. The empire of song : containing theory and practice lessons for singing classes, exercises and pieces for institutes and conventions, tunes and anthems for choirs, and glees and choruses for concerts. 1 1- 1 00 au 1 oo au 1 oo au I -^ ^ 1 is:: isr sr Make difierent combinations, ee, ay, ah, a, (as in has), ascending ; oo, oh, au, e,(as in her), in descending, and others. Practice each consonant element separately, repeating it until it is forcible anddistinct. Take especially the first sounds of the following words,—lo, no, ?no, work at the first element of each of these,—tho\ go, bo
. The empire of song : containing theory and practice lessons for singing classes, exercises and pieces for institutes and conventions, tunes and anthems for choirs, and glees and choruses for concerts. 1 1- 1 00 au 1 oo au 1 oo au I -^ ^ 1 is:: isr sr Make difierent combinations, ee, ay, ah, a, (as in has), ascending ; oo, oh, au, e,(as in her), in descending, and others. Practice each consonant element separately, repeating it until it is forcible anddistinct. Take especially the first sounds of the following words,—lo, no, ?no, work at the first element of each of these,—tho\ go, bo, ro, (roll the r). Thenput each consonant element with the vowel a as ia the foregoing words, and as-cend with the first form, and descend with the second form, giving each conso-nant element with an explosive or forzando utterance. 72 Exercises for Execution. No. I. It will be observed that this is a phrase repeated five times, and taken a half-step higher at each repetition. Sing through all the transpositions, firstwith syllables, then with ah. Sing Mode7-ato, Allegretto or Allegro, as you are able. Do not lose the beat in passing from one key to th« next. Keep timethrough all. t^^^^^^m. i^tr * $ S ? ?^ Transpose each of these numbers through all the above keys, singing each five times. Accompaniment as above. A dotted half rest follows each singing/hile the accompaniment modulates just as above. Bases and Altos should not sing above E flat. No. 3 Jin. 4. ^^^i^^^ppl^^^^^^ipl^^E^^ -^-2-i *-*l -#-^- ^ m liEi m i ^ i f i Solfeggio One. (Phrasing and Expression.) 73 Good phrasing is as necessary in music as in language. Phrases are made by little stops or pauses where breath may be taken. Taking breath in wrong places,either in reading or singing, makes wrong phrases and injures sound and sense. When there are words to music they nearly always guide in regard to breathing, and, consequently, phrasing; but music without words has sense and meaningwhich may be injured by wro
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectsinging, bookyear1887
