Scribd Logo
Upload

Welcome to Scribd!

  • Vaccai - Metodo Pratico - Tenor

    Uploaded by

    Herold Velasco
    5 views42 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    5 views42 pages

    Vaccai - Metodo Pratico - Tenor

    Uploaded by

    Herold Velasco

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 42
    Vaccai Practical Method for Soprano, Tenor 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 plea that,as they have no ambition beyond just singing to please a few friends in the restricted area of their own drawing-rooms, they need not dwell upon all those subtleties of the vocal art which they are ready enough to admit are indispensable for those desirous of commanding a larger and more critical audience from the public stage of the opera or the concert-room. It is to show the absurdity of such an argument, and to win over these faint-hearted ones to the true cause by more gentle means, and as it were, in spite of themselves, that I present this *« Method” of mine to the public. They will find it new in design, very practical, very brief— yet very effective—and, as physicians say, “very pleasant to take.” The pupil will attain the same goal, and may even beat the record, but he will find the course far less lengthy and laborious, with spaces of contrasted sun and shade to beguile the tedium of the race. As at first all must find a fresh difficulty in having, as they sing, to pronounce words in a language which is not habitual to them—a difficulty which is not altogether obviated by any amount of study in Solfeggio and 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 Jearn 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 Soprano, Tenor 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 or 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, 1 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 Pastoreila, Timur Chan, Pietro il Gran, and Giulietla 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 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 Basili 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 octaves; 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 Soprano, Tenor HINTS ON PRONUNCIATION.* ITALIAN. ‘Vowels: General rule : The vowels are very open, and never to be pronounced as impure vowels or diphthongs ; they are Jong in accented syllables which they terminate,—short in unaccented syllables, orin accented ones ending with a consonant. a like ak or dh (never a)i eg. amare [pron. ah-mah’-réh]. @ “ay in bay (without the vanish ); Zin bed: a in bare (before r), i“ ce in beet; Zin bit; # before a vowel, like'y (consonant). © “aw, oF of (without the vanish 2); din opinion. u “coin boot ; # in bull. Consonant: General rule even the hard con- sonants are somewhat softer than in English; the soft consonants are very delicate. b, 4, f 1, m,n, p, au, 5, t, vas in English. € like &, Before a, 0, u, oF another consonant except ¢, as below. ch in chair before ¢ or 7; ce like t-ch before ¢ or i. & hard before a, o, u, oF another onsonant except before / (pro nounce g/ like Zy [consonant], eg. sugli, [pron. sool’-yé]), and 2 (pronounce ga like #i in cafion [kan’-yon]). & “ zin azure (or a very soft /) be- fore ¢ or #. his mute, jlike y in'you. 'F, pronounce with a roll (tip of tongue | against hard palate). Where a doubled consonant oc- curs, the first syllable is dwelt upon; eg., in eco [pronounce ek’ ko, not _ek’-o). — Accented syllables take a less explosive stress * These “hints” are offered as an aid for tyros, and not in the least as an exhaustive set of than in English, being and dwelt upon ‘rather # bly marked. ssh, before ¢ and i. ds (very soft £8). GERMAN. prolonged forci- se fi a Vowels: The simple vowels as in Italian ; y like German 7 or #. Modified vowels: a like @ in bare, but broader ; 2 in bed. & has no English equivalent ; long ¢ can be pronounced by forming the lips to say of, and then saying (as in bay) with the lips in the first position ; short 4 by saying ¢ (as in bed) instead of @. [N.B.—Long ¢ is the French ew (in jew)]. ii has no English equivalent ; pro- nounce long @ by forming the lips to say a0 (as in boot), and, then saying ce (beet) with the lips in the first position ; short #, by saying # (as in bit) instead of ez. [N.B—Long wi is the French «.] Diphthongs : ai and ei like long 7 in bite. ae like a. au" owin brow. eu and Au like of (more exactly af/-2, closely drawn together). = — Consonants: f,h, ke, 1, m, n, p, t, as in English, Band 4, beginning a word or syllable, as in English; ending a word or syllable, like p and # respec- tively. € Tike # before a, 0, and w; like t before ¢, #, and d. & usually hard, but like 2 in azure in words from the French and Italian in which g is so sounded; ang, eng, ing, ong and un terminate, at the end of a word, with a é-sound (eg., Be'-bungt), HINTS ON PRONUNCIATION. J. like y (consonant). 2 a ey. Fretber witha roll, or a harsh breath: ing. . beginning a word or 33 , and before a vowel, like # (soft); ending a word or syllable, like sharps ; betore and #, begin. ning a word, usually like sé {eg stumm, pron. shitm [4 a8 in bull) ; otherwise as in Eng- lish, ¥ Ike f ‘v (but softer, between v and te). Bs (also when beginning a word). be Compound consonants ch is a sibillant without an English equivalent; ‘when beginning a syllable, or after ¢, i, a, 4, m, ai, 42, ae, eu, and au, it is soft (set the tongue as if to pronounce d, and breathe an A through it ;e.g. Strick, pron, shtrid-h); after a its dard @ guttural’). ‘chs like x, sch "sh, ‘ap and st, see s, above. th like £. Accented syllables have a forcible stress, as in English. In com- pound words there is always a Secondary accent(”), sometimes a tertiary one(’”), depending on the number of separate words enter- ing into the composition of the compound word; eg. Zivi’schen- akts??’musik’”, Bo’genham” merkla- vier”. ‘The’ principal accent is regularly marked (’) in this work, FRENCH, Vowels: ‘& a5 in Italian, but shorter, often ap- a tike 2rasching English 3. q win ae e-final is almost silent in. jllabic words. oan §: ein there. German d, and always long. ior fi like ce in beet; short f as im © asin Italian. like the German 2. Diphthongs: al lke afin bat but before ¢nal or , is pronounced as a diphthong (aX-re, drawn closely together). ai and ei Tike ou, oi and ca like German & oi like of-44" (drawn closely together). ousnd ob ikea fa boot, eau like é long, without the vanish s. Modified by a following #, m, nd, nt or mé at the end of a syllable, the ‘vowels and diphthongs are nasal (exception,—verbal ending of 3rd pers. plural). Consonants as in English, with the following exceptions’ ©. like s in song before ¢, ¢, 2, é, and é. ch sh, & “sin azure before ¢, fas a alin, is often mute ; no extended rule can be given here, like s in azure. after iis usually sounded like Eng- lish y (consonant), and frequent- ly prolongs the # (ec); ex. frazailler \trah-vah-yay’),, tran quitle [trahngkee’*]. Anasal, see above; otherwise as in English. [The nasal effect is accurately obtained by soundi in orm) together ilk (instead of after) the preceding vowel 24 and §. but the sound of ¢ is chan, to ah, f to d (in bat), and w to cu} m, nasal in certain situations, with a roll. s-final is silent. t-final is silent, er, et, es, est, ez, as final syllables, are pronounced like Accentuation, The strong English stress on some one syllable of a polysyllabic word is wanting in French ; the general rule is séigAtly to accent the Zast syllable, Lesson I The Diatonic Scale In this 48t Lesson, Signor Vaccai has not grouped the letters of the Italian syllables according to the correct rules of spelling, but in such a fashion that the pupil may per - ceive, 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 ar- ticulation of the consonants he should attack the following syllable. This will greatly fa- cilitate him in acquiring what the Italians call the Canto legato (Chant lig) _ though, of course, we need hardly say that here the teacher's example and oral explanation is better than all written precept. Adagio Voice Child, tho’ your way seems long, Sincefirst we — start-ed, me, learn how Voce Ma-nea so - Ile- ¢ Adagio - ta pit de-lu- sa - to, a. neo-rehe Piano i faith and song Keep menbrave- heart-ed. While spring re - joic- es, And sa- gi-ti co. nlie-ve fia. to, fa - ce che pa- Ipi-ta = while yet tis day, Out withyour voic- es, And march,march a - way. pre-ssqal mo - rir, fa- ce che pa-Ipi-ta pre-ssoa-|mo- rir. f P 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- la, che non ve-deil suo pe- Andantino P pret-ty, Mid the ar-rows, shel-ter su-ing, Here and there,and sore dis - riglio, per fug- gir dal. cru-doar - ti- glio vo - lain grembqal cac - cia - tress'd, Wound-ed falls with gen-tle coo-ing, Wound-ed falls,with gen- tle for, per fug- gir dal cru-doar- ti-glio, per fug~ gir dal cru-doar- <= ee it cooing, On the fowl-er’s faith-less breast, On the fowl-er's faith-less breast. tiglio vo-lain gremboal cac-cia- tor, vo-lajngrembeal cac-cia - tor. Lesson II Intervals of the Fourth Ah! ’tis sad-ness, Not mere mad-ness, Not mere Adagio La-sciajl -—li-dgeil ma-rein - fi- do P - want that oft-times ur - ges, Thro’ those dreadful deafning surg-es, Far, so car tor-najl noc-chie- ro, e pur sa che men-s0- gne-ro al - tre ¥ far and forth to sea, One who knows what storms can be! One who > vol-fe fin- gan - md, al-tre vol - te fin - gan- nd, al - tre ES g rtariaren knows what storms can be, All too well what storms can be! vol- fe Tin- gan - nbd, al. tre vol-te Jin - gan - nd. aes |) ks 0 Intervals of the Fifth Andante Then do not mock at me, me no AV = veu-zqa vi - Ve-re za con ~ for - Andante Pee Tossa in mid ha - ven, And furld all my sail. mez-zaal por - to pa-ven - Where winds most fa - vor me, Most Im de- spar ing— AV = ver-298 i za con - for—~ fear pre - vail. mez-zqal spor - ~—to Lesson II Intervals of the Sixth Andantino When un- just-ly blame thou bear-est All in si-lent scorn se- Bel- la pro-va® dal- ma for-te Tes-ser pla-ci-dae se- Andantino P rene-ly, While the guilt-y one so mean-ly Sees and gives not look, nor re-na nel sof-frir fin-giu-sta pe-na du- na col- pa che non sign, Then,tho’ all un-seen,thou weardst Such a crown as Saints deem ha. Bel- 1a pro-vaé dal- ma for-t Tes-ser pla - ci-dae fair-dst, Rarer far thangems the rarest Brought from far Golcon-das mine. re- fa nel sof-frir lin-giu-sta pe-na du- na col-pa che non ha. Lesson IV Intervals of the Seventh One gleam ‘mid the thun - der Fra Yom - Pe > winds and waves staal noechier f, glance, and jnow the gia ti- tro - vail where hjs bark should _ steer. Ti - co- no - scejl fair lim fall - ing, bal - za, Intervals of the Eighth,or Octave dawn’s first o And Quell’ che t 7 All_gen-tly ris - ing, fall ing, bal - za, si fran-gee mor - mo-ra, TT RF these waves ap - Fall - ing, - da - pi gen - tly _fall- ing, How _lim~ pidjsweet and clear. bal - za, bal - za, ma lim- pi- da si fa. Lesson V Half-tones, or Semitones Andantino Andantino pte Cc _— feath - er Have bro - ken their teth - er, va - neg - gia ee | ee cheon - deg - tost them fal - ter gnigl- ma Tn pas -_ sions chegn- deg - gia So mad con - sea - neg - see, science son, gia lest they del May Lesson VI Syncopation Moderato ets Like. wild_bees at sun ,- rjse_, ranging, What. Wwere- life but Nel_ con - tra-stoa- mor sac - cen-de; con chi ce- deo Moderato _ Fe . simile one— long.’ changing, Shone therenot, all__worlds a-bove, Love, love,__ love, chi_ sar- ren-de mai si__bar-ba- ro non %, mai, mai mai oN ee Times.and chances, and dreams.and fancies, All range_and Con chi ce- de o chi_ sar- ren-de no mai_ si an? change,and pass_-from sight;-But love. is life’s_one stead-fast light. bar- ba- ro— mon %— no mai si bar - ba-ro__non 2. Lesson VII Runs and Scale-Passages At first,the pupil should take the time of this exercise quite slowly. In after-study, he may work up to a sharp Allegro, progressively, as his capacity allows him. Scales shouldbe sung with extreme smoothness, even and flowingly; but with each note clear and distinct. All jerking and slurring are equally to be avoided. Whensnowsare whit- est, Light-est and bright-est, One_fleck the Co - meilean-do - re din- tat-ta ne - ve e dun bel srmte. slight- est, Their_beav-ty flies. fen_friendsare near — est, la fe-del- ta. J la af-est,sin- cer - est, One—doubdtithe mer-est, Their_friendship chein_se fi- ce - ve, tut- tanejn-vo - le la sua bel - ee One_—doubt,the mer. est, Their__friend-ship dies. tut = ta nein- vo - la la sua bel - ta. 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 fever, in any case, abbreviate it. Andante If in my la- dy’ eyes Love wak-eth nev - er, Sen - za ia - ma - bi- Je Andante P simile What __ need_of a - zure skies, May’s_ sweet_en - deav - or? The di_non tor - na-no i pri- ma- ve - ra. Non birds sing so dreari-ly, The blossom all dies. spi - ra un zef-fi-ro, non spunta un fior. la-dys eyes Comes sweet re - lent - ing, mar-gi-ne del fon-tea- mi - co, One word con- sent- ing, Dawn_ breaks-on sul col - Iga - pri- co per— lui. ri - ten One ook that love implies, Te pian-fe ve - do- ve land and sea, The flowrs_ re- a- ve-sto-no Yan-ti - co. o- The birds sing so cheeri- ly, And day fills the ri- ve-sto- The birds sing so cheeri-ly, Ti - ve-sto- no spressi|” no Tan- ti - And day fills the skies. Yan-ti - co o-~ nor. The Acciaccatura The Acciaccatura (or grace 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 sung with extreme lightness and ease, swiftly, and with the least appreciable time stolen from whatever precedes it. Andantino A - long the riv-ér - reach-es, Ben - che di sen- so pri - vo, Andantino pep whispring wa - ter - beech- es Bend down when night is Yar - bo- scel- 198 gra - to quel - Ta - mi - co simile. fall - ing, And drink the lin- g’ring pool, now when noon is burn - ing, Their lui di fron-deor - na - fo, ae turn - ing, They shade the sleep- ing ren - de, sol- quan - do fan them clear and cool; They suo be- ne- fat tor, dal keep_ them. clear. and— - fat - shade the sil - ver leaf - lets la mer- ct gli 7 ts wa - ters, fen - de sleep- ing quan- do di - cool, tor. Lesson IX The Mordent Of all the musical graces or embellishments the Gruppetto (or Turn) is,at once, the most va- tied and the most difficult, from the apparent ease and lightness with which it must be exe- cuted. It consists of 2 or 8 notes,and can impart great charm to the singing without influ - encing 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 re- sponsibility. The slightest 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 singers use of any Abbellimenti or vocal ornaments that are not indicated in the music by the composer himself. We are thankful to say this abuse has long since gone out of fashion. Allegro your_ laugh - ter, That Allegro blush -ter The whole___world must. eee = = = os far = - 8e, i bro lo - aS ee a Bt pts as , rot ___B a : =< qua- - ce pi Ss oie ae = SSS 3 > r 7 20 ———£££= £_=_=_ = se = __ret_they_treasure Of pain =—_ of pleasure. Con- =A ja__ve - race, per far - si pa - le-se, dun in DoS of gno__non_ —=2=a="—:x1 vain. No,—no,—no,—no,no,_no,to__ hide it ha! No,—no,no,—no,— no, no,_ bi - 80 - gno = > 21 Different ways of executing the Mordent Andantino Tho I tend you night and morn-ing, With such care your LAu-gel - let-tein lac-ci stret- to per-ché mai can - Andantino simile cage a - dorn-ing, Vain en- deav-or, My sweet bird nev-er Greetsme tar sa- scol-ta? Per-ché spe-ra un’ al- tra vol- ta li tor ~ ith one sweet song. Tho’ I love you, Queen of la- dies, wn di-ber - ta. UAu~-gel - let-tojn lac - ci stret-to lovewhere dan-cing shade_is; "Mid.green_ al - leys,Where sun- light__ mai_can- tar_sa - scol- ta? Per-ch’_ spe-ra un’ al- tra__ dal-lies, Leaf - lit__ val - leys, Where wild bees throng, Notes come_ring-ing When vol- ta di__ttor- na-re in li- ber- ta, per-che__ spe-ra un there_Im__ wing-ing, Sing - ing, sing - ing loud and_ strong:_ al- tra___—-vol - ta di__tor - na- rejn i - ber- ta, This way, that__way,_ all__ day_ long, So clear__and_ strong, So clear__and-strong The whole. day. lorg, the whole_ day. long. li - ber - ta, in li - ber - ta, in li - ber - ta. 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 Nae Sweet, how___ sweet when_ tears come_— well - ing, Quan - do. ac - cen - de un— no oderat M BP poco stace, Where some dear one’s__ voice is___tell- ing Deeds of cen - tee ro-af - fet - to: de - bo - he-roes In days gone by. Tears__ like _ these. les - se o-mor non. 3. Quan - do_ac - cen - de un nish; Ere_— the grand_— old mem — no bi pet to in to cen tee pm ro ate r ‘ #2 . . a. a - i: v v yey Vv ¥ ¥ V V - mor non ole it - self__— shall__ fall ae Poco andante 1H¢ Gruppetto or Turn Execution; . 4 Y =" = $ + = Ho Puce emer ee ee Tell me why, now - a-days, No one dis - : = + = ge Sr Sa Haeecaseeeet Pid non si tro. ~~ va-no tra mil - lea- are tut - ti par - la-no =F UU 26 ~Y they'll___ be kind, but__ two del - ta, v i I \V ESS = 2 faith - ful_ ones_ Where shall. we— find? > =< —o 25 = par - - la - no_ di fe - del - ta, ml 9 Al “atte a 4 * but_two. faith - ful ones Where can. we find? ~ > tut - ti par - Lesson XI Introduction of the Trill or Shake Allegro moderato fen SS SS The wind seem'd__ne’er to wea - ry; Allegro moderate & I ep P he! a Cold fell__ the_rain, and drear - =, — And also. ghost-ly and ts =. a —— ae ov mor-mo - ra len-tge bas - so, un remo - scel-lo, un SaaS oh € eae ee ee rie Nightsank on sea— and plain. Were + SSS SSS5 pas sas = so qua-sjar - re-star—_lo__._—_ fa. Se as ee SS Sas 28 Se wind-swept spac - fs win pt sp these dark acre po-v mil a ee seel ~ - lo rinyfors. es, And Ta - - see - I néershallsee a - gain? qua-siarre-star lo fa, um néer shall see a - saS- 50 qua - siar-re - star fo bright with dear Those dearbright —_ love - wii . Once fair__with_sum-mer's mormdo——- ra len toe ging fic- es, fac -es_ Ta Sas = so qua - si lit ra-mo eel oe an Lesson XII Runs and Scale~Passages Allegretto moderato —= = Es Like ships from anch - or. stray - ing, All Es = SSS SaaS Siam na. - vial - Ton - deal - gen - ti ia Allegretto moderato rt P 5 t. by 2 z # z # + Snes T te + ve winds and tides_o - bey - ing, Sway-ing to eath__e- = auf. Fe ra eH scia-tein ab - ban - do - no, im - oo si = fap ta pee — ==: = Z é fet {——— 3 3 mo - tion, We drift oer lifés__ dark___o ~ cean. oe = — =: ven - ti i no - sti gf-fet - sO - no, : - + T r : SSS SSS o - gni-di-let - store us NI ee oa — Se Great__waves_are_break - ing be - fore Great_cloudsare_gath - er - ing_ glio, Ah! well, Ah! well, — if. day, if day __ shall re- - —" . o- gni di-let - top seo - glio_ tut - ta la safe_home_at_ last, safe home_at___ last. tut - ta—la_ wi- ta 8__ un__ mar. Lesson XIII 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 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 LessonI, the Portamento will offer few difficulties_ but here,more than anywhere,is the practical demonstration bya teacher or a proficient of the first importance. Failing these,we must be content with adding that the Por tamento can be taken “by Anticipation” or “by Posticipation? By the first of these methods,the singer at- tacks 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 musi¢ grows languishing and monotonous. By the second method, which is less common, the singer attacks almost imperceptibly the syllable that follows with the value of the syllable that precedes. Andante (way, ‘With_eyes_nigh blind with. weep - ing, With poor_pale_ lips_ that Andante Vor Tei—spie-gar [af - fan - no, na-seon-der - lo— vor - pr trem~ ble, This se-cret, that I am keeping, That robs iy_nights i, oe men-tre i dub-bi_ mie-i co- si efe-seen a et How longean I dis - sem - ble? Tut - to spie-gar— non 0 - s0, I____ would most, would most je- tut - to non so_. ta-cer, tut-to spie-gar, tut - to non so, non_so ta- be Paes == ' Pa _— << she Sf ts =" s be a= 4 ape And tho’ a smile Tm wear-ing, Hope - less, Sol - le - ci-to, dub - bio - so, aS SS SS a spond-ent, de- spond-ent, de - spair-ing, At_ heart a__grief I'm__ + += = = et Ee = men - to, Yam-men - to, e ve-do, e a-glioc-chi__ miei non__ co — — =e =e a Poca — eae —" st vv ar —— £ 2 2 £_# b \ ¥ ¥ V ? ¥ 7 oe 4 bear - ing, do, non— ere-dgal-mio pen - sier, heal, AR! nev - er ah! nev - er sier, non ere - do, non cre - do pain can ney - er heal, aoe oe cre - dggl— mio— pen - sier, ——— I__ know can_ nev - er__ heal; Ah! nev-er, ah! nev-er my pain can non cre-do, non cre-do al mio pen- such pain can al mio pen - such_ pain cap. ney-er_ heal. non. ere-do gL.mio-pen - sier. — =— cet fo Allegretto (2¢ way.) “Ye call me de - ceiv-ing;? The grey sea was __griev-ing, “O Allegrett®? Pla- ci-dgjl_ ma - re Im - sin-ghi la spon-da,_0 PY ‘men, reft of rea-son, Go chide tilis wild sea - son. These mad winds, my por- ta con on-da ter - ro-rég spa - ven-to: & col - pa del mas-ters, Go chide —them,not_ me! += They cause your dis - as - ters,Not ven - to, sta col - pa del 1! said-the_ sea; “These mad winds, my mass ters,Go chidethem, not me!” col-pa_non_ 6, 8 col-pa “del ven - to, sua col-pa non & Sz |¢% Lesson XIV We need hardly say, that nowhere is a clear enunciation of each word and syllable of more impor tance 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 bé entirely converted into an appoggiatura of the following note. 'To exemplify our meaning, we have marked with an “4” where such notes occur in the following exercise Recitativo 4 Our first earthly dy-fy {6 toWard our country. Howbase and howmean- La Pa-tria@m tut-fo 4 chi siam parti, al cit-ta-di -nga A A Se SS) heart-ed is he who secks ad - van-tage in _ one try's dis - jor! = =a h J-lo con-si-de-far se stes-so se-pa- ra-to da le-i, Be SSS ly, no loss or gain we need to con-sid-er save what can Lu-ti-le ail dan-no ch’ei co - no - scer dee so - lo cid che or what can shame or -jure the land where first we saw the light. = = eS o muoceal - la sua patria a cui di tut-tad de-bi - tor. SS = ; s gio-va 36 A A he: sae aS ee Witen f6r her wel = she bids Us sac-ri-fice for-tune, life-time, and e-ven our é f yeep ee ei su- do-ri ae san-gue spar-geper le - i, nul- la del pro-prio ei = = —__ + ¥ = 7 ft = ——: SE be + as, + SST SS dear ones, ‘Tis her due that we — ren-der: She *twas, who . = ret + 7 "do- na, ren- de sol cid che tieb-be, Es - sajl pro- A SSS Sy made us, what we have, what we are. Her laws pro- tect us in ourhomes, and a - A me 4 oe lus-se, Te - du-cd, lo nu - dr). Con le sue leg-gi daglin-sul-ti do- if : 2 + + ' iv BS: nt — = == z £ + = And te her coun -sels en- Fy + f = SS] SS 5 |? me - sti-cijl di fen - de, a fa - gliester - ni con ie E i a aioe — She gives us safe-ty, glo- ry, sta-tion, name and —~, Hl- la gli pre-sta no-me, gra-fo ed race, Re-wards our ae its and vin - di-cates our ee With eae = Ea © nor, _— me pre-mig jl mer-to, ne ven-di- ea lepf - fo - se, e serere === t wo (es | \ 4 E : Sat =

    You might also like