Hints on Singing , by Manuel Garcia, translated from the French by Beata Garcia, 64 p., formato 23,5x31 cm., (settembre 2001).

Questa edizione riproduce l'originale pubblicato a Londra nel 1894 da E. Ascherberg & Co.

Preface

Since the publication of L'Art du Chant , the invention of the laryngoscope and fifty years of additional experience have naturally enabled me to acquire many fresh ideas, and also to clear up all my pre-existing doubts. The result of this I now offer to the public in as concise and clear a form as I have found possible. The study of the physiology of the voice has been greatly facilitated by the use of the laryngoscope. This instrument, by laying bare the interior of the larynx, shows how the glottis proceeds to produce sounds and registers. It shows, also, the manner in which the ringing and veiled qualities are communicated to the voice. These qualities - produced by the glottis - are distinct from the characteristics of the voice called timbres, and are originated in the pharynx by quite another mechanism. All this should dispel many false ideas afloat on the question of voice production I introduce a few anatomical figures to facilitate my explanations. The study of the anatomy and physiology of the vocal organs is not indispensable to the pupil, but might be most useful to the teacher. It will enable him, when a defect is to be amended, to detect the organ which is at fault, and to suggest the proper correction. For the pupil it is enough that, localising his sensations through his master's explanations, he should learn to distinguish the various parts of his instrument and the manner of using them. I have also added several exercises to give the pupil the opportunity of applying the precepts set forth. At the present day the acquirement of flexibility is not in great esteem, and were it not, perhaps, for the venerable Handel, declamatory music would reign alone. This is to be regretted, for not only must the art suffer, but also the young fresh voices, to which the brilliant florid style is the most congenial; the harder and more settled organs being best suited for declamation. It would not be difficult to trace the muses of the decline of the florid style. Let it suffice, however, to mention, as one of the most important, the disappearance of the race of great singers who, besides originating this art, carried it to its highest point of excellence. The impresario, influenced by the exigencies of the modern prima donna, has been constrained to offer less gifted and accomplished virtuose to the composer, who in turn has been compelled to simplify the rôle of the voice and to rely more and more upon orchestral effects. Thus, singing is becoming as much a lost art as the manufacture of Mandarin china or the varnish used by the old masters. In adopting the form of question and answer, I have endeavoured to foresee the difficulties likely to occur to an earnest student. I subjoin a sketch of the laryngoscope to satisfy the curiosity of any student who may be interested in the subject. The laryngoscope consists of two mirrors. One of them, (very small,) is attached to the end of a long wire and placed against the uvula at the top of the pharynx, the reflecting surface turned downwards. It must be moderately heated that it may not be tarnished by the breath. The other mirror is employed to throw rays of light on the first. The form and disposition of the mirrors will be shown more clearly by the following illustrations than by any attempt at explanation . I wish to express my gratitude to Dr. S. G. Shattock for his great kindness in undertaking to make finished drawings from my rough sketches, and rectifying con amore any physiological or anatomical description that was not strictly technical. I have also to thank my old pupil, Mr. Hermann Klein, for his indefatigable patience and skill in preparing the Ms. for the press and correcting the proofs. Manuel Garcia Cricklewood, London, October, 1894.

Manuel Garcia