To
ls
Pupil
SEMBRI SEMBRICti Cti
Canto o. With
B.
LAMPERTI
collaborat colla boration ion of
TraD TraDsl slat ated ed fr
German
o, S C H I ~ M E Be lin: lin:
I1EI I1EIDR DRIC ICti ti
Agr-"rt. .... ..
I . ~ ~
A.1m
:iDMIONI
1941
CoPYRIGHT, 190ti BY
G. SC SCHI HIRM RMER ER
P ~ E F A C E up rf ou
those lesson to
to
tl
to
years devoted
grea grea
tr
to
to
stil stil Bel Canto,
bu
ittl ittl
This This ontr ontr te "natural"
fa
part partic icul ular ar
othe othe
Iny
(d..186 (d..1861) 1) an othe others rs Should Should
BERLIN,
1905.
to
gather
Le
back to Ital Italia ia ttis ttista ta Vell Vellnt nt
ro fo part part ar
satisfaction.
dubi dubiou ou
ttra ttract ctin in
re
auth author or
tale talent nt
LAKPERTL
Ge er Th
Observation
true
an
health.
Requirement
Pupil
.patience,
Requirement Experience
sensitiv
the gift be describe
meana
intuitio
briefl
individualization. pipe with double-reed,
he
ir tension. mi Breathing-muscles, th Th
breathing. tranquilly an
Teacher
with
th
oc
namely, the three groups muscles, nd th Sound-modifying muscles. diaphragmatic to
long 88 the 14:, writes, in his breathing is abdominal (diaphragmatic no strain upon th vocal organs ca proceed from th gentle th Neithe WIll th larynx n o t h pharynx be se mo io breathing; everything remains rest. After inspiration, therefore, th vocal organs re posi io to carry ou properly, an without ny hindrance that might otherwis have caused precedin contractions th movements necessary to x pu l i o Page th is easily through th th old Italian method, "Singing-voice wer preserve much better an l on ge r Rubini Porpora, ete. than by o u r m o de m methods, whic teach (or least taught permit clavicular breathing. thos teachers favo diaphragmatic breathing an likewise show th best results." [5]
Inspiration.
b.
Expiration.
Preliminar Studies (Vocal Gymnastics Position of
Th position on th right
Body
the body must be as nd natural should be slightly advanced, le holl an
th
Throwing th weight pupi straight on tr posture;
an
neithe
abov l, that th muscle of no unnecessaril tense; he entire attitud must an unconstrained. Hold the shoulder-joints free an the shoulder slightly thrown back to allow he chest ue withou it. th present, he hang Take
Breathing
taking breath-which must be done ir onl throug t h e m ou th " throug enough to permit th nose-the mout should be opened t h u pp e a pe rt ur e - e - ) . breath ly quietly. breathe from the no with the lungs. muscular partition dividing th Th principal breathing-muscl is th diaphragm, organs of th chest (lungs, heart) from th abdominal organs (liver, stomach, eto.), is th abdomen, an th f ro n i nn e attached to th backbone, th lower ribs al rises in th fonn to th height of th fourth rib. Th ac of breathing proceeds th diafollows: The muscular tissue of th diaphragm contracts, drawing th dome rarefied air-space, into which phragm downward, an forming in th lung-cavity above th ir ftow (pas8ively to counteract th atmospheri pressure This Inspiration. reason pressure from th expanded thorax], By virtue of tbeirownelasticity [and slight th he lungs no seek to contract, t h u e x er t in g he depresse dom state diapbragm; furthermore th depressed abdominal ofgans ar t en si o which th abdomen nd he distende musoular walls strives fo relaxation, ue pressure this combined pressure from above dome of th dia pelvis; belo pushe phragm to th height of he fourth rib. This is Ezpiration. cannot be too strongly emphasized, that th diaphragm is th principal an essential death ensue), an that breathing-muscle (i should be crippled, breathing wouldcease Expiration is effected chiefly by he abdominal muscles. There ar also so-calle auxiliary breathing-muscles, those of th neck, back, an t ho ra x w hi c ma ai sustaiDing impaired breathing, ut ca never replace th regular function of th diaphragm. This sharp distinction betwee chest abdominal breathing, such as wa shows that formerly generally accepted, cannot be m ai nt ai ne d en e, firs endeavor must be to strengthen diaphragmatio breathing, an this ca be accomplished only by systematically that th th part which th diaphragm must have freest play (from navel to breastbone, viewe from outside), must in DO to freedo be hampered movement.· Th clothing should be made this rule. conformity
ft Palate, raised in inging.
Windpip [trnchrea Lar c. \Tocal ords and GloLt d. Epi lotti e. ongue alate soft palate) Uvul tff.) Right '! nsil h. rd alate a.
Th
compound
P ha r ing-board
x,
Head (mouth nose eto.) form
air-current,
be very gently
he
gradually expelled. Italian expressio filar tuono, spin ut th tone," most aptly characterizes th required expiration th preceding inspira which must proceed as naturally unconstrainedl no acquired tion. long 88 causes th pupil to feel an exertion Note th nd expiration i m r e u ir e th right et od seconds, an tr ro time ra ually. When ha w it h ue caution, ro re repeat exercise severa time no again to prolong th time inspiration; in particular, th paus betwee inspiratio an expiration holdin he much as yo can. re th should ro ed Th ac of tone-production is in "contrary motion" to that reath taking; th pull of th whereas th th th abdomina movemen although both stand causal conj ncti n. th tones rises. With breath-pressure increase regularly as th insufficien pressure th tone lack ea es (appoggio; that is, th steady air-pressure on th voca cord during tone-production) Higher breath-pressure presupposes deeper inspiration Each an every ton must have steady support! poin support must be carefully distinguishe fr th points resonanc mentione further think attemp br at in late just tone-attack, only under th teacher' personal supervision; this an
ma
llreath-control is th fo da io study. agains fatiguin th pupil. soon &CJ th diaphragm function as desired, a ke n to h ea r a n rightly applied, th taken up. ro
seems hardly necessary rule breathing Exercise
he Medium
th
et th mouth take breath, Register. ex la ne an sing with well-opene throat on th syllable" beginnin
piano an should
held
forte.
tongue 1a
an
must
arc upward
in
la
should
celebrated singing-master Velluti once warned olergyman against jerky style speaking would very soon C&UBe hoarseness public speakers also officers, th proper pitch and, above all teachers etc should learn to speak naturally, t h a t is, never to overtax th voice. things, d r aw i n g b r ea t h quietly nd deeply,
10 upon
correc tone-attack, With
steady free
an always be
will" carry,"
pianissimo.
Studie th
ones: ca re isters varyin
ac rdin
to
in
id
it
termeda Coloratura Soprano
ta ng Sixth,
Seventh.j
Exerc:lse
la
I:. 1a
ta
ela.
this very first exercise, th individua di1ference of th beginners will be man o c a bi l t y an future succes depend only to largely on th shape of th mouth mouth ca hardly eve learn an size r oa d s in g th t o g ue . piano. We have ou doubts concerning th succes of forcible training of th tongue bY means instruments nd th like. When th ti of th tongue curls up, there will always be troubl from this almost ineradicable defect sometime pla to begin with with normal position of th preparatio th care that rise unnaturally high while singing; other t h l ar yn x (carrying th wise th tone w i l l sound "throaty," from th narrowing th speecll111ust be an grammatical faults injuriou strok th glottis" tone-attack; should under consideratio employed ruins th voice, an ought, in spite of th apparent certainty attained in tone-production to be wholly eschewed To determin th natural registers of ny voic require th ezperience an acute ea of teacher. In this particular an deed is capability vo alizin on high tones affords value. sopranos have no develope The minor Third is easie the minor mode
to
FOlkTC.
take than th
major, which accounts
th
prominence
11 Th bu
Teacher.
fe ls uncertai br at
wi
stru en ou ht eacher sing to
sh ul th
er th ug withou
Only when th pu il
inging
is remark bl wh
be peremptorily forbidden.
throat
importan
"The
it tends
attitude
to stiffe th musc es 01 th throat
special
Pa
(legato).
2.
l
a
~
:
. , . . ~
be mf, nearly
observed.
Exercise
already
or Steadying
Voca Attack
go eJ fa
1. Piano'l
oS-
la
la
la
..
la
r_
la
la
Ia
and
13 1.1.
--
17 1..1 I"-.r
...!
.--.'
r'" 'I
?r '.
on ie (inclusive)
12 .:
IIIIT
eJ
eJ ..
"-
la Ia la
1a la
I.
I
--
161
.....-
Ia
la
la la Ia.-
--....
...--
In
14
--.....
-rr
__
-,
cn,alon.tioa
en tT J&
.-
.....-....
I.
la
161
161
I.
,.
lR*
---..:::::.::.:
la
fa
.---
..
...
SP
I ~ f . '
J . ~ "
----
""""-
JI
., JI
4'~
la
Ia
1'" -I
8'~
.......
--=-
---=-----
.".--;--
Ja-
la
la
--
..
la
la
.,
~ ' - -
-1-f
.....
ia
..
--I,T
....
g-
ia la
Ia
,.....-,
_'t ...
-----
:t!.
-n
.1.]-, -..
.1_-"
"""'---
.,,--
....
b:..-
la
--J.
-.,
.....40 _ _ _ _ _ _
A.
la
la
la
,......--
la
ta la
G_
14-=-
.L
~ ; . ,
J.
J.
..........
T'"-
Jl .J.
::
-----
-----a bo v between th
o bs er v t on e to th other.
tones, exercise
in th lungs; au te vocalist depends upon sam physical attitude briefly remarked, that must breathing!
nd unbroken
strict leqato,
breathing must ot be interrupted t on e evenly phrase comfortabl amount must remain habit
that
..
part of th
artistic effe
o rr ec t c lo se ; th i nt en de d to continu singing
sought
he have already
higher ones th sense:
higher th
tones, th
breathing
deeper th
13
Development
Blending
Registers
(Compare Observations on Change of Register page 28.)
r..J
la fa Ia
ascendin tone th pupil, bu never tDith her.
ar
After c'take
re rn
portarrumto-style
be
slightly abbreviated bu en
teache ma sing to
to be sung legato.
c') will be
reat may
naturally adapts itself to each successive higher tone dl (Ex. b) dlJj-a'p-a'p.
furt
Here
d'p ut
dl on "Ii" (lee),
towards "0." be N.B.
legato
difficult-particu breath-let th followin exercise to
precede (0)
·Sometimes
ot till
or e'p, according to th individual character of th voice.
14 to lend th re iste
properly th followin
(
m
~
~
N.B.
d
)
xercis
~
il
to
erve :.
~
~
~
~
d..,. ....
CoatiAae
U
otiUYe
Oft
Ne
next measure.
marked with
fermata
b.
11\,
ell.
as ig
be taken as
standing
should was assume cases.
next
unde
skip to th exercise followin it .. ..
la
..-
13
61-
6",,---
r:.I
_.
N.B
Do voices it may
palm
JI"
hile
#*ft
.1.1
'.I
.-
0.1
such cases,
N.B.
Ia
~ - - -
d.)
t h e " air-press works.
161
..-
-....
to
(inclui'reJ
l , , ~ .-
n-r:T
some
15 la slight extr -pre
ad
speak"
re
to must
about
parietal
(frontoparieta suture).
Th
seriou attention:
le
to
to
faul note, to
A eJ
to
cate unmistakably th pr pe
n
d
~
....-J
3(!)
,h
..
II
la ....
.,
--
~ - . . : ; o ;
'I
..
..
el1. fu es quality,-s.eldom an exclamation-point look ou pure intonation
to
an beauty
ra
Even voices
re ns ff cient, coloratura-passage ar
When the training
ft
(cavallina).
delivery comb ne th legato once well-supported an li ht Th should aptly be termed sostenuto, bleating"
styl
detache-when he
styl clud
migh utse an
16 never rapidly
rather slowly coloratura study.
gift,
When t h
-------
"'----....
th
emphasis. When th th starting-ton (keynote marked
in Assume
it
them
to
ir le lo
Exercise
Th
to be sung
legato! sostenuto
high
pitched. Th sungpiarw.
v oi d marking tim with head, hands,
p re pa ra to ry ;
feet.
17
18 ....
N.B. When disregarded.
singer
plenty
be
breathing- arks
The Th
ar
natura gifts; skil attained of great diligenc an perseverance Tb principa auxiliar ht ri ra ce excellen firs practise slowly bu strictly time; no accelerando should atte pted No ev ry lishment injured principa e.
Preparation
graduall by dint pure ui ed
Acceleration of
In
Trill
(Intonation I)
I.
,
die.
,
-
-
--L..
~
---
.,.
eI
-....
r·
..
rQ. ,1 -.-
-r
Trills
-.
Preparation (Shakes)
===-- = : . -
ft --.c
Without
""-
==:.- ===....
fA
.,
-..:
1-·
-p
L_
-------
:.r....---
19 A
U
c la
tJ
g
r
.,
~ " : '
~-.,
Turns.
--'-
.-
...
'P
. . . . - -
f':'\
..
l--R
1'1
Ch om ti Scales (Pure Intonation [)
20 A tI
I
1
e
g
r
~
a'-a
..
t ~ · - ' -
..
.,.'.11_
_Jl_
..
.JJ
...
... "I
I
...
~
-
I
,-
eJ
fJ
F-
..
1':\
.,;:=
eJ
..
...........
Detached Tones: Staccato Staccato-practice must be very cautiously proceede contrast with th preceding marcato, th tones ar e xe cu te d nd at d ot s natura aptitude short dashes over he notes. When th pupil hi s ty l t h s ho r staccato should no be practised to frequently might easily injure th voice. First th head-resonance must come into without sl gh marked with staccato-dots tone "speak" he value; thos marked edge-shape dashes about three-quarters. Staccatisslmo
••••
( I I U l r t ~ / / I l / ( J ) .
.!
eJ ..
":"
Sustained
1,..-......·1
..
...
.' .(
~ " " ' - - - " " " ' I
"":"
...
,;-----.
Voce
nd facility should th until th practise sustaine together with th Messa di voce (the pupil begin crescendo an decrescendo). ev ra se st "ab," beginnin ver piano a ~ e t t i n he tone swel gradually to torte. Take abrupt increase occurs care that interruption th smooth swell:
21
----------------1
'1fI.
stil
no
it
rt us f u t he r b a p h y nx . il elastically, lik India rubb r, lettin 'I'he Messa di voce produced solely th nt (fil re la voce) difficult; must be While
he diaphragm must
stre ou gently. Th spinning-ou of with utmost th decrescendo the
breath-pressure de re se very graduall an evenly thus:
Alwaysthink
cantar
th
he pianQ-as
ghte
forte-must
fior di labbra
..
exhausted,
no
should be suitably
eighteen or twenty 1J
Lento - = =
=
~
~
~
~
=
=
=
-
~
=
==-
'-"iT
and
on
1J
.,
-""'""-
...
,,r-
:t!
,J
#d
.Is
Th Portamento Portamento (from portare, gging- ve
carry)
gentle arrying-over sc appoggio remain unmoved Th
up
pe
22 appoggio (if taken
When
faul posite th portamento to em Direct Attack or di posto). Specia studies lor the portamento
grea ch rm
Th
downward portamenti, th ployment Remark/ or
thus:
(di slancio,
required legato-slur. he wi er th interval taste is essentia to
be
the Teacher.
ow ability. couragemen
th
an certainl
th
study.
lead to
Female C ol or at ur a S op ra n
Dramatic Sopran
High
---I
- - - + - - - - - + - - ~ - ~ - - - - - I Th
ic
ezzo So ra o, also ca le Dramatic So ra o, it develope chest-register an medium co as
precedin th
es should pupil'
epends wh ll
es flexible fe al Th co rs study hy developing th characte
23
bserva on
Change
er
years, that plainl audible; th artistic intentions Th
is ap to
ra
or
at al
must im
timbre.
ut
As
th
naturall
tha
unbias ed li tene
Should natura talent must
he tone near to
ej-g slowly, ed
be
on la. al ho gh
ch racter
timbre
should at
ye
es
sa e;
othe
Even eminent vocalists th
unable to greater part
that th
el fa
be
breathing. When
ar simply
eg
ak
to
be surprised to
naturally developed.-Tberefore, firs
du
re th breathe correctly
rn do
1. Fo 2. Fo S.
he owel 0,
allowance es
abou only sl ghtl ro nded an
la sit
should be felt
24
at
to
be felt
Pronounc th consonan
4.
must be sung separately
sharpl in 801 and
ai.
beginning th
st nce, sol, la, not eolla.
ex
What is
as aday usuall un erst Th modern opera-repertor seldom ff ds opportunit or en in deep alto to participate: an present.da thou they ay little attentio wonder then that ou alto ar graduall bein converte into
Deep Femal ".lIo..soprano
~
}
J
I
O
-----------.. tel
~
v
ee
.
'
U
lt (Contr'alto)
beauty
ough high"
ad ed till later.
be be chest-resonance,
ithout
appoggio does
(Compare" Tone-attac
an
Beso-.
to When high th head-voice lose in llow es an ar ing- ow bo an beautifu alto oice have been ruined-caused to break-by hi unnatura thod Th diag am iven
registers,
unnecessarily, fo such purposeles practice ma easily lead tremolo.
is
called
in contradistinctio to dramatic alto." Alt si gers ar ot seld ncline to no nc t h e " ef ct ic should be contende agains from th very irst attack
forcin th voic coloratura alto oh";
ercise on he
25 general, th rule alread give should body, breathing, an After ff ci preparatio (p si io similar studie are to be taken up as fo soprano.
le
attack)
oi
From anat mi
(large pharynx an s ou n t ha n T hr ou g much resemble he fe al oice ecomes eithe oice
ma
t a i o th boy's high deep
" I g h Male Voices Tenor (Heroic, Lyric,
Light Tenor).
M al e Baritone (Bass- an (dee
ic s:
Tenor-Baritone). latter th
en ri (n too, th be confounded wit th high bass) graduall isappearin certai arit ne woul name rg operatic th heroic roles. ligh g ra du al l rs too, are tenor. Besides th register alread enumerated ed um essentiall differen from fe namely th "mixed voice" (voix mixte), wrongl called "fal that th training setto." this register ne le te th very an that artiats that may be th chie reas quantity quality. "half-breath"; nd
may
'1ne8SQ di
this be attributed
voce faulty meth ds
buoyant piano/ ff breathing?
Tenor Middle Refister
'"
Th forms th
"'1 1°
Ie
,.
mixte
re most difficult task fo th singing-teacher.
On th
tones b, C, d, an
26 that head-resonance mingle wit th st carrie below, half th chest-resonance. mai point is, to blend th singer si gs with th medium register with th so-called th ep b ei n a cq ui r ve th lowest tone to th highest. with developing th medium register th wh healthfu an natural hig register th only possible foundation et the pupil sing th tone deep on "1&" (lah), without sustaining it an proceed upward to g, thus:
Upon
exercise p r v io us l s ai d
th
attack should commence
Everything
w hi c ha re ng must be re viewed this w ou l former th t en o rule stil importan this stringent; perfec brea h- ontrol than for ny other. After all, what is Song expanded Speech, clas which th breathing proceed quietly nd with continuou regularity? point resonanc th medium voic is t h h ar d a la te ; for th head-tones, he th t h l at te r v ib ra t th forehead, th lack metallic resonance high tone carefu no to Sing mezza voce, an force th ga must now, th beauty of th unfortunately, contrast with form strive to reproduce th idea violinis nd violoncellist; wherea thes latter used to imitate th tone s ho ul d great singers. th t en o th hig tone of he violoncello, in that canno contrastin them with viol n- on s, that they that is, that they sound ur former observations th Attack ar (p, which o ug h n o tone-productio an breathing ar correct, nd body held properly th following: Insufficient chest-resonanc produces tone without carrying-power; voic seem to hang in th air. 2. When t h p ha ry n is to widely opened th ton sounds "choked" tone. gi it th throat-muscles cause tongue held 4. W h th tone is guttural. 5. When th larynx h el d high, th pharynx is unduly contracted, th so-calle "throaty" tone results. much point of re de th s on a v ei l raised I). th palate In
of ,& light" tenors th
mizte often begins stil lower.
27 7. When
mout
Th
t h e " dental
(lah),
should sH appoggio studie " I e " (lay,
la, si and mi fa
Wherever the
tremolo.
When
esults
may cause th
ic an
th teacher'
voice" speaks"
take ze,. acute e,
he
z),
give
tt nt on
Th
tt reje
be lishme
man' ur obser
standpoint sopr no
..
a
r
g
~
.
_
-
.
.. la
'-'II
,.-
la
"""IC
..
r:n
,.
..
.,
-..........
..........
la
la
la
13
la
.. --........
+ ~ " " - " " ~ ~ . . l
la
1a
-----
lI
la
-......
----
~ J - ; : :
-A-
II (incl.)
Jl
...
'''-.-P to
er
..
-&
~ u " - -
(i
28 Lento
,.,--- ...
-.......
---........
.....
-.,
ta
la
la
IIJ
I-
...
" " ' " - - - ~
'-
....--.."""'-..
lI-
. - 0 - ......
-100....
--.
"I
4.
Poco allegretto
ou
th
touching
that
usuall quit
voic fo that woul certainl be unnatural-contrary to
What
Posare (appoggiare), BViluppare, eguagliare la voce (to pl ce develop, nd qual hn
he
everybody ought to learn to
bel canto.
to particularly or pe on
ng
ordi
ng
in lude unde
the head of
Male High
1;1;: ..Deep~ -
The
=
B
-
a
'
-
I
-
-
-
-
-
exhibits
-
-
-
-
-
-
-
-
-
-
-
_
-
-
-
-
I
29
Baritone considered typica is-baryt0n08 deep-sounding. ha undergoing gradua to /1•: pass is from
tJ
Ii
Ie
very name indi
that this re ar ordinary co
-e-
Ii
not on vocalizing th tones c, d, e, r ea d I' keep he pharynx well (law). rt he head-register; beginning about on ct, opened. High is th l i i t ~ s t e r half chest-resonanc reinforced ead-resona ce change must be appoggio, w he n High he chest-re iste been in ures strong high e- should be sung broadly, rather darkly. High developmen call specia observations
Ie "110
he
sung
round ah. th deep alto as (ba880 profundo) differs from th high very care greate breadt an sonorit of th th chest-register difficulty making speak" tire an lowest tone this ar fu developmen of th medium re iste should
Deep from th high,
Technics Language an
Song rarely
Speech hand
Song Italia language
he
at ra ly pronounce th
th special study of s ha d he us wever, th G er ma n Th vowels (ii) are hard (ee) an French" th high th shall take s uc h substituting ther euph niou vowels-provided that th technica abilit th above-na ed high make
order. notes.
ot er
80 tones.
Th
pronunciatio of th
or short) is
pure
having
iati
di le
sufficie tl practise t h i r quantity sharpl ti late
prerequisite German diphthongs pronounced as follows: au an au
eu
ah' ahtt ah oo
firs vowe must be prolonge muc as possible an the se on sung short. he pronunciation of th consonants presents greate iffi ulties t h t ha t th consonants he remark Opinions (In, 11., ng) requir on erning the or ec pronunciatio the Kiinig and (the erma palata ch) o th e heilig, weg like wecJc, 809 like aaJc (zahk), although onou say weekgeno me (not weclcgenommen) the con U's. sonants h a n d ch peculiar to German ng th re or fa ilia ar nf vo bl th nu ro double sonant ombinations. vowel; e. g., he pronounce Hi-mmel, not Him-mel. Where e. g., "im-milden Mondlicht" and i.tinl draw (English parallel noble hearts"); make di ti tion Nacht and" in Acht" (parallel: tall" and" crowde combinations consonants positively hinder delivery best such to ry treat entire sentence like ne wo d, to lightl over though withou ng in isti t. extreme tion th intentionall dulate speaking th subterranean prison "Tot' erst th sein Weib "(first k il l ll s, passionately declaime passages. an sharply ......
Some Remark ye
lt ough atte pt have be
on
abilit
us ca Style te
th
correct interpretation of late years, de
English-speaking student unacquainted with German explanatio appear trying desirable: The hard, or guttural, ch is merely rough breathing, 88 if gently clear palatal, ch is obtained by setting th tongue 88 throat; the soft, to pronounce" ye," an then, retainin th tongue in that position breathi ng (whispering " h e " through betwee tongue a n h a r palate.-1'RANSLATOB'S NOTR. Fo
81 rule
universa applicatio interpretation inspired musica feelin noteworthy this subjec woul mm an refine taste. Lussy's " K u n s t musikalischen Vortrags" (Art Musica Interpretation), publishe Leuckart Le pzigwork wh stimulates independen think Innate talent, however, must be seconded in about wh a no th e gift-artistic s t c le ar l e xh ib it e th dynamics (tone-power) correc empo (instinc "Essay
on P la yi n t h works th guard agains
German Flute," makes th th
should
too-hurrie allegro. Everything written about th embellish s et tl e th A rt is ti c than ol vocal te st M an y grace, like certai pi on th trill, an th par Caccini,.1601) become totally so Correc musica accentuation depends, th rhythmic phrasing, tone-accen an word-accent. an secondly musi step th theory th strong nd w ea k an th dissonance, an of metrics. s im pl y p u t ua t o n hi th highest importance. Phrasing nuances, us quently coincide wit that of th words. Th shading, nd ge er characte th composition. torn asunder sh ul thoughtless breathing, Although t he r take b re at h word. is never permissible to separate th conjunction " a n d " what precedes breath must be taken beforehand. narrate) singin most nearly approaches th Recitative (fro recitare, he that th singer's ordinary speech ie requiremen this styl it forms, he so imagination should be fired th rather sketch chord-accompaniment, wa formerly called recitative seeco, employed hasten th course th dramatic action an th (narrative elemen th to si narratin previous repre What sents th light conversa iona tone everyday tion, that Verdi, an into th recitative i nt o th recitative-styl of Richard W ag ne r wh an word-accent coincide an nn t h W ag ne r drama th vocal part wrough into sy ph ni su nd only s in g w i t ra in e th musical ca satisfy th d e a nd s latest Pari editio (1904:) is entitled
Traite
de l'expression musicale.
32 ic
rd
g ne r
that
study
required de an leas details, an in reall faultles development of th huma ic th influe th
st dent
with ix th ou observatio
-vigil nt up is on d uo u particularl in German under st ts ma be an thoroughly traine executan da ns lv ar he fact, that th t h o r has German Conservatory, is
not been taught sufficient evidenc of this di ficulty. important vocal exercises, t h e s t ud en t may begin After finishing th t h s tu d ligh Arias; for example:
Le Nozze di Figaro Dramati Soprano: Otello (Rossini), Semiramide Mezao-Soprano La avorit High Alto: Don &bastian (Donizetti) L'Italiana ri Low Alto:
Fo Coloratura Soprano: La
Light Tenor:
Lyric Tenor: Dramatic Tenor: Baritone: High Bass Low Bass:
Puritani (Bellini)
Luci di Lammermoor Poliuto (Donizetti), 11Profeta Mariadi Rohan (Donizetti) an
Barbiere di Siviglia
&miramide (Rossini) Roberto Diaoolo
I ta li an ; t h more diffit he m to be cult language will be considered later. he to sc tain the th prevailing interpreted, accordin s ty l th poem expresses, undertaking seriou study th What poet an il creating the co position must be better, re-created) he interpretation rightl ll unti th forth; until th hearer, carried away musica conception exhaustively th th ti the art-work rapt contemplatio expression-marks carefull -Breathing an phrasing must be settled, an noted. Th Arioso he mo er Germa Lied, in particular, presuppose grea technica capacity. Collecte
Writings," vol, viii,
38 powers interpretation to render effective, no merely potent characterization an fervor style, purely musical viewpoint Powerfu declamatio a n o t m ak e th production an ill-trace melodi therwise Were sa for pure art, hich should th concert-hall divorced th actualities of th dramatic triumphs! should studied? Read through th poem Lied carefully, a n co en Then play th melody through k e mental note Speciall cu interval must be strongly mpressed he ear. over gradually from th speaking-ton to th singing tone. During th Song eb th si ma student's th e x clearer an cleare until, th true well-defined e. singing dubious passages o ve r a n coloris al th repetitions, distinctnes an eonfl denc obtained And, finally, what we have learne composer's intimations Th no invariabl oblige to follow th example, th pa sa Schu "Die beiden Grenadiere exactly; take mann, "S c he n ch ld ac e, un irec ed exceptional; as rule th forte th pupil author's writte instructions should suggestions. skill an
Word on
Study of ROles
versatilit demanded modern stage-singer excludes, to eminence anyone direction. t ai n e xt en t t h possibility of their attaining required merely What an amount of diligenc an energy masterin th e pe r o r different th singer sang roles, an ma happen, sing o-morrow an th that to-day coloratura sopran ay a f e r th Valkyries. This is no simply frivolous, si against Li er th s p should strictl define th various character-specialties, an spare th voices. There talent; lack modern unfavorable orderly development. he th conditions singer no study long enough begins ag ca er un ipe, an very ee into th "great" roles. ther th fairly overwhelming cro mediocrity music-school every degree, first, th range bein too limited We warn students against too much Lied-singing numerou tone-repetitions calculate to tire th voice; coloratura op an particular should take thi warning to heart.
84
beleag er ng to return to
Di ec or's
highly ro privat
talent
victim worry.-But to
hurry study
should earl
importan
better
correc ly grasping to be critically exam
el to mark thei that styl
mezza voce fa igue
After
al
ry
th importan
than they
thei nature
beginner
study, that is, dry.
First
prac ising.
importan to lear with
Whis li p ar t
to
hroa to tran pose it ou
to
strictly.
grea ar is Pa ta ad
-k
ive "tempo rubato," ar cularl Italia Although to Bellini's intentions it terzetto vittima" grandly
F r q ue n ar
to th comparatively mechanical is eyes "the eg ec Distinct enunciation, ed clamat striking impersonatio characte cted ar equi es No merely seething lood vulgar en to repair defect artist's entire individualit is
withou
like
lovely
Voice.
withou wit.
Hygiene-
your Particularly for singing in Italian. aspiration" is held to device fo increasing th intensity emotional expression. II
technical
85 can bear! natura method strengthen th body an th orga th singer himsel must now be careful to avoi everything whic might than
man erroneousl think, be ruined Wagner's music; istake rather, that unripe artists undertake. he difficul tasks fo ossessin th necessary ability an obliged to even si ge with small ought to make intelligen much so g-si ging fo is harmful specia hygienic directions should be followed. wo ld re er to th before-mentioned work by Professo Mand (Germa title: Gesund heitslehre er S ti m Spac forb warn th singer agaios unnecessaril loud speaking especially in he important o ug h n o to sing after eating; an injuriou to ea much butter f at t P ra ct is in g w i fr ue interruptions, hav alread advise o ul d regulate avoi whatever might fe system injuriou ly during indisposition, an th ld orga to abov sudde change temperature, to catarr ea il gi unpleasant should th other open ever avenue to s ho ul d r at he r e e th an an avoidance overheatin sport an pleasures, ar self-evidently wise precautions.
Conclusion endeavor to before th vocal s tu de n t h fundamental th Bel Canto principles of th technics cl fe genera observations ar to be made. What is th b e begin study, ought one to take lessons? Neither questio be answered an young
say, th
(e consideratio
physical development) trainin should no begin th seventeenth year formerly th
le earl study th years, custom th speech rt a l t ho ug h t h w it h everywhere Perfec developmen lo should be th an ideal. Then fo lish illusions, t he i t ra in ! e d u c a t i o n - t h o r ~ u g h bringing bitter disappointment
