© heet_ usIC Vaccai Practical Method for Alto, Baritone PREFACE BY N. VACCAI NYONE who wishes to sing really well should begin by learning how to sing in Italian, not 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 piea that, as they have no ambition beyond just singing to please a few friends in the restricted area of their own drawing-rooms, they need not dwell upon all those subtleties of the vocal art which they are ready enough to admit are indispensable for those desirous of commanding a larger and more critical audience from the public stage of the opera or the concert-room. It is to show the absurdity of such an argument, and to win over these faint-hearted ones to the true cause by more gentle means, and as it were, in spite of themselves, that I present this “Method” of mine to the public. They will find it new in design, very practical, very brief— yet very effective—and, as physicians say, ‘‘very pleasant to take.” ‘The pupil will attain the same goal, and may even beat the record, but he will find the course far less lengthy and laborious, with spaces of contrasted sun and shade to beguile the tedium of the race. As at first all must find a fresh difficulty in having, as they sing, to pronounce words in a language which is not habitual to them—a difficulty which is not altogether obviated by any amount of study in Solfeggio and Vocalising exercises on the same model,—I have tried to make matters easier by this plan of mine, where I adopt, even on the simple notes of the diatonic scale, words selected from the fine poetry of Metastasio instead of just the mere names of notes or syllables conveying neither meaning nor interest. By these means I trust I have rendered the pupil's task so far less wearisome and thankless that he may even find pleasure in contracting the habit of clear articulation as he sings and, without experiencing any aversion, be led to the study of an indispensable form of exercise. I am of the opinion that not merely amateurs, but also those who think of entering the profession, will find my ‘‘Method” useful, for in each individual exercise I have sought to make the music illustrative of a different style of composition and of a distinct emotion, so that the pupil will learn more readily how to interpret later on the spirit of the various composers, The vocal part of the exercises has been kept within such a restricted compass, not for the greater ease of the greater number of voices, but because of the conviction that at the very beginning it is more advantageous not to strain the vocal organs, and to keep to the medium register exclusively. ‘This is amply sufficient to demonstrate the requisite rules, and, besides, should it be thought expedient, it is always easy to transpose the lesson into a key higher or Jower, as the individual capability of the singer may necessitate. 1Vaccai — Practical Method — for Alto, Baritone 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 Niccold received his first instruction in music. He was then brought to Rome for the purpose of studying law, to which heremained more of less faithful during some five years ; but then, renouncing this profession as dis- tasteful, he devoted himself entirely to music, taking lessons in counterpoint under Janna- coni, and later (1812) studying the art of opera- composition under the guidance of Paisiello, at Naples. While in Naples he wrote two cantatas and other church-music ; in 1814 his first opera, I solitari di Scozia, was brought out at the Teafro nuovo in that city. Shortly after, he repaired to Venice, where he stayed seven years, writing an opera in each, and also several ballets; but none of these ventures succeeded in winning for their author even the evanescent vogue of an Italian opera-com- poser; he consequently gave over dramatic composition in 1820 and turned his attention to instruction in singing, a vocation in which he was eminently successful in Venice, Trieste and Vienna. Again devoting his energies to composition, he wrote operas for several lead- ing Italian theatres, yet still without success; but few of his dramatic works became known abroad, among them being La Pastorella, Timur Chan, Pietro il Gran, and Giulietia e Romev. The last-named opera is considered his best, and its third act, especially, was so much liked that it has frequently been substi- tuted for the same act of Bellini’s opera of like name, not only in 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 de- served popularity as a singing-teacher. Again returning to Italy, he recommenced writing operas, one of this period being Giovanna Grey, written for Malibran, in honor of whom he composed, after her decease, in co-opera- tion with Donizetti, Mercadante and others, a CDs: Music’ funeral cantata. Most of these operas also met with hardly more than a bare succés d’estime, In 1838, however, he was appointed to suc- ceed Basiii as head-master and instructor of composition at the Milan Conservatory, which position he held until 1844, 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 six- teen operas, he composed a number of canta tas, church-music of various descriptions, arias, duets and romances. Although unable to secure a niche among Italy's favorite dramatic composers, Vaccai’s lasting renown as a singing-master shows that he was possessed of solid, if not brill- iant, artistic attainments. His famous ‘‘Me- todo pratico di canto italiano per camera” is still a standard work in great request, and his “Dodici ariette per camera per l'insegna- mento del belcanto italiano” are scarcely less popular The general plan of the ‘Practical Method” is to render study easy and attractive, with- out omitting essentials. No exercise exceeds the limit of an octave and a fourth (c'—f, 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 cctaves; on semitones, runs, syncopations, and all graces usually met with—written to smooth Italian verses, with excellent English translations. The extraor- dinary and undiminished popularity of this method is attested by the numerous editions through which it has run; yet it is not merely the method for dilettanti, but can be used profitably in conjunction with any other sys- tem of voice-cultivation, being admirably cal- culated for strengthening and equalizing the medium register, for giving confidence in tak- ing difficult intervals, and for enforcing habits of precise and distinct articulation and phras- ing.‘Vaceai — Practical Method — for Alto, Baritone HINTS ON PRONUNCIATION.* ITALIAN. Vowels; Generatrule: ‘The vowels sre very ‘open, and never to sr impure vowels or diphthongs they are Zong in accented syllables which they terminate,—short in unaccented syllables, or in accented ‘ones ending with a consonant. & like oh or dé (never 4); eg.. amare [pron. ah-mah’-rth]. “gy in bay (without the vanish 7); Zin bed: @ in bare (before r). ze in beet; Fin bit; # before a ‘vowel, like y (consonant). aw, of oh (without the vanish #); 6 in opinion. * eo in boot; x in bull. yasonants : General rule: ¥ven the hard con- sonants are somewhat softer than in English; the soft consonants e i a u are very delicate. 4, f, 1, 'm, u, 8, t, ¥, as in » ih ms My Ps a ¢ like 2, fore @, #, or another ‘consonant except ¢, as below. ch in chair before ¢ or 1; ce like teh before e or 2. g hard before a, 0, #, of another ‘Consonant ; except before / (pro- nounce gi like Zy [consonant], eg. sugit, (pron. sool’-yé]), anc x (pronounce gar like # in cafion fkan’-yon)).. @ “sin azure (or a very soft /) be- fore ¢ or his mute. Jlike y in you. 'r, pronourice with a roll (tip of tongue ‘against hard palate). Where a doubled consonant oc- gars, the Set, splable te Gwe y eg., in ecco jounce ek-ko, “not ek’o]. — Accented syllables take a less explosive stress * These “hints” are offered as an aid (or tyros, and not ia the least au an exhaustive set of Cc heet, lusic than in. English, being prolonged and dwelt open ‘rather than fore bly marked. 8¢ like sh, before ¢ and i. 2 ds (very soft 41). GERMAN. Vowels: The simple vowels as in Italian; y like German i oF a. Modified vowel like a in bare, but broader ; ¢ in bed. & has no English equivalent ; long 6 can be pronounced by forming the lips to say of, “and then ying @ (as in bay) with the lips in the first position ; short 4, by saying ¢ (asin bed) instead of 4. [N.B.—Long 6 is the French en (inj) i has no English equivalent ; pro- nounce long @ by forming the lips to say o¢ (as in boot), and then saying c¢ (beet) with the lips in the first position ; short @, by saying # (as in bit) instead of a ENR Long. @ is the French w.] Diphthongs: ai and ei like long # in bite. ae like 4. an“ owin brow. en and dit like oi (more exactly af’, closely drawn together). ~ ‘Consonants: f, h, k, 1, m, a, p, t, as in English. ‘Band d, beginning a word or syllable, as in English; ending a word or syllable, like p and ¢ respec- tively. € like & before a, 0, and w; like t before ¢, #, and 4. g usually hard, but like 2 in azure in words from the French and Tualian in which ¢ is so sounded; 1 Ong, ing, Ong terminate. at the end of a with a é-sound (eg., Be’-bungt),— Practical Method — for Alto, Baritone HINTS ON PRONUNCIATION. j like qa * F either with 2 roll, or a harsh breath- a becials « the 7 (consonan a word or syllable, and ‘before a vowel, like # (soft); ‘ending a word or syllable, like sharps betore ¢and 9, begin- ning a word, usually. like sh (eg. 3 al , pron. shtim [w as: ‘otherwise as in Eng- Wares beginning a word). ch is a sibillant without an English valent; when beginning 2 +, or after ¢, 1, d, 0, wf, ai, Gi, ae, tu, and au, itis soft (set the tongue as if to pronounce d, and breathe an 4 thi it;eg. Strick, pron, shtrtd-h); after 4% oe am, it Ys hard (a chs like =, ech “sh. and st, see s, above. like 4. ‘Accented have a forcible ‘stress, as in English. In com- pound words thete is always a ‘secondary accent(”), sometimes a tertiary one(’””), fing on the wumber of ite wi enter- ‘musik’, Bo’ ‘merkla- vier”. The pri accent is, regularly marked (’) in this work. FRENCH. Vowels: @ 2s in Italian, but shorter, often ap- English 4. A like oh. “win but; e-final is almost silent in polysyllabic words, € ‘ ayin bay. & ‘* ein there. Lor i like e in beet; short ¢ as in o asin iain u like the German 2, Diphthongs: 1 He afin bat but bs before na, i pronounced asa di (as ai closely rether) aiand Ge ra awe id oi 2, oe Gra pinned - wa elosely together yu and off like ce in boot. e e eau like é long, without the vanish #. Modified by a following 1, m7, nd, nl or ‘mat the end of @ syllable, the vowels and diphthongs are nasal bal “ending of (exception, —ver 3rd pers, plural), Consonants as in English, with the following exceptions ©. like s in song before ¢, ¢, 4, 4, and 4, ch sh. “+ gin azure before ¢, 4, 2, 4 and é, as in Italian, is often mute ; no extended rule can after # is usually sounded like Eng- lish y (consonant), and frequent- y Brolongs the i (ee); eg. travailler [tkh-vih-yay’), ten- quille [trshngkee’?}. mnasal, see above; otherwise as in English. [The nasal effect is accurately Obtained by sounding * (or, a0) ther eh é after) the preceding yowel ‘but the sound of Fis to ah, ¢ to d (in bat), and wVaceai — Practical Method — for Alto, Baritone Lesson I. The Diatonic Scale. In this 48! Lesson, Signor Vaccai has not grouped the letters of the Italian syllables ac- cording to the correct rules of spelling, but in such a fashion that the pupil may perceive, at the very first glance, how his voice should dwell on the vowels, exclusively, to the extreme value of the note or notes they influence, and how with a swift and immediate articulation of the consonants he should attack the following syllable. This will greatly facilitate him in ac- quiring what the Italians call the Canto legato (Chant lié) _ though, of course,we need hard- ly say that here the teacher’s example and oral explanation is better than all written pre- cept. Adagio. Voice. 7 Child, tho' your wayseems long, Since first we start-ed, Come,learn how Voce. SS Ma-nea so-le-ci- ta piu de-Iu-sa- to, a- nco-rche Adagio. * Sees Piano. Pp c F SSS RE faith andsong Keep men brave-hé . While spring re - joic.es, And SSS = ga - gi-ti co- nlie-ve fia ta. aS ada pS Sd T "i a while yet ‘tis day, | Out with your voic-es,Andmarch,march a - way. pa-lIpi-ta pre-ssoa - lmo-rir. fa - ce che {— Tre Re ; sheet. CDi 5Vaccai — Practical Method — for Alto, Baritone Intervals of the Third. Andantino. Ah! for those who feel no pit - y,When the sim-ple dove, so _Sem-pli- cet- ta tor- to - rel-Ia, che non ve-deil suo pe~- Andantino es PY pret-ty, ‘Mid the ar-rows,shel-ter su. ing, Here and there, and sore dis - ri-glio, per fug- gir dal cru-dgar - ti-glio vo-lain grembgal cac-cia- tress'd, Wound-ed falls, with gen-tle _coo-ing,Wound-ed _ falls, with gen -tl tor, per fug-gir dal crudgar- ti-glio, per fug- gir dal crudgar- coo-ing, On the fowl-er’s faith-less breast, On the fowl-er's faith-less breast. tiglio volain gremboal cac-cia- tor, vodaingrembgal cac-cia - tor. Sheet CDi 6Vaceai — Practical Method — for Alto, Baritone Lesson II. Intervals of the Fourth. 3 Ah! ‘tis sad-ness, Not mere mad-ness, Not mere La-seiail li-do.eil ma-rejn - fi - do a sol - ' nN want that oft-times ur - ges, Thro’ those dreadful deaf'ning surg-es, Far, so car tor-nail noc-chie- ro, @ pur sa chemen-zo - gne-ro al- tre aS AA far and forth to sea, One who knows whatstorms can be! vol-te Tin-gan - no, al-tre vol - te Tin - gan- no, oe, | SS knows what storms can be! All too well what storms can be! vol - te Vin-gan - nd, al-tre vol-te Vin - gan - nd. Z#: NF Sheet. CDi aVaceai — Practical Method — for Alto, Baritone Intervals of the Fifth. Andante. Pe] SSS oe Tien do not_mock af me, __Call_me not_cra_—_ven =a: =] aoe ae Av - vez-zoa vi- ve-re sen - zacon- for - to Andante A » aoa | ay aes | Se oF Z 2 =F > re cee Se5) fetal Sees Toss'd in mid . ha - ven, And furl’ all my sail. = = SSS = in mezzo al por = to bh: ven - to il mar. 1 —— 1 z/ ‘ Z uma — amet ona — —. oY ==} SS : = = winds most fa'- vor me, Most I'm de - spair - ing == = =: eee $ s = vi. ve-re sen - za con- for - to Sheet, Music’ CcVaccai — Practical Method — for Alto, Baritone Lesson III. Intervals of the Sixth. Andantino. When, un - just-ly, blamethou bear-est, All in si-lentscorn se - Bel - la provae dal-ma for- te Tes-ser pla- cidae se- Andantino. P P rene-ly, While the guilt- y one_so_mean - ly Sees and gives not look nor re-na nel sof-frir Tin-giu-sta pe-na d'u-na col-pa che non eee ee eee ee eee oe 4 sign, Then, fho’ all un-seen, thou wear-est Such a crown as saints deem ha. Bel- la prova?dul-ma for- te Tes-ser pla ci-dae se - fair-est, Rarer far than gemsthe rarest Brought from far Golcon-da’s mine. re-na nel sof-frir Tin-gin-sta pe-na du - na col-pa che non ha. Nt Sheet CDi 9Adagio. flash so | simile Vaceai — Practical Method — for Alto, Baritone Lesson IV. Intervals of the Seventh. One gleam ‘mid the thun - der Fra Yom - bre un lam - po Where winds and waves ba - stagl nocchier ——*__ p of - CDi One glance, and now che Sees where his bark should steer. che ri- co- no - sce il mar. <3 10Vaccai — Practical Method — for Alto, Baritone Intervals of the Eighth, or Octave. Adagio. And now dawn's first Quel” on - da simile. All_gen-tlyris- ing, fall - _ing, bal - za, sifran-gee mor - mo-ra, How fair these waves ap - Fall ~ ing. lim. pi- da bal - za, I, — low lim-pid,sweet and clear. - ing, gen- tly fall - ing, “3 bal - za, bal- za, ma lim-pi-da si fa. > psheet CDi aVaceai — Practical Method — for Alto, Baritone Lesson V. Half-tones, or Semitones. Andantino. Andantino. 2 ~~ a feath - er Have bro - ken their teth - er, va- neg - gia a ei try wild weath - er Has + = = 4 che on - deg - gia frai = , STs oe VW CDi 12Vaccai — Practical Method — for Alto, Baritone —S tost them on. high; So con - science and == f5 mo - ti del cor. De - li - ra dub - ta 2 Sn ae wa, if SSS RY = + ' a a 2 rea- son, In pas - sioris mad sea - son, May + == si Se Ss SS] bio sa, In - cer- ta va. neg - gia o fal - ter and wa -_ver_ On! see, _lest they as SS ae a je = gnigl-ma che on - deg - gia fraj mo - ti de Teg eS ki i bo . Ls sed £ we 2 aa 7 on mF mi = : 7 oN z St ee =| = a see). lest they die. io im J] ES a4 cor, fraj mo - ti del cor. - s — ec WHS =: 2: | ee ae F v ze F _—$——$—$—$—$—$ V Sheet, Music’ Cc 13,Vaccai — Practical Method — for Alto, Baritone Lesson VI. Syncopation. Moderato. Maid — — Pee wild_ bees at sun - rise_ ranging, What were. life but _—_— a Nel con -trastoa - mor. sac - cen-de; con. chi_ ce-deo Moderato._ P sturle — — — one_ longchanging. Shone there not, all_worldsa-bove, Love, love,_ love, S — — SS chi_ sar-ren-de mai si__bar-ba- ro non @, mai,_ mai,__— mai_ a , : love. Times and chances,and dreams and fancies, All range and aie o Con chi ce-de o chi. sar- ren-de,no mai si NS \G ed : change,and pass.from sight;But love. is life's one stead-fast light. — bar- ba-ro— non & no mai. si bar- ba-ro— non > i psheet CDi 14Vaccai — Practical Method — for Alto, Baritone Lesson VII. Runs and Scales Passages. At first, the pupil should take the ti work up to a sharp Allegro, progressiv eof this exercise quite slowly. In after-study,he may ly, 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. — Whensnows are whit-est, Light-est and brightest, One_fleck the i — — Co - meil can-do - re din - tat-ta ne - ve e___ dunbel P eas NW | simite. : aoe slight-est. Their beauty flie: Wo ee When friends are _near_ est, : ae la___ fe-del - ta. Un or- ma so - la # = : Dear- est,sin- cer - est, | Qne_doubt.the mer - est, ‘Their_friendship che in_se ri- ce - ve, tut - tanein-vo - la la= sua bel- Que. doubt, the =mer — est, Their_ friendship dies. tut — tanein- 0 — la 1a sta bel - ta. vv fe Sheet Cc lusic’ 15‘Vaccai — Practical Method — for Alto, Baritone Lesson VIII. The Appoggiatura taken from above or below. The Appoggiatura (or leaning note) is the most expressive of all the musical adéraments. 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; put never, in any case abbrevi- ate it. Ss =e] 7. * * fg oe i ieee <7 : t , =e What. need of — a-zure skies, May's_ sweeten - deav - or? The = ft J — T ——7 T it ai non tor-na-no di_— pri-ma - ve - ra. Non ge ge ge —— spi- ra un zef-fi-ro, non spunta _un fior. Ler- be sul ae bee s ste e Z 4 > psheet Cc Music® 16Vaceai — Practical Method — for Alto, Baritone “a-dy'seyes Comes sweet re - lent - ing, One lookthat love implies, + + == +g ae = =a = ———- —< = mar-gi-ne del fon-tea- mi - co, le pian-te ve-fo-ve + ; = = fae a ye ¢. ka. e : SSS One word con - sent-ing, a Dawn_breaks on landandsea,The flow’rs re, a- se te sul col-lea - pri-co per— lui. ri - ve-sto-no Yan-ti - co o- ess sec = ealisen a c simile, a ee < Sa oe - SS r 1 a The birds sing so cheeri- ly, And day fills the ri - ve- sto-no Yan-ti - co o- Se skies: The birds sing so cheeri-ly, And day fill ea nor: peru i ccna ae 3 =a + - ==, ae e* Reipres * fe PF = Z os = Z Sheet CDi 7Vaccai — Practical Method — for Alto, Baritone The Acciaccatura. The Acciaccatura (or crushing note) differs from the Appoggiatura in borrowing nothing from the value of the note that foilows, though it may slightly intensify its accent. It should be sung with extreme lightness and ease, swiftly, and with the least appreciable time stolen from what- ever precedes it. Andantino. long the riv-er - reach- es di sen- so pri- vo, Andantino. sas = 4 =—— . | whisp'ring wa - ter - beech- es Bend down when night is Yar - bo - scel-lo@ gra - to a quel - Ya- mi - co = ea Fs) ats os) cea oe 5 i 3 os = fall - ing, drink the lin-g’ring pool, cui ri - ce-veu - oa > psheet Cc Music® 18Vaccai — Practical Method — for Alto, Baritone now when noon is burn - ing, Their sil- ver leaf- lets lui di fron-deor - na - to, la mer - ec gli He turn - ing, The shade the sleep- ing wa - ters, ren - de, sol quan - do di - fen - de — G3 o fan them clear and cool; They shade the sleep - ing ieee : eee suo be - ne- fat - tor, dal Sol quan- do di - wa - ters, keep. them clear, and_ cool. fen - de Sheet CDi 19Vaceai — Practical Method — for Alto, Baritone Lesson IX. The Mordent. Of all the musical graces or embellishments the Gruppetto (or Turn) is, at once, the most varied and the most difficult, from the apparent ease and lightness with which it must be exe- cuted. In consists of 2 or 3 notes, and can impart great charm cing the due sentiment of the phrasing of individual passages, or to the singing without influen- the general intention of the Com- poser. It is, therefore, the only licence that the singer may occasionally take on his own re- sponsibility. The slightest appearance of effort or premeditation ern composers write the notes they wish to have sung, and it is impossible to condemn strongly the singer's use of any Abbellimenti or vocal orname: music by the composer himself. We are thankful to say this of fashion. is fatal. We may add that mod- too ats that are not indicated in the abuse has long since gone out Allegro. ez = Sas EE { ee pn That tear. in your laugh - ter, That eee = = 5 a oo ee a Allegro Lia gic a Wes ra 22 ce. | per £ eee Leaded alee ‘alee L simile. Bee === === = 3 3 = f. 3.~C~™ com - ing_ ter. The oS Seceeeee pa - = se, dun it, They show, Sheet. Music 20 Cc whole. labVaccai — Practical Method — for Alto, Baritone a —==__ ea i ed cret_they. treasure Of pain or. of___ pleasure. Con- —— en es - fra-ce, per far si__ pa - le-se, dun non Sheet CDi 21Vaccai — Practical Method — for Alto, Baritone Different ways of executing the Mordent. Andantino. Tho’ I tend you night and morn-ing, With such care your LAu-gel - let-toin lac-ci stret-to — per-che mai can - Andantino. miles cage a - dorn-ing, Vain en - deav-or, My sweet bird nev-er Greetsme tar s’a - scol-ta? Per-che spe-ra un’ al~- tra vol-ta di tor - ay = ev-er With one sweet song. Tho I love—you, Quéeh_of la - dies, sana: — na-re in li-ber - ta. LAu-gel- let=toin laé~ ci stret-to — unlight— Sheet CDi 22Vaccai — Practical Method — for Alto, Baritone Ty dal-lies, Leaf - lit valleysWhere wild bees throng,Notes come ring-ing When vol - ta - tly per-che_ spe-ra un’ di__tor- na-re in li- ber Pp there_I'm_ wing-ing, Sing-ing, sing- ing loud_ and strong: = al - tra__ vol - ta di_ tor - na-re in li - ber. ta, This_way, that_wayc all__ day. long, So clear_ and strong, So ara di__tor - na-rein_ li - ber- ta, in li - ber - fa, ee “wm” semzle nE. = clear_ and strong The whole_ day long, the whole_day long. eS a li - ber - -ta, in li - ber- ta, in li - ber~ th. Sheet CDi 23Vaceai — Practical Method — for Alto, Baritone 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. SSS see ‘ Sweet, how sweet tears come well - ing, ee? no - bil ‘Where somé dear one's__ voice is tell- ing Deeds of ___Vaccai — Practical Method — for Alto, Baritone grand__ old mem Ne wre oe ere Love__ it - self_. shall___ fall___ and_____ die, Wwe lez - za-a - mor—_non__ &Vaccai — Practical Method — for Alto, Baritone The Gruppetto or Turn. Poco andante. Execution: Ee me why, now - a-days, Tell Sone non si tro - va-no tra Be ee See Ue Pit mil - lea- Poeo andante. = P all these mul bell’ ao due simile. <7 con - stant lov-ers. for___ e - ter - ni-ty = sian__ co - stan-ti, tut - ti par - la-no > Irpsheet CDi 26Vaceai — Practical Method — for Alto, Baritone —_ Ys e Y WS kind, but__ two Swear. they'll. be oe es ae faith - - ful ones—_ Where shall_ we— find?. > ——_—— -la- no di fe - del - ta, > See ran but__ two faith - - ful ones Where can we find? > Yet NSS AEE - la-no di fe- - del - ta. é Sheet CDi 27Vaceai — Practical Method — for Alto, Baritone Lesson XI. Introduction of the Trill or Shake. Allegro moderato. : SS ——— ae The wind seemé——neer to wea - — ry, : = es 5 c : il - seel- ay Allegro moderato. >?” ee ade) lo se P + } bh “ . co ss + And all so ghost - ly and 1 mor-mo - ra len-tge bas - - 80, wun ra-mo - _ scel-lo, un 444 : (Eo -F fp 4 + + = a5 = v oe. SS = aS 4 rie Night sank on sea— and— plain. Were | = SSS == - 80 qua-sigr-restar__ lo__._— fa. Se a ee Sheet Cc Music’ 28Vaccai — Practical Method — for Alto, Baritone fac-es I ne@er shall see a - = sas- so qua - sigr-re - star-lo_... "fas x 5 +a = z SS= == =e . == F¥ Sheet CDi 29Vaccai — Practical Method — for Alto, Baritone Lesson XII. Runs and Scale-Passages. Allegretto moderato. = ships from anch - or stray - ing, ne a Siam na-vigh-Von - de-al - gen - ti Allegretto moderato. P eee ©. winds and tides_o - bey - ing, Sway-ing to ca ' Scie scia-tein ab - ban - do-no, 2 8 + mo - tion We drift oer lifes dark__ 0 - cean. = = eS SS 7 we ee ven - ti i no-striaf-fet - ti so - no, > psheet CDi 30‘Vaceai — Practical Method — for Alto, Baritone Ses Ste Great waves are break-ing be - fore Great clouds are gath -er-ing a < < di-let - to_é@_ seo \s ce tut - ta—la_vi - ta &un 2 22 nes fast: Ah! well, Al! well, — if. day, if__ day shall re- sco - glio, tut - ta la mar, ae o-gni di-let - tgg—_ === oe a f fy % v s store us To land, aun mar, Sheet CDi 31Vaceai — Practical Method — for Alto, Baritone Lesson XII. 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_. on the contra- ry, 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 express- ed, this manner is highly effective. For this very reason it must be used very sparingly, as in abuse it sounds affected, and the music grows languishing and monotonous. By the second method,which is Jess common, the, singer attacks almost imperceptibly the syllable that follows with the value of the syllable that’ precedes. Andante. 15¢ way. With eyes— nigh blind with weep - ing, With Vor - rei spie-gar ‘af - fan no, nas YF VY ~ poor_ pale lips that__ trem - ble, This se -cret, that I am Ve IPOs aan scon- der - lo. vor - re i 5 P, keeping, That robs = my nights of sleep - ing, erescen - do Van - nol! > rpsheet Cc Music 32Vaceai — Practical Method — for Alto, Baritone St 5 dis-sem - ble? How longcan I_—— con- nt tut - to non so ceal What I would most, what =i Tm wear - ing, Sa = Sol - le - ci-to, dub - bio - so, = == aS af3 | se a Hopeless, de - spond-ent, de -spondent, de-spairing, At— =: = pen - 80, ram-men - to, ram-men-to, © ve do eta: et { x pt Se = = yee = Re ee A — —* V Sheet CDi 33heart a glioe - chi__ miei ‘Vaccai — Practical Method — for Alto, Baritone 2 grief Tm_— bear - i A non cre - do, ns non cre-da gl_ mio I know can nev - er__ pen - - SS aa 7 heal; Ab! nev-er, ah! nev-er my pain can heal, Ah! nev - er, ah! - ; # sier, non cre - do, non ere - do al mio pen-sier, non cre - do, non —¥ x Bi a ; a= ie = ae a =$ a i ca + CF ete ; — ¥ = zs F $ = i = nev - er ere - do a 3 = such pain can al mio pen such pain__ can__ nev - er non cre - dgal_mio_ pen - _— ta i z z 4 ee oS ra’ heal, such pain can— nev - er—— heal. Ss =e ==] = oes sier, non ere -dq al mio_ pen - sier. SSS SS SSS x 7 7 es = +3 — = 4 Ra. * heet Cc lusic 34Vaceai — Practical Method — for Alto, Baritone Allegretto. 24 way. a4 , ceed “Ye call me de - ceiv-ing The grey sea was grieving, “O 0 “ple - ct-doil ma-re In - sin-ghi la spon-da, o Allegretto. a) ‘ : ‘i mien, reft of rea-son, Go chide this wild sea-son. These madwinds,my por-ta con on-da ter - ro-ree spa - ven-to: é col-pa del AFA FF ieee hy a k a + * o masters,Go chide them,not me! They cause your dis - as -,ters, Not a] ven-to, sua col - pa non @, € col-pa del ‘ven - to, sua ¢ he ae zs v \3 IPL said the mas- ters, Go ees me!”* \F\F col-pa—non & “col-pa "del _vei~ to, sua col-pa__non [oases te S38 og » 7 2 e Sheet Cc Music® 35‘Vaceai — Practical Method — for Alto, Baritone Lesson XIV. ‘We need hardly say, that nowhere is a clear enunciation of each word and syllable of more importance than in Recitative otherwise, it must perforce quite fail in its mission. When we come across two similar notes at the end of a phrase, or several repeated notes in the body of a phrase, the note on which the word - accent falls should be ‘entirely converted into an appoggia- tura of the following note. To exemplify our meaninig, we have marked with an “4” where such notes occur in the following exercise. Recitativo. A is he who seeks ad - van-tage in his coun-try’sdis - hon-or! ws con-si-de-rar se -sid-er save what can | ba EE] Lu-ti-le iJ dan-no ch’ei__co - no-scer dee so -lo é cid che =e A A. rosper, or what canshame or in-jure, the land where first we saw the light. gio-va _o nuocest-la sua pa-tria a cui di_tut-teg de-bi - tor. E St = = —= =+ Sheet Cc Music’ 36‘Vaccai — Practical Method — for Alto, Baritone ae: When for ie a she bidsus sac-ri-fice ‘or-tune, life -time,and e-ven our eS Quandgi su-do-ri ei] san-gue sparge per ‘le-i, mul-la del proprio ei + = * = 2 £ dear ones, Tis her due that we ren-der: She ‘twas,who ren,-de sol cid che meb-be. Es-sa i} pro- . __ Herlaws pro-tect us in our homes, and a - SS as Con le sue leg-gi dagVin-sul - ti do- pa | ses And her coun - sels en - da - gliester - ni > psheet CDi 37Vaccai — Practical Method — for Alto, Baritone She gives us safe - ty, A- El-la gli pre-sta no-me, gra - do s Ss Re-wards our mer-its and vin-di-cates our hon-ers 4 ne pre-miajl mer-to, ne ven-di-ca le of - fe - se, With A = Se SS all lov-ing - kind-ness, un-ceas-ing-ly she watches our hap-pi-ness and SS eee e840 ma - dre a - man-te a_fab-bri-car saf - fan-na la sua fe-li - ci - ; = Fi i. as = : == we ee eee : = = csee t a = 1 eee peace, if, per-ad-venture, mortal man can be happy ont of God's heaven! A. ta, perquanto li-ce al de-stin de’ morta-li es-ser fe - li-ce. SSS SSS Ad v sheet Cc sie" 38‘Vaceai — Practical Method — for Alto, Baritone Lesson XV. A. Recapitulation or Comprehensive Study of all the Rules given in the foregoing Lessons. Moderato. When now ween a -May — ing, Orr hill and vale a-stray ing, Like ‘Al-la stagion de’ fio : Motta, e de’ no-vel-lig-mo - ri e re = Dee ee | ee simile. ? a eee te chil- dren round us— play - ing, Soft zeph = yrs come and ~~ Ree es gra-tgil mol - Je. fia - to dun_ozef - fi - ro leg- vie 2 b; Like chil - dren a-round us play- __ ing, Soft ¥ ee if to il mol-le tia - to dun es =I S| = yrs come and sheet, CDi: 39Vaceai — Practical Method — for Alto, Baritone Sigh-ing, now sigh-ing, They seem__ a) ge - ma, co ‘Then light - ly, So bright - ty, 2 ler to, len to. - Stream makes glad __ re ely = a to in - cre - spi Yon - k 5 aaa =| ra e = Se “Mer - ry ones! a-round us glid-ing, On! why keep hid -ing [Sp SSS ope + @: =e Zef - fi ro in_o-gni la -to com-pa _- gnaé del pia- = os ee sete -—— = wate + oe 1 = ; ie ? be é > psheet Cc Music’ 40Vaceai — Practical Method — for Alto, Baritone ja to? Se your Feel_ your em - cen Cin oo ogni dda - «to, in— 0 - gni_ wos 2 ee? a | stnste. ae SSS SS ? . —= ee brac - es, Your. fac - es Why_wor't ‘you la - to com > = [pa - gno 8 del_pia - = s F + F wer? cw = = 2 oe SS a e 7 - ; 2 igre eee show? Your fac-es, your. a cer, com - ~ - pa-gno, com - - . e Sheet Cc Music® 41Vaccai — Practical Method — for Alto, Baritone show, Your——————____fac-es, your - pa-gno, com — not —— show, On! why hide so, On! why hide - cer, 6 del pia -cer, ¢ del pia. eS > psheet Cc Music® 42