hs Schirmer’s Library of Musical Classics Vols. 240-241-278-279 NICCOLO VACCAI PRACTICAL ITALIAN VOCAL METHOD s Revised Eton wits Tranltins by THEO. MARZIALS ‘And Biograpbl Skah of he Autor by ‘Da. TH, BAKER IRMER, INC, NEW YORK 190, by Gere, Printed inte U.S,ar aes svt YYPCCAT was orm on March the sth 1790, at Tolentino, near Ancona, aly, whence the family soon removed to Pesaro where they femsined about tweive years, and where Nicolo received his first instruction in muti, He was then brought to Rome forthe Purpose of studying law, to which heremained more of less futhful during some five yeas 3 but then, renouncing this profession as dis- tasteful, he devoted himset entirely to muse, taking lessons in counterpoint under Jenna oni, and later (1812) studying theart of opera~ composition under the guidance of Paisil, st Naples. While in Naples he wrote two Cantatas and other church-musc; im 1814 his first opera, I sltard a Scoxia, was brought fut at the Teatro suozo in that city. Shorly ae, he repaired to Venice, where he stayed seven years, writing an opera in each, and aso 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 Eomposition in 1830 and turned his attention to instruction in cinging, a voeation in which the Was eminently successful in Venice, Trieste and Vienna, Again devoting his energies to ‘composition, he wrote operas for several lead ing Italian theatres, yet stil without success; but few of his dramatic works became known abroad, among them being La Pastorela, Timur'Char, Pliro Gran, and Ginlitta¢ ‘Romen, ‘The last-named opera Is considered bis best, and its third at, especially, was so ‘much liked that i has frequently been substi- tuted for the same act of Belin's opera of ke ‘name, not only in tain theatres, but even in Pars and London, To the former city Vaceal journeyed in 1839, visting London afew years later, and in both attained to great and de- served popularity asa singing-teacher. Again eturning to Maly, he recommenced writing foperae, one of this period being Giovanna Grey, written fr Malian, in honor of whom he composed, after her decease, in co-opera- tion with Donizeti, Mercadante and others, funeral cantata, Most ofthese operas aso met ‘with hardly more than a bare succes etme, In 1838, however, he was appointed to suc- ceed Basi ag head.master and instructor of omposton at the Milan Conservatory, which position he held until 1844, when he retired 10 Pesaro. Here his last opera, Virginia, was ‘written fr the Teatro Argentina at Rome. He ied st Pesaro August 5, 1848. Besides six- ten operas, he compored a number of cant ‘tas, church-musie of various descriptions, arias, duets and romances. “Although unable to secure a niche among Italy's favorite dramatie composes, Vaces!® lasting renown asa singing-master shows that he was possessed of solid, if not bile fant, artiste attainments, His famous “Me~ todo pratico di canto itallano pet camera” i stil 4 standard. work in great request and Tis "Dodie arete per camera per Tinsegna= ‘mento del eleantoialiano” are scarcely Tess popular ‘The general plan of the “Practical Method” fs to render study easy and attractive, withe ft omiting easel No exercise exceeds the limit of an octave and a fourth (e-—P, transposable {o suit any voice). There are fincen “Lesson,” which ae not bare slfeggi fon single vowels or syllables, but melodious cexereises—for sealepractice, for skips of thirds, fourths, ete, up 10 octaves; on semitones, runs, syneopations, and all graces usually met with writen to smooth Taian verses, with ‘excelent English translations. The extraoe inary and undiminished popularity of this method is atested by the numerous editions ‘through which ithas run; yet itis not merely ‘he method for diletant, but ean be used profitably in conjunction with any other sys- ‘em of voice-cultivation, being admirably cal culated for strengthening and equalizing the ‘medium register, forgiving confidence in tak- ing dificult intervals, and for enforcing habits ofprecise and distinct aricuation and phras- ing. De. Ta. Bans. v3PREFACE BY N. VACCAIL. NYONE who wishes to sing really well stould begin by leaning how to sing in Halian, not only Because the lian school of voalsation is acknowledged to be superior to all, others, but also on account ofthe language itself, where the pure and sonorous tone of ‘te many vowel sounds wil anit the singer in acquiring a Gne voice production and a clear land distinc enncation in any language he may have to ing, no matter what may be his atonal "Experience has shown us that not onlyin France and England, but alto in Germany, and even in Italy, many who are studying as amateurs rebel at the thought of the weary time ‘thelr professors require them to devote to "Solfeggia.” Here they Sst urge that very tv pee tat, ae they have no ambition beyond jus singing to please few fiends inthe restricted fren oftheir own drawing-room they need not dwell upon all those aubtletee ofthe vocal fart which they are ready enough to admit are indispensable for those desirous of commanding: ‘larger and more erticl audience from the public wage ofthe opera or the concere-room. It {sto show the absurdity of such an arument and to win over these fant hearted ones to the true eause by more gentle means, and as it were, in epte of themselves, that I present this ‘Bfethod” of mine othe pablle. ‘They will Jn it new in desig, very practical, very briel— yet very effctive—and, as physicians say, ‘ery pleasant to taka” The psp will stain the Same goal, and may even beat the recor, bat he wil find the course far ise lengthy and laborious, with spaces of contrasted sun and shade to begulle the tediom of the race. ‘As at fst all mast nd a eshdifiealty in having, as they sng, to pronounce words in ‘language which isnot habitual to them—a cifically which isnot altogether obviated by any mount of sady in Solfegrio and Vocaising erercaes on the same model,I have tied {0 ‘make mattors easier by ths plan of mine, where T adopt even on the slmple notes of the diatonic scale, words selected from the fine poctry of Metastasio instead of just the mere ames of notes or syllables conveying nether meaning nor interest. By there meane I trst have rendered the pupil's tase ao far less wearisome und thankless that he may even find pleasure in contacting the habit of clear erieaation aa he sings and, withoat experiencing fny aversion, be led tothe study of an indiapeneable form of exereise. Tam of the opinion that not merely amateurs, but also those who think of entering tho profession, wil ind ry “Method” utes for fn each fndividvelexercee I have sought to make the music ilustetive af a diferet style of composition and ofa distinct emotion, so that the papi will learn more readily how to interpret later on the spirit ofthe various composer, ‘The vocal part of the exercises has been kept within such aresticted compass, not forthe greater ease of the greatcr number of voices, but because ofthe conviction that at the very Doginning ite more advantazeous not oath the vocal organs, and Yo keep to the medium ‘egnterexchisively. ‘This is amply suicint to demonstrate the requaite rales, and, besides thould i he thoupht expedient, if always eay to transpose the lesson into = Key higher or lower, ab the individual capability of the singer may necessitateHINTS ON PRONUNCIATION.* vn i Sea eer tame cape Tiehalelite rin seis | Vowels . "Tig tape vo a a Tans vine Soar ; | Mote vias ‘ronal pe a tt. a 2 i ri i i : i ile = HG aie Feu il as Hyon lees PTs i tt 2 a Hi F. aaa tad om is uyLessonIl. - The Diatonic Scale. this {81 Lesson, Sigaor Vaccei has aot grauped the letters of the Italian syllables sc- cording to the correct rules of spelligg, Dut ia such a fashion that the pupil may percel ft the very flrs glance, how hs volee should Cell on the vowels, exclusively, to the extreme Yalue of the note oF notes they influence, and how with a swift and Immediate articulation of the consonants he should attack the following sjlable. This will greatly facilitate him in a- Guiting what the Kalians call the Casto legato (Chat lig) — though, of course, need hare ly say that here the teacher's example and oral explanation is better than all written pre~ cepts Adagio. Voies. calla shoyourwaysnemslong Since fist we started, Comeeagn how Voor. z feonta co le-ci- ta pl de-Ifaan- to, a» neosoht Adagio. Si 3 | Piano. P co. lies 7. Ree ce che pee tpinte rE while yet ‘tis day, Out with yor yoie-es,And march march, fa = ce che pa-Ipi-ta pre-segn ~ Lino-rf. eG » uw Copyright, 1898, 89 G. Schirmer, Ine. “Printed tne U.S.AIntervals of the Third. Andanting. An! for those who feel no pit - y,When the simple dove, so ‘Sempli-eet- ta tor- to rel-Ia, che non ve-dell su Andantino pretty, Mid the _ar-rows,shel-ter su - ing Here and there, and sore ds - ri-gllo, per fug- gir dal cru-cgar- ti-gllo vo-lajn gremboal cac- ela trots, Wltud-Za_ falls, with gen- tle coo-ing, Wounded falls, with gen -tl tir, yer fug- git dal crudosr- tiglio, per_fug- gir dal erudgs i ¢ * ‘cop-ing Op the fowl-ers faith-less breast, On the-fowl-er® faith-(ens breastLesson II. 5 Intervals of the Fourth. ess, Not mere Adagio. Bedwell marein . fi - do P want that oft-times ur- ges, Tito’ those dreadful deaf bing surg-e%) Par, $0 cer torngji noe ehie- 10, © pur sm chemenzo- gne-to sl- tre far aud forth fo sea, One who knows whatstorms faa bel volte Finegan - nd, al tre vol - te Tin- fam~md, knows what storms can be! All_ too well what storms wl-te Mn-gan- nd, Litre wl-te Tin- gen - nb. +tIntervals of the Fifth. Andante. Tien _ db got_mock at me, _Call__ate not__cra Ke. tags wie vee = mcon = for - to Andante gs P i mid ha = veny And fur all_my sail menegsl por. fo peeven to i ma Where _windsmost_fa'-_vorme, _Most__Tim de - spar ~ ing sen = mecon fF toLesson III. v Intervals of the Sixth. Andantino, ‘Wel, un just-ly,blamethou bege-est, AIL_in__s{-léatscorn_se— Bel- 1a proza® dal-ma for te Tes-ser pla- ch Andantino. = P rene ty, While the guilt-y one so mean ly Sees and gives not_logk nor Feta nel sof- frir Tin-gi pe-na @u-na col- pa che non for- te fairest, Rarer far thangemsthe rarest Brought from fer Golconda mine. ro-na nel sof-frir Fin-giu-sta pe-ne u.- na col-pa ehenon ha.8 Lesson IV. Intervals of the Seventh. he _gltam cad he tun - der Fa rom - ean lam - po a - stag! nocehier Ove glance, and pow gfe = al so Sees_wherehis bark should = g 1907 i zIntervals of the Eighth, or Octave. Adagio. Afd_oow__at__dawels _firgt que on. da inte. All_geoalys- ing, Ta _ing, Dal = 2a) sifrangee How fiir titse wives ap ain. pi da fall - ing, gen - tly fall - ite, How _lim-pidjeweetand clear bel = 2a, bel - 2a, bal- oa, oma lim-pi-da si fa0 Lesson V. Half-tones, or Semitones. Andantino. their tether, cheon - deg - giafost them Tn passions — che on - deg - gia So 7 tatS Lesson VI. racopation. Moderato. Syncopati Tike wild bees at Sut -_rise— ranging, What were life But pS pS Nel. con-traste's - mer fae - cen-de; con. chi ce-deo Moderato. - » séntle ove,—_lovey ‘ee long-changinig, Shone there net, all_worldsa-bove, Lovey Ohi sar ren-de mai si bar ba- ro non 8, mah— mah mal. true MMe. Tite and _chncerand tad facie, AL rae and Ss ~ Gon chi ce- de © chit sar ren-de,no mai st G change,and passfrom sight; But love. is life's one stead. fast bar = biLesson VI. . ® Runs and Scales Passages. At first the poll sould take the time of this exercise quite slowly. Tn aferstudybe may worn up toa sharp Allegro, progressively. as hb capacity tilowy him Seales shouldbe song With extreme smoothness, even and flowingiy; but with each note clear and distinct. Aljenng Rod slurring are equally to be avoided Whensnowsare whitest, [igtest and brightest, One fleckthe Co- mei} can-do = re" ain be unbel P, Sight est, —Theie beauty les a4 Sea sts cer gest, Que dubithe mer ety Tani tritnatip Chie in_se rice - ve; tut. tangin-vo = le le sua bel- oe ae doubtythe mere est, ‘Their fritadship dies. tot tanein- yom leLesson VIII. ‘The Appoggiatura taken from above or below. ‘The Appoggintura (or leaning tote) is the mos ‘The effect Is gained by borrowing the full va some occasions, the singer may slightly Teng et pressive of all the musical adoraments. ‘rom the tote that follows. 0 never, in any case abbrev Andante. in my “Tn-dyeeyes Love wak-eth nev - ery Sen - aa Ta. me. bile Andante. eee P reed of a-rure skies, May&_ sweet en- deav - or?’ The Nh non ~ tor ma-n0 di prima. ve - ma. Non 7 birds sing Areari-ly, The Blossom all dies. spire ef-fl-ro, non spunta un fior. Ler. be sul wan“Tacayvoyes Comessvoct relent - ing; One _lookthat Tove impli mar-gine del fonieg-mi- co, le plan-te ve-do-ve mn One word con- senting, -, Dawn breaks on landandeea/The flowes re tal collee pile PH Ink - vestige innit > ca. 6 ec | wy ee ‘The dirdssing so cheeri-I ‘And day fills. the pers ston Tan-@ - 0 0- skies: ‘The birds sing so cheeri-ly, And day fills theskies. mei ri -ve-stomo Tamil - co o-nor.« The Acciaccatura. ‘The Acciaceatara (or crushiog note) differs from the Appoggiatura in borrowing gothing from the value of the note that follows, though it may slighty intensify its acceat.It shoul be song Andantino. whispring wa -ter - beech-¥% “Jar - bo = seel- lob Tail - ing, And drink the lin grring pool, wan 2now when noon is bum ing, ‘Their sil - ver Teaf- lets Tui di frondegr - na - to, bel le mer ee gli The shade the sleep ing wa - teks, @al col quan- do di fen de fan them clear and cools ‘They shade the Sleep. ing suo be. ne. fat - tor, dl “Fol quando di - Keep. them clear and__ cool* Lesson IX. ‘The Mordent. ishments the Gr 4 the most difficult, from the apparent ease Of all the musical graces or os varied cuted. to (or Tara) tay at once, the most Tightness with which It must be exe reat charm fo the singing without iaflen- cingithe ase sentiment of the phrasing of individual pasrages, or the general intention ofthe Cam- poser. Its, therefore, the only cence that te slnger may occasionally take om hls oWa re- “ponsiblity. The slightest agpearaace of effort or premeditation is fatal, We may add that mod ra. composers wrt ‘the sotes they wish to hive song, and itis impossible to condema too Strongly the singers use of any Abbellimenti or vocal ornameats that are not indicated inthe ‘music by the composer himself, Wo af of fashion. ‘haakfol to say thie abuse has Toog since gone out Allegro. your laugh - tery That com- ing TEs The whole Wb - bro it, They show.—— —— _ => » ce a eret_they_ treadire Of pain or of pleasure. Con- = en ree a eve - mace, per far ty You se i vain. No, nq ng no. nq now to hide. it is vain. hha. Noy ma. no, nop. no. no DiDifferent ways of executing the Mordent. Andantino. tend you nigtt and morn-ing, With such care your Tat 1 Au-gel - letto in Andantino. neck stret-toper-che mai oan - eage a - dorning, Vain en - Jeav-or, My sweepbird never Greetsme spe-ra un’ al. tra vol-ta di tor- vor With one wegh song, Took 1 one you QUE af ee, neve In cber = th, Uawegel= Ietvigin Ine el tet to iP 3 More I lovexshere danccing shade. is; ‘Midgreen_ al-leysWhere sunlight porceho malcan. tare seol-ta? POPS chi ape-te un’ alc tm a0 5Leaf lit valleys Where wild bees throng:Notes come ring-ing When re in (ber thy. per- che spe-ra un ‘there_Tim_ wing-ing, Slag ing, sing ing loud and strong: al- tre vol- ta di_tor- ma-rein ali day_ Tong, So clear and strong, So Wis ber - tay in Mh + bers tay in clear. ait strong The whole day long, the whale day long. Ws Der fay ims bers tay in 1 ber ta ¥Lesson X. Introductory to the Gruppetto or Turn. For the Gruppetto or Tora, the pupil follows the of Seale Passages. s given in Lesson VI, for the study Moderato. Sweet, how. P pore stave. Beceton SSS Te of ix tell. ing Dew pus reat - fet -tor de - bo - he -roes In days gone by. ‘Tears like these Quan - do_ee - cen - de un- sua7as un = man nishs Bre the grand__ old mem Seas ier vanish, Love it~ self shall__fall__and_—_ die,The Gruppetto or Turn. Poco andante. Bxeeaton atl these mal ti-tudes, due bell for ¢ ter - nity — co = standi, tat ti par - Jano= ful ones_ Where shall we ae Ses Yet but__ two faith ful ones Where can we find? tat - G_ per- i ae (Cold fell the rain, and 3, And all so ghost -1y and ee Se mor-mo - ra len-teg baa > ‘mo Night sink on sea— and— plain, qua-sigr-rester— lo fa.thee tek wigeeept ope one ME Shemale po-ve = ret — And bright with dear— ‘Those dear bright — love = lit = seek - toy un— fac 68 I ner shall see a* Lesson XII. Runs and Seale-Passages. Allegretto moderato. ‘x3 Like ships fiom anch - or stray ing Siam na-vigl-Yon - deal - gen - Allegretto moderato. winds and tides Sway-ing to enei We drift der feb dark no - att gf-fetof es Great waves are breaking be - fore Great clouds are gath-er-ing a es oe gl delet -to-8 wo” ll, hts tenlieet - on Abt ‘well, Ab! weil, — if day, if__day shall re- er Tet ted seo - glio, tut -ta Ia ware safe home at lastssafehome at — I store us Toland, Rs vi-te Qyn mar, tutta Ik. vi-te @_un— mar.sa) 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 oo frequentiy in ill-rained voices... on the contra ‘ty, he must so blend the different registers and so bind the notes that they seem to fiow into one ven tone. When the true art of phrasing has been mastered by the means indicated in Lesson 1, the Portamento wil offer few difficulties. but here, ore than anywhere isthe practical demonstraioa, by 4 teacher or a proficient of the first importance. Failing these, we must be content with adding thatthe Portamento can be taken “by Anticipation” or"ty Posticipation? By the first of these methods, | the ‘attacks the value ofthe following note with the vowel of the preceding syllable, as was shown rules given for Lesson I. In certain phrases, where a great deal of sentiment has to be exprss- ‘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 languishhg and monotonous. By the second method, which is tess common, the'singer attacks almost imperceptibiy the sylable that follows with the value ofthe syllable that’ precedes. Andante. 1% way, ‘With eyoe nigh Bind with weep ings With eple-ger Taf - fan POSS S Poor pale lips that trea ble, This se -cret, that I am 2a feon- der = lo vor - re i P, ‘That robs mynights OF sleep - ing, So- at en > do Wan > notHow long can T—- dis-sem ~ ble? ‘Tit - to spie-ger—non 0 = 20, a ‘ceal What T would most, what I___would most, would most re= — cer, tutto spie- gar, tut to ‘And tho! a smile Tm wear - ing, Sor - Te - el-t0, ap = Dio - #0, Hopeless, de spond-ent, pen-so, ram-men - to,heals Ant never, ah! nev-er my pain can heal, An! nev er, ah ser, non ere - do, non ere -de all mio pen-sier, non ere - do, non sich pain can such pain can nee — er => al mio pen - S such pain—can— sey - GS non ere -dgsl_ mio— pen - sler.38 Allegretto. 24 way. Fe Tall_me_de- ceiv-ing? The grey sea_vas_grieving, 0 5 ci-dqil mare Tn «.sin-ghi Ia sponsda, 0 Allegretto. ee ® ¥ gF pele | Se S| eee Tien, reft of _rea-ton, Go chide this wild sen-son, These madwinds ay or-ta con Ton-da fer - ro-rep apa - ven-tor 6 eal-pa del rmasters,Go_ chide _themyoot ame! They cage your fis "ay —guferg, Not pa non, col-pa del “ven. to, sua Se DE sid the seas “These madwintdiny ase ters, Go chidetbemnot me!” col pae_non_ ‘ol-pa Mel Wer to, sua col- oad Irae Lesson XIV. We need hardly say, that nowhere is a clea enunciation of each word and syllable of more Amportance. than in Recitative oterwise, It must perforce quite fall i its mlsion-When we come across two similar sotes at the end of a phrase, or severtl repealad aotes in the bedy of & ‘phrase the note on which the word accent falls should be entirely converted into am appoggia- fora of the following sole. To exemplify our meatinig, we have marked with an" where fuch notes ovear in the following exercise. Recitativo. ‘Our firgtearthly dy-ty is toward dar country-Howbase and how mean Tn Pe-tritgntutto ai oui sikmpart, al elt-ta - Led is he who seeks ad vap-tage in his coun-try’ dis — hyn-ort Tal-lo con-si-de-rar se stet-s0 se-pa-ra-to du per, OF what canshame or i-jure, the land where first wesaw the Hight, Bio-va_o nuocesl-In_eua patria oul di_tut-toé de-bi - tor. ———a ——3» fortune lifetimeand e-ven_ our “When for her welfare she bids us sae-ri-fi Quando} su-do-ri ei) sangue sparge per 'Te-T, nul-la del proprio et L£ dear ones, "Tis her due that we dona, ren-de sol of che FF 4 fo Usjwhat wehave,what we are, Herlaws pro-tegt usin our homes,and_a - MueSe, Ye-du-cd, lo mu-dri. Cone sue leg-gi daglin-sul - ti do- 4 ‘And her coun - sols ropa her arms de-fond us, ‘ai -fen - de, me - st - oli da - ellester - nbTight us She gives us safety, glo-ry, station, name, and BI le gli pre-sta_no-me, gra-do ed Reswards our merits and vindi-cates our hon-or: With ne pre-migj] mer-to, ne ven-di-en Ieof - fe - sey all loving = Kindness, un-ceas-ing-ly she watches our hap ma - dre a - mante « fabbri-car af - fan-na le sun fe -li pesce, i per-ad-estire, mortal man can be happy out of God Reaven! ta, perquan-to Hee al de-stin de? morta-W es-ser fe - li-ee.Lesson XV. . ” A Recapitulation or Comprehensive Study of all the Rules given te the foregolag Lessons. Moderato. Whe now woyo a -May = ings br hill and vale astray — ing LB Teton defo Moderato. ue Ghit- aren round us play ing, Soft soph yrs, come. am Era tojl mol - Je fia - to dun_aef_- fi oe I Z = area Toround ws Hy to maf fs come and. = fi-fo lee - 7‘igh-ing, They ay = ings Thea Tigit~ Ty, —— fron ae, leaf, “Mer - ry ones! a-round us gliding, m_o-gu b-o So bright - ty, len toy SS On! why keep hid -inge SS = guj del pln =eFeel your em - We. see your in— 0 = gi te on gai ‘Why-_worlt ‘you o— del_pa fac-es, your. ee faces, your ago, com>show, YouS=——— tao en) pour, faces, your Rot— show, Oh! why hide _ 0) eer, pla - oer, ¥ 3 pa gno & deh On! why del hide pla