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Vaccai

Practical Methodfor Alto, Baritone

PREFACE BY N. VACCAI.

ANYONE who wishes to sing really well should begin by learning how to sing in Italian,

nut only because the Italian school of vocalisation is acknowledged to be superior to all

others, but also on account of the language itself, where the pure and sonorous tone of

its many vowel sounds will assist the singer in acquiring a fine voice-production and a clear

and distinct enunciation in any language he may have to sing, no matter what may be his

nationality.

Experience has shown us that not only in France and England, but also in Germany,

and even in Italy, many who are studying as amateurs rebel at the thought of the weary time

their professors require them to devote to ,. Solfeggio." Here they first urge that very trivial

p!ea that, as they have no ambition beyond just singing to please a few friends in the restricted

area of their own drawing-rooms, they need not dwell upon all those subtleties or the vocal

art which they are ready enough to admit are indispensable for those desirous of commanding

a larger and more critical audience from the public stage of the opera or the concert-room. It

is to show the absurdity or such an argument, and to win over these faint-hearted ones to the

true cause by more gentle means, and as it were, in spite of themselves, that I present this

.. Method" of mine to the public. They will find it new in design, very practical, very brief-yet very effective-and, as physicians say, "very pleasant to take." The pupil will attain (he

same goal, and may even beat the record, but he will find the course far less lengthy and

laborious, with spaces of contrasted sun and shade to beguile the tedium of the race.

As at first all must find a fresh difficulty in having, as they sing, to pronoun ce words in

a language which is not habitual to them-a difficulty which is not altogether obviated byany

amount oi study ill Solfeggio and Vocalising exercises on the same modeJ,-I have tried to

make matters easier by this plan of mine, where I adopt, even 011 the simple notes of the

diatonic scale, words selected from the fine poetry of Metastasio instead of just the mere

names of notes or syllables conveying neither meaning nor interest. By these means I trust I

have rendered the pupil's task so far less wearisome and thankless that he may even find

pleasure in contracting the habit of clear articulation as he sings and, without experiencing

any aversion, be led to the study or an indispensable form of exercise. I am of the opinion

that not merely amateurs, but also those who think of entering the profession, will-find

my If Method" useful, for in each individual exercise I have sought to make the music

illustrative of a different style of composition and of a distinct emotion, so that the pupil will

learn more readily how to interpret later on the spirit of the various composers.

The vocal part of the exercises has been kept within such a restricted compass, not for the

greater ease of the greater number of voices, but because of the conviction that at the very

beginning it is more advantageous not to strain the vocal organs, and to keep to the medium

register exclusively. This is amply sufficient to demonstrate the requisite rules, and, besides,

ahould it be thought expedient, it is always easy to transpose the lesson into a key higher or

lower , a s the iQdividual capability of the singer may necessitate.

1



Vaccai - Practical Method - for Alto, Baritone

'IiACCAI was born on March the 15th,

\V 1790, at Tolentino, near Ancona, Italy,

whence the family soon removed to Pesaro,

where they remained about twelve years, and

where Niccolo received his first instruction in

music. He was then brought to Rome for the

purpose of studying law, to which he remained

more or less faithful during some five years;but then, renouncing this profession as dis-

tasteful, he devoted himself entirely to music,

taking lessons in counterpoint under Janna-

coni, and later (1812) studying the art of opera-

composition under the guidance of Paisiello,

at Naples. While in Naples he wrote two

cantatas and other church-music; in 1814 his

first opera, I soiitari di Scotia, was brought

out at the Tea tr o nuooo in that city. Shortly

after, he repaired to Venice, where he stayed

seven years, writing an opera in each, and also

several ballets; but none of these ventures

succeeded in winning for their author even

the evanescent vogue of an Italian opera-com-

poser; he consequently gave over dramatic

composition in 1820 and turned his attention

to instruction in singing, a vocation in which

he was eminently successful in Venice, Trieste

and Vienna. Again devoting his energies tocomposition, he wrote operas for several lead-

ing Italian theatres, yet still without success;

but few of his dramatic works became known

abroad, among them being La Pastoreila,Timu,. Chan, Pietro it Gran, and Giulietta e

Romeo. The last-named opera is considered

his best, and its third act, especially, was so

much liked that it has frequently been substi-

tuted for the same act of Bellini's opera of like

name, not only in ltalian theatres, but even in

Paris and London. To the former city Vaccai

journeyed in 1829. visiting London a few years

later, and in both attained to great and de-

served popularity as a singing-teacher. Again

returning to Italy, he recommenced writing

operas, one of this period being Giooanna

Grey, written for Malibran, in honor of whom

he composed, after her decease, in co-opera-

tion with Donizetti, Mercadante and others, a

funeral cantata. Most of these operas also met

with hardly more than a bare succes J'estime.

In 18;8, however, he was appointed to suc-

ceed Basili as he.id-rnaster and instructor of

composition at the Milan Conservatory, which

position he held until 184 t, when he setired to

Pesaro. Here his last opera, Virginia, was

written for the Tcutro Argentino at Rome. Hedied at Pesaro August 5, 1848. Besides six-

teen operas, he composed a number of canta-

tas, church-music of various descriptions,

arias, duets and romances.

Although unable to secure a niche among

Italy's favorite dramatic composers, Vaccai's

lasting renown as a singing-master shows

that he was possessed of solid, if not brill-

iant, artistic attainments. His famous "Me-

todo pratico di canto Italiano per camera" is

still a standard work in great request, and

his "Dodici ariette per camera per l'insegna-

mento del belcanto Italiano" are scarcely less

popular

The general plan of the "Practical Method"

is to render study easy and attractive, with-

out omitting essentials. No exercise exceeds

the limit of an octave and a fourth (c'-P,

transposable to suit any voice). There arefifteen" Lessons," which are not bare solfeggi

on single vowels or syllables, but melodious

exercises-for scale-practice, for skips of thirds,

fourths, etc., up to oct.ives ; on sernitones,

runs, syncopations, and . 1 1 1 graces usually met

with-written to smooth Italian verses, with

excellent English translations, The extraor-

dinary and undiminished popularity of this

method is attested by the numerous editions

through which it has run; yet it is not merely

the method for dilettanti, but can be used

profitably in conjunction with any other sys-

tem of voice-cultivation, being admirably cal-

culated for strengthening and equalizing the

medium register, for giving confidence in tak-

ing difficult intervals, :1'1d for enforcing habits

of precise and distinct articulation and phras-

ing.

2




HINTS ON PRONUNCIATION.·

ITALIAN.Vowels:

Gm"'alrule: The vowels are very

open, and never to be pronouncedas .impure vowels or diphthongs;they are long in accented syllableswhich they terminate,-skort inunaccented syllables. or in accentedones ending with a consonant.

& like ak or dk (never 4) ~e.g., amar«

[pron. llh-mah' -rl!h J .e aJ ' in bay (without the vanish f);

Iin bed: a in bare (before r).

1 .. uin beet; Iin bit; i before avowel, like y (consonant).

o aw, or ok (without the vanishti); 0 in opinion.

" • (10 in boot; "in bull.

,:;o&lsonants :

Gm"al rule : Even the hard con-sonants are somewhat softer thanin English; the soft consonantsare very delicate.

'. d. C , I, m. n. P. qu, s, t, Y, as inEnglish.

c like It, before a, 0, ", or anotherconsonant except c, as below.

c .. ..k in chair before r or i,. eelike I-.-k before r or i.

C .. g hard before a. 0, ", or anotherconsonant; except before 1(pro-nounce gllike I-y [consonant].e.g. sugli, [pron. sool'-ye]), and

n(pronounce gn like Ii in cai'1on[kan'-yon ]).

C .. II in azure (or a very softj) be-fore r or i,

h is mute.jlike)' Inyou.r, pronounce with a roll (tip of tongue

aR'llinst hard palate).Where a doubled consonant oc-curs, the first syllable is dwelt

upon; e.g., in ea» [pronounceek' - ko, not ek' - 0]. - Accentedsyllables take a less explosive stress

• ThOOH .. hint. ,. an> ofterocl as an aid fortyros, and not id ,he leur U atI exhau.ti .... set of. . . . . .

than in English, being proloncedand dwelt upon -rather than forci-bly marked.

se like sk, before rand i,z .. tis (very soft Is).

GERMAN.Vowels:

The simple vowels as in Italian;'1 like German ior ii.

Modified yowels:

alike a in bare. but broader; ...in bed.

c ; has no English equivalent; lon~ 6can be pronounced by formingthe lips to say '01.. and thensaying ii (as in bay) with thelips in the first position; short6, by sa~ng e (as in bed) insteadof ii. I N . B.-Long ii is theFrench nt (inj.-u)].

II has no English equivalent; pro-nounce long ii by forming thelips to say 00 (as in boot), andthen saying ee (beet) with thelips in the first position; shortii, by saring I(as in bit) insteadof u. IN.B.-Loui ii is theFrench II.]

Diphthongs :

ai and ei like long t in bite.ae like Ii.au .. oTuin brow.

eu and iu like oi (more exactly sA'-il,closely drawn together). .......

Consonants:

C , h, Ie , I, m, n, p, t, as in English.band d, beginninl\' a word or syllable,

as in English; ending a wordor syllable, like p and Irespec-tively.

e like 1 1 before a, 0, and ".. like II

before e, i, and Ii.& ' usually hard, but like 1 /1 in azure ia

words from the French andItalian in which g is so sounded;-ang, mg, ing, ong and..:::cterminate, at the end of a ,with a I-sound (e.g., Dr -/)""11'),

3




IIIlITS ON PRONUNCIATION.

"uin Italian, but sborter. often ap-proacbin&, Enelish 4.

Alike d.e .. " ill but; I-final is almost silent

in polysyllabic words.6 .. II)' in bay.... lin there.

• .. Gamaa •• - .a..,.lonc.

ior ilike II in beet; short Iu10English.

o as in Italian.D like the German ii.

Diphthoacs :

ai like a; in bait; but before I-final, orU, is pronounced as a diphthonr

_ ('!~'" drawn closely together).al and el like I.eu, eli and caD like German Ii.

oi like DII-411 ' (drawn closely together).on and o'llike ()(I in boot.ea~ like Ii long, without the vanish II.

Mocblied by a following n, tN, "a, ", ortnt at the end of a syllable, thevowels and diphthoDgs arenasal(exception,-verbal endinr of3td pers. plural).

CODsounts as in English, with thefollowing exceptions:

C like Iin song before .., I, J,I, and j.ch .. .rll.I: .. II in azure before ..,I,J,I, and j.

I:n as in Italian.IIis often mute; no extended rule can

be given here.j like 1 1 ill azure.11 after; is usually sounded like Ene-

lish y (consonant), and frequent-ly prolongs the ; (....); e.g.

Il'rlwill..r ltrAll-vAh-yaT], ""-IIRIIe [trlhngkee'.Y].

D nasal. see above; otberwise as in

English. [The nasal effect isaccurately obtained by soundinr" (or lIt) l0/r..tn..r 'Willi (insteadof a/tf!r) the preceding vowel'but the sound of Iis chan~to ih, i to 4 (in bat). and "to ..".]

III, nasal in certain situations.

rwith a roll...final is silent.t-finaJ is silent.er, et, ea, e.t, ea, as final syllables,

are pronounced like I.

Accelltutloa. The strong Eneliahstress on some one syllable 01 apolysyllabic word is wanti~ InFrench; the eeneral rule is INrJt~to ac:cent the iii" 'J ' I IMk.

J like _, (consonant).••.. n.reither with a roll, or a harsh breath-

inJ.

• beciDDlng a word or 5yllable, andbefore a vowel, like _ (soft);

ending a word or syllable, likesharp I; before t and p, begin-ning a word. usually like I "(e.g. I"""', P! 'On. sbtiim r" asin bull]); otherwise as in "Eng-lish.

• like f.w " 'S' (bat softer. between ." and w).

a .. II(allowhen beginuing a word).• "Is.

Compo.... COIl8ODaDt.:

ch Is a sibillant witbout an Englishequivalent; when beginning aafllable, or after e, t, ii, i,ii,ai,n. III, 1M. and nu, it.is "/1(setthe tongue as if toprononnce d,and breathe aD II through it ;e.g.Slri~II, prOD. shtl1d-h); after

II. D. N. and "". it lS I14rJ (aguttural A ).

dlelikez.KIa .. IA .ap and at, _ I.above.

tra IiIre I.Accented syllables have a forciblestress. as in English. In com-pound words there is always asecondary accent(''), sometimes a

tertiary ono('''), depending on thenumber of separate words enter-ing into the composition of theClOIIIpound word; e.g. Z1tIi'u!uft-dh'" ",lI.rilt", Bo'gmluJlll" wurjllz-fIiIr'''. The principal accent isregularly marked (') fn this work.

FRENCH.v...... :

4




Lesson I.The Diatonic Scale.

In this 1~tLesson, Signor Vaccai has not grouped the letters of the Italian syllables ac-

cording to the correct rules of spelting , but in such a fashion that the pupil may perceive,

at the very first glance, how his voice should dwell on the vowels , exclusively, to the extreme

value of the note or notes they influence, and how with a swift and immediate articulation of

the consonants he should attack the following syllable, This will greatly facilitate him in ac-

quiring what the Italians call the Canto legato <Chant lie) _ though, of course,we need hard-

ly say that here the teacher's example and oral explanation is better than all written pre-

cept.

Adagio

Voce.

1 ' 1 ~ + t.

~ .~ .". .. 7i .. ~.. '-"'" T

" ~ + tChild, tho' your way seems long, Since first we start-ed, Come,learn how

v~~ " . . . . -. ' 7 f _ . . " . '-"'" I

Ma . nca so - 11e- ci - ta pm de - lru - sa • to, s. - neo-rehe" . & . 1 0 + t Adagio ,

I

, tJ: i J : ". , . -. ·71 . . " . . f· - - - - - - = - -• :p

j 1- - I..I T

""",'

Voice.

'Piano .

ru .. .. .. _"~" ~ + t faith and song Keep men brave. heart.ed.

..~ ... .. '!--While spring no • joic c.es, And

rv - . . -.

- - . . -. . . ~ ~ . . -. - -___;" '

s 'a - gi - ti eo • nlie , ve f1&'. to, fa • ce che pa - Ipi - ts.

" . & . 1 0 "

-:a---

:[U

~ . . u . . . l- S I I. . . . -:s:» J!L .. '~

f-!----'.L ~.

~ - T T I . . T

,..» + t

·" " " i T I r 'r .._, ..... Y'~

" l J o ~ while yet 'tis day, Out with your voie-es,And march ,march a· way.

·~ I r . . 'r '-, . . . . .

....• T~

pre-ssQ....s.-Lrno- rir, fa - ce che pa - lpi - ts. pre-ssoa - lmo-rir.

" l J o + t _ . . - . " , I I. I I----r--'-' '-'

··T1 'A I"I"'~I- t_f 1

IiJ r } ~ 1 1 ' 1 ' : 1 ; . .

-..,

"

p .-.

·I r >- I I I

5




Intervals of the Third.

Andantino., . , ~ II l

t:T • . '1 '1 ~

All! for those ,\ ho feel n(l pit - Yl'When the sim-ple dove, so

tJ -w - - . . •Sern-pli-cet - ta tor - to - rel - Ia , che non ve.dejl suo pe -, . , ~ Andantino

tJ p ' , . : : ~ J: t:T T ~ ~- , _ -l ~ ~ ~ ~

..I r I r I r I r I r I r I r

I ' I l I o l

ItJ • - - .' ~ •

d"'", . , 1 1 0 pret - ty, 'Mid the ar- rows, shel- ter su _ inp;,Here and there, and sore IS -

It) • • ~ . . , . ,1 '1 . . .

ri-g-lio, per fug- gir dal cru-dIL-ar - ti - glio vo -Ia in grembqjil cae - cia-'-"

IV - . - - . -~~ - . - . T - . '~

.~' - - . • .-,; . . . . . .- -·· I r I r I r I r I r . . 4J!

1 '1 l I o l I . .

rv ~ ~ 4P7--.-. -- . . W

. . .

1 '1 l I otress'd ,Wound- ed falls, with gen - tle coo-ing,Wound- ed falls, with gen - tlf

rv~ ~

.., - : w - . - . . •, . , l I o

tor, per fug - gil' dal cru.dqjir - tl-g-lio , per fug - gil' dal ern-do ar-

- --~ l ,..-::::::..

IV :t: ' ~ " * ' . . . . . , . r • r· j. r .~ ..__/ - I -· . . . .. · .

I

1 '1 l I o \l I

tt-gllo vo-lajn gremb~l cae - cia - tor,

-.- - ..- . .

vo-lain gremb~l cae- cia - tor.

tJ -. .'*'., . , 1 1 0 cO?-ing, O~ the fowl-er's faith-less breast, On the fowl- er's faith-less breast.

I

• 'W '~' ~ •

-

I

6




Lesson II.Intervals of the Fourth.

Adagio.

AId 'tis sad-ness, Not mere mad-ness, Not mere

Adagio. li-do~il ma-rejn - fi - do a sol-

p

ur - ges, Thro' those dreadful deaf'ning surg-es, Far, so

noc - chie - ro, al- tre

, . ,I :::> :::>

rv - - . r .-"J ,,*,

' "I

far ag;t forth ~ sea, Onewho knows what storms can be! One who;::...

IV

•r

. .~

. . ,vol-te Iin-gan - no, al - tre vol - te !'in - gan - no, al , tre

' " I - -" " " i J --=:;7:::> -___./:::> <:» "--~ • ~ . .~

~ ~ ~ . . , . . . . - . . - - - - .-!I!III ~·· - - IIiiII""" ;ill"" - - L--J . ...::__/- - -

' "I >- >-

VT -- .

r too well what storms : ? n' "

I

knows ,,~t storms C~1 be! All be!

V T --. r "_!fvol - te Pin - gan - no, a~e vol - te l'in - gan - no., . ,

I -" " " i J -...____/:::> ~:::>

~-p-~ " ' - - ~ - . . .~. . .---:;----. ~- r____,

··Iiiii"""" iii'"'" -....J <c:> . .7




Intervals of the Fifth.Andante

II J.

..1

..It)

Tren z n"!t *. . . . . . ~

~ Imock at me , Call me not era - ..1yen,

..I~

r t .... * . . . . . --Av - vez-zo a vi - vevre sen - za con - for - to

Andante.~<;«

II ":j:"'

I.

I~ lEI

i~ ~~~i ~Ji::.. 'I~ .. i~p ~,._.

I

i i. . .

~ i i il i~

in mid _ ha ven, And all my sail.

in memo al<;:»

iI mar.

winds most vor me , Most I'm de - spair

Av - vez-zo a<:» vi - ve - re sen za con -

II J :>

" r ' t r. . . . . . . .

!J :1.At All! sad sea - - mg', If .go fear pre - Wit •I

" p"tr : : .s..dL

in mez.eo al - pa - yen - il..._"

!:" i-::;; i_~~ ~~~~~ i"~i ..... _~ " I :._-4 I-~

I

~

i ii

. . ~ ~ ;:I

i

8




Lesson III.Intervals of the Sixth.

Andantino." . u . n I I

t:J ' " ' "I

'" '"tIl·

'"I r ~ ~

II .J. When, un - just -ly, blame thou bear, est , All in si-Ient scorn se -

rv '" ' "I

' " ' " ' " '" I r 4! 4!

Bel - la pro.va e d'al , rna for - te Pes- ser pla , ci-~e se -II . u . Andantino. <:»

--vp~T"

. . ~_TT..Y ~ • t _t~ ~~--~ ~ -':l I l.- - - - - - - - - - . . . . . . . . . . . . . . .

" . u .I

ft] . - , , 1 - - .' "

,'" ' " ' "

I

' "I jot '" ~

" . u . rene - ly, White the g-uilt - y olle so mean - ly Sees and g-ives not look nor

I~ . . . -,j, '" '",

'" ' " '" I '" I jot'" - - - ~

" . u .re - na nel sof - frir rin-giu-sta pe - na d'u - na col _ pa che non

I~

'-j:' . . s: ,,-_ .!_! __s : t s: ~t

-~~ ~ ff+ _ #

I -. : "I . . . I ~ I I. I . . . "..------.::---- . . .~ "'~1I . . . - 4 1 :j i

!

II . . u .

~ til til

' "I r til til I r

i'I . u . sig-n, Then, tho' all un-seen, t hou wear-est Such a crown as saints deem

rt f - - . - t i l --. I r, •

' "

-tIl Tr. d

ha , Bel - Ia pro-va e d al- rna for - te res - ser pIa _ CI- a e se -i'I . u . I '---"l

I .. . '---"

tJ

~ ~ '".- tII~~ - - . - ~ . tII~'"

?~ • ~-.. ~ . . .-----:;-;:--. . .. . . . . . T T

. . , .T 7' I r r I r I r

" . . u . I l

-~ I til 4Jf --.F. til "'__./

i'I . u . fair- est, Rar-er far than g-emsthe rarest Brought from far G(llco~da's mine.

t:J T , ·tII 4! 'fi' 'fi'} . . . r til tII_/

" . u .

re-na nel sof-frir I'in-g-iu - sta pe-na d'u - na col- pa ehe non ha,I - l .........

t:J - - . til ~tII <:»77 -'__7 t~ ... . . ..- .- . . . . . . .- . . . . ~

I r I r I r I r -,j_; ... : :. . .




Adagio

Lesson IV.Intervals of the Seventh.

",~ft.

IV,,~ .~

~t~'" ~ ft

One gleam 'ml he thun - d e r

! v ~Adagio. F r ~ r :m -.~ ~

lambre un - po' " ~ _ . . . . . . . . s». sr-._ . . . . . . . . - - - -: .. . . . . . .

v -- '" " :J "~ ~ '- --....,,""t:..~ ~

::;~

::;~ ~ ~:j ~

1 1 . . .

iug, Where winds and waves are

s osimi/f'

1 0 ba - sa

iug; One g-lance, and IIOW the




Intervals of the Eighth, or Octave.

AdagioIJ I

.

V . .~ < : ; J . :I . .IJ I

And now at dawn s fir~t

IV

Q ! ~ r . . . ~Adagio on - d a che ru -

IJ I ~ ~ . . . . . . - : ; - - : ; . ~ - - " " ' ":

v p___"" . . . . . . . . . . ." " " " " " " "

. . . . . . . . ." : f , ; i / f > . - ~ . . . . . . . . . .

..- 1 ~Ie-

How fair these '\\aves ap pear, Fdll iIlg".

rna lirn- p i - d a s i f a . b a l z a .

~

::>.

-,_;

fall - ing", g-en - tly fall

-iug, Ho\\' lim - pid.sweet and dear.

-,_;

z a , b a l - z a , rna l i m - p i - d a si f a .

ing",

JJ

11




Lesson V.

Half-tones, or Semitones.

Andantino.

or

dub -Andantino.

Il~

· . .I t ) ie~~er

1" -.!J- ~Have bro - ken their teth - er, And

~~

· . .I t ) ~-:J"- ~- ~ ~bio - sa, in - cer - ta va - neg. gin 0 -

fJ ~

I ~ -U - -U - #~J -:i.J u#~_./* ~ <: ~J

' "t 'l ~ ~

. . . . :; - . - . # 1 1 1"-

fJ ~

· .I~

win try wild~

- weath - er Has

fJ ~

· .I t )

gni al ehe on

--rna

-deg - gia fra i

. . . . . _ _ . , . . . . . . _ _ . , .___"

II ~ - -I t ) t_y «:» «:» ~ ~__./ ~

I -\ . . . . . . ! .J '1, . y

12




.~ M - 1

.V - " , - . . . _ . . . . . . _ _ _ _

~~tost them on__ l11gh; So con - science and- 1

.v

"'del/'..._

rno - ti cor. De - n - ra dub -

~~

- - -/- . . . . . . .

---IV "J : t : _ _ . ; ' ", * _ _ _ ; * _ _ _ . . . . ~ TJ T_/ ~_/

.r r -4j/

~ ~ i. . . . . .

~.~

. ..tJ <;»:

In

-. _ _ _ _

rea - son, pas - sions mad sea - son, Mayf J ~

..v ..._-' r - - - -bio - sa, in - cer - t8 va - neg - gia 0 -~ ~ - ---

IV Vi t_; ~ . .__./ ~q . _ _ _ . . . . . . ,

"'J . . ._; T_/"

~,."I "I i • • # 1 1 . . . . . . .

and wa - ver_

f J J o t .v ~

op t lest they die.~ ~ dIe. see s. f':\

v •cor, fra i rno - ti del cor.

" M~ - f':\

tJ

~_)t ~_J ~ ~ .~ »:: it__ : ~_ ; ~

11 "I "I

:i 1 i:j

_ . . I

t13




Moderato.

Lesson VI.Syncopation.

- - - - - - - - .IJ - - - -wild., bees at sun - risa.; rang-ing', What were., life but

- "J <:>

mor_ s'ac - cen - de; con_ ehl.c; ce-de 0<::»

~love,_

<::»

love ,

<:»: <c:>

all.Lworlds a-bove, Love c,

. . . .__- --_/

ro non e , mai,_

--_/ --.._/

mai,_ maL

J'I I . - I.

.IlJ . _ _ _ . , . . - . . . . _ _ * '-" \.._. . .___/ . . . . . _ *

I- true love Times and chancesvand dreams and fancies,All r'tnge and

J'I 1:\

.tJ <;:»

~ ' - . . . * - - - ~

. . .<:»: . . . . . _ *

- non e. Con ehi ee - de 0 e L s'ar - ren- de, no maL 8 1J'I I 1:\

-IlJ ~ ~ . / ~' 1 : \

p --* .. * * . , _ _ . . . . . . . . -I"'" ... -<z:>

• •

~ 1J'I I l I.

IlJ \ . . . . _ _

. . .\ . . . . _ _ ~

'--"

'-*\ . . . . _

. . . ~r v

change.and pass-from sight; B l r l~ve_ is life's one stead , fast light.J'I I

IlJ

. " - -. . . . ' \ . . . . . ~ "-' '-" ':-'" . . . . : J . . . : . . - - r

bar - ba - ro c, non e ,_ no maL si bar - ba - ro _ non e .J'I I - --

! IlJ._.. . . . ._

f-/ ~ - - -,/ -. . . . . . - . . . ~

~~. - - - . . . . . .. . J I . . J V I

r 41 I *




Lesson VII.Runs and Scales Passages.

At first, the pupil should take the time of this exercise quite slowly. In after -~tudy, he may

work up to a sharp Allegro, progressively , as his capacity allows him. Scales should be sung

with extreme smoothness, even and flowingly; but with each note clear and distinct. All jerking

and sturring are equally to be avoided .

.~.simile.

slig-ht - est.~Tueir. beau-ty flies.

:__/

When friends are

::._...-'

B"n'_ or - rna so laco la __ fp- dpl - ta .l'e

mer - est ,

One_fleck the

e _ _ d'un bel

- -TlwiL friendship

la-::=::'" sua bel-tut - ta np in - YO Ia

OIlP_doubt, the mer - est, Tlieir.; friendship dies.

ta , tut - ta ne in - ~'O~ I l l ,




Lesson VIII.The Appoggiatura taken from above or below.

The Appoggiatura (or leaning note) is the most expressive of all the musical adornments.

The effect is gained by borrowing the full value indicated from the note that follows. On

some occasions , the singer may slightly lengthen the time; bUt never, in any case abbrevi-

ate it.

AndanteII .

. ..v

. . . _ _ . • • r

.1}If in my la - dy's eyes Love wak- eth nev - er,

L

. ..v - '-" • • r

Sen - za l1a _ rna - bi - le Dio di Cit - te - ra

II IAndante.

'v~~ :i~ *~.. " j . : ! / . ~_:!/ .~ ~- . . . ~ . . . -p ~

s ·lIlile.

. . . . • •i i

. . . .II I

, . . . . . , . . . . ..

v<;>

, 'k '..__/ ,

r _ rWhaL need of a - zure s 1e8, May's.; sweet en - deav - or? TheI} ,

' " " " ' ". . . . . . .

v ___./ " r I ..__/ I r !i_ d i non tor - na- no di_ pri - rna - ve - rae Non

1\ I

. . . ,~ . . . . . . ~ . . . ~ . . . ~1i .. . ~T-~"'-

. . . . . . . . . . . . . . . . . .

so dreari-ly,'--'

The blossom all dies. If in my

'-"non spunta un fior. L'er- be suiun zef-fi-ro,

16




II

· ·-u . . _ "-

II Ila-dy's eyes Comes sweet re - lent - ing, One lookthat love implies,

.· ·-u . ._- - - - -..;...- '-

mar-gi-ne del fon-te a - mi - co, Ie plan-te ve - ~o-veII I

_ _ . ,

v ~~···i~·~ . . ~ . . ~ . . .~. . ~ . . . . . ~ . . :i" ~ . . . ;. . -·· · . .

· ·i· ::i. i. 'i~. i·

II ~" ' " " ' "

. . . ..

·--u ._ ,~ I r r :~

II I

One word con - seat-ing,1':\

DawILbr~s on land and sea,Theflow'rs r~ a -

·I~ . _ , ~ I ~,I;"' a-: r

suI col-Ie a - pri - co pen.; IuL ri - ve - sto-ne an - 1 - C<L 0-

I, t:'

.~T

~- -p:- .,:~ ~~ ~_!:; ~~ »:r'--" ~t/

1':\

·· ·.:;;

.1 1 • . . . ~ ~

. .~

. .~

II I II. II.

· .IV - . _ , -II

rise: The birds sing so cheer.i - ly, And day fills theI l

~ ~

·t7

.I

p~r lu - i -nor: ri - ve - sto-no l'an - ti - co o -F, I

. . , ~ . . . p ~ . . . pit . . . ~ . . . it ... ~ . . . -~~ . .

~ ~ i 1 1 . .~ ~ i

II I • l ~

·-u.

I I l e birds sing" '"

skies; so cheeri-Iy, And day fills the skies.1\ I

" I

"·Ii7

._ ,

p~r

.nor: Iu - i ri - ve-sto-no l'an-ti - co ovuor.

1\ I - - - - - -w- p-:. . .

q ~ s P ~ s s ~ ~ '~.. . . ,. . . . r~ r · · " I~

~ ~i 1 1 ~

~i i

~

17




The Acciaccatura.

The Acciaccatura (or crushing note) differs from the Appoggiatura in borrowing nothing from

the value of the note that follows, though it may slightly intensify its accent. It shouldbe sling

with extreme lightness and ease, swiftly, and with the least appreciable time stolen from what-

ever precedes it.

Andantino/J . 1 1

t.) "-' -A - long the riv - er - reach - es The

/J •

,t.) - -Ben - c h e di sen - so pri - vo, fin

/J Andantino.

It.)

p ~~~ ~.,~~ . , " i - ~*.~ ~ . _ " i - ~.- - - - - '--' ~ - - - - - '--'

I.

'i 'i 'i 'i 'i 'i

~

t)

<r _ ' "--' _ ' "--'- ~.'t

whisp'ring '\\a - ter - beech - es Bend down when night is/J • •

It.) "--' - "--' - _ _ _- .,l'ar - bo - scel c lo e gra - to a quel - l'a _ mi - co

'---'

/J

tIt)

:j - j i -,i ~ . _ ~ ~ .,~~, . / ~ ~./=i

<

- - - - - - - - - -

<c:> -._/ . . . _ _ _ . , -'--'"

~

:: = 'i 'i 'i 'i11 . .

1 '1 l l

It) ' ::-'_ing, And drink the lin - g'rillg pool, Andfall -

1 1 .

It)"-' ~ -ri - vo da cui ri - ce - ve u - mor. Per

<:»

1 '1

I•t.)

~ . _ ~ ~ . .~ ~ it_~ ~~ ft~ ~ ~itjT~ii"< - - - - - '--' <s:»: '--'" ~<s::>

t. .-

'i i i i :!

18




Lesson IX.The Mordent.

Of all the musical graces or embellishments the Gruppetto (or Turn) is, at once, the most

varied and the most difficult, from the apparent ease and lightness with which it must be exe-

cuted. In consists of ~ or 3 notes, and can impart great charm to the singing without influen-

cing the due sentiment of the phrasing of individual passages, or the general intention of the Com-

poser. It is, therefore, the only licence that the singer may occasionally take on his own re-sponsibility. The slight.est appearance of effort or premeditation is fatal. We may add that mod-

ern composers write the notes they wish to have sung, and it is impossible to condemn too

strongly the singer's use of any Abbellimenti or vocal ornaments that are not indicated in tM

music by the composer himself. We are thankful to say this abuse has long since gone out

of fashion.

Allegrofl _

. • -. . .. . .I~

*'~ ,.;;

That tear .in your laugh - ter, Thatfl - .-----,

. . . . ..,~

*'~ - - - - - 7

Allegro. La gio - ja ve - ra - ce, per

1 1 _ - - - - - - - - - - _ - ~ ~_ _

.~

P sflllik ...~ ~ ~ ~ ~ ~ii ii ~ ~

IJ , . . . . _ II -.. ...~ '--' ~ . . . *'

. . . . .

IJblush com - ing:_ af - ten; The whole world m.!!.st~ - III

.. . .~ '--" ~ . . . . " ! f J "

far - si_ pa - Ie - se, d'un l a b - b r o 1 0 -

It- It-

•!! ~ ~. . .

~ I.. •·

·~ i ~i i

. . : :~ ~ ~

• i i

fl - - I

... . .It.!

- - - -~ .;_., r .«

*'know it, They show it__ so__ plain. Some

IJ .JI!!l I

. . . .~ --- ~ . .~~- . . t:qua - ce bi ~ s o - gno.L, non.L; ha,

It. . , . . _ : : : : .-

- .. ,~ . . ~ J q t ' ~ .1: •

·· .

! :: i ~ • - :: 1 5 •i 11 1 1




It::;:--... --:::::- 1':\

. .. . .I~ .1!••'~ ~ -_/ - - - = - - - - - ~ - I . '

se - cret they treasure Of pain or of pleasure. Con-

I I = = = - - -=- - 1':\

. .. . . .v ··i"~·*!' ~ --._.-

- - - = - - - - ---.l,!..../

-I

*'gio - ja_ve - ra - ee, per far - si_ pa - Ie - se, d'un

, . , I 1':\ ..~

~~.. . • '--...-. . . . • <:»:

: : : : :=-::::::.-

1':\

I ·

_ I I - - ~.. . . . . .IV - -----..:...:...- . - - - ~.'~ : - - -fide it! To_ hide it, You_ see,__ 1S_ID-

II • - . . . . . ... .. . . .

IV - -----..:...:...- . -

~.'~.-

lab - bro 1 0 - qua - ce bi - so - gno non,

. .- . . . . . _ - . . . . . «<. «<. .- ~i·

t~"i"..t :lj~~q~

< p

~ ·~ -:j. ~ i 1 : : : f i - : t !~ i 11

- - - -IJ . . - ._. .I~ r - - . . . . _ . . . -._;;: ~ . _ _ . , -- -vain. No, no,_. no,_. no,... no,...00_to- hide., it__ is__

vain.

IJ l - - ._.

V r - - . . . _ ~ - . . . . . ! ! *__/ -- _. . . ,ha, No, no,.. no~ n o . . . no,.. n o , _ bi - so - gno_ non_ ha.

I I I l ~

Iv <;:» ,." ~ 4 . . . . . . . . j:<

~

p ;::...

1 \ ~

.:» i ~I

~•

- - - - - - - - - - - - - - - - - _ , - -21




Different ways of executing the Mordent.

Andantino.

"v •,.. I

Tho' I tend you night and morn-ing, With such care your

" " " i T L'Au-gel - let-to in • • stret - to per-che mailac - Cl can -

Andantino.. . . _ . . .

" I

V

1 l r . ~- . o : " ' ~

~ - ~ q ~ ~ ~ -~~-~ ·4 : 4 j -4 :4j

It;imilf' •.". I "I

~I

" I

IV •,.. I

cage a - dem-ing, Vain en - deav- or, My sweet bird never Greets me

IV - - . - - T

tar s'a - scol-ta? Per - che spe- ra un' al - tra vol.ta di tor .

" I

1 « 7 --'-y~ T · 1f*:4j T~ . . . j - " q ' . . .. . . . . . . I=-1 i

.I'l I I

IV

" I

-.. - -ev - er With one sweet song. Tho'_ I

~ . .Ia - dies,

"_ _ . , ._ _ . , .love.Lyou, Queen_ of

IV , - -..::;? "__'/

Ii-ber • tao L:Au. gel - let - to in--..-'

._ _ _ _

lac - ci---'

stret - tona - re in

•

T~}

"I

_ I

- -~ ._....... ._.. :-~ • .._,-' r ---' ._/

lovewhere dan-cing shade....is; 'Mid_green_ al-leys;where sunlight.;

<:»

More_ I

IV <s« ~ • ..../ -,,_,J" ....;__... ---' ~

per- ehe mai can - taz.; s'a - scol - ta? Per - ohe.,., spe - ra un' al - tra_J'I I

• •2 2




II , - - . . ..

i '-J , '---'" <;»: <c;»: .._/ <:»: -dal-Iies , Leaf - ni., valleysWhere wild bees..; throng, Notes cume rmg-tng When

II , ~ -"""""" ... 1-

.~ <c;:> '-"

- - - - - - - - - ---._y - -vol . ta di_ tor - na- re in Ii- ber - ta,_ per - che..; spe- ra un'

II I

v J : . . . . . . . . . . . . . . . . . . . . . . p '= ~ '= :lb. lb. -

··r r

II , . . - III

- - IIV S,I , •

- - - -there.; I'm_ wing- ing, lIIg- mg, sing - iug Ioud.,. and stroug i.;

IJ , . . . . . III -I'-J I • - - - - -al - tra_ vol - ta di_ tor - na - l'e in u - bel' - ta ,II

<::»

IV ~ 1 : ~ . . . . . . ,~ :t :I : ~

·. . r r r ~J ~J

r r

II , I I!III . . . - l

~ T ' -___..- -._.../.__, -_./ • - -"

hls_way,_ that-way,_ all_ day- long, So clean., and strong, S . o

II I.- - l

I ' -Jdi_t~~

-- .__../-._/ -_./

~ -_ -na - re in.c, li " bel' - ta, in Ii - bel' - ta , in

.__/

II I

~ T -i ~= =

:t .t : ~~ . . .~~ ; i 1 ; . , ; ~

: : : : : ;I I

:j

_ _ _ , . . ::.....,/

the whole.; day long.

in Ii - bel' - ta , in Ii tao

23




Lesson X.Introductory to the Gruppetto or Turn.

For the Gruppetto or Turn, the pupil follows the rules given in Lesson VII, for the study

of Scale Passages.

Moderato.1 1

.; ~

Sweet, how__

1 1 . . .

... 1 1 ~tears come__

. .ing,

'~sweet when__

I~l't~

cen - de_ un_

. . . ~~no - bil __

. .~-.pet - to,

-- -Quan - do_ ac -

~Moderato.

,I ,p poro staoc,

1 1

-

i. ,,-

:: ::. . . . . .

EXI'('ution::i1J J J t:~:

1 1 -t.I

. . . . - ~~ ~ . . . . . . . _ . . - . . . . . . u . . . . . . ,

he - roes In days gone_ b y . 'I'ears L, like __ these __ are, . ,

-t.I . . . , - '-J.!...~ ~- - ~

Iez - za a - mor non.L; e . Quan - do., ac - cen - de un-,I';.

;t.I . . • . . '. 7 1 . . . -~ . . . . . . . .t " I t \ t \ t " I 1 " 1..

i :: ~ i : :. . . . .

24




" -t) .Jf*. - . -

'-'~~-,,~ <c:« - T1 - .. .. _/ ' - ~~

not un - man - nish; Ere_ the __ grand_ old mem - 'ries

" -'U -._-r...--"'-'-

'-'~q+''-_/ <c:> ....___,- r . . .

~.~no - bi! pet - to, e in - no - cen - te e pu - ro af.. . . _ ,

"It) . . . . . . . . . . '. W " . . . . . - . . .

~ ~ t ' t ~ ~ ~ f 'l r 'l h ~I ··

II

It) .fII~~ ~~ - . .. .. .. .. .. r: . - - .: .; . .. .. .- - •

van-ish, Love.L; it - self_ shalI_ fall __ and__ die,

"r - . ; r -~

.-~~ ~---::::.,./ ~~ •fet-to: de . bo - lez - za.c a - mor.L; non_ e ,

II

Iv -. -.f f - - . i

. . . . . . . . . .~ r 'l f 'l

··~ ~ :iIj :: ~ . . . ~ •. .

and die.

e .

25




1l_

t)~

_ _ _ -~ ~

Swear fhey'll_ be kind, Yet__ but_ two

I'l

.!v

<c.:» - - - - -. .

~

~I

di fe - d e l ~ ta, e tut - ti

. . . . . . . . . . . .·

~.

··: : : :: : • i ~ ~"i "i

I'J : : : : . -

" " " " ' ": : : : . -

t)

~ - - - - - ~w"_______ -

I

faith - - fulc., ones.L Where shall.c we.L, find?

II'l : : : : . -

" " " " ' ": : : : . . .

v ~ - - - - - - ~ ftu_

par - - l a - no- d i ft' - d l ' l - t a ,

- - _ - , a . _ _ _ - - • : : : : . - # , a . _ - - ~ - -··

I

··1 5

1: 1________ - : : 1 5 ~"i

kMjJml~t- IYi b t fai til W fet ut_ wo aith - - u ones here can __ we_ ind?

IJ 1""' l 1 ' ' ' ' ' ' ' : : : : . - -IV <c:»: "--"~ - - -

- »> -I . . . . ~ <s: . .e t u t - t i _ par - - l a - no d i fe - - d e l - t a o

. .• . . f t . . . • •

. .i··

@)~ .. . . J .. , . , r ~ •··: f i ! ?l - 6 ~- : : : : : : : : i i~ . . "i

27




Lesson XI.Introduction of the Trill or Shake.

Allegro moderato.

The wind seem'd.L; ne'er to~wea ry,

Se po v veAllegro moderato.

ru~scel - - 10

Cold fell.L. the rain, and y , And all so ghost -ly and

IDor-IDo - ra len-to e'-"

- so, un ra-IDO scet - 10, un

'--"INight sank on sea L

and_ plain. Were

'--"'"qua-sur - restar_ 10_ f a . Se

28




Once fatr:_ with sum-mer's

~»

t/ . . . . _ . ., . . . . . . _ - ~ " ~ . , , _ _ . , . -~

~» I ne'er shall see a - gain? Those dear bright_ love - lit __

It/ . . . . _ . . . . . ,_-'L7

,"-""--

~» qua - s~rre - star 10_ fa, un ra-mo - seel - 10,..un.;

It/

i i • I: ~~~::~:. . . . . . . .s s ~ i 'I 'I 'I

T1

~»roll.

't/

fac - ~s I ne'er shall see a - g ; i n .~» - -

t/ r - - - '. . . . . :;_--- •A» sas - so qua - s·_J.r-re - star ·10 fa.

I".

t/ . . . . . . . . . ~~ 1 0 " . .q ' ~1"QI/' I i~

. . ~ .-

, , -'..:I 'fI 'I . .

29




Leason XII.Runs and Scale-Passages.

Allegretto moderato.

Siam

Allegretto moderato.

<:»

na - vi al - l'on - de_al<;»:

AllLike ships from aneh - or __

Ia -

winds and hey - ing, Sway-ing to

scia - te in ab -. . _ _ . '" 'do - no, si __

rno - tion "·e drift o'er life's _ dark__ 0 - cean ,

ven - ti i no - stri af -fet'-'" ti so - no,

30




°gni di - let glio,s e Q

"-'

tut - til. _ lu_ vi.

A~ + t - " " " ' "I~ rJ . .

.. 4JI ~ .....:.:---

fast r- All! well, All! well, _ if __ day, if_day shall re ,

1 1 I o f . t t - ~

.~ u . . . . ~~ ~

mar, o - gni di - let - tu- seo - glio, tut - ta Ia

~~ [email protected] ! -~~ - ! -~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . _ . . _··

u

· -· . . . . . ~:: : : i . .t . . . . .

~~

To land, __ safe homeat_ last.safe home at_ last.

vi _ ta un mar, __ tut - ta vi - ta e_un_ mar.

{•

31




Lesson Xill.The Portamento.

In order to acquire an effective Portamento, the pupil must be careful not to slur one note into theother, with that sort of quavering that one hears too frequently in ill-trained voices L on the contra-

ry, he must so blend the different registers and so bind the notes that they seem to flow into oneeven tone. When the true art of phrasing has been mastered by the means indicated in Lesson I. the

Portamento will offer few difficulties.; but here, more than anywhere, is the practical demonstration by

a teacher or a proficient of the first importance. Failing these, we must be content with adding that the

Portamento can be taken "by Anticipation" or"by Posticipation" By the first of these methods, thesinger attacks the value of the following note with the vowel of the preceding syllable, as was shown

in the rules given for Lesson I. In certain phrases, where a great deal of sentiment has to be express-ed, this manner is highly effective. For this very reason it must be used very sparingly, as in abuse

it sounds affected, and the music grows languishing and monotonous. By the second method,which is

less common, the I singer attacks almost imperceptibly the syllable that follows with the value of the

syllable that precedes.

Andante. J.~twall.

With eyes_ nigh blind with weep ing, With

Andante. VOl' - rei na-

11 '-

v ... '-..J ~ . _ _ _ + ~ ' - - ~ . _ _ _ + <>: '-" - - I"

, . . '-poor.; pale_ lips_ that._ hem - ble, This se - cret, that I am

v ... '-..J ~ '___+1It,./ '-! U<:» ~ -~ '-" P '

, . . '-scon - del' - 10_ VOl' - re - I , e men - tre i dub-bi

v p:t . . • . . ~~ ~ ~CT~CYt o . .

"~ ~

"··• • • • • •

,.. L

. . .v 411 r 4 J ! _ *

_Il '-keeping, That robs my nights of sleep - mg,

. ...;v 411 P . ' J, .:. .

mie-i co - 81 crescen - do van no!,.. L - l I ' " " " " ! -

, . . , . . , , . . . _

Iv

~~~71. . ,. . 4- ~ . , - ~ «» ~ ,'_.

'---""p. r . : : . "~ "r.

··~ • q l l l • 1 ~ ~

32




_/',L ~ -V - ......_,- - "'-J''' -~ r~ -

IIIHow long can I dis - sem - ble? How long can 1__ con-

iV ~to

. .._..... . . . . , . _ " . . l'""'!"

to <>Tut - spre-gar.L; non o - so, tut - non so __ ta -1\ L

,..._

IV "--: . . "--4f~",,---,. ,--0. '---~ . . <:»>

/1 :" " '_ • -·· - - - . . . . . - -IlL

.~.~

.~ - I I.......... a ~a" . .

Vceal What I would most, what I would most, would most re-

1\ L

. . . . . . . . .v - ~ ~a . .

V -cer, tut -to spie - gar, tut - to ___ non so, non so ta -

IlL

~~4:~ p~

1! - T ·3 ~~ill - - - - - - - -·

r - -1\ L

i~ . . . . . . . . .r m . _ _ _ . , .

Il1veal? And tho' a smile wear - Ing',

.~ . . . . - -:t d u b - b ' ; - - '

ALcer , Sol - Ie - ei- 0, - 10- so,

V ~:y :jL!_j ~~~~~' W ; _ . . . / " ' 1 1 «:»

1I '! '- " ~

. . . . . . • •

Il '- . . I

. . . . . _ . , . - - - - - . . . . . . _.1\ L

Hope-less, de - spond-ent, de - spondent, de - spairing, At-J

,v <;» ~ . . . . . . _ .pen - so, ram-men - to, ram-men-to, e ve - do, e a-

Il L . . . . . . . -IV

1~:~~"'II ~-"::-" ' II «;» «:» «:» «:» «:» ~L . • •.

" ~ V ' - I V ' V ' 1 / V

33




/J1

eJ

- - -. ,

~.,., t heal; All! ney - er, ah! nev - er my pain can heal, Ah! nev - er, ah!

eJ - - " i · .. . . _ _ _ . . •

,., Lsier, non ere - do) non ere - do a rnro pen - srer, non ere - do, non

,eJ

~~ .. - ~ . . . ,

i~ «:» <:»1\

'-.._/ ~

·•

i~ 1i ~

i: ; j i

heal, such pain L, can_ nev - er_

sier, non

, . ,J

V 4- ~ '-..ft_} ~

, . ,heal, such L,

paiu.; can.L nev - er_ heal.

v "1!'r -~~t.J~sier, non_ ere - do al_ mio.; pen - sier,

~ ___ . : : : : : :

!v ~.~ . . . It... •7t.. . .

~~~~ . . . ~J I

··-0---- u Q u -u

~. *34




Allegretto. 2d 1l'U!!.

. . " Tl . , "()me de - ceiv-iug, ie g-rey sea was g-neVIIlg",

oAllegretto.

Upta - d-d~_l rna - re Iu - sin - ghi la spon-da, 0

Il .., t t = = - l = = - = = -

v 7 ; . J ~Go - - - - ' - ' r

, -; .., Ii. men, reft of r c a - S O l i , ~e~s~d sea-son. These mad w inds,my

v V_,

r '-' '-' - - ~". - -pOl' - ta ('on Ion - da tt'r - ro v re e spa - yen-to: e col- pa del

Il~ft'-"

vq~" ~ . . . . . . ~ 'J~ ~ . . . . ~ ~.- . -~

~,. .

.'i. i. i i i. . '

. 'v ~ ._ .."

d. S te S Go I 'de them.not me'.lL.il!i. rna - r , ell T~'!I' 7_/ ~ ~d' - # '_ ) - t Nhey cause your IS - as. -_,e~, ot

:.; "--"

yen-to, sua col - pa non- , ; ' ~e, e v ..'.' «r >:col - pa del Yen - to, sua

, ..: t . i,

35




Lesson XIV.We need hardly say, that nowhere is a clear enunciation of each word and syllable of more

importance than in Recitatlve.; otherwise, it must perforce quite fail in its mission. When we comeacross two similar Dotes at the end of a phrase, OT several repeated notr-s in thl' b o o , - of aphrase, the note on which the word - accent falls should be 'entirely converted into an appoggia-

tura of the following note. To exemplify our meaninig, we have marked with an " _ - 1 " wheresuch notes occur in the following exercise.

R it tiIl~ ~eel a lVO. A A

eJ - -is toward Jur c6untry.Howbasland howmea

Il~ + !Our fir~t earthly d~-ty

eJ

_r"I L a Pa -tria e JU l tnt-to di cui sit:'m{arti, ~l cft-t~ - dinUIl~ + !

.·

·eJ

J O W 'i. tr ~r"I r'"'I0

·. . .4 . . . . . . . -. . . . . . . . . . . .

n

: . I l jlhe~~t-ed is he who seeks ad - ;aJ -tage in his coun-try's d f s - hJn-or!

t.J fI'

_ I ' l o il ~ fal - 10 con-sl -de - rar se stes-so

. .se - pa - ra - to da Ie - i. ,:::..,:::..

~I

no loss :- gain we to Con-sj~- er save what can

t.J

I ' l o l l i_ I1 u - ti - Ie Qjl dan-:;' eh'ei co - no - seer dee so - 1 0 e cia ehe

IIMft A A A 4

IV ~~(........ .. i~ -jure, the landwhere ~~stwe saw the Iigtrt,11» It ~osper, or wjat can shameor

I~ lt~ .. . . . . . . . .11 ~ + ! gto-va o nuocut-Ia sua pa-tzie, a. cui di tut-t~i de-hi - tor. I

v , ~ ::#:::: 1 ~.-_ _ . '

.I .,-

36




Il'"it A A

tJ 1 - ~'*' f" ,,'*' . ',,~ tt

When for her wel-fare she bids us sac-ri -f'ice -tuue.life-time.and e- ven ourA A l

V - , - ,q~ ~ _" ,... ~ 4J!

, ,~ ~

Quando i su - do-ri eil ssn-gue sparge per Ie - i, nul-la del proprio ei. : : : . . . '-" '-'"

IV -q~~r-::__~. r. . . : : : . . .

··" ~ I 2 4 ~

1\ ~ tt A l I.

v 'Tis r - , - .,dear ones, her due that we ren-der: She twas,who~~ tt f f .1.

-~ ! " , r - , .,

do - na, ren, - de sol CIO che neb-be. Es-stll pI'O--~~ ~

.IV q ' • • ~1i \i-I~ ~

~· --

·. - - --

..-

~'!I'

. . • ti"

" ' - -, , ~ + t A I. . A

v .!!'~~ I

,I

" ~ ttma~e us,what we have.what~-e are. Her laws pro-tNj/ us in our homes, and a-

v ; ; r " , ~l'e -du-eo, 10 nu - dri, Con le sue Ieg-gi dagl'in-sul - ti do -,,~tt dus-se,

.v f't: '. . 1~,~ I q ' '9-

P·· .

: : : ; : : : ; 1 "I~ ~

ti~~ A A _l

V- , . . . , .

I . ,

" » t t broad her arms dc-fe~d us, And her coun - sels en -

v - 1 ., .. - , .~on

tilittme - stl - ci il di - fen - de, da - gl~ster -m. . . . . . . . .

v.j" F r " •

'..Ll.

~i ;1




~JJ !! A .4 .4 . · 1•. .

e .J - - . .' ..,4-

lil.!.·llt 115. She g-iH'S 115 safe - ty, g -lo - rv . s1a - tion, name, andIijJ, ~ ,I A 1 ". . . .

e .J --. . . .. , ~

r . El - la gli pre - sta g'rH - do I'd

_ ~ ~ 1 1 ar - nu.

no - me, 0 -....-:---

' - 1 - ft- - -

·· ~ . ti

A .4

. ' - 1 r r' ft- -

Re-\\ ards our mer-itsA

-. . , - "

and vin-di - cates our hon-or :.l With

. ' - 1

,~ nor,~ .. 1I

r , . . ft.. ..

ne prf>-miu1 mer-to,

. . - 4 J - f Y'ne ven -di - ea 1Uf - fe - se, e

. 4 A

v -~~ -

Ii.. + !rna - dre a - man-te

~

eJ

~f~~ f t . !lJc I

··

v

allIi .. !!

1· k·~-d·-ov-mg - 10 -ness,

A

- - _ _ -un-ceas-ing; -ly she watches our hap-pi-ness and

A l

_ _ _ _ ,

a fab-brt - car s af - fan-na 1a sua fe -Ii-ci -

i

Ii .. !! A A l

eJ ' 1 : ' : _ . - . - . - .~Ipeace, if, per - ad-venture, mortal man can be ~4PPY out of God's heaven!

~ .. !! A b

e .J~ _ _ . 4 # ' . . , -

fi .. ftta, per quan.to Ii - ce al de - stin dp' morta -Ii es- Re r f f . > - li-ce.

;::..;::..

.eJ ' 1 1

~

. . :: r:J ,

.. . . . ~>-

38




Lesson xv .A Recapitulat ion or Comprehensive Study of all the Rules giwn in tht" forf'!!-"oin~Lessons.

Moderato.

When 110\\ '~I'gn it - ;\fay ing', O'er hilI and vale a - strav i l l ! ! . - , Like

Al - la stagron de fioModerato.

e de' no-vel - Iia-mo"-.../

39




~ ~ f t .

It) t.,( " ! I-.. ._.y - - - - - ~

fjlot j_sigh - 109, now sigh-ing, They seem_ to fall a -

It) 'fJ li' .:» - . . . . _ _ . . . . . .'-_./

_1l1ot l1

ge - rna, 0 ge - rna, 0 ge - - rna frn ___ Ie

it)

q~ '~~ '~J ~~

···4..._.... -6..._" '4 ! '4 ! i ~

So bright - Iy,- ing";. . .

Then Iizht - ly,

:-------fron - - ~e, o o len - to, o

J'I~ tt .

it) ~-!I.~.~-~ --- ~ ~c.I_ - ~

1 '1 ~ t t .stream _ makes __ g-lad _ re - - ply - - ing.

t) ~~-J!.I1·~--..Y. . . _ _ _ , - - - ~ ~r~n

- .~n - to_ in - rl't' - Spl __ - - de.II .. . , . . . . . . . . . . .

··I" " Y -y 7"

·q . • ~ ~ ~i :: :: ::

1 1 1 1 1 11

II ~ + t

i t.J '-'" - ; ; t ~

II~I!"Mer - ry ones! a -round u s glid -ing, Olt! why keep hid - ing

It) '-"'" - ~ ~Zef - fi - 1'0 in o - gni Ia - to com - pa - ~nQ.j del pia-

h ~*"-: q~ ~~~ ~-··eJ

q i i ~ = q ~ •. . :: j

40



Vaccai - Practical Method - for Alto, Baritone~.~. - - -..U I r %_ ;::'_ Feel_

__.

A~_1lso? y o u r trac - es, y o u r em -- - -

,u h e . . r ~~ gni_ 1a to, in_

~

"'.Ii ~

lU_ - 0 - gnr.;

I'IU #.~ ...... _ . . 8 1 - u , ; ! . . . . : ; j: .. . . . .

~' ~ ~ ~

~ "+ t - -v - - , , , ". - - - - - : : - . . _ . . . . " . " " - ! ! '~.Ii ~

brae - es, y~ fae - es W h y w o n ' t y o u

.v '"-. . . . . . _ IT ' " '-._../ , - - .._.... . , _ ~

~.Ii It. Ie . - to com - - - pa - gno e_ del.s, pia -

tv ~ . . . . . ~ . . . . . . .t . ...... : t . . . . . .

.'•

:t :t

not

pia -

41




~tl I. -e . J

-'-.--- ~ - '-' f'I

- - - -I

-11~tfac - es, your - - fae - - - e~Oh!

e . J - ' - . - - - X ' * - - - - f'I

- - - - -'--'

II~ ,ji.pa - gno, com - - - pa - - - - gno c, e_

e . J

i i l i ii'-j: • . -

·

i i i i . . =~II ~ f t I

~

e . J ~ ~

II ... ,jiwhy not __ show, Oh!why hide so, Oh! why hide

I.e . J '-" ~lI~tt

del pIa - cer, e del pia - cer, e del pia.

e . J

• • • i'i'i' " I . . . . . • • . . . . . •I.

··- 1 j i

. . ~ : : ; i '* ~ ~ i~

so,

~fae - es, Ohl w hy___ not show?

?:\your

~- pa - gno e del 1" : ' \ pia - cer.cer, com -

vaccaj- alto e baritone

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