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The Voice and Singing Sample Pages.Pdf 2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software. Transpositions indicated by the author for the various voice types are written out for the first time. 4 TABLE OF CONTENTS TO THE READER 3 DEDICATION, ACKNOWLEDGEMENTS 4 FOREWORD 7 INTRODUCTION 15 1 CLASSIFICATION OF THE VOICES 16 2 CHILDREN’S VOICES 18 3 AVERAGE RANGE OF MEN’S VOICES: 21 Dramatic tenor 21 Lyric tenor 22 Light lyric tenor 23 Lyric Baritone 24 Bass Baritone 24 Basso profundo 25 Falsetto voice 26 4 AVERAGE RANGE OF WOMEN’S VOICES: 27 High soprano 27 Dramatic soprano 27 Mezzo-soprano 27 Contralto 28 Chest voice 29 5 MIXED VOICE, DARKENED VOICE, 30 GUTTURAL TIMBRE AND NASALITY 6 TREMBLING AND BLEATING 32 7 POSITION OF THE HEAD AND BODY 34 8 BREATHING 35 9 THE ATTACK 36 10 MATCHING THE VOCAL SCALE 39 Table for finding the characteristic sound 40 soprano and tenor 42 contralto 46 baritone and bass 51 Exercises on the vowels 56 11 THE VOCALISE 66 12 PRONUNCIATION AND ARTICULATION 67 13 FAULTS OF PRONUNCIATION 68 Exercises and vocalises with words on all the intervals 71 14 PORTAMENTO 133 15 SCALES 137 Preparation for major scales 138 Preparation for minor scales 144 Exercises on scales 150 5 16 ARPEGGIOS 162 Agility Exercises 180 17 THE TRILL 188 18 OTHER ORNAMENTS IN SINGING 196 Appoggiatura 196 Notes lourées 197 Mordant 197 Stentato 197 Gruppetto 198 19 COLORATION 211 20 PITCH MEMORY 213 21 SUSTAINED, LEGATO SINGING 214 Observations 215 Female chest voice 217 Exercises for crescendo and diminuendo, messa di voce; 218 blending of the chest and head registers'. Examples of sustained, legato singing. 222 22 RECITATIVO 231 23 ABOUT FEAR 235 24 NOTES AND ADVICE FOR YOUNG SINGERS 236 25 MY MORNING EXERCISES 248 JEAN BAPTISTE FAURE A SHORT BIOGRAPHY 286 NOTES ABOUT THE AUTHORS OF THE AMERICAN EDITION 288 6 On April 2 of 1870, the following resolution was set forth: IN THE NAME OF THE EMPEROR: The Minister of Arts,……………………….. ……………………………………………… BE IT KNOWN: Article 1 A commission will be instituted to revise the current regulations of the Conservatoire, to research and propose the proper modifications that can be made, notably from the point of view of teaching and in the interest of curriculum. Article 2 The commission will be convened, the Minister of Arts presiding, composed of the following members: Messieurs: Auber; E. Augier; Ed. About; Azevedo; A. de Beauplan; Chaix d’Est-Ange; G. de Charnacé; Oscar Commetant; Félicien David; Camille Doucet; Théophile Gautier; Gevaert; Gounod; Guéroult; Jouvin; Legouvé; Nogent Saint-Laurens; E. Perrin; prince Poniatowski; H. Prévost; Reber; E. Reyer; de Saint-Georges; G. de Saint- Valry; Albéric Second; Édouard Thierry; Ambroise Thomas; J.-J. Weiss. Article 3 The Counselor of State, secretary general of the Ministry of Beaux-Arts. And the Director of the administrations of theaters will function as Vice-Presidents. ………………………………………………. Paris, April 2, 1870 Signed: Maurice RICHARD Having been invited by the commission to set forth my ideas about how to reform teaching of singing, for reasons of personal convenience I declined the honor that was extended to me; instead I asked two members of the commission if I could develop my project before them.1 After several meetings, the commission adopted the following resolution On June 18th 1870: Article 4 The students of 2nd, and 3rd year singing (in accordance with M. Reber’s proposal) and all the students of composition will be permitted to attend all singing classes. In view of such an executive decree, after all that political activity, isn’t it surprising that these resolutions have had no effect whatsoever? All that remains to me to complete this exposition is to appeal to the powers that be that they make every effort to encourage prosperity in the arts. I would be happy if have been able to convince them of the utility of these reforms and to contribute, as far as I am able, to serve the cause of an art which I have practiced since my childhood, and that since then has been the object of my most constant and dearest concerns! J. FAURE 1 MM. E. Legouvé, E. Perrin. 7 INTRODUCTION If you would like to sing, it is first necessary to believe… Eug. MANUEL If examining the vocal apparatus could tell us whether a singer is a tenor or a bass, or if it could distinguish between a soprano and a contralto, if it could allow us to identify the qualities which give the voice its particular charm, brilliance, sweetness and inflection, and above all, if it were possible to somehow make use of these observations, the anatomy of the larynx would surely become an indispensable study for people who plan to make singing their career. The Rubinis, the Nourrits, the Duprez and so many other great artists had only the vaguest notions of vocal formation that were part of their time and they have however never been surpassed as singers. We cannot name any singer who excelled at these special anatomical studies, so we can justifiably conclude that such knowledge has absolutely no influence over the art of directing the voice. I refer to those doctors, and the artists themselves who have been seduced into such study, and who have made the larynx and the voice the object of their research. There is a primary question we must address for those who wish to have a career in opera. Is a great voice indispensable for success in Opera? There is no doubt about it. Many singers who have had to compete against those endowed with greater brilliance and vocal volume have nonetheless surpassed them through charm, sweetness and expressivity. A great voice then, is not necessary for the stage. Above all the student must have a real vocation and an aptitude for serious study. Well-directed, methodical work will invariably bring about the progressive development of the organ. With people who want to sing as a hobby, one can demand less in terms of vocal work. Effects of sweetness have always been the most appreciated in the salon. The smallest voice is enough when it is well schooled. However, when it comes to musicality and a good ear, one must always maintain strict standards. In the first part of this treatise, I give great importance to vocal study. The full liberty to express and give form to thought with style, nuance, and sentiment, depends entirely upon the flexibility of the voice and gaining its complete automatic control. The art of singing, unlike science, does not continually enrich itself through fresh discoveries. Men eminently competent to carry out such studies have already stated everything there is to know about singing. However I still feel it necessary to clarify certain technical definitions by entering into the most profound detail. I have taken on this task as a way of satisfying students who can never find enough information in achieving their goals. It is for their benefit that I have set down my observations concerning myself and others. The second part of this text is devoted to the deeper understanding of singing and its formulas. Within the confines of a book, I can only teach students an analytical method that permits them to interpret the music of the masters correctly. Since there is no absolute rule for precise sentiment and the delicacy that must be acquired in artistic matters, I have limited myself to pointing out what is offensive to good taste and what is simply not tasteful. A well-marked stamp of personality is only acquired once all these preliminaries have been addressed. 8 1. VOICE CLASSIFICATION TESSITURA …tessitura alone must guide them. The classification of voices must be made according to color and not to extension. One may be in possession of a voice that has a tenor color, even if it cannot rise above an F or G in chest. Someone who can reach a high A may still be a baritone or even a basso cantante. The same applies to sopranos, mezzos, and contraltos, in whom a greater or lesser extension may give rise to doubts as to their classification.1 It is then the timbre, and above all the tessitura, which reveals the real nature of voices.
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