Art songs for tenor - Iowa Research Online - University of Iowa [PDF]

University of Iowa

Iowa Research Online Theses and Dissertations

Summer 2012

Art songs for tenor : a pedagogical analysis of art songs for the tenor voice Adam Michael Webb University of Iowa

Copyright 2012 Adam Webb This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/3401 Recommended Citation Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2012. https://doi.org/10.17077/etd.6d2pqcwd

Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons

ART SONGS FOR TENOR: A PEDAGOGICAL ANALYSIS OF ART SONGS FOR THE TENOR VOICE

by Adam Michael Webb

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa July 2012 Essay Supervisor: Associate Professor John Muriello

Copyright by ADAM MICHAEL WEBB 2012 All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa

CERTIFICATE OF APPROVAL _______________________ D.M.A. ESSAY _______________ This is to certify that the D.M.A. essay of Adam Michael Webb has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the July 2012 graduation. Essay Committee: __________________________________ John Muriello, Essay Supervisor __________________________________ Christine Getz __________________________________ Shari Rhoads __________________________________ Timothy Stalter __________________________________ Stephen Swanson

To Suzie and Lorelei

ii

ACKNOWLEDGMENTS I would like to express my gratitude to my thesis committee: Stephen Swanson, Timothy Stalter, Shari Rhoads, and Christine Getz. I greatly appreciate your feedback and helpful advice. Thank you, John Muriello, my adviser and voice teacher, for your tireless help with this project and throughout this degree. Thank you to my former voice teachers: Stephen Swanson, Gail Dooley, and Jean Thomas. You have helped nurture me into a better performer and teacher. Finally, thank you to my family. It has been a blessing to grow up with such supportive parents and extended family. Thank you to my wife, Suzie. I could not have completed this degree without your unending support, motivation, and love.

iii

TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES .................................................................................vi LIST OF FIGURES........................................................................................................ix INTRODUCTION...........................................................................................................1 CHAPTER I BASIC TENOR PEDAGOGY AND DEFINITION OF TERMS ................6 Appoggio ......................................................................................................6 Appoggio Exercises ................................................................................8 Passaggio .....................................................................................................8 Vowel Modification .................................................................................... 10 Vowel Modification Exercises.............................................................. 12 Giro ............................................................................................................ 14 Tessitura ..................................................................................................... 16 Chiaroscuro................................................................................................ 18 Agility ........................................................................................................ 20 Repertoire Selection and The Vocalise........................................................ 21 CHAPTER II ITALIAN ART SONG AND ARIE ANTICHE......................................... 23 Claudio Monteverdi, “Rosa del ciel,” L’Orfeo............................................. 23 Alessandro Stradella, attr., “Pietà Signore” ................................................. 25 Alessandro Scarlatti, “Toglietemi la vita ancor,” Pompeo............................ 27 Francesco Durante, “Danza, danza, fanciulla gentile”.................................. 28 Vincenzo Bellini, “Dolente immagine di Fille mia,” Tre Ariette.................. 30 Vincenzo Bellini, “Vaga luna, che inargenti,” Tre Ariette............................ 32 Vincenzo Bellini, “Per pietà, bell’idol mio,” Sei Ariette .............................. 34 Francesco Paolo Tosti, “Ideale” .................................................................. 36 Francesco Paolo Tosti, “La Serenata”.......................................................... 38 Stefano Donaudy, “Vaghissima sembianza”................................................ 41 CHAPTER III ENGLISH ART SONG.......................................................................... 44 Henry Purcell, “I’ll sail upon the Dog Star,” The Fools Preferment, Z. 571 ....................................................................................................... 44 Thomas Arne, “O come, O come, my dearest,” The Fall of Phaeton ........... 47 Hubert Parry, “No longer mourn for me” .................................................... 49 Roger Quilter, “Go, Lovely Rose”............................................................... 51 Roger Quilter, “O mistress mine,” Three Shakespeare Songs, Op. 6............ 54 Roger Quilter, “Hey, ho, the wind and the rain,” Five Shakespeare Songs, Op. 23 ....................................................................................... 56 Gerald Finzi, “Her Temple,” A Young Man’s Exhortation, Op. 14............... 57 Benjamin Britten, “The Salley Gardens,” Folksong Arrangements, Vol. 1........................................................................................................... 60 Samuel Barber, “The Daisies” 3 Songs, Op. 2 ............................................. 62 John Jacob Niles, “Black is the color of my true love’s hair”....................... 64 CHAPTER IV GERMAN LIEDER............................................................................... 68 Wolfgang Amadeus Mozart, “Abendempfindung” ...................................... 69 iv

Ludwig van Beethoven, “Der Kuss”............................................................ 72 Franz Schubert, “Wohin?” Die schöne Müllerin, D. 795 ............................. 75 Franz Schubert, “Halt!” Die schöne Müllerin, D. 795.................................. 77 Franz Schubert, “Das Fischermädchen,” Schwanengesang, D. 957.............. 79 Robert Schumann, “Waldesgespräch,” Liederkreis, Op. 39 ......................... 82 Robert Schumann, “Wehmut,” Liederkreis, Op. 39 ..................................... 84 Robert Schumann, “Die Rose, die Lilie, die Taube, die Sonne,” Dichterliebe, Op. 48 ............................................................................. 85 Robert Schumann, “Aus alten Märchen winkt es,” Dichterliebe, Op. 48...... 87 Johannes Brahms, “Sonntag,” Fünf Lieder, Op. 47...................................... 91 CHAPTER V FRENCH MELODIE............................................................................... 94 Jean Paul Martini, “Plaisir d’amour” ........................................................... 96 César Franck, “Nocturne,” FWV 85............................................................ 98 Vincent d’Indy, “Madrigal,” Op. 4 ............................................................ 100 Ernest Chausson, “Hébé,” 7 mélodies, Op. 2 ............................................. 101 Henri Duparc, “Lamento” ......................................................................... 104 Henri Duparc, “Chanson triste,” Op. 2, No. 4............................................ 106 Gabriel Fauré, “Lydia,”2 mélodies, Op. 4.................................................. 108 Gabriel Fauré, “Nell,” 3 mélodies, Op. 18 ................................................. 109 Claude Debussy, “Les cloches,” Romances, L 79...................................... 111 Maurice Ravel, “Sainte,” M.9 ................................................................... 115 CONCLUSION ........................................................................................................... 118 BIBLIOGRAPHY ....................................................................................................... 119 APPENDIX A SONGS ORGANIZED BY PEDAGOGICAL GOALS........................ 124

v

LIST OF MUSICAL EXAMPLES Example 1: Claudio Monteverdi, L’Orfeo, “Rosa del ciel,” mm. 131-138 ...................... 24 Example 2: Alessandro Stradella, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high voice , “Pietà Signore,” mm. 21-27............................................................................................. 26 Example 3: Alessandro Stradella, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high voice , “Pietà Signore,” mm. 28-34............................................................................................. 27 Example 4: Alessandro Scarlatti, Italian Arias of the Baroque and Classical Eras, “Toglietemi la vita ancor,” mm. 3-5...................................................................... 27 Example 5: Francesco Durante, Twenty-six Italian Songs and Arias, “Danza, danza, fanciulla gentile,” m. 3.......................................................................................... 29 Example 6 Francesco Durante, Twenty-six Italian Songs and Arias, “Danza, danza, fanciulla gentile,” mm. 30-32................................................................................ 30 Example 7: Vincenzo Bellini, 15 Composizioni da Camera, “Dolente immagine di Fille mia,” mm. 4-10............................................................................................. 31 Example 8: Vincenzo Bellini, 15 Composizioni da Camera, “Vaga luna, che inargenti,” mm. 20-25........................................................................................... 33 Example 9: Vincenzo Bellini, 15 Composizioni da Camera, “Per pietà, bell’idol mio,” mm. 5-8 ...................................................................................................... 35 Example 10: Francesco Paolo Tosti, 30 Songs, “Ideale,” mm. 22-27.............................. 37 Example 11: Francesco Paolo Tosti, 30 Songs, “La Serenata,” mm. 4-9......................... 39 Example 12: Francesco Paolo Tosti, 30 Songs, “La Serenata,” mm. 74-81..................... 40 Example 13: Stefano Donaudy, 36 Arie di stile antico, Vol. 2, “Vaghissima sembianza,” mm. 51-60 ........................................................................................ 42 Example 14: Henry Purcell, Standard Vocal Literature: Tenor, “I’ll sail upon the Dog Star,” mm. 25-33........................................................................................... 46 Example 15: Thomas Arne, Twelve Songs: Book One, “O come, O come, my dearest,” mm. 8-9 ................................................................................................. 48 Example 16: Thomas Arne, Twelve Songs: Book One, “O come, O come, my dearest,” mm. 18-19.............................................................................................. 49 Example 17: Hubert Parry, Hubert Parry Songs, vol. 49 of Musica Britannica: A National Collection of Music, “No longer mourn for me,” mm. 21-30 .................. 51 Example 18: Roger Quilter, The First Book of Tenor Solos, “Go, Lovely Rose,” mm. 3-5 ................................................................................................................ 53 vi

Example 19: Roger Quilter, The First Book of Tenor Solos, “Go, Lovely Rose,” mm. 6-7 ................................................................................................................ 53 Example 20: Roger Quilter, Standard Vocal Literature: Tenor, “O mistress mine,” mm. 1-7 ................................................................................................................ 55 Example 21: Roger Quilter, Standard Vocal Literature: Tenor, “Hey, ho, the wind and the rain,” mm. 46-49 ...................................................................................... 57 Example 22: Gerald Finzi, Collected Songs, “Her Temple,” mm. 7-11 .......................... 59 Example 23: Benjamin Britten, Folksong Arrangements, vol. 1, “The Salley Gardens,” mm. 1-8................................................................................................ 61 Example 24: Samuel Barber, Collected Songs, “The Daisies,” mm. 5-7 ......................... 64 Example 25: John Jacob Niles, The Songs of John Jacob Niles, “Black is the color of my true love’s hair,” mm. 7-9 ........................................................................... 65 Example 26: Wolfgang Amadeus Mozart, Sämtliche Lieder, “Abendempfindung,” mm. 1-11 .............................................................................................................. 70 Example 27: Wolfgang Amadeus Mozart, Sämtliche Lieder, “Abendempfindung,” mm. 66-75 ............................................................................................................ 71 Example 28: Ludwig van Beethoven, Lieder und Gesänge, “Der Kuss,” mm. 6-16........ 73 Example 29: Ludwig van Beethoven, Lieder und Gesänge, “Der Kuss,” mm. 43-46...... 74 Example 30: Franz Schubert, 200 Songs, “Wohin?” mm. 28-35..................................... 76 Example 31: Franz Schubert, 200 Songs, “Halt!” mm. 40-44 ......................................... 77 Example 32: Franz Schubert, 200 Songs, “Das Fischermädchen,” mm. 35-42................ 80 Example 33: Robert Schumann, Liederkreis, Opus 39, “Wehmut,” mm. 1-3.................. 85 Example 34: Robert Schumann, Dichterliebe, “Die Rose, die Lilie, die Taube, die Sonne,” mm. 1-4................................................................................................... 86 Example 35: Robert Schumann, Dichterliebe, “Aus alten Märchen winkt es,” mm. 7-19...................................................................................................................... 89 Example 36: Robert Schumann, Dichterliebe, “Aus alten Märchen winkt es,” mm. 67-72 .................................................................................................................... 90 Example 37: Johannes Brahms, Lieder, Vol. 1, “Sonntag,” mm. 8-16. © 1980 by C.F. Peters ............................................................................................................ 92 Example 38: Jean Paul Martini, The French Song Anthology. “Plaisir d’amour,” mm. 21-23 ............................................................................................................ 97 Example 39: César Franck, The French Song Anthology, “Nocturne,” mm. 7-11 ........... 99 vii

Example 40: Ernest Chausson, The French Song Anthology, “Hébé,” mm. 1-3............ 102 Example 41: Henri Duparc, The French Song Anthology, “Lamento,” mm. 4-7 ........... 105 Example 42: Gabriel Fauré, Gabriel Fauré: 50 Songs, “Lydia,” mm. 11-13 ................ 109 Example 43: Gabriel Fauré, Gabriel Fauré: 50 Songs, “Nell,” mm. 29-32................... 110 Example 44: Claude Debussy, Douze chants avec acct. de piano, “Les cloches,” mm. 7-10 ............................................................................................................ 113 Example 45: Claude Debussy, Douze chants avec acct. de piano, “Les cloches,” mm. 28-36 .......................................................................................................... 114 Example 46: Maurice Ravel, Collected Songs, “Sainte,” mm. 11-13............................ 116

viii

LIST OF FIGURES Figure 1: Appoggio Exercise. Richard Miller, Training Tenor Voices, pg. 30..................8 Figure 2: Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 52 ................................................................................................................... 12 Figure 3: Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 53 ................................................................................................................... 13 Figure 4: Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 54 ................................................................................................................... 13 Figure 5: Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 107 .............. 17 Figure 6: Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 107 .............. 17 Figure 7: Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 108 .............. 18 Figure 8: Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 108 .............. 18 Figure 9: Agility Exercise.............................................................................................. 20 Figure 10: Agility Exercise............................................................................................ 21 Figure 11: Agility Exercise. Richard Miller, Training Tenor Voices, pg. 88.................. 21 Figure 12: Passaggio Exercise....................................................................................... 34 Figure 13: Legato Vowel Exercise................................................................................. 38 Figure 14: Triplet Exercise ............................................................................................ 41 Figure 15: Passaggio Octave Exercise........................................................................... 42 Figure 16: Agility Exercise............................................................................................ 47 Figure 17: Appoggio Exercise........................................................................................ 62 Figure 18: Tessitura Exercise ........................................................................................ 66 Figure 19: Consonant Exercise ...................................................................................... 68 Figure 20: Arpeggio Exercise ........................................................................................ 77 Figure 21: Octave Buzz Exercise................................................................................... 78 Figure 22: Octave Agility Exercise................................................................................ 79 Figure 23: Passaggio Exercise....................................................................................... 81 Figure 24: Articulation Exercise .................................................................................... 90 ix

Figure 25: Passaggio Exercise..................................................................................... 103 Figure 26: Vowel Exercise .......................................................................................... 105 Figure 27: Even Scale Octave Exercise........................................................................ 111 Figure 28: Articulator Exercise.................................................................................... 117

x

1 INTRODUCTION

Tenors pose a unique challenge to voice teachers. The physical demands and expectations of repertoire require the tenor to have supplemental skills not found in general voice pedagogy textbooks. Tenors require a distinct approach to technique that varies from other voice types in the following areas: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. This project will address each of these areas with a tenorspecific point of view. This project is informed by my transition from lyric baritone to tenor. When I made the transition I was an experienced voice teacher and performer with a strong working knowledge of vocal pedagogy. However, I found it difficult to find clear answers to tenorspecific pedagogical questions. I discovered that I needed to supplement my voice training with nuanced understandings of tenor pedagogy. The definitive source for tenor training is Richard Miller’s Training Tenor Voices. In his preface to Training Tenor Voices, Miller explains that many issues set the tenor apart from other voice classifications.1 First, Miller says, the “normal” male voice is the baritone—tenors and basses are outside that norm and are therefore fewer in number. Second, he argues that although singers in every voice type must possess solid technique, the tenor must demonstrate a higher degree of precision than other singers due to the extraordinary demands placed on the voice. Third, the shortage of tenors is not a new problem. He claims that this shortage is not only due to the physicality of the tenor voice being outside the male norm, but it is also due to a deficit of training for tenors. Miller points 1

Richard Miller, Training Tenor Voices (New York: Schirmer Books, 1993), ix-x.

2 out that many voice teachers express a lack of confidence in training tenors, stating that “many teachers admit that teaching the tenor voice remains a mystery.”2 Without adequate guidance in technique and repertoire selection, many tenors can inadvertently pursue a technically unhealthy path. Fourth, the performance demands on the tenor voice are greater than those for other voice types. The tenor is asked to sing at demanding pitch levels for long periods of time while simultaneously expressing dramatic subtlety. Lastly, Miller discusses the personality of a successful tenor; he must be willing and able to overcome the aforementioned pitfalls of the tenor voice. The successful tenor possesses a unique blend of “guts and intelligence.”3 The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. They appear in this order because it is a logical progression of languages the tenor should study, from the legato and vowel-focused Italian language, to the sophisticated nuances of French. The selected songs, divided by language, then appear chronologically. The level of difficulty for the majority of the selected repertoire is approximately the same. Most of the songs are at a medium level of difficulty, and all of them are appropriate for undergraduate

2

Miller, ix.

3

Miller, x.

3 tenors. Songs with a high level of difficulty are described as specifically appropriate for advanced undergraduate tenors. The intended audience for this project is voice teachers of undergraduate tenors. A typical teacher of undergraduate tenors likely possesses a working knowledge of vocal pedagogy. However, unless the teacher is a tenor, this training typically limits the teacher’s ability to guide the tenor through nuanced technique. An undergraduate tenor is facing a turning point in terms of his physical development between the ages of 18 and 22, and it is the most important time for him to learn healthy technique. It is essential that the tenor’s teacher be equipped to explain how a tenor’s approach to technique is unique, and what repertoire he should sing to progress and fulfill his potential. This project aids teachers and young tenors in a practical approach to technique and repertoire selection by identifying the technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be more equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. Art song was selected because it represents an accessible repertoire for the young voice. Art song is generally less difficult than operatic and oratorio repertoire. Undergraduates are expected to sing art song more frequently than operatic or oratorio repertoire in their courses of study, and degree recital programs contain either art songs exclusively, or art songs primarily. The combination of vocal and performance demands makes art song an effective genre through which to address pedagogical issues.

4 There are many exceptional vocal pedagogy textbooks available that provide singers and teachers with solid technical foundations by authors such as Manuel Garcia, Giovanni Battista Lamperti and others. However, general voice pedagogy books lack specific detail about the nuances of each voice type. Among the available books that address the tenor voice, Richard Miller’s Training Tenor Voices stands out as the most comprehensive and detailed for tenor pedagogy, although it does not contain extensive guidance for repertoire. Anthony Frissell’s The Tenor Voice is a brief discussion of basic pedagogy that does not give the reader a thorough understanding of tenor pedagogy or repertoire. There are also many biographical books by great tenors such as Enrico Caruso that can provide interesting insight into the tenor voice, but the reader must search through the anecdotes, extract the pedagogical value and then translate it to the voice studio. Repertoire guides are available for opera arias by authors such as Berton Coffin, Richard Boldrey, and Mark Ross Clark; these provide pedagogical information based on voice type. For example, Berton Coffin’s The Singer’s Repertoire and Richard Boldrey’s Guide to Operatic Roles and Arias list arias by voice type and further delineate the arias by Fach. Mark Ross Clark’s Guide to the Aria Repertoire provides much more information including range, tessitura, Fach, librettist, and other background information, as well as a plot synopsis. However, all three of these sources are specifically opera aria guides. Despite the importance of art song in the career of young singers, and the importance of art song as a primer for learning opera arias, there is a lack of art song guides that help teachers and students select repertoire based on voice type. Carol Kimball’s Song is the most comprehensive guidebook for art song literature, but it focuses on biographic and style information rather than pedagogical issues, including

5 voice type. Victoria Villamil’s A Singer’s Guide to the American Art Song 1870–1980, is a more detailed art song guide, but it only focuses on American art song and does not provide pedagogical support for individual voice types. Sergius Kagen’s Music for the Voice is a song guide that contains valuable information regarding range, tessitura, and general notes about the pieces. However, it does not address vocal technique and it is somewhat outdated. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen repertoire for the tenor voice. Repertoire selection is extremely important for young tenors because inappropriate repertoire can significantly damage his voice. Much of the well-known tenor repertoire is operatic and full of drama, passion, and robust singing often in the extended high range. If a young tenor attempts these dramatic arias at too early an age, his vocal development can be disrupted. The art songs selected for this project expand the tenor’s abilities and range, but in smaller increments than the technically demanding arias of Puccini, Verdi, or Leoncavallo. With careful attention to technique and with repertoire guidance in the early stages of a tenor’s development, the tenor will be better prepared for a successful career marked by skill and longevity. Appendix A provides a list of art songs discussed in this project that are specifically helpful for achieving particular pedagogical goals.

6 CHAPTER I BASICS OF TENOR PEDAGOGY AND DEFINITION OF TERMS

The following discussion of tenor pedagogy is meant to supplement the information found in a typical vocal pedagogy textbook. Some points of vocal pedagogy, such as posture, are not included because a tenor should approach them in the same way as any other voice type. While the following points may also apply to other voice types, tenors must approach them uniquely, based on the demands on his voice and repertoire. The pedagogical terms and vocalises described in this chapter are referenced throughout the project in order to provide an understanding of their applications to the tenor voice. Many of the following subjects are derived from Miller’s Training Tenor Voices since it is the primary source for tenor pedagogy. As a tenor goes through progress in mastering his technique in each of these categories, he will build a technique that empowers him to sing with confidence and knowledge of his instrument.

Appoggio Singing requires one to extend an exhalation much longer than is necessary for typical speech in everyday life. The standard breathing approach advocated by many pedagogues is called appoggio. The Italian verb appoggiare means to support or to lean. Miller explains that appoggio is not simply a breathing technique. It encompasses the ideas of breath management and support.4 Given the frequency with which the tenor must use his

4

Miller, 25.

7 upper range and the increased breath pressure needed to produce those pitches, coordinated appoggio breathing is a necessity. The essence of appoggio is that opposing forces, the stretching and expanding of the ribcage and laryngeal musculature, are what provide the support for the voice. The lower abdominal muscles help support this posture and delay the expulsion of air, but the real impetus for the breath comes from the dynamic energy inherent in an expanded ribcage. Therefore, appoggio refers to dynamic muscular support necessary to maintain open posture that is able to produce focused airflow, rather than an active contraction of muscles, which expels air at an unsustainable rate. The upper abdominal muscles should be relatively relaxed and extending outward, and the lower abdominal muscles should be contracted or “tucked” inward. When the singer is properly engaged in appoggio, singing feels relatively easy. One of Lamperti’s maxims of singing is, “It is co-action, not non-action, that causes controlled effort to feel effortless.”5 Furthermore, Miller adds that “muscle tension is to be avoided, but muscle tonus is vital to all energized physical action.”6 The breath is not relaxed; it is energized. The lower abdominal muscles are engaged to support an open posture and resist the collapse of the ribcage without extreme effort, thus creating the sensation of ease and fullness in the torso and neck.

5

Giovanni Battista Lamperti, Vocal Wisdom, trans. William Earl Brown (New York: Taplinger, 1957), 29. 6

Miller, 26.

8 Appoggio Exercises An effective exercise for developing appoggio is the use of short notes produced with a clean onset, and having the singer remain in the position of inhalation. Figure 1 should be executed at a moderate tempo, in a comfortable pitch range, on [a]. The emphasis is on maintaining this posture during inspiration and expiration. The length of time in the position of inhalation in this exercise strengthens the targeted abdominal muscles and the intercostals, which provides the physical support of the appoggio technique.

Figure 1. Appoggio Exercise. Richard Miller, Training Tenor Voices, pg. 30.

Once the singer has mastered Figure 1, he should change the rhythm to eighth notes with small breaths between each note. This builds the appoggio musculature and helps with flexibility and coordinated onset. Miller adds that appoggio onset exercises, such as Figure 1, should be included in the daily regimen of every tenor. Balanced appoggio onset facilitates coordination between airflow, subglottic pressure, and vibrato rate. The appoggio onset also gives the tenor the basis on which to extend his appoggio technique to longer phrases.

Passaggio The passaggio is a registration event that occurs in every voice type. The primo passaggio is the first transition point in the voice in which a singer cannot sing higher in his

9 chest voice without “breaking” or adding a mixture of head voice. The secondo passaggio is the second transition point in which the singer cannot sing higher in the mixed voice and must use head voice. The area between the primo and secondo passaggi is typically a perfect fourth, and is known as the zona di passaggio.7 As the pitch ascends through the zona di passaggio, the cricothyroid muscle increases activity, elongating and thinning the vocal folds. However, it is continually balanced by varying degrees of thyroarytenoid muscle activity, which is associated with chest voice. Consequently, a “mixed” voice is achieved in the zona di passaggio, as the opposing muscular activities find equilibrium. Once above the secondo passaggio, the singer is using nearly exclusively the cricothyroid muscle.8 The goal of a classically trained singer is to make the passaggi points unnoticeable. Therefore, the tenor must achieve a balance between the forces that control pitch—most notably the cricothyroid and thyroarytenoid muscles—and breath. Miller states, “Dynamic balancing among the laryngeal muscles and the resonator tract enhances desirable gradual registration equalization and results in a registration timbre historically termed voce mista, voix mixte (mixed voice), or voce media (middle voice).”9 In order for the laryngeal muscles to find balance and equalization with the resonator tract, the voice must always remain free to react to ever-changing demands. A dynamic balance between opposing muscular forces cannot be achieved through a forced “setting” of one’s technique. The key to finding dynamic balance lies in laryngeal freedom, through regulated airflow. Based on his teacher’s

7

Miller, 3.

8

Miller, 4.

9

Miller, 3.

10 feedback and his own sensory experience of feeling muscle coordination, the tenor can regulate his airflow so that adequate breath pressure is achieved without creating excessive subglottic pressure. Once the laryngeal muscles are sufficiently free and supported with correct breath, the passaggi points are minimized and a unified timbre is achieved throughout the tenor’s range. Passaggio exercises are referenced throughout this project.

Vowel Modification Vowel modification is an essential technique of the tenor voice because the tenor’s tessitura lies in a range where vowel modification is necessary. Vowel modification is designed to achieve scale unification and increase the presence of the singer’s formant. The singer’s formant, or vocal ring, is a resonance of the vocal tract consisting of a cluster of the third through fifth formants that has a peak of energy at a frequency of approximately 2500– 3000 Hz. One main concept of vowel modification is that, as Miller states, “the initial vowel undergoes some migration as the scale ascends, by modifying toward a near neighbor. The laryngeal configuration changes for each vowel, and there should be a corresponding change in the shape of the resonator tract.”10 Vowels are defined by the first two formants, or strong resonances, of the vocal tract. For example, the [i] vowel has a very low first formant and a very high second formant.11 The [i] vowel is perceived as bright, because the second formant is at such a high frequency. Conversely, the [u] vowel has a low first and second formant and the low frequencies of the formants mean the [u] vowel is generally perceived as dark. When pitch and vowel formants

10

Miller, 41.

11

Ingo Titze, Principles of Voice Production, 2nd ed. (Iowa City: NCVS, 2000), 161.

11 do not line up positively, modification is employed. Vocologist Ingo Titze sets forth rules for modifying vowels: 1) All formants decrease as the length of the vocal tract increases. This can include comfortably lowering the larynx or even protruding the lips slightly. The result will be a darker tone. 2) Formants decrease with lip rounding and increase with lip spreading. This means that lip posture greatly affects timbre and should be monitored. Jaw lowering will raise the first formant, which can either aid or further complicate pedagogical issues. 3) A mouth constriction lowers the first formant and raises the second formant. A pharyngeal constriction raises the first formant and lowers the second formant. This means that a mouth constriction creates brighter vowels, and a pharyngeal constriction will create darker vowels.12 Understanding how articulators affect vowel formants is crucial for the teacher and singer. Young tenors should work for effective vowel modification to help achieve consistent timbre. Vowel modification has an effect on timbre because the singer is adjusting the overtones in his voice. To use vowel modification to help timbre, Miller suggests that modification toward a closed vowel is to be used for a tone that is spread or too open. Modification toward a more open vowel is to be used to address a narrow or excessively bright tone.13 Vowel modification includes a naturally low larynx, as occurs in inhalation, but does not include laryngeal depression. Vowel modification is not to be confused with the term “covering.” Covering has a negative connotation and can be defined as overly darkening the vowel by retracting the tongue. Lastly, whereas “covering” implies a sudden heaviness 12

Titze, 179-80.

13

Miller, 39.

12 applied to the voice, vowel modification is applied gradually in the course of an ascending line. It is essential to maintain a well-defined vowel, with adjustments being minimal and only as necessary.

Vowel Modification Exercises It is the teacher’s duty to create and adapt vocal exercises that move toward a specific goal. With a working knowledge of general pedagogical concepts, a teacher can adapt basic exercises effectively. In the case of vowel modification, the overall principle is that the singer should be aware of consistent timbre and the singer’s formant, and the vowel should only be modified slightly so that the original vowel is still distinguishable. The following melodic exercises are adapted from Miller’s Training Tenor Voices.

Figure 2. Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 52.

Figure 2 represents a simple melodic pattern that outlines the interval of a fourth. This exercise should be sung on a closed vowel such as [i] or [e], in order to establish a greater sensation of forward resonance, with careful attention paid to a consistency of timbre. The singer will find that slightly modifying the vowel toward a more neutral position as the pitch increases will help maintain consistent timbre and ensure consistency of the singer’s formant. This exercise should be repeated in successive half-step intervals until the tenor ascends past the secondo passaggio.

13

Figure 3. Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 53.

The exercise illustrated in Figure 3 is to be sung with a closed vowel such as [e] on the first pitch, moving toward an open vowel such as [ɔ]. This exercise should be repeated, ascending by half step until it outlines B3 and F-sharp4. The tenor can experiment in this exercise with a variety of closed-open vowel combinations, so that each vowel is represented and goes through the important process of slight modification. Different singers will have unique strengths and weaknesses in terms of which vowels ring consistently based on their individual vocal tract resonances.

Figure 4. Vowel Modification Exercise. Richard Miller, Training Tenor Voices, pg. 54.

Figure 4 stretches the range of the vocal exercise in Figure 3 from a fifth to a sixth. This exercise should be repeated by ascending half steps until the top note of the phrase reaches the secondo passaggio, which for most tenors will be around G4. Sing Figure 4 with a closed vowel at the beginning, switching to an open vowel at the climax as explained in Figure 3. Starting with a closed vowel and transitioning to an open vowel helps the tenor practice vowel modification and consistent timbre.

14

Giro A combination of the ideas of vowel modification and appoggio is the historical Italian school approach of giro, which translates as “turn.” Especially important to tenors, the giro strengthens the head voice so that it rings in the singer’s formant, reducing laryngeal tension and facilitating the “easy” sensation that is the marker of balanced singing. At the core of giro is the path on which the breath carries the voice. Giro del fiato, “turn of the breath,” is a specific term that relates to the breath traveling up and back over the soft palate, and then turning forward toward the “mask”.14 The great tenor Franco Corelli noted, “We are constructed in such a way that there’s a curve… and that is the path of the breath.”15 Corelli maintains that the forward sensations of resonance felt by singers serve as a target for directing the breath. If the tenor can direct the breath through this curved path, he achieves a more pleasing and rounded tone that is produced effortlessly. Corelli also refers to this dynamic relationship between breath and resonance as “striking in the mask.” The clear sensations of forward resonance indicate that the throat and voice are free, he states, “[b]ecause when the throat is free, and you let the breath pass tranquilly, and the chords are healthy, only then the voice strikes in the mask.”16 Pedagogue Miriam Jaskierowicz Arman suggests that giro is the ideal approach to placement. When the voice is carried on the breath in the up-and-back path around the soft

14

Gioacchino Li Vigni, “Gira/Giro,” 15 December 2011, personal e-mail (15 December 2011). 15

Jerome Hines, Great Singers on Great Singing (New York: Doubleday, 1928), 63.

16

Hines, 63-64.

15 palate, the frontal resonance sensations are felt strongly and with minimal effort. Arman also notes that the coordination of breath and resonance in the giro allows the singer to negotiate transitions in the voice with very little effort. 17 Therefore, the giro’s usefulness in the zona di passaggio is critical. If the tenor can achieve giro, he feels the breath flowing freely and the voice ringing very high. This minimizes the stress felt in the larynx and allows for vocal freedom through passaggi points. In the giro approach to high notes, the tenor directs the breath and therefore the vowel placement to turn up and forward so that the vowel rings in a slightly higher and more forward place, while modifying the vowel toward a neutral position. Additionally, the tenor—when using the giro—aims to sing on the sharp side of the pitch. This helps the tenor approach pitches with a lifted quality and in tune. The giro approach mitigates the removal of pressed phonation and uneven vibrato, which contributes to tenors singing flat in the zona di passaggio. Corelli explains the giro approach to tenor high notes in this way: There are many beautiful voices that have not found the way to the high notes… how to girare [turn] the high notes. One thing is very clear: if you make a middle-voice sound and then go up to the range of the passaggio, singing with the same kind of sound, it’s not going to work. You must make a change as you go up. […] Now this famous passaggio, between a note placed normally in the central voice on awe and the high note on oo, goes more in the mask, it goes higher [in placement]. Practically speaking, that is the path.18 When connected to solid breath support, the giro aids the tenor in transitioning into a ringing head voice. Depending on the melody in context, the tenor should start using the giro

17

Miriam Jaskierowicz Arman, The Voice: A Spiritual Approach to Singing, Speaking, and Communicating (Plantation, FL: Music Visions Intl.), 57. 18

Hines, 64.

16 around his primo passaggio, and he must be fully in the giro technique before he ascends past the secondo passaggio. Tessitura While a singer’s vocal range is a factor in repertoire selection, tessitura plays a much more important role. Tessitura is the average pitch range of a piece of music, and can also refer to the most comfortable pitch range for a singer. As stated previously, tenors are required to sing high pitches very frequently, or, in a high tessitura. Ease in a high tessitura is essential for healthy production and longevity. The passaggi points are a good indicator of where the tessitura might be most comfortable, but with practice, a tenor can find ease even in his problem areas. The following exercises should be sung in neighboring keys and on one continuous vowel, starting with a front vowel such as [i] or [e] to establish strong resonance and continuing until each vowel is mastered. They are to be practiced in succession, so that mastery of one prepares the singer for the next. A young tenor should start the exercises shown in Figures 5 and 6 on C4 and work his way up to E4 or F4 over time. The mastery of these tessitura exercises takes time and should not be rushed. The exercise in Figure 5 is designed to establish a consistent resonance between the chest voice and the zona di passaggio. Without a smooth connection into the passaggio, the chances are slim for a successful tone above the passaggio.

17 Figure 5. Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 107.

The exercise in Figure 6 works similarly to that of Figure 5 but in the opposite direction. The emphasis here is to establish consistent tone through the zona di passaggio and above the secondo passaggio.

Figure 6. Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 107.

In Figure 7, the exercise reaches higher pitches and stays in or above the zona di passaggio for the entire exercise. Assuming that the previous exercises have been accomplished, the transition toward the A4 should be free and smooth. For many tenors, A4 is the most important note above the secondo passaggio. If a tenor can execute a free and ringing A4, the technique for higher pitches is remarkably similar, whereas each note in the zona di passaggio is produced with slight differences. The main point of Figure 7 is to build stamina and negotiate pitches above the passaggio. The tenor should start Figure 7 on C4 and work his way up to E4 as he masters the technique.

18 Figure 7. Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 108.

The final tessitura exercise, Figure 8, combines the pitch freedom that has been established with the previous exercises and adds a demand for flexibility and agility. The difficulty with faster rhythms is in being able to maintain balanced resonance, or chiaroscuro. Care should be taken to ensure that the vowel modification is appropriate and that balanced resonance is achieved throughout. The tenor should start Figure 8 on C4 and work his way up to E4 as he masters the technique.

Figure 8. Tessitura Exercise. Richard Miller, Training Tenor Voices, pg. 108.

Chiaroscuro The term chiaroscuro is a combination of the Italian words for clear, chiaro, and dark, or oscuro. It represents a delicate dichotomy of two opposing timbres, and is at the core of balanced resonance; the ideal timbre has characteristics of brightness and darkness simultaneously. In practical terms, the chiaro characteristic of a tone refers to the singer’s formant that soars over orchestration, and the oscuro quality develops warmth and beauty. Chiaroscuro is important to tenors, because balanced resonance is essential for managing

19 tension. Without chiaroscuro, the tenor may “push” in an effort to achieve greater resonance or projection. Through chiaroscuro the tenor can achieve his desired resonance in a way that allows for laryngeal freedom and good breath management. To achieve chiaroscuro, the principals of vowel modification are employed. In the Journal of Singing, pedagogue Adam Kirkpatrick states that “vowel modification necessarily occurs in chiaroscuro singing because of laws of physics.”19 He is referring to the physical properties of formants that determine the necessary vowel modification to achieve a desired tone quality. The balanced resonance of chiaroscuro must start with a comfortably low, or seated, larynx. The vocal tract is then adjusted to maintain the singer’s formant. Chiaroscuro is inextricably linked to balance in nearly every aspect of singing. It is a continuous goal toward which to strive rather than a precise technique to be honed. Kirkpatrick recommends what he calls the “chiaroscuro maneuver” to help isolate and exercise this specific aspect of timbre.20 In this simple exercise, the singer chooses a vowel and pitch, and sustains that pitch while exploring the vast extremes of chiaro and oscuro. The singer should start with an excessively bright tone and continue toward excessive darkness. With the teacher’s help, the tenor will recognize the optimum balance along that continuum and will be able to identify balanced resonance by the “bloom,” or effortless increase in vocal intensity of his voice and ease of production.

19

Adam Kirkpatrick, “Chiaroscuro and the Quest for Optimal Resonance,” Journal of Singing-The Official Journal of the National Association of Teachers of Singing 66, no. 1 (2009): 16. 20

Kirkpatrick, 20.

20 Agility For a tenor, developing agility is a necessity given the large amounts of florid writing in the tenor repertoire. Even in styles where florid writing is less prevalent, agility is extremely beneficial as it implies freedom and flexibility in the voice. Miller points out that agility stems from balanced muscle coordination, and that mastery of the appoggio breath is the foundation for vocal agility.21 Due to the quick adjustments necessary in agility exercises and passages, some aspects of the appoggio are of great importance, such as posture and relaxed inspiration. When a passage contains florid writing, it is impossible for the voice to make the necessary adjustments if the larynx is inhibited by poor posture or support.

Figure 9. Agility Exercise.

The vocal exercise in Figure 9 is useful in establishing a pitch change of moderate speed. Legato is to be maintained, ensuring balanced resonance and adequate support. The exercise is to be repeated by half-step increments as illustrated. Start the exercise with a single front vowel, such as [i], and add contrasting vowels as illustrated. The following exercise, Figure 10, is designed to gradually increase the speed of the note change. This is a useful agility exercise, and can also be used to develop skills for a trill. Repeat this exercise on any comfortable pitch on a single vowel. 21

Miller, 88.

21

Figure 10. Agility Exercise.

Figure 11. Agility Exercise. Richard Miller, Training Tenor Voices, pg. 88.

Agility exercises can be physically equated with the sensation of laughter, as demonstrated by the exercise in Figure 11. In this exercise, the singer should use a staccato approach to the pattern, simulating laughter. Miller uses the closed mouth “hm” in order to heighten awareness of the abdominal activity. The singer should feel a sense of openness in the ribcage, and minimal pulses from the abdominal wall, which are nearly imperceptible.22 Overall, the pulses do not literally come from a lunging of the abdominal muscles. Such a production would be too slow and too heavy for any practical application. Once the singer establishes firm control over the concept of the laughter-like hum, he can proceed to an open vowel, without adding unnecessary abdominal movement in order to maintain appoggio.

Repertoire Selection and The Vocalise Choosing appropriate repertoire is an extremely important but potentially tricky undertaking for an emerging tenor. Many teachers and singers first look at the range of a 22

Miller, 90.

22 song to determine if it is appropriate. While range is an important consideration, it is simply dangerous for range to be the only—or even primary—consideration. For a beginning tenor, tessitura is of utmost importance and encompasses many pedagogical issues. Range, dramatic character, and musical styles are secondary factors. Choosing the right repertoire helps ensure successful performance and helps develop a progression of repertoire as the voice matures. For young tenors, mastering a high tessitura is essential. Young singers may be unfamiliar with their head voice and therefore will have problems moving in and out of the secondo passaggio. Head voice is defined here as a tone production used in the middle and upper range that relies on a greater use of cricothyroid muscle than thyroarytenoid muscle. The sensations of head voice are more concentrated in the head, rather than the chest. Choosing repertoire that is challenging, yet attainable is the best way for a young tenor to discover his voice and find the elusive balance of breath and energy required to sustain a high tessitura. Appendix A will help teachers assign repertoire from this project to students based on desired pedagogical outcomes. Additionally, it is useful for the advancement of the tenor’s technique to develop vocal exercises based on phrases of his new repertoire that cover the transition into and out of the higher tessitura. This could be as simple as isolating a phrase in the song and using the notes and rhythms as an exercise, or using the contour of the phrase with some rhythmic and melodic adjustments in order to make it a more accessible exercise. Combining the tenor’s repertoire and vocalises in this way will help the tenor make clear connections between technique and repertoire in the song learning process and ensure that his repertoire is improving his technique.

23 CHAPTER II ITALIAN ART SONG AND ARIE ANTICHE

Italian song provides a wealth of opportunity to master tenor technique and should be the first language the tenor should study. Lamperti states that Italian is the best language in which to study singing, “because it is the only one without aspirates.”23 Italian is a legato language that emphasizes vocalic connection. Glottal strokes, the sudden stop in airflow produced by quickly closing the space between the vocal folds, are forbidden in Italian. Italian vowels are pure when compared to English vowels, which have many diphthongs and even triphthongs. The consistency of pure vowels is preferable when working to achieve consistent tone and legato. An important skill for the tenor singing in Italian is the ability to incorporate consonants into the legato line, so that the tone remains vibrant. Included in the Italian repertoire are art songs and arie antiche. Arie antiche, or early opera arias, have been assimilated into the art song repertoire due to the infrequency of performance of the opera, or because only portions of many of the operas exist today.

Claudio Monteverdi, “Rosa del ciel,” L’Orfeo The first selection for examination is “Rosa del ciel,” from Claudio Monteverdi’s (1567-1643) L’Orfeo. This early aria is characterized by declamatory melodic writing, with some opportunities for singing long phrases. The range is E3 to G4, and the tessitura is wide, approximately A3 to E4. The aria is appropriate for either a tenor or lyric baritone. “Rosa del ciel” is traditionally sung by lighter voices, which makes it appropriate for young tenors.

23

Lamperti, 7.

24 The declamatory style of “Rosa del ciel” is an opportunity for the tenor to exercise his diction. It is an important skill to be able to sing text with clarity and without losing resonant tone. An exercise for the tenor to practice this skill is to intone a phrase of text on a single pitch in the upper-middle part of his range. After the tenor has intoned the declamatory phrases of the aria, the next step is to sing the phrases in context. Example 1 shows one of the declamatory phrases in “Rosa del ciel.” The double consonants on “tutto,” “stellanti,” and “dimmi” are particular points of concern in this phrase. The tenor must lengthen the consonant without interrupting the momentum of the phrase by keeping his breath support engaged consistently.

Example 1. Claudio Monteverdi, L’Orfeo, “Rosa del ciel,” mm. 131-138. © 1968 by Novello. Reprinted by permission.

Careful attention should be paid to maintaining the singer’s formant, or “ring,” in his voice, while pronouncing the text clearly. A helpful modification of the intoning exercise is for the tenor to sing on a single pitch with the vowels of the text only. In this way, the tenor

25 can track the vowel changes without the interruption of consonants or pitch changes. This modification will help ensure the tenor’s tone quality is consistent even in declamatory phrases.

Alessandro Stradella, attr., “Pietà Signore” “Pietà Signore” was previously attributed to Alessandro Stradella (1639-1682) in the 24 Italian Songs and Arias collection published by G. Schirmer. However, musicologist Guido Salvetti convincingly argued that François Joseph Fétis is the true composer. The 26 Italian Songs and Arias collection, published by Alfred Publishing Company, include this song with the title, “Se i miei sospiri,” and attributes the song to Francois Joseph Fétis. There is no substantial difference in the piano accompaniment between the G. Schirmer and Alfred editions. The version of “Pietà Signore” in d minor that appears in the medium-high edition of 24 Italian Songs and Arias published by G. Schirmer is the most beneficial for solidifying the tenor passaggio; the key of d minor places the melodic line squarely in the zona di passaggio and extends the upper range to sustained G4’s. Historically, the G. Schirmer edition admittedly does not have a sterling reputation for accuracy in publication; but it is readily available and widely used, and suits the pedagogical purposes of training the tenor voice. Studying this song in lower keys would be beneficial for vowel modification or for a younger tenor who is not ready for such a high tessitura.

For example, studying “Se i miei

sospiri” in c minor, which appears in the medium-high edition of the Alfred collection, would exercise F4 as the highest note in the piece. The tessitura is therefore a whole step lower and more accessible for a younger or less developed tenor.

26 The opening vocal line, shown in Example 2, is an extremely instructive phrase for the tenor. The melody passes through the zona di passaggio, reaching the secondo passaggio on the pitch F4. This is a crucial pitch in the tenor’s range in which he must actively reduce the amount of weight in his voice in order to maintain freedom and flexibility. Specifically, between D4 and F4, the tenor must use the giro, and turn the vowel toward a higher and more forward sensation of resonance. This approach promotes a healthy head voice in the zona di passaggio rather than a heavy chest mechanism.

Example 2. Alessandro Stradella, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high voice , “Pietà Signore,” mm. 21-27. © 1948 by G. Schirmer. Reprinted by permission.

The passage in Example 3 demonstrates the difficult tessitura of “Pietà Signore.” Measures 31-34 on “Se a te giunge il mio pregar” require the tenor to sing in a ringing head voice free from laryngeal tension. He should use the inhalation before measure 31 to properly seat his larynx, which will help with the [u] of “giunge.” It is important that the tenor maintain an open posture through the phrase in order to prevent laryngeal constriction. Thus, when the tenor increases his breath flow the giro technique can help the voice ring clearly.

27 Example 3. Alessandro Stradella, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high voice , “Pietà Signore,” mm. 28-34. © 1948 by G. Schirmer. Reprinted by permission.

Alessandro Scarlatti “Toglietemi la vita ancor,” Pompeo “Toglietemi la vita ancor,” by Alessandro Scarlatti (1660-1725), is a quick and energetic song that requires the tenor to engage his breath mechanism, which is the foremost reason why this song is pedagogically useful. The opening phrase, shown in Example 4, establishes the rhythmic intensity. To solidify an effective breath mechanism that promotes agility, the tenor should sing the opening line on “hm,” similar to the agility exercise shown previously in Figure 11 on page 21.

Example 4. Alessandro Scarlatti, Italian Arias of the Baroque and Classical Eras, “Toglietemi la vita ancor,” mm. 3-5. © 1994 by Alfred. Reprinted by permission.

28

The advantage of this exercise is that the tenor is more able to feel the consistency in his abdominal breath support while also feeling the rhythmic pulse on his hard palate. With the “hm,” the tenor is more likely to feel if he is pulsing too much abdominally or squeezing too much in his pharyngeal region. There should be a strong connection between abdominal support and hard palate resonance with this exercise, and sensations of tension between those two points in the tenor’s body should be removed with practice. The next passage in measure 4, “crudeli cieli,” can be isolated as a tessitura exercise. The tenor should sing the phrase on a single vowel, and then the vowels of the text. This will help him to attain legato and reduce laryngeal constriction through the pitch changes. The same exercise should also be used on the second verse, since the new text presents a new set of vowels to negotiate.

Francesco Durante “Danza, danza, fanciulla gentile” Francesco Durante’s (1684-1755) “Danza, danza, fanciulla gentile,” is musically and pedagogically similar to Scarlatti’s, “Toglietemi la vita ancor.” As in the case of “Toglietemi la vita ancor,” the primary advantage of this song is creating a strong connection between breath and resonance. However, “Danza, danza,” is more accessible and appropriate for a younger tenor because the text is less difficult to execute and the upper range is approached with a mitigating, ascending, five-tone scale. The five-tone scale is a standard exercise that is easily reproduced by the student away from lessons. This exercise addresses the difficult tessitura of this song, and can be more directly related if the tenor sings a five-tone minor

29 scale, as is found in the song. There is a prevalence of [a] vowels in the text. However, the tenor should practice his five-tone scales on [i] on the ascending pitches and [a] on the descending pitches. This will help the tenor achieve a more focused and slender tone through the zona di passaggio and avoid the wide-open, spread sound frequently heard with the [a] vowel. The Schirmer edition is in the original key of c minor, and the Alfred edition is published a half step lower in b minor. A unique concern in “Danza, danza” is the range of the piece. The b minor version in 26 Italian Songs and Arias published by Alfred is recommended for the younger singer. In the key of b minor, the upper range—and the main five-tone melodic element of the piece—reaches F-sharp4, which is slightly more manageable for the young tenor establishing his stamina in a high tessitura. Example 5 shows the first measure of the vocal line, which includes the five-tone scale.

Example 5. Francesco Durante, Twenty-six Italian Songs and Arias, “Danza, danza, fanciulla gentile,” m. 3. © 1991 by Alfred. Reprinted by permission.

In addition to the challenging high range, the low range extends to a very low Asharp3 if the tenor sings the melody as written. Example 6 shows optional pitches added by

30 the editor that eliminate the low B3 and A-sharp3, leaving the lowest pitch at a more manageable C-sharp3.

Example 6. Francesco Durante, Twenty-six Italian Songs and Arias, “Danza, danza, fanciulla gentile,” mm. 30-32. © 1991 by Alfred. Reprinted by permission.

This is another reason why this song would be more suited for a younger tenor who is working on extending his upper range. However, this song would not be suitable for a young tenor who does not have an easily accessible low range.

Vincenzo Bellini, “Dolente immagine di Fille mia,” Tre Ariette Vincenzo Bellini’s (1801-1835) songs are favorable for many tenors. Specifically, his “Composizioni da Camera,” or “chamber compositions,” are intimate and lyric and therefore do not require the vocal maturity and power of his operatic arias. “Dolente immagine di Fille mia” is from Bellini’s Tre Ariette. It is a slow, but passionate song that is enhanced by an expressive melody and rubato. The phrases in “Dolente immagine di Fille mia” are not long, but encompass a range of over an octave. The arching melody helps the tenor propel a forward phrasal momentum, using rubato, without

31 necessitating excessive effort. The range of the song is D3 to F4 and the tessitura is between B-flat3 and D4, which will not push the limits of a typical young tenor’s range. “Dolente immagine di Fille mia” is a good song for a tenor who needs work unifying his range. Example 7 shows the melody that contains part of the motivic material in the song, which is characterized by a g minor triad in first inversion. The large intervalic leaps in the melody require the tenor to make large leaps, which poses a potential issue of carrying weight in the voice as the melody ascends.

Example 7. Vincenzo Bellini, 15 Composizioni da Camera, “Dolente immagine di Fille mia,” mm. 4-10. © 1997 by Ricordi. Reprinted by permission.

An effective exercise to help the tenor master the technique involved in intervalic leaps is to outline a triad on [u]. The [u] vowel will help the tenor properly seat his larynx in a comfortably low position. He should then experiment with different vowels such as [a] and

32 [e], ensuring that the seated larynx is not compromised. This exercise, when sung from the tenor’s low range to his high range, will also help unify his tone throughout the range by managing his breath and the weight in his voice. He should sing the exercise slowly and be aware of potential pharyngeal constriction as he ascends in pitch. His breath should be the driving force of the ascending pitch, and his torso should maintain an expanded position, which helps create an “open” sensation in the throat. If the tenor feels constriction occurring in the chest or throat as the pitch ascends, more attention should be paid to balanced breath pressure and maintaining an open posture in the ribcage. This is an effective way to reduce the weight in the voice as it ascends. The tenor should repeat the triad in ascending half-step intervals. Approaching the pitch C4, the tenor needs to focus on the giro technique. As the head voice gains prominence, it is essential that the tenor maintain focus on the freedom in his tone, a result of careful breath management and open posture.

Vincenzo Bellini “Vaga luna, che inargenti,” Tre Ariette “Vaga luna, che inargenti” is also from Bellini’s Tre Ariette. It is substantially more difficult for younger tenors than the other Bellini songs due to its high tessitura, which lies between C4 and E4, with a range of E3 to G4. Vocal fatigue is a major concern in this song because of the high tessitura. Only after the tenor achieves easy access to the secondo passaggio through other songs and exercises should he sing “Vaga luna, che inargenti,” but the song is within reach of upper-level undergraduate tenors. Example 8 illustrates the difficult tessitura of “Vaga luna, che inargenti.” The melody only briefly goes below the primo passaggio. Each time the tenor inhales he should allow

33 the inhalation to open his mouth and pharynx, and remove as much tension as possible. This will help the tenor maintain laryngeal freedom and avoid fatigue.

Example 8. Vincenzo Bellini, 15 Composizioni da Camera, “Vaga luna, che inargenti,” mm. 20-25. © 1997 by Ricordi. Reprinted by permission.

In order to comfortably sing “Vaga luna, che inargenti,” the tenor needs to be able to sing in the zona di passaggio and above the secondo passaggio with a facile and tension-free tone. In addition to the tessitura exercises described in Chapter I, Figure 12 below is a beneficial exercise, especially in the key of C major, the original key of the song. Moving between the notes of the C major triad with ease will directly aid the tenor in singing “Vaga luna, che inargenti,” especially the excerpt shown in Example 8. In the C major triad, the tenor exercises the tessitura of the song, including the highest note of the song, G4.

34 Figure 12. Passaggio Exercise.

The tenor should sing the exercise shown in Figure 12 on [a], with a slight lift between each repeated note. The [a] vowel is beneficial here because it allows the tongue to stay relaxed and the resonance to remain bright. The tenor should work to maintain an open glottis, relaxed tongue, and active giro. The exercise should be done quickly so as not to allow tension to increase during sustained tones. Once the tenor experiences free tone with the quick exercise of Figure 12, he should again sing the tessitura exercises illustrated in Chapter I, while making sure that free tone above the secondo passaggio is consistent.

Vincenzo Bellini “Per pietà, bell’idol mio,” Sei Ariette “Per pietà, bell’idol mio,” is from Bellini’s Sei Ariette. The melody is characterized by energetic dotted sixteenth notes, which illustrates the insistent lover’s agitation. While this is an effective compositional technique, it poses a potential difficulty for the tenor in balancing rhythmic accents, vocal weight, and smooth phrasing. The tenor must not let rhythmically accented pitches become phrasal climaxes by default. The tenor must maintain focus on the overall phrase shape, and then incorporate the energized rhythms within the larger phrase. Pedagogically, energetic dotted rhythm will most likely cause the tenor to add excessive vocal weight. To counteract this tendency, the tenor must not pulse excessively

35 with his abdominal muscles or allow excessive subglottic pressure. Instead, the tenor’s support should be consistent; the rhythmic accents come not from the abdominal muscles but from the rhythm of the text. Likewise, allowing the breath to flow consistently through vowels and consonants relieves excessive subglottic pressure. Notable is the prevalence of plosive consonants in the text. Consonants should not impede the voice to the extent that excessive subglottic pressure is created. The tenor should practice agility exercises with plosive consonants to develop the skill of allowing breath to flow through the consonants of the text. Example 9 is the opening phrase of “Per pietà, bell’idol mio.”

Example 9. Vincenzo Bellini, 15 Composizioni da Camera, “Per pietà, bell’idol mio,” mm. 5-8. © 1997 by Ricordi. Reprinted by permission.

The first rhythmically accented interval from G3 to E-flat4 requires the tenor to sing using the consonants [p] and [t]. To practice this technique, the tenor should sing an ascending minor sixth with the same rhythm as the text “Per pietà” in measure six on the syllables “pa” and “ta” on alternating repetitions starting on F3. Ascend and descend in

36 successive half steps so the tenor develops consistent breath flow through the consonants, and freedom as he enters the zona di passaggio.

Francesco Paolo Tosti, “Ideale” Francesco Paolo Tosti (1846-1916) wrote hundreds of songs and was a popular figure, with great singers such as Enrico Caruso promoting his songs. His popular appeal is supported by his tuneful and exciting melodies. As Carol Kimball states, “Sunny Neapolitan melodies and intense emotionalism color the songs of Paolo Tosti, whose song style defines for many the ultimate ‘Italian song’ sound—Italianate melody with a generous dash of Neapolitan popular song.”24 The two songs selected here are accessible for a young tenor who has made reasonable progress in his breath management and is capable of dramatic phrasing. “Ideale” by Tosti is a romantic song with short phrases and a relatively low tessitura of A3 to C-sharp4. The range is E3 to F-sharp4, and therefore will not extend the upper range of a typical tenor voice. The difficult and pedagogically valuable characteristics of “Ideale” are found in the rhythm and text. The right-hand accompaniment contains a triplet-based figure and the left hand contains duple rhythms. The vocal line is largely duple with occasional triplet figures that coincide with the accompaniment figure. The contrast of “two against three” can be difficult for inexperienced tenors, and this should be taken into consideration. “Ideale” should be reserved for tenors with solid and independent rhythmic ability. Inseparable from rhythmic difficulty of the song are the elisions in the text. Tosti frequently alternates between duple and triple rhythms based on the elisions and stressed 24

Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee: Hal Leonard, 2000), 363.

37 syllables. Example 10 illustrates Tosti’s rhythmic pattern of alternating duple and triple rhythms in the vocal line with a triplet-based accompaniment.

Example 10. Francesco Paolo Tosti, 30 Songs, “Ideale,” mm. 22-27. © 2002 by Ricordi. Reprinted by permission.

The rhythmic and textual difficulties of “Ideale” will disrupt the melodic line and consistent timbre unless the tenor is able to maintain constant breath energy and vibrant tone in his phrasing. To help this process, Figure 13 should be sung in a variety of alterations. This exercise features a descending scale with two vowels on each pitch. These vowel combinations should be practiced first because they are closely related to each other in their formation. The exercise can then be altered to include any vowel combination, specifically targeting elisions in the text, such as [e u] in “come un’amica.”

38 Figure 13. Legato Vowel Exercise.

The tenor should keep the placement of the resonant sensations consistent throughout the vowel changes by making minimal physical adjustments with the articulators such as the tongue, lips, and jaw. This placement will allow the ring in the voice to bloom on every note and every vowel. The exercise should not be rushed; rather, the tenor should take time to smooth the vowel transitions at his own pace. Since the primary benefit of this exercise is releasing tension in the articulators, the exercise will help the tenor articulate consonants cleanly and with minimal tension. Once the technique is established, speeding up the scale and vowel transitions will more closely approximate the elisions in the music. Ultimately, smooth vowel transitions lead to a more consistent legato, which is paramount in Tosti’s “Ideale.”

Francesco Paolo Tosti, “La Serenata” “La Serenata” is one of Tosti’s most famous songs, and an example of Tosti’s melodic gift. Kimball states “it is a passionate (somewhat extroverted) serenade, underpinned with strong arpeggiated figures that propel the lover’s words to the window of his beloved.”25 The melody is a sweeping arch, and the tessitura is not very high, spanning A3 to C4. Each phrase in “La Serenata” typically covers nearly the entirety of the range, 25

Kimball, 363.

39 which is E3 to F4. Example 11 demonstrates the main melodic material in one phrase that covers an entire octave. A vocal exercise that outlines an octave arpeggio sung on a single vowel is helpful for unifying the extremes of the range of “La Serenata.” The tenor should start the arpeggio at E3 and increase each repetition by a half step until he reaches F4 or Fsharp4 at the height of the arpeggio. The tenor should focus on a clear and ringing tone on the hard palate on each pitch of the arpeggio. This exercise will help establish unified timbre throughout the range.

Example 11. Francesco Paolo Tosti, 30 Songs, “La Serenata,” mm. 4-9. © 2002 by Ricordi. Reprinted by permission.

Another melodic figure in “La Serenata” is the Neapolitan style “Ah,” shown in Example 12. The ascending sixth in Example 12 is a potential pitfall for the tenor. The phrase requires a light and bright tone, so the tenor must not carry weight or sing excessively

40 loud on the ascending sixth. The triplet figure used in Example 12 requires agility of the tenor; Figure 14 is an exercise designed to assist the tenor in the Neapolitan phrase.

Example 12. Francesco Paolo Tosti, 30 Songs, “La Serenata,” mm. 74-81. © 2002 by Ricordi. Reprinted by permission.

The triplet exercise in Figure 14 can be done on a single vowel, or on the vowels as indicated. After ascending repetitions, the tenor should be able to maneuver in and out of the secondo passaggio with ease and consistency. Once the tenor is capable of maintaining consistent ring in his voice through the triplet exercise, he should sing the phrase in Example 12. The exercise provides a point of reference for the technique necessary to sing quick triplets, in which the tenor can practice agility and revisit when necessary.

41 Figure 14. Triplet Exercise.

Stefano Donaudy, “Vaghissima sembianza” Stefano Donaudy’s (1879-1925) “Vaghissima sembianza” is a lovely song from Donaudy’s 36 Arie di Stile Antico. The term, stile antico, or “old style,” refers here to the song forms in which Donaudy composed rather than his compositional style itself.26 This song is recommended for a tenor who is ready to establish his high A4 after he has completed significant work relieving strain in his upper-middle range. The tenor should use the vowel modification exercises in Chapter I to prepare for the high A4 in Example 13. Additionally, the exercise discussed on page 35 regarding “Per pietà, bell’idol mio,” would be beneficial for practicing the ascending sixth seen in Example 13.

26

Kimball, 367.

42 Example 13. Stefano Donaudy, 36 Arie di stile antico, Vol. 2, “Vaghissima sembianza,” mm. 51-60. © 1989 by Ricordi. Reprinted by permission.

Furthermore, Figure 15 should be repeated in ascending half steps until the tenor reaches A4 or B-flat4. This exercise will help the tenor sing the large intervals illustrated in Example 13, especially the C-sharp4 to A4 on “d’amore,” with brilliant ringing tone.

Figure 15. Passaggio Octave Exercise.

43

The exercise in Figure 15 outlines an octave arpeggio and the syllable “ming” helps establish clear and focused resonance while reducing weight in the voice. As the tenor sings on the [ŋ], the vibrato should be free, indicating that the breath pressure and resonance are balanced, and the jaw should be as released as possible. As the tenor releases the [ŋ] into [e], only the tongue should be adjusted, allowing the vowel to release. The balanced technique discovered while singing the [ŋ] should continue into the vowel, and the tenor must focus on maintaining balanced breath and resonance throughout the exercise. Toward the secondo passaggio and higher, the exercise allows the tenor to fully access his head voice. The resulting sensations should be a ringing in the head, a release in the torso, engagement in the area of the pelvic wall, and balanced breath pressure.

44 CHAPTER III ENGLISH ART SONG

English language art song encompasses a wide variety of musical styles, composers, and influences, from the early lutenists of England to rock and pop inspired American composers. Tenors can find virtually any style of song in the English repertoire, and find songs that suit particular pedagogical needs. The following songs in English will help the young tenor solidify his technique, while introducing him to composers who will continue to provide rewarding repertoire. The English language poses particular issues for singers, especially native English speakers with strong accents. It is dangerous for an English speaking tenor to assume his English diction will be excellent. Particular diction issues such as excessive use of the jaw and tensing the tongue for sounds like [l] and [r] and the many diphthongs and triphthongs can potentially distort vowel clarity. A focused approach on consistent breath and clear pronunciation will help alleviate these issues. It may help the tenor to approach singing English art song as he would approach Italian: focus on the connection between syllables and working for a smooth phrase. This will allow the jaw and tongue to release and let the breath fuel the vowel formation and placement.

Henry Purcell, “I’ll sail upon the Dog Star,” The Fools Preferment, Z. 571 Henry Purcell (1659?-1695) was one of the most prolific English composers of the seventeenth century, and his songs are still very prominent in the standard repertoire.

45 Kimball states that “Purcell’s songs endure as the cornerstone of British vocal music.”27 Many of his songs were written for theatrical performances as incidental or dramatic music inserted into spoken plays called “semi-operas.”28 Purcell’s keen sense of highlighting the dramatic and emotional aspects of his text is well suited for this form. “I’ll sail upon the Dog Star” is a well-known song and pedagogically useful for young tenors. It was composed for a theatrical work called A Fool’s Preferment by Thomas D’Urfey. Purcell’s theatrical prowess is demonstrated in this song with active rhythms, text painting, varying phrase lengths, and “an ever increasing Italian treatment of vocal phrases.”29 Young tenors will find a tremendous amount of support from the high level of energy in “I’ll sail upon the Dog Star,” which will help them increase their breath energy and vocal intensity. Its phrase lengths are varied, but always provide opportunities for breaths, especially in instances of repeated text. Its melody is based primarily on scales, triads, and arpeggiated chords. The range of “I’ll sail upon the Dog Star” is C3 to G4, and the tessitura is extended due to the scales and arpeggios, approximately F3 to D4. Example 14 shows the scalar writing and arpeggio on “roaring boy, let all.” When learning this song, the tenor should practice many variations of arpeggiated scales, as well as five- and six-note scales such as the exercise shown in Figure 16.

27

Kimball, 307.

28

Kimball, 309.

29

Kimball, 307.

46 Example 14. Henry Purcell, Standard Vocal Literature: Tenor, “I’ll sail upon the Dog Star,” mm. 25-33. © 2004 by Hal Leonard. Reprinted by permission.

The exercise shown in Figure 16 should be sung on [ɔ] to correspond with the passage in Example 14, sung on the word “roaring,” an example of Purcell’s brilliant text painting. The exercise should also be sung in successive higher and lower half steps. As the tenor increases his level of breath energy and vocal intensity, the transitions around the passaggi will be minimized. The tenor should also start to utilize the giro early in the scale, around D4.

47 Figure 16. Agility Exercise.

Thomas Arne, “O come, O come, my dearest,” The Fall of Phaeton Thomas Arne (1710-1778) was “the most significant figure in 18th-century English theater music.”30 He continued the tradition of Purcell, and was a contemporary of Händel. He is now much less well known than either of them and few of his songs remain in the standard repertoire. His primary musical innovation was a preference for simple, flowing, and tuneful folk-like melodies, rather than structured and ornamented Baroque melodies. Later in his career he experimented with more Italianate melodies, which many English composers would later follow.31 Arne’s songs are excellent for young tenors because of their tuneful melodies, simple forms, and moderate ranges. “O come, O come, my dearest” is from The Fall of Phaeton, a masque composed by Arne with text by Pritchard for the Drury Lane Theater in London. It is one of the only songs from the masque to survive because Arne included it in a collection of Shakespeare songs.

30

Peter Holman and Todd Gilman, "Arne, Thomas Augustine," Grove Music Online, Oxford Music Online, Accessed 4 Jan. 2012, . 31

Ibid.

48 Many of the other songs are lost.32 The range of “O come, O come, my dearest” is D3 to G4, and the tessitura is G3 to D4. The melody is sweet and tuneful, and is comprised mostly of scalar passages with occasional arpeggios. A younger tenor will especially gain from studying this song, as he can directly apply the basic techniques he is learning without unexpected musical difficulties. Example 15 shows a portion of a typical phrase in “O come, O come, my dearest.” From this example, the tenor can practice vowel modification and giro on the ascending arpeggio, then focus on agility on the descending sixteenth-note passages. This particular phrase is ideal for practicing the giro because the D4 and F-sharp4 are likely spots in the tenor’s range where he will need to lift and narrow his tone through the zona di passaggio and above the secondo passaggio.

Example 15. Thomas Arne, Twelve Songs: Book One, “O come, O come, my dearest,” mm. 8-9. © 1979 by Stainer and Bell. Reprinted by permission.

Specific vocal exercises that would be beneficial for the tenor studying “O come, O come, my dearest” are octave arpeggios, descending five tone scales, and descending octave

32

Ibid.

49 scales. The tenor should sing the descending octave scale in successive half steps until he surpasses G4 in order to feel comfortable with the G4 shown in Example 16. The tenor will also feel more comfortable if he takes advantage of a rest and colla voce to take an effective preparatory inhalation before the G4.

Example 16. Thomas Arne, Twelve Songs: Book One, “O come, O come, my dearest,” mm. 18-19. © 1979 by Stainer and Bell. Reprinted by permission.

Hubert Parry, “No longer mourn for me” Hubert Parry (1848-1918) is a lesser-known British composer who has fallen into obscurity. However, his songs are generally interesting for singers and audiences and make an excellent addition to the tenor’s repertoire. Parry gained prominence not only as a composer but also as a scholar writing and editing for George Grove’s new Dictionary of Music and Musicians. He was also a respected educator on the faculties of Oxford and the Royal College of Music. Parry helped ignite interest and establish high standards in British music in the nineteenth century. He also helped pave the way for future British composers

50 such as Vaughan Williams, Elgar and Quilter.

His influences were primarily German

composers such as Brahms, Liszt and Wagner.33 “No longer mourn for me” is a robust, exciting and challenging song appropriate for advanced undergraduate tenors. The range, including Parry’s optional low note, is C3 to Aflat4. It is E-flat3 to A-flat4 without the optional low note. The low note occurs at the end of a short phrase that is followed by four measures of rest. The low C3 should be taken if it is within the tenor’s capabilities; there is plenty of time for him to reset his frame of reference for the next phrase in a higher tessitura. With the exception of the low phrase just mentioned, the tessitura is high, approximately C4 to F4. Example 17 shows the most difficult phrase of “No longer mourn for me,” which contains the high A-flat4. On the ascending scale, the tenor must initiate lift in his tone so that he can execute the giro through the passaggi. He must maintain a solid engagement of his lower abdominal wall to provide support. Added difficulty comes from the many consonants in the text “That I in your sweet thoughts would be forgot.” The tenor should practice this phrase on [ja ja ja] to ensure that his articulators are loose and that the vowel is high and ringing. Additionally, he should modify the [i] vowel on “be” to an open [I], and make certain that the [w] of “would” is quick and loose. This will ensure that the [w] opens the vowel and does not interfere with the ring of the phrase. An Italianate approach to the diction of that phrase, while making sure the text is understandable, is the best technique.

33

Jeremy Dibble, "Parry, Sir Hubert," Grove Music Online, Oxford Music Online, Accessed 5 Jan. 2012, .

51 Example 17. Hubert Parry, Hubert Parry Songs, vol. 49 of Musica Britannica: A National Collection of Music, “No longer mourn for me,” mm. 21-30. © 1982 by Stainer and Bell. Reprinted by permission.

Overall, “No longer mourn for me” requires consistent high energy that stretches and tests the technical abilities and emotional perspective of the tenor. The churning accompaniment provides support for the dramatic melody. If the tenor sings this song with commitment and invests in the song fully, he will surely become a better singer in terms of his abdominal engagement, diction, and interpretation.

Roger Quilter, “Go, Lovely Rose” Roger Quilter (1877-1953) composed over one hundred songs and is a substantial figure in English art song. He is known for his gift as a melodist, excellent taste in poetry, and impeccable prosody. He did not push compositional boundaries or introduce many innovations. He composed in a consistent romantic style throughout his career that

52 consisted of lush melodies and supportive harmonies and accompaniments.34 Many of Quilter’s songs remain in the standard repertoire and are excellent pieces for young tenors. Quilter wrote some of his songs, including the cycle To Julia, Op. 8, for Gervase Elwes, a leading tenor of the day, and Elwes’ voice influenced his vocal writing.35 The combination of beautiful melodies, harmonically supportive accompaniments, and familiarity with the tenor voice make Quilter songs ideal for young and even advanced tenors. “Go, Lovely Rose” is one of Quilter’s masterpieces and “a particularly good example of Quilter’s song style.”36 It is an accessible song for young tenors and a gratifying song for advanced tenors. The range is E3 to F4, and the tessitura is approximately G3 to D4. The main melodic element shown in Example 18 is a descending line from C4 to G3, which is easily practiced with a simple descending scale as a vocal exercise. Particular attention on this descending scale should be placed on a sensation of highly placed resonance, keeping the tone brilliant and light, and avoiding a heavy chest mechanism. This will help ensure that the tenor does not carry excessive weight through the zona di passaggio and into his head voice.

34

Kimball, 316.

35

Ibid.

36

Kimball, 317.

53 Example 18. Roger Quilter, The First Book of Tenor Solos, “Go, Lovely Rose,” mm. 3-5. © 1994 by G. Schirmer. Reprinted by permission.

The upper range of “Go, Lovely Rose” is approached with large intervalic leaps of a fourth as shown in Example 19; every F4 is preceded by a C4. In order to practice these leaps, the tenor should sing an octave arpeggio in the pattern 5-8-5-3-1, working his way above F4. The arpeggio can be sung on any single vowel at a relaxed pace that reflects the passionate phrasing of Quilter’s song.

Example 19. Roger Quilter, The First Book of Tenor Solos, “Go, Lovely Rose,” mm. 6-7. © 1994 by G. Schirmer. Reprinted by permission.

54 Roger Quilter, “O mistress mine,” Three Shakespeare Songs, Op. 6 “O mistress mine” is from Quilter’s Three Shakespeare Songs, Op. 6, his first set of Shakespeare settings. Quilter’s simple and energetic melody is built on broken chords and the accompaniment is harmonically supportive. The poetry resonates with young tenors, as “carpe diem is the overriding theme of the text, full of youthful ardor and impatience.”37 The range is D3 to G4, and the tessitura is G3 to D4. The majority of the song lies in a very comfortable tessitura for tenors, with the main difficulty being the high G4 that is sung five times throughout the piece, as shown in Example 20. This song is appropriate for young tenors who have a reasonable amount of freedom on G4. It is not a wise selection for introducing G4 into the young tenor’s repertoire because of the frequency of the G4. The G4 must be approached with a light head-voice mechanism while keeping the breath engaged to prevent laryngeal elevation. The giro technique can aid the tenor in achieving a ringing tone that travels up and over the soft palate. It is important for the tenor to practice the arpeggio pattern 5-8-5-3-1, ascending past G4 in order that the G4 is more comfortable in the context of the song. It closely relates to the melody of “O mistress mine,” and allows the tenor to practice producing a focused and energized tone that ascends through the zona di passaggio, to the secondo passaggio. He should sing the arpeggio on [ma], [la], and [ki], to practice the syllables required of him on the G4’s on “mine,” “love,” and, “kiss,” with careful attention that the articulators stay free yet crisp.

37

Kimball, 318.

55 Example 20. Roger Quilter, Standard Vocal Literature: Tenor, “O mistress mine,” mm. 1-7. © 2004 by Hal Leonard. Reprinted by permission.

The danger of “O mistress mine” is for the tenor to lighten too much and lose his breath connection in the middle of his range, which would make the G4 isolated from the contour of the phrase. It is of utmost importance for the G4 to be integrated into the phrase so that there is not an abrupt change in the tenor’s technique or color of vowel. Focused resonance anchored by appoggio breath minimizes laryngeal elevation, and maintains consistent tone quality through the register transition. An added benefit of this technique is that it augments the tenor’s agility skill as he learns to solidify his tone through register transitions.

56 Roger Quilter, “Hey, ho, the wind and the rain,” Five Shakespeare Songs, Op. 23 “Hey, ho, the wind and the rain” is from Quilter’s Five Shakespeare Songs, Op. 23, the second of Quilter’s four Shakespeare sets. The thematic material again emphasizes youthful exuberance. The text is set in a melody that is quick and bouncing, occasionally bordering on a patter song. Work on releasing muscle tension, especially in the articulators, is necessary for the tenor singing this song. “Hey, ho, the wind and the rain” is an excellent song for young tenors of varying degrees of skill because Quilter provided optional pitches for the G4 and A-flat4. A young tenor can learn the piece with the lower alternate notes and occasionally experiment singing the higher pitches without the expectation of singing the higher note. Without the alternate notes, the range is G3 to A-flat4, and with the alternate notes it is less than an octave, G3 to F4. The tessitura is medium-high, B-flat3 to E-flat4, with some sustained F4’s. The primary melodic figure is shown in Example 21. The E-flat4 is approached freely, on the word “hey,” which is useful for letting the tenor sing with a free-throated and supported sound. It benefits the young tenor to sing the word “hey” on various pitches in his passaggio to encourage free and supported tone that immediately resonates in the tenor’s ring. The E-flat4 poses a vowel modification issue for the young tenor. Depending on the development of his voice, he may find that either [e] or [ɛ] provides more freedom and ring, which should be the determining factor if vowel modification is necessary. The tenor should experiment with both vowels and then make his decision.

57 Example 21. Roger Quilter, Standard Vocal Literature: Tenor, “Hey, ho, the wind and the rain,” mm. 46-49. © 2004 by Hal Leonard. Reprinted by permission.

The phrase in Example 21 is also good as a vocal exercise. The tenor should sing this phrase on [ta], [la], and [ma] independently to work on developing speed and relaxation in his articulators for the patter-like phrases in the piece.

Gerald Finzi, “Her Temple,” A Young Man’s Exhortation, Op. 14 Gerald Finzi (1901-1956) is a vocally accessible composer and a good source of art song for tenors. He published many of his songs as larger sets, although only A Young Man’s Exhortation has the conventional qualities of a song cycle. His style is traditional and full of lyricism. His rhythms are the most complex aspect of his songs, but they also provide tremendous interest and support the prosody of his high poetic standards.38 Finzi thoughtfully grouped his songs into sets by poetic theme or individual poet, and used the song order to provide musical contrasts to enhance the flow of the performance. “Her Temple” is from Part I of A Young Man’s Exhortation, a song cycle for tenor on the poetry of Thomas Hardy. Hardy was a prolific source for Finzi’s songs, including two 38

Kimball, 332.

58 other sets for high voice, Till Earth Outwears, and Oh Fair to See. A Young Man’s Exhortation is composed in two parts with five songs per part. The first part is from the perspective of a young man, and the second part consists of reflections of a mature man. “Her Temple” can serve as a starting point for a young tenor willing to delve into either Part I or the cycle as a whole. The tenor will encounter challenging syncopations and mixed meters in “Her Temple,” which will help prepare him for many of Finzi’s songs. The range of “Her Temple” is D3 to A-flat4, and the tessitura is A-flat3 to E-flat4, with the melody arching into both extremes of the range. A potential challenge for the tenor is Finzi’s use of syncopation and triplet figures. This song is also a useful teaching tool for exploring expressive phrasing and securing breath management. The tempo is slow and the phrases are long, even though there are places to breathe within the phrases. The breath management and phrasing required of this song provides an opportunity for the tenor to practice slow and deliberate breaths that help seat the larynx comfortably. A properly seated larynx combined with a deep and controlled breath allows the tenor to negotiate the upper range of “Her Temple” with greater freedom. Example 22 shows a long phrase that the tenor can use to practice the aforementioned technique to help stabilize his larynx as the approaches the secondo passaggio. The first goal in this phrase is to observe Finzi’s crescendo marking in measure seven, which propels the phrase through measure eight. When the tenor breathes between the words “mine” and “I,” he must maintain the forward energy of the phrase without letting the breath subtract from the overall momentum. This breath is also an opportunity to ensure a high soft palate and comfortable laryngeal position as he inhales.

59 Example 22. Gerald Finzi, Collected Songs, “Her Temple,” mm. 7-11. © 2008 by Boosey and Hawkes. Reprinted by permission.

As the momentum builds to measure eight, the tenor should aim for a climax of the phrase on beat three so that the triplet figure, which contains the high G4, embodies forward phrasal motion and freedom in the high range. If the tenor successfully phrases Example 22 in this way, the G4 is produced more easily because the breath support muscles do not “grip.” Focusing on the flow of the phrase and likewise the flow of breath allows for greater freedom in the tenor’s tone. It also allows for a comfortably low laryngeal position, especially in and above the zona di passaggio, where tension can be catastrophic.

60 Benjamin Britten, “Salley Gardens,” Folksong Arrangements, Vol. 1 Benjamin Britten (1913-1976) is perhaps one of the finest and most prolific composers for the tenor voice. This is due largely to his collaboration with tenor Peter Pears, for whom Britten wrote many art songs and operatic roles. While Britten’s songs are among the best in the art song literature, many of them are not appropriate for young tenors. His harmonic language can be intimidating, and he demands an extremely wide range and tremendous stamina from his tenors. The most accessible Britten songs for young tenors are found in his Folksong Arrangements, which encompass songs from the British Isles and France. Also interesting for young tenors are Britten’s realizations of Henry Purcell songs. Once the tenor is more acquainted with Britten’s harmonic language, and his technique has advanced, he will find a wealth of interesting, challenging and rewarding literature by this composer. “The Salley Gardens” is from Folksong Arrangements, Volume 1: British Isles. The melody is smooth and flowing, and the accompaniment is supportive. The range of “The Salley Gardens” is G-flat3 to A-flat4, and the tessitura is high, approximately B-flat3 to Eflat4. It is a song that can stretch a young tenor’s vocal, musical, and interpretive maturity. There is occasional dissonance, but it is used sparingly and effectively, not detracting from the harmonic structure. The phrases are generally long, requiring attention to phrasing and breath management. Its folk style is well suited for young tenors, while its interpretation requires attention to Britten’s score markings and a high level of interpretive maturity. “The Salley Gardens” is a useful song for a young tenor developing his technique managing a high

61 tessitura. The tenor can approach this technique by embodying the poetic message of soft and calm resignation, which will help him access a softer tone and lighter mechanism. The primary melody, which is repeated throughout the song in a modified strophic way, is shown in Example 23. The phrase is arched nicely, but the tenor must take an unobtrusive breath between “gardens” and “my” in order to keep the shape of the phrase intact. The importance of breath management, length of phrases, and unobtrusive short breaths make “The Salley Gardens” an excellent choice for developing the tenor’s appoggio technique.

Example 23. Benjamin Britten, Folksong Arrangements, vol. 1, “The Salley Gardens,” mm. 1-8. © 1947 by Boosey and Hawkes. Reprinted by permission.

62 The exercise shown in Figure 17 is an adaptation of Miller’s appoggio exercises.39 To exercise the breathing muscles necessary for appoggio, it is most beneficial to practice short breaths, with short phrases, focusing on a quick breath renewal that is silent and efficient.

Figure 17. Appoggio Exercise.

Figure 17 incorporates this idea into the phrase shown in Example 23, but places breaths out of context so that the tenor practices the quick and silent breath renewal in a variety of places. He should sing this exercise on the open vowel [a] to help create an open posture. He should not adjust his posture as he inhales: the mouth stays open, the tongue stays relaxed, and the torso is expanded. The goal of these appoggio exercises is to achieve a consistently open posture in the rib cage and sternum, working with the antagonizing breathing muscles, so that the tenor can inhale and exhale without extraneous movement, which allows for the quick and silent breaths necessary in appoggio.

Samuel Barber, “The Daisies,” Three Songs, Op. 2 Samuel Barber (1910-1981) wrote over one hundred songs for voice and piano, although approximately fifty of them have been published. 40 His style is unmistakably 39

Miller, 35-37.

40

Kimball, 254.

63 American, characterized by simplicity of form, clarity of texture, and distinct melodies. Barber’s harmonic language is tonal, with varying amounts of chromaticism typical of twentieth-century composers. He chose his texts carefully and was exacting in his prosody. For tenors, Barber represents an accessible introduction to twentieth-century American style. His writing for the voice is lyric and expressive, and his songs are ideal for the studio and recitals. “The Daisies,” from Three Songs, Op. 2, is one of Barber’s earliest songs. The range of C3 to F4 is ideal for a beginning tenor, and the tessitura is medium low, around G3 to C4. The melody is simple, beautiful, and organic. The most difficult aspect of the piece is an occasional change in time signature. In the tenor’s voice, F4 is a pivotal note. It is at the secondo passaggio, and the tenor should transition into head voice before that pitch so as not to push the chest voice up too far. A young tenor may be able to sing without full transition into head voice on F4, but the better technique is to begin to enter a clear head voice around the primo passaggio. This is an important skill for young tenors to learn, and “The Daisies” is a good song with which to practice this technique. Example 24 shows the F4 in context. The crescendo should be observed, which helps the tenor increase his breath energy. He should sing this phrase on [a], with freedom and lift in his tone on the notes preceding F4. As he approaches the high note, he is relieving muscle tension and engaging his head voice to a greater extent.

64 Example 24. Samuel Barber, Collected Songs, “The Daisies,” mm. 5-7. © 1986 by G. Schirmer. Reprinted by permission.

It is also important for the tenor to practice singing with a light mechanism in the lower part of his range, where the vast majority of the song lies. Weight added to his voice in the low range may not have an immediate negative impact, but cumulatively it is extremely difficult to make a sudden shift to a light mechanism in order to access the high range of the tenor’s voice. Barber’s “The Daisies” is most appropriate for a young tenor who needs to practice freedom and lightness in his tone. Barber’s prosody is excellent and his phrasing is supportive for a young tenor engaging art song for the first time.

John Jacob Niles “Black is the color of my true love’s hair” John Jacob Niles (1892-1980) is a fascinating, non-traditional figure in American art song. He pursued fairly successful careers as a composer and performer in the classical music arena, and in popular music as a folk singer and songwriter. Perhaps his greatest contribution is his collection of folk music and ballads, primarily transcribed from the

65 Appalachian region’s oral tradition. In his later career he focused on art song, although folk style is constantly present in his music.41 “Black is the color of my true love’s hair,” is an original melody composed by Niles with text from a traditional folk song. Niles said, “The tune […] was composed by me, because I felt that the traditional one, dull beyond belief, was unworthy of that fine text.”42 The melody is flowing and tender, evoking an elevated emotional state. The song is strophic, with the first verse repeated as the final verse. The range is D3 to G4, and the tessitura is medium, approximately G3 to D4. It is an ideal song for tenors working on establishing a light and sweet tone quality in the upper range. A soft tone quality on G4 is much more difficult than a strong and brilliant tone, due to the amount of stress exerted on the tenor’s voice. Example 25 shows the G4 in context. Example 25. John Jacob Niles, The Songs of John Jacob Niles, “Black is the color of my true love’s hair,” mm. 7-9. © 1990 by G. Schirmer. Reprinted by permission.

To help the tenor achieve the desired tone on G4, he should think of the color of the voice rather than a particular dynamic level. Opening pharyngeal space and the space in the 41

“John Jacob Niles,” John Jacob Niles Center for American Music, Accessed 15 January 2012, . 42

John Jacob Niles, The Songs of John Jacob Niles, (New York: G. Schirmer, 1990), i.

66 mouth creates soft tone colors. Combined with a firm base of support from the lower abdominal area underneath a free flowing stream of air, the resulting tone quality is soft in color and texture but not dynamic level. Is imperative that the tenor engages the lowest of his support muscles while singing a sweet and tender G4, which helps release tension in the torso and neck and supports an open posture. At the same time, he should be aware that his resonance sensations are strong on the hard palate and have a sense of lift. In this way, the tenor feels stretched, or pulled in opposing directions that work dynamically.

Figure 18. Tessitura Exercise.

The phrase in Figure 18 is designed to help the tenor practice the previously discussed technique for mastering a high tessitura. He should sing this phrase on [u], which helps keep the tone round and tender, and the pharyngeal space open. His inhalation should be taken through the shape of a deep and rich [u] vowel. The tenor should feel the air come into his body as it opens as much space as possible, all the way back to the soft palate and walls of the throat. As he ascends from C4 to F4, he should feel the stretch as he uses his appoggio technique: the lower abdominal wall supporting his expanded posture, with a lifted vowel sensation. The vowel shape should not significantly change. The space created by the tenor’s breath should maintain the softness in his tone. As he further ascends to the G4, he should feel a similar stretch, like a gentle tug from the top of his skull lifting the pitch. All the while, the tenor must not lose focus on his low breathing muscles and expanded posture.

67 Finally, if the tenor wishes to crescendo in this position, he simply has to release more of the potential energy inherent in this expanded posture.

68 CHAPTER IV GERMAN LIEDER

There are many excellent Lieder for tenors, including monumental song cycles such as Franz Schubert’s Die Schöne Müllerin and Robert Schumann’s Dichterliebe. Many of the Lieder in the standard repertoire come from the late Classical and Romantic periods. This means that, with some exceptions, Lieder require the tenor to sing dramatically, with large dynamic variations, and be heard over thick accompanimental textures; all are qualities associated with the Romantic period. However, many Lieder are appropriate for younger tenors. For the younger tenor, it is important to select repertoire that is not overly heavy in order to allow the voice to achieve optimal freedom and mature naturally.

Figure 19. Consonant Exercise.

Figure 19 gives the tenor a simple scale passage with voiced consonants on the main beats of the measure to help facilitate this technique. When singing a voiced consonant, such as [z], the tenor needs to engage his lower abdominal muscles in order to keep the same level of resonant intensity in his tone. Additionally, airflow should be as consistent as possible between consonant and vowel in order to keep the smooth line continuous. When the tenor

69 sings the exercise with unvoiced consonants, such as [t], the goal is to make them as quick and clean as possible. Any extra aspirate quality from the consonant translates into wasted breath and a dramatic reduction in the tenor’s ability to support long phrases. However, when compared to Italian plosive consonants, German plosives are more aspirate, especially in consonant clusters. It is of utmost importance that the tenor sings with clear diction and that his breath management reaches the level required of German consonants.

Wolfgang Amadeus Mozart, “Abendempfindung” Wolfgang Amadeus Mozart (1756-1791) is one of the most prolific and revered composers in history; however, his Lieder output is not very large. Some of his best songs were written after 1775, when he was working on some of his most well known operas. In this period, Mozart composed in mostly through-composed form, considering his Lieder as miniature operatic scenes.43 A fine example of Mozart’s Lieder is “Abendempfindung.” It is a through-composed song with six verses of poetry. The range is a limited E3 to F4, and the tessitura is approximately B-flat3 to D4, although it is varied due to the numerous melodic figures throughout the six verses. Kimball points out that Mozart employs operatic devices in this song, such as ornamentation and declamatory writing, and she observes that the phrases in “Abendempfindung” are “long-lined and reminiscent of Mozart’s arias; they have a cumulative effect, increasing in intensity and passion to the final measures.”44

43

Kimball, 56.

44

Kimball, 57.

70 The phrase lengths and tessitura make “Abendempfindung” a difficult song for young tenors. Advanced undergraduate tenors should be able to master the technique necessary to perform it, but consistent practice to build stamina is essential. The tessitura lies in the upper middle tenor range, near the primo passaggio. This awkward tessitura means that the tenor may be singing for extended periods of time in the upper limits of his chest voice. Therefore, he must make every effort to mix as much head voice as he can in order to take the weight and strain out of his voice at the primo passaggio. This should be the goal of every tenor in every song, but “Abendempfindung” presents a unique difficulty with regards to tessitura.

Example 26. Wolfgang Amadeus Mozart, Sämtliche Lieder, “Abendempfindung,” mm. 1-11. © 1991 by Bärenreiter. Reprinted by permission.

The opening phrase of the song, shown in Example 26, and the first two verses would be an ideal section of the song in which the tenor could familiarize himself with Mozart’s style and build stamina at the primo passaggio without encountering the level of difficulty

71 seen in Example 27. The earlier phrases are shorter and provide the tenor with more breath opportunities, which will help him release tension and focus on breath. Example 27 demonstrates the cumulative effect of Mozart’s difficult phrasing in “Abendempfindung.” These measures fall near the end of the song, and are more dramatic than phrases earlier in the song because Mozart uses cumulative phrasing. The long, six-bar phrase, combined with the awkward tessitura in which the melody never goes lower than Bflat3, require the tenor to maintain excellent breath control and free tone in an unforgiving passage.

Example 27. Wolfgang Amadeus Mozart, Sämtliche Lieder, “Abendempfindung,” mm. 6675. © 1991 by Bärenreiter. Reprinted by permission.

In order to exercise this breath management in a high tessitura, the tenor should carefully practice the tessitura exercises described in Chapter I and pay particular attention to alleviating tension at the primo passaggio. The tenor should then sing the phrase in Example 27 on single vowels, such as [i] or [a], and take the passage out of tempo. By singing the

72 melody at his own pace and with non-prescribed breaths, the tenor will be able to find ease and freedom in his tone while building stamina in this tessitura.

Ludwig van Beethoven, “Der Kuss” Ludwig van Beethoven (1770-1827) did not compose many Lieder compared to his exceptional output in other genres. The Lieder he composed show him to be a transitional figure in his songs in addition to his status as an innovative instrumental composer. He composed his Lieder in various forms, experimented with new harmonies, and took advantage of the growing availability of contemporary poetry.45 Beethoven is also important in Lieder because he is credited with composing the first song cycle, An die ferne Geliebte, Op. 98, which would highly influence Romantic composers such as Schubert and Schumann. “Der Kuss” is a boldly romantic song involving two characters: the boy who is interested in a kiss, and Chloe, the girl who eventually gives in to his advances. Beethoven exploited the double meaning of Chloe’s outcry, by repeating the line, “Doch lange hinterher,” or “But long afterwards,” a number of times. Despite the graphic nature of the poetry, Beethoven’s treatment of the text is that of a lighthearted “charming little song, a flirtatious scene.”46 Along with the tempo marking, allegretto, Beethoven added the instruction, “Mit Lebhaftigkeit, jedoch nicht in zu geschwinden Zeitmaße und scherzend vorgetragen,” or “animated, but not too fast, and recited jokingly.” The animated character of “Der Kuss” makes this song a good selection for helping the tenor achieve engaged breath. The range is E3 to G-sharp4, which is beneficial for a 45

Kimball, 58.

46

Kimball, 59.

73 young tenor wishing to increase or solidify his upper range. The tessitura is wide, approximately A3 to D4. This tessitura is forgiving because the melody does not lie consistently in the zona di passaggio. The melody expands into the upper and lower ranges of the piece frequently.

Example 28. Ludwig van Beethoven, Lieder und Gesänge, “Der Kuss,” mm. 6-16. © 1990 by G. Henle Verlag. Reprinted by permission.

In order to isolate and exaggerate the connection to active breath in this phrase, the tenor should sing the melody in Example 28 on the syllable, “pa” with an accent on each note. The lower abdominal muscles should feel engaged and experience a slight contraction, but they should not feel as though they are fully expanding and contracting for each accent. The accent happens as a reaction to increased breath energy, rather than from a physical manipulation of the abdominal muscles, which is a slow and ineffective method of rhythmic

74 or accented pulses. Likewise, the larynx should not feel strain as a result of accented pulses. The connection of breath and tone should be strong, with open posture, and free, even when accents are introduced. In this way, the phrase shape is not interrupted and excessive weight is not introduced in the voice. This rhythmic articulation is an essential skill for the tenor and can be directly related to any melismatic or rhythmic passages, in addition to the lively melody in “Der Kuss.”

Example 29. Ludwig van Beethoven, Lieder und Gesänge, “Der Kuss,” mm. 43-46. © 1990 by G. Henle Verlag. Reprinted by permission.

One particular difficulty in “Der Kuss” is shown in Example 29. This is the dramatic and musical climax on the text, “sie schrie,” or Chloe’s outcry. The vocal line goes directly above the secondo passaggio, and the [v] of “Jawohl” is a potential spot of tension for the tenor. He must not decrease his breath energy on the consonant [v], but rather sing through it, barely engaging the lips to pronounce the [v] on the way to the vowel, which itself should be modified slightly toward [ɔ]. As the tenor modifies the vowel his lips should stay rounded as the jaw drops, making the vowel sound more like [o] as in “Jawohl,” even though the tenor is modifying the shape. The tenor should also practice the exercise in Figure 12 on page 34 with the syllable [vɔ] on each beat.

75 Once the tenor establishes his technique for the first F-sharp4 in Example 29, the following notes are on the vowel [i]. The [i] vowel is favorable for tenors singing above the secondo passaggio because of its bright ring and forward tongue position. To find the most comfortable placement of his [i] vowel, the tenor should sing Figure 15 on page 42 again, with the same instruction as mentioned previously, but he should sing the [i] vowel following the “ming” syllable. He should repeat the exercise in ascending half steps until he has surpassed G-sharp4 in order for the “schrie” to resonate well with minimal physical effort.

Franz Schubert, “Wohin?” Die schöne Müllerin, D. 795 Franz Schubert (1797-1828) is the most prolific composer of Lieder, and an essential composer for young tenors to study. Schubert is well known for his gift as a melodist and accessible style. The following two selections are taken from Die schöne Müllerin, one of the most famous song cycles of the genre. Both songs are appropriate for young tenors as well as advanced tenors; the melodies are tuneful, accessible, and contain seemingly endless possibilities for interesting interpretations. The entirety of Die schöne Müllerin is not appropriate for young tenors largely due to the massive scale of the cycle; however, songs extracted from the cycle can make an excellent recital set. “Wohin?” is the second song in Die schöne Müllerin. It is a cheerful and tuneful song in which the protagonist follows the stream toward a mill. The sixteenth notes in the accompaniment represent the water flowing, and the melody evokes a happy simplicity about this pleasant walk along the stream. The range is D3 to G4, and the tessitura is wide, approximately G3 to D4, because Schubert used many large intervals that make use of the

76 entire range of the song. Example 30 shows a recurring melodic fragment in “Wohin?” which is based on an arpeggiated chord—in this case, D major. The melody moves freely between the different notes in the arpeggio, requiring the tenor to have fluid agility.

Example 30. Franz Schubert, 200 Songs, “Wohin?” mm. 28-35. © 1961 by International. Reprinted by permission.

As the highest notes of “Wohin?” are also approached by arpeggio, octave arpeggio exercises such as the exercise in Figure 20 should be used to prepare the tenor for this song. In this exercise, the tenor moves rapidly through the arpeggio, keeping a ringing intensity and flexibility in his voice as the pitch oscillates between the scale degrees. The tenor should reach G4 upon ascending repetitions of this exercise in order to practice the skill needed in “Wohin?” He should sing this exercise as shown below, with the sequence of vowels

77 provided, or he may sing the exercise on a single vowel or combination of vowels in order to address a particular need based on the text. Figure 20. Arpeggio Exercise.

Franz Schubert, “Halt!” Die schöne Müllerin, D. 795 “Halt!” is the third song in Die schöne Müllerin, immediately following the protagonist’s journey along the stream. The character reaches the mill and is excited about the possibilities that lie ahead. The range of “Halt!” is F3 to G4, and the tessitura is approximately A3 to D4. Notable in the melody is the frequency of large intervallic leaps. Example 31 demonstrates the large melodic leaps that the tenor must negotiate. The wide intervals are not excessively challenging because they are clearly diatonic and are generally found within the harmony in the accompaniment. The difficulty in a disjunct melody is maintaining consistent tone through large intervallic leaps.

Example 31. Franz Schubert, 200 Songs, “Halt!” mm. 40-44. © 1961 by International. Reprinted by permission.

78

To prepare for the passage shown in Example 31, the tenor should practice a series of exercises that cover an octave range. Figure 21 is an octave slide, with the fifth of the scale interrupting the octave so as to break up the large leap into smaller jumps. It then covers the entire octave in one slide. The tenor should sing this exercise on a “buzzing” sound such as the consonants [v] or [z], or a lip trill.

Figure 21. Octave Buzz Exercise.

The buzz will assist the tenor in feeling the sensations of resonance in a consistent place in his head throughout the scale. Another positive aspect of the buzzing sound is the awareness of breath pressure and tension; if the tenor pushes too much, he will feel the pressure build up and the throat constrict. Due to the restriction at his lips, he will be more aware of these sensations than he would be if singing the exercise on a pure vowel. The next step of the exercise in Figure 21 is to sing it on single vowels, making sure to cover every vowel in order to explore the various modifications that must be made. A further exercise to develop the octave interval is shown in Figure 22. This exercise is designed to help the tenor sing an octave with the technique practiced in Figure 21, but arriving at the octave more quickly.

79 Figure 22. Octave Agility Exercise.

The tenor should sing this octave on [a] in order to keep the tongue free, with energized breath and focused resonance, while releasing tension upon the ascent. The staccato marking on beat two allows the tenor to release the sound rather than push through the interval. The tenor should feel his low abdominal muscles engaged during the octave jump, but he should feel very little sensation in the larynx. It is a releasing sensation into and through the top of the skull. In order to successfully sing the reiteration of the upper octave on beat three, the tenor must maintain the released sensation from beat two, in addition to the energized breath and focused resonance. The descending scale is designed to help the tenor maintain focused resonance as he descends through the zona di passaggio on his way to his low range. The resulting tone quality after practicing Figure 22 should be a unified range that is focused, resonant, and free rather than one that is “throaty,” “spread,” or “too open.”

Franz Schubert, “Das Fischermädchen,” Schwanengesang, D. 957 The final Schubert Lied in this study is “Das Fischermädchen,” from Schwanengesang, or “Swan’s Song,” which is a collection of Schubert’s posthumously published songs. The original publisher, Tobias Haslinger, arranged the songs into this collection, though it was not Schubert’s intent for them to be a song cycle. In fact, Schubert

80 most likely intended for the songs on the poetry of Rellstab and Heine to be published as two separate collections of seven songs each.47 “Das Fischermädchen” is a useful song for a young tenor in developing his technique in the zona di passaggio. The range is C3 to G-flat4, and the tessitura is a manageable A-flat3 to D-flat4. The melody covers a wide range, with frequent arpeggios and large interval leaps. The song is suitable for young tenors who have access to C3. The majority of the melody of “Das Fischermädchen” stays below the tenor’s zona di passaggio, a relatively easy part of the young tenor’s range. However, Example 32 isolates the section of this song that exercises the zona di passaggio without the strain of a high tessitura.

Example 32. Franz Schubert, 200 Songs, “Das Fischermädchen,” mm. 35-42. © 1961 by International. Reprinted by permission.

47

Robert Winter, et al., "Schubert, Franz." Grove Music Online, Oxford Music Online, Accessed 23 November 2011, .

81

The exercise shown in Figure 23 is extracted from the melodic material in Example 32; this exercise will familiarize the tenor with Schubert’s melody as he explores his technique. Figure 23 should be sung on the vowel [i], because of its forward resonance. Other vowels can be used based on the text in Example 32.

Figure 23. Passaggio Exercise.

The tenor should repeat the exercise in ascending half steps until he surpasses G-flat4, which is the top of the range of “Das Fischermädchen,” in order to be more comfortable with the G-flat4. As the tenor descends through the exercise, he should be certain to maintain the high sensations of resonance in negotiating the passaggi. Keeping a balanced breath underneath this melodic fragment will also help ensure that he does not add muscular effort through the zona di passaggio. The transitions between passaggi points or register transitions will be unnoticeable because the resonance and breath are balanced. The ascending fifth on the word, “Meer” is one of the most difficult parts of the song. If proper balance of resonance and breath is not achieved, then tenor’s voice will likely shift registers suddenly as he reaches the secondo passaggio. In order to practice negotiating this, the tenor should slide up and down the interval of a fifth, from B3 to F-sharp4, on the [i] vowel. Once he can sing this exercise without tongue, jaw, or other tensions, he should be able to sing the phrase in Example 32 with vocal freedom.

82

Robert Schumann, “Waldesgespräch,” Liederkreis, Op. 39 Robert Schumann (1810-1856) was also a prolific Lieder composer, and he continued the historical progression of the Lied and the song cycle, building on what Schubert had already established. Schumann’s most substantial development in Lieder was in his use of the piano. A gifted pianist and composer of piano music, he treated the piano as an equal partner to the voice, often allowing the accompaniment to take over melodic and dramatic material rather than simply providing harmonic support and atmosphere. Schumann’s songs provide the tenor with a wealth of beautiful songs from which to study. Two of the selections discussed here are from Dichterliebe, Op. 48, on poetry of Heinrich Heine, and two of the selections are from Liederkreis, Op. 39, on poetry by Joseph von Eichendorff. As a practical matter, a young tenor will likely find the length and breadth of Schumann’s cycles prohibitive for performance in their entirety. Liederkreis, Op. 39 is a collection of songs, rather than a song cycle with a strong narrative; songs may be extracted in more manageable sets for performance. Since Dichterliebe, Op. 48 is a song cycle with a dramatic narrative and close key relationships, extracting songs for performance is more problematic. However, studying these songs is pedagogically beneficial for the tenor in terms of technique and awareness of important song literature, and it will prepare him for future performances of the entire work. “Waldesgespräch” is the third song in Liederkreis, Op. 39. It is an exciting and dramatic song both musically and poetically. A hunter is riding in the forest and sees a beautiful maiden alone. He stops to offer his assistance and to take her home before dark.

83 He then suddenly realizes that the beautiful maiden is the witch Lorelei, a legendary figure whose beauty and siren calls lure young men to their deaths. The musical material reflects the changing perspectives and moods of the poetry, effecting contrasts in style and character. One of the best pedagogical outcomes from studying “Wealdesgespräch” is the use of dramatic tone colors and dynamics based on vivid storytelling. The story is very clear and does not require sophisticated poetic interpretation. The different sections of the poem are clearly delineated poetically and musically. The situation in which the hunter finds himself allows for heightened emotional choices that help the tenor explore a wide range of tone colors and dynamics. The entire text of “Waldesgespräch” is dialogue between the hunter and Lorelei, without any narration or commentary, simplifying the character shifts. Experience with a song like “Waldesgespräch” in which the dramatic choices are clear allows the tenor to practice his interpretive and expressive skill. The tenor alternates in “Waldesgespräch” between the perspectives of the hunter and the Lorelei; thus, it is necessary for him to be able to adjust his tone color to match his interpretation of the three perspectives. Furthermore, the character of Lorelei has two different colors: one for when she initially speaks with the hunter under the guise of a helpless maiden, and another for when she reveals herself and the trap that has ensnared the hunter. In the early stages of learning this song the tenor should experiment with extreme contrasts in timbre. For example, he should sing the opening phrase, in which the hunter approaches Lorelei, with an exuberant and joyful quality with bright resonance and energetic breath. The tenor should then assess how that timbre matches his poetic interpretation. After working wit brighter timbre, the tenor should sing the same phrase again with a dark and melancholy quality, and assess how that changes the interpretation. Even though the ultimate

84 choice of his interpretation for performance is clear based on the poetry, the skill of altering his timbre to match interpretive choices is developed.

Robert Schumann, “Wehmut,” Liederkreis, Op. 39 “Wehmut” is the ninth song in Schumann’s Liederkreis, Op. 39. It is a slow and melancholy song, with excellent phrasing opportunities for a young tenor. The range is not wide at F-sharp3 to E4 and the tessitura is relatively low at G-sharp3 to C-sharp4. The range and tessitura make it accessible for young tenors because it does not stretch the upper range and the tessitura is low, close to the primo passaggio. As the tenor approaches the primo passaggio, he must be aware of his breath support and vocal weight. This is important because he can sing in the primo passaggio with extra weight in his voice without severely affecting his tone quality. However, if he carries that vocal weight up towards the secondo passaggio, he will find that its quality will be greatly hindered. Careful attention to the primo passaggio, especially in younger tenors, is essential because of the ramifications for his upper range. If the tenor maintains appropriate breath pressure through the primo passaggio, it is very likely his vocal weight is also appropriate. Awareness of tongue and jaw tension will also help ensure that the tenor is treating the primo passaggio as a transition to his upper range, rather than as a middle voice in which he can sing with darker or heavier tone. The primary melodic figure in “Wehmut” is shown in Example 33. This phrase is an excellent exercise with which the tenor can practice approaching the primo passaggio.

85 Example 33. Robert Schumann, Liederkreis, Opus 39, “Wehmut,” mm. 1-3. © 2010 by G. Henle Verlag. Reprinted by permission.

The simple suggestion to “sing it like a tenor,” rather than “singing it like a baritone,” is an important distinction that will allow the tenor to approach the primo passaggio with lighter and slightly brighter tone in which the vowel begins to migrate to a higher place of resonance. The tenor should first sing this phrase on the [i] vowel in order to facilitate a brighter and clearer tone with little vocal weight. Next, the tenor should sing the phrase with the vowels of the text—an exercise he can do with each individual phrase of the piece. When he finally sings the phrase with text, he should begin to feel that even though the range of the melody is not high, he is singing it with the expectation that at any moment he may be required to quickly ascend above the secondo passaggio. This exercise is practicing a frame of mind in which the tenor’s technique allows him to access easily his upper range.

Robert Schumann, “Die Rose, die Lilie, die Taube, die Sonne,” Dichterliebe, Op. 48 The next two selections are taken from Schumann’s most famous song cycle, Dichterliebe, Op. 48. Dichterliebe is a cycle of sixteen songs on the poetry of Heinrich

86 Heine, and Schumann arranged them in order to create a dramatic narrative of unrequited love. Within the overall theme of unrequited love, Schumann explores the moments of extreme joy, remembrance, heartache, and anger that one might experience in a tumultuous relationship. It was Schumann’s personal experience of struggle, obstacles, and passion in his relationship with Clara that drew Schumann to Heine’s poems. “Die Rose, die Lilie, die Taube, die Sonne,” the third song in Dichterliebe, is an exciting song in which the poet describes his feelings for his beloved. The song is an exercise in speech-like singing because of the rapidity with which the tenor must sing the text. Stylistically, this song can develop skills needed for recitative in opera and oratorio, and speech-like singing in musical theater. Example 34 shows the first phrase, which is representative of the style of the whole song. The range, D3 to E4, and the tessitura, B3 to D4, are limited and are of little consequence due to the style of the song. The primary consideration for the tenor is to sing the text clearly and as quickly as he can manage.

Example 34. Robert Schumann, Dichterliebe, “Die Rose, die Lilie, die Taube, die Sonne,” mm. 1-4. © 2011 by Bärenreiter. Reprinted by permission.

The melody dashes along with the rhythm of the text, evoking an image of a young man who can’t contain his excitement. The best way for the tenor to develop clear text is to execute a three-step process. First, the tenor should speak the text as a poem, absent of all

87 melody and rhythm. This will allow the tenor to develop the muscle memory needed to speak the text clearly and quickly. Second, the tenor should speak the text in the rhythm of the song, without melody, which will help him discover Schumann’s interpretation in terms of stressed syllables, important words, and other moments of emphasis. Third, the tenor should sing the song lightly, with full breath support and clear diction, making sure not to create tension in the articulators. This will allow the tenor concentrate on applying the newly found diction skill in context, without the melody distracting from his focus. The importance of this three-step process is to develop the muscle memory of the text, so that the tenor can speak or sing it quickly and clearly. Additionally, singing the text quickly helps the tenor to discover the technique of singing with clear diction but without excessive weight or tension in his consonants. In order for the text to move quickly, it must be pronounced with a balance of lightness and energy.

Robert Schumann, “Aus alten Märchen winkt es,” Dichterliebe, Op. 48 “Aus alten Märchen winkt es” is the fifteenth of the sixteen songs that comprise Dichterliebe, Op. 48. This song is beneficial for the tenor because it exercises key skills such as rhythmic flexibility and negotiating the zona di passaggio. As the penultimate song of the cycle, “Aus alten Märchen winkt es” plays a crucial role in the dramatic narrative. Kimball states that in this song, “the poet describes a magical land where all is beautiful, and problems are nonexistent. He yearns to go there and be relieved of his sorrow.”48 Therefore, “Aus alten Märchen winkt es” provides respite from the bitterness of the disastrous

48

Kimball, 88.

88 relationship, but also keeps the “yearning” emotion on the forefront before closure is achieved in the final song. Schumann achieves this by composing the song in two main sections, the first in a “lively” tempo with a consistently rhythmic figure, and the second section—beginning with “Ach!”—with a more steady and reserved melody and accompaniment. The two musical styles in the song provide the tenor with different pedagogical challenges. The range of “Aus alten Märchen winkt es” is B2 to G-sharp4, which is wide for a tenor and which will exploit his low range. The tessitura is approximately B3 to E4, with a melody that lingers in the low range for some extended periods of time. This song is not appropriate for a beginning tenor; however, an undergraduate tenor who has access to a low B2 and has evenness of tone throughout his range would benefit from studying it. It is a difficult song to memorize. The tenor and his teacher should plan carefully if this is to be performed in a seminar or recital. Example 35 shows the primary melodic and rhythmic figure of “Aus alten Märchen winkt es.” The tenor must be able to clearly articulate the text while keeping the tempo and tone color bright and lively. He must also avoid the fatigue of heavy muscular articulation by relying on a lighter articulation based on coordination of his breath and glottis.

89 Example 35. Robert Schumann, Dichterliebe, “Aus alten Märchen winkt es,” mm. 7-19. © 2011 by Bärenreiter. Reprinted by permission.

The skills mentioned above can be exercised by singing the pattern in Figure 24, which is based on the melodic and rhythmic structure shown in Example 35, with light accents on each note, on a “hum.” This will help the tenor isolate awareness of his abdominal activity and strengthen the connection between abdominal activity and articulation, which in this case is a rhythmic accent. The tenor should observe that the accents are produced not by large contractions of his abdominal muscles, but by an energizing of his breath, which corresponds to a slight glottal articulation. Additionally, he should be aware that the resonant sensations near his hard palate are consistently ringing and not moving backward as the pitch changes, and that the slight glottal articulation does not get too strong, as a true glottal stroke. A hard glottal stroke can be avoided by making sure that his breath is moving consistently and that his throat is free and open, a position which is established on his inhalation.

90 Figure 24. Articulation Exercise.

After he has sung Figure 24 on “hum,” the tenor should switch to “ha” as in Miller’s agility exercise in Figure 11 on page 21. He should maintain focus on the technique mentioned previously, but the [a] vowel will reveal more flaws and require more coordination on the part of the tenor. Finally, the tenor should sing the first two phrases of “Aus alten Märchen winkt es” with text, making sure that the progress achieved by his work with Figure 24 is transferred successfully.

Example 36. Robert Schumann, Dichterliebe, “Aus alten Märchen winkt es,” mm. 67-72. © 2011 by Bärenreiter. Reprinted by permission.

The “yearning” section of the song starts with the tenor’s exclamation, “Ach” in measure sixty-seven, as shown in Example 36. The melody that follows starts as a rhythmic augmentation of the original melody shown in Example 35. The rhythms of the augmentation require the tenor to sing with longer vowels. The tenor should strive for clear

91 diction that does not interfere with the legato line. Example 36 also provides the tenor with a valuable passaggio exercise, as the melody gently crosses over the primo passaggio.

Johannes Brahms, “Sonntag” Fünf Lieder, Op. 47 Johannes Brahms (1833-1897) was a prolific Lieder composer, with approximately 190 solo songs, ranging from folk song arrangements to sophisticated dramatic scenes.49 His compositional style reflects a mixture of Classical formality and rich Romanticism. Brahms wrote two sets of songs specifically for tenor or soprano, Op. 3 and Op. 6. The majority of the remaining solo songs were not specified by voice part. Most of Brahms’ song sets were grouped together for publication and are not intended as coherent sets. Exceptions include his only song cycle, “Die Schöne Magelone,” or 15 Romanzen aus L. Tiecks Magelone, Op. 33, Vier ernste Gesänge, Op. 121, and Ophelia Lieder, WoO 22.50 Later in his career, Brahms started specifying his songs for low voices, which corresponds to the increasingly serious subject matter of the poetry: “with advancing age an autumnal tone is sounded, lost opportunities in love are lamented and the spectre of death is faced.”51 Therefore, the tenor will likely find Brahms’ earlier works and lighter subject matter more suited for high voice. “Sonntag” is from Fünf Lieder, Op. 47. It is a simple strophic song in a folk style, but it provides a young tenor with good and accessible challenges in terms of range and 49

George Bozarth and Walter Frisch, "Brahms, Johannes," Grove Music Online, Oxford Music Online, 1 Dec. 2011, . 50

Ibid.

51

Ibid.

92 passaggio. The range is D3 to G4 and the tessitura lies in the middle of the voice, G3 to D4. Example 37 shows the most difficult passage of the song. The large leaps on “das tausend” are problematic because the [st] consonant combination may interrupt vocal energy. The tenor should not lose focus on his vocalic resonance. Likewise, even through unvoiced consonants, the tenor should have focused resonant sensations.

Example 37. Johannes Brahms, Lieder, Vol. 1, “Sonntag,” mm. 8-16. © 1980 by C.F. Peters. Reprinted by permission.

The tenor should practice the “das tausend” phrase, measures 8 through 12, on the [a] vowel only, and then add consonants. The [a] will not change once the tenor adds consonants if he maintains focus on his resonance sensations. The phrase at the words “wollte Gott,” measures 13 through 16, exercises the top range of the piece and the zona di passaggio. The difficulty of this phrase is the G4. It must be approached with space and

93 energized breath, without pushing or any other heavy muscular effort. The [v] on “wollte Gott” is also problematic. Unless the tenor is able to manage his breath correctly, it may cause too much of a constriction, increasing laryngeal tension. The tenor, therefore, should practice a descending five-tone scale on [va], starting at D4 in the zona di passaggio, and working his way up to G4. The tenor may also practice the [v] exercises explained regarding Beethoven’s “Der Kuss” on page 74. It is particularly important for the tenor to focus on an inhalation that opens the pharyngeal space naturally in order to prevent excessive constriction from the [v].

94 CHAPTER V FRENCH MÉLODIE

French mélodie can be daunting for the average tenor. Unfamiliarity with the language is the main reason why many singers are intimidated by French repertoire. Also, mélodie is a comparatively new genre and lacks repertoire from the Classical period, which would be more accessible in terms of compositional style. Hector Berlioz was the first composer to establish mélodie as a genre in the mid-Romantic period.52 Many French mélodie composers use chromaticism and blurred harmonies, which demand from the tenor a sophisticated musical sense. Kimball states, “Singers who want to perform French mélodies well need poetic sensibility, intelligence, taste, and sensitivity to the clear inflection of syllables within long, flowing melodic lines.”53 The romance is a salon style French song genre that existed before mélodie. It is characterized by strict adherence to strophic form and light subject matter. Written mostly for amateurs, romances have narrow ranges and tuneful melodies. The romance is a good starting point for introducing French music to tenors although few songs in this genre are considered standard repertoire. American singers tend to have difficulty with French diction. They may overly nasalize French vowels, or will struggle with the lack of syllabic stress in the French language. Consonants should be treated more lightly in French than in English, and the [r] should be flipped or rolled as in Italian, rather than pronouncing the Parisian uvular [r].

52

Pierre Bernac, The Interpretation of French Song (New York: Norton, 1976), xiii.

53

Kimball, 156.

95 Also, it can be difficult for young singers to identify French vowel sounds because of relatively complicated spelling. For the young singer starting to learn the French repertoire, The Interpretation of French Song by Pierre Bernac is an invaluable resource for gaining insight into the nuances of mélodie and the French language, and how they are applied to specific songs. Perhaps his strongest pedagogical advice for singers is to ensure that each syllable begins with a consonant and ends with a vowel, and each syllable has only one vowel sound. This technique allows for the fluidity of the French language and helps correct the likely mistake of non-native singers inadvertently adding diphthongs. In reference to the pronunciation of the French language, Bernac states, “it is by overcoming technical problems that the singer succeeds in performing the musical line correctly. There is no reason why the technical performance of the literary text should not be as perfect as that of the music.”54 The French language is very fluid, and French composers typically place a high value on prosody, which leads to melodies that are often declamatory in style. However, Bernac warns the singer to not exaggerate the declamatory, or parlando, aspect of the melody: “to consider the vocal line as ‘quasi parlando’ in style is to show a completely faulty conception of the French mélodie. Nothing could be further from the truth. To obtain the necessary beauty of sound, it is above all essential for the vocal line to be phrased with extreme smoothness—sustained—‘sung’ in the fullest sense of the word.”55 Therefore, it is important that the tenor understands and is able to execute extraordinary French diction, but also sing with consistent tone and smooth phrasing, which helps facilitate the fluidity of the language. In many ways, it is the composer who took on the responsibility

54

Bernac, 11.

55

Bernac, 34.

96 of inflection, and brought out the sonorous quality of the text itself, to a greater degree than any other language. It is the singer’s responsibility to sing with beautiful tone in order to elucidate the composer’s genius. Pedagogically, the tenor should spend considerable time on the French language, learning correct diction and developing a discerning aesthetic of French style. Since the sounds of the language play such an important role in French mélodie, this step cannot be overlooked. He should practice reciting the poems from his French repertoire to gain proficiency in his French diction. An exercise to develop his French diction is to intone the text on a single pitch in the middle of his voice, with steady eighth-note rhythms, one syllable per beat, without inflection but with constant breath support. The result should be a fluid phrase with consistent tone and accurate diction. This exercise helps facilitate the next step of adding the melody; the text should maintain its fluidity while the tenor is focusing on the beauty of the melody.

Jean Paul Martini, “Plaisir d’amour” The first French selection for examination is “Plaisir d’amour,” by Jean Paul Martini (1741-1816), a German born French composer. Martini was a Classical era composer, whose romance style songs were a precursor to the mélodie. Martini “took pride in being the first to replace basso continuo in French song with obbligato keyboard. Whatever the merits of this claim, his collections of romances and chansons were important models in the 1780s and later.”56 Martini’s “Plaisir d’amour” is one of the few romances that remain in the standard

56

Elizabeth C. Bartlet. "Martini, Jean-Paul-Gilles," Grove Music Online, Oxford Music Online, Accessed 4 Dec. 2011,

97 French repertoire because “its gentle melancholy and sentimentality are matched by a suave vocal line and discreet, but effective accompaniment.”57 The range of “Plaisir d’amour” is D3 to G4 and the tessitura is moderately low, approximately G3 to D4. The melody stays in the middle voice for the majority of the song, with a few exceptions, such as that found in Example 38. The lower tessitura phrases in the song provide the tenor with opportunities to work on the French text without the added demands of high pitch. The high tessitura phrases of the song are beneficial technique exercises, as well as simple musical phrases in which to incorporate the French text into the high range.

Example 38. Jean Paul Martini, The French Song Anthology. “Plaisir d’amour,” mm. 21-23. © 2001 by Hal Leonard. Reprinted by permission.

The phrase shown in Example 38 is an ascending chromatic line that requires careful practice by the tenor. It is a beneficial phrase for practicing vowel modification. The tenor

. 57

Ibid.

98 should sing this phrase in free rhythm on the vowels of the text, making sure that each vowel finds an efficient “ring.” He will most likely find that modifying each vowel in the direction of a neutral [ə] will allow his jaw and tongue to release optimum tension and allow the tone to be free. Some tenors, especially lighter voices, may not need to “open” their vowels toward a neutral position as much, and will find that pure vowel sounds combined with generous space are adequate. In either case, in this chromatic passage the tenor needs to maintain slenderness in his tone through the zona di passaggio. He must resist the mounting weight that each ascending note has the potential to add by keeping his breath freely moving and his vowel spinning and focused. In this way the tenor will achieve balance between opening the vowel slightly, and keeping the tone vibrant, slender, and free.

César Franck, “Nocturne,” FWV 85 César Franck’s (1822-1890) contribution to the musical world is primarily as a teacher of notable students such as Duparc, d’Indy, and Chausson. His output of songs is fewer than twenty, and few are in the standard repertoire. He is mainly known for his compositions for organ. His songs are characterized by dense textures, strophic forms, extended use of chromaticism, chordal accompaniments, and simple vocal lines. He is not well regarded as having a keen sense of prosody.58 “Nocturne” is possibly Franck’s finest mélodie. In it, the tenor will find a wide variety of poetic moods describing the different aspects of night. Each stanza of the poem is reflects descriptive musical moods provided by Franck; these require the tenor to sing with

58

Kimball, 165.

99 the corresponding timbres. The range is one octave, F-sharp3 to F-sharp4, and the tessitura is high, lingering around B3 to E4. The largest technical demand on the tenor is the long, sustained phrases that are situated in the zona di pasaggio. These phrases require that the tenor develop his technique for sustaining a high tessitura. It also requires tremendous breath management to simultaneously support a long and slow phrase while providing enough energy and airflow for difficult passaggio work. Example 39 is a melodic figure that appears in some permutation in every verse, including the last verse, in which the melody is sung a half step higher in a major key.

Example 39. César Franck, The French Song Anthology, “Nocturne,” mm. 7-11. © 2001 by Hal Leonard. Reprinted by permission.

100 In order to deal with the troublesome tessitura in Example 39, the tenor needs to find a ringing and free tone while staying as true as possible to the French text. A beneficial exercise to identify the core vowel sensation on a given note is to sing the pitch and oscillate quickly between two different vowels. In this example, the tenor would sustain E4, while singing [a i a i a i…] in rapid oscillation, until he finds the vowel sensation that rings consistently regardless of the vowel shape. To help with this technique, the tenor should ensure that his lips and jaw are relatively released, allowing the tongue to be the primary articulator. He will find that a localized “spinning ball” of resonance is observable in the area of the hard palate, which constitutes the core vowel sensation that should be observable on each vowel. It is also important that the tenor approach this phrase with a lifted soft palate, breathing into the giro technique, so that he does not add excessive chest voice weight to his tone.

Vincent d’Indy, “Madrigal,” Op. 4 Vincent d’Indy (1851-1931) is regarded primarily for his perpetuation of Franck’s teaching ideas. This included the founding of the Schola Cantorum, and his work as an editor and supporter of early music. His teaching and writings greatly influenced French music, even though his criticisms were often at odds with the new developments of impressionism and expressionism.59 As a composer, he seemed to favor larger forms and only composed around fifteen mélodies, of which “Madrigal” and “Lied maritime” are the only ones still in the standard repertoire. 59

Andrew Thomson and Robert Orledge, "d’Indy, Vincent," Grove Music Online, Oxford Music Online, Accessed 9 Dec. 2011, .

101 “Madrigal” is a lovely and accessible mélodie, which is appropriate for beginning tenors. The range is an octave, from E3 to E4, and the tessitura is low, around E3 to C4. A young tenor may not yet have easy access to his E3, in which case this song would be too difficult because the melody of “Madrigal” goes down to E3 frequently. The low tessitura of “Madrigal” suits a young tenor with access to E3; however, he should be careful not to sing in too much of a chest-focused voice. When a tenor sings below the primo passaggio, it is important that he still sing with a sense of focus in the head voice. If he abandons his head voice technique completely as he sings lower pitches, it is much more difficult for the tenor to ascend to notes above the primo passaggio without inadvertently adding weight. The melody of “Madrigal” is primarily based on minor triads. A helpful exercise for the tenor is a major triad on [e] to keep the tongue forward, ascending to approximately F4 to solidify the upper range. To help clarify the tenor’s low range, he should sing a descending five-tone scale on [i] to bring brightness to his tone and keep the tongue forward, descending to E3 or lower as he is able.

Ernest Chausson, “Hébé,” 7 mélodies, Op. 2 Ernest Chausson (1855-1899) composed over forty mélodies. He represents a more Romantic compositional style that was not as reactionary as his French contemporaries, yet his work still retains the elegance and simplicity of typical Romantic French style. Chausson was a gifted melodist and would often write songs that begin in a singer’s middle range and gently ascend to a climax.60

60

Kimball, 191.

102 “Hébé” is an intimate song about the Greek goddess of the same name who fills the cups of the gods with nectar, preserving their youth. She then passes by “us” and we cannot call her to come back. Given the origins of the story, Chausson subtitled the song, “Greek song in Phrygian mode,” which evokes a mood of ancient Greek culture. The melodic line is linearly constructed, with a narrow range of G3 to F4, and a tessitura of B-flat3 to E-flat4. The primary modal melodic fragment is stated immediately by the piano and extended by the voice. Example 40 shows this modal melody, which is the basis for the entire song. The only moment in the piece when a large intervallic leap is used is when the perspective of the poem changes from the gods to “we, too.”

Example 40. Ernest Chausson, The French Song Anthology, “Hébé,” mm. 1-3. © 2001 by Hal Leonard. Reprinted by permission.

The majority of the song lies in the zona di passaggio: effective technique for negotiating the passaggio is necessary in order to prevent fatigue and strained tone. “Hébé” should only be sung by a tenor who is secure in this technique. If a teacher assigns “Hébé” to a tenor in order to work on the zona di passagio, the tenor should not attempt the entire song

103 immediately. Until he is secure, he should sing the phrases of the song in isolation, with periods of rest between them, in order to prevent fatigue.

Figure 25. Passaggio Exercise.

Figure 25 is a helpful exercise based on the melody of “Hébé” that will help the tenor establish freedom in the zona di passaggio, specifically starting with the primo passaggio, It begins and ends near the primo passaggio, but does not go above the secondo passaggio. Freedom in the zona di passaggio is contingent on balanced breath and a tension-free approach to the primo passaggio. After singing Figure 25 on [u], which will help seat the larynx in a comfortable position, the tenor should sing it on an open vowel, such as [a], maintaining the laryngeal position from the [u]. As he approaches E-flat4, he should gently modify [a] toward a neutral position, which will allow the jaw and tongue to release. The tenor should focus on the giro sensation on every pitch of this exercise. He should feel the soft palate lift, the tongue stay forward, and the larynx seated, while directing his breath up and over the soft palate. If he successfully achieves giro in this way, his focus will be on the space in the back of his head, but the resulting sound will ring freely in the resonating cavities in the front of his head. Therefore, the sympathetic resonant vibrations in the front of his head are indeed an effect, which is dependant on the cause, which is the giro: breath flowing up turning over the soft palate.

104 Due to the tessitura and melodic contour, “Hébé” consistently requires the tenor to sing in this technique, which makes the song ideal to help solidify the giro in the tenor’s muscle memory. In addition to the benefits of giro technique in releasing ringing high notes, it greatly helps the tenor remove weight and tension and achieve balance in the zona di passaggio.

Henri Duparc, “Lamento” Henri Duparc (1848-1933) is regarded as a substantial figure in mélodie despite his small output of approximately sixteen songs. Many of his songs are in the standard repertoire, because of the careful detail in which he composed. Duparc is known for his broad melodies, his subtle elegance, and Wagnerian influences, especially in his orchestrally inspired accompaniments.61 The poem for “Lamento” is set in a cemetery. Théophile Gautier’s poem had six stanzas, of which Duparc set three. Kimball states that “soft vowels in the poem produce resonances that complement the mournful mood: roucoulement, doucement, l’unison, tombe, l’ombre, colombe.”62 Duparc establishes the mood of the poem with a descending chromatic motive with a minor chord progression. “Lamento,” therefore exercises the ability to sing a descending chromatic line in tune and with consistent breath support. The motive is stated clearly in the piano accompaniment in the opening bars of the piece, and the voice first states the motive in measures six and seven, as shown in Example 41.

61

Kimball, 169.

62

Kimball, 171.

105 Example 41. Henri Duparc, The French Song Anthology, “Lamento,” mm. 4-7. © 2001 by Hal Leonard. Reprinted by permission.

In order for the tenor to practice this descending line, he should sing the exercise shown in Figure 26, which is based on the descending line in Example 41. On each pitch of the exercise, he should sing through the vowel sequence [i e a o u] as smoothly and quickly as possible, working for consistency in tone and evenness of ring. By singing through this sequence, he will be able to identify the sensations of lift near the soft palate and focused ring on the hard palate, which should be consistent on every vowel. Once focused on those sensations, he can move through each vowel smoothly without losing his ring when the vowel shapes change the position of the tongue, lips, or jaw. This technique facilitates the creation of soft vowels and smooth phrasing, which communicates the mournful mood of the poem.

Figure 26. Vowel Exercise.

106 Essential to the descending chromatic line is the sensation of “lift” in the tenor’s voice. If his vowel sensations or palate drop as he descends, he will begin to sing flat and have the potential to add unwanted tension, especially in the tongue. The tenor may breathe in the middle of the exercise if necessary. It is important for the tenor to let the descending line “float,” not allowing the phrase to be “pushed.” Figure 26 is an effective exercise with which to accomplish this. Once the tenor has sung the vowel sequence in the exercise, he should sing it on single vowels, based on the text of each phrase in “Lamento.”

Henri Duparc, “Chanson triste,” Op. 2, No. 4 “Chanson triste” is another Duparc song helpful for training the tenor voice. It is not an appropriate song for a beginning tenor, but worthwhile for an experienced undergraduate. “Chanson triste” is Duparc’s first mélodie, and it is characterized by an arpeggiated accompaniment that provides richness that supports a sweeping melodic line. The range is broad, from C-sharp3 to A4. If the tenor does not have a comfortable C-sharp3, Duparc provided an alternate melody for that measure, which would make the low range F3. The tessitura is wide due to the broad melody, around B-flat3 to F4. Bernac warns the singer not to overemphasize the sentimentality of the poem, instructing him to sing the high A4 as softly and sweetly as possible: “The feelings of intimacy which must prevail throughout, the lovers being so close to one another, should prevent the formidable outbursts of some singers, anxious to achieve a good A—outbursts entirely out of place in this quiet mélodie.”63 Bernac’s suggestion that the singer rely on his

63

Bernac, 62.

107 interpretation of the poetry to inform his dynamic choices on the high A4 should be taken seriously and practiced diligently by the tenor. To accomplish this technical feat, the tenor should start working on this concept on a lower pitch, such as F-sharp4 or G4, which are both still above the secondo passaggio, but not to the extent of A4. In this exercise, he should focus entirely on the emotional content of his text. In this case, Bernac suggests that “hope” is the theme of “Chanson triste.”64 The tenor should focus on that emotion as he inhales. This will imprint the emotion on his breath. The tenor then sings the note on [a] for an open and free tone, still focusing on the emotion rather than technique. The deeper he breathes, the deeper his emotional intent is in his tone. Likewise, the deeper he breathes, the more his soft palate will lift and the placement of his tone will be set up correctly; in a way he is breathing into the giro. The reality is that the tenor will likely use a considerable amount of breath for his high A4. Also, true piano is difficult if not impossible for a young tenor. In this case he should expect to sing a mezzo piano or mezzo forte. The resulting dynamic level is less important than the quality of the tone; if his voice is soft in timbre, it will appear to the audience soft in dynamic. This exercise may take some time to master, and depending on the ability of tenor. He may have to practice this idea on an even lower pitch before trying it above the secondo passaggio, and then work his way up to A4. This technique will also help the tenor sing the A-flat4, which occurs twice.

64

Ibid.

108 Gabriel Fauré, “Lydia,” 2 mélodies, Op. 4 Gabriel Fauré (1845-1924) is one of the most influential and prolific composers of mélodie, and his songs are generally very well suited for tenors. He wrote more than one hundred songs that can be divided, into three periods. Mostly strophic forms, beautiful melodies, and simple accompaniments characterize his early songs. These songs show some kinship to the mélodie composers that came before him, especially Gounod. His second period shows more refinement, subtlety, and restraint. The second period is also marked by Fauré’s increasingly complex harmonic language, and fruitful affinity for the poetry of Verlaine. The third period consists of lesser known but beautiful song cycles.65 “Lydia” is one of Fauré’s finest songs from his early period. It is also one of the most accessible French mélodies for young tenors, due to its mostly stepwise melody, simple strophic form, and supportive accompaniment. Fauré makes a “musical pun” by using the Lydian mode for the song, “Lydia,” which in the original key is F major, with occasional B naturals that provide the Lydian mode.66 The range is one octave, F3 to F4, and the tessitura lies near A3 to D4. The melody in the key of F is very helpful for young tenors, as they begin to be accustomed to singing near the secondo passaggio. The F4 is approached by a smooth stepwise melody, and the tenor is not asked to sustain that pitch for longer than an eighth note. Likewise, the tenor is not asked to sing for prolonged periods in the zona di passaggio.

65

Bernac, 105-106.

66

Kimball, 177.

109 Example 42. Gabriel Fauré, Gabriel Fauré: 50 Songs, “Lydia,” mm. 11-13. © 1995 by Hal Leonard. Reprinted by permission.

Example 42 shows the phrase in which the tenor sings F4. This phrase is a good introduction to the idea of giro and vowel modification, as the tenor prepares for the F4 by turning and opening the preceding notes so that there is not an abrupt change in tone. Since the melody of “Lydia” is well suited for a young tenor, the melody itself is a very helpful vocal exercise. The tenor should sing the melody on a single comfortable vowel, making sure to maintain lift in his soft palate and keep his ring spinning freely, especially as he negotiates the primo passaggio. He should also sing the melody on the vowels of the text, so that he can familiarize himself with the French vowels and connect to the important legato line. Once the tenor has accomplished this, he should be ready to sing “Lydia” with full text.

Gabriel Fauré, “Nell,” 3 mélodies, Op. 18 “Nell” marks the beginning of Fauré’s second period, which came after a fifteen-year hiatus from writing mélodies.67 It is a challenging song that would be appropriate for a tenor

67

Kimball, 178.

110 who has made sufficient progress in his technique. The range is F3 to A-flat4, and the tessitura is high, approximately C4 to E-flat4. The melodic line arches widely, comprised of mostly stepwise motion. The majority of the song lies between G-flat3 and G-flat4, as shown in Example 43, which is an example of the primary melodic material for “Nell.”

Example 43. Gabriel Fauré, Gabriel Fauré: 50 Songs, “Nell,” mm. 29-32. © 1995 by Hal Leonard. Reprinted by permission.

Evenness of scale is important in “Nell,” because of the wide arching melody. Octave and nine-tone scales, as shown in Figure 27, will help the tenor with this technique. He should sing the scales on [e] for a balance of bright resonance and forward tongue, at a moderate tempo while feeling the entire exercise in one large beat without accents. These scales can be beneficial for agility when sung quickly while feeling the scale “in one,” but

111 when working on evenness of scale, he should move through the scale more deliberately and without rhythmic accents.

Figure 27. Even Scale Octave Exercise.

Two main concepts will help the tenor achieve evenness of scale in these exercises. First, he must approach the first pitch with the technique of the higher tessitura. That is to say, he must sing pitches in the middle of his range as though they are in a light and clear head voice. This brings a sensation of lift to his middle range, prevents weight as he ascends, and helps disguise the registration event as he actually transitions through the passaggio. Second, as the tenor approaches C4 or D-flat4, he must think about giro, allowing the breath and tone to turn up and over the soft palate so that he has free access to his head voice. He will likely need to focus on giro again as he sings F4, G-flat4 and A-flat4, so that he maintains brilliance in his tone and balances breath pressure through the secondo passaggio.

Claude Debussy, “Les cloches,” Romances, L 79 Claude Debussy (1862-1918) is the embodiment of French mélodie style: refinement, elegance, expressive tone colors, reaction against German Romanticism, and synthesis of poetry and music. He is a fairly prolific composer, with over eighty songs to his credit. He

112 is regarded as having the keenest sense of “translating poetic nuance into musical expression,”68 and “creating the mysterious alloy of music and poetry.”69 Debussy achieved a full synthesis of music and poetry. He was impeccable not only with his prosody, but also in expressing the mood and atmosphere of the text. He was well known for very detailed score markings, indicating exactly what he intended the singer and pianist to do. Interpreting Debussy is therefore “no problem, and it is easy for the singers (as it is also their duty) to serve the musician first, without betraying the poet.”70 Debussy’s “Les cloches” was published in C-sharp minor in 1891—fifteen years and nearly twenty songs after his first published song in 1876. Bernac suggests that stylistically, aesthetically, and poetically, it was likely composed seven or eight years earlier.71 In Marcel Dietschy’s A Portrait of Claude Debussy, 1886 is the suggested date of composition.72 “Les cloches” fits with Debussy’s earlier compositional style, before he fully embraced the Impressionism for which he has become well known. The range of “Les cloches” is D-sharp3 to G-sharp4 and the tessitura is approximately A3 to C-sharp4. The first two pages are a moderate level of difficulty, well within reach for young tenors. Example 44 shows a typical phrase in this section of the song.

68

Kimball, 184.

69

Bernac, 154.

70

Ibid.

71

Bernac, 160.

72

Marcel Dietschy, William Ashbrook and Margaret Cobb, eds. and trans., A Portrait of Claude Debussy (New York: Oxford University Press, 1990), 200.

113 Example 44. Claude Debussy, Douze chants avec acct. de piano, “Les cloches,” mm. 7-10. © 1946 by Durand. Reprinted by permission.

The most difficult passage of “Les cloches” is the final phrase, in which the tenor sings a sustained high G-sharp4. Bernac states that the singer “must be able to sing in one breath and without rushing the tempo, the beautiful curve: ‘Semblaient reverdir les feuilles fanées’.”73 Singing this long phrase, shown in Example 44, requires the tenor to master his breath support, and maximize his breath efficiency. The primary technical issue in Example 45 is the approach to the G-sharp4. As the tenor sings “Semblaient,” on B3, he should be initiating the giro technique, lifting the vowel energy up and forward. Another way to think about this interval is to sing the B3 in the position of how the tenor imagines singing the G-sharp4, which reduces pressure and tension on the B3 to allow for an easier ascent. In either approach, the breath sets up the success of the interval; if the breath is taken effectively and wakens sensations of openness around the soft palate, the tenor’s chances of success increase.

73

Bernac, 161.

114 Example 45. Claude Debussy, Douze chants avec acct. de piano, “Les cloches,” mm. 28-36. © 1946 by Durand. Reprinted by permission.

To help solidify the tenor’s breath management for “Les cloches,” he should revisit appoggio exercises discussed in Chapter I to strengthen his technique and then practice Example 45 in isolation. A helpful approach to this phrase is intoning the text on a single comfortable pitch with correct rhythms so that the tenor gets a better idea for the pacing necessary to sustain the entire phrase. Then, the tenor should sing the phrase on [i] to establish forward resonance, modifying to [I] when necessary. The tenor should focus on efficiency of tone on his [i] vowel, not allowing any extra air to escape without being turned into vibrant tone. If the tenor experiences laryngeal elevation as a result of the bright [i] vowel, he should rely on the appoggio exercises to stabilize his expanded ribcage and

115 comfortably low larynx. Finally, when he sings the phrase with text, his efficiency of tone and breath management will help the tenor sing the phrase beautifully and in one breath.

Maurice Ravel, “Sainte,” M.9 Maurice Ravel (1875-1937) is an important transitional figure in mélodie, between the styles of Fauré and Debussy, while anticipating the styles of Poulenc and Milhaud. Like Debussy, Ravel was meticulous in his score markings. He indicated exactly what the singer and pianist should do with the music. Ravel introduced some innovations to mélodie, including the use of free verse rather than metered poetry. He also used a conversational approach to text setting in which Ravel did not set final “e” vowels, which are not pronounced in spoken French.74 “Sainte” is one of Ravel’s first mélodies, and is representative of his impressionist style. The poem is about St. Cecelia, the patron saint of music, and Ravel reflects the subject matter with a syllabic melody above a chordal accompaniment, modal harmonies, as a “slowmoving chordal texture sustains the liturgical mood.”75 The range of “Sainte” is D3 to A4, and the tessitura is relatively low, A3 to C4. Despite the low tessitura, “Sainte” is not well suited for young, inexperienced tenors. Ravel’s impressionist harmonies and complicated rhythmic devices, such as quarter note triplets, make this song musically difficult. Additionally, as shown in Example 46, the high A4 is approached with little warning as it jumps out of an otherwise low tessitura phrase, making it daunting for a tenor who has not established quick and easy access to his high

74

Kimball, 202-203.

75

Kimball, 203.

116 range. However, a young tenor who has already sung a variety of repertoire that exercises A4 will find this song only moderately difficult.

Example 46. Maurice Ravel, Collected Songs, “Sainte,” mm. 11-13. © 2004 by Durand. Reprinted by permission.

The syllabic nature of the melody in “Sainte” makes it a beneficial song for establishing a light vocal mechanism in the tenor’s middle range. It is a speech-like approach to singing that does not disrupt the overall sense of legato or phrasing. The articulators must be relaxed, agile, and responsive, but the breath must be shaping a beautiful phrase. A tenor may potentially add weight to his middle range if he is not conscious of a sense of lift in his tone or flexibility in his articulators. If the tenor sings the low tessitura of “Sainte” with a heavy vocal mechanism, tense articulators, and pressure on the larynx, the high A4 becomes virtually unmanageable due to the cumulative strain on the voice. Figure 28 shows an exercise helpful in executing this speech-like technique. The tenor should sing this vocalise at a slow tempo and as legato as possible, while gently forming a soft “d” with the tip of his tongue to subdivide the rhythmic pulse. The [a] vowel should not lose any height or timbre as the “d” is pronounced. This exercise helps the

117 articulators, specifically the tongue, work effectively without detracting from the integrity of the vowel.

Figure 28. Articulator Exercise.

The tenor will find a vowel shape that rings open and free, while letting the tongue form the “d,” which is a delicate balance. Once the tenor discovers this balance, he will be able to allow his articulators to move freely while keeping consistent legato in his phrase. Other vowel and consonant combinations can be substituted after the “da” is exercised. This technique facilitates good tone production with clear diction.

118 CONCLUSION

The tenor voice is uniquely difficult to teach. Technical precision is required for a tenor to withstand the vocal demands of his repertoire. Through careful repertoire selection of art songs, voice teachers can guide a tenor to a reliable technique that will allow him to sing with beauty and longevity. By identifying specific passages of music in the tenor’s repertoire, pedagogical concerns such as passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility are addressed in the song learning process. As a voice teacher working on this project, I have observed that incorporating the ideas set forth in this project into my lessons has increased the efficiency and effectiveness of my teaching. In this project, I created specific vocalises based on important melodic passages of the repertoire. In this way the student is able to concentrate on technique while learning a portion of the song, rather than singing typical five-tone scales, triads, or arpeggios that do not directly aid in the song learning process. Additionally, singing those specific vocalises helps solidify the muscle memory involved in repetitive practice of the song. This project has been designed to be complimentary to the generalized vocal pedagogy books that are used in typical vocal pedagogy classes, as well as to generalized repertoire guides. Furthermore, the approach laid out in this project can be applied to all other voice types. I would like to continue this research into other voice types, which would lead to a comprehensive and pedagogically based art song repertoire guide.

119 BIBLIOGRAPHY

Sources Arman, Miriam Jaskierowicz. The Voice: A Spiritual Approach to Singing, Speaking and Communicating. Plantation, FL: Music Visions International, 1999. Austin, Stephen F. “From Song to Speech: Nasal Resonance – Fact or Fiction?” Journal of Singing-The Official Journal of the National Association of Teachers of Singing 57, no. 2 (2000): 33-41. Bartlet. M. Elizabeth C. "Martini, Jean-Paul-Gilles." Grove Music Online. Oxford Music Online. 4 Dec. 2011 . Bernac, Pierre. The Interpretation of French Song. New York: Norton, 1976. Boldrey, Richard. Guide to Operatic Roles and Arias. Dallas: Pst… Inc, 1994. Bozarth, George and Walter Frisch. "Brahms, Johannes." Grove Music Online. Oxford Music Online. 1 Dec. 2011 . Carman, Judith E., William K. Gaeddert, and Rita M. Resch. Art Song in the United States 1801-1976: An Annotated Bibliography. Publication of the National Association of Teachers of Singing, University of Iowa Press, 1976. Caruso, Enrico. How to Sing. Brooklyn: The Opera Box, 1973. Caruso, Enrico and Luisa Tetrazzini. Caruso and Tetrazzini on The Art of Singing. New York: Dover, 1975. Clark, Mark Ross. Guide to the Aria Repertoire. Bloomington: Indiana University Press, 2007. Coffin, Berton. The Singer’s Repertoire. New Brunswick, NJ: Scarecrow Press, 1956. Daverio, John and Eric Sams. "Schumann, Robert." Grove Music Online. Oxford Music Online. 26 Nov. 2011 .

120 Dibble, Jeremy. "Parry, Sir Hubert." Grove Music Online. Oxford Music Online. 5 Jan. 2012 . Dietschy, Marcel. William Ashbrook and Margaret Cobb, eds and trans. A Portrait of Claude Debussy. New York: Oxford University Press, 1990. Doing, James, and Donald G. Miller. “Male ‘Passaggio’ and the Upper Extension in the Light of Visual Feedback.” Journal of Singing-The Official Journal of the National Association of Teachers of Singing 54, no. 4 (1998): 3-14. Emmons, Shirlee. The Art of the Song Recital. New York: Schirmer Books, 1979. Frissell, Anthony. The Tenor Voice. Somerville, Mass: Bruce Humphries, 1968. Garcia, Manuel. Donald V. Paschke, ed. and trans. A Complete Treatise on the Art of Singing: Complete and Unabridged. New York: Da Capo Press, 1975. Hines, Jerome. Great Singers on Great Singing. New York: Doubleday and Co., Inc., 1982. Holman, Peter and Todd Gilman. "Arne, Thomas Augustine." Grove Music Online. Oxford Music Online. 4 Jan. 2012 . Hopkin, J. Arden. Songs for Young Singers: An Annotated List for Developing Voices. New York: Scarecrow Press, 2002. Hurtado, V. Isaac, and Stanford Olsen. “Three approaches for teaching laryngeal stability: Curing the ‘necktie tenor.’” D.M.A. diss., Florida State University, Tallahassee, 2005. “John Jacob Niles.” John Jacob Niles Center for American Music. 15 Jan. 2012 . Jung, Joo-Young. “Young Singer and the Repertoire.” D.M.A. diss., University of Washington, Seattle, 2010. Kagen, Sergius. Music for the Voice: A Descriptive List of Concert and Teaching Material. Revised Edition. Bloomington: Indiana University Press, 1968. Kirkpatrick, Adam. “Chiaroscuro and the Quest for Optimal Resonance.” Journal of Singing-The Official Journal of the National Association of Teachers of Singing 66, no. 1 (2009): 15-21.

121 Kimball, Carol. Song: A Guide to Art Song Style and Literature. Milwaukee: Hal Leonard, 2000. Lamperti, Giovanni Battista. William Earl Brown, trans. Vocal Wisdom. New York: Taplinger, 1957. Li Vigni, Gioacchino. “Gira/Giro.” 15 December 2011. Personal e-mail (15 December 2011). Martin, William AlExample “Highs and lows of the baritenor voice: exploring the other male hybrid.” D.M.A. diss., University of Alabama, Tuscaloosa, 2010. Miller, Richard. Training Tenor Voices. New York: Schirmer Books, 1993. __________. The Structure of Singing. New York: Schirmer Books, 1986. Palmer, Edward Davidson. The Tenor Voice and its Training. London: Williams, 1900. Pinkall, Bryan Robert. “A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Faure, and Agustin Lara.” M.M. thesis, Kansas State University, Manhattan, 2010. Salvetti, Guido. “Le verità di una falsificazione.” Chigiana. 19 (1988): 201-10. Thomson, Andrew and Robert Orledge. "Indy, Vincent d’." Grove Music Online. Oxford Music Online. 9 Dec. 2011 . Titze, Ingo. Principles of Voice Production. 2nd Ed. Iowa City: NCVS, 2000. Villamil,Victoria. A Singer’s Guide to the American Art Song 1870-1980. London: Scarecrow Press, 1993. Williamson, Scott McCrea. “Benjamin Britten and his sphere of influence: repertoire for the tenor voice.” D.M.A. diss., University of Maryland, College Park, 2003. Winter, Robert, et al. "Schubert, Franz." Grove Music Online. Oxford Music Online. 23 Nov. 2011 .

122 Musical Scores Arne, Thomas. Twelve Songs: Book One. Edited by Michael Pilkington. London: Stainer and Bell, 1979. Baker, Theodore, ed. Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high voice. New York: G. Schirmer, 1948. Barber, Samuel. Collected Songs. New York: G. Schirmer, 1986. Beethoven, Ludwig von. Lieder und Gesänge. Vol. 2. Munich: G. Henle Verlag, 1990. Bellini, Vincenzo. 15 Composizioni da Camera. Milan: Ricordi, 1997. Boytim, Joan Frey, ed. The First Book of Tenor Solos. New York: G. Schirmer, 1994. Brahms, Johannes. Lieder. Vol. 1. New York: C.F. Peters, 1980. Britten, Benjamin. Folksong Arrangements. Vol. 1. London: Boosey and Hawkes, 1947. Bush, Geoffrey, ed. Hubert Parry Songs. Vol. 49 of Musica Britannica: A National Collection of Music. London: Stainer and Bell, 1982. Debussy, Claude. Douze chants avec acct. de piano. Paris: Durand, 1946. Donaudy, Stefano. 36 Arie di stile antico. Vol. 2. Milan: Ricordi, 1989. Fauré, Gabriel. Laura Ward and Richard Walters, eds. Gabriel Fauré: 50 Songs. Milwaukee: Hal Leonard, 1995. Finzi, Gerald. Collected Songs. Milwaukee: Boosey and Hawkes, 2008. Kimball, Carol, and Richard Walters, eds. The French Song Anthology. Milwaukee: Hal Leonard, 2001. Monteverdi, Claudio. L’Orfeo: Favola in musica. Edited by Dennis Stevens. London: Novello, 1968. Mozart, Wolfgang Amadeus. Sämtliche Lieder. New York: Bärenreiter, 1991. Niles, John Jacob. The Songs of John Jacob Niles. New York: G. Schirmer, 1990. Paton, John Glenn, ed. Italian Arias of the Baroque and Classical Eras. Van Nuys, CA: Alfred, 1994. __________. Twenty-six Italian Songs and Arias. Van Nuys, CA: Alfred, 1991.

123 Purcell, Henry. 40 Songs. Edited by Sergius Kagen. Vol. 3. New York: International, 1958. Ravel, Maurice. Collected Songs. Paris: Durand, 2004. Saya, Virginia and Richard Walters, eds. The Lieder Anthology. Milwaukee: Hal Leonard, 2003. Schubert, Franz. 200 Songs. Edited by Sergius Kagen. Vol. 1. New York: International, 1961. Schumann, Robert. Dichterliebe. Edited by Hansjörg Ewert. New York: Bärenreiter, 2011. __________. Liederkreis, Opus 39. Edited by Kazuko Ozawa. Munich: G. Henle Verlag, 2010. Tosti, Francesco Paolo. 30 Songs. Milan: Ricordi, 2002. Walters, Richard, ed. Standard Vocal Literature: Tenor. Milwaukee: Hal Leonard, 2004.

124 APPENDIX A SONGS ORGANIZED BY PEDAGOGICAL GOALS

Although every song includes a wide variety of technical demands that need to be addressed, the following lists provide guidance in repertoire selection based on specific pedagogical goals. The songs are listed alphabetically and the page number refers to where the song is discussed in this essay. The composer name and larger work if applicable are also included for reference.

Appoggio Abendempfindung, pg. 69 Wolfgang Amadeus Mozart Aus alten Märchen winkt es, pg. 87 Robert Schumann’s Dichterliebe, Op. 48 Black is the color of my true love’s hair, pg. 64 John Jacob Niles Chanson triste, pg. 106 Henri Duparc’s Op. 2, No. 4 Les cloches, pg. 111 Claude Debussy’s Romances, L79 Dolente immagine di Fille mia, pg. 30 Vincenzo Bellini’s Tre Ariette Das Fischermädchen, pg. 79 Franz Schubert’s Schwanengesang, D. 957 Go, Lovely Rose, pg. 51 Roger Quilter Her Temple, pg. 57 Gerald Finzi’s A Young Man’s Exhortation Ideale, 36 Francesco Paolo Tosti Der Kuss, pg. 72 Ludwig van Beethoven

Lamento, pg. 104 Henri Duparc Nell, pg, 109 Gabriel Fauré’s 3 mélodies, Op. 18 No longer mourn for me, pg. 49 Hubert Parry Nocturne, pg. 98 César Franck Per pietà, bell’idol mio, pg. 34 Vincenzo Bellini’s Sei Ariette Pietà Signore, pg. 25 Alessandro Stradella, attr. Plaisir d’amour, pg. 96 Jean Paul Martini The Salley Gardens, pg. 60 Benjamin Britten’s Folksong Arrangements Sonntag, pg. 91 Johannes Brahms’ Fünf Lieder, Op. 47 Vaga luna, che inargenti, pg. 32 Vincenzo Bellini’s Tre Ariette Vaghissima sembianza, pg. 41 Stefano Donaudy

125 Passaggio Abendempfindung, pg. 69 Wolfgang Amadeus Mozart Aus alten Märchen winkt es, pg. 87 Robert Schumann’s Dichterliebe, Op. 48 Chanson triste, pg. 106 Henri Duparc’s Op. 2, No. 4 The Daisies, pg. 62 Samuel Barber’s 3 Songs, Op. 2 Danza, danza, fanciulla gentile, pg. 28 Francesco Durante Das Fischermädchen, pg. 79 Franz Schubert’s Schwanengesang, D. 957 Halt!, pg. 77 Franz Schubert’s Die schöne Müllerin, D. 795

Hébé, pg. 101 Ernest Chausson’s 7 mélodies, Op. 2 Hey, ho, the wind and the rain, pg. 56 Roger Quilter’s 5 Shakespeare Songs, Op. 23 I’ll sail upon the Dog Star, pg. 44 Henry Purcell’s The Fools Preferment, Z. 571

Lydia, pg. 108 Gabriel Fauré’s 2 mélodies, Op. 4 Madrigal, pg. 100 Vincent d’Indy’s Op. 4

Nell, pg, 109 Gabriel Fauré’s 3 mélodies, Op. 18 Nocturne, pg. 98 César Franck O come, O come, my dearest, pg. 47 Thomas Arne’s The Fall of Phaeton O mistress mine, pg. 54 Roger Quilter’s 3 Shakespeare Songs, Op. 6 Pietà Signore, pg. 25 Alessandro Stradella, attr. Plaisir d’amour, pg. 96 Jean Paul Martini The Salley Gardens, pg. 60 Benjamin Britten’s Folksong Arrangements La Serenata, pg. 38 Francesco Paolo Tosti Vaga luna, che inargenti, pg. 32 Vincenzo Bellini’s Tre Ariette Vaghissima sembianza, pg. 41 Stefano Donaudy Wehmut, pg. 82 Robert Schumann’s Liederkreis, Op. 39 Wohin?, pg. 75 Franz Schubert’s Die schöne Müllerin, D. 795

126 Giro Aus alten Märchen winkt es, pg. 87 Robert Schumann’s Dichterliebe, Op. 48 Black is the color of my true love’s hair, pg. 64

John Jacob Niles Chanson triste, pg. 106 Henri Duparc’s Op. 2, No. 4 Les cloches, pg. 111 Claude Debussy’s Romances, L79 Danza, danza, fanciulla gentile, pg. 28 Francesco Durante Der Kuss, pg. 72 Ludwig van Beethoven Go, Lovely Rose, pg. 51 Roger Quilter Halt!, pg. 77 Franz Schubert’s Die schöne Müllerin, D. 795

Hébé, pg. 101 Ernest Chausson’s 7 mélodies, Op. 2 Her Temple, pg. 57 Gerald Finzi’s A Young Man’s Exhortation Hey, ho, the wind and the rain, pg. 56 Roger Quilter’s 5 Shakespeare Songs, Op. 23 I’ll sail upon the Dog Star, pg. 44

Lydia, pg. 108 Gabriel Fauré’s 2 mélodies, Op. 4 Nell, pg, 109 Gabriel Fauré’s 3 mélodies, Op. 18 No longer mourn for me, pg. 49 Hubert Parry O mistress mine, pg. 54 Roger Quilter’s 3 Shakespeare Songs, Op. 6 Pietà Signore, pg. 25 Alessandro Stradella, attr. Plaisir d’amour, pg. 96 Jean Paul Martini Sainte, pg. 115 Maurice Ravel, M.9 The Salley Gardens, pg. 60 Benjamin Britten’s Folksong Arrangements Vaga luna, che inargenti, pg. 32 Vincenzo Bellini’s Tre Ariette Vaghissima sembianza, pg. 41 Stefano Donaudy Waldesgespräch, pg. 82 Robert Schumann’s Liederkreis, Op. 39

Henry Purcell’s The Fools Preferment, Z. 571

Tessitura Abendempfindung, pg. 69 Wolfgang Amadeus Mozart Aus alten Märchen winkt es, pg. 87 Robert Schumann’s Dichterliebe, Op. 48 Black is the color of my true love’s hair, pg. 64

John Jacob Niles Chanson triste, pg. 106 Henri Duparc’s Op. 2, No. 4 Danza, danza, fanciulla gentile, pg. 28 Francesco Durante Hébé, pg. 101 Ernest Chausson’s 7 mélodies, Op. 2 Her Temple, pg. 57 Gerald Finzi’s A Young Man’s Exhortation Nell, pg, 109 Gabriel Fauré’s 3 mélodies, Op. 18

No longer mourn for me, pg. 49 Hubert Parry Nocturne, pg. 98 César Franck Pietà Signore, pg. 25 Alessandro Stradella, attr. Plaisir d’amour, pg. 96 Jean Paul Martini The Salley Gardens, pg. 60 Benjamin Britten’s Folksong Arrangements Toglietemi la vita ancor, pg. 27 Alessandro Scarlatti’s Pompeo Vaga luna, che inargenti, pg. 32 Vincenzo Bellini’s Tre Ariette

127 Agility Aus alten Märchen winkt es, pg. 87 Robert Schumann’s Dichterliebe, Op. 48 Danza, danza, fanciulla gentile, pg. 28 Francesco Durante Der Kuss, pg. 72 Ludwig van Beethoven Halt!, pg. 77 Franz Schubert’s Die schöne Müllerin, D. 795

Hey, ho, the wind and the rain, pg. 56 Roger Quilter’s 5 Shakespeare Songs, Op. 23 I’ll sail upon the Dog Star, pg. 44 Henry Purcell’s The Fools Preferment, Z. 571

Lamento, pg. 104 Henri Duparc Nell, pg, 109 Gabriel Fauré’s 3 mélodies, Op. 18 No longer mourn for me, pg. 49 Hubert Parry

O come, O come, my dearest, pg. 47 Thomas Arne’s The Fall of Phaeton Per pietà, bell’idol mio, pg. 34 Vincenzo Bellini’s Sei Ariette Rosa del ciel, pg. 23 Claudio Monteverdi’s L’Orfeo Die Rose, die Lilie, die Taube, die Sonne, pg. 85

Robert Schumann’s Dichterliebe, Op. 48 Sainte, pg. 115 Maurice Ravel’s M.9 La Serenata, pg. 38 Francesco Paolo Tosti Toglietemi la vita ancor, pg. 27 Alessandro Scarlatti’s Pompeo Waldesgespräch, pg. 82 Robert Schumann’s Liederkreis, Op. 39 Wohin?, pg. 75 Franz Schubert’s Die schöne Müllerin, D. 795

Legato Abendempfindung, pg. 69 Wolfgang Amadeus Mozart Black is the color of my true love’s hair, pg. 64

John Jacob Niles Les cloches, pg. 111 Claude Debussy’s Romances, L79 Dolente immagine di Fille mia, pg. 30 Vincenzo Bellini’s Tre Ariette Das Fischermädchen, pg. 79 Franz Schubert’s Schwanengesang, D. 957 Go, Lovely Rose, pg. 51 Roger Quilter Her Temple, pg. 57 Gerald Finzi’s A Young Man’s Exhortation Lamento, pg. 104 Henri Duparc Lydia, pg. 108 Gabriel Fauré’s 2 mélodies, Op. 4 Madrigal, pg. 100 Vincent d’Indy’s Op. 4

Nocturne, pg. 98 César Franck Per pietà, bell’idol mio, pg. 34 Vincenzo Bellini’s Sei Ariette Pietà Signore, pg. 25 Alessandro Stradella, attr. Plaisir d’amour, pg. 96 Jean Paul Martini Sainte, pg. 115 Maurice Ravel’s M.9 The Salley Gardens, pg. 60 Benjamin Britten’s Folksong Arrangements Sonntag, pg. 91 Johannes Brahms’ Fünf Lieder, Op. 47 Vaghissima sembianza, pg. 41 Stefano Donaudy Wehmut, pg. 84 Robert Schumann’s Liederkreis, Op. 39