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277 WASHINGTON STREET. £k D.. CRIVELLI. . < - «o> - > BOSTON: PUBLISHED BY OLIVER DITSON & CO. BY V*m&m$.INSTRUCTIONS AND W f it n IN si i § m ri\ § '^\ THE ART OF SIMGIWG WITH $mlu f MIef$ifl$.

F. I. 3d. so from these various •paces are derived all the sounds of th« voice. L. as A. the tongue curving itself nearly as A. and in passing from the grave to the acute sounds. is thick in quality. descending. In producing the grave sounds. C. the tongue takes the shape of A. . the windpipe. E is the uvula F. the cavity of the throat 0. therefore. as I have before observed. raises the larynx. When the mouth is shut. B. stretch towards G. D. produces an effect almost similar The whole space. The soft palate. the soft palate G. and deficient in power of vibration. The projection of the lips. K. This position. pleasant. G. which then inclines towards the cavity of the mouth. r Jhe windpipe has a natural elevation and depression. the larynx . The elastic action of the muscles gives lie glottis the power of forming itself into a variety of spaces. the voice is shown by the position of the vocal organs in the throat. which communicates with the nose. nasal. and thus form a space sufficiently large to allow the sound to pass through it quite freely. . by compressing the muscles of the throat. In pronouncing the open sound of the Italian a. the human voice. the sound is no longer able to issue freely. But the quality of . C. and with a capability of expansion. 2d. This is the only position proper for pracall others produce injurious effects and bad habits. produces the vocal sounds M. . the cavity of the mouth. it becomes. the interior muscles of the larynx dilate or contract in dilating they produce the grave. the cavity of the mouth. or opening of the Larynx. During this action. the Windpipe. in the plate. : — . the windpipe gradually ascending. produces a weak quality of sound. and the soft palate and uvula descending. the mouth has a The tongue lies flat. and as every sound requires a particular space in which to be produced. because in this position the muscles of the throat become stiff. as in pronouncing the vowel o. and therefore gives the larynx a movement either downward towards N. or upwards towards 0. in consequncee. and in contracting the acute sounds.Parts of the Mouth and Throat brought into action in the Cultivation of the Human Voice. is inclined towards the cavity of the throat. N. becoming contracted. which. the passage communicating with the nose. E. . and no capability of expansion. . passing through which the breath in ascending from the lungs. the cavity of the throat. the Glottis. . B. and therefore the sound has but little power of vibration. K. the passage which communicates with the nose II. the larynx. C. Thi9 Plate represents all the parts of the •which are brought into action in the cultivation mouth and of the throat and development of . and this is the cause of those sounds to which the name of "head voice" is given. To close the teeth too much. of which I tice will mention the following 1st. smiling appearance. and the uvula. the cervical vertebrae N. . prevents a free expansion of the sound. Too much lateral extension of the lips. II. to that caused by shutting the mouth. the Epiglottis. but introducing itself into the passage. consequently.

round. To obtain these indispensable qualifications. the voice its may be rendered its and flexible. is All this demonstrates of what great importance the exercise of the Scales for the development of the vocal organs. and how . the best exercise the scale of sustained semitones by vwhich. and are offered to the vocal Student with much confidence. nasal. the at a knowledge of the obstacles that are first to be conquered in the formation of the most important study which should it be attended to. By these Exercises may be ascertained what extent of firmness and flexibility the organs of the voice are naturally capable of. and accustomed to guide the production of tone for otherwise the Pupil incurs the danger of falling into the common defects of producing the tone guttural. together with the other progressive scales as perfectly equal far as the shake. throughout is whole extent.- INTRODUCTORY REMARKS The following Exercises are the result of an analytical study. . all which defects render the voice inharmonious and unequal. as well as impurity of tone. and will. . is the sustaining of the voice. which defects are injurious to the clearness and sweetness of the voice even speaking. or mechanical divisions of the octave . during progression on the scale. whether caused by any peculiarities in the structure of the vocal organs. and clear. Having arrived voice. and its expanding in such a manner as to preserve it equal. by which may be ascertained not only the correct- ness of ear which the Pupil possesses. what degree of elasticity they may acquire without being injured . or dental. unless the ear be perfectly formed. or by bad habits acquired in in childhood . but faulty intonation. as being of the first importance in the cultivation of the voice. It is necessary to observe that it is impossible these very important qualifications can be obtained . without becoming tremulous. By how these Exercises the Master may acquire a knowledge of the vocal organs of the Pupil and far the functions of respiration may be rendered available to sustain with firmness the expansion of the voice This important analysis should be made on the exercise of the scale of progressive long note? 3 ±=n -F — « Afterwards the Pupil should pass to the Exercises composed on the intervals. and whether they require particular attention in order to render them capable of resisting the pres- sure of the breath. always preserve natural character. and of many years' experience in directing the formation of voices. may be corrected. from its lowest to highest extremity.

facilitate the Fa. instead of forcing into a character different from their natural organic construction. ^ i ± == f it may be mistaken by an inexperienced Master for a Tenor voice. to correct in the formation of the voice. equal. firm and clear. and render weak ones more The Singing Master who them to has studied analytically the various qualities of voices. but they have adapted to the sounds of the musical alphabet the monosyllables Do. La. both to acquirement of good articulation. as. and round. in consequence g: a facility with which it produces the Re. and flexibility of voice. ne should now endeavor to obtain pure articulation. called Solfeg- gios. become harsh. in order to render the middle and lower parts firm. &j* -= All these peculiarities a good Master should know how In the light high Tenor voices the vibration from almost of the character of falsetto. by being forced. these voices require much care in their cultivation. from the same octave upwards to the ity. and how form it perfect in clearness. Fa. The voices of Mezzo Soprano and Tenor to tenore robusto) are distinguished by being \ naturally melodious and round from Do Re ^— and in some cases. great attention in ' its . from the adiective false. equality. while in others they are harsh and disagreeable. Distinct articulation will soften voices naturally harsh. Mi A - : the sounds are of a thin qual- produced with much closeness of the throat . in some degree. likewise. as before stated. is In the high Soprano and light high Tenor voices there renders generally a degree of weakness which them almost indistinct from the Do to the Mi m and feeble to the octave. Mi. For this purpose. and of full incapable of sustaining firmly. • So called when the Male imitates the voice of the Female . from their delicate construction. they may become tremulous. and to accustom the Student to sustain purely the accented vowels. and equality. and who. consider them as mere pedantry. The Student then having acquired. and often incapable of just intona- The of the Baritone voice demands.ijicorrect are the opinions of those who consider them unnecessary. as well in the portamento as in passages of rapidity. they will tion. Re. the ancient masters have composed not only Cantabile Melodies. and the power of elucidating clearly the musical phrases of which a perfect melody is composed. for should they be forced in the smallest degree upwards. formation. Sol. that is. Mi. In some voices. will by gentle means be able make the most of even very limited powers in the Student. in order to develop every voice in to true character. His experience must have shown him its the obstacles that are to be overcome. because. steadiness. flat These voices when the upper one 5FE to I and they require the greatest care in their formation . from Si flat to Sol &== perfectly formed should possess an equality of tone from the lower Si bo. not natural . Si. In consequence of this peculiarity.* Do \ to Mi ^ f is close head tone. roundness. (Ital. although they are the true principles of the art of singing.

that are found all in the first scale from Do Solfe the obstacles to be overcome in the development of the vocal organs. In the voices of Contralto and Bass. or feeble and perhaps the voice in its entire extent may remain an imperfect mixture of the two chaiuc- of Baritone and Tenor. B£ -"^ it In some harsh. difficulties to be overcome. in the full quality. and from the Sol frE its to the ® distinguished from the Tenor voice by strength and fulness. and frequently harsh. Baritone. from the low Mi to the high Mi preserving always round The advantages to to be derived from the following Exercises are. on the Mi.f The Baritone. voices .\ "ST the -o- of the Contralto. the Master might.-e. the Tenor voice in general extends with facility to the Bass Sol S it and having at first some difficulty it. and in others thin or veiled. Mezzo Soprano. Sol. . for the two qualities of Tenor and Baritone are loin The Re. to make the this voice flexible. or ters. namely. adapted to express with ease on modulated sounds the true sense of the word* . become harsh. instead of being produced in a tone round. octave g of the Baritone. in consequence n n e r In the Contralto voice. and in the formation of the high Soprano. art of would seem that the knowledge of the theory of the Singing is falling into neglect. on the Fa. Fa and molodious. destroy each other. on the contrary. Fa. there are similar of their being of a quality hard. full So. by exercising from the Sol HE '— — Re IE its before extending character. Whilst the singing of the former more descriptive. may. in forcing totally different on those sounds. then. full Tenor voices and by transposing this and the other scales a fourth lower under Do m » S6l. It is therefore necessary to mark the great difference between those singers who are educated in the rules of the art. from Mi |S > in Sol^fl HE be observed with the Bass voice. from the Sol ficiently flexible . char. : to the octave SB the tone is firm. from the Sol ti^-g :to — I [ to Mi The same method ought of flexibility this m before extending to to its two extremities. by being forced. caused by the weakness of that part of the voice _ „ -s. I similar to the Tenor. and Bass. Mi § it is it is or from the middle Sol ^^£ : to the octave In order. gJE. are of a holloiv it is head quality. Sol x fcti and the Re. attempt of the Master to render these of a more round and veiled. and those who sing only from being gifted by is Nature with a and certain degree of taste and a their voices better good voice. and . and art hence arise various opinions entirely opposed to the philosophical principles upon which every ought to be founded. Mi. light high Tenor. instead of being gently exercised on the upper notes. but not suf- and in many -a: there is s- a disjunction. It may also be advantageously cultivated. it necessary to cultivate [M l. it order to give - it the greatest degree to the voice it is susceptible of.

. there should exist so much difference in the talents of vocal performers. class of singers is But in all the schools. instead and. not only as relates to the management of the voice. is The object of the following Observations chiefly to point out the manner of practising the Exer- cises contained in the present work. which knowledge. the distinct from the other students. may appear extraordinary. even should the pupil be deprived of physical strength. the seat of vocal music.that of the latter. the vocal organs the become art. avoid a result so mortifying. perhaps. and of being excited both by inclination and originally study they haa undertaken. would always be found extremely useful. excepting. in time so much when they ought become the glory and support of they are compelled to stop in their career. and the propei . they cannot give that light and shade necessary to express the various passions. as it would not only enable him to produce a greater effect in his instrumental performance. whether public or private. being only mechanically exercised of studying the principles of the art. and the more they less become animated the It capable are they of using their voices properly. and follow the career of a theatrical or concert singer in the solfeggios. as the latter study solfeggios only in reference to music in general. in consequence of the development of a musical genius interest. development of the vocal organs. on the contrary. that in Italy. should he devote himself to the teaching of singing. those of composition as well as those studying the different Instruments. but he might avail himself of these principles with success. or voice. but also the correct formation of the various positions of the mouth and lips. they abandon themselves inconsiderately to their genius consequence of efforts and in they are obliged to debilitated. being ignorant of the rules of the art. passing from extreme force to an excess of softness. it is To necessary that the true principles of the theory of the art of singing should be communicated to every musical student. is not only uncertain. in an exaggerated manner. It often happens that in this class are found some who. that make to produce to effect in their singing. and a beautiful voice. leave the . but.

I sincerely hope that the above observations and suggestions will answer the purpose for which they have been composed . before a cadenza and before a close. . ETC. it is necessary to be cautious that the organs of the throat do not become too dry by exertion that the teeth be not too much closed . RULE RULE 3d. RULE may 12th. It must always be taken when the note is to be prolonged. as there is is nothing which more that of taking in the (viz. The chief attention of the Student attaining this object is . The Pupil ought It is also to practise the Solfeggios every day with the monosyllables Do. its tones with facility and firmness. 8th. in the other a nasal tone.. Consideration and management are necessary with regard to those places in the song where it is most proper to take breath for must not be done in the middle of a word. and then gradually diminishing it to the softest piano. on the contrary. I trust be received by the public with that indulgence which productions of the kind generally experience. by which treatment This it (-. any other passion.) O.nd to instance. . Confidence and self-possession are indispensable in order to overcome the fear and embarrassment generally excited by the presence of an audience but these are requisites only to be acquired by long and constant exercise in the solfeggios and vocalization. it displays not only specimens of the worst taste. or closing it too much . and in order to enforce the sense of the words. necessary to be cautious not to force the voice from the chest beyond its its natural limits. In producing this sound the Italian A.) and when those sounds can be produced with facility through the entire compass of the voice. RULE RULE a shake 7th. and afterwards he must vocalize. the Student may practise the same Exercises with the E. exercised often and not too long at a time . Most of the future progress of the Pupil "depends upon this first step. By practising and vocalizing the Gamut method. To produce an exact intonation requires great care and to attain this essential point. CRIVELLL . • It is he represents. RULE 10th. . but give to the performer a most ungraceful appearance. this description will and to guard against the movement either of the chin or mouth in executing a turn or a division . to facilitate the reading of music . the too common The defect of inadvertently changing the vowel in father. the occurrence of a To avoid these defects. and cannot be too soon corrected . propriety. and penetrate mind of the hearer with the sentiments of the poet. assiduously cultivated by a constant exercise of the voice in appropriate passages and although the power it may not be attained in an equal degree of perfection with those who possess it naturally* yet the constant practice of is will give facility to the voice. to render the voice united and flexible. on the contrary. shaping the it mouth as if smiling and in rapid passage pay strict attention to hold constantly fixed in the same position. much distended sideways for hence arises not The voice ought not to be too much forced. but efforts which can never kindle anv other interest in the hearts of the auditors than that of criticising with severity. RULE . that he may not have occasion In short. D. it ought not to be to execute neglected. energy. ought to be directed to the manner of forming and sustaining the voice. In the exercise of Singing. the for the assistance of a master. 11th. or become too only a peculiar elongation of the chin and extension of the jaws. and studying the manner of uniting the two registers of the voice voce di petto after this and voce di testa) in such a way as to render their junction or point of union imperceptible. he may proceed with the Solfeggi at the conclusion of the work. and the greatest care taken to avoid a guttural. . and at the same time familiar with the different musical periods and phrases. (pronounced as a it is should at first be exclusively used. or deutal tone.-) will expand its powers equally without faltering or trembling. (as o in old. 4th. though not to excess. the tongue should be slightly hollowed and touching the lower teeth. impedes the drawing out of the voice and uniting tones with sweetness than this over exertion . mouth should not be opened wider in singing than in speaking with word far . During practice necessary to pay great attention to the attitude and carriage of the body. &c. RULE 5th. as the consequence will be in the one case a guttural. as well as to the proper form and slightest position of the mouth. .) A into O or U will be avoided. as it is not uncommon to hear many singers who. and equally necessary for him to know the science of harmony. whether chamber or on the stage. Re. and as it this publication will does not originate in any other motive than the anxious desire to render myself useful in my profession as a Singing Master. become accustomed to produce mark is used for taking breath. The singing master.) U. nor placed indiscriminately and without the judgment they ought to be introduced in consonance with the character of the melody. nevertheless . any bad habit of in the prove not only highly prejudicial to the voice. and hence the best method Falsetto those notes which cannot be produced from the chest. a defect which completely destroys the equality of the tones. unless in the case of a long passage or an agitated expression but it may be done with propriety at the end of a musical phrase or period. or he can scarcely hope to succeed in producing an accomplished singer. be in passages requiring more energy of expression.. The graces and embellishments used in singing should not be too profusely lavished. and kept perfectly motionless during the performance of even the most difficult of the Exercises. it should always be carried to those notes with particular sweetness and softness. that the performer identify himself with the character tenderness. (as oo in ooze . in order to have the full command of the voice in the execution of those passages and embellishments with which in singing. It is a serious in expressing terror. RULE 2d. After having obtained the pure sound of the distinctness the A. introduce embellishments better adapted to the expression of joy than fault. or a more Although the shake is extremely difficult to be acquired by those who are not gifted by nature. but also fatigue and lassitude. the Student ought to practise the Solfeggios with the vowel A.) the I. that the lips do not approach each other too closely. unless pointed manner in their performance. &c. This observation deserves particular notice. and . and to be qualified to accompany himself.OBSERVATIONS ON THE MANAGEMENT OF THE VOICE. and so on. The best means of by constantly practising the Scales arranged in Semibreves taking care to begin each note in a tone firm and distinct. as mind of a singer ought to be sufficiently cultivated to enable him to declaim recitative with feeling. but . it will be necessary to guard against the two 1st. rice versa. extremes of opening the mouth too wide. and at the same time clearness and sweetness in the manner of blending the two notes of which the shake composed. yet not too loud afterwards swelling it out. The voice should never be so much strained in the higher notes as to produce a screaming shrill sound it . therefore. To attain any degree of perfection know something of history and dramatic poetry. by which alone a readiness in the vocal organs and a certainty of execution can be acquired. it is necessary to it is usual to terminate a song. the voice will daily improve both it is in quality and power. but. RULE it . RULE j 9th. (as a in fate.. RULE 6th. ought to be particularly strict and attentive on these important points. (as e in eel. By these precautions. and be thus enabled to give correct expression to the various affections and emotions. nasal. but. The passage from the throat into the nostrils should be closed.

— 10 CRIVELLI'S - ART OF SINGING. PROGRESSIVE EXERCISES. in the intonation.E^ ^ -fi>- -r-- ^ Manias iy-l _a 49 ^ r *-?— F :^2Z s 15 ^"'^» \^f^^~~ m~ "" ItT •* . *— _•*_-/ dz5: -o~ •^--- —G- Dim. thereby acquiring firmness and guarding against faltering. to accustom the voice to hold a note with steadiness. * "J- *-' "4 *au J TL — 4-^-—. M P 9*Cri's. VOCE. EXERCISE ON THE MESSA DI VOCE. -<9- -I :"©: i±^ -y9- »-?-~ "&1 ttZ 4- 3 -<9- ^_ H- t £ fe * E=F: -aP- 3=*^ zzz: —<s- *be= r—-tHf^ -O- #-t p=p a^ =13 m S5 I ?*- :"»: et -&- . with a semihreve to swell in each bar. Or swelling and diminishing the sounds. V Do -t-— -f— ~G: § 19- ACCCKUP. and diminish gradually the sound.

sustaining the voice steadily without effirm. : regular progression of sound and execution added to which. fulness. clear. and gradually though delicately increasing it throughout the consecutive semitones. scale the greatest attention must be paid to deliver each sound. is acquired a proper command of the breath to sustain and strengthen every sound without tremor while it conduces to the correct cultivation of the ear. and quality of tone. pi ^s I tf 1 M -G- -? T*1=T=?*H ^ i iF* : F-=f=p=fe f hzt * — *- . by which the ability is acquired to maintain the voice equal in clearness. £ La :ti P ACCOMP. IB i 1 1- ^-'1**" s THE CHROMATIC SCALE. VOCE. and accustoms the ear to the correct intonation of In practising the voice upon this the most minute interval. the study of this scale begins to facilitate the elasticity of action in . T'ie practise of this exercise likewise corrects the various degrees of weakness. and full fort. 11 7 r <j^j-dT-^^birf^^dd= EEJ bt±fc£:ef: /Ts I -?-*"ST ^-"/r\ -^-^ I -T--- 95^fe^F -I RF I *» 'J 33* *& *3* H 1- -* 3 ^ . found more or less in all uncultivated voices.CRIVELLI'S ART OF SINGING. This exercise contains the elementary principles of the cultivation and development of the voice for by the judicious commencement of its practise. which occasions those breaks so harsh and unpleasant in the . the larynx. preserving always the same quality from the commencement of the scale to the end. throughout the scale.

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TJ +*•-*•t3tZ±3t±Jt •^ g itfc ACCOlMP. 23 EIGHT VARIATIONS ON THE SCALE.- CRIVELLI'S ART QF SINGING. h^^ ^^^m^M^ f*^P^T^ ^t^ttr H zjz= ^ZTZjJ -rBB .— fe 1 i*- «L1_£. VOCE.-» ^EHEti JEf P^^S^fef^Ep^ip*^^ &^?HEi5^ a&*i < gi<^i^EE x-»-^ -F- 4^* f- »-*-^-# ^J j-y= i^•-• »-*-»-#^ 35 **^^vat I -^ i —— Sp f ii ' S3J5 f ' F #f |^ #-• -•-*- =*==* * t f-T i-^-=j4— i==j. SI p .

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ART OF SINGING. «- 1 ANDANTE VOCE.28 key of CRIVELLI'S . &c. Fa ~|- Re Sol Fa Re Mi Do 4-4-9- I =t s 9H~ -•4: 4 i =g: isg: /T\ ft* ^E± -F £= t: . K33EJf !^y=l=E?= : F : 5 . ACCOMP. To render these exercises suitable to a Bass. for thai of Tenor into the key of B flat. Six Exercises to be practised in those keys which are best adapted to the voice of the student. -*Mi Fa Sol n 9*=* 4CTOMP. VOCE. 0g-0 ANDANTINO. it will be necessary to transpose them into the ('•. =t ±=3F&4 \*±2 3=i i — ^ r- -Of 9^ 1 « j=t fz=^: &* /C\ **?*^T< """" II[| J -O. &c. Baritone. or Contralto voice.

p^^ZE Do f Mi fflfffff r rziU I ^F& —%0 — #0 — -0 —I dp 0I- i -I- ^ ' — — — — Qiizzif: EiElEt^EEt^Ei -J <¥E5^ E5£ »-*»:.»!:#- Z-z5 1 - *&.— H — CRIVELLI'S ( p I — — — 29 ART OF SINGING.* ~* La — —— La Re Fa Mi JS_ ' N H -l=J 1 1 p — —N P ' V* —tie—* u* — 0— '—0 m- a — 4 & « -fit- # m— 0—0-a i=£ -0 £ee 5z=f=5z^ £ E fcfa=i9- 3=F > i*^ A — A -S-*-v- -3?" A 1 1 1 tq»i:jgV^^-jrEfcgii^ • 0-W=e~P-0 ~W^0 W0^01Lm * \—t— 9VW0 0— — l—4— — t—FH— 00 F-H—F— — r 1 A A I I i i I | f—+ Do La Re Mi Fa Re Do -J 1- Fa Mi Re m /T\ ^ Iffi. j=i=| 33 ^=F=r=^ s: =fc -«- -ggr !^^^ ^S^g /?N .

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*-- -- ^ Ra llrn tamto to J# r±JHFa Re Mi /T\ & tzt: IB /TV Do ill 3tBm=fef i l-i-Ul-tt V -&- % s£L i S Iff im t E i 1 .3=*=tMz=*t=M * a: ici: i: **** * prEzp: i 2: S i as +•+•&+ 2: t 2: 4 z =t ^ — 1- =F i^^ b**- 5 ir^ -*»- ):-p --4- — p I ==t p —1=: — p -0 • - •—it ... - — CRIVELLI'S ART OF SINGING.. b —— H p s ^ -«- -»-»- r L r . 31 Sol Do Sol Do 9 Si La 2ESHE^: \ ACCOMP.— — VOCE. A teg=^ 5—^-g^g d 0- 4 «_•*_ =t=qpt jzzzg: a Bi2F H Jzut -H-H Ht^ Fa Re Si pz=t==Fi= ?- F— 7 t=i !£3riri-ccpri^a Sol "*^H-h^H —— — ! ^-*-H- -b_^ Re * Sol Fa Mi Do Fa * M 9 . .

w+Atrt 0^9ZZZM '^ v -•htTH-l-hH- v v v nW-E ffofrm^M H ^r^pzzz*: ' ' Do Mi La Do Mi Sf Fa 01 gt» -J— ii 0-0—0 — J J d- -• 0- — -0-0—0 — — • — — 3=t 0-0-0-0—0 — 3* * 1 i 1 1 H 333Z^ :zt «=* i=t 9 : -r —— v r— f=^^90^-ft=^ ffrf> tt = Mi Mi -I- ^ i < i Si I 52ffi5^=B! tec* Sol -•-V tiillo-< vr\ -6^ SEE 1 Do -j La mi /?\ H -_j M 3— jq=q=q i^ig^F 0-0 nJ La Do" Sol Fa Mi Re zl flEIBE rr-f- 3=I^±W . 0-4—0 —0 — — ' ti^H? % -0 -p~ *EfcE . m^ «=F= Mi &— Re -t ACCOMP. CRIVELLI'S ART OF SINGING.£=£==£ ! ! h~ Sol Do Mi Sol Re 4+LlA. VOCE. mmmm ite Do La Re Si La Mi Mi Re ~n r —£ — -0—0—0 *5 W S#- dt*- T s^idtpfzrfl.1 i % r — H 32 P ANDANTINO.

A* VOCE. gi AJ^>— Do -# tr ft *=* Fa Mi Re Sol ^=t? ±=p=^p Mi H— n ^zztzwzzz z^z m 1 ^ • $^E£^zz.- — CRIVELLI'S ART OF SINGING. 1 —t Ee3:4 Mi Hzr^pziz^p: ^ # Sol £ Do £: Mi ACCOM!'. Do Do Sol Re -0- Fa Re 4#- 0- 5 g » -r lfEE3E s 3 EEEEE£E3El r DT™ La Fa Mi P -9- :p=t SB tr -# A 3 ±: 3^EE tr f fr &• V V A A- # Do Si Re Mi Sol zfc La Do Mi ' Fa Re Mi La Dol Mi 1 v-l $ — -0- -=¥- is ^E -4 ¥ -6> M: .m La ht. 33 ADAGIO ESPRESSIVO. fep Jgzz* * ¥=1 i — — 4= q: «- 1 ^^ ftfr tr.

tr tr.J 34 CMVELLI'S ART OF SINGING. ^ fr —<* P P-*.g ^" " i j] f ? ^Egg^^S -J*-' fr I ljp-#=p: Fa Mi Re Do Si La Sol Fa A i Sol * '1+^ *=¥ $*±=X^ Sol Sol tr \ \* Fa Do Mi Re Fa Mi Do Mi Do. I I ElEEl^E £ i w J i ^ $ i= p 0-f— nn /TN .

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Please do not remove cards from this pocket- . Copley Square Division of Reference and Research Services Music Department The Date Due Card in the pocket indi- cates the date on or before which this book should be returned to the Library.Boston Public Library Central Library.

not be made or altered Tie record tielow must .] BOSTON PUBLIC LIBRARY.000. i^^C'^'u^^alana^t'tobetn^rred. Oct.. to be Dy borrower. 1883.BOSTON PUBLIC LIBRARY 3 9999 05709 6966 SHELF I No. 20.

-v 5* * a >IV**./-4f. * t r ^. .*"• i i% • .'. > * « JT "^ » «• «&<•"• v* ^ S*f§l '* '* *^ .

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