VIIIHOW TO STUDY A SONGThe accent of truth apparent in the voice when speaking naturally is the basis of expression in singing.Garcia.Hints on Singing.First determine the general character of the song. A careful study of the words will enable the student to find its general classification. It may be dramatic, narrative, reminiscent, introspective, contemplative, florid, sentimental.The following are examples:Dramatic,The Erl King, Schubert.Narrative,The Two Grenadiers, Schumann.Reminiscent,Der Doppelgänger, Schubert.Florid,Indian Bell Song, from Lakme, Delibes.Introspective,In der Frühe, Hugo Wolf.Contemplative,Feldeinsamkeit, Brahms.Songs of sentiment. This includes all songs involving the affections and the homely virtues.To these might be added songs of exaltation, such as Beethoven’s “Nature’s Adoration.” Character songs, in which the singer assumes a character and expresses its sentiments. A good example of this is “The Poet’s Love” cycle by Schumann. Classifying the song in this way is the first step toward discovering its atmosphere. There is always one tempo at which a song sounds best and this tempo must grow out of a thorough understanding of its character. Metronome marks should be unnecessary. Intelligent study of a song will unerringly suggest the proper tempo.Next, study the poem until it creates the mood. Read it, not once, but many times. Imbibe not only its intellectual but its emotional content. It is the office of poetry to stimulatethe imagination. It is under the influence of this stimulus that songs are written, and under its influence they must be sung. Hugo Wolf said that he always studied the poem until it composed the music. This means that he studied the poem until he was so filled with its mood that the proper music came of itself. Fix in mind the principal points in the poem and the order in which they occur. There usually is development of some kind in a poem. Learn what it is. Notice which part of the poem contains the great or central idea. Read it aloud. Determine its natural accent. The singing phrase grows out of the spoken phrase. Singing is elongated, or sustained, speech, but it should be none the less intelligent by reason of this.Now adapt the words to the music. If the music has grown out of the words as it should, it will follow the development of the poem and give it additional strength.By this time one should be in the mood of the song, and he should not emerge from it until the song is finished. If one is filled with the spirit of the song, is sincere and earnest, and is filled with a desire to express what is beautiful and good he will not sing badly even if his voice be ordinary.The composer may do much toward creating the mood for both singer and listener by means of his introduction. The introduction to a song is not merely to give the singer the pitch. It is for the purpose of creating the mood. It may be reminiscent of the principal theme of the song, it may consist of some fragment of the accompaniment, or any other materials which will tend to create the desired mood.In the introduction toRhein-goldwhere Wagner wishes to portray a certain elemental condition he uses 136 measures of the chord of E flat major.InFeldeinsamkeit(The Quiet of the Fields) where the mood is such as would come to one lying in the deep grass in the fieldwatching “the fair white clouds ride slowly overhead,” in a state of complete inaction, Brahms establishes the mood by this treatment of the major chord.a musical fragmentInDer Wanderer(The Wanderer) Schubert uses this musical figure to indicate the ceaseless motion of one condemned to endless wandering.a musical fragmentInThe Maid of the Millcycle where the young miller discovers the brook Schubert uses this figure, which gives a clear picture of a chattering brooklet. This figure continues throughout the song.a musical fragmentIn the songOn the Journey Home, which describes the feelings of one who, after a long absence returns to view the “vales and mountains” of his youth, Grieg, with two measures of introduction grips us with a mood from which we cannot escape.a musical fragmentBut one of the most striking examples of the operation of genius is Schubert’s introduction toAm Meer(By the Sea). Here with two chords he tells us the story of the lonely seashore, the deserted hut, the tears, the dull sound of breakers dying on a distant shore, and all around the unfathomable mystery of the mighty deep.a musical fragmentClassic song literature is full of interesting examples of this kind. If we learn how to study the works of these great ones of the earth we shall see how unerring is the touch of genius, and some day we shall awaken to see that these kings and prophets are our friends, and that they possess the supreme virtue of constancy.
VIII
The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing.Garcia.Hints on Singing.
The accent of truth apparent in the voice when speaking naturally is the basis of expression in singing.
Garcia.Hints on Singing.
First determine the general character of the song. A careful study of the words will enable the student to find its general classification. It may be dramatic, narrative, reminiscent, introspective, contemplative, florid, sentimental.
The following are examples:
Dramatic,The Erl King, Schubert.
Narrative,The Two Grenadiers, Schumann.
Reminiscent,Der Doppelgänger, Schubert.
Florid,Indian Bell Song, from Lakme, Delibes.
Introspective,In der Frühe, Hugo Wolf.
Contemplative,Feldeinsamkeit, Brahms.
Songs of sentiment. This includes all songs involving the affections and the homely virtues.
To these might be added songs of exaltation, such as Beethoven’s “Nature’s Adoration.” Character songs, in which the singer assumes a character and expresses its sentiments. A good example of this is “The Poet’s Love” cycle by Schumann. Classifying the song in this way is the first step toward discovering its atmosphere. There is always one tempo at which a song sounds best and this tempo must grow out of a thorough understanding of its character. Metronome marks should be unnecessary. Intelligent study of a song will unerringly suggest the proper tempo.
Next, study the poem until it creates the mood. Read it, not once, but many times. Imbibe not only its intellectual but its emotional content. It is the office of poetry to stimulatethe imagination. It is under the influence of this stimulus that songs are written, and under its influence they must be sung. Hugo Wolf said that he always studied the poem until it composed the music. This means that he studied the poem until he was so filled with its mood that the proper music came of itself. Fix in mind the principal points in the poem and the order in which they occur. There usually is development of some kind in a poem. Learn what it is. Notice which part of the poem contains the great or central idea. Read it aloud. Determine its natural accent. The singing phrase grows out of the spoken phrase. Singing is elongated, or sustained, speech, but it should be none the less intelligent by reason of this.
Now adapt the words to the music. If the music has grown out of the words as it should, it will follow the development of the poem and give it additional strength.
By this time one should be in the mood of the song, and he should not emerge from it until the song is finished. If one is filled with the spirit of the song, is sincere and earnest, and is filled with a desire to express what is beautiful and good he will not sing badly even if his voice be ordinary.
The composer may do much toward creating the mood for both singer and listener by means of his introduction. The introduction to a song is not merely to give the singer the pitch. It is for the purpose of creating the mood. It may be reminiscent of the principal theme of the song, it may consist of some fragment of the accompaniment, or any other materials which will tend to create the desired mood.
In the introduction toRhein-goldwhere Wagner wishes to portray a certain elemental condition he uses 136 measures of the chord of E flat major.
InFeldeinsamkeit(The Quiet of the Fields) where the mood is such as would come to one lying in the deep grass in the fieldwatching “the fair white clouds ride slowly overhead,” in a state of complete inaction, Brahms establishes the mood by this treatment of the major chord.
a musical fragment
InDer Wanderer(The Wanderer) Schubert uses this musical figure to indicate the ceaseless motion of one condemned to endless wandering.
a musical fragment
InThe Maid of the Millcycle where the young miller discovers the brook Schubert uses this figure, which gives a clear picture of a chattering brooklet. This figure continues throughout the song.
a musical fragment
In the songOn the Journey Home, which describes the feelings of one who, after a long absence returns to view the “vales and mountains” of his youth, Grieg, with two measures of introduction grips us with a mood from which we cannot escape.
a musical fragment
But one of the most striking examples of the operation of genius is Schubert’s introduction toAm Meer(By the Sea). Here with two chords he tells us the story of the lonely seashore, the deserted hut, the tears, the dull sound of breakers dying on a distant shore, and all around the unfathomable mystery of the mighty deep.
a musical fragment
Classic song literature is full of interesting examples of this kind. If we learn how to study the works of these great ones of the earth we shall see how unerring is the touch of genius, and some day we shall awaken to see that these kings and prophets are our friends, and that they possess the supreme virtue of constancy.