The coup de glotte, translated as "stroke of the glottis," refers to the manner in which a note should be attacked. This matter of attack already has been covered by inference many times in the course of this book. For, as the effectiveness of voc
The boy's voice, though an immature organ of delicate structure, is capable of much work, providing only that its mechanism be rightly used and not forced. Some people are unnecessarily nervous about boys; as a rule, under competent guidance, they
To this species belong those forms (small and large) which are provided with a separate Introduction, or Interludes, or an independent Coda (in addition to, or instead of, the usual consistent coda). For example, Beethoven, pianoforte sonata, op.
This consists chiefly in the omission of the Principal theme after the Development (that is, in beginning the Recapitulation with the Subordinate theme). Other contractions, by omission of portions (Parts) of important thematic members, during the
By this is meant, any exchange or alteration of the regular and expected arrangement of members. This can refer, naturally, only to what occurs after the Exposition,--that is, during the Recapitulation; for it is the Exposition which determines th
This process tends to affiliate the two distinct classes of larger or higher forms, whose respective characteristics were explained and compared at the beginning of Chapter XVI. Upon very careful revision of this explanation, and reference to the
The expression Musical Forms is often used, somewhat carelessly and erroneously, with reference to Styles or Species of composition, instead of to the structural design upon which the music is based. The Barcarolle, Mazurka, ?tude, Anthem, and so f
1. Tone: Specific name for a musical sound of definite pitch. Use neither sound, a general term, nor note, a term of notation. 2. Interval: The pitch relation between two tones. Not properly applicable to a single tone or
1. The note (from nota--Latin--a mark or sign) consists of either one, two, or three parts, () these being referred to respectively as head, stem, and hook. The hook is often called tail or cross-stroke. The stem appea
49. A dot after a note shows that the value of the note is to be half again as great as it would be without the dot, i.e., the value is to be three-halves that of the original note. 50. When two dots follow the note
NOTE:--It is usually taken for granted that the student of music is familiar with the significance of such terms as over-tone, equal temperament, etc., and with principles such as that relating to the relation between vibration
96. Being a list of articles, adverbs, conjunctions, prepositions, and endings, often utilized in compounding terms relating to musical effects. A--preposition--variously translated to, at, for, by, in, with, towards. A cappella--in church st
Like the auxiliary verbs will and have, [=a], [=e], and oo are auxiliary vowels, of whose aid we are constantly compelled to avail ourselves. It will perhaps sound exaggerated when I present an example of this, but as a matter of fact pronunciatio
In the wide reaches of the theatre it is needful to give an exaggeration to the expression, which in the concert hall, where the forms of society rule, must be entirely abandoned. And yet the picture must be presented by the artist to the public f
When we wish to study a role or a song, we have first to master the intellectual content of the work. Not till we have made ourselves a clear picture of the whole should we proceed to elaborate the details, through which, however, the impression o
How do I connect them with each other? If I wish to connect closely together two vowels that lie near to or far from each other, I must first establish the muscular contractions for [=a], and introduce between the two vowels, whether they lie near
Naturally, a singer can devote more strength to the development of one or two connected ranges of his voice than to a voice perfectly equalized in all its accessible ranges. For this are required many years of the most patient study and observatio
There is the greatest diversity of opinion upon this subject among those who have any opinion at all. It might be supposed that, among the thousands of educators who are interested in school music and in the singing of children generally, many mig
In the preceding chapters, dealing as they do with special subjects or subdivisions of the main topic, the effort has been to point out and to suggest some ways in which good vocal habits may be taught, and simple and effective vocal training carr
The practical application of the teaching of the two preceding chapters may at first thought seem to be difficult. On the contrary, it is quite easy. We have favorable conditions in schools; graded courses in music, regular attendance, discipline,
The anatomical and physiological changes which occur in the larynx at puberty have been described in the chapter on "Physiology of the Voice." It may be added that at this period the resonance cavities also undergo considerable alteration in size
In former times the culture of the singing-voice was conducted upon purely empirical grounds. Teachers followed a few good rules which had been logically evolved from the experience of many schools of singing. We are indebted to modern science,
Mamma, 'tause I'm tross don't whip me; I tan't help it, not a bit! 'Tis the tandy hurts my stomat, And that mates me whine and fret. Sometimes, too, I'm whipped for trossness When the trossness tomes from meat; Thint
A Stands for Alligator, B Stands for Ball, C Stands for Cat in a cream-pot, D Stands for Doll. E Stands for East, or Ellen. F Stands for Fay, G Stands for Goat, a Pen in, H Stands for Hay, I Stands f
Our Maude was dancing with her doll, In childhood's chattering glee; A brimming bucket standing by, The maiden failed to see, And skipping, tripped; the bucket tipped; The water, cool and clear, Was rudely sway
"SHE smiled on me, she smiled on me!" In ecstacy exclaimed A little waif in tattered gown, With form so halt and maimed. Remember, even a smile may cheer, A cup of water, bless; A kindly word, sow seeds of joy, Whose frui
"If you'll break the first brake And will kill the first snake, You'll be sure to go through With what you undertake." Thus our Grandma, quaint but queenly, Taught us grand-bairns one by one; And the lesson relished keen
Song, so far as voice-production is concerned, is the result of physiological action, and as voice-production is the basis of all song, it follows that a singing method, to be correct, must be based on the correct physiological use of the vocal or
How is the alto part, in a church choir consisting of males, to be sung? In our cathedrals this part has been given, ever since the Restoration, to adult men, generally with bass voices singing in their "thin" register. For this voice our composer
In this list I have included songs with innocent, hopeful, joyous words such as boys may honestly sing. Words dwelling with sadness on the past, or speaking of life as bitter, I have excluded. Convivial and amatory sentiments have also been ruled
The trainer of adult voices has constantly before him the problem of making his pupils sing in tune. With boys this matter is less of a trouble, for this reason. Many adults have fine voices which, if their intonation can be improved, will do grea
I should say that no one should be more scrupulous in his habits than the singer. It is more difficult to keep the keen edge of the voice in good repair than that of the sharpest razor, and nothing should be done to dull it. No one more than the s
Fortunately, no two persons are exactly alike. If they were, the result would be the same and the everyday acts leading to a result would be the same. Nature, acquiescing in the Divine plan, has a different line of action and result for every indi
Certain quotations and sayings, through familiarity, lose their point to us. We not only are not impressed by them but forget that they are truths. Do you recall "All things work together for good?" Does that mean anything? Does it mean what it says
The very first question to ask of an applicant for vocal lessons is "what is your ambition?" By that, I mean, the teacher should know at the very start what purpose the pupil has in study, or if he has any purpose. The intention of the pupil shoul
Every song or other vocal composition should be analyzed as the first step in its study. The first theme noted, and the second also, if such there be; the connecting bars; the points which are descriptive or which contain contrasts; the phrases wh
Personal freedom of action must for a time be surrendered by pupil to teacher but it should be for limited time only. The impress of the teacher's mind can be made upon the pupil in two seasons of study if it can be at all. Perhaps most pupils recei
Snowy NightWhere it's warm here by the fireHere with you (here with you)I have all that I desireIt's been a long yearBut somehow we got byNow it's Christmas EveAnd love is on our side
Jive talkin'You're telling me lies, yeahJive talkin'You wear a disguiseJive talkin'So misunderstood, yeahJive talkin'You're really no goodNobody gets too much heaven no more
Oh you can be what you wanna beSee what you wanna see Believe in yourself, just believe in yourselfYou can go where you wanna goDo what you wanna doBelieve in yourself, just believe in yourself
There you areLooking as fine as can beIn your fancy carI can see you looking at meWhat you want to doAre you just going to sit there and stare Baby talk to meTell me what's on your mind, Baby Ohh
[repeat x2:]Bringin' da noiseBring down the houseWe came here to turn the party out Say come on, come onLet's raise the roof And give `em proofThat we can get loose ya'll