PN 4162 H86p Huckel Practical Instructions for the Cultivation of the Voice THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES PRACTICAL INSTRUCTIONS Cultivation of tljr IToirr WITH A SERIES OF RULES FOR ITS ADAPTATION TO THE CHAMBER, THE CONCERT ROOM, AND THE STAGE. BY WILLIAM HUCKEL. 1 Tlit man that hath no Music in himself, Nor U not mov'd with concord of sweet sounds, IB fit for treasons, stratagems, and spoils, Let no such man be trusted.* SlIAKKSPKAK LONDON : PUBLISHED FOB THE AUTHOR, BY H. FALKNER, 3, OLD BOND STREET; AND TO BE HAD OF ALL BOOK AND MUSIC SELLERS. CONTENTS. Page. ADDRESS - 5 REMARKS ON THE ORGANS OF THE VOICE 9 ON THE INTONATION 12 THE MANAGEMENT OF THE BREATH - - - 15 THE PRODUCTION OFtt. PURE TONE - 18 ON THE VOLATA, AND METHOD OF IMPROVING THE FALSE NOTE - - 29 ON THE TURN ... - 33 THE CONSTRUCTION OF THE SHAKE - 36 THE ELOCUTIONARY PART OF THE ART 42 ON THE SOLFEGGIO 45 ON ACCENT, AND THE ART OF SINGING AT SIGHT 48 SONGS CALCULATED FOR DIFFERENT VOICES 52 THE MUSICAL GRAMMAR 53 DICTIONARY OF ITALIAN TERMS - PRACTICAL RULES FOR THE FORMATION AND CULTIVATION OF THE VOICE. ADDRESS. THE author of this little treatise, in venturing to intrude on the attention of the Public, deems it necessary to state that the following remarks on the Vocal Art, are not the mere gleanings of a few months, but the experience of twenty years and upwards, during which period he has had the advantage of studying under the following eminent masters, viz., Dominico Corri (to whom he served seven years) subsequently under, T. Magrath (the favorite pupil of the celebrated Rauzzini,) he was also a daily pupil for above twelve ADDRESS. months of Thos. Welsh, and subsequently received some valuable information from Dominico Crivelli. Having carefully and assidiously collected by strict observation, from the before men- tioned celebrated professors, some truly excel- lent advice, on the treatment of the formation of the Voice, the best mode of emitting pure tone, of acquiring flexibility, and many other points essentially appertaining to the Vocal Art, with an experience gathered from repeated examples, in the chamber, concert room, and the stage, the author puts forth this treatise for the amusement and instruction of his readers, it being his wish to convey some hints on the intellectual and philosophi- cal portion of the art. The technical part of it has, already, in a variety of shapes, been placed before the public by almost every ADDRESS. master of any eminence. To conclude, the author has now to place himself before the musical part of the community, for their candid and liberal judgment of this trifle, which should it not be fortunate enough to meet with their entire approval, is at all events submitted, with due deference, and with the earnest hope that it may at least be of some little service in the absence of better instruc- tion. To those of his readers who are not acquainted with the Musical Grammer and the Dictionary explaining Italian Words in Music, $"C., infor- mation on those points will be found in the last pa(jcs of the work. Robot Street, Alliiiny Street, A TREATISE, &C. * REMARKS ON THE ORGANS OF THE VOICE. Previous to treating on . either of the branches of the art, it may not be the least interesting portion of the work, to give the readers some slight information on the Organs employed in the formation of the Voice. They consist of the lungs, which if capa- cious, will be found of essential assistance. The Larynx is the principal organ, which is an assemblage of cartilages joined into a hollow machine or pipe. The Glottis through which the air passes, although the aperture from whence the tone proceeds is not larger A TREATISE ON than the tenth of an inch, is capable of pro- ducing some hundreds of different sounds. The other organs brought into operation, are the cavity of the mouth and the nostrils. The throat, tongue, teeth, and lips, serve for the articulation: on the strength of the lungs depends the power of the Voice, which when naturally weak, may be strengthened by a constant and judicious practice. It may not be inapposite to introduce a few lines from Plutarch a very old and celebrated author on the subject, who says," While other motions only set the limbs at work and stir the external members of a man, the Voice exercises a nobler part of the body, and strengthens the lungs that give it breath, it augments the natural heat, thins the blood, cleanses the veins, opens all the arteries, prevents every obstruction, and keeps the gross humour from thickening into a mischief," by this advice we THE ART OP SINGING. 11 find that in studying the art of singing, we not only acquire an innocent and pleasing accomplishment, which operates as a mutual gratification betwixt the singer and hearer, but that, at the same time we are likely to de- rive great benefit from it, as a healthy pursuit. 12 A TREATISE ON ON THE INTONATION. As it is the wish of the author to address this work more particularly to those on whom nature has been so bountiful as to bestow such delightful gifts as a good Voice, (which may be heightened to a considerable point of per- fection) and a correct ear, this is a most important and indispensible requisite, many of his readers may imagine that if the Voice is good they are sure to be made singers, but this, unfortunately, is not always the case ; for there have been known numerous instances of persons possessing Voices both of good THE ART OF SINGING. 13 quality, great extent and power, who after many fruitless attempts have not been able to sing one bar in perfect tune, from a want of the second requisite mentioned ; a correct ear. This evil may arise from an imperfect formation of the organs of the throat ; but let not this in the least discourage the reader, so great an impediment is but of rare occurence, and even then, many instances have been known, where by great perseverance on the parts of master and scholar, the ear has been by a constant practice of the scale, very essen- tialy improved. This want of perfect intona- tion, which is the greatest of all defects in a student of the vocal art, occasions a con- stant inclination to a sharpness or flatness of tone, the latter of which is more readily overcome than the former, as the pupil may, by giving a little more energy, bring the organ to sing sharper, but on the contrary, if B 14 A TREATISE ON obliged to suppress the tone, it injures the expression both of the poetry and the music, and causes a timidity on his part, feeling as he must within himself, the incapacity pro- perly to enter into the composer's sentiments. THE ART OF SINGING. 15 ON THE MANAGEMENT OF THE BREATH. The quantity of breath necessary to be re- spired, has long been a matter of great doubt, even among professors of the highest reputa- tion. Those who have had many Voices to direct both for the chamber and the stage, have found that the respiration taken while in general conversation, is quite sufficient to form the Voice for chamber singing, and that prac- tising from one hour to one hour and a half, at different periods, in the course of the day,\ is sufficient to accomplish the aim of the student : on the other hand should the pupil 10 A TREATISE ON be intended for the stage, he is recommended in his practice, a complete inflation of the chest, begining with half an hour each day and daily increasing, (if capable to bear the fatigue) to the extent of five or six hours. If the note is practised with proper energy, it will leave a slight palpitation on the lungs ; to proceed to the next note, until that sensation is entirely subsided is not desirable : the material point, in studying either for the chamber or the stage, is the judicious ma- nagement of the breath ; whether in taking an ordinary respiration, or in the full inflation of the chest, we should endeavour to keep it back to farm it, (if such a term may be applied) always retaining a sufficient quantity to in- crease the tone when required, and letting it pass from the lungs by degrees : the breath must not be taken between the syllables of a word, but always before a long note, a cadence. THE ART OF SINGING. or at the close of a piece ; as the want of breath at the termination of a performance, is one of the greatest defects a singer can possess, and a fault to which many are liable. The reason to be assigned for the very great difference of time, allowed to the amateur, and to the can- didate for the stage, arises from the necessity existing for higher colouring and cultivation on the part of the latter than on the part of the former ; in fact, the difference may be compared to miniature painting and scene painting. Much more might be said on this subject, did space allow. 18 A TREATISE OX ON THE METHOD OF PRODUCING PURE TONE. In the construction of any complicated piece of work, be it a mansion or even a musi- cal instrument, which we wish to have well finished, the first thing naturally sought for is good materials ; the idea may be justly applied to the formation of the Voice. The material required is a pure tone, by a pure tone is meant that, which is entirely free from any nasal, gutteral, or dental sound ; the best mode of acquiring this pure tone, is by vocalizing on the vowel A, as pronounced by the Italians, or the Scotch. Ah. It has THE ART OF SINGING. 19 been found from experience > that by emitting the sound on the vowel detached, it is possible that the tongue may by some trifling motion injure the quality of tone, in passing through the mouth, consequently it is deemed necessa- ry to add the consonant Z, making La; it will will be observed that by this addition the tongue, in uttering the syllable, will touch the roof of the mouth and gently fall into the cavity in the bottom of it; the tip of the tongue, touching the inner part of the lower gums. The teeth should be kept sufficiently apart to admit not more than the fore finger, for if they are widely separated, or even admit two fingers, an inclination to a nasal tone is created, and on the other hand, if they are too close a dental tone will arise. In the conser- vatories in Italy, there are men employed ex- pressly to remind the pupils of the necessity of keeping the mouth sufficiently open, by 20 A TREATISE ON constantly calling out " Aprite le bocca" open the mouth. The lower lip should be inclined to the smile, so that the tip of the under teeth may just be seen ; for if the lip is allowed to remain in its natural position during practice, the probability is, that it will weaken and damp the tone. The greatest care should be taken to avoid any distortion of the features, such as the movement of the eyes or eye brows ; as this cannot render the least assistance in the pro- duction of a sweeter, a larger, or a better quality of tone, the Voice coming as it does (be it Voce di petto" the Voice of the chest "or Voce de testa" the Voice of the head), from the back of the mouth, the head should be kept in an horizontal position, the practiti- oner avoiding the slightest movement of the lower jaw, otherwise he may cause a tightness of the muscular action, (a sensation so fre- quently felt by those who have not studied THE ART OF SINGING. 21 the art of singing) while passing from the chest to the head. All Voices more or less partake of what is termed a false note. In soprano Voices there are two false notes, which generally happen on the F, FJ or G and the other either on the D, DJor E. This must not be considered a positive rule, as it varies in different Voices : sometimes it may occur half a note higher or lower, which the student will better become acquainted with, from his own general observa- tion, as to where an apparent obstruction in the organs of the Voice may invariably occur. (It may not here be out of place to observe, that a most remarkable instance of a soprano Voice being free from these false notes previously mentioned, occurs with Mrs. Gibbs (late Miss Graddon). Another beauty of this lady's singingmay also be noticed, which is her per- fect intonation). In tenor Voices only, one 22 A TREATISE ON false note occurs which is generally on the C, CJ or D., a perfect Bass Voice has usually the gift of singing as a counter tenor, but the break between the two Voices being so far apart renders it almost next to impossible to unite them. The Italians think so much of the false note, now being treated upon, that they have given it the name of " 77 Ponticel- lo" the little bridge. In passing from one Voice to the other, (that is to say from the chest to the head), it is imperative not to press the chest Voice one half note beyond its natural extent ; (nature will here be the best guide) but rather to leave off half a note too soon than half a note too late, because by this means the student will the more readily acquire the method of uniting the Voices of the chest and head with greater facility, and bringing them to an equal register, or equality of tone, with- out which equality there cannot be any true THE ART OF SINGING. 23 perfection in the Vocal Art, this being the rock upon which all indifferent singers founder. Marchesi a celebrated Italian singer is said to have devoted three entire years, to equaliz- ing and perfecting these two notes of his Voice. The Voice may be compared to any elastic substance, which it is true may be brought by management to greatly increase its original compass. Let the practice thereforejbe gentle and moderate, by which means, the Voice will daily acquire sweetness (or silvery quali- ty) extent and power. The best time for practice is after breakfast, and in an erect posture, throw the chest forward, let the stu- dent place a looking glass before him so that lie may readily detect any unnecessary dis- tortion of the features ; the tones should be produced with the same ease as in ordinary speech, for should there appear any great effort 24 A TREATISE ON on the part of the singer, the pleasure of the hearer must entirely subside. It is presumed that the reader may have a sufficient knowledge of the piano-forte, to be able to find the position of the middle C, the observations which are about to follow are more particularly confined to the Tenor and soprano Voices, but all Voices whether soprano, mezzo soprano, contralto in the female, or counter tenor, tenor, baritone, or the bass in the male, should pursue the same course, by beginning on the lowest note which they can most easily produce; it is then necessary for the pupil to practise the scale in the following three grades of time, on the syllable La, paying great at- tention to the previous remark on the sub- ject. At first each note should be sang very piano and staccato, resting a short time between each. THE ART OK SINGING. EXAMPLE. La La La La Descend. La The second time with rather more power, partaking slightly of the crescendo and the diminuendo -=:=- and dwelling longer on each note, say a dotted crotchet. EXAMPLE. La La La Descend. = 2 *-.j. The rest between each note should be rather prolonged, the third time let the crescendo and the diminuendo be given to the full 26 A TREATISE ON extent of the power possessed, sustaining the note from fifteen to twenty seconds, but never forcing the Voice so much as to prevent an easy return to the diminuendo ; a great quali- fication in the art : care must be taken that in coming to the close, the syllable La keeps the quality of the vowel unto the end, Voices often being inclined to change to Lor or Leu; the better way to detect this fault will be to finish the sound with the syllable Land. On the fol- lowing practice the pupil must rest well between each note, a longer period than the other degrees. EXAMPLE. THE ART OF SINGING. > l~ 5' -o- 28 A TREATISE ON The Chromatic Scale has been found better adapted to the formation of the Voice than the Diatonic, it being easier to ascend a semitone than a tone.* The above scale has only been continued to F, but the pupil may exercise the Voice to a higher or lower extent, if he has the facility. It is considered that too much exercise either on the higher or the lower notes is injurious; it may not be felt at the time of practice, but the ill effects are certain to occur sooner or later, in his experience. * The Author has given a specimen of the method in which it is his wish the whole of the subsequent notes should be practised ; viz. beginning each note Piano, and proceed- ing with the Crescendo and Diminuendo as advised in the first six notes. THE ART OF SINGING. ON THE VOLATA, AND METHOD OF IMPROVING THE FALSE NOTE. The pupil having acquired some facility in sustaining the notes, he should proceed to the practice of the Volata. Taking great care to let each note be united in the legato style, it should be practised in slow time at first, so that every note maybe distinctly heard, paying strict attention to the advice in pages 18, 19, and 20. EXAMPLE. 30 A TREATISE Otf LiJ As many succeeding volatas as the extent of the pupil's Voice will admit, may be advan- tageously tried, but avoid forcing the organ too much on the upper notes; as that may produce a bad quality of tone ; should the pupil feel more difficulty on one or more notes, invariably as he comes to the same point, this may be considered by him as the false note previously spoken of, that is, the note which divides the natural Voice from the falsetto ; exercise them therefore in the follow- THE ART OF SINGING. 31 ing manner. Suppose the false note occurs in the middle of the semitones here expressed. EXAMPLE. The exercise here given indicates the false note to be either C CJ or D, but as before stated it may happen on other notes in differ- ent Voices, but let it come on whichever note it may, the same system must be pursued of beginning two semitones below and two above the note in the following manner, pressing from the back of the mouth ; the pressure necessary may be compared to leaning forward when walking against a very strong current of air. This exercise should be repeated from ten to fifteen times successively, at intervals, in the course of the same day, it being the essential point which a singer has to accomplish, there- 32 A TREATISE ON fore to the uniting of the Voices, greater atten- tion and application is required, than to any other branch of the art. As the pupil finds the volata going pretty smoothly, he may now venture to practice the turn. THE ART OF SINGING. 33 ON THE TURN. The Turn consists of two notes, one higher and one lower than the note of the composi- tion ; Turns must be very articulately executed, used but sparingly, in cases only where the melody requires relief, confining this grace and the practice of the shake, (which will follow) more particularly to the grave notes, or that part of the Voice over which there exists the greatest control ; a lesson which by this time the pupil may be supposed to have learnt. In the following examples it will be necessary to rest well between each bar, beginning in very slow time, increasing by degrees and C3 34 A TREATISE ON laying a greater stress on the note marked thus v. EXAMPLE. La La SI tat I- ^LTL_!-_- ^'-*-4-i- THE ART OF SINGING. 35 The Voice will invariably be found to de- rive more benefit by resting, than by practi- sing too quickly ; thus verifying the old adage, " what we wish to do quickly, we must practise slowly " while practising it is quite natural to suppose that the Voice is undergo- ing some additional exertion, it being impos- sible to " polish steel or marble with the leaves of roses 1 ' after this it may be as well to try the turn in what is termed the transient manner, without the aid of the dotted minum; as in the previous exercise of this ornament, continuing it as long as the breath will admit, and giving the accent on the first note as marked. 36 A TREATISE ON ON THE CONSTRUCTION OF THE SHAKE. The next portion of ornament requiring the pupils particular attention, is the trill or shake, one of the most delightful embellishments in the art, and one which must be considered necessary to any person, professing the slight- est pretensions to finished singing ; the method generally most successful, is by dividing the practice of the shake into five different degrees, the first degree in the slowest possible time with four minums, thus : ' c> ^ el- La THE ART OF SINGING. 37 perfectly legato, as the slightest inclination to the staccato would prevent the possibility of forming the shake : the second with eight crotchets, thus : the third degree sixteen quavers, thus : La The fourth degree thirty-two semiquavers, thus : La the fifth degree sixty-four dcmisemiquavers, thus : D 38 A TREATISE ON The pupil will find that by doubling the time of the fifth degree, the shake will be formed. Exercise it in the following manner. EXAMPLE. THE AUT OF SINC.INT.. 39 To effect this important object certainly re- quires more time with some Voices than with others, for in the same proportion as the volata and the turn are acquired quickly, so will the organ yield to form the shake, the A and G are placed for the practice of the degrees of 40 A TREATISE OK this ornament ; but the pupil may commence on any two notes most at command, as recom- mended in the turn. The formation of this ornament is also a point on which many pro- fessors differ, as to whether the begining should take place on the upper or lower note; the author generally found it better to commence with the upper note, that is however but a matter of opinion, in case the shake partakes more of the upper or under note it may be remedied by the following practice ; if on the upper note, thus : should it be on the lower note, thus : but if found to be close, too nearly partaking of the semitone, the practice of a minor third THE ART OF SINGING. 41 should be adapted, which will cause it to become more open, thus : fX- (X IX |X JX |V Those who expect to acquire this ornament must practise at least a quarter of an hour at a time, three or four times a day, with the strictest attention ; remembering that whatever we wish to execute with skill and precision, requires unceasing- application in the method and practice assigned for its attainment, except in the case of a transient shake, this ornament generally terminates with a turn, the nature of which is so various as to render it next to impossible to aflix any positive rule, consequently that must be left entirely to the judgment of the pupil. 42 A TREATISE ON ON THE ELOCUTIONARY PART OF THE ART. The pupil is to be considered as still voca- lizing on the syllable La ; many readers will perhaps be surprised at hearing that in the conservatories in Italy, some years are devo- ted to practise on this vowel only ; this, and they, being from children in the habit of hearing the best compositions and artists, which is the case with nearly the whole of the singers who visit this country, accounts for their superiority: but another great ad- vantage the Italians have, is their language; which does not in any way partake of the nasal tone of the French, the guttural of THE ART OF SINGING. 43 the German, or the sibilant of the English, being free from the M 's, N' s, and S' s, which produce the hums, unns, and hisses, notwith- standing the faults in our language, by paying very strict attention throughout, first by read- ing the poetry very attentively, and then selecting the vowels best calculated to let the tone be heard to the greatest effect, (another very essential point in favour of the Italian singers, is that they have the advantage of studying music committed from the pen of an artist who is not only a composer, but has strictly studied the art of singing as a branch of itself; they also have a proper time given them for the production of their opera, which unfor- tunately is not the case in England :) a just delivery of the words in singing which is most essential may be thus attained ; in the case of two or more sounds occuring to one syllable it is not imperative to dwell on the consonant, 44 A TREATISE ON" supposing the word begins with one, but let the passage be on the vowel, and if concluding with a consonant, do not let it be heard, till the very last. Let all the labial and dental consonants be as quickly passed over as pos- sible, so as to come on the sound of the vowel ; the broad A, and the soft O, will be preferable when those vowels occur, and they are the vowels most in use for divisions, care must be taken to avoid harshness in pronouncing the letter K ; there are moreover two words must be sung differently from the manner wherein they are spoken, and this rule must be invari- ably attended to ; for instance, Tha for the article The and something between me and ma, for the pronoun my; these observations may appear strange, but in singing the justice of them will be soon observed ; the singer should also fully comprehend the sense and feeling of the author whose words he adopts. THE ART OF SINGING. 45 ON THE SOLFEGGIO. The author now recommends the practice of the Do, Re, Mi, Fa, Sol, La, Si, Do, which syllables are applied to the following seven notes. EXAMPLE. clo re mi fa sol la si do Descend. 4= do si la sol fa mi re ?= do The sounds the vowels take in the syllables before mentioned, are in Do, the vowel will have the same sound as in So, in Re, the same 46 A TREATISE ON sound as in Rate, in Mi the same as in Me, in Fa as in Far, in Sol as in Sold, in La as in Lath, in Si as in See. Let the pupil now exercise his Voice on the practice of the volata, the turn and the shake, applying the solfeggio to the different positions of the scale, always keeping in mind that C is Do, D is Re, E is Mi, F is Fa, G is Sol, A is La, B is Si. The volata ascending and descending. EXAMPLE. First on La, then on Do, then on Re, on J//, on _Fa, on Sol, on ia, on Si, and Z)#. Now in the key of D. EXAMPLE. as in the key of C on every vowel. Now in the key of E. THE ART OK SINGING. EXAMPLE. -# then in F. EXAMPLE. and so on in every succeeding key as far as the students Voice will admit. Now exercise the Voice on the turn on the different vowels. EXAMPLE. The La, Do, lie, &c. c. EXAMPLE. Tlie sliakt; on the La, Do, lie, .See. .See. 48 A TREATISE ON ON ACCENT, AND THE ART OF SIGHT SINGING. From a strict attention to the foregoing rules and a knowledge how to give the proper accent to even and triple time, the pupil must studiously apply himself to this portion of the art ; for without accent there can be no true expression, it gives the pupil the power of modulating the Voice, and entering into the spirit and meaning of every note, by laying as it does the proper emphasis to each, whether in even or triple time ; in even time there are two accents in the bar, in triple time only one. THE ART OF S1NC.1NG. 49 EXAMPLE. Eveu Time. Act-cnttd. I'liv.enu-d. Accented. fturccBlrH . ?-P * *- Air. I'nacr. Ace. I'ntrr. Ace. Invi i-uttd. A<-c. I'auecntrd. * r Triple Time. An. l'BT. l'B'r. Ai'C. Unacc. I'Blcr. =S: ^zpzr^rzzip: S^ The pupil will find by the foregoing exam- ples that the accented notes in even time are the first and third, in triple time the first only. It may, perchance, be the desire of many readers to gain some slight knowledge of sight singing, the previous exercises not having in the least degree put forth a hope of assis- ting the pupil in this branch of musical educa- tion. The method to be suggested, HS the most ready way of acquiring this will be to get the car accustomed to the distance of a third, E 50 A TREATISE ON EXAMPLE. ^1 II ' frvnvfVi rL. ffn ii loun /fn i . S]Z J J J SEE j ^ y ./* -J- do re mi do mi CT-J-^* -j- do re mi fa do fa J^ , afifrli /^^ - .. , I (m i 1 J 1 ^ 1 * do re mi fa sol do sol f ,| a SI vtll -r^ . ! J * rut .^y_.. j j 1 c7 -J- * do ' re ml fa sol la do la Jjf 1 SJPirOTltll /Sb 1 i ' j J J ^ ^ ^K J ^ * ^7 V do re mi fa sol la si do si , I TTl fMfrTltll /^b A f m u.11 L1L,I11I1 .r^^ , j J * * Then the following exercise EXAMPLE. In C. ^^ do re do mi do fa do sol do la do si do do Descend. do si do la do sol do fa do mi do re do THE ART OF SINGING. 51 In D. re mi re fa re sol re la re si re do re re Descend. re do re si re la re eol re fa re ml re - - - --- And in as many succeeding keys as the extent of the Voice will admit, after this the pupil may practice some music in the cantabile style (this term is derived from the Italian verb cantari to sing) in which he will have the advantage of introducing the mezza di voce, the portomento, the volata, the turn, and the shake, the whole of which he has been previ- ously acquiring, the author not being himself in possession of the quality of Voice he is treating with, has made a selection of song.s to a certain extent, for every description of Voice with which his readers may be gifted. 52 A TREATISE ON FOR THE TREBLE. Angels ever bright and fair. With verdure clad. Pious Orgies. Holy Holy Lord. Farewell ye limpid streams. Sweet Echo. I know that my Redeemer. Soldier Tired. &c. c. FOR THE TENOR. Comfort ye my people. Deeper and Deeper still. Where'er you Walk. Alexis. In native worth. Total Eclipse. The soldiers Dream. Orynthia. &c. FOR THE BASS. Tears such as tender. Revenge Timotheus. The Last Man. Angel of Life. The Tempest. Honour and Arms. He layeth the Beams. O Lord have mercy upon me. c. &c> THB ART OF SINGING. 53 MUSICAL GRAMMAR. MUSICAL SOUNDS are expressed by certain characters, called notes ; their numbers are seven, and they are named from the first seven letters in the Alphabet, viz. A, B, C, D, E, F, and G. Those Notes are placed on a Stave, which consists of five lines and four spaces, and when the Notes go higher or lower than the stave, additional lines are used above or below. EXAMPLE I. A Stave. 54 A TREATISE ON Lines, Spaces. Notes on the Stave. r: Notes in the Spaces. Notes above the Stave. Notes below the Stave. THE ART OF SINGING. 55 EXAMPLE II. According to the position which is given to the notes that are placed either below or above the stave, they are known by one of the names given in the introduction, the rest being only a repetition of the same ; every succession of eight notes, as from A to A, or B to B, c. is called a gamut, or the extent of the octave. All modern music for the piano-forte, is arranged on two cliffs, viz. the Bass, or F cliff, placed on the fourth line, thus : and is played with the left hand. The Treble, or G cliff, on the second line, thus : and is played with the right hand. Some times other cliffs are introduced, but rarely. 56 A TREATISE ON EXAMPLE OF THE GAMUT OR SCALE. Treble for the Right Hand. An Octave. K G A G A B C D E F -9- f- 8fC. F G A B C D E F Bass for the Left Hand. An Octane. f ? . _/ . j ^ J c u ^ G A B C D E F G A B C D E F THE ART OF SINGING . 5J EXAMPLE III. THE ACCIDENTS. Each sound may be altered by adding any of the following signs, viz : A Sharp thus Jf, raises the note a semitone, or key higher. A Flat thus \> , lowers the note a semitone, or key lower. A Natural thus t|, brings the note to its former place. A Double or Chromatic Sharp thus x, raises the note a whole tone, or two keys higher. A Double Flat thus bb> lowers the note a whole tone, or two keys lower. The Sharp, or Flat, placed at the key, that is at the beginning of the Air, affects every note of the same degree throughout the air. Placed before a note, they a fleet only those within the same bar, and which continues if 58 A TREATISE ON the last note of a bar is the same as the first note of the following bar. The notes affected by sharps or flats, still retain their name, with the addition of sharp, or flat, as F sharp, or B flat, &c. EXAMPLE IV. CHARACTERS AND LENGTH OF THE NOTES IN MODERN MUSIC. A Semibreve is the longest sound, and marked thus : Semibreve Rest. A Minum is half the length of a Semibreve : Minum Rest. THE ART OF SINGING. 59 A Crotchet is half the length of a Minum, and the fourth of a Semibreve : Crotchet Rest. A Quaver is half the length of a Crotchet, the fourth of a Minum, and the eighth of a Semibreve : Quaver Rest. A Semiquaver is hall' the length of a Quaver, the fourth of a Crotchet, the eighth of a Minimi, and the sixteenth of a Semibreve : - 60 A TREATISE ON Semiquaver Rest. A Demisemiquaver is half the length of a Semiquaver, the fourth of a Quaver, the eighth of a Crotchet, the sixteenth of a Minum, and the thirty-second of a Semibreve. [ , r ,' 1 Demisemiquaver Rest. A Rest of two Bars, thus : A Rest of four Bars, thus : r THE ART OF SINGING. 61 A Rest of five Bars, thus : :t A Dot, or Speck, placed after a note, in- creases half its duration, for example : A Semibreve dotted thus : is equal to three Minums, &c. A Minum dotted thus : is equal to three Crotchets, &c. A Crotchet dotted thus : is equal to three Quavers, c. and so on with the others, The Hosts are likewise dotted in the same manner. F 62 A TREATISE ON EXAMPLE V. EXPLANATION OF THE BAR. The Measure or Bar, is a perpendicular line across the stave, thus : Each of these Bars enclose less or more notes, as the character of the time requires, which is signified at the beginning of the Air, as in the following examples, and divides the time accordingly. The double Bar is marked thus : and divides the different strains of a song, or piece of music, and when dotted thus : each strain between the dots to be repeated. IHK .ART OF SINGING. 63 EXAMPLE VI. THE DIFFERENT DEGREES OF TIME EXPLAINED. Simple Common Time Explained. c > : \^\ - = ^z_ c^: 1. i T Compound Common Time Explained, 64 A TREATISE ON r -P-J- F- AL vi- a . 5^2 ' f^i V 15 1 Simple Triple Time Explained. THE ART OF SINGING. Compound Triple Time Explained. H 1 (- A DICTIONARY OF ITALIAN TERMS. 6J A DICTIONARY EXPLAINING SUCH ITALIAN WORDS AS OCCUR IN VOCAL MUSIC. Ad libitum, at pleasure. Affettuoso, in a tender delicate style. Agitato, agitated. Allegro, gay, lively quick. Allegretto, not so quick. Alscfjno, or thus $ repeat from that mark. Amoroso, as addressing the person yon love A ndante, moderate . Animato, with animation and spirit, Appogiatura. a leaning note. Ana, an air or song. 68 A DICTIONARY OF Arioso, with a free delivery of voice. A tempo, in the original time after a suspence. Brio or Con Brio, with spirit and brilliancy. Calando, gradually softer and slower. Cantabile, slow. Canzonetta, onetta^} lina, j a short song. /~i ' (Javatina, Crescendo, or thus <=: A gradual swell. Cres and Dim, or thus <^r=- A gradual swell and decrease of sound. Da Capo or D. C. to resume the song from the beginning. Diminuendo, or thus :=> A gradual lessening of the sound Expressione, ~\ > with expression. Expressivo, j Forte, or / Loud. Fortissimo or fp Very loud. Furioso, with boldness. ITALIAN TERMS. 69 Grave, the slowest time. Grazwso, in a graceful style. Gruppo, a turn. Gusto or Con Gusto, with taste. Largo or Lento, a degree less slow than grave. Larghetto, not so slow as largo. Legato, every note smooth and flowing. Mancando, see diminuendo. Mcssa di voce, prepare the voice for a swell. Mesto, in a melancholy style. Mezza voce, with half the strength of a voice. Mezza forte, ") > a medium between loud & soft. Mezza piano,) Minuetto, a dancing movement. Moderate , between slow and quick. Mordentc, this is executed with more velocity than the foregoing, and is no sooner born than dies. Morcndo, dying the sound 70 A DICTIONARY OF Pastorale, as cantabile. Perdendosi, diminishing the sound. Piano or p soft. Pianissimo or pp very so Polacca. as allegro. Portamento dl voce, the swelling and dying of the voice ; the sliding and blending one note into another with delicacy and expression. Presto, fast. Prestissimo, very fast. Rallentando^l > to retard the time gradually. Ritardando, J Romanello or Ritornello, a roman air. Scherzando, playfully. Siciliana, as cantabile. Sforzatto, or Sforzando, or sf, a particular accent to that Note where it is so marked. Sostenuto, supporting the note with firmness. ITALIAN TERMS. 71 Sot to Koce, see mezza voce Staccato, distinct and pointed. Tacet, silence. Tempo primo, to resume the former time. Tempo rubato, is a detraction of part of the time from one note and restoring it by increasing the length of another. Vivace, lively, quickly. Volata, take breath quickly. Voltl subito, or V. S. turn over quickly. Unison, when several parts execute the same note Jilt JiMJ. filmed by J.TKUTKK, 188,Drur UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. Form L9-50m-4,'61(B8994R4)444 THIS LdtJKAKI T OF CALIFORNIA LOS ANGELES PN Jfl62 H86p