One of the most important

elements of performance practice for

the choral conductor is sound quali-
ty. Since the singer carries his own
Renaissance Vocal Technique for the
instrument with him, he must not on- Choral Conductor
ly regulate the manner in which he
performs early music, as does an in- by Gary Fisher
strumentalist, but he must also ad-
just his voice to suitable Renaissance
sound quality. The instrumentalist
can generally solve this latter issue
by playing a Renaissance recorder, With a fuller understanding of the and manipulate the sound in the
cornett or viol, for instance, or a ranges, uses and capabilities of the throat.
suitable replica of a period instru- Renaissance instruments, the singer To this end, Maffei provides ten
ment. When he uses the period in- can more closely approximate a rules or guidelines to help the singer
strument in a proper manner, he can suitable range of dynamic, timbre, achieve proper vocal production. On-
approximate an appropriate sound blend and overall ensemble use of ly four of these rules have a bearing
ideal. The singer, on the other hand, the voice which will be better suited on the present discussion:
must modify his twentieth-century to the stylistic demands of the [1] ... make no movement in
vocal technique to suit an earlier con- Renaissance score. The modern any part of the body except in
vention of sound production. At this singer needs to understand the that cimbalare cartilage,
point the singer faces two problems: method of attack, dynamic range, because if those people appear
acceptable vocal sound quality for and sustaining quality of the early in- ugly to us who, when they sing,
early music and suitable technique struments. These elements of sound shake their heads, tremble in
and execution. all create a composite quality which their legs, or move their hands
Help can be obtained by listening has certain limitations or boundaries, and feet, we must be sure that
to the manner in which the sound is beyond which the twentieth-century we appear ugly to others when
produced on early instruments. The singer must not transgress. If he we do the same thing. 4
more one listens to and performs does, he is in danger of losing, so to This prescription is designed to in-
with Renaissance instruments, the speak, his early instrument and sure that the singer uses only the
easier it is to understand the effect returning to one of the twentieth cen- cimbalare to activate and control the
that instruments have on the singer. tury. vocal process and not any contortion
By and large, the sound of The first step is to understand the of the face or neck to affect a sound
Renaissance wind and stringed in- vocal technique as taught in or otherwise impair the proper open-
struments is remarkably similar to sixteenth-century Germany and Italy. ing of the larynx through tension.
the timbre and expressiveness of the The Italian doctor and philosopher, [2] ... extend the tongue so that
human voice. It is very easy to Giovanni Maffei (Discorso, 1562), the tip touches the base of the
understand why the voice was viewed outlines in considerable detail the lower teeth. s
as simply an extension of the consort physiology and technique of Italian, This advice is to prevent any contor-
principle, or the homogeneity of Renaissance vocal style. Maffei tion of the mouth or tongue. A
sound of like instruments which defines the process of singing as: " .. relaxed tongue which rests naturally
distinguishes the Renaissance . a sound caused by the minute and at full length in the mouth allows the
musical texture. controlled repercussion of the air in throat to function at its optimum.
Recordings of Mass settings, listed the throat with the intention of pleas- Tension in the tongue transfers to the
in the discography at the end of this ing the ear."j Maffei also describes throat and face and causes undue
article, with winds and strings reveal the location of the glottis with amaz- strain on the vocal mechanism.
an homogeneous sound which is ing accuracy by modern standards. [3] . . . keep your mouth
totally foreign to our concept of in- He speaks of singing from the throat, moderately open, no wider than
strumental individuality. The or "modo di cantare con la gorga." when you are conversing with
Renaissance instrument could rein- The term "gorga" would later refer to friends. 6
force and blend with the voice to a the florid ornamentation in the late This along with the previous rule is
remarkable degree. It is not only sixteenth century; however, for Maf- designed to avoid vocal tension in
amazing that the instruments could fei's purposes, "gorga" referred to the facial area and hence free the
blend so easily with the voice, but the throat, having its origin from the throat for ease of production. It also
that the instrumental timbres could Latin, 'guttur,' for throat. 2 Maffei ob- suggests that the amount of
blend so well across the spectrum of viously placed a great deal of impor- resonance is not great by modern
wind, string, and brass consorts. tance on the proper placement of the standards as the fully dropped jaw is
Given a fairly strong middle register sound in the cimbalare or throat not employed.
of instrument and voice, and the because he refers to its location Finally, Maffei suggests that the
relatively narrow range of the numerous times in his treatise in an singer should:
Renaissance parts, the blend and effort to insure that students utilize [4] let out the breath a little at a
sound quality of the two mediums proper technique. Through this prop- time with the voice, and take
can and should be quite er use and exercise of the vocal ap- care that it does not go out
homogeneous. paratus, the student will achieve the through the nose or through the
Fisher Is a teacher at Milton District High proper "disposition of the throat."3 palate, for each would be a
School, Milton, Ontario, Canada. This means learning how to locate great mistake.
August 1988 Page 15
 This rule calls for a measured fort to mold the nature of the throat. lack of apparent strain or discernable
release of breath which means Maffei describes the ideal voice: tension. This is a quality which goes
careful control of the phonation pro- However, to make things a long way in creating a blend in an
cess. Such careful release also im- clearer, by the "flexible" voice ensemble context. Maffei explains
plies a lighter sound due to a use of you must understand (as it that there were those singers who:
smaller amounts of air. The em- were) a pliable voice, that is, . . . are found who sing bass,
phasis is on a small, measured one that is varied sweetly, so tenor, and other voices with
release which is dependent upon a that the ear is satisfied ....So if great ease, and decorating,
light source of energy, not at all the throat is soft, it will produce diminishing, perform passage
heavy or as full as the modern singer a flexible, pleasing, and work now in the bass, now in
is accustomed to supplying to his variable voice, but if it chances the mezzo, now in the alto-all
production. to be hard, it will produce a beautiful to hearY
The proper tone can only be pro- rigid and harsh voice. 8 And at still another place in the
duced by a "pleasing and soft instru- It was this "flexible and pleasing Discorso:
ment" which comes of a "soft and voice" or "voce flessibile e . . . such a voice is different
pliant throat."7 The description of piaghevole" which was so necessary from the others inasmuch as it
"soft and pliant" for the throat prob- to successful performance of the is reduced to the flexible, con-
ably refers to the quality of rendering florid passage work or "passaggi" in sisting as it does in going from
the music as well as a conscious ef- the sixteenth century. These the bass to alt, and descending
"passaggi" or diminutions were fast from alt to bass with the
PART-T mE OPENING FOR DlilliC'fOR moving melodic formulas applied as diminutions and orderly reper-
OJ" CHILDRENS MUSIC decoration to long notes or at caden- cussion of the air. So it can only
tial points of a phrase. 9 Maffei be produced by a pleasing and
rRockford,
First Covenant
IL is
Church of
luoking for
described the singing of these softinstrument.!3
a director of childrens music
passaggi as "decorating with the Apparently the best of the
(approximately! time position)
throat."lo The important distinction Renaissance singers were expected
beginning September, 1988. For for the singer was to articulate the to traverse more than one vocal part
additional inforrn;,tion contact: sound from the throat and not the (such as tenor to alto or baritone
First Ev. Coven~llt Church mouth. Consonants were added by through tenor) with ease and grace of
316 Hood Road the mouth but the throat was the line.
Rockford, 11 61107 primary vehicle for the sound or the Part of the key to successful
(815) 398--f; 2Lf 7 vowels.!! Renaissance vocal production is the
.\-- ••__1
Flexibility included the ability to use of a warm vocalism which
traverse vocal registers with ease and preserves clarity. This entails the use
of one of the least understood
aspects of sixteenth-century singing:
the vibrato. Unfortunately, the
Renaissance writers do not help us to
distinguish between a normal,
healthy vibrato which adds warmth,
and the fairly large vibrato, using the
lowered larynx to attain a greater
volume and size of sound, which we
associate with the Romantic singer.
Misunderstanding arises with the
amount of vibrato which eventually
begins to cloud the texture and thus
rob the music of its clarity and
homogeneity.
Michael Praetorius (Syntagma
musicum, 1619) recommends that
the singer:
must have a pleasantly
vibrating voice (not, however,
as some are trained to do in
schools, but with particular
moderation) and a smooth
round throat.!4
Praetorius is obviously suggesting
that the singer employ a natural
vibrato, but not to the point that it
becomes noticeable and thereby
destroys the clarity of the line and
the blend of the ensemble.
Fortunately, Ludovico Zacconi
(Prattica di musica, 1592) offers a fair-
Page 16 THE CHORAL JOURNAL
Iy thorough explanation of how the voice as an ornamenting instrument The coloraturae of the throat are
vibrato operates and, even more in its own right. The important thing employed when the text is sung.
helpful, how the vibrato can be seen for the modern conductor to ...The law and nature of col-
as a natural extension of healthy remember is that sixteenth-century oraturae requires that all those
singing: vocalism is not a thin, lifeless, tone notes formed within the cheeks
I have to help the singer, I say without vibrato, but rather a warm and delivered distinctly and
also that the tremolo, that is, the sound, enhanced by the use of clearly can be heard. 16
trembling voice, is the true gate natural vibrato so that clarity is not To achieve the proper balance be-
to enter the passages and to obscured. tween sound and words, the singer
become proficient in the gorgia; A German contemporary of Maffei must have suitable laryngeal control
because the boat moves with was the Wittenberg organist and for proper placement of his tone and
greater ease when it is first composer, Hermann Finck. Finck flexible use of his tongue for clarity
pushed, and the dancer leaps supplies valuable evidence of Ger- of text. Finck's goal for vocal quality
better if first he prepares for the man vocal practice in the mid- was identical to that of Maffei's: a
leap. sixteenth century and its testimony smooth and pleasing sound which
The tremolo should be short to the spread of the Italian coloratura did not allow for any abrupt shifts or
and beautiful, for if it is long technique to Germany. In his Practica inequalities in register or volume.
and forceful it tires and bores. of 1556, Finck uses much the same The overall goal was always one of
And it is of such a nature that language to describe florid singing as clarity and purity of sound for both
those who employ it must Maffei used in the Discorso. Finck the soloist and the ensemble singer.
always use it, so that it becomes describes florid song in the following One of the most important con-
a habit. The continual move- fashion: cepts of Renaissance vocal technique
ment of the voice aids and I have divided the coloraturae that the modern choral director must
voluntarily pushes the move- into two categories: those of the understand is the blending of voices
ment of the gorgia, and ad- throat and those of the tongue. in the choral context. Fortunately,
mirably facilitates the begin- The tongue-coloraturae are the sixteenth-century writers were
nings of the passages. This used in solmization without fairly generous in their assessment of
movement I am speaking of text, in such a way that the the requirements for choral sound.
should only be made with prop- degrees ut, re, mi, fa, sol, la are At one point in his Dialoghi of 1569,
er speed, and lively and not sung with a full mouth, but Massimo Troiano, a talented singer
vehemently.15 rather flow easily and naturally in the Munich Kantorei under Orlan-
Clearly, the singer was moving from the mouth, very delicately do di Lasso, describes the superb
more and more toward the use of the and at the same time separated. leadership qualities which Lasso ex-

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August 1988 Page 17

hibited with his singers and players: pleasantly and skillfully strive voices" and above all else, no part
With such skill, confidence and to adapt themselves to the must reach or strain beyond its
understanding of art, he outer voices.... The discantus range.
brought musicians to the right and the alto [do] not rise higher The idea of singing softer as one
tempo. . . . So did the ex- than they should, or . . . no moves higher is of course contrary to
perienced singers under the singer strains his voice; for what the modern singer is taught.
leadership powers of Orlando di many singers change their tone Vocal pedagogy tells us that as the
Lasso find that they could sing colors, becoming black in the voice ascends, greater resistance is
more beautifully with more face and come to the end of offered to the breath resulting in
energy and a better tone under their breath. . . . A beautiful greater air pressure. It comes natural-
his leadership. . . . And song can be sung and brought ly to increase the volume as the pitch
something else that I heard with to performance by such rises. 19 In moving to a higher
astonishment and satisfaction delightful, thoroughly refined, register, the modern singer naturally
was that they sing so well and well-blended voices that increases the tension on his vocal
together that even he who has one could not ask for it to be chords by manipulation of his
the best ear cannot detect one better. ... The higher a voice arytenoid and cricoid cartilages
singer's voice from another'sY rises the quieter and lovelier which exert the suitable pressure on
From these brief comments we can should the note be sung; the the position of the (lowered) larnyx to
discern that there were several more it descends, the richer the achieve a greater degree of active
qualities which were desirable for the sound, as in an organ, [bold contraction on the vocal chords. 20
Renaissance ensemble, not the least face mine] wonderfully This exertion of greater pressure on
of which were blend, tone, and assembled of different kinds of the larynx allows for the maximum
balance. pipes ... so that one voice like vocalisation and resonance. We can
Unlike Maffei, Hermann Finck another, the high as well as the be fairly sure that the Renaissance
discusses the specifics of ensemble low, become soft, gentle, and singer did not employ such tech-
technique for the choral singer. clearly understood. 18 niques as a fully lowered or dropped
Finck offers important advice on the The quality of sound that Finck larynx to achieve his sound because
suitable blend and character of each seeks is one which, above all, is we can compare the techniques
of the parts in a choral ensemble: blended. No one voice should pro- described by nineteenth-century
For example, a discant singer trude from the fabric of the music writers with earlier approaches to
sings with a tender and due to unusual quality or tone. Finck singing and see the differences.
soothing voice, but a bass with maintains that the inner voices We are essentially products of
a sharper and heavier one; the should be slightly subservient to the nineteenth century techniques of
middle voices sing their melody outer parts. The inner voices must singing. Manuel Garcia (Traite com-
with a uniform sound and "adapt themselves to the outer plet de ['art du chant, Paris, 1840)
describes a vocal technique which
favors a consistent use of the lowered

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Page 18 THE CHORAL JOURNAL
easily and lightly the singer must Florid lines of melismatic Imitative music calls for a distinct ar-
project, to allow the room to carry passagework require light vocalism ticulation on the part of each voice
the optimum clarity of sound. in order to successfully carry the stating the subject and a particularly
David Willcocks comments on the lines to conclusion. A heavy clear rendering of that particular
acoustic at King's College, Cam- vocalism would only get weighed phrase to make sure that the subject
bridge where he directed for so many down in such passagework. is heard. The clarity with which the
years: Another significant area of vocal voice sings and the absolute unifor-
... it narrows the range of ex- technique which the treatise writers mity of entrances from part to part
pression because if you sing ff take time to describe is the quality of will help create the "elegant fugue"
you will hear it five seconds sound necessary to make imitative as Finck calls it, and thereby
later; if you reach mf at the entries clear. Since so much of enhance the integrity of the music.
climax you can move on to sixteenth-century music is of a Not only does such a rendering of
something else two seconds polyphonic, imitative nature, the the subject material make the en-
later. That restriction dictates clarity of entering parts is important trance of the subject clearer and
the tone-semiquaver runs to the structure of the music. more discernable, but the writers
have to be light, detached and Massimo Troiano (Dialoghi, 1569) stress the fact that such articulation
rather soft in order to achieve describes the Munich Kantorei under will also reveal the structure of the
c1arity.22 Lasso singing a six-voiced Mass. At music more easily. Georg
The acoustic of King's is exceptional; the "Introit" at the high altar: "the Quitschreiber writes at the end of the
however, the cathedral acoustic pro- Kantorei sang with bright and well century that singers must:
vides the same problem of resonance (clear) sounding counterpoint."26 Sing elegant points of imitation
which dictates special considerations Clarity of sound was at its maximum with a clearer voice (fugas
for the choral director if there is to be in order that the full texture of the elegantes voce clariore canens
a suitable blend and articulation polyphony could be appreciated.
from the ensemble. Hermann Finck (Practica musica,
The sweet, flexible and clear 1556) offers specific advice on how
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August 1988 Page 19
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August 1988 Page 21

 proferat) so that the layout and singers must use an appropriate timbres and volumes of the
shape of all imitative sections vocal technique for a clear, focused Renais;sance instruments are a great
may be appreciated. 2B tone quality, but not allow the full help ir achieving an understanding
It would appear that the average power of the lowered larynx to come of suitable Renaissance sound quali-
Renaissance audience was expected into play. All the training which the ty. The homogeneity of sound is im-
to gather far more from its listening modern singer has undergone must portant both amongst the singers
than the modern audiencel be utilized, but under the realization and between the singers and the in-
The modern conductor must keep that the full power of the focused, strumentalists. Given the inter-
in mind the limitations when resonant voice must be moderated in changeability of voices and in·
performing Renaissance music. The line with Renaissance norms. The struments in the Renaissance, we
must assume a fairly close blend of
voice and instrument in the collected
ensemble. Despite both the in-
SMOKY MOUNTAIN strumental and vocal developments
in the sixteenth century, the

MUSIC FESTIVAL Renaissance singer was still a

member of a consort who found his
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APRIL 21-22,1989 APRIL 28-29,1989 Discography
MAY 5-6, 1989 MAY 12-13, 1989 MAY 19-20, 1989
This is a representative listing of current
COMPETITION IN: CONCERT BAND, ORCHESTRA, ensembles whose recordings exemplify the
MARCHING BAND, JAZZ. BAND, STREET PARADE, blend of voices and instruments so crucial to
CONCERT CHOIR, SHOW CHOIR, JAZZ. CHOIR, GLEE CLUB the performance of early music.
Capella Antlqua Miinchen. "Te Deum
Laudamus" South German polychoral music
Festival Director of the sixteenth century. Nlederaltalcher
Scholaren; Konrad Ruhland, director. RCN·
Dr. W J Julian SEON #RL 30389.
Director of Bands Phones: 615/938-0246 The Choir of Westminster Cathedral.
University of Tennessee 615/693-5470 "Christmas Music by Michael Praetorius,"
David Hill, Master of the Music with The
Now in its seventh year, the success of the Smoky Mountain Music Parley of Instruments Peter Holman and
Mark Caudle, directors; Hyperion Records
Festival can be greatly attributed to the fact that it is a one site festival. #CDA 66200.
The three day festival includes two nights' accommodations in a first The Clerkes of Oxenford. "Orlando Gib·
class Gatlinburg motel, adjudication by nationally known judges, trophies bons: Anthems and Songs of Praise" v. 1&11.
to winning groups, plaques to all participating groups as well as a guided David Wulstan, director. Nonesuch
#N5·71391.
tour of the highlights of the Great Smoky Mountains National Park. Consort of Muslke. "Le Lagrime de San
TOTAL COST: $70 per student (2 night package) Pietro" of Orlando di Lasso. Anthony Rooley,
director. L'Oiseau·Lyre #D8DL 706.
$90 per student (3 night package)
Early Music Consort of London. "The
Adjudicators will include: Dr. Harry Begian, Kenneth Bloomquist, Col. Art of the Netherlands," Seraphim #SIC·6104;
John Bourgeois, Herbert Carter, Ray Cramer, Peter Dombourian, Dan "Music of Guillaume Dufay·'Missa Se la face ay
pale'," Seraphim #8·60267; "The Triumphs of
Ellis, Robert Foster, Dr. Thomas Fraschillo, Dr. Edgar Gangware, James Maximilan I," London #ST S15555; Michael
Keene, Mark Kelly, Dr. John Long, Boyd McKeowan, Dr. Stanley Munrow, director.
Michalski, Robert O'Brien, Gary Smith, Joseph Smith, Dr. Luther Karlsruhe Chamber Choir. "Missa Da
Snavely, Dr. Robert Stoll, & Dr. Myron Welch. Pacem" of Josquin Des Pres. Hamburg Wind
Ensemble for Early Music and Spengler
CHORAL JUDGES: Dr. Charles Ball, Charles Jones, Dr. David Gamba Consort, Paul Wehrle, director.
Stutzenberger and Dr. Eric Thorson Musical Heritage Society #3729.
AREACSJ OF INTEREST: The King's Singers. "A French
o Concert Band o Marching Band o Show Choir Collection." side I, bands 3·6, 7b with the Ear·
Iy Music Consort of London, Michael
o Orchestra o Parade Marching o Glee Club Munrow. Moss Music Group #1104 (EMI).
o Second Band o Concert Choir o Senior High School London Cornett and Sackbut Ensem·
DJa2zBand DJa2zChoir o Junior High School ble. "Symphoniae Sacrae II" of Giovanni
Weekend Interested _ Gabrieli. Andrew Parrott, director. L'Oiseau·
Lyre #BA·365.
Name . _ Muslca Reservata. "Josquin Des Pres·
Songs and Motets." Michael Morrow, director;
School _ Andrew Parrott, conductor. Musical Heritage
Society #4960k.
Address . _ The Tallis Scholars. Thomas Tallis:
._----- ----- "Spem in Alium." Gimell CDGIM 006; John

Phone _
FOR CHANGE OF ADDRESS
Mail to: Dr. W J Julian, 601 Westborough Rd., Knoxville, TN 37909 Be sure to notify the Editor at:
P.O. Box 6310, Lawton, OK 73506
Page 22 THE CHORAL JOURNAL
Taverner: "Missa Gloria Tibi Trinitas." Gimell 20 Mauro Uberti, "Vocal Techniques in Italy
CDGIM 004: both directed by Peter Phillips. in the Second Half of the Sixteenth Century," National Convention Receptions
Toronto Consort. "La Chanson Early Music 9 (October 1981): 487-88.
Francaise." Collegium. Records, 1985. 21 Uberti, 488.
22 Peter Phillips, "The Golden Age Re·
Any college, university, alumni
Bibliography gained, part 2," Early Music 8 (April 1980): group, industry or affiliated ACDA
181. organization wishing to host any type
Brown, Howard Mayer. Embellishing 23 Uberti, 487. of meeting or reception at the 1989
Sixteenth· Century Music: Oxford University 24 Uberti,487.
ACDA National Convention in
Press, 1976. 25 Uberti, 494.5.
Dart, Thurston. "How They Sang in Jena in 26 Leuchtmann, 175.
Louisville is asked to contact Mark
1598." Musical Times, v. 108, no. 1490 (April 27 MacClintock, 63. Lehmann, Assistant Convention
1967): 316-317. 28 Georg Quitscheiber, De Canendi . . . Chair, 121 Wilshire Circle, Hampton,
Galliver, David. "'Cantare Con La Gorga studiosis necessaria (manuscript in Belgian Iowa 50441. Phone: Home (515)
The Coloratura Technique of the Renaissance Royal Library, written in September, 1598).
Quoted in Thurston Dart, "How They Sang in
456-5347 or Work (515) 456-4893.
Singer." Studies in Music, VIII7 (1973): 10-18.
Leuchtmann, Horst. Die Miinchnar Jena in 1598," Musical Times 108(ApriI1967): Requests are due December 1,
Fiirstenhochseit Von 1568 Massimo Troiano:· 317. 1988.
Dialoge (italienischl deutsch). Miinchen·
Salzburg: Emil Katzbichler Verlag, 1980.
MacClintock, Carol. Readings in the History
of Music in Performance. Bloomington: Indiana
University Press, 1979.
~~.~
~.
Phillips, Peter. "The Golden Age Regained,

~88'"
part 2." Early Music, 8/2 (April 1980): 178-198.
Uberti, Mauro. "Vocal Techniques in Italy in
the Second Half of the Sixteenth Century."
Early Music, 9/4 (October 1981): 486-495.
Vernard, William. Singing the Mechanism NEW SWEDEN
and the Technic. New York: Carl Fischer, 1967.

Notes
T HESwedish
NEW SWEDEN Jubilee '88 marks the arrival in the USA of the first
colonists, 350 years ago - in 1638. The Swedes founded the
colony of New Sweden (Delaware) and have been a part of American
I Delle lettere del So, Gio. Camillo Maffei society ever since.
da Solofra, Libri Due ... Napoli, 1562, Letter I, Jubilee Year 1988 is packed with fixtures of various kinds all over
as printed in N. Bridgeman, "Giovanni Camillo
Maffei et sa lettre sur Ie chant," Revue de
the USA. One excellent way in which musicians - both groups and
Musicologie, (July 1956): 10-34. Quoted in soloists - can celebrate the occasion is by including a Swedish compo-
Carol MacClintock, Readings in the History of sition in their repertoires for the year.
Music in Performance (Bloomington: Indiana If you do not know how to get hold of Swedish music in the USA,
University Press, 1979), 44.
just say the word and we will be delighted to assist you. We will also

a
2 David Galliver, "Cantare Con La Gorga:
The Coloratura Technique of the Renaissance appreciate it if you can let us know that you have taken part.
Singer." Studies in Music 7 (1973): 10-14. See
also Howard Mayer Brown, Embellishing SVENSK MUSIK ,
Sandhamnsgatan 79. PO Box 27327
S-102 54 Stockholm, Sweden.
Sixteenth-Century Music (Oxford: University
Press, 1976). Gorga appears to be a dialectical Swedish Music Information Center' Telephone: int +46 (0)8 783 88 00.
spelling of gorgia. Telex 15591 STIM S.
3 MacClintock,46.47.
4 MacClintock, 45.
5 MacClintock, 45.
6 MacClintock, 45.
7 MacClintock, 44.
8 MacClintock, 43.
9 Brown, Embellishing Sixteenth-Century
Music, 1.
10 MacClintock, 43.

" Galliver, 15.

12 MacClintock, 43.
Compiled by - Mary Henry and Marilyn Jones
13 MacClintock, 44. Consulting Editor - Dr. Ruth Whitlock
14 Michael Praetorius, Syntagma musicum,
11/ (Wolfenbuttel, 1619), Pt. III, Ch. 9. Quoted in SONGS FOR SIGHT SINGING provides a collection of literature for use in the choral
MacClintock, 164. classroom. Each selection was composed according to criteria designed by Texas
15 Ludovico Zacconi, Prattica di musica utile secondary choral directors, and commissioned by the Texas University Interscholastic
et necessaria si al compositore . . . si anco al League for use in its annual sight singing contest. These graded materiols were
cantore (Venice, 1596), Book I, Ch. 66, "Che
created specifically for young musicians by recognized composers.
stile si tenghi nel far di gorgia ... ," pp. 58-61.
Quoted in MacClintock, 73. High School - SATB S5.95
16 Practica musica Hermanni Fincki/, ... ac
Junior High School- SAID 4.95
quaedam de arte suaviter et artificiose continens
High School/Junior High School - SAB 5.95
(Whittenberg, 1556), Book V. Quoted in Mac·
High School - Treble 4.95
Clintock, 64.
17 Horst Leuchtmann, Die Miinchner Junior High School - Treble 3.95
Fiirstenhochseit Von 1568 Massimo Troiano: High School- Tenor/Bass 4.95
Dialoge (Munchen: Verlag Emil Katzbichler, Junior High School- Tenor/Bass 4.95
1980), p. 95-97.
18 MacClintock, 62-63.

19 William Vennard, Singing the Mechanism

SOUTHERN MUSIC COMPANY
NATIONAL WATS -1-800-SMC-1100
and the Technic (New York: Carl Fischer, POST OFFICE BOX 329 SAN ANTONIO, TX 78292
TEXAS WATS - 1-800-292-5443
1967),60.

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