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 1 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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 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.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 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),HINTS ON PRONUNCIATION. 4 Mee 7 (consonant 0 Tomer with 2 roll oF @ harsh beeath- ‘ing. fe beginalng a word or syllable, and ‘before a vowel, like # (soft); ending a word or syllable, Ii sharp +; betore ¢ and p, begin. ping 8 word sual like, a Shire ‘pron. shttim ‘Slerwise as in Eng wv tke w {vy (bat softer, between » and w). F « Ufalsowhes beginatog a word). an Compound consonants: ch is» sibillant without an English valent ; when beginning a le, or after ¢, 1, d, 4, @, ai, Gi, ae, 41, and ds, itis soft (set tthe tongue as if to pronounce d, and breathe an 4 ; in English. (pound words tute ie ale tl iways 2 sometimes a ‘secondary accent(”), on tertiary one(’”?), depending on the wumber of separate enter. ing into the ition of the word; e.g. Zeoi’schem- ch musil, Bel ‘remhae marke. we he ea ee FRENCH. Vowels: a fn Tealian, but shorter, often ap- (Coe aed anon win bot; efinal is almost silent Tor i ike ¢¢ in beet; short # as in English. © asin Italian, like the German @, Diphthongs: tf Fike afin bat 5 but before joel ce is pronounced as diphthong. , {raw closely together) at and ei i Su, of ad exe Like German 3. i like of-g4” (drawn closely together). ou and off like oe in boot. eau like ¢ lon without the vanish #. Modified by a following 1, m, md, mior mf at the end of a syllable, the ‘vowels and diphthongs arenas (exception,—verbal ending of 3rd pers, plural), ‘Consonants as in Fn ish, with the following exceptions © like s in song before «, ¢, a 4 and é, ch sh. in azure before ¢, 42,4, and é, as in ltalian. is often mute ; no extended rule can be given here, like s in azure. ‘alter fis usually sounded like Eng- lsh y consonant), and frequent. y prolongs oo) 5 ee dravailler [trth-vih-yay’] quale [trahngkee’?). mnasal, see above; otherwise as in English. [The nasal effect is accurately obtained by. (orm) together with ree of after) the Sa he’ sound of cis to sh, # to d (in bat), ae to em ‘m, nasal in certain situations. with a roll, er, et, €s, est, ez, as final are pronounced like 4. Accentuation, The ‘stress on some one poizylabie word. is ioe enc the Erato Sa oect to et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. EF f Fe a 7 — Child, tho'your wayseems long, Since first we start-ed, Come,learn how Voce. aso-le-ci- ta pi de-Ilu-sa - to, a - neo-rehe Piano. x » sa. gi-ti ie - ce che pa- lpi-ta —oo ~~, f& -| —= + = == SSS v . while yet ‘tis day, Out with your voic-es,And march,march a - way. = = SSS = = sj erate fa - ce che pa-Ipi-ta pre-ssqa - lmo-rir. ys p= P ee wf P SES = a a F t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- 1 Andantino P 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- tréss'd, Wound-ed falls, with gen-tle _coo-ing,Wound-ed _ falls, with gen -tl tor, per fug- gir dal crudoar. ti-glio, per fug- gir dal cre-dgar- coo-ing, On the fowl-er’s faith-less breast, On the fowl-er’s faith-less breast. tiglio volain gremboal cac-cia- tor, yo-laingrembgal cac-cia - tor.Lesson II. Intervals of the Fourth. Adagio. mad-ness, Not mere oe. coy == = fi - do a sol - er want that oft-times ur- ges, Thro’ those dreadful deaf'hing surg-es, Far, so car tor-nail noc-chie- ro, e pur sa chemen-zo - gne-ro al- tre a A far and forth to sea, One who knows whatstorms can be! One who vol-te Jin-gan- nd, al- tre vol - te Tin- gan-nd, —al-tre = = = knows what storms can be! All too well what storms can vol - te YVin-gan - na, al-tre vol-te Vin - gan - nd. — NFIntervals of the Fifth. Andante. + = = a Then _do_not_mock atme, Call _me not CS + . = eo ee Av - vez-z08 vi- ve-re sen - zacon- for - to Andante. A -_ ha - ven, And furld all my sail. = = = por - to _pa-ven - to il mar. ' a ars — at coy ee, es a 3 = Where windsmost fa - vorme, Most I'm de - spair - ing Ss a Av - vez-20 & vi - ve-re sen - za con - for - toLesson III. Intervals of the Sixth. Andantino. When, un - just -ly, blame thou bear-est, All_in _si-lentscorn_se - Bel-la provae dal-ma for- te Tes-ser pla-ci-dae se- aoe ee Andantino. P 2 rene - ly, While the guilt- y one so mean - ly Sees and gives not logk nor re-na nel sof-frir Tin-giu-sta pe-na du-na col- pa che non eS A Et ED, 4 sign, Then, tho’ all un-seen, thou wear-est Such a crown as saints deem ha. Bel - la Yes - ser provaé dal-ma for - te pla. ci-dae se - = le? fairest, Rarer far thangemsthe rarest Brought from far Golcon.da’s mine. re-na nel sof-frir Tin-giu-sta pe-na du - na col-pa chenon ha. NSLesson IV. Adagio. Intervals of the Seventh. One gleam ‘mid the thun - der Fra Yom - bre un lam - po ing, Where winds and waves 1 Yo ba - stagl nocchier simile == p of One glance, and now che gia ri-fro - vail Sees where his bark should steer. che ri- co. E Mo-sceil mar.Intervals of the Eighth, or Octave. Adagio. And now at dawn's first Adagio. _ Quel’ on - da DP simile. oe callings, All gen-tly ris - ing, fall—- _ing, i—— bal - za, sifran-gee mor - mo-ra, How fair these waves oS Fall - ing. lim- pi - da si . bal - I, G fall - ing, gen - tly fall - ing, How — lim-pid,sweetand clear. & bal - za, bal'- za, ma lim-pi-da si fa.Lesson V. Half-tones, or Semitones. Andantino. Wien leaf~ let 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and eS dub - con - science So : =e. De - li ra # ¥ ee pas - sions —s In #- 7 rea - son, va - neg - gia bio - sa, =z wa - _ver— = NE they # iw de On! see, eae mo frai ww lest + ti g - gia and — = rss che on - de; gnial-ma NS a = die. they == lest Ont sees. = = cor. del ti 7 tT —Y~ StL - wy z 13, die. e cor,Lesson VI. Syncopation. Moderato. Maid — — Pee ny Like wild_bees at sun - rise_ rang-ing, What were. life but ram J Nel con - trastoa - mor. sac - cen- de} con. chi ce-deo Moderato._ P simile — — — 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_ , : love. Times and chances,and dreams and fancies, All range and o ce -de o chi. sar- ren-de,no mai. Na \G a 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Lesson VII. Runs and Scales 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 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. 7 S When snows are whit-est, <_ : Light-est and brightest, One_fleck the a — Co. meil can-do - re d'in- tat-ta ne - ve —_d'unbel P pl WN _| sinite. : << slight-est. ‘Their_beauty fl eet When friends are nearest, fat 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 : tut - tanein- yo - la la sua bel- po oe One__ doubt, the mer — est, Their_ friendship dies. tut — tanein-¥0 — la 1a sta bel - ta. ve ee 15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. Andante. os J 9S = = = in my “la-dyseyes Love wak-eth nev - er te ———— = ae =| = z ee sa za Va - ma- bi-le Dio di Ci te ra = é ao ( we | ee / |e ee | eF ) k : simile. 4 : SreeE ieee S| + ~¢ bed ze ¥ ¢ + tet a ¥ i v need of — a-zure skies, May's_ sweeten - deav - or? The = = =| T jane 7 di non tor-na-no di_— pri-ma - ve - ra. Non = + ee yer ge ge ge ge Ss 4 4 h 4 K Ca i a birds sing so dreari-ly, The blossom all dies. if in my spi- ra un zef-fi-ro, non spunta _—_un fior. Ler- be sul ae bee s ste e Z : : = - Z oe 3 —“ady'seyes Comessweet re-lent - ing, One lookthat love implies, * Fe —— + ey 7 = mar-gi-ne del fon-tea- mi - co, le pian-te ve-¢o-ve He geet ge ge | ele a ol DN + r a a — | aia One word con- sent-ing, , Dawn-breakson landandsea,The flows re. a - + f ae sul col-le'a - pri-co per— lui_ ri- ve-stono Yan-ti- ca o- a = ee simile. The birds sing so cheeri-ly, And day fills the per lu-i ri - ve- sto-no Yon- ti - = SSS Sa Eras skies: The birds sing so cheeri-ly, And day fills the skies. nor: per In- i ri- ve-stono Tan-ti - co o-nor. = ee oe e re + ae WRspress! ine & i F a ca Z aoThe Acciaccatura. The Acciaccatura (or crushing 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 what- ever precedes it. Andantino. A - long the riv-er - reach-es Ben - che di sen- so pri - vo, Andantino. x t 2s if a ae = + ¥ whisp'ring wa - ter - beech-es Bend down when night is S é a de eh Yar - bo - scel-loe gra - to a quel- Ya. mi- co = 7 +f ot Se eS ve — wH SS SS — 7 eae 3 z = 3 {$e SSS SSS SSS = fall - ing, And drink the lin-g’ring pool, And ri - vo da cui ri - ce -veu - mor. Per $ # Sy st + oe fae sey felts a? # Leas —— ; —— = = se == a’ : 2 18now when noon is burn - ing, Their sil- ver leaf- lets lui di fron-degr - na - to, la mer - ce gli a turn - ing, The shade the sleep- ing wa - ters, ren - de, sol quan- do di - fen- de oS GS cc eee fan them clear and cool; They shade the sleep - ing Ss a suo be - ne - fat - tor, dal Sol quan wa - ters, keep. them clear. and_ cool. fen -_de i - fat - tor.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 £ ee simile. a oe [ Bee === === = 3 3 = f. 3.~C~™ com - ing_ ter. The oS Seceeeee pa - = se, dun it, They show, whole. labSa —==__ ea i ed cret_they. treasure Of pain or. of___ pleasure. Con- —— en es - fra-ce, per far si__ pa - le-se, dun non 21Different ways of executing the Mordent. Andantino. Tho’ 1 tend you night and morn-ing, With such care your L’Au-gel - let-to in Jae - ci stret-to per-che mai can - Andantino. mile. 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 - . sie — ev-er With one sweet song. Tho'_ I love—you, Quéth_of —_la- dies, a aa na-re in li-ber - ta. LAu-gel- let- toin lac ci stret-to Be Dy = More_I love where dan-cing shade_ is; Mid—_greon_ al-leysWhere sunlight 4 Z 5 = ee per-che mai can-tar_ sa - scol-ta? Per - che_ spe-ra un’ al- tra_ ty F § i 22— 7 dal-lies, Leaf - lit_ valleys.Where wild bees_ throng,Notes ume rimg-ing When vol- ta - thy per- cha spe-ra un’ di__tor- na-re in li- ber LP = there_T'm__ wing-ing, Sing-ing, sing- ing loud__ and strong:— ee , na-re in li - ber- ta, This_way,.. that_wayc_ all__ day. long, So clear_ and strong, 0 . — . rf ff i + di__tor- na-rein— li- ber- ta, in i - ber- ta, im ei ee NS | selate “ a clear_ aid strong The whole_ day long, the whole_day long. ‘Ss : o 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. * tee : Sweet, how come well - ing, — Sa=s Ses — FES 27 Se ee ee ee Moderato. P poco stace. 3 i ss z+ = ss. Execution: == | oof Pie Sep ayer Where somé— dear ones voice is tell - ing Deeds of __ + is —— Sik moe cn tee pa ro at fot to: ie bo $ Ser he -roes In days gone by. Tears— like these are jez - za a-mor non @. Quan - do_ac - cen - de un-ieee eRe Te van-ish, Lovee seh chal fel and die See ee ee fet-to: de- bo - lez - waa - mor—_non_ Saree pese vege? oe Love it - self. shall fall and die Aare é Fee # = de - -bo- lez - za a + mor non 2. —— =F ? 7 7S = +5 = ie ; rr aThe Gruppetto or Turn. Poco andante. Execution: Ve me why, now - a-days, Tell dis- patente: 7 non si tro - va-no tra oe ee Pid mil - leg- Poco andante. > On: as ers; Mid-____._ all_ these mul - ti-tudes, due bell’ ae simile. oe es con - stant lov-ers. for e - ter - ni-ty <7 sian__ co - stan-ti, tut - ti par -la-no—_ Ys e Y WS Swear. they'll be_ kind, but__ two a) faith - - ful ones_ Where : 2 arora Yet but___ two faith - - ful ones Where can we find? > NSS AEE - la-no di fe- - del - ta.Lesson XI. Introduction of the Trill or Shake. Allegro moderato. The wind seem’d_— ne'er to wea 7 ry, ae S - oil - seel- -lo Allegro moderato. ~~ a : a? aaa "7 , 4, P t sv oe s te Sete mite Cold fell___ the rain, and drear- y And all so ghost -ly and = eee mor-mo - ra len-toe bas - - 80, un ra-mo - — scej-lo, un St ae ¥ ¢ +: sty te 7 z ¥ sas - qua-siar-restar_._._ lo__ Se MLnAdRLAR 28 wsOnce fair— with sum-mer's spac these dark ___ wind-swept > si, scel - lo. un— sas-so qua ra - mo - un love Those dear bright _ - gain? ne'er shall see un 29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, 29 e + mo - tion We drift cer lifes dark___o - cean. = = eS SS vo e eee i no-striaf-fet_- ti so - no,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 % vv s store us To land, aun mar,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 IO SF eS e i scon- der - lo vor ~- ; P, keeping, That robs = my nights of sleep - ing, erescen - do Van - nol!Fee =e How tong can I dis-sem ~ ble? How longcan I con- - 3 = SSS Tut - to spie-gar__non o 80, tut - to non so ta - Se ceal What I would most, what would cer, tut-to spie- gar, tut - to most, would most re- non 80, non so ta- | etre < z + # i veal? And tho’ a smile Tm wear - ing, zo Z EB a e 4 cer. Sol - le - ci-to, dub - bio - so, aS s= z ae t oF ea —— = = ———= =e Hope-less, de - spond-ent, de - spondent, de-spairing, A SS SS pen - so, ram-men - to, ram-men-to, e ve- — = = # =a Fars} ee ees, es oe 7 —F at- z grief Tm -— bear - ing, I know can nev - er = me glioc - chi__miei non ere - do, non cre-dggl_mio pen - 2 heal; Ah! nev-er, ah! nev-er my pain can heal, Ant ney - er, ah! Se a SSS + + sier, non cre - do, non cre-do al mio pen-sier, _ non cre - do, non 4 a i: such pain can such pain can__ nev - er cre-do all mio pen non ere - dggl_mio__ pen - p— ee such. pain can_ nev - ey—— heal. NW non ere -dg al mio_ pen - sier. ee 34Allegretto. 24 way. o4 ” ae “Ye call me de - ceiv-ing The greysea was grieving, “O wy 0 la. ci-dgil ma- Iu - sin-ghi la spon-da, o Allegretto. : = 2 2 . i i pr ee ye frp ety eo sea-son.These mad winds, my wy = nen, reft of _rea-son, Go chide this wild yr ‘por-ta con Von-da ter - ro-ree spa - ven-to: é col-pa del =e Pea fee see ete st Pe aaaaaeaaee aaa ee cil oe — ¥ z = ; Eee 84 . 3 w) masters, Go__chide _themnot_ne!__ They _cauge your dis - "a5 -,aterg, Not oe —< 2S F 5 ve Yen-to, sua ¢ “Col-pa del ‘ven - to, sua at Sara rz a ev aye te s wee. ane gee) ee ees E Z 5 = = i eas oe : IP* said the sea; “These mad windstam < ters, Go een me!”* col- pa é & “col-pa "del veit~ to, sua col-pa__ non é. \H3 4 iz wee ; ee 4 : | 2 = Ss F 7 a 7. 2 +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. Whenwe come across two similar notes at the end of a phrase, or several repeated notes in the bodv 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 “1” where such notes occur in the following exercise. is he who seeks ad - van-tage in his coun-try’sdis - hon-or! fal-lo con-si-de-rar se stes-so se-pa-ra-to da le-i. > ed to con-sid-er saye what can | gil dan-no ch’ei__co - no-scer dee so - lo é cid che o muocegi-la_sua_pa-tria a cui_di_tut-tog de-bi - tor. 36= dear ones, Tis her due that we ren-der: She ‘twas,who do - na, ren.-de sol cid che mneb-be. Es-sa i} pro- Her laws pro-tect us in our homes,and a - Con le sue leg-gi dagYin-sul - ti do- = = co SS a a de-fend us, And her coun - sels mn -7 A A + light us. She gives us safe -ty, glo-ry, sta - tion, name, and El-la gli pre-sta no-me, gra-do ed ae Bs Re-wards our mer-its and vin-di-cates our hon-er: With ne pre-mig{] mer-to, ne ven-di-ea leof - fe - se, Coe 8 8 all loving - ee un-ceas-ing-ly she watches our bap- had ness and SS 7S SSS ma - drea - oe a__fab-bri-car ne fan-na la sua fe -li - ci- ta, perquanto N-ee al de-stin de morta-li es-ser fe - li-ce. 5 > = ——F eS ¥ F n =<. : : 4 38Lesson XV. A Recapitulation or Comprehensive Study of all the Rules given in the foregoing Lessons. Moderato. When now yego a -May — ing, Or hill and vale a-stray — ing, Like Al- lu stagion de’ fio 6 nce ee = A Moderato. s e se oe Pe os 4 simile. < & chil-drenround us— play - ing, Soft zeph = yrs__ ane cae ee + Wee ks gra-tgil mol - le fia - to dun ozef - fi. - ro mee tie 2 Like chil_- dren a-round us play ing, Soft to il mol-le_ fia= SSS zeph ~ 7 = yrscome and ——_____go. Now‘Sigh-ing, now sigh-ing, They seem__ to 2 a —— - ings Then light - ly, So bright - ly, se —# a -_ de, o len-- to, ° len - a SS er = w_e oe Mream—_ makes lad ___re-= - ply = = to_ in - cre - spi Yon = <4 “Mer - ry ones! a-round us glid-ing, On! why keep hid - ing Zef - f ef - fi-ro in_o-gni la - to com-pa - eng del_pia- eeam. f 80?, We_ see. your trac - es, Feel_ your em - in— 0 - gni_ ¥ eeceeeeeeeere simile. ge WO Oe - es, Oh!__ ss why not er e = pa-gno, com > -pa- gno_é del pia - 41show, Your——————____fac-es, com > pa - gno, not show, Oh! why hide so, Oh! why hide pia - cer, 6 del pia - cer, ¢@ del pia. Oh! w e fac - es,