The coup de glotte (stroke of the glottis) : our discussion continued : an authoritative statement.
- Gib, Charles.
- Date:
- 1911
Licence: In copyright
Credit: The coup de glotte (stroke of the glottis) : our discussion continued : an authoritative statement. Source: Wellcome Collection.
Provider: This material has been provided by The Royal College of Surgeons of England. The original may be consulted at The Royal College of Surgeons of England.
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![m Articulation of the glottis: The pupil being thus prepared, should draw in breath slowly, and then produce the sounds by a neat, resolute articulation or stroke of the glottis, upon the broad Italian vowel A (M. Garcia, “Art of Singing,” page 9.) The stroke of the glottis not a slight cough: It has been thought by some that Garcia regarded the “coup de glotte” as a “slight cough.” The following extracts will show that such a view is untenable: “ 1. The pupil must be warned against confounding the articula- tion or stroke of the glottis, with the stroke of the chest, which latter resembles the act of coughing, or the effort made in expell- ing some obstruction from the throat. This stroke or coughing out the notes of the chest, causes a great loss of breath rendering the sounds, aspirated, stifled and uncertain in tone. The function of the chest is solely to supply air, not to throw it out violently.” (“Art of Singing,” page 9.) “2. The stroke of the glottis is somewhat similar to the cough though differing essentially in that it needs only the delicate action of the lips and not the impulse of the air. The lightness of the movement is considerately facilitated if it be tried with the mouth shut. Once understood, it may be used with the mouth open on any vowel. “The object of this is, that at the start, sounds should be free from the defect of slurring up to a note or the noise of breathing.” (“Hints on Singing,” pages 13-4, Manuel Garcia.) Object of the coup de glotte: It is evident that all Garcia meant by the term coup de glotte, as he himself states, “is that care should be taken to pitch the sound at once on the note itself, and not to slur up to it, or feel for it.” He was strongly opposed to the initiation of vibration with a “ click.” Shock of the glottis : The translation le coup de glotte as ‘1 the shock of the glottis,” instead of the “stroke of the glottis,” is answerable for much confusion that exists as to the nature of the true coup de glotte. The stroke of the glottis rightly understood, means muscular co-ordination, whereby there is no exaggeration of the physio- logical act, and the compression of air is proportionate to the resistance of the vocal cords. Muscular co-ordination 1 We understand the stroke of the glottis to mean: 1. The glottis is closed (not tightly). 2. The air is compressed and accumulated below the vocal cords. This compression of the air gives volume or fullness and in- tensity or loudness to the voice: compression means economy and control of breath. Students will do well to remember that this volume, intensity, economy and control are not obtained if the vocal cords approxi- mate when inspiration has already begun; for this attack to use the current expression, “on the breath,” means vocalising on a column of improperly compressed air. 3. When the vibrations are to be begun the muscles should be relaxed to the requisite degree : this is a point that needs carefully thinking out and applying. 4. At the critical moment the vocal cords are gently parted asunder, and the air is released. In this way a “neat articula- tion of the glottis ” can be acquired, that gives a precise and clean start to a sound, and enables a singer, as Garcia puts it, “to pitch the sound at once on the note itself, and not to slur up to it or feel for it.” In conclusion. We can only add what has been already said in “Vocal Science and Art,” page 50: Suggestions: “All singers and speakers who desire to be heard at a distance, should employ this ‘ stroke of the glottis.’ “ No cough or straining is excited and no jerking with the dia- phragm or abdominal muscles must be permitted. Perfection in this most important and fundamental exercise is attained when it can be performed with the most gentle and delicate precision, in fact when the ' stroke ’ is produced automatically.” CHARLES GIB. Mrs. Baughan, the mother of the editor of The Musical Standard, passed away on the evening of October 25. He claims indulgence for any imperfections in the present issue. musk in Condon. Cfte Proms. By D. DC NALDSON. Last Week. 'T'HE programmes for the last few days have been composed A chiefly of familiar items. Among the lesser known pieces may be mentioned Glinka’s delightful fantasia, Kamarinskaya. Its central idea is much the same as that of Grieg’s well-known “ Norwegian Bridal Procession)” but of course the national colour is different. The final coda, in] the style of a gopak, is irresistible in its impetuous gaiety. Mr. William Wallace’s symphonic poem, “Villon,” was also played. Four novelties have figured in the week’s bills. A suite by Mr. Eric Coates, a canon, Op. 56, No. 6, of Schumann, arranged for orchestra by Mr. Francis G. Saunders, a suite of Bach pieces arranged by Mahler and eight choruses for female voices arranged by Pfitzner from Schumann onginals. The suite by Mr. Coates is quile representative of the style aimed at. The style, that is, of alimentary accessory music, such as one hears at Fuller’s when toying <with tea and pastries. The Schu- mann choruses, sung by the Alexander Quartet, are skilfully arranged and very appositely scored. A larger volume of sound than a vocal quartet can prodice would have been advantageous. The seventeenth season of Promenade Concerts is over, and one cannot forbear contrasting the musical state of London now with that of sixteen years agefT A great deal has happened since 1895: several portentous gebiuses have blazed up and rapidly flickered out. The most noteworthy perhaps are Perosi and De Lara. Not a note of either is heard nowadays. . Whatever may be laid to the charge of Sir Henry J. Wood in respect of taste, of aim or of /sincerity, it cannot be denied that he was a pioneer in the work of awakening London’s dormant musical consciousness. I . The season just concluded has witnessed the production of no very astounding new works!; but several of the novelties deserve not only to be heard again but to be promoted to the serene security of orchestral repertoires. Among these I venture to name the Roumanian Rhadsody and the orchestral suite of M. Georges Enesco, “the Pavanfe for a Dead Infanta” of M. Maurice Ravel and the Variations in an Irish Theme of Mr. Norman O’Neill. The suite for oboe find orchestra by Mr. Hamilton Harty is sure to be appreciated whenever it is heard. The performances have been, in the main, satisfactory, although opinions may differ as to the strict honesty of some of the Beet- hoven readings. The programmes have been arranged with even more skill than formerly : tl hackneyed as to cause one 1 fere have been few concerts so entirely ™ —— Jo regret for compulsory absence. The vocal items have not been amazing either on the score of perform- ance or of interest; and the solo works have not been drawn from unfamiliar sources. The “Proms.,” however, lare part of the life of London; and they will doubtless pursue ihe even tenor of their way, despite the concerted croakings of all the critics in town. \ D. DONALDSON. See also Comments and Opinions. It is reported that Mme. Clara Butt and Mr. Kennerley Rum- ford have been meeting with great success in South Africa, this being their first visit to that country. Four concerts in Johannes- burg have been extended to ten, and on their arrival at Cape Town the concerts arranged in that town had to be immediately doubled. They will leave South Africa for England on Dec. 6. Mr. Francisco Berger has (resigned the post of honorary secretary to the London Philharmonic Society, which he has filled for twenty-eight years. His successor will be Mr. William Wallace, the well-known composer and author. Mr. Berger, who was born in London, is seventy-seven years of age. When eight years old he appeared as a “child prodigy” pianist. “Dickens was one of his close friends.” / Dr. Hans Richter arrived! at Vienna last week, to arrange with the Court Opera to conduct a cycle of operatic works. Negotiations between the direc :or, Herr Gregor, and Dr. Richter, have been proceeding for somj time. Dr. Richter now goes to Bayreuth for several weeks’ re: t. He will come to Vienna at the beginning of the New Year, and will act as conductor in “Die Meistersinger,” as well as conducting several concerts.](https://iiif.wellcomecollection.org/image/b22419044_0005.jp2/full/800%2C/0/default.jpg)
