BY FREDERICK J. CROWEST AUTHOR OF "THE GREAT TONE POETS" "MUSICAL GROUNDWORK" EDITOR OF "THE MASTER MUSICIANS" SERIES, ETC. "Since singing is so good a thing I wish all men would learn to sing" SEVENTEENTH THOUSAND LONDON FREDERICK WARNE AND CO. AND NEW YORK 1904 SINGING cannot be learnt from a book, and so far from attempting any such impossible feat as writing a book which might be called " Singing without a Master ," the author's object—frequently insisted upon herein—is to point out the impo

That another large edition of this little Manual should be called for in so comparatively short a time is sufficiently encouraging testimony of the worth of the book and the favour it has found at the hands of students of singing and others—a result the more gratifying to the publishers since hitherto it has been issued with an anonymous title-page. Often has the authorship of the little volume been industriously defended and disputed—not by myself—both in this country and America; but, on the w

Once again my publishers have informed me of the necessity for reprinting this Manual, which has been so successful both here, in America, and in the Colonies. I have nothing to alter in the work, but I must express my thanks for the marked support that has been given to this straightforward advice. Did space permit, much might be said relative to that growing complaint, "Teachers' (or Board School) Laryngitis" as it is called. For some time past I have been authorized to make observations at th

WHATEVER be the actual difference between the professional and the amateur singer, if a person is worthy of the name of singer at all, there should be no difference in their views of Art, and in their devotion to practice. Singing is an art, and one of the most difficult of the arts to master; and any one who attempts to learn it must be prepared to give the same devotion to it as is demanded by the sister arts of painting and sculpture. I do not mean exactly devotion of the whole time and energ

The following paragraphs contain hints on various matters apparently little connected with singing, yet all of more or less importance to the singer. The voice, and the power of using it, depend so greatly upon general health, and health is so easily affected by habits of living, that I offer no apology for entering into some details which, though easy enough to write down, and read when written, would be difficult for a singing master to allude to or suggest without giving offence. Early Rising

The singer has to combine the arts of the musician, the public speaker, and, to a certain extent, the actor. Clearness of pronunciation and correctness of emphasis are included in the range of his study. Nor are these so easy of acquirement as many persons suppose. To a novice, the almost inevitable nervousness inseparable from the prominent position which a solo singer necessarily holds in the company, or before the audience to which he is singing, is very apt to render the enunciation less dis

The life of the singing voice is so comparatively short, that the study of singing is rendered more difficult than that of any other art. You may buy a violin or a pianoforte, ready-made and perfect, in your childhood, and nothing remains for you but to study the instrument diligently under a good master. But the vocal instrument cannot be said to exist at all, for purposes of singing study, before the age of eighteen or twenty in males, and (in our climate) sixteen in females. Even at those age

The voice, and how to use it, is a subject which has troubled many minds, and no doubt this will continue to be the case; but the difficult problem will not be solved by running to pettifogging teachers, who advertise to teach all that is known of singing, and a little more, in twelve easy lessons, without previous knowledge or practice at home, for the small fee of one guinea! Let it be stated once for all: singing cannot be taught in twelve easy lessons, and can scarcely be acquired in one hun

Remember that the voice is of all instruments the most difficult one to study, and to bring perfectly under control, especially for the first year or two. Do not attempt to cultivate it with the view to professional remuneration, unless you can set apart at least two hours daily for most careful study, and can also afford to wait at least eight or ten years for any substantial pecuniary reward for your labours. Individuality. —It is of great importance to bear in mind that no two voices are exac

The study of language, articulation, and deportment, the gradual formation and building-up of the singing voice, and the incessant practice of scales and exercises, are in reality only the necessary preliminaries to singing itself. Singing, or the proper use of the voice combined with the due enunciation and expression of the words, is nothing unless due attention be also paid to style, to the fit and effective execution of the music selected, due regard being paid both to taste and tradition. T

I need perhaps scarcely remind my readers who are or who wish to be singers that time concerns them quite as much as the conductor, the pianist, the violinist—in short, the whole orchestra. It behoves the student in singing to give early and careful attention to this important feature in his artistic training. You may have the voice of a Rubini, you may be a second Tamburini in quality and extent of voice, but unless you can sing in time yourself, and are able to do so with others, and with the

There are, of course, no rules to be given to guide the student in the choice of music, except the general ones, to choose good music, pleasing music, and music suited to his voice and powers. But those general rules touch incidentally on a few points on which it may be well to offer a few remarks. Music must suit the Voice. —Your music must not only be appropriate for your voice in compass, but it must be such as has been written for a voice of your kind. This is a most important thing to remem

It is highly expedient that singers themselves, and intending students of the art, should make some acquaintance with the physiological surroundings which are brought into play in the process of voice production. A knowledge of the technical terms for the various organs directly involved is very essential, and the intelligent student will see the necessity not only for distinguishing such names as "larynx" and "diaphragm," but also of possessing some idea of their whereabouts in the human frame.

This first exercise is a most useful one in the uniting of notes and in gaining facility. The student should at first practise it very slowly, mastering four bars at a time. Although I have divided it into fifteen examples, it is really but one exercise, with a minim rest between each phrase of four bars; and it is in this example form that I wish the student ultimately to sing it with the metronome, at say 76, taking breath only at the rest-mark, and making the crescendo —not, be it observed, b