The coup de glotte (stroke of the glottis) : our discussion continued : an authoritative statement.

  • Gib, Charles.
Date:
1911
Catalogue details

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.

    2/4 (page 278)
    \ -&■} -■ -- \jZ>\ -T NOy 1 Vs* \ llU' ' |j/ \ . V -+*®4- . / had been striving for tears to get someone to under- take the publishing of military band arrangements, but without success. Publishers were none too ready to risk money on such a venture. Nothing daunted, Boose decided to be his own printer and publisher. In the year 1845 he issued a sel action from Verdi’s “ Ernani,” which he not only arrarged, but wrote the parts on stone for lithographing, a ad printed them himself. His publication soon attracted a good number of sub- scribers, and immediately commended itself to Messrs. Boosey and Co., who undertook the production of a periodical issue of these works as “Boose’s Mili- tary Journal,” 1846, appointing Boose sole editor. So great was the demand far this journal, that other pub- lishers hastened to launch similar craft. Jullien brought out a journal the following year under the direction of Charles Godfrey, senior! the bandmaster of the Cold- stream Guards. This was followed by an effort from Schott and Co., edited py their kinsman, A. J. Schott, bandmaster of the Grenadier Guards. Here were three bandmasters of th: foot guards editing rival pub- lications. Of these, only two have survived, the first, now known as “Boosey’s Military Journal,” and the second which was acqui ed by Boosey’s in 1857 as their “Supplementary Journa .” These journals practically began the reform of our military music. Boose’s and Jullien’s publications b< ing arranged on the same in- strumental plan, bands found it necessary to adapt themselves to it, and ;l fairly uniform combination throughout our service wis the result, which formed the basis of our present syst :m. So much for instrumental reform. A greater evil still : emained to be remedied—the system under which bai ds were raised and supported. The chief objections to be urged against this were: (1) Bands were regimental institutions only; supported by their officers without ai y state aid. (2) The employ- ment of civilian bandm: sters and bandsmen over whom the authorities had littl: or no control. These we have dealt with at length, el sewhere. Reform in this direc- tion was delayed until 1 /ell into the “ fifties,” and then was only brought abou , by a clear demonstration of the defects of the preva ling system. It came with the Crimean War. Bands and music were forgotten all about in the hurry and scurry of mobilisation, and with many regiments there was every reason for it. The hired civilian bandmasters and bandsmen claimed their discharge, and many bajids were broken up in this way. In short, the whole of our military music was completely disorganised. (To be\ continued.) CHURCH CHOIRS. ON October 19, at 42 Berners Street, London, Mr. G. A. Stanton, A.R.C.M., F.I.G.C.M.,/read a paper on “Management and Training of Church Choirs. ’ Amongst those present were : Dr. Churchill Sibley (in the chiir), Dr. J. H. Lewis (warden), the Rev. Dr. H. Whittaker, ] I.D., the Rev. W. J. J. Cornelius, A.K.C.L., F.I.G.C.M,, M *. T. Westlake Morgan, F.R.S.L., F.I.G.C.M., Professor Elwi 1, F.I.G.C.M., Mr. H. Travel's Adams, B.A., T.C.D., Mr. A. C. Chappell Haverson, F.I.G.C.M., Mr. Reginald Dix, F.I.G.C.M., Mr. John J. Dalgliesh, F.I.G.C.M., Mr. Thomas D. Richards, Mr. George Howell, F.I.G.C.M., Mr. Oscar Mannheimer, Mr. i I. Portman-Lewis, Mrs. H. Doyle, A.I.G.C.M., Miss L. Bowell, L.V.C.M. The general discussion which ensued was of a most interesting it is hoped that during the coming ade for a few other debates of a prac- and helpful character, and year arrangements may be ir Church Musicians may help on matters immediately conr of the lecture and discussion tical nature, in which the r lembers of the Incorporated Guild of one another by an exchange of views ected with their profession, A report will appear shortly. I THE COUP DEvQLOTTE (STROKE OF THEf GLOTTIS). OUR DISCUSSION CONTINUED. AN AUTHORITATIVE STATEMENT. \T7E are fortunate in being able to approach the above V V subject on the basis of assured fact; for M. Garcia the originator of the term “ coup de glotte” has left us a definition of what he meant and also given us instructions how to acquire the “ attack.” Definition: What then is the coup de glotte, or stroke of the glottis? An answer can be found to our inquiry, by a reference to “ Hints on Singing ” by Manuel Garcia, page 13 : “ Q. What do you mean by the ‘stroke’ of the glottis? A. The neat articulation of the glottis that gives a precise and clean start to a sound.” Dr. W. A. Aikin makes the following statement in his book entitled “The Voice,” page 65 : “ By a still stronger approximation of the cords so tight a stric- ture can be produced, that they are no longer free to vibrate, and a state of strangulation ensues, in which the air can no longer pass out. “The sudden relaxation of this spasm, and the consequent bursting of the compressed air between the cords, is what is known as the ‘ coup de glotte,’ an injurious method of obtaining a strong attack upon a note.” It is obvious that the above statement does not agree with M. Garcia’s definition of the coup de glotte, for “the neat articula- tion of the glottis that gives a precise and clean start to a sound ” does not require the vocal cords to approximate “tightly” so as to cause a “stricture.” The following letter to the late Charles Lunn, dated October 28, 1902, clearly expresses Signor Garcia’s views : “1. I do insist on the attack; but it must be the delicate precise action of the glottis, not the brutal pushing of the breath that goes by that name, fit only to tear the glottis, not to rectify and regulate the movements. (Italics are mine.) “2. The attack, or stroke of the glottis, is not an invention, it is a fact of nature. “3. In the series of explosions constituting a sound, the initial explosion is the one that I designate by the name of ‘ stroke of the glottis.’ My merit or demerit consists in having noticed it, and given it a name. Nobody who starts the voice properly can eschew it. “4. I distinguished the first explosion from the others, because as it starts the sound, its qualities or defects are impressed upon the emission.” There is nothing in this letter to justify the belief held by some authorities, that the “stroke of the glottis ” is a violent explosion or bursting asunder of the cords, setting free imprisoned air, which is said to be injurious. Preparation: It is very interesting to notice in the instructions given to prepare for and acquire the “attack,” Garcia recognised that conservation of energy is one of the fundamental laws of nature, and that the application of this law in the matter of voice emission means that maximum effect is to be obtained by minimum of effort. The following extracts from M. Garcia’s “ Hints on Singing,” page 9, will be found by students to fully confirm the above statement: “Muscular relaxation: 1. To open the mouth, the lower jaw should be allowed to fall by its own weight, while the corners of the lips retire slightly .... “The tongue should be loose and motionless, without any attempt to raise it at any extremity: the muscles of the throat should be relaxed. “2. We cannot too strongly recommend extreme looseness of the lower jaw, for on its ease of movement (falling by its own weight) depends that of the organs placed beneath, and conse- quently the elasticity and mellowness of the eounde emitted.”