THURWANGER’S PHONETICALLY ANNOTATED SONGS IN FOREIGN LANGUAGES Enabling any one to sing correctly in French, Italian and German SERIES B Bor medium voice FRENCH SONGS 1. MARTINI. “Phisie Amour” (The Jor of Love) bo 2. CH.GOUNOD. «Si le Bonheur” (ben in thy Viton) 3. FONTENAILLES, « Obstination® (Lave, in spit of all!) ‘bo 40H. GOUNOD, __« Faust: Faites-lui mes aveux” (In the language of Love) “9° =. Author unknown, Od French soir Ta charmante Marguerite” (My Marguerite) 6. R. HAHN. L’Heure exquise” (The perfect bour of dreaming) 60 7 ED. LALO, « L’Bxclave” (The Captive) ‘60 | ( MASSENET. égie” (Lg) EPESSARD, —«L/Adeu ga Matin” Moning Fray 9. G. FAURE, “Les Berdtaux” (The Cradle!) 708 10. B. GODARD. —_« Chansog de Florian” (Florian Sone) bo 11, DELIBE 4 Ariosof{O Mer ouvre-toi” (dries: 0 eruel Sea) Bo 12, SAINT-SAENS. — « Samsorfet{Dalila: Mon cocur s'ouvre a ta voix.” (My Heart at thy sweet Vaice) 1.00 13. A. THOMAS. Mignog Connais-tu le pays” (Do you hnow that fair land) ‘90 « Ouvrdites yeux bleus” (Dearest, em thy blue «yes) “79 8 ITALIAN SONGS 15.GIORDANI. Caro mio ben” (Dearest, believe) 16. A. ROTOLI. «Fiore che langue” (The dying Fewer) N Geran sones A SCHUMANN, Lousiame” 7 |ScHUBERT. “Der Pol und ds Madchen” § ANNOTATED UNDER THE SUPERVISION OF CAMILLE THURWANGER ¥ OF PARIS AUTHOR OF “FRENCH MUSICAL DICTION’ A METHOD FOR ACQUIRING A PERFECT PRONUNCIATION IN THE SPEAKING AND ESPECIALLY IN THE SINGING OF THE FRENCH LANGUAGE Instructor at the New England Conservatory of Music BOSTON, MASS. fo MTHURWANGER METHOD Phonetical Annotation of Vocal Music in Foreign Languages, based on Thurwanger Method (PATENTED MARCH 12, 1998) fresh y ‘busy & in én | a lamasse| népéeé vedere erent allor on, con sicbea Staat Dehmet| Her ‘Saal Kuabe + feast pleaare Alvino 10; Rose| Morgen NASAL don't Tongue | food. oneal voy sur vi, fir ‘soanto |_ponte Bask Concert ‘hoe Tunch lund tie face it iouou oh |nschine Tie tarda or sce ond, sed ao sth about them, they are: Th, W as in Vater (Three spect English articul hie schnell ions have been omitted inthis table which is especially intended for English speaking people who don't need any explanation rood”, and double Lat the end of words asin “well”) Explanation of the Diaphonogramme ‘The upper horisontal row inthe Diaphonogramme contains the pho- netieal symbols, o signs representing all the standard vowel sounds and consonantal articulations to be found in the forelgn language in which the song ie written. These are dhe phonetiesl signs used jn the ansotscon of French, Italian and German songs, by the TThurwanger Method. Bach one of these signs represents a single standard vowel sound, oF ‘contonantal articulation, which is found in the words given 28 ex: amples in the same verZcal cols, All examples found in one language are given in one Aorizontal row. A blank space incicates that certain standard vowel sound er con- sonantal artielation does not exist in the language represented, in the dorizontad rom, Such vowel sounds and articulations should ‘be studied with a competent native teacher. NASAL VOWEL SOUNDS:—A clear vowel sound becomes a nasal one ‘when influenced by the consonant R which always follows it it all languages, he athens the N being mececsarily articulated of rox nounced in the toast, Exatnples in English: * Thanks, 100g" in ‘which the N's ate not at all articulated or pronounced, Generally though, the Eagish, taians and Germans, besides pro- ng nasally the vowel sounds, articulate also the consonant N ‘whieh follows, while i French, the leter Nf a nasal sound is never pronounced, This is why the symbols, or signs chosen to fepresent nasal vowel sounds ia this method do not contaln the Teter N, (An English speaking person will xequice the belp ofa native French teacher és order to leara how to produce a good nasal vostel sound without the presence of the lever N heard) ‘Whenever the case appears that the letter N most be articulated after 2 nasal sound, it will be jndicated in the phonetical repre sentation or annotation ofthe sound, 46th, DIPHTHONG, In the annotation made with this method, a diphthong. lahat i 1 says fiwo vowel sounds almost simoltaneously pro- nounced in the same syllable) willbe indicated with fvo phonetieal signs, one of which wil be smaller than the other, It wil indicate thatthe voice must quickly pass over the smaller sign orletter, and the full value ofthe sound must be placed on the larger ane. General qualities of vowel sounds and consonantal Articulations ‘The characteristics or au In order to give the Engi es of vowel sounds in English are jerky, mouthy and diphthongal, while consonantal artcultions are explosive. vowel sounds the qualities they mast have in French (in Italian abd German as well, a special ater serking and rebounding of the jaw. The vonsonantal articulations must be solid ted tothe following vowel sound. That i to say, the ar ‘must be given to avold the lations must be a passive ‘resistance against the pressure of the breath; the jaw f0 open slowly but regula, letting the vowel sound flow out as regularly and as smoothly as oil. Capri TT Wy CAMILLE FHURWANGER,THURWANGER METHOD 3 Phonetically annotated vocal music in foreign languages, with a Diaphonogramme (or comparative key) accompanying it. Patented March 12. 1908. 1 Faites lui mes aveux «4. 7 —— Flower Song from “Faust” Po 4gbsat7 Annotated by “In the Language of Love” ! CAMILLE THURWANGER. CH. GOUNOD. 7 Allegretto agitato. Fai-tes-luéi mes a- Phonetic annotation: Fi - ton ii mé - za - In the lan-guage of Copyrighted 1911 by Camille Thurwanger,Di- tes tui guielio est bel ~ ley Que mon covur nit ot dito tii Ke- be ley ko om} kor ni -t jor Say she’s my love, — my treas = ure, Say that she of my heart, Of omy guit @a-mourl: Pai-tes-lui mes a - vei, Por-tes. mes f da- mur! fe - to -lii_-mé- za - vee, Por- 18 m the joy, And as-sure her my lave. is strong and Ré-vé-les son @ ~ me, Le se-eret de ma flum - me, é-1é-za sO - ni - me, lo soe-kré-doe ma fla - mow, Tell her my hopes and fears, Tall her, her pres-ence en - dears Quit Sex-hale a- vee vous, — Par-fums____ plus doux! kil sig-za-la-vik vy, par- feb pli dut Eo-ry bright hour forme, So speak, Faites tui ete.6Fa-né - el Ce sor-cier que Dieu condanne map- Fa-né - ce! se sor-sié koe ko - da-no» ma- What, fad - ed! Ah, me, thus the bold, ev - il por = te mal= = heurt_ por - 16 ma =~ tert sore—trer fore-told at the fair Andante — Recit. Je ne puis sans quelle se fa - ne tou chore - ne Joo ne pis Eso fa = met RES nee I may not touch a Bloom - ing’ flow - er, But it shail fleur! Si - Je trem-pais mes doigts dans Vea b6 - ni floer! si je tri- pe mt dua di 16 bé-ni- - wither But my hand ix ho - ty wa - ter T._bathe PA = aites tui ete"rst li. que cha-que soir vient pri er lak a= koe suar vie pri - i et Here to pray = Es fel Foy-ons main-te-nant! roy-ons vi tel Elles se toe! vua- idm - tena vua- id vi - too! b- le se 1 The sweet gen-tle maid, Once more ven-ture A now are they Sa- nent? ont Sa-tan, fa - now? nol Sa- ta, Sad - ed? Nol : jm i dee Satan! Thy spell hath pp erese. molto by Tempo I, Allegretto Par - tes pour par- 16 pur must fail, Speak then for Faites lulete. 6Quelle puis-se con - nai + tre, 10 guielle a fait ke le pili sce ko - ne = + treny ma Kl Tell her, sweet flow'rs, I love her,,——=Bright are the heavs. a - rr et dont mon carur trow- be N'a- point_——_par- 6 6 md kor tru - be na- put par Bright is the earth forme, The earth for o -” —— ee Crest on vous gue gai foil Par-les____ pour St-ti vu ke jé fual_— _—par- 16 _______ pur When her tov'd form I sce Speak, then for Si Ca-mour Vof-fa - row ~ che, Que ta fleur sur sa si la-mur K- fa - - hee, kee la flor siir sa What yet I neo-er have told hen, Say that my arms would en - mya! Faites lui ete.6 d1s5417bou - - che, Sache au moins dé - po> ser un bu > fo, sas HO me ‘dé - po- 26. - = =e be - fold her, Guard-ing from ev = ry il her ospress ——— | [——— dos. dy Siowrs: Faites Ini ete. 6IMPORTANT TO SINGERS ‘THE THURWANGER METHOD CONSISTS: of the phonetic anno. tation of vocal music in foreiga languages, with the Diaphonogramme (or comparative key) accompanying it, enabling anyone, after a very short study tosing and pronounce correctly and without diiculty at fret sight, French, Italian, German, ete. The usefulness and advantage of singing a song in the language for which it har been composed is that a good compose, especially a madera ‘ne, takes every care to combine the musical harmony with the natural zony ofthe words: this harmony isdestroyed, or neglected, the “ensemble ff the work is injured. A vocal selection sung inthe language in which i twas written keeps its original and, so to speak, national character, wile a Song translated into another language loses a great deal ofits atisticvalue, Sill, on account ofthe encountered dificutes nine times out of ten, people sing’ translation of a song written in a foreign language, rather than the original. The diftclty of singing correctly the words of an unfamiliar foreign language is that i singer finds hinsell unable to pronounce forelga words ‘which he does not know, itis uot at all because the sounds of such words are dificult to produce, but because he caxnot recopnize at sight which Sound to uter, Whatistheresson?—rst. Tecause the languages i which dhe fe most faterested in singing: French, English, Italian and German, use the same letcrs, but give them different sounds.” and, Because aleter in fone language does not always represent the same sound, but sometimes threeorfourdiiferent sounds, 3d. Lf ome eters are pronounced in certain, words, they may be silent in others, The result s generally errors in pro hnuneiason’ inl in consequence, hesitation in the voice, which s wumusical, ‘Consequently, ia order to sing well in a foreign language, one is obliged to make a long and deep study of that language, or (0 use the Thurwanger Method and Diaphonogramme. ‘There is mo diffcully properly speaking im the pronunciation of the sounds ofa forcign language, id ne can really see from what precedes, that there is no aificolty ia the sounds themselves, but si he reading of their graphic representation. This is the reason the Diaphonogramme has been matte, which with the method of annotation enables the student, after a short and simple study, 0 recognize exactly the sounds, and 10 sing ‘The omission of certain shades of sounds is exactly the same thing. that is done in the science of music itself. If one takes'an instrument lke the piano or the organ, he will easily sce that in a complete sale of one fctave there are only thirteun tones, o fractions of tones a such scale of ‘one ootave when, a8 matter of fact, there are rally Brey.tiree perceptible fractions, called "commas"; there are nine “commas between one whole fone and the next whole tone. Yet, the musical art makes use of only the Standard fractions of tones and omits the others. One who sings alte fat ora litle sharpy sings one or two “commas” t00 low or too high. ‘The ‘study of small shades of vowel sousds as well as that of “commas” fa ‘Music would be endless; while the sole use of the standard vowel sounds is just as suicient as the standard fractions in music are sufficient. If how. tem correctly and without hesitation, The method ig based on the fact that there are only 1 standard vowel sounds, and 25 consonantal articu: lations aliogetier ia the singing of French, English, Talian and German, Undoubtediy, other shades of sounds can be easily detected in certain local. ities or among individuals but they are omitted here as being completely sselessat least in singing. Such other shades ean, and must be brought Doack t0 the slandard sounds or articulations of the Diaphonogramme, which areall represented by slandard liters of signs and solely used to Annotate vocal music ia the diferent languages, whatever may be thelr Individual graphic representation ® Therefore the Tew relative dificulties ~ exist only in the emission of a sound or articulation completely foreign to ‘one’ ows language (vee Diaplionogramme) and one mest study them with 8 competent teacher ‘One should note, however, that fall sounds of a language are theoret- the same as those of ancther language, there is however, a difference manner of producing these sounds, which constitute a characteristic fo national quality because of the fact that this difference in emission Induences all the sounds of a given language in alike manner. a order to be perfect, such characteristics shoold be studied with aa expert teacher, ‘Yet if a sound belongs to one language or another it will always be good i it is musically produced in sloging. ‘Therefore, he who sings perfectly well in his own language will be able to sing without dtiesity, corzecdy ‘and at sight, vocal music annotated with the Thurwanger Method. Another Advantage of the Annotation is that in every language there are a great many words which ome people proaounce one way, while ‘others pronounce them differently. In order to decide and solve this probe Tem in a manner as equitable and as logical ax possible, vocal music anna. tated with the Thuewanger Methad is invariably submitted to the approval of the composer, or to a recognized authority Let it be understood that the object of this phonetically annotated vocal music is noe to accustom the singer o read from the phonetical signs for letters, but to lead him to use these signs a8 a sure guide in case of Goubtor hesitation. Therefore, singers who make use of this phonetically fsnnotated vocal musi are earnestly advised to accustom themselves € ecopuize the conaection between the indicated sounds and the actual spelling ofthe words in the foreign language. ever, one desires to study local or personal shades of vowel sounds, one will be able todo s0, much more easily after having acquired a thorough knowledge of the sStendard vowel sounds, which wil serve him as a st aside and a8 a means of comparison, To speak a language well, a great effort must be made to acquire the characteristics of the sounds of that language j while, to sing language, the greatest tention aust be paid to produce al the sounds ofthat a age with the characteristics of perfect singing, which are or should be practically one and the same forall languages. For thisreasoa, the French, Tealiansand Germans, as well a8 the English, must study for'a long time to change their personal or national characteristics in order to attain the fone standard of perfect singing.