Thirty Voice Train 00 Behn
Thirty Voice Train 00 Behn
Thirty Voice Train 00 Behn
OF MUSICAL CLASSICS
Vol.
1090
? V v Y Y Y Y Y Y Y
BEHNKE-PEARCE
Thirty
Voice-Training Exercises
For Soprano
$1.00
HT
1
885
,B44 19002
>^^VVVVV^>-H^^^^^^^^^
nifliaN coi'voioht, tese by a
ncHUMin,
inc.
Helen Callaghan
Brantford.'Ont.
University of Toronto
Presented to the
George A. Smale
SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS
EMIL BEHNKE
AND
CHARLES
W.
PEARCE
Thirty
Voice-Training Exercises
SIX
IN
EDITIONS
SOPRANO
MEZZO-SOPRANO
ALTO
TENOR
BARITONE
BASS
G.
SCHIRMER, INC.
New
PrUl.d
York
U. I. A.
In IK.
FACUL.
LIB:
ONTO SJC
PREFACE.
In compliance with a general request, we have undertaken the task of writing six books of
Voice-Training Exercises on the principles advocated
Voice," and in
"
in
"The Mechanism
of the
Human
class of
Voice,
one particular
ist,
Because
it
2nd,
Because the
studies can be consecutive, instead of being intermixed with others not suited for the singer's
voice, thereby materially reducing the price of the
work.
Exercises on Intervals, with which Vocal Tutors generally commence, although valuable
for teaching to read Music,
have
little
therefore omitted.
The
mention
show the
lines
written.
No
made of theory
Great pains have been taken to make the Exercises not only
and
attractive.
We
trust that
EMIL BEHNKE.
CHARLES
PEARCE.
VOICE-TRAINING EXERCISES.
cises,
In the Preface to our books of Voice-Training Exerwe refer our readers for all matters of theory to
they will be found to bring out the voice, and to favor the production of pure tone, in a very surprising
and
the "Mechanism of the Human Voice" " Voice, Song, and Speech," by
manner.
The
in
exercises on
to assist
F.R.C.S., and Emil Behnke. One or two of the exercises, however, being on a new plan, students may, at first, not understand their We therefore think it advisable to offer a few use.
frequently encountered in It must be here borne in mind, the striking of tones. that the glottis is open in breathing and closed in tone-production. While the glottis is open there can
difficulties
overcoming
explanatory hints, which we hope will be sufficient to show the practical results to be obtained. It is admitted by all authorities, without exception, that the production of good vocal tone necessitates: 2nd, bringing the tone ist, a supple open throat It is precisely in these well forward in the mouth. two fundamental requirements that singers frequently encounter the greatest difficulty. The throat stiffens the root of the tongue does likewise the throat narrows, the tone is shut in, and all its beauty is de; ;
stroyed.
The Exercises on " Resonance " are specially designed to overcome these difficulties; and, curious as they may appear to those to whom they are new, they will be found most useful, and will save much time
and trouble.
The first part of these Exercises consists in singing repeatedly and rapidly the syllable koo. Let the student try this before a mirror, and he will see that
the larynx moves quickly up and down in the throat, and that the root of the tongue describes similar movements. A stiff attitude is hereby prevented, and the throat assumes a natural and open position. The second part of the Resonance Exercises consists
be no tone and it is, therefore, obvious, that the closing of the glottis is the situ qud non of voice-production. Consequently, it must be of the greatest benefit to the voice to strengthen the muscles upon which the movement depends. Let the student sing the exercises devised for this purpose softly and staccato, being most careful to take a slight inspiration, before every tone, for the breathing in these exercises is of as much importance as the singing. We cannot shut a door unless we first open it, and the same is true with regard to the glottis. By taking an inspiration, we open the glottis. By singing a tone, we shut it and by alternately repeating these acts, we give an enormous amount of exercise to the opening- and closingmuscles of the glottis. Let the student further bear in mind that in taking the inspiration, as well as in striking the tones, he should depend entirely upon the action of the diaphragm he will then soon acquire a true "shock of the glottis," the importance of which is acknowledged on every hand.
; ; ;
There is no necessity to say anything about the Exercises on Flexibility, on Sustained Tones, Sic, &c;
but a word may not be out of place respecting the These are intended to lead Transitional Exercises. out of one Register into another. The vowels are
in
singing
either sustained
00, oh, ah.
tones, or
legato
The student
sings
which is the most forward vowel, and then lets that vowel gradually and imperceptibly change into oh, taking care to keep the oh where he previously had the 00; that is to say, perfectly in front of the mouth. He then, in the same gradual and imperceptible manner, changes the oh into ah, again taking care to keep the ah where he previously had the oh that is to say, perfectly in front of the mouth. The great practical usefulness of these exercises on
given in the same order in which they occur in the vowel-scale of nature, and will materially assist the student in changing Registers. The Exercises should
be sung softly and staccato, and a slight inspiration should be taken before every tone. Let each individual vowel-group be sung six times before attempting the succeeding one, and let the speed of the exercises be gradually increased. It will be found that,
working upon
is
this plan,
oo-oh-ah,
become
a matter of natural
them a
growth.
EMIL BEHNKE.
CHARLES W. PEARCE
CONTENTS.
PART
(Lowbr Thin Reoistbr.)
No.
i.
Paoi
a }
4
e
a.
411
5.
" "
" "
"
6
7
6.
7.
"
Flexibility
Third Step:
8 9
10
12
8.
9.
" " " Fourth Step: Sustained Tones (Messa divoce, and Portamento)
" "
"
io. 11.
"
"
14
PART
13.
II.
15
16
\y
14.
"
"
17
15. 16.
17.
18
19
20
2
I*
19.
24
III.
PART
20.
Voice.)
26
iy
24. 25.
26.
On On On
30
)\
Scale-passages
yi
Flexibility
34 36
38
PART
27. 28. 29.
jo.
IV.
(Embellishments.)
The Turn, or Gruppetto (Cadential) The Turn, or Gruppetto (Sequential) The Shake (Trill) Other Ornaments and Graces (Appoggiatura; Acciaccatura,
and Double: and Mordente)
40
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1R49B
S
Y Y Y
Y V
ch rme
i
R'S
Library
in
of Musical Classics
SONG COLLECTIONS
The Library Volume Number
is
given
brackets: [1363)
Y Y Y Y Y Y Y Y V Y
Y Y Y Y X
[i363]
i.oo
In
the churches.
Low
[1385]
100
59 Songs,
i.
e.
[290];
Book
II
[291]
'
ea.
2.00
Beethoven,
A cycle of 6 songs.
Op. 98
g. e.
High
[616];
Low
[617]
.60
SIX SONGS,
g. e.
High
[618];
Low
[619]
60
Brahms,
Chopin,
J.
g. e.
Low
[1581];
High [1582]
1.50
Op.
74.
g. e.
High
[249];
Low
[250]
75
VON
A
cycle of 10 songs.
ELILAND.
Op.
9.
g. e.
Medium
[694];
High
[695]
75
Foster,
S. C. 20 Favorite Compositions.
Collected and edited by H. V. Milligan [1439]
1.00
ALBUM OF SONGS.
Franz, R.
VOCAL ALBUM.
Grieg,
E.
62 Songs,
g. e.
High
[15721;
Low
[1573]
ISO
SELECTED SONGS,
Liszt, F.
g. e.
High
[1592];
Low
'.
[1593]
1-25
TWELVE SONGS,
g.
or
f.
&
e.
Low
[1613];
High [1614]
1.00
g. e. g. e
.
Low
[377]
11644];
High [1645]
75
1-00
A
A A
A
Schubert, F. FIRST VOCAL ALBUM (3 Cycles, and 24 Favorite Songs), g. e. High [342]; Low [343] .... THE MAID0F THE MILL (Die sch6ne Mullerin) A cycle of 20 songs, g. e. High [344]; Low WINTER-JOURNEY (Die Winterreise) A cycle of 24 songs, g. e. High (3461; Low [347] TWENTY-FOUR FAVORITE SONGS, g. e. High [350]; Low [351] SECOND VOCAL ALBUM. 82 Songs, g. e. [352]
;
3.00
[345]
1.00 1.00
1.25
3.00
t
k
Schumann, R. VOCAL ALBUM. 55 Songs. e. High [1201; Low [121] WOMAN'S LIFE AND LOVE (Frauenliebe und -leben) A cycle of 8 songs,
Tchaikovsky,
P.
I.
g. e.
2.00
g. e.
High
[1356];
Low
[13571
60
TWELVE SONGS,
Low
[1620];
High [1621]
60
Wagner,
R.
g. e.
FIVE SONGS,
Low
[1181];
High [1233]
:
7S
(Languages
e. - English ; f - French g. - German of texts are shown in small letters Where there is no other indication, texts are in English only.) i.- Italian.
.
;
I
{ rp
may
G.
A-ioos
SCHIRMER, INC.
NEW YORK
J Wl'
Sch rme
i
R's
SERIES ONE
is
Library
ABT,
F.
Practical Singing Tutor.
CONCONE, J. Continued
For
all
Op. 474.
Voices (Spicker).
1.75 For Soprano or Tenor. Complete [453] Production of Tone. Intervals Part I:
[454] .60
Op. Op.
11. 12.
.75
H
Op.
[275];
17.
or
[276]
1.00
40 Lessons.
of
Alto
[247];
Bass
or 1.00
Bar. [248]
Y
Y Y Y Y
t
Part II: Exercises for the Cultivation of Fluency [455] Part III: 20 Solfeggi [456] Part IV: 12 Exercises on Vocalization
[457].
.
60 60
.60
The School
Method
for
Sight-Singing.
Practical
Young Beginners
A. L.
(.Liitgen) [2451.
1-25
DANNHAUSER,
The same.
sp.
1.75 For Mezzo-Soprano or Alto. Complete [458] Intervals Production of Tone. Part I:
.75
Part
Part Part
II:
.60
[1085]
75
Fluency [460]
III
:
60
'.
.
ESLAVA, D. H.
Metodo de Solfeo
The same.
(Carrillo).
sp.
Y Y Y Y t
IV:
.60 .60
Complete
[1366] 1.50
[462]
Complete
[463]
1.75
[464]
Production of Tone.
Intervals
.60
.ea.
.50
Part II: Exercises for the Cultivation of Fluency [465] Part III: Solfeggi and Exercises on Vocalization [466]
LAMPERTI,
60 60
F.
75
[570]
The Art
of Singing [1587]
75
[1633]
BEHNKE,
For For For For For For
&
W.
1.00 1.00 1.00
1
75
LAMPERTI, G.
B.
Sop. [568] Alto [569]
1.25
1.25
Tenor
[1093]
00
A A A A A A A A A
A
t
1.00 1.00
LOTGEN,
L
[656]
B.
BONA,
P.
Articulation.
[654];
Rhythmical
Method
Complete
.50
[1170]
BONOLDI,
Opera" ic
Vocalises.
M M
[655];
75
[930];
75
F.
MARCHESI, M.
.60
Op. Op.
1.
BORDOGNI, M.
25 Easy Vocalises in Progressive Order 36 Vocalises in Modern Style (Spicker) For Soprano [432] For Mezzo-Soprano or Baritone [433]
[82]
.
1.00
.75
2.
24 Vocalises for
[391]
Soprano or Mezzo1.00
Soprano
1.50 1.50
Op.
Op.
3.
1.50
I A
CONCONE,
Op. Op.
9.
J.
10.
50 Lessons. 25 Lessons.
[1468]; [244];
M [242]; L [243]
L[246]
.
1.00 1.00
The Art of Singing. Bk. I: Ele21. mentary and Graduated Exercises [793]; Bk. II: ea. 1.00 30 Vocalises for Mezzo-Soprano [794]
32.
Op.
30 Vocalises ^Liebling)
or
[126].
1.00
A
x A
J
only.
(Languages of texts are shown in small letters: Other abbreviations used: H=High;
= English;
Medium; L=Low;
t.= Italian; sp. = Spanish. Where there is no other indication, texts are in English Bar. = Baritone; M.-Sop. = Mez*o- Soprano; Sop.* Soprano; Ten.= Tenor.)
Any
may
recites!.
G.
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