Tim BraithwaiteManuel Garcia on Changing or Replacing Words when Singing:In altering or re-arranging words, or syllables, care should be taken to retain and mark the measure or accent of a melody, and only...
Tim BraithwaiteReminiscences of a Cacophonous (!) way of ‘Singing on the Book’ in Early 19th-Century France‘I know of no musician today who has any idea what it means to sing on the book. It was an improvised and simultaneous melody [chant]...
Tim BraithwaiteSummary of the Rules of Singing on the Book: Those of “strict counterpoint” in two voicesThe summary below is from Jean-Paul Montagnier, “Le Chant Sur Le Livre Au XVIIIe Siècle: Les Traités de Louis-Joseph Marchand et Henry...
Tim BraithwaiteImprovising on a Plainchant (Chanter sur le Livre) as described in Early Nineteenth-Century France‘... France, where musical taste has always been somewhat backwards, has never abandoned the mania for improvising on plainchant. The...
Tim BraithwaiteCharles de Bériot on ‘the Vibrating Sound’ in Singing and Violin Playing (1858)We understand by [the term] vibrating sounds a certain undulation or trembling of held notes which indicate the emotion of the spirit...
Tim BraithwaiteM. Garcia on the Decline of Singing Immediately Before the Golden Age of Commercial Recording (1894)‘At the present day the acquirement of flexibility is not in great esteem, and were it not, perhaps, for the venerable Handel,...
Tim BraithwaiteA Story ‘From the Lips of the Maestro’ on Early Nineteenth-Century Ornamentation‘Among the old musicians it used to be customary to write a mere outline or suggestion of the voice part. Particularly was this the case...
Tim BraithwaiteHector Berlioz on the Haute-Contre (1843)‘The old masters of the French school, who never employed the head voice, wrote a part in their operas which they called haute-contre...