SCHIRMER'S LIBRARY

OF MUSICAL CLASSICS
Vol.

1090

? V v Y Y Y Y Y Y Y

BEHNKE-PEARCE
Thirty

Voice-Training Exercises
For Soprano

$1.00

HT
1

885

,B44 19002

>^^VVVVV^>-H^^^^^^^^^
nifliaN coi'voioht, tese by a

ncHUMin,

inc.

Helen Callaghan
Brantford.'Ont.

University of Toronto

Presented to the

Faculty of Music Library

by

George A. Smale

SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

EMIL BEHNKE
AND

CHARLES

W.

PEARCE

Thirty

Voice-Training Exercises
SIX

IN

EDITIONS

SOPRANO
MEZZO-SOPRANO
ALTO
TENOR
BARITONE
BASS

- Library Vol. 1090

Library Vol. 1091

Library Vol. 1098 Library Vol. 1093 - Library Vol. 1094
- Library Vol. 1095

G.

SCHIRMER, INC.
New
PrUl.d

York
U. I. A.

In IK.

FACUL.
LIB:

ONTO SJC

PREFACE.
In compliance with a general request, we have undertaken the task of writing six books of
Voice-Training Exercises on the principles advocated
Voice," and in
"

in

"The Mechanism

of the

Human
class of

Voice,

Song and Speech."

are required for
facilitates

Each book contains those exercises only which

voice.

one particular

This plan has been adopted:

ist,

Because

it

the distinct treatment of the

various voices necessitated by differences in their respective mechanisms;

2nd,

Because the

studies can be consecutive, instead of being intermixed with others not suited for the singer's
voice, thereby materially reducing the price of the

work.

Exercises on Intervals, with which Vocal Tutors generally commence, although valuable
for teaching to read Music,

have

little

or nothing to do with Voice-training proper, and are

therefore omitted.

The
mention

table of contents will

is

show the

lines

upon which these Exercises are

for all

written.

No

made of theory

and students are referred

explanatory matter to the two

works mentioned above.

In order to remove unnecessary obstacles from the singer's path, everything has been
written out at
full

length, thus saving the trouble of key-transposition.

useful,

Great pains have been taken to make the Exercises not only

but also melodious

and

attractive.

We

trust that

our labors may meet with the approval of our professional

brethren and of the general public.

EMIL BEHNKE.

CHARLES

PEARCE.

HINTS ON THE PROPER USE

OF

VOICE-TRAINING EXERCISES.
cises,

In the Preface to our books of Voice-Training Exerwe refer our readers for all matters of theory to

they will be found to bring out the voice, and to favor the production of pure tone, in a very surprising

and

the "Mechanism of the Human Voice" " Voice, Song, and Speech," by

by Emil Behnke, Lennox Browne,

manner.

The
in

exercises on

"Attack" are intended

to assist

F.R.C.S., and Emil Behnke. One or two of the exercises, however, being on a new plan, students may, at first, not understand their We therefore think it advisable to offer a few use.

frequently encountered in It must be here borne in mind, the striking of tones. that the glottis is open in breathing and closed in tone-production. While the glottis is open there can
difficulties

overcoming

explanatory hints, which we hope will be sufficient to show the practical results to be obtained. It is admitted by all authorities, without exception, that the production of good vocal tone necessitates: 2nd, bringing the tone ist, a supple open throat It is precisely in these well forward in the mouth. two fundamental requirements that singers frequently encounter the greatest difficulty. The throat stiffens the root of the tongue does likewise the throat narrows, the tone is shut in, and all its beauty is de; ;

stroyed.

The Exercises on " Resonance " are specially designed to overcome these difficulties; and, curious as they may appear to those to whom they are new, they will be found most useful, and will save much time
and trouble.

The first part of these Exercises consists in singing repeatedly and rapidly the syllable koo. Let the student try this before a mirror, and he will see that
the larynx moves quickly up and down in the throat, and that the root of the tongue describes similar movements. A stiff attitude is hereby prevented, and the throat assumes a natural and open position. The second part of the Resonance Exercises consists

be no tone and it is, therefore, obvious, that the closing of the glottis is the situ qud non of voice-production. Consequently, it must be of the greatest benefit to the voice to strengthen the muscles upon which the movement depends. Let the student sing the exercises devised for this purpose softly and staccato, being most careful to take a slight inspiration, before every tone, for the breathing in these exercises is of as much importance as the singing. We cannot shut a door unless we first open it, and the same is true with regard to the glottis. By taking an inspiration, we open the glottis. By singing a tone, we shut it and by alternately repeating these acts, we give an enormous amount of exercise to the opening- and closingmuscles of the glottis. Let the student further bear in mind that in taking the inspiration, as well as in striking the tones, he should depend entirely upon the action of the diaphragm he will then soon acquire a true "shock of the glottis," the importance of which is acknowledged on every hand.
; ; ;

There is no necessity to say anything about the Exercises on Flexibility, on Sustained Tones, Sic, &c;
but a word may not be out of place respecting the These are intended to lead Transitional Exercises. out of one Register into another. The vowels are

in

singing

either sustained
00, oh, ah.

tones, or

legato

phrases, on the vowels

00,

The student

sings

which is the most forward vowel, and then lets that vowel gradually and imperceptibly change into oh, taking care to keep the oh where he previously had the 00; that is to say, perfectly in front of the mouth. He then, in the same gradual and imperceptible manner, changes the oh into ah, again taking care to keep the ah where he previously had the oh that is to say, perfectly in front of the mouth. The great practical usefulness of these exercises on

given in the same order in which they occur in the vowel-scale of nature, and will materially assist the student in changing Registers. The Exercises should

be sung softly and staccato, and a slight inspiration should be taken before every tone. Let each individual vowel-group be sung six times before attempting the succeeding one, and let the speed of the exercises be gradually increased. It will be found that,

working upon
is

this plan,

any forcing of the Registers

absolutely impossible, and that an extension of the

will

koo, koo, koo, koo, koo,

Is

oo-oh-ah,

compass of the voice

fair trial

become

a matter of natural

therefore evident, and upon giving

them a

growth.

EMIL BEHNKE.

CHARLES W. PEARCE

CONTENTS.
PART
(Lowbr Thin Reoistbr.)
No.
i.

Paoi

First Stbp: Resonance

.. .. ..

a }
4
e

a.

411
5.

Second Stbp: Attack

1

" "

" "

"

6
7

6.
7.

"
Flexibility

Third Step:

8 9
10
12

8.

9.

" " " Fourth Step: Sustained Tones (Messa divoce, and Portamento)
" "
"

io. 11.

"

"

Fifth Step: Chromatic Phrases

14

PART
13.

II.

(Lower Thin and Upper Thin Registers.)

Transition to

Upper Thin Register

"
Flexibility
f*

15
16

\y
14.

First Step: Resonance

"

"

17

15. 16.
17.

Second Step: " "

If
II

18
19

Third Step: Sustained Tones (Messa divoce, and Portamento)

If
II

20
2

I*

19.

Fourth Step: Chromatic Phrases

24
III.

PART
20.

(Whole Compass of the

21. 22.

Voice.)

Transition to Upper Thick and Small Registers

26

iy
24. 25.
26.

On On On

the Major Scale

30
)\

the Minor Scale

Scale-passages

yi

Flexibility

Arpeggios On the Chromatic Scale

34 36
38

PART
27. 28. 29.
jo.

IV.

(Embellishments.)

The Turn, or Gruppetto (Cadential) The Turn, or Gruppetto (Sequential) The Shake (Trill) Other Ornaments and Graces (Appoggiatura; Acciaccatura,
and Double: and Mordente)

40
4 4?
1

Single

A)

Part
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I.

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Third step:_Flexibility.
different
do,
rr,

Where
at

vowels,

no special directions are given, the Exercises should be sung on any or all of the the discretion of the teacher, as also, for the sake of pronunciation, on the syllables

mi,

ic; or on such words as Be/i^ario, &a.

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t ime.

34

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4th

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10

Fourth stepSustained Tones.

N?
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14

Fifth Step:_Chromatie Phrases.

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15

Part
Transitional

II.
Exercise.

N9 12
Voice.

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16

First Step: _ Resonance.

N9
Voi ce,

13.

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17

N?
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te

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18

Second Step-._Flexibility.

N?
15*

15.

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Transitional Exercise.

N9 20.
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pp
1.

staccato

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1.

2.

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Voice
oh,

ah,
oh,

ai,

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31

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32

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Scale-Passag-es.

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3rd time.

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N9 24.
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time.

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time.

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Arpeggios.

N9 25.
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2d ti lme.

poco
3d time.

rit.

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38

On
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the Chromatic Scale.

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p 3gg
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Piano.

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40

Part

IV.

Embellishments.
(Cadential)

The Turn, or Gruppetto.

N9
As written
27.

esj

As performed

Piano

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pii=S

m
gas
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ML

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CSS

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1,149:,

N9 28.
15* time.
i

The Turn,

or Gruppetto. (Sequential.)

41

jUj jjjj Jj
Mi
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jj:l
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3d time.

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1

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43

The Shake.
N9 29.
Voice.

(Trill.)

Piano.

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33:

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13495

43

Other Ornaments and Graces.

N9 30.
Appogg-iatura.

fa M

J>

j^{3^? >W?<;y
l

Acciaccatura.
(Single.)

iS

Acciaccatura.
(Double.)

ih siH^

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MJ

1R49B

S
Y Y Y
Y V

ch rme
i

R'S

Library
in

of Musical Classics

SONG COLLECTIONS
The Library Volume Number
is

given

brackets: [1363)

Y Y Y Y Y Y Y Y V Y
Y Y Y Y X

Album of Twenty-Five Favorite Songs ALBUM OF SACRED SONGS. A Collection of 22

High
[1384];

[i363]

i.oo
In

Favorite Songs suitable for use

the churches.

Low

[1385]

100
59 Songs,
i.

Anthology of Italian Song of the 17th and 18th Centuries.

Book
I

e.

[290];

Book

II

[291]

'

ea.

2.00

Beethoven,

L. van AN DIE FERNE GELIEBTE

(To the Distant Beloved)

A cycle of 6 songs.

Op. 98

g. e.

High

[616];

Low

[617]

.60

SIX SONGS,

g. e.

High

[618];

Low

[619]

60

Brahms,
Chopin,

J.
g. e.

FIFTY SELECTED SONGS,

F.

Low

[1581];

High [1582]

1.50

SEVENTEEN POLISH SONGS.

FlELITZ, A.

Op.

74.

g. e.

High

[249];

Low

[250]

75

VON
A
cycle of 10 songs.

ELILAND.

Op.

9.

g. e.

Medium

[694];

High

[695]

75

Foster,

S. C. 20 Favorite Compositions.
Collected and edited by H. V. Milligan [1439]
1.00

ALBUM OF SONGS.
Franz, R.

VOCAL ALBUM.
Grieg,
E.

62 Songs,

g. e.

High

[15721;

Low

[1573]

ISO

SELECTED SONGS,
Liszt, F.

g. e.

High

[1592];

Low

'.

[1593]

1-25

TWELVE SONGS,

g.

or

f.

&

e.

Low

[1613];

High [1614]

1.00

Mendelssohn, F. SIXTEEN SELECTED SONGS, SIXTEEN TWO-PART SONGS

g. e. g. e
.

Low
[377]

11644];

High [1645]

75
1-00

A
A A
A

Schubert, F. FIRST VOCAL ALBUM (3 Cycles, and 24 Favorite Songs), g. e. High [342]; Low [343] .... THE MAID0F THE MILL (Die sch6ne Mullerin) A cycle of 20 songs, g. e. High [344]; Low WINTER-JOURNEY (Die Winterreise) A cycle of 24 songs, g. e. High (3461; Low [347] TWENTY-FOUR FAVORITE SONGS, g. e. High [350]; Low [351] SECOND VOCAL ALBUM. 82 Songs, g. e. [352]
;

3.00
[345]

1.00 1.00
1.25

3.00

t
k

Schumann, R. VOCAL ALBUM. 55 Songs. e. High [1201; Low [121] WOMAN'S LIFE AND LOVE (Frauenliebe und -leben) A cycle of 8 songs,
Tchaikovsky,
P.
I.
g. e.

2.00
g. e.

High

[1356];

Low

[13571

60

TWELVE SONGS,

Low

[1620];

High [1621]

60

Wagner,

R.
g. e.

FIVE SONGS,

Low

[1181];

High [1233]
:

7S

(Languages

e. - English ; f - French g. - German of texts are shown in small letters Where there is no other indication, texts are in English only.) i.- Italian.
.
;

I
{ rp

All Schirmer Library volumes

may

be obtained in cloth bindings.

Prices will be quoted on request.

G.
A-ioos

SCHIRMER, INC.

NEW YORK
J Wl'

Sch rme
i

R's
SERIES ONE
is

Library

of Musical Classics VOCAL STUDIES AND EXERCISES

Y Y Y Y
Y Y
The Library Volume Number
given in brackets: (453)

ABT,

F.
Practical Singing Tutor.

CONCONE, J. Continued
For
all

Op. 474.

Voices (Spicker).
1.75 For Soprano or Tenor. Complete [453] Production of Tone. Intervals Part I:
[454] .60

Op. Op.

11. 12.

30 Daily Exercises. H [294]; L [555].. 15 Vocalises. Finishing Studies.

.75

H
Op.

[275];
17.

or

[276]

1.00

40 Lessons.
of

Alto

[247];

Bass

or 1.00

Bar. [248]

Y
Y Y Y Y
t

Part II: Exercises for the Cultivation of Fluency [455] Part III: 20 Solfeggi [456] Part IV: 12 Exercises on Vocalization
[457].
.

60 60
.60

The School
Method
for

Sight-Singing.

Practical

Young Beginners
A. L.

(.Liitgen) [2451.

1-25

DANNHAUSER,
The same.
sp.

1.75 For Mezzo-Soprano or Alto. Complete [458] Intervals Production of Tone. Part I:

Solfege des Solfeges. Bk. I [1289]; Bk. II [1290]; Bk.

Bk.
I

Ill [1291]. ea.

.75

Part
Part Part

II:

[459] Exercises for the Cultivation of

.60

[1085]

75

Fluency [460]
III
:

60
'.
.

ESLAVA, D. H.
Metodo de Solfeo
The same.
(Carrillo).
sp.

Y Y Y Y t

IV:

20 Solfeggi [461] 12 Exercises on Vocalization

.60 .60

Complete
[1366] 1.50

[462]

For Baritone or Bass.

Part
I:

Complete

[463]

1.75
[464]

Production of Tone.

Intervals
.60

Bk. I [1376]; Bk. II [1377]; Bk. Ill [1378]; Bk. IV [1379]

.ea.

.50

Part II: Exercises for the Cultivation of Fluency [465] Part III: Solfeggi and Exercises on Vocalization [466]

LAMPERTI,
60 60

F.
75
[570]

The Art

of Singing [1587]

Daily Exercises in Singing

75
[1633]

BEHNKE,
For For For For For For

PEARCE, C. E, 30 Voice-Training Exercises.

Soprano [1090] Mezzo-Soprano [1091]
Alto [1092]

&

W.
1.00 1.00 1.00
1

Vocal Studies in Bravura (Liebling)

75

LAMPERTI, G.

B.
Sop. [568] Alto [569]
1.25

30 Preparatory Vocalises. 29 Preparatory Vocalises.

1.25

Tenor

[1093]

00

A A A A A A A A A
A
t

Baritone [1094] Bass [1095]

1.00 1.00

LOTGEN,
L
[656]

B.

BONA,

P.
Articulation.

Vocalises (Spicker). Bk. I: 20 Daily Exercises.

[654];

Rhythmical
Method

Complete
.50

[1170]

BONOLDI,

Bk. II: 20 L[931]

Opera" ic

Vocalises.

M M

[655];

75
[930];

75

F.

Exercises in Vocalization. Sop. [117]; M.-Sop. [118]; Alto 119].

MARCHESI, M.
.60

Op. Op.

1.

C. Elementary Progressive Exercises

[384]

BORDOGNI, M.
25 Easy Vocalises in Progressive Order 36 Vocalises in Modern Style (Spicker) For Soprano [432] For Mezzo-Soprano or Baritone [433]
[82]
.

1.00

.75

2.

24 Vocalises for
[391]

Soprano or Mezzo1.00

Soprano
1.50 1.50

Op.
Op.

3.

24 Vocalises for Soprano [5^7]

1.50

I A

CONCONE,
Op. Op.
9.

J.

10.

50 Lessons. 25 Lessons.

[1468]; [244];

M [242]; L [243]
L[246]
.

1.00 1.00

The Art of Singing. Bk. I: Ele21. mentary and Graduated Exercises [793]; Bk. II: ea. 1.00 30 Vocalises for Mezzo-Soprano [794]
32.

Op.

30 Vocalises ^Liebling)

or

[126].

1.00

A
x A
J

only.

(Languages of texts are shown in small letters: Other abbreviations used: H=High;

= English;

Medium; L=Low;

t.= Italian; sp. = Spanish. Where there is no other indication, texts are in English Bar. = Baritone; M.-Sop. = Mez*o- Soprano; Sop.* Soprano; Ten.= Tenor.)

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Schirmer Library volume

may

be obtained in doth binding.

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