CHAPTER XVI. APPOGGIATURA-TURN-SHAKE OR TRILL-PORTAMENTO. 872. Passing Tones. Tones not essentially belonging to a melody are often introduced into music, called PASSING TONES. They are sometimes represented by notes of smaller size than those in which the music is written, though this distinction is not generally observed. § 73. Apoggiatura. When a passing tone precedes an essential tone on an accented part of a measure, it is called an APPOGIATURA. § 74. After Tone. When a passing tone follows an essential tone, on an unaccented part of a measure, it is called an AFTER TONE. 875. The Shake or Trill. A rapid alternation of a tone with the conjoint tone above it, at an interval of either a step or a half-step, is called a SHAKE or TRILL. § 76. The Turn. A tone sung in rapid succession with the conjoint tones above and below it, so as to produce a winding or turning melodic motion or movement, is called a TURN. § 77. Portamento. When the voice is instantaneously conducted by a concrete passage, or graceful and almost imperceptible glide, from one tone to another, so as to produce a momentary previous recognition or anticipation of the coming tone, such a carriage or transition of the voice, or such a blending or melting of one tone into another, is called PORTAMENTO. NOTE 1.-The portamento should only occur between tones of comparatively long duration, and in connection with words or tones expressive of deep emotion. This beautiful grace, which, when properly introduced, gives an inexpressible charm to singing, is sometimes, nay often, most sadly misrepresented, caricatured, or counterfeited, and coarse slides, or vocal avalanches are heard in its place. Ferrari, in his Singing Method," has applied the very significant term "harsh shrieks" to these frightful lurchings of the voice, but, by whatever name they may be called, they should be most watchfully and determin ately eschewed. NOTE 2-The ornaments, graces, or embellishments of vocal music, some of which have been meels glanced at in this chapter, with the partial exception of passing tones, cannot be said to belone o ordinary singing, and certainly not to choir or chorus-singing. The turn, the shake, and the portamento, rather belong to that artistic style which can only be acquired by the few possessing naturally great flex. ibility of voice. accuracy of ear, quickness of musical perception, and habits of persevering application nor should they be attempted, even by these, until they have been carefully studied for years under the direction of an accomplished teacher CHAPTER XVII. DEGREES OF POWER. $78. Mezzo. A musical sound of medium power or force is called Mezzo, (pronounced met-zo;) such a sound is indicated by the term mezzo, or by an abbreviation of it, as mez., or by its initial, m. § 79. Piano. A tone somewhat softer than mezzo, or a soft tone, is called PIANO, (pee-ah-no,) and is indicated by the term piano, pia., or p. $ 80. Forte. A tone somewhat louder than mezzo, or a loud tone, is called FORTE, (for-te, or four-te,) and is indicated by the term forte, for., or f. $81. Pianissimo. A tone softer than piano is called PIANNISSIMO, (pee-ah niss-i-mo,) and is indicated by pp. § 82. Fortissimo. A tone louder than forte is called FORTISSIMO, (fore-tiss-imo,) and is indicated by ff. NOTE-There are also modifications of the above-named degrees of power, as Mezzo-Forte, Mezzo Piano. CHAPTER XVIII. FORM OF TONES. $83. Organ Form. A tone commenced, continued, and ended with an equal degree of power, is called an ORGAN FORM, or an ORGAN TONE. It may be indicated by parallel lines, thus: NOTE 1.-The Organ Form takes its name from the organ pipe, which can only produce a tone of one equal degree of power. NOTE 2.-The Organ Form is not often used in vocal music, except in passages in which one part holds a steady tone for a considerable time, while the other parts sing various harmonies. § 84. Crescendo Form. A tone commencing piano, and gradually increasing to forte, is called CRESCENDO, (cre-schen-do.) It is indicated by cres., or by two divergent lines, thus: $85. Diminuendo Form. A tone commencing forte, and gradually diminishing to piano, is called DECRESCENDO or DIMINUENDO, (dé-cre-schen-do, or dimir o-en-do.) It is intimated by decres., dim., or by two convergent lines, thus. NOTE 1.-The swell is sometimes called the Drawn Tone; the term Messa di voce, is also used to de signate this tone form. NOTE 2.-The acquisition of this form of tone is one of the most difficult things in the art of song. It constitutes the polish or finishing touch in artistic excellence. "It is the result," says Garcia, in his admirable "School of Singing," ** of all other studies;" and again, "to draw the tones well is to be a good singer." NOTE 3.-The application of Crescendo, and Diminuendo to phrases and sections, or to passages of several measures, is comparatively easy, and constitutes one of the greatest beauties of choir singing. § 87. Pressure Form. A very sudden crescendo or swell, is called the PRESSURE FORM. It is thus marked, < or <>. NOTE. This dynamic form is sometimes used to express ridicule, sarcasın, or irony. It belongs mostly to burlesque, to the ludicrous, or to the comic in singing. § 88. Sforzando. A tone which is produced very suddenly and forcibly, and instantly diminished, is called an EXPLOSIVE TONE, or SFORZANDO, or FORZANDO, (sfort-zán do, or fort-zán-do.) It is designated thus, or by sf, or fz. NOTE 1.-This tone-form is of great importance both to the speaker and to the singer. The energetic style of singing, as in many of Handel's choruses, for example, is much dependent upon it; indeed some degree of it is always needed in the very first utterance of the voice, for without it the tone will be desti tute of life and expression. Its power is distinctly felt in the manner in which good performers on stringed or wind instruments produce their tones, or in the very first utterance of a tone, or m the manner in which the attack is made upon it. Much of the dullness, heaviness, stupidity, and lifelessness so prevalent in vocal music, and especially in choir-singing, is to be attributed to the absence of this dynamic form of delivery. It is by no means intended that every tone should be given Sforzando, far indeed from this, but the element of Sforzando is to tones the life-giving power. It is, however, very liable to be overdone, and even caricatured; it requires, therefore, much discretion in its application, for, unless it be directed by good taste, it will be likely to degenerate into a mere lungeing or jerking of the voice, grunt like, coarse, and disagreeable. NOTE 2.-The mark indicating the pressure form of tone is often printed instead of that which indicates the Forzando. The observance of the mark as thus erroneously applied would, in many cases, be quite ludicrous. The mark is often applied in this form, A. CHAPTER XIX. EMISSION OF TONE, PURITY OF TONE, WORDS, ETC. NOTE. If there is anything of elementary importance in teaching singing-classes, it is that of vocal utterance, or the emission of the voice. This should engage the most careful attention of the teacher from the very first attempts of the pupil to produce musical sounds. A good delivery of the voice, and also purity of tone, should be sought for in the very first lessons, and they should be kept constantly in view during the whole course of instruction. § 89. Emission of Tone. Vocal utterance, or the emission of tone, should be instantaneous, decided, and firm; without drawling, hesitancy, unsteadiness, and the like. The tone should be produced by a very distinct movement or motion of the glottis, which, being shut, is suddenly opened for the emission of the sound, as by a vigorous shock." This motion, or "shock of the glottis," has been compared to the action of the lips energetically pronouncing the letter p, or to the action in the vault of the palate in articulating the hard c, as in 66 come, or k, as in kind. The tone thus produced strikes the ear at the precise point of time, as by percussion. Like a spark from a living coal, it has life and power, and makes itself felt. Garcia, in his singing-school, says, “I recommend the shock of the glottis as the only means of obtaining sounds purely and without bungling ;" and again he says, "the master must insist on the tones being attained by the shock of the glottis." NOTE 1.-Any one who gives attention to the production of tones by a good instrumentalist, or to the manner in which they strike the ear when the attack is made upon them, or when they are first brought forth by a skilful player, cannot fail to observe their great superiority in promptness and energy of deliv. ery to those usually heard in singing. The contrast between the delivery of instrumental and vocal tones in a performance of choral music with orchestral accompaniment is very great; while the instrumental tones will be given with decision, pith, and character, the voice will be tardily drawn out, heavy, dull, and lifeless. Indeed, choir or chorus-singing can hardly be heard without revealing the fact that whatever proficiency may have been made in reading music, so far as it relates to time and tune, the proper use of the vocal organs m the enunciation or emission of tone has been sadly neglected. NOTE 2.-Caution. In the attempt to acquire the true delivery of the voice, there is danger that one may go too far, and substitute a shock of the lungs, or of the chest, or of the whole vocal region for one of the glottis merely. This may result in a violent outbreak, rough and boisterous, calling forth the remark. he sings by main force." It hardly need be said that this extreme should be avoided. There is a proper medium for the utterance of tones, between a careless, indolent, drawling manner on the one hand, and a terrible vocal eruption on the other. NOTE 3.-Let it not be supposed that an accurate idea of the production of vocal tones can be commumcated by any attempt at description, the true idea can only be imparted by illustration, or by living example. No one who cannot himself produce a tone in a proper manner, can teach a pupil to do so, for by pattern, or by example, the work must be done. As it is of little use for a man to preach religion who is not himself a virtuous or good man, so the work of a teacher of vocal music, who, in addition to good definitions or descriptions, does not also give good vocal examples, cannot be of much value. $90. Purity of Tone. A tone is pure when it is full, round, sonorous, and reson int, and when no extraneous sound is mixed with it; it is impure when it is stifled or muffled, when it is guttural or nasal, or when it partakes of an aspirated, husky, or hissing quality. NOTE."The purest tone is obtained, first, by flattening the whole length of the tongue; second, partially raising the veil of the palate; third, by separating the pillars at their base."-GARCIA. dwell upon a subordinate sound; as the vanish of a compound tonic element, or some succeeding or final consonant sound admitting of prolongation, Thus, for example, the word arm, is often erroneously sung ------m, or är------In, instead of arm; the word great, is sung grea---e---t, or greae---t, instead of great; the word charge, is sung cha---r---ge, or charge, instead of charge; the word fear, is sung fear, or fe--ar----, instead of fear. It would be easy to multiply examples, but these must suffice. § 92. The most important vocal element to the singer is that which is heard in the word ah, as in arm, harm, charge, calm, etc., and which is represented by the letter a with two dots over it, thus, a. This is the richest, most open broad, and euphonious sound that can be found in any language, or that car be produced by the human voice. It is also the most natural sound, for while all other sounds require some preparation or modification of the vocal or gans, this is produced by merely dropping the under jaw, so as to open the mouth in the most easy and natural way. It is of great importance that the pupil should acquire the true sound of this element, since it prepares the way for all the others. NOTE. This is not the place to attempt a full description of the elements of the language; a teacher of vocal music must be supposed to be familiar with these. It may be well, however, to say, that the tonic element heard in the word Do (Doo), will be found very useful, especially for softening and smoothing the voice. § 93. Consonants. These should be delivered quickly, smartly, distinctly, and with the greatest precision. Yet, since they do not sing, they should be given with no more force than is necessary clearly to identify the word spoken. The neglect of a careful utterance of the consonants, is a principal cause of indistinctness in the articulation of words. 894. Accent, Emphasis, and Pause. The laws to which accent, emphasis, and pause are subject in reading, should also be observed, generally, in sing. bying; but if poetry is to receive a musical expression, it must be, to some extent, subjected to the laws of music; yet the laws of music must not be pormitted to conflict with those of elocution, but such a liberal interpretation of both must be allowed as will enable the singer most happily and effectively to unite the two-speech and song. NOTE. The complaint is often made that the words cannot be heard, or are not carefully spoken in singing; but it cannot be expected that one who delivers the voice (tones) in a careless, indifferent, lifeless manner, should articulate or pronounce words in any other way, whereas, if the habit of a careful utterance or emission of tones has been formed, it is almost sure that there will be a corresponding attention to words. A proper production of tones is a pre-requisite to a good enunciation of words. § 91. Vowel or Tonic Elements. It is upon the tonic sounds (vowels), only, that the voice should dwell in singing. They should be formed with accuracy, and carefully prolonged, without change. To insure this, the same position of the vocal organs should be preserved during the whole continuance of a tone, no change or motion of the throat, mouth, or tongue, nor indeed of the head or body, should be permitted. NOTE.-It is a very common fault for singers to pass from the tonic element, and to allow the voice to § 95. Finally, in all vocal performances close attention should be given to both words and music. The singer should grasp the spirit of both, and make them his own; he should make an entire surrender of himself to his work, throw in his whole soul into the performance. and produce a living song which shall draw out his own heart, and the hearts of those who hear; so shall he produce the effect for which music is designed, and for which it is so admirably adapted. |
