The perfection of vocal technique in a singer is only the first part of Garcia’s intent. His life’s work obviously included understanding the relationship between the audience and the performer, but his first volume would seem to indicate that the primary focus of his inquiry were the mechanical activities productive of human sounds necessary to that relationship. In his second volume we find a treasure trove of thoughts that make clear to me that he exercised a great deal of restraint while describing the various components of “Great Singing”. I know that one enters perilous territory by praising the art of any performer or composer or even of a particular era, and Garcia seems just as aware as I am of the risk to be criticized and thusly seems quite reticent as well as downright apologetic as he discusses these outstandingly useful elements of the singers’ art.
THE ANALYSIS
Up to now we have excluded, like so many grave errors, the use of the dampened [étouffés] and shrill [criards] timbres, the trembling of the tone, the noisy breath, or one placed in the middle of a word, etc., etc. We had to state the general principles which answered the first need of the art; we considered the voice as an instrument whose range, purity and flexibility, elements necessary for correctness of style, had to be developed. Now our task increases; we are arriving at the most intimate resources of the skill [science], at the irregular means which appear defective, which it is permissible, even advisable, to use under the inspiration of a bold and impassioned movement.
The signs by which man indicates emotion are:
1. Facial movements.
2. The various alterations of the breathing.
3. The excitement [emotion] of the voice.
4. The different timbres.
5. The alteration of the articulation.
6. The movement of the delivery [debit].
7. The elevation or lowering of the tones.
8. The various degrees of intensity of the voice.
A Complete Treatise on the Art of Singing, Manuel Garcia Part 2 pages 142, 143
