LAMPERTI - The Art of Singing ON THE DECADENCE OF IT

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F. Lamperti
The Art of Singing
ON THE DECADENCE OF THE ART OF SINGING.
IT is a sad,but neverthelessundeniabletroth, that the art of singingis in
a terrible stateof decadence;and thisfact is all the more to beregretted,inas-
much as it is not only the opinion of intelligent persons,but also that of theless
educatedpublic, that it results from the inferior quality of the musicalworks
representedasmuch in our leadingas in our minor theatres.
This decadencehas for sometime occupiedIllY attention. I havesoughtto
unravelits cause, and,therefore,I havethoughtit well to beginthis treatisewith
somereflectionson that subject.
It is not to be supposedthat the humanvoice,sincethe time of the great
artistic celebrities hasundergoneany changefor the worse; thoughcertainly it
is possiblethatsome vocalphenomenashouldbe developedat one periodrather
than at another;yet theseare extraordinaryexceptions,and it is not on them
that we have to dwell. On the otherhand, bearingin mind the moral and in-
tellectualdevelopmentof the populationfrom that epoch tothe present,it seems
to me that the intelligence of those who devote themselvesto singingshould
havealso undergonethat improvementwhich the ffight of time and the force of
progresshaveextendedto all classes ofsociety.
Notwithstandingthis, forty )Tears ago wecould mustera numerousbody of
distinguishedartists-athing which in the presentday we areunfortunatelyun-
able to do; and hencewe mustsupposethat the music of that period,and the
thoroughgroundingin the fundamentalprinciplesof the art undergoneby sing-
ers before appearingon the stage,werethereal causesthroughwhich we were
then able to boastof so manyartisticcelebrities,striving not only for mere per-
sonalsuccess,but also devotedto singingfor the love of the art itself.
It is to thesetwo points that I wish to call the attentionof my readers.
The famoussingerPacchiarottiwrote in his memoirsｾ "He who knowshow
to breatheand pronouncewell, knows how to sing well," and this is one ofthe
greatesttruthswhich studyandexperiencehaveeversuggestedto the successful
cultivatorsof the art of singing,
At the time when the music of Rossiniwas in vogue,andwasrepresented
in all the theatres,was it possible,think you, for a man,thoughgifted with a
beautiful voice and musicalability, to sing that music without knowing how to
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F. Lamperti- The Art of Singing
breathewell ｾ Certainly not. It was necessary to make ofthatbranchof the
art a thoroughandfundamentalstudy,andat everyperformancethe singermade
gradualbut sureprogressin developinghis voice, inpronunciation,in respiration,
in correctingfaulty intonationand emission,both of which defects wererendered
more apparentand,therefore,the moreintolerableby the delicacyof the orches-
tral instrumentation,which was limited for the most part to a simple accom-
paniment.
Apart from previoustraining,by virtue of the above-mentionedrepertoire,
a singer, who might have had only the gift of a naturallygood voice and a
certain musical talent,found in the music itself the bestandsurestmaster;for
supposinghim to be wanting in pecuniarymeansor previous study,he could
cultivate the art equallywell, it not beingconsideredat all to his disadvantage
to begin inthe secondarycharacters,the less80 whenhis fellow-artistswere the
great singers of the day. And thus,with patienceand application,it thenwas
possibleto supplythewant of a regulartrainingunderthe care of a master, At
the presentday it is different.
Vocal music, inorderto assumea moredramaticcharacter,is almostentirely
despoiledof agility of every kind; this is carried to such an extent that by
degreesit will becomelittle elsethanmusicaldeclamation,to the total exclusion
of melody. Without enteringhereinto the question whetheror not any advan..
tage Inay accrueto musicalsciencethrough theseinnovations,I shall only briefly
observethat as the singingof melodies,thoughnot absolutelytrueto nature,is
yet productiveof much pleasureto the audience;it seems tome apity that the
melodramaticsystem should be exchangedfor one perhapsmore realistic,but
which tends to the exclusionof melody,and is hencedetrimentalto the art of
singing,
Let the admirersof declamationfrequentthetheatresof dramaand tragedy)
wherethereis no needof orchestralmusic to intensity the desiredexpression.
Owing to the fact that singersno longer find the best of methodsand
masters in the musicitself, and either do not wish or are unableto begin their
careersin the slow but sure ,vay of their predecessors,they rarely attain more
than mediocrity in their art, and their singing is usuallydefectiveand unsatis-
factory,
Another cause of the decadenceof singing is the absenceof the '1TlJusici, a
class of singersincompatiblewith modern civilization. This, while it presents
on the sideof humanitya just andnecessary progress,leaveson the side of art
an irreparablevoid by depriving it of its mostassiduouscultivators.
Pacchiarotti,Crescentini,'Teloti, ｍ ｡ ｲ ｣ ｨ ･ ｳ ｾ ete., all most celebratedartists,
having left the stage,appeal-edagain intheir pupils, The very fact of their re-
tiring, while it deterredthemfrom otherdistractions,obliged them to dedicate
their affections, minds,andwhole attention to the cultivation of the art, which
they hadmadethe sole occupationof their lives.
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F. Lamperti- The Art of Singing
At one time famous singers,they afterward becamemastersof incalcula-
ble ability and experience,in "Thoseschoolwere educatedthat largenumberof
great artistic celebrities,uponwhose day we now look backas upona glorious
past.
The deficiencyof good singersis also due in a greatmeasureto the impre-
eorioe, in my opinion. Modern operas present more facilities than those of
former times, toartistsventuring immaturelyupon the stage;a theatrical spec-
ulator hearing a good voice, even though it be wanting in the first principles
of art, ･ ｮ ｧ ｾ ･ Ｘ it, offers and sub-letait in the musical market,and the treasure
of a voice soonbecomesbadly worn, through the waste of the most beautiful
notes emitted without rule, modulation,or support; the middle notes become
weakened,the restuneven,and the voice, which the music of former dayswould
haveof itself educatedandpreserved,is lost for ever.
To thesereasonsmaybe addedwhat I shall term the epostamentodella voce,
by which I meanthe presenthabit of consideringas mezzo-sopranothe dramatic
sopranoof the past,and of makingmezzersopranos sing alsothe partswritten
for contraltos,hencethe almosttotal disappearanceof music written for the true
contraltovoice in the modernrepertoire.
The sameappliesto the so-calledtenori serii of the past,who now sing the
baritone,to the tenori di mezzo oarattere,who now strain their voicesby singing
the partswritten for tenori serii,andto the little use made ofthe bassooaauasue,
Thosewho suffer most from this displacementare the sopranos,whose voices,
to enable them to sing modernmusic at all, ought to be exceptional Obliged
as they areto sing habituallyon the highestnotesof the 8fJj ffano sfogatoand on
few strong low ones,their medium registerbecomesweakenedand assumes a
characterof disagreeableinequality.
What is the result ｾ Why, that the true sopranos,obligedby the rules of
the professionto sing theseparts,in a short time abandonthemselvesto emitting
forced and fatiguing notes,and so destroythe mezee-oooi;insteadof which, had
the music beenproperly adaptedto the capabilitiesof the organ,naturewould
have improved and strengthenedthese,the most importantnotes of the whole
VOIce.
'1'0 the raising of the musical pitch much of this displacementis also due,
that againaddsto the difficulties ofprime donne.
At the presentday one would consideras mezzosopranosthose whosang
in Otello and Semiramide,and almostall the operaswhich Rossiniwrote for so-
pranos, as also inthe earlieroperas ofDonizetti and Mercadante.
Bellini was the first to write parts of an exceptionalrange,and what was
III ore, he introduced the system of putting a syllable to every note, thus
renderinghis musicmore fatiguing to the voice. His successorsexaggeratedhismannerism,as much in respect to range as in the arrangementof the words.
Much of this displacementmay be attributedto thesereasons,coupledwith the
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F. Lamperti- The Art of Singing
fact that syllabicationin this musichad in a greatpart to be executedby the
head notes,which in men's voices, onaccountof their limited compass,was im-
practicable,andin women's,productiveof much harm.
The fact that modernmusic affordssuchfacilities to artistscontentedwith
mediocrity,is oneof the chiefreasonswhy the ranksof the art arecrowdedwith
worthlessand half..taughtsingers,and is the origin of thegeneralruin of voices
or want of fundamentalstudy.
It seemsto me thatnow,morethanever-asmuch in theinterestof art,as for
the benefit of singers-aman shouldapply himself to severeand carefulstudy,
andthat, independentlyof the kind of music whichthe public tastemay demand,
he shouldstrive to train his voiceby singingthe musicof the old masters,more
suited asit is to the developmentof his naturaltalentsthanthatof the present
day.
Here, I would observethat singing,being but an extensionof speaking,
the noteswhich we use inspeakingare naturallyanimated,as theyexpressrage,
irony, love, pity, etc.,and the wordswith which thesefeelingsareexpressedare
emittedclearly. But without thenecessarystudy,how wouldoneemit, with equal
clearnessof tone and pronunciation,those noteson which one doesnot speakｾ
how couldonesupportthemby regularandnaturalrespiration,andfailing that,
how could one animatethem soas to expressthepassionsandfeelingsmentioned
aboveｾ No matter how exquisitethe tasteor beautiful the voiee a man might
have,it would be impossible.
Grantedthat a man be giftedwith theseexcellentqualities, but without a
fundamentaleducation,he may becomea shouter,but a singernever. His, per-
haps,extraordinarybut uncultivatednoteswill alwaysbe cold, and inspite of
their strengthandsonority,always without expression,always wanting in true
dramaticaccent,monotonous,and incapableof varying their character,according
to the meaningwhich the poetor the composerhasconceived;wanting alike in
thorough education and artistic experience,he will certainlyrun the risk of
injuring and perhapsof totally ruining his voice.
In suchtimesas these,whennewmusic,newcomposers,andnew singersare
taking the placeof old ones, I have determinedto check,if not all at least a
part of the abusesas regardssinging,andto counterbalancethe influence which
modernmusicexercisesto the prejudiceof goodsinging,by somepractical and
fundamentalrules, the resultof experiencegainedin In3ny yearsof teaching.
By means oftheseI hope to avert theruin of voicesand to obtainhappyand
fruitful resultsfor thosewho devotetheir attentionto vocal music.
I do not wish this guide to be consideredas anew methodof teachingsing-
ing; I would rathersuggest it as counsel, which,if wanting in scientificmerit,
will, 88 the fruit of my experienceandstudy,be of somevalue.
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F. Lamperti- The Art of Singing
ARTICLE I.
THE VOICE.
Q. What is the voice ｾ
A. The voice is the sound producedby the air expelled from the lungs
andpassingthroughthe apparatusin the throatcalledthe larynx.
Q. Are all voicessuitablefor cultivation ｾ
..d. No; only thosewhich possessextension,equality,force, andflexibility.
Q. Is it enough to possess abeautiful voice and extensive compass to
becomea goodsinger1
A. No; besidesthe voice it is necessaryto have a good ear-thatis, a
naturalaptitudefor correctlyseizing and repeatingsounds,he they of another
voice or ofany instrument; wantingin this, a singermustnot expectsuccess.
ARTICLE II.
THE VARIOUS REGISTERS OF THE VOICE.
Q. Are all the notesof the voice of the samequality ｾ
A. No; only thosewhich belongto the sameregister; the others,no matter
how eventhe voice nlay be, differ from eachother,as doesthe mechanismof the
throat in producingthem,
Q. Of how many registersdoesthe femalevoice consistｾ
A. Of three: the chest,mixed, and head registers,
Q. Of how manyregistersis the male voice composed1
A. Of two only: the chestandmixed registers.
FULL EXTENSION OF WOMEN'S VOICES.
---d Mixed. l -t9- ..a. ｾ-= ＭＭ］［］］ｾＭｲＭ｟ＭＭｴＹＭＭＭＭｴＲＭＭｴｬｩｉ］ｦＭｴｬｩｉＭｴＺＮＯＮＭ｟ｦＹ｟Ｍ｟ｴＲｾ｟Ｍ __+¥1
77 =6= -7; Ｎ ｾ 0 I I Head. I
I Chestｲ ･ ｧ ｩ ｳ ｴ ｴ Ｇ ｲ ｾ Ｌ ｾ .
FULL EXTENSION OF MEN'S VOIOES.
I C register. -19- ..a. ｾ ..a.
(§1-------:t'2 f!fiJ -e:r=:6J-a_.--f9--+-
I
_ __ _ ｾ -- M
t:iIJ I Mixed register, I
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F"Lamperti- The Art of Singing
ARTIOLE III.
THE POSITION OF THE BODY, MOUTH, AND VOCAL ORGAN.
Q. How shouldthe pupil standwhile singing l
A. He shouldhold himself erect,with thechestexpandedandtheshoulders
easy-ina word, in the positionof a soldier.
Q. 'Vhat should be the expression of themouth to most facilitate the
emissionof the voice?
A. The mouth ShOll1(1 be smiling, the lips should be drawn sufficiently
tight to merely show the upper row of teeth, that the sound,striking on a
hardsurface, mayvibrate with greaterintensity,and thusgive a ring and brill-
ianey to the voice.
Q. How shoukl the tongue and the rest of the vocal npparatusbe (lis-
posedl
..&.-:1.. TIle tongue should remain extended,ill order to leave the largest
possiblespace inthe mouth, andthat the throat lllay be easyandopen.
ARTIOLE IV.
OF RESPI"R.ATION.
Q. ·Whatis meantby respirationｾ
A. It meansthe double action of the muscles of .thethorax ill receiving
into and expellingair from the lungs.
Q. It is, then, animportantthing that the singershouldknow how to take
breathproperly ｾ
A. It is of the \"'"ery utmostimportance,for, if he hasnot a perfectmastery
of the respiratoryorgans, he canneitherdevelopthe voice nor everexecuteany
piece ofmusicartistically.
Q. How is a perfectrespirationto be obtainedｾ
A. By standingin the position,andobservingcloselythe directionspointed
out in Article III., and then inhaling the air, first throughthe nose, sothat the
lungs may dilate gradually and without strain; a breath thus taken may be
held for a considerabletime without fatigue.
Q. What is this gradual andcompleterespirationcalled t
A.. A full breath.
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F. Lamperti- The Art of Singing
Q. In singinganexerciseor melodyin strict time, shouldone alwaystake a
full breath?
.A. No, only when it is interruptedby long rests; when this is not the
case,and especially"Then written "allegro," one isobliged to breathequickly,
introducingonly a small quantityof air into the lungs for the necessitiesof the
moment.
Q. ""\Vhat is this instantaneousbreathingcalled ｾ
A. A half breath.
Q. Is thereany generalrule for the durationof the breathｾ
A. No, a long or shortbreathdependsupon the capacityof thelungsof the
individual singer,andso it would not only be impossible,but useless, to fixthe
breathingplacesin vocal music.
Q. For how long canapupil, well practisedin this mannerof breathing,con-
tinue a giv"ennotel
A. Up to twenty seconds,andsometimesmore,
ARTIOLE V.
OF THE QUALITIES OF THE VOICE.
Q.. How many different qualitiesare therein the voice ｾ
A. The principal are two,the openand the closed.
Q. Which of theseshould thepupil use for thepurposeof daily study ｾ
A. The open.
Q. What reasonhaveyou for saying801
A. He shoulduse theopenin preferenceto the closedquality, becausein it
defectsare more apparent,and hence donot escapedetection;the emission of
high notes isrenderedmore easy,the notesbecomesweeter,andwhat is of more
importance,he doesnot fatiguehis voice.
Q. How are notesproducedin theopenquality!
A. By following thedirectionsgiven with referenceto positionandrespira-
tion, andopeningthe throatwith the vowel A.
Q. Why the vowel A in preferenceto any other!
.A.. Becausethatis thevowelwhich,morethanall theothers,Qpensthethroat,
and sowhenthe pupil can vocalize with ease on A, hewill find no difficulty in
doingthe sameon theothervowels.
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F. Lamperti- The Art of Singing
Notes and Observationaon, Article V.
I mentionedabovethat,for thepurposesof study,the pupil shouldmakeuse
only of the" timbreaperto;" I would herewarnhim to becareful lest,by inatten-
tion to the rules in respiration,he should confoundthis with singingbianco
andsguaiato.
The openqualiby, as Duprezobserves,shouldbe producedby the vowel A,
as in theword anima. It shouldbeformedin thebottomof thethroat,care,how-
ever,beingtakenthat it does notchangeinto0; sincesuch an inflection,though·
it might give to the voice a morefull and roundedcharacterin a room,would
renderit smallerand without brilliancy in a theatre.
A most important point to observein teaching,especiallywomen,is the
developmentof 'the mediumnotes; these,generallyweak by nature,are rendered
moredefectivestill, in the case ofsopranos,by the maniator forcing high notes,
andviceversathe low notesin the caseof contraltos.
With some fewexceptions,this weaknessin the middle notesis morepro-
ductiveof failure thanany other defect,as it is with these very notesthat the
artistehasto performthe greaterpart of hersinging,andwith themproducethe
more importanteffects.
Of natnrallydefectivetimlYri, the leastadaptedto singingis thatcausedby
a goitrousformation of the throat,commonlycalled throatysinging,andaccord.
ing to ｍ｡ｮ｣ｩｮｾ the one leastunfitted is thenasaltimbre,
ARTICLE VI.
OF THE EMISSION OF THE VOICE.
Q. What is meantby the just emissionof thevoice t
A. It means attackinga note,with the greatestpossibleclearness,with a
pureandcorrectintonation,andsustainingit to the full extentof the breath.
Q. In how many difterentways mayonepractisethemessa or tenutaor th&
voieet
A. In four ways.
Q. Which is the first ,
A. After havingslowly andquietly taken breath,in the mannershownin
Article IV., thenoteshouldbe attackedcleanlywith the full voice,andwithout
forcing shouldbe sustainedwitli equalloudnessto the-full extentof the breath.
care,however,beingtakento iRish thesoundbeforethe air in the lungsis com-
pletelyexhausted.
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F. Lamperti- The Art of Singing
Q. Why shouldthe notefrom the beginningbe emittedwith the full voice,
insteadof commencingit pianoand afterwardmakinga oresoendot
A. Becausethe beginnerneithercan nor ought to attack notespiano; by
trying to force him to do so,insteadof favoring his progress,it will only retard
him, and besidestiring the musclesof the chest,he may acquirea crampedman-
ner of singing.
Q. Which is the secondway of practisingthe 'I1le8Sa or tenutaof the voice'
..A.. The secondshould only be attemptedwhen the pupil is sufficiently
sdvanced ;it consistsin attackingthenotewith thefull voice,asmentionedabove,
and then making a gradualdiminuendo to pianissimo, retaining throughouta
.firm control over the breath,and finishing beforeit is exhausted.
Q. Which is the third way?
.A.. The third way consistsin commencingthe notepianissimo,and withont
forcing, to graduallyincreasein strength,finishing, to avoid fatiguing the lungs,
beforethe breathis exhausted.
Q. Which is thefourthandlastmethod,andwhenonly shouldit bepractised'
zl, The last, the most important,andmostdifficult method shouldonly be
practisedwhenthe pupil is well advancedin vocalization,andconsistsin attack-
ing a note pianissimo,reinforcing it to the full extent of thevoice,and then
graduallydiminishing it, so as toend pianissimo,retaining the same quality of
soundin all the gradationsof crescendoanddiminuendo.
Q. How arenotesthusproducedcalled ｾ
A. They arecalled notefilate.
Note8 and Observationson Article VL
A goodrenderingis necessary,andshould becarefully studied,as upon it
dependsthe grace of good singing,and without it a pleasingimpressioncan
neverbeconveyedto the public.
JustasSocrates,whenasked,What are thequalitiesnecessaryfor anoratort
answered,"Delivery, Delivery, and Delivery;" so it is for a singer.
And as an easy emission ofthe voicedependsmuchupon the respiration,the
pupil should,generallyspeaking,breathein as largea quantityof airas thelungs
cancontain,avoiding noises andall movementsof thefigure, especiallyraising
the shoulders,andstrive to give alwaysto his singing a semblance ofeaseand
elegance. To attain this end, the mouthshouldretainasmiling expression;but
if by exaggerationthe pupil shouldassume an aftected air,it will be better to
changethat expressionfor oneof supplication.
It is also of the very utmostimportancethatthevoiceemittedshould be less
in force thanthe force of breathwhich supportsit j this will renderthe singing
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F. Lamperti- The Art of Singing
morenatural,even andspontaneous,andwill also conveyto the audiencea feel-
ing of securityand pleasure.
Mancini is of the opinion that the mastershouldexaggerateall defectsof
emission onthe part of the pupil, to renderthemmoreapparentto him, andthus
moreeasyto avoid
ARTICLE VII.
THE APPOGGIO OF THE VOICE.
Q. What is the appoggioor supportwhich should be given to the voice to
enableone to study without fatigue to the throatｾ
A. The supportaffordedto the voice by the musclesof thechest,especially
the diaphragm,actingupon the air containedin the lungs.
Q. How is this supportto be obtainedｾ
A. By observingthe rulesin Article III., with regardto position, andthen
openingthe lower part of the throat with the vowel A. The sound thuspro-
ducedwill beclear and sympathetic;butif thepupil is notableto pronouncethe
vowel A with a £l111 tone, let him first beginwith LA, which will renderits
emissionmore easyand secure, This is a most importantpoint for an artist to
observe,as on it will depend,in themajority of cases,the successof his future
career.
Notesand ObservationsＰＱｾ Article VIZ
It is by singingwith the voice well appoggiata.,thatthepupil, undercareful
supervision,will learn what is the true characterand the capabilitiesof his own
voice; he will know what musicto sing, how torender his singing elegant,and
remedydefectsof intonation. In this, in my idea, lies thegreatsecretof the art
of singing.
He who does notsupporthis voice in the mannerhere indicated does not
sing; he may be able to emit loud,resonantsounds;but they will be with-
out expression,they will never beliving sounds,by which he can conveythe
emotionsof the soul or expressthe various feelingsof the human passions.
Expressionis wholly wantingin a voicenotappoggiata. Lo-ve, hate,or revenge
producesa sound of oneandthe samecharacter;the singingis monotonous, and
thoughloudnotes maysurprise,they can never conveypleasureto the lover of
goodsinging.
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F. Lamperti- The Art of Singing
ARTICLE VIII.
OF VOCALIZATION AND AGILITY.
Q. What is meantby vocalizationandagility ｾ
A. It meansthe executionof a seriesof notes on the vowels, with more
or less quickness.
Q. In how many different waysmay it be studied?
A. Agility may be studied in Dlany different ,vaJrs,though the principal
are four.
Q. Which are they ｾ
A. Portamento,Leqato,Piccheuato,andMartellato.
Q. Of these,which is the mostuseful1
A. Legato.
Q. Why the Legatoin preferenceto the othersｾ
A. BecauseLegatois the predominatingquality, not only of all agility, but
of good singingin general;so the singerwould do well not to study the others
until he shall Gavemasteredthe art of singingLegato.
Notes andObseroationson Article T7I'IL
Agility should be studied slowly. The exercisesshould be executedso
that the intervals are clearly distinguishable. The breath should be held
steadyin the pasRagefrom one 110te to the other,and the notesshouldbe pro-
duced clearly and with a S110ckof the Glottls. By this meansthe pupil will
acquire the powerof taking the exact note without sliding up to it, a fault
which a beginneris very likely to confoundwith singingLeqato.
When once this is mastered,be may proceed to the studyof theseother
kinds of agility, but let him bear in mind that the possessionof a clear and
secureagility dependsalwayson a thorough proficiencyin the primary rulesof
SingIng.
I havesaid that agility in the case ofbeginnersshouldbepractisedslowly.
This maxim I intend to apply to those pupils who have a natnral agility, as
well as to those who are not so gifted; I should recommendcaution and
moderation in the studyof agility as the voice by too rapid exercisesis apt to
become tremulous and weak,and thus,what otherwise would have been one
of the mostbeautifulembellishmentsof singing,becomesone ofits mostserious
defects.
In conclusion, Imay add that I considerthe enormousquantityof exercises
which one finds inmany bookson singingsuperfluous,and morelikely to injure
thanpreservethe voice, or cultivatea clear and beautifulagility.
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F. Lamperti- The Art of Singing
Exercisesto be useful should be melodiousand tastefully written, as it 18
their quality andnot their quantitywhich makesthe pupil a goodsinger.
Thesingershouldaccustomhimself when practising exercises tobegin the
notes of an ascendingscale,and graduallycrescendoto the highest note, and
viceversa. Songs may be practisedthe same,except in passageswhere the
composerhas marked otherwise.
ARTIOLE IX.
ON PORTAMENTO AND LEGATURA.
Q. What is meantby Portamento]
A. It meanspassingfrom one note to the otherby slurring the voice,but
in such amannerthat the interveningnotesareheardas little as possible, This
is doneby leaving the first note beforethe end of its value,so as to anticipate
with the vocal organthe other, to which the voice is to be carried.
Legato.
EXAMPLE:
-6J........../
Manneror execution.
ｾ '1ni
dO
Q. What do you infer from this exampleｾ
A. I infer that if I want to executethesetwo notes by means of aPorta-
mento,I shouldcontinuethe vowel of the first note to the second,before pro-
nouncingthe syllableof the second.
Q_ ShouldPortamentobe executedquickly or slowly ｾ
A. Thereis no fixed rule; it dependsupon the movementof the passageto
which it belongs.
Q. What is meantby Legatof
..A._ It meanspassing from one note to 'anotherquickly, 80 that the voice
doesnot dwell upon the intervening.notes,just as if it were executedupon a
pianoor any otherkeyedinstrument,
Notes alul Observations on.A.rtlcle IX
The powerof sustainingnotesbeingone of the peculiar attributesof the
humanvoice, the pupil should makeLegatosinging a specialstudy, He who
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F. Lamperti- The Art of Singing
cannot sing Legatocannotsing well; hilt let me here warn the pupil lest he
fall into the error of singingStrlsoiato-thatis, slurringup to his notes in mis-
take for Legato. For instance,when the inolterval is a minor second,he is very
apt to take the intermediatequartertone first before arriving at the semitone
insteadof makinga diminuendoon the first 110teand then clearly and securely
taking the semitone.
He shouldguard,too,againstabandoningthe control over the breathin the
passagefrom one note to another,as the second will always be wanting in
characterand color, without which two qualitiessingingcan neitherbe artistic
nor capahIe of expression.
In singingof all kinds, due regardshould be paid to the just valueof the
notes;thereshouldbe noslurring up to intervals; the soundshouldbe emitted
pure,andgreatauentio»paid to the rulesof respiration.
EXA}[PLE.
Good.
Legatoassai ｩ ｾ
Adagio. ｾ｡］ｾｲｾｾＭ］＼］ＮＭｾ｢ＭＢＢＧＭＢｾＳ
ｾ -61- ｾ Ｍ - ｲ］ｾｲＭＭ :=3
ＸＰＱｾ - -r-r- -
\/"§ ===-
YJt
SeeArticle 12. The applicationof ｴ ｬ ｾ ･ 'rulefor theappoggzoof the ooice.
Only in singing portamento legato, Insy it be allowed to anticipate the
secondnote, deducting, however,the valuefrom the fir8t, either in ascendingor
descending.
EXAMPLE.
Good. Defective. Good. Defective.
ｾｆ｀ Ｔｾ］ｴ］ｾ ; ＭｴﾣｩＡﾣ］ＱｾｾｾＳ-4.-----4- ｉ ｾ 1- - ＭｾＭ - ＭｾＭｾＺ］ｅＺＺＳ］Ｚ］］Ｓ
_--:1:--,:)_ -f4 -r) Ｍ ｾ ｾ Ｍ - ｾ -,,--
ｾ ｾ ｾ ｾ
re mi re mi mi re mi re
The mastermay transposeand vary this exercise according to the voice,
intelligence,and capacityof thepupil.
13
F. Lamperti- The Art of Singing
ARTICLE X.
GENERAL RULES FOR STUDY.
Q. What is the first thing a singer has need of to enable him to study
with advantagei
A. A pianofortein perfecttuneand at the proper orchestralpitch, 80 that
hemay accustomhis earto the correctintonationof intervals.
Q. What is the besttime for exercisingthe voice ｾ
A. After theperiodof digestion,whetherit be in the morningor afternoon,
andparticularlyin the evening,as it is then that the pupil will find himself in
thefulnessor his physicalandmentalpowers.
Q. Would it be hurtful to practise on an empty stomach, orduring
digestionｾ
A. Yes; becausein both casesit would be necessaryto takebreath too
frequently,which would fatigue the chestto the detrimentof the voice.
Q. What is the most advantageousway of studying?
A. Singingwith the voice full andclear,with as much graceand ease as
possible,andbeingvel-Y careful to avoid forcing.
Q. Shouldsingingbe practisedfor long or shortperiodsat a time ｾ
A. Thegeneralrule is to study moderately,and with a variety of exercises,
alwaysfinishing beforefeeling tired.
Q. What extentof the voice ought to be.the subjectof daily practiceｾ
A. The middle partonly, exemptingthe two highestand t\VO lowest notes
of the voice altogether.
Q. Whatelse isnecessaryfor the purposeof studyｾ
A. A looking-glass, whichthe pupil shouldplacebeforehim while singing,
80 that be may avoid grimacesandotherbadhabits.
Q. How shouldthe pupil studyhis exercisesｾ
A. He should study them mentally, until he has thoroughly understood
their true nature and thenhemay sing theine
Notes and Obseroation«on Article .x:
On the choiceof a good masterdependsentirely the successfulresult of
what I havesaidin Article X. It is a falseidea to considerthat any teacheris
good enoughfor a beginner. It is of far greaterimportancethat the beginning
shouldbe madeunderthe guidanceof an experiencedand capablemaster,even
thoughit costs more than under an inferior one; for in casethe secondone be
inferior, the pupil wil] easilyperceiveit, w bile he will always consideras good
his first instrnctor,no matterhow worthlesshe may be.
The art of singing cannot be learned cheaply. The money expendedin
14
F. Lamperti- The Art of Singing
Iessonsshould be consideredas an investment,and though for a yearor so the
expensemay pressheavily on the student,he is certain to gain manyhundreds
percentupon his outlay.
The pupil is recommendedto pay greatattention to the rules I have laid
down with regardto the breath,appoggio,and 'flU38Sa lli voce,until habit becomes
in him a secondnature; let him guardagainstforcing or usingmore voicethan
he hasbreath to sustain,so he will avoid the dangerof rendering his voice
tremulous,a defectalmostalwaysproducedby forcing. It is causedby a weak-
ness of the nervesof the vocal organ,and, if takenin time, luay be-remediedby
restandcareful stud)", but if deferred paralysis attacksthe nerves,and cure is
hopeless.
The pupil is also warnedto avoid humming,as,wanting in the supportof
the chest,there is nothing which more fatigues the throat, or rendersmore
uncertainthe intonation.
Piano shouldin all respects,with the exceptionof intensity,resemblethe
forte ; it should possessthe same depth,character,and feeling; it should be
supportedby an equalquantityof breath,andshould havethe same quality of
tone, sothat evenwhen reducedto pianisaimo it Dlay be heard at as great a
distanceas the-forte.
In orderto preservethe voice freshand unworn for the professionalcareer,
the pupil shouldmakemuch use ofthe mental methodof study; by this means
he may do much towardeducatinghis voice without drawinguponits valuable
resources.
In conclusion, Iwould put the pupil on his guard once moreagainst the
tremblingof the voice, a defect which in the beginning of this century was
sufficient to excludeany singerfrom the stage. Iwould not havehim confound
this, however, with the oscillation produced by expressingan impassioned
sentiment.
ARTICT.JE XI.
ON PRONUNCIATION.
Q. Whatpeculiarattributehas the humanvoicel
....4.. The human voice, more than any Instrument,hasthe powerof convey-
ing feeling to the SOl11 of another,and in orderto take everyadvantageof this
importantquality, the voice should be emittedwith a full and sustainedsound
takingcare,however, notto sacrificethe clear articulationof the words to mere
sonorityof voice.
Q. Underhow many headsmay Prommoiaiion.be consideredｾ
A. Under two-Articulationand Sownd:
Q. What is the t'ffect of badarticulationin singing ｾ
...d. Bad articulationis apt to producehardnessandharshness.
15
F. Lamperti- The Art of Singing
Q. Whatis the effect of a faulty emissionof the voice i
..A. It detractsfrom the purity and eleganceof the pronunciation.
Q. 'Vhat study forms the surestfoundationfor a good pronunciationl
A. The studyof &lfeggio, the importanceof which cannotbe overrated.
Q. By what meanslllay the pupil guardagainstdefectsof articulationｾ
A. He should be lery careful in singing Solfeggionot to pronouncethe
consonantsdoublewhen they are single, and viceversa,he should support the
noteswell with the breath,andstrive to sing the vowels on the various notes
as pureas possible.
Q. 'Vhen does one meetwith doubleconsonantsin 8olj'eUgio?
A. E\TeIY time that 80t is eitherfollowed by itself or any othernote.
Q. Of how lnany kinds are the consonantswhich one meets with III
SolfeggioＮｾ
A. Of four-Lin[l1lo-del1ial, Linquo-palatal,Labial, and Labbro..denial.
Q. Tell II1e the notes of the scale,and mention to which classeachcon..
sonantbelongsｾ
Ｎ ａ ｾ Do,which has D as itsconsonant,a Li1l{J1.w-denial, on account of its
beingformed by the contactof the tongueand teeth.
Be, with the consonantR, a Linquo-palatal,formed by the contact of the
tongueand palate.
Ml, with the consonant M, aLabial, formedby the pressureof the lips.
Fa, with the consonant F, aLabbro..dental, formed by the lips andteeth.
Sol, La, and,Si, like Re,have for their consonantsLinquo-palatale.
Q. How, in the study of hbljeggio, should the pupil seek torender with
clearnessthe doubleconsonants1
A. As consonantshave no sound of their own, but are only heard when
applied to a vowel, it will be necessary, asin the case of singing801, La, to
leavean almostimperceptiblesilence betweenthe two notes ill the following
example:
Howit shouldbe sung
ｾＺｈ ｾ ［ｊ］Ｚ｣［ｔｍｾﾷﾷＮＭｾｾｾＭＭｩＭ＿［ｦＭｾ --I
I ::: -He-1- Jli - Fa -1- So- 1 - La -1- Si - Do
ｾ
I I I :::t=t=---
Ｚ ｺ Ｚ Ｚ ｲ ｾ =1=' I J ｲＭＭＭＭｩＭＭＷＲＭｲＭＭｴＹＭｾ::li_--6J- d=t::::;;sI-?;j-;--tSJ-- I l -t==
Scale.
The pupil should arrange solfeggi so that they will presentthe greatest
number of double consonants. I would also recommendhim to pay great
attentionto the purity of the VOWEt'!s, in order to avoid singingFua for FA, or
Lor for La" and to beginconsonantand vowel together;he would do well also
to study the vowelsA, Ｎ ｨ ｾ I, 0, U, eitheralone orprecededby a consonant.
16
F. Lamperti- The Art of Singing
EXAlfPLE OF DOUBLE CONSONANTS.
NOTE.-Thesign!marksthe silencebetweenthe doubleconsonants.
:It"P'o. 1. !' , ＡＧｾＢ ,
ＭＭＭＬＭｾ ｾ 1 ＧｾＭｾ ft·Ｍ ｉ ｾ Ｔ r ｾｾｾＮｾＭＭ - 1 "- -- I I I ---1---i- - -,c::.
ｾ ｾ Ｍ Ｍ ｾ Ｍ - ｾＭ -- .-.,,-.-..- -:.== ｾＭＮＺＺＺｊｌ ＭＮ］］ＭＭｾｾ］ｾ｟ -
So-l La Sol 80_1La Si La Sol 80-1 So-l La Si So.lSi
ｾ ］］］ｬ Ｍ Ｚｴ Ｍ ｾ ］］］］ ｾ ］ ｾ ｾ ＭＭＴＭ ｾ Ｍ Ｍ ｾ Ｍ ｊ E ｾ- ＭＭＭＭｾＭ -i--- -1-1-.- ---- '=---- - ----ＭＶｦＭＭｾＭ ---.- - --=: ｾＭ --___ ＶｩｉＭＭｾＭＭ ---=-
ＭＭｾＭＭＶｊＺＭ ｾＭＭ -:--.-..--.-- ｾＭＭ ｾＭＭＬＮ -. -u - ｾ -7>- $.
No. ｾ Ｎ , , , , , , ,
- ｾ ｾＭＴ］ｴＭｾ ｅｆｅｾ
ｾ ｾｾＭｾ
ｾ｟ｩｊＺｬＤｾｆﾧ ffi ｾ ｾ ｾ
, , ,
］ＭＭＭｾ t- I $I___ -';--11-
］ ｾ Ｍ ｾ ｦ ｈ ｑ ｩ ｦ ｊ Ｔ Ｍ ｾ X n:ED
1 I I J I I
ｉｾＺ］Ｍ］ｉ ＭＭｾ i : 4 X ｾ
17
F. Lamperti- The Art of Singing
ARTICLE XII.
THE APPLICATION OF THE RULE FOR THE APPOGGIO OF
THE VOICE.
By singingappoggiata,is meantthat all notes, fromthelowestto thehighest,
are producedby a column of air over which the singerhasperfectcommand,
by holding back the breath,and not permitting more air than is absolutely
necessaryfor the formation of the noteto escapefrom the lungs. By practice
he will be able to do this without any effort, andsoavoid thosedefects caused
by strainingthe breath,such asfrowning, contractionof the tongue, and afixed
expressionof the eyes; for the voice will never be eitherwell appoggiatanor
capableof expressionuntil the pupil is able to render his featurescalm and
naturalwhile singing.
The studentshould hold his mouth naturaland still while singing; it may
beallowablein theveryhighestnotesto openit wider; hut the differenceshould
be very slight, and made without the least shockor soundof the air escaping.
To avoid this, let him keepa firm hold uponthe breath.
He should,therefore,underthe guidanceof his master;andby dint of study
andpatience,strive to gain the power of retainingthe mouthimmovable; or,
notwithstandingthe beautyandstrengthof his voice, he canneverbecomeother-
wise than a badsinger.
ARTICLE XIII.
ON THE ATTACK OF THE NOTES.
Q. To what should thepupil principally pay attentionin singinghis exer
eises ,
A. To theattackof thenotesandthecontrol over the breath.
18
F. Lamperti- The Art of Singing
Q. How may he know that the sound has beenemittedwith a full respi-
ration l
A. By measuringfirst the Iength of the respiration,and thenthat of the
breath; as a breath slowly inhaled will last much longer than one hurriedly
taken.
Q. How can you bestgive an idea ofthe right momentfor attackinga note,
so that it may havethe properquantityof breathfor its supportｾ
..L4.. I should take the sign in use for crescendo,andplacingit vertically,
mark upon it the seconds forwhich the breathof an ordinarypersonmay be
sustained.
18-
15-
12...
9-
6-
3-
Sound emitted with a full breath
as arule 18 seconds.
Q. Would it beprejudicial to attackit on the Iowernumbers,as6, 9,and
12 !
..d. Certainly,as thesoundthusemittedwould be foundwantingin steadi-
nessand feeling.
Q. What are the advantagesto be obtainedby following the rulesof Arti.
ele VII. and-thehints I havegiven here?
A. The fullest developmentof tone, the union of the registers,legatosing-
ing sweetnessof quality, securityof intonation,an even agility, anda general
elegance of execution,which qualitiescombined are necessary forgood singing.
It is of the utmostimportancethat thepupil should,undertheguidanceof
his master,study the true characterof his own voice..80 that he maynot deceive
fiimself as to its extensionor character,and also thathe mayknow whatkind of
music heought to sing. One caneasilyseewhat is the true characterof a voice
by paying attention to the length of the breathon agivensxtensionof notes,
and np to what in thesenotesthe singercanpronouncedistinctly, andmodulate
their character,80 as toconveythe expressionof love, hate, etc.
19
F. Lamperti- The Art of Singing
NOTE.
As n1Y opinionswith regardto respirationcoincide with thoseexpressedby
the celebratedDR..MANDL of PARIS, in his treatiseon the maladiesof the
larynx, I quotea few passagesfrom his valuablework bearingl1pOD thatsubject:
Reepiratiot»is of threetypes-the.Diaplll'O{JTltatic or Abdominal,theLateral
andthe Olavicular.
In abdominal respiration; the diaphragm,a largemuscleat the baseof the
thorax,is the motive agent; its action is shownby the movementof thestomach.
Lateral respiration.is causedby the dilationof themiddlepartof thethorax,
and is shownby the movementof the ribs andbreastbone.
Ulaoicular respiration is causedby the dilation of the uPller part of the
thorax, and is shown by the movementof the breastbone,ribs, collar-bones,
shoulders,vertebne,andsometimesalso the head.
These different types of respirationare often cornbined,or rathersucceed
one another; for instance,a continuedabdominal respirationwill becomealso
lateral.
A prolongedlateral respirationmay becomeeitherabdominalor clavicular,
anda prolongedclavicularrespirationwill becomelateral.
In abdominalrespiratiouthe only muscle made use of isthe diaphragm-;it
enlarges and deepensthe baseof the thorax, pressingdown upon the liver,
stomachand intestines,which, yielding to the pressure,leavealargerspace forthe
dilation of the lungs, the larynx also remaining perfectly natural and uncon-
strained; for which reasongood singersinvariably make use of this type of
breathing.
To obtaina respirationpurely abdominal,let the reader,for the sake of ex-
periment,seat himself on a chair, and cross hishandsbehindthe backof it as
high up as.possible; then the 'Shoulders andlIpper part of the chest being
renderedimmovable,a breathso takencannotbe other than abdominal.
Clavicular respirationis very different; the displacementof the upperribs,
shoulders,vertebrae, etc.,necessaryfOl: the expansionof the higher portion of
the cavity of the chest,entails the use of a considerableamount of force, on
accountof the resistanceofferedby the inflexibility of theseparts; the muscles
of the throat and larynx are therebyconsiderablycrampedin their action,and
the emissionof the voice is thus rendered,Tery fatiguing to the vocal organs.
It is a mistaketo snpposethat the claviculartypeof breathingis naturalto
women; on the contrary,it neverexistsin nature; that which hasgiven rise to
this erroneousimpressionis the following circumstance:
The pressureof the corsetuponthe abdomen,or in some casestheabnormal
developmentof the stomach not permitting of the natural descentof tbe
20
F. Lamperti- The Art of Singing
diaphragm,the respirationbecomeslateral; the movementof theribsandbreast-
bone causesthe rise and fall of the bosom,thus leadingone to believethat the
breathingis clavicular; but it will he seenthat there is no movementof the
collar-bones,and so we IllSy be sure that the naturaltYlle of respirationin the
caseof women,if not abdominal,is lateral.
The voice is the soundproducedby the passageof theair expelledfrom the
lungs throughthe larynx.
To sustainagiven notetheair shouldbe expelledslowly; to attainthis end,
the respiratorymuscles,by continuingtheir action,strive to retain the air"in the
lungs,and opposetheir action to thatof the expiratorymuscles,which, at the
same time, drive it out for the production of the note. There is thus
establisheda balanceof power betweenthese two agents,which is called the
lutt,e vocals, or vocal struggle. On the retention of this equilibrium depends
the just emission of the voice,and by meansof it alone can true expression
be given to the sound produced.
The relation of art and nature to singing.
Everyart maybe divided into two parts-theNatnraland the Acquired.
Themind conceivesthe idea,and the instrumentrepresentsto othersthe mind's
conception.
A painterconceivesthe subjectof a picture,but it is necessarythat hishand
andeye be educatedby art to enablehim to paint it. This argumentwe will
apply to singing,and in the following pageswe shall endeavorto see what it
owes to natureandwhat to art.
Singing,beingtheartof expressingthevariousemotionsof thesoulby means
of the voice, with the help of words and music, weshall seek to. discover the
meansby which the voice may be so broughtunderthe influence of the will as
to conveyto others the sentimentsandpassionsfelt, andthe ideasconceivedby
the mind of the singer.
In Article I., we haveseenthat the voice is the sound producedby thepas-
sage ofthe air expelledfrom the lungs throughthe larynx; hence, we seethat
the groundworkof singingis the respiration.
To obtain a naturalemissionof the voice, it is necessary-that therespiration
be naturalalso, for which reason,ve mustmakeuse of the abdominal type of
respirationexplainedin theprecedingnote.
The great fathers of the art of singing,Paoohiaroui, Maxchesi,Veluti and
Orescentiniwere all of the opinion that, apart from natural.gifts,a thorough
study of respirationand pronunciationwas necessaryto ensuresuccessin the
21
F. Lamperti- The Art of Singing
art. I have devotedthe whole of this work to the considerationof the art of
respirationand its effect upon the voice.
Pronunciation forms the subjectof anothertreatisewhich I havewritten,
and which is now readyfor thepress.
A celebratedcomposel·,when askedthe natural qualitiesnecessaryfor a
singer,replied," VOC8,voce,epoivocej" butmy longexperienceas amasterhasshown
me the fallacy of this opinion, and I haveseenthat, besidesvoice, it is necessary
for a singerto possessanima, or fire-a quality almostthe exclusivepropertyof
the Latin ｲ ｡ ･ ･ Ｘ Ｍ ｭ Ｏ ｬ ｾ ｩ ｯ ｯ ｬ aptit1lile, correctｪｴｬ､ｧＧｔｦｕＳＱｾｴＬ and memorp, To the con-
siderationof thesequalitiesI would now draw the attentionof my readers,and
endeavor to showthat no amount of natural talent can everabsolve a man
from the necessityof study.
I shouldneveradviseanyonewantingin thefirst naturalqnality-i.e.; voice,
to devotehimself to singing. Educationmay do much toward improving the
t-one,but all attemptsto increasethe body of thevoicewill only havea contrary
effect. Thevoice is thegift of nature,and no mastercaneitherincreaseits size
or changeits characterwithout ruining it altogether.
Hewho is giftedwith annevoiceand the otherartisticqualities,butneglects
the art of respiration,can neversucceedon the stage. Hemay become ashouter,
like thosewhom onesees-unfortunately,but too often in minortheatres-whose
voices, though resonant,give no pleasure,and convey no expressionto the
audience. How often is saidof suchan one,"What a pity that he has never
studied!"
Forthosewantingin musicalaptitude,studycando much; I haveseen, inmy
experienceas amaster,pupilsgifted with but little musicaltalent,yet, by close
application,theyhaveoften succeededin their artistic career.
He who has a fine voice and studiescarefully, but is wanting in musical
feeling, may succeedto a certain extent. By hard work, he may develop a
kind of artificial energyand expression;but wanting in the trne gift of
nature, he can never becomeother than a mediocre artist.
OthersI havehadwho, with great musical ability and perseverance,have
made up for their deficiency of voice, and by force of study have achieved
ceiebrityin their art, appearingalwayswith successat the Scala,the St. Carloat
Naples,and the other leadingtheatresof the world.
On.theotherhandI havehadpupils possessinginthe highestdegreeall the
gifts of nature,with the exceptionof sound judgment,who by neglecting the
carefulstudyof respiration,or in ignoranceof their own capabilities,havenever
succeededevenmoderately,never rising above the level of third-class theatres,
and often compelledby necessityto play thesecondpartsin operas.
22
F. Lamperti- The Art of Singing
Memorywe have placed asthe fifth naturalquality necessaryfor a singer,
andeverymeansshouldbe takento improveandstrengthenthis importantgift;
to thisend the pupil shouldaccustomhimself to sing without his music,
Thuswe seethatto becomea perfectsingerit is necessaryto havethe natural
gifts of voice,anima;'1n.usicalaptittule, soundjztdgment,and 'l1terJwry. Yet these,
by themselves,arenot enough;it is throughstudyalone,especiallyof the respi-
ration, that the full benefitof nature'sbountymay be obtained.
Mastersof thepresentday, insteadof obligingtheir pupils to make a severe
studyof theart of respiration,as arule omit it altogether,andtakethemthrough
the greaterpart of a modernoperaat everylesson,to the certain ruin of their
voices,andoften at the expenseof their bodily health.
How many young singers cometo Milan or Paris with beautiful voices,
musical talent,and everyothernatural gift, who, putting themselvesunderthe
guidanceof a master,for two years studymodern operas;how manyof tllese,
unfortnnat-elyfind, at the time of their (M01.lt upon the stage,that their voices,
insteadof beingfresh andimproved by education,are alreadyworn and trem-
ulous,and that throughthe ignoranceof their masterthey have no longer any
hopeof successin their artistic career,which was finished ere it hadbegun!
Modernmusic is altogetherunfittedfor the cultivationor preservationof the
voice, and to its use wemay in a greatmeasureattribute the dearththereis of
good singers. Totally wantingin agility, andnearlyso in melody,anyone,pro-
vided he hasa strongvoice, is capableof singingit, andso an artist considersit
unnecessaryat the presentday to applyhimself to a long andexpensivecourseof
study,sincehe is ableto gain a livelihood without it. The celebratedmaestro
Verdi is of this opinion; he, speakingof singing,wrote in one of his letters,
"Studythe operasof the old masters,andmoderndeclamation."
Never were the ranksof art socrowded by such a multitudeof sopranos,
tenors,baritones,and basses,asat the presentday. Yet, if you want to form a
goodoperaticcOlnpany,evenby high payment you will find greatdifficulty, al-
most impossibility in doing so, if yon wish to give one of the Rossinianoperas;
it wasvery different thirty or forty years ago. _
Theonlysingerscapableofsustainingthepartsin anoperaby Rossinior one
of the old masters,arethose whosevoiceshave beentrained in the old school,
and who consequentlyare now advancedin years; yet in spiteof this, we see
that the old guard continue to make 8 stand againstthosewho, with fresher
voices and unimpairedphysical powers,strive to wrest from them the proud
position which they still hold as the leading singersof the world.
It is on the composersthat I lay theblamefor this want of good singers,
neglectingas theydo the art of writing for the voice. Each composershould
studythe instrumentfor which he writes.- I do not saythat a composershould
becomea singer.but that he shouidhaveapracticalknowledgeof the capabilities
23
F. Lamperti- The Art of Singing
of the voice, and so be able to write music for this, themost delicate of all
instruments.
In former times the greatGermancomposers cameto Italy to studythe pure
Italian melody, and, asDantesSJTs," Quel cantoche lIJ8ll'al1JiJluf, si eente" Now-a-
days composersgo to Germanyto learn a sort of mathematicaland scientific
music, which, thoughbeautiful8S symphonicmusic, is totally unsuitedto opera.
In conclusion I would again ｵ ｲ ｧ ｾ the pupil to make a careful study of
respiration. As singing is a developmentof speaking,so is abdominal respi
ration a developmentof natural breathing,and cannot be acquired at once,but
only by months of application and practice. Let him always bear in mind
this important truth, "He ioho 1Ut8 tlte beet command overIbis breath. i8 the hest
sinqer"
24
F. Lamperti- The Art of Singing
EXERCISES FOR DA'ILY USE.
Theseexercisesmay be adaptedby transpositionto any classof voice.
All singersshouldmakedaily use of these,or other suchexercises,for the
preservationof the voice, especiallyduring an operaticengagement.
I particularly recommend these exercisesto sopranos.andmezzo-soprano..q
while singingdramaticwork, for if they do not entirely checktheywill, at any
rate,greatlyretardthe deteriorationof the voice, to which dramaticsingersare
80 liable.
To avoid weakeningthe centreof the voice,I shouldrecommendall begin-
ners,in daily practice,not to let the compassof voice exercised.exceedthe range
I have heregiven.
25
F. Lamperti- The Art of Singing
ｎｾｬＮ
A1agio.
Toplacetile voice.
la la
A A
la Ie
la la
A
Ii 10
la
In
AA AA A
fI A. A A. A A. A A A. A A I I I I I ... ... .. .. ..... ..
ｾ - ...;.. I - - ..... I ........ .. - --.,.... -- -- ... .-l -' Ｌ ｾ Ｌ ｾ ｲ ｾ Ｌ ｾ Ｌ ｾ ..... t' ......... lo' --..'" CJ Ｌ ｾ Ｌ ｾ Ｌ ｾ Ｌ ｾ - - Ｎ｟ｾＭＭＮＺ［ｯｰ - • --.eJ f I I t I
la Ia la h\ la la la la 13 la la la Ia la la la la la la la
f1 A. A. " A A A A A. A A
A A A A A
I I I I .I. ... ... ..... ....... - ...;.. - - -.. -. - · .- --- --.l .... -:;..0{ -.r ｾ .-I .-I . Ｌｾ Ｌｾ I Ｌｾ Ｌｾ Ｌｾ ... .- .... PI · ..... .,"v r.J Ｌ ｾ ,.... ,... - ... ｾ ..... - I I --.tJ I I I I I
la Ie Ii 10 In la Ie u 10 In la Ie Ii 10 In la Ie Ii 10 In
f1.. .
ｾ
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1 tJ -({ tt ｾ ｾ :e: ｾ ｾ ｾ ｾ
.&.L..
ｾ r:itｾ
) ---- ｾ ｾｲＭＮＮＮＮＮ ｾｲＮＮＮＮＮ .....--"""-. ｾＧＢ ------ """-, ",.-- ｩ Ｂ Ｇ Ｎ Ｎ Ｎ Ｎ ｾ ｾ ｬｾ .... ... - ... - .. ｾ .. -- .... .riO. ... .. --.-.- ,...,- ..-' -.....-.. ....... - ..... ....--v - -- -.: - -..... -- - ..;.. - - -'
ｾ ｾ ｾ ｾ ｾ ｾ Ｍ ｾ ｾ
AA AA Afl A A- Il. A A It. " ,\ A. A It. A A A. It. - - .- - .-• - Ｍｾ .... -... --. Ｌｾ ,... , ... ,.J • , ... .... .... I ｾ .... .... --... r:... ,... ,... ＬＭｾ Ｌｾ - ..... .... .... .... .... - - I .-,;-...... I • -"'J .. • -eJ I I
la la Ia la la Ia 13 la la la la 181 la la la Ia la la la la
f1 A A A A A A A Ｍｾ Ｍｾ 4 A A A A A ｾ ｾ ｾ ! ｾw .- - ,.. ,.. ,.. r''-' Ｌｾ - - ........ .... --..: ,... ,... ,... Ｌｾ ,... .....; ｾ .... ........ .... - . - • _--..r ... . -" 1I f ---.:1 I
Ia Ie Ii 10 In la Ie Ii 10 In Ia Ie Ii 10 In la Ie Ii 10 In
1\
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, tJ ｾ ｾ • U '-Y ｾ ｾ * ｾ -& ｾ ｾｾ
/- u·
Ｍ ｾ ｾ ｾ ｾ ｾ ｾ Ｂ Ｂ Ｂ Ｍ .......- ｾ
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ｾ ｾｾ ｾ
ｾｾｦＷ
26
F. Lamperti- The Art of Singing
Asthe beauty of scalepassages,etc. depends in agreat measureupon theeorreetintonationof ｴｨｾ various In-
terva.ls, I have marked with the ｳ ｩ ｾ ｮ 0 thosenotes whteh are generallyfound most difficult.
>-0 ::>-0
la la la la
Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ ｾ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ
lit la la la la _
:::::-0:::>.0
---
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o 0
A A A A
.:>() ::>Q ::::..() :::>Q
la lala lit la _
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La la lala la la lala la
ｾ Ｍ Ｍ Ｍ Ｍ ｾ Ｍ Ｍ Ｍ Ｍ Ｍ
Adagio.
OOA
"- - - :::>-- _::=>.- _:::::-- _::=:>-- - :::::-- _::::>-- - - -:::::>: .-... .- - .... - JIIlIf _...._.... _.... _.... _r-_r-_r-_r- _r-_r- _r- _r- r.,J .-ｾ ..... - AI - .-,... II"" L.......L..J.-J -L --L. .... .......L..-L... ..
Iiiiiiiiiiiiiii IIiiiiiiiiiiiii ______ IiiiiiiiiiiIiii
ｾ Ｑ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｉ ｩ ｩ ｟ Ｑ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｩ ｉ ｩ .-
eJ Ia la la la la
1\
-
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....-.... - -"".. r. · ... .........ｾＬＮ - · ... ...- -........ ｾ - · ..- .... -&,0 JIl.
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27
F. Lamperti- TheArt of Singing
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Moderato.
f1 - f""'\ 0 ---- --11 .. I I •.. 6 • • - I -..... .. .... - .... .. .... - ..... .... -.... ...... .... _....'\. ..... - ｾ ｾ • -- -.- ｾ -- -.- - ,.Jt.J 4 • ｾ
la la la la la la la 181 la
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___u _______
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fl Q Q I ｾ .-.-..-t ｾ .-.-..-t I ,.....,
11 -ｾ .... • - .- ... ..- .... - - - - .-..... .-I - - - ..... .... .....-......-. -' •. ｾ Ｎ Ｍ .-! - -- 1'1 • - ,... ....ｾ - - - - - - - •tJ I I
In la la Itt la la la Ia la Ia
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la Ia la la la
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28
F. Lamperti- The Art of Singing
Moderato.
la
I
• Ia Ia Ia la _
1\ I I ----:----.-- t -.------......... ＭｾYJ ｾ ........ I ｉｾ ...... .... -......, --. ...... ｾ ----. 11I- .-I .
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1\
la la Ia la
Ｎ ｾ ... fa Ia la ta 1t,\.J!..- la lala la
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*------------*''---------
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F. Lamperti- The Art of Singing
Adagio.
la la_
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la lar la
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pp
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I I • ｾ - I • 4
la la lala la la Ｌ ｲ ｦ ｩ ｾ
.. I • ""'- -,
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pp
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30
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t:\ 0 '=' t:\ t:\
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F. Lamperti- The Art of Singing
a lelll-po.-------
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la lalala lalalala
32
F. Lamperti- The Art of Singing
:
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
Moderato
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F. Lamperti- The Art of Singing
Moderato.
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F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
Moderato.
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" ＭｾＭＮｬＮＦＮｾｾｾ｟ ｾＮＬＬＮＮＪ .. ｾＭｬｬ f. I ｾｾ .... .l1li-_"_ __ .. l! _-III' -__-,. T ｾ ｾ -..ｾ ＭＭＭＭｾＭ ..- ｾ ..... ｾＮｉＧｔＢ｟ｉ ...._ . --..... -- ｾ - TJ .. -.; _ Ｚｾ ｾ IIIT ＭＭＭＭＭｉｾ - . ..
(iJ - ---- - or 1 - -·,*tJ-
"". ...
ｾ
--..: ---.
ｾ -.
ｾ ｦ Ｗ - - .... - - --. :. - -leJ -- - - - - - -- - - ｾ
} .. .. .. .. .. .. • .. ..I ｾＮ .III - - - - --.. -:. - - "--.. ---ｾ ｾ ｾ - - - - .. ｾＭ - Ｌｾ ｾｾ1 1 I I I I 1 "I r I
42
F. Lamperti- The Art of Singing
SOLFEGGI.
As it is impossibleto Iay down a code of abs.olnteand infallible rules suited to
all '·OiCf'S, that being reservedfor mechanicalinstruments,which have a ｾｩｙ･ｮ and
unchanaeableregister,so it is impossibleto wr it e solfejnri adaptedto all voices,
without regard f () characteror range.
III spite of this axiom, I have yet Ｑ ｨ ｾ ｮ ｬ ｾ Ａ ｊ ｬ ｴ fit to close this ｭ ｾ ｽ Ｂ treatise on the
art of singingwith fOUT solfejrgi, which art' not progressive,but wr itt en to ｾ ｩ ｶ ･
the pnpil an idva of the modernstyIe, leaving to the j udgrnent of the master the
option of either choosing'from them that one which lie nla.y considermost adapted
to the vo ice and capabili tes of his pupil, or else of keepin#?:to thosesolfegg'I.whioh
so ｬｬｬ｡ｮｾＢ filDIOUS mastershave alreadywritten.
1 do not considerit snperf'luoushere to remind the masterthat he should never
e-ither in solfeｧ ﾷ ｾ ｲ ｩ or exercises,allow his pupil to sing" on either the two lowest
notr-s of his vo ice; but confine him to exercising" Ｑ Ｑ ｈ Ｎ ｾ middle notes,so as to render
the voice even and ajrreeablethroughoutits full extension.
In casethe pnpil finds a diff'icul ty in syll ibating on certainnotes, he should
return 10 emitting fhem on a simple vowel , and continueonly syllibation on those
notes which he finds easy, The mastershould be Ｌ Ｂ ･ ｲ ｾ ｲ careful to allow the pupil
to sirur only Ｑ Ｑ Ｑ Ｐ ｓ ｾ solfeggi which are of snell a medium ｲ ｡ ｮ ｬ Ａ ｾ Ｌ as to enable the
pupil to articulate the notes with clearness.
In concluaion,1 would advise the pupil to inspire his so1ｦｴｾｧｧｩ with somesenti-
ment, 10,"e, pra.yer, irony, etc.,and to realise also the draniatic s'ituation.Lethim
make an analysisof the feeling of some piece of poetry,and emb0 d)" the ex -
pressionof it in his solfeggio; by this means he wi l l cultivatea ｾｲ｡｣･ｦＱｬＱ method
of ｳ ｩ ｮ ｾ ｩ ｮ ｬ Ａ Ｚ Ｇ Ｌ ｡ ｮ ､ rendereach song an artistic composition.
Let him rememberthat feeling in sin{!;'inJ!: must be subordinateto art, for untutored
feeling; chokes the ｙ ｯ ｩ ･ ｾ ［ let him neverabandonhimself to his feelings, but instead..
stri,""e always to sing with a warm heart,yet a cool head.
If }""OUDJ!: masters.andthosewho havenothad muchexperiencein teaching,will have
the patience to read attentively the rules,hints and sUg'fl:estions, containedin this
treatise, they may continue the studiesof their pupils without fear of spoiling
their voices, I would now again for the last time warn them to avoid teaching
modern dramatic operas,so destructiveto voices in fl:en r-ral, and to female voices
in particular; but in their stead,urge them to teach the operas of Bellini and
Donizetti.. and in pref'erenceto all, those of Rossini.
The only exception I can make is in favourof baritones,a registerof vo ice
so to say,created by G'io rg'io Ronconi, by the combinationof the tenor, serio and
basso- cantante.
'I'hesemay study modern operas,as music was not w r'i'tten for the-ir voices in
the Rossinianrepertoire. Some rare exceptionsmay be made in favor of tenors
and basses,but the old repertoire will alway be found more fruitful of good
results,and less dangerous.
To prevent the ruin of voices was the object which I had in view in wr'it -
inl?: this treatise,if I succeedI shall deem myself very fortunate in havingbeen
the means,whereby advantagehas accrued to an art, the cultivation of which bas
beenthe occupationof DIy life.
43
F. Lamperti- The Art of Singing
ppAndante
ft
.
ｾ - -- -11 .. .... ｾ Iｾ l... .... - - ..r... I' ... I .... ｾ...... r -4!J I ｾ
portando III 'Coer.
pp ==f1 .- -11 "a .... ,.... ｾ r- .-:'
ｾ l.o.. Ii.J - .. ., ......... t ..... ... &I -,1/ ｾ --- -ｾ -
*) Do Fa ｾｉｩ So - I La
"
Andante.,.: ｾ .a....... .., .. ., .. - -r ... " .. .. - - - - ｾ - --r .. - - - - - .-I - ...
ｾｵ
.. • .... .. ... ... ｾ -I ...pp
" t\ ｾ ｾ(..... .. ... ｾ,. Ai.. - ... • - ., • ., .1' .--' I... .... ... Ill. I
. -r ...
• • - ..
N«? t.
Si La Si ｾｉｩ Re Do La La Do Si La La 80-1 He Si
...-.=:::::::=-
44
F. Lamperti- The Art of Singing
p
pp
=
PJ}
11 ........-...... ::::::.....--........ :::::...---....L .- -----..... ----- I I I I!I ｾ ｾ _.- ........ - .- .- <, .-ｾ l... , ., IaI - .- ｾ r-t .. 1__ .,...1:1_ ｾ -., -....r .... ,;- Ito. - .- I... ,... - -ｾ ...... - JtJ ｾ ｾ r ｾ
Tempo I.
"
:::::>.-----. 1-
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::::.. ＭＡＭｾＡ pp dint. l
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-=======-=:----------....
45
F. Lamperti- The Art of Singing
Andante mosso.
N«?2
1\ I ｾ -. .-.........- --11 , --- - -......,., L.. ,.-r-.. v A ｲｾ .....- -,»- L-...J
ｾ -......--
tJ
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Ii ::;::... :>- ::::::.... >-
JI!!!!II!!!!!I ｾ (IIIlIIIII• !6 .. ....
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\ IL .. .. .. .... .. L1 -lb. . .... 11 -\,. .. . .. _IL .... .. .. .. J.:t.. '. .. ..
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\ --v ., ｾ . ---., • -. ... • , - WI , , ., ｾ •
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ｾ f- ｾ / f- ｾ [J I -f'. f>. I- 7 ｾ -f-.
ｾ
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ra//.
46
F. Lamperti- The Art of Singing
JAJ -J I - ... >- ｾ n -.w --- ｾ Iｾ .... Ｎｾ ｾ ;T!." _ ｾ ... - ..... v ｾ ...... ｾ -- - - ｾ ... - ",. I'" .- ｾtJ ::::>- .. ---- r I ｾa tempo.
ｦｦＮＮｾ ｾ -ｾ -== ｾ-- I L ｾｾ - - ..... ｕｾ ｾ - ｾ """-... ..... .., ., .... .... ... ...._._....-...... ., -- I _ - ___ I .r- _'-: ,.; - - - . --.. . ., - .... - -.a, tJ - - - ; ..ｾ • • -. ;.. ... , - '-I ;.. • - • ｾＭ< J ｾｾｾｾｾ/ ｾＺ Ｍｾ - - ｾ ｾＮ iii'- - - - - ｾ- .-.-.- Ｎｾ - - --- -- .- - ｾ _1 ............ .... Ｍｾ- .. - .. - .... ....I- - .-r n_v .... - .... .... .. ., .... - _... ｲｾｾ / f' V / r' I t- ｾ r r , ｾ , ｾ / ｬｾ ,
Piu mosso.
Pin .mosso.
dolce.
II tempo.
r
SIp/it.
ｾ
ｾ ｾ ｾ ｾ ｉ ｯ Ｍ Ｍ Ｍ Ｍ Ｍ ｉ Ｍ Ｍ Ｍ Ｍ Ｎ ｉ Ｍ ｾ ｾ
ｾ ｾ ｾ ｾ ｾ ｾ ｾ ｾ
47
F. Lamperti- The Art of Singing
_ "loa. ..... _ .... _ --
::>- -
I'-ii -
I
.......
IIIV
....... ｟ Ｎ ｾ -_ ...... -...---J
L... ... L..... ｾＮＮ ＮＮＮｌｾＮ ｾｾ ...
---- =- --=-- -
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.,
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., "10 Ｂｾ
I PI'_-, - - --
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1\ A.- ...--..... ｉｾ ＺＺＮＭＮＮＮｾ ｾＭｾ - - I ::> -ｾ "...- ..... .- "- . ,..:,- Ｌ Ｂ Ｂ Ｇ ｾ ..... ｾｲｊｉ｟ .... ..... ..... ｟Ｎｾ "" • ...... I " ｾ .... I'll ........ ........._- .. ........_.... ..... - _111.-....- "" -w_ V" .... u __ .. .... y ... .- - ., .':' .. ..... .. ' I
ｾ ｾ ::> ............ ---- - I ｾ ::::. I4/frett. ｡ ｬ ｬ ｡ ｲ ｋ ｴ ｬ ｬ Ｏ Ｇ ､ ｯ ｾ TelilpoT 'rallentando.
I
1\ A . . >- ::> ::> ::> ::::>- ::>- ::::>- ::::>- :::> :> . . .
(
ｾ
ｾ ... ""\ " " ｾ r"'lI. I""ll. 1'IIt.... .., 1"Ilo....... i'" ....... '- - -... /1'-" ｾ ｲ Ｍ Ｎ Ｎ Ｎ Ｎ A- -... , II,ｾｖＧ ;0-- - - L.o£ ',- - . -. - · .'. . . . '. . - . , . .I'ｾ V • • • .,.... ｾ ... .. ... ... ｾ［Ｏ • • • j.,- • • • .. ... .. I" .. ...t"- r-.....
I
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....... ..._.... ｾ｟ .... -..- / - .... ｾ _.... ｾ -- "".... ,,-----...... - ｾＭ - 1- ••1- 1 ..... Ｌ ｾ Ｎ Ｎ Ｎ Ｎ Ｎ .... _ .... .._
ｾ __ ｾ raO. IJiiI JjiJ III - a tempo.
.,
I
... I ... I - . ｾ
'UI' r 'Uj"
Illarcato.
.,
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col COlltO. •
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48
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F. Lamperti- The Art of Singing
Animato.
---.... , I I ｾ ...tJ ｾ I - ,.. r- ｾr- -ｾ ｾ -"- .-.. I""'" ｾ ｾ ... ｾ r- _ 1.- -ｾ Ｍｾ ｾ I""'" ｾ .... ｾ...,... _ __A- I.. ..ｾｶ "":'-'- -ｾ :::>-
>:::>-
Animato. :> >---... ｾ ＭｾII J.I. ｾ "-='
ｾ :iiiI!!::iiiiiI
ｾ ｲ Ｍ
ｾ CiiIII .,
ｾ
ｾﾣ
- ｾ --'k .. ... --.. .1 ......, r-- - _;0_ - - 1.. - - - ., -- ｾ 1- __ • .- - '::Ii 11' IJ Iff -- ｾＭ 1- • - - I- .--- - .- "'- .'. '.. • - - -ｾ "..r-. I.,. -. tr- ｾ Ｎ .-.• • •1. • •
Il,f
ｾ ,.• • • • LL .... ... · •• ,..... ..1.1 -- .... .. Il -:. • • . . L• - .- - - --"""",- - - -- ...!!I.- - .....( .c... _ ｾ - - - ｾ - - - .-- •• I' - ----- - \. - '\. - - .., r ｾ ...../ LI. ｾ r- . ., .. .L., iF , ., r W .., ..
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-
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col ca'Ito.
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ｾ
,t r I r I r,
ｾＢＧｉＧＮｉＭ ........
L1 .b.L '- Ia '-
...-, /- .JlL- ....
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pp ----
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,...
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tJ,y. ｾ ::=- - - -- .....I -- ｾ ...... .lit...... _. ... - - .....ｾ ., \,. r-
..III
ｾ • ., ...-
ｾ ...... ｾ .A ..LL " ｾ ｾ" l/ - tilｾ • --" -===:::::-:: --
ｾｾ［ -.1 I ::ｉ｜ｾ ""1':\ .... .. .\.10. -.- r-;c .., ..I. JIL.ｾ ;-n .... .. ｾ ... L_ -
...-l - L .. -r-; ., -., -- -- - .J• ｾ _J! ｾ -- " ... ..Jl\. r'.• . -.., - in_ r. • -c. • --. ｾ＾ f,ｾ r" -ii Ill.f ... fpp roll. - ｾＡＭl - -;r -!".rl ....-r"... • r""--I Ia. ..l....... ... - I!IIIL ., .... .L( ..c-.. _ III ..... Ｍ ｾ _.... .. .r . .#. - .. .. r-t -- ..ｾ ... _IIJJil ., - __ ... .. ,. J -- - ..I ..."7 n ':::IIiIo _ ,.. - -- r- ｾ ｾ ｾT1 ｾ _____ - !.-/ I ｾｲ I I ｾｲ r r\ "'- Ｇｾｉｾ::::>
49
F. Lamperti- The Art of Singing
--- --. ..... ---
I _ ..ｾ
.J""" ......... J
ｾ ..
L ,..
ｾ -- -... ---"""" 1- - - ｾA..- - ｾ ... ..I...... ｾ -. -. -..lL. r" ,. ｾ ,....III' I
1""'".--.. r-_
;; ;
1-ｾ -- ｾＮｾ -......- -- I Idolce.
- -... ...r:::= ｾ
ｾ Andante.
Ii Andante.
Ｎ ｾ ..
Ｍｾ
l - - - . --ｾＮr-•••• .. ＮｾIZ . . ...
ｾ
f' f "
1 ｾ
A
ｾ Ｎｾ ｾ .-.ｾ .. ........
.1 -I
ｾ -- ｾ - - ,.. ｲＭＬＮＮｾ - I""'" 1_ ., . ..
4-J
r-
I"':. .... ｾ ｉ Ｍ ....
r- - ..... ｾJI · .-ｾ ..... - - · ..... J
ｾ
-LA - ..... ｾ -- ====-=
.\.: J ｔｌｾ .JIIL-
-
:=:::==.eJ ＢｾＭＭＭＭＭＭ -:
:::::::=-
t:'\.---.......- ｾ - -:- ... .Jr.. ......fj ｾ ----, ... ｾ w ..ｾ- ... .. - .-I .JI!i.- ....JL ., ., ... - .... -- - -• .JIIt. ... .. .- ---
ｲ｡ｴｾ --
ｾｲｲａＺ - ..... ..... ..... ...a ..JIIi • • • • • •ｾ - - - ｾＬＬＬＬ Ｎｾ ｾ｣ｾｾ Ｇｾ ..jj - -, tJ .. ｾ ....
pp :t:tt t:\ｴ ｾ ﾷ
I I .. .. - jIIII" "".1""""" .. ,... - -: - -- - - - ., tI':.- .- -- - - ｾ - .... ｾ
ｾ . J!..
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50
F. Lamperti- The Art of Singing
-
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f/n!rp.-------...
seCOlldaRdo.
51
F. Lamperti- The Art of Singing
----====: .r pjJ. · · · ·
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52
F. Lamperti- The Art of Singing
1....-1
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I ..
p
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ppff
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__ ::::::.r • :::....:::::.... _ :::....
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I
v
ｾ t =:: = "'T:: .''''q•• : .., Ｍｉｾｾ 'T'- __
;J :; m-· ·.l····i··1_· .. .. .... L jj rail. -,;Ｇ ｾ ｩ Ｚ ｬ ｾ :1:- ｌｾ ｾ .... Ｎ ［ Ｎ ｾ .. ｾ ;. ..
.. -- aft ••••. :_:"': -.-.-.-. ::::I::: _ _- - - :: - - - _ - - ｾ _ • • - ..,. - II'
Andante comodo.
53
F. Lamperti- The Art of Singing
--
--........11 --- -1 f. ｾ /' - .... ｾ -.. I'. I""- - ｾ -- - .... ... _A# ".... ./..- ｾ ... -- r ... I ..1r .... ,r - ｾ .... - -'- - 'J Iｾ LJ <, - - ..... -ＭｾＭ .. ｾt..' ::::::.------- - -ＺＺＺＮＮＮｾ
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｛ｊｾｾｴ l:!- !-ｾ I ｾｾｾ h • • ｾｾ . -- ｾ 1 _111- ｾ __ v--. .... -- . ' ... ｾＭＭ ... ./ ,... ...- .....f ..... · -- .. --. ....· _. _.. .......... ....-_- ｾＭ ｾ". !, •• .:JII .... _.\,..,. h. .... -V II · _. ｾＮｾ ....... I ｲＺＮＭｾ r ｣ＮＮＭｾ... ,-
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54
F. Lamperti- The Art of Singing
p
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ｾ
ｾＺＺＭＭＺＺ＾ ｾ ｉＡＡＡＡＡＡｾＡＡＡＡＡＡＡ ::::::.
::::- ｾＺＺ＾Ｍ＾ＭＮＺＺＺＺＮＮＮ＾ＺＺ＾Ｍ
" I I!!!!!!!I!!!!!I!!!!I!!!!!!!! • .....1_1 _Aa.- " ｉｉｉｾ ..- - ｾ ｟Ｎｾ ,...
ｾ
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.,
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55
F. Lamperti- The Art of Singing
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F. Lamperti- The Art of Singing
dtill. e 1YIII.
('ol canto-
57
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-===== =====-
	On the Decadence of the Art of Singing
	I. The Voice
	II. The Various Registers of the Voice
	III. The Position of the Body, Mouth, and Vocal Organ
	IV. Of Respiration
	V. Of the Qualities of the Voice
	VI. Of the Emission of the Voice
	VII. The Appoggio of the Voice
	VIII. Of Vocalization and Agility
	IX. On Portamento and Legatura
	X. General Rules for Study
	XI. On Pronunciation
	XII. The Application of the Rule for the Appoggio of the Voice
	XIII. On the Attack of the Notes
	The Relation of Art and Nature to Singing
	Exercises for Daily Use
	No. 1
	No. 2
	No. 3
	No. 4
	No. 5
	No. 6
	No. 7
	No. 8
	No. 9
	No. 10
	No. 11
	No. 12
	No. 13
	No. 14
	No. 15
	No.16
	No. 17
	Solfeggi
	No. 1
	No. 2
	No. 3
	No. 4