Italian

INSTRUCTOR’S MANUAL

ITALIAN LYRIC

DICTION

WORKBOOK

A graded method of phonetic transcription which employs

frequently occurring words from Italian art song literature

Second Edition

Cheri Montgomery

S.T.M. Publishers

Nashville, TN

iii

PREFACE

This publication provides a means for the application of

textbook rules. Phonetic transcriptions are based on

Evelina Colorni’s Singers’ Italian.

The exercises within were created from lyrics of over 800

Italian art songs. Source words were placed in list format

and arranged by frequency of occurrence. The most

common words are short in length and appear in

enunciation exercises. Other frequently occurring words

are introduced in graded order and categorized according

to Italian speech sounds as defined by the International

Phonetic Alphabet. A study of articulatory phonetics is

provided and includes consonant and vowel charts for

student application and definition of terms.

Each unit highlights a specified group of symbols and

provides enunciation instructions with exercises, rules for

transcription, in-class application and individually

assigned word lists. Units progress in cumulative order

culminating with exercises which allow students to

enunciate lyrics from Italian art song literature. A

standard repertoire of over 35 lyrics is included with

transcription aids and translation.

Special attention and detail is devoted to the

pronunciation of sounds applicable to the Romance

languages. Units contain separate exercises for

enunciation of consonants and vowels. Rules for

transcription are outlined and followed by worksheets

which highlight each spelling. The quality of vowels

which require use of a dictionary is indicated within the

Italian text. Accurate transcription and proficiency of

memorized rules is assessed through in-class enunciation.

Practice quizzes and a summary of rules are provided for

easy reference and review. The answer key is also

available for alternate lesson plans which may include

student grading and board work.

The Italian Lyric Diction Workbook presents transcription

with a concise outline of rules and enunciation of vowels

and consonants within defined categories. It serves

consecutively within our series of workbooks created for

lyric diction courses.

Cheri Montgomery

iv

TABLE OF CONTENTS

Unit Topic Section Page

1 Classification of symbols Pronunciation guide 1

Consonant charts 4

Application of rules 5

Vowel charts/Application 6

2 Dental consonants, closed front [i] Enunciation exercises 7

semiconsonant [j] and transcription Rules for transcription 10

of r Application of rules 11

Individual exercises 12

3 Plosive consonants, closed front [e], Enunciation exercises 18

open front [D] and transcription of s Rules for transcription 20



Review Units 1 - 3 Practice quiz 28

4 Double consonants, closed back [o], Enunciation exercises 29

open back [C], and silent h Rules for transcription 33



5 Closed back [u], semiconsonant [w], Enunciation exercises 41

and transcription of z Rules for transcription 42




6 Dark back [A], velar nasal [E], prepalatal Enunciation exercises 51

nasal [Q] and prepalatal lateral [3] Rules for transcription 52



7 Pronunciation and transcription of Enunciation exercises 60

c, g, and sc Rules for transcription 61


Individual Exercises 63

8 Syllabic vowel within the phrase Rules for transcription 69




9 Italian Art Song Literature Rules for transcription 86

v

Unit Composer Art Song Page

Literature Giovanni Bononcini Non posso disperar 87

Per la gloria d’adorarvi 87

Giulio Caccini Amarilli, mia bella 88

Antonio Caldara Alma del core 88

Come raggio di sol 88

Sebben, crudele 89

Ciacomo Carissimi Vittoria, mio core! 89

Francesco Durante Vergin, tutto amor 91

Danza, danza, fanciulla 91

François Joseph Fétis Se i miei sospiri 92

Tommaso Giordani Caro mio ben 92

Christoph Willibald von Gluck O del mio dolce ardor 93

Giovanni Legrenzi Che fiero costume 94

Antonio Lotti Pur dicesti, o bocca bella 94

Benedetto Marcello Quella fiamma 95

Claudio Monteverdi Lasciatemi morire 95

Giovanni Paisiello Nel cor più non mi sento 95

Alessandro Parisotti Se tu m’ami 96

Vincenzo Righini Affetti, non turbate 97

Aure amiche, ah! Non spirate 97

D’un Genio che m’accende 98

Io lo so che il be sembiante 98

Mi lagnerò tacendo 99

Or che il cielo a me ti rende 99

Placido zeffiretto 100

Pur nel sonno almen talora 100

Se amor l’abbandona 101

Sol che un istante io miri 101

T’intendo, sì, mio cor 102

Vorrei di te fidarmi 102

Alessandro Scarlatti Già il sole dal Gange 103

Le violette 103

O cessate di piagarmi 104

Se Florindo è fedele 104

Sento nel core 105

Giuseppe Torelli Tu lo sai 105

Composer unknown Nina 105

Star vicino 106

Review Units 1 - 9 107

Review of Rules 110

Verb, Noun and Adjective Endings 112

Italian Vowel Chart 114

vi

ANSWER KEY Unit Topic Page

1 Classification of symbols 116

2 Dental consonants, closed front [i], semiconsonant [j] and transcription of r 117

3 Plosive consonants, closed front [e], open front [D] and transcription of s 121


4 Double consonants, closed back [o], open back [C], and silent h 125

5 Closed back [u], semiconsonant [w] and transcription of z 128


6 Dark back [A], velar nasal [E], prepalatal nasal [Q], prepalatal lateral [3] 132

7 Pronunciation and transcription of c, g, and sc 136

8 Syllabic vowel within the phrase 140


9 Italian art song literature 154

Giovanni Bononcini 154

Giulio Caccini 155

Antonio Caldara 155

Ciacomo Carissimi 156

Francesco Durante 158

François Joseph Fétis 159

Tommaso Giordani 159

Christoph Willibald von Gluck 160

Giovanni Legrenzi 161

Antonio Lotti 161

Benedetto Marcello 162

Claudio Monteverdi 162

Giovanni Paisiello 162

Alessandro Parisotti 163

Vincenzo Righini 164

Alessandro Scarlatti 170

Giuseppe Torelli 172

Composer unknown 172


Bibliography 178

vii

INSTRUCTOR’S MANUAL

ITALIAN LYRIC DICTION

WORKBOOK

viii

INTRODUCTORY NOTES

Discussion of Terms IPA stands for the International Phonetic Alphabet. It was instituted by the International Phonetic Association

around 1888. Each symbol stands for one phonetic sound and is enclosed in brackets.

Pronunciation: conversion of letters into the proper choice of speech sounds as represented by IPA

Enunciation and Articulation: the act of speaking or singing phonetic sounds

Expression: the act of conveying mood, color and sentiment of lyric texts

Monosyllabic: a word with one syllable – polysyllabic words contain two or more syllables

Monophthong: a vowel sound which maintains one articulatory position throughout the course of a syllable –

diphthongs contain two vowel sounds, triphthongs three

Aspirate: a consonant which is sounded with an audible release of breath (English p, t, k)

Prevocalic: refers to a consonant which precedes a vowel sound

Intervocalic: refers to a consonant which stands between vowel sounds

Postvocalic: refers to a consonant which follows a vowel sound

Initial: the first letter or sound of a word

Medial: a letter or sound in the middle of a word

Final: the last letter or sound of a word

Introduction to Italian Lyric Diction Pronunciation of Italian for speech is different from the Italian needed for lyric diction. Dictionary

transcriptions reflect the spoken language and will not always agree with recommendations provided in a study

of lyric diction.

Characteristics of the Italian language 1) Italian uses several letters in addition to the English alphabet: grave à, è, ì, ò, ù, acute é, ó, circumflex î

2) Additional sounds not familiar to English include prepalatal consonants [Q] and [3]

3) There is no glottal stop in Italian

4) There is no neutral vowel sound present in Italian (no schwa [B])

5) Vowel sounds are deliberate, strong, precise and frontal in placement

6) Monophthongs maintain their formation throughout vocalization – no on or off-glides

7) Dental consonants: tongue tip contacts the back of the upper front teeth for consonants d, n, t, l and r

8) Plosive consonants: a nonaspirate quality is required for consonants [b], [p], [d], [t], [g], [k]

9) Double consonants are lengthened

Warnings 1) Characteristics of the Italian language are inherently different from English. Do not attempt to sing

Italian while using English speech sounds.

2) Do not diphthongize monophthongs

3) Do not assign a medial placement to vowel sounds

4) Do not articulate a glottal stop before initial vowel words

5) Do not aspirate plosive consonants ([b], [p], [d], [t], [g], [k])

6) Do not substitute an English consonantal point of contact for the Italian dentals (d, n, t, l, r)

7) Employ a fully vocalized tone for articulation of voiced consonants (avoid partial aspiration)

8) Do not reduce the length of double consonants

Formation of the phonetic symbols: 1) Form the symbols from the top down and include brackets at the beginning and end of the transcription.

Details are important. For example: [r] with a stem is rolled r while [|] without a stem is flipped r.

2) The symbols must be formed with accuracy: [F] and [z] represent two different sounds.

1

PRONUNCIATION GUIDE

FRONT VOWELS

IPA ENGLISH ITALIAN

[i] eat, greet vita, ivi, sospiri

['vitA]['ivi][sCs'pi|i]

[e] chaos, décor seno, entra, che

['senC]['entrA][ke]

[‹] met, friend ciel, erba, sole

[tGDl]['DrbA]['solD]

BACK VOWELS

[o] obey, protect dolce, ombra, non

['doltGD]['ombrA][non]

[O] talk, ought core, ognor, giorno

['kC|D][C'Qor]['dFornC]

[u] food, blue pure, umile, virtù

['pu|D]['umilD][vir'tu]

[A] father, hot caro, amor, via

['kA|C][A'mor]['vi:A]

SEMICONSONANTS (Qualities which differ from English examples:

semiconsonants serve as a quick glide toward the following vowel in Italian)

[j] yet, year fiore, miei, pietà ['fjo|D]['mjD:i][pjD'tA]

[w] winter, web può, tuoi, quando [pwC]['twC:i]['kwAndC]

2

DENTAL CONSONANTS (The following consonants are classified as dental

in Italian but alveolar in English)

IPA ENGLISH ITALIAN

[d] di, onde, addio [di]['ondD][Ad'di:C]

[n] nome, vieni, donna ['nomD]['vjDni]['dCnnA]

[t] tace, tanto, notte ['tAtGD]['tAntC]['nCttD]

[l] luna, alma, stelle ['lunA]['AlmA]['stellD]

[|] / [r] thread, throne mare, sempre, terra

['mA|D]['sDmprD]['tDrrA]

PREPALATAL CONSONANTS

[Q] ogni, signor, regno

['oQi][si'Qor]['reQC]

[3] gli, voglia, figlio

[3i]['vC3A]['fi3C]

VELAR CONSONANTS

[N] finger, link lungo, dunque ['luEgC]['duEkwD]

VOICED PLOSIVE CONSONANTS (Qualities which differ from

English examples: articulation in Italian is unaspirated)

[b] beauty, abide bene, nubi, labbra ['bDnD]['nubi]['lAbbrA]

[d] duty, adore dolore, ride, freddo [dC'lo|D]['ridD]['freddC]

[g] give, agree grave, vago, fugga ['grAvD]['vAgC]['fuggA]

3

VOICELESS PLOSIVE CONSONANTS (Qualities which differ

from English example: articulation in Italian is unaspirated)

IPA ENGLISH ITALIAN

[p] pity, aprove poco, sopra, troppo ['pCkC]['soprA]['trCppC]

[t] trace, letter tua, vento, diletto ['tu:A]['vDntC][di'lDttC]

[k] candle, back canto, ancor, occhi ['kAntC][AE'kor]['Ckki]

GLOTTAL (No glottal consonants in Italian)

[/] ever, aim, I

['/DvB] [/DNm] [/AN]

[h] happy, hope

DIACRITIAL MARKS

[:] Long vowel mio, bei, aura ['mi:C]['bD:i]['A:u|A]

['] Stressed return, again senza, perché

syllable [¨N'tMn] [/H'gDn] ['sDntsA][pDr'ke]

Consonants which closely parallel English pronunciation are not

included in this list

Vowels of stressed syllables in polysyllabic words are underlined.

(A dictionary or music’s rhythm is necessary for stress indications)

A dictionary is needed in order to determine the quality of stressed

e and o. The text indicates transcription of e and o within each

applicable word.

Enuciation Exercises 7

UNIT 2: Dental consonants, closed front [i] and semiconsonant [j]

Flipped [|] Description: Italian and French sources classify flipped r as dental while English and German sources

classify flipped r as alveolar. It is identical to American pronunciation of r in words throne and three.

Articulation: With vocalized tone, tap the tongue tip once between the alveolar ridge and upper front teeth.

Exercise: British pronunciation of the words very merry would contain flipped r. Replace r with d and

repeat the phrase in rapid succession. A rapidly articulated d produces the tongue movement for [|].

Trilled or rolled [r] Description: Also described as a vibrant. The trilled or rolled r maintains an articulatory motion “trilling

in and through the breath stream against the top of the upper teeth”.1

Articulation: Round lips and relax jaw and tongue. Articulate a rapidly flipped r and extend through

vocalized tone. The tongue tip trills between the alveolar ridge and upper front teeth. Allow the breath to

activate tongue tip’s vibration.

Warning: Fully voice rolled r and do not tense articulators. Avoid aspiration of t in tr combinations.

Exercise: Round the lips and expel a sudden impulse of vocalized tone toward the tongue tip.

Dental d, n, t and l Description: The remaining Italian dental consonants d, n, t and l are contained within the word dental.

Articulation: Place the tongue tip lightly against the inside of the upper front teeth. A fully vocalized tone

is required for consonants d, n and l. Exert a slight resistance between the articulators for voiced d.

Warning: Avoid any aspirated escape of air during the articulation of voiced d and voiceless t. Do not

allow the tongue to thicken or movement to become sluggish. The articulation of dental consonants should

be quick in order to “release and give impulse to the vowel that follows”.2

Enunciate the following frequently occurring words which contain [r] and [|]: 1. rose (roses) amor (love) sarà (will be)

['rCzD] [A'mor] [sA'|A]

2. ride (laughs) pur (too) era (was)

['ridD] [pur] ['D|A]

3. resta (remains) or (hour) sera (evening)

['rDstA] [or] ['se|A]

4. rami (branches) fior (flower) moro (dark)

['rAmi] [fjor] ['mo|C]

5. rende (renders) dolor (pain) ora (now)

['rDndD] [dC'lor] ['o|A]

6. riva (shore) mar (sea) dura (hard)

['rivA] [mAr] ['du|A]

7. ria (river) far (to make) cara (dear)

['ri:A] [fAr] ['kA|A]

8. ra (king) cuor (heart) dire (to say)

[rA] [kwCr] ['di|D]

9. ri (rivers) viver (to live) loro (they)

[ri] ['vivDr] ['lo|C]

10. reo (guilty) cantar (to sing) vero (true)

['rD:C] [kAn'tAr] ['ve|C]

11. rime (rhymes) star (to stay) spera (hopes)

['rimD] [stAr] ['spe|A]

12. remo (I row) venir (to come) fare (to make)

['rDmC] [vD'nir] ['fA|D]

1 Evelina Colorni, Singer’s Italian (G. Schirmer, Inc., New York 1970), p. 68.

2 Colorni, p. 55.

8 Enunciation Exercises

Dental Consonants (continued) Guidelines for enunciation: Contrast the following

English d Italian d English t Italian t

Voiced alveolar stop Voiced dental plosive Voiceless alveolar stop Voiceless dental plosive

delight delizia talent talento

[d‹"litsjA] [tA"l‹ntO]

dice dado at times talvolta

["dAdO] [tAl"vOltA]

dental dentale tea te

[d‹n"tAl‹] [te]

desire desio tempo tempo

[d‹"ziÉO] ["t‹mpO]

devout devoto tonal tonale

[d‹"vOtO] [tO"nAl‹]

God Dio fatal fatale

[diÉO] [fA"tAl‹]

idea idea movement moto

[i"d‹ÉA] ["mOtO]

world mondo count conte

["mondO] ["kont‹]

sword spadino gentle gentile

[spA"dinO] [dZ‹n"til‹]

English l Italian l English n Italian n

Voiced alveolar lateral Voiced dental lateral Voiced alveolar nasal Voiced dental nasal

loyalty lealtà noble nobile

[l‹Al"tA] ["nObil‹]

laud lode snow neve

["lOd‹] ["nev‹]

light lume no no

["lum‹] ["nO]

April aprile nose naso

[A"pril‹] ["nAzO]

sail vela knot nodo

["velA] ["nOdO]

flute flauto name nome

["flAÉutO] ["nom‹]

placid placido little hand manina

["plAtGidO] [mA"ninA]

soldier soldato bread pane

[sOl"dAtO] ["pAn‹]

faithful fedel one uno

[f‹"del] ["unO]

Enunciation Exercises 9

Dental consonants, closed front [i] and semiconsonant [j] Guidelines for enunciation:

Italian vowels Italian vowels are frontal in placement with a more pronounced lip or tongue formation than their English

counterparts. Front and back designations refer to arch of the tongue. Open and closed designations refer

to space between the articulators. To the English ear, Italian vowels sound strong, precise and deliberate.

Closed front [i] Articulation: Tongue tip is placed against the lower row of front teeth while tongue arch is far forward.

The teeth maintain a close proximity with lips spread, more so than for English [i]. Allow cheek muscles

to initiate the lip formation. With soft palate high direct vocalized tone toward the upper front teeth.

Warning: Do not diphthongize. Avoid on or off-glides by maintaining jaw, lip and tongue position

throughout vocalization. Do not articulate a glottal stop before initial [i]. Avoid the medial placement of

English [i]. Do not weaken the vowel quality of [i] in unstressed syllables.

Semiconsonant [j] Description: A semiconsonant sound possesses the non-restrictive qualities of a vowel with the quick

initiating properties of a consonant. Italian semiconsonants rapidly introduce the following vowel sound.

They are short and articulated more energetically than their English counterparts. Note: semiconsonant [j]

is classified as palatal in English and German but prepalatal in Italian and French. The tongue arch is far

forward for semiconsonant [j] in the Romance languages.

Articulation: Assume the tongue, jaw and lip position for [i]. Add vocalized tone while vigorously

moving toward the following vowel sound. Semiconsonant [j] is a rapidly articulated [i]. Warning: Do not divide semiconsonant + vowel combinations into two beats. A quick [j] glide initiates

the following vowel sound and both work together to form one syllable.

Enunciate the following words which contain [i] and [j]:

1. di (of) vieni (you come) il (the)

[di] ['vjDni] [il] 2. mi (me) siete (you are) in (in)

[mi] ['sjDtD] [in] 3. si (yes) chiede (asks) i (the)

[si] ['kjDdD] [i] 4. ti (you) lieve (light) indire (announce)

[ti] ['ljDvD] [in'di|D] 5. chi (who) piena (flood) infinità (infinity)

[ki] ['pjDnA] [infini'tA] 6. vi (you) piede (foot) insieme (together)

[vi] ['pjDdD] [in'sjDmD] 7. fin (end) tiene (holds) imiti (imitates)

[fin] ['tjDnD] [i'miti] 8. vidi (I saw) lieti (happy) intimi (intimate)

['vidi] ['ljDti] ['intimi] 9. vivi (you live) chiese (churches) invidi (envies)

['vivi] ['kjDzD] [in'vidi] 10. fili (threads) diede (gave) inchini (bow)

['fili] ['djDdD] [iE'kini] 11. dici (say) fiere (fairs) infini (finally)

['ditGi] ['fjD|D] [in'fini] 12. lì (there) miele (honey) inviti (invites)

[li] ['mjDlD] [in'viti]

10

RULES FOR TRANSCRIPTION

CLOSED FRONT [i]

single i: il [il] di [di] anima ['AnimA]

ì (always): desìo [dD'zi:C] * accent marks indicate stressed syllable

LONG CLOSED FRONT [i:]

i + vowel in short words with final vowels: sia ['si:A] pria ['pri:A]

final stressed i + vowel in polysyllabic words: melodia [mDlC'di:A]

SEMICONSONANT: VOICED PREPALATAL GLIDE

[j] [jD] i + vowel spelling: ie

chiama ['kjAmA] vieni ['vjDni] (exception: violette [viC'lettD])

VOICED DENTAL TRILL

[r] [|] spelling: r intervocalic r

sempre ['sDmprD] caro ['kA|C]

Stressed syllables of polysyllabic words not covered by the rules

above are indicated within the Italian text by an underlined vowel

a is transcribed [A] as in father; c + back vowel or consonant is [k]

and g + back vowel or consonant is [g].

* Italian accent marks: grave à, è, ì, ò, ù, acute é, ó and circumflex î (the circumflex mark is a rare spelling and does not affect stress)

Application of Rules 11

Class work #2: Dental consonants, closed front [i] and semiconsonant [j] Provide IPA:

1. avanti (before) 10. siedi (you sit)

2. brio (o is [C]) (liveliness) 11. prima (first)

3. cavalier (cavalier) 12. sarìa (know)

4. dir (to say) 13. vie (e is [D]) (roads)

5. gaia (cheerful) 14. pietà (pity)

6. ilarità (hilarity) 15. cari (dear ones)

7. Maria (Maria) 16. vita (life)

8. mia (mine) 17. spiriti (spirits)

9. divin (divine) 18. pianto (o is [C]) (crying)

Enunciation Exercises 29

UNIT 4: Double consonants, closed back [o], open back [C] and h

Double Consonants Italian double consonants occupy at least four times the space of a single consonant or consonant cluster.

3

The time needed for lengthening is taken from the preceding vowel. The following example provides a

picture of the length of consonants and vowels within the phrase. Lines indicate vowel space while x

indicates consonant space. The phrase Affetti, non turbate sung on quarter notes would be articulated:

q q q q q q q ______x x x x______x x x x__________ x__________ x__________ x__________ x__________

[A 'f-----fD t-----ti no ntu r'bA tD]

Syllabification of double consonants The first consonant is sung on the pitch of the preceding vowel while the second consonant is sung on the

pitch of the following vowel. Sing these examples with correct tonal placement of double consonants:

'0==;=V===W=='=V===V==;=. '0==f====b==. '0==;=f==='=i====h==. im - mor - ta - le cen - no az - zur - re [im - mCr - 'tA - lD] ['tGDn - nC] [Ad - 'dzur - rD]

Most double consonants require a complete stoppage of sound. Exceptions: ff, ss, ll, mm, nn and rr

Enunciate the following frequently occurring words which contain double consonants:

bb pp dd 1. labbra (lip) 1. troppo (too much) 1. addio (goodbye)

['lAbbrA] ['trCppC] [Ad'di:C] 2. ebbe (had) 2. eppur (and yet) 2. iddio (god)

['DbbD] [Dp'pur] [id'di:C] 3. debbo (I must) 3. drappo (cloth) 3. freddo (cold)

['dDbbC] ['drAppC] ['freddC] 4. babbo (dad) 4. scoppio (burst) 4. ridda (dance)

['bAbbC] ['skCppjC] ['riddA] 5. abbia (have) 5. strappo (tear) 5. Nedda (Nedda)

['AbbjA] ['strAppC] ['nDddA]

6. nebbia (fog) 6. gruppo (group) 6. cadde (fell)

['nebbjA] ['gruppC] ['kAddD] 7. dubbio (doubt) 7. appare (appears) 7. laddove (where)

['dubbjC] [Ap'pA|D] [lAd'dovD] 8. ebbene (well then) 8. appena (hardly) 8. addosso (on)

[Db'bDnD] [Ap'penA] [Ad'dCssC] 9. abbraccio (embrace) 9. appresso (next) 9. suddito (subject)

[Ab'brAttGC] [Ap'prDssC] ['sudditC] 10. conobbe (knew) 10. appieno (fully) 10. addurre (to bring)

[kC'nobbD] [Ap'pjDnC] [Ad'durrD]

11. sarebbe (would be) 11. galoppo (gallop) 11. raddoppio (double)

[sA'|DbbD] [gA'lCppC] [rAd'doppjC] 12. abbandonato (abandoned) 12. supplizio (torture) 12. soddisfare (to satisfy)

[AbbAndC'nAtC] [sup'plitsjC] [sCddis'fA|D]

3 Colorni, p. 51.

32 Enunciation Exercises

UNIT 4: Double consonants, closed back [o], open back [C] and h Guidelines for enunciation:

Closed back [o] Description: Closed back [o] occurs as a monophthong in unstressed syllables of English words: obey,

provide, melody. It is more commonly enunciated in English speech as the first vowel of diphthong [ou]:

grow, no and shadow. Diphthongization of Italian [o] is to be strictly avoided. Italian [o] has a more

distinct lip rounding and maintains a higher placement than its English counterpart.

Enunciation: Closed [o] is formed in the position of closed [u] but with a slightly lowered jaw and

minute adjustment of the arch of the tongue. The teeth maintain a close proximity and lips rounded with

the sensation of no mouth corners. Allow cheek muscles to initiate the lip formation. With soft palate

lifted, place tongue tip against lower row of front teeth and direct vocalized tone toward the upper front

teeth.

Warning: Do not delay lip rounding. Maintain articulatory position throughout vocalization. Do not

articulate a glottal stop before initial [o].

Open back [C] Enunciation: Open [C] maintains a distinctly oval feel and is more frontal in placement than its

American English counterpart. Allow cheek muscles to initiate the lip formation. With soft palate

lifted, place tongue tip against lower front teeth and direct vocalized tone toward the upper front teeth.

Warning: Do not replace [C] with dark [A]. A deliberate and rapid formation is necessary in order to

avoid the on-glide of a delayed lip rounding. Avoid diphthongization of final [C]. Do not articulate a

glottal stop before initial [C]. Do not weaken the vowel quality of [C] in unstressed syllables.

Exercise: Sing alternating between [A] and [C]. Differentiate the two by means of lip movement. For

singers with difficulty forming [C], sing [A] while gently pressing the lip corners together manually.

Enunciate the following frequently occurring words which contain [o] and [C]: 1. o (or) core (heart) non (not)

[o] ['kC|D] [non] 2. con (with) voi (you) ogni (every)

[kon] ['vC:i] ['oQi] 3. or (hour) notte (night) come (like)

[or] ['nCttD] ['komD] 4. sole (sun) ho (I have) amore (love)

['solD] [C] [A'mo|D] 5. lo (the) poi (then) onde (waves)

[lo] ['pC:i] ['ondD] 6. sono (are) morte (death) oh (oh)

['sonC] ['mCrtD] [o] 7. fiore (flower) occhi (eyes) dolce (sweet)

['fjorD] ['Ckki] ['doltGD] 8. col (with) no (no) ora (now)

[kol] [nC] ['o|A] 9. so (I know) donna (woman) ove (where)

[so] ['dCnnA] ['ovD] 10. torni (return) poco (little) oro (gold)

['torni] ['pCkC] ['o|C] 11. dove (where) vostro (yours) oltre (beyond)

['dovD] ['vCstrC] ['oltrD] 12. loro (them) noi (we) oso (I dare)

['lo|C] ['nC:i] ['ozC]

33


CLOSED BACK VOWEL [o]

o, ò or ó of stressed syllable may be [o] or [C]: dove ['dovD] (*Dictionary needed to determine the closed or open quality of o within stressed syllables)

OPEN BACK VOWEL [C]

o, ò or ó of stressed syllable may be [o] or [C]: cCre ['kC|D] (*Dictionary needed to determine the closed or open quality of o within stressed syllables)

o of unstressed syllable(s): solo ['solC] tormento [tCr'mentC]

LONG BACK VOWEL [C:] [o:]

o + vowel in short words with final vowels: suoi ['swC:i] coi ['ko:i]

o + vowel within the same syllable: poiché [pC:i'ke]

h

h is silent: hai ['A:i] (affects pronunciation of consonants, see p. 61)

DOUBLE CONSONANTS

All consonants which are doubled in spelling are also doubled in

transcription: fiamma ['fjAmmA]

* A dictionary is needed in order to determine the quality stressed of e and o. All

worksheets provide an underlined vowel for stressed syllables. The quality of

stressed e and o is indicted within monosyllabic words and underlined Italian

text.

34 Application of Rules

Class work #4: Double consonants, closed back [o], open back [C] and h Provide IPA:

1. trCppo (too much) 10. nCvo (new)

2. intorno (around) 11. pCi (then)

3. benedetto (blessed) 12. valle (valley)

4. soffio (breath) 13. pCvero (poor)

5. pietoso (compassionate) 14. stesso (same)

6. addio (goodbye) 15. dorme (sleeps)

7. t’hC (I have you) 16. sole (sun)

8. vorrDi (I would want) 17. vanno (they go)

9. immortale (immortal) 18. tocca (touches)

69

UNIT 8: Syllabic vowel within the phrase

Review of Long Vowels and Semiconsonants

1) When two or more vowels occur together within the same syllable, one

must receive longer duration [:]

2) Spelling i and u may be transcribed as long [:] or as semiconsonant [j] or

[w]

3) Vowels a, e and o are long [A:], [e:], [D:], [o:], [C:] when followed by a

vowel within the same syllable. Exception: vowels with an accent mark

always receive the greater length in vowel groups within the syllable

Spelling i

Long [i:] Semiconsonant [j]

Short words with final vowels sia ['si:A] i + vowel in all other positions grazia ['grAtsjA]

vie ['vi:D] lieto ['ljDtC]

rii ['ri:i] fior [fjor]

mio ['mi:C] liuto ['ljutC]

Final stressed i of polysyllabic words addio [Ad'di:C] i + vowel with accent mark più [pju]

Spelling u

Long [u:] Semiconsonant [w]

Short words with final vowels tua ['tu:A] u + vowel in all other positions quando ['kwAndC]

due ['du:D] segue ['segwD]

cui ['ku:i] guida ['gwidA]

suo ['su:C] buon [bwCn]

Final stressed u of polysyllabic words colui [kC'lu:i] u + vowel with accent mark quì [kwi]

Long [A:]: a + vowel within the same syllable

fai ['fA:i] omai [C'mA:i] aurora [A:u'|C|A]

Long [e:] or [D:]: e + vowel within the same syllable

rea ['rD:A] sei ['sD:i] miei ['mjD:i] avrei [Av'rD:i]

Long [o:] or [C:]: o + vowel within the same syllable

voi ['vC:i] noi ['nC:i] poi ['pC:i] tuoi ['twC:i]

70


SYLLABIC VOWEL: When two or more vowels share the same

note within a phrase, one vowel receives greater length [:].

I. Monosyllabic words which are stressed within the phrase are syllabic

or long [:]:

Example: l'ha infine [lA:in'finD] pianti e i sospir ['pjAntje:i sCs'pir]

II. Stressed syllables of polysyllabic words are syllabic: dolce aura ['doltGD'A:u|A] fugga ogni ['fuggA'o:Qi]

III. The first of two unstressed vowels is syllabic: altra età ['AltrA:D'tA] dove andaro ['dovD:An'dA|C]

Exception: unstressed i and u become a semiconsonant when

followed by an unstressed vowel: apDrti a dolce canto [A'pDrtjA 'doltGD 'kAntC] dormi amor ['dormjA'mor]

OTHER VOWEL SEQUENCES I. Two stressed vowels would be given separate notes: andò alla finDstra [An'dC 'AllA fi'nDstrA]

II. Monosyllabic words do not receive stress: (unless listed above)

visto i aveva ['vistC:jA'vevA] gli accDnti [3jAt'tGDnti]

III. Vowels which share the same symbol are not reiterated: mio cuCre Dsce ['mi:C 'kwC|DGD]

IV. An unstressed open vowel followed by its closed counterpart is not

reiterated. Maintain the closed vowel for transcription: lontano o vicino [lCn'tAno vi'tGinC]

* Check music to determine syllabic vowels. Assume vowel groups in following examples share one note.

STRESSED PARTS OF SPEECH

e [e] (and)

è [D] (is)

ha [A] (has)

hai ['A:i] (you have)

ho [C] (I have)

o [o] (or)

Application of Rules 71

Class work #8: Syllabic vowel within the phrase

Provide IPA:

1. finDstra è apDrta (window is open)

2. occhiDtti amati (dear little eyes)

3. prDda il sen (it plunders the heart)

4. tu sola o bDlla (you alone oh beauty)

5. primo incontro (first meeting)

6. finché avrà (finally will have)

7. in tanto affanno (in much anxiety)

8. dà vita al canto (gives life to the song)

9. l’aria è ancor (the air is still)

10. tradita io sono (I am betrayed)

11. non può andare (ò is [C]) (he cannot go)

12. porti amore (carry love)

13. la vittCria è con me (victory is with me)

14. bDlla infanta (beautiful baby)

115

ANSWER KEY

140 Instructor’s Manual

Class work #8: Syllabic vowel within the phrase

1. finDDDDstra è apDDDDrta (window is open)

[fi'nDstrAD:A'pDrtA]

2. occhiDiDiDiDtti amati (dear little eyes)

[Ck'kjDttjA'mAti]

3. prDDDDda il sen (it plunders the heart)

['prDdA:il sen]

4. tu sola o bDDDDlla (you alone oh beauty)

[tu 'solAo: 'bDllA]

5. primo incontro (first meeting)

['primC:iE'kontrC]

6. finché avrà (finally will have)

[fiE'ke:Av'rA]

7. in tanto affanno (in much anxiety)

[in 'tAntC:Af'fAnnC]

8. dà vita al canto (gives life to the song)

[dA 'vitAl 'kAntC]

9. l’aria è ancor (the air is still)

['lA|jAD:AE'kor]

10. tradita io sono (I am betrayed)

[trA'ditA'i:C 'sonC]

11. non può andare (ò is [C]) (he cannot go)

[non pwC:An'dA|D]

12. porti amore (carry love)

['portjA'mo|D]

13. la vittCCCCria è con me (victory is with me)

[lA vit'tC|jAD: kon me]

14. bDDDDlla infanta (beautiful baby)

['bDllA:in'fAntA]

Instructor’s Manual 155

Amarilli, mia bella by Giulio Caccini Amaryllis, my beautiful one

Amarilli, mia bDDDDlla, Amaryllis, my beautiful one,

[AmA'|illi 'mi:A 'bDllA]

non credi, o del mio cCCCCr dolce desio, Do you not believe, Oh my heart’s

[non 'kredjo del 'mi:C kCr 'doltGD dD'zi:C] gentle desire,

d’DDDDsser tu l’amor mio? That you are my love?

['dDssDr tu lA'mor 'mi:C]

Credilo pur: e se timor t’assale, Believe it simply: and if fear assails

['kredilC pu| e se ti'mor tAs'sAlD] you,

prDDDDndi questo mio strale, Take this my arrow,

['prDndi 'kwestC 'mi:C strAlD]

aprimi il pDDDDtto e vedrai scritto il cCCCCre: Open my chest and see written on

['Aprimil 'pDttC e vD'drA:i 'skrittC:il 'kC|D] my heart:

Amarilli è il mio amore. Amaryllis, is my love.

[AmA'|illi D:il 'mi:CA'mo|D]

Alma del core by Antonio Caldara Soul of my heart

Alma del cCCCCre, Soul of my heart,

['AlmA del 'kC|D]

spirto dell’alma, Spirit of my soul,

['spirtC dell'AlmA]

sDDDDmpre costante t’adorerò! (rò is ['|C]) Ever consistently I will adore you!

['sDmprD kCs'tAntD tAdC|D'|C]

Sarò contDDDDnto I will be contented

[sA'|C kCn'tDntC]

nel mio tormento In my torment

[nel 'mi:C tCr'mentC]

se quel bDDDDl labbro baciar potrò. If those beautiful lips I could kiss.

[se kwel bDl 'lAbbrC bA'tGAr pC'trC]

Come raggio di sol by Antonio Caldara Like a ray of sunlight

Come raggio di sol mite e sereno, Like a ray of sunlight mild and clear,

['komD 'rAddFC di sol 'mite sD'|enC]

sovre placidi flutti si ripCCCCsa, Over placid waves is resting,

['sovrD 'plAtGidi 'flutti si |i'pCzA]

177

BIBLIOGRAPHY

178

BIBLIOGRAPHY

Colorni, Evelina. Singer’s Italian G. Schirmer, Inc., New York 1970.

Love, Catherine E. Webster’s New World Italian Dictionary Macmillan, New York

1992.

Penhorwood, Edwin. Twelve Ariettas by Vincenzo Righini Southern Music Company,

Texas 2002.

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