IffcNRLF A 76 1 *B 3m 3^^ FRElsiCH DICTION SINGERS AND SPEAKERS WmHarkness Arnold c-o Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive!org/details/frenchdictionforOOarnorich FRENCH DICTION FOR SINGERS AND SPEAKERS BY WILLIAM HARKNESS ARNOLD BOSTON ^^^ OLIVER DITSON COMPANSf^ ^ NEW YORK CHAS. H. DITSON & CO. ICAGO ^YON & HEALY 9^y Copyright, MCMXII, By Oliver Ditson Company International Copyright Secured c ■^ Stanbopc iPress F. H.GILSON COMPANY BOSTON, U.S.A. PREFACE. The study of French diction may be undertaken by any- one who desires to sing in French, or to understand French when sung or spoken; or as a preparation for the study of the French language at school or college. Many singers, while realizing the importance, both artistic and financial, of good diction in French, have hesitated to sing French songs except in translation. It was quite natural to suppose that the study of French diction would be as diffi- cult as that of English diction; but such is not the fact. Almost every educated person who travels in Europe for the first time finds himself understanding French with great difficulty, if At all. The language he reads readily sounds to his ear like an unknown tongue. The reason is simple.. His ear has never been opened to hear the French vowel- sounds on which the spoken language is based. Realizing fully the difficulties of acquiring French diction by the methods hitherto employed, the author has studied to develop a system at once definite, accurate and easy. The labor of learning it has been minimized by dividing the work between eye and ear, and by stripping every topic of useless detail. Advantage has been taken of the fact that French is an absolutely phonetic language, to formulate a system for its Ul 303968 iv PREFACE pronunciation which proceeds swiftly and surely to mastery of the subject. To aid the memory a simple system of marking has been devised, whereby the exact diction in song or speech may be indicated with certainty, either while listening to an artist singing or to a teacher reading the text aloud. The spoken, written and singing exercises which occur on almost every page are only intended to serve as guides for the formation of many more. The songs with diction marked, which are inserted in the book, are selected to combine, with the practice necessary for perfecting one's attainments in diction, the greatest amount of pleasure in singing. As in the case of the singing exercises scattered through the book, those who do not care to sing them should read them aloud. The chapter on conversational French will show the value of this system of marking as an aid to speaking, as well as to singing French. CONTENTS. Pack First Lesson. — The Alphabet, Accents, Syllables, Consonant-Sounds .... i Second Lesson. — Vowel-Sounds, Syllables, Double Consonants 5 Third Lesson. — The Vowel A , First and Second French Exercises 8 Fourth Lesson. — The Vowel E, Third, Fourth and Fifth French Exercises 12 Fifth Lesson. — The Vowels /, F, O, E Mute and Final E, Sixth, Seventh and Eighth Exercises, French and Music, Tonic Accent, First and Second Special French Exercises 19 Sixth Lesson. — French U, The Combinations OU, EU, and OEU, Ninth, Tenth and Eleventh Exercises, Table of Vowel-Sounds 26 Seventh Lesson. — First and Second Nasal-Sounds, Twelfth and Thir- teenth French Exercises 31 Eighth Lesson. — Third and Fourth Nasal-Sounds, Successions of Vowel- Sounds, The Yod, Fourteenth and Fifteenth French Exercises 35 Ninth Lesson. — The Successions 0/and 01 N, The Consonant F, Sixteenth French Exercise 40 Tenth Lesson. — Liquid L, The Succession lEN, Consonants continued. The Vowels -4 and O continued. The Yod, Liquid GN, The Termination ^/ in Verbs, The Conjunction Et, Bridge Syllables concluded 43 Eleventh Lesson. — E Mute continued, Conversational French: I, At Table; II, The Weather; III, The French Lesson; IV, Travel by Rail; V, The Concert; VI, A Dialogue 48 Twelfth Lesson. — French Prose: I, From The Heritage, by Topflfer; II, From Monsieur Lecocq, by Gaboriau ; 1 1 1 , From Les Miserables, by H ugo. 57 Thirteenth Lesson. — French Poetry: I, Chanson, by de Musset; II, Le Corbeau et le Renard, by La Fontaine; III, Rappelle-toi, by de Musset; IV, Carcassone, by Nadau * 69 Fourteenth Lesson. — French Songs, by Chaminade, Debussy, Denza, de Fontenailles, Franck, Godard, Gounod, Lacome, Massenet, Novelli, Pfeiffer, Pessard, Rothschild, Tosti, and Widor 78 A General Table. — Letters and Combinations, Their Sound Names and Markings 115 FRENCH DICTION. " From the known to the unknown." FIRST LESSON. The Alphabet. — The sounds of the French language are represented to the eye by means of an alphabet of twenty-six letters: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, Sf T, U, V, W, X, Y, Z, supplemented by four char- acters: (a) the circumflex accent, (\) the grave accent, (/) the acute accent and (0 the cedilla. Note, — The letter W is found only in words of foreign origin. Vowels and Consonants. — Although the letters compos- ing the French alphabet might be divided into several classes, it will be sufficient for the purposes of this book to divide them into only two classes: vowels and consonants. The vowels are A, E, I, 0, U and F; the consonants are all the remaining letters. The Circumflex. — The first of the four characters sup- plementing the French alphabet is called the circumflex accent (a). Whenever used it is placed over the vowels: A {a), E (e), I (t), (6) and U (u), changing the names of these vowels to A circumflex (a), E circumflex (e), I circum- flex (I) , O circumflex (o) and U circumflex (tl) . 2 / ' '.' FRENCH DICTION The Grave. — The second of the four characters supple- menting the French alphabet is called the grave accent (\), and is placed over either the vowels A (a) or E (e) in certain words, changing the names of these vowels to A grave (d) and E grave (e) respectively. The Acute. — The third of the four characters supple- menting the French alphabet is called the acute accent (/), and is placed only over the vowel E (e) in certain words, changing the name of this vowel to E acute (e). The Cedilla. — The fourth, and last, of the characters supplementing the French alphabet is called the cedilla (») and is placed only under the consonant C (c), in certain words, changing the name of this consonant to C cedilla {c) . The Hyphen. — The hyphen and all the usual marks of punctuation are used in the same manner in French as in English. Syllables. — In French, words are of one or more syl- lables. A definite rule can be given for the division into syllables of all French words. In English, no such rule could be established. The first part of the French rule is: Every syllable ends with a vowel (vowel-sound). To this part of the rule there are a few exceptions which will be noted in a subsequent paragraph. The second part of the rule for dividing French words into syllables may be stated thus: every syllable begins with a consonant. So funda- mental is the principle that every syllable should begin with a consonant, that the final consonant of a word forms a syllable with the initial vowel of the following word, when- ever the following word begins with a vowel. The complete FRENCH DICTION 3 rule for the division of French words into syllables may be stated thus: Every syllable begins with a consonant and ends with a vowel (vowel-sound). Examples. — Paris, Pa-ri beaucoup, beau-cou caft, ca-fe tranquille, tra-nqui-lle Trocadero, Tro-ca-de-ro petit, pe-ti mauvais, mau-vai joli, jo-li Note. — Do not attempt to pronounce these words. Ob- serve that when there is a succession of vowels, the syllable ends with the final vowel. Bridge-Syllables. — The syllable formed by the union of the final consonant of a word with the initial vowel of the next word is called a bridge-syllable. Consonants. — In French, consonants have practically the same pronunciations as in English. By reading carefully the following list, the few differences in pronunciation may be easily remembered: B as in English. C, when standing before the letters E, I or F, has the sound of S. C cedilla (c), has the sound of 5. CH has the sound of SH, except that before a consonant it has the sound of K. C before all letters except E, I and Y has the sound of K. D as in English; except when final and carried over in a bridge-syllable to' the next word it has the sound of T. F as in English ; except when final and carried over to the next word it has the sound of V. FRENCH DICTION G has the sound of Z in azure (zh) before E, I and Y, G is hard as in get, before other letters. GiV will be considered in a paragraph entitled "Liquids." H is usually silent in French; but in the few cases in which it is pronounced, it has the same sound as in English. /, like G before E, I and Y, has the sound of Z in azure {zh). K as in English. L as in English, except when liquid. L is liquid in a number of combinations, all of which will be considered in other paragraphs. M as in English ; except when used as the sign of a nasal- sound, in which case it is not pronounced except in bridge-syllables. N as in English; or as a sign of nasality, and sounded in bridge-syllables. P as in English. PH like English F, QUWke English i^. R as in English; but more strongly articulated. S as in English, except that when between two vowels it has the sound of Z. T has two different sounds; one like the ordinary sound of T as in English, and the other like a hissing S, V as in English. W like English V. XWkeKS. Z as in English. SECOND LESSON. Vowel-Sounds. — Civilized man uses language for three distinct purposes, — speaking, singing and oratory (pulpit, platform and stage). All languages are sung on a basis of vowel-sounds, the duration of the vowel-sound depending upon the time value of the note in the vocal score. In ora- tory, most languages, including English, are spoken largely upon a basis of vowel-sounds; but in French, all articula- tion of words, whether for song, oratory or speech, is founded absolutely upon a basis of vowel-sounds. Conversational English is based largely upon a succession of consonant-sounds, and is therefore the exact opposite of conversational French, which, as has just been stated, is based wholly upon a succession of vowel-sounds. It is to be understood, then, that the French language, in whatever manner it is employed, whether for singing, oratory or speak- ing, is based absolutely upon vowel-sounds. Definition of a Vowel-Sound. — A vowel-sound may be defined as a single sound uttered with lips, teeth and tongue in a definite, exact position. The lips, teeth and tongue take this definite, exact position before the sound is uttered, and maintain it unchanged until the sound has ceased. The singing or speaking of French, therefore, requires the formation of exact mouth positions. In this respect French, 6 FRENCH DICTION as spoken, has a certain kinship to English as sung, but no kinship whatever to conversational English. Without ac- quiring a new mouth habit, it would be impossible for an American to speak French, and his French diction in sing- ing would expose him to ridicule and offend the ear of every educated listener. The speedy acquirement of the precise mouth position required for the pronunciation of each French vowel-sound necessitates the use of a mirror in elementary practice. With the assistance of both eye and ear, the eleven vowel-sounds of the French language may be readily acquired. If the lips, teeth or tongue should change position in the slightest degree during the utterance of a French vowel- sound, it would cease to be French; although it might be a vowel-sound in some other language. A French vowel- sound is always a single sound which never varies in the slightest degree throughout its duration. Bridge-Syllables {continued). — We have learned that in French every syllable begins with a consonant and ends with a vowel-sound, and that even the final consonant of a word forms a syllable with the initial vowel of the next word, when the next word begins with a vowel. Whenever a syllable is formed by the final consonant of one word and the initial vowel of the next, it will be spoken of as a bridge- syllable and marked with a tie, thus: — petit ami {petit ami, pe-ti-ta-mi) mauvais encre {mauvais encre, mau-vai-zencre) il a {il a, i-la) FRENCH DICTION 7 Syllables {continued). — In dividing words into syllables, it will be found that a syllable ends with either one, two or three vowels and begins with one or more consonants. There- fore, in our first attempts to divide French into syllables, the division should always be made after the last vowel whenever there is a succession of two or three, thus : — La lune blanche La lu-ne- bla-nche Luit dans les hois Lui-t da-ns le-s boi-s Paul Verlaine Paul Ve-rlai-ne Exercise. — Pencil a star under the first letter of every doubled consonant on several pages of French. Exercise. — Divide the words on many pages of French with syllables by a vertical stroke of the pencil after each syllable. Double Consonants. — In dividing French words into syl- lables, a double consonant counts only as a single letter, and in the illustrations a star will be placed under the first letter of every pair of doubled consonants, to indicate that the letter is not sounded in pronouncing the word containing it. A star in the illustrations, under any letter, will indicate that the letter is not to be sounded : — bonne (bonne, bo-ne) * femme (femme, fe-me) en effet {en effet, e-ne-fe) buffet {buffet, bu-fe) * beurre {beurre, beu-re) THIRD LESSON. The Vowel A . — The French vowel A has two pronunci- ations : A ordinary and A exceptional. The pronunciation of A ordinary is always to be given to the letter A , except in a few definite cases which will be stated in another paragraph. A Ordinary. — The French vowel-sound A ordinary is rep- resented to the eye by the letter A, either with or without a grave accent (d, a). ' Examples. — ami (a-mi) facile (fa-ci-le) fable (fa-ble) Paris (Pa-ri) d la mode (a la mo-de) The pronunciation of A ordinary can be found in the English word hat. Exercise. — Omitting the final consonant, pronounce in monotone the following English words : — hat cat mat fad bran Mab Pronounce again the words of the foregoing exercise, letting the lips, teeth and tongue retain their position for a second or two after the vowel-sound has ceased. Never spread in the slightest degree the corners of the mouth in pronounc- ing A ordinary, and always speak this sound with a certain depth of tone. FRENCH DICTION First French Exercise. — Remembering that a vowel- sound is a single sound, pronounce in monotone the following French words containing the vowel-sound A ordinary: — la ta ma sa va Canada (Ca-na-da) For practice in pronunciation, write syllables by combining every consonant with the vowel-sound A ordinary y thus: bay cay da, fa, ga, etc. Sing these syllables to the ascending and descending scale of five notes in the middle part of the voice, in slow tempo: — I § ba- ca, ca-da, da- fa, etc. ba- ca, ca-da, da -fa. ba-c% ca-da, da- fa, -BT— ba-ca, ca-da, da 2Z -&■ TT be-de, bez-de, be-dez, be-der, bez-der, be--dez, be 2 2' 2 2' 22* Z Z * 2 Z * Z Z * Z fe-ner, fez-nez, fe-ne, fe-ner, fe-nez, fez-ner, fe 22*2 2' 2 2' 2 2* 2 2*2 2* 2 le-ne, le-ner, le-nez, lez-ne, lez-nez, le - ner, le 2 2* 2 2' 22*2 2* 2 2*2 2* 2 ¥ JN J l .J ^ ja xc me-te, m|-tez, mez-tezj rae-ter, mez-ler, me-te, mez if-p| Ji2-Pf» Ji^Pi^' Jrpf^' Ji^"Pf' Ji'Pf' jf r§*^§> r§z-bez, re-ber, re-bez, rez-be, re-ber, re 2 Z' Z 22 2* 22*2 2* 22* j^ Singing exercises should now be written employing syl- lables containing the different vowel-sounds already learned, thus : — i ^ ^ pas-le - ta-mai,pas-le - la-ma i, pas -le • ta-mai, pas - le - ta 2^ 2 e^2^ 2 e ^^2^ 2 e' 2 2 be-sa- de-nas, be-sa- de-nas, be-sa- de-nas, be - sa - de 2 2 2 2 2 2 2 ne-las - re- va, ne-las -re-va, ne-las - re- va, ne-las-re 22 22 22 22 i6 FRENCH DICTION i -XL i jS ^ -o- ja-mai - le-pas, ja-mai - le -pas, ja-mai- le-pas, ia ke-vas - ba-ne, ke-vas - ba- ne, ke-vas-ba-ne, ke 2 2' 2 2 2 2 les-nei - raj - te, les- nei - rai - te, les-nei - rai - te, les eee2eee2*eee2e 'Note, — Those who do not wish to sing the singing exer- cises should read them aloud many times, in monotone. R Mute. — The French vowel-sound R mute is repre- sented to the eye by the letter E and in no other way. It will be marked thus (£). K mute is always the end of a syllable. Whenever the letter R is followed by another vowel, it never has the pronunciation of K mute, E mute is never marked with an accent, either circumflex, grave or acute; and the letter E never has the pronunciation of E mute when it is followed by a pronounced consonant in the same syllable; all of which will be explained in detail in later paragraphs. Its pronunciation may be found in the English word her. In pronouncing E mute in French, the lips are to be somewhat rolled apart. Exercise. — Omitting the final consonant, and rolling the lips apart, pronounce in monotone the following English words : — her stir fur slur For practice, let the lips, teeth and tongue retain their position for a second or two after the word has been pro- nounced. Fifth French Exercise. — Pronounce in monotone the fol- lowing French words containing the vowel-sound E mute: — FRENCH DICTION 17 de {de), of 3 te {te), 3 thee me {me), me 3 le {le), 3 the se (se), himself or herself 3 ce {ce), 3 this also the following words of two syllables: dame {da-me), lady 3 etre {e-tre), to be 3 aile {ai-le), wing ^ 3 dme {d-me), soul 2 3 pere {pe-re), father 3 frere {frh-re), brother 3 Special instruction will be given for the pronunciation of E mute in conversational French. Form written syllables by combining the vowel-sound E mute with all the consonants : be, ce, de, que, ne, etc. 333 33 Sing exercises employing every combination of consonant with the vowel-sound E mute: — t ^^ -^ se-ve, se-ve, se-ve, se-ve, se-.ve, se-ve, se 3 8' 3 8' 8 8' 8-8' 3 3' 3 8' 8 ne-le, ne-le, ne - le, ne-le, ne-le, ne-le, ne 8 a 3 8* 8 8* 8 3' 8 3' 3 3' 8 be-me, be-me, be -me, be-me, be-me, be -me, be 8 8' 3 8 8 3* 8 8' 3 8' 8 8' 8 3 i -JSL je ne •'3 3 se me 8 8 te 3 le 8 ve re 8 8 je ne •'3 8 se me 8 8 ve re 8 8 -xs- te le je ne te le le 3 8 *'8 8 8 8 *'8 se me ve re se 8 8 8 8 8 que-be, que -be, que-be, que-be, que-be, que-be, que i8 FRENCH DICTION Write singing exercises, alternating syllables containing the vowel-sounds already learned, thus: — I T rJ ^ - : r) ^ J21 JO. J J I .. I I la tas le mai be rei ve te bS se vas le te 2 3e2e33 32 2 le pe re va pres de la me re tres tres sa ge 32 3 e3 3ee ^3 bas ha te ne be «ja gras ge ja je jas nej ne m i o pas 2 te 3 pas 8 ba cas des 2 se ta 3 me- re 3 e le 2 ma fe 2 ^% ja kas lei me 2 e 2 ne 3 fas mai ne va pas be re 2 e 3 2 me - re ma me -re ja-mais 3 3 ** o FIFTH LESSON. / and Y. — The French vowel-sound / ordinary is repre- sented to the eye by the letters / or F, and in no other way. As the vowels / and Y have only one pronunciation, from which there is no exception, it will not be necessary to mark them in the illustrations. The pronunciation of / or F can be found in the English word seen. Exercise. — Omitting the final consonant, pronounce in monotone the English words: — seen mean green creep dean leak Sixth French Exercise. — Pronounce in monotone the fol- lowing French words containing the vowel-sound, / ordi- nary: — si, if lys (ly), lily gris (gri), gray petit (pe-ti), little 3 habi (a-bi), coat ami {a-mi), friend Form written syllables by combining the vowel-sound / ordinary with all the consonants: bi^ ci, dy^ fy^ jiy ly^ etc. Sing exercises employing every combination of consonant with the vowel-sound of /; — 19 20 FRENCH DICTION fe^ m ^ ^ si- ii - ty-pi, ni-my - ri-fi, bi-9y, bi-9y, si - ii - ty-pi, ni-my - ri-fi, bi-9y, bi-9y, si - Ii - ty-pi, ni-my - ri -fi, bi-9y bi-gy. si ni bi. ^ ^U^N ^L I I lys gris, lys gris, lys gris, lys gris, lys gris, lys gris, lys bi-ni, bi-ni, bi-ni, bi-ni, bi-ni, bi-ni, bi vi-ry, ni-ty, si - ly, gi-ti, ri-mi, dy-vi, ni Write singing exercises alternating syllables containing the vowel-sounds already learned, thus: — ^ ni le pe-re, ni la me -re, ni le 3 '^ 3 3 3 la bas la bas mais si vas-te est la 2 2 e 2 e si sa sa se se si sa se 2 3 sa sas sei sy 2 e pe - til *^3 chat ter - re 6 a gris sa sas 2 se 3 ^ ^ 5 ti-nei-be, ti-nei-be, ti-nei-be, ti-nei-be, ti-nei-be, ti e3 e3 e3 e3 e3 fa-^i - le, fa- ^i - le, fa-^i - le. fa- 9i - le, fa- ^i - le, fa o 3 o o o pas I'e-te, pas I'e-te, pasl'e-te, pasl'e-te, pas I'e-te, pas •2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 Z Ordinary. — The French vowel-sound ordinary is rep- resented to the eye by the letter O, and in no other way. It will be unmarked in the illustrations, only the excep- tional sounds of a letter being marked. Its pronunciation can be found in the English word nor, when that word is pronounced with the lower jaw dropped. FRENCH DICTION 21 Exercise. — Omitting the final consonants and dropping the jaw, pronounce in monotone the following words: — corn morn dorn pawn fawn horn Seventh French Exercise. — Pronounce in monotone the following French words containing the vowel-sound, ordi- nary: — poll {po-li)^ polite notre (no-tre), our 3 voire (vo-tre)^ your 3 mode {mo-de), fashion 3 robe (ro-be)j dress 3 solide (sO'li-de), solid 3 Write syllables combining the vowel-sound O ordinary with all the consonants: ho, co, do, po, to, etc. Sing exercises combining the vowel-sound O ordinary with every consonant: — ^ m JZ t —^ ^ ■ ■ — Q. ^y- bo-co, do-fo, go -JO, ko-lo, mo-no, po-to, vo bro-cro, dro-fro, gro-jro, kro-pro, tro-vro, bro-cro, dro blo-clo, blo-clo, blo-clo, blo-clo, blo-clo, blo-clo, bio ''it J j J bro-co-do, bro co-do, bro-co-do, bro-co-do, bro no-to-vo, no-to-vo, no-to-vo, no - to vo, no ro-so-lo, ro-so-lo, ro-so-lo, ro- so-lo, ro Sing exercises alternating syllables containing the vowel- sounds already learned, thus: — 22 FRENCH DICTION m *=5 ■Qui? r ^g ba bas_ 2 be be_ 2 be 3 bi_ bo ba_ bo CO ci cas 2 ca.. ke 2 kes_ ki co_ ke 3 fi fo_ fa li_ fi fo_ fa li_ fas 2. O Exceptional. — The French vowel sound exceptional is represented to the eye in five different ways: — First, by circumflex (6) ; Second, by before the letter S (os) ; Third, by before the syllable tion {otion) ; Fourth, by the combination aw, Fifth, by the combination eau. The first three ways will be numbered 2 (6, os, otion) in the 2 2 2 illustrations, and the fourth and fifth cases will be marked with {au, eau). The pronunciation of exceptional can 6 6 be found in the English word own. In its pronunciation, however, the lips should be somewhat drawn together, as in the English word who. In pronouncing the English letter 0, two positions of the lips are observed, one following the other. The French vowel-sound O exceptional is the first of these sounds spoken with the second position of the lips. Eighth French Exercise. — Pronounce in monotone the following French words containing the vowel-sound, O excep- tional: — dome (do-me), dome 2 3 beau {beau)y beautiful d vos {vo), your 2 rose (rose), rose 2 3 reau iVeau), water 6 au iau), to the 6 V FRENCH DICTION 23 i Write syllables combining the vowel-sound exceptional with all the consonants: bo, c6, do, bos, bau, beau, etc. 2222 6 6 Sing exercises employing every combination of consonant with the vowel-sound of exceptional: — m j J ij 1 J 1 J i 1 1 J 1 II ^^ '^ ^ — sU^ r — --^— «1 — ^^-^ — A— 4 ^L bo-bos, bau-beaiL co-cos, cau-ceau, do-dos, dau-deau, go 226 62 2 6 6 226 6' ^2 gf-jos, ko-go, jos-ko, g|.jos, ko-go, jos-k6, n6 lau-no, pos-lau, no-pos, lau-no, pos-lau, no-pos, lau 6 2 2 6 2*^2 6 2 2 6 2 *^2 6 I ^1- J 11 J i ^ i fo-los, fo-los, go-nos, go-nos, f6-nos, eo-nos, f6 2 2' 2 2^ ^2 2 ' ^2 2 ' 22*^22* 2 beau-leau, b5- 16, bos-lau, beau-leau, bo-los, beau-lau, bo 6 6 22 2 66 622 6 6 2 ro-tos, pho-tos, no-tos, plau-to, bau-to, to-teau, tos 22 22 22 6 2 6 2 2 62 Make singing exercises alternating syllables containing the vowel-sounds already learned, thus: — K=at J U r r 1^ ? I lo-nau-tas, 16-nau-tas, l6-nau-tas, 16-nau-tas, lo 2 62 2 62 2 622 62 2 la- las - le, le - le - li, lo - los - la, li - le - las, lai 2 2 3 2 " 2 2 e tot-que-mei, tot-que-mei, bas-bi-bas, tot-que-mei, bas 2^3 62^3 62 2 23 e 2 E Mute in Speech. — In French prose, R mute is often not pronounced at all, or only to assist the sounding of a consonant. This is especially the case with £ mute when it ends a word of two or more syllables. French and Music. — The kinship between French and music renders the explanation of K mute in speech per- fectly simple. In music the time-unit is the beat. In a L 24 FRENCH DICTION piece of music all beats are of the same length. In French the time-unit is the syllable, and in pronunciation all sylla- bles are of equal duration. The Tonic Accent. — In French the syllables of a word or phrase are spoken in monotone with the exception of the last syllable, which is spoken on a pitch either higher or lower than the monotone. The syllable spoken on the higher or lower pitch is said to have the tonic accent. Musical Illustration. — The tonic accent may be musically illustrated thus : — ( ^ I J I =ii= ^'' ^i J 1 1 i - 9i i - fi Note. — Remember that the consonant C is pronounced like 5 before the vowels E, I and F, and when a cedilla {c) is placed under it. First Special French Exercise. — Pronounce the following French words of two or more syllables, giving attention to the tonic accent : — poli {po-li), polite tapis (ta-pi), carpet ici (i-ci). here ami (a-mi), friend petit (pe-ti), little Canada (Ca-na-da) 3 Pronounce the following French phrases, giving the tonic accent to the last vowel-sound of the phrase and pronounc- ing the other syllables in monotone : — tres poli {tre-po-li) petit ami (pe-ti-ta-mt) 3 ici le lys (i-ci-le-ly) FRENCH DICTION 25 Final E, — When a word of more than one syllable ends in E mute, that letter will be called final E. In prose and French conversation, final E surrenders to the syllable before it not only its unit of time but also its tonic accent. Exam- ple: The word mode (mo-de) in the Seventh French Exercise 3 contains two syllables, two units of time, and has the tonic accent on the final syllable de. In poetry and singing all 3 these values might be given to this word; but in prose and French conversation the first syllable mo receives two units of time, and to the second syllable de is given so short a sound 3 of E mute that practically only the consonant D is heard. Still, a quick ear detects a soft and short sound of E mute after the consonant. From the standpoint of English the French word mode is pronounced as a monosyllable (mod); 3 from the standpoint of French the word mode has two syl- 3 lables, the first of which is doubly long, and the second of which is mute. Second Special French Exercise. — Pronounce in mono- tone, and in one syllable of the duration of two time-units, the following French words of two syllables ending in final E: — robe (rob), dress place {plac), place sage (sag) , wise rive (riv) , bank of a river livre (livr), book dame (dam), lady The further study of E mute will be reserved for Lesson Eleven. SIXTH LESSON. French U. — In French, the letter U has but one pro- nunciation. This vowel-sound does not exist in English, but appears in German as U with umlaut (ti). Its pro- nunciation may be readily learned by carefully observing the following rule : — To pronounce French U, fix the mouth to whistle and say E, as in the English word see: ^o^^ ee Ninth French Exercise. — Pronounce in monotone the fol- lowing French words containing this sound : — du, some vu, seen tUj thou lu, read su, known une (u-ne), a or an 3 Form written exercises combining the vowel-sound U with all the consonants: bu, du, cu, gu, etc. Sing exercises as usual : — te j2 22 i -O- bu- du, cu - fu, bu - (lu, cu - fu, bu - du, cu - fu, bu lu-mu, nu-lu, ru-su, ju-gu, lu-nu, pu-bu, mu vu-nu, su-ju, vu-mi, su-ju, bu-vu, nu-ju, su ^ Hr |i^ ItM la las« le le le_ li lo_ los_ li lu 16 2 2 3 2 2 bro bros bra bri bru brS bre_ bru bre bri bras 2 2 3 2 2 va ni_ to klu te_ ves pe_ noSuSi la nu 3 6*^ 2 26 FRENCH DICTION 27 Combinations. — We have now learned the two pronun- ciations of the letter A in French, the three pronunciations of the letter E, the single pronunciation of the vowels / or F, the two pronunciations of the letter 0, and the single pronunciation of the letter U, To complete the eleven vowel-sounds of the French language, there remain two sounds to be learned. They are represented to the eye by the combinations ou and eu respectively. The Combination OU. — The vowels ou in combination have in French a single pronunciation, represented to the eye in no other way. In the illustrations this combination will not be marked. Its pronunciation can be found in the English word moon. Exercise. — Omitting the final consonant, pronounce in monotone the following English words : — coop root shoot boot noon group Tenth French Exercise. — Pronounce in monotone the following French words containing the vowel-sound ou: — cou (cou) , neck sou (sou) , cent fou (fou), fool nous (nou), we vous (vou), you coupe (cou-pe), stroke 3 Write syllables combining the vowel-sound ou with all the consonants: bou, cou, dou, fou, gou, etc. I 28 FRENCH DICTION Sing exercises as usual : — 1 za. bou-cou, bou-cou, bou-cou, bou-cou, bou-cou, bou-cou, bou dou-fou, jou-lou, dou-fou. jou-lou, dou-fou, jou-lou, dou nou-pou, rou-sou, tou-vou, nou-pou, rou-sou, tou-vou, nou ^m i Ou L'hi * al bou, lez 2 le 3 VOUS, OU coup, le al fou, - lez 2 c'est la las 2 les le lou 2 lu lo m vous tout. li. Note. — The star (*) marks a silent letter. The Combinations EU and OEU. — In French, the com- binations eu and oeu have a single pronunciation, repre- sented to the eye in no other way. This vowel-sound does not exist in English. By speaking the English word /ir, with the lips very much puckered inward, its pronunciation may be approximated. Exercise. — Fix the lips to whistle, then pucker them inward and pronounce the following English words, omitting the final consonant : — her stir sir slur burr blur In the illustrations, the combinations eu and oeu will be un- marked, unless they have an exceptional pronunciation. FRENCH DICTION 29 Eleventh French Exercise. — Pronounce in monotone the following French words containing the vowel-sound eu : — peu {pen), little (adverb) noeud (noeu), cloud bleu (bleu), blue Train both eye and ear by writing syllables combining the two spellings of the vowel-sound eu with all the consonants: beu, boeu, ceu, coeu, deu, etc. Sing exercises as usual : — ^ -z) c^ — — cr _ beu-peu, beu-peu, beu-peu, beu-peu, beu-peu, beu-peu. beu noeu-leu, noeu-leu, noeu -leu, noeu -leu, noeu-leu, noeu-leu, noeu ceu-deu, feu-geu, jeu-kea leu-meu, neu-peu, teu-veu, beu ^m ^ ^^ ^ XE Di-tes, di-tes 3 3 feu fou de de 3 ba bas bei be e 2 majeu-ne bel-le fas fa fi fo fos e 2 be bo bos bi bou 3 2 on vou-lez-vous al - lez? 2 ^* 2 deu dou di das dei do 3 2 e beu bo bi beu bu bet e Table of Vowel-Sounds. — We have now learned the pro- nunciation of the eleven primary vowel-sounds, together with a rhyming word or pictorial device for suggesting the pro- nunciation of each sound, and have adopted a method of marking all exceptional sounds. Here follows : — 30 FRENCH DICTION A Table of the Eleven Primary Vowel-Sounds. Name: — I. A ordinary Represented to the eye by: — Marked in the illustrations: — Suggested rhyming word: — (unmarked) bat 2. A exceptional 3. E ordinary 4. E exceptional 5. E mute 6. I ordinary 7. O ordinary 8. O exceptional d, a before 5 a before tion aif ei, es, et ez e i, y o 0, before s o before tion aUy eau u 9. French U 10. The combina-l tion OV J 1 1 . The combina-l \eu,oeu tion EU \ ^, as, ation] 22 2 j park (unmarked) ai, ei, es, et ^ d e 6 e, er in verbs 6, er, ez 2 2 e 3 (unmarked) (unmarked) 6, OS, otion 222 au, eau 6 6 (unmarked) (unmarked) met gate her seen nor own moon (unmarked) fir Note. — Whenever a letter is pronounced, that according to rule would seem to be unpronounced, it will be marked in the illustrations thus : r, c, /, etc. The marking of an exceptional silent letter {effet) must not * t be forgotten. SEVENTH LESSON. Nasal-Sounds. — In French, there are four sounds com- monly called nasal-sounds, which are derived from four of the primary vowel-sounds just learned. There is nothing in English exactly corresponding to them. However, in the pronunciation of the English consonants N and M there is a certain element of nasality, and in such words as thank, blank, drank, the vowel-sound is tinged with the nasality of the approaching N. A nasal-sound may be obtained by carefully following the directions here given : — Place the tip of the tongue against the roof of the mouth, directly above the teeth, as if about to pronounce the word no. In monotone, prolong the sound of N for several sec- onds. The sound obtained is a nasal-sound, but not a nasal vowel-sound. To get a nasal vowel-sound, prolong the vowel of the syllable nong, with the nasality just used in sounding the N. The sound of O thus obtained is a nasal vowel-sound. Note that a French nasal vowel-sound is a sound spoken with the assistance of the nose. The so-called nasal twang observed sometimes in English-speaking people is produced by an exactly opposite method, that is, by ob- structing the natural opening to the nasal cavities. First Nasal-Sound. — The first of the four French nasal vowel-sounds (nasal-sounds) is derived from the vowel-sound A ordinary, by pronouncing this sound somewhat through 31 32 FRENCH DICTION the nose, tions : — It is represented to the eye by the combina- tn im yn ym atn aim etn eim A French nasal-sound, although represented to the eye by a combination of letters, is always a single sound, and no trace of either the letter M or N must ever be heard in the pronunciation of a French nasal-sound. In the illustra- tions, the letter A, from which the first nasal-sound is ob- tained, will be placed beneath these combinations: — tn a im a yn a ym a am a aim a etn a eim a Twelfth French Exercise. — Pronounce in monotone the following French words containing the first nasal-sound : — vin (vin), wine fin (fin), end a a faim (faim), hunger thym (thym), thyme a a plein (plein), full pain (pain), bread Sing exercises as usual : — 5 3Z bin tin bin tin bin tin bin tin bin tin bin aa aa aa aa aa a dein pin dein pin dein- pin dein pin-, dein pin dein a a ■ a a a a. a a a a a bin cin din fin iin kin lin rain nin tin vin a a a a ^a .a a a a a a FRENCH DICTION 33 m ? 3 i Plein de a 3 cha - grin, plein ^ a de 3 cha - gmi l|s la los— z hi '^ to din a ton fin de ce vin fin de ce vin a 3 3 » a 3 3 a Second Nasal-Sound. — The second of the four French nasal-sounds is derived from the vowel-sound E mute, by pronouncing this sound somewhat through the nose. It is represented to the eye by the combinations : — un um In the illustrations it will be marked by placing the letter e beneath these combinations : — un e um e Thirteenth French Exercise. — Pronounce in monotone the following French words containing . the second nasal- sound : — un (un), a. or an ' lundi (lun-di), Monday brun (brun), brown aucun (au-cun), any humble (um-ble), humble parfum (par-fum), perfume e 3 - e The word parfum is divided into syllables exceptional to the rule that in French every syllable ends with a vowel- sound. In this word the first syllable ends with a consonant, and, furthermore, this consonant is pronounced. Whenever a consonant, by exception, ends a syllable and is pronounced, it will be marked in the illustrations thus: b, (b), c, (c), etc. - 34 FRENCH DICTION Whenever a nasal-sound is followed by a vowel, the N or M forms a bridge-syllable with the vowel, and is pronounced as in English in the syllable thus formed. In such a case, the letters N or M not only stand for a nasal-sound in one syllable, but for a sounded consonant at the beginning of the next syllable. Examples : — • un ami {un-na-mi, or un-a-mi) = a friend un amour (un-na-mour, or un-a-mour) = a love. ^ e -ea- sing exercises as usual : — jBL zsi. bun-fun. bun-fun,, bun-fun, bun-fUn, bun-fun, bun ee ee ee ee ee e dun-tum, dun-tum, dun-tum, dun-tum, dun-tum, dun e e e e e e' e e e e e bun-cun, dun-fun, eun-jun, kun-lun, mun-nun, tun e e'e e'^e*'e e e e e © I te ^ i ^ lun - di, mar-di, lun - di, e urn - ble, e 8 um-ble, e 3 um - ble, e 3* un a - e — mi de 3 cet - te %* 3 jeu-di, lun - di. um-ble, um - ble e 3* e 3 da - me par lail. 3 S EIGHTH LESSON. Third Nasal-Sound. — The third of the four French nasal- sounds is derived from the vowel-sound O ordinary^ by pro- nouncing this sound somewhat through the nose. It is rep- resented to the eye by the combinations : — an en am em In the illustrations it will be marked with the letter (the O ordinary^ from which it was derived) underneath : — an en am em Fourteenth French Exercise. — Pronounce in monotone the following words containing the third nasal-sound : — dans {dan), in, within danse (dan-se), dance 03 empire (em-pi-re) , empire entendre (en-ten-dre) , to hear 03 003 sans (san), without entre (en-tre), between 03 In pronouncing the third French nasal-sound, the lower jaw ought to be well dropped. 35 36 FRENCH DICTION Sing exercises as usual : — i i (fans-ran?, dans-rang^, dans-ranj{, dans-rane^, dans-rani^, dans o o o o o o o o ° o o o en - ven, en - ven, en- ven, en > van, en - ven, en o o o o o o o o o o o ben-den, fan-ean, jen-ken, Ian-men, nen-pan, tern o o o^o'o o o o oo o ^^ chan-te sa plain- te, o 3 ^ a 3' la lu-ne 3 blan- che, o 3* Pa me souf - f ran - te, 2 3 * 03' chan-te sa o 3 la plain- te, lu-ne blan -che, 3 03 I'a. me souf - fran - te, 2 3 4( 03 Fourth Nasal-Sound. — The fourth and final nasal-sound in French is derived from the vowel-sound exceptional, by pronouncing this sound somewhat through the nose. It is represented to the eye by the combinations : — on om In the illustrations it will be marked with the letter circum- flex, this letter being the first method of representing the pronunciation of exceptional, from which this nasal-sound is derived : — on 6 om 6 In pronouncing this nasal-sound, the lips should be almost closed, but well protruded. Fifteenth French Exercise. — Pronounce in monotone the following words containing the fourth nasal-sound: — FRENCH DICTION 37 on {on), one, somebody ombre ipm-bre), shadow 6 03 oncle {on-cle), uncle ^ 3 mon {man), my Sing exercises as usual : — onde (on-de), wave ^ 3 monde (mon-de), world 3 jZ ton- son, ton- son, ton- son, ton- son, 06 66 66 66 bon^jon, bon-jop, bon-jon, bon-jon, 66 60 60 00 don - fon, gon - jon, kon - Ion, mon - to/i, 3X1 ton 6 bon 6 son 6 i f zon. 6 Bqn - jour Su - zqn, bon - jour Su fe gar <• yqn ne com - pren - dra pas. Chan - tez, ^i - ez, . Chan - tez, ri - ez. B 2 2 62' 2 Successions of Vowel-Sounds. — In French, the eleven primary vowel-sounds and the four derived nasal vowel- sounds serve as the phonetic basis of French diction in both singing and speaking. In the study of syllables we learned that, in theory at least, every syllable ends with a vowel- sound and begins with a consonant. Generally speaking, then, every vowel has a consonant preceding it and form- ing a syllable in combination with it. It being the province of this book to teach the elements of French diction in speaking as well as singing, we have learned to note the kinship between music and spoken French. It 38 FRENCH DICTION has been pointed out that the unit of music is the beat, all beats in a given composition being of equal length. It has been shown that the unit of French pronunciation is the syllable, and that all syllables are of equal length. We have learned that the last syllable of a word or phrase has — :^~z J or J =|: the tonic accent, ■"• ^J^ an upward » - 91 i - 9! or downward inflection from the monotone on which a word or phrase is spoken. We have considered final syllables ending in E mute, and found that they surrendered, in ordinary French speech, their unit of time and also their inherent tonic accent to the syllable preceding them. I J N I la- ^i - le becoming' fa - 9U, etc. To understand the treatment of vowel-successions, a knowledge of at least this much of French diction for speak- ing is necessary. In studying the eleven primary vowel- sounds, we found several vowel-combinations standing for a single vowel-sound: ai, ei, (E ordinary); au, eau, (0 ex- i i do ceptional); ou; eu, oeu, ain, aim, ein, eim, etc. (nasal-sounds). a a a a The foregoing vowel-combinations are not vowel-successions, properly so called. A vowel-succession always contains two vowel-sounds: oui (ou-i); ui (u-i); ie (i-e); ier (i-er), 3 2 The Yod. — In a vowel-succession the second vowel-sound has no written consonant immediately preceding it. Never- FRENCH DICTION 39 theless, an unwritten consonant, either W or F, is always sounded in every vowel-succession: oui becoming ou-wi (out), ui, u-wi (ui), ie, i-ye (ie), ier, i-yer (ier). This un- w w 3 yj 2 yz written consonant is called a yod, and will be indicated in the illustrations as above. A vowel-succession, although containing in its two vowel- sounds the root of two syllables, is never given two time- units in speaking, the time-unit being given to the second vowel-sound, the first one being short like a grace-note in music : — I ^ w V In singing a vowel-succession, the second vowel-sound gets the time value of the note in the vocal score : — ts sung •'a SUIS OCi, •'a suls w Sing exercises as usual : — i m —o ^ oui fui, suit nuit. i i OUI w fui, Oui w fui, w' OUI w fui, w' suit nuit, bie die, fie gie, suit nuit, kie lie, v3 wo suit nuit, mie nie , y3 yO OUI W suit w ne ^m 5 - dieu Ma-rie, a El - le suit son che * 3 w 6 3 Ma vie a son se ♦ o 3 dieu a- dieu, Ma - rie. y y * min suit son che - mia a w o 3 a cret, ie suis Su - zon. NINTH LESSON. The Succession 01. — In French, the succession oi con- sists apparently of the two vowel-sounds, ordinary and I ordinary; but as a matter of fact the combination oi is pro- nounced O exceptional and A ordinary {oi). The combina- 2a w tion oi occurs very often in French and its pronunciation should be thoroughly impressed upon the memory. In the illustrations, the pronunciation of 01 ordinary will be marked with the sign of the yod only, thus: moi, toi, loi, soi, etc. W W IV w 01 Exceptional. — In French, there are several words in which the succession oi has the exceptional pronunciation, O exceptional, A exceptional (da) : — 22 W hois (boa), wood trois (troa), three 2 2 2 2 W W mois (moa), month pois (poa), pear 22 22 W W noix (noa), nut poids (poa), weight 22 22 W W In the illustrations the pronunciation of 01 exceptional will be marked without the sign of the yod, thus: hois, mois, noix, 2d 2d 2d trois, pois and poids, 2d 2d 2d The Succession OIN. — In French, the combination oin consists apparently of the vowel-sound O ordinary and the 40 FRENCH DICTION 41 nasal-sound in; but in its actual pronunciation, O ordinary becomes exceptional and the nasal-sound in remains un- changed. Its pronunciation will be marked in the illustra- tions without the sign of the yod, thus: oin. 2 a coin {coin), corner loin {loin), far off 2 a 2 a pointe {pointe), point mains {mains), less 3 2 a 2 a Note. — The successions oi ordinary and oin occur so often in French that it is advisable to memorize their pronuncia- tions so thoroughly that even when unmarked their pronun- ciations will be immediately suggested. Sing exercises as usual : — I s -o- -o- 33: 31: toi w bois 2a coin 2a loi w toi w trois 2a SOI w bois 2a loi w moi w toi w coin 2a voi w Ibois 2a trois 2 a moi w toi w loi w m J==^ Dans les bois o e 2a cet„es_poir e e w- loin d'i - ci 2a » a - mou reux Myr cet es - poir joi e" ' e~ w- W dans les bois pro O e 2a o til yeux fonds o ♦ The Consonant Y. — In French, the consonant Y has the same pronunciation that it has in English ; but it has the pe- culiar property of adding to the preceding syllable the letter /. Thus the French word crayon, is pronounced as if written, craiyon, {crai-yon). t 2 42 FRENCH DICTION Sixteenth French Exercise. — Pronounce the following words containing the French consonant Y: — crayon {crayon^ crai-yon), pencil royal (roi-yal), royal • i 2 e 2 i w voyage (voyage, voi-ya-ge), voyage joyeux (joi-yeu), joyous i 3 w J i w incroyable (incroyable, in-croi-ya-ble) , incredible a i J a w J flamhoyante (flamboyantej flam-hoi-yen-te) , flaming 10 3 w 3 Note. — Observe the marking of the above illustrations. TENTH LESSON. Liquid L. — In French, double L {II) is liquid and has the pronunciation of Y as in English: fille, (fi-ye). 3 Double L is always liquid when preceded by the vowel /; — JUle (fi-ye) y daughter famille (fa-mi-ye), family i 3 billet (bi-ye), ticket In the illustrations it will be marked with a Y underneath the double L: — fille, billet, etc. y3 y ^ L is liquid in the successions : — ail eil euil In the successions ail and aille the A is pronounced A ex- ceptional, the I is silent, and the L or double L is liquid : — travail {travail, tra-va-ye), work, travail 2ye 23 2 y mSdaille {medaille, me-da-ye), medal, medaille 2 2 y 3 2 2 3 2 2 y3 Note. — In its pronunciation, liquid L is obliged to have the assistance of E mute, even when no E occurs in the word after the liquid L. In the successions eil and eille, ei retains its usual pro- nunciation of E ordinary, and the L or double L is liquid : — 43 • 44 FRENCH DICTION soleil {soleil, so-lei-ye), sun, soleil tye i 3 ty bouteille {bouteille, bou-tei-ye), bottle, bouteille ^ y3 e 3 i y3 In the successions euil and euille the eu is pronounced, the / is silent, and the L or double L is liquid : — fauteuil (fauteuil, fau-teu-ye) , arm-chair, fauteuil 6 *ye 03 y 3 f euille ( f euille, feu-ye)y leai , f euille *y3 3 y3 The Succession lEN, — In the succession ien the pronun- ciation of the nasal-sound en, {en) becomes that of the nasal- sound in, {in), and the succession ^'ew is therefore pronounced a iin, {iin) : — ya bien {bien), well chien {chien), dog ya ya rien {rien), nothing tien {tien), thine ya ' ya Note. — Always pronounce a vowel-succession in one syl- lable. Doubled Consonants {continued) . — Doubled consonants change the pronunciation of E mute {e) to that of E ordinary, 3 whenever these doubled consonants follow the letter E: — parisienne {parisienne) , Parisian, parisienne e* 3 * 3 chretienne {chretienne) , Christian, chretienne 2 e* 3 2*3 ancienne {ancienne), ancient, ancienne e* 3 0*3 Note. — As the letter E is always pronounced E ordinary before doubled consonants, it will not be marked in the illus- trations. FRENCH DICTION 45 Final Consonants. — When studying the rule for the division of French words into syllables, we learned that every syl- lable ends with a vowel-sound. From time to time excep- tions to this rule have been noted. In the combinations ec, ef, el, er (when not the termination of a verb), ep, es (when followed by one or more consonants), and ex, the final consonant is almost always pronounced, and the letter E is pronounced E ordinary instead of E mute; and furthermore, all of these combinations are freely used as the ending of syllables : — avec (a-vec), with href {bref), brief del (ci-el), sky esprit (es-pri), spirit reception (re-cep-sion) , reception 3 - yd Note. — E mute before a consonant sounded at the end of a syllable always has the pronunciation E ordinary and will not be marked in the illustrations. The Vowels A and O {continued). — In studying the pro- nunciation of A exceptional and exceptional, no illustrations were given of these pronunciations when indicated by A circumflex, circumflex, A before -tion, and before -tion: — dme (dme, d-me), soul 2323 dter (oter, 6-ter), to remove 22 22 nation {nation, na-sion), nation 2 o 26 Idtion {lotion, lo-sion), lotion 262 d 46 FRENCH DICTION The Yod {continued). — In certain French words ending in eur and oeur, there is a sHght sound of Y between the vowel-sound and the R: — chceur (chosur), choir y- fleur {fleur), flower y- auteur (auteur), author y- Liquid GN. — The succession of consonants gn is pro- nounced by most authorities like the consonants ny in suc- cession : — agneau (agneau), lamb ny d haigner (baigner), to bathe iny2 The Termmation ^/ in Verbs. — The termination at in verbs is always pronounced E exceptional {e): — fai (fai), I have i serai (serai), will be 3 ^ aurai {aurai), shall have The Conjunction ET. — The conjunction et (and) is always pronounced E exceptional (e) , and the final T of this 2 word never forms a bridge-syllable when followed by a vowel. Bridge-Syllables {concluded). — In prose, and very often in French poetry, the consonant preceding E mute {E final) forms a bridge-syllable with the following word when that word begins with a vowel. In this case the E mute is abso- FRENCH DICTION 47 lutely unsounded, and unmarked in the illustrations, the tie extending from the consonant past the final E over to the initial vowel of the following word : — une orange {une orange), an orange voyage en Italie {voyage en Italie) , tour in Italy ELEVENTH LESSON. CONVERSATIONAL FRENCH. E Mute, — continued. In French conversation, the subject of E mute requires special study. We have already learned that when E mute is final, at the end of a word of two sylla- bles or more, it gives up its unit of time as the vowel of a syllable to the syllable preceding it. We have also learned that such a final E, shorn of its time unit, and often of the tonic accent which would be its right at the end of a phrase, yet retains its just phonetic vowel-sound, very much short- ened, to be sure, in connection with the consonant sounding next before it. From this principle we evolve the First Rule: E mute is practically unpronounced at the end of words of two or more syllables. This rule has one exception: Whenever E mute stands between three sounded consonants, it invariably re- tains its unit of time and therefore its complete phonetic sound. Examples. — votre pere (vo-tre-per) , your father 3 notre frere (no-tre-frer) , our brother 3 In prose and French conversation, E mute often surrenders its unit of time when it stands between two sounded con- 48 FRENCH DICTION 49 sonants, but not when it stands between three sounded con- sonants. Even in France there is considerable difference in usage in the treatment of E mute. It may be stated as a general rule that it is better to give time-units to too many E mutes rather than too few. In marking French diction from dic- tation, our system covers all points. Unpronounced E mute would simply be marked with a star instead of with a -J.* — Je ne puis {je ne puis), I can not 3 * w appartement (appartement) , apartment * -30 Conversation L AT TABLE. Je suis charme de vous voir! 3 W - 2 * W- Je vous remercie infiniment. 3 3 - * a o Mettons nous a table. A votre service. 3 - * J'espere que vous avez faim? - * 3 -- 2 a J'ai toujours bon appetit. e - 6 ■^* 2 - Voulez-vous de la soupe? 2 3 * Oui, Madame. w * N 'avez- vous pas soif? w- J'ai bien soif. € ya w- so FRENCH DICTION Que voulez-vous boire? 3 2 w * Du vin rouge, s'il vous plait. a * g Monsieur, je bois a votre sant6! e* y-3w^ 302 Je suis enchante, Madame ! 3 w "^o 02 * Que vous servirai-je? 3 - e * • Je vous demanderai un peu de boeuf. 3 *03ee * - Servez-vous, s'il vous plait. Prenez-vous du the ou du - 2 632 2 cafe? 2 Je prefere le cafe. 32*3 2 Conversation II. THE WEATHER. Entrez, Mademoiselle! Quel temps fait-il aujourd' hui? 02 *^v** -o e'^^-'d -^-'w II fait fort mauvais temps; il pleut. - e - 6 e o - Quel dommage! Mais il fait bien doux. - * * e - e ya Sans doute, mais il fait aussi bien du vent. o * e-d'~-'6* ya o Eclaire-t-il encore? 2 6 * "^o * Non, il a eclaire toute la nuit, mais maintenant le ciel 6^262 * w 6 a*03y- commence k s'eclaircir. * o ^-^ 2 6- - FRENCH DICTION 51 Croyez-vous que bient5t il fasse beau temps? i 2 3 ya 2 ^- 2 * * 6 o Mais, oui! 6 w Allons nous promener. * 6 * 2 Volontiers. 6 y- Fait-il de la boue? 6^- 3 * Pas du tout. 2 Par ou irons-nous? ^ 6 Allons au pare. Je ne crois pas qu'il pleuve davantage. 33W2 - * o* Le temps comme il est variable ! 30 * ^y ^t y * Conversation III. THE FRENCH LESSON. Parlez-vous francais? _ 2 o ' ^ Je Tentends un peu, mais je ne le parle pas. 300^^6 ^3*3 -*2 Qu'est-ce que cela? ^s^* 3 3 C'est un livre. Comment appelez-vous ca? * o '-'* h 2 ' On appelle cela un crayon. o'^* **3 e id 52 FRENCH DICTION Comment dit-on language en francais? * o 6 o o ' e Je ne sais pas. 3 * e 2 On dit langue. Aimez-vous la langue francaise? 6 o* 62 o*o'e* Je I'aime beaucoup. 3 6*6 Traduisez cela. W 2 3 Je ne puis, c'est trop difficile. 3 3 w 6 * Commencez a lire page vingt-deux. Lisez-le encore une * o 2 ^-^ * * a - 230 ^ — " * fois. 2k Je vous donne trop de peine ! 3 * * 3 6 * Le comprenez-vous main tenant? 3632 a * o Tout a fait. Conversation IV. TRAVEL BY RAIL. Faites chercher un taxi. ^ * -26 A I'instant, madame. a o * Cocher, conduisez moi au chemin de fer. 2 6w2 w6 *a3- Oui, madame, au gare du nord? w * 6 * — A quelle heure le train part-il pour B.? A dix heures et demi. ^^ * € s FRENCH DICTION 53 Un billet de premiere classe pour B., s'il vous plait. Com- e*y 6337*2** - 6 6 bien? ya Quinze francs. a * o - Ou est la salle d'attente de premiere classe? e ** *o*3 3y*2** Au bout de ce corridor. 6 3 3 * - Faites inscrire ces colis pour B., et apportez m'en tout a - 2 I'heure le recu. * 3, i' Bien, madame. ya Est-ce la le train pour B.? e * 3 a Non, madame; voila le train pour B. 6 * w 3 a — Ouvrez moi cette voiture. 2 W * * w * Cette voiture est complete. Cherchez moi une place dans les compartiments reserves -2 w * *o eo-o 2-2 pour dames seules. - * * Tout-de-suite. * w * Facteur, voici le pour boire. - y- w 3 - w ♦ Merci, madame. - * 54 FRENCH DICTION Conversation V. THE CONCERT. Ce concert a-t-il lieu au benefice d'une oeuvre de bien- 36- -y 6 22* >v — ^ 3 3 ya faisance? Oui, pour les orphelins de St. Xavier. w - 6^ - * a 3 ya Ou aura-t-il lieu? 6 - y A la salle Mozart. * * 2 — Ou trouve-t-on des billets? * ^^6 e *y2 Chez Choudins. 2 a Qui est Torganisateur du concert? 6 - y- 6 - C'est madame la duchesse de V. e * * * 3 Qui sont les artistes executants? 6 ^ - * e 2 o Madame Q., Madamoiselle B. et Monsieur B. * w** 6 e*y — A-t-il lieu publiquement ou bien a huis clos? -y *o ya^~'w2* A huis clos et bien chic. w 2* 2 ya - Madame Q. a-t-elle une voix de contralto? * *^.^ * W 36 ~ 2 Oui, une voix de contralto d'une quality charmante. w *vv36-2 * 2 -o* Et Madamoiselle B. joue-t-elle bien du violin? € w** **ya a Mais oui! elle a gagne le premier prix au conservatoire. ^ w *-— ' ny2 33 y2 66- w* FRENCH DICTION $5 Avez-vous vu le programme? 2 3 * * Oui, et c'est bien choisi. w 6 6 ya w Tant mieux. Au revoir. o y 63 w- CONVERSATION VI . A DIALOGUE. (After Baedekers Manual of Conversation,) Bonjour, monsieur. 6 - e * y - Je vous salue, monsieur. 3 * e* y - Comment vous portez-vous? * O - 2 Fort bien, je vous remercie. - ya 3 3 - * Je suis bien aise de vous voir avec cette bonne mine. 3 w ya^-'e 3 w - ** * * * Je me porte a merveille, Dieu merci. 33 -"^ -6y* y Je demandais precisement ce matin de vos nouvelles k 3*06 220 3 a32 ** monsieur C. e* y - Je vous remercie de votre attention. 3 * - * 3 ^— ^ * o yd Comment se porte madame votre epouse? - * Depuis quelques jours elle ne se porte trop bien. 3W.-3 -**33 -*2 ya J 'en suis bien f^ch6. o w ya 2 Cependant cela va mieux aujourdhui. *oo3 y 6-*w 56 FRENCH DICTION A la bonne heure. Et comment se portent vos enfants? * ' * e * o 3 - * 2 '-' o o Grace a Dieu, ils jouissent tous d'une parfaite sante. 2 ^-^ y w** — *— e*02 Faites-moi le plaisir de saluer de ma part madame votre 63W3^-3W2 3 - * * m^re. Je m'en acquitterai avec grand plaisir. 3 o~^ **e -o e- Votre serviteur, monsieur; au revoir. * - y- e* y - 6 3 w- Je vous prie de faire mes compliments a toute votre 3 *36*e6 o *3 ch^re famille. * 73 Te nV manquerai pas. Adieu, mon cher ami. 30*62 6 -- y TWELFTH LESSON. French Prose. — The reading aloud of French prose may now be undertaken without the addition of any new rules; but the subject of E mute must receive most careful attention. It would also be well to restudy all that has been learned concerning the tonic accent. In further preparation for the reading aloud of French prose, attention may be called to the portion of the phrase hitherto read in strict monotone. Under the stress of emotion the '' monotone " takes on new life and its pitch often varies in a limited degree. The tonic accent also, influenced by emotion, takes on a certain elasticity and the voice may for the instant forsake its customary rise of a fourth or fall of a fifth and progress to a greater interval. The tonic accent may even seem to be ornamented with a varying intonation, not unlike the long slurred grace notes employed in music. Prose Selection I. Extract from THE HERITAGE by Topffer. _* _ L'ennui est mon mal, lecteur. Je m'ennuie partout, chez owe 6 - - y- 3 o w * - 2 moi, dehors; a table, des que je n'ai plus faim; au bal, d^s W3*- * 3*e ao- que je suis dans la salle. Nulle chose ne s'empare de 33W o ** ** 2*3 o *3 57 58 FRENCH DICTION mon esprit, de mon coeur, de mes goQts, et rien ne me parait 6^- 36 y-3e eya 33 ^ long comme les journees. 6 * * ^ •' _ 2* Je suis pourtant de ceux qu'on appelle les heureux de ce 3 w - o '>— ^ * 6 ^^ * * * ^— ^ 3 3 monde. Ma carriere, a moi, c*est de vivre de mes rentes, 6* *y* w ^3 33eo* c'est d'aller k cheval, c*est de me marier et d'h6riter. Sans 6 *2 3-^33 26 22 O que je prenne la peine d'apprendre rien, j'aurai tout cela et 33 ** e* *03ya 6 6 * 6 le reste aussi, 3 - ^^ 6 * Qu'est-ce? Le journal. 3 - - Donne, c'est bon. Void de quoi me r6cr6er quelques in- * * 6 6 w W3222 ~3 "^a- stants. o Je cherche aux nouvelles, j 'en tends aux nouvelles de ville; 3 — "^~— ' 6 ** oo'^^d — * 3 * * car celles de I'Espagne me touchent peu, celles de Belgique -**3 -ny33 * * * 3 - * m*assomment. Allons! point de suicide . . . point d'accident *** *6 2a 3W*. 2a * o sinistre. - * Qu'est-ce encore? ^ ^^o * Monsieur Retor. e* y - 3 - Dis done que je n'y suis pas. 6 3 3 w 2 C'est que... le voici. * 3 3 w FRENCH DICTION 59 Monsieur Re tor, je suis trop occupe pour vous recevoir. 6* y~ 3~3W 2^^* 2 — 3* w- Deux minutes seulement... * * o Je n'en ai pas une a perdre. C'etait pour vous soumettre ce tableau chronologique de 26- * * 3 *3 I'histoire universelle des peuples... (Le diable Temporte, lui et son tableau universel des 3 30-*we6 6 --e peuples!) Eh bien, quoi? =>• 6 ya w Je vous fais observer, monsieur, qu'aucun tableau du 3 e ^— ^ --2 e*y- 6e 6 meme genre n'a encore atteint a la moitie de la perfection de * o * o '^-^ *a^-' wy2 3 --6 3 celui-ci. 3 w C*est tres beau, mais je ne m'occupe plus d'histoire. Monsieur veut-il permettre que je lui remette deux exem- e* y- '^~ - * * 33W ** "^-o plaires? e * Rien, monsieur Retor. ya e* y- 3 - Ici il y a un long moment de silence, pendant que je le ^^ e 6 030*00 3 3* regarde, tres impatient de le saluer cordialement. 3 -** '-'a yo 33 W2 - *o Monsieur n'aurait point occasion... e*y- 6^ wa^*26 Non. 6 D'acheter une encyclop6die... * 2 ^-^O 2 * Non. 6 6o FRENCH DICTION Trente volumes in-folio... o * *N^.a y Non plus. 6 Avec des planches... - e o * Rien. ya Et table des matieres... e 3 ^ y * Eh non! non! 6 6 6 Alors, monsieur, j'ai I'honneur de... Monsieur m'oblige- - e* y- e * * y- 3 e* y- 3 rait pourtant beaucoup de prendre un seul de ces tableaux. * d -06 * o ^ ^e - 3 6 6 Comment! ce n'est pas fini? * o 362 Je suis pere de famille. 3 w * 3 y* Intolerable! a 2 * Sept enfants... * "-^o o Je n*y peux rien. 3 ya Et pour cinq francs au lieu de dix. € -a o6y3- Voila cinq francs, et laissez-moi. w a 06 6* 2 w Je ferme rudement la porte sur lui, et je reviens m'asseoir. 3-* *o -*-w633ya * w- La colere me prend, me monte, me transporte... Au feu le ♦ 30 36*30--* 6 3 tableau ! 6 FRENCH DICTION 6l Prose Selection II. Extract from MONSIEUR LECOQ, hy Gaboriau. e * y - 3 - yo Alors sortit des rangs et s'avanca un des complices, vetu -- eo^^6 o ee6 ** comme les paysans des environs de Sairmeuse... * * e i o e.^o 6 36- * Marie- Anne!... s'ecrierent en meme temps I'abbe et le * * ♦ 2 y ^— -^ o * o * 2 6 3 baron stupefaits... 6 2d Oui, moi!... repondit la jeune fille, en retirant le large WW 26 *y3 030 3-* chapeau qui cachait en partie son visage, moi qui veux ma 6 e'^o-*6 *w part des dangers de ceux qui me sont chers, ma part de la -602* 36 - -3 victoire ou de la defaite... Vos conseils viennent trop tard, w " — ^ 3 26* 2 6eyy** 2 - messieurs. Vous voyez ces lueurs a 1' horizon?... Elles * y- 12 6 y - ^— ^ * 6 ** nous annoncent que les gens de ces communes se ren- ^-'*6* 3^ o *e He* 30 dent en armes au carrefour de la Croix-d'Arcy, k une lieue de ^i — ^ o^^-*'~^o ** -3 w - *y*3 Montaignac, ou est le rendezvous general... Avant deux heures 6 eny — 6302 22- o ^— ^ * il y aura la quinze cents hommes dont mon pere doit prendre ^^6 a * o " ^* * 6 6 * w 03 le commandement... Et vous voudriez qu'il laissat sans chef 3*0*0 6 y2 e*2o - ces soldats qu'il est alle arracher a leurs foyers?... C'est im- 6- ^--'e"-'*2* 2 y-i2 6 ^~^a. possible!... * * L'exaltation de son p^re et de son amant I'avait gagn6e, - - 2 yd 3 6 ^-^ e 3 o'-'o e ny2* 62 FRENCH DICTION elle partageait leur folie, si elle ne partageait pas toutes ** -*6 y- * **3 - * 6 2 * leurs esperances... Sa beaute avait quelque chose de ful- y-"— '- 2o* 62 e -3 2*3- gueant, les eclairs de ses yeux faisaient palir les flammes de ** o e"-^2 d- 3 ^— ' ee* 2-e ** 3 I'incendie... Ah! c'est vraiment k cette heure qu'elle meri- ao*2 6 ^o^-' ^ "* " y-* ** 2 tait ce nom d'ange de Tinsurrection que lui avait donne 636 o*3a--6 3w e * 2 Martial. - y- I Non!... il n'y a plus k hesiter, reprit-elle, ni k reflechir... 6 - "-^223~^-'=>=* 22 — C'est la prudence maintenant qui serait folie... C'est en ar- A o*a*o 36 * e "-^o ^ * ri^re qu'est le plus grand danger. Laissez passer mon pere, y* 63 o 02 6*2 2* 2 6 * messieurs, chaque minute que vous nous faites perdre coilte *y- * *3 ^ * ~ 3 * peut-6tre la vie d'un homme... et nous, mes amis, en avant! ^-^ * * e '^-^ **e e^-' o"^o Une immense acclamation lui repondit et la petite troupe N«x * o ^— ' * 2 yd w 2 6 € * * * s'61anca k tra^^ers la lande. 20' - o * II n'y avait plus k lutter. M. d'Escorval etait constern6, 6 -^*2 --"--26 6 -2 mais il ne pouvait laisser s'eloigner ainsi son fils qu'il aper- 6 3 6 6*2 2wny2a 6*- "^- cevait dans les rangs. * 6 o ^ o Maurice!... cria-t-il. 6 * y "^- Le jeune homme h^sita, mais enfin s'approcha... ^^ — ^ * * 2 6 ^o a * Vous ne suivrez pas ces fous, Maurice, dit le baron. 3W226 6* 3 6 FRENCH DICTION 63 II faut que je les suive, mon pere... -6 336W* 6 * Je vous le defends. 3 * 2 o Helas! mon pere, je ne puis vous ob^ir... je suis engag6... 22— 6 *3* w "^^2— 3w'~^o 2 j'ai jure... je commande apres Lacheneur... 623*0 ^^-^ * y- Sa voix 6tait triste; mais elle annoncait une inebranlable w 2 e - * 6 '^* '^ * 6 ' & ^^ ^-'2 o * determination. 2 - 2 y6 Mon fils!... reprit M. d'Escorval, malheureux enfant!... C'est a la mort que tu marches... a une mort certaine. 6^"^ -3 -* *__^* Raison de plus pour ne pas manquer k ma parole, mon 663 -3202 *6 p^re... Et ta m^re, Maurice, ta m^re que tu oublies!... 6 * 6 * * 3 * Une larme brilla dans les yeux du jeune homme. * - * y o 6 '^-^ ^ * * Ma mere, repondit-il, aimera mieux pleurer son fils mort *26^-6* y 26*- que le garder pres d'elle, deshonore, fletri des noms de lache 33-2 **2 22 6 6 32* et de traitre... Adieu, mon pere! 6363 y 6 * M. d*Escorval etait digne de comprendre la conduite de - - ^-^2 e ny3 300* 6 w-* * Maurice. II etendit les bras et serra sur son coeur ce fils 6 * "-'20 t 26 * -6 y - 3 *- tant aime, convulsivement, comme si c'etlt 6te pour la der- o^^e2 6 -*o ** ^-'2 2 - - niere fois... * 2t 64 FRENCH DICTION Adieu!... balbutia-t-il, adieu!.. y - y - y Maurice avait deja rejoint les autres, dont les acclama- 6 N — ^ e 2 3W '"'03 6 ^— '* 2 tions allaient se perdant dans le lointain, que le baron d'Escor- yo "-^* e* 3-0 03 2a a ^ ^ 6 -- val etait encore a la meme place, ecrase sous I'exces de sa -^2 e "-^o ^— ^ * * 2 * 2 . - 3 douleur... y- Tout a coup il se redressa. ^ -33* Un espoir nous reste, I'abbe, s'ecria-t-il. -^ - w- - * * 2 2 - Helas!... murmura le pretre. 22- - 3 * Oh!... je ne m'abuse pas. Marie- Anne ne vient-elle pas 6 3 3 *2 **** ya * * 2 de nous dire ou est le rendez-vous?... En courant a Escorval, 3 ^^-^ 6302 o o"^— — — en attelant en hate un cabriolet, nous pouvons devancer o^^*eo'^02 e e 6 302 les conjures a la Croix-d'Arcy. Votre voix, qui avait emu 662 w- 3W e ^-'2 Lacheneur, touchera ses complices. Nous deciderons ces * y- *e6* 2*6e pauvres egares a rentrer chez eux... Venez, I'abbe, venez 6 3 ^-^2 2 02 2""^-^ 32 *232 vite!... Et ils partirent en courant... 6 - - ■ ^o o FRENCH DICTION 65 Prose Selection III. Extract from LES MISERABLES by Victor Hugo. e 2 * - - On frappa deux petits coups a la porte. 6 * 3 - * ...Entrez, dit-il. O 2 '-^- C'etait la soeur Simplice. 2 e y- a * Elle etait pale, elle avait les yeux rouges, la chandelle * '^ — ^2 e 2 * * ^-—^ e e * o * * qu'elle tenait vacillait dans sa main. Dans les emotions de **3e *eo a o e'~'2 26 3 cette journee, la religieuse etait redevenue femme. Elle avait * * - 2* 3 y ^^^2 ^ 2) '^ 2> * ** * "^"-^ e pleure, et elle tremblait. 2 6** o e Jean Valjean venait d'ecrire quelques lignes sur un papier o -036 2 * -3** "^ Q y2 qu*il tendit a la religieuse en disant: Ma soeur, vous remet- -o^ 3y'""^o o y- 3* trez ceci a M. le cure. 23 32 Le papier etait deplie. Elle y jeta les yeux. 3 y2 2 6 2 y2 *^^ 3 e"^* — ^ ...Vous pouvez lire, dit-il. 2 * ^- Elle lut. * * "Je prie monsieur le cure de veiller sur tout ce que je 3 *6y-3 23ey2 - "^ Z 2, laisse ici. II voudra bien payer la-dessus les frais de mon e** yai2 * 6636 proces et Tenterrement de la femme qui est morte aujourdhui. — 60**0 3 ** e - "^-^6 — w Le reste sera aux pauvres." 3 - * 3 6 6 3 66 FRENCH DICTION La soeur voulut parler, mais elle put a peine balbutier y- -2 e ** "^ e* -y2 quelques sons inarticules. Elle parvint cependant a dire. - 3 6 ^^a. - 2 ** -a 300^-^ * ...Est-ce que monsieur le maire ne desire pas re voir une ^ * 3 ^ 7-3^*32* 2 3w^* derniere fois cette pauvre malheureuse? — y*2a **6 3 — * ...Non, dit-il, on est a ma poursuite, on n'aurait qu*^ m'ar- 6 ^- 6e^ -w*6 6e * reter dans sa chambre, cela la troublerait. 20 o 3 3 3 e II achevait a peine qu'un grand bruit se fit dans Tescalier. ^^3^^^e* e o W3 o -y2 lis entendirent un tumulte de pas qui montaient, et la vieille "^o o ^— — ^e -*32 6e* 6 yg** portiere qui disait de sa voix la plus haute et la plus percante: - y * e 3 w ^-^6 * e "'03 ...Mon bon monsieur, je vous jure le bon Dieu qu'il n'est en- 6 6e*y-3 *36 y -6 ^o tr6 personne ici de toute la journee, de toute la soiree, que 2 - * * 3 * - 2* 3 * W 2* 3 meme je n'ai pas quitte ma porte! + 362 *2 -* Un homme repondit. e '^— ^ * * 2 6 ...Cependant il y a de la lumiere dans cette chambre. ♦ oo'^ 3 y*o **0 3 lis reconnurent la voix de J avert. - 3 * -* w 3 La chambre etait disposee de facon que la porte en s'ouvrant o ^—'2 e 2 2* 3 '6 3 - ^— ^o o masquait Tangle du mur k droite. Jean Valjean souffla la 2eo3 '"-^w* 0-0 * bougie et se mit dans cet angle. * 6 3 o "^o * La soeur Simplice tomba k genoux pr^s de la table. y-a*6 3^3 * FRENCH DICTION 67 La porte s'ouvrit. - * Javert entra. - o On entendait le chuchotement de plusieurs hommes et 6^^0063 *o 3 »■ — y- -^ < ^ * * 6 les protestations de la portiere dans le corridor. 6 -2y6 3 -y*0 3* La religieuse ne leva pas les yeux. Elle priait. 3y*33 2 ^^ **y^ La chandelle etait sur la cheminee et ne donnait que peu o *^— ^2 t - 32*63*^ 3 de clart6. 3 - 2 Javert apercut la soeur et s'arr^ta interdit. - - ' y- e * a - En apercevant la soeur, son premier mouvement fut de se o^ -30 y- 63 y2 *o 2> 3 retirer. Son second mouvement fut de rester, et de hasarder 32 636 *0 -263 ~2 au moins une question. o wa '^ * - y6 ...Ma soeur, dit-il, etes-vous seule dans cette chambre? y— "—'— * * O * * O 3 II y eut ■ un moment affreux pendant lequel la pauvre ^— ' ^--'e o'"-^* 003- 63 portiere se sentit defaillir. - y * 3 o 2 ^*y- La soeur leva les yeux et repondit : y- 3 ""-^ 626 ...Oui. w ...Ainsi, reprit Javert, excusez-moi si j'insiste, c'est mon de- a3 --2W a*^63 voir, vous n'avez pas vu ce soir une personne, un homme, il W- 2 2 3W''^* -** ^— ' * * _ s'est evade, nous le cherchons, ... ce nomme Jean Valjean, e ""-^2 2 3 -63*2 o -o vous ne I'avez pas vu? 322 68 FRENCH DICTION La soeur repondit: .... Non. y- 3 6 6 Elle mentit. Elle mentit deux fois de suite, coup sur **o *5f!o 2a 3w* — coup, sans hesiter, rapidement, comme on se devous. O "^ — ^2 2 * O * ^— ' 632 * ...Pardon, dit Javert, et il se retira en saluant profondement. -6 ~ ^ ~ 3 3 o o 620 O sainte fille! vous n'etes plus de ce monde depuis beau- a3*y3 * 336*3w6 coup d' annees; vous avez rejoint dans la lumiere vos soeurs * 2* '-^ 2 3 2 a o y * 2 y- les vierges et vos freres les anges; que ce mensonge vous soit ey-*6 2 *e ^-^o * 3306* w compte dans le paradis! 6203 THIRTEENTH LESSON. French Poetry. — In reading aloud French poetry great attention must be paid to the subjects of E mute and of the tonic accent. E mute must always be pronounced at its full value of one unit of time. An occasional exception to this principle may arise from the exigencies of the meter in which the poem is written. In case of doubt the student would have to refer to an authority. However, in reading aloud French poetry the general principle must maintain that every E mute is to have its unit of time. At the end of a line of poetry E mute as final vowel {E final) in a word of two or more syllables never receives the tonic accent. In such a case the syllable next to the last always receives two units of time and the tonic accent with- out taking away from the E final of the following syllable its whole unit of time. In French poetry, to a greater extent even than in French prose, stress of emotion influences both the ''monotone'* and the tonic accent. It is not necessary to continue this sub- ject further at this time, as it belongs to elocution rather than to diction. 69 70 FRENCH DICTION Poem I. CHANSON. o 6 Alfred de Musset. - - 3 * 6 Quand on perd, par triste occurrence, o ^6 - - ^— ' * * o 3 Son esperance 6 ^-'- 2 o 3 Et sa gaite, 6 6 2 Le remMe au melancolique, 3 S ^^6 2 o 3 C'est la musique ^ 3 Et la beaute. € 62 Plus oblige et peut davantage ^ ^^ 6 03 Un beau visage e 6 3 Qu'un homme arm^, e ^>-^ * ^•— ' - 2 Et rien n'est meilleur que d'entendre 6ya 6 67-3003 Air doux et tendre 6- ^"^ 6 o 3 Jadis aim6. ---6 2 FRENCH DICTION 71 Poem II. LE CORBEAU ET LE RENARD. 3 -^^33- Fable de La Fontaine. * 3 6 e * Maitre corbeau, sur un arbre perch6, 63-6 ^e^ - 3 - 2 Tenait en son bee un fromage. 3 w ^-^o 6 '"-^e 3 Maitre renard, par Todeur allech6, 633- - y^*22 Lui tint a peu pres ce langage: w a "^ 303 He! bonjour, monsieur du corbeau, 2 6 - e* y- - 6 Que vous etes joli ! que vous me semblez beau ! 3^3 3 3026 Sans mentir, si votre ramage 00- 3 3 Se rapporte k votre plumage, 3 * -^-^ 3 3 Vous etes le phenix des h6tes de ces bois. "^ 3 3 2 - 6^ 23 3 e 2 k A ces mots le corbeau ne se sent pas de joie; 6 2 3-0 330 2 s w* Et, pour montrer sa belle voix, 6-62 *3 w II ouvre un large bee, laisse tomber sa proie. ^-^ 36 -3 -6*362 w* Le renard s'en saisit, et dit: Mon bon monsieur, 33-06 6 6 6 e* y- Apprenez que tout flatteur * 3 2 3 * y- 72 FRENCH DICTION Vlt aux depens de celui qui Tecoute: ^6 26-33W 2 3 Cette lecon vaut bien un fromage, sans doute. ♦ 336 6 ya^e 30 3 Le corbeau, honteux et confus, 3-6 6 "-'e 6 - Jura, mais un peu tard, qu'on ne Ty prendrait plus. ^"^e - ^3 ow FRENCH DICTION 73 Poem III. RAPPELLE-TOI. * * 2 w Paroles faites sur la musique de Mozart. * g * - * J ~ Alfred de Musset. - - 3 * ^ Rappelle-toi, quand TAurore craintive **3w o 6 3 a 3 Ouvre au Soleil son palais enchante: 2, 6 6y 6 e '"^o o 2 Rappelle-toi, lorsque la nuit pensive **3w- 3 w o 3 Passe en revant sous son voile argente; 2 * ^*-^o o 6 w 3 - o 2 A I'appel du plaisir lorsque ton sein palpite, *- e--36a -3 Aux doux songes du soir lorsque Tombre t'invite, 6 63 w--363a3 Ecoute au fond des bois 2 ""-^ 6 6 62a Murmurer une voix: - 2 3 w Rappelle-toi. * * 3 w Rappelle-toi lorsque les destinees **3W - 36 -23 M'auront de toi pour jamais separe. 66 3W- t 2 2 Quand le chagrin, I'exil et les annees 03 a e '^ e e^-' * 23 Auront fletri ce coeur desespere: j66 2 3 y-2-22 74 FRENCH DICTION Songe a mon triste amour, songe k Tadieu supreme! 6 ^-^ 6 ^ — ^ - 6 ^^-^ y 3 L*absence ni le temps ne sont rien quand on aime. -03 30 36 ya o ^6^6 3 Tant que mon coeur battra, O 36 y- * Toujours il te dira: -""- 3 Rappelle-toi. * * 3 w Rappelle-toi, quand sous la froide terre **3W o W3*3 Mon coeur brise pour toujours dormira; 6 y- 2 - - - Rappelle-toi, quand la fleur solitaire **3W o y- 6 $ Sur mon tombeau doucement s'ouvrira. - 6 6 6 30 Je ne te verrai plus, mais mon ^me immortelle 333 * 6 6 6^2^^*-*3 Reviendra pres de toi comme une soeur fidele. 3 ya 3 w * 3 y- 3 Ecoute, dans la nuit, 230 w Une voix qui g6mit, 3 W 2 . Rappelle-toi. * * 3 w FRENCH DICTION 75 Poem IV. CARCASSONNE. — 2 * * 3 Gust AVE Nadau. - * 6 Je me fais vieux, j'ai soixante ans, 3 3 ^ y e w o '•^^ o J'ai travaille toute ma vie 6 ay2 3 3 Sans avoir, durant ce temps, o ^-' w- o 30 Pu satisfaire mon envie. -63 6 ^o 3 Je vois bien qu'il n'est ici bas 3 w ya - 6 ^ 2 De bonheur complet pour personne. 3 6-* y- 66 -- *3 Mon voeu ne s'accomplira pas: 6 3*^2 Je n'ai jamais vu Carcassonne! 36 t - 2* * 3 On voit la ville de la-haut 6 w *3 3 - 6 Derriere les montagnes bleues; * 3 ^ o ny3 y3 Mais, pour y parvenir, il faut, 6 ^ _ 3 _ _ 5 II faut faire cinq grandes lieues; -6 63a o3yy3 En faire au tant pour revenir; o ^ ^^ 6 o -33- Ah, si la vendange etait bonne! 2 o ^2 6 * 3 76 FRENCH DICTION Le raisin ne veut pas jaunir; 3 6 a 3 26- Je ne verrai pas Carcassonne! 3 3 * e 2 -2**3 On dit qu'on y voit tous les jours, 6 6 '~' w e - Ni plus ni moins que les dimanches, 2a 3 6 03 Des gens s*en aller sur les cours, 6 o 0^-^*2 -e - En habits neufs, en robes blanches, o ^jt- - o 303 On dit qu'on y voit des chateaux 6 6 ^-^ w e 2 6 Grands commes ceux de Babylone, 0*3 3 3 Un eveque et deux generaux! e '-^2 '^ 6 226 Je ne connais pas Carcassonne! 33 *e 2 -2**3 Le vicaire a cent fois raison : 3 6 ^-^ o w e 6 C'est des imprudents que nous sommes, e e"-^a 03 * 3 II disait dans son oraison - ^ o 6""^ e 6 Que Tambition perd les hommes. 30 6 - e^ * 3 Si je pouvais trouver pourtant 3 e 2-0 Deux jours sur la fin de Tautomne — - - a 3 6 6 3 Mon Dieu, que je mourrais content 6 y 33 *e6o Apr^s avoir vu Carcassonne! ^ w - 2* * 3 FRENCH DICTION 77 Mon Dieu, mon Dieu, pardonnez-moi 6y 6y -*2w Si ma priere vous offense; 3 ^ * o 3 On voit toujours plus haut que soi, 6 w - - 6 3 Vi En vieillesse comme en enfance. o y6y * 3 * ^— ^o^-^o o 3 Ma femme, avec mon fils Aigan, * 3 - 6 "-^ e o A voyage jusqu'a Narbonne; i 2 - * 3 Mon filleul a vu Perpignan, y ^-^ - ny o Et je n'ai pas vu Carcassonne! 6362 -2**3 Ainsi chantait pres de Limoux a 06 3 Un paysan courbe par T^ge. e i o - 2 - 2 3 Je lui dis " Ami, levez-vous. 3 w 32 Nous allons faire le voyage." ^ * 6 63 13 Nous partimes le lendemain, 3303a Mais, que le Bon Dieu lui pardonne, ^ 336yw-*3 II mourut k moitie chemin: - '^ w y2 3 a II n'a jamais vu Carcassonne! & - 2* * 3 FOURTEENTH LESSON. French Songs. — We are now arriving at the goal of our studies, the singing in French of French songs. The com- poser of the music reHeves us of all care concerning the tonic accent by merging it in the rhythm of the melody. The composer has also decided for us what elisions are to be per- mitted in the text of the poem. In studying the songs which follow, students who do not wish to sing them will utilize them as further poems to be read aloud. But the singer must read aloud many times the text of each song before attempting to unite it, phrase by phrase, to the melody. Singers are advised to prepare the melodies of all the songs in anticipation of the time when their diction shall have attained perfection, in order that the final union of text and music may be accomplished as quickly and delightfully as possible. 7« FRENCH DICTION 79 BERCEUSE DE "JOCELYN" * ^ BENJAMIN GODARD Quasi Recit. a a ^ ^ 1. Ca - ches dans cet a - sile ou Dieu nous a coti- 2 o e ^^ — ^ y "~^ 6 2. Sous I'aT - le du Sei-gneurloindu bruit de la e 3 e ny " 2a w 3 W i i \ \ i J^ > J) I y J n -n duit, w fou U - nis 'I' Et e par le mal - heur, - 3 ^— y- comme un flot sa - ere, ♦ "^ — ^e 6 2 du - ^ ^^ ^ r' ff F p p rant les lon-gues nuits Nous re - po - sons tous O eo3w 32 6 qui dou- ce-ment se - cou - le Nous_a-vons vu les 4^ J ^^ J' I y, , j^ ;, ^ F deux en- dor - "■ — ^o jours pas fe mis sous leurs voi - les, Ou pri y- w 3 ser a - pres les jours, 2 e ~ ^ ppf J>i' l ja 'J' p pM^JLF''ire ons aux re-gardsdestrentblan-tese- toi -. les. 6 6 3-e6o32W3 Sans ja-mais nous las -ser d'im-plo- rer sonse-cours! o e 2* 2a 26S Andante WmO JU^' Jyi'l °Tp JSi' jy^ JHi' Oh! ne t'e-veil - le pas en - cor Pourqulinbel an-ee de ton 6 3 2 e* y3 2^Q - - e e^^O 3 3 6 ^ y3"2 ~p semprep , J, j^ J. ;. j^ ^ zz: ^ kfe re - ve 3 cresc En de- rou-lant son long fil o 2 o 6 6 a /• E ral/.p d'or- /jf tempo En- o £ r [I ^^^^u. ^ ^ fant, per - met-te qu'il s'a-che - ve? 8o FRENCH DICTION fe ^ i R^ xn Dorsl Dors! le jour_a peinc^a lui! w fe pfl r I r J ^ If rl ^ <^-^ Vier- ge sain -te, veil - lez , sur y- °3 a 3 §♦ y2 lui! w ALFRED de MTJSSET - 3 ♦ e Presto (J = iHs) h 2 mT BONJOUR, SUZON PAUL LACOME 6w- ♦ [? [? p i p I? F ^^ ^^ S Bon-jour Su - zon, ma fleur des bois, Es - tu tou • 6 -* 6 y- e 2a g k J^ I-. h Jl g E ^ jours la plus jo - 11 e? 3 fe re - viens •'3 3 ya ^ M-^ p-4-f J' iii' i' I j. J ^^ tel que tu me vois, D'un grand vo - yageen^ I - ta - 3 S MT C O 1 O cresc A b r~^[;7^^ f r f! F IT F ( T ^F ^^ li - - e. Du pa - ra - dis i'ai fait le tour, 3 ^ *• e e 3 P ^ ^ m ^ J'ai fait des vers, e e e apiacere j'ai fajt I'a - mour, j'ai fajt I'a. e e " e e ^ a tempo ^^^ ^ P 3? mour, Que Vim 3 a - por - te? Bon-jour, Su 3 6" zon V »■ o FRENCH DICTION 8i molfo n't. ijy^ YHUCfU it I. rp F iiff nip F (^ M P F Bon- jour, Su - zon. 6 " 6 Te pas- se de-vant ta mai- 3 2 3 3 o e ^ Tempo I /eggiero i zz: # * # g son, Ou-vre ta por - 6 3 - te. Bon -jour, Su - zonl 3 6" 6 I, V J) p J'^ ^ E ^ Bo;i-jour, Su - zon! Bon - jour,. Bon - joui;. d -^ ^ P V < ^ __ Bon- jour, Bon o - jour!. Un poco piu lepto (J =ii6) ^ p espress. ^s- ^^ ;^= p- ^i? r I F-^ t'ai vue e ♦ au temps des 6 O e - las 2 ii> 'vn;:^^ ^ ^ Ton coeur jo 6 y- i yeux ve-nait d'e 3 e 2 - clo 'I' ^ ^^ ^ m El e tu di sajis, e Je ne veux pas, 3 3 ^2' pp delicato a fiiacere a tempo b V |J> J' p Lf-^-T ji > I J j, I J i ie ne veux pas Qu'onm'ai-meen - co 3 3 z o ^ ^-^6 re. 3 82 FRENCH DICTION I. V ;. ;) ;. I ;^ iJ^ j^ ;. ^^ Qu'as - tu fait de - puis mon de - part? 2 e 3w62 -' \> -, ;: ;. ;: i ;i i J^ J^ ;. ^ Qui pari trop lot re-vient trop lard!. ^ ^ Tempo I ^ P F # i » # i Mais, que m'im - por e 3 a - te! ie pas - se 3 -* *^2« 3 leggiero tlKgglt-JU ^5 de-vanl la mai - son, Ou - vre la por-leou-vre la 3o eo 3 '^-^-'3 V-f hJ'^J' J^ ^ p M M por - le, Bon -jour, Su 3 6" pp rail. zon. Bon -jour, Su 6 ^ Mi[T I ii^r ,^ ^ zonl d ie pas - se •3 2* 3 de - vanl la mai 3 O e pp. ^ fe a teittpo ^ ^ ^ ^ son, Ou - vre la por - 6 3 le, Bon - jour, Su - 3 6" itzrr=^ *==p P ^^ zon! . 6 Bon -jour, Su - zon!. Bon -jour! 6 ^ m ifes^ ^^ ^i Bon -jour! 6 Bon -jour! 6 Bon - jour!. 6 FRENCH DICTION 83 BONJOUR SUZON! ALFRED de MUSSET Aubade Moderate assai jjp E^HLE PESSARD 2 ♦ ♦ - M M Bon-jour, Su-zon! Bon-jour, Su-zon!mafIeurdes 6" 66" 6 y"c ^fe p I p 7- p^rt^ ^J ^ p ; n ^ bois! Es-tu tou -jours, es-tu tou-jours la plus jo- 2a d " e M li - e? Te re - viens. tel que tu me e? 3 Te re - viens, tel. 3 3 ya - que tu me 3 3 M i } rn p- ^irr0^j"jij^ u vois, D'ungrand voy- a - geen I - ta - li- e w e o 1 ^^ o\ — 3 ^ gir^ p r ^ ^^ I' ''^' p " ¥ irr- Y Du pa- ra-dis j'ai fait le tour. J'ai fait des e e e M: P M vers, chan-te Ta-mour; Mais que t'im-ppr - te, que t'im- "02 - e3a-3 ^3a jjp a tempo f " ''" \ I' \ [ n f I d JJ J< J^J ^ per - te! ^ - 3 Te pas - se de -Vant ta mai- *^3 2 3 3 o e *t •' I J ^-g r^ir r '■^^ ■ h \ k'-'^^ son; Ou-vre ta per - te, ou-vre ta por - tel Te . 6*^ 3-3 3 -3 •'3 M ^M pmolto rii " LT r p i^ ^^ pas - se ■ > ^ ^ P P , F vu - e 3 it au temps des li - las Ton coeur iov- 6 o e 2 6 y- i — tr [[fViJ^'Jpv^pl^f"p i i J\7p i ^| g ^5 eux ve nait d'e - clo - re, Et tu di-sais: "Je ne_ veux 3e2 3e e33 M 7P P F Iff ^ ^5 ^ M pas, je ne veux pas_ Qu'on m'ai - me en-co - re? 2 3 3 2 6 e " — 'o 3 ^ F J H - r J ^ r - r ^ p^ ^ Qu'as tu fait de-puis mon de-part? Qui part trop *2 e3w62- ^-6 M r [- V jij') in J > ji ji J'Mf J / ji J^ M tot re-vient trop tard; Mais que m'im-por-te, que m'im- 2 3ya 6 - e3a-3 3a pp a tempo =F jCC por -, tel ^ - 3 Je — pas se de- vant_ ta mai- 3 3 O 3 i tt '''i^ ^^ iTJ '^•i'? r pir r ^-F p'"' son, Ou-vre ta por-te! 6 3 - 3 M ^^ ou-vre ta por - tel Je. 3 *^ - 3 •'3 p rit molto LI r F ^'^' f? i^ ^ ±z pas- se de - vant ta mai - son:. 2 3 3 o § 6 M /r\ a tempo j) p- ^'^ I J I Bon-jour, Su - 3 S zon! Bon -jour, Su d 6 " zon! 6 FRENCH DICTION 85 BONNE NUIT! * ♦ w C. DIRTEL Andantino (Sans lenteurj tenderit/ JULES MASSENET ♦ * ♦ e ^h^ ,i,_^jjjj i J' j)ji;^ dokissimo La ter-re dort au ciel pur, Les e * 3 ^^6 y" e^2 i-lijiji ^7 iJO jii ^-^ 5^ toi-lesdansl'a - zur_ Des-cen-dentveil-ler sur el - le; W 3 o " "^o 3 e y2 " Hf- 3 ^b^ p ;. I j> i j) 3 J I J^ fr ^ Sur_ ter - re un jar- din fleu-rit, Mais Jes fleurs ♦ 3 e"a «ey~" •■ dim. % i ^ L/ ^ J' r ont__ pli - e Taji - '6 2 e le. .3 Bon-ne ♦ 3 ^ ^ »J0^ ^i 3E nuit, bon-ne nuit, bon-ne niiil! w' * 3 W ♦ 3 W P ^i' ji Jl i' J^ Jl I J^ J^ ji ^ Un.pe-tit e 3 ^ toil mon-te seul Au jar - din sous le til - leul, — . w 6 3 ^^ ^ " a 3 ♦ y ' it > j^ jrji ff ^ P ^ ^ s II porte une hum-ble tou-- rel - le, Un^ ,oi - se ^W 3 dim. let dans son nid Ga - zouille et faitsen-ti-nel •- e o 6 wy^^ e e o * 4^ 7jiii|^r V J)iMfr ■>■ j,i^lJ i le. Bon-ne nuit, bon-ne nuit, bon*ne nuit! 3 *3W ♦SW i^Sw S6 FRENCH DICTION # ji j\ i I J' J^ ji ^ j i ii ^ Dans la tou - relle une en-fant S'est_en-dor- » > Ji i jLj n f. m f ^ mie en re - vant * o o ^" A la flour frai - che comme y- 6 3*^ — ^ ^ p ;> \n i^^ ^ (bI - le, Le ciel la y- ijarde et re - luit cfiM. ^ F F 1' l y iir;/1 rrJ I J 7 jiJ En son a - me jeu - neet be! le. 3 a^ ^ Bon-ne * 3 8 ^ (g ^^ ^3 ^ nuit, bon-ne nuit, W * 3 W bon-ne nuit! ♦ 3 W CHANTEZ, RIEZ ET DORMEZ O 2 y2 € - 2 VICTOR HUGO - - 2 Moderato CHARLES GOimOD - * 2 fi"l' i |i Ml I j i FP^MJ- J^J'i' Ouand tu chan - tezber-ce-e Le soir en-tre mes 2 3 3 w- o 3 e ^ I I jlv V m h' ff ^ r ~ j^ ^^ s bras, 2 En-tends-tu mapen-se-e qui o o o 2 3 V\ \ I' ti f^J' l I I'' I I '' |i ^^T^ te re-pond tout baSj 3 3*^ 6 2 Ton doux chant me rap- o 3 » crMC ^ pel - le les plus beaux de mes jours. *^* 3e 6 3e Ahl-. FRENCH DICTION 87 ^^m ^ ^ 21 ^m Chan-tez,chan-tez, ma bel 0202 ♦ ^ - le, chan- 3 o crvsG ^^ ^^ * tez, chan - tez. 2 02 tou - jours,. chan - tez,. o 2 ' F r H J^ f f F ^ ^^ /> J y y chan-tez, ma bel - le, chan-tez tou - tours 02 *3o2 **- ± Chan o ^ l .r^^l-?^ ^^ ^ ^ tez,_ ma- 2 bel-le, chan - tez. Of- 2, o 2 tou - i > i 7 ^ jours. I Quand tu" ris #=ff Jm j. J>J^ JM I I N vvr. H^ sur ta bouche Ta - mour s'e-pa-nou -it, ^ ^ fTp F p F-HMi'^lJ_J ^-S :fc et sou-dain le fa-rou-che soup-con s'6 - va - nou e a »3 3- '6 2 H-jJ^v w H ^ J^ r I'p P -lurfr J^^^ ah! le ri - re fi - de 2 3" 3 cfesc. le prouyejin fe #^ K rU'ff U ^ jours,™ n - cz,. rirez, ma bel-le, ri-ez , tou 2 ' ♦ 3 2 ss FRENCH DICTION jours, n ^f^r^ Wr^^ ez, 2 ma. bel-le, ri IS 7 i y i ez. jb^ ^ tou - - jours! ff ^ ff ff Jh J. J^ i' Jv E ^ I Quand tu dors, — calnjeet pu-re dans Ibm - bre sous mes o - ~e3o63 e fe ^^ ^ ^^ •y > f 7 -» ^5 ^yeux. Ton ha- lei 6^^ — e nc mur-mu-re des 3 " 3 e }>SUJ J S^ \ ^Ir-^^rH-H^-^ \^f! ff n mots har - mo - ni - eux,. ^ r ff J J J ' I J i ^ ton beau corps se re • 6 0" 32 ^ ^ ve - le sans voi - le et sans a - tours. 3 o w '~^e o " AhL 2 i" Ti J l| F dr ^'igi^n^ Dor - mez, dor- mez, — ma bel le, dor- 3 dim. jii P P J Jir rTif If r i M mez, dor- mez tou - jours,— dor - mez, dor-mez, ma £ ^ ^ j ?;^ i rr >^ bol - le, dor- mez tou - iours, dor - mez. ♦ 3-2 •'-' - 2* ma. joursl FRENCH DICTION 89 ELEGIE LOUIS GALLET 2 2* . Triste et tres lent ^ Q ^'ffes expressif ttvec accablemenO JULES MASSENET ^E ZZl ^^ ja -2^ 2 Ui^ i. p doux prin - temps d'au - tre - fois, a o 6 3 w S j)J ^^-^^ I Jl^ Ver-tes sai-sons. Vous a - vez fui pour tou - jours! Te ne vols - 3e6 ^2w" -*'3 3W .^ U Ji m iL S B. g P ^ 5 f^^ plus le ciel bleu: Te n'en-tends plus les chants joitpux des oi - ^ 3y- '-'a 00*^ eo w 6^w i'r#A:r. e animalo poco i ^ \^' ^ \ r j) J^ J u J^ v- T^ ^ ^^=^ seaux! En em-por-tant mon bon-heur, bienai 6 o* — o - o 6 ^ — "y- 2 ya e I a poco r^ Jjli J) x ^ ^ W 7 -^ me, 2 tu t'en o ^ ^es^ ' e al 2 Et c'est en e e ■ O (En retenanf henncoi J, I J. J^ ^ ment S'e-pou-sent les ro - ses? Ah! cet^ hy- men est char - O 23e 23 2 o^e ^ 3 f^ r ^' itJ^ ^ mant,. o eel, hy - meiv_jESt char - mant!. O e " o J' I J. i' > jmJ ;> J i H ^^ Quel - les ten - dres cho - ses El - les di - sent en ou - ♦ 3o3 23*3 3 ^o^ ^^ j^ I J. J' ^ 1 vrant — Leurs pau - pic - t. res clo - ses! Mi - o y~ o y 3 2 3 poco rail M J. J> J^ ^ 1^ J ' J' J I J. J^ ^ ±z^ -9-' — W gnon - ne, sais - tu com- ment S'e-pou-sent les ro - ses? 2y*3e ♦o 2 3e 2 3 afefttpo dolce J' J> J' J^ tt ~ — w^ *< ^ i ,0- El - les di - sent: ai - mons - nous! Si courle est la * 3 3 e 6 "^ — e ^ ^^ J ^ -!' 1^^ ^ vi - el 3 Ay - ons les bai - sers plus douj /" — '6 e e 2 '^ f * I J' j^ J' rresa ^ w i=* ^ ^ ^ L'a-me plus ra 2 3 f vi - e! 9 Pen- dant quel'homiTie o o 3 ♦ "^ ^^m £ ^ ^^ ^a ge - noux, Dout<;^s - pere ou pri - e! FRENCH DICTION 91 m ^ /joco tyiU. Li^Jlii P ^ O mes coeurs, em - bras - sons- nousL 2 e 3^-0 2* 6 Si courle est la I ^ 2 ^ h J^ J^ ji < W h vi - el 3 Croix - moi, mi- j^non-ne, croix- w w ny ♦ 3 w * JJJ J> > J^ ■^' ^^ i' IJ. J^ * — w moi, Ai-mons-nous comme el - les. Vois, le prin- temps vient a dfc ^^ r' I p ^' itJ^ loi,. w Le prin - temps vient a toi. 3a oya'^ w * ^ ^^ s S ^^ ^ Et des hi - ron - del - les Ai-mer est iHi-ni - que 6 e 6 ♦ 3 e 2 ~ — e 3 i t Iv-^J v^ ^ ^ £ *' m fi -de - les. O ma 3 2 loi. w A leurs .nids, T \^X^ jjvro rail. \^ i' J^ i Ij. ^ ^ * IF rei e > | J- J ^ ^^ voir ai - me. w^ ^e 2 Qu'est- il done sur ter - re? LE SAIS-TU? 3 e Allegretto leggiero 2 JULES MASSENET th' i ^" , !, ti liJ'j f ir f J J I ^ N'as-tu pas vu I'hi-ron - del - le Se ber» 2 2 «6 *33" ^~ "f ^m m ' } i' ^'' ^' p ^ cer sur le ro - seau, 2 - 3 2 o Et se crojr-ant la plus e 3 i o |¥ r p i' J I r ~ ^ p J' j) bel - le Se mi - ren 4t 3 3 2 au fond de Teau? 3 o ^"' "^'piiiU'pii MFir J^^'^^' tf As-tu sen-ti de la ro - se Lepar-fum de - li- ci - 2 o 3 233-e2 ^ ^ ^ ^1 ^ ^ t » g eux, Ce bai - ser que Dieu de - po - se Le ma - ' 3e23y2 23 3 4^11^- ^p- ^Mr- i c h-' i i JiJ'i'p p tin du haul d«s cieux? a ♦ o c y Con-nais-tu de I'a-lou- * e 3 i^^ r M) ^ I p ' F r ^ ^ et - te Le joy^ iux re - frain d'a 3 a - mour. FRENCH DICTION 93 {y • 1, > '' fipr i M i 'J i / '' J>-^ '^^ Cechanl que I'e-cho re-pe - te Quanddansleboisvient le 3 032 22'^ 30 o3 2ayaa I Ist jt?o<:(9 r«//. a tempo jour! Le sais - tu?- 3 e U. a" V > J] ji i' p (? I r J I ? f? p |7 p J' > Sais-tu ce qu'est I'es- pe -ran- ce Quandnous croy-ons au bon- e 36*2 03 O w6 ^""6 "" *fc ^^^ ^^ ^ ^ *S heur? Et ce que notre a - me pen - se Du se e 3 3 — "2 3 O 3 3 I ^ ^ P P F P " r~Fp ^'i' M cret de no-tre coeur? 3 3 y- Eh! bien, tout ce - la, ma e ya 3 ' p ^ plf^^ J'^JilJ »Ji ^ bel - le, N'est plus rien quand je te vois; Te n'ai - me ♦ 3 c yao3/3 w 3 e3 M r r ^' I ^> ^'' ^ p p ^in r vj *fe plus. I'hi - ron - del - le je n'en - tends plus que ta ♦ 6 ♦S ^Z o Q ^3 P '' [' T f I •■ J) JijtJ^ ^' p F I r i^ voix. w Et si ie veux u - ne ro - se, Tu le e "^3 ^^ 3 2 3 3 I fcfc ti^ r ^ ^' i i i 'J i^j^J^'^'r ^ sais, an-g^e d'a-mour, Sur ta bou-che de-mi - do - se eoa ,»- g^ 2 3 M i i" /jiii ii p p pirTrlffy^ h ;, ! ^^ Je la pren-drai cha-que jour!. Cha-que jourI«. 94 FRENCH DICTION MA FLEUR Molto moderato con tenerezza LOTJISE K.NOVELLI ^^J J' J I J- JMr- JiiJ-. i- I I p '' i' J'a-vais une fleur, une rose de par-fum rare, e ♦ y- * 2 * 3 - e * J^ J-' JiN-^M-i r F ^ M [T Dans mon jar - o ^ "^ - din, el - le se meurt;. a * 3 3 y- ^ V J^' g T ^^ p p fT r ^' Sa beau-te pur ne tou-cha pas ton^_ame Tu 6 2-3 2 o-^2 * con espressione /Cs jy g^ rii ^ n'ai - mas pas la fleur, qui fut moja coeur. 6 2 2 y- o y* pppiu lento ryTp I J J.'yii i J f I p- hii\^\ J A Theure de la mort d'un mu- et de-ses - poir, y~* 3 " e e 2 ~ w- i • i' J' J> l J JIJ^ h J'f! T I f:^ PHP Pour ma belle rose ne pleu-re plus;. ♦♦2*3 3 Tapre-sence 2 o * ii-^JMp p p' MH-J 1. 1 IV p ^ seul me fait joie en cette heure,Baise ten-dre-ment mon " 3 e w* o ♦ ^ * e ♦ o 3 o a rit. PP ^ /?N ^ front , . . et rends - moi ma fleur. o e o w y- FRENCH DICTION 95 JULES BARRIER * ~ y« Moderato - , p sempttce , MALGRE MOI "~ 2 W m n^u J J GEORGES PFEIFFER P p ~ K. -« J l UMaJM^S J J f I Je ne veux plus_ pen-ser a toi, Dont j'ai si . - ) crfisa tris - te re-com-pen-se! Et mal-Cfre moi,_Et mal-gre 328 o3e "2 W e "2 ^ ^ miZ -ar- se! 3 moi Tou- jours j'y pen o leggiero ppoco animato Je ne veuxplus chan-ter pour toi, Qui f is de mes chan-sons. me- 3 3 02W 3eo62 ^ ^ ^^ ^ ^p M jZ chan o tel Et mal-ere moi, Et mal-gre 3 e -^2 w' e "^2 ^ r ^ f> J^ i' I ^1 I, J) /?«« lento ^^ *• ;> JH'J ^ ff=jiF ^ ?^=rf i?fe toi Monbien, ma vi - e et monciel me-me!Monbien, ma wojTa. 3e6y- 36ya accel. e cresc. w j> j^ i' I J J ^^ ^ ^ vi - e et mon ciel me - me! 3 e 6 y- 3 Et mal- gre O m I* / EC ^ r - M r Mp i^ ^ moj, E^ mal-gre moi Tou-jours, tou -jours,- g«l-t ^ij:— ,^ - mel — tou-jours je t'ai - mel je t'ai - mel •^3 S 3*'e3 FRENCH DICTION 97 MON PETIT CCEUR SOUPIRE 6 8 y- 3 OLD FRENCH CHANSON Andante ^ Old French Air Arranged by J. B. WEKERLJN i^y I i'-^' i r- J' I j^ j^ j^ i' Men pe - tit coeur a 6 3 y- Quandje me plains, vous chaque in-stant sou - ^^ — '?i o ne fai- tes que 3 6 3 3 p. - re. ri - re, 3 ^ 2y) \n^ r> -n ^^3 £ £;^JNJ^^ Ma- man, pour- quoi suis - je com-rae_ ce - la? O ~ WW 3*33 N'est il done point de dan-eer a ce la? e"~-^- 6 6a 3 o 2 3 ^ s l> h ji I J^ s Mon pe-tit coeur a chaque in - stant sou o 3 y- "^-^a o Quand je me plains, vous ne fai - tes que o3 3a 3 633 pi - re, ri - re. decresc. e poco rit Ma -man, pour - quoi suis - je com- me ce O- WW 3*33 N'est il done point de dan-p^er a ce e ~ 6 6a 3 o 2 3 la? la? m >f -i' -^MiiJ. J^lfT fr p p liiJ7 ^^ Vous le sa - vez, et pou-vez me le di - re, 3 2 e 2 3 3 3 Con-seil - lez - moi, de crain - te qu'il m'em - pi - re, 6 e* y2 w 3 a 3 - o 3 I rresa S ff I P P P I I ^ W ^ Car n VOUS V01S__ w SOU - vent o com - me 3 ce - 3 Que 3 faj. . re en - fin a pour gue- rir ce 3 ma[ 98 P rif. FRENCH DICTION a tempo m M P P la. ^ !Mon pe - tit coeur a chaque in-stant sou - pi - re. 6 3^ y- —-a o 3 pe rif. « ■'^ J^ J' JH J > i P P I [T J ^ Ma- man, pour o • quoi«. suis w w je com-rae ce - la? 3*33 D.S. ALFRED DE MUSSET - ~ 3 ■♦ e i^p e parlato NINON F. PAOLO TOSTI k^iA ij^ j^ i' J' i' I J. ^ ^a J- J'v> ^ Ni - non, Ni-non, o o que fais - tu de la vi - e? 3 e 3 3 Mrp [T ff I'TTiJMjr^J^ i. ;?}' I i ,.^ ^ L'heu-re s'en 3 O rit fuit,_ le jour suc-ce-deau jour_ w 3 " " " "- I o I ^>^p p F ^ r JvJ^T) Ro - se ce 2 3 3 soir, de-main fie 3 a 2 b J. >/virj^ jr;,|JJ>nJ^^ B prit 5 ^f^ tri - e. Com-ment vis - tu, . 3 ♦ o rsprit toi qui n'as pas d'a- w 2 2 a tempo F F Mp M ^ ^ ^ ^^3 mour? Au-iour- d'hui le prin - temps, Ni - non, O**- w3a o^ 6 t- Ji'i' i' V' I J r V C 1 (T F F ^n de- main I'hi - ver. 3 a Quoi! tu n'as pas d'e w 2 2 2 I J J^ I J. J^ ^^ toi w le, 3 et tu vas sur la ■mer!_^ FRENCH DICTION 99 ci^sc. a poco - \> V j^ i' ff j^ m ^^ ^ ^ P Au com-bat sans mu - si - que, en vqy - a - ge sans 660 3 O 1^ ' 3/ o \^ r^ "^ p M Cr ■''' I f^- ^ ^p F I li - vre! Quoi! tu n'as pas_ d'a - mour, et tu 3 w 2 2 -^ ' 1'^ f r \ r~r ^' M (I ^ ^ par - les de vi - vre!- - 3 3 3 Moi, pour un peu d'a w e a tempo I . o J p p F r p ir fHp p F "r p ^ mour je don-ne-rais mes jours;* - •'3 * 3 e e "^ - ' Et ie les don - ne e 3 g * 3 ' 5 1 ^ prit ten. ^m ^ £ rais pour rien sans les a o- ^ - mours. sans les a O e"'^ — " f^p parlato m h J. I . i J^ J^ J' J'^ i' P mours- Ni - non, Ni-nqft, 06 b J. jiyvh >(^ ^ ZPC que fais - tu de la ^ 3 e 3 » ! t'o J ^ ^ ^5 ^ * ■ vi - e? 3 L'heu-re s'en - fuit,, 3 o \v l«i iour suc-ce-deau- 3 •• - - ^6 MJ^J'vvlTvp p [7 I J ^^^ jour^ Ro - se ce 2 3 3 soir,. de-main fie 3 a 2 # 1—' — it— I ■ i' — 5 prff. fe '^ Juii: h 3t± ^ g < tri-e. Com-ment vis - tu,. 3« <( O toi, qui n'as pas d'a vv ^ 2 2 lOO FRENCH DICTION ^ rit. a tempo j. J. ■ ''' p'v p P' ^^11 p I r P I mour? Qu'im-por - te que le jour f i - nis ^ r >^' X> i J . J P P MM ^3 se fcl re -com- men- ce 3 6 3 ♦ O 3 Quand d'une ^au - tre^ex - is - K, I J ;uui I J V , j^ ji ten - ce Le coeur est a - ni - me? Ou - vrez o 3 y^^ — it ^ — " 2 2 ti'esc. a poco ^ J^^Mp. yj^ *: P ^^ ? ^^ vous, jeu-nes fleurs. Si la mort vous en - le - ve, La 3 y- - ^o 3 I . .. \ vie est un som - meil,_ ♦ e ""^e ♦ ev I'a - mour en est le re - ve, ^^o"^e 3 3 n't Lfi E ^ P P P f-HMH^ Et vous 2M-xti ve - cur si vous a- vez ai - me, — h 6 2 2 ^-"2 ^ o 2 a tempo r^-! p p p M I r'^r ^ I ^' ^' -^^ Et vous au- rez ve - cu, h " '6 2 2 SI vous a - vez ai - ^^ 2^ — ^e lentamente t^_^ Jiprit ten. r\ _ ==r. me, 2 SI vous a- vez ai - me. ' Ni - non, Ni-non, " — ' 2^^ — ^e 2 o C51 k .iJ'i J^ ii J> i' I J- i'vvl >'j^ jrVi | ^^ que fais - tu de la vi - e? 3 6 3 3 ppp e n't com-ment vis ♦ o ^ *M # tu,— toi, qui n'as pas d'a - mour?_ w ^22 FRENCH DlCT^OJSr » ' -I » f lOI FRANCOIS COPPER O *W ♦2* Andanlino (J =72) OBSTINATION 2 6 H.de FONTRNAII.LES 3 6 3 2 y ♦ m h j> j> j^ J J' j^ i j j_j^ * I I SA a j^ j'l j^ j^ j ^^^ Vous^^au - rez beau fajre et beau di o 2 6 e "" e 6 1" a P=JE K^ r ff p wtrzacumiiM L'ou-bli-me se-rait o-di-eux,_ Et ie vois tou-iours son sou- 33e^ e3w "6 ^ wz P jl p J) V > JJ J J^ V J j a tempo W -JO. m m m^ M ri - re Des a - dieux, des a - dieux. 3 e y ' e'" y P h=^~Xl^ J> J> J i*^ * fci Vous_au - rez beau fajre et beau di - re,. ' ^6 2 6 e "" 'e 6 3 s ^ E=S: ^ *^ / Dui__el - le me - me I'i eno - rer,. ♦ 3 3 ny 2 ' A'i'f ff p p ff Mr J^''-i'j'iU' % Je veux, fi-dele_jL monmar-ty - re, La pleu- rer, — la pleu- a a tempo piu lento p I j^ j^ j^ j^ J ^ ^ * * M rer. 2 Vous au-rcz beau dire et beau ^6 2 o ~ e o m ^ J> J' i' i- J' J' fai - re, e 3 Seule, el - le peut men mal i'ue -44y- ^ rt g.; 7///' espressico fe M M I rir. Et i'ai - me mieux s'il per - se e •• e 3 y - '^ - 2 ve - re En mou - rir,_ 2 3 o -» en mou - rir. o I02 FRENCH DICTION OUVRE TE.S_YEUX BLETTS PaOT. ROBIQUET ^ JULES MASSENET owr « lie « * g Avec asbez d'animation (LuO w ^ ^ ^ p $ ^ ^ Ou - vre tes yeux bleus, ma mi -* eiion - ne. 3 e^"^ ny 4c 3 hi .LJ n J^ ^ ^ ^ i ^ * Voi-ci le- iour.. w '' - De-ja la fau-vet - te fre 2 6*33 ^ ^^ don - ne * 3 Un chant e o d'a - mour L'au 6 ' J. iijiiJ'^T p Mr r K.Y ^ rore e - pa - nou - it la ro - se. ^ ^2 2 3 Viensa - vec ya f ^L,J ^ j: I J. ;. ji tt J^ p Mr i^ moi. Cueil - lir la mar -eue- rite e - clo - se. 3* y- - 3 ^ — ^2 2 3 t i ^i; r- p I 'i ^ r r- !> ^ -o- # Re - veil - le 2 e* y3 toi! w Re -veil - le 2 e* ya toi! w ? ^ E ^ P Ou-vre tes yeux bknis, ma mi - gnon - ne; 3 fc^-^ ny ♦ 3 mf(E\U) i I J ' i' J ^ ^ > J J- J^ ^ # Voi-ci le jourl w 3 - A quoi bon con -tern -pier la we 6 o 2 I .I^J ^ J^ ^ P P P ter - re * 3 Et sa beau e 6 te?. 2 L'a- ^^^ dim. J' J^ >{ji' ' J^ ] ^ ^ mouj:^___^est^__^n plus doux my^^^^^J^e re Qu*un jour d'6 - 3 e 8 FRENCH DICTION 103 i cresc. f' V i' J' P ^ p iy ;^ I t|;. Cest eu poi que Toi- seau mo- e ^O W 3 W O i ^^ # / chant o vain. a queur, 7" fr J^ ^^ f ^ % ^ Et • le grand so - leil e 3 o ^ qui noi/s^ bru a tempo le 3 Est dans e o mort 6 coeurl- y- PLAINTE a * LUIGI DENZA h\\ j V j Jm J j> J J'- P t I A - dieu, je t'a - ban - don - ne, Beau y 3 o * 3 6 te ^ S ^=^ t 'I t ^ ^ re - ve de ton Tieur 3 3 ^^ y- A - dieu, y — p J' I u J' ^ ^ g TT^ 9 W do - le de men coeur,_ i 336 y- jt> animando a- dieu, ma - do - ne, I y 3 i rit ^ ^^ 1 i do - le de' men coeur, Ce 3 3 6 y- 3 ^^ re - ye ^tail ma 2 e ■ a tempo fi- i^5 ^ ^ 1 Vi - e, 3 Oh! quel re - veil, mon Dieu o ' 3 ey e y A- I04 FRENCH DICTION ^ m < w > * ^ dieu done, ma che - ri y 6 2 p n't . ten !» h 1' ^ ^ Z. a - dieu, y r , J' J J^ I I ^^K £ ip^ Oh! raon bon-heur, a 2 iRP - dieu, oh! mon bon-heur, a y 6 ^^y- I J-' J-^ J' J' J> i i — ?7 dieul y y/o^o n't Quand tu i'of - fris a ma vu - e o « ^^ ~ 3 poco n't T J^' ;, J^ ;. J» j^ I ^i- I J^ j^ ;> ^^ Je sen -lis bat -t re raon coeur, je sen -lis bal-tre mon 3o t36 y-3o *3o iJ. I ^ J^ .i' j^ J^ J coeur, y- A - lors mon a - me e 6~ — '2 3 2 mu - e. 3 I' ^ W H Ki_^rni^^,^nj^ S'en-lr'ouv - rit_au bon o 6 heur! y ^11 J' h J- N ;^ r: animato fF^f ^ ?^ s'en-lr'ouv- rit au bon - heur! Mais ce bon-heur de ma O ~o ^ y- e 3 ^^y~ 3 ^ rail, assat :. ^^ r^F^ te *^ > t 1 M ^ i vi - e Ful bien ra-pide oh! raon Dieu, . 3 ya ■ 6 6 y /»»M ^ " ten. A - dieu, a - dieu done, raache- ri - e. Oh! monbon-heura- y y 6 8 3 6 6 ~~'y- p n't O L 4 J' ^ JM ^ ^ 7 7 ^ y § \^ J' S ^ i ^ dieu, oh! raon bon-heur, a dit^u! y 6 ---y- y FRENCH DICTION 105 ROMANCE o ♦ PAUL BOURGET 6w- - e Moderalo 2 ACHILLE CLAUDE DEBUSSY ♦ ♦ ♦ 3 ♦ i 4t- \^ i) i) i) J ^^ r« ■ r r^ p r L'a-mee-va-po-ree et souf - fran - te, L'a-me 2 ^-'2 2* e ♦ o 3 2 3 ^i r p '-- •'' p 11^' "JM r MM dou - ce, 3 I'a-meo-do ran- te Des lis di - vins. 2 ' — " o 3 e a u-' p M I ' r 1 1 > J' J) h ^ * que ihicueil-lis Dans le jar- din de ta pen - see, ^s-'es^y o 3''-a 3 o 2V fii.^^i'iO '^- ^ J';. I J. J IJ J^ ^^ Oii done les vents I'onl-ils chas-see, Cette ame a - do- ra- ble des 6- e o 6^- 2,-tf- ^ ♦"-^ ^ — ^ 3 e pp meno moSSO (tempo rubnto) _^ in. M^ J 3 J^ 3 3 1.^^ lis? N'est^j^^il plu;)J^^ii$ Fai-te d*es-poir, e 3 ^-^-' d'a-mour f i - de - le, 3 De be-a-ti 3 2 * Ritenuto 'n r h^ tiide, et de pajx? io6 FRENCH DICTION SI J'ETAIS JARDINIER 2 e " y2 ROGER MILES Allegretto (J:9«) dolce '7' CECILE CHAMINADE 2 ♦ « j, "iiV( J' j'jiQjiji I i'i' J iJU^^^' -^Jjji^ Si i'e-taisjar-di- nier descieux Te te cueil-le- raisdes e 2e- y^e^y 33 3*y:ie e"'2 ti g liJi l i' '^' t ^ KHZ toi - lesl Quels joy- aux-ra-vi - raient tes yeux u 'j^ n'^ a tempo Si i'e - tais_iar-di - nier descjeux! Dans la nuit pa - le 2 e - y2 I y o w 2 3 t\h I^^i^ J J j ) j, ji Ji J' iiJi^ SOUS- ses_ vol - les e W 3 P Ton e - clat se-rait ra-di - eux. 6^^2 3 e y^ j^ j^ j^j) jii i' ^' J I j ^^ Si I'e - tais_ jar- di - nier des cieux 2 e - ya e" — "y Te te cueil-le 3 3 3*3r3 th J^ J> H ■ I Ji i' J3]^ S rais_ des e - toi - les! e 6 2 W 3 Si j'e - tajs_jar-di 2 e " ii y^i^ -^j^jij) ^5 f nier d'a-^mour ya Te te cueil - le - rais des ca - res - ses, *'3 3 3* ya se e * 3 |.¥itju^ i3jiiii.h J' J IJ^ J^i;)^ Te te fe - te-rais tout le jour 3 3 3 e 3 - Si j'e- tajs_jar-di- 2 e " m rit S^ a tempo ^gi nier d'armour! En leurs i - ne - di - tes ten-dres- ses 3^ - oy-^^2 3o*3 FRENCH DICTION J07 I) } i j) j i J^' 1 1-^^ i' ir i^J ^ J^ i^ s ^^"-id Mes bou-quets te fe - raienl la cour. Si i'e - tais jar- di - ¥11 h i' ' J^ J « ^fe s nier d'a - mour yz ''3 te 3 cueil-le rais_ des ca 6 e ^ 3 ^it=55 pj.nj I J ill iiv^ '/>;';'! j'.^^ res - ses! * 3 Mais mon jar - din n'est que chan- e 6 ~ a e 3 o h i) j^ J^ P P F EJ- -«i sons,, Et tu peux y cueil-lir toi - me - me, 6 e ^ ^ 3 4f y- w 3 |, V ji ji Ji I ji ;> J) J^ I j jj i iVo v^j^ j^ j^ Dieu pour les nids fit les buis - sons , w - 6 e w* o A P J^ j^ j^ ^ P dolcissi?no Et mon jar. 6 6- cresa - - ^=i^ W i^^ A din n'est que chan - sonS; Viens - la a e 3 o o ya / re - ver si. 2 P ^^^^^^ ^ ton coeur m'ai-me, Et mon coeur au - ra des fris- 6 y- e 3 e 6 y"- — ^6 e * ^ rit pa tempo '\J cresc * J I j ^ J^ JJJJS ^ ^ s Maia sons.Majs mon jar - din_ n'est que chan-sons, Et tu peu^ 6 e 6"ae 3ofi 6 n/ 5 p 1^ a tempo j^^ ^ ^ ^f- cueil - lir 3 * y- toi w - mc - mel 3 io8 FRENCH DICTION SI LE BONHEUR 3 - y - ROMANZA from "FAUST" . Andante CHARLI-rS GOUNOD " ♦ 6 m \ m J-^-4-^ ^ Si le "bon - heur a sou-ri - re t'in - 3 y- 3 a J' h I j, \, ^ 1 ^^ vi - le Jo. - yeux^a - lors, je sensjun doux e - o X 3 O ^ 2 j r r r I ^-^^' ^' "^^ ^' ^' ^' moi, w Si la dou - leur_ y- t'ac - ca - ble, Mar-eue * 3-3 P ^ i' ^ r > JMi.J M r -^ ri - te, 3 O Mar- eue - ri - te, 2 - 3 3 6 Mar- eiie- 2 - ^ 3 ^^ l ■l'^ j ' ,H,jj ' j ' j | I i J< - ri - te, Je pleurea - lors, je pleu-re coi 3 "3 com -me 3*3 toi. w I 3 - J J' J' I J' ; M f ^^ Com -me deux fleurs sur u - ne me - me ♦ 3 y- ^^ 3 3 ti- ge No-tredes - tin sui-vait le me -me cours De tes cha- 3 !i- ur^<) o- o; w e 3 3 e " J' II J^ J. i,J^ JW' I J ;. ,. r i' j^ grinsj^n fre - re je m'af - fli - ge O Mar-gue- ao 334^ 32 — 3 FRENCH DICTION 109 ^ I J |j) •-■ ^ ^'- i :^ ri - te, 3 o Mar- e:ue - ri - te Comme 11 - ne 2 - 3 3 ♦ ' — ^ 3 » i^ i< J^ i' i El? soeur je t'ai - me - rai tou - jours, y- ''3 6 3 e '^ -^ Je ''3 ^ ou - jour^ Je t'ai e me - rai 3 e ^^m "» — - t'ai e me - rai tou - jours' SI VOUS N'AVEZ RIEN A ME DIRE 2 y a^^ 3 3 VICTOR HUGO ~ ~ 6 Moderate Baroness WILLY de ROTHSCHILD ♦ 3 f^ ( . Moaerato Si VOUS n'a - vez rier 2 ya me di - re, 3 3' ^SK W' i' p P' P i p p J I v i i^^i' J^n^'^J^ Pour-quoi ve-nir au-pres de moi? Pour-quoi me fai-re ~ w 3 ^-^6 3w "W3e3 '''' III 11' I Ml 1 1 ii I r^iM ce sou-ri- re Qui tour-ne-rait la tete au roi? 3 e o w p' l h vi'J^J'J' j l I M I I I I I Til Si VOUS n'a-vez rien.^ a. me di - re Pour-quoi ve-nir au- 2ya 3 3 -^w3 ^-o no FRENCH DICTION ^Sh p Vr I ^ p p P p r I r ^'' r ^ ^ pres de moi? Si vous n'a-vez rien i me di - re Pour- 3 W 2 ya 3 3 quoi ve - nir au - pres de moi? w 3 ^-o 3 w i ''i'i - ^ I 'l ^ I ' ii I i i ^ ' I irn Si vous n'a- vez riei 2 ya m'ap-pren- dre, * o 3* m 'W '' J '' J' p ^'" |i|| I I I i| I II I I II 'ill I Pour-quoi me pres-sez-vous la main? Sur le reve an-ee- w 3 ♦ 2 a - 3 ^^o ^2 |,|J|)|.|jMlpy ^.kJ |, J, I )| f " ^ ^ 22 liqueet tendre Au - quel vous son-c:ez en che - min? e o — o - 6 **2^^^o 3 a a me di - re Pour - quoi ve- nir au - pres de moi? 3 • 3 " w 3 ^^6 3 w ^A ^- p [T p p p I ■^' J' r -t^ j^ kfe Si vous n'a - vez rien 2 ya^ a m'ap-pren - dre Pour. ♦ o 3 - j^ pa tempo ,h p p JmiJ' JHJ. | i ip-J'' J^ i' J ^ S quoi me pres-sez-vous la main? w 3 ♦ 2 a Si vous vou- lez que 2 ^3 I'lH ll>^J iiTi^ J^ p r I? It P ^ ^ ^ je m'en ail - le, Pour-quoi pas-sez-vous par i - ci? 3 O e* 3 - W 2* 2 " — FRENCH DICTION III ^'h V i | J^ nJ' J' ^^' i i j^ I tt i' " F t i Ldrs - que je vous vols, je tres - sail - le: 3 3 W 3 4c e4( 73 I ^-|,^ ^ Jj^ f ^ ^ /7\ a tempo J. h i) J^ J) J^ s C'est ma joie et c'est mqn sou - ci, w4f e e 6 Si vous vou-lez que 2 3 k^ 1\} J ly<\ V J-' J^ p P" p I V Vr I je m'en ail - le Pour-quoi pas- sez- vous par i - ci, 3 O eJ^f 3 - w 2* 2 ^^-^ jj'ik . p_ fr rfr^ ^, I h J I I. |. I Si vous vou-lez que je m^en ail - le Pour 2 3 3 o e4c 3 quoi pas w 2* sez - vous par 2 ^ SOUPIR THEOPHILE GAUTIER 2 ♦ 6 ye A . Andantino CHARLES WIDOR - * » ^^ ^^ 5 £ f'ai lais - se. e e* 2 de mon sein de 3 6a 3 !* M Y I J. J^ J^ J^ J ^ m eretc n nei - ge Tom - ber un oeil-let rouee a I'eau: e3 o 2 e3*y2 ''^ 6 He- ♦ 2 % ^■Ujr l J.t^J' l Q'J' J''> > J> ^ las! He -las! He- las! Com-ment,com-ment le re-pren- 2- ♦22- *2 2- * d ♦ o 3 3 o l^^\\ 7r7T~J-, i"^ J' f j^ ;: J-^ -Q-^ drai - je Mouil - le 6 3 * ya par I'on - de du ruis - seaul. "6 3 w* xt 112 FRENCH DICTION * p I J- Mi JM J- i' K i' J^ , ! ■> p T I f r' Voi - la le cou- rant qui Ten - trai - ne, w 3 o ^ o e 3 m CTMC. r r r p t j' p i f r ^ Bel oeil - let aux vi - ves cou - leurs. Pour ^3* yi^ ^6 3 y- quoi torn - ber dans la fon - tai w 6 2 o 6 e ne. 3 Pour — ff. '/ far - ro - ser j'a - vais mes pleurs, Pour ro - ser i'a - vais mes 2 2*' - ^ pleurs,. y- fefe s ^pp g 2tl far - ro - ser j'a - vais mes pleurs. T'ai lais 2 e e y- e e */ ^'•l^ J- i' i^ J' J j^ g se de mon sein de nei - ee 2 3 6 a 3 6 3 eresc. Tom- d l]\ J. J'J^ J' J i'lj. Uff i J-upiJ, uii He- las! He ber un oeil -let rouge a I'eau, He- las! He- las! He- 2 e 3 ♦ye ^ 6 ♦2 2" ♦2-2- ^2 h\ ^T-f J' J' h i' J> i) . fj 1. > i' Q ^ las'. Com-mefit.com-ment le re-pren-drai- je Mouil-le, 2-4(o4to33o e3 *y2 -:_,_ / cretc. ff ^'•itJjij- ij'j' i .i.i^pi|--u^ir r^^ ^ par i'on-de du ruis-seau. He-las! He-las! - 6 3 W* o *2 2- ♦2 2- FRENCH DICTION "3 VICTOR WILDER Andantino UN DOUX LIEN e y a ALFRED DELBRUOK i'l'V' ii |i ' I I I I II 'I Un doux H -- en nousen - la » gait tous deux, e y a 'o ' e >p f? r J^'^-lMf- Mvp |T J'jJ^ Ton brasau mien s'e-tait ri - ve; Quand.louta coup.ibu-vrisles 6 2 6 ya 2 e 2 o ^ ' e" espress. hp p ; g- — nI 1 i' r/'^ M^ ff I J- ^{^ _ ^yeux: J'a-vais re ve! •' e 2 ^1- ^'M r 'i^''f^ M ir jT r ^ ^ Ce tendre a - veu que i'im-plo- rais de toi, 3 O ' 3 a e 3 W Ta levre. J'' •}' i' I J ; p : ^a ^ ,en - fin I'a - vait trou - ve, . ' o a e 2 Ton ame. 6^ ♦ m ^p jT M r F ^ " 4M-^ m e - tait^ ^a 2 e P rail. moiL w J'a - vajs re e ^H ^^^^^^^ 1' pa - vais re ve!. e 2 ^ A^ r p J'' i; J' F r Tr"' J^ O songe ai - me. char-mante et douce er songe_jii - me, char - mante__et douQe_ f\ Ck ^ *-V *fc o e er - reur, 114 !?^=^=^ FRENCH DICTION ^^ ^ ^ ^ Qu'un souffle, he - las! vienl m'en - le ver; €♦♦2 2" yao3 e poco animato ^W . ff p J-' > J^ > J^ l^-^-P I Re-viens ber - cer mon pau - vre 3 ya ~ 2 6 6 3 coeur! y i i^ -i ^ i' /^t: ^ Jm < - I - i ^^ ^ XE Te veux re - ver!. *' 2 A GENERAL TABLE. letters: name: MARKED : a A ordinary (unmarked) k A ordinary (unmarked) a A exceptional a 2 ai E ordinary ai 6 ai E exceptional ai aim Nasal-sound aim a ain Nasal-sound ain a am Nasal-sound am o an Nasal-sound an o a(s) A exceptional as 2 a(tion) A exceptional ation 2 6 au exceptional au 6 e E mute e 9 ^ E ordinary «5 (unmarked) h E ordinary (unmarked) € E exceptional 2 eau ' O exceptional eau "S ii6 FRENCH DICTION LETTERS: name: marked: ei E ordinary ei 6 eim Nasal-sound eim ein Nasal-sound ein em Nasal-sound em o en Nasal-sound en o er E exceptional er 2 es E ordinary es et E ordinary et et E exceptional et eu Eu ordinary (unmarked) ez E exceptional ez 2 e (before pro- E ordinary e (consonant marked nounced conso- only) ec, ef, el, nants) etc. e (before doubled E ordinary e (consonant marked consonants) only) ess, ett, etc. • 1 I ordinary (unmarked) ie Vowel -succession ie y3 ien Nasal-succession ien ya ieu Vowel-succession ieu y (Oil Liquid L ill y FRENCH DICTION 117 LE'iTERS: NAlVfF,: marked: im Nasal-sound im a in Nasal-sound in a ordinary (unmarked) 6 exceptional 6 2 oeu Eu exceptional (unmarked) oi Vowel-succession oi w oi Exceptional oi 2a oin Nasal-combination oin 2 a om Nasal-sound om 6 on Nasal-sound on 6 6(s) exceptional OS 2 o(tion) exceptional otion 2 6 ou Ou ordinary (unmarkedj u French U (unmarked) ue Vowel-succession ue ui Vowel -succession ui w um Nasal-sound um un Nasal-sound un e y I ordinary (unmarked) y Consonant Y ii8 FRENCH DICTION LEITKRS: name: 1 ym Nasal-sound ym a yn Nasal-sound yn a Silent letters Exceptional * Sounded letters Exceptional - gn Liquid gn ny marked: INDEX. A, 8, II, 45- exceptional, 9, ii, 30. ordinary, 8, 11, 30, 45. Accents: Acute, 1,2. Circumflex, I. Grave, i, 2. Tonic, 24, 38, 69. AI, the termination in verbs, 46. Alphabet, the, i. Bridge-syllables, 3, 6, 34, 46. Cedilla, the, i, 2. Circumflex, the, i. Combinations, 27, 28, 30, 37, 38, 39, 40, 44, 46. Consonants, 3. double, 7, 44. final, 45. Conversational French, 48. Conversations: I. At Table, 49. II. The Weather, 50. III. The French Lesson, 51. IV. Travel by Rail, 52. V. The Concert, 54. VI. A Dialogue, 55. Double consonants, 7, 44. E, 12. exceptional, 14, 15, 30. final, 25, 69. ordinary, 12, 13, 30. 43, 45- mute, 12, 16, 17, 23, 25, 30, 43, 45, 48, 49, .57, 69. Et, the conjunction, 46. EU in combination, 28, 29, 30. Exercises : Spoken, 8, 9, 10, 13, 14, 16, 17, 19, 21, 22, 24, 25, 26, 27, 28, 29, 32, 33, 35, 36, 42; also Conversations, 49-56; Prose Selections, 57-68; Poems, 70-77. Exercises: Sung, 9, ID, II, 13, 15, 16, 17, 18, 20, 21, 22, 23, 26, 28, 29, 32, 33, 34, 36, 37, 39, 41; also Songs, 79-ii4- Written, 7, 9, 11, 13, 14, 15, 17, 18, 19, 20, 21, 23, 26, 27, 29. Final consonants, 45. Final E, 25, 69. French and music, 23, 37, 38. French prose, 57. I. The Heritage of Topffer, 57. II. From Monsieur Lecocq, by Gaboriau, 61. III. From Les Miserables, by Hugo, 65. French poetry, 69. I. Chanson, by de Musset, 70. II. Le Corbeau et le Renard, by La Fontaine, 71. III. Rappelle-toi, by de Musset, 73. IV. Carcassone, by Nadau, 75. French songs, 78. 1. Berceuse de " Jocelyn" by Godard, 79. 2. Bonjour, Suzon, by Lacome, 80. 3. Bonjour, Suzon, by Pessard, 83. 4. Bonne Nuit, by Massenet, 85. 5. Chantez, riez et dormez, by , Gounod, 86. 6. Elegie, by Massenet, 89. 7. Le mariage des roses, by Franck, 90 8. Le sais-tu, by Massenet, 92. 9. Ma fleur, by Novelli, 94. 10. Malgre mot, by Pfeiffer, 95. II. Mon petit coeur soupire, arr. by Wekerlin, 97. 12. Ninon, by Tosti, 98. 13. Obstination, by de Fonte- nailles, loi. 119 I20 INDEX French songs: 14. Ouvre tes yeux bleus, by Mas- senet, 102. 15. Plainte, by Denza, 103. 16. Romance, by Debussy, 105. 17. Si j'etais jardinier, by Chami- nade, 106. 18. Si le bonheur, by Gounod, 108. 19. Si vous n'avez rien a me dire, by Rothschild, 109. 20. Soupir, by Widor, ill. 21. Un doux lien, by Delbruck, 113. General table, 115. GN, liquid, 46. Grave accent, 1,2. Hyphen, the, 2, I, 19. ordinary, 19, 30. lEN, the succession, 44. L. 43- 44- double, 43, 44. liquid, 43, 44. Liquid GN, 46. Music and French, 23, 37, 38. Mute E, 16, 17, 23, 25, 43, 45, 48, 49, 57, 69. Nasal sounds, 31, 34. first, 31. second, 33. third, 35. Nasal sounds: fourth, 36. 0, 20, 45. exceptional, 22, 23, 30, 36, 41, 45. ordinary, 20, 21, 30, 35, 41. OEU in combination, 28. 01, 40. exceptional, 40. OIN, 41. OU in combination, 27, 30. Reading aloud, 78. Successions of vowel sounds, 37, 39, 40, 44. Syllables, 2, 7. bridge, 3, 6, 46. Table, a general, 115. Table of vowel-sounds, 29, 30. Terminal ^/ in verbs, 46. Tonic accent, 24, 38, 69, U, 26, 30. Vowels and consonants, i. Vowel-sounds, 5. defined, 5. table of, 29, 30. succession of, 37, 38, 39, 40, 44. Y, 19. consonant, 41, 42. Yod, the, 38, 46. THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. THE PENALTY WILL INCREASE TO 50 CENTS ON THE FOURTH DAY AND TO $1.00 ON THE SEVENTH DAY OVERDUE. mk ib iyj^ MAK 15 1933 h. "^'•'■V : 1986 WOV 16/936 AUG 4 1942 AUG » 'S46 /6^ i APR 2 1947 ^OV 8 1946 LD 21-50m-l,'3J V UNIVERSITY OF CALIFORNIA LIBRARY