© heet. lusic Vaceai 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 pare and sonorous tone of {ts many vowel sounds will assist the singer in acquiring a fine voice-produetion and a clear and distinet 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 ia 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,3 they haveno 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 4s 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 brie!— 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 lees lengthy and laborious, with spaces of contrasted sun and shade fo beguile the tedium of the race. ‘Aa at fist 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 s0 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. Iam 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 iMustrative of a different style of composition and of a distinct emotion, so that the pupil will earn 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 Deginning 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.‘Vacesi — Practical Method 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 Niccolé 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 18t4 his first opert, 1 solitaré dé Scogia, was brought ‘out at the Teatro 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 Giulietta € Romeo, 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 Vaccat 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 Greg, written for Malibran, in honor of whom. he composed, after her decease, in co-opera- etti, Mercadante and others, a for Soprano, Tenor funeral cantata, Most of these operas also met with hardly more than a bare succes d'estime, Jn 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 184, 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 fant, 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 I'insegna- mento del belcanto italiano” are scarcely less popular ‘The general plan of the “Practical Method” is to render study easy and attractive, withe cout omitting essentials. No exercise exceeds the limit of an octave and a fourth (c—P, transposable to suit any voice). There are fifteen “Lessons,” which are not bare solfeggi on single vowels or syllables, but melodious exercises—for scalespractice, for skips of thirds, fourths, ete., 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 — Praciieal Method — for Soprano, Tenor HINTS ON PRONUNCIATION.* ITALIAN. Vowels: General rutes ‘The vows are very spe ah never ob prone Sr impure vonela or diphthongs They ave ong to ie dietege tehleh they! terminate, —7hor? i asceentedpylables, rin accented esc ith coo ‘pees! Fim bits F before a owe, like 7 (Consoaant) {fey oF of (thou the vanich 4 Tven the hard cone fonants sre somehat softer than fa" English; the soft consonant ate very delete a eke Arbeore ¢, 0, ot another ‘consonant cep ¢ a3 below. hin chair before ¢ or fy ce Tike 2 before eor than in English, belog prolonged fad drelt upon ‘rather than fore By marked coer st GERMAN. Vowels: ‘The simple vowels a8 fa Ttllan ike Clmnan for a .| Mosied vowels: flee fa bare, but broader; Zn bed, BS bes no English equivalent; long ‘an be pronounced: by foray fhe lipo say oh and thes Saying Cas"tt bay) withthe short eta iba ona ens od tite eater at ier baie peer ta of ie. [NSB “Long a fa the ie kg * glatd before a; , or another | Diphthongs : Ena pee vibe by fers Peel pen ely a soronnunce ke ton eo tah, a Pir da or avery ef intel is mete {like y in you. a i pronone wth rll ip of tongne Prone nics hard palate)” whee’ doubled tisonant o sore Far eh ee, Ree eke Ta}. Se nccented Synabis it ‘ta edpeson “eI hse 3 lad ee long in bie we ein bow, (65 and it ke of (more exaely af’, ‘closely douwa together). [Consonants lke # before, 4, ¢ and 5 like te eter nd sual ard, bat ike in agare in toned from: the ‘French and Teaian in which gi 90 rounded; ang, ong, ink ong 3d termleate i the end of a w with asound (eg, 37 Dum),Vavesi — Practical Method — for Soprano, Tenor HINTS ON PRONUNCIATION. 5, he z Conse. 1 or B the so in beet; short : Engi Titer tha roll or a harsh breath-| 0 an Taian cles seer gue mal ptiunibocermn Telore'a vowel, tie + (eo :| Déphthongs before rows ke ot) :| Sate affable: but before faa or Sine 2 Netore ond 9, Beg: 4s pronounced asa iphthong Sing a” ord wet ke" sa Ger Snwn cons topeen samo pron ahem (w as| land eke iSSuiy ccna Talnge| SHGhand ate Corman : seeeratncomiae” te one ter eteen» and wo. | eating # ghost the waith sear, between @ snd | ated ya flowig mms mf or a cto ‘lat the end of & syilabie the ‘Towels and eiphtheags tesa Trcepion,—terbal Sending of Spee pal Consonants as in English with the ‘Plowing xcepons 6, like rin song belo 22,4, and & eae Baca ai is et nd rettne wn Athtoogh tee. Sirieh, pron. shined): ae fe ty and ou, RB hard Ge “Hh mare elo 2 and aon fel Teeiten mate no extended ral can peewee he +n Sar ir ie eel sounded Ihe E Tish » (consonant) and requen- erent eee ‘ected abe bar Parr fear pond sorts tite fe alvays'| edie eanngter™) i Sort hee ater g| mma perature a icy ont" sepening onthe ec, "Uti mal oe ‘umber of separate words enter- aceurately obtained by sun fg nto. the composition of the afer te ote Sag tntocthe emotion of Sp) th pening er ste agtl Be gna’ med ba une at oi creche pipe nose a] 12 AN #9 4 Ga ba Feguay masked Fl we." | naa in ceran situations FRENCH, Eon Sent : Sry, eb eny on, at Sn eld ane rencing Eoelsh sre proseuated ke Italian, bat shorter, often ap- simottsilent| Accentuation, The strong, English ‘ress on some one syllable of a yflabic word, is wanting in ‘there, Breaths the gunoral re sped German and always tog. sw acoent the lat sable, Dis: +Vaceai— Practical Method — for Soprano, Tenor Lesson I The Diatonic Scale In this 1 Losson, 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 immediat 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 1ié) — 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 tong, Sincefirst we start-ed, Come, learn how Voce Ma-nea so- Ne- ci - ta Adagio ii de-itu- sa - to, a= neo-rché a Piano faith and song Keep _menbrave- heart-ed. While spring re - joic- es, And fue gieti oo. lieve fiv= ty Tes co he pe Wyieta Voie - es, Amd march,march a - way. while yet ‘tis day, Out with your pre-ssoal_mo - rir, + Ipi- ta pre-ssqp- f CDi: 5‘Vaceai — Practical Method — for Soprano, Tenor Intervals of the Third Andantino ‘When the A! for those who feel no pit ¥y sim. ple dove, so Sem-pli - cet - fa tor-to- rel- Ja, ehe non ve- a Andantino, P = pret-ty, ‘Mid the ar-roWws, shel-ter su-ing, Here and there,and sore dis - riglio, per fug- gir dal. eru-dgar-ti- glio vo - lain grembgal cac - cia - tressd, Wound-ed falls with gentle coo-ing, Wound-ed _falls,with gentle Tr, fer fug- gir dal eru-dogr- tiglio, por fag. gir dal era-doar- <— i + cooing, On the fowl-er’s faith-less breast, On the fowl-er’ faith-loss breast tiglio vo-lajn gremboyl cac-cia- tor, vo-lnjngrembgal eae. cia. tor. CDi: s‘Vaccsi Practical Method — for Soprano, Tenor Lesson II Intervals of the Fourth Ant ‘tis sad-ness, Not mere mad-ness, Not mere Neal laa Adagio besseigit Me dogit_ maze) P fi want that oft-times ur - ges, Thro those dreadful deafning surg-es, Far, so ear tornajl noc-chie- ro, © pur sa che men-2o- gne-ro al. tre ? far ahd forthto sea, One who kilows what storms canbe! vol-fe fim-gan - nd, al-tre vol - te fin- gan- nv, eae acca eas knows what storms can be, All too well what storms can alt ell ise etsal faa ttre Yol_te fin - gan - 0d. ee eas D> Dies CDi: Hl‘Vaceai — Practice Method — for Soprano, Tenor Intervals of the Fifth Andante Then do not mock at me, Call me no cra_— ven, sen - 2a con- for - to ‘And furla all my sail. rag Soe a seme ‘Where winds most fa - vor me, Most Tm de ~- spair- ing = aa eon foF~ fear pre - vail.‘Vacsai — Prastial Method — for Soprano, Tenor Lesson III Intervals of the Sixth Andantino When un- just-ly blame thou bear-est All in si-lent scorn se- Bel- Ia prowva> dal- ma for-te Ies-ser pla-el-dap se- Andantino Yad rene-ly, While the guilt-y one so mean-ly Sees and gives not look, nor yeaa nel sof-frir Yin-giu-sta pe- oa du-nma col px che non sign, Then,tho’ all un-seen,thou weardst Such a crown as Saints deem fort Tes-ser pla ci-dae fair-dst, Rarer far thangems the rarest Brought from far Golcon-das mine. te- Ka nel sof-frir lin-giu-ste pe-na du- na col-pa ohe non hVaceai — Practical Method — for Soprano, Tenor Lesson IV Intervals of the Seventh Adagio ne gleam ‘mid the Fra fom - bre un Where winds and waves are nocehier One glance, and now che gia ri tro Sees wherehjs fark should _ steer. che ri co- lo - seeil CDi: 10Vacesi— Practical Method — for Soprano, Tenor Intervals of the Eighth,or Octave at___dawa's _first How fall - ing, gen - Jim- pidssweet and clear.\Veceai — Practical Method — for Soprano, Tenor Lesson V Half-tones, or Semitones Andantino Andantino pt? Have bro - ken their teth - er,\Vacesi — Practical Method Tn pas —_ sions cheon- deg - gia gnigl- ma Onl see, lest fray Sheet iMusic for Soprano, Tenor So mad On! fra) they del see, con- science Sea son, neg - gia lest May they‘Vaccai — Practical Method — for Soprano, Tenor Lesson VI Syncopation Moderato Like yild_bees at sun. rise__ ranging, What_ Were” life but Nel_ con - tra-stoa- mor_ sac - cen-de; com thi cv dep Moderato | 5; - Sne— longchanging, Sone there. not, all__yorlds a-bove,Love,— love, love, chi chr endo mpi sitar ba ro non % mai mama a —_ true love, Times.and chances, and dreams.and fancies, All range_and Gon. chi ce- de o chi sar-ren- de no mai_ si a? change,and pass from sight;-But love. is life’s_one stead-fast light bar- ba. ros non % no mai si bar - ba- ro—_non 2. CDi: 4\Vacesi — Practical Method — for Soprano, Tenor 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- mejlean-do - re din tat-ta ne - > din bel slight- est, Their_beauty flies. Whon_friendsare near — est, la __fe-del - fa. Ui or- ha so a Fest, sin- cer - est, One—doubt,tie mer-est, Their_friendship Chein_se Fi- ce - ve, tut - ta ngjn- One==doubt,the mer- est, ‘Their —_friend-ship dies. tur ta_nein- vo — Ia la sta bel - ta, CDi: 1s‘Vaccai — Practical Method — for Soprano, Tenor 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-dyseyes Love wak- eth Sen - za ia - ma- bi- le Dio di Cit - te - ra Andante P, What__needof azure skies, May's__ sweet_en - deay - or? The i di_non tor - na-no 4i__ pri- ma. ve - ra. Non birds sing 80 dreari-ly, ‘The blossom all dies. spi- ra un zef-fi-ro, non spanta un fior, Sheet CDi: 16c Veceai — Practial Method Comes sweet re- lent - ing, Tas dys eyes del fon-tea- mi - co, ‘One word con - sent- ing, Dawn_breaks.on sul col - 169 - pri- co per— Ini ri - birds sing ‘The birds sing 80 cheeri-ly, Ti. ve-sto- no ‘apres, Sheet itusic 7 so cheeri-ly, {for Soprano, Tenor One 100k that love implies, Te pian-fe ve - do-ve land and sea, The flows re-a- ve-sto-no Tan-ti - coo- ‘And day fills the Tan- ti - 00 of And day fills the skies. Tanti - co o- nor.Vacca — Practical Method — for Soprano, Tenor 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 - tong the riv- &r - reach-es, Ben - chd di sen- so Andantino P whispring wa- ter - beech-es Bend down when night is Tar - bo- scel- 193 gra to quel - Te - mi - bo fall - ing, And drink the lin. g’ring pool, CDi: 18‘Vacsai — Practical Method now when noon is burn - ing, Their fi fron-dgor - na - fo, Ini turning, ‘They shade the sleep- ing ren - de, dal sol - quan - do fan them clear and ‘They suo be- ne- fat dal wa - ters, And Sheet Music 19 Cc fat for Soprano, Tenor leaf - lets sil - ver la mer- ce gli Py wa - ters, shade the sleep- ing ol quen- do di - keep. them. clear. and— cool. tor.Vaceai— Practical Method — for Soprano, Tenor Lesson IX ‘The Mordent Of all the musical graces or embellishments the Gruppetto (or Turn) is,at once, the most va- ried and the most difficult, from the apparent ease and lightness with which it must be exe- cuted. It consists of % 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 intentionof 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 Abbellimentj 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. your. laugh -_ ter, CDi 0‘Vaceai — Practical Method — for Soprano, Tenor === — of cret_they_ treasure Of pain — pleasure. Con. —— juve. ra-ce, per far - si__pa- ese, dun m _—————— = => _ a gno_non_ —== No,—no,~ no, -n0,—n0,n0,-to_ hide it No,—o,—n0,—uo,—n0,— no, bi = so - gno. CDi: a‘Vacsai — Practical Method — for Soprano, Tenor Different ways of executing the Mordent Andantino Tho 1 tend you night and morn-ing, With such care your VAu-gel - let-tqjn Iac- ei stret- to per-chb mai can - Andantino simile. cage a - dorn-ing, Vain en- deavor, My sweet bird nev- er Greetsme tar sa- scol-ta? Per-ché spe-ra um al- tra vol-ta di tor~ ev- er With one sweet song. Tho’ I love you, Queen of la- dies, pa-re in li-ber - th, KAn-gel- let-tojn Ino ci stret-to More-I loveswhere dan-cing shade_is; “Mid.green_ al- leys,Where sun- light nay exanil per-ché maiccan- tor_sa- scol- fa? Per-cht— spe-ra un! Sheet CDi: 2‘Vacci — Practical Method — for Soprano, Tenor | dal-lies, Leaf - lit__ val - leys, Where wild bees throng, Notes come_riog-ing When Ti= ber - ta, per che spe- ra vol-ta di_tor- na-re in there-Tm_— winging, Sing - ing, sing - ine @i__tor - na- rejn So ‘This _way,— that__way,— all__ day_ long, clear_and_ strong, di__tor - na- rejn__ li - ber - clear_and-strong The whole. day-lorg, the whole_day- long. li ber - ta, ee CDits: 23‘Vaceai — Practise! Method — for Soprano, Tenor Lesson X Introductory to the Gruppetto or Turn For the Gruppetto or Tura, the pupil follows the rules given in Lesson VII, for the study of Scale Passages. Moderato ee Sweet, now. sweet when tears come well - ings Moderato P poco stace. Where some dear one’s__ vice is tell ing Deeds of iu - no cen = tee. pu ro.af = fot - to he - roes a ‘Tears like — Quan = do_ae - cen - de un Shoot CDi: cacl ‘Vacca not_—an- man - nish van-ish, Sheet Music Practical Method. for Soprano, Tenor Ere the grand old mem - ‘ries self shall___ fall_ and__ die, ten - gaa - mor_nm— 3, se shall fall 28Vaceai— Practical Method — for Soprano, Tenor Poco andante The Gruppetto or Turn Execution: Pit non si Poco andante all these mul - i-tudes, due bell” Two. con - stant lov-ers. All___ for._e - ter - ni-ty eo tut - fi par - Ia-no CDi: 2%\Vacesi — Practical Method — for Soprano, Tenor theyll be kind, ful_ ones_ Where shall we— but_two_ faith - ful ones Where can. wo find? < s Nt CDi: 7Vacesi — Practical Method — for Soprano, Tenor Lesson XI Introduction of the Trill or Shake Allegro moderato = reil ma - scel- Allegro moderato ~ P Cold fell the_rain, and drear ys And all so. ghost-ly and —— mor-mo- re len-toe bas - Nightsank on sea_ and plain. qua-siar- re-star—lo___— fa. CDi: 28Vaceai— Practical Method — for Soprano, Tenor these dark ____ wind - swept ———— spac Once faiF— with sum-mer's po-ves = rel riyfors. And Lear bright with dea Se Those dard I fac - es neer shall see ana - siarere- star Io hes iMusic Cc we < ind Sis so qna- si, night —_ lowe = lit oa amoVaceai — Practical Method — for Soprano, Tenor Lesson XII Runs and Scale~Passages Allegretto moderato Like ships from anch - or stray - ing, Siam ma- vial - Yoo - deal - gen- ti Allegretto moderato winds and tides 0 Sway-ing to each seia-tein ab = ban im - pe-ta- 0 mo - tion, We drift der tif’ dark no - stri.gf-fet a CDi: 30‘Vaceai — Practical Method — for Soprano, Tenor 7 tS was Great__waves.are-hreak - ing be - fore Great_cloudsare_gath - er - ing o = gnidi-let- tod_ seo - lio, tut Ah! well, Ab! well, if day, if day shall re— 7 o = gni di-let~ t2 seo - glio_ tut ~ ta Ia store us To and, safe_home.at_ last, safe home_ai—— last. tut tala. vi- ta} un mar. CDi: 3Yacesi — Practical Method — for Soprano, Tenor Lesson XIII The Portamento In order to acquire an effective Portamento, the pupil must be careful not to shur 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 fone even tone. When the true art of phrasing has been mastered by the means iadicated in Lesson, the Portamento will offer few difficulties. but heramore than anywhereis the practical demonstration by a teacher or a proficient of the first importance. Failing these,we must be content with adding that thePor- famento can be taken" by Anticipation” or"by Posticipatian’ By tho first of these methods,he siager at- facks the valne of the following note with the vowel of the preceding syllable,as was shown in the. rules ssiven 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 bo used very sparingly, as in abuse it sounds affectedand the music grows languishing and monotonons. By the second method, which is less common, the singer ‘attacks almost impesceptibly the syllable that follows with the value of the syllable that precedes. Andante (#eay, With eyes-nigh blind with_ weep - iag, With poor_pale— lips that_ Andante +I sple-gur Tal fons oy m-stme der > low = P trom ble, This se-cret, that I am keeping, i, © men-tre i dub- ooo Rep ce ey ‘sleep = ing, How Jong can T Tut - to sple-gar= non 0 - 0, CDits: 32Vaceai — Practical Method — for Soprano, Tenor a ow.longcan I con-ceal What I wouldmost, what ___ T__ wouldmost, would most tut - to non so__ ta-cer, tut-to spic-gur, tut - fo non so, non_so ta, pice < rr. P And tho’ a smile Tin wear-ing, Hope- tess, Sol - Ie - ei -to, spond-ent, de spond-ent, do - spair-ing, men - to, -ram-men- fo, © a- gligo-chi_ miei non Sheet CDi: 33Vacesi— Practical Method — for Soprano, Tenor know can_nev- er heal; Ablnev-er, ah! nev-er my pain cam sier, non ere-do, non ere - do heal, ARI ney - er ah! gev - er such pain can sier, non ere - do, non cre- do ul mio pen - pain can nev - er heal, such_ paimcan-aey-er— heal. a oe cre - dggi— mio— pen - sier, non ore-dogLmio-pen - sier. < oe l= CDi: a4Vaceai — Practical Method — for Soprano, Tenor Allegretto (24 ay.) “Ye “call me de ~ celv- ing” The 1 grieving, “O Allegretto? Pla ei-dgit oma - re ha spon-da, 0 men, reft of reason, Go chide Wis wild sea~ son. These mad winds, my erste con Int tor = torts wpa s vaste, 8 cols pa del mas fers, Go chide them,aot mel ‘eause your dis - “as ters,Not ven-to, sua col - — panon “col pe ded ee [eM TED said-the_ sea; “These mad winds, "ny mas ters,Go chidethem, not me!” = col-pat non 8 8 col-pa “det vel ~ to,cua col-pa non 2 | CDi: 38‘Veccai — Practical Method — for Soprano, Tenor Lesson XIV ‘We need hardly say, that nowhere is a clear enunciation of each word and syllable of more impdr nce than in Recitative_otherwise,it must perforce quite fail in its mission. When we come across two imilar notes at the end af a phrase. ar 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 A Our first earthly duty fe tokard chr country. Howbase and how mean. La Poctria tym tut-to Ei dei sidm parti, al ata di -nog A eart-e1 Io fe who secks ad - vay-tage in his comtrys dis - honor! fal-o con-si-de-rar se stes-s0 se-pa- mu -to da le-i. 4 = ly, no loss or gain we need to con-sid-er save Lu-ti-le ail dap-no ektei = no = scer dee 0 - lo 4. A for what can shame or — ip-jure the land where first wo saw the light. © nuoce al - Ia sua patria a cui ffi tutta de -bi - tor.‘Vaccai — Practical Method — for Soprano, Tenor 4 4 ‘When for her wel-fare she bids ts sac-ri-fice for-tone, life-time, and e-ven our 4 A wargeper e- f nul- Ja del pro-prio ei Quandfj su-do-ri il St a a degr ones, "Tis Wer due that we render: She "twas, who do- na, ren-de sol eld che ueb-be Bs - sail pro- 4 made us, what we have, what We are. Her laws pro- tect us in ourhomes, and a - lus-se, Te-du-cd, fo nu - dri Con le sue leg-gi daglin.sul-ti do- 4 4 broad her arms de- fend us, And Her coun-sels mo - sti-cijl di fen - de, CDi: 37Vacesi— Practical Method — for Soprano, Tenor Tight us. She gives us safe-ty, glp- ry, sta-tion, name and Par- mi- Rl- la gli pre-sta no-me, gra-do ed —~ 4 Re-wards our mgr-itsandvin-di-cates cur hyn-or: With ne pre-mig jl mer-to, ne ven-di-ealeof - fe - s0, — 4 4 all lov-ing kindness, un-ceas-ing- ly she watches our happi - ness and - dre a - man-te fab-bri-car suf - fan-ma la sua fe - li - ei - peace, if per ad-vent-ure, mor-fal man can be hgp-py out At God ueaven! Ta, perquan-to li- ce al de- stin de mor-ta- li es-sér fe - li-oe, CDi: 38Vaceai— Practical Method — for Soprano, Tenor Lesson XV A Recapitulation or Comprehensive Study of all the Rules gi Moderato in the forgoing Lessons. ‘When now we go a-May ing, Or hiilland vale. a ~ stray —_ ing, Like dbetiestasion We tio Sr © @ no-vel - Iie-mo = F, pO | Simite. chit - dreuround—us_ play = ing, Soft zeph__. yrs___ come and F% - tejlmol - le fia to dw wf - fi Tee ing, Soft to dun > y¥8 come and Now sigiting, now SD fiero leg 0 “Fema, o CDi: 39sighing, They seem brightly, len - toy “Mer - ry ones! CDi: ‘Tue stream — \Vacesi — Practical Method — for Soprano, Tenor to fall dy - ing; Then light-ly, So We makes—glad_re - ply a-round us gliding, On! why. keop hid-ing gn? del pia 40Vaceai— Practical Method — for Soprano, Tenor ‘We. see your tra-es, Feelyour em - brac-es, Your in. o- goin - to simile fac-es, Why worlt you show? Your————___fac-es, your. = pa-gno & del pia = pa-gno,com - a-kno, com - CDi: 41¢c Vacesi — Practical Method — for Soprano, Tenor fac - es, your, = _pa-guo, com - fac - es, your. Pa-gno, com - not show, Ohfwhy hide | s0, pla - & del pla - cen, Sheet itusic 2