Vaccai

Practical Method
for Soprano, Tenor

PREFACE

BY N. VACCAro

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 8011orOU8 of tone 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 Methodn 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 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 difficultyin having, as they sing, to pronounce words in a language which is not habitual to them-a difficultywhich is not altogether obviated byany amount of study in Solfeggio and Vocalising exercises on-the same modeI,-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 1 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 dift'erent style of composition and of a distinct emotion, so that the pupil will learn more readily bow 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 sufficientto demonstrate the requisite rules, and, besides, Ihould it be thought expedient, it is always easy to transpose the lesson into a key higher or Jower, as the individual capability of the singer may necessitate.
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NYONE who wishes to sing really well should begin by learning how to sing in Italian,

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Vaccai -

Practical Method -

for Soprano, Tenor

'f'\ACCAI was born on March the 15th, ~ 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 111tOVO in that city. Shortly after, he repaired to Venice, where he stayed seven years, writing an opera in each, and also several ballets j 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 Pastorella, Timur Chan, Pietro il 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 Italian 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 Giouanna Grey, written for Malibran, in honor of whom he composed, after her decease, in co-operation with Donizetti, Mercadante and others, a 2

funeral cantata. Most of these operas also met with hardly more than a bare succes d'estime, In 18;8, however, he was appointed to succeed 8asili as head-master and instructor of composition at the Milan Conservatory, which position he held until 184 t, when he retired to Pesaro. Here his last opera, Virginia, was written for the Teatro 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 Method" is to render study easy and attractive, without omitting essentials. No exercise exceeds the limit of an octave and a fourth (cl-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 octaves; on semitones, runs, syncopations, and all 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, and for enforcing habits of precise and distinct articulation and phrasing.

Vaccai -

Practical Method -

for Soprano, Tenor

HINTS ON PRONUNCIATION.'"
Vowels: ITALIAN.
than in English, being prolonged and dwelt upon rather than forcibly marked. sc like sh, before e and i. Z .. ds (very soft Is).

General rule: The vowels are very open, and never to be pronounced as impure vowels or diphthongs; they are 100Zg in accented syllables GERMAN. which they terminate,-short in unaccented syllables, or in accented Vowels: ones ending with a consonant. The simple vowels as in Italian: a like ah or dh (never d) ; e.g., amare y like German i or ii. [pron. ah-mah'-n!h]. e ay in bay (without the vanish 1); Modified vowels: ii. like a in bare, but broader; l in bed, l in bed; a in bare (before r). has no English equivalent; long " .. ee in beet; I in bit; i before a can be pronounced by forming vowel, like y (consonant). the lips to say oh, and then o aw, or oh (without the vanish saying it (as in bay) with the il); "in opinion. lips in the first position; short u 00 in boot; tt in bull. '" by saying l (as in bed) instead Consonants: of a. LN. B.-Long" is the General rule: Even the hard conFrench eu (injeu)]. sonants are somewhat softer than ii has no English equivalent; proin English; the soft consonants nounce long it by forming the are very delicate. lips to say 00 (as in boot), and b, d, C, I, m, n, p, qu, s, t, v, as in then saying ee (beet) with the' English. lips in the first position; short c like k, before a, 0, u, or another a, by saying f (as in bit) instead consonant except c, as below. of ee, [N. B.-Long it is the c .. eh in chair before e or i," cc French u.] like I-ch before e or i, g .. g hard before a, 0, u, or another Diphthongs: ai and ei like long i in bite. consonant; except before I (proae like Ii. nounce gllike I-y [consonant], au .. 071) in brow. e.g. mgli, [pron. sool' -ye]), and eu and au like oi (more exactly all -il, n (pronounce gn like ,1 in canon closely drawn together). '-' [kan' -yon]). g .. z in azure (or a very soft}) be- Consonants: fore e or i, (, h, k, I, m, n, p, t, as in English. h is mute. band d, beginning a word or syllable, j like y in you. as in English; ending a word r, pronounce with a roll (tip of tongue or syllable, like p and t respecagainst hard palate). tively. Where a doubled consonant occ like k before a, 0, and U," like Is curs, the first syllable is dwelt before e, i, and Ii. upon; e.g., in ecco [pronounce g usually hard, but like z in azure in ek' - ko, not ek' - 0). - Accented words from the French and syllables take a less explosive stress Italian in which g is so sounded; -ang, eng, ing, ong and ung • These U hints" are offered as an aid for terminate, at the end of a word, tyros, and not in the least as an exhaustive set of with a k-sound (e.g., Be'-bungt). rules.

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Vaccai -

Practical Method -

for Soprano, Tenor

HIRTS ON PRONUNCIATION.
i or i like u in beet; short I as ill j like y (consonant). English. qa" o as in Italian. r either with a roll. or a harsh breathu like the German e. ing. • beginning a word or syllable, and Diphthongs: before a vowel, like • (soft); ai like oj in bait; but before /-linal, Of' ending a word or syllable, like II, is pronounced as a diphthonc sharp s; bel ore / and p, begin(a4;;!~.drawn closely together). ning a word, usually like sll ai and ei like I. (e.g. st"mm. pron. shtam [u as ea, eu and C2U like German o. in bull]) ; otherwise as in Engoi like 011·411' (drawn closely together). lish. ou and 01£ like 00 in boot. ~ like f: eau like 0 long, without the vanish II. w .. ,,(bat softer. between v and "'). a .. Iu (also when beginning a word). Modified by a following ". m, nti, nlor mt at the end of a syllable, the ... Is. vowels and diphthongs are nasal Compound consonants: (exception,-verbal ending of 3rd pers. plural). ch is a sibillant without an English equivalent; when beginning a Consonants as in English. with the syllable, or after e, i, a, i, u, ai, following exceptions: a~, ~u, and au, it is soft (set C like s in song before e. I, i, I, and i. the tongue as if to pronounce d, ch .. sll. and breathe an II through it ; e.g. g .. :: in azure before e, I, ),1, and i. Strid" pron. shtrtd-ji}; after r;n as in Italian. a, 0, u, and au, it lS liard (a h is often mute; no extended rule can guttural n). be given here. chslike x, j like 1/1 in azure . • ch .. sll. 11 after i is usuaHy sounded like Eng· .p and st, see s, above. lish y (consonant). and frequentth like t. ly prolonfs the i (~<'l; e.g. Accented syllables have a forcible Iral'ai/l~r trlih-vllh-yay']. Irtlll' stress, as in English. In com'luil/e [trllhngkee'Y]' pound words there is always a n nasal, see above; otherwise as in secondary accentt"), sometimes a English. [The nasal effect il tertiary oner'"), depending on the accurately obtained by sounding number of separate words entern (or ",) /o.l{~tk~r 1J!itk (instead ing into the composition of the of after) the preceding vowel; com~und word; e.g, Z1vi'unm' but the sound of e is chan2Cd allis "musik", Bo'gl!nllam"m~rkla· to ah, i to d (in bat). and _ oier'"; The principal accent is to m.] regularly marked (') in this work. m, nasal in certain situations. r with a roll. FRENCH. s-tinal is silent. Vowels: t·tinal is silent. & as in Italian, but shorter, often ap· er, et, es, est, ez, as tinal syllable., proaching English d. are pronounced like I. llike all. The strong English e .. "in but ; ~·tinal is almost silent Accentuation. stress on some one syllable of a in polysyllabic words. polysyllabic word is wanting in 6 .. ay in bay. French ; the general rule is ~ ~ in there. to accent the last syl/alJk. German Ii. and always long.

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we need hardly say that here the teacher's example and oral explanation is better than all written precept.sso_.. b. .gi . - - ." -.. -_ . Corne. 4pre. 5 .. ~ ~ . Out with your voic. I if I / " pI 1 . And 4- .. Signor Vaccai has not grouped the letters of the Italian syllables according to the correct rules of spelling.__ ... I I I fia .... This will greatly facilitate him in acquiring what the Italians cal l the Canto legato (Chant lie) _ though... I tJ '1 ~~ · ~ \ fa - ee ehe pa . and how with a swift and immediate articulaj ion of the consonants he should attack the following syllable. but in such a fashion that the pupil may per ~ ceive... ~ ~ ~ I s'a . f'l Adagio Child. how his voice should dwell on the vowels. b . .. J ..ti co '- _ .....to.." I •• .. ...--...Ipi . -- - _ . of course.. ed .sso a-l mo . es. · . ~ I I ..a . exclusively.r -.._it !.to. v t Voice Voce .'" ! I I ~ .. . --..march a . ~while yet 'tis 4- · day.. at the very first glance.... - .way. tho' Jour way seems lonK... so He .fa I I------r---.../. I t. Since f'irst " e u start.I mo • rir... ~ I ~ c.. I ~ ~ Adag-io -9 ~la.".:':.. de-Ilu - tHL . pre .ta piu r___. ..ta - -6:_ ....joic . to the extreme value of the note or notes they influence. 4.Vaccai - Practical Method - for Soprano.... . ..es... W~lt..-. spring. ~ faith and song Keep heart-ed. I a - n{·o-reht· I r .. I fa - ce • ehe - pa . learn 111)\\" I Piano < . I - nlie _ ve ---- . Tenor Lesson I The Diatonic Scale In this 1s_t Lesson..rir...ci . P . And march.re . __ men brave- '" --- ..nea .. . ·. b~.4..lpi .. - . . r I ... .

..rotvs... . .I" there.CIa- ~ • •• • . Tenor Intervals of the Third '} Andantino Ahl for those who feel no l e..fa .Vaccai - Practical Method - for Soprano. cru-d~r . < '- ~ '- ~ · · ~ t. -:i. '-" ~ per fug _ gir 10. • Here and .. . per .. . dil... . ~ che non l ~e _ deil suo __.-... per fug . shel-ler su .r ~o-lvn T' --. 1"1 t. b •• eru . cooing.ti . r .J On tre fowl-er's f~ith-less breast.. tressd.mg.la.to . Wound-ed falls with • T gen...ti-glio.. . fug . . .. Wound-ed f'alls. :_* .cet . I~" grembo al ~L cac ...". • r -. ti-glio vo -lrin fJ t... cae .tor. 1 ••• . .. ~ l ~ ~ :iij ~ :iij -- ...... - fJ t... · · . pret-ty.gfio vo . gremb'Lal cae ..with r gen ..• l tor . -L . When the Slm . ~ tor.lajn grembo al -.tle coo-ing.- 'fJ .. ... 'Mid the ar. . . I . ~ so Andantino Sem-pli .tle I .ple dove. fJ e.gir · · ~ '--' .. "--' _.. fJ '- r r r pIit ... --- . . r dal . • * . . . 6 .. ~ r" . • .~ pe- ~ t. and sore dIS - ~ '- ri-glio. "' ~ .y... I On the fowl-er's faith-less breast.cia .... -. -I-- eru-~1- I ..--. . .. .tor.cia .....doar ..rel .gir - • dal «:> . ..

.t ~ . All t?O well what storms r -. Ah! 'tis sad.' Far..... ~ li. - no.__.. knows w~t _r storms I'" g!n be. T ~~~ ~ r I---' ~ - 7 ... {-Ie ~ . -==--~.. ... · · - --. ..I!I ..>- - ~~~ ~ ~ ... l'e r m .. car -....tre -....::. a~re tol .Thro' those dreadful - t r fiiiIII"""" ~ Iiii""""'" ur . 1\ ... . l'in . want that . Tenor Lesson II Intervals of the Fourth u Adagio • .te ~ fin - gan C". ~ . .1\ .. · · fJ . .... :__...tre ~ ~l .. vel - ... .' ~ al .::---." ~ gne . al .. al .t re ~ sea.. .ness. . far lnd forth to ::> >- One who kJ'ows What storms One who >... '::> ..e il ..__.> ~ >- 1\ ........no. ...c--._ do ..gan -'::> ~~ -- ~ - no..-..fj ./ -___" be! . l -' .. ..ro • .. ' Not mere m~ll - fi - .__:" · · ..... vol.-- a ~ sol - .Vaccai - Practical Method - for Soprano.gan ~ - no.. - ~... • sa >- deaf'ning' surg_es. Adag-io p La-scia "1 ~ i ...--- 11 .ges...-:-~ ~ .. .. -::> .__ro..... ~ tor-nail '-' I • .gan . ~ ~ . ..._.. Not - mere mad-ness.. • e ~ pur ehe men..do.....--. .te --~ be! r •- . oft-times noc C t. t fl ..zo - - ..I.. I"" IiiiI"""'" .....fe --"'" iin .-I!!!!!I l l >r -can ~ '" ~ . ... .

.. . ~ . Andante Av •• vez-zQJt . --.. ::... J1 --...Yen e... And furl'd :> in mea-zo '-" al por - to pa ._. . -4(J ~ .-j. Most 1 1m '... :... 4 Co "" ._./ ~ . e. all my ill sail.re • I~" sen ~ - za ~ con - f~ ~ to - · · fJ .. ~. ' for ... :> .--. Call me no cr~ '.Vaccai - Practical Method - for Soprano. in mid .-..j to pa .j ._.. ::.1__. ~ ..~ VI .... Andante Then u . <c:> .--..j <c:»: h"i" <:» «:» j../ I lI~lI -.._.. mock ..._.ven 1 - 109. . t- J . Tenor Intervals of the Fifth fl .._) 'IT IlI~ • • ~ I vall. por .. <:»: con - - .J 8 . qll ~:t =i t !'.~..... ~. vi t'e-re sen - za . . <c:> 11 ~.. fear pre - to il mar.~ --... --.' de - - s~~ ing_ - e. r .. ~ ...~ .lta - ven./ ii -....If_ _u do not • ... ~ ::::..li ~ <c:»: . in 4 "j -'" mez-z~l · · ~ ~ ___. Av - vcz-zQjt • • ... . · 1') . t- ~.~ ..... WlO dS • mos fa - vor - me. 'I'oss'd p 11 -:J._. Alt! sad sea - far u e..... ~ ~ I ---- 1[../ .~ ~ 11 . ~ .. • _. It me. 11 . ~.. fl ... .. - to il mar._.. .~ ~ ~ __.~. t... e 1') . ~ :> If no . _... ~ ~ ~t . 0 1i ~ ..~ <c:»: Ill. .... - ve .../.. Where _ . ~ ven.. :.. u til.. ..._. ... to ~ ~ 1!' ft....

~ ' .pa ehe non ha. ~ • I '" !I ~ .na ..Vaccai - Practical Method - for Soprano. :::: . I. • ... ~. d~e se _ . .... . ~ .. - pe. just..rna J _I./ J • I :I J ~J • in .te l'es .ser - ..ser as Sai.lent scorn sepla .. . 1 ~ I ~ . ~ t. . ~ 1- Andantino P .. ... • ~ f~ir-lst. -I ~ I ~I ) I I Ii I ~ ~ I J... ~ .. While the · ~ .... ha.sta ... ~ .!earlst f'or.~ guilt-y one so mean -Iy Sees and gives n~t pe . ~ "II! I I l 1/ I -- .. .gin .. ~ Y'-.ci ... . r nel sof-frir I) I.. 9 --..tt' I ~ Such a Ies .11Or ehe hon _l nel sof .frir l'in-giu.na d'u ..tho' Bel . ~ I ~ . .._f}: • I) • • __. ~ '\ for ... ! I • ~ .~ col.. __ ..la all un-seen....na ... •~ crown pIa I . .. -_ .. ... Tenor Lesson III Intervals of the Sixth ~I Andantino When un ../ ~ . ... Brought from far Golc~Ja's ~ine. I :4 :. r-.fa I Rarer far than gems the rarest fin .. .._. rene-Iy.- --if I) .. :..ly blame thou bear-est Bel.._ T l'\ . .~ .sta .la pro-v~3~ d'al .. '-'~ e d'al . ~e. .nts deem ci-da e ~ )' se l ... .. • 1 sign. -". I ... _j Then. re . .na col _ pa look.thou pro-va I .na I #: J .rna All in si .. ~ . ... • ~ . 1*- .

Tenor Intervals of the Seventh Adagio ~... I Tl" In I ..::: ~ 10 ._...Ul ·1 i ~·il ~I·i 1t~.ce -- . ~ In . rn I I I ...._ '- ga- ~ t . .. .tro - v. ..+ _._ .. One glance... ~ .. T 1. Lesson IV .. Where winds and ~es are so - -10 ba - sta. ••• ~ ~ ~ ~ ~ flash - . t . ~ '- One _# ~' ~ gleam ...Vaccai - Practical Method - for Soprano.. ." . Tn .. .. .ing.. and .: bre l~ -. P .i ~~ = 1. :: 11 . if "~. .ing. che gia ri .." 4"- .Io... al nocchier sa ~ '-'I dash- l.. = 11 I p~ ....l!0w the . I '- .nfd tfe un I I thun I der ~ Adagio Fra r· om - .

. Tenor Intervals of the Eighth. ap - pear.*' Quell. fl rna lim .fl How I.Vaccai - Practical Method - for Soprano. OIl at .pi . sweet and clear.ing. lim . Fall " bal ing. rna ::>. fl t.pid. - - I t. gen . 11 .ing. I I) f -fair these waves da t. FPm~m All 'Hm ~m ~ - ."* dawn's ~ first - da che ru - t .. fa.da si fa. -p. ~ ~ gen.• r . I rnrn rn~ ? ~ .J .tly ris . . ing.- lim .. or Octave I) I. si fran-gu mor - mo-ra..ing. bal - za. .J I) And . za.pi - S1 -. za. ¥ How -#~ i~~ III • fall .tl fall .!w .

Vaccai - Practical Method - for Soprano.on r - deg -. Andantino When ' . - try I "... . ~ • ....er ~ -. in - bio cer - ~ . their rI -JJ 11 «:» feath .__.. .. .. "'!_/ ~ ~ ~ -. - er Has r gni at '-' - rna cht.... 12 .rId weath .: . or Semitones ~ ~ ~ t. t.. Have . sa.__... leaf - ~- let or Andantino - Ii- ra dub - ... t.. Tenor Lesson V Half .. " ~ rI l~ ~ • ~ • ~ 'I it- .... r r. . ~ t.. ta va - ~ .. .__.J .._.... «..tones. ~.... ~ ~ ~ ~ fl P~J "tJ -JJ 'I 'I 'I rI . gia fr~ ~.. De ' <.. I Ind neg - gia ~ $t~ 'II!~ ~ -r 0 - ~ ..._ v -c::> '\ . .. ken teth - - I er.. win .. .___v-- bro - ./ ~ ~ qt_/ -. .

.. 1":\ -___. lest • "* ti tf!~ __ they ~~ . ~ 1'\ 1\ ~ ~ 'I ~ o_ • ~ fal - • 11 ) ~ · i'J ter and ~ wa ~ deg - ver L.___.... sions I!!!!!!!!!!!!I! ..Vaccai - Practical Method - for Soprano. see. ... . =- del ./ ~ ~ [') -___. --- . ~1U :tu ~ll...._ ti .del Oh! they die. mad r sea - son. So r ' con ..:::... cor..---... ou: frai '-" . i'J ~ gni al . bio ../ ~ • • ii "1"-. May .. fr~ fl . see./ I . gia mo ehejm - - t .. . ~ =- ta · ::::-' ~ '\ '\ tt· · va ~ ~.___... == == -.SCIence · - · .. Ind mo ~ . · · . cor.... pas ~ ./ rea son.__.. . .../" ~ U ~~-:./ - 1":\ "*__. __... _.--.:>• II II 1":\ .---.. ~ .. mo - ._. ra ~ i') dub ~ . ..-J" I. IJt_) ~1 i 10 V 1i =.J 13 - . . • fl -sa..---::::" cor.. . .. ~J.......:..:...- neg - gia .. l~st ti ~ ~ ~ die...~ in ~ cer - .U 1\ '\ • '\ .. Tenor .. • 'I i'J tost them on high. In :ij ~ .-/ l r L. ...ma '-" ...~ ~ De ~ ~ ii _..=.... fl · · -· ~ . ...

._..: 1l"~ . f~es.. . a~d dr~ams_a~d .. . . - s'ac - - cell . • one . Love.de 0 l e h~ 1_ I..ren ...not. All range.- maL S1 ' .. iThaL a . Tenor Lesson ~ t.de no l . f<ong... -·--r true I ___ ~ . --.. I"lli bar - rba . e.. - . . t:. j~ v~ 14 .. - :/ Moderato _ con .. rhi~ I - t . ee ..mor. si bar - r . · ..Vaccai - Practical Method - for Soprano._ ~f-~ - love. . ... mai..... r .. ~ _/ ce ..oe'---r mai. rl langlDg. .and r s'ar ._. ...Lworlds a-bove. i~ ~1 .. - mai 1 _l ~ ..c. "'l~ - non r... all.. .. Y' r 1: "'l~- 10veJ":'\ Tlmes_a~d !' e...l r _l Y' r "~ t.. Shone there...._. ".._ !' r I -C r lo. · .. · · ~ 11 i- ~.i.de. . 1.. .. ~~ . v. . • ~ - _Ie Y' .de P'""-I 'l~ I t.ro __ non - .b amal." rang ing-.__ no --- mat c. ._ ---- - .. " t r .:::J t . VI l Moderato 1 -~ Syncopation..... LTk~_ 'fill_ bees :'t Nel_ " '1 ~ .·ere~ life but eon L.de 0 '-' . b ar .et r- h' . ._ .- 1- rise L. chance~.tra-sto . l l fO non e. s'ar . S1_ ) 1\ • • - • " ...- ' slim'!"te .. . '-.ren .._ "h' C 1_ r . J sun ~ _:.. ro_ non e.I..'\ Con_ 1-. . r ba r ..

. progressively. dies..est. ~ ~ co Their _ beau-ty --\ .: 1'.. T~ la ve. ~~ dies.-Il!I!!!!!!I II ~ t... . ta. . ....... est. .doubt. the ta t.. ~ tat .. la ~_friends~re .-oI!!!I --~~ L~-est and ~-est. ~ --- the 1~ Co - me_jlcan .. .-I!!!!!!!I ~ ~~ II When..s~a - friendship _r · "l~ 'S'rr . .' \ . All jerking and slurring are equally to be avoided. uY ~:::: . .. . .... so -- tfJ: :I::J: ~~ ~~ ~ . ~~ slight--: est._...ta....ta. he may work up to a sharp Allegro.. . ~- ---- T~ l~~a ~~ 1'. .....~ .. ... tf:J: :t :t qr r r I .. :e ..... ...:--. . .. est.do re d:i'Y- dun bel t '" .- t'int1ie.. D~est.... as his capacity allows him.. ~ ......snows are whit . l L ~~ t. .. bel . the pupil should take the time of this exercise quite slowly.. . ntiJI - vo .---- .: est... Scales should be sung with extreme smoothness.. bel ... W...a...... - ...ta ~ve O~!_peck e __ .Vaccai - Practical Method - for Soprano.srn - cer ce ~~ I II ~in_se fi- --- 0-.....:.the -- mer . la friend-ship •"l~ t • · · ~ .est.- Onetut~ 'i'.doubt. 1 .. ~ ~ 15 .. t~ ta nun- vo - 1-.. .study.del .. Tenor Lesson VII Runs and Scale-Passages At first. In after .... but with each note clear and distinct.. ~ or - J. 1 . even and flowingly... flies. . ~ ~~ II - - re la _ --- nea~ -- fe .

. • .. non spunta · Ler be suI spi .ve - ra...'! .. r The blossom .bi .. ~.eth ~ nev - I .-. r ~ ... . Tenor Lesson VIII The Appoggiatura taken from above or below The Appoggiatura (or leaning note) is the most expressive of all the musical adornments..Y ~ ... The effect is gained by borrowing the full value indicated from the note that follows.. May's_ sweet...rna .na... z~f-t . 'I • di_ non tor . .. all dies. If · in my 1\ ~ ~ '- birds smg so d(ea!i-l~.. fl~ D need. I'l ~ h . I'l~ ~ ~~ ~ Andante .le Dio di Cit - te - ra ~~ Andante I I .. .. wak .... en ......the singer may slightly lengthen the time. • t't..." ~ ssm» e . . ... "... ~ .. What _ . . -41 .. ~ 16 11 11 - un fior. er...Vaccai - Practical Method - for Soprano.. · .rna . i'l .. 'I .. .~o. in my la . The v ~~ .... - I'l~ ___.-. 'I . ... 'I .deav ..... in any case.or? ~ . I . i'l ......no d:-1__ . On some occasions.... p~ s> "It.._.f4 q*" r\ . I I fa .. 'I ..... . __.zure skies..ra un t . ~ . Sen _ za .dys eyes Love '- If .... Non .. 'I . . fl~ . :'\ pri .... D Ilt-' Iti... of ... a .... abbreviate it. i ... . but never.... ~ ....

.. .:' · ... -fl • . 11" ~ ~ ~ '\ .t:'\ Da~ "1.sent .v[sfu ~ 41 ~ · ~~ 41 ~ .. ~ .. And day l the nor..~ fills co.. . __.. . f. ...ve.. '\ -.L.mi '-' co.. <::r ~ .. l .-:::::... -T pian-[e ve - 0- ve T .t" 1" ~ . '\ _ ~o l'an .. 0- • The ~iTdS sing ~ so r... =6. ing...J ~ · · ~ ..no l'an . ... ~. 1'1 . JlI'I ... t\ ~~:sprees: .tea . . -6' I) ~ 41- .r r ~ I~ ~ .i rl . • 17 .Vaccai - Practical Method - for Soprano. I ~ I mar-g i -ne ~ del · .no .l~... " One l~ok that lrive [mplies. l ~~ to · creel . The flo~_ 41- I 41- I ·.ing. Iui_ t:" .a - breaks-on land and sea... .lent · · · ....... · rise: per.ti . 1 --- 0- nor. ~ ~ One word suI ~~ c~n .. . rl ...l'<jt . sto ..i --.. I) 41 ~ · · ~~ 41- . ~. " 11 l I :. I! col . - . .ti - ~ . ill • l ~ 11 ~~ 41- s res.. .. _l.. fon .... · ~~ ..ti - co o- . lu . fl~ ~ 4I. re . __ " t:'\ . ~ l'an . s~~· :\ . Tenor ~~ 41 ~~ 41- Ia.sto. .---" co I f· ~ It·.. .t .... . Ie :.t :.. I ...dy's eyes Comes sweet re .co . ~~ per In .. r l .t" ) . . ... '-' k' I · The ~ r r ~iTds sing r so ~Kee~i-lY.. " b ri - ve . And day · per nor.pri .. fills the skies. .t- :.

-'I <c:> 1\ ~ t. fl t. ...... And Iot~. A n d an t' InO ~ ..).. and with the least appreciable time stolen from whatever precedes it... !t.. i .. - 1 1\ t. t. .r . nv . Andantino p .-. ~ lot t.so .ce - vU - mor. 'W. " . .-T Ben - r ohe ~i sen . - " j-" <c:> ..vo. . fall .k.. . 'W.t..._.ing... ~... r pri .. t. 'W · · . t~e " .y '-"" "I - 18 .. - long the Jot- r .er r r..... ~ da cui r r..·i . " . . Per .-'" ...____. r . Ie And drink Jotr ~ { in " ... r - reach. Ie The 1\ ~ ~..en night r [s l'ar . J0...ter beech." k r ... fin t_J .gnng pool... !! whisp'ring wa .. ~ . It should be sung with extreme lightness and ease. 11 IU !!!!!!!!!!!I!!I - ~ quel .. I') ~~.J lot!!.Vaccai - Practical Method - for Soprano. '1 'I .. .. simi e.._.. Tenor The Acciaccatura The Acciaccatura (or grace note) differs from the Appoggiatura in borrowing nothing from the value of the note that follows... "I . . <c::> 'I I <c:»: . ..~ !! t. -w - 11 - .... .. though it may slightly intensify its accent..es." ..l~ - mi - co r · ..k k Ie fl tJ lot tf.bo . 1'1.seel . swiftly.. ri - vo f1 ~ t.to B~nd down wh.. 'I.____. !! .es ~ gra ." ~~*-. rl . ...

I ... D M ).. . . ~O:j 111 ._/ j) ~-.j )..· ~ 'I ..If . and. dal sol· ft.. +i. Their si! .r' s. k ._/ ~~.._/ .. ~clear_lo.Vaccai - Practical Method - for Soprano.:eep ..ters . - · · ~ 'I ~ +i -:» ~.. ~ .- ~ ~ flo.fat - tor.L !) D i li ...+i IiiiiiiiiII IIIiiiii _ wa ... '1 ")I -. ~ .J fen ..fat - - - tor.. fl~lot t.. flJoj.r They r r shade r t~e I .~ -.ae i:s «:r :..lng. ') ~ !!.ow w{en noon fs burn r na r - iKg.them. ..If lot ~ 'I ~ lot ~ - =-= sleep- ._/ «: ! j) -.lets ._/ .. «:» ~ #-t:_j 1i ALnd I 401. -di suo be _ ne .. f:on-d(pr - - bel - la mer - ce gli -.. dal - sol quan - - do <c:»: ~~i -._/ il suo_ -be 19 - IMiiiiii ne .. ""'- il ing .. «:» «:» =i -ql~ ai ~ r r quan ..lng r' kwa . eep.._/ 1..ver leaf ._.. . ren .ters. j) ----- -- . · ~ Joj.. ~ 1'1 Joj... I.... lui ri ..101 I · 11 •1 .iii ~ fl .".do - f~n .de ~ -..- ......_/ . turn . :. They !!. ~ Joj. - fti And 4 4 k 1.> y~'" ~ ~ . . cool.. _. Tenor ~ ~ +i t j... r . ro...... -.de..... and cool..- ~ <c.. ).. fan them clear shade '-' = the :.

.. ..Vaccai - Practical Method - for Soprano. --.... jJ. ~ 1 ... ~ ~ f .J. We may add that modern composers write the notes they wish to have sung.... ~ • .. . ~ . ~I ~ ~ i--. _ . world . . I .. It consists of 2 or 3 notes. . .. . La -i ~~ ~..ter •• . Tenor Lesson IX The Mordent Of all the musical graces or embellishments the Gruppetto (or Turn) is.. at once... IiiiiiiII com.> . <c:> non __ ha... the most varied and the most difficult. plain..J\ .fl • .. .-..... .and can impart great charm to the singing without influ _ encing the due sentiment of the phrasing of individual passages. " The whole __ ~ . - . the only licence that the singer may occasionally take on his own responsibility. That per ra t:: jj " jJ. IiiI I . !:: ~ f\ .. .... ¥ ~ ~ . • .. u J. .gno __ .~ ~ blush ~ --. therefore. :L ~ 10 - I ~/# ~ . - - ter.. l= ~ ~- s~- 1" . j t:J -.... It is. 20 ~ . . ~~ ~ Allegro """i: f\ ~ ~ ..: . The slightest appearance of effort or premeditation is fatal._. I .. _ ee They show '--'" . ~1 -·t'___""" __ f S0 __ ~ r t Some ~~ ~ tJ 1'lj. " . from the apparent ease and lightness with which it must be executed.. your_ laugh Allegro La gio Ja ~ Vii .. ~ . :t u. t. dun " I " ~ " f.J 1 ~ 1 1 t ... ~ j. know . ~ f ~ •• r ~ . ~ I pa - Ie - .. We are thankful to say this abuse has long since gone out of fashion. -... . - si_ . in IiiiiiiI That tear . - . - .. lab bro I . af - -.se.ing.. . .. qua- Ii it. - ee.or the general intention of the composer. and it is impossible to condemn too strongly the singer's use of any Abbellimenti or vocal ornaments that are not indicated in the music by the composer himself.J... " far jJ.. . . ~ ~ r .

. ....:~ '--'9 ----------21 .x-: '--"" ... I t." -is______.... -I ..Ii +t ~ IJ... it! r-II to. · se '1 ~ t.. ._to_ r -- -J hal fJ ~ ~L-. fide ~ . -I .t:'.. ~ - pleasure... . Con- :::::--=-.. Of pain . . L..._ ~ < t.Ii • . . -_ it - -_ ..._no.... so - gno_lloll_ ~ --- .Ii t. in ..it.. I - ra ..-ill :::> • IJ.. . NO....'m _ ~ .." ::::::::=- "---'" ===~ 1':\ I'\~+t ·. ~ »: -ill .Ii t. bro I""i!B ~ lab ~ . - --- ::::=-I or .. ~ . ---.. Ii · · p_ "l: -_ .. it.. ~ r:.see.Ii tJ tt vain..se.. .... Tenor :::::::-I _ ~ +t · gio _flo" --.. . d._IlO.... +t ..__. .._ no. gllo__ 1 · vain...ji --. hide You tt ·. . 1'\....ee. per far I - si __ ~ L-._IlO.........-.Ii LIo P ~ •• ~ J :J :I . ~ =-==-I 1':\ _~1Ii - ._ nO. :::---ja_ve .!l ...-- +t "" r . r-"II cret __ they __treasure ). +t I · · ~ . ~ ·... is ___ i--III · - so - I._.II pa - Ie . 11 11 -._no.. __ ..ce 10 - qua _ >- bi - ._no.~ ._ bi - --~.. Vaccai - Practical Method - for Soprano.. .. ..' ~ I!!!!!! _ ~ .. • .._no. No... - is_ ._IlO._1l0......--..... _It:'.. . .iiiiiI nOll_ ha. --- hide ----- .

-4!-:.:=a q~ I .d orrr-mg.~ I . .j_ 11 11 -4 . stret _ to With such per . 1'\ »..f 1\ .ra ~ r' r . s'a .. Queen of I!!E!!:o --- la ...... -:.. ..gel ._.che_ ~ ~ • i" • " "'--.. I!II ~ .che ~ 4 -..Where s~ L light_ t. I . i" qf- • l ..leys.--. _ scol ..". I I!I P ...sool ....:: I · .tojn lac . ---. ... .> ---4 t: II cage tar .. '! -. Tenor Different ways of executing the Mordent I'j Andantino Thd I tend you night and morn-ing....___ ...'4.. tor - -----.. .er vol ...let-tvn lac .. q. . IO~'here lSI . I!. ..tra_ -qy r -r .. I 1..~ ~ . un' l al .- ~ .let .. . spe . I'l I na ...tar_sa ~ ~ • .gel I"l Andantino .che care your mai i:1'j i: L'Au .0:".-.re In 1"I - ~ er - ~ 4 "'i ~ ~ --.ta? Per . a T - --- stret. I -- i: II ev .. dan.~ r I tT II More_I -..---- 1----. mal_can .tra .. • h r • 'Mid:gr~ "--" al ...ci 1 l ~ ~ I. ta? T Vain en . -.dies. Tho' I love you. . Il per .er wrth one sweet I I song.. .ta Gr~ets~e di t: I'l Per..ra nev .Vaccai - Practical Method - for Soprano. ..- · ---1\ - --.deav. My sweet bird spe .. -..to l l ._ ." 22 • .ci can - simile ~ t: . tao L'Au ..ehe t --.l ...cing s a de_lS.r a . un' al . .I .or ..

r ing-ing \\ hen !iii" J. . vol .._ _ wing.tra_ ~ ~ .• dal-lies.. .ra l ).. day.ta ~ in na .. ...lit_ _ 1 1 1 1 Vaccai - Practical Method - for Soprano.. So l - ta.. in r Ii ~ .ber ...! - ber - ta. -:J.strong _"I the whole...ber - 1._ I I. ~ ..i... ~ ~ -.I Li. ===--- . -:.:' " 1'1 . tor == .leys...... .ing.. . ta " ~ · . <...ing.re'-" h -i .. _ 1 Y' 1 T r' Notes come. /e ... l I. ..reJn_ :-..... long...- ~~ I. ... ... II! III ~l ~ - Sing ...... long...» " III ~ Ii . ... .}' l ~ I I · fl t.. -:.. So This _ way. <c:»: - -ber str ong .._.. l .I'm ~ " ~ al . r ~ " there. that_w. day. in .- The whole. -:J! .t • 23 .Y. val.J. fiII!l di_tor ~ ~ ~ ~ hi li . spe ..ta. ~1l_ day..J • • • " I. .. y41 .tao ~ ~ -. y" -:.L.re . IIIII_ 1'1 " ~ " . ... - in u .. ~ - ber - ta. ~ " ~.ber . ... sing. .rtbrong.. y .i. Leaf .. 1t)rg....... I...- ta.t . na .. clear _ and. and strong-:_ " · .. 1\ 1'n I.Where wild bees... u- - ber . ~ SImi . .<:he_ I.ing- ~ di_tor ._.. .ta.- ..._ " ~ t- di __ - l clear_and_ I!!II!I""'" ~ na . per. l 4- • • • .... Tenor . vel . .... Ioud ~I..

... ..J I.. . -=- . • ~ . Sweet.. Ull_ ac .. sweet when __ tears 110 ·I~ '-!I .--.. I../ .. - come __ well - ing. is __ .mor -nOll __ --- - e._..to: · Il v L .... .. dear one's_ voice ... 1. L s: Sloe! ..Vaccai - Practical Method - for Soprano. ~ ..roes II t. I Quail _k ~ . ac ~ I lez Il V l - za a .... or Turn..... .L.. de - bo - i 'ill 111 ii he .... i ~ . • r' "" pu .A- I... - these __ are r de un ._ r' r' . - de_ j -I~ bil __ ~._..ing Deeds of __ I - fet . .no ~ - cen .. ...__. r' - • ~ :4j ~ 24 1/ . some_ .. Tenor Lesson X Introductory to the Gruppetto or Turn For the Gruppetto of Scale Passages..... I I! l Moderato P Quan - = do....tee __ - ..ro..-~_J to. . . 1 . the pupil follows the rules given in Lesson VII. . . In days . ~ do..-- - - I tell ..cen l < eJ ./ pet - -j- j . ..--gone_ ~ by... · · 1 . i 111 . at" - . Tears_ . . 'ill i I! V Where I! L ~ v I! eJ L e. for the study ~ L Moderato ~ how __ __II!IIl ~ fL t.)n .cen - .... Iike. .1 111 -j- ..

. -.. '1/ r de - . and..to: fJ l de <is: ~ ._.lez . za_ --- ~ fall and die./ an ..I l • .... 25 .) • ~ I!!!!I!!!!!!!I! van-ish.nish..Vaccai ~ ItJ L Practical Method - ._. - mor_ non..... e.: j · • oj ....L. :::. fJ I • ) 1 ) ~ .L. i non e.. it - ~ se1f__ shall l!!!I L fet. ~==no e in .. L...:l no ~ l - / . fJ V ~~ Love.... ~ · . ..._- bi! pet - to._ ~ -• ~ - - cen - . I' i • I tJ ~ Love l it self~ fJ - shall __ - - IV ~ L <..man .. . ~ not / '-.bo Iv < - - .I • .. l Ere_ tl1e_ ~ tJ L .bo ... f ~ i i .. - - ~ Iez - za_a -..L..-. i .. • ~ • V I · · ~l V • ~ ...__.. Tenor 'I-"'__"""'" I"" grand __ old mem I' 'ries ItJ < .L. a '" mor -~:::---- t I tJ < -: .. te e pn - I"" ro af_ • ~ • • ~ • l.for Soprano. • • • ..) • l.. _ die.. fall.

. .. non si . -~ No ~ tra one __ ~Y" dis_ .. I ti sol due bell' a -- 1 ni . .ti par .. ~ ..ers. '"Mid ~l V -- ..J~j ~ ~ ~ ~' for__ . va-no mil -- v r It-a - _fj_L V cov man .. All e ....ti... pill Poco andante tro - ...stan .. I J ~ .J »: J~J -::::::. _.... - l I now a-days. e _ tut .Vaccai - Practical Method - for Soprano..tudes.. simile r ~ .J J J ~' ~ .J r.. ~ -- l r I all these mul - _.. ~ ~.ter .stant lov ..--. Tenor Poco andante Execution: ~~~~~ III ~i 14!. 1 .. .---... I -.. r me why....~ r J J J J ..ni-ty che_ ~ sian co . -J ~ . I - ers.' L. 1 - ti . ._..Ia-no 26 . ~ ~ Two __ con .J 1r I The Gruppetto or Turn Tell Il l .me ~ L IV . l r .

.L two I --- .ti L · · fJ t) I. fe - - del - ta.J ~ .... Yet __ <c:> <c:»: but. Tenor I I be kind.. faith . ful..no_ fe • del - ta..... ./ they'll_ I - -.v ...... J J ~ JJ .. '-""" v ~ I e ~ tut - - ~A I - fuI onesWhere can __ >I --~ we_ _.L '-"'" faith I ~ ::> ~ di . find? ::> -- t) ~ par - --. I ..... r-. ~ shall.fJ IV fj l .J · · fJ t) r j ~j ~ J)~J I I r-j~j l- J J_... Practical Method - for Soprano.....tJ '*" L 19- - f 1.l 9F' . ~ Yet __ -""'I I_ t""'\ ~~ I >- 11 l - .... '*It- 11 't. .. Where ..l J. --.J -j ~ J j~j ~ ~ ~ .._ ti_ - find? par - . ~ r I~ I I J~ J to r ::> r L ::> . I <c::> e __ <c:»: tut .f. " • jl f ..no t) 41- I · · I j i.' ..l J.J J .la. but_ two..... - Vaccai I ...... we.:.._ L Swear __ t) di fJ I t) -- ..i l ....la ... ones. - _..-=.. di fe l .del tao • ~ 27 .

. · · • 7i ". Were .e ~ bas - S ~ • ... . y... .. ...10. If) fJ l~ p" •• r'I 1: .. .. mor-mo ~ v I · .. ..Vaccai - Practical Method - for Soprano. .r!---' - .. .. ~ And all so - I ghost-ly and un ~ . .10 I:'t •• D- rrr ":i ::.. ... r'I Se .... wea - . rain. ........ · ... . !'.ve - fQ. . un . and drear ---.tQ. ---=-L.. the..L. ... Tenor Lesson XI Introduction of the Trill or Shake fJ Allegro moderato ~ ~ eJ The wind seem'd .star_ - .... ... ne'er to ... ..- .sLar . I:'t I:'t S ... - plain..j r II" ~ . . Cold fell. eJ ~ ee ..... ._. - -----. 28 10_ --- fa. ~ . ~ eJ Allegro moderato Se .....-'!!I · · on sea.... so... v to.. ...il ru - seel - - .. .L.....re ..- ry.... .. --""""""'~ ... .L and.. r'I ra-mo -- seel . ~ . . ~ ~ . IV sas . . ~ ... ....... ~ po .. - so qua .. - ra len ...-.... rie Night-sank .-. .......- .

es_ (Ina .rc --b~ star ....:> If __ .sUlr-re . ato.. .!'lIt ___ love qua . • l) 10 l- i....swept I> ~p(l(' ---- for Soprano. .es Once fair_witiL<.si...__/ ._. .. .~ I'l I~ po-\"!: - - wind . .__ In · · ..._ A t) "- ~ I ne'er shall see a <:»: v '" · · "'- - g-ain? Thq"t' dear hi i1.... ~~ ...Vaccai - Practical Method - '" It) I> IJ these dark ___ .um-mer's .. . t: ~ i • '4 I . r(J II It) '" It) fae . ..rQjI rn - see] - ·" · • rtiiftrs.... .... • . ••• • • 11 ii 1... i ... .. .. III II r-Dl 0 .---.. to. • . r to. .star ---.__. I I I fa...es ne'er shall see - rail./ fac .. .. - g-ain? sas I'l v .. "'=' ~i" * 29 i" ~ rail....) ------.. 1111 ra-mo - . ... ....... " • • .. ... Tenor . .- scel - 10..---=:. - ..r- 10_ A t) fa. 1111_ -..Lar. 11 ~~ ra 11'11- t~e .. f'0 qna ....

.Passages anch .gen ..ti "-= '-' la - p bey .ing.or__ stray . ~ strt3f .ing. II ""1111 = :: II II :: • ~ 30 ..ing to each _ e- si __ . • We • drift • o'er • ~ life's _ dark_ . Tenor Lesson Allegretto moderato Like ships from xn Runs and Scale.vi al .tion.cean.. 11111111 1I I II I I I :: 11 . t) rno ..Vaccai - Practical Method - for Soprano..fet - t- I __ SO - DO.ti • • i DO - . Sway .. al . . - o . yen . t) ..l'on - de. All Allegretto moderato Siam na . \v .

.I't' ..Lclouds. ... 1'1 °- gni di -let ---...are Lgath .. 1i . • J. .. -. Great..glio. ir. #' "\ • iii ii i • 31 ..er .ta '" Ia It) < •••••••• ~ ~ .Ing. day It) 1'1 t) mar..:::..Vaccai - Practical Method - for Soprano. .._ tut .. Tenor <:» -.:::.... Ah!:~ ---day. .. 1'1 fast: Ah! well.~ tQJJ__ if __ -- r shall re- seo .. .

-<:» -.. With poor _pale_ I -.. That robs - .. spie-gar l'at" ..seen - ~ v do l.. withc._ ..weep --." -.10_ -..is the practical demonstration by a teacher or a proficient of the first importance.. the pupil must be careful not to slur one note into the other.as was shown in the rules given for Lesson I.: }r i e) II e) With _ eyes. p~~ ~ «:» l. e men-tre i dub-hi mie >t co - SJ IJ e) ~ ~ ~ · · l..J 1\ .sem ..scon ._.. nights ._. but here~ore than anywhere..__. --.. - . where a great deal of sentiment has to be expressed._ .J I . ..J ~ ...... .. _' ~ /j.__o IJAndante I e) Vor·· rei. as in abuse it sounds affected... which is less common.__ non o . .the singer attacks the value of the following note with the vowel of the preceding syllable... 32 ----~ .inlgh blind -.ing. By the second method.der - - ....~ I'""'"'!"l ~ ~ ~ .J • ~ 1-' seep - ~ mg'.cret.-_. that I am kleeping. the Portamento will offer few difficulties. rKr 10... railing these..- ~ ... Tenor Lesson XIII The Portamento In order to acquire an effective Portamento. !'I'D _r-! ~ cte.. with that sort of quavering that one hears too frequently in ill-trained voices.. ) of 1\ e) IJ t~ ble.~. na . · ~ p-' ~tL~'" --.._.- '- ._ -- ~ I .J ~ -lfI:.so.fan -- no.. In certain phrases.and the music grows languishing and monotonous..-:::: -- ..: - no. .. IIAndante (Pt Wfl?f.'" vor - . he must so blend the different registers and so bind the notes that they seem to flow into one even tone..~ .____::_J' • • 1/ V .v II • 1I <:» .ble? Tut .to spie ...... this manner is highly effective.Vaccai - Practical Method - for Soprano..!!" ~T~ p" ~ ~ l.- . - e) re :....L ..L on the contrary... that. ~ .. For this very reason it must be used very sparingly. the singer attacks almost imperceptibly the syllable that follows with the value of the syllable 'that precedes.. I. .i. l. . . - - dis . How long can ~ It) IJ Ie) van --.. When the true art of phrasing has been mastered by the means indicated in Lesson I. we must be content with adding that the Portamento can be taken "by Anticipation" or "by Posticipation'' By the first of these methods. This se.J ~ ~ l. -c:" Iips...

. ~ ~ ~ '-" ~ --... _b- ~ Hope-less. ~ .. Sol . what -_ i.to non ..:." .... 80_ - con-ceal What I would most. ~ .. _I"'""I". ""'"" if p b. ~ f-. .-.to...gliJlc-chi _ miei nOD_ men .ci .. ~ t) tut . non so.cer.... ~ <i:» • ~ J..bio .......__..spond-ent..__......k_ -x:»-: - I __ ~3 - 4!!. pen ..do... Tenor ~ tJ br ~ ~ ~ . de .Vaccai ___ l Practical Method I I I for Soprano..e: b...Iong can I_ . .SO..... ~ ..0..t*~ · · ~ It) .!!" ~ I) .SO. How.1 1'\ <:»:«:» Ib l) l) ~ .I · f-... ~ '-. ta . would most re - "" tJ ~ . ~ ... dub .- veal? And tho' a smile 1m wear-Jng..../ would most.to.... de - ~ tJ· cer.. ~ . e ve .sparr-ing. 11 «:» ~ ~ 33 ..to.._.... I t) spond-ent. ~ I ~ t) ~ '----"'" j~ .. ~ ram- ~ It) ~ ~ ~ry ·~ • . nOD-SO to __ 4V ta- ~ .. ...-:.... ..Ie ..I..:-... . ~ ... At _ heart a_grief I'm_ ~ It) )r = ram-men .'.. e a .... de . tnt-to spie-gar. tut ~ _:::::::: ....

.... . 11 ~ ... nev .er_ .er nev .. ~~~ ere .. ..do r al mio pen- Il IV ~ ~ ~ ~ ~ ~ --_/ ~ . bf ~~ .do. . J'" p ~~ ~ I · · ~ Il~ +t IV .Vaccai II Practical Method - for Soprano. I0Io . . ere-d~Lmio pen .sier.. I flo....- · · 34 . .......... I <:» ~41 such.--.... non_ ere-d~Lmio_pen I Il~ +t IV ft ----------.. ~~ .. _~~' IDlO_ .. 111 ..g- .br I ~~.sier. Ii heal....__J1'\ ~ · · Il IV ..nev . nev - erx........ heal._. . 111 - do al mio - 11 pen I0Io +t +:» ~~ . ~ . non r ere . ah! I" I ) II . such r Ah! nev . pen- sier.-..... Ah! nev-er.. I pain Il~ +t IV can.. .L ~. non ere ... uou. Il non ere - rr-" ". heal....... ~ - ~~ r.er such pain can I0Io Il IV r +t sier...' ---- 6- .dUI- ..er. non I sier.g- heal..- ___. ...... I * ... non ere . L...do. .._/ ere - I r r .L. heal. I_ know can._..-.er I my pain can r .... .. r r ah! nev... Tenor t:J bear Il IV ~ - I ing. .L.. pain can._7 t < IV ...

. '-. ~h e ~e grey sea was griev-in~._.. ~y ~ mas ~ ven ters. sua -_/ '--.ds. · tl ~ IV tl ~ IV tl ~ IV . r::»: PI . sea .:::::. • ~ ~ . .. 0 1 WI' I . 1 ~-~ :4j 11 • 11 • III!!!.t-C~ 11 1 . . These v flit Ppor . my tl~ ~ iii'en ' v flit reft of rea.ters..) '!_. .. Go chide _l them. r....':. . ~..pa del IV .__...son. - c'of-~:n~_ e.. sua col .. Tenor Allegretto (2r111:al/._ Sal. ~ w~ol _ pa 1t_I . v Il~ t..pa Il ~ It. .'e! They ~use _1 mas ..""~ . v fl ~AllegrettoO • ~a . . WI' . ". del P~en -- fo.--".Vaccai fl~ V flIJ.. ~ ~ . II 35 .da ter - ro-ru spa - ven ._._ ~ _I .._ :.- . Go ~efs wild . . .:.not _1 - ·U as -~ .. e - _ . ~. ...ta COIl Ion .. _ .ghi la spon -da.son.. _th-".- . Ye call me de - CeiV - r mg. ~ ..! · · . - Il IJ. nOD _1 e.. 111 • • W:_. ._.jj q• 11 - . :::::- tu - sin .. .to.! 1'1. -... '--.pa • • tt· .~ ~ y~ur dis ~ 1.. Go ch~hem. . . 1 1 . Practical Method - for Soprano.. "These ~ad wi.. "0 ._. mad winds./ ... not me!" ttdel - to. sea.. ISt1/lt ~ e PJ co1. .... Not _~ ven .. 11 • ~ '-. 11 j.~ I!!!!!.ters.to: e col .. sua col - pa nOD ~ e. WI'~ -~ . .ci-dVl tria ~ v .

f. A in his coun-try's (tis - honor! se stes.ra .. u ur 1. .tor.1 . ..tage .Vaccai - Practical Method - for Soprano.di . otherwise. .10 che ...... tmf.bi . ~ .to le .so se .. " .ti .ta . no loss or gain to L'u .la sua pa-trta a cui ~i tut-t~~e . the note on which the word-accent falls should be entirely converted into an appoggiatura of the following note..i. that nowhere is a clear enunciation of each word and syllable of more importance than in Recitativec..i .-.- I r::-~ I • r 36 ~k: . .seer dee so .no >J e A ad . How base and how mean fl t) . th~ l~d »r we sfw the light. IV . ~r da al cit . ...ly. IV fl l' A A or w~t can shame or A !.ard s. or several repeated notes in till' body of a phrase.. " gIO-va . When we come across two <irnilar notes at the end of a phra-e.pa .J .-jure l l A w{ere P1sper.Ie oji dan-no ch'ei co - no .-. it must perforce quite fail in its mission. we have marked with an "A "where such notes occur in the following exercise lYO fl Reel°t a ti t) A Our fl It) fi~tarthly e tum ~-ty r R._ 0 uuocejal . A . f0 ~ La I'll-tria tnt-fo at cfui Slam parti. Tenor Lesson XIV We need hardly say. ...van . To exemplify our meaning.r country. . e.

. ii ...gli~e-sler - ni con · · "1. r . It) I'l V d~ se. I ro nu .. dagl'ln. del pro-prio ei ... P'*:.ti~e..ae sol . -t--. A~d her c6un -sels en - I'l V broad I'l A It) fJ It) de . .... .sVI '-. ~ . CIO . ...jl san-gue r spar-ge per Ie .du - ~o.na. .. '-.VI'l d~t we L ren-der: I She 'twas. and al l L._ .. -------I _!tI 37 da ..tect A us in our homes..J ~ It) do ..4 her arms ..i. che deb-be ... Her laws pro ..r: Es . who '!.fen ....ti do - · · 4 l •• A us. Tenor A L A us r when frr her wel-fare l A she '- bids L sac. A me .fend ...tune..~ I r~n .. what ~e are. us..sul .gi ..1. . l l _l A It.u suvdo v ri e.dr1. ..de.ri-fice f~r .- l'e . .. f. fJ l.- • A ~... L .la · fJ f~ "oil A ones.. pro- v ~ \. 'ns her due that L l I'~-----.. nril .Vaccai fJ t) fJ IV fJ t) L~ l Practical Method l for Soprano..._ ·. life. . Con Ie sue leg. L. IV ~~de us fJ ':4 ' what we have.cUI di . .... A and e -Yen ollr - Quand.sti ..

rio name and 11 t.stin ·.ur hon-or: race.sta A A It.- .n~ss and rna I dre a .--!.• • I -~ '~ A man can be hap-py out of GOd's heaven! A de mar -ta> Ii es-s~r ~... gJp. · -I.ee -- mor-tal (a.. .J 11 A. A 1.la gli ld 0 - '[l · · 11 tJ 1'.man-te T' a fab-bri -car s'af la sua fe - Ii ... A A and vin . t ion. Re-wards our mer-its 11 I@) A A With I nor 11 ' ~ I ne pre-mi~o)l mer-to.J 1Oo· A lov-ing kindness.r r ~ v 11 @) peace. Tenor 11 A A She gives us safe .J I . I Ie .n. ne ven..Vaccai - Practical Method - for Soprano.t~r: ira .lL-0 - fe .... no ..to I al de .~.ry. ..ce_3.ty. _! . per quan .!-~ I I I .... A un-ceas-ingly she A v all ~ v /1 @) w1ches fan =na our happi .di-cates ... I }~-~ ._ @) lig-ht us. 38 . e @) · 11 .ad-vent-ure..se. S].~~ .me.J I'ar ..-==t P. A pre . per . '. ~I El .d' ea 1·[ 1.ci - · · 11 v ..mi.. r lOf . A Ii . .

.1_' - ..... : . 7J -~. Tenor Lesson XV A Recapitulation or Comprehensive Study of all the Rules given in the foregoing Lessons.. II!' e I'l...yrs come and N. . ~. it - - ~ - '-_... I _ o ge-ma._..Vaccai - Practical Method - for Soprano. . III!!!!.-. ... - '-' . ...... go. 4J . -I .. ~ - -....J:~ I - ~-.. .. l.la -- Soft • . de' • rio ri e de' no-vel 11 ..w --. Il. leg ~ to ii - .... ger.mol-Ie ~ play . O'er hill and vale a . ing. 11 ri..stray ~ing-.ol tJ Il. "I • .. 0 ~~ -~ .mo r Lilif' tJ ll .ol t) Il.. I . .. ~ ~ ...:::::::::::-a- .. now ..Ul ... fJ~Modera t 0 tJll. :\:I£-..r . 1 .' . Il ~ It) ---zeph ~ zef -- .7J ~ e gra q. to dun --' --..ol It) I Il.ol When now we go :.. .01 MAlrera t 0 ln stagi'on 0 p" ~ ~ .ol tJ go. I - - ./' Like chi! ~' - ~ -~ - dren a. . 11 11 1 __.... .. 39 I-TO - ger. .ol tJ .round us -~..st'mlle.. ..- ~ing. II:_'. ....II-(_~ ow sighing...

~.. . --. y -~ - ply - ing.ing..._ II .. makes II .....spi __ Il~ I. . lit) Ien .~ i 40 - ~ keep hid-ing L gn~. Ion de. ~ de.- ..1 ~ · .edel pia- ~1~ P.to.to... glad_ re - to_ in ...dy - ~ ing.. glid .ry ones! a-round us Oil! why Zef . lit) L 0 -... ~ L Il~ lit) Il~ lit) "Mer . Tenor .. ..I!!!!!I!!!!!!I! L.ere .. o .. - --y So 7' 0 I~ ge-ma. ... P* '1 :. • r........ y~ " ~ . 0 len .... • • ~ • ". .1l1t It) r" sigh-ing.. -~ leo - -~ -..to • com ...ro in r. Then light-ly... lit) __ h "-"" . I They r seem.- to r f~ a ...! ge - r ~ rna fra_ Ie fron <:» · II ... .. II . I ~ . -- Vaccai - Practical Method - . ..pa Il~ 1«.gnl la . I The stream L. ~-- plt__7 1 '1 1 tklCJi I bright-ly.. . j_ 0 .fi .. j j L • p ~. - for Soprano. I i It) · · P6~ llij ...

es. Tenor 80? _ "'C_ see your In.. 0- trac ... in.... 1 41 ...pa - ~ ... 1 1 1 ...pa-gno.. .... IV' ~. _ gni Ia ..cer. enm - Why won't you e- del pia ..Vaccai - Practical Method - for Soprano. Oh!_ ~ ..... ..... com - r - - 11 -~ ea. why del pia- - . cer. not - ~ gno c __ ... com - _li-..to. 0- gni... yourL~:::===::::=-_ --"'- "'- pa-gno.... fac-es.....

.. y . .. . It) · · ~w t) _! 1\ .-"-com ----- ~ -. com !\_ rae .. Tenor ~~ Itl r ~~ show.... tI ~~ eer.eer..... . O~! -.... not d~ It) ~ IV .-.... Oil! ... - -.. .. show?" 4 11 - v ~-~ so... ~ ~ .." .es... pia- -" r .--.. eer.::::: -.Vaccai - Practical Method - for Soprano. ~-~...._ .guo..... ~ ::> ~ ~ r>~T ::> . . y~ .. .y:_ ~.~ ~ - -~- 4 b ____ Il w rae ..... you~' tI Il~ pa .? com ~ - .. 4 - -. 11 11 -- pa . ~~~ . ~ .. I .es..... .. · · . ..your -"'- ~--. del .. 4 11 ... ~ com~ . ... e.... del ~ pia ..>"' ft.. ~ why - hide ~~ it) del · · 11 II~ . ~ - - r pa ..cer. why ~~ It) not_ - " hide 1\ so. 11 pia -- cer... • • ~ .. Your.: 11 ~ 11 42 .. e r.. Oh1 why f.::::... r':\ pia .... _yo - ...es.....::::::= ~ - - pa - v · II~ t) •• 11 11 11 •• 11 l I··.gno . .. show... fae . rae .guo. .. .es. l ~ e_ gno.

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