play, played on the pianoforte. pleasure to pnipw wmm poetry poetry and pointed out. pointed out to him. position position. position of the positions of choristers possess equally good voices possibilities of success possibly improve their musical potential,' power power. practically all girls practice practice. practice-hour, for several reasons. practice -- importance practice-room. practising. present, the matter prin princes street printed by john clay, m.a. p>rmrpw ^n probably at stake. probably be found both probably follow, and the other pupils probably force their tone. probationers. problem procedure procedure in the practice-room produce sharp as well as production of tone production of tone. proper breathing provc, iah provide. provided that provincial provo^iha11 pupils and the pupil's bodily pupils only pupils, they (purcell) pure air purposes purposes. purposes, but also that purposes of put expression, as they themselves putnam's sons qeljium qualities quality. quickly and noiselessly. quite quo-ni-am r77, icttr range of expression. raphim ra-phim -- rarity altos and rate the satisfaction of rate, will read by school-teachers. reading. read well at sight real real alto really the case. recom- recommended. recruiting a reference to chapter -- reference to previous register, register. register, at registers. regular and constant training". regularly. rehearsals, relax rendered adequately.) required responsi- rest. result result. resulting to their voices. result of constant shouting. results are attained only results from purely rfz'w. rhythmically difficult ric/ms ring" rise or fall rising of the tongue, rit. rockstro. rockstro, by rota or round, rough semicircle away rounds. row, row, in rpt},ffrn rtf. rule, for rush of blood to the rzst safer, salient same age same compass same moment, same production downwards same time same time. same time as the preceding- same tune should sation slipshod scales (41 scales, etc. scales. (ex: school-boys, school-girls school, it is true, schools. school time-table scnoo i s second verse begins secular secular songs, securing time see chapter xi. see directions for ex: 39 see his boys easily. see in such a seems at seems but reasonable in such seldom lazy selection of music semitones. semitones (65-68) senior and senior boy seniority, sensitive children, separately. sera service, service. services. service-time. service well. settled. sgj= t-^-* shakes (69) sharp sing- sharp without knowing shep shepherds shew shewing how shorten a note at will should should be should be an essential feature, should be sure that should be tested regularly. should occasionally, should receive careful attention should the voices be then shouting. shouting, etc. shouting, just sic, side sides of the choir should sight rather similarly similarly, children at their similarly the simple and fairly obvious simple, if the chorus attend to the sin* since for the ordinary since that part of the voice sine sing sing- sing" sing* sing entirely, until singer singers for the -- singing singing, singing. singing and playing. singing by singing does not carry the singing of singing out of tune singing point of view singing purposes. singing purposes, because singing sharp. singing, the boys should singing will result. sit still, sitting position, six-part slight pause slow and sustained breathing slurred, smothered smu^ so avoid so-called soft softly, will soft singing, so gradually gains confidence. sol-fa sol-fa system. soloist, solo singer possibly solo singers, organists solo-singing, some some, some boys some boys sing some considerable changes some famous women some knowledge some of the some rhythms, both sometimes sometimes found that a boy or somewhat so necessary to song from purcell's "libertine." songs, the teacher sonority,' soon be infected. so on, the youngest soprano solo and chorus. so that the lungs can be filled sound of his own speak speak be insufficient or speaking voice. special sport and spring spring- standard of musical efficiency), that standpoint), starting steadily still tries stinence from stop singing. strain. streets. strings, studied the question at study. success in this department of daily such a time. such a view such cases are comparatively such occasions suddenly suggested. suggestions will suipjis: suitability of suitable. sum - mer sunday sung sung must be supervision. supplement the surely surely some of us surest critic. sure that swift to sympathy sympathy with the needs of syncopation! syncopation (72) taken -tal taz: tea: teacher. teacher to be teacher will be lightened teeth, so temj)0 ten: tenor. tenors than by than others, are than the need of expression. that choristers, that has been written that people that shouting, or any kind that singing that the language that the singing hour that they are to sing. the accompaniments, the approach of puberty the beating the beginning the beginning of the the boy the boys the boys might gain the boys should be grouped, decani the break.' the breath should be taken the bright the bright se --the case of the the case of the average boy. the cathedral of the change the charm the che-ru -bic the choirmaster in this the choirmaster must the choirmaster should the choirmaster should be the choristers have grasped the commonest the composer of the tune has the cure the danger the decani and cantoris the employment the english language the exact pitch the exact relations (the example of the foundations -- the hymn the individual the instrument. their their ears only, particularly their loud their lower register, their musical outlook, their origin appears to be doubtful. their phrases together. their probable solution. their pupils the their singing the their value ranges from 30 to 90 a year. their voices the juniors the key. the labours of the choirmaster the larynx will the leap of a the least clever boy. the lower the lungs them the majority the melody. the moment. the most the mouth. themselves will be fresh and the music to be practised then the next then gradually faster: the nose and the only exception the original * the original movement the others the paragraphs the passage must always be our guide the pause-marks the pianoforte. the point the practice-room the practice-room for the pupil the pupils, at any rate therefore, should not usually the remarks are the requisite knowledge the rest of his the same. the same argument, from the purely the same arrangement these points the services these should attend these two points these usually produce the sign *>' = take breath. the singer's compass, the singing, usually as the small amount the solo passages, the subject the symptoms the task the teacher, the teacher. the teacher and the teacher may himself invent the teacher may quote the teacher should encourage the term the thoughts and words the upper the upper notes the upper register. the usual the value the varying moods the vocal apparatus. the voice be well trained. the voices of those the whole question the wind-supply that the word the words the work which they they are they have at any they have been arranged they may they may be divided they may have the young man's they should be they will they will get cramped and things must be a real think thin or this (this this, (this advice this break this connection. this custom this deficiency. this fault this grove this method this method shuns the this necessary this of course this period of their lives. this plan this procedure, no doubt, this produces both this reason it will this will those harmonized by those (not necessarily of great those which betray thou though the one thought of three-part music, which throughout than the throughout this compass through possessing a defective thus thus a good thus the younger ticularly boys, should vocalise time time. times, times. tmr? i,pj to be said or to breathe through to bring out in to carry the ^>toflflj to leave the service or to make a lengthy pause on the tonic sol-fa tonic sol-fa system to obviate to obvious weariness. to place to repeat the words of the liturgy, to rest his singing to satisfy the aspirations to sing to sing. to sing to to strike athwart the to sustain for a to take care of itself, to take the highest to the lowest note. to the strain, to this rule should be touch touch their to wait on --to whom tradition ought to trained trained. training training. training for training, is responsible for treatment of the young voice treble part of the choir, trebles. treble voice, treble voice changes tried as remedies. trouble taken true, true that this fault trum trum-pets try. tse: tune turns. turns (70) two-part music (unless types of typical cases have uets bio -unarm uncommon. undergo considerable changes. under his understood understood by the pupils: under them. unison sing* unison songs should be the university unless these unmistakably. unnatural and unnecessary to unpleasant. unsupported unwell and unwise probably up by the church and upon upper and upper notes, upper notes begin upwards urgently light and urtp 1 us consider used his tongue and useful to spend a use, unless the us that boys usually be attacked with usually far usually, however, puberty usually on a high note. usually slipshod valuable value value, especially at the value of vocal training for boys and variable, varied. vary according to circumstances. varying varying pitch and tonality ventilated. ventilation verse of the verse the 5th and 6th very visible effort, vitiated vlamimtige vocaiising on vocal vocal material voice voice, voice. voice). voice, does not write voice especially will need careful voice for solo singing until voice has voice-mod- voice-modulation voices voices, voices. voices and voices at pu- voices can join in without effort. voices (especially those of boys) voice should be produced easily at voice sinks an octave or voices, or voices which will voices will tire voice technique voice-trainers voice training voice were discussed in chapter voice, will thus volume) which are clear and even wait want of was made of the well-known was suggested way, way. way both way, come, way out way the weak weariness. well-known well lighted well sing-'st thou we may were taken up, w=fit what moments the boys or when when formed, should when modal music of the 16th and when reading at sight. when rendered by when sounded on a when the when the two middle when they whereas his whereas the mouth obviously does not. where the rhythm whether of boys or --whether we which began in the lower which beset the teacher. which congregational services which obviously are not caused by which the voice thus breaks which, to the listener, while they are actually whilst who have who have constantly who have little who have not whole bar whom who may, and who produce good whose whose voices are mature. whose voices are not being specially who wish who would wide. will decide for will gain instruction will give will not last will not usually will often will of the will sing flat, will suit will unfailingly produce wires, wise composer, wish to acknowledge with with a with a forward production, with enough with experience some with her increased within the range with musically-defective ears. without any apparent without these safeguards with regard to with such a tendency with the boys. with unfailing regularity. women. women's choruses, especially in word words words. words and music. words and music have stood the words are plainly heard. wordsmustbe words should words such as 'a/ words with care work be interesting and work is an works might be worthy of note would be would be well would mean a ludicrous holding-up of the would not be written before xli. xliv xlv. xlvi xvli year by year the yet a deep breath. young young boys younger children young voices young women. your your flocks" />
VoirPDF : Partition (168 pages - 11.28 Mo)1 915x⬇
 | Rootham, Cyril Bradley - Voice Training for Choirs and Schools Choeur |
VoirPDF : Partition (168 pages - 11.28 Mo)1 915x⬇
| Compositeur : | Rootham, Cyril Bradley (1875 - 1938) | ||
| Instrumentation : | Chœur | ||
| Genre : | Methodes | ||
| Arrangeur : | |||
| Editeur : | |||
| Langue : | Anglais | ||
| Date : | 1911 | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par dan-rootham, 05 Sep 2016 Preface I. Value of vocal training for boys and girls II. Treatment of the young voice III. The teacher and his qualifications IV. Formation of a church choir or school chorus V. Procedure in the practice-room VI. Production of tone VII. Expression VIII. Singing out of tune IX. The approach of puberty X. Selection of music XI. Exercises XII. Appendix | |||
