The Boston Musical Education Society's collection of church music : consisting of original psalm and hymn tunes, select pieces, chants, &c.; including compositions adapted to the service of the Protestant Episcopal Church . CULTIVATION OF THE VOICE. 19 OBSERVATIONS ON THE VOCAL SIIAKE. It is not a little singular, that many otherwise accomplishedsingers fail to obtain a mastery over the shake. Inferior singers, who can execute the shake, often carry offmore applause than the first-rate artist, if deficient in thisacquirement. The principal employment of the shake is as a cadence at theclose of
The Boston Musical Education Society's collection of church music : consisting of original psalm and hymn tunes, select pieces, chants, &c.; including compositions adapted to the service of the Protestant Episcopal Church . CULTIVATION OF THE VOICE. 19 OBSERVATIONS ON THE VOCAL SIIAKE. It is not a little singular, that many otherwise accomplishedsingers fail to obtain a mastery over the shake. Inferior singers, who can execute the shake, often carry offmore applause than the first-rate artist, if deficient in thisacquirement. The principal employment of the shake is as a cadence at theclose of a phrase or period, although this is by no means the onlyuse to which it is applied. It is introduced as a passing ornament,both ascending and descending. The Italians seldom employ itat the close, but more frequently as a passing grace in the courseof the melody. The following rules cannot be too carefullyattended to : — 1. Always observe strict time in practising the shake. 2. Always take sufficient breath before commencing the shake. 3. Accent the upper note of the shake. 4. Do not move the head, mouth, chin, or any part of thebody. 5. Commence practising the shake very slowly, and acceleratefrom time to time,
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Keywords: ., bookcentury1800, bookdecade1840, bookidbostonmusica, bookyear1843
