IMSLP27607-PMLP60885-G Lamperti--The Technics of Bel Canto

To

ls

Pupil

SEMBRI SEMBRICti Cti

Canto o. With

B.

LAMPERTI

collaborat colla boration ion of

TraD TraDsl slat ated ed fr

German

o, S C H I ~ M E Be lin: lin:

I1EI I1EIDR DRIC ICti ti

Agr-"rt. .... ..

I . ~ ~

A.1m

:iDMIONI

1941

CoPYRIGHT, 190ti BY

G. SC SCHI HIRM RMER ER

Agr-"rt. .... ..

I . ~ ~

A.1m

:iDMIONI

1941

CoPYRIGHT, 190ti BY

G. SC SCHI HIRM RMER ER

P ~ E F A C E up rf ou

those lesson to

to

tl

to

years devoted

grea grea

tr

to

to

stil stil Bel Canto,

bu

ittl ittl

This This ontr ontr te "natural"

fa

part partic icul ular ar

othe othe

Iny

(d..186 (d..1861) 1) an othe others rs Should Should

BERLIN,

1905.

to

gather

Le

back to Ital Italia ia ttis ttista ta Vell Vellnt nt

ro fo part part ar

satisfaction.

dubi dubiou ou

ttra ttract ctin in

re

auth author or

tale talent nt

LAKPERTL

Ge er Th

Observation

true

an

health.

Requirement

Pupil

.patience,

Requirement Experience

sensitiv

the gift be describe

meana

intuitio

briefl

individualization. pipe with double-reed,

he

ir tension. mi Breathing-muscles, th Th

breathing. tranquilly an

Teacher

with

th

oc

namely, the three groups muscles, nd th Sound-modifying muscles. diaphragmatic to

long 88 the 14:, writes, in his breathing is abdominal (diaphragmatic no strain upon th vocal organs ca proceed from th gentle th Neithe WIll th larynx n o t h pharynx be se mo io breathing; everything remains rest. After inspiration, therefore, th vocal organs re posi io to carry ou properly, an without ny hindrance that might otherwis have caused precedin contractions th movements necessary to x pu l i o Page th is easily through th th old Italian method, "Singing-voice wer preserve much better an l on ge r Rubini Porpora, ete. than by o u r m o de m methods, whic teach (or least taught permit clavicular breathing. thos teachers favo diaphragmatic breathing an likewise show th best results." [5]

Inspiration.

b.

Expiration.

Preliminar Studies (Vocal Gymnastics Position of

Th position on th right

Body

the body must be as nd natural should be slightly advanced, le holl an

th

Throwing th weight pupi straight on tr posture;

an

neithe

abov l, that th muscle of no unnecessaril tense; he entire attitud must an unconstrained. Hold the shoulder-joints free an the shoulder slightly thrown back to allow he chest ue withou it. th present, he hang Take

Breathing

taking breath-which must be done ir onl throug t h e m ou th " throug enough to permit th nose-the mout should be opened t h u pp e a pe rt ur e - e - ) . breath ly quietly. breathe from the no with the lungs. muscular partition dividing th Th principal breathing-muscl is th diaphragm, organs of th chest (lungs, heart) from th abdominal organs (liver, stomach, eto.), is th abdomen, an th f ro n i nn e attached to th backbone, th lower ribs al rises in th fonn to th height of th fourth rib. Th ac of breathing proceeds th diafollows: The muscular tissue of th diaphragm contracts, drawing th dome rarefied air-space, into which phragm downward, an forming in th lung-cavity above th ir ftow (pas8ively to counteract th atmospheri pressure This Inspiration. reason pressure from th expanded thorax], By virtue of tbeirownelasticity [and slight th he lungs no seek to contract, t h u e x er t in g he depresse dom state diapbragm; furthermore th depressed abdominal ofgans ar t en si o which th abdomen nd he distende musoular walls strives fo relaxation, ue pressure this combined pressure from above dome of th dia pelvis; belo pushe phragm to th height of he fourth rib. This is Ezpiration. cannot be too strongly emphasized, that th diaphragm is th principal an essential death ensue), an that breathing-muscle (i should be crippled, breathing wouldcease Expiration is effected chiefly by he abdominal muscles. There ar also so-calle auxiliary breathing-muscles, those of th neck, back, an t ho ra x w hi c ma ai sustaiDing impaired breathing, ut ca never replace th regular function of th diaphragm. This sharp distinction betwee chest abdominal breathing, such as wa shows that formerly generally accepted, cannot be m ai nt ai ne d en e, firs endeavor must be to strengthen diaphragmatio breathing, an this ca be accomplished only by systematically that th th part which th diaphragm must have freest play (from navel to breastbone, viewe from outside), must in DO to freedo be hampered movement.· Th clothing should be made this rule. conformity

ft Palate, raised in inging.

Windpip [trnchrea Lar c. \Tocal ords and GloLt d. Epi lotti e. ongue alate soft palate) Uvul tff.) Right '! nsil h. rd alate a.

Th

compound

P ha r ing-board

x,

Head (mouth nose eto.) form

air-current,

be very gently

he

gradually expelled. Italian expressio filar tuono, spin ut th tone," most aptly characterizes th required expiration th preceding inspira which must proceed as naturally unconstrainedl no acquired tion. long 88 causes th pupil to feel an exertion Note th nd expiration i m r e u ir e th right et od seconds, an tr ro time ra ually. When ha w it h ue caution, ro re repeat exercise severa time no again to prolong th time inspiration; in particular, th paus betwee inspiratio an expiration holdin he much as yo can. re th should ro ed Th ac of tone-production is in "contrary motion" to that reath taking; th pull of th whereas th th th abdomina movemen although both stand causal conj ncti n. th tones rises. With breath-pressure increase regularly as th insufficien pressure th tone lack ea es (appoggio; that is, th steady air-pressure on th voca cord during tone-production) Higher breath-pressure presupposes deeper inspiration Each an every ton must have steady support! poin support must be carefully distinguishe fr th points resonanc mentione further think attemp br at in late just tone-attack, only under th teacher' personal supervision; this an

ma

llreath-control is th fo da io study. agains fatiguin th pupil. soon &CJ th diaphragm function as desired, a ke n to h ea r a n rightly applied, th taken up. ro

seems hardly necessary rule breathing Exercise

he Medium

th

et th mouth take breath, Register. ex la ne an sing with well-opene throat on th syllable" beginnin

piano an should

held

forte.

tongue 1a

an

must

arc upward

in

la

should

celebrated singing-master Velluti once warned olergyman against jerky style speaking would very soon C&UBe hoarseness public speakers also officers, th proper pitch and, above all teachers etc should learn to speak naturally, t h a t is, never to overtax th voice. things, d r aw i n g b r ea t h quietly nd deeply,

10 upon

correc tone-attack, With

steady free

an always be

will" carry,"

pianissimo.

Studie th

ones: ca re isters varyin

ac rdin

to

in

id

it

termeda Coloratura Soprano

ta ng Sixth,

Seventh.j

Exerc:lse

la

I:. 1a

ta

ela.

this very first exercise, th individua di1ference of th beginners will be man o c a bi l t y an future succes depend only to largely on th shape of th mouth mouth ca hardly eve learn an size r oa d s in g th t o g ue . piano. We have ou doubts concerning th succes of forcible training of th tongue bY means instruments nd th like. When th ti of th tongue curls up, there will always be troubl from this almost ineradicable defect sometime pla to begin with with normal position of th preparatio th care that rise unnaturally high while singing; other t h l ar yn x (carrying th wise th tone w i l l sound "throaty," from th narrowing th speecll111ust be an grammatical faults injuriou strok th glottis" tone-attack; should under consideratio employed ruins th voice, an ought, in spite of th apparent certainty attained in tone-production to be wholly eschewed To determin th natural registers of ny voic require th ezperience an acute ea of teacher. In this particular an deed is capability vo alizin on high tones affords value. sopranos have no develope The minor Third is easie the minor mode

to

FOlkTC.

take than th

major, which accounts

th

prominence

11 Th bu

Teacher.

fe ls uncertai br at

wi

stru en ou ht eacher sing to

sh ul th

er th ug withou

Only when th pu il

inging

is remark bl wh

be peremptorily forbidden.

throat

importan

"The

it tends

attitude

to stiffe th musc es 01 th throat

special

Pa

(legato).

2.

l

a

~

:

. , . . ~

be mf, nearly

observed.

Exercise

already

or Steadying

Voca Attack

go eJ fa

1. Piano'l

oS-

la

la

la

..

la

r_

la

la

Ia

and

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