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MUSICAL HAND BOOKS.

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SINGING.

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PUBLISHED BY OLIVER DITSON.

NEW YORK : GOULD & BEERY.

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THE

HAND-BOOK FOR SINGING

BY

EDWARD F. KIMBAULT.

©n % iformatton nf if)e boitt.

The great foundation of every kind of excellence in singing is the proper formation of the
voice. In playing upon any instrument, the learner's first care ought to be to draw from
it the finest tone of which it is capable. The voice is the instrument of the singer, and its
tone must be the first object of attention.

In conformity with the rules laid down by the best Italian and German masters, the
author recommends the pupil to begin the formation of the voice by the practice of the
diatonic scale ; using the vowels, A, E, I, O, U, with their Italian pronunciation, viz. :
A like a in father ; E like a in fate ; I like ee in feel ; O like o in ford ; U like oo in moon.
The student should, therefore, find out the registre, or pitch, of his or her voice ; viz., as to
whether it is, if a female, Soprano, Mezzo- Soprano, or Contralto ; if a male, Alto, Tenore,
Baritone, or Basso. The suitable scale should then be tried.

Scale for Soprano and Alto.

Scale for Mezzo-Soprano and Tenor.

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Scale for Contralto.

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Scale for Baritone,

Scale for Basso,

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In setting down these scales, the author wishes it to be understood that their respective
compasses are by no means fixed ; as it is next to impossible to lay down rules for that
which depends upon physical peculiarities. Indeed, it is advisable that the pupil should
extend the compass of his or her voice by adding (by slow degrees) both above and below
to these scales. Care, however, must be taken not to strain the voice by a sudden attempt
to reach high notes not naturally in the voice, though by diligent and careful practice they
may ultimately be attained.

It is of the utmost consequence to ascertain, at the outset, what is the true pitch of the
pupil's voice ; and this must be done by repeated trials. By mistaking, for example, a
mezzo-soprano voice for a soprano, the scholar may be made habitually to sing on too high
a pitch, so as to strain the upper part of the voice, and enfeeble the lower notes, which
naturally would have been the best. A similar effect would follow from mistaking a
baritone voice for a tenor, or a bass for a baritone ; and as such mistakes are very injurious
-to the voice, they ought to be carefully guarded against.

"In the formation of the voice," says Mr. Balfe, "the first object is to bring out its
natural tone in the purest possible state. It must come from the chest, without having its
sound in any degree affected by the throat, the nose, or the mouth. If the throat be ever
so little too close, or too much stretched, the voice will acquire a disagreeable guttural
sound, well known by the familiar term throaty. If allowed to pass through the nose, it
will become nasal — a very unpleasant, but not uncommon, defect in singing. If the
teeth are too much closed, it will acquire a hard, reedy sound, somewhat like that produced
by singing through a comb ; and it will also be injured if the mouth is too much opened.
In short, the most minute changes in the position of the organs of sound, respiration, and
speech materially affect the tones of the voice."

The best position for practising singing is unquestionably standing, with the head erect,
neither thrown forward nor too backwards ; the mouth should be opened moderately wide,
and the corners a little drawn back. Begin very softly, and gradually increase the sound,'
very slowly and steadily, to the full extent of the power of the voice, and then as gradually
decrease, and finish equally pianissimo. To effect this, it is necessary to keep the tongue
in the same position throughout, as the least alteration will change the quality of the voice.
Breath must be taken at the beginning of each note, and the note sustained as long as the
breath will hold out.

With these precautions, the pupil will begin to sing the notes of the scale, ascending
and descending. (See Example, No. 1.)

The practice of the scale must be regularly and steadily persisted in, till the scholar
has acquired the greatest purity, volume, and equality of tone that the natural powers

HAND-BOOK FOR SINGING. 5

of the voice will admit of, together with perfect correctness in the pitch of every note,
and till this has become so much a matter of habit as to be attained without difficulty
or effort.

When the scholar is able to sustain the notes of the scale with a firm and equal tone,
and the correct intonation, (in other words, in perfect tune,) the next step is to acquire the
power of taking certain distances, and of executing the various passages which may be
said to form the elements of vocal music.

The exercises appended to the present Hand-Book are a series of these passages, con-
structed in such a manner as to embrace, in a narrow compass, the various difficulties of
vocal execution. They must be sung as exactly as possible in the manner in which they
are written, attending carefully to the marks indicating the legato, staccato, &c. The
passages must be taken slowly at first, and gradually increasing in quickness, and the
pupil must have acquired facility and correctness in performing each exercise, before
proceeding to the next.

©n tlje Jttcmagement of ttje Breatl).

In taking the breath, great care is necessary to inhale with as little effort as possible.
The proper places for inspiration are to be chosen by the phrasing of the melody, and
from the words. In the first place, it is improper to take breath in the middle of a word,
or between two words so grammatically connected as to admit of no interval. It is
necessary, as in reading, to regulate the breathing by the punctuation of the words ; and
it will be found that, in good music, the vocal passages will be so adjusted to the poetry
as to admit of this being always done. The " Solfeggio," at the end of the book, by
Rossini, shows how the best vocal composers regulate their passages with a view to
respiration, every phrase which is to be taken with one breath being separated from the
following by a rest. If the singer begins by carefully reading the words of a song, with
attention to their meaning, punctuation, and grammar, he will, when he comes to sing
them, naturally take breath at the proper places.

©f (fopresmon, &c.

Portamento is the art of carrying the voice gracefully from one note to another by means
of a glide. It is of considerable service in giving a flowing and continuous effect to the
voice, and in lessening the difficulty attendant on singing notes which are separated from
each other by distant intervals. This is effected by the anticipation of the coming note,
prior to the change of word or syllable, carefully observing that the intermediate sounds,
which constitute the glide, be so light and transient as to render them almost inaudible.
The judicious regulation of this branch of singing greatly assists in giving the true effect
to movements intended to-express feeling and tenderness.

6

Written.

HAND-BOOK FOR SINGING.

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The Legato is also a sort of portamento ; but, in this expression, the inflections of the
voice are much more moderate, and may be easily performed by singing any vowel on the
next example, taking care that no break is made between one note and the next.

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The Staccato is divided into two sorts, which are expressed by dots and points ; the
dots signifying that the notes over which they are placed should be sung rather short,
that is, in a distinct and separated manner ; while those with points should be sung very
short.

EXAMPLES.

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STACCATO.

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As general rules, it may be observed, —

1st. The staccato is never applied to any passage unless it is marked.
2d. All ascending passages should be sung crescendo, (gradually increasing the tone,)
unless the contrary be expressed.

HAND-BOOK FOR SINGING. 7

3d. All descending passages should be sung decrescendo, (gradually decreasing the tone,)
unless the contrary be expressed.

4th. All sustained notes should be sung as if marked thus :

No. 1.

EXAMPLES.

©f ©rnmttent, or ifje (faxatts.

The Appoggiatura is an ornamental or grace note, inserted between two others at some
distance, for the purpose of enabling the singer to glide smoothly from one to the other.
The term is derived from the Italian apogiare, " to lean upon ; " the grace note serving
as a support for the voice in passing the interval from one note to another, by which its
abruptness is diminished. The duration of the appoggiatura should be half the time of
the note to which it is attached. A double appoggiatura is sometimes used, which gives
elegance and intensity to passages of feeling or pathos, and additional liveliness to airy
and animated strains.

EXAMPLES.
No. 1.

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The ornament, called the Turn, is performed in two ways — direct and inverted. The
direct turn begins from the note above, the inverted from the note below that to which it
leads. The direct turn is used to connect, enliven, or give smoothness to intervals and
passages. The inverted turn is principally devoted to sad and tender emotions.

8

Written.

Written.

No. 1.

No. 2.

HAND-BOOK FOR SINGING.

EXAMPLES.

5

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Another grace used in singing is made by the introduction of two, three, or more small
notes, which, having no value of their own, take their time from the large note to which
they may be prefixed. These notes are called Ghruppetti.

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The Shake, whilst it is the most essential and the most beautiful of all ornaments, is the
most difficult to acquire. " It consists in the frequent, rapid, and equal execution of two
notes in succession, one of which may be a whole tone or a semitone above the principal
note, according to the position of the shake in the scale." There is a difference of opinion
amongst the most eminent theorists as to whether the shake should commence from the
upper or lower note ; the weight of authority is, however, in favor of the former.

Written."

Z Sung.

The length of the shake is regulated by the taste of the singer ; its rapidity, of course,
depending upon the practice given to it.

All shakes, with the exception of the passing or transient shake, should terminate with
a turn. The following is an example of a passing shake : —

Written,

The notes on which turns are made are the tonic or key note, the note (or half note)
above, and the note below, finishing with the tonic.

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HAND-BOOK FOR SINGING. 9

Another method of finishing the shake is the following. It is, in some instances, prefer-
able to the foregoing.

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A Cadence (from the Latin verb cado, to fall,) is applied to a certain termination or
close of a melody, or part of a melody. It is also applied to the extempore ornament
introduced by the singer at the end, or any other part of a strain. The word Cadenza
is often written over a pause ( ^ s ), to afford the singer an opportunity of displaying his
or her talent, by the introduction of a spontaneous embellishment ; that is, an unlimited
and fanciful flow of notes suitable to the style of the composition they are intended to
adorn, and which may be slow or rapid, according to the singer's flexibility of voice and
inclination.

VARIOUS EXAMPLES OF CADENCES.

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Too much time can scarcely be given to the practice of the scales and graces, however
disagreeable it may be ; and the pupil may depend upon it that the hours thus spent are
most valuably employed. Porpora, an illustrious master of the Neapolitan school, in
teaching a pupil, for whom he had a particular friendship, kept him six pears merely
practising the diatonic and chromatic scales, ascending and descending, the intervals
of third, fourth, fifth, &c., together with turns, shakes, appog-giaturas, and passages of
vocalization (singing on a vowel) of different kinds. All these lessons were contained
on a single page of ruled paper; and in the sixth year, but not till then, some lessons
in articulation, pronunciation, and declamation were given. At the end of this year,
Porpora said to his pupil, who thought he was still in the elements of singing, " Go, my
son, you have nothing more to learn ; you are the first singer of Italy and of the world."
This singer was CafFarelli, the most celebrated vocalist of the eighteenth century, who
made sufficient money by his art to enable him to purchase the dukedom of Santo Donati.

2

3, ®l0B0atB

OF

TERMS USED IN VOCAL MUSIC

A. At, to, in, for, &c.
Affettuoso, or Con Affetto. Tenderly.
Amordso, or Con Amove. Tenderly.
Animdto, or Con A'nima. With animation.
Appassionato. Tenderly.
Arioso. In the style of an air ; gracefully.
Assdi. Enough; very.

Bene, or Ben. "Well ; as Ben Legato, well con-
nected.
Brilldnte. In a brilliant style.
Brioso, or Con Brio. With spirit.
Cantdbile, or Gantdndo. In a singing style ;

gracefully.
Comodo. When added to Allegro, diminishes

its vivacity.
Delicdto, or Con Delicatezza. With delicacy.
Di. Of.
Dolente, Doloroso, Con Dolore, or Con Duolo.

Plaintively.
Energico, or Con Energia. With energy or

force.
Espressivo, Con Espressione, or Espres. With

expression.
Fieramente. With vehement energy.
Flebile. Mournfully.
F&rza. Force or emphasis.
Fuoco. Fire; passion.

Furioso, or Con Furia. Impetuously ; with fury.
Giocosamente. Merrily; gayly.
Giusto. Right. Tempo Giusto. In the proper

time.
Grazioso, or Con Grdzia. Gracefully.
Gustoso, or Con Gusto. With taste.
//, or La. The. LI Basso. The Bass.
Lagrimoso, or Lamentevole. Very plaintively.
Ldnguido. In a languid, feeble manner.
Leggiero, Leggiermente, or Con Leggierezza.

Lightly.
Lento. Slow.

Lusingdndo. In a soothing, gentle manner.
Ma. But.

Mancdndo. Diminishing the sounds.
Marcdto. Marked. Ben Marcato. Well marked.
Marzidle. Martial ; in the style of a march.
Meno, or Men. Less. Men/. Less loud.
Mesto. In a pensive, sad manner.
Mezza Voce. The medium between soft and loud.
Molto or Di Molto. Much ; very.
Morendo. The sounds dying away.

Piu Mosso. Faster.
Con Moto. Briskly.

Mosso. Moved.

Moto. Motion.

Non. Not.

Ordindrio. Ordinary. Tempo Ordinario. The

usual time.
Pastorale. In a pastoral style.
Piangevole, or Pietoso. Plaintively.
Piu. More. LI piii f. possibile. As loud as

possible.
Piii tosto. Rather.
Poco, or Un Poco. A little. Poco f. Rather

loud.
Poco a Poco. By degrees.
Poi. Then. Poi Segue. Then follows.
Pomposo. Grand.
Quasi. As if; like.

Raddolcendo, or Raddol. Diminishing the sounds.
Replica. Repeat.
Resveglidto. Very animated.
Riteniito, or Riten. Slower by degrees.
Scherzdndo, Scherzoso, or Scherz. In a sprightly

manner.
Sciolto. Distinctly.
Semplice. In a simple, plain manner.
Sempre. Always ; continually.
Senza. Without.

Slentdndo, or Shut. Slower by degrees.
Smorzdndo, or Smorz. Smothering the sounds.
Sodve. Softly; gently.

Sostenuto. The sounds well sustained or con-
nected.
Sotto Voce. In an under voice or tone.
Stesso, Lo Stesso, or L'Lstesso Tempo. In the

same time.
Strepitoso, or Con Strepito. In a loud, boisterous

manner.
Tanto. So much. Allegro non Tanto. Not so

fast as Allegro.
Tempo. Time.

Tempo di Mdrcia. March time.
Tempo di Menuetto. Minuet time.
Teneramente, or Con Tenerezza. Tenderly.
Tranquillamente. In a smooth, quiet manner.
Troppo. Too ; too much. Adagio non Troppo.

Not too slow.
Un, or Una. A ; one.
Veloce. Rapidly.

Vigoroso. Vigorously ; with force.
Vivo, or Con Vivacitd. With vivacity.

30

No. 1.

VOICE.

EXERCISES.

DIATONIC SCALE EST THE KEY OF C MAJOR.

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No. lO.

HAND-BOOK FOR SINGING.

Exercises for acquiring Execution.

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18

HAND-BOOK FOR SINGING.

Exercises for the Formation of the Shake.

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No. 16.

HAND-BOOK FOR SINGING.

Exercises on Chromatic Scales.

N. B. To be transposed into other keys.

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SOLFEGGIO.

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HAND-BOOK FOR SINGING.

Song of the Water-Carrier of Mecca,

Composed on three notes.
1

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May joys unknown to those be - low

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24

HAND-BOOK FOR SINGING.

Here beside the willowed Stream, composed on three notes.

No. 20.

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25

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days gone by.

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26

HAND-BOOK FOR SINGING.

Come, gentle Lute.

Composed on four notes.

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ALLEGRETTO.

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1. Come,

2. Come,

thou, my
gen - tie

with all thy

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round my heart
that have blest

thy
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bright

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weave,
day,

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HAND-BOOK FOR SINGING.

27

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That

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thy soft - - ly heal - - ing charm;

voice en - deared, that on - - - ly strain,

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IVo. 22.

HAND-BOOK FOR SINGING.

beailteOUS RiVei\ Composed on five notes.

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HAND-BOOK FOR SINGING.

29

s±=±=±

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— fe

hap - py banks I

mu - sic's melt - ing

Ay-
sigh.

Ye cliffs, ye rock - y

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30

HAND-BOOK FOR SINGING.

The Wanderer's Return, donee™.

This and the two following Songs are calculated to give expression and variety of style.

No. 33.

sol*.

3

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Slowly, with Expression.

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fcir

J g H J 1

Home of

~tH

I±zi=a

rsEnn

-m

child - hood ! thou art

be

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night;

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dim with seek - ing

for thee Now are flash - ing, now are flash-ing in - to

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HAND-BOOK FOR SINGING.

81

A Tempo.

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light. From my mem - ory I un ■ locked thee, When my

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crave ;

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the era - die

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bless - ing !

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lowed to

skies and

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32

HAND-BOOK FOR SINGING.

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sea;

Tho' a - far

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all else pos - sess - ing,

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■weep-ing, I should weeping ask for thee.

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When life's

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tt **ai__jizgi:[:zzzz~gzz^ g zz ;. t* -f-

AU the past from this dark

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the past
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33

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£

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A Tempo .

lin - ger,

Still

shalt lin - ger

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light.

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my

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Rail.

HAND-BOOK FOR SINGING

A Tempo.

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peace, back to peace, tho' still on earth Home of child - hood, ear - ly

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bless - ing

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HAND-BOOK FOR SINGING.

35

List, 'twill be well for thee, "Vedrai Carino," mozart.

a-—^^— , From " II Don Giovanni.'

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r w

ANDANTE.

s-B— H-

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far

List, 'twill be well for thee,

Ve - drai ca - - - ri - - - - no

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g p — I — r

List, while I tell
Se sei buo - ni

for

thee What mag - ic
no Che bel ri

spell for thee
- me - - - dio

'W
have in
vo - glio

ziz p it-* F ^±j — J g ±=z^±=Ji—Ji±^zM-z§=t

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i

36

HAND-BOOK FOR SINGING.

Doubt can - not shake it ; Yet, but once
Non da dis - - gus - to £ lo epe

tzE:?:lli?

ESS

tfo. 'twill heal no more ! No,

heal no more ! No,
lo sa far No

rr

w

i f i JT.

£

it:

a

g

i=i=Ei=Ffe=5

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