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 determinately eschewed.

Written.

Performed.

ILLUSTRATION.

NOTE 2.-The ornaments, graces, or embellishments of vocal music, some of which have been merely glanced at in this chapter, with the partial exception of passing tones, cannot be said to belong to 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 flexibility 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 XXVI.

DYNAMICS.

DEGREES OF POWER,

§ 149. 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.

§ 150. Piano. A tone somewhat softer than Mezzo, or a soft tone; is called PIANO (pee-äh-no), and is indicated by the term Piano, Pia., or p.

§ 151. 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.

§ 152. Pianissimo. A softer tone than Piano, is called PIANISSIMO (peeäh-niss-i-mo), and is indicated by pp.

§ 153. Fortissimo. A louder tone than Forte is called FORTISSIMO (foretiss-i-mo), and is indicated by ff.

NOTE 1.-There are also modifications of the above-mentioned degrees of power, as Mezzo-Forte, Mezzo-Piano.

NOTE 2.-Mezzo, Piano, and Forte are Italian words, which are universally used as technical

terms in music.

NOTE 3.-The instrument called the Piano-Forte derives its name from these words. It should not be called Piano- Fort, but Piano-For-te.

NOTE -The different degrees of power, or at least p., m., and ƒ., should be practically introduced at the commencement of a singing class.

It

§ 154. Organ Form. A tone commenced, continued, and ended with an equal degree of power, is called ORGAN FORM, or an ORGAN TONE. 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.

§ 155. 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:

§ 156. Diminuendo Form. A tone commencing Forte, and gradually diminishing to Piano, is called DECRESCENDO or DIMINUENDO (de-cre-shendo, or dim-in-oo-en-do). It is indicated by Decres., Dim., or by two convergent lines, thus:

§ 157. Swell. An union of the Crescendo and the Diminuendo produces the SWELL FORM, indicated by the union of the divergent and convergent lines, thus:

NOTE 1.-The swell is sometimes called the Drawn Tone; the term Messa di voce, is also used to designate 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.

§ 158. 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, sarcasm, or irony. It belongs mostly to burlesque, to the ludicrous, or to comic, in singing.

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§ 159. Sforzando. A tone which is produced very suddenly and forcibly, and instantly diminished, is called an EXPLOSIVE TONE, Or SFORZANDO, or FORZANDO (sfort-zan-do, or fort-zando). 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 destitute of life and expression. Its power is distinctly felt in the manner in which good performers on stringed or wind instruments produce their toes, or in the very first utterance of a tone, or in 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 lunging or jerking of the voice, grunt-like, coarse, and disagreeabie. 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 forin, A.

CHAPTER XXVIII.

DYNAMICS.

LEGATO-STACCATO, AND PAUSE.

§ 160. Legato. When successive tones are performed in a closely connected manner, so as to be bound into one another, or intervolved, they are said to be sung LEGATO, (le-ga-to, or le-gah-to). The Legato is indicated by a curved line, called a tic

§ 161. Staccato. When tones are delivered in a short, pointed, distinct, or very articulate manner, they are said to be STACCATO, (stac-kä-to, or stac-kah-to). Staccato is indicated by points, thus: ( ! 1).

§ 162. Half Staccato. A less degree of Staccato, or HALF-STACCATO, is indicated by dots, thus: (• .).

§ 163. Pause. When the duration of a tone is prolonged beyond the time indicated by the note by which it is represented, such prolongation is

called a PAUSE, and the character by which it is indicated, receives the same name ().

NOTE.-The Pause is often called the HOLD.

CHAPTER XXIX.

DYNAMICS.

EMISSION OF TONE-PURITY OF TONE.

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.

§ 164. 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 th vult of the palate in articulating the hard c, as in 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 delivery 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 in 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 communicated 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.

§ 165. Purity of Tone. A tone is pure when it is full, round, sonorous, and resonant, 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, by partially raising the veil of the palate; third, by separating the pillars at their base."-GARCIA.

CHAPTER XXX.

DYNAMICS.

EXPRESSION OF WORDS IN CONNECTION WITH SOUNDS.

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 prerequisite to a good enun-. ciation of words.

§ 168. 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 perraitted.

NOTE. It is a very common fault for singers to pass from the tonic element, and to allow the voice to 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 ärm, or år----m, instead of a----rm; the word great is sung grea---e---t, or greået, 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 fe-----ar. It would be easy to multiply examples, but these must suffice.

§ 167. The most important vocal element to the singer is that which is heard in the word ah, and which is represented by the letter a with two dots above it, thus ä. This is the richest, most open, broad, and euphonious sound that can be found in any language, or that can 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 organs, this is produced by merely dropping the lower 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. To convey with as great accuracy as possible a correct idea of it, the following list of words is given, in each of which it occurs:

Arm, ah, há, harm, bar, car, far, par, tar, aunt, daunt, gaunt, haunt, jaunt, taunt, father, saunter, gauntlet, barb, hark, mar, garb, harp, dart, cart, park, marl, snarl, barn, arch, bath, path, harsh, balm, palm, calf, half, laugh, charge, charm, psalm, farm, alarm, becalm, guard, lark, smart.

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.

§ 168. 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.

§ 169. Common Errors. Errors in pronunciation are often heard, not only in choirs, but also in the singing of those who have given much attention to the cultivation of the voice. The following are some of the most common faults:

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1. The sound of a in fate for that of a in fat or hat; as atone for atone, other words in which the same error is often heard are, adore, among, amid, alone, amaze, alarm, awake, away, above, about, afar, again, agree, arise, &c. 2. The sound of i in pine for that of i in pin; as divert for divert; other words are, digress, direct, divulge, fertile, hostile, engine, &c.

3. The sound of o in no, for that of o in done; as testimony for testimony; other words are, nugatory, patrimony, matrimony, dilatory, &c. 4. The substitution of er for ow: as foller for follow; other words are, window, sorrow, widow, pillow, shallow, fellow, &c.

5. The omission of g in such words as end with ing; as runnin for run. ning; other words are, writing, speaking, walking, singing (sinin), &c. 6. The omission of the soft r; as, laud for Lord; other words are, storm, morning, war, far, star, depart; also, fust for first, bust for burst, &c. 7. The omission of the characteristic feature, or trilling of the hard r, in such words as great, gracious, grand, green, repent, return, rich, rest, rough, right, wrong, and generally where the r precedes a vowel.

whence, hail, heaven, hope, happy, &c. 8. The omission of the letter h, in such words as when, why, which, while,

9. The aspiration of the h in words in which it should be silent, as humble for umble, &c.

10. The substitution of a harsh, hissing sound (snake-like) for the more mild yet penetrating whistle which the letter s properly represents.

11. Cummand for command; the same error is heard in the words complete, comply, commend, correct, corrupt, &c.

12. Goodniss for goodness; the same error is heard in endless, matchless, boundless, anthem, forget, &c.

13. Evidunce for evidence; the same error may be observed in silence, prudence, ardent, excellent, providence, influence, contentment, judgment, even, &c.

14. Verbul for verbal; so, also, in infant, dormant, countenance, musical; also in appear, arrive, abjure, gentleman, &c.

The word and is often narrowed down so as to sound like end, or yeand, yet with a kind of nasal snarl or mewl, by which it is easy to be distinguished from a proper human sound. Arnd is the opposite extreme, equally to be avoided.

The word ämen should not be sung amen, or ay-men, but always amen, or ah-men. Awe-men is the opposite extreme."

Jerusalem is often improperly pronounced Jee-ru-say-lem.

§ 170. A few hints follow:

1. The indefinite article, represented by the letter a, should never receive the sound of a, (as in ale or in fate,) but a sound nearly the same as is heard in had or in hat; or perhaps a shade broader, or towards that of ä; yet it must never be ä (ah).

2. The definite article (t-h-e) should never receive the sound of thee; but when it comes before a vowel, the e should receive nearly the same sound as is heard in the word pin, or perhaps a shade nearer to e; when it occurs before a consonant, its vowel sound should be the same as that of the indefinite article.

3. The word my, in the solemn style in which it usually occurs in psalmody, should receive the long sound of i, as my God, (mī); but in familiar style, even in sacred poetry, it should receive the sound of short i; in the passage

"I myself will awake right early," the word myself should be pronounced with the sound of i in him.

4. The termination ed, in chanting the psalms, in such words as bless-ed, sav-ed, form-ed, prepar-ed, &c., should be distinctly pronounced as a separ ate syllable; the solemnity of the style requires it.

5. The word wind, in common conversation, and in reading prose, is universally pronounced with the sound of i as in pin, win, &c. In poetry, on the contrary, it is common to give it the sound of i in mind, find, &c. Professional singers always adopt the latter usage, and pronounce the word wind. Which of the two shall prevail in church singing should depend upon As everything eccentric, affected, or pedantic should be avoided, perhaps the safest course for choirs is to follow the minister, and pronounce wind or wind, accorded to his example.

custom.

6. The word heaven is sometimes used by the poets in one, and sometimes in two syllables; thus, in the line, "Bread of heaven," it is made to consist of two syllables; but in singing, as in speech, it should always be pronounced in a single syllable, or heav'n. The words lyre, wire, hour, &c., should also be pronounced in one syllable.

§ 171. Accent, Emphasis, and Pause. The laws to which accent, emphasis, and pause are subject in reading, should also be observed, generally, in singing; 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 permitted 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.

§ 172. 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 his whole soul into the performance, and produce a living song, which shall draw out and lift upwards his own heart, and the hearts of those who hear; so shall he produce the effects for which the music is designed, and for which it is so admirably adapted.