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Vaccai Method Low Voice r1.0
Vaccai Method Low Voice r1.0
~ Low Voice ~
Revision 1.0
06 April 2012
Dedication
For EJJ, with my love; and DrJ, for all your time and patience.
Legal Disclaimer
Copyright 2012 Mark Probert
All rights reserved.
Hints on Italian Pronunciation
Copyright 2010, 2012 Joanne Bogart
All rights reserved.
Redistribution and use in source and binary forms are permitted provided
that the above copyright notice and this paragraph are duplicated in all
such forms and that any documentation, advertising materials, and other
materials related to such distribution and use acknowledge that the work
was developed by the Mark Probert.
The name of the author may not be used to endorse or promote products
derived from this software or derivatives without specific prior written
permission.
THIS WORK IS PROVIDED AS IS' AND WITHOUT ANY
EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT
LIMITATION, THE IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE..
Preface
ANYONE who wishes to sing really well should begin by learning how to
sing in Italian, not only because the Italian school of vocalization 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 plea 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 of 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 of 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 the 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 pronounce
words in a language which is not habitual to them-a difficulty which is not altogether
obviated by any amount of study in Solfeggio and Vocalizing exercises on the same
model. I have tried to make matters easier by this plan of mine, where I adopt, even
on 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 of 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 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, should it be thought expedient, it is always easy to
transpose the lesson into a key higher or lower, as the individual capability of the
singer may necessitate.
Nicola Vaccai
cultivation, being admirably calculated for strengthening and equalizing the medium
register, for giving confidence in taking difficult intervals, and for enforcing habits of
precise and distinct articulation and phrasing.
http://www.stanford.edu/~jrb/reference/italian.html
Italian letters
sound
example
c followed by o, a or u
hard c
cos
hard c
clemenza
c followed by i or e
soft c
citt
c followed by h
hard c
Pinocchio
soft c, silent i
pagliaccio
r
Italian r is either trilled or flipped, which is just a very short version of a
trill. Double r is generally trilled, if the musical setting allows for it.
Exactly when a single r should be trilled (and for how long) and when
flipped is beyond the scope of this guide, but a good rule of thumb for
single r is flip if between two vowels (e.g. in "fiori"), trill in other
positions (initial, preceding another consonant, following another
consonant, or at the end of the word), e.g. in "ritorna", "nostro" and "cor".
An American r-sound is never appropriate; better to just leave the sound
out altogether.
t and d
t and d are less harsh than their English equivalents. The t is not
aspirated; that is, you shouldn't be able to feel a strong puff of air in front
of your mouth when you say it, as you can with the English version. The
difference seems subtle to many English speakers, but not to Italians. To
get a more Italian sound for both letters, your tongue should just touch the
back of your teeth, not your gums, and it should be somewhat relaxed, not
tense and pointed, at the front.
s and z
s and z each can make two sounds: one voiced and the other unvoiced.
Italian Sound
English example
Unvoiced s
mouse
Voiced s
dozen
Unvoiced z
pizza
Voiced z
that there are two possible sounds for these letters and listen carefully to
an accurate pronunciation of new words containing them.
gn and gl
The Italian sounds represented by these spellings don't exist in English.
Italian gn makes a sound approximately like the ny in the English word
canyon, but not exactly. To come closer to the Italian sound, the tip of
your tongue should touch the back of your bottom teeth.
Similarly, Italian gl makes a sound sort of like the sounds in the middle of
the word "million", but not quite the same. To come closer to the correct
Italian sound, the tip of the tongue should touch the back of the bottom
teeth.
Both of these sounds are pronounced as if doubled.
References
There are plenty of books on Italian diction for singers but inevitably the
author will not pronounce English exactly as you do -- no one does -- so
examples can be misleading. David Adams, who wrote A Handbook of
Diction for Singers (Oxford University Press, 1999) must have a
pronunciation similar to mine because the examples were always
consistent with what I've heard in good spoken Italian. Also he does a
good job of explaining how to produce sounds which are uncommon or
absent in English.
Verse Translations
These translations are taken from a German-English-French edition of
Senor Vaccais work to be found on IMSLP3
Lesson 01 The Diatonic Scale
The spark which the gentle wind
fanned into a flame, moving to
the slightest breath of air, is
extinguished by the gale.
IMSLP38826-PMLP85474
10
Lesson 09 Syncopation
None can withstand the power of
love, yet love will yield to the
mute pleading of the tearful eye
and longing heart..
11
12
Lesson 21 Recitative
The land of our birth is our home
and forms one whole of which we
are part and, as its citizens, it
would be wrong of us to consider
ourselves independent of, or
separated from, our native land.
Thus we must learn to look upon,
and accept that as beneficial or
detrimental to us which is
serviceable or harmful to the
land, to which we owe all. If we
shed our blood or give our life in
its cause, we are but returning
that which we received from it on
trust: for it gave us birth, brought
us up and fed and clothed us. Its
laws protect us against offence or
harm from our neighbor, its army
against foreign foes. From our
country we borrow our name, our
rank in life, it protects our honor,
rewards our actions, punishes our
wrong doings, and, like a loving
parent, is ever working and
anxious for the welfare of its
children; our happiness is its
own!
Lesson 22 Recapitulation
When Spring unlocks the
flowers, mild zephyrs fan the
dale, when kid in rosy bowers
soft pleads the nightingale; when
balmy showers descending
refresh the sunlit grove, each
heart in Joy ne'er ending throbs to
the voice of Love.
13
Lesson Plan
Senor Vaccai has, to my mind, structured his method around a rather
unusual concept of a lesson. There are fifteen of them listed in his work
however, it is not at all clear to me quite what constitutes a lesson. Being
confused, and wanting to simplify matters some, I have taken the liberty
of placing each exercise separately.
The concordance with Senor Vaccais original lessons are shown below.
Vaccai Lesson
Exercises
One
Two
Three
Four
Five
08 Semitones
Six
09 Syncopation
Seven
10 Introduction to Runs
Eight
11 Appoggiatura
12 Acciaccatura
Nine
Ten
Eleven
Twelve
18 Runs
Thirteen
19 Portamento (Example 1)
20 Portamento (Example 2)
Fourteen
21 Recitative
Fifteen
22 Recapitulation
14
b
&b c
Voice
n b
Ma - nca so - lle - ci - ta
n b
pi
de - ll'u - sa
to,
Adagio.
b
&b c
Piano
? bbc
b n
Voice
b
&b
b
& b b
? bb b
b n
co - n lie - ve
a - to,
n b
fa
ce che
pa - lpi - ta
13
Voice
b
&b
b
& b
? bb
j
#
fa
ce che
pa - lpi - ta
# n
>
n bb
Voice
Andantino
Piano
b6
& b b8
p
? b 6
b b8
{
6
b
&b b
rel - la
b
& b b
? bb
b
j
j
che non
j
j
ve - de il suo
j j j
pr - ri - glio
per
fug - gir
b
& b b
? bb
b
16
j
b
& b b J J
ti - glio
per
j
fug - gir
j j
j
per
j
fug - gir
vo - la in
dal cru - do ar
j
j
j
j
n
b
j j j
b
& b b
? bb
11
b
&b b
j j
j
j j
J j j
j
j
j
j
Voice
La - scia il
li
- do, e il
r j
ma - re in
- do
sol
Adagio.
e = 85
2
& b4
Piano
? 2
b4
j
&b
car
tor - na il
noc - chie
ro,
pur
sa
che
men - zo
r j j
>
- gne - ro
al
- tre
>
>
?b
&b
j
& b j >
vol
- te
j >
J
l'in - gan
- n,
al
j j
- tre
>
>
?b
&b
12
tre
vol
>
?b
& b j
vol
&b
>
j j
te
>
J
l'in - gan
n,
J
al
n,
j
>
al-
tre
>
j j
te
l'in - gan -
n.
Voice
Av
Andante.
&c
Piano
?c
sen
6
& b
mezzo - al
za
- for
b
J
por
to
pa - ven
to
vi
ve -re
sen
za
il mar.
- vezzo - a
to
j >
j
& n b
>
b
? n b
b
n
b
10
j
&
Av
con
vezzo
ve - re
&
in
&
vi
con - for
j
-
to
&
?
#
14
&
In
&
mezzo
al
por
to
j
>
pa - ven
to
il
mar.
Voice
j j
j j j j
pla - cida e
se -
j
j
Andantino.
Piano
#6
& 8 j
mf
? # 6 j
8
{
6
&
?#
re - na
&
nel
sof - frir
j
j
j
ha.
&
?#
14
Bel - la
prova
d'al - ma
j
j
pe - na
10
#
&
j
#
d'u - na
col - pa
r
# j
che
j
#
for - te
l'es - ser
oj
pla - cida
j
r j j j
&
r J J
re - na
#
& J j
? # J
J
pe - na
j
j
J
J
non
d'u - na
col - pa che
j J
J
J
non ha.
se -
Voice
Adagio.
Fra
l'om
bre un
lam
po
? ###c &
Piano
p
? ###c j
r #>
sta al
noc - chier
sa
##
&#
so
lo
ba
###
#>
& #
j
j
? ### j
j
j
j
##
&#
ga
#
-
ce
r n
che
gi
ri - tro
va il
###
&
n n
? ### j j #
##
&#
po
###
&
lo,
j j
? ### j j
che
j j
ri - co - no - sce il
j j
J
J
mar.
J
J
Voice
Quell'
on
da
che
ru
Andante.
b
&b c
Piano
? bbc w
w
J
J
J
J
b
&b
b
&b
J J
na,
b
&b
? bb
bal
za, si fran - ge e
mor
mo - ra,
n
b nn
J
J
J
J
>
>
j j
ma
lim - pi - da
si
fa,
bal
za,
b
&b
? bb
#
b
&b
bal
za,
bal
za,
bal
3
b
& b b
? bb bb
3
>
za,
ma
lim - pi - da
si
fa.
>
>
J
Voice
De
li
j
n
ra
dub -
Andantino.
e = 140
b3
& b b4
Piano
? bb 3 j
b4
#j
cer
b
& b b
bio
n
-
sa,
in -
ta,
va -
neg
#
-
#j n
gia
o -
b
& b b # # nn
? bb j
b
b
& b b n
gni al
#
-
ma
j nj
? bb j
b
che on - deg
b
& b b r n b
n
nJ
gia
J
fra i
2
8
b
&b b
mo
ti
# bn
del
cor;
de - li
bj
ra
dub -
& b b # bn n n b
j j j j j j
?b j
bb J
11
b
&b b
bio
sa,
J
in -
b
&b b
? bb j j j
b
cer
b
J
ta,
va -
neg
nj
gia
o -
n b n
j j nj j j j
14
b
& b b
gni al - ma
bj b
che on - deg
gia
fra i
mo
ti
n bn
del
b
& b b bb
n n bn
n
b
? bb j j j
j j j bn
j
j
b b
17
b
&b b
cor,
b
J
fra i
mo
ti
del
cor.
U
j
? bb j j j
b
&b b
09 - Synchopated Mode
#2
& 4
Voice
Nel
Andante.
Piano
j j
#2
j
& 4 j
p
? #2 j
J
4
con
con
j j
J j J
J j J
chi
s'ar
#
&
? # simile
j J
13
# j
&
- ro
#
j
&
? # j #j
19
#
& J
con
J J
chi
ce - de o
j
J
j
j
non
25
#
& J
ro
#
& J
mai,
chi
chi
de o
j j
non
? # J
J
mai,
non
j
j J J
s'ar - ren -
de, no, ma - i
J J
si
bar
J
-
ba -
j
j
J J J J J J J J
no, ma - i
si
bar
j
J
j j
J
ce
ren
mai,
j
j
J J
- de
mai
s
bar - ba j
j
j j
j
j j j
J
#
#
j
# j
j j
& #
? # J J J J
j j
#
& j
j j
J J
J
-
# J n
ba - ro
J J
non
# n
2
& b4
Voice
J J j
Co
me il can - do
re
Andante.
Piano
2
& b 4
p
p
? b2
{
7
j
j
& b J j J J n n j j
d'in
tat - ta
ne
ve
d'un bel
co
& b
?b
re
la
fe - del - t.
13
j j
j j
j
& b J J j j
Un'
or - ma
so
la
che in
se ri - ce
ve
tut
ta ne in - vo
& b
b
?b
19
& b j J
la
&b
sua bel - t,
la
j j j
j J
tut
ta ne in vo
la
la
sua bel - t.
?b
11 - The Appoggiatura
The Appoggiatura (or leaning note) is the most expressive of all the musical adornments.
The eect 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, abbreviate it.
6
& b8
Voice
Sen
Andante.
6
& b8
Piano
p
j
j
? b 6 j j j
8
za
l'a -
j j
& b j
ma
bi - le
&b
Dio
di
Ci
j
j
?b
te
ra
j j
b J
& b J
i
di
non
&b
? b j j
12
r
& b nJ
spi - ra
&b
j
n
tor
na - no
zef - - ro,
pri - ma - ve
j r j
non spun - ta
un or.
n b
? b j j j j
di
j j j j
b Kr r r
J
un
J
J
-
ra,
non
j j
L'er
be
sul
b
j j j j
17
mar - gi - ne
del
& b j
fon - te a - mi
&b
? b
22
&b
sul
&b
? b
per
#
#
lui
nor,
per
lu - i
? b j j
n
j
&b
n
J
nor,
per
&b
? b j j
n
J
lu - i
b
j
b
J
Kr
r r
ri - ve - sto - no
n b
mp j
j
ve - do - ve
l'an - ti
co
j j j j
r r
j b J
J J
ri - ve - sto - no
31
Kr
b
J
j
n
pian - te
ri - ve - sto - no
27
le
j
j
co,
pj
j
& b n
n J
#
col - le a - pri - co
& b #
l'an - ti
ce
o-
j j j
j
l'an - ti
co
o - nor.
j j j
12 - The Acciaccatura.
The Acciaccatura (or grace note) diers from the Appoggiatura in borrowing nothing
from the value of the note that follows, though it may slightly intensify its accent. It should
be sung with extreme lightness and ease, swiftly, and with the least appreciable time stolen
from whatever precedes it.
#2
& #4
Voice
Ben
Andantino.
ch
di
sen - so
pri
vo
e = 105
#2
& #4
Piano
p
j
? ## 2 j
j
j
{
4
#
& # j j
l'ar
#
&#
- bo - scel - lo
? ## j
gra
# j
& # j
ri
#
&#
? ## j
vo
da
cui
to
j
j
quell'
ri
ce - ve u -
mor;
mi
co
per
j
j
2
10
# j
& # J
lui
di
fron - de or
j
#
J
-
na
to
j
n
bel
j
j
? ## n
j
j
#
& # j
ren
#
&#
J
-
de
dal
sol
? ## j
quan - do
di
mer - c
gli
fen
j
j
.
j
la
#
&#
13
de
il
quan - do
di
16
# j
& # j
suo
be
ne
fat
tor,
dal
sol
#
&#
j
j
? ## j
#j
19
#
& # j
fen
##
&
j
? ##
de
il
#j
#
j j j
suo
be
ne
fat
tor.
#
j
j
#
& c
Voice
La
ja
ve - ra
ce,
per
Allegro.
#
& c
Piano
? #c
#
&
far
si
#
&
pa
le
se,
? # j #j
d'un
lab
bro
lo -
#
&
qua
j
-
#
&
? # #
J
J
ce
bi -
>
>
so
gno
non
ha.
j
#
La
10
gio
ja
ve
ra - ce,
& j j j
#
?#
U
j
j
# n
& #
per
si
pa
j j j j
far
le - se
d'un
14
#
&
lab
&
n j
bro
lo -
? #
qua
ce
bi
so
j
#
-
gno
non
>
# #
j
j
17
#
& J J
ha, no, no,
# j
&
j
?#
no,
no,
n p
no,
no,
bi
so -
gno
>
j
non
ha.
b2
& b b4
Voice
Andantino.
lac - ci
q = 110
Piano
b2
& b b 4 '
' ' ' ' n ' ' ' ' ' ' ' ' ' n ' '
' '
' '
' ' p ' '
' '
'
'
mf
? bb 2
4
b
n
{
8
b
&b b
stret - to
per - ch
mai
can - tar
r
J
Per - ch
spe - ra
un'
& b b
n n
n
>
' ' ' ' simile
mf
? bb
15
b
&b b
al - tra
b
&b b
? bb
b
b
J
vol - ta
di - tor
j r
na - ra
in
li - ber -
t.
tenuto
n b
L'au - gel -
j
j
J
J
n
>
22
b
& b b n
let - to in
b
lac - ci
stret - to
per - ch
mai
bb j j j j j j j j
b
&
n
? bb j j j j J
bJ J
n
J
J
can - tar
j
j
j nj nj
J j J J
j
29
b
& b b n
r n
J
Per - ch
spe - ra
b
& b b j j
b
? b j j
bb
35
b
&b b
li - ber
j
b
& b b
? bb J b J
b
j
n b
b
-
t,
b
&b b
di
tor - na - re in
spe - ra
j
j
li
ber -t,
di
tor
b
&b b
- t,
in
li
ber
ber
t,
in
li
ber
? bb
b
j j
j j
j j
j j
li -
na - re in
ber
b
&b b
bn
li
in
li
j j
J J
t,
b
&b b
vol - ta
53
? bb
b
ber -
t,
in
t.
in
J j
b
& b b
na - re
J
J
j j
j j
b
j j
j j
& b b j j
? bb J j j j j j J j
b
J J
48
un' al - tra
j j
J J
j r
tor
bj
b J
J
J
J
J
J
41
di
j j
per - ch
vol - ta
j j
j j
J
J
b
J
un' al - tra
j j
#2
& #4
Voice
Quan - do
n #
ac - cen -
de
un
no
bil
Moderato.
Piano
##e2 =160 j j j j j
& 4
? ## 2 j j
4
j
j
j
j
j
j
j
j
##
&
j
#
pet
##
&
to
in
no
cen
te
pu
ro
af
- fet
to,
j j
j
j
J
J
J
J
j
j
j
j
j
? ## j
11
#
&#
de
#
bo
#
j
& # j #
j
r
? ## j j
lez
za
a - mor
#
non
#
quan
do
ac -
j j
j #j
j j
j
n
j
j
j
j
16
#
j
j
& # # J # j
cen
#
&#
? ##
J
de un
no
bil
J
J
j
nj # # J
pet
j
j
j
j
to
in - no
cen
te,
j j nj
j
j
21
#
j
& # # J j nj
pu
#
&#
# # # #
ro af - fet - to,
de
j
j
j
j
j j j
J
? ##
J
bo
lez
za
a -
mor
non
26
#
&#
j
j
n
# J #
de
#
& # j j
? ##
J
J
bo - lez
j
j
za
a -
mor
r
non
Voice
Pi
J
non
si
tro
va - no
Poco Andante.
#
& #c
Piano
? ##c j
#
& #
j
n
tra
mil
##
&
#
& #
a
n
-
ni - me
le a - man
? ## j
#
&#
ti
sol
J
due
bell'
n j
J
#
che
sian
co
? ## j
stan -
j
ti,
2
10
##
& n
#
&#
j
tut
? ## j
ti
par
j
-
la - no
di
j
j
t,
#
&#
? ##
#
tut
ti
par
n #
del -
>
la
no
j j
fe
13
#
&#
16
#
&#
di
fe
del
# n
t,
tut
ti
##
&
# #
n
? ##
19
>
##
nj j
&
#
par
#
&#
la - no
? ##
di
>
fe
j j j
j
j
j
del
t.
b
& b bc
Voice
j j
Se
po - ve
ro il
ru
scel
lo
Allegro moderato.
Piano
b
& b bc j j j j
p
j
j
j
j
j
j
? bb c j
{
4
b j
& b b b
mor mo
ra
len - to e
bas
so,
j
j
j j #
un
ra mo
j j
b
scel - lo, un
b
j
& b b j j j j j
? bb j
b
j
j
j
j j j
j
j
b
& b b n
sas
b
& b b
? bb j
b
qua - si
ar restar
so
lo
j j
.
j
j
j
fa;
j j
j
se
2
10
b
& b b j b
po - ve
ro il
b
& b b b
mf
j
?b
bb
13
b
& b b b
-
ru
scel
j j
j j
bas
un
ra
mo
b
& b b j
? bb j j
b
J J
lo
j
j
j
j j
scel
fa,
j j
un
ra
un
ra -
len - to e
j j
j
.
lo,
sas - so
qua - si,
j j
j j
j j
j j j
j
n
j
j
j j j j
16
qua - si ar - re - star
mor mo
j
n
so,
j j j
j
b
lo
b
& b b j j
? bb j
j j j
b
b
& b b j
mo
scel
lo,
j j j j
j
j j
nj j j j
rall.
19
b
&b b
sas - so
J n
J
J
qua - si ar - re - star lo
fa.
rall.
b
j
& b b b n
? bb
b
n>
n
un
j
j
b
J bj
Uj
b
&b c
Voice
Allegro moderato.
Siam
na - vi all'
on
de
al
gen - ti
la -
q = 105
b
&b c
Piano
mp
? bbc j
b
&b
scia - te in
ab
ban
j j
do - no,
im - pe - tu - o
si
b
&b
? bb j
b
&b
vent - ti
b
& b
? bb j
no - stri af - fet
ti
so -
J
no,
2
10
b
& b b
b
gni di - let
to
sco
glio,
r r
tut
la
vi
ta
ta un
b
&b
b n b
? bb j
13
b
&b
j
j n
mar,
gni di - let
to
b
& b
b
? bb j
j
n
n
j
j
sco -
glio,
tut
ta la
16
b
& b j j
vi - ta
un
mar,
tut
ta la
b
& b
? bb j
vi - ta
un
mar.
j j
19 - The Portamento.
Example 1.
In order to acquire an eective Portamento, the pupil must be careful not to slur one note into
the other with that sort of quavering that one hears too frequently in ill-trained voices. On the
contrary, he must blend the dierent registers and so bind the notes so that they seem to ow into
one even tone. When the true art of phrasing has been mastered by the means indicated in Lesson
I, the Portamento will oer few diculties, but here, more than anywhere, is the practical
demonstration by a teacher or a procient of the rst importance. Failing these, we must be content
with adding that the Portamento can be taken "by Anticipation" or "by Posticipation"! By the rst
of these methods, the singer 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 expressed, this manner is highly eective. For this very reason it must
be used very sparingly, as in abuse it sounds aected, and the music grows languishing and monotonous. By the second method, which is less common, the singer attacks almost imperceptibly
the syllable that follows with the value of the syllable that precedes.
b
&b c
Voice
j j
Vor - rei
Andante.
b
&b c
Piano
p
j
j
? bbc
spie - gar
b
& b j j j j j
b
& b
j
? bb
b
&b
mie - i
b
&b
co - si
? bb
J
fan
j
j
vor
l'af
scen - der - lo
re
j
j
cre - scen
R
-
do va
no,
na -
j
j
i,
no,
J J J
men - tre
i dub - bi
j j
j j # j j b n j
.
.
.
.
p
j # j j j j
nb
J
2
11
b j j
& b j b j j
tut - to spie gar
non
j j j b j
so,
tut - to non so
ta -
j
& b j b j
b j j b j
.
?b
b
14
b j
&b
cer,
tut - to
spie - gar,
b j
& b b
n
sf
.
b
b n # n j j j
tut
to
non so,
non
so
ta -
? bb b
J
j
b
17
b
&b
cer.
j j r
Sol - le - ci - to,
b
&b
j
? bb j
dub - bio
so
b
bJ
20
b
&b
pen - so,
ram - men - to
j b
ram - men - to
j
e
ve - do,
ea -
b
& b
? bb n
J
J
nJ
J
nJ
J
J
J
3
24
b
&b
miei
gli oc - chi
non
cre
b
&b
j
? bb j
27
b
&b
sier,
non cre -
j j
b
&b
cre - do
b
&b
al mio pen
? bb j
pen
mio
non cre -
j j
do, non
j #
sier,
cre - do al
j nj #j
#j j j
do
j
? bb
30
non
b
& b
do
non cre
do
pen -
al mio
w
w
w
w
33
#
&
sier,
&
non
cre - do al
mio
pen - sier.
?# w
w
w
w
20 - Portamento
Second Example of Portamento
3
& b8
Voice
Allegretto.
j j j
j
pla - ci - do il
j j j
ma - re
sin - ghi
la
lu
j j
j
spon - da,
e = 130
3
& b8
Piano
p
? b3
8
j
& b j
por - ti
&b
con
l'on - da
ter
?b
ven - to,
&b
sua
?b
>
j
j j
> >
ro - re e
spa
co - pa
non
ven - to,
col - pa
del
r
r j
pa non :
j
J
j j
col - pa
del
ven
j j
#
col - pa
del
ven
r r
to, sua
r r
b
n
16
& b J
col
11
j j
n n
& b j J
col - pa
Kr
non .
& #
rf
j
j
j
?b
to, sua
21 - The Recitative
We need hardly say, that nowhere is a clear enunciation of each word and syllable of more
importance than in Recitative: otherwise, it must perforce quite fail in its mission. When
we come across two similar notes at the end of a phrase, or several repeated notes in the
body of a phrase, the note on which the word-accent falls should be entirely converted into
an appoggiatura of the following note. To exemplify our meaning, we have marked with an
"+" where such notes occur in the following exercise.
b
& b c
Voice
+
+
j j r
j
j j R J j J R R J
R
J
La patria un tutt - to
Recitativo.
q = 80
bc r
b
&
f
Piano
? bbc r
5
+
j j
b
&b
j j j j r +
#
con - si - de - rar
b
&b
se
+
b
r r
&b
l'u - ti
se - pa - ra - to da
r
r
+
j
r
r
r
r j j
stes - so
? bb
j j
j
J R
le
al cit - ta - dino
fal - lo
o il dan - no ch'ei
le - i:
>
co - no - scer dee
so - lo
? bb
10
b +j j j +j j j j + j r r r + j
b
& n
J J J
b
&b nw
w
w
pa - tria
? bb w
a cui di tut - to de
>
j j + r r
J R
J
b
&b
gio - va
>
bi
ci che
tor
b b
b
b
2
13
b bj r r +j j b b bj j j +j j bj b j j
b
&
b
b b
J
R R J
Quan - do i su - do - ri
b
& b bb
e il
san - gue
+
b
j j
& b b
16
b bj
J
bJ bJ
R R
do - na,
ren - de sol
b r
b
&
nb b
r
? bb b
b
ci che
b +j j r r b r
b
& n
b
R b
b
&b
? bb
22
+
b
& b bj
me - sti - ci il
b
&b
? bb
+
r j
b
br
leg - gi
b
b
n
n
il pro -
dagl' in - sul - ti do -
j
b
j bj
R
Essa
da - gli ester - ni
n b
j
j
bbbww
w
+
j j
r r
j j
b b
con le sue
di - fen - de,
j j j
lo nu - dri:
n
b
l'e - du - c,
n'eb - be.
19
dus- se,
ei
bb
b
b
? b b
b b
b
spar - ge per
j
n
con
+
+
+
r r j r j r bj r j
J
24
b +j j
b
&
l'ar - mi.
b
&b
El - la gli
?b
b
b
b
26
b
& b n
n
n
n #
n
b
ma
dre
b
& b
? bb
.
+
j
b
r
r
j
& b b j j r r
t,
b
& b
per quan - to li - ce
r
b
? bb j
al de - stin
n .
32
o -
la sua fe - li - ci -
+
j
j j j r j
J
R J
de' mor - ta - li
+
j j
j j
j
J J
+
j j j j j j j
n
a - man - te
ed
ne ven - di - ca le of - fe - se,
29
b
&b
gra - do
? bb
no - me,
+
+
J J j nj j j j j j j
nor,
b
&b
pre - sta
es - ser fe - li - ce.
22 - Recapitulation
A Recapitulation or Comprehensive Study of all the Rules given in the previous Lessons.
& bc
Voice
j r
j r
ri
de' no - vel
li a
Moderato.
& bc
Piano
? c
b
&b
mo
&b
?b
ri
j j
gra
to il mol
le
to
d'un
& b j # j n j j
zef
j
& b
? b j
j
j
ro
leg
j r j j j
ger,
j
n j
j
j
gra
to
il mol - le
11
& b J
a
to d'un
zef
j j r j j
- ro
leg
ger.
&b
?b
2
15
& b j #
ge
ma,
j
n
j b j j
ge
&b
b
ma,
18
&b
fron
de,
ge
len
& b j
b
?b
b j
b
b
ma fra
bj b
le
to,
len
j
b
to,
b
b
21
.
b n
& b b n b n # b b b
len
& b b j
b
? b bj
b
to in
23
& b bj j
? b b
b
cre
spi
j nj nj
zef - - ro
&b
in
o - gni
la
l'on
j bj j j
to
de:
j j j j
bb
j
j
j
j
b
b
com - pa
b n n
b
b
b
b
3
26
n n
J
&b
cer,
in
n
j
?
b j j
&b
gni
la
to,
in
gni
j
j j
28
& b #
la
&b
to
com
j
j j
?b
30
& b j
cer
pa
gno
j
j j
del
pia -
j j
r
r
r
n # n
r
#
n
#
r
b
com
? b j j
&b
pa - gno, com
32
r
& b J j nr # j # n n
- pa - gno, com
j
j
& b
? b j j
b r
J
pa
gno
del
pia -
4
35
j
&b
cer,
j j
r
j
r
b #
r
n # n
#
n
r
com
? j j
b
&b
pa - gno, com
& b j
? b j j
del
pia
j j
cer,
cer,
com
j
& b
? b j
del
j
j
j
j
del
j j
pia - cer,
gno
del
pia -
j
j j
j
j j
U
j r
# J R n
pa - gno
j
j j
j
j j
42
&b
& b
n
?b
pa
39
& b
r
r
n n
j
& J n # #
-
37
- pa - gno, com
pia - cer.
j >
>
>