Vocalise For Choir

Vocalises for choir: A collection of vocal exercises with a study of their value and of principles for their effective use.

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Nesheim, Paul Jonathan.

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Vocalises for choir: A collection of vocal exercises with a study of their value and of principles for their effective use Nesheim, Paul Jonathan, A.Mus.D. The University of Arizona, 1991

Copyright ©1991 by Nesheim, Paul .Jonathan. All rights reserved.

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VOCALISES FOR CHOIR: A COLLECTION OF VOCAL EXERCISES WITH A STUDY OF THEIR VALUE AND OF PRINCIPLES FOR THEIR EFFECTIVE USE

by Paul Jonathan Nesheim

Copyright© Paul Jonathan Nesheim 1991

A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS With a Major in CONDUCTING

In the Graduate College THE UNIVERSITY OF ARIZONA

1991

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THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by entitled

Paul Jonathan Nesheim

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Vocalises for Choir:

A Collection of Vocal Exercises with

a Study of Their Value and of Principles for Their Effective Use

and recommend that it be accepted as fulfilling the requirements for the Degree of

Doctor of Musical Arts

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Date

{( 1'1

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Date Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

Director

Date

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STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

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Table of Contents Abstract .............................................................................................................................5 Introduction ....................................................................................................................... 7 The Value of Vocalises for Use in the Choral Rehearsal.. ....................................................... 1 0 Principles of Effective Choral Vocalization .....................................................:...................... 1 7 Appendix A Vocalises ...............................................................................................................57 Appendix B A Selected List of Vocalise Collections for Choir ....................................................... 174 Selected Bibliography ......................................................................................................... 175

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Abstract

For an untold number of years thf) vocalise has had an integral place in many of the methods used for the training and development of singers. Commonly referred to and used as ''warm-ups'' in the choral rehearsal, vocalises are considered by many conductors to have a usefulness that surpasses that of simply preparing voices for the singing which is immediately at hand. It remains a tendency in many cases, however, for vocalises to be used in an indiscriminate fashion without a clear understanding of the purposes of the vocalises used and/or using a method of presentation of vocal exercises that can diminish their usefulness or perhaps even have detrimental effects on the singers. A common additional plight facing many choral conductors seems to be the lack of availability of practical, printed resourses for choral vocalization. Conductors can feel forced to rely only on exercises passed on to them by colleagues or by their own teachers. Either because of this lack of understanding of purpose or because of a lack of knowledge of vocalise repertoire, or both, a conductor might choose to limit or avoid entirely the use of vocal exercises in the choral rehearsal, depriving the conductor and the singers of what is perhaps one of the best tools for vocal development and conditioning. This study attempts to contribute toward the alleviation of the problems mentioned above. The study provides an extended collection of vocalises arranged with optional piano accompaniments by the author for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources. In addition, through a review of the writings of noted authorities in the field of voice education, the study discusses the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Included in this discussion is a determination, based on these writings, of certain principles for the

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effective use of vocalises in the choral rehearsal. Rnally, this study provides a selected list of known, available resource material that specifically contains vocalises for choir.

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Introduction

Need for the Study_ Upon examination of published books and articles by noted choral conductors and studio voice teachers, it is apparent that many, if not a majority of vocal music educators place a high value on the use of vocalises as an integral component of their instruction. In addition to the function that vocalises have as a means of warming up the voice for the rehearsal or performance of repertoire, teachers also place great worth on the role that vocal exercises can play in the physical conditioning of the voice, in the establishment and development of the fundamental concepts of singing, and in the mastery of the most advanced vocal techniques. To this point in time, howevei, it would seem that resources for choral vocaiization are not abundantly available, and that those resources which do exist vary in terms of their degree of practical value. Articles on vocalization for choirs often present only a few, if any, actual exercises. Much 01 the material that is available for use in the private voice studio is in the form of extended vocal etudes and therefore does not often suit the purposes of the choral conductor. Choral conductors may also be unaware of those materials of this type which are more adaptable to the choral situation.

Purpose of the Study. The purpose of this study was threefold. It was first of all intended to contribute toward an answer to the need for vocalise repertoire by providing an extended collection of vocalises arranged with optional piano accompaniments for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources.

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Secondly it was the intent of this study to survey the writings of noted vOice teachers and choral conductors on the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Finally, it was also the intent of this study to provide a selected listing of known, available resource material that specifically contains vocalises for "hoir.

Limitations. The study was limited primarily to a discussion of vocalises alone and their function as a means for the development of basic vocal technique,

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a means of warm-up, and

as a means to prepare for the perlormance of literature. The study therefore does not deal in any detailed fashion with other specific issues related to the voice such as the changing voice or the physiology of the voice. Other important elements which often make up portions of choral warmup activities and which should be considered of no less value are also not addressed in detail in this discussion. These include physical stretching and limbering exercises, posture, sightsinging, ear training, and rhythmic training. Because of the limitations of available fonts to depict some of the symbols of the International Phonetic Alphabet, vowels and consonants are referred to throughout this document in the following manner and can be understood to have the following pronounciations (indicated by English language words):

oJ.

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"ee" as in "beet"

"p" as in "pay"

"sh" as in "sure"

"i" as in "bit"

"v" as in "vine"

"g" as in "goal"

"ay" as in "pay"

'" as in "fine"

"k" as in "coal"

"eh" as in "pet"

"th" (voiceless) as in "thigh"

"m" as in "sum"

"ah" as in "calm"

·"th" (voiced) as in "thy"

"n"as in "sun"

"oh" as in "tone"

"d" as in "dye"

"ng" as in "sung"

"t" as in "tie"

"I" as in "led"

"u" as in "cut"

"5" as in

''w'' as in "witch"

"h" as in "hay"

"z" as in "zear'

"00"

as in "boot"

"b" as in "bay"

"seal"

"y" as in "you"

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The Value of Vocalises for Use In the Choral Rehearsal

Based on the recommendations of noted authorities, the vocalises contained in this study are intended to serve choral conductors and singers in three p~mary ways: 1) as a means of conditioning and training the voice in the basic skills of vocal technique, 2) as a means of warming up the voice for daily use, and 3) as a means of preparation for the performance of literature.

\localises as a Means of Conditioning and Tra 1ning the voice in the Basic Skills of Vocal Technique. The use of vocalises dates from the early 19th century when collections of vocalises with piano accompaniment began to be performed and publishecl-one of the first being Domenico Corri's The Singer's Preceptor of 1810. 1 With the advent of these publications also began a controversy that has continued until the present day concerning the value of vocalises for the singer. The predominant school of thought for the past two centuries has maintained that vocalises are not only useful but essential for the development of singing technique. The most extreme opinion in favor of this view-one held by many 19th and early 20th century singers and teachers-is that a student should not even attempt to sing literature until his or her technique has achieved a certain level of mastery. The great tenor, Giovanni Martinelli believed that "during the first year, the practicing must be limited solely to intensive vocalizing.,,2 J. J. Freeman calls the desire to sing songs "the biggest mistake of the young singer:,3 The point is argued in dramatic fashion by Pasqual Mario Marafioti in his book of 1922, where he states, "When I told the

1Owen Jander, "Vocalise," New Grove Dictionary of Music and Musicians, 1980. 2Giovanni Martinelli, "Advice from the Golden Age," An interview by Aida Favia-Artsay, Etude January 72 (1954): 57. 3J. J. Freeman, "Formulas for Fame," Opera News 14 (October, 1949): 10.

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maestro I wanted to learn a song he smiled and said, 'Your father is a surgeon. Ask him if, after a few days of study, he thought he could learn to perform an operation:,04 An opposing viewpoint which is frequently referred to as the "song approach" and which has gained much more prevalence in recent decades is ihat vocal technique can be developed most effectively and perhaps in the most aesthetically satisfying mannel' primarily through the study of repertoire. Proponents of this viewpoint tend to feel that the exclusion of repertoire for the beginning singer in favor of vocalises alone can have detrimental motivational effects on the sludent due to an absence of the aesthetic rewards which they feel are inherent in the singing of songs at any stage of development. Many of these same teachers also express the belief that technical problems are best dealt with as they arise in the singing of a song. In defence of these ideas James Mursell and Mabelle Glenn, in a report on their psychological study of music teaching, state, "Drill [by rote] has an extremely minor place in voice building .... We should develop the voice in and through actual song material. ... [This] is the best and most central means of voice building:05 John Patton and Mabel Rauch make the point simply: "The right kind of music will educate the voice."S Despite the influence of the song approach on the field of vocal training, proponents of systematic vocalization for the development of vocal technique still abound to the present day. Vocalises have seemingly stood the test of time and their value remains widely recognized by studio voice teachers, choral conductors and singers. Evidence exists that even today, some voice teachers and authors still continue to consider the use of vocalises a prerequisite to the

4p. Mario Marafioti, Caruso's Method of Voice Production: The Scientific Culture of the Voice (New York: Appleton, 1922) 251. 5Mabelle Glenn and James L. Mursell, The Psychology of School Music Teaching (New York: Silver Burdett, 1938) 294. SJohn A Patton and Mabel T. Rauch, "Returning to Vocal Fundamentals" Etude 60 (1e42): 154.

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study of song literature. Richard Harpster, in his 1984 publication Technique in Singing warns against "the sly temptation of tasting the sweets of the singing art before digesting the staples of the singing technique."7 Apparently because of the effects of the song approach, however, this type of sole reliance on vocalises for the beginning singer seems to be much less common than it once was. The viewpoint that now appears to be the most widely accepted by both studio voice teachers and choral conductors is essentially in agreement with the opinion expressed by Van Christy who recognizes the need for the use of vocalises but relegates their position to one of supplementary rather than primary importance.8 Regardless of the degree to which vocalises are employed in their methods of instruction, it seems that most if not all authorities on voice training who favor the use of vocalises consider them 10 have developmental benefits for nearly every aspect of singing technique in ways with which the song approach alone is not fully capable of dealing. Richard Miller explains, "The vocalise is useful technically because it limits the area of skill to be acquired. It concentrates more narrowly upon specifics. ~ These skills generally fall under broad headings similar to the following: 1) The use of breath and its connection to the free production of tone 2) Resonance development and vowel formation 3) Articulation and flexibility

7 Richard W. Harpster, preface, Technique in Singing::A Program for Singers and Teachers, by Harpster (New York: Schirmer, 1984) v. 8Van A Christy, Expressive Singing, 2 vols. (Dubuque: Brown, 1961) 2: 6. 9Richard Miller, UCreative Practicing," NATS Journal4S.3 (1989): 29. From a regular column entitled ·Sotto Voce."

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Vocalises are seen, then, as the best way to isolate these elements in order to deal with them individually, evaluate the progress being made in each area, and to then synthesize them into an expressive whole. Some authors choose to view this process as the formation of positive habits. Vocalization is seen as a way of practicing certain muscular techniques as conscious actions in order that they might eventually be performed in an unconscious manner. 10 While referring to this concept as 'he paradox of all artistic training," Victor Relds compares it to other technical endeavors which, at their initial stages of development, also require conscious control of their component actions, such as walking, typing, dancing, and flying an airplane. Fields states, " ... before you can free yourself you must first learn to contro/yourself. In other words, self-control brings freedom of action only when correct habits have been formed."11 Father William Finn voices unequivocally the commonly-held opinion that vocalization is the means to this end of positive habit formation: "The mind controls the muscles of the larynx, habit directs the mind, and vocalization infixes the habit."12 While many voice teachers will concede that positive habits can also be formed through the singing of vocal and choral repertoire, Miller argues that even professional Singers who perform often will usually not encounter in their literature a complete range of technical skills. A systematic approach to vocalization, however, can insure that a Singer is consistently confronted with a wide scope of technical demands, giving the singer the broadest opportunity for

1000uglas Stanley, The Science of Voice, Third edition (New York: Carl Fischer, 1939) 310. 11 Victor Alexander Fields, Foundations of the Singer's Art (New York: Vantage, 1977)

16. 12William J. Finn, The Art of the Choral Conductor (Boston: Birchard, 1939) 248.

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growth. 13 As a result of this hOlistic potential and because of their nature as tools for drill and repetition. vocalises can be viewed in the manner to which Jack Boyd refers when he speaks of them as "musical push-ups."14 Indeed. vocalises are often considered to be invaluable for the physical conditioning of the vocal instrument. Both Leon Thurman and John Guthmiller compare the vocalizing of a singer to the physical training dClne by athletes in preparation for the playing of their sport. Guthmiller asserts that. just as athletes condition their bodies to be prepared for any possible occurrence. so too

a Singer should. through vocalization. strive to achieve the level of

conditioning that will make him or her ready for any technical demand. 15 Thurman offers a glimpse into the physiological activities of the body when it is involved in athletic training such as calisthenics or weight lifting: The exercises and drills ... establish the coordinated firing of nerve fibers which originate in the central nervous system and are inserted in the muscular system. The firing is "guided and corrected" by feedback from various specialized sensory nerve receptors. To perform with refined skill. only the necessary motor nerve fibers must fire. and they must fire in a very precise sequence in microseconds of time. 16

13Richard Miller. preface. The Structure of Singing: System and Art in Vocal Technique, by Miller (New York: Schirmer, 1986) xxii. 14Jack Boyd, Rehearsal Guide for the Choral Director (West Nyack, NY: Parker, 1970) 104. 15John Harold Guthmiller. "The Goals of Vocalization: Developing Healthy Voices and the Potential for Expressive Singing," Choral Journal 26.7 (1986): 13. 16Leon Thurman. "Spring Training for Singers," Choristers Guild Letters 33 (1982): 14142.

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Thurman goes on to say that through vocalization, these same kinds of coordinated reactions are developed in the singer, though the task is made somewhat more challenging.due to the hidden nature of the larynx which limits the amount of sensory feedback the singer receives.

YQCalises as a Means of Warming Up the Voice for Daily Use. Vocalises used in a choral setting are often referred to as "warm-ups," a name which suggests another of their important benefits. Indeed, the value of vocalises as a means to ready the voice for the daily singing of repertoire has long been acknowledged. Referred to by Christy as a kind of "oil" on the vocal "machine;y",17 vocalises are promoted by many authorities on vocal production as an essential means of vitalizing the body as a whole and of invigorating the muscles directly involved in the singing act. 18 Proponents of warm-up claim that this muscular awakening benefits Singers in terms of stamina, tone quality,19 intensity, facility, pitch accuracy, expressive potential, preservation of vocal health, and a reduction of the possibility for incorrect use of the voice. 20 Again, the activities of athletes are compared by authorities such as Thurman, Miller and Larra Browning Henderson to the activities of singers in relation to the concept of warm-up. Just as athletes perform physical exercises which serve to "prime their bodies for the degree of strenuous effort expected in a game," vocal warm-up exercises have the same kind of priming effect on singers and their bodies. 21 Both Miiler22 and Robert Sataloff23 consider warm-up-

17Christy 13. 18Larra Browning Henderson, How to Trein Singers (West Nyack, NY: Parker, 1979) 169-70. 19Henderson 170. 20Thu rman 141. 21Thurman 141.

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not only before singing but before any kind of vocal activity-essential in promoting and maintaining vocal health.

Satal~ff,

an otolaryngologist as well as a singer, claims that the addition

of warm-up to the morning activities of his patients who are singers and teachers has at times been sufficient to rid them of the problems of hoarseness and vocal fatigue and to prolong their careers.

Vocalises as a Means of Preparation for the Performance of Literature. A third purpose of vocalises as seen by many voice teachers and choral conductors is to prepare singers for the performance of selected literature. This concept may be applied in various ways. First of all, vocalises which are sung in the same general style as a work to be performed can help to prepare singers both mentally and physically for the expressive requirements of the music. 24 Secondly, when a work contains particular technical challenges, vocalises may be used which focus on those demands prior to or in conjunction with technical work done in the context of the piece. 25 Furthermore, vocalises may be developed which incorporate specific rhythmiC, melodic or harmonic elements from the music. This method can be seen as a way of economizing valuable rehearsal time by providing an opportunity for singers to work particular passages "into the voice" while developing technique and warming up at the same time. 26

22Richard Miller, ·Warming Up the Voice," From a regular column entitled "Sotto Voce," NATS Journal 46.5 (1990): 23.

23Robert T Sataloff, "Ten Good Ways to Abuse Your Voice: A Singer's Guide to a Short Career," NATS Journal 42.1 (1985): 24. 24Finn 241. 25Lynn A. Corbin, ·Practical Applications of Vocai Pedagogy for Choral Ensembles," Choral Journal 26.8 (1986): 8.

26Sarbara Abramoff Levy, "Teaching Vocal Technique From the Musical Score," Choral Journa/20.1 (1979): 16-19.

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Principles of Effective Choral Vocalization

Isolation and Synthesis of SpeCific Elements of \focal Technique. AuthOrities almost universally recognize the importance of breathing technique as a fundamental element of healthy and expressive singing. The establishment of a secure diaphragmatic and intercostal breathing capability is frequently viewed as the foundation upon which all other aspects of vocal development are built, and therefore it is often the first element of vocal technique to be isolated for study. Non-phonating breathing exercises are widely recommended and employed, and while this study focuses primarily on vocalises involving phonation, an overview of some of the non-phonating exercises seems warranted since they are considered by many to be extremely beneficial in developing certain skills which are vital to healthy singing. While a detailed description is not included in this study, the importance of good posture for breathing is assumed to be an essential prerequisite not only for breathing exercises specifically but for singing in generaJ.27 While the basic breathing cycle of inhalation and exhalation is an involuntary process which functions naturally and effectively while asleep, the same process does not always occur as naturally at other times, especially when it must be applied to singing. In accordance with the concept of positive habit formation, many teachers recommend that the breathing cycle be practiced in a conscious fashion, so that through conscious control it may become a properly functioning subconSCious action during singing. Conscious practice requires a certain amount of conscious awareness, and therefore an initial step recommended by Richard Miller is an analysis of one's own breathing cycle while being made aware of its desirable conditions: an outward movement of the epigastrium, umbilical region and rib cage during inhalation and a slight inward

27More detailed descriptions of posture for singing are found in Vennard (19-20) and Christy (23-25).

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movement of the umbilical region at the beginning of exhalation. The breathing should occur silently, first through the nose and then through the mouth.28 However, should the physical process of inhalation prove difficult to establish, Lynn Corbin recommends employing a "sipping" inhalation to aid the singer in sensing the proper muscular action. 29 In the same regard William Vennard suggests that one imagine a tape measure around the lower ribs and try to increase its measurement as much as possible with each inhalation.30 Methods for Singers to monitor the physical activity involved in the breathing cycle include placing both hands around the waist,31 placing one hand on the epigastrium and the other on the ribs, lying face up with a book or other heavy object on the abdomen,32 or simply observing one's self in a mirror,33 the latter two perhaps being more applicable to a studio rather than choral setting. William Lock suggests placing one hand on the abdomen while the other crosses over to its opposite shoulder to insure that the shoulders are not being raised and, hence, that there is an avoidance of clavicular breathing which is considered inefficient and even harmful for the singer3 4. Other suggestions made by Lock for practicing non-involvement of the shoulders include breathing with one's hands and arms in front of the body and parallel to the

28Miller, Structure 29-30. 29Corbin 5. 30William Vennard, Singing: The Mechanism and the Technic, Rev. ed. (New York: Fischer, 1967) 28. 31 Charles W. Heffernan, Choral Music: Technique and Artistry (Englewood Cliffs: Prentice, 1982) 26. 32Vennard 28-29. 33Harpster 6. 34Vennard 27.

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floor or with arms folded acrosslhe chest. In either case, any raising of the arms indicates the presence of undesirable tension and movement in the shoulders.35 Once the proper functioning of the muscles involved in the breathing cycle has been established, other exercises can be used to improve one's skill in breath management, which can be defined as ,he abmty to balance the supply of air according to the amount of sound and energy required".36 One such exercise is breath suspension in which timed inhalations and exhalations are separated by an equal amount of time during which the breath is suspended while the glottis remains open. 37 3839 Another frequently suggested exercise is that which Miller refers to as 'he prolongation of the sibilant," an exercise which he claims Ugoes to the heart of inspiratory-expiratory control. 040 In performing the exercise one produces a sustained Uhissing" sound, with the goal of increasing the length of the sound with continued practice. Other exercises which can help to further develop a singer's muscle coordination for· breath management can be placed in two categories. The first type of exercise makes use of consonant sounds which are separated to varying degrees in order to stimulate action of the abdominal and intercostal muscles. Miller recommends both the slow and rapid use of the voiceless (referred to as ·surd" in phonetic terms) labiodental fricative continuant,41 i.e. the

35William Lock, ·Prescription for Relaxation," Journal of Church Music October (1986): 4+. 36Harpster 8. 37Harpster 8. 38Vennard 35. 39Miller, Structure 31-32. 40Miller, Structure 32. 41 For a complete description of speech sound classification, see Vennard 167-78.

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sound of the letter "f". In the slow execution of the exercise, the singer performs the action of Mblow[ing] out six to eight candles successively with one breath, but with separate abdominal impulses:t42 The exercise may then be repeated a number of times, each one separated by inhalation. While Miller stipulates the use of the letter "f" sound for this exercise, Corbin suggests the same exercise using a standard blowing action.43 It would seem to follow that other voiceless consonant sounds might be used in place of the "f" sound that could achieve similar resuHs, such as the bilabial stop-plosive (Wp") , the lingua-dental continuant (''th'' as in "thorn'1, the velar plosive ("k") , the lingual alveolar plosive ("I"), or the lingual alveolar fricative continuants ("s" and ash"). A more rapid use of the "f" consonant, performed on a single breath, is intended to incite a corresponding rapid abdominal motion. 44 Again, some of the other consonant sounds mentioned above might also be used beneficially in this fashion. Frauke Haasemann and Wilhelm Ehmann recommend a slower execution of consonant activity as an aid in the coordination and strengthening of the breathing muscles. Similar consonants are used but with each consonant articulation followed by inhalation and with each occurrence of the breathing cycle having a duration suitable to a steady, rhythmic execution of the exercise.45 Ehmann and Haasemann also recommend articulation of consonant sounds using various rhythms that correspond with a particular vocalise or piece of music. The second category of muscle coordination exercises can be given the general heading of "panting." Vennard recommends panting as an important transitional exercise to

42Miller, Structure 33. 43Corbin 6. 44Miller, Structure 33. 45Wilhelm Ehmann and Frauke Haasemann, Voice Building for Choirs, Trans. Brenda Smith (Chapel Hill: Hinshaw, 1982) 27.

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actual vocalizing,46 while Christy refers specifically to the benefits that panting has on a singer's ability to sing staccato and with accented attacks.47 The pant is a rapidly repeated execution of the breathing cycle, but using less air per cycle than in a 'ull" breath .. The singer is encouraged to maintain a steady rate of inhalation and exhalation and to work gradually over time to increase both the rate and duration of the exercise. In oroerto insure a uniform execution of the exercise in a group setting, the pant may be performed in a rhythmic fashion in which a steady tempo is established and with the rapidity of the breathing cycle eventually being increased in a proportionate fashion (Example No.1). A second kind of panting exercise is similar to the first in

I~ J

(exhale)

J (inhale)

I~ J J J J

IJ (exhale)

J (inhale)

IJ J J J (exhale) (inhale)(exhale) (etc.)

IJJ3JJJ33 IJJ33JJ33 I

4

(exhale)

7

Example No.1 (Notation to denote rhythm only)

46Vennard 32.

47Christy 33.

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terms of muscular activity but differs in that actual inhalation and exhalation does not take place. Apparently having its origins in the ancient science of Yoga,48 49 the isolation of abdominal muscular actions apart from actual breathing is considered by Miller to be a vital developmental tool in regard to vocal agility and rapid intervallic articulation.50 Phonation that is free from extrinsic muscular interference is, of course, the goal of and the purpose for any breathing exercises. The most fundamental act of phonation and therefore of any program of vocalization is that of starting the tone without an initial consonant, a process often referred to as the "attack", although it is perhaps more appropriately described by the term "onset.,,51 Three types of vocal onset are commonly discussed. The first type-one of two which are generally considered undesirable-is the soft or aspirate (breathy) onset in which the valve at the top of the trachea remains too loose and breath is wasted, causing the resultant tone to lack clarity.52 The second type of improper onset is the hard or glottal attack, known in phonetic terms as the "glottal plosive ..,53 The hard attack occurs when the glottis is closed before breath pressure is applied resulting in an audible catch or click in the initial tone, and it is generally considered by laryngologists to cause unhealthy laryngeal tension and to be potentially damaging to the voice.54 The type of onset which is considered to be the most desirable from

48Kenneth Westerman, Emergent Voice (Ann Arbor: Westerman, 1947) 20. 49Eleanor Winding, Yoga for Musicians and Other Special People (Sherman Oaks, CA: Alfred, 1982) 43. 50Miller, Structure 33. 51 Miller, Structure 1. 52Vennard 38. 53Vennard 42. 54Vennard 43.

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both a scientific and aesthetic standpoint is what Miller terms the "balanced onset." It is a physiological middle ground between the soft onset and the hard attack and is the kind of onset which most completely promotes laryngeal freedom. In the balanced onset the closure of the glottis is brought about by breath pressure in a process of physics known as the Bernoulli effect, but without any escaping of breath at the outset of the tOn£.~ as occurs in the soft onset. 55 A number of recommendations are made for the promotion and execution of the balanced onset. One type of exercise involves the use of certain spoken sounds to encourage proper onset, such as the commonly-used affirmation, "m-hm"56, or a repeated "ha, ha, ha, ha."57 The "h" aspirate used in the latter exercise encourages a commencement of the tone which closely resembles the soft onset. Both Miller and Vennard recommend a slight escape of breath in this manner prior to the actual making of tone as an initial step toward the development of a balanced onset capability.58 59 The use of the audible "h" at this stage is justifiable because it encourages the inducement of breath activity prior to phonation. The physical actions of the breathing cycle and breath suspension el>!Jrcises should be employed either consciously or subconsciously during onset exercises with the production of tone simply being an added feature of exhalation. 60 61 Once sufficient skill has been developed in the use of the audible "h", the singer is directed to precede the tone with an imaginary or nearly audible "h" in further

55Vennard 44. 56Westerman 33. 57Miller, Structure 5. 5aMiller, Structure 5. 59Vennard 44. 60Westerman 33. 61 Harpster 9.

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spoken exercises or in any onset vocalizations as a means for promoting the true balanced onset. 6263 The balanced onset may be said to have three sub-types which Christy labels "Normal Legato, Staccato, and Accented. tt64 Many of the vocalises contained in this study can be used to aid in the development of each of these types of onset. The exercise in Example No.2 (see Vocalise No. 7 in Appendix A) is for use in the encouragement of "normal legato" onset and is to

, (h)ee (h)ee (h)ee

(etc.)

11'~i#~J\~J~~~J.~~I ~ ) J...~_u.

II

4

Example No.2

be sung in a separated fashion at a moderately slow tempo. The use of the vocalise may be preceded with non-phonating articulations of consonants such as "s" or '1" which are sustained in durations similar to those used in the vocalise (For other exercises appropriate to the study of "normal legato" onset, see the following vocalises in Appendix A: 2,9, 11-19,21-24,28,29,45, 46). The "accented" or marcato onset can be developed in a similar fashion but with the encouragement of an extra degree of vigorous abdominal action (For exercises appropriate to the study of "accented" onset, see the following vocaJises in Appendix A: 2,8,20,29).

62Miller, Structure 5. 63Vennard 44. 64Christy 35.

,. ~.:

25

The development and practice of staccato onset is believed by many pedagogues to have a number of benefits. Staccato vocalization is said to aid in the development of f1exibility.65 in the elimination of breathiness in the tone. 66 in the overcoming of vocal interferences. 67 in the extension of range. in the encouragement of precise intonation. 68 and in the general conditioning of the instrument. 69 It is recommended that before singers begin to develop

staccato technique they establish a secure capability for the "normal legato" onset. Initial staccato practice should then begin with single-pitched vocalises done at a slow to moderate tempo in the middle range. 70 As facility permits intervallic exercises should be used. range should be extended and tempo increased. It is generally recommended that heavy singing be avoided in the performance of any staccato vocalises71 {For exercises appropriate to the development of staccato onset and technique. see the following vocalises in Appendix A: 2942. 44-46}. The muscular activity of the abdominal muscles in staccato singing is closely related to that of the panting exercise. and therefore the pant can be a valuable activity preliminary to establishing staccato capabilities.72 73

65Harpster 29. 66Vennard 211. 67John Carroll Burgin. Teaching Singing (Metuchen. NJ: Scarecrow. 1973) 30. 68Christy 38. 69Louis Bachner. Dynamic Singing: A New Approach to Free Voice Production (New York: A. A. Wyn. 1944) 88. 70Miller 12. 71 Christy 38. 72Ehmann and Haasemann 40. 73Vennard 48.

26

While breathing and onset cababilities are the foundation of a freely sustained vocal production, they do not necessarily insure that the voice will remain entirely unconstricted during this type of vocalization. The attainment of vocal freedom is often a lengthy process and concern for its development must never diminish, since the establishment of vocal freedom is vital to vocal health and success. Non-interference, then, is the overriding goal of any vocalise and is the ultimate criterion upon which its effectiveness is determined, or as Christy states, "Technic without ease is imperfect technic.,,74 The choral conductor has perhaps less means at his/her disposal to monitor and encourage freedom of production than does a studio teacher, however the conscientiOUS and informed conductor can nevertheless have positive effects on singers in this regard. Visually the conductor can become aware of certain signs of interference such as poor posture and tension in the jaw, lips, and neck,75 and the discriminating ear of the conductor can, of course, detect a faulty production of tone. A number of ways are available for the choral conductor to help effect greater vocal freedom during vocalization. Bodily movement of the area to be relaxed can be highly effective, based on the principle that "muscles in motion ... will not become rigid.,,76 For example, singers can be asked to turn their head slowly from side to side while vocalizing to reduce tension in the neck,77 and similarly the jaw may be wiggled from side to side to reduce jaw tension?8 Vocalizing using a vibration of the lips as if one were cold or in imitation of a horse ("brrr") not only

74Christy 45. 75Christy 45. 76Christy 45. 77Lock 4. 78Vennard 118.

27

serves to relax the lips but also encourages proper breath activity.79 A rolled "(' can be used in a similar fashion to relax the tongue and promote breath support. 80 Principles of the Alexander technique can be useful in promoting general freedom, such as a conscious lengthening of the neck during singing. 81 As singers become increasingly aware of the sensations of free tonal production they can also be reminded periodically to monitor specific areas of possible tension. Following the initial work toward the establishment of a connection between breath and the free emission of tone, the singer's attention can tum toward the quality of sustained sound. The primary vehicle for sustained sound in singing is the vowel, and thus it is the ease and quality of vowel production that is the foremost concem of vocalization. It is generally recommended that beginning singers vocalize using the five "cardinal" or "pure" vowels in the Italian language, "ah," "ay," Nee," "oh," and "00. 0082 Variations of these vowels are considered appropriate after a certain level of proficiency has been achieved with the five primary vowels. 83 Many authorities encourage beginning singers to vocalize on each of the five primary vowels separately before using vocalises that combine two or more vowels. 84 85 When beginning the study of vowels in vocalization one becomes inevitably and simultaneously engaged in the pursuit of that which is commonly referred to as "resonance." In

79Ehmann and Haasemann 32. 80Ehmann and Haasemann 29. 81 Barbara M Doscher, The Functional Unity of the Singing Voice, (Metuchen, NJ: Scarecrow, 1988) 65. 82Christy 64. 83Harpster 17. 84 0. A. Clippinger, The Clippinger Class-Method of Voice Culture (Philadelphia: Ditson, 1933) 10. 85Harpster 16-17.

....

28

strictly acoustical terms, "resonance" is the "reinforcement of sound by synchronous vibration." This reinforcement of sound occurs in the "secondary vibrators" or "resonators. "86 The resonator for the voice is a column of air which is shaped in a complex fashion by a vocal tract made up of the pharynx, mouth, and at times the nose, which is capable of a high degree of variance. 87 The quality and combination of resonators has a direct effect on the perceived quality of sound, and therefore the shape of the vocal tract plays a large part in determining the timbre of the vocal tone. 88 Thus, when singers refer to the development of "resonance" in the voice they are generally referring to the development of a desirable timbre.89 Vocalises can play an important role in the development of desireele timbre by systematically encouraging the optimum shape of the mouth and pharynx and by offering a means for the isolated practice of vowel production. Vennard sums up what he views as the two seemingly opposing and yet compatible qualities of this desirable vocal timbre: "It should be the objective of every singer to get as much brilliance as possible and as much depth as possible in the tone at the same time. They are the hemispheres of production. "90 The brilliance of which Vennard speaks is often referred to by other terms such as "ring," "buzz," "ping," "focus," or "nasai resonance." One of the oldest and most widely accepted methods for the development of "ring" in the voice is vocalization using the nasal consonants, "m", lin" and "ng". The use of these conSvi1ants in vocalization encourages resonator adjustment that is conducive to desirable acoustic function, actively engages the muscles

86Vennard 239. 87Vennard 82. 88Miller 48. 89MiJler 57. 90Vennard 119-20.

'-

~.

29

involved in breath "support,"91 and helps to eliminate tension in the tongue and velum,92 all promoting a clarity of tone which can serve as a foundation for sonorous vowel production. Richard Miller advocates the use of these consonants, not only in the initial stages of resonance development, but as an acoustical guide during daily practice. 93 A number of recommendations are made for the use of the nasal consonants in vocalization. Many authorities stipulate that when humming, the lips should touch lightly and not be pinched, the tongue

st~ould

be in contact with the lower teeth ::and the teeth should be

parted, perhaps to the point where an "ah" vowel is felt inside the mouth.94 Kenneth Westennan suggests beginning a hum with the affirmative "m-hm," which he claims will promote balanced onset and therefore clarity of tone.95 Ehmann and Haasemann recommend that exercises incorporating nasal consonants be begun at a piano dynamic to promote a sense of effortlessness. 96 In order to insure that tension does not exist in the tongue, velum or jaw. one might "strum" the lip with one finger, making sure that an "uh" vowel becomes present as the /ips are parted. 97 Nasal consonants are perhaps most beneficial when combined with vowels in vocalization as "persuaders" to improve timbre.98 In this regard. some vocalises employ sustained consonants and Clipped vowels as an initial step toward the goal of singing brief

91 Miller 88-89. .92Miller 81. 93Miller 82. 94Harpster 46. 95Westerman 75. 96Ehmann and Haasemann 31. 97Miller 62. 98Christy 53.

'..

30

consonants with sustained, resonant vowels.99 While the singing of nasal consonants can be beneficial in nearly any part of the vocal range, it is generally recommended that "n" and "ng" be used in the upper range rather than "m". One sign that free resonance is occurring during the singing of nasal consonants is the sensing of vibrations that may be felt in the pharynx, nose, mouth, and sinuses. 100 The sensation in the nose and sinuses of this "sympathetic resonance" may often be maintained in vowel production with beneficial results by using "persuader" vocalises. Often the "n" and "ng" consonants will more effectively encourage this frontal sensation than will the "m", and they may be considered by some to be more easily converted to a vowel due to the open-mouth pOSition which they allow. 101 Christy considers "ng" to be particularly valuable for use in the upper register of the voice. 102 The use of "ng" has long been popular due primarily to the Thomas Fillebrown book of 1911, Resonance in Singing and Speaking and the series of exercises contained therein which promote the word "hung" as a "persuader" toward resonant vowel production, although Fillebrown also permits other words ending in "ng" to be used at times. 103 Miller prefers a word such as "sung" rather than "hung" to begin a vocalise because of the immediate deflection of air into the mouth caused by the sibilant "s".104 It is generally accepted that, when vocalizing for the development of "ring" in the voice, the most beneficial vowels to be coupled with the nasal consonants are "ee" and "ay", since they

99Ehmann and Haasemann 35. 100Heffernan 37. 101 Miller 84-85. 102Christy 54. 103ThOmas Fillebrown, Resonance in Singing and Speaking (Boston: Ditson, 1911) 5872. 104Miller85.

31

are the most "forward" or "bright" vowels in the vowel spectrum and are the most likely to have a natural clarity and brilliance. 105 Vocalises utilizing these "bright" vowels along with the nasal consonants can also be of great assistance in helping singers overcome breathiness and lack of "focus" in the tone. 106 If there is any danger involved in vocalizing on these vowels it is that they have the greatest tendency of any of the vowels to be produced in a constricted fashion, and therefore attention to freedom of production is essential during this type of vocalization. In the same way that nasal consonants can function as "persuaders" to a tonal "ring", so, too, can the "bright" vowels serve to encourage clarity and brilliance in other vowels. 107 The "dark" vowels "oh" and "00," while acoustically similar to Nee" and "ay", do not share their same tendency for brilliance. 108 When they are preceded in a vocalise by a forward vowel, however, the "dark" vowels can be encouraged to take on more of the clarity and "ring" of their "bright" counterparts 109 (For exercises appropriate for use in vocalization on the nasal consonants and their combination with vowels, see the following vocalises in Appendix A: 1-6,9-14,20,27,2931,42-44,48). The "dark" vowels have their own unique traits that can benefit the development of free resonance through vocalization. They are characterized by their depth of tone and are therefore useful in establishing this second element of desirable timbre of which Vennard speaks. 11 0

105Vennard 145. 106Vennard 150. 107Miller 76. 108Christy 54. 109Ehmann and Haasemann 36. 110Vennard 144.

32

These vowels also characteristically encourage a low larynx and freedom of production. 111 and because of these tendencies the "00" vowel in particular has been called lithe medicine of the voice. "112 "00" can be of particular value when used in vocalises as a "persuader" vowel to encourage depth and freedom in the characteristically narrow Nee" and "ay" vowels. 113 The "oh" and "00" vowels are also frequently recommended for use in work toward the development of the upper range. D. A. Clippinger directs singers using his vocal method to sing vocalises which incorporate the "dark" vowels using a very light production in the upper range as a means of developing "head" tones. 114 Singers may be directed to modify other vowels toward a darker vowel in the upper range in a process commonly referred to as "covering.,,115 The consonant "l" is sometimes recommended as a particularly effective "persuader" to promote resonance in the "00"

vowel. In between the extremes of the "bright" vowels' inherent brilliance and the characteristic

depth of the "dark" vowels is the "ah" vowel. "Ah" naturally contains qualities from both ends of the spectrum and therefore it can be considered to be the most complete in its inherent resonant properties. 116 As a result of the balanced resonance that the "ah" vowel promotes and because it is the most commonly sung vowel in the literature. it is generally considered the most beneficial vowel for vocalizing. 117 "Ah" can serve as the pOint of departure from which the consistent.

111 Christy 54. 112Vennard 154. 113Clippinger 14. 114Clippinger 33-34. 115Vennard 154. 116Vennard 144. 117Vennard 144.

33

uniform production of aI/ of the vowels can be developed. 118 Conversely, the quality of the "ah" vowel can be enhanced by preceding it with one or more of the "bright" vowels to promote "ring" and using the "dark" vowels to encourage freedom, as in Example No. 3119 (see Vocalise No. 13 in Appendix A).

1

00__

oh__

ah,_ _ _ _ _ _ _ _ __

* II

Example No.3

In order for optimum resonance to occur, the pharynx and the mouth-the two resonators over which the singer has conscious control-must have acoustically appropriate space. 120 Space in the pharynx, commonly referred to as the "open throat," is of utmost importance since the pharynx is the most influential of the resonators on tone quality.121 The throat is not to be consciously held open but should rather be in a relaxed state characterized by a forward and relaxed tongue position, a low larynx and a high soft palate. 122 Many of the breathing, onset, and resonance-building techniques already discussed are valuable in promoting an open throat. Other recommended methods for achieving an open throat include imitating the beginning of a yawn, maintaining the position of the throat immediately after

118Vennard 145. 119Vennard 154. 120Heffernan 34. 121Vennard 92. 122Christy 36.

34

swallowing,123 exercising the tongue,124 and inhaling through the nose as if smelling a pleasant fragrance. 125 A common misconception or over-simplification concerning space in the mouth and pharynx is that a maximum amount of space is always desirable regardless of vowel or pitch. While the creation of space does have a tendency to promote freedom of prodUction, it can be unnecessary or even detrimental to vocal timbre. The latest acoustical research suggests that for any given pitch within the vocal range there is an ideal shape for each vowel that will bring 'the frequencies of the vocal cords and the vocal tract ... into accord" thereby creating the maximum production of resonance. 126 Through vocalization singers can work to discover these ideal vowel shapes. One generalization that can be made is that as pitch ascends, more space is required. 127 Singers can be encouraged to create space through such activities as imagining a dime turneci on its edge resting between the top and bottom molars or by singing with the thumb joint held vertically between the front teeth. 128 Vocalises on single vowels can aid singers in discovering optimum vowel shape, and vocalises which include a combination of vowels, such as the exercise in Example No.4 (see Vocalise No. 18 in Appendix A), can assist in establishing a

123Vennard 109-10. 124Heffernan 36. 125Miller 59-60. 126Serton Coffin, Sounds of Singing: Principles and Applications of Vocal Techniques with Chromatic Vowel Chart, 2nd ed. (Metuchen, NJ: Scarecrow, 1987) 45. 127Miller 74. 128Vennard 119.

'"

"~

35

88__

ay__

ah__

oh_ _

I J.

?

II

00,_ _ __

Example No.4

uniform timbre throughout the vowel spectrum. 129 While aids such as Berton Coffin's vowel chart are available to assist singers in determining the optimum shape for each vowel on each pitch, 130 the advice of Vennard remains perhaps the most pragmatic in terms of the development of optimum vowel shape through choral vocalization: "Experiment is the only way to settle the question of how much to open the mouth.,,131 (While most of the vocalises in Appendix A are appropriate for use in vowel development, the following vocalises may be considered particularly useful: 9-24, 43,44) The word "articulation" in singing generally refers to matters associated with language, however in a larger context it can also refer to the manner in which a note is begun and released and how notes move from one to the next. The development of legato, and staccato articulation is considered an important goal in the establishing of a complete, expressive and flexible vocal technique. In the strictest sense, legato in singing implies the conn,ected singing of one syllable on two or more notes. 132 The ability to sing portamento, commonly referred to as "slurring," is often considered an important preliminary step toward the development of legato singing. Vocalises which employ portamento (Example No.5) (see Vocalise No. 11 in Appendix A) can be

129Miller 74. 130Coffin Vowel Chart. 131Vennard 119. 132Ehmann and Haasemann 45.

36

I J.

I)

1

00,___________________________________________

II

Example No.5

followed by step-wise vocalises in which a certain subtle sense of portamento is maintained between pitches 133 (Example No.6) (see Vocalise No. 10 in Appendix A). Consonants may

I' ! 1

i

j

1:J

J

i)

00,.....___________________________________

II

Example NO.6

then be added which, if voiced, should contribute to the flow of the line through their characteristic qualities of phonation, and if voiceless (surd) should generally be considered to be the most brief interruptions in an otherwise connected tone. 134 A closely related capability to legato singing is sostenuto. In its simplest form, sostenuto is the sustaining of a single tone. Some pedagogues consider sostenuto an elementary technique that should be used early in vocal study as a means of encouraging a connection of breath and tone,135 breath management skills, and as a prerequisite for legato singing. 136

133Clippinger 36. 134Fields, Foundations 321. 135Harpster 10. 136Clippinger 36.

37

Others view sostenuto as a more advanced technique inappropriate for beginners. 137 In its most developed stage, sostenuto technique allows the singer to sustain long phrases with seeming ease and security. Miller considers this kind of sostenuto "the ultimate test of technical ability.,,138 Sostenuto capability can be built up by using such non-phonating exercises as the prolongation of the sibilant and breath suspension,139 and through vocalises which emphasize extended tones and phrases, with pitch and tempo being altered dependent on the stage of development of the singers 140 (For exercises appropriate to the development of sostenuto technique, see the following vocalises in Appendix A: 1,4,9-19,21-24,28,44-47). Once basic technique has been established, including the ability to sing a single-tone

sostenuto, the foundation is laid for the messa di voce, an exercise which goes to the heart of expressive singing and which is considered to be one of the "secrets" of the classical Italian or

bel canto school. 141 Translated in the eighteenth century as the "putting forth" or "flourishing" of the vo!ce,142 messa di voce refers specifically to "the gradual crescendo of a single tone from pianissimo to maximum power, followed by a slow diminuendo to its starting pOint ... without the slightest variation of pitch, quality, or technique of phonation."143 Beyond its most obvious

137Fields, Foundations 326. 138Milfer 108. 139HarPster 10. 140Milfer 109. 141 Lucie Manen, Bel Canto: The Teaching of the Classical Italian Song-Schools, its Decline and Restoration (Oxford: Oxford, 1987) 51. 142Manen 51. 143Fields, Foundations 58.

"

38

benefit as a means of developing an ability to produce dynamic contrast,144 messa di voce can greatly aid the singer in the development of skills associated with breath management145, onset,146 register transition,147 and the subtleties of expressive phrasing. 148 The gradual diminuendo often proves to be the most challenging part of the exercise and may indeed require the greatest amount of breath to execute successfully.149 In a choral setting it is important that the singers be made aware through rhythmiC means of the desired length of each portion of the exercise. It may be helpful to precede work on the messa di voce with a dynamically similar prolongation of a continuant consonant such as "s" or "f". This allows the singer to experience something of the demands that are made on the breath without the possibility of vocal strain (Vocalise No.1 in Appendix A may be used for the study of messa di voce). Many aspects of vocal technique including legato, sostenuto and messa di voce, can fall under the heading of "flexibility." Perhaps the most common application of the term for singing, though, is in reference to the ability to execute rapidly moving melismatic passages which involve stepwise, arpeggiated, and/or otherwise intervalicly complex melodic movement. While staccato articulation is in itseH a form of this type of vocal flexibHity, it is also considered by many teachers to be the fundamental skill out of which all kinds of flexibility grow,150 since they all require the

144Fields, Foundations 322. 145William Decker, "Can Your Choristers Sing?-Breathing," Choral Journal 17.5 (1977): 17. 146Vennard 213. 147Mel Unger, "Choral Flatting: Sometimes it's a Matter of Register Transition," Choral Journal 29.7 (1989): 16. 148Boyd 106-07. 149Manen 51. 150Harpster 29.

'.

39

same kind of umbilical-epigastric action which is characteristic of staccato singing and therefore of its preparatory exercise, the pant.. 151 One of the most challenging skills associated with flexibility is the coloratura singing associated with much of Baroque literature which Ehmann and Haasemann term martellato152 and Miller calls "articulated legato."153 Articulated legato occurs when each note of a melismatic passage is sung with a necessarily brief and abdominally induced crescendo and diminuendo while at the same time being connected to each preceding and succeeding note by an uninterrupted production of tone. 154 Following the establishment of a moderately secure staccato capability, the development of articulated legato technique might best begin using voiceless continuant consonants such as "s" and "til in a rhythmic manner which corresponds to the vocalises which are to follow. Phonating exercises might then begin which combine staccato articulation with groupings of only a few notes to be sung using the articulated legato (Example No.7) (see Vocalise No. 36 in Appendix A). These vocalises should have brief, narrow-range melodies sung in the middle of the voice at a moderate tempo and dynamic. As facility improves

II ah______________~______._______________

Example NO.7

151 Miller 40. 152Ehmann and Haasemann 59. 153Miller 41. 154Ehmann and Haasemann 60.

40

the vocalises should include longer phrases In the articulated legato style as well as an Increase In length, range and tempo 155 (Example No.8) (see Vocalise No. 38 in Ap~endix A). The /'

I~ i j jJ) 1

ah

D I) DarJ I t cr r §" I (etc.)

4

* >

"

II

7

El(ample No.8

building of other skills requiring flexibility such as the execution of rapid arpeggios and wide intervallic leaps should also be accomplished using the same concept of gradually increasing complexity. Mathilde Marchesi recommends that flexibility exercises be varied In terms of rhythm, articulation and dynamics, including the use of dotted rhythms, crescendo and diminuendo, terrace dynamics, and alternating staccato and legato articulation. 156 Ehmann and Haasemann also suggest the combination of staccato and articulated legato as a means to further increase

155Miller 42. 156Mathilde Marchesi, Bel Canto: A Theoretical and Practical Vocal Methocl(New York: Dover, 1970) 33.

41

technical skill 157 (For exercises appropriate to the development of flexibility, see the following vocalises from Appendix A: 29-43, 45-50). The other sense in which the term "articulation" can be used in singing refers to "the succession of different vowels, the fluctuation of timbre, and ... the combination of these sounds with consonants,"158 orlanguage. While the synthesis of this type of articulatory skill must necessarily be developed during the actual singing of text, vocalises can be an aid in developing certain preliminary capabilities associated with articulation. Since a primary element in the development of language articulation is the enunciation of consonants, the non phonating exercises previously described which involve the enunciation of consonants can also be seen to have benefits in that iegaid. All consonants can be isolated in combination with vowels, a technique which offers singers the opportunity to become aware of the acoustical nature of the consonants, such as their qualities of being voiced or voiceless (sonant or surd), plosive or continuant, etc. 159 Vocalises with consonants can also serve to develop the independence of the jaw, tongue and lips which is necessary for clear, coordinated articulation. 160 The benefits of vocalizing with consonants is not limited solely to matters of language articulation. The influence of the nasal consonants on breath activity and resonance has already been discussed. Most of the other consonants, though, can have the same kinds of effects in their own characteristic ways. Miller writes, "Singers have long recognized the value of prefacing vowels with some specific consonant that improves subsequent timbre. Even those consonants

157Ehmann and Haasemann 66. 158Vennard 160. 159Vennard 167-68. 160Christy 74.

42

that require concerted action from tongue, lips, and velum may assist the ensuing vowel. ,,161 In addition to "m", Father Finn writes that "f" and "pM are the most beneficial since they "compress the air in the mouth rather than altogether below the cords."162 Miller details the benefits of many other consonants. For example, voiceless consonants such as "t" are, by virtue of their non-phonatory nature, less likely to encourage tension in an ensuing vowel, and may therefore serve in a transitional way to encourage an absence of tension in their voiced counterparts. 163 The consonants "z", "th" (voiced), and "v" are considered particularly valuable in encouraging resonant tone and sensations of "sympathetic" resonance. 164 Another aid which is "perhaps the best oral quick-trick to teach crisp articulation" is the "tongue-twister."165 Tongue-twisters awaken the articulators and encourage intense mental activity in singers. Tongue-twisters are made up of phrases that contain either relentless alliteration. two or more consonant sounds in alternation. or a series of rhyming or nearly rhyming words. They nearly always live up to their name and consequently are usually a source of enjoyment and amusement for a choir. They may be spoken but are perhaps most effective in a choral setting when sung which is the intent of the tongue-twisters contained in this study (Example No.9) (see Vocalise No. 60 in Appendix A) (For exercises especially appropriate to the development of language articulation, see the following vocalises in Appendix A: 5, 6. 8. 25-28. 48-60).

161 Miller 79. 162Finn 40. 163Miller 101. 164Miller 90-105. 165Nancy Poore Tufts. "Do You Put Your Best Voice Forward?" Choristers Guild Letters November (1966).

43

If~H ~ 1333m 1J! $ }I ari 1Jl ~»I A

IDOt-erwho tu-tored a

flute

Once tu-tored two toot-ers to

toot.

If~ JJUfJ31 JJJW 11l~)J 1)$ ~~ two to the tu-tor is it

eas-i-er to IDOt or to

\

t-ers to

Said the

$.

g

toot?

Example NO.9

While the development of isolated skills into positive habits is one of the primary functions of vocalization, it is not yet a full realization of vocalization's ultimate goal. William Vennard states: "A knowledge of the various processes involved in singing is like a disjointed skeleton until their interrelation is understood. An organism is greater than the sum of all its parts, and no analytical study discovers the whole truth until it leads to synthesls." 166 Likewise, Leon Thurman writes: ... basic skills must be developed, sometimes separately from other skills, but at some point a singer must 'go with the flow' or the synergy of the total act of singing. Exercises usually simplify complex skills into subparts at first, then should gradually combine the subparts into the increasingly complex, synergized skills of singing. 167 It is intended then that vocalization lead the Singer toward a synthesis of skills characteristic of a fully developed technique capable of satisfying any expressive demand. Surely choral and solo literature provides abundant opportunity for such a synthesis to occur,

166Vennard 191. 167Thurman 142.

44

however vocalises can and should contribute toward the same end. Many of the vocalises in this study are specifically intended to promote such a synthesis by incorporating' /into a single exercise techniques that enr..ourage the development of a number of skills. For example, the following vocalise begins with the word "sing" which contains the sibilant "s" to stimulate breath activity and the consonant combination "ng" to help establish "ring" in the tone. Tonal brilliance is further encouraged by the "bright" vowels "ee" and "ay" with the Intent that that brilliance will be maintained In the final vowel, "ah." The brief, rapidly-moving melismas provide an opportunity to combine work toward timbre development with the practice of flexibility technique. The final three notes of the exercise require a sudden adjustment from an articulated legato to standard

legato articulation (Example No. 10) (see Vocalise No. 43 in Appendix A). Another exercise encourages timbre results similar to the previous vocalise by virtue of Its Identical consonant and vowel combinations, but the nature of its melody makes It useful in the development of legato

1

Sing

e9_ _

sing

ay_ _ sing

Example No. 10

II

ah_ _ _ _ __

" ",

.'

and advanced sostenuto technique. By alternating the articulation of the vocalise during successive repetitions it can encourage vocal and mental versatility and provide all of the technical benefits of staccato articulation (Example No. 11) (See Vocalise No. 44 In Appendix A).

45

Sing

6

aa

sing

ay

sing

ah______________________________________________

II

Example No. 11

Sequence. Many teachers and conductors consider the order in which vocal exercises are presented within a rehearsal or pre-performance warm-up period to be of great importance in regard to their overall effectiveness. EspeCially when considered in light of their function as a means of warm-up, it is important that vocal exercises serve to gradually awaken the muscles involved in singing in a manner that does not require premature strenuous activity. Although some variance of opinion exists suggesting that there are no rigid rules to be followed in this regard, a standard sequence of activities tends to resemble that suggested by Leon Thurman. After a series of exercises to enliven the whole body through the stretching and massaging of muscles, Thurman recommends a sequence that begins with non-phonating breath coordination exercises followed by phonating speech-based exercises consisting primarily of what Thurman calls "vocal sigh-slides". The sequence continues with pitched vocalises sung lightly in the middle range of the voice which have primarily downward-moving melodies and which emphasize onset and the encouragement of free and "resonant" vowel production. Other vocalises having a similar purpose may follow with melodic movement first by step and then increasingly by skip. Language articulation exercises encouraging the strengthening and coordination of the lips, tongue and jaw may follow, and the period of vocalises concludes with those involving the

46

extended range and flexibility.168 It should be noted that this sequence generally mimics on a limited scale the type of sequence used over a period of months and years in the building of vocal technique, perhaps suggesting a guiding principle that a sequence of exercises based on an orderly progression of vocal development is also the most appropriate for use in a single period of warm-up activities.

Variation. Many authors who address vocalization specifically for choir recommend that the process incorporate a certain amount of variety, especially in regard to vocalise repertoire. Lynn Corbin cites one reason for such an approach, stating, "By using a variety of vocalises. the choir's attention can be fully focused on the problems to be encountered. By carelessly using the same exercises. we may be rehearsing and ingraining problems.,,169 In no uncertain terms Gordon Lamb relates another reason for variety: "It is best not to use the same exercises every day. No matter what they are. they can become boring. "170 Variety can also be achieved by varying many of the stylistic elements of vocalises. Christy writes: " ... the warm-up is facilitated if imagination is used regarding variety of tempo. dynamics. style. mood. tone color. and length of exercise on one breath. "171 The variation of many of these features within individual vocalises can also heighten the interest and concentration level of singers in addition to the technical benefits that such variation may inspire.

168Thurman 142-46. 169Corbin 8. 170Gordon H. Lamb, Choral Techniques (Dubuque: Brown. 1979) 54. 171Christy 148.

47

Aesthetic Qualities. An argument that is sometimes made by proponents of the "song approach" against the use of vocalises is that they lack the aesthetic qualities present in vocal and choral literature. Miller, however, defends vocalises as an aesthetic entity in their own right, stating: It is often overlooked that vocal timbre itself is emotive, and that every vocalise should be treated as a musical expression, an emission of sound that in itselfis communicative. It is naive to assume that technical work is non-creative and that creativiiy enters only when literary ideas are elCpressed. Were that the case, approximately half the standard vocal literatura from previous centuries would fail to qualify as performance-worthy, because of its emphasiS upon pure vocalization. 172 Other authorities agree that vocalises possess potential as an expressive medium and indeed must be encouraged as such. Christy writes, "MuSic and the values of music reside first of all and fundamentally in expression. ... This fact can never be even temporarily lost sight of in the confusing complex of emphasis on the technical and the intellectual."173 Christy further contends that without an emphasis on the aesthetic in vocalization the activity loses its effectiveness: There is no doubt that emphasis on expression and enjoyment is psychologically sound in the initial stages of vocal study. Neither can emphaSis on joy in singing and expressive significance be discarded later, for it stimulates

172Miller, "Creative" 29. 173Christy 18.

48

and gives purpose to technical study. Without this stimulus drill itself is sterile of progress. 174 There are two important cofllJOnents which contribute to the aesthetic qualities of vocalization. First of all. it may be stated simply that singers should attempt to sing vocalises as expressively as they are able. orin the words of Mursell and Glenn. -A vocalise should not be just a number of notes. but should be treated as a beautiful phrase in its own right."175 Secondly, the quality of the vocalise itself can have a great effect on the potential for expressive vocalization. Miller writes, -There is seldom value in practicing any vocalise that does not have musical merit. ..• Every phrase, brief or long, fast or slow, loud or soft, must present a musical experience.,,176 -Musical merit" in a vocalise may be the result of its particular melodic, rhythmic, dynamic, articulatory, and/or harmonic interest.

Accompaniment. Although the practice of accompanying vocalises with a keyboard instrument is commonplace, the subject of vocalise accompaniment is often not addressed in literature about vocalization. Among those authorities who do comment on accompaniment, opinion is divided as to its effectiveness and appropriateness for use with vocalises. Ehmann and Haasemann discourage the use of accompaniment for two reasons: 1) because of the percussive nature of either the piano or organ, and 2) because "the conductor who is involved with performing as an accompanist for the choir is not hearing critically." 177 Victor Fields reports that other teachers find the accompaniment of vocalises objectionable because "the

174Christy 4. 175Glenn and Mursell 294. 176Millei, Creative 30. 177Ehmann and Haasemann xi.

49

accompanying instrument tends to guide the voice constantly by keeping it on its true melodic pitch line, creat[ing] a type of aural dependency which, in the long run, may be detrimental to the singer. ,,178 In defense of the use of voca!ise ~ccumpaniment, Father Finn writes that "ingenious and carefully studied accompaniment enhances the value" of vocalises intended for technical study.179 In order for vocalise accompaniment to qualify as "ingenious and carefully studied," Finn recommends that it adhere to certain guidelines. First of all, Finn agrees with Ehmann and Haasemann in recognizing the percussive tendencies of piano accompaniment, and he therefore cautions against the doubling of the vocal line by the piano. To lessen its percussive influence Finn recommends that the accompaniment play only chords or perhaps even single tones in the left hand at points of rhythmic and harmonic significance and that these be dynamically subordinate to the vocal melody. In addition, Finn encourages the use of harmonic richness in vocalise accompaniment and in doing so calls attention to one of the strongest attributes of accompaniment, i.e. the opportunity that it provides for harmonic interest, since Ihe majority of choral vocalises are sung in a unison fashion. It is Finn's opinion that these harmonies "increase the productivity of accompanied vocal exercises," a view which is indicative of the role that rich harmonic accompaniment can play in increasing the overall "musical merit" of a vocalise

I

thereby making an integral contribution toward the vocalise's inherent aesthetic potential. While the vocalises in this collection attempt to follow Father Finn's recommendations in many cases in regard to accompaniment, they are, in recognition of both the advantages and disadvantages of accompanied vocalization, intended to be optional.

178Fields, Training 57. 179Finn 248.

50

Changes of Kev. Another common practice in regard to vocalization is that vocalises of relative brevity are often repeated many times, each in a different key. The reasons generally cited for this practice are that it allows singers to gradually explore and improve production throughout a substantial part of their ranges and at the same time adds an element of variety to the singing of a vocalise. Christy proposes that key changes for all beginning singers be limited to a comfortable middle range, most likely between middle C and the C above for trebles and an octave lower for male voices. As facility permits, the range covered by key changes may be extended with the singers being directed not to sing outside of their "comfort zone," for as Christy states, "There is never any advantage but only harm in exercising ... beyond easy production range."180 Most authorities who speak of key changes in vocalization suggest what are already, as a result of tradition and perhaps of simple common sense, the most widely accepted intervals of repetition-the half-step and whole-step; key changes which move by these intervals allow for the most gradual progression throughout the vocal range. Thurman recommends that key changes move primarily downward and by half-step, while Jack Boyd comments that vocalises may move either up or down but by whole-step. Movement by major second, says Boyd, encourages beiter intonation because there are more common pitches from one key to the next than in movement by minor second. When piano accompaniment is used, the movement from one key to the next is usually signaled by the piano. Often this type of key change is accomplished simply by playing two successive tonic triads on the piano, the first in the old key and the second in the new. While this method may function adequately enough as a transitional device, it presents a potentially unsettling condition from an aesthetic standpOint if the last note of a vocalise sustains the tonic

180Christy 16.

'.

51

pitch, since that pitch is hannonically incompatible with the tonic triad of the new key. The problem may be alleviated by instead using common tone modulations for key changes, which utilize a dominant seventh chord in the new key as the transitional element. When transposing up a haH-step, the tonic pitch of the preceding tonality becomes the leading tone in the new key. When the modulation is in a downward direction, it must be done by whole-step relationship in order to maintain a common pitch. In this case the tonic pitch of the old key becomes the fifth in the dominant seventh chord of the new key (see the modulations at the beginning of Appendix A). It should be noted that vocalization need not be restricted to major keys as is sometimes the case, and that these transpositional relationships remain constant between either major or minor keys.

Relationship to Literature with Examples Pertaining to Selected Frequently-Performed

W2.rks.. The use of vocalises as a means of applying the elements of vocal technique in a synthesizing fashion to the performance of specific works of literature can and should be an important goal of vocalization. While the conscientious application of standard technical vocalises can be of great value in this regard, many authors consider vocalises that are drawn from the literature itseH to have the most relevance.' 81 Literature-based vocalises can be created by extracting melodic fragments from a piece which may offer certain technical challenges, and treating those fragments in the manner of any other vocalise. 182 Minor alterations would perhaps be necessary to insure that the vocalise functions as an independent melody. These vocalises may be sung on an appropriate vowel, combination of vowels anellor consonants, or using the original text of the passage. The vocalises may also be transposed up

181Lewis Gordon, Choral Director's Complete Handbook (West Nyack, NY: Parker, 1977) 158. 182Heffernan 23.

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52

or down within acceptable ranges. 183 Lamb comments that using this type of vocalise well in advance of any rehearsals on the piece from which the exercise was extracted is an excellent way to make the learning of a new work less time consuming and more enjoyable for the singers. 184 In the event that a literature-based vocalise requires a synthesis of technical elements for which the singers are not fully prepared, it may first be beneficial to use vocalises that rehearse component skills of the passage separately, and then gradually combine those skills as facility permits. This process can involve non-phonating as well as phonating exercises as necessary. A demonstration of this method of preparation can be sho"am in application io ihe iecllnicai demands of two frequently performed choral works, J. S. Bach's motet, Lobet den Herrn, and Randall Thompson's Alleluia, with reference to vocalises used by the Arizona Recital Choir in preparation for the performance of these works. Since ihe predominant teclmical requirement in Bach's Lobet den Herrn is articulated legato, the same or similar exercises to those previously applied to articulated legato can be used

beneficially in the preparation of this work. Technical elements of the opening fugue subject, including articulated legato, may be rehearsed using the sequence of exercises shown in Example 12a-d, each one becoming progressively more representative of the final product (It may be helpful to precede these exercises with articulation of the "f" consonant using the rhythm of the vocalise in Example 12a):

Ioh

••

I~

Example No. 12a

183Christy 17. 184Lamb 53.

'..;

II

h

~

53

_________________________

II

Example No. 12b

" 1.. La

bet den

1

II

II

Herm.

Example No. 12c

Example No. 12d

A similar strategy can be followed in preparation for another thematic phrase in the work which is first found in the tenor line beginning in measure 77 on the text, "seine Gnade und Wahrheit .... " Melodically the phrase moves only by step and by third except for an ascending octave during the singing of the first syllable of the word "Gnade." A logical objective of vocalises associated with this phrase would be to encourage a freedom from tension that might otherwise be present in conjunction with the octave leap. An initial step toward that end is to establish freedom and coordination of the articulators as they relate to the consonant activity of the phrase. The consonant "n" appears twice prior to the octave leap making it of primary concern. Vocalization which isolates this consonant can work to develop independence of tongue and jaw

54

which will allow the "ah" vowel which surrounds the consonant in the phrase to maintain the optimum space required for freedom of production and resonation of tone. A vocalise with a primarily descending melody and descending modulations will be of added benefit in promoting freedom during the refinement of these skills. The "z" consonant which begins the phrase may begin the vocalises. as well. as a further encouragement of breath activity and resonant production 185 (Example No. 13a) (see Vocalise No. 27 in Appendix A). The hard "g" may be added in combination with "n" as in the word "Gnade" with heightened attention paid to a

I,! J zah

1

J J J

nah

nah

nah

IjJ3Jl

$

II

nah nah nah nah nah

Example No. 13a

maintenance of space as the consonants are articulated (Example No. 13b). These consonants may then be added one at a time or sung together in the context of Bach's melody with "ah" remaining the lone vowel (Example No. 13c). Finally the phrase may be rehearsed in its final form

I,! 1

J J J J

zah

nah

gnah

gnah

11J3Jj *

II

gnah gnah gnah gnah gnah

Example No. 13b

JJ

zah nah

II gnah._ _ _ _ _ _ _ _ _ _ _ _ __ Example No. 13c

185Miller 98.

55

being conscious not to let the added diphthong and schwa in the word "seine" interfere to any significant degree with the space and freedom that has been established (Example No. 13d).

JJ sei - ne

II Gna

-

de und

Wahr -

heit_

Example No. 13d

Vocalises specifically for use in the preparation of Thompson's Alleluia would likely focus on skills associated with balanced onset and legato articulation. Once again vocalises that develop independence of articulators would be beneficial toward a legato treatment of the word "alleluia." The action of the tongue and lips with minimal interference from movement of the jaw may be isolated using vocalises such as the following (Examples No. 14a-b) (See Vocalise No. 26 in Appendix A). SyntheSiS of these textual components may be rehearsed using an independent melody as an intermediary step toward rehearsal of the work itself (Example No. 14c) (see Vocalise No. 28 in Appendix A).

II leh Ish leh leh Ish leh leh leh leh 100 leh 100 Ish 100 leh 100

Ish Ish

Example No. 14a

56

I'~I J J I J J I j JJ J I j yah

100

yah yah

yah

100

yah yah

yah yah yah yah

100 yah yah yah

II

yah yah

Example No. 14b

* II 1

AI - Ie - Iu - "

aJ - Ie - lu - ia

:

Ie - lu

ia

Example No. 14c

Conclusion. It should be noted that in terms of the most effective means of developing singing technique through vocalization, there is no substitute for work done in iiie private studio where the needs of individual singers can best be met. It seems apparent, though, that choral vocalization can nevertheless be highly beneficia! in encouraging basic vocal development and therefore it can serve to improve choral performance and perhaps to motivate singers toward additional individualized study. It is hoped that the vocalises contained in this collection might be useful in increasing the choral conductor's access to vocalise repertoire, and that as a result choral Singers might be provided with expanded opportunities to experience what is surely one of the best tools for the development of the singing art.

'0

57

Appendix A:

Vocalises

General Notes. Choral conductors and voice teachers may choose to use the vocaJises in this collection only as indicated, however they are also encouraged to adapt the vocalises to their particular situations as they and their imaginations see fit. There are often many variations possible for each vocalise in regard to the use of vowels, consonants and their combinations. Many of the vocaiises rnay also be sung in minor or other alternate modes with corresponding alterations in the accompaniment, if used. Variation or alternation of articulation (staccato, legato. etc.) is often appropriate, as well. Varying these or other elements of the vocalises may allow them to be more versatile in meeting the needs of the singers in tenns of their vocal development and/or the performance of literature. With one exception all of the vocaJises are presented with ascending modulations. however descending. common-tone modulations of a whole-step are encouraged. as well. The accompanist may be assisted in these downward modulations by playing the dominant seventh sonority which immediately precedes the vocalise a whole-step below the one just completed. Three series of modulations are given preceding the collection of vocalises as an aid to modulation in either direction. Because of the limitations of the computer software. key changes are indicated only by a new key signature with no use of natural signs to cancel the old key signature. It should be understood. then. that the appearance of a new key signature assumes the cancelation of the old.

',;

~

58

Notes on individual vocalises. The following notes correspond numerically to each vocalise in the collection. 1) This vocalise may also be sung on a selected vowel or combination of vowels. Suggested tempo: quarter note = 69-112 2) This vocalise may also be sung on selected vowels as a means of practicing the balanced or marcato onset. Each of the first three notes should be sung in a separated fashion. Suggested tempo: quarter note = 48-72 3) This vocalise may be sung using other nasal consonant and vowel combinations. Suggested tempo: quarter note = 40-60 4) The word "sing" may also be followed by other vowels. Suggested tempo: quarter note = 60-80 5) Other possible syllables: "meem,N "mohm," "moom." The singer should close to the consonant on each cotted half note. Suggested tempo: half note = 76-96 6) Other possible syllables: "mum," "thee" (voiceless "th"), "vee," "100," "Ioh." Suggested tempo: dotted quarter note = 92-126 7) The "h" may at first be articulated but should eventually be only imagined in the manner of the "normal legato" onset. This vocalise may also be sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 52-69 8) This vocalise should be sung in a somewhat marcato fashion. Other consonants and vowels may be substituted; vowels may also be sung without initial consonants. Suggested tempo: quarter note = 72-108 9) This vocalise may also be sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 76-104 10) This vocalise may also be sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 52-76

59

11) Sing with a slight feeling of portamento between pitches. This vocalise may also be

sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note

= 84-112 12) This vocalise may also be sung using a hum or any other vowel or combination of

vowels. Suggested tempo: quarter note =84-100 13) This vocalise may also be sung using a hum or any other vowel or combination of

vowels. Suggested tempo: quarter note =84-100 14) Each repetition of this vocalise should be sung on one breath. It may also be sung

using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 84132 15) This vocalise should be sung with minimal movement of the jaw. Other combinations

of vowels may be used, as well. Suggested tempo: quarter note = 60-120 16) This vocalise may also be sung using a hum or any other vowel or combination of

vowels. Suggested tempo: quarter note = 96-120 17) This vocalise should be sung with minimal movement of the jaw. Other combinations of vowels may be used, as well. Suggested tempo: quarter note =80-126 1S) Suggested tempo: dotted quarter note 19) Suggested tempo: quarter note

= 52-SO

=56-80

20) This vocalise should be sung in a connected fashion when using the syllables

indicated. A voiced "th" may be used in place of the "m." This vocalise may also be sung staccato on the vowel only, ommiting the opening consonant. Suggested tempo: quarter note

= 88-132 21) Other combinations and ordering of vowels may be used, e. g. "ee ayah oh 00 oh ah

ayee." Suggested tempo: quarter note =84-120

60

22) Other combinations and ordering of vowels may be used, such as "ee ayah oh 00 oh ah ay ee." Suggested tempo: half note = 52-80. 23) Each repetition of this vocalise should be sung on one breath. Suggested tempo: quarter nots ... 120-144 24) While using the same stepwise pitch movement, the duple and triplet figures may be reversed so that the vocalise begins with the triplet on the first three pitches followed by the next two pitches in a duple rhythm, etc. Suggested tempo: quarter note = 44-60 25) This vocalise may be sung either with exaggerated lip movement or with very little to no lip movement. Suggested tempo: quarter note = 108-160 26) This vocalise may be sung on other alternating syllables or on single syllables such as "Ieh." Suggested tempo: quarter note = 80-126 27) This vocalise should be sung with minimal movement of the jaw. Other syllables may be used, as well, such as "yah" and "Iah." Syllables may be alternated on the quarter notes or throughout, such as "100 yah 100 yah," etc. Suggested tempo: quarter note = 88-132 28) Suggested tempo: quarter note

=80-96

29) This vocalise may also be sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 60-112 30) The initial consonant should be articulated only to the point that it inspires a slight abdominal motion and staccato articulation as indicated. Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 72-120 31) The initial consonant should be articulated only to the point that it inspires a slight abdominal motion and staccato articulation as indicated. Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 72-120 32) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 88-120

61

33) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 84-104 34) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 84-~04 35) Other vowels or combination of vowels may also be used. Suggested tempo: dotted quarter note = 56-72 36) Any of a number of vowels or vowel combinations may be used. Suggested tempo: quarter note = 72-92 37) The "ah" vowel is perhaps the most effective with this vocalise, however other vowels or vowel combinations may also be used. Suggested tempo: quarter note = 80-92 38) The "ah" vowel is perhaps the most effective with this vocalise, however other vowels or vowel combinations may also be used. Suggested tempo: quarter note = 80-92 39) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 76-96 40) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 76-96 41) Other vowels or combination of vowels may also be used. Suggested tempo: quarter note = 76-96 42) Suggested tempo: half note = 72-104 43) The eighth notes should be sung in an "articulated legato" fashion. Suggested tempo: half note = 72-88 44) This vocalise may be sung in either a legato or staccato fashion. When the vocalise is sung staccato the chords in the accompaniment should be played staccato, as well. The vocalise may also be sung with each repetition of the melody alternating between legato and staccato. Suggested tempo: half note = 48-66

62

45) This vocalise may also be sung using a hum or any other vowel or combination of vowels. Suggested tempo: quarter note = 80-100 46) Other vowels may also be used. Suggested tempo: quarter note = 69-88 47) The eighth notes may be sung in either a legato or staccato fashion. Suggested tempo: quarter note = 88-108 48) Other syllables such as "wah" may also be used. Suggested tempo: dotted quarter note = 72-108 49) Suggested tempo: quarter note = 116-152 50) Suggested tempo: quarter note = 92-116 51) Other nonsense words may be used, as well, such as "digee" or "didee" (duples) and "dig idee" or "didily" (triplets). Suggested tempo: quarter note = 120-168 52) Suggested tempo: half note = 72-100 53) Suggested tempo: quarter note = 116-168 54) Suggested tempo: quarter note = 88-160 55) Suggested tempo: quarter note = 132-200 56} Suggested tempo: quarter note = 120-184 57) Suggested tempo: half note = 72-104 58} The words "Yellow leather" may also be sung in alternation with "red leather" with the word "red" sung on the first two eighth notes in a group of four. Suggested tempo: half note = 66-104 59} The words "Yellow leather" may also be sung in alternation with "red leather" with the word "red" sung on the first two eighth notes in a group of four. Suggested tempo: half note = 72-104 60} Suggested tempo: dotted quarter note = 92-126

.,'.;

63

Modulations I (Upward by half-step)

" g

tJ

~

!W

•

I

i'~

'Itt"

''tJ

: 1

~ : 6

16

I

~

.

~. "

~

. "

~

I

I

I

I

,,-

""-

1#-.

k~

I

.... l

ll*-

I

I

I

I

"

.. ..

I II k~

!'

qiL

64

Modulations II (Downward by whole-step)

,.,

_

l

II

t)

i

:

-

11

I

I

I~ ~

~

~

I

...

~~ "~.

I

I

I

'Ii*"

•

1

Modulations III (Downward by whole-step)

~

" tJ

:

,~

/.I

bP~ too

I ~

~~

" rL

~

1

"

I

~•

tJ

: 6

'..;

..

L

~. !r~ I

11"

'ttl" ~~

I

..

I~

I

.,.. """

• b~

65

Vocalise No. 1 All

-.J A It

_I

I -.J

JJ

:

'.....

j

fl

JJ I I

b.. ...

\,.

I

1

I

A

-.J 11 1

I

-.J

JJ

-4

~-t

'4

-t 11

J J J J "4JJ"

~

1

lOti .....

J

~.

6

1111.

A

f.)

u It

A

I

I

I f.)

:

II

J _J ~

~

~ -t

1

~

~

JJ JJ

J J~

j

~

11

1\

f.)

II

I

~

,

f.)

16

-

:t '

---

.J.J oJ

-t

-- -'~ :t -t oJ

----

---

J.. J J

oJ

.J J

-t

I

_J

I

~.,. I

66

-.AL tJ JJ. I

-- ---- -- --

I

, I tJ -t'

: ,

,.

~:t :S:~

~ .:=

~

'4

4 .J1

~ 4

J~

I II

I

¥-

.(;

-.

1

,,~

tJ

----

"U tJ

,

: 6

4

~

1 1

--I~

:I 1 1

- - -,4 4

lJ

1

4

11

I

I ~

~ ·1

67

", tJ "

I

tJ

:

rr,

I"T"M 11M

1

1- 1-

:I

p

!. !

i

"-i rrn

I"T"M

!.!.

-~

rrn

:It_i

t~

1 :t

J.

~

I"T"M

:JJ I

1

Vocalise No.2

" tJ

hm

hm

-

"

h~

tJ

:rJ-

tJ

~'*

:

~

I

1

A I t)

hm hm 111

-

tJ

: 4

t':J

....,

~

" lilt

-

t)

W

~t

tvn

-

II

,.,

W

~.,'"

M\

tJ I

hm hm

1\

L

hIlL-

,..,

I

-,

tJ

b,..

L

.JI

A

hm_

.-

--

b I

-U"

e)

•

hm_

:

~ 1m

hIlL-

:

hm

'"

JI

1

10.

t)

~

.~

•

. . . . . "l*-

:

A 1I

hm

" II

... I

",'" TTl!'"

tJ

hIlL-

I

tJ

L

tvn

.cQ\

All


11m

A

"

.cQ\

I

:

~

--. -l

kif-

68

1m

IYI1

tvn tvn hm_

hIlL-

Vocalise No.3

'"'

JJ

1.1

hm

A

...

t,)

A

... .\1. I

1

•

1.1

hm

I

D~pi

1

11.1

:

..

11m

.....

.\1. • U

"1I1i 11+1"'. ~

.

1.1

:

U

".

hm

All

,~

,.

1.1

L:JI

-.\1.

r

I..J

-

..

~

I

" I,

V I

11m

A

V

C~

L::JI ~

A

mee_

•

mee_

:

1;::::'\

A 111+

moo_

II I

-

....\1....

-

tJ

L

t,)

tJ

'.

II

•

.

C"\

A~

mae_

:

~

A I

4

.... ~

:

I

tvn

moo_

A

1.1

C"\

I

mee_

,...,

I

\I

:

---

t*-.

l-J

kif-

69

Vocalise No.4

-..

,-

" tJ

-

SIng

"

........... <9-

......

tJ

-B-.

...

"

-

tJ

-..

tJ

,,"

I.

...

~

"

,.

I

r

" " H"

" "~.

,...,.-..,. ~

I

tJ

,

'.

.-.

tJ

ee

Sing

I

"

.~

I

I

I

tJ

,-

~ ~,e.

19-

:

~

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112

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Vocalise No. 29

~2 ifl!h

hoo_ hoe hoe

*

A

'* :

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I

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hae_ hoe h811

A

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All

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b.

: I

113

C'ri

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II

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Vocalise No. 30

-

II

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!tJ

P

hos hoo

hes

hoe

hoe

II

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114

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Vocalise No. 31

-

A ~.

V

f'.

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:

I

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V

hahhah hah hah

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7

III!.

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I

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V hili hoh hoh flah

hah hah hah hall

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It II

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Vocalise No. 32

-

hah hah hah hili

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hall

II.

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118

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Vocalise No. 33

I\.

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I\.

r-I

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. ah ah ah ah

ahV"

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Vocalise No. 34

0,

1\

tJ

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ah

ah

IfJ to ah ah ah

ah

I@ M IfJ to ah_

I

1L

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ah ah ah

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nh_

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Vocalise No. 35 AI

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8hallall

aII_ _ aIIoh

A

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Vocalise No. 36

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II I ~

I

I

man

man

I mah

rnah

rnah mah

I I\aIl

I

man

0I\aIl

rnah

III ~

'lI!"

II

..

:

I

to..

b· I

\ 11

~

II ~.

II

t.I

I nan

nI\aIl

I

I fnah

rnah

rnah

rnah

nan

I

nan mah

rnah

IIi

II

~

: 16

--1l

...II -

...

:

151

Vocalise No. 49

............

v

kilo kilo kilo kilo kilo oh ah

kilo kilo kilo kilo kilo oh ah

..

" V

~

1""""'1

ill

I

kilo koo kilo keD koo oh ah

.....

-r (

:

•

I

1

-

1\

V keo

koo

koo

keo

koo

"

oh

t

~

.

'" V

1

.... L

: I

4

I

1\

.. .. .. .,

tJ

-..

rI

If F f koo koo kilo koo koo oh ah

koo koo keD koo koo oh ah ~I

..

..

J

: I

6

"

~

I

tJ koo

.A L~

v

..

keo

keo

koo

kilo

oh

...

9

I

...

ah

.

.,~

I.

:

I

r Cd J I

koo koo koo koo koo oh ah

I

•

V

-<

..

.. ,

I

152

-

"II C1

tJ

.,

.,

•

r-'1

.,

lIDo lIDo koo keo keo oh ah

lIDo lIDo lIDo lIDo lIDo oh ah

..

tJ

keo keo koo keo

~ oh

ah

J

II

II

...

...

l

: I

1

-

"II

tY

keo

keo

keo

keo

koo

oh

!

'"

"II

•

~

Q)

I•

~

I I

4

,......

I

II

tJ

-

I

,

keo lIDo koo keD

keD !too keD koo keD oh ah

"

I

I

:

L

I

6

I r--I

I

II

tJ keo

"

I

I

•

tJ

: 9

keo keo koo keD keD oh ah

..

-t)

I

~

I;:;' oh ah

..

keD

koo

keo

keD

oh

..

ah

I

.,

1111" ~

153

-

" lilt tJ

~

I kilo kilo kilo kilo: oh ah

kilo koo koo koo koo oh ah

~

II!!.,

-'

11

•

t

koo koo keo koo koo oh ah

I

J

eJ

:

I

I

1

~

I

lilt

~

I

•

eJ koo

II H.,

~

koo

koo

koo

koo

oh

ah

I

i

I

•

b.,..

..

I eJ

.

•

II

4

~

~

-,.,~

Io...l

tJ koo koo koo koo koo oh ah

kot koo koo koo koo oh ah

koo koo koo koo koo oh ah

I

~

I

tJ

:

•

~

I

6

"

II

r

oh

ah

tJ koo

koo

koo

koo

koo

-

I

fI

If/: V

.,.. :

9

'. "

.,

154

Vocalise No. 50

zay_ luh zay_ luh

9

I"'\.

A I

"

-

t.I

zay_ luh zay_ luh II J I

"

t.I

io-Ioooo,j

I""ii 1...1...1

zay_ luh zay_ luh I

"

.....

-

M""'I

"V

".

zay_ luh zay_ luh

. zay_luh zay

-

...

~'!fi'"

"

"

: 13

...

-

I

:

I

I

I.

155

,....

~

1111

-

v

U'J_ luh zay_ luh

.

1111

•

V

r-M

.-

I...!-!

~ U'J_ luh ZII.'J- klh

.

I

.

-

I

1

.•. I.

...

I ().

I

,....

r'\.

~

jY_ luh ~y_ luh

zay_ luh zay_ luh

L

..

V

,

I

rT"I v

-

zay_ luh zay_ luh

I

J

I

L...I..J

zay_luh zay

I

..

.,

•

•

~

.... b...

I i'i'i

.-

.......

-

V 1\

..

V

zay_luh zay

Q

:

1\

-

U'f_ luh zay_ luh

-

......

r-"'r""l

I

.. ~I':· b••

"'.

:

I

5

II

1\

a,

()"

V II

1\

V

:

-

zay_ luh zay_ luh

a,

il

I

I

..

.. .

-

,....

r\.

r-M &..J...J,

I0..I-l

zay_ luh zay_ klh

I

-

zay_ luh zay_ luh

I"'M \I

zay_luhzay

I

I

•

..

.,

..

."..

T~

I

9

~

1\

r").

~

-

V zay_ luh zay_ luh II

I

I

1*"

«-

,....

zay_ luh zay_ luh

I

........,

zay_ luh zay_ luh I

V

: 13

•

-t-

~

m

iTi

~

-

zay_luh zay

.., I

~

"'.

156

Vocalise No. 51

-

_II tJ

333

dlb-bee dIb-bee dlrbee

•dlrbee •

'8'

db+dee dlb-km cIb+dae db.J.dee

to

.

II

...

tJ

3

-~

I

:

1

.~

*

I

1

_'"

,...,

I

tJ

--

,..,..,3 .......3 dib-bee

db-klee dib-l-dee cflb.l-dee dJb.1-dee

I

•

4

I

,...,

A II

•

-

333

3

I"""!""I ...... --.;;...

~

dib-bee

dib-I-dee db·l-dee dib-I-dee dib-I·dee

• -r

I

7

r-"I

t

1"""'\

~ee dib-bee dlb-bee

tJ

I

I

_

dib-bee

33 3 __ Mi r-T-I ,..;-. 3

db-l-dee dib-I-dee dIIH-dee db-l-dee

dee I

I

•

tJ

10

"

I

:

:

dee

..

•

"

'If¥-

I

All

"

I

dee

~

db-bee dib-bee dill-bee

tJ

-

I

tJ

tJ

3

ICJ

dlb-bee db-bee dib-bee

1\

3

~

IiH'

• I

157

1"""1

~lIi

tJ

......

~

db-boo dlb-bee dlb-bee

~1Ii.

3

3 3 m ,...,..., """""' _3

_

db-kIIHI dlb-kiee dIb-I-doo db.J.dae

db-bee

I

dee

I

I

I

.

I tJ u

:

I

• I

1

r-"I

"

-

tJ

"""""

3

_

3

~

dlb-bes db-boo

dlb-bes

dJb.bes

J

~

3

I'""T""'1 I"""i-'I .......... db~-d88 dlb-I-dse dIb-~d88 dlb-I-doo

dee

I

I

I

I < tJ ~

:

I

I

I

4

3

~

l

-

tJ

-

--

3

L

~

i~d88 ~.I-dOO db-I-dse dIb-~d88

db-bee dlb-bee dib-bee db-bee ~

3

m~

r-l

dee

~

tJ

:

I

I

7

~

It

-

tJ

dlb-bee

-

,....,

.....,

dlb-bee dlb-bes

3

.m 3

dJb.bes

3 M"'1

.,..

dj'-dse di):~d88 dlb-kIee db.J.dae

dee

,,~

tJ

: 10

I.;

,I I

I

I

-~

I I

I

158

3

I rrrrrccaDJ I J dlb-bee db-bee dib-boo db-boo

J Vocalise No. 52

-

Jut

••••

tJ

IXlu-bIl butKllo!.'lm bub-bln

All

I

•

tJ

I, , A

Dou-bIo b
I .

.-

:

.

.

"II" ~

•

-

tJ

dou-ble.

-

• ~.

",

--

A

1""1

It.

I II

tJ

I

..

I

lilt

tJ

DarbIt bub-ble!.'lm bub-blot dou-ble.

A I

j,.

I

A II

tJ

.. .. -

*"

:

tJ

•

dou-ble.

....

-

A I

-~

I

A

..

tJ

-1""'1

Dou-bIo b
J.., dou-ble.

I

:

i!-

~

~

~If..

5

I

It

tJ

,..,

1""1-

All

r"'1

tJ

DarbIt bub-bie!.'lm bub-blot dou-ble.

I

It

I

I

,..,

~_

r"'1

DaI-bIa bub-bIe g.rm bub-blot dcu-ble.

I

All

I 11

V

:

I 9

_.s-

ilL

~

~iIL

tJ

:

...

ilL

~

II

I

~~

159

Vocalise No_ 53 All

.- .. . -

tJ

t;I

Twen-ty tim • Id

toada

All

•

I

. .... .. . ."

try-Ing to trot

to

Tren·ton.

I

..

•

tJ

I

r

.

,

."

b•

•

: I

1

I

I

I

A I

I

.

. .

t.l

Twan-ty tim • Id

I

A

toads

I

try-Ing to trot

I

..

•

:

Tren-ton.

I

-

tJ

to

I

I

,.

1ft • Io! •

I

6

II

A

It

tJ

Twan-ty tim • lei

l'dll!.

toada

-

try-Ing to trot

I

I

. to

,

Tren·ton.

I

V

:

,,

u

•

~

•

•

~

, 60

- - -.

-.

A

tJ

Twen-ty tim - kl

loads

Iry-In; 10 lrol

I

I

A

Tren-lOn.

10

I

I

I

tJ

I

.fL

•

of*-

:

~~

~

I

1

~

&1,

.

f)

.

IJ

Twon-ty tim • lei

loads

Iry-Ing 10 trot

I

A

..

I•

I~ t 10

-

I

Tran-ton_

I

J

tJ

I

I

.,..

~

:

,.

I

f:.

~

.fL I

6

,.,~

IJ

~~

Twan-ty tim • Id

loads

Iry-Ing 10 Irol

A~

!!"I

Tran-Ion.

10

I

J

I

~ tJ

~

!!!....-!I

I

.fl-

:

I

I

f:.

op.

~

.fl-

11

,., I

tJ

~~

Twen-ty tim - lei

~

loads

r--:::I

c:"I

.

Iry-Ing 10 trot

10

Tren-Ion.

1

1\

I tJ

I

: 16

I

f:..

I

.fl-

t

I

f:.

I

~

I

161

" ~ li tJ

~I""'"---:::I

.

~~

_I

j:'l

.

..

Twen-Iy tim - Id

try-In; to trot

toads

to

Tran-ton.

" ~ li I

I

tJ

~

II

:

I

I

f!=.

.fL.

--

1

Vocalise No. 54 1111

"

.. .. .. .. .. ..

tJ

The

aixth .hoik'. aixth Iheop'a

ThetJ

aick.

I

"II ~

< tJ

.

:

,..

~

.

. '. b.

tJ

\I

J

.

..

It

,

lick.

I

I

tJ

:

tJ

I

I

.

.

:

..

I

..

T't!. ~

The

tJ

lixth Iheik'. lixth Ihoep'.

"-

,

lick.

I

I

The

I

tJ

~

.;..

:

~~

.;..

:.

I

6

"

I

"'--II

I

tJ

lixth .hoik'a llixth Iheop'.

The tJ

lick.

I

tl

II

tJ

I :

10

.

" lixth Ihoik'. lixth Iheop'.

" II

I

"he

aick.

I

llli.

PI

aixth .heik'a llixth Ihoep'.

"

I

I

1

I

I

_1t-

I ¥

lilllh Iheik'. lixth .hoep'a

tJ

~ I

The

1111

T'

~

lick.

I

I :

I ~

.;..

I

~

I~

162

A I

Alia

I

v

Giltlh oheik'.

~xln

aheep'a

.

"-

A I

v

I

I

~

"

:

"

11w

lick.

I ~

"

_l

eJ

.lxlh 1Mik'• • lxth 1hMp'.

,,1I11 I "

Il

:

I

~

I

~

"

"

I

1

.

"

v

I~

f!=

lick.

Vocalise No. 55 All

.. .. .. .. ..

.. ..

;;.

tJ

big

A

black

b~

bug

a

big

..

boar.

black

A

I

All

..

tJ

...

.

..

...

'

•

: I

I

1

.

~

I

I

A I V

black

big

A I

b~

bug

- -

a

big

black

I

I

\

boar.

I

I

1]Oj!·

tJ

-r

II»

:

b.

•

7

" lilt tJ

big

_" 11

II.

black

12

11

b~

a

big

-

black

I

l

V

:

bug

•

boar.

A

I

-

1#'

I

•

~

163

-

" tJ

big

bug

black

A

bear.

I

...

#-

:

bl&ck

bl::

I

< tJ

I

a

I

-'

-II.

bh

I

.fL

~,...

#I

1

,....

A I

tJ

black

big

"

bh

bug

a

big

black

bear.

A

I

I

tJ

I

I .fL

:

I

tt

~

III

I

¥.

.fL I

6

,,~

tJ

,..-ot

big

black

bh

bug

a

big

II. It

black

A

bear.

J

L

I tJ

I

I .fL

:

tt

#-

I

I

~

.fL I

l'

"

,....,

I

tJ

big

black

bug

bh

a

bIQ

black

A

bear.

II. J

I

tJ

: 16

I

tt

I

-.(l-

~

I

tt

I

~

164

A~ * tJ

j

,....,

'big

black

bug

btt •

black

big

bear.

A~*

I

< tJ

~

u

:

I

I

I

-

~

~

1

Vocalise No. 56 A~

..

tJ

"

...... ...... .,

cup 01 prop-er

A

., ., ., .,

•

cop-per col.lee

cup.

.,.

....

•

I

I

In

col-lee

a

A

I

All

•

tJ

..

: I

1

. \'.

'

I

_A I

-- - ---- - -

e)

cup 01 A

I

prop-er

col·lee

In

a

cop·per

I

I

t)

-

'f

cup.

A

I

,

..

:

col·lee

I

.

-fI-

rlllll' II ..

..-

7

II

A

II.

It)

cup 01

_fI ~

Ii.

prop-er

col·lee In

I

: 12

II

cop-per

col·lee

..

.. I

cup.

A

I

1

I

I tJ

a

I

..

0.-

165

II

- -

- -

.

tJ

cup 01

prop-or

a

In

col·leo

c:cp-per

I

I

II

- col·l89

cup.

V -po

1

...

,L

•

:

A

I

I

I

~,L I

1

"

....-t

I

tJ

cup of prop-er

"

a

col·lee In

cup.

coPilor col·foo

A

I

J

I

tJ

I

I

...

~

:

1

,...... ,......

,...... ,......

,......

[11

I

~

~

.fL I

6

--

IIlL tJ

cup 01

prop-or

- --

"'"""'" col·loo

In

COPil or

a

I

I

I

I

~

:

l

A

cup.

J

Ill!

tJ

col·loe

I

~

-po

I .fL.

~

11

"

~

~

cup 01

prop-or

I

r-I

r-"I

.....,

r-'I

:tJ col·lee In

a

cop-per col·lee

cup.

A

J'jl

V

1

: 16

'.; "

I

I

I ~

.f!.

f=

I ~

T I

~

166

A

~

II

~

II

tJ

r--,

~

cup 01 prop-er

A

<

,.....,

r-"1

l

cop-per coI·leB

I

cup.

I

~

u

:

a

col·1oo In

I

tJ

,.....,

r-"l

I

~

.fL

Vocalise No, 57 1111

tJ

.

.. .,., ... .,,,,,,.,., ......

Who washed Wash.jng.lon" wtillt wooHn

1111

.

...

...

...

..

.........

u....'_r when Wuh.jng·ton'. waalHr'""","Bn

., .,

.. went

. . ... . .,

west?

.,

• I

"

I

I

I

I

I

I

tJ II

I

Who washed Wash.jng·lcn'.

wtiIIt wooHn

un-der_ when

Wash.jng·!on'" waalHr·wan-an

wont

west?

I

_.

•

..

..

3

-

wor.t

.. 5

•

west?

•

'67

-

---

tJ

"

"

I

e)

--

-

,., I

...

_

3

Who wa.lled Waah-ing·ton'.

wIita IOOOHn

~_II when

Waeh-ing·lon's

waeh ...._m-an

wen!

_?

... 5

,...,

,., I

tJ "

7

'.;

""Ill

I

IlL

_I

1

_I

W8S1?

168

Vocalise No. 58 1t1l V

Vol-low

~r

ye~1ew

INIh«

)'01- bw

.:a... ;.,-:., tn:

u yay

"II

:

tJ

~

:t:

'14-

:I: ===

: I

1

"

I

I

I

-

V

yol-Iow INti>«

Vol· low Ieath ....

yol- bw INIIHr

" L tJ

T

0f-

T

yoI-"'" :'u..,

yay

.,.

tt~

"'it

:

I

I

4

I

,,1111 tJ

VeI-Icw

Ioau..,

yol-Iew

Ioath«

~r

yoI-1ew INIIHr yoI-1ew

yay

,,1111

.,.

I V

T :

I

I

I

V

I

V

I

I

I

I

: 10

.q*

T

I

I

Vol-lew Iootl>4r

"

.,.

II

7

"

T

I

yol- bw leatl>er

I

I

...

-B-

yeI-1ew ItalI>« I

...

ytI-1ew ItatHr

yay

I

L ~

...

v•

..l.

I

169

"

I I -'

I.

~

I

Yel-iow 1ooIh.. pl. low IeaIh«

"

1

tJ

I

I

•

•

pI·w

.....

pI.w 1ooIf>.e•

J

..

yay

J

I.

"

"

I "Ij""

: 1

1

,.,u tJ

,.,,, ~

I Vol· low IoatlHlr

I

I

I I

yol. low

Ioau...r

I

I

yoI.""" Io:lI>Gr

yoI • •

:.a...

yay

I

I

I

I

I

•

...

..

..

....

I 4

Vocalise No. 59

I

I

170

"

-~ yeJ.low loath ...

tJ

•

fiii

I

v.~ ...th«

"

I

< tJ

,

~--.

'.~h« pI-Iow"'''''' yel-law ...".., yel-Iaw Io.th... I

I

i

..

... .

..,

ye:.:o.....th ... yay I

'41-

-

T

....

... 1I'q"J"

5

9

iiii

"

-

tJ

•

.~,=ci....

V.I-iow 1otIh... ytl-low Ieath... yfl.low IoaIh-.r Y

" tJ

: 13

..

I

I

I

I""'"I""M

yoI-Iow"'' ' ' yel-Icw loath... I

..,

.......... yo~iow ...th....

yay

I

...

...

: #

• ""

171

Vocalise No. 60 I

1\

~

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174

Appendix B:

A Selected List of Vocalise Collections for Choir

Christiansen, Olaf C. Voice Builder. Park Ridge: Kjos, 1959. Craig, !)on. Twenty C!;oral Warmups. New York: Plymouth, 1963. Crocker, Emily. Warm Ups and Work Outs for the Developing Choir. New Ber!:n, WI: Jenson, 1989. Ehmann, Wilhelm, and Frauke Haasemann. Voice Building fOi Choirs. Trans. Brenda Smith. Chapel Hill: Hinshaw, 1982. Eilers, Joyce, and Gordon Tjernlund. Quickstarts: Choral Warm-ups. n.p.: Jenson, 1981. Jennings, Kenneth. Sing Legato. San Diego: Kjos,1982. Kemp. Helen. Where in the World: Folksong Warmups from Many Lands. Minneapolis: Augsburg. 1989. Schneider. Walther. Vocal Practice for Chorus Singers. New York: Peters, 1978. Tried and Proven Choral Warmups. Compo The Texas Choral Directors Association. San Antonio: Southern, 1989.

175

Selected Bibliography Abt, Franz. Practical Singing Tutor. Foreward by Max Spieker. Rev. ed. New York: G. Schirmer, 1921. Bachner, Louis. Dynamic Singing: A New Approach to Free Voice Production. New York: A. A. Wyn, 1944. Beachy, Morris J. -Aspects of Choral Sonority." Choral Journal 14.6 (1974): 5-8. Behnke, Emil, and Charles W. Pearce. Thirty Voice-Training Exercises. New York: G. Schirmer, n.d. Bispham, David Scull, ed. The International Library of Music for Vocalists: Study Material. 2 vols. New York: University Society, 1925-35. Vol. 1. Boyd, Jack. Rehearsal Guide for the Choral Director. West Nyack, NY: Parker, 1970. Brown, Ralph Morse. The Singing Voice. New York: Macmillan, 1947. Burgin, John Carroll. Teaching Singing. Metuchen, NJ: Scarecrow, 1973. Christiansen, Olaf C. Voice Bui/der. Park Ridge: Kjos, 1959. Christy, Van A. Expressive Singing. 2 vols. Dubuque: Brown, 1961. Vol. 2. Clippinger, D. A. The Clippinger Class-Method of Voice Culture. Philadelphia: Ditson, 1933.

---. Systematic Voice Training. Chicago: Gamble, 1937. Coffin, Berton. Sounds of Singing: Principles and Applications of Vocal Techniques with

Chromatic Vowel Chart. 2nd ed. Metuchen, NJ: Scarecrow, 1987. Corbin, Lynn A. ·Practical Applications of Vocal Pedagogy for Choral Ensembles." Choral

Journal 26.8 (1986): 5-9. Cox, Dennis K. ·Vocalization: A Primary Vehicle for the Enhancement of the PhYSical, Mental, and Emotional Factors in Choral Tone." ChoralJourna/30.2 (1989): 17-19. Craig, Don. Twenty Choral Warmups. New York: Plymouth, 1963. Decker, William. "Can Your Choristers Sing?-Breathing." Choral Jouma/17.5 (1977): 16-18.

176

Diack, J. Michael. Vocal Exercises on Tone Placing and Enunciation. London: Paterson's, 1938. Dodds, George. Voice Placing and Training Exercises. London: Oxford, 1929. Doscher, Barbara M. The Functional Unity of the Singing Voice. Metuchen, NJ: Scarecrow, 1988. Duey, Philip A. Bel Canto in Its Golden Age. New York: King's Crown, 1951. Ehmann, Wilhelm. Choral Directing. Minneapolis: Augsburg, 1968. Ehmann, Wilhelm, and Frauke Haasemann. Voice Building for Choirs. Trans. Brenda Smiih. Chapel Hill: Hinshaw, 1982. Fields, Victor Alexander. Foundations of the Singers Art. New York: Vantage, 1977. ---. Training the Singing Voice. Morningside Heights: King's Crown, 1947. Fillebrown, Thomas. Resonance in Singing and Speaking. Boston: Ditson, 1911. Finn, William J. The Art of the Choral Conductor. Boston: Birchard, 1939. Folstrom, Roger. "The Choral Warmup: A Look at Avant-Garde Music." Choral Journal 14.8 (1974): 22-23. Freeman, J. J. "Formulas for Fame." Opera News 14 (October, 1949): 6-10. Galloway, Lane. "Avoiding Vocal Abuse in High Schools." Choral Journal 23.4 (1982): 13-14. Garcia, Manuel. Hints on Singing. Trans. Beata Garcia. Rev. ed. London: Ascherberg, 1894. Glenn, Mabelle, and James L. Mursell. The Psychology of School Music Teaching. New York: Silver Burdett, 1938. Gordon, Lewis. Choral Directors Complete Handbook. West Nyack, NY: Parker, 1977. Guthmiller, John Harold. "The Goals of Vocalization: Developing Healthy Voices and the Potential for Expressive Singing." Choral Journal 26.7 (1986): 13-15. Harpster, Richard W. Technique in Singing: A Program for Singers and Teachers. New York: Schirmer, 1984.

177

Heffernan, Charles W. Choral Music: Technique and Artistry. Englewood Cliffs: Prentice, 1982. Henderson, Larra Browning. How to Train Singers. West Nyack, NY: Parker, 1979. Henke, Herbert H. "The Application of Emile Jaques-Dalcroze's Solfege-Rhythmique to the Choral Rehearsal." Choral Journal 25.4 (1984): 11-14. Jander, Owen. ·Vocalise." New Grove Dictionary of Music and Musicians, 1980. Jennings, Kenneth. Sing Legato. San Diego: Kjos,1982. Jones, Earl William. Sound, Self, and Song: Essays on the Teaching of Singing. Metuchen: Scarecrow, 1989. Kagen, Sergius. On Studying Singing. New York: Dover, 1950. Lamb, Gordon H. Choral Techniques. Dubuque: Brown, 1S75. Large, John. "Pedagogy of the Even Scale." NATS Journal 44.2 (1987): 12-16. Lehmann, Lilli. How to Sing. New York: Macmillan, 1914. Lehmann, Liza. Practical Hints for Students of Singing. London: Enoch, 1913. Levy, Barbara Abramoff. "Teaching Vocal Technique From the Musical Score." Choral Journal 20.1 (1979): 16-19. Leyerle, William D. Vocal Development through Organic Imagery. Rev. ed. Ganeseo: State U College P, 1986. Lock, William. ·Prescription for Relaxation." Journal of Church Music October (1986): 4+. LUtgen, B. Vocalises. Ed. Max Spicker. New York: G. Schirmer, 1936. Manen, Lucie. Bel Canto: The Teaching of the Classical/talian Song-Schools, its Decline and

Restoration. Oxford: Oxford, 1987. Marafioti, P. Maric. Caruso's Method of Voice Production: The Scientific Culture of the Voice. New York: Appleton, 1922. Marchesi, Mathilde. Bel Canto: A Theoretical and Practical Vocal Method. New York: Dover, 1970.

t.;

:.

"

178

Martinelli, Giovanni. "Advice from the Golden Age." An interview by Aida Favia-Artsay. Etude January, (1954): 16ff. Marzo, Eduardo, ed and compo The Art of Vocalization. Boston: Ditson, 1906. Miller, Kenneth E. Principles of Singing. Englewood Cliffs: Prentice, 1983. Miller, Richard. "Creative Practicing." NATSJoumaI45.3 (1989): 28-30. From a regular column entitled "Satto Voce." The Structure of Singing: System and Art in Vocal Technique. New York: Sch;rmer, 1986.

---. "Warming Up the Voice." NATS Joumal46.5 (1990): 22-23. From a regular column entitled "Sotto Voce." Panseron, Auguste. Method of Vocalization. New York: G. Schirmer, 1898. Patton, John A. and Mabel T. Rauch. "Returning to Vocal Fundamentals." Etude 60 (1942): 154. Randegger, Alberto. Singing. London: Novello, n.d. Rice, William C. Basic Principals of Singing. Nashville: Abingdon, 1961. Sataloff, Robert T. "Ten Good Ways to Abuse Your Voice: A Singer's Guide to a Short Career." NATS Journal 42.1 (1985): 23+.

Sieber, Ferdinand. The Art of Singing and Vocal Culture. Trans. and adapt. A. W. Dohn. Boston: Ditson, 1880. Thirty-Six Eight-Measure Vocalises for Elementary Vocal Teaching. New York: G. Schirmer,

1899. Stanley, Douglas. The Science of Voice. Third edition. New York: Carl Fischer, 1939. Thurman, Leon. "Putting Horses Before Carts: A Brief on Vocal Athletics." Choral Journal 23.7 (1983): 15-21. Pt. 2 of a series begun in 23.6. ---. "Putting Horses Before Carts: Voices and Choral Music." Choral Journal 23.6 (1983): 5-9.

Pt. 1 of series.

179

--. ·Putting Horses Before Carts: When Choral Singing Hurts Voices." Choral Journal 23.8 (1983): 23-28. Pt. 3 of a series begun in 23.6. --. ·Spring Training for Singers." Choristers Guild Letters 33 (1982): 141-146. Tufts, Nancy Poore. "Do You Put Your Best Voice Forward?" Choristers Guild Letters November (1966). Unger, Mel. "Choral Flatting: Sometimes it's a Matter of Register Transition." Choral Jouma/29. 7 (1989): 13-18. Vennard, William. Singing: The Mechanism and the Technic. Rev. ed. New York: Fischer, 1967. Westerman, Kenneth. Emergent Voice. Ann Arbor: Westerman, 1947. Wilcox, John C. The Living Voice. Rev. ed. New York: Rscher, 1945. Winding, Eleanor. Yoga for MUSicians and Other Special Peopl. Sherman Oaks, CA: Alfred, 1982.