Historical Perspectives: Witherspoon’s Thirty-Third Lesson

Lesson 33 HEARABLE FAULTS In the study of singing all sorts of terms have been invented to describe sensation of tone and peculiarities of fault or quality. Also numerous fads and fancies have unfortunately been all too influential in affecting both teacher and pupil. That the same thing is true of other professions, like medicine [...]

Historical Perspectives: Witherspoon’s Thirty-Second Lesson

Lesson 32 The trill is not obtained by singing to adjacent notes more and more rapidly. Such an attempt will always result in singing two notes, not trilling.  The real trill is a shake. The two tones sound clearly but they are best "TRILLED" by breaking from the preparatory two tones at once into the real shake. Take [...]

Historical Perspectives: Witherspoon’s Thirty-First Lesson

Lesson 31 STACCATO To learn how to sing staccato you should commence with great care, because the attack may easily be too violent and the tone too open. On the other hand staccato is a most valuable exercise for all voices, even the basso. Modern teaching generally confines it to the coloratura or lyric soprano. [...]

Historical Perspectives: Witherspoon’s Twenty-Ninth Lesson

Lesson 29 Take exercises 42, 35, 36. In singing these longer and more rapid scales be sure to prepare the voice by singing the easier "WARMING UP" exercises first, until the voice feels free and resonant. No one can sing rapid scales with a "COLD" voice. Many things may be advantageously observed during scale practise. [...]

Historical Perspectives: Witherspoon’s Twenty-Eighth Lesson

Lesson 28 CHROMATIC SCALES, ETC. These are important for both male and female voices. Boys and young men should not despise exercises designed to promote facility and exactness and delicacy. The art of singing does not depend upon the bigness of the tone. We hear too much merely loud, stentorian singing to-day. That is not [...]