Early history of singing . -19- ~Z? -<9- ~Or &. Ut, re, mi, fa, so la 03OL i fep: m m=z tt mi. fa, sol. la. The accentus was used also to give the pupila smooth legato. After the accentus the masterstaught the tremolo, gruppo and trillo. Finallycame passages and complete colorature. Theaccentus was taught first on six tones of the scale,as shown in the example just given. No attemptwas made at extension of the scale till the exer-cises within this hexachord could be correctlysung. Extension was then made carefully withtwo tones upward and one downward. Every-thing was sung with moderate for
Early history of singing . -19- ~Z? -<9- ~Or &. Ut, re, mi, fa, so la 03OL i fep: m m=z tt mi. fa, sol. la. The accentus was used also to give the pupila smooth legato. After the accentus the masterstaught the tremolo, gruppo and trillo. Finallycame passages and complete colorature. Theaccentus was taught first on six tones of the scale,as shown in the example just given. No attemptwas made at extension of the scale till the exer-cises within this hexachord could be correctlysung. Extension was then made carefully withtwo tones upward and one downward. Every-thing was sung with moderate force and about power can be found in the teach-ings of the old masters. The volume of tone was WHAT THE EARLY MASTERS TAUGHT 107 permitted to develop naturally. The teacher andthe student concerned themselves only with cor-rectness, which meant perfect intonation, purevowel sounds and flowing smooth delivery. Therange used in these extension exercises was fromE to G or D to F for a high voice and correspond-ingly lower for low voices
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectsinging, bookyear1921
