
 i 
 
 /?N_ 
 
 /C\ 
 
 /r\ 
 
 /r\ 
 
 
 
 
 :sn 
 
 -)H A- 
 
 -)H 
 
 ->H A- 
 
 jCC 
 
 -o- 
 
 o 
 
 /?S 
 
 ■e- 
 
 -o- 
 
 
 351 
 
 V^ariations as above, but in key of 
 
 s 
 
 fT\ 
 
 -&- 
 
 31= 
 
 rr\ 
 
 xsz 
 
 /^ 
 
 xc 
 
Exercise 111 
 
 o„o 
 
 -o — » 
 
 ^^ 
 
 VOICE AND SONG. 
 
 Intervals: Thirds 
 
 (M = Major, m: minor) 
 /-^ m /-\ M /-S M 
 
 115 
 
 o^o: 
 
 •o"o 
 
 /^ m 
 
 /r\ m 
 
 || :.>t*„":| J-| | ;o»o»; | p-|»"i^": | ^/-|»°"°:| ^- [ 
 
 /T\ /^/?\ 
 
 -}» A. 
 
 _JH A. 
 
 i 
 
 /r\ 
 
 /^. 
 
 /?\ 
 
 S 
 
 -)M A_ 
 
 -)H A- 
 
 -)H A. 
 
 r\ 
 
 -)M A_ 
 
 ^ 
 
 IC 
 
 351 
 
 3SI 
 
 ^ 
 
 .}M A^ 
 
 30= 
 
 m 
 
 r\ 
 
 S 
 
 
 -0_ 
 
 ^ 
 
 
 -O- 
 
 3EI= 
 
 
 /CN 
 
 /O 
 
 3X1 
 
 Variation 1 (See preceding. Exercise for M.M.,etc.) 
 
 ^^ 
 
 Hkl J l JJ I J Jj i J jJ i .lMJ JiJJ 
 
 J) A- 
 
 — _)M A- 
 
 A- 
 
 and 
 
 s oon 
 
 ffi 
 
 JDI 
 
 /?\ 
 
 s 
 
 s 
 
 o 
 
 /IN 
 o 
 
 3ai 
 
 £ 
 
 Variation 2 
 if 
 
 Variation 3 
 
 ^ 
 
 ^E— 1 
 
 i 
 
 and 
 
 1 ^, tj 
 
 
 and 
 
 so on 
 
 soon 
 
 jpA- 
 
 Variation 4 
 
 >M 
 
 ^ A- 
 
 -7m 
 
 Variation 5 
 
 Variation 6 
 
 
 ui/AmAmAmA.m Ajm 
 Variation 7 
 
 ^AAAAAAAA A ) h fiifA. 
 
 Variation 8 Variation 9 
 
 )H 
 
 f'Mg'ir j M j jj.Ji j> ijM MIm^ ifi'i^j-iji' ij^ 
 
 A H X H A. 
 
 ? M 
 
 ) H 
 
 ■7 H 
 
 Key and Accompaniment for Low Voices 
 
 M /C\m /r\m /^M ^M 
 
 ii 
 
 ^ m fT\ m r\ f^/:\ 
 
 ^m 
 
 i"n" J -g-" - * ^ 
 
 ^ 
 
 >o„o: 
 
 - :..*\J> 
 
 SJC33C 
 
 (a)///) 
 
 -)H A. 
 
 t\ . o 
 
 o o 
 
 JM A 
 
 o^o 
 
 o o 
 
 .O..il 
 
 I»"tl-- I^J 
 
 o o • -» 
 
 ^ 
 
 -JH A. 
 
 .)M A. 
 
 .JH A. 
 
 -JH A. 
 
 i 
 
 /T\. 
 
 ail 
 
 j5L 
 
 =8= 
 
 /r\ 
 
 31= 
 
 r:\ 
 
 ^ 
 
 r\ 
 
 /?\ 
 
 ^ 
 
 .)H A_ 
 
 
 X5 
 
 3X1 
 
 XXI 
 
 r\ 
 
 
 3JI 
 
 XC 
 
 r\ 
 
 3X= 
 
 ■or- 
 
 Variations as above, but in key of B 
 
116 
 
 Exercise 112 
 P 
 
 ^ 
 
 r\ 
 
 VOICE AND SONG. 
 
 Intervals: Fourths 
 
 (P= Perfect, A: Augmented) 
 P /^ A ^ P 
 
 /Ts I' / ^ A ^ P OP r\ 
 
 JJ-||:..°..°:|.|-L"o"tf-|..°..°jJ-|°'V:|^- i 
 
 o o 
 
 /r^/?^ 
 
 . | ^- | | o^ - 
 
 i 
 
 I - ! ** *t 
 
 O O 
 
 il o 
 
 o o 
 
 (a) //{/■) .. 
 
 (b) p\ A_ 
 
 (c) /) 
 
 /?\ 
 
 o o 
 
 -JH 
 
 -JH 
 
 .)H 
 
 * 
 
 /^ 
 
 ./r\- 
 
 /?N 
 
 -JM A_ 
 
 _JH A_ 
 
 _)H A_ 
 
 — ' — nr 
 
 JH A^ 
 
 xe: 
 
 ^8r 
 
 
 ffi 
 
 
 rfii 
 
 /O 
 
 /?\ 
 
 /O 
 
 -o- 
 
 n 
 
 Ce: 
 
 a 
 
 33= 
 
 -O- 
 
 Variatioa 1 (See Ex. no for M.M.,etc.) 
 
 Variation 2 
 
 Variation 3 
 
 m 
 
 -anti- 
 
 njj]J i JJJJJJijj | j i 
 
 and 
 
 s oon 
 
 soon 
 
 Variation 4 
 
 )» 
 
 pA- 
 
 ■JH 
 
 Variation 5 
 
 Variation 6 
 
 AmAmAmAh AjH 
 Variation 7 
 
 1 
 
 ^ 
 
 fe 
 
 A_ H A. 
 
 H A 
 
 1>AAAAAAAA A ) h 
 Variation 8 
 
 vvv vv 7 y y 
 
 »*/'A H A H A )H 
 
 Variation 9 
 
 "AA A 
 
 y"lMJS- l J' ll f"-:t|^jJ' l jH| 
 
 .) H 
 
 i 
 
 Key and Accompaniment for Low Voices 
 
 I P. o P r^ P /O A /-^ p 
 
 -o — »■ 
 
 (a)w4/') .. 
 (b) pI A_ 
 
 f 
 
 4% ty 
 
 'O -e- 
 
 ? 
 
 o o 
 
 o o- 
 
 f 
 
 ) H 
 
 ^ P 
 
 A. 
 
 /?N P 
 
 t> u 
 
 - I i ; o e l 
 
 *» *» 
 
 1 • tt tt 
 
 H'o o - 
 
 ■7 H 
 
 OO- 
 
 -I..°..°^.l-I°" l 
 
 -JH A. 
 
 -jH A. 
 
 OH A. 
 
 -JH A. 
 
 -JM A. 
 
 _)H A. 
 
 # 
 
 r\ 
 
 r\ 
 
 IT 
 
 
 3x: 
 
 IT 
 
 /C\ 
 
 rv 
 
 /tN 
 
 /T\ 
 
 -JH A 
 
 /?\ 
 
 -nr 
 
 «= 
 
 /?\ 
 
 O 
 
 31= 
 
 /^ 
 
 XE 
 
 
 Variations as above, but jn key of B flat 
 
Exercise 113 
 
 # 
 
 r\ 
 
 VOICE AND SONG. 
 
 Intervals: Fifths 
 
 (P=Perfect, D= Diminished) 
 P /C\ P /^ P 
 
 117 
 
 /r\ P 
 
 *» ** 
 
 - o o 
 
 /^ Pf> r> ^ /^^ 
 
 ^ 
 
 W il 
 
 _ . O O ; 
 
 o o: 
 
 o o 
 
 ** «* I " 
 
 o o ' ^ •** *t ::3g 
 
 A 
 
 o o 
 
 (b) J»[ 
 c) / 
 
 OM A. 
 
 r\ 
 
 /r\ 
 
 -JM A_ 
 /7\ 
 
 OH A. 
 
 -^M A. 
 
 /^ 
 
 /?\ 
 
 -JM A- 
 
 -JH A- 
 
 IS 
 
 .)H A_ 
 
 3x: 
 
 -o- 
 
 JSZ 
 
 
 xr- 
 
 XE 
 
 HZ 
 
 'r-^jt 8 
 
 o 
 
 /?\ 
 
 /t^ 
 
 C\ 
 
 /^ 
 
 /?\ 
 
 3sr 
 
 -o- 
 
 351 
 
 31= 
 
 Variation 1 (See Ex. no for M.M.,etc.) 
 
 JjiJjJijH=j.lJ3iMa i jJjiJj^:j/*. ^^ 
 
 ■JM 
 
 A- 
 
 -?M 
 
 
 r\ 
 
 31= 
 
 Variation 2 
 
 Variation 3 
 
 ^m 
 
 m 
 
 m 
 
 and 
 
 & 
 
 and 
 
 S=3 
 
 » 9—-W — m 
 
 i oon 
 
 ISO OH ' 
 
 • — T» 
 
 Variation 4 
 
 Variation- 5 
 
 1?A- 
 
 OH 
 
 Variation 6 
 
 ntfA M ii. H A H A M A J H 
 Variation 7 
 
 MAAAAAA A) H 
 Variation 8 
 
 ^vvvvwy ; V V V ^ 
 
 Wf/" A ^ ) H 
 
 Variation 9 
 
 j^^i i J^ ir>*jij^ij^ l i ft i- 53MC^^ 
 
 m 
 
 A^ 
 
 X_M A. 
 
 y H 
 
 J? A. 
 
 Key and Accompaniment for Low Voices 
 
 III 
 
 
 
 r\ 
 
 _o__o' g 
 
 m 
 
 r\ 
 
 r\ 
 
 fT\ 
 
 /r\ 
 
 J H 
 P 
 
 mf'k 
 
 -y H 
 
 /r\ 
 
 D 
 
 ^ ^^ 
 
 n i> 
 
 (b) /*S A- 
 
 (c) /') 
 
 X5 X5 
 
 JH A_ 
 
 
 » o 
 
 -JH A. 
 
 o o 
 
 .JH A 
 
 ■II: o o: 
 
 o o 
 
 ■ • i> tc 
 
 tl it 
 
 o o, 
 
 [■ o o 
 
 -)H 
 
 -JH A. 
 
 -;h a. 
 
 O 
 
 1^ 
 
 /^ 
 
 /?\ 
 
 /?\ 
 
 V55 
 -yn A_ 
 
 is: 
 
 
 5^ 
 
 ^ 
 
 
 
 
 X5 
 
 /7\ 
 
 
 r\ 
 
 m 
 
 s 
 
 it JI 
 
 3X= 
 
 Variations as above, but iu key of A 
 
 ■or 
 
]18 
 
 Exercise 114 
 M 
 
 t* 
 
 Cv 
 
 M 
 
 VOICE AND SONG. 
 
 Intervals: Sixths 
 
 (IVI: Major, mrminor) 
 
 M 
 
 t» o 
 
 o o 
 
 ^ 
 
 £ 
 
 m ^ 
 
 tn 
 
 «■ -e- 
 
 /^ /^.C\ 
 
 s 
 
 o M. -h=- i=::»z«2 = =: 
 
 > - :" !>-: ? > ■ Q' 
 
 ^ 
 
 -o— »^ 
 
 o o 
 
 o o 
 
 -e — o- 
 
 t% « 
 
 "tcr 
 
 .)H A 
 
 u u 
 
 (a)//// 
 (b) /> 
 re) / 
 
 i 
 
 tt 
 
 ^ 
 
 -JH A_ 
 
 -JH A_ 
 
 _JK A- 
 
 -JH A- 
 
 .)H A. 
 
 /T\ 
 
 m 
 
 ^ 
 
 -XT" 
 
 ^ 
 
 -o- 
 
 
 :^ 
 
 
 K 
 
 
 8= 
 
 
 -JM A. 
 
 /?\ 
 
 x»z 
 
 -o- 
 
 
 311 
 
 xn 
 
 -o- 
 
 Variation 1 (See Ex. no for M.M.,etc.) 
 
 Variation 2 
 
 Variation 3 
 
 Variation 4 
 
 gl V K*yl ^' 
 
 m 1 hi^'^hi^M i i-wm 
 
 Variation 5 
 
 .'lK4nJ]nJ] 
 
 Variation 6 
 
 ^^ 
 
 4jj3J3 | ^J3ji l jJ|p 
 
 ^ V V V V V '^ V ^ 
 
 *• 9 
 
 wt/" AhAh A hA H Aj H 
 Variation 7 
 
 ^AAAAAAAA Ij h 
 Variation 8 
 
 Variation 9 
 
 Key and Accompaniment for Low Voices 
 
 * 
 
 M 
 
 /?N M C\ m ^ M /O M 
 
 /^ m 
 
 /?\ m 
 
 /?\ /C\/^ 
 
 T— o — 0-, 
 
 i 
 
 -HH— o-O; 
 
 - ■ ** tv 
 
 *» *^ 
 
 f 
 
 -o — o^ 
 
 f 
 
 t> 41 
 
 W 41 1 ii II ""^ 
 
 -o — &- 
 
 O O Lg>. 
 
 (b) P f A. 
 
 — ;h a 
 
 -o- ■& 
 
 ^ Tf 
 
 ■e- -e- 
 
 o o 
 
 H A. 
 
 -)H A. 
 
 ,'^ 
 
 /?\ 
 
 
 /^ 
 
 
 
 /r\ 
 
 -JH A_ 
 
 -JM A. 
 
 -JH A. 
 
 /T\ 
 
 /r\ 
 
 •a 
 
 .)H A 
 
 
 
 
 3x: 
 
 r\ 
 
 «>- 
 
 
 m 
 
 im 
 
 ^ 
 
 :§= 
 
 aoc 
 
 jDC 
 
 311 
 
 -<*- 
 
 3CC 
 
 <*- 
 
 4»- 
 
 Variations as above, but in key of- G 
 
Exercise 115 
 
 M /r\ m 
 
 i 
 
 r\ ra 
 
 VOICE AND SONG 
 
 Intervals: Sevenths 
 
 (M: Major, m:minor) 
 
 119 
 
 o o 
 
 '^ "^o c.^ 
 
 m 
 
 «■ -o- 
 
 /^ /T\/7\ 
 
 «=^ I- I I: ° =^ I -II: ^ =^ 
 
 tt t> 
 
 ^*^ 
 
 i 
 
 - : o o 
 
 *» *» 
 
 o o 
 
 33ajiii3i 
 
 u u 
 
 o o 
 
 r\ 
 
 .)H A- 
 
 -JH A. 
 
 -JH 
 
 _)H A- 
 
 -?H 
 
 -)H 
 
 ^ 
 
 /Ts 
 
 /?\ 
 
 r\ 
 
 A_ 
 
 .)M A_ 
 
 xsz 
 
 :^q: 
 
 
 
 TDC 
 
 /r\ 
 
 /^ 
 
 * ): « 
 
 -rr- 
 n 
 
 r\ 
 
 f7\. 
 a. 
 
 ■e- 
 
 Variation 1 (See Ex.no for M.M:,etc.) 
 
 Variation 2 
 
 Variation 3 
 
 ^ 
 
 ^ 
 
 i^ 
 
 S 
 
 njim/T] 
 
 If ♦ ♦ ♦ 
 
 4 j 'J' l i'i'i-I ^^ 
 
 JJ A — 
 
 Variation 4 
 
 •JH 
 
 pA- 
 
 Variation 5 
 
 Variation 6 
 
 ;h 
 
 fft/'A m-S.hAhXm ^J h 
 
 Variation 7 
 
 IJAAAAAAAA A>h „^X '^ ^ > V V v r ,^ 
 
 Variation 8 Variation^ 
 
 Key and Accompaniment for Low Voices 
 
 M /^m /^m /?\M /?\ni 
 
 fe 
 
 /?\ m r\ ^ 
 
 ^^ 
 
 /O /?v?s 
 
 H 
 
 - . .1* t%. I- . o o. -h^ 
 
 -H^ — o-oi 
 
 ¥ 
 
 «^ i> 
 
 C 15 
 
 A 
 
 o o 
 
 -JM A 
 
 i 
 
 41 O 
 
 ■Of 15 
 
 .JM A 
 
 i 
 
 ■«• -e- 
 
 u u 
 
 o o 
 
 * 
 
 /O 
 
 /^ 
 
 ^ 
 
 -JH A_ 
 
 /TV 
 
 -JM A_ 
 
 -^M A. 
 
 .;m a. 
 
 ^ 
 
 /^ 
 
 .;h A_ 
 
 3X= 
 
 
 TS^- 
 
 /C\ 
 
 ^s 
 
 ;^~ 
 
 7?\ 
 
 
 /^ 
 
 -o- 
 
 
 ^ 
 
 EW ^s 
 
 311 
 
 Variations as abovci but in key of G flat 
 
120 
 
 Exercise 11& 
 
 VOICE AND SONG. 
 
 Intervals: Octaves 
 
 (P= Perfect) 
 
 i 
 
 r\ 
 
 ti **■ 
 
 (b) p f A 
 
 m 
 
 -e — »v 
 
 .)H A — — 
 
 l\ tl 
 
 ^ Pq o^^ ^«^ ^^ ^^ ^/?N /fl ii /^ oSn 
 
 o o 
 
 3x=xx: 
 
 1 
 
 o o 
 
 . n n 
 
 ■■11 :0 o 
 
 i 
 
 XT 
 
 C\ 
 
 .jH A )H A_ )H A }H A_ 
 
 ^\ /?N /C\ /T\ 
 
 -JH A. 
 
 /?N 
 
 
 
 311 
 
 
 xe= 
 
 o 
 
 S 
 
 /?\ 
 
 
 ^ 
 
 =Jttt: 
 
 -JH Aj. 
 
 Vi/ 
 
 as: 
 
 /?\ 
 
 xc 
 
 ^^ 
 
 31= 
 
 JOZ 
 
 xsz 
 
 -o- 
 
 3E: 
 
 Variation 1 (See Ex.110 for M.M.,etc.) 
 it <"^ 
 
 jrjirif i i 
 
 ES 
 
 ^J^ l r-Q-JS; 
 
 -aad- 
 
 30 on 
 
 
 JH A- 
 
 
 Variation 2 
 
 Variation 3 
 
 Variation 4 
 
 Variation 5 
 
 Variation 6 
 
 ^ifAMAhAMAH A J H ^AA AaXA AA A) m »«/*X_I L 
 
 ^ 
 
 »i/'A M AmA M' Ah Aj h 
 Variation 7 
 
 g^w^ 
 
 Variation^ 
 
 ^M 
 
 ^ J rnra^ njjjii'- ^ ' irji^unj^- i^'^jopu'' 
 
 H A H 
 
 1 H 
 
 ^A. 
 
 ) H 
 
 .^wfA. 
 
 Key and Accompaniment for Low Voices 
 
 ^ 
 
 ^ 
 
 ^ F ./?N P /T\ P 
 
 /r\ p 
 
 ** *»■ 
 
 o o: 
 
 1 
 
 ? 
 
 - •■ P o 
 
 /r\ p /^ 
 
 3x=nq 
 
 i 
 
 ,) H 
 
 — o- 
 
 «> t> 
 
 (b) j»[ 
 
 (c) /) 
 
 O O' 
 
 ^,^™/'^ =» « * W ^ ^ '«--^ 
 
 (?^«»/) V 
 
 I 
 
 ->M. A. 
 
 ^jH A. 
 
 X5 TJ 
 
 jH A 
 
 i 
 
 jK A 
 
 u u 
 
 o o 
 
 :^ 
 
 -JH A. 
 
 -?H 
 
 .JM 
 
 A_tf' 
 
 * 
 
 r\ 
 
 1 
 
 * 
 
 O 
 S 
 
 
 31= 
 
 vy 
 
 W 
 
 "CT" 
 
 r\ 
 
 r\ 
 
 r\ 
 
 ^ 
 
 
 K 
 
 T<o^ 
 
 31= 
 
 ^ 
 
 Tl- 
 
 3s: 
 
 3x: 
 
 31= 
 
 C/ 
 
 vi/ 
 
 vi/ 
 
 v:^ 
 
 Vetfiations as above, but in. key of P 
 
 
VOICE AND SONG. 
 
 121 
 
 Exercise 117. Simple Intervals : Recapitulatory. 
 
 Practise ist, legato ; and, staccato. 
 
 Commence with M.M. about J = 96 ', ,, 
 
 iTojepuat II To finish 
 
 * 
 
 p: 
 
 s 
 
 ^^^^■^^ 
 
 ^^ 
 
 i 
 
 « — « 
 
 i 
 
 f 
 
 i 
 
 Jt tt w 
 
 
 ^ 
 
 F i ^Mrp 1 ^ 
 
 ^ 
 
 ^ 
 
 * 
 
 ^m 
 
 U 
 
 tzi 
 
 ' ^^ 
 
 To repeat II To finish 
 
 j;jijjijijjjjiJj-'ji^;^i^JiJij^;^i;^;^- i iA^ 
 
 te 
 
 Fa 
 
 ^ 
 
 ** 
 
 ^ 
 
 W 
 
 f 
 
 i- 
 
 ^^ 
 
 ^ 
 
 5^ 
 
 i 
 
 ^ 
 
 si 
 
 i^ 
 
 W 
 
 i 
 
 i^ 
 
 ^jijjjj i jjj^l^j 
 
 ^ 
 
 I To repeat II To finish 
 
 ^ ^ 1 r1 V ! II r*Ti*^ 
 
 
 *¥=* 
 
 ¥==zz: 
 
 4*: 
 
 9 7 
 
 P 
 
 ^ 
 
 ^ 
 
 P 
 
 f 
 
 if 
 
 f 
 
 i-^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 Ei 
 
 ^ 
 
 7-^^jr p 
 
 ^ 
 
 w 
 
 Pi 
 
 I To repeat II To finish 
 
 i''f';jU jj jijjrjiJ3i3 iV i^riin,ririiirjiii 
 
 f 
 
 ^^ 
 
 f 
 
 f 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 
 ^ 
 
 I 
 
 I To repeat II To finish 
 
 Jf"llj^J^Jjlljlj|ljjl ^.l | i^P | J^PlJ^jJ|IPjJ 
 
 ii 
 
 f 
 
 ^ 
 
 m 
 
 r* 
 
 f=f 
 
 m 
 
 I 
 
 i 
 
 ^ 
 
 i 
 
 i 
 
 g 
 
 Se 
 
 P 
 
 
 f 
 
 i 
 
 E 
 
 f 
 
 I To repeat II To finish 
 
 
 * 
 
 i 
 
 $ 
 
 i 
 
 i 
 
 i 
 
 # 
 
 f 
 
 «=* 
 
 a — ■ 
 
 «^ 
 
 ^T^ 
 
 511=^ 
 
 i 
 
 P 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ F 
 
 *) Commence singing at the second beat; the note on .the first beat, is to be sung oiily in 
 
 h 
 
 the repetition 
 
122 
 
 VOICE AND SONG. 
 
 iTo repeat llTo finish 
 
 ^IJJijMj'JI'J^lljlilUlJijI^ni^Pl' 
 
 ' I It 
 
 m 
 
 ^m 
 
 i 
 
 # — (► 
 
 * — m 
 
 ^ 
 
 I 
 
 ^ 
 
 U 
 
 M 
 
 i 
 
 ^ 
 
 f 
 
 i 
 
 i 
 
 ^ 
 
 ^ 
 
 *E 
 
 % 
 
 m 
 
 tt x^ 
 
 * ) 
 
 • • 
 
 ^.,rjj]ip,rirrcf+^ 
 
 I To repeat II To finish 
 
 m 
 
 i 
 
 i 
 
 1^ 
 
 i 
 
 I 
 
 « 
 
 ipc 
 
 ae 
 
 t=ft 
 
 i»- 
 
 i 
 
 M 
 
 ^ 
 
 ^ 
 
 ^ 
 
 fen 
 
 JI I JIJI 
 
 I To repeat II To finish 
 
 ft^p I »Pi>i* I -f^ p- i r p -ii- r I * I r^ 
 
 ^m 
 
 -■y — ^- 
 
 • — i-"-* — •-' — e — #-• — • — » 
 
 * ') 
 
 M 
 
 m 
 
 ^ 
 
 $ 
 
 ^ 
 
 4=t 
 
 t=t 
 
 t 
 
 •I a) 
 
 ^m 
 
 i ^ 
 
 i^ 
 
 m 
 
 i 
 
 i 
 
 ITo repeat II To finish 
 
 *) Commence sipg^ing at the second b6at; the note on the first bait, is to be sung only in the repetition 
 
VOICE AND SONG. 
 Exercise i i 8. Compound Intervals." 
 
 At first not faster than M.M.J:60 ^'^''''^ /egaio^ndjiaccato^ 
 
 :!: 
 
 123 
 
 1 J J p c I f r p J ij ^ " I g^.^'^'^hr ^11 i - --I- ^^ 
 
 p 
 
 
 ^ 
 
 u 
 
 ^s 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ■nri jij i 
 
 •^' 9 ♦ ♦ ♦ ♦ * ♦ *? '*'*'^ ^ 
 
 cr pgT3 i PTjro 
 
 ^ 
 
 ^ 
 
 ^^y ^ '* «) ^ 
 
 ^ 
 
 ^ 
 
 g 
 
 s 
 
 ♦H* 
 
 eI^ 
 
 ilfe 
 
 *s 
 
 ¥ 
 
 ♦ ♦♦♦♦♦♦it? ^w^ 
 
 \Tum , m 
 
 m 
 
 ^ 
 
 ^ 
 
 _t ^ ^ w • w ^ ^ ^^. 
 
 fe 
 
 ^ 
 
 f=ie 
 
 i 
 
 JE5E 
 
 fr=FH 
 
 P 
 
 ^ 
 
 - jell's 
 
 ^ 
 
 y 
 
 «i 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 i (Ci'.y]Tl i T]r] i vi^^.D i JTJ^ i TO i j> iJ " i ' 
 
 ^Yrrrirrrrlr^ ^ 
 
 ^ 
 
 t 
 
 ^^^^m 
 
 fe 
 
 ...dM 
 
 tf 
 
 
 [ TQ , rorjp 
 
 ■=¥ 
 
 ijjj^^ir'- 
 
 I Intervals larger than an octave are called Compound Intervals. Intervals which do not exceed an octave are called Simple Intervals ( see page 121 ), 
 
124 
 
 m 
 
 ^-p- 
 
 Wm^mr-, ^ac 
 
 VOICE AND SONG 
 
 to 
 
 mmm 
 
 ^ 
 
 5fe; 
 
 M 
 
 !#F=» 
 
 n 
 
 8- 
 
 ^^ 
 
 ^ 
 
 £ 
 
 f t - 
 
 3 
 
 I 
 
 ^ 
 
 * 
 
 ]"=1» 
 
 ^ 
 
 *- 
 
 P 
 
 ^ 
 
 » 
 
 ^ 
 
 i 
 
 j— ~- 
 
 i»=F 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 :* 
 
 i 
 
 • P I f • 
 
 ^ 
 
 m 
 
 ^^m 
 
 [iju ' Liri 
 
 m 
 
 tm 
 
 inno; m; 
 
 j^iirrrrfrrri ^ 
 
 S; 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 « 
 
 'f-k a-^ g 
 
 ^ 
 
 i 
 
 ^ 
 
 tjzz: 
 
 1^ • 
 
 #-# 
 
 S 
 
 M. *. If. P # 
 
 ^^^^^^^S 
 
 F*^ 
 
 ffl3 
 Si 
 
 LOJ ' LCir'L^LCU ' 
 
 ^^ 
 
 # 
 
 ^ 
 
 ^ 
 
 » 
 
 A*- 
 
 ^ 
 
 =i^ 
 
 MJ ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^^^ss 
 
 t 
 
 *=■ 
 
 * 
 
 I 
 
 s= 
 
 3E^ 
 
 s 
 
 p 
 
 tf tt r r rr i frr r i rrrJin 
 
 # # # #. ^ ^ 
 
 _jj.^j. l [j^[jj. ! rfr^JJJ I ^^I^jj^ l jJ3i:njqp 
 
 *Arrrr 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 EES 
 
 yfe^ 
 
 fe 
 
 I 
 
 *zqe 
 
 i 
 
 te 
 
 ^ 
 
 m 
 
 ' 'AjW \ A!W^}^^ \ ^ dd i dj cid i ^^^mr^i''* 
 
 ^^ 
 
 ^ 
 
 a 
 
 (S- 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i 
 
 Or . § 
 
 S 
 
 fe 
 
 3EE 
 
 9 1'^ 
 
 fe 
 
 # 
 
 ^^ = 
 
 I 
 
 te 
 
 ifa 
 
 
 ^^^^^^^^^^^^^^^^ 
 
 ¥^i i irrrf[ffr Efe 
 
 ^ 
 
 ^ 
 
 *- 
 
 ^ 
 
 i^ 
 
 f-p- 
 
 ^ 
 
 ^^ 
 
 i 
 
 I 
 
 
 ^ 
 
VOICE AND SONG. 
 
 125 
 
 Exercise 119. To be sung strictly legato, and with considerable vigor. 
 
 Commence in a key suitable to the voice, and, if necessary, adapt to the compass by omitting the por- 
 tions between corresponding cue-letters ; from A ( ascending ) go to A ( descending ), or from B go to B, 
 or from C go to C. 
 
 'M.M. Jr72 
 
126 
 
 VOICE AND SONG. 
 
 ■<iii ii f f 
 
 f-tj k/ '/ H \H ! 
 
VOICE AND SONG. 127 
 
 CHORDS. 
 Part I. 
 
 "A Chord is a combination of not fewer than three notes, each at the distance of either a major or a 
 minor third above the note next below it. The lowest note, upon which the chord is built, is called the 
 Root. The most important, and the most frequently used chords, are those called common chords, 
 which are made by placing either a major or minor third and 2. perfect fifth above the root. If the third be 
 major, the chord is called a major chord ; if the third be minor, it is called a minor chord." ( Prout.) 
 
 Any chord consisting of two thirds placed one above another ( making in all three notes ) is called 
 a TRIAD." Every common chord is a triad, but not every triad is a common chord, a common chord being 
 made up 0I consonant intervals only ( see page 1 1 1 ). 
 
 The following exhibits all the diatonic triads possible in the key of C major. 
 
 s: 
 
 "S- 
 
 -ig % g 
 
 Triads: [:^=^==|=|=f^i=i=^ 
 
 ■i9- 
 
 on which triad is based 
 
 Root, or scale-degree ) 
 
 1 ^ ^^ ^^^ ^"^ ^ ^^ ^^^ 
 
 It will be observed that all these triads, except the one having the viith degree of the scale for its root, 
 are common or consonant chords ; and that those having i, iv and v for their roots are major, and those having 
 II, III and VI for their roots are minor triads. The one having vii for its root has a diminished fifth for one 
 of its constituent intervals, and in consequence is a dissonant chord. Any triad so constituted is called a 
 diminished triad. ^ 
 
 The following example exhibits all the diatonic triads in the key of C minor ( based on the harmonic 
 form of the scale). 
 
 Triads: ^ bl= ^=g=fe := | ^5i=£l|i=fl 
 
 Root, or scale-degree on 
 which triad is based. 
 
 I 11 III IV V VI VII 
 
 Of these triads, only those having degrees i, iv, v and vi for their roots are common chords. 1 ne 
 triads based on the 11 and vii are diminished triads, and the one on the in is an augmented triad, so called 
 because the fifth of the triad is an augmented fifth. Further, it should be observed that the consonant 
 triads consist of two thirds — one major, the other minor — superposed; and that the dissonant triads also 
 consist of two superposed thirds, but, in the case of the diminished triad, both thirds are minor, and in the 
 augmented triad both thirds are major. 
 
 The most frequently used triads of a key are those having degrees i, iv and v for their roots ; they are 
 generally termed the Primary triads of a key. 
 
 When any note of a chord, other than the root, is the bass (lowest ^ar/), the chord is said to be in- 
 verted. Every triad, therefore, can appear in three positions, namely: Root-position ( i. e., with the root in- 
 the bass), and two Inversions. In a "first inversion" the original third will appear as bass with the root 
 transferred to an upper part. In a "second inversion" the original fifth will be the bass. The following 
 example exhibits the triad of C major in root-position and both inversions. 
 
 i 
 
 -iS- 
 
 -<s- 
 
 122: 
 
 -iS- 
 
 -&- 
 
 ^ 
 
 -G>- 
 
 iB 
 
 Root-pos. ist Inv. 2nd Inv. 
 
 1 Triad, a union of three. 
 
 , In speaking of the different triads, they are often called Tonic triad, Supertonic triad. Mediant triad, Subdominant triad, and so on, in agreement TOith the 
 technical namj of the root (see pp. 66-67). 
 
128 
 
 VOICE AND SONG. 
 
 By adding another third on the top of a triad, thus: ^ ^ g zf ] we get a chord of the seventh 
 
 Of all possible chords of the seventh, that on the fifth degree of a scale is most frequently used, and, being 
 the most important, is called the Dominant Chord of the Seventh. It has ikree inversions: 
 
 I 
 
 1 
 
 -iS>- 
 
 <S^ 
 
 ''Sr 
 
 -G>- 
 
 -& 
 
 r= 
 
 -<g- 
 
 <5>^ i 
 
 122^ 
 
 fl 
 
 Root-pos. 1st Inv. and Inv. 3rd Inv. 
 This particular chord of the seventh is called dominant because it dominates (governs or determines) 
 
 =^ ^ f I cannot belong to any other key than that of C — major 
 
 the key. For example, the chord 
 
 or mmor — because of the B and th'e F. Every scale with flats requires B/a/, and every scale with sharps 
 
 requires F sharp. 
 
 The Dominant seventh-chord in its root-position contains the following intervals : Three thirds ( one 
 
 major and two minor) ^ g = S " =- ; two fifths (one perfect, the other diminished) 
 
 6 ^ — 
 
 M 3rd m 3rd 
 
 # 
 
 f ; one minor seventh 
 
 m 3rd. 
 
 w 
 
 i 
 
 P 5th. D 5th. m 7th. 
 
 The student should similarly analyze the inversions, and describe the intervals contained in them. 
 For example, the first inversion (A\ S F contains two minor thirds ^^ — S jj^ one major sec- 
 
 ond 
 sixth 
 
 ^ ^"1, one diminished fifth (^ ^ [|, one perfect fourth " ^ " ^, and one minor 
 
 I 
 
 A chord of the seventh having for its root the leading-note of the harmonic form of a minor scale, is 
 called a Diminished Seventh-chord, because the interval between the root and the highest note of the 
 chord is a diminished seventh. The root-position of this chord contains three minor thirds, two diminished 
 
 igi 
 
 ^B 
 
 fifths, and a diminished seventh ; examples in A minor ; 
 
 The inversions should be similarly analyzed ; the student should also construct and analyze triads and 
 chords of the seventh on other degrees of the scale. 
 
 CHORDS. 
 Part U. 
 
 " The singing of Arpeggi ( broken chords ) has always been considered a test of good vocalization." 
 The following exercises' therefore should be diligently practised. They are to be sung legato, the voice 
 passing from one tone to the next with precision and firmness, without slurring, jerklness, or detaching the 
 notes (see Remarks on Ex. 93, page 74). 
 
 Commence In a key suitable to the individual voice, and continue throughout the compass. 
 
 If need be, Exs. 120 and 121 may be simplified, when beginning their practice, by dividing them into 
 four parts, as Indicated by the " cue-letters" A, B, C and D, working it out as follows : First, sing the por- 
 tion marked A several times (in one breath), and finish with D (omitting B and C). Second, practise the 
 portion marked B alone for a while, and then sing A and B, in immediate succession, several times in one 
 breath, finishing with D, as before. Third, learn the portion marked C, preparatory to singing the three 
 portions A, B and C in immediate succession (as many times as one breath will comfortably allow), clos- 
 ing with D. 
 
 ' The arpeggiated chords of this Exercise are ( A ) the root-position of the tonic triad, ( B ) the second inversion of the subdominant triad, and ( C ) the 
 second inversion of the dominant seventh-chord, closing ( D ) with the root-position of the tonic triad. 
 
VOICE AND SONG. 
 
 Arpeggi. Major Mode. 
 
 Exercise 120 (a). Chords of the Tonic, Subdominant, and Dominant Seventh. 
 
 M. M. J = 108 
 
 A :. B C D 
 
 129 
 
 I JAu'TTTfi 
 
 rail. 
 
130 
 
 VOICE AND SONG. 
 B^ C 
 
VOICE AND SONG. 
 Arpeggi. Minor Mode. 
 Exercise lai {a). Chords of the Tonic, Subdominant, and Dominant Seventh, 
 
 131 
 
132 
 
 VOICE AND SONG. 
 C 
 
VOICE AND SONG. 
 
 133 
 
 The following Variations are to be practised in all keys suited to the voice, accompanied with the 
 chords of Ex. 120, simply sustained as there written, or appropriately adapted; for example: 
 
 Variation 1 
 
 ^ 
 
 ^ 
 
 i ■' J: 
 
 m 
 
 Variation 15 
 
 P \jp \ n n 
 
 jii i 
 
 and so on 
 
 ^W 
 
 ^ 
 
 ^ 
 
 ^ 
 
 Variation 23 
 
 fj.jT J ^j i ;^J^J 7; i J^^j^ir > \ sfl^ \ P^ \ ^ 
 
 ^^ 
 
 i 
 
 t 
 
 i 
 
 i 
 
 and 
 so on 
 
 ^^ 
 
 i 
 
 i 
 
 ^ 
 
 Carefully memorize the particular variation to be practised, before taking it through the whole compass 
 of the voice. Suitable nuances ( see Foot-note, page 77 ) may be introduced at pleasure. 
 
 These variations may be used as models for practice in the minor mode, accompanied with the chords 
 (or adaptations of the same) given in Ex. 121. 
 
 It will be found a valuable aid to distinctness and ease in articulation to occasionally syllableize (see p. 
 71 et seq.) some of these variations; especially those in which three or four notes are to be sung some- 
 what rapidly to one beat. To facilitate this, the syllables should be correspondingly grouped and pro- 
 nounced as one word, with the primary and secondary accents in agreement with the time-signature (see 
 pp. 11-12). E. g., Var. I : Damasa dasama, Dafala dalafa, Rafasa tasafa, Damasa da ; Var. 9: Dama- 
 sada samadama sadasama ; and so on. 
 
134 VOICE AND SONG. 
 
 Exercise lao (i?). Variations for preceding Exs. 120 and 121. 
 
 1 jli j'TJ'O'l I ] J ] ^J IJ JJ n^J i l jTJ| 
 
 -y-y- 
 
 3 jlij.TJ ^1^ 
 
 ^ 
 
 «!l3i 
 
 JTJ P ^ ^ 1 
 
 ' !• I \ ' W lJ d* *Wl l l g| * — g — e 
 
 fjp n I j.T ^ ^^^ 
 
 • • # 
 
 p 
 
 ^ 
 
 i 
 
 SES 
 
 ' j'ij^ J 
 
 8 
 
 ^^ 
 
 f 
 
 # 
 
 * * 
 
 also 
 
 
 also 
 
 ^=|J?^3 ;i^j :^ 
 
 n jiprrrifrnrirnnniiji pPpT^^ 
 
 ia |i j,[:^r3,r^ i jji 
 
 and §Q Qji 
 
VOICE AND SONG. 
 
 135 
 
 13 
 
 ^ 
 
 ]-i:J:^:i0^iJj^]iO'j:jiMiO'}Ji-'^iir- : 
 
 ^ • — * 
 
 and so on 
 
 H^^^^» 
 
 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 -i3&^\^Dl}\0^ \^i\ m iiP\-^i\l} m^ 
 
 ^ 
 
 I'/fjrjjjjJ^jjj i ^ 
 
 ^m 
 
 s 
 
 =F?=^ 
 
 .-.«-»J.. 
 
 w 
 
 5 
 
 d * d * * d ^ 
 
 & 
 
 ^ 
 
 13 ^Tn 
 
 ^ 
 
 * J * 
 
 * J 
 
 ♦— :-♦ 
 
 :Ji — * 
 
 ^^ 
 
 J^niq:^J^^^^n 
 
 w — rr=|t 
 
 # ^ 
 
 ♦-^ 
 
 ^it * 
 
 
 3 
 
 m 
 
 t 
 
 20 1^ 
 
 a 
 
 :t-* 
 
 ^ j'-t jiJ^prpJj iUJ^ p i p^ J ji i j^J ^ p i pHji' i ijiTj p i j ^ i 
 
 V V ♦ \9* \ V Bsasssaasa., Btas^^^Bi. ^^B:b^b 
 
136 VOICE AND SONG. 
 
 Major and Minor Triads. 
 
 Exercise 122 (a). (a) legaio, (b) staccato, for high voices. 
 
 At first not faster than M. M. J = 80 
 
 J I jn ^jjj I Ljn ^jj J I jimiiiTJj J 
 
 jiij^j^jjjj -^ i jiij'j'jj'j r 
 
 $ 
 
 \i ' i' 
 
 i^ 
 
 1 
 
 ?=i 3 
 
 I* 
 
 *]: r f It 
 
 fts 
 
 ^ 
 
 i 
 
 s 
 
 » f ^t p I * ■ 
 
 r ^: J r I f 
 
 ii»: 
 
 ^ 
 
 ,^Tji i .n^ii 1 ^^ 
 
 » • • — r 
 
 ^ 
 
 t 
 
 ^^ 
 
 J < j^ 
 
 J < J < 
 
 ^ T=« ^ 
 
 f F It 
 
 ■3SE 
 
 ^ 
 
 kV 
 
 iiS 
 
 ^ 
 
 ^^ 
 
 m 
 
 P^-^jf i ^[^jr i ^ yiri^-y M i ^^J ii 
 
 j j ^ j 
 
 i 
 
 ij < S 
 
 ^^ 
 
 i i I 
 
 ^m 
 
 m 
 
 & 
 
 f—m 
 
 EJC 
 
 ^ 
 
 r I ^ ' u ^ 
 
 *=t::^ 
 
 f ■EJT^Ld'^ ^ | |'E;[r[ar^^'[a'^ i>cl:a'[ia'r ^ \ 'iS£W 
 
 ^^ 
 
 i;i ^ p ^ fi7i i 1^ ^^ 
 
 i^n i } 
 
 i M I m i 
 
 ij ^ t' ^ J ^ 
 
 ^ 
 
 !^* a!^: 
 
 r e tfr 
 
 ^r ^f f p {>r 
 
 i.# '^ri' p tf . 
 
 s 
 
 ^ia-E^-Jr i tf;[^rr iJi[^iriJi[y, mji^ 
 
 ? 
 
 li 
 
 ^^ 
 
 />. C^ reading an 8^^ higher 
 
 I 
 
 ^^ 
 
 £g < ;^ ^ 
 
 ^ 
 
 ^ 
 
 s 
 
 i^ 
 
 Ha^ 
 
 ^^ 
 
 B'^ 
 
 i 
 
 ;:F^;i 
 
 ^^ 
 
 ^ 
 
 Variations for the above 
 
 j FJ^JJJj* i JJ^J^JJJJJ^^ 
 
 and so on (four measures to one breath) 
 
 ^ H A. 
 
VOICE AND SONG. 
 
 Major and Minor Triads. 
 
 Exercise 122 (^). (a) legato, (b) staccato, for low voices. 
 
 At first not faster than M.M. J= 80 
 
 137 
 
 _[J l Mj.]J^J.j ^ I JJti^JJJ^Jj ^ 'jJ^JJJ%J ^ I JJ^JJJ^J^ ^ I jJ^JjJ'^Jj ^ 
 
 ^ 
 
 i 
 
 £^3 
 
 J / . 3 
 
 n 
 
 f 
 
 3 
 
 r rfl^N ^ J j I j J j j^j I j r^ r r 1 ^ ^N 
 
 ^ 
 
 jjp:j^jj i iTOiP]jjijp]j:^jj | jnj]^jr i JWj^j^ 
 
 j ^eSS-J r I ^^E^iiJ'T i ii^^J r I i^^^ r i tggf^^ 
 
 EtEEia 
 
 ^^g 
 
 W* 
 
 :f J i i | | d ^ 
 
 P 
 
 Vv« 
 
 T L 'J ^r i ^r 
 
 ^?= }=i^ 
 
 i 
 
 tfT ^ i^ 
 
 tfp ^" ji ftfrtf 
 
 sS 
 
 ^^ 
 
 4 M 
 
 I 
 
 ^ 
 
 i?. C. reading an S^l^ higher 
 
 Variations for the above: 
 
 - lyj j JW^ 
 
 and so on (four measures to one breath) 
 
 J H A 
 
138 
 
 VOICE AND SONG. 
 
 Arpeggi. Major Mode. 
 Chords of the Tonic and Dominant Seventh. 
 
 Exercise 123 (a) and (i). 
 
 At first practise A and B as two separate exercises; later sing them in immediate succession as one 
 exercise, thus : 
 
 ^^ -^.1 1 » P I l> r— 1 1 , fl m P , m - r> ^ I r1«P if» -P* l ^ 
 
 t I m Zm Z (P' — — — 1 — 1^^ — - j f ■ * — — — (P ^ — — ^^ — ^ — m — ~ [^ y J ^ 
 
 't| al *l |ll ' | ri*d JI J J * ^^^ l l^ *JU J ^*''^l'" J *a 
 
 (A M.M.J = 120 
 
 ^ 
 
 ^jjiJ^r i r^jiijj 
 
 ^ 
 
 m 
 
 -U |,t 
 
 jji^^ i' f^^'ij^- ' y 
 
 ^ 
 
 /^ 
 
 <fe^ 
 
 vtl 
 
 1 
 
 ^ 
 
 30 
 
 ip 
 
 P 
 
 -o- 
 
 »> 
 
 S= 
 
 #lflf^ 
 
 § 
 
 o**« 
 
 m 
 
 ss 
 
 -o-^ 
 
 3S= 
 
 P=^^ 
 
 U L-L ■ ^g ' 
 
 -O"! 
 
 ijjI^rflr^J l jjJT 
 
 1* 
 
 e 
 
 ji^ ' ^i"'r^ ' ^JJ-"j ^ 
 
 >/' npLr l ^JJij-ii 
 
 kt 
 
 & 
 
 ^^^^^f 
 
 * 
 
 
 
 ^ 
 
 ^ 
 
 iit 
 
 
 ry 
 
 ^S 
 
 P 
 
 5ir^f=si^ 
 
 g 
 
 -0-' 
 
 tt; 
 
 H 
 
 ihj 
 
 ^ 
 
VOICE AND SONG. 
 
 i 
 
 fajj^r/ i rrc^jli j m ||I ji^iTi n ^y^ 
 
 ^ 
 
 ^ 
 
 C^ 
 
 j^ i ifj-fi|?i; | | *" s: 
 
 o 
 
 ^l>^ ^ 
 
 xe: 
 
 xc 
 
 ia 
 
 -e^^ 
 
 ^ij 
 
 ?^ 
 
 
 ^ 
 
 I 
 
 I 
 
 ^ 
 
 ^ 
 
 ^ 
 
 1 1 ii'riiji|iir^iniii I 
 
 2>. C. ara 8Whighe7 
 
 ^h \ X \ ^^\l \\ ji \ - tfni i ^ i rf i rrii r i m 
 
 ^m. 
 
 
 >' l>'l "' 
 
 5 25 
 
 ^ 
 
 s 
 
 XXj 
 
 
 i 
 
 5f= 
 
 te* 
 
 !-5^ 
 
uo 
 
 VOICE AND SONG. 
 
 Exercise 123 (c). Variations for preceding Ex. 123. 
 
 Observe the phrasing carefully (legato and staccato). First time sing as directed by the oi;^rmarking 
 ( a ), then repeat as directed by the undermnrking {b); also practise silently until perfectly memorized 
 before audibly voicing them. 
 
 
 2 (a) 
 
 ■ 
 
 V-\\ \ \:\iir \ '\'i jJ^ 
 
 ^¥i 
 
 (b)' 
 
 imm\^ \ mmk^ ^ 
 
 5 - (a) 
 
 ^ 
 
 i*,pir.« 
 
 s 
 
 6 (a) 
 
 « 
 
 =^^#^W§¥P^ 
 
 1 
 
 (b> 
 
 PB 
 
 ^W^P^ 
 
 ^5S 
 
 Accentuate 
 __^___^ carefully in ac- 
 £ ~ I > cordance with 
 the time-signa- 
 ture. 
 
Exercise 124 {a) to {c) 
 
 VOICE AND SONG. 
 
 Arpeggi. Minor Mode. 
 
 Diminished Seventh-Chord. 
 
 ( See page 128.) 
 
 141 
 
 ,;^. 
 
 ^m 
 
 Ph \ \h J J 
 
 m 
 
 K# 
 
 ^ 
 
 m 
 
 -»o- 
 
 « 
 
 \^mm 
 
 ^^ 
 
 »p^ 
 
 3EEE 
 
 €7 
 
 i 
 
 r^ 
 
 ^ 
 
 ¥ 
 
 (^ 
 
 i 
 
 ^ 
 
142 
 
 VOICE AND SONG. 
 
 ^ 
 
 fe 
 
 £ 
 
 P^ 
 
 fe 
 
 (c) 
 
 1^ 
 
 [^ 
 
 ^ 
 
 s 
 
 i- 
 
 UJ \ UL 
 
 ^^ 
 
 ^^ 
 
 ^ ni-^ ^^ 
 
 ^^R 
 
 ^ 
 
 u 
 
 
 ^ 
 
 n.C.anSVfi higher 
 
 £ 
 
 ■P.C a?t ^^^ higher 
 
 i 
 
VOICE AND SONG. 
 
 Arpeggi. Minor Mode. 
 Exercise 125. Diminished Seventli-Chord, Scale ( harmonic form) and Tonic Triad. 
 „ M. M. J=138 
 
 143 
 
144 
 
 VOICE AND SONG. 
 
 Exercise 126. 
 
VOICE AND SONG. 
 
 Exercise 127 (« ) and (^). Arpeggi. Minor Mode. 
 
 Chords of the Diminished Seventh and Tonic, with Scale (Melodic form) 
 
 145 
 
 i i " J =t= = 1 =^^ 
 
 " 3^ «:: 5^^ ¥ 
 
 i 
 
 ^^ 
 
 ! 
 
 fe 
 
 1^ 
 
 3 
 
 '^- ' tt°'' ' W 
 
 ,!g^''l,^^l''! f^j 
 
 E^JT:ni^J15i^^Eg 
 
 ^ 
 
 ^^^^^^m 
 
 
 Si 
 
 w 
 
 w^ 
 
 /?.^.. 
 
 -^s^ 
 
 ii^- fi^- tjj. J^ 
 
146 VOICE AND SONG. 
 
 Embellishments. 
 
 The following Model Exercises are to be thoroughly memorized, and then practised on all notes com- 
 fortably within the compass of the voice. The chords on page 65 may be used as an accompaniment. 
 ( Also see page 15.) 
 
 The Long Appoggiatura 
 
 ^ ^ about J =80 
 to be suns ^ ^4 — ^ =^ r^ 
 
 Ex. 128 
 
 ■i u Modera te 
 
 Ex. 129 
 
 j u Mod erate 
 
 The Short Appoggiatura 
 
 J =80 
 
 J i i[d i I jjj JlJ ^^ to be sung 
 
 Ex. 130 
 
 Moderate 
 
 The Mordente, etc 
 
 ^^g 
 
 S 
 
 TO t 4 -i J MJJ^eJ- ^ ^ to ^e sung 
 
 Ex. 131 (a to I) 
 
 Adagio 
 
 The Turn 
 
 Must be executed smoothly, lightly and rapidly 
 
 ' ^ •^ J J ' J " " tobesung\J=«n/ ^ 
 
 - Moderato .. ^ 
 
 /, Presto -> 
 
 iS ♦ * 
 
 (e: 
 
 (f 
 (g 
 (h: 
 
 (i 
 (j 
 
 (I 
 
 I Moderato . 
 
 I Allegro 
 
 ^Allegro g , ■ ~- 
 
 , Moderato 
 
 ., Moderato ^ 
 
 ^ Allegro ^ , 
 
 Presto 
 
 t /jJ . 1-^' 
 
 I Moderato 
 
 > Moderato ^^ 
 
 g; :t ^ J J l^J I J r 
 
 , Moderato tv ,^ 
 
 Presto 
 
 , Allegro y <v (t 
 
 . rresto tv 1.^ _ >, 
 
 ft! % r~^ J J^ J ^^"H I ^'' ^ I I to be sung (J= 144) %4 
 
 ^ to w sung (J,io8) ( i% nTQ JJjJJJJJ JJ^^^PJl 
 
 ^ 
 
VOICE AND SONG. 
 
 147 
 
 The Trill. 
 
 ( See page i6.) 
 
 The ability to sing a " beautiful trill " can be attained only after long and persistent daily practice. 
 The notes must be perfectly legato, of equal power, and exact in intonation ; a birdVike warbling of two 
 notes, not z. goatVike. wabbling of one note {trillo caprino). 
 
 " Playford, in his ' Introduction to the Skill of Musick ' ( 1655 ), commenting on the shake says, ' I 
 have heard of some that have attained it after this manner, in singing a plain-song of six notes up and six 
 down, they have in the midst of every note beat or shaked with their finger upon their throat, which by 
 often practice came to do the same notes exactly without.' It seems then clear that the original intention 
 of a shake was to produce a trembling effect, and so the modern custom of beginning with the principal 
 note may be held justified." ( Grove's Dictionary of Music.) 
 
 Exercise 132 must not be put into practice until the first three variations of Exs. no, iii, and iia 
 (pp. 114-116) have been well mastered. 
 
 Commence each trill with a thorough inflation of the lungs, retain the breath a moment, then attack 
 and sing softly with the breath-pressure perfectly controlled, constant and steady, from first to last. The 
 mouth must continue immovably open ; the chin, lips and tongue perfectly still all the time. Throughout 
 the exercise carefully maintain the characteristic quality of whatever vowel is in practice. 
 
 Exercise 132. Preparatory. 
 
 Commence not faster thart M. M. J=60 
 
 i 
 
 ^; 
 
 -6-^ 
 
 r-^ 
 
 * * 
 
 m 
 
 ^^^ 
 
 m 
 
 s 
 
 P mm^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 w 
 
 sq 
 
 i 
 
 W 
 
 and so on 
 
 For accompaniment 
 see that of Ex. 88. 
 
 Exercise 133. 
 
 ,, M. M. about J =73 
 
 m 
 
 
 f 
 
 '3- 3 
 
 '3- S 
 
 P 
 
 i 
 
 \ V 
 
 "i 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 and so on 
 
 For accompaniment 
 see that of Ex. 88, 
 
 i 
 
148 
 
 VOICE AND SONG. 
 
 The tones forming the trill must be accurately intoned. Carefully guard against a gradual narrowing 
 of the interval, or the trill will degenerate into a tremolo ( see p. 2 1 ), or a vibrato in tune neither with the 
 principal note nor with the auxiliary. [N.B. Vibrato, " a tremulous effect differing from the tremolo in not 
 fluctuating from the pitch, partaking of the nature of a thrill, or a series of very rapid partial interruptions 
 of the pitch." (Baker.) ] 
 
 Exercise 134. The Trill. 
 
 At first not faster than M.M. J=iao 
 
 m 
 
 .(a)/^ 
 
 **£ 
 
 3s: 
 
 -iK 
 
 i 
 
 as above 
 
 ==E=r| 
 
 s 
 
 tfa=g 
 
 
 ^ 
 
 
 ^ 
 
 /r\ 
 
 =§= 
 
 
 3X1 
 
 
 3E 
 
 O 
 
 HE 
 
 ^ 
 
 ? 
 
 I 
 
 ^ 
 
 ^ 
 
 r\ 
 
 ^ 
 
 
 ~ri~ 
 
 
 351 
 
 l7 
 
 « 
 
 ■f t^ o J1 I fi ^^ 
 
 
 
 35= 
 
 ^ 
 
 ^ 
 
 « 
 
 /O 
 
 W o .1^1 r i - 
 
 
 s 
 
 o 
 
 ■fr-*^ 
 
 r=^=^ 
 
 ^ 
 
 
 « 
 
 r\ 
 
 i 
 
 ^ 
 
 o 
 
 » * 
 
 ^ 
 
 3E 
 
 ^ 
 
 ^ 
 
 §= 
 
 ^ 
 
 3S 
 
 ^ 
 
 rs 
 
 r\ 
 
 r\ 
 
 Si 
 
 ^ 
 
 F=f=^ 
 
 nt 
 
 ^ 
 
 ^ 
 
 May be sung in other keys, with an accompaniment adapted from Exercise 93 ; also, the exercise 
 itself may at first be abbreviated by omitting either the third or fourth measure, or both. 
 
VOICE AND SONG. 
 
 149 
 
 The trill is least effective and most difficult at the extremes of the compass ; therefore, it must be sat- 
 isfactorily accomplished in the " easy range " before taking in the higher and lower tones of the voice. 
 When the trill occurs where two registers meet, both tones must be produced in the higher of the two reg- 
 isters. Deep, heavy voices are not suited for this embellishment. 
 
 Practise ist, piano throughout; 2nd, mezzo forie throughout; 3rd, messa di voce as indicated. 
 
 Exercise 135. 
 
 At first not faster than M.M. J = 66 
 
 and so on 
 
 and so on 
 
 For accompaniment 
 use that of Ex. 88. 
 
 Exercise 136 
 
 M.M. J=132 
 
 P 
 
 Utr 
 
 ^te 
 
 -O- 
 
 yi 
 
 "W 
 
 =8= 
 
 JDC 
 
 3r: 
 
 33c: 
 
150 
 
 VOICE AND SONG. 
 
 ffis tt ^ |» t p p t t p jj, 
 
 hp f m f. m f m f m r m f P Urn P 1 
 
 pM-^ — r r r r rzxj!..L|' r r iir|^=±j — m i i i i i — i^j— • 
 
 -JL% , ^-— 5 1 
 
 / /^U ft m. w m m -m r«r. ..«— 
 
 p^pfpfpfpfpfpf p ^0.. p 
 
 p " f " f r f r f r f r f r f f f lip p 
 vf¥' „ 1 
 
 1 r r r r r r r r r r r r r r r ^r r i 
 
 — rs 
 
 
 — o 
 
 — o • 
 
 Ij fe^ 
 
 i 
 
 r < - irrr 
 
 i 
 
 i 
 
 A 
 
 &s 
 
 X5= 
 
 » 
 
 _Q_ 
 
 rc 
 
 B= 
 
 ^ 
 
 May be sung in 
 other keys. 
 
 351 
 
 It: 
 
 :8r 
 
 «: 
 
 Xi_ 
 
 ^ 
 
 -e»- 
 
 S 
 
 For accompaniment 
 see Ex. 93. 
 
VOICE AND SONG. 151 
 
 RECITATIVO. 
 
 "All music, even the simplest, resembles poetry in requiring regularity of accent and system in 
 cadence." With regard to the former there is a greater strictness in music than in verse ; for, with very rare 
 exceptions, the accents recur, at perfectly regular distances throughout a piece of music. The only analogy in 
 music to prose is to be found in recitative, which is simply declamation sung instead of spoken." ( Prout.) 
 
 (A) Ex. 69 ( Appendix, page 190) is an example oi free recitative, "in which the object of the com- 
 poser has been to express as accurately as possible the sense of the text by the inflexions of the music, just 
 as a good reader would deliver it ; while the performer is left absolutely free in tempo, so as to be able to 
 declaim it with more expression." ( Prout.) 
 
 ( B ) Appendix No. 70 is an illustration of recitativo a tempo. " In this the vocal portion is declama- 
 tory, rather than melodious, just as is the case with the free recitative ; but the accompaniment consists, not 
 of plain chords, but of some rhythmic figure or figures, so that it is impossible for the singer to vary the 
 time at his discretion." ( Prout.) 
 
 Wagner's recitative differs from the above " in the perfectly natural musical inflection of the vocal part 
 ( the ancient cadences, etc., being abolished ) and the richly instrumented and marvelnusly pregnant accom- 
 paniment." ( Baker.) 
 
 EXPRESSION AND INTERPRETATION. 
 
 " As the tendency of poetry is to exalt the thought, so that of music is to exalt the affections. As the 
 aspirations of the ^o^/ are to raise the mind to higher flights and sentiments, so those of the musician are to 
 elevate it to a higher — ^.nd fuller — exaltation of the emotions. We read poetry for t\i& former, and resort 
 to music for the latter ; and in vocal music both effects are produced if the means are adapted to the end. 
 Poetry in its external form should be expressed in language that implies the elevation of the sentiments, and 
 be composed in rhythmical or metrical lines. Music, in its outward form, is a composition of varied sounds 
 or tones, expressed in such style as to imply the elevation of the affections, and composed in rhythmical pro- 
 portion. What poetry is to thought, music is to feeling. As in painting or in sculpture we speak of the 
 'poetry of form,' so music may be called the poetry of sound; and, internally, the poetry oi feeling and emo- 
 tion." ( Bronson.) 
 
 " There is not any musicke of instruments, whatsoever, compared to that which is made of voyces, 
 when y" voyces are good and y^ same are well sorted and ordered." (William Byrd.) 
 
 The human voice is the most perfect musical instrument in existence and is capable of variation in ex- 
 pression to an extent unattainable with lifeless constructions. 
 
 In singing words, the chiaroscuro ( light and shade ) and the timbre ( tone-color or quality ) of the voice 
 should be suitable to the sentiment expressed : — love or hate, hope or despair, joy or grief, etc., in all their 
 phases. 
 
 The natural use of the voice' in the expression oi congratulations, as compared with It in the expression 
 of condolences ; in the reciting of a martial poem, as compared with the reciting of a pastoral one ; the sing- 
 ing of a psean or an epithalamium, as compared with the singing of a lam.ent or an epicedium, are all easily 
 realized illustrations of the principal timbres ( clear and sombre ) of the voice. 
 
 "A singer who is not able to recite his part according to the intention of the poet, cannot possibly sing 
 it according to the intention of the composer." ( Wagner.) 
 
 There is no real difference, as regards expression and feeling, between recitation and song ; therefore, 
 in studying a new song, the words should first be read over and over, and recited until their meaning is 
 thoroughly understood. 
 
 The student should then mark exceptional breathing and caesural places, using the sign » for the former 
 and the sign V for the latter ; also, words which demand special and peculiar emphasis may be marked — for 
 example, a pleading emphasis thus : < (= a rapid crescendo ) ; a bold, forceful emphasis thus : > ( = a rapid 
 diminuendo), or by the abbreviation sf { sforzando," iorced"); a somewhat w«r^^^ emphasis thus : a {marcato). 
 
 1 Cadence. " An harmonic formula ( i. e., succession of chords ) leading to a momentary or complete musical repose ; the close or ending of a phrase, section 
 or movement." ( Baker.) 
 
152 VOICE AND SONG. 
 
 Places appropriate to either a sudden or a gradual change in pace {tempo), to either a sudden or gradual 
 change in loudness ( dynamics), more or less oi a. pause ( hold) on a single note or a rest, a tender or a vig- 
 orous portamento, a sospirando, a singhiozzo, a morendo, a Jo//o T'Of^, etc., as well as changes in timbre, may be 
 indicated in the customary manner by words or signs ( see page 19 ). In the expression of intense feeling, 
 the tremolo or the vibrato may be used ; but this, like the portamento, may be ( and is, too often ) very 
 much overdone, and so, instead of being the agreeable effect imagined by the, singer, becomes in reality a 
 disagreeable defect to an auditor. 
 
 Of course, there is much of true expression and accentuation which cannot be expressed by written 
 signs, and which only the good taste and culture of an artist can reveal. 
 
 The best source of instruction, after that of an experienced teacher, is hearing first-class artists, in- 
 strumental as well as vocal. The student should avail himself of such opportunity as often as possible. 
 In this way he will gain knowledge of inestimable value. 
 
 Young singers often ruin the beauty and freshness of their voices, making them sound old and worn- 
 out, either by hurrying and forcing their progress, or in vain attempts to imitate the matured timbre of 
 experienced singers whose voices have been ripened by years of well-directed and conscientious study. 
 
 " Every pupil should keep before his mind as the goal of his ambition, to make his voice an in- 
 strument capable of producing beautiful tones ; and let him set this down for a fact, that beauty of tone 
 and ease of production are so interrelated that you can not have the one without the other. The two form 
 the foundation of good singing and the long life of the voice. Everything that is correctly used will grow 
 strong by use. The voice that is easily produced will grow more powerful with each year. But let 
 power or range be the goal, let the pupil bend all his energies toward getting as much volume as possible 
 from his voice, and just as surely the voice will lose whatever quality it may have had, sound forced and 
 labored, and in the end be another ruined voice to add to the list." ( Karleton Hackett.) 
 
 Finally, after having perfected both vocal and verbal technique, the student must give some attention to 
 
 Facial Expression, 
 
 which should be a natural reflection of that of the voice, and which in singing displays itself chiefly in the 
 play of the features around the eyes ; for example : 
 
 1 . " Looking downward, they express grief, perplexity, diffidence, shame, humility, disappointment. 
 
 2. Upward or raised — joy, delight, hope, pride, admiration. 
 
 3. Forward — determination, courage. 
 
 4. Averted — disgust, aversion, listening. 
 
 5. Around — tranquillity, satisfaction, self-complacency. 
 
 6. Rolling the eyes — expresses despair, rage, madness, jealousy. 
 
 7. Glaring — madness, revenge, distraction, pain, rage, jealousy. 
 
 8. Staring — boasting. 
 
 9. Vacant — despair. 
 
 10. Fixed and wide — fear, terror, despair, consternation. 
 
 1 1 . Flashing — malice, anger. 
 
 " The Brows, when natural, express veneration, tranquillity ; when knit, jealousy, anger, remorse, 
 hatred; when elevated, admiration, wonder, fear, terror, desire, joy. 
 
 " The Head also Is expressive in position and motion : Erect, it indicates dignity, confidence, courage, 
 honor ; thrown back, pride, vanity, mirth ; inclined forward, humilty, diffidence, shame, grief; inclined aside, 
 langour, indifference; assenting or nodding, agreement, consent, acceptance; denying or shaking, dA%%&Ci\., 
 denial, disapproval ; tossing, disdain, scorn, anger." ( Potter.) 
 
 Nervous and inexperienced singers often allow the face to become dull and expressionless, while others, 
 probably from an honest endeavor to carry out the favorite adage, " pleasant face makes pleasant tone," 
 will put on a smirk at the beginning of a song and carefully wear it, scarcely varying a single crease, right 
 through to the end. 
 
153 
 
 APPENDIX. 
 
 Miscellaneous Passages Selected from Standard Works 
 and adapted for the practice and study of 
 
 INTONATION, STYLE, TIMBRE, SOSTENUTO, COLORATURA, AGILITY, FLEXIBILITY, LEGATO, STACCATO, 
 MARCATO, PORTAMENTO, RADDOPPIATO, DOTTED NOTES, TRIPLETS, SYNCOPATION, 
 EMBELLISHMENTS, RECITATIVO, CADENZAS, etC. 
 
 In all these passages, the Breathing-places, Phrasing, and Expression, are carefully marked for Practice 
 in Interpretation. The signs for inspiration and retention ( » h ) placed at the com mencement of each selection 
 are intended to remind the student, that, after each inspiration throughout the selection in practice, he must 
 steadily and calmly " hold the breath " for a moment. ( See Footnote, page 47. ) 
 
 In the following pages, the notes on which special accent-marks (Aor=-) are placed, must never be 
 inordinately forced. The strength of an accent is regulated by its situation, and the character of the pas- 
 sage in which it occurs. In a vigorous passage, Hke No. 29, for example, the accentuation will be very em- 
 phatic, or ben marcato (well marked); whilst in a passage like No. 42, it will be as in ordinary speech — felt 
 rather than heard. In No. 16 the note on " I " is marked > as a reminder that the metrical accent has its 
 place there. Phrases which commence with three notes in a weak part ofa measure of simple time, are often Im- 
 properly accentuated on thejfrj/ of the three notes. Similarly in No. 49, where three i6th-notes are to be 
 sung to the one syllable " A." It is a common fault with pupils to accent the first of the three, singing them 
 in the manner of a triplet. These notes are usually written in one group, thus R^ ; but in the illustration 
 
 ( No. 49 ) they are written thus .^^, a grouping which, without the aid of the special mark (>), should 
 
 sufficiently indicate the proper accentuation. A thorough comprehension of time and time-signatures would 
 make the commission of such errors well nigh impossible. ( See page \\ et seq. ) In agreement with the time- 
 signature of No. 38, the groups of six i6th-notes are subdivided into three twos, M H jn; ordinarily, the 
 six notes are written thus, J : J J p. Students, in their accentuation of this passage, often subdivide the 
 group into two threes, H— j M^j producing an effect very different from that required by the composer. 
 Review Variations 19 and 20, page 81. These long florid passages are, in many instances, more or less ex- 
 act imitations or repetitions, on different degrees of the scale, of some one initial figure or pattern. In No. 
 38 the second measure tonally imitates the first measure ; if it were a real and exact imitation, G and D would 
 have to be sharped, which would take it out of the original tonality ( K.ey of D major) into that of E major. 
 The student should similarly analyze other passages ( see Nos. 30, 32, 35, 39, 41, 43, 45, 54, c^c,, 64, etc. ). 
 When studying such passages the student should first thoroughly learn the initial figure ( or figures ), and 
 practise each repetition well before singing the whole passage. 
 
 Passages like that to be sung to the word "charming" in No. 13 must be lightly, smoothly {legato ) 
 and distinctly rendered. Particularly note in this passage the change from 32nd-notes to i6th-notes; when 
 properly performed it is indeed a "charming" bit of vocalization, otherwise it becomes just an ugly smear 
 of sound. The high B flat must be taken clearly and calmly — turn the corner, so to speak, gracefully ; one 
 so often hears this B flat taken with a rush and, if reached at all, only hurriedly touched as though it were 
 something hot. 
 
 Within the customary long curved lines of the cadenzas Nos. 76 to 80, short subsidiary curved lines have 
 been added. The accentuation implied thereby very considerably simplifies the execution of what, at first 
 sight, may seem to be an extremely difficult passage. In the finished performance ofa cadenza this accentua- 
 tion, of course, must never be unduly prominent. 
 
 Finally, it must be stated that very few of these special markings for accent, etc., will be found in the 
 original editions ; in this Method they are simply suggestive interpretations for the purpose of instruction 
 and practice. The experienced teacher may {apiacere) interpret many of the passages altogether differently. 
 
 " Get your voice disciplined and clear, and think only of accuracy. If you have any soul worth expressing, 
 it will show itself in your singing." ( Ruskin. ) 
 
154 
 
 Sources of the Excerpts in the Appendix. 
 
 1 "O thou thattellest" {Messiah) Handel. 
 
 2 " Angels, ever bright and fair " 
 
 [Theodora) Handel. 
 
 3 "The trumpet shall sound" {Messiah) Handel. 
 
 4 " Thy glorious deeds " ( Samson ) Handel. 
 
 5 "A May Morning" {Song) Denza. 
 
 6 " Slumber, beloved " {Christmas Oratorio) Bach. 
 
 7 " Thy glorious deeds" {Samson ) Handel. 
 
 8 " Ev'ry valley " ( Messiah ) Handel. 
 
 9 " Oh, had I Jubal's lyre " {Solomon) Handel. 
 
 10 " Sacred raptures " ( Solomon ) Handel. 
 
 1 1 I " Thus saith the Lord to Cyrus " 
 
 12 I {Belshazzar) Handel. 
 
 13 "With verdure clad " ( Creation) Haydn. 
 
 14 " The marv'lous work " {Creation) Haydn. 
 
 15 " With verdure clad " {Creation) Haydn. 
 
 16 " Honour and arms " {Samson) Handel. 
 
 17 " Let the bright seraphim " {Samson ) Handel. 
 
 18 " Dear love ! thine aid !" 
 
 ( Samson and Delilah ) Saint-Saens. 
 
 19 " I will extol Thee " {Abraham) Molique. 
 
 20 " Pro peccatis" {Stabat Mater) Rossini. 
 
 21 "The daughters of the city" {Rebekah) Barnby. 
 
 22 " From mighty kings " 
 
 ( Judas Maccabeus ) Handel. 
 
 23 " Honour and arms " ( Samson ) Handel. 
 
 24 ) " When warlike emblems " 
 
 25 f ( Occasional Oratorio ) Handel. 
 
 26 " Now vanish " ( Creation ) Haydn. 
 
 27 " Let the bright seraphim " ( Samson ) Handel. 
 
 28 " Pluck, root and branch " {Esther ) Handel. 
 
 29 " From mighty kings " 
 
 ( Judas Maccabaus ) Handel. 
 
 30 " Honour and arms " {Samson) Handel. 
 
 31 " Most beautiful appear " {Creation) Haydn. 
 
 32 " When warHke ensigns " 
 
 ( Occasional Oratorio ) Handel. 
 2,2 " The Lord worketh wonders " 
 
 ( Judas Maccabaus ) Handel. 
 34 " On mighty pens " ( Creation ) Haydn. 
 
 2$ " Honour and arms " {Samson^ Handel. 
 
 26 " Hear ye, Israel " {Elijah) Mendelssohn. 
 
 37 " Waft her, angels " ( Jephtha ) Handel. 
 
 38 "O thou that tellest" ( Messiah) Handel. 
 
 39 " From mighty kings " 
 
 ( Judas Maccabaus ) Handel. 
 
 40 " Ev'ry valley " ( Messiah ) Handel. 
 
 41 " The Lord worketh wonders" 
 
 ( Judas Maccabaus ) Handel. 
 
 42 " Guardian angels " ( Triumph of 
 
 Time and Truth ) Handel. 
 
 43 "In the battle " {Deborah ) Handel. 
 
 44 " The Lord is great " ( Creation ) Haydn. 
 
 45 " Why do the nations " ( Messiah ) Handel. 
 
 46 " With verdure clad " ( Creation ) Haydn. 
 
 47 " Pour forth no more " ( Jephtha) Handel. 
 
 48 " I follow Thee " ( St. John Passion ) Bach. 
 
 49 " O thou that tellest" ( Messiah ) Handel. 
 
 50 " When this scene " ( Crucifixion ) Spohr. 
 
 51 " Arm, arm, ye brave " 
 
 {Judas Maccabaus) Handel. 
 
 52 " L' Ete" [Summer] {Song) Chaminade. 
 
 53 " Cujus animam " {Stabat Mater) Rossini. 
 
 54 " Thy glorious deeds " ( Samson ) Handel. 
 
 55 "From mighty kings" 
 
 ( Judas Maccabaus) Handel. 
 
 56 " But who may abide" ( Messiah ) Handel. 
 
 57 " On mighty pens " ( Creation ) Haydn. 
 
 58 " Inflammatus" {Stabat Mater) Rossini, 
 
 ^^ I " Jewel Song " ( Faust) Gounod. 
 
 61 " How vain is man" {Judas Maccab.) Handel. 
 
 61 " Farewell, ye limpid springs " 
 
 ( Jephtha ) Handel. 
 
 62 " L' Ete" [Summer] {Song) Chaminade. 
 
 64 " Thy mighty power " ( Song ) Novello. 
 
 65 " Why do the nations " {Messiah) Handel, 
 
 66 "IlBacio" {Song) Arditi. 
 
 67 " Carnival of Venice " ( Song ) Benedict. 
 
 68 " Shadow Song " {Dinorah) Meyerbeer. 
 
 69 " I mourn as a dove " ( St. Peter ) Benedict. 
 
 70 "To Her Portrait" {Song) Parrott. 
 
 71 "ElWuish" {Song) Parrott. 
 
 72 " Once more has heaven " 
 
 {Paradise Lost) Rubinstein. 
 
 73 "Thy rebuke" {Messiah) Handel. 
 
 74 " For behold " ( Messiah ) Handel. 
 
 75 " Ha 1 Ho ! Ward of the woods 1" 
 
 ( Parsifal) Wagner. 
 
 76 "Infelice" {Ernani) Verdi. 
 
 77 "Com'ebello" {Lucrezia Borgia) Verdi, 
 
 78 "lol'udia" {Torquato Tasso) Donizetti. 
 
 79 "Parmiveder" {Rigoletto) Verdi. 
 
 80 " Bel raggio " {Semiramide) Rossini. 
 
1 Andante (A 152) 
 
 Appendix, 
 
 See List of Sources, on page opposite. 
 
 166 
 
 ; H Be - hold your 
 
 Goan 
 
 i 
 
 i 
 
 IT 
 
 ^ Be - hold your GodT 
 
 God! 
 
 3 Pomposo ma non allegro (Jzioo) ^^^__ 
 
 II - ij j" J 
 
 ^ 
 
 EE^ 
 
 ^ 
 
 p 
 
 ^H-<^ 
 
 s=* 
 
 ) H The trum-pet_ shall sound, 
 
 y H the truin-pet_ shall 
 
 sound 
 
 m 
 
 I 
 
 J and the -dead shall be rais'd 
 
 « 
 
 i«=ir 
 
 r ift 
 
 I 
 
 :^ 
 
 13 
 
 ^^ 
 
 ^ 
 
 
 » — d^-d 
 
 crescf 
 
 m 
 
 B 
 
 fe 
 
 p 
 
 cresa 
 
 ESl 
 
 <^= • 
 
 i 
 
 Allegro (J =116) 
 
 ^■hJIJiiJJiiDU 
 
 i 
 
 E 
 
 rc 
 
 m 
 
 J M Whilst airs of joy from thence did flow. 
 
 vni^J) 
 
 m 
 
 ^ 
 
 ^ta 
 
 i 
 
 i 
 
 f^ 
 
156 
 
 VOICE AND SONG. 
 
 5 Allegro con spirito(J=i44) 
 
 lov'd 
 
 
 ^^ 
 
 one, 'en- 
 
 I 
 
 ^^ w=^ 
 
 ■c # 
 
 siPi; 
 
 
 ^ 
 
 S 
 
 i 
 
 joy — 
 
 ^ 
 
 ^ 
 
 .J^ I i J J. ^ 
 
 f 
 
 ^ 
 
 H=^ 
 
 thy re- -posBT 
 
 ^ 
 
 r71 j?T^ : 
 
 f 
 
 7=P 
 
 rit. 
 
 >j'it n i^ 
 
 X5 
 
 m 
 
7 Allegro (J=ii6) 
 
 VOICE AND SONG. 
 
 157 
 
 m 
 
 m 
 
 fTTJ J ^ ji 
 
 ^^ 
 
 •ngue, Vhilst, airs of_ iov 'from thence did_ flow. 
 
 ? H Thy glQ - cious deeds in -spirli m^ tongue, Vhilst. airs of_ joy 'from thence did_ 
 
 j H Warm. 
 
 ^ 
 
 ^ 
 
 I 
 
 J^ 
 
 f 
 
 f= 
 
 P tf ti ^^^^".nf P°°^PQSO jJ = 108) 
 
 « i ^"^J' J> ji I J ^ 
 
 S 
 
 JM^ ^ I 
 
 J H And cut a - sun - der the bars. 
 
 of 
 
 1 - ron. 
 
 ^ 
 
 E 
 
 "^^^U VVU 
 
 ^B 
 
 m 
 
 * — if 
 
 g^ 
 
 k 
 
 ^ 
 
 ^ 
 
 ? 
 
 1^ ^ Largo e pomposo (J=jp8) 
 
 ^ ->• * ^ 
 
 f 
 
 y - 
 
 ^ 
 
 ^^ t 
 
 ) H That from the ris - tng_ to the_ set - ting— sun 
 
 i 
 
 i 
 
 m' # * 
 
 ^^ 
 
 P 
 
158 
 
 Andante (J)= 92) 
 
 VOICE AND SONG. 
 
 marcato ^' ^' ■*" "^ ' (» 
 
 ) M Though I could end thee at a blow, though I cou ld, end thee at a blow. 
 
 J H Their loud up- -lift - ed an - gel - trum - pets (j) blow, 
 
 ^ — > theii 
 
 i 
 
 tf 
 
 loud up- -lift-ed an -gel - trum - pets (j) blow. 
 
 • • 
 
 > « * # 
 
 1 
 
 * * ji 
 
 J^JTf]| t 
 
 _^i *> 
 
 ^ i 
 * j 
 
'3^ _ Moderate (J = 92) acce/ 
 
 VOICE AND SONG. 
 
 159 
 
 # 
 
 Thou 
 
 
 > J . t' * J • 
 
 "wilt heed me, ^ j And _ from danger ; se 
 
 me free . 
 
 I 
 
 j^^/^ 
 
 ^^ 
 
 ^^^ 
 
 
 
 f 
 
 ^ 
 
 » 
 
 s 
 
 ^ 
 
 ^ 
 
160 
 21 Andante (J^ss) 
 
 VOICE AND SONG. 
 
 P 
 
 ^^ 
 
 ,J w Yea, 
 
 ^^ 
 
 ^^ 
 
 to repeat 
 
 I to finish 
 
 A 
 
 let it come to pass ,0)0 Lord 
 
 } my 
 
 God. 
 
 God. 
 
 22 Allegro (J:io4) 
 
 % 
 
 ^ 
 
 U ^-^' u 
 
 ^ 
 
 > H And tri - umphs in her he - ro'i 
 
 fame. 
 
 24 Allegro (J r 104) 
 
 f ^marcato \ 
 
 * 
 
 5 
 
 i 
 
 g 
 
 ^ 
 
 ? 
 
 en - sierns wa' 
 
 :^ 
 
 J H When war - like en - signs wave on high 
 
 ^ 
 
 3e 
 
 ^^^ 
 
 t 
 
 «[. Allegro (J: 104) 
 -^"^ f marcato 
 
 i 
 
 * 
 
 ^ 
 
 J' J^ J^ J' 
 
 ^ 
 
 ^ 
 
 i^ 
 
 1^^ 
 
 ) H And trum - pets pierce the vault - ed 
 
 sky. 
 
 ^ 
 
 ^ 
 
 ^ r^ r 
 
 ^^ 
 
 * 
 
 26 Allegro (Jriaotoiss) 
 
 i 
 
 te 
 
 w Af - fright - ed fly the curs - ed fiends of hell 
 
 -o- 
 ■»■ 
 
 ^^ 
 
 ',-iH ^^^^ 
 
 ¥ 
 
 jDO 
 
VOICE AND SONG. 
 
 2 7 Andante (iz93) ^^f^ ^ 
 
 i^ ;i^ 
 
 ^^ 
 
 161 
 
 m 
 
 ^M 
 
 Their loud up - lift - ed an - gel - trum - pets bl 
 
 ow. 
 
 ag 
 
 ^ 
 
 ^^OX ^^^^^ moderatd (J =76) fi^mwrca to ^ 
 
 S 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 y H 
 
 Pluck 
 
 ^ 
 
 root 
 
 ^^^'' 1 ^ w 
 
 ^s 
 
 ^^ 
 
 ^7 
 
 J luuu ana orancn i 
 
 W 
 
 and branch i from out the land 
 
 r .p r 
 
 ^ 
 
 i 
 
 30 Allegro (J =102) — 
 
 ) H Or glo 
 
 P 
 
 ry. 
 
 ^ 
 
 ? 
 
 ^m 
 
 p ♦w^,,^^ #5 
 
 I 
 
 4 
 
 ^; 
 
 ^ a j; Moderate cantabile (J)= 100) ju 
 
 ♦ * i # 5 i' 
 
 
 ^^ 
 
 U U- £J 
 
 n I J < I I 
 
 w The 
 
 gen - tly , slop - ing — 
 
 hiUs. 
 
162 
 32 Allegro (J = 104) 
 
 VOICE AND SONG. 
 
 \ A A 
 
 ) M And trum - pets pierce 
 
 J the vault 
 
 i 
 
 ^ 
 
 , — A 
 
 S^ 
 
 ^^^ :- — r- 
 
 /r-. 
 
 m 
 
 i 
 
 P 
 
 cresc. 
 
 T— r~f 
 
 * 
 
 / 1 
 
 
 ed sky, ; and trumpets pierce the vault - ed,j vault - ed sky. 
 
 M 
 
 w 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 ? 
 
 f 
 
 a 
 
 #- -(« 
 
 1t-.1^ # 
 
 33 Allegro (J = 100) 
 
VOICE AND SONG. 
 36 Allegro maestoso (J = 132) \ 
 
164 
 
 39 Allegro (J: 104) 
 W- ^ 
 
 VOICE AND SONG. 
 
 - ry 
 
 i^ 
 
 ^ 
 
 5 
 
 0^ 
 
 ) to 
 
 S=* 
 
 raise,. 
 
 S 
 
 ^^^ 
 
 O^His glo - ry To raise 
 
 ^ 
 
 £ 
 
 ^T 
 
 9^f=# 
 
 ^ 
 
 f— If 
 
 i,:^ rrj^ 
 
 42 Larg-o (J):ioo) 
 
 L. . 1>< 
 
 m 
 
 J H Gmird-ian an - gels, pro-tect me,; And in vir - tue's paths di-rect me,)While re - 
 
 fk 
 
 ^ 
 
 ^^ 
 
 P ^7 , " ^3 
 
 f 
 
 1^ 
 
 ^ 
 
 ^^ 
 
 1 fi ^ 
 
 f 
 
 ^ 
 
 ?= 
 
 ^ 
 
 y 
 
 rail. 
 
 i 
 
 i 
 
 t 
 
 F 'i^'-, F r. 
 
 ^m 
 
 sign'd to heav'n a - bove 
 
 * 
 
 5^ 
 
 gE 
 
 f 
 
 f 
 
 ^=T 
 
 I 
 
 i 
 
 I" 
 
 r 
 
 ^ 
 
 « — # 
 
 co/ifa ijoce 
 
 ^ 
 
 i 
 
 i 
 
VOICE AND SONG. 
 
 165 
 
 43 Allegro (^riie) 
 
166 
 
 Andante («f):96) 
 
 VOICE AND SONG. 
 
 ^? , Andante (^= 120) 
 
 A 
 
 MM 11^ 
 
 M 
 
 1 1 y 
 
 J^lJT] 
 
 *t 1 i t 
 
 *=* 
 
 ^FfF 
 
 rise. 
 
 :it 
 
 i'- 
 
 a^ 
 
 ^^ 
 
 ^ 
 
 ^te 
 
 rise, 
 
 m 
 
 M= 
 
 rise 
 
 * 
 
 ^ 
 
 ? 
 
 ^ 
 
°^ Larghetto (J>:ioo) 
 
 VOICE AND SONG. 
 
 52 Allegro (J -=88) 
 
 ^ 
 
 . y>^r\. .•= ?> 
 
 J H Ah, 
 
 ^ 
 
 ^ 
 
 J' P r. ^ iFTTi 
 
 53 Allegro maestoso (J = loo) 
 
 f f f »t 
 
 sweet bird of spring. 
 t 1 « P 
 
 J H Lord, 
 
 ^ 
 
 iij - cline 
 
 Thiiie 
 
 % 
 
 fct 
 
 ^ 
 
 ^ 
 
 SE 
 
 ^, 
 
 1 
 
 ^ 
 
 S 
 
 ^^ 
 
 £ 
 
 ffi 
 
 ^K 
 
 ^ 
 
 ^ 
 
 ^ 
 
 te 
 
 ear, 
 
 (j) and— hear 
 
 me.— ^ Let 
 
 O) Thy^ lov - 
 
 ing 
 
 S 
 
 ^ 
 
 va'i> i^iV}}^ ^ 
 
 m 
 
 tt t 
 
 ^^ 
 
 ^^ 
 
 ^^ 
 
 ^! 
 
 i 
 
 fei 
 
 ^ 
 
 ^^^ 
 
 ... ■'. 
 
 kind 
 
 ^^ 
 
 ness 
 
 ^ 
 
 cheer. 
 
 me ) 
 
 When 
 
 -•-= 0- 
 
 V't''l> il ^ 
 
 ^ 
 
 HMt 
 
 rtt 
 
 ^^ 
 
 J^ -^ Lf P ' P 
 
 ^ n ^ 
 
 ^ 
 
 i 
 
 fe 
 
 s 
 
 ^^ 
 
 (repeat f) 
 
 i 
 
 httm 
 
 bly- 
 
 i 
 
 fc* 
 
 e 
 
 pray 
 
 P- P m 
 
 to -,«. Thee. 
 
 S 
 
 ^ 
 
 I 
 
 = ?= 
 
 f 
 
 ^ 
 
 :j^'i/' i •' Lf ^ ^ 
 
 ^^^ 
 
 Si* 
 
 JSl 
 
 fc?^ 
 
 ^ 
 
168 
 54 Andante (J = m6) 
 
 VOICE AND SONG. 
 
 gjt' J J rj^j_^^ I /T3 i^. isJAJ^ I ^ ^J3 
 
 thence did flow 
 
 m 
 
 i 
 
 1 " # 
 
 s 
 
 ^5 Prestissimo (J = 144} 
 
 marcato 
 
 ^^== 
 
 ^ 
 
 ^ 
 
 f 
 
 :±: 
 
 d • d 
 
 M For He is like a re - fin 
 
 i 
 
 ^ 
 
 ^? 
 
 =s = 
 
 /> 
 
 ^ 
 
 ;;* 
 
 P * * *^i 
 
 "^ 
 
 ^ 
 
 ^ 
 
 
VOICE AND SONG. 
 
 169 
 
 er's fire. 
 
 ft* 3 
 
 P 
 
 .r \ f 
 
 
 ^^ 
 
 I 
 
 m 
 
 ■m — ^-0 
 
 f 
 
 a 
 
 1^ 
 
 * 
 
 / ^ 
 
 A 
 
 m 
 
 f p 
 
 ? 
 
 ^ 
 
 57 Moderate (J ri0 4) graziosamente 
 P 
 
 p>- LL /pv L:r i 
 
 ^ 
 
 ^^ 
 
 Si 
 
 J M Her soft. 
 
 0) 
 
 i 
 
 # 
 
 ^ 
 
 B^e 
 
 4^-^ 
 
 !> 
 
 ^ 
 
 ^^ 
 
 :f=t 
 
 ^H 
 
 z: 
 
 ^ta 
 
 . I . . r F rBJ S B 
 
 ^ 
 
 0) 
 
 ^ 
 
 i 
 
 (her soft) 
 
 ^ 
 
 P 
 
 P 
 
 m 
 
170 VOICE AND SONG. 
 
 58 Andante maestoso (J = 66) 
 
 dwell 
 
 imi-'iiiii"iiiii-' -^-^^tKtHK^ 
 
 with Thee. 
 
 iiiuuUU' iiiiiiiiiii 
 
 f 
 
 m 
 
 I 
 
 i 
 
 59 * 
 
 « 
 
 m 
 
 Allegretto (Jrl.ss) 
 
 P 
 
 cresc. 
 
 zzl 
 
 ^ 
 
 ^^ 
 
 Ah!. 
 
 ■y ^ J 
 
 p 
 
 
 ^ ^ ^ 
 
 i 
 
 %t 
 
 rrr i prrrrrjirf^ 
 
 to repeat 
 
 to finish 
 
 U P P ft P If 
 
 ^==F 
 
 ^^ 
 
 i 
 
 ItfE 
 
 3j 
 
 ^ 
 
 ^ 
 
VOICE AND SONG 
 
 ^l , Andante (J = 66) P 
 
 ^M 
 
 r^ 
 
 P I P i' i' J' L' ^ f 
 
 H The 
 
 val - our of gi - gan 
 
 qjy-v^»s>^^^^»»>»»%fcv^.^^^^^^^v 
 
172 
 62 Larghetto (Jzhh ad lib.) 
 
 VOICE AND SONG. 
 
 *) Repeat nd lib., for practice 
 
VOICE AND SONG 
 
 - gine a vain thing, 
 
 jf f * * * * * f 
 
 ) i - ma 
 
 i 
 
 uitnrmi 
 
 - gin^ a vain thing? 
 
 S 
 
 I 
 
 is 
 
 S 
 
 55pi? 
 
 ^ — a 
 
 fe 
 
 i 
 
 ;^ 
 
 8 
 
 nzm 
 
 66 
 
 fr 
 
 Con molt' anima e brio, e ben marcato(aj.= 76) . . 
 
 (S 
 
 ^^ 
 
 I 
 
 -^-^A 
 
 i 
 
 fel 
 
 i 
 
 S 
 
 i 
 
 £ 
 
 ^ 
 
 i»— y 
 
 ^ 
 
 ^ 
 
 ^*^ Bright - ly dawns up - on me, dawr 
 
 0) 
 
 dawns up - on me morn-ing's glad-some ray,_ Re- 
 
 1 
 
 m 
 
 £ 
 
 £ 
 
 ^ 
 
 ^ 
 
 1r^ 
 
 T? 
 
 4-^ 
 
 P 
 
 V f 
 
 f » 
 
 1 9 
 
 f V 
 
 H J ^ ^ 
 
 ^ 
 
 ? 
 
 ^ 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ A A 
 
 M J ^ J I Tr' p I r ^ ^ 
 
 i 
 
 i 
 
 i 
 
 i 
 
 ^ 
 
 turn- ing, (^ yes, re -turn - ing from my ex - He TanZ. a -way. 
 
 
 3 
 
 i 
 
 i 
 
 ¥ # 
 
 7 ¥ 
 
 
 i 
 
 5 
 
 ^ 
 
 
 ^ 
 
 r: :? 
 
 ^S 
 
174 
 ^7 Andante con motoCaH: 
 
 VOICE AND SONG. 
 
 PP 
 
 i 
 
 ^1 
 
 
 re-ply! ^ Ah! 
 
 ^ 
 
 b'l.'' j|» T > t i p > \ Bt » If!? ^ 
 
 _Wellsung! 
 
 y 7 l *p y » *p » » I P > » : 
 
 ' H\> i)y ^ ^ ^ ^^^ r I p y » j y ^ 
 
 M r F 
 
 =^=^ 
 
 y y u y =^ 
 
 J 
 
 69 I 
 
 ^ J, Andante con moto(J = 76) 
 
 i 
 
 - jij^ J^ J^ig 
 
 ^; 
 
 P'f P P 
 
 M La-twrnot to comfort me, 
 
 y H For I will weep bit- ter-ly, 
 
 PP dolce 
 
41 
 
 PP 
 
 VOICE AND SONG. 
 dolce dssai 
 
 175 
 
 :| 
 
 ^^ 
 
 r\ 
 
 ^ 
 
 i 
 
 S 
 
 ^ 
 
 ^ 
 
 -6*-^ 
 
 ;h I will weep ;h bit-ter-ly, ^h 1 
 
 mourn 
 
 ; 1 
 
 mourn as a 
 
 *i; Lento e sostenuto (J = 46) 
 
 ^m 
 
 ^ 
 
 pp rit' 
 
 P^M - I 
 
 P 
 
 f 
 
 ^ 
 
 ^ 
 
 ^ N Sweet, down- cast lids! ^, 
 
 ^ J J j 
 
 * « i * 
 
 fn4^ 
 
 ^3=^ 
 
 ^ 
 
 i r|t « P y ^ 
 
 Tm 
 
 hSs^ 
 
 r 
 
 71 Mo.deratoXr.V , ,'? ,- 
 
 w 
 
 n*** 
 
 V r ji 
 
 Sweet,si-lent lips!. 
 
 i 
 
 tttj 
 
 dwi.y^ colla voct 
 
 "or 
 
 PP 
 
 ^—l 1=1: 
 
 
 
 ^ 
 
 i?p: 
 
 •19- -P- 
 
 ^ 
 
 H Ah, Ar-abmaid,I, dream in_ vain 
 (J = 56) ^ fTs ' 
 
 /?\ 
 
 ^ 
 
 
 co//a voce 
 
 i 
 
 
 ^^&^ 
 
 J. J) J- Jl 
 
 ^?p- 
 
 J- y . | W):ii 
 
 ; H The Shep 
 
 - herd true.. 
 
 « ll# #t ttjt#il| 
 
176 VOICE AND SONG. 
 
 no 
 
 ( Nos. 73 to 75 are the examples of Recitativo referred to in the text.) 
 Largo p jiecit ^ _^ p 
 
 i 
 
 ^ 
 
 i 
 
 "^^^ 
 
 P^ 
 
 ^ 
 
 t 
 
 > J^ J) 
 
 m 
 
 z± 
 
 )H Thy re-buke 
 
 hath brok 
 
 k 
 
 P 
 
 rt 
 
 en His heart, 
 
 He is full of 
 
 i 
 
 ^= 
 
 ffi 
 
 ^2-5 3 
 
 1> (about J: 58, ad lib.) 
 
 ^. 
 
 221 
 
 I. .- i J tJi^ 
 
 g 
 
 ^^^ 
 
 rp p-^^ r 1 ^^ 
 
 ^ 
 
 heav- i-ness, ^ He is 
 
 full of heav- i - ness; ^ Thy re-buke ^ hath brok- en His heart. 
 
 ^ 
 
 i 
 
 ^ 
 
 m 
 
 s 
 
 -o- 
 
 ■ i/ ;, fj i' JHr^TTJ'p p Ni tJJi p n''hp p't'' p 
 
 ■^ He look-ed for some ^ to have pit-y on Him, ^ but there was no man, nei-ther found He 
 
 ^ 
 
 tasi 
 
 •-0 
 
 S 
 
 m 
 
 r^L 
 
 -& 
 
 T^ 
 
 
 -o- 
 
 ■JSl 
 
 T p > t r I p' > J t ^"p i "r p p r ^ F F I r p l i p r > 
 
 an 
 
 -y ^ to com-fort Him; ^ He look-ed for some ^ to have pit-y on Him,' 
 
 but there was no man, 
 
 nei - ther found he an - y ■^ to 
 
 ^ 
 
 com - fort Him. 
 
 
 i 
 
 n. 
 
 s 
 
 Zv 
 ^ 
 
 w 
 
 p 
 
 1- 
 
 i 
 
 
VOICE AND SONG. 
 
 177 
 
 '^ Andante larghetto(j^= 69) 
 
 ta 
 
 J JJ JJ JJ JJ 
 
 • '^ r f r r ^ 
 
 f f c r ^ 
 
 m 
 
 #=# 
 
 a ■=!==■ ■ 
 
 ,*■ * 
 
 *t^ 
 
 Recit. 
 
 ^^ps 
 
 ' P' g 
 
 ^ 
 
 H For be - .hold, 
 
 dark - ness shall 
 
 ^^ 
 
 ^^ 
 
 iiiiiii 
 
 ~w 
 
 p 
 
 'M l fJ^"^ 
 
 m 
 
 ^ 
 
 u P P 
 
 i; 
 
 r P P' 
 
 cov - er the earth, 
 
 ^ and gross dark - ness the 
 
 ±-l-i-^-i--^-$--i-i-4-d-^i-i ^ 
 
 .rjVrp qiZt 
 
 m 
 
 r^^r^^ 
 
 ^ 
 
 a 
 
 rT~rT 
 
 and gross 
 
 f ' f ' vv 
 
 essssa isei^&b 
 
 dark - ness the peo - pie; 
 
 — 4 =: -■ -'■ ^ ^ 
 
178 
 
 VOICE AND SONG. 
 
 on thee, ) and His glo 
 
 #^3 S S g SS S~f 
 
 i^ 
 
 ry ^ shall be seen up - on thee; 
 
 i 
 
 ^S 
 
 aa 
 
 ^ 
 
 r-^ 
 
 ^^ 
 
 -a 
 
 au — n 
 
 'Hi t ^ p piif p ir lip piir <, I) \ T P 
 
 Adagio 
 
 | T^J)r f I I 
 
 ^ 
 
 ^ and the Gentiles ^shall come to thy light, 7 and Kings to the brightness of thy ris-ing. 
 
 (Trombone) 
 
 * 
 
 ;m Ha! 
 
 Ward of the woods! >Dream-war-ders. I 
 
 S^=^ 
 
 ^ 
 
 c^* 
 
 l ITPff 
 
 :^m 
 
 J ten. 
 
 ff 
 
 dim. 
 (Strings) 
 
 ;^s 
 
 *The motiv of the Eucharist ( " Parsifal " ). 
 
VOICE AND SONG. 
 
 179 
 
 " I V^ | i ^ jJLj^p p 1 ^ p * - 
 
 1 
 
 war- rant! 7 Come,wake at least with the morn-ing! 
 
 ^ 
 
 ^^ 
 
 (Trpts. and 
 '^ Trombones) 
 
 ^ 
 
 ^ 
 
 i 
 
 J 
 
 '^'^I'l.^ t p" p p r t p I p" rr t p p" p I p- g p p p p H ■ i i 
 
 > Hear ye the call? ; Now thank our God 7 that He hath call'd on you to hear it! 
 
 (Plutesi 
 
 ^ (Bassoons) 
 fNos.76 to 80 are examples of "Cadenzas" defined on p.20) 
 
 76 Andante p 
 
 'hh> > r p 
 
 r\ 
 
 I - I r Y I ^^ 
 
 7h Yes, young 
 
 love's, yes, young lovefe flame! 
 
 77 Larghetto cantabilg 
 
 * The moiiv of the Grail. 
 
180 
 
 VOICE AND SONG. 
 
 Andantino 
 78 a pi 
 
 79 Adagio^ ^ 
 
 >WliJ>j7 
 
 ^M for thee,_dear,would deny, glad - 
 
 ly de-ny. 
 
 rT\ 
 
 1-i:i±=i-i^\ 
 
 m 
 
 p 
 
 ft ft «f 
 
 ^ ^ 
 
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VOICE AND SONG. 
 
 181 
 
 ANALYTICAL INDEX. 
 
 Large numerals refer to pages ; with an accompanying small numeral, to a footnote on that page. 
 
 A, the father of vowels, 29 ; the primary vowel, 29, 
 
 31 ; Italian, 29 ; position of parts concerned in 
 
 the enunciation of, 29. 
 A, a secondary vowel, 36. 
 
 A, in English, an impure or diphthongal vowel, 38. 
 Absolute duration, 9 ; pitch, 3. 
 Accent: Irregular, 12,13; measure, 11; medium, 
 
 11; primary, 11; regular, 11; secondary, 12; 
 
 strong, 11; syncopated, 12, 113; weak, 11. 
 Acciaccatura, 15. 
 
 Accidentals, 5, 6' ; in a chromatic scale, 67. 
 Accompaniment, i. 
 Active notes of a scale, 67. 
 Ad libitum, 8, 10. 
 
 Agility and flexibility differentiated, 77. 
 Alfine, 23. 
 
 Alphabetical names for differences in pitch, 2. 
 Alternating vowels, 34. 
 
 Alto : Compass 31, 51 ; staff, 3 ; voice, 3 (''), 31. 
 Analysis of chords, 127, 128; of consonahts, 40; 
 
 of intervals, iio-iii ; of primary vowels, 30; 
 
 of time-values, 7-9. 
 Ancient form of minor scale, 66. 
 Aperta, Voce, 52. 
 Appoggiando, 19. 
 
 Appoggiatura, 15, 146 ; see also Appoggiando. 
 Arioso : " But the Lord is mindful of His own," 47. 
 Arpeggi (Broken chords), 128; how to practise, 
 
 128, 133. 
 Articulation, 40, 43. 
 
 Artistic accentuation, 13; breathing, 13, 26, 63, 64. 
 Attack (starting of a tone), 33, 30C)) 3i- 
 Augmented intervals, 69, iii; triad, 127. 
 Auxiliary (embellishing) notes, 15. 
 Bar, II ; double-bar, 12. 
 Baritone, 31. 
 
 Bass, compass, 31, 51 ; staff, 3 ; voice 3(*). 
 Basso cant ante, 31 ; profondo, 31, 
 Beat, a regular part of a measure, 11 ; a regular 
 
 portion of a trill, 16; a unit of measurement, 9. 
 Bind ( Tie ), 8. 
 
 Blending the registers, 52, 113 (Var. 7). 
 Bound ( tied ) notes, 8. 
 Breath : Control, 24, 52, 63, 64 ; holding, 24, 25, 
 
 47' ; support, 32 ; deep ( full ), 24 ; manage- 
 ment of the, 24, 63, 64. — Also see Attack, 33 ; 
 Expiration, 25; Inspiration, 24 ; Release, 32; 
 Respiration, 24 ; Retention, 24 ; Sostenuto, 
 63, 64. 
 
 Breathing : Artistic, 13, 26, 64 ; clavicular, 24 ; deep, 
 24 ; breathing-places, 28. 
 
 Breve (note-form ), 6^ 
 
 Bridge-note in modulation, 72. 
 
 Broken chords {Arpeggi), 128. 
 
 " But the Lord " {Arioso ), 46, 47. 
 
 Cadence, i5i'o 
 
 Cadenza, 20. 
 
 Caesura, 20, 46'. 
 
 Cancel ( Natural ), 5. 
 
 Catena di trilli, 17. 
 
 C-clef, 3. 
 
 Chain of trills, 17. 
 
 Characteristics of the old Italian school, 32. 
 
 CHEST-register, -voice, 52. 
 
 Chiara, 30. 
 
 Chiaroscura, 151. 
 
 Chiusa, Voce, 52. 
 
 Chord, 127; common, 127; consonant, 127; of 
 the diminished seventh, 128 ; of the dominant' 
 seventh, 128; dissonant, 127; inversion of a, 
 127; major, 127; minor, 127. 
 
 Chords: Broken, 128; of the seventh, 128; pri- 
 mary, 127. 
 
 Chromatic 6, 66'; Intervals, 112; notes of a scale, 
 67, 71 ; scale, 67, 105 ; scale, harmonic ( or 
 true ) form, and melodic ( or convenient ) form 
 explained, 67 ; chromatic and diatonic semitone 
 differentiated, no; how to practise scale, 103. 
 
 Classification of voices, 31. 
 
 Clavicular breathing, 24. 
 
 Clear resonance, 32. 
 
 Clefs, 3. 
 
 Comma (interval), no. 
 
 Common chord, 127; errors of pronunciation, 44- 
 46. 
 
 Compass : Of voices, 31 ; extension upward, 52 ; 
 extension downward, 59 ; portion first to be 
 exercised, ^i. 
 
182 
 
 VOICE AND SONG. 
 
 Complete trill, i6, 17. 
 
 Compound intervals, i23(") ; time, 11; vowels, 37. 
 Consonant and vowel, combinations of, 41, 43. 
 Consonant chord, 127; interval, iii. 
 Consonant L as a voice-placer, 32, 40. 
 Consonants : Analyzed, 40 ; nasal, 40 ; oral, 40 ; 
 
 corrbinations of two or more, 42 ; tabulated, 
 
 39 ; unvoiced, 40 ; voiced, 40. 
 Contralto, 31, 51. 
 
 Convenient ( melodic ) form of chromatic scale, 67. 
 Coup de glotte ( Attack ), -i,},- 
 Covered tone, 52. 
 Crescendo on sustained tones, 63 ; on moving 
 
 tones, 112; how to practise, S^, 112. 
 Crotchet, 6^ 
 
 Ba capo ( D.C. ), 23, 53^ 
 Dal segno (D.S. ), 23. 
 Deep breathing, 24. 
 Degree of the stafF, 2. 
 Demisemiquaver ( note-form ), 6*. 
 Diagram of the scales, 68 ; of the vocal apparatus, 
 
 viii. 
 Diatonic, 6, 66^; intervals, iii ; scale, 66; semi- 
 tone, no; triad, 127. 
 Diminished interval, m ; seventh-chord, 128; 
 
 triad, 127. 
 Diminuendo on sustained tones, 64 ; on moving 
 
 tones, 112 ; how to practise, 64, 112. 
 Diphthongs, 37 ; how to sing, 37. 
 Displaying the voice ( Messa di voce ), 64. 
 Dissonant chords, 127; intervals, in. 
 Dominant, 128 ; of a scale, 66 ; seventh-chord, 128; 
 
 triad, I27^ 
 Dots: For Prolongation, 7; for Repeat, 23; for 
 
 Staccato, 9. 
 Dotted notes, 7. 
 Double appoggiatura, 15 ; bar, 12 ; dotted notes, 7; 
 
 flat, 5 ; sharp, 5. 
 Doubled consonants, 43, 44. 
 
 Duple (Two) time, ii ; compound, 11 ; simple, 11. 
 Duplet, 9. 
 Duration : Absolute, 9 ; relative, 6 ; of silence 
 
 ( Rests ), 8. 
 Dynamics ( Force ), 19. 
 E, a primary vowel, 35. 
 E, a secondary vowel, 36. 
 Easy range of a voice (Compass), 31. 
 Eighth, interval of an, 3, 66, no, in. 
 Eighth-note, 6 ; -rest, 8. 
 Elements of a tone, 2. 
 
 Embellishments, 15 ; how to sing, 146 et seq. 
 
 English language : Singableness, as compared with 
 others, 43. 
 
 Enharmonic, 70. 
 
 Enunciation, 29, 43. 
 
 Epiglottis, 40^ 
 
 Equal temperament, no. 
 
 Errors of pronunciation, 43-46. 
 
 Essential sharps and flats, 5. 
 
 Examples illustrating analysis of time-values, 
 7-9 ; chromatic notation, 68 ; embellishments, 
 16 ; four-part score, 22-23 ; primary and sec- 
 ondary accents, 11-12 ; pronunciation in Eng- 
 lish, 46-48, Italian, German, and French, 
 49-51 ; pianoforte accompaniments, 14, 133 ; 
 rhythmical and tonal imitation, 14 ; transposi- 
 tion, 4-6 ; use of expression-marks, etc., 21 ; 
 use of scale-syllables in solmization, 72. — Also 
 see Appendix. 
 
 Exercises. Consult special index. 
 
 Exhalation ( Breathing ), 25. 
 
 Experienced versus inexperienced singers, 152. 
 
 Experiments illustrating Breath-control : (i) In- 
 spiration, (2) Retention ( holding the breath ), 
 (3) Natural expiration, (4) Forced expiration, 
 (5) Controlled breath, (6) Controlled breath 
 slightly intensified, 25 ; illustrating the con- 
 ditions " Firm " and " Rigid " of muscular 
 tension, 29. 
 
 Expiration ( Breathing ), 25. 
 
 Expression, 151, facial, 152 ; words indicating, 19. 
 
 Extension of compass downward, 59 ; upward, 52. 
 
 Facial expression, 152. 
 
 Falsetto, 52. 
 
 Faults of pronunciation, 43. 
 
 Faulty attack, 33 ; tone-production, 30. 
 
 F-clef, 3. 
 
 Fifth (interval), no, in, 117. 
 
 Filar il tuono, 63. 
 
 Fine, 23. 
 
 Firmness and rigidity difi^erentiated, 29. 
 
 Fixed-Do method, 71. 
 
 Flat (inflection), 2, 4; double, 5. 
 
 Flexibility and agility differentiated, 77. 
 
 Force (intensity), 63; words having reference to, 
 19. 
 
 Forcing the registers, 52. 
 
 Foreign pronunciation, 48-51. 
 
 Four (Quadruple) time, n ; compound, 11 ; sim- 
 ple, n. 
 
VOICE AND SONG. 
 
 183 
 
 Fourth (interval), no, in, ii6. 
 
 Free recitative, 151. 
 
 French pronunciation, 49, 50. 
 
 Full breath, 24 ; chest habit, 24 ; score, 22. 
 
 G-clef, 3. 
 
 German pronunciation, 48, 50. 
 
 Glottis, 4o^ 
 
 Graces (embellishments), 15. 
 
 Great staff, 3. 
 
 Grouping of notes to facilitate reading, 12 ; to 
 
 form extraordinary time-values, 8, 9. 
 Guttural tone, 32, 35. 
 H (aspirate ), 39 ; how to practise, 41. 
 Half-breath ( Mezzo respiro ), 28. 
 HALF-note, 6 ; rest, 8 ; step ( interval ), 2 ; tone, 2, 
 
 66^ 
 Harmonic form of chromatic scale, 67 ; of minor 
 
 scale, 66. 
 Head, of a note, 6. 
 Head-register, -voice, 52. 
 Held {Tenuto), ii3('). 
 High register, 51. 
 Hold ( Pause ), 8. 
 
 Hooks, 6 ; use of in grouping notes, 12. 
 Hygienics, i. 
 I, a diphthong, 37, 38, 39. 
 I, a primary vowel, 35, 
 1, a secondary vowel, 36. 
 Imitation, rhythmical and tonal, 14. 
 Inactive notes of the scale, 67. 
 Incomplete trill, 16, 17. 
 
 Inexperienced versus experienced singers, 152. 
 Inflection, 5, 69. 
 "Inhalation (breathing), 24. 
 Intensity and volume differentiated, 63. 
 Interpretation, 151. 
 Intervals, 2, no; compound, i23(') ; how to sing, 
 
 112, 113; inverted, no, in ; simple, 121, 123'. 
 Intonation, 94', 112. 
 
 Inversion of a chord, 127; of an interval, no, in. 
 Inverted mordente, 15 ; turn, 16. 
 Italian A, 29 ; singableness of language as com- 
 pared with English, 43 ; pronunciation, 48, 49 ; 
 
 tone-production, 32. 
 Jaw, position of, 29. 
 Key, 5 ; relationship, 70 ; signature, 5, 6, 70 ; to the 
 
 stafl^(Clef), 3. 
 Keynote of a scale, 66. 
 L as a voice-placer, 32, 40. 
 Large ( note-form ), 6*. 
 
 Larynx, 40^ ; ventricles of the, 25'. 
 
 Laughter, imitation of, 113 ( Var. 8). 
 
 Leading-note, 6, 67. 
 
 Leaning-note {Appoggiatura), 15, 146. 
 
 Legato, 34, .74 (■). 
 
 Leger-lines, 4. 
 
 Lines and spaces ( Staff), 2. 
 
 Lips, 29, 33, 34. 
 
 Long appoggiatura, 15, 146. 
 
 Lsng, or Longa ( note-form ), 6*. 
 
 " Love is a bubble," song illustrating use of expres- 
 sion-marks, 21. 
 
 Loudness and softness (Intensity), 19, 63. 
 
 Lower jaw, position of, 29, 
 
 Low register, 51. 
 
 Major, 66; chord, 127; interval, no; scale, 66; 
 relative, 70 ; tonic, 70. 
 
 Marcato, 20, 113 (Var. 6 ). 
 
 Maxima ( note-form ), 6^. 
 
 Measure, ii ; silent, 23. 
 
 Mediant, of a scale, 67; triad, I27^ 
 
 Medium resonance, 32'. 
 
 Melodic form of a chromatic scale, 67; of a minor 
 scale, 66. 
 
 Melody noted ( Relative pitch ), 4. 
 
 Messa di voce, 64. 
 
 Metre (Time), n. 
 
 Metronome, 9. 
 
 Mezza voce, 19. 
 
 Mezzo respiro, 28 ; soprano, 31 ; staccato, 9. 
 
 Middle C, 3; register, 51. 
 
 Minim ( note^form ), 6^. 
 
 Minor, 66; chord, 127; interval, no; scale (an- 
 cient, harmonic and melodic), 66; relative, 70; 
 tonic, 70. 
 
 Mixed voice ( Voce mista), 52. 
 
 Modification of vowels in singing, 34, 35, 39, 
 
 Modulation (Change of key), 72. 
 
 Monotone, 30^ 
 
 Mordente, 15, 146. 
 
 Mouth, 29 ; as a resonance cavity, 32. 
 
 Movable-Do method, 71. 
 
 Muscular tension, importance of, 29, 63. 
 
 Music, value of knowledge of rudiments and no- 
 tation, I. 
 
 Musical sound ( = Tone ) and sound in general, 28. 
 
 Musical terms, helpfulness of in interpretation, 21. 
 
 Mutual responsibility of teacher and pupil, i. 
 
 Names (alphabetical) for differences of pitch, 2. 
 
 Nasal consonants, 40 ; quality, 32 ; resonance, 32. 
 
184 
 
 VOICE AND SONG. 
 
 Natural, 5 ; in chromatic notation, 67. 
 
 Natural order of primary vowels, 30. 
 
 Nomenclature of the vocal registers, 52. 
 
 Nose, as a resonance cavity, 32'. 
 
 Notation of pitch, 2 ; of duration, 6. 
 
 Note: Whole, half, quarter, eighth, etc., 6; group- 
 ing, 8, 12. 
 
 Notes: Accented, 11; dotted, 7; grouping of, 8; 
 tied (bound), 8. 
 
 Noting a tune or melody, 4. • 
 
 Nuance, 77^. 
 
 O, a primary vowel, 33 ; in English, an impure or 
 diphthongal vowel, 38. 
 
 O, a secondary vowel, 36. 
 
 Octave, 3, 66 ; sign ( 8va ) for the, 4. 
 
 QI, a diphthong, 37, 38, 39. 
 
 Open score, 22; tone, 51. 
 
 Optional tones, 51. 
 
 Oral consonants, 40. 
 
 Oscura, 30. 
 
 OJV, a diphthong, 37, 38, 39. 
 
 Pace ( Tempo ), words suggesting, 9. 
 
 Palatal tone, 39. 
 
 Part in a score, 22. 
 
 Pause (Hold), 8, 23. 
 
 Perfect intervals, no, in. 
 
 Petto falsetto, 52. 
 
 Pharynx, 32', 64. 
 
 Phrasing, 23'. 
 
 Plena voce, 19. 
 
 Pieno respiro, 28. 
 
 Pitch : High or low, 2 ; absolute, 3 ; relative, 2. 
 
 Portamento di voce, 113 ( Var. 7 ) ; also see Appog- 
 giando, 19. 
 
 Posture, 24. 
 
 Practice, rules for, i, 31(3), 32 (Ex. 38), 53. 
 
 Prepared trill, 17. 
 
 Primary accent, 11, 12 ; triads, 127 ; vowels, 30. 
 
 Principal note of an embellishment, 15. 
 
 Prolongation : Dotted notes, 7 ; tied notes, 8. 
 
 Pronunciation, 43 ; English compared with other 
 
 languages, 43 ; Faults of, 43 ; French, 49 ; 
 
 German, 48 ; how to practise, 46 ; Italian, 48; 
 
 necessity for special exercise to attain good, 43. 
 
 Pulse ( Beat ), 9. 
 
 Quadruple (Four) time, ii ; compound, 11 ; sim- 
 ple, II. 
 Quadruplet, 9. 
 
 Quality ( Timbre ), 28% 32', 34, 39 ; classified, 32' ; 
 good, 32 ; Italian, 32 ; sympathetic, 32^ — Also 
 
 see Articulation, 40 ; Enunciation, 29 ; Expres- 
 sion and Interpretation, 151 ; Flexibility, 77 ; 
 Letter L, 32 ; Nuances, 77 ; Primary vowels, 
 30 et seq.; Pronunciation, 43 ; Register, 51 ; 
 Resonance, 32' ; Respiration, 24 ; Sostenuto, 
 63 et seq. 
 QuARTER-note, 6 ; -rest, 8. 
 ^aver ( note-form ), 6^. 
 ^intuplet, 9. ■ 
 Raddoppiato, 113 (Var. 8). 
 Range of the voice ( Compass), 31. 
 Recitativo a tempOi free, Wagner's, 151. 
 Registers, 51 ; blending of the, 52, 113 (Var. 7), 
 Relative duration of tones, 6 ; keys, 70 ; major 
 
 and minor, 70; pitch, 2. 
 Release ( tone-ending ), 32, 2,d)- 
 
 Repeated notes ( Raddoppiato ), 113 ; passages, 23. 
 Requisites of a good singer, i. 
 Resolution of dissonance, in. 
 Resonance, 32, 39 ; cavities, 32. 
 Respiration, 24. 
 Respiro, 28'. 
 Rests, 8, 9. 
 
 Retention of breath, 24. 
 
 Rhythm, 14' ; suggestions for exercise in, 14. 
 Rigidity and firmness difi^erentiated, 29. 
 Root of a chord, 127. 
 
 Rules for students, i, 3i('), 32 (Ex. 38), S2,{")- 
 Scale, 5', 66(') ; chromatic, 67 ; diatonic, 66 ; major, 
 
 66 ; minor ( ancient, harmonic, and melodic ), 
 
 66 ; mode of a, 66 ; technical name for each 
 
 degree of a, 66-67. 
 Scales : Diagram illustrating the " plan " of the 
 
 different, 68 ; how to practise, 74, 77. 
 Scale-syllables for solmization, 71, 72. 
 Score, compressed, full, open, and short, 22. 
 Scoring the parts, 22. 
 Second (Interval), no, in, 114. 
 Secondary accents, 12 • vowels, 36. 
 Semibreve ( note-form ), 6^. 
 Semiquaver ( note-form ), &". 
 Semitone, 2('), 66''; chromatic and diatonic, no; 
 
 locating at sight, 69, 94. 
 Seventh: Chords of the, 128; interval of the, no, 
 
 III, 119. 
 Sextuplet, 9. 
 
 Sforzando ( intensity ), 19 ; how to sing a, ig*. 
 Shake ( Trill ), 147. 
 Sharp ( inflection ), 2, 4 ; double, 5. 
 Short appoggiatura, 15, 146; score, 22. 
 
VOICE AND SONG. 
 
 185 
 
 Sight-singing, suggestions for study of, 73. 
 
 Signature: For staff ( Clef ), 3; for key, 5, 6, 70; 
 for time, 11, 12. 
 
 Silence, notation of ( Rests ), 8, 23. 
 
 Silent measure, 23. 
 
 Simple intervals, i23(") ; time, 11; vowel, 29^ 
 
 SiXTEENTH-note, 6 ; -rest, 8. 
 
 Sixth (interval), no, in, 118. 
 
 Slur ( curved line ), for legato, 23 ; for mexzo stac- 
 cato, 9 ; for phrasing, 23 ; for portamento di 
 voce, 23. 
 
 Sol-fa, 7x3. 
 
 Solfeggi, iC), 71. 
 
 Solmization, 71. 
 
 Sombre resonance, 32. 
 
 Song " Love is a bubble " ( for terms indicating ex- 
 pression and interpretation), 21. 
 
 Soprano, 3% 31, 51 ; drammatico, leggiero, mezzo, 
 sfogato, 31. 
 
 So'sTENUTO, 630 ; with Crescendo, Diminuendo, and 
 Messa di voce, 63-65. 
 
 Sot to voce, 19. 
 
 Speed ( Tempo ), words having reference to, 9. 
 
 Spinning the tone ( Filar il tuono ), 63. 
 
 Staccatissimo, 9. 
 
 Staccato, 9 ; mezzo, 9 ; how to practise, ■i,^,, 74, 113 
 (Vans). 
 
 Staff, 2 ; degree of, 2 ; the great, 3. 
 
 Standard ( whole ) note, 6. 
 
 Stem of a note, 6. 
 
 Step ( interval ) : Half, 2 ; whole, 2 ; also see 66''- 
 
 Subdominant of a scale, 67 ; triad, 127% 128'. 
 
 Submediant of a scale, 67 ; triad, 127^. 
 
 SuBTONic of a scale, 67 ; triad, 127''. 
 
 Succession of trills ( Catena di trilli), 17. 
 
 SuPERTONic of a scale, 67 ; triad, 127^. 
 
 Sustained tones {Sostenuto), 67,; how to practise, 63. 
 
 Swelling the tone ( Messa di voce ), 64. 
 
 Syllables, in "sight-singing" and "solfeggi," 71. 
 
 Sympathetic quality in a voice, value of, 32. 
 
 Syncopation, 12, 113 ( Van 9). 
 
 Tables : Consonants in systematic arrangement, 39 ; 
 Key-signatures, 70; Registers, 51; Relative 
 time-value of notes, 6, 7 ; Time-signatures, etc., 
 
 II ; Possible intervals in a diatonic major key, 
 
 III ; Classification and compass of voices, 31 ; 
 Technical names for scale-degrees, 66, 67 ; 
 Musical terms, 9, 19 ; Vowels scalewise, 38. 
 
 Temperament, equal, no. 
 Tempo ( Pace ), 9. 
 
 Tenor, 3'' ; leggiero, lirico, robusto, 31 ; staff, 4 , 
 voice, 31, 51. 
 
 Tension, muscular, 29, 63. 
 
 Tenuto (Held), 113'. 
 
 Terms indicating expression, 19 ; intensity, 19 ; sug- 
 gesting pace ( tempo ), 9. 
 
 Tetrachord ( Scales ), 69. 
 
 Third (interval), no, in, 115. 
 
 THiRTY-SECOND-note, 6 ; -rest, 8. 
 
 Three (Triple) time, ii ; compound, n ; simple, 
 II. 
 
 Throat, 29 ; as a resonance cavity ( Pharynx ), 32'. 
 
 Tied ( bound ) notes, 8. 
 
 Timbre ( Quality ), 30, 32, 39. 
 
 Time (Metre), n ; compound, n; duple, triple 
 and quadruple, n ; simple, 11 ; signature, n ; 
 table, II ; also see p. n, Footnotes 2, 3 and 4. 
 
 Tone (^ Interval), 2', 66*; (= Quality), 28% 32 
 ( Exs. 38 and 39 ) ; ( = Musical sound ), 2' ; 
 musical sound and sound in general differenti- 
 ated, 28. 
 
 Tone ( Vocal ), 28 ; starting a ( attack ), 30; 32 ; 
 ending ( release ), 32 ; holding ( sostenuto ), 
 
 6.3-65- 
 Tone-production, 28—39. 
 Tongue, 29, 32, 1,3^ 35 ; drill, 30. 
 Tonic: Major and minor, 70 ; of a scale, 66; triad, 
 
 127% 128'. 
 Transposition, 4, 5. 
 Treble, 3('*) ; staff, 3. 
 Tremolo, 21, 148. 
 Triad, 127. 
 Triads : Consonant and dissonant, major and minor, 
 
 augmented and diminished, 127. 
 Trill, 15, 16, 147 ; complete, 16 ; incomplete, 16 ; 
 
 prepared, 17 ; how to sing the, 147 et seq. 
 Trillo caprino, 147. 
 Triple-dotted note, 7. 
 Triple (Three) time, ii; compound, 11; simple, 
 
 II. 
 Triplet, 8. 
 Tritone, in. 
 
 True or harmonic form of chromatic scale, 67. 
 Tune, notation of, 4. 
 Turn, 15, 16, 146. 
 
 Two ( Duple ) time, ii ; compound, n ; simple, 11. 
 U, a diphthong, 37, 38, 39. 
 U, a primary vowel, 34. 
 U, a secondary vowel, 36. 
 Unaccompanied singing, charm of, no. 
 
186 
 
 VOICE AND SONG. 
 
 Unit of measurement ( duration ), 6% 7, 8, 9, 10. 
 
 Unvoiced consonants, 40. 
 
 Uvula, 29. 
 
 Variation, 8o('). 
 
 Varieties of vocal timbre, 32^ 
 
 Ventricles of the larynx, 25". 
 
 Vibrato, 148. 
 
 Vocal apparatus, diagrammatic sketch of, viii; cords, 
 
 40^ ; tone, how produced, 40^ ; tube, 30. 
 Vocalizzi, 71. 
 Voce aperta, 52 ; chiusa, 52 ; di camera, 31 ; di petto, 
 
 52 ; di teatro, ^i ; di testa, 52 ; mist a, 52. 
 Voiced consonants, 40. 
 
 Voice-placing, 28-39. 
 
 Voices, classification of, 31. 
 
 Volume and intensity differentiated, 63. 
 
 Vowel and consonant in combination, 41, 43. 
 
 Vowels, 29; alternating, 34; compound (diph- 
 thongal ), 37 ; primary, 30 ; secondary, 7,6 ; sim- 
 ple, 29^ ; tabulated scalewise, 38. 
 
 Whole note, 6; rest, 8, 23; tone (interval), 2'; 
 step (interval), 2. 
 
 Words ( musical terms ) marking intensity, 19 ; 
 indicating expression, 19 ; suggesting pace 
 ( tempo ), 9, 10. 
 
 Young singers versus mature singers, 152.