Vaccai Practical Method for 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 o( 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 briefyet 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 in Solfeggio and Vocalising exercises on the same modeJ,-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 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, as the iQdividual capability of the singer may necessitate.

1

'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 distasteful, he devoted himself entirely to music, taking lessons in counterpoint under Jannaconi, and later (1812) studying the art of operacomposition 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 Teatro 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-composer; 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 to composition, he wrote operas for several leading 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 substituted 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 deserved 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-operation 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 succeed 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. He died at Pesaro August 5, 1848. Besides sixteen operas, he composed a number of cantatas, 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 brilliant, artistic attainments. His famous "Metodo pratico di canto Italiano per camera" is still a standard work in great request, and his "Dodici ariette per camera per l'insegnamento del belcanto Italiano" are scarcely less popular

The general plan of the "Practical MethodH is to render study easy and attractive, without omitting essentials. No exercise exceeds the limit of an octave and a fourth (c'-P, transposable to suit any voice). There are fifteen" 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 .111 graces usually met with-written to smooth Italian verses, with excellent English translations, The extraordinary 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 system of voice-cultivation, being admirably calculated for strengthening and equalizing the medium register, for giving confidence in taking difficult intervals, :1'1d for enforcing habits of precise and distinct articulation and phrasing.

2

HINTS ON PRONUNCIATION.·

ITALIAN.

Vowels:

Gm"'al rule : The vowels are very open, and never to be pronounced as .impure vowels or diphthongs; they are long in accented syllables which they terminate,-skort in unaccented syllables. or in accented ones 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); I in bed: a in bare (before r).

1 .. u in beet; I in bit; i before a vowel, like y (consonant).

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

" • (10 in boot; "in bull.

,:;o&lsonuts :

Gm"al rule : Even the hard consonants are somewhat softer than in English; the soft consonants are very delicate.

" d. r. I, m. n. P. qu, s, t, Y. as in English.

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

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

C .. g hard before a. 0, ". or another consonant; except before 1 (pronounce 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.

j like)' m you.

r, pronounce with a roll (tip of tongue

aR'llinst hard palate).

Where a doubled consonant occurs, the first syllable is dwelt upon; e.g., in r x ,,' [pronounce ek' - ko, not ek' - 0]. - Accented syllables take a less explosive stress

• ThOOH .. hint. ,. an> ofterocl as an aid for tyros, and not id ,he leur u aa exhau.ti .... set of ......

than in English, being prolonced and dwelt upon -rather than forcibly marked.

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

GERMAN.

Vowels:

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

Modified yowels:

alike a in bare. but broader; ... in bed. c; has no English equivalent; lon~ 6 can be pronounced by forming the lips to say '01.. and then saying ii (as in bay) with the lips in the first position; short 6, by sa~ng e (as in bed) instead of ii. IN. B.-Long ii is the French nt (inj<,u)].

II has no English equivalent; pronounce long ii by forming the lips to say 00 (as in boot), and then saying ee (beet) with the lips in the first position; short ii, by saring I (as in bit) instead of u. IN.B.-Loui ii is the French 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). .......

CODSODutS:

r, h, Ie, I, m, ft, p, t, as in English. band d, beginninl\' a word or syllable, as in English; ending a word or syllable, like p and I respectively.

e like 11 before a, 0, and ".. like II before e, i, and Ii.

&' usually hard, but like 1/1 in azure ia words from the French and Italian in which g is so sounded; -ang, eng, ing, ong and..:::c terminate, at the end of a , with a I-sound (e.g., Dr -/)""11') •

3

IIIlITS ON PRONUNCIATION.

" u in Italian, but sborter, often approacbin&, Enelish 4.

Alike <IA.

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

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

... lin there.

• .. Gamu •• - .a..,.tonc.

i or i like II in beet; short I u 10 English.

o as in Italian.

D like the German ii.

Diphthoacs :

ai like a; in bait; but before I-final, or U, 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 fl.

Mocblied by a following n, tN, "a, "t or tnt at the end of a syllable, the vowels and diphthoDgs arenasal (exception,-verbal endinr of 3td pers. plural),

CODsouots as in English, with the

following exceptions:

C like I in song before .. , I, J,I, and i. ch .. .rll.

e .. II in azure before .. ,I, J,I, and i. &,0 as in Italian.

II is often mute; no extended rule can be given here.

j like 11 ill azure.

11 after i is usually sounded like Enelish y (consonant), and frequently prolongs the ; ( .... ); e.g. Il'rlwill .. r l trAll-vAh-yay], ""IIRIIe [trlhngkee'.Y].

D nasal, see above; otberwise as in English. [The nasal effect is accurately obtained by soundinr " (or lIt) l0/r .. tn..r 'Wit" (instead of a/tf!r) the preceding vowel' but the sound of I is chan~ to ih, i to 4 (in bat), and " to .. ".J

III, nasal in certain situations. rwith a roll.

..final is silent.

t-final is silent.

er, et, ea, eat, ea, as final syllables, are pronounced like I.

Accelltutloa. Tbe strong Eneliah stress on some one syllable 01 a polysyllabic word is w.nti~ In French; the eeneral rule is INrJt~ to accent tbe IiIlt 'J'IIMk.

J like" (consonant). ••.. n.

r either with a roll, or a harsh breath· inJ.

• beciDDIDg a word or syllable. and before a vowel, like _ (soft);

eDding a word or syllable, like sharp I ; before t and p, beginning a word, usually like ,,, (e.g. ,''''''', P!'O'" shtiim r" as in bull]); otherwise as in "English.

• like f.

w " 'S' (bat softer, between ." and w).

a .. II (allowhen beginDing a word).

• "Is.

Compo .... COIl8ODaDt.:

ell Is a sibillant witbout an English equivalent; when beginning a afllable, or after e, t, ii, i, ii, ai, n, III, 1M. and nu, it.is "/1 (set the tongue as if toprononnce d, and breathe aD " through it ; e.g. Slri~", prOD. shtl1d·h); after ", D, N, and "", it lS I14rJ (a guttural A).

dlelikez. KIa .. I".

ap and at, _ I. above.

tra IiIre I.

Accented syllables have a forcible stress, as in English. In compound words there is always a secondary accent(''), sometimes a tertiary one('''}, depending on the number of separate words entering into the composition of the ClOIIIpound word; e.g. Z1tIi' uluftdll'" "''''itt'', Bo' gmluJlll" ftUrjllzflier'''. The principal accent is regularly marked (') fn this work.

FRENCH.

v ...... :

4

Lesson I.

The Diatonic Scale.

In this 1~t Lesson, Signor Vaccai has not grouped the letters of the Italian syllables according 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 acquiring what the Italians call the Canto legato <Chant lie) _ though, of course,we need hardly say that here the teacher's example and oral explanation is better than all written precept.

Adagio

Voce.

1'1 ~ +t .
~ .~ .". • 7i .. ~. '-"'" T
" ~ +t Child, tho' your way seems long, Since first we start-ed, Come,learn how
v ~~ .... • -. '7f_ .. ". '-"'" I
Ma . nca so - 11e - ci - ta pm de - lru - sa • to, s. - neo-rehe
" .&.10 +t Adagio , I
, tJ :iJ: ... ,. -. ·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.
".&.10" - :a---
:
[U ~ .. u ... l- S I I .... -:s:» J!L .. '~
f-!----'
.L ~
.
~ - T T I .. T " » +t
·
"""iT I r 'r .._, ..... Y'~
" .&.10 ~ 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-I'ir.
" J.Io +t _..-.", I I. I I----r-- '-' '-'
·
· T1'A I"I"'~I- t_f 1
IiJ r } ~ 11'1':1;..
-.., " p .-
. ·
I r >- I I I .. 5

Intervals of the Third.

Andantino.

1'1 ~ II l
t:T • .'
1'1 ~ All! for those ,\ ho feel n(l pit - Yl' When the sim-ple dove, so
tJ -w -- .. •
Sern-pl i - cet - ta tor - to - rel - Ia , che non ve.dejl suo pe -
1'1 ~ Andantino
tJ p' ,.:: ~ J: t:T T ~ ~ -,_ -l ~ ~ ~ ~
.
.
I r I r I r I r I r I r I r I'IlIo l
ItJ • -- . ' ~ • d"'"
1'1 110 pret - ty, 'Mid the ar- rows, shel- ter su _ inp;, Here and there, and sore IS -
It) • • ~ . .,.,
" ... 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! " lIo l I..
rv ~ ~ 4P 7 --. -. -- .. W ..
" ... tress'd , Wound - ed falls, with gen - tle coo-ing, Wound- ed falls, with gen - tlf
rv ~ ~ .., -:w -.- .. •
1'1 lIo 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 lIo \l I

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

-

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

tJ -. .'*'.

1'1 110 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 ,,*,
II I far ag;t forth ~ sea, One who knows what storms can be! One who
;::...
IV • r .. ~ ..,
vol-te Iin-gan - no, al - tre vol - te !'in - gan - no, al , tre
II I - -
"""iJ --=:;7:::> -___./:::> <:» "--~ • ~ .. ~
~ ~ ~ .. ,....- .. --- - .-!I!III ~
·
·
-- IIiiII""" ;ill"" -- L--J .. ..::__/
- - - II I >- >-
V T --. r too well what storms :?n
,., I knows ,,~t storms C~1 be! All be!
V T --. r "_!f
vol - te Pin - gan - no, a~e vol - te l'in - gan - no.
,., I -
"""iJ -...____/:::> ~:::> ~-p-~ "'--~ - ... ~
...--:;----. ~- r ____,
·
·
- Iiiii"""" - iii'"'" -....J <c:> .. 7

Intervals of the Fifth.

Andante

II J . ..1
.
.
It) Tren z n"!t * ...... ~
~ I mock at me , Call me not era - ..1 ven,
.
.
I~ rt .... * ... .. --
Av - vez-zo a vi - vevre sen - za con - for - to
Andante.~ <;«
II ":j:"'
I .
I~ lEI i~ ~~~i ~J i:: .. 'I~'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'tr .... .... !J:1
.At All! sad sea - - mg', If .go fear pre - Wit •
I
" p"'tr : : .s.
_dL in mez.eo al - pa - yen - il
..._" !
,t.J i-::;; i_~~ ~~~~~
i"~i .... _~ "I:
._-4 I
-~ I
~ i i i .. ~ ~ ;: 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. <:»
--v p~T" .. ~_ T T ..Y ~ • t _t~ ~~- -~ ~ -':
~ 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:' .. • "- _ _!_! __ • t • ~t -~ ~ ~ ff+ _#
I -.: "I ... I ~ I I. I ... "
.
.
------.::---- ... ~ "'~1I ... -41 :j i !

II .u.
~ til til '" I r til til I r
i'I .u. sig-n, Then, tho' all un-se en, t hou wear-est Such a crown as saints deem
rtf --. -til --. I r, • '" -tIl T r. 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 -r I r r I r I r " .u. I l -
~ I til 4Jf --. F. til "'__./
,., .u. fair- est, Rar-er far than g-ems the 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 , I , I r I , -,j_; ... ::
... 9

Adagio

Lesson IV.

Intervals of the Seventh.

",~ft .
IV ,,~ .~ ~t~
'" ~ ft One gleam 'ml he thun - der
! v ~ Adagio. Fr~ r:m - .~ ~ lam
bre un - po
'" ~ _ ........ s». sr-. _ ........ -- --
. . . . .. . .
v -- '" ":J"~~ \_ ... "If'"
t:
.
.
~ ~ ::; ~ ::; ~ ~ ~
:j ~ 11 ... iug,

Where winds and waves

are

so simi/f'

10

ba -

sa

iug;

One

g-lance, and IIOW

the

10

Intervals of the Eighth, or Octave.

Adagio

IJ I .
V .. ~< :;J. :I..
IJ I And now at dawn s fir~t
IV Q!~r ... ~
Adagio on - da che ru -
IJ I ~ ~ ......-:;--:;. ~ - - ""'"
:
v p___"" ........... """""""" ......... ":f,;i/f>. - ~ ..........
.
.
- 1 ~I
e- How fair these '\\ aves ap pear, Fdll i Ilg".
rna lirn- pi - da si fa. bal za.
~
::>.
-,_;
fall - ing", g-en - tly fall - iug, Ho\\' lim - pid.sweet and dear.
-,_;
za, bal - za, rna lim-pi - da si fa. ing" ,

JJ

11

Lesson V.

Half-tones, or Semitones.

Andantino.

or

dub -

Andantino.

Il ~
· . .
It) ie~~ er 1" -.!J- ~
Have bro - ken their teth - er, And
~~
· . .
It) ~-:J" ... ~ ... ~ ~
bio - sa, in - cer - ta va - neg. gin 0 -
fJ ~
I~ -U- -U- #~J -:i.J u #~ _./* ~ <: ~J
'" t'l ~ ~
.. .. :; -. -. #11 1"'"' fJ ~
· .
I~ win try wild ~
- weath - er Has
fJ ~
· .
It) gni al ehe on -
- rna - deg - gia fra i
.....__.,. .....__.,. ___"
II ~ - -
It) t_y «:» «:» ~ ~__./ ~
I -
\ .. .. ..
!.J '1 ,.

y

12

.~ M - 1
.
V - ",-..._.... . .____
~~ tost them on __ lugh; So con - science and
- 1
.
v "'del/' ..._
rno - ti cor. De - n - ra dub -
~~ -- - /- ....... - - -
IV "J :t:__.;'" , *J *___.... ~ TJ T_/ ~_/
.
r r -4j/ ~ ~ i .. .. .. ~.~
. .
.
tJ <;»: In - .____
rea - son, pas - sions mad sea - son, May
fJ ~
.
.
v ..._-' r - ---
bio - sa, in - cer - t8 va - neg - gia 0 -
~ ~ - - - -
IV V it_; ~ .. __./ ~ q.___......, "'J ... _; T_/
" ~,
.
"I "I i • • #11 ... .. ... and wa - ver_

fJJot .
v ~ opt 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 1i :j _ .. I t 13

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
<::» <:»: <c:> ~ <:»:

a ll.Lworlds a-bove, Love c, love,_ love ,

'-" --_/

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 C L s'ar - ren- de, no maL 81
J'I I 1:\ -
tJ ~~./~ '1:\ p--* .. * * .,__ .... .... - I"'" ... -
<z:> • •
~ 1 J'I I l I.
IlJ \....__ ... \....__~ '--" '-* \...._ ... ~ r v
change.and pass-from sight; Blr l~ve_ is life's one stead , fast light.
J'I I
t) ."-- .... '\.....~ "-' '-" ':-'" ....:J...:..-- r
bar - ba - ro c, non e,_ no maL si bar - ba - ro _ non e.
J'I I - --
it) ._.. ... ._ f-/ ~ --- ,/ - ... .. - ... ~ ~~
.---......
..J I..J V I
r 41 I * 14

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 1I1) 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

la

co

la __ fp- dpl - t a .

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.; fr iendship dies.

ta,

tut - ta ne in - ~'O

~

Ill,

15

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 abbreviate it.

Andante

11 .
. .
.
v ...__. • • r
./} L If in my la - dy's eyes Love wak- eth nev - er,
. .
.
v - '-" • • r
Sen - za l1a _ rna - bi - le Dio di Cit - te - ra
11 I Andante.
'v ~~ :i~ *~ .. "j.:!/. ~_:!/ *~ ~- ... ~ ... -
p ~ s ·lIlile.
.. .. • • i i .. .. 11 I ,..... ,.....
.
v <;> , 'k' ..__/ , r _r
WhaL need of a - zure s 1e8, May's.; sweet en - deav - or? The
Il , '"""'" ......
.
v ___./ " r I ..__/ I r !
i_ di non tor - na- no di_ pri - rna - ve - ra. Non
1\ I
..., ~ ... ... ~ ... ~ ... ~1i ."* ~ ... -~ ... -
.
.. .. .. ... .. .. .. .. so dreari-ly,

'--' The blossom

all dies.

If in my

'-'

non spunta

un fior.

L'er- be sui

un zef-fi-ro,

16

II
· ·
-u .._ "-
II I la-dy's eyes Comes sweet re - lent - ing, One look that love implies,
.
· ·
-u .._- -- - -..;...- '-
mar-gi-ne del fon-te a - mi - co, Ie plan-te ve - ~o-ve
II 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, The flow'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':\
·
· ·
.
:;; . 11 • ... ~ ~ .. ~ .. ~ II I II. II.
·
.
IV -. _, -
II rise: The birds sing so cheer.i - ly, And day fills the
I l ~ ~
·
t7 .
I p~r lu - i -
nor: ri - ve - sto-no l'an - ti - co o -
F, I
.., ~ ... p ~ ... pit ... ~ ... it ... ~ ... -~~ ..
~ ~ i 11 .. ~ ~ i II I • l ~
·
-u .
IIle 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~sP~ss~~ '~. ... , .... r~ r··" I~
~ ~ i 11 ~ ~ 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 should be sling with extreme lightness and ease, swiftly, and with the least appreciable time stolen from whatever precedes it.

Andantino

/J . 1 1
t.) "-' -
A - long the riv - er - reach - es The
/J •
, t.) - -
Ben - che di sen - so pri - vo, fin
~ 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
t
It) :j - j i - ,i ~ ._~ ~ .,~ ~, ./~ ~./=i
< ----- ----- <c:> ----- ...___.,- ...___.,-
~
:: = 'i 'i 'i 'i
11 .. 1'1 l l
It) '::-'_ ing, And drink the lin - g'rillg pool, And
fall -
11.
It) "-' ~ -
ri - vo da cui ri - ce - ve u - mor. Per
<:»
~
I
• t.) ~ ._~ ~ .. ~ ~ it_~ ~~ ft~ ~ ~itjT~ii"
< ----- '--' <s:»: --._./ ~
<s::>
t . .-
'i i i i :! 18

11 l
tJ is "-:1 - -:-- -
11 now when noon burn - ing, Their S1 - ver leaf-lets
l l
!t} - ~ - -,
lui di Iron-de or - na - to, bel - la mer - ce gli
<:»
II
ItJ It,I1'' /It It, "/1- #lt~1- It, "/1- ~ .. /~ #.~~
~ ..._-' r"\ ..._-' ~ <c:>
·
·
11- - .. .. :; ~
.. 1i
II _I. _l. _l.
.tJ" turn _ ing', The shade the sleep - ing \\a - tf'fS, And
_1
ItJ -
ren - de, dal sol quan - do di - fen - de il
11
It) :tt ",.t ~~~ qi ~1i 1i ~1i It, '',It ~.,~
-....__/ <::»: <c:>
·
· -
~ ~ i ~ =i ~
~ '-' '-'

shade the sleep - ing

'--' them clear and

cool;

Thev

be - ne - fat

tor,

dal

di -

" - - J!!!!!!!!!!I. --
tJ *' And keep- them clear, and_ ..
wa - ters , cool.
Il --- --- __I!!!!!!!!l_ ---
ItJ n~ I - - - ;*
fen - dt' il suo_ bt' - ne - fat - tor.
II
tJ .. ~ .. '----""" .. 1i '. j 1i "1j ~~i
~ ~ <c::> ~
·
·
- ,,- :: :: :;j 4
"II 1i 19

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 executed. In consists of ~ or 3 notes, and can impart great charm to the singing without influencing the due sentiment of the phrasing of individual passages, or the general intention of the Composer. It is, therefore, the only licence that the singer may occasionally take on his own responsibility. The slight.est appearance of effort or premeditation is fatal. We may add that modern 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.

Allegro

fl_ . • -
.. ..
..
I~ *' ~ ,.;;
That tear .in your laugh - ter, That
fl - .----,
.. ..
. .
,~ *' ~ ----- 7
Allegro. La gio - ja ve - ra ~ ce, per
11_ -- -- -- -- -- -- ~ ~ - -
.
~
P sflllik .
.
.
~ ~ ~ ~ ~ ~
ii ii ~ ~ IJ ,...._ II -
.. . .
.
~ '--' ~ ... *' .....
IJ blush com - ing:_ af - ten; The whole world m.!!.st
~ - III
.. ..
~ '--" ~ ... ."!fJ"
far - si_ pa - Ie - se, d'un lab - bro 10 -
It- It- • !! ~ ~. .. ~ I.. •
·
·
~ i ~i ~ ..:: ~ ~ ~
• i ~ fl -- I
.
.. 0 .
It.! ---- ~ .;_., r .« ,.;;
know it, They show it__ so __ plain. Some
IJ .JI!!l I
.. .
.
~ --- ~ .. ~~- ... t:
qua - ce bi ~ so - gno.L, non.L; ha,
It. .,..- :::>
- ..,~ .. ~ J qt' ~ .
1: 0
·
·
.
! :: i ~ • - :: 15 •
i 11 11 20

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

. .
. . .
I~ .1! •• '~ ~ -_/ ---=----- ~ - I .'
se - cret they treasure Of pain or of pleasure. Con-
II ===-- -=-- 1':\
. .
. . . .
v ··i"~· *!' ~ --._.- ---=----- --.l,!..../ - I *'
gio - ja_ve - ra - ee, per far - si_ pa - Ie - se, d'un
,., I 1':\
.
.
~ ~ ~. .. • '--...- .. .. • <:»:
:::::=-
.:::::::.- 1':\
I · _II - - ~
.
.. .
. . .
IV - -----..:...:...- . --- ~.' ~ :---
fide it! To_ hide it, You_ see,__ 1S_ 1D-
II • - ......
.. ..
. . .
IV - -----..:...:...- . - ~.'~ .-
lab - bro 10 - qua - ce bi - so - gno non,
.. -..... _-..... «<. «<. .- ~i
·
t ~"i"..t :lj~~q~
< p
~ ·
~ -:j. ~ i 1 :: :fi- :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~ no.- no,.. no,_ bi - so - gno_ non_ ha.
I II l ~
I v <;:» ,." ~ 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
"""iT L'Au-gel - let-to in • • stret - to per-che mai
lac - Cl can -
Andantino. ..._...
" I
V 1lr. ~ -.o:"'~ ~ -~q~ ~ ~ -~~-~ ·4 :4j -4 :4j
It;imilf' •
.
". I "I ~ I " I
IV •
,.. I cage a - dem-ing, Vain en - deav- or, My sweet bird nev- er 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 - to

na - re in

T

~}

"I

_ I

-

-

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

love where 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_

" I

• •

22

II , - - ...
.
i'-J , '---'" <;»: <c;»: .._/ <:»: -
dal-Iies , Leaf - ni., valleys Where 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 ,
v J:. ... ... ... ... .. ... ... p'= ~ '= :
lb. lb. -
·
·
r r II , .. - III
--I
IV 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 '-J di_t~~ -- .__../ -._/ -_./ ~ - _-
na - re in.c, li " bel' - ta, in Ii - bel' - ta , in
.__/
II I
~ T -i ~ == :t .t: ~~ ... ~~ ;i1;.,; ~
:::::; 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. 11

.; ~

Sweet, how __

11 ...

... 11~

tears come __

..

ing,

'~ sweet when __

I~l't~ cen - de_ un_

... ~~ no - bil __

.. ~-.

pet - to,

- --

Quan - do_ ac - ~Moderato.

,

I ,

p poro staoc,

11

-

i.

,

,-

:: ::

... ...

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

11 -
t.I .. .. - ~~ ~......._.. -......u. .....,
he - roes In days gone_ by. '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 .. • .. ' . 71 ... -~ .. ... ...
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_ falI_ 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

The Gruppetto or Turn.

Poco andante.

EXt'l'ution! W 55_3m

r. :~- ~:
. .
t..l ~ ~ ... ~'''t·_ ~. .~.
~ '-.__.!Y
Tell __ me why, now - a -days, No one __ dis-
,.,
.
t.J _7 ~ ... q •• ;._ .... ~:
~ ~
Pill __ non si tro - va -no tra mil - Ie a-
<;»
Po{'o andante. ~ ~
",' /--. ~ ~ ~
:
-v
p
.
.
~ ~ ~ =i ~ :::
11 ,., l
.
IV ~ .. ~
cov - ers, 'Mid all these mul - ti - tudes,
~O-. l
.
~ .
IV ~ -. , ~
man - ti sol due bell' a - ni - me
- ~
-> ---. ~ .> .. .. ..
·
·
sliltt'le.
·
·
~ -3 ;j ~ :t ~ ,., ......
.
.
itT . '~"/ <::: ~ ~.
Two __ con - stant lov-ers. All __ for_ e - ter - ni-ty
'" -
.
.~ . .
iV <c::> ~ ~.
che sian.L; co - stan-ti , e tut - ti par - lavno
.. - .. - .. .. ~ ~ .. ..
·
·
........... ___
·
·
-. 11 :: .:: ::: :: i 4
1 11 11 11 26

IJ
-t;r ~ -.:___ . ~ ~
Swear fhey'll_ be kind, Yet __ but_ two
"
<z:» . ~I
It] ----- • ~
di fe - del ~ ta, e tut - ti
- - .. .. .. ..
FF=

·
·
::: ::: 4 i ~ ~
"ill "ill II ::::.- - ::::.-
-v ... ~ ---- -- S ~u _______ •
I faith - - fulc., ones.L Where shall.c we.L, find?
I " ::::.- ,.... ::::...
!t] ~ ~ ---- ~ ffu_
par - - la - no- di ft' - dl'l - ta,
.. _ .fl. _ .. .. ::::.- #.fl. _ .. ~ ..
·
·
I
·
·
15 --u --... -= 15 ~
------- "I Yet but_ two faith - - ful ones Where can __ we _ find?
IJ ,..., ""'" ::::.- -
It] ~ "--" IV' --- - t> T .. .. ~ <s: ..
e tut - ti_ par - - la - no di fe - - del - tao

.. .. .. ft. .. .. .. .. i
· :
·
7- - J • ~ r ~ •
·
·
i 'Z: ~ ~- :: :: • 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 ve Allegro 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

'--" I
Night sank on sea L and_ plain. Were
'--"'"
qua-sur - restar_ 10_ fa. Se 28

Once fatr:_ with sum-mer's


t! ...._. ., .. ..._- ~ <; _;~~
~» I ne'er shall see a - gain? Those dear bright_ love - lit __
It/ ...._.. ... .....- 'L'" <, "-"'" -- --
~» qua - s~rre - star 10_ fa, un ra-mo - seel - 10,.. un.;
It! i i • • :::~~,..~ .. .. .. ..
s ~ ~ i 'I 'I 11 ,..
~» roll"
It! fac - ~s I ne'er shall see a - ...
~» - - gam"
It/ r -- , """:;_-- ..
A» sas - so qua - s"Jr-re - star ·10 fa. I
-;..
t! ......... ~~ , '. .. qJ ~ral/' J I
~
.. ~ -
,,- . II - .. 11 29

Leason XII.

Runs and Scale-Passages.

Allegretto moderato.

Siam Allegretto moderato.

<:» na - vi al - l'on - de_al

<;»:

All

Like ships from aneh - or __

Ia -

winds and

hey - ing,

Sway-ing to

sci a - te in ab -

..__.

'"'do - no,

si __

ruo - 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,

seQ

"-'

tut - til. _ lu_ vi.

A~ +t - """'"
I~ rJ .. .. 4JI ~ .....:.:---
fast r- All! well, All! well, _ if __ day, if_ day shall re ,
11 Iof.tt - ~
.~ u .. .. ~~ ~
mar, o - gni di - let - tu- seo - glio, tut - ta Ia
~~.@.-!-~~-!-~ ...... .. .. .. .. .. ............ _ ... _
·
·
u
· -
·
.. ... ~:: :: i ..
t ... .. ~~

To land, __ safe home at_ 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 the other, with that sort of quavering that one hears too frequently in ill-trained voices L on the contrary, he must so blend the different registers and so bind the notes that they seem to flow into one even 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, 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 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.~t wall.

With eyes_ nigh blind

with weep

ing, With

Andante.

VOl' - rei

na-

11 '-
v ... '-..J ~ .___+ ~ '-- ~ .___+ <>: '-" -- I"
,.. '- poor.; pale_ lips_ that._ trem - 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~CY
to.. " " ~ "
·
·
• • • • • • ,.. L
.. .
v 411 r 4J!_*
_Il '- keeping, That robs my nights of sleep - mg,
.
. ..
;v 411 P.' J, .: ..
mie-i co - sl crescen - do van no!
,.. L - l I'""""!- ,..,.., ,..._
I
v ~~~71 . ., .. 4- ~.,-~ «» ~ ,'_.
'---"" p .r.::."
~ "r.
·
·
~ • qlll • 1 ~ ~ 32

_/',L ~ -
v - . ....._,- - "'-J''' -~ r~ -
III How 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:""'_ • -
·
·
- - - ..... -- Il L .~.~
.
~ - I I .......... a ~a" .. V
ceal 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 -
Il L
~ ~4:~ p~ "It - T ·3 ~~
ill --------
·
r -- 1\ L
i~ .. .. .. ... rm .___., .
Il L veal? And tho' a smile wear - Ing',
.
~ .. .. - -: t dub -b';--'
AL cer , Sol - Ie - ei - 0, - 10- so,
V ~:y :jL!_j ~~~~~ 'W;_ .. ./"'11 «:»
l I'! '-" ~
... ... • • 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 ~-..::-" «;» «:» «:» «:» «:» ~
L. • •
.
" ~ V' -IV' V' 1/ V 33

/JL
eJ - -- .,- ~. ..
,., t heal; All! ney - er, ah! nev - er my pain can heal, Ah! nev - er, ah!
eJ - -- ~l ..___ ...
,., L sier, non ere - do) non ere - do mio pen - sier, non ere - do, non
eJ ~ ., .. ~ ~ ... -.t ."~ ~ «:» <:»
1\ '-.._/ ~
·
• i ~ 1i ~ i
1i heal, such pain L, can L, nev - er_

sier,

non

,., J
V 4- ~'-JV~
,., heal, such L, paiu.; can.L nev - er_ heal.
v "1!'r "-' '-.__j' t__! ~
sier, non_ ere - do al_ mio.; pen - sier,
II ~
!v ~.~ ... ~ ... ... 7t ... - ... ~~~~ ... ~
J J
·
·
-0---- .... _" u u ~.

*

34

Allegretto. 2d 1l'U!!.

. . " Tl . , "()

me de - ceiv-iug, ie g-rey sea was g-neVlIlg",

o Allegretto.

U

pta - d-d~_l

rna - re Iu - sin - ghi la spon-da, 0

Il .., tt ==-l ==- ==-
v 7;.J ~ Go -- -- '-'r
,-; .., Ii. men, reft of rca-SOli, ~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 '-"
v q~" ~ ...... ~ '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 N

hey 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 come across two similar Dotes at the end of a phrase, OT several repeated notr-s in thl' bOfh' 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 meaninig, we have marked with an "_-1" where such notes occur in the following exercise.

R it ti

Il~ ~ eel a lVO. A A
eJ - - is toward Jur c6untry. How basland how mea
Il~ +! Our fir~t earthly d~-ty
eJ _r"I La Pa -tria eJUl tnt-to di cui sit:'m {arti, ~l cft- t~ - dinU
Il~ +!
.
·
·
eJ JOW 'i. t r~
r"I r'"'I
0 ·
. . .
4 4 ..... -. ... .... .... n

:.Il jl he~~t-ed is he who seeks ad - ;aJ -tage in his coun-try's dfs - hJn-or!

t.J fI'

_I'l.ll ~ 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.ll i_ I1u - ti - Ie

Qjl dan-:;' eh'ei eo - no - seer dee so - 10

e eia ehe

IIMft A A A 4
IV ~~(........ .. i~ -jure, the land where ~~st we saw the Iigtrt,
11» It ~osper, or wjat can shame or
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" I" '*' .'
,,~ tt When for her wel-fare she bids us sac-ri -f'ice -tuue.life-time.and e- ven our
A A l
V -, - , q~ ~ _r ,... ~ 4J!
,,~ ~ Quando i su - do-ri eil ssn-gue sparge per Ie - i, nul= la del proprio ei
.:::... '-" '-'"
IV - q~~r-::__~
.r
.. .:::...
·
·
"~I 24 ~ 1\ ~ tt A l I.
v 'Tis r -, - .,
dear ones, her due that we ren-der: She twas, who
~~ tt ff .1.
-
~ !" ,r -, .,
do - na, ren, - de sol CIO che neb-be. Es-stll pI'O-
_~~ M
.
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~,~ Iq' '9-
P
·
· .
:::; :::; 1 "I
~ ~ ti~~ A A _l
V -, .. .,. I .,
" » tt broad her arms dc-fe~d us, And her coun - sels en -
v - 1 .. .. -, . ~on
ti~tt me - stl - ci il di - fen - de, da - gl~ster - m
.........
v . j" Fr" • ' .
.Ll.
~i ;1 _/j .. It A .4 .4 ,·1 _.
..
e.J .' *' 4-
Ii .. tt li~llt 115. She g-iH'S 115 safe - ty, g-lo - rv. s~a - tion, name, and
A .J "
.. ..
e.J - ... ~*'
r . El - la gli pre - sta g'rH - do I'd
IiIJ. ft ar - nu. no - me, 0 -
~
'-1 ft· - -
·
·
~. ti Ii IJ. +.t A .4
,'-1 r r- ft· • • "*' -,/'
ti ran', Re-\\ ards our mer-its and vin-di - cates our hOll-pr: With
IiIJ. A .l
,'-1 r r ft.. .. .. *' .."
nor, nl:" IH·I:"-mi~j.l mer-to, ne ven-rli - ea lUf - fe - se, e
Il .. H ....--.._
e.J r ff- ~! ~ f ~
LL I I
·
·
... t .. ~~ ~ ~ .4

A

'-1 - ~~ .
Ii .. ti rna - dre a - man-te
~ e.J ~f~~ ft. !
lJc I
·
· 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

la sua fe - Ii - ci -

i

...

...

...

Ii .. !! A A l
u '1:': .. • - "*' *' -~I
peace, if, per - ad-venture, mortal man can be ~4PPY out of God's heaven!
Ii .. !! A b
e.J ~..... 4#' ~ -
" .. ft ta, per quan.to Ii - ce al de - stin dp' morta -Ii es- Rer ff.> - li-ce. ;::..
;::..
.
e.J '11 ~ .. :: r:
J I
.
.. .. ~>- 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 yale a - stray

ill!!.-, Like

Al - la stagron de fio Moderato.

e de' no-vel - Ii a-mo

"-.../

39

~~ ft.
It) t..,( "'!I -..._,y - ---- ~
fjlot j_ sigh - 109, now sigh-ing, They seem_ to fall a -
It) 'fJ li' .:» - ....__...... "-_./
_1l1otl1 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 ~ tt. 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 :: :: ::
111 11 11 II ~ +t
i t.J '-"'" -;;t ~
II~I! "Mer - ry ones! a -round us 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 ~ = q~ •
.. ::j 40

~.~. - - -
.
.U I r %_ ;::'_ Feel_ __.
A~_1l so? your trac - es, your em -
- - -
,u he .. r ~ ~ gni_ 1a to, in_ ~
"'.Ii ~ lU_ - 0 - gnr.;
I
'IU #.~ ...... _ .. 81-u,;! .. .. :;j: .. .. ..
~' ~ ~ ~ ~"+t - -
U - - ,,, " .-----:: - .._.... ".""-!!'
~Ji ~ brae - es, y~ fae - es Why won't you
.U '"- ......_ IT' " '-._../ ,-- .._.... .,_~
~.Ii It. Ie. - to com - - - pa - gno e_ del.s, pia -
t
v ~ ... .. ~ ... ... .t. ....... :t .. .. ..
. ' • :t :t not

pia -

41

~tl I. -
e.J - '-.--- ~ - '-' f'I ---- I -
11~jt fac - 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 ~ ft I
~
e.J ~ ~
II ~ ,ji why not_ show, Oh! why hide so, Oh! why hide
I
.
e.J '-" ~
lI~tt del pIa - cer, e del pia - cer, e del pia.
@) ••• i'i'i' "I ... .. • • ... .. •
I.
·
·
-1j i .. ~ ::; i '* ~ ~ i
~ so,

~

fae - es, Ohl w hy___ not show? ?:\

your

~

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

cer,

com -

42

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