(Fr.: ‘carrying of the voice’)
In Baroque vocal and instrumental music, an appoggiatura, particularly one that resolves upwards by a tone or semitone. Deriving from late 16th-century Italian improvisatory practice – Bovicelli's Regole, passaggi di musica, madrigali et motetti passeggiati (1594/R) contains written-out examples – it became one of the most important graces of French Baroque music. In France it was rarely printed before the late 17th century, but was left to the performer to add extempore. Bacilly explained in his Remarques curieuses sur l'art de bien chanter (1668/R, 4/1681; Eng. trans., 1968) that the accessory note anticipated the beat and took value from the preceding note. Perfection, he continued, lay in its also taking ‘some of the value’ of the note of resolution, as this enabled one to linger on the accessory note.
In his Méthode claire, certaine et facile pour apprendre à chanter la musique (...
(It.: ‘chest voice’; Fr. voix de poitrine)
One of the two primary registers of the singing voice. The voice resonating from the chest is lower in pitch and bigger and darker in sound than that resonating from the head (see Voce di testa). Beginning in the 18th century, singing tutors discussed these registers at length, taking various positions on how to unite the break (...