Choir and Chorus Singing (Continued)Source: The Musical Times and Singing Class Circular, Vol. 6, No. 123 (May 1, 1854), pp. 40+45-46Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/3370004 .

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40 THE MUSICAL TIMES.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

40 THE MUSICAL TIMES.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

is very much greater than a water-wheel, both in the original cost and in the mode of working, and is attended with some danger, also, if not properly regulated by a competent person; but beyond all this, the advantage of a water-wheel is very great indeed, as it is always ready at a momentes notice,-in the other case, steam has to be raised, before the engine can work.

I have been pressed 'to register or to patent; but have only to state in answer that if any one appreciates the plan, they are quite welcome to the use of it, and I hope will greatly improve upon it.

I am, Sir, Yours very respectfully,

JOHN FERNLEY. Stanley Grove, Manchester, April 15, 1854.

is very much greater than a water-wheel, both in the original cost and in the mode of working, and is attended with some danger, also, if not properly regulated by a competent person; but beyond all this, the advantage of a water-wheel is very great indeed, as it is always ready at a momentes notice,-in the other case, steam has to be raised, before the engine can work.

I have been pressed 'to register or to patent; but have only to state in answer that if any one appreciates the plan, they are quite welcome to the use of it, and I hope will greatly improve upon it.

I am, Sir, Yours very respectfully,

JOHN FERNLEY. Stanley Grove, Manchester, April 15, 1854.

1st Treble. 1st Treble.

2nd Tr 2nd Tr

CHOIR AND CHORUS SINGING. (Continued from page 29.)

31. After having taught the Choir or Chorus to sing harmonic intonations in all the modes, the Director will commence the exercises of successions of con- cords in the diatonic and chromatic scales, being careful to have them executed in every degree of loudness, from pianissimo to fortissimo. All those which follow are numbered; when it is necessary to begin any particular succession, the teacher will only have to point out the number in two words. It is necessary to make a slight pause between each succession:-

CHOIR AND CHORUS SINGING. (Continued from page 29.)

31. After having taught the Choir or Chorus to sing harmonic intonations in all the modes, the Director will commence the exercises of successions of con- cords in the diatonic and chromatic scales, being careful to have them executed in every degree of loudness, from pianissimo to fortissimo. All those which follow are numbered; when it is necessary to begin any particular succession, the teacher will only have to point out the number in two words. It is necessary to make a slight pause between each succession:-

U I I . I

-. .

U I I . I

-. .

eble \ II = {J-?] ---= I- r I -H-- eble \ II = {J-?] ---= I- r I -H--

Tenor.

Bass.

Tenor.

Bass.

1S1 .0 jp 1-- - - -i t ___. c J^ t J l l r , J |_ |__^ i-P-. :_ ~_ r . ,

C , ( I ,t ' (9-L I (9 ( - Ii-'i I L7- j I '^ I I .1, I ]\~ H- I

1-1-- o 11

1S1 .0 jp 1-- - - -i t ___. c J^ t J l l r , J |_ |__^ i-P-. :_ ~_ r . ,

C , ( I ,t ' (9-L I (9 ( - Ii-'i I L7- j I '^ I I .1, I ]\~ H- I

1-1-- o 11

*' 7 8 9 10 11 12

i---1I J' --il---il J(-9-'--H-r' f I:: , r' B-l- o ,_,, t -/

*' 7 8 9 10 11 12

i---1I J' --il---il J(-9-'--H-r' f I:: , r' B-l- o ,_,, t -/

( - !1-o9--IH~1 o 1- 11 oj-,-> t1

1

J- Jo-l J11 J Pt-I .1- -

i_^-t - __, . " . U 5 P-3 II f o_ . . ' -- 1 " _ L._u' 3-5 " ? ` ---_I--]-i

( - !1-o9--IH~1 o 1- 11 oj-,-> t1

1

J- Jo-l J11 J Pt-I .1- -

i_^-t - __, . " . U 5 P-3 II f o_ . . ' -- 1 " _ L._u' 3-5 " ? ` ---_I--]-i I'- t---

-\ 1 I jI I j _I I a___i1 1:' I

! 1 1 1-- H 1 4' 1 5 H ----H 13 14 15 16 17 18

r'~-U" ~ r'"?L ~??ll?? I-- H:?;-r??ns-l-o-II f---o ' IIIl- 11 i. 1 - -l 1- 1 oII r--' 11: o ] o -1

I11 o ..r 1 . , _..... I ....._

......

I'- t--- -\ 1 I jI I j _I I a___i1 1:'

I ! 1 1 1-- H 1 4' 1 5 H ----H

13 14 15 16 17 18

r'~-U" ~ r'"?L ~??ll?? I-- H:?;-r??ns-l-o-II f---o ' IIIl- 11 i. 1 - -l 1- 1 oII r--' 11: o ] o -1

I11 o ..r 1 . , _..... I ....._

......

1~-L-I I 1" r li-I- -=o: 3 " -' ]' i - ]---U 1~-L-I I 1" r li-I- -=o: 3 " -' ]' i - ]---U -tI . - o1 rd-4 r' 13 H

_ 19 20-s 21 22 23 24

g , f 3 wo_ lrr---- r -- - , , - r r -- t--- ] - ---i ., . - 1 i- ? J-3l ,-rI-i] ,tl, J__ _

?fi J - f | c,| -_l (j JiI1-- E 1 H' n ]flz

r r i =- a 1 -- fJ...2 I;j I _

-tI . - o1 rd-4 r' 13 H _ 19 20-s 21 22 23 24

g , f 3 wo_ lrr---- r -- - , , - r r -- t--- ] - ---i ., . - 1 i- ? J-3l ,-rI-i] ,tl, J__ _

?fi J - f | c,| -_l (j JiI1-- E 1 H' n ]flz

r r i =- a 1 -- fJ...2 I;j I _

--t-W-I E-=-l- H - - -J l-- - 3 iiT l e _U-- J B * This is an example of one of the most difficult successions in intonation of thelastnoteuncertain. Suchsuccessionsareneverfound

vocal harmony, especially for a chorns. The difficulty consists in in old music, but they are frequent in the compositions of the present the diminished octave, which is found between the treble C and the day; they should often be repeated, to accustom the singers to theml C # of the bass. The feeling of the first C t remains in the ears of t This diminisied third is also an interval difficult of execution the singers when they ought to be sounding C #, and this renders the for vocal masses: strict attention mnust be paid to its practice.

--t-W-I E-=-l- H - - -J l-- - 3 iiT l e _U-- J B * This is an example of one of the most difficult successions in intonation of thelastnoteuncertain. Suchsuccessionsareneverfound

vocal harmony, especially for a chorns. The difficulty consists in in old music, but they are frequent in the compositions of the present the diminished octave, which is found between the treble C and the day; they should often be repeated, to accustom the singers to theml C # of the bass. The feeling of the first C t remains in the ears of t This diminisied third is also an interval difficult of execution the singers when they ought to be sounding C #, and this renders the for vocal masses: strict attention mnust be paid to its practice.

1 Moderato. 2 3 4 5 . G6

LZc --- 1 H -l-l- H-(fl ?

^i 'L _C-z-]-"---I r i- k, L/ I ., - r - H -1 CP ~ z - t H 1 Moderato. 2 3 4 5 . G6

LZc --- 1 H -l-l- H-(fl ?

^i 'L _C-z-]-"---I r i- k, L/ I ., - r - H -1 CP ~ z - t H

40 40

J J I I

THE MUSICAL TIMES. THE MUSICAL TIMES.

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THE MUSICAL TIMES. 45

CHOIR AND CHORUS SINGING (Continued from page 40. 25 26 27 28 29 80 31

2| & )-4?- -1 - I I '' tl, !1 -l l 1

_" .. 1 J -FI

: I p fl

_ 111 Jo . -l J 3 J), - I I II J [t-". - - lJ iri J 1" II n ' 1 '

! : II Ifc o jX>llJ2> I l l b^j l 11 t 3b 1l llf i 1t0 H

' r'1 -o Ii r'r'? [l o r t ? Hi'- J-oJ' 1l . J, J )b, || -- l=,o lli_, " -o t l 32. Choralmodulationsinto theleast analogousmodes difficult, because of the augmented second in the

may be executed without much difficulty, if the move- tenor: ments of each part present only diatonic and chromatic 1 2 intervals, ascending and descending by semitones; J F | A J I but if these modulations contain such intervals as the *

I I

imperfect fifth, the tritone or greater fourth, the augmented second, the augmented fifth, or diminished t \-U _a H- fourth, then the intonations become difficult. They

o ? o h7 1 b- _

are so in general to all singers, and become more so in choruses, where the uncertainty of one individual 14 1 ' | t communicates itself to those near him. It is therefore the more necessary to overcome these difficulties by exercises, since the composers of the present day are r) r t, || so little careful in their manner of writing vocal music,

L

that the instrumental style has passed into music in- 33. There is an observation of some importance to tended for voices, and there the intervals of which we be made on the movement of the second treble in have been speaking are frequently employed. These these two examples. At the second half of the first considerations have induced me to give here some measure in both these examples, the G of this part successions of this kind, in which a Choir or Chorus becomes a sensible note; accordingly, by a natural may be exercised. For instance if it is wished to pass tendency, all the singers are inclined to make this from the key of C to that of A b in three chords, the note rise to the new tonic (A b), hence the uncertaint modulation will be easy if it is made as in the suc- which will be manifest in sounding E b in the second cession which follows under number 1, because the measure. The Leader of the Chorus should mark this voices will only make natural movements; but if the difficulty, and conquer it by repeated exercises, every succession is written as in number 2, it will be time it occurs.

Exercises on the intonations of intervals diminished and augmented in harmonic modulations, and on greater and lesser fourths and fifths, i. e. the tritone and perfect fourth, the perfect and imperfect fifth.

lst. Treble. I "

! " '-- r' li J r" !

5

2nd Treble. ,J - Io 1, J J J J I , J o H

Tenor. ||t r ' | |i|f r l - 11 r i , l- o !1 r i -I

Bas8. l t '' I ?

i ^ I ? M ll+

| r 6 t 17 I ,P Vo I o l 't i it1 o I j ' II" [ ? L

X1 I f t? ^ j X '' ^ j <. | o ^'v o 1 , i ? 11 . P 9 l

" n r 1J [' l ? ll ll "_ 11

io Ui' CII tp r~ i- Ii t' r' [ ig I1 ,ri Ii ' "

t Difficult intervals are marked with an asterisk *. t Very difficult succession. X Another example of this modulation, which presents no other difficulty than the false relation of the diminished octave between the first and second trebles.

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46 THE MUSICAL TIMES.

v 1} 12 13 18 15 5

-- :-: ...--:t---~5:-------U-1---o-= c.------1==r1M-"- : 1---:!--- r---..- -:----i:-- -I-:---^- -----F -- _1,--1_ [ ,_=-

t[ : O---:-:t; ....... T. ^ |l-H-- = t EX A- ~' "l- |------H- ~ oJ-~ -V^-r-l-tJ- . -~-I-,:; It' ; ^H---~ /I---i-

34. The most difficult intonations for choruses are those in which the harmonic successions deceive the expectation of the singers by unlooked-for modula- tions, called cadenze d' inganno-interrupted cadences. It is therefore necessary that Directors of Choirs and Choruses should exercise their pupils in these kinds of cadences. Some examples of them are given below. It is not always the most intricate harmonies which cause this uncertainty : sometimes a simple change of mode is sufficient to surprise the singers, and to occa- sion false intonations which spoil the effect of the piece. See below a remarkable example taken from the Mass for three voices (in F) by M. Cherubini. The modulation has brought the Chorus into F minor, it remains there long enough to impress on the ear the feeling of this key; then, suddenly, in the cadence, the major mode re-appears, and produces a lively sen- sation of cadenza d' inganno. This is the passage :-

,, .JJ ,* , _ . flb ] .ld ;ij ;L1aG4 ;1 - J11

|r- -~- -~?r7 " ~---?-::~, ̂ B-: After the long passage in F minor, the A h is a

difficult note to sound; it requires practice to strike it with precision,

The successions which I here give for examples, are those most frequently found in modulated music, par- ticularlv in the modern music of the German School, in which the manner of writing for voices very much resembles the instrumental style:-

, ~ - 7r 5 9r 10 1112 13

rt--~- tl ?j Wj~ [-?-zI r' u [i1kET E9 - i1'~[

Exercises in the harmonic successions of cadenze d' inganno, or interrupted cadences. 1 2 3 4 _ 5 6

-t--_ ------ - - - --- --_-

t =l=Jt -U H ~H 3~-? f

?--~_t[1- J- ~ ~jj 4 - - -J H= - I f~L-o -P,= ih a-~'~=rf~Lr3 - ri` #?I

7 7 __ _ 8 ___ 0_ 10 11_ _ 12 13

..U=---=t-- -ftI-p-H-p-t.....-T--- F:.-- Mu r-;-~->-tl'---F - -

oo-o_B-[I-l- ,- o - o o _ o Io-4--:-~ -; - t

._ :- - H:rfF _-_-f rt--- --- ..t . :=- -

~' !o- u -!lo_ ,_---- --_- --- -- 1 - . ...J--4 = d-' -_

_, 14 15 l16 17 18 19 20

:[:: ---'! - :r---- =:"- ---n r ---- -iI-t----" I: -1-U 3 - ~:- II :- -: ~:-- [--I] -- ] ::- C = --I~_,,- tW-=' -

) ] _ W "- It t- o U-o:_._ - - __ ____

o-~ -I -I : J

(?.J)_: , Jl bJ- .=^ [l' --^ f-r-H^-'-v-- r+c( -h b c o tin ui _

(To be continued.)

1st Treble.

2n d Treble,

Tenor.

Bass.

7:--a - . I I - '.

. .

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