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SCHIRMER'S LIBRARY OF MUSICAL CLASSICS Vol.

1090

BEHNKE-PEARCE Thirty

Voice-Training Exercises For Soprano

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Helen Callaghan Brantford.'Ont.

University of Toronto

Presented to the

Faculty of Music Library by

George A. Smale

SCHIRMER'S LIBRARY OF MUSICAL CLASSICS

EMIL BEHNKE AND

CHARLES

W.

PEARCE

Thirty

Voice-Training Exercises

IN

G.

EDITIONS

SIX

SOPRANO

- Library Vol. 1090

MEZZO-SOPRANO

— Library Vol. 1091

ALTO

— Library Vol. 1098

TENOR

— Library Vol. 1093

BARITONE

- Library Vol. 1094

BASS

- Library Vol. 1095

SCHIRMER, INC. New PrUl.d

York

In IK.

U. I. A.

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

"

Voice,

"The Mechanism

of the

Human

Song and Speech."

Each book contains those exercises only which voice.

in

This plan has been adopted:

—

ist,

Because

it

are required for facilitates

one particular

class of

the distinct treatment of the

various voices necessitated by differences in their respective mechanisms;

— 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

have

for teaching to read Music,

little

or nothing to do with Voice-training proper, and are

therefore omitted.

The mention

table of contents will is

made of theory

;

show the

lines

upon which these Exercises are

and students are referred

for all

written.

No

explanatory matter to the two

works mentioned above. In order to remove unnecessary obstacles from the singer's path, everything has been written out at

full

length, thus saving the trouble of key-transposition.

Great pains have been taken to make the Exercises not only

and

attractive.

We

trust that

useful,

but also melodious

our labors may meet with the approval of our professional

brethren and of the general public.

EMIL BEHNKE.

CHARLES

W

PEARCE.

—

HINTS ON THE PROPER USE OF

VOICE-TRAINING EXERCISES. 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

the "Mechanism of the Human Voice" " Voice, Song, and Speech," by

manner.

cises,

and

by Emil Behnke, Lennox Browne,

The

exercises on

overcoming

"Attack" are intended

to assist

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

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.

in

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-

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.

;

;

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

in

singing

either sustained

phrases, on the vowels

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

00,

—

koo, koo, koo, koo, koo, Is

them a

;

;

;

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

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,

fair trial

any forcing of the Registers

absolutely impossible, and that an extension of the

compass of the voice

oo-oh-ah,

therefore evident, and upon giving

difficulties

will

become

a matter of natural

growth.

EMIL BEHNKE.

CHARLES W. PEARCE

1

CONTENTS. PART (Lowbr Thin Reoistbr.) No. i.

a.

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First Stbp: Resonance ..

..

}

Second Stbp: Attack

411 5.

6. 7.

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1

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Flexibility

" " " Fourth Step: Sustained Tones (Messa divoce, and Portamento) "

io. 11.

a

..

"

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"

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12

Fifth Step: Chromatic Phrases

PART

9 10

14

II.

(Lower Thin and Upper Thin Registers.) Upper Thin Register

13.

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\y

First Step: Resonance

14.

"

"

15 16

"

17

16.

Second Step: " "

17.

Third Step: Sustained Tones (Messa divoce, and Portamento)

15.

•

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19.

If

18

Flexibility f*

19 If

II

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Fourth Step: Chromatic Phrases

PART

20 24

III.

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Voice.)

20.

Transition to Upper Thick and Small Registers

26

21.

the Major Scale

30

the Minor Scale

)\

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On On On

Scale-passages

yi

24.

Flexibility

25.

Arpeggios On the Chromatic Scale

22.

26.

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