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Advice to Singers

Chapter 39: TRANSCRIBER'S NOTE
By Frederick James Crowest
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About This Book

A practical manual offers clear guidance for singers on personal habits, hygiene, diction and stage deportment while stressing the necessity of teacher-led training. It delineates voice types and tonal qualities, explains registers and vocal production, and prescribes exercises, scales and interval practice for flexibility and intonation. Advice addresses study methods, lesson routines, repertoire selection, performance technique, expressive style and rhythmical accuracy including metronome use. The text also summarizes the larynx's physiological surroundings, recommends how to choose teachers and books, and provides short musical examples and printable practice materials to support daily work.

FOOTNOTES

[1] It used to be said of Rubini that "he had tears in his voice."

[2] The Exercise should be a crescendo from piano to forte.

 

TRANSCRIBER'S NOTE

Punctuation and formatting markup have been made consistent.

Apparent printer's errors have been retained, unless stated below.

Page 62, "disirable" changed to "desirable". (It cannot be too strongly impressed upon, or too frequently pointed out to, the singer (no matter what may be the stage of his or her artistic development) how desirable and advantageous it is to be constantly singing exercises and solfeggi in preference to songs.)

In Exercise 8 on Page 66, the top D in the third measure has been changed to sound as a D♭, in belief that the note was affected by the flat at the beginning of the measure, and to stay in character with the rest of the exercises.

Page 73 and 74, "shool" changed to "school". (You will find its good points equally insisted on in the oratorio school of singing, while its defects should be avoided in any.)

In Exercise 11 on Page 94, the twelfth bar in the the original image began with a quaver. To retain rhythmic integrity, this has been edited to read as a crotchet.

In Exercise 6 on Page 98, the tenth and eleventh bar in the the original image were reversed. For consistency, these bars have been corrected.

Page 106, "divisious" changed to "divisions". (Those who have ever delighted as well as astonished us by their rapid manner of running through divisions must have been naturally endowed with flexible organs.)

Page 109, "λαρυγξ" changed to "λάρυγξ".

On page 110, "ἁρύταινα" was intentionally retained. This may be a typo for "ἀρύταινα".

Page 111, "φάρυνξ" changed to "φάρυγξ".

In Exercise 4 on Page 123, the seventh bar in the the original image began with an E. In order to maintain the pattern, this has been edited to read as an F.

In Exercise 5 on Page 124, the twelfth bar in the the original image contained four beats. The first note of the measure, which was a minim, has been changed to a crotchet.

In Exercise 7 on Page 125, the last measure contained three beats. The last note of the exercise, which was printed as a dotted minim, has been changed to a semibreve.

In Exercise 8 on Page 125, the rhythm in the measure was originally written as a crotchet, two quavers, a crotchet, two quavers, and a crotchet, making five beats in the measure of common time. The measure has been edited to read as a single crotchet, followed by six quavers in order to retain four beats in each measure.