I think some of you may find this interesting. I myself am beginning to study all of this, as I am fascinated by the singing methods and knowledge of the time. It is a bit difficult doing it being blind and unable to read music, but fortunately, there are ways around that. My perfect pitch and good memory for lyrics also helps. Still, if anyone would like to work with me on this i.e. study together or even give some advice, I would appreciate it.

Below, you will find various links related to theory, harmony and counterpoint, and a comparison of older and modern methods of teaching and singing. While this relates to choirs and opera, it also relates to the theatre, particularly operettas and such.

Studying Music: Part I

https://dandylover1.dreamwidth.org/205086.html

My one criterion was that the methods and books used had to be from the time of Ivor Novello, preferably from his youth (born 1893). If I were to start in the early nineteenth century, which is where most of my preferred non-musical educational material is from, I would miss extremely important developments in classical music. Starting at the birth of his mother, Clara Novello Davies, in 1861, would be fine. However, since her own book, which I am using as my main text and guide, was written in 1928, I went with that of her son. In the following sections, you will find the books I am using. One thing I have not included, though it was a huge influence in Ivor's own writing style, was theatrical music, such as that found in operettas and Edwardian musical comedies. That is such a large topic for discussion that I feel it deserves its own separate post, as does Ivor's music, since it's an interesting blend of all of the above. But this is well outside the scope of traditional musical study.

In the next entry (the below link), we will delve into vocal training and why the singers of Novello's time sound so wonderful.

Studying Music: Part II

https://dandylover1.dreamwidth.org/205505.html

Finally, since I mentioned the exercises, here they are, for anyone who wants to try them. Note that these are the Preliminaries and Breathlock Physicals, not the vocal exercises. But I have provided the link to her book as well, for those who may wish to go further.

Clara's Exercises
https://dandylover1.dreamwidth.org/205596.html

#books #choir #ClaraNovelloDavies #counterpoint #exercises #harmony #history #IvorNovello #music #musictheory #opera #operetta #singing #studying #vocaltraining #voicetraining #theater #theatre
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I've been really naughty lately. Not only have I not been doing my physical exercises (I started them again), but I've been doing vocal ones that Madam Clara specifically advised against! The thing is, they were created by my favourite singer, so I couldn't resist them.

https://www.youtube.com/watch?v=q7l6szCO7Dw

https://www.youtube.com/watch?v=faoYdjyjMtk

Tito Schipa's methods were completely different from those of Madam Clara, to say the least! Play the piano, let the student sing, focus on vowels, and say almost nothing about the students progress. Also don't even mention breath control!

So now, I'm dealing with two completely different ideologies by two genuine experts. The one taught for sixty years, conducted a world-famous choir, and had a son who wrote his own beautiful music. The other was, to my mind, the best singer in the world, preserved his voice until the end of his life, and also taught for some time. One's methods are rigorous and involved, with many exercises and things to learn. The other's methods are simple, but he himself trained for many years and also took music theory and composition. One's exercises must be played and recorded for me by a friend, and the other's I have, done by him, no less! I must do the Preliminaries and Physicals for my own health. Not doing them led to bad consequences. It's the vocal ones that are causing me trouble! Adding to that is Madam Clara's own words on the sorts of exercises that Schipa did.

"No work could be more futile and injurious to the voice than the method of practising scales, etc., on vowel sounds only. Apart from wearing out the voice itself, instead of adjusting its mechanism, the expressionless hollow sound of ‘““Ah’’, for instance, neither trains nor co-ordinates the mentality, muscularity, and personality so very necessary to the singer.

It is a favourite practice of aspiring vocalists to sing and yell scales to “Ah’’, until everyone in the vicinity is sorry for themselves and the would-be singer leaves off through exhaustion.
On the other hand, in my_ studios have been a succession of students practising word- formation and vocal culture without a single neighbour or passer-by having cause for complaint.

Remember always that scales never could, and never will, produce voice, but are only an aid in mastering technique after the tone is built. I agree with Kreisler that skilful technique is the result more of mental than of physical practice."

"The mistaken idea of the greater value of vowels in practice is due to what is known as the Italian School of Singing, though a careful and able analysis of the singing of the greatest Italian artists, including Caruso, reveals the fact that they always stressed the consonants in which, opposed to popular belief, the Italian language abounds."

Yet Schipa was known for his impeccable vocal line and extreme clarity of diction. I can even listen to his acoustic recordings and hear every syllable and every vowel and consonant he sang. I myself am also obsessed with diction and proper speech and singing,so that I notice tiny details in pitch, volume, etc.
Learn to sing with TITO SCHIPA⭐ | (5 vocal exercises) PART I

YouTube
I am normally great at copying what I hear. But the last two exerciss in part II give me trouble. I must be so precise with my voice that I am able to create different notes rather than sliding and also don't sing flat. It's good to find that I now have a real challenge on my hands. All the others I can do without difficulty.