FOOTNOTES[1]It used to be said of Rubini that "he had tears in his voice."[2]The Exercise should be a crescendo from piano to forte.
[1]It used to be said of Rubini that "he had tears in his voice."
[1]It used to be said of Rubini that "he had tears in his voice."
[2]The Exercise should be a crescendo from piano to forte.
[2]The Exercise should be a crescendo from piano to forte.
TRANSCRIBER'S NOTEPunctuation and formatting markup have been made consistent.Apparent printer's errors have been retained, unless stated below.Page62, "disirable" changed to "desirable". (It cannot be too strongly impressed upon, or too frequently pointed out to, the singer (no matter what may be the stage of his or her artistic development) how desirable and advantageous it is to be constantly singing exercises and solfeggi in preference to songs.)In Exercise 8 on Page66, the top D in the third measure has been changed to sound as a D♭, in belief that the note was affected by the flat at the beginning of the measure, and to stay in character with the rest of the exercises.Page73and74, "shool" changed to "school". (You will find its good points equally insisted on in the oratorio school of singing, while its defects should be avoided in any.)In Exercise 11 on Page94, the twelfth bar in the the original image began with a quaver. To retain rhythmic integrity, this has been edited to read as a crotchet.In Exercise 6 on Page98, the tenth and eleventh bar in the the original image were reversed. For consistency, these bars have been corrected.Page106, "divisious" changed to "divisions". (Those who have ever delighted as well as astonished us by their rapid manner of running through divisions must have been naturally endowed with flexible organs.)Page109, "λαρυγξ" changed to "λάρυγξ".On page110, "ἁρύταινα" was intentionally retained. This may be a typo for "ἀρύταινα".Page111, "φάρυνξ" changed to "φάρυγξ".In Exercise 4 on Page123, the seventh bar in the the original image began with an E. In order to maintain the pattern, this has been edited to read as an F.In Exercise 5 on Page124, the twelfth bar in the the original image contained four beats. The first note of the measure, which was a minim, has been changed to a crotchet.In Exercise 7 on Page125, the last measure contained three beats. The last note of the exercise, which was printed as a dotted minim, has been changed to a semibreve.In Exercise 8 on Page125, the rhythm in the measure was originally written as a crotchet, two quavers, a crotchet, two quavers, and a crotchet, making five beats in the measure of common time. The measure has been edited to read as a single crotchet, followed by six quavers in order to retain four beats in each measure.
Punctuation and formatting markup have been made consistent.
Apparent printer's errors have been retained, unless stated below.
Page62, "disirable" changed to "desirable". (It cannot be too strongly impressed upon, or too frequently pointed out to, the singer (no matter what may be the stage of his or her artistic development) how desirable and advantageous it is to be constantly singing exercises and solfeggi in preference to songs.)
In Exercise 8 on Page66, the top D in the third measure has been changed to sound as a D♭, in belief that the note was affected by the flat at the beginning of the measure, and to stay in character with the rest of the exercises.
In Exercise 8 on Page66, the top D in the third measure has been changed to sound as a D♭, in belief that the note was affected by the flat at the beginning of the measure, and to stay in character with the rest of the exercises.
Page73and74, "shool" changed to "school". (You will find its good points equally insisted on in the oratorio school of singing, while its defects should be avoided in any.)
In Exercise 11 on Page94, the twelfth bar in the the original image began with a quaver. To retain rhythmic integrity, this has been edited to read as a crotchet.
In Exercise 6 on Page98, the tenth and eleventh bar in the the original image were reversed. For consistency, these bars have been corrected.
Page106, "divisious" changed to "divisions". (Those who have ever delighted as well as astonished us by their rapid manner of running through divisions must have been naturally endowed with flexible organs.)
Page109, "λαρυγξ" changed to "λάρυγξ".
On page110, "ἁρύταινα" was intentionally retained. This may be a typo for "ἀρύταινα".
Page111, "φάρυνξ" changed to "φάρυγξ".
In Exercise 4 on Page123, the seventh bar in the the original image began with an E. In order to maintain the pattern, this has been edited to read as an F.
In Exercise 5 on Page124, the twelfth bar in the the original image contained four beats. The first note of the measure, which was a minim, has been changed to a crotchet.
In Exercise 7 on Page125, the last measure contained three beats. The last note of the exercise, which was printed as a dotted minim, has been changed to a semibreve.
In Exercise 8 on Page125, the rhythm in the measure was originally written as a crotchet, two quavers, a crotchet, two quavers, and a crotchet, making five beats in the measure of common time. The measure has been edited to read as a single crotchet, followed by six quavers in order to retain four beats in each measure.