The Commonplaces of Vocal Art; A Plain Statement of the Philosophy of Singing, in a Series of Informal Chats with Vocalists, Teachers, Students, Platform-Speakers, and All Who Wish to Use Their Voices Correctly
The Commonplaces of Vocal Art; A Plain Statement of the Philosophy of Singing, in a Series of Informal Chats with Vocalists, Teachers, Students, Platform-Speakers, and All Who Wish to Use Their Voices Correctly
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ... sounds well nigh unbearable. In the cultivation of such a voice.for singing, to it must be given a better support of breath (a perfect balance); color, volume, and resonance, gradually developing power with correct 1 See English Diction for Singers and Speakers. color, etc. In singing there must be no accompanying ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ... sounds well nigh unbearable. In the cultivation of such a voice.for singing, to it must be given a better support of breath (a perfect balance); color, volume, and resonance, gradually developing power with correct 1 See English Diction for Singers and Speakers. color, etc. In singing there must be no accompanying noises with the voice. In speech these noises (breathiness, throat rattlings, etc.) are generally tolerated, because the main purpose of speech, that of conveying thought, is accomplished; in singing, however, we must beautify everything. The character of the voice must first of all be made pure and beautiful, the words must be formed with accuracy and articulated distinctly, the musical phrase must be correctly delivered and the emotional content of both text and music impressed upon the listener. All of these conditions, except the absolute pitch of the tones and the melodic outline, may in some degree obtain in speech; but the inflections of speech are so indefinite as to tonal character, that they forbid much of absolute sustained tone, and thus deprive us of the power of giving that beautiful quality to the voice which is so well adapted to the sustained musical tone in singing. Yet with this broad difference between the speaking and the singing voice the student of singing will find that his progress will be of the most rapid kind if he will train his singing voice closely upon his speaking voice. If in a moment of climax or of especial intensity and accentuation in earnest speech, we sustain for an instant any one of the words or syllables spoken, the listener will feel the same result as in singing. If the reader will repeat the phrase "J love you, dear" with either a rising or falling inflection on the entire phrase, sustaining...
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