Vaccai Method High Voice r1.0

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Metodo pratico di canto italiano per camera (A Practical Method for Voice) ~ High Voice ~ Revision 1.0 06 April 2012

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singing method for begginers

Transcript of Vaccai Method High Voice r1.0

Page 1: Vaccai Method High Voice r1.0

Metodo pratico di canto

italiano per camera

(A Practical Method for Voice)

~ High Voice ~

Revision 1.0

06 April 2012

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Dedication

For EJJ, with my love; and DrJ, for all your time and patience.

Legal Disclaimer

Copyright © 2012 Mark Probert

All rights reserved.

Hints on Italian Pronunciation

Copyright © 2010, 2012 Joanne Bogart

All rights reserved.

Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all

such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the work

was developed by the Mark Probert.

The name of the author may not be used to endorse or promote products derived from this software or derivatives without specific prior written

permission.

THIS WORK IS PROVIDED “AS IS”' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT

LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR

PURPOSE..

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Preface

ANYONE who wishes to sing really well should begin by learning how to sing in Italian, not only because the Italian school of vocalization is acknowledged to be superior to all others, but also on account of the language itself, where the pure and sonorous tone of its many vowel sounds will assist the singer in acquiring a fine voice-production and a clear and distinct enunciation in any language he may have to sing, no matter what may be his-nationality.

Experience has shown us that not only in France and .England, but also in Germany, and even in Italy, many who are studying as amateurs rebel at the thought of the weary time their professors require them to devote to “Solfeggio.” .Here they first urge that very trivial plea that, as they have no .ambition beyond just singing to please a few friends in the restricted area of their own drawing-rooms, they need not dwell upon all those subtleties of the vocal art which they are ready enough to admit are indispensable for those desirous of commanding a larger and more critical audience from the public stage of the opera or the concert-room. It is to show the absurdity of such an argument, and to win over these faint-hearted ones to the true cause by more gentle means, and as it were, in spite of themselves, that I present this “Method" of mine to the public. They will find it new in design, very practical, very brief yet very effective--and, as physicians say, "very pleasant to take." The pupil will attain the same goal, and may even beat the record, but he will find the course far less lengthy and laborious, with spaces of contrasted sun and shade to beguile the tedium of the race.

As at first all must find a fresh difficulty in having, as they sing, to pronounce words in a language which is not habitual to them-a difficulty which is not altogether obviated by any amount of study in Solfeggio and Vocalizing exercises on the same model. I have tried to make matters easier by this plan of mine, where I adopt, even on the simple notes of the diatonic scale, words selected from the fine poetry of Metastasio instead of just the mere names of notes or syllables conveying neither meaning nor interest. By these means I trust I have rendered the pupil's task so far less wearisome and thankless that he may even find pleasure in contracting the habit of clear articulation as he sings and, without experiencing any aversion, be led to the study of an indispensable form of exercise. I am of the opinion that not merely amateurs, but also those who think of entering the profession, will find my “Method” useful, for in each individual exercise I have sought to make the music illustrative of a different style of composition and of a distinct emotion, so that the pupil will 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 lower, as the individual capability of the singer may necessitate.

Nicola Vaccai

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About Nicola Vaccai

VACCAI 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 Niccolò received his first instruction in music. He was then brought to Rome for the purpose of studying law, to which he remained more or less faithful during some five years; but then, renouncing this profession as distasteful, he devoted himself entirely to music, taking lessons in counterpoint under Jannaconi, 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 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-composer; 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 leading 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 e Romeo. The last-named opera is considered his best, and its third act, especially, was so much liked that it has frequently been substituted 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 deserved 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-operation 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 succeed Basili as head-master and instructor of composition at the Milan Conservatory, which position he held until 1841 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 sixteen operas, he composed a number of cantatas, 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 brilliant, artistic attainments. His famous “Metodo pratico di canto italiano per camera” [London, 1832] is still a standard work in great request, and his “Dodici ariette per camera per l'insegnamento del belcanto italiano” are scarcely less popular.

The general plan of the “Practical Method” is to render study easy and attractive, without 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 solfeggio on single vowels or syllables, but melodious exercises-for scale-practice, for skips of thirds. fourths, etc., up to octaves; on semitones, runs, syncopations, and all graces usually met with-written to smooth Italian verses.

The extraordinary 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 system of voice-

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cultivation, being admirably calculated for strengthening and equalizing the medium register, for giving confidence in taking difficult intervals, and for enforcing habits of precise and distinct articulation and phrasing.

About this Edition

This edition is borne from a clause within the last paragraph of Senor Vaccai’s introduction. He writes, “it is always easy to transpose the lesson into a key higher or lower”. With the availability of the interweb and music notation software, that process has become ever easier. However, there is not, as far as I am aware, a freely available electronic edition of the “Practical Method”. Hopefully, this edition will go some way towards filling that niche.

This edition is published in a variety of formats:

PDF MusicXML of the individual lessons Audio files

All of these can be found at their primary Internet location

http://vaccai.info/index.html

My idea is to make Senor Vaccai’s pedagogical work available to all who would like to use it. Further, with the use of freely available software1, one should be able to produce versions of the lessons in whatever key is appropriate, as per Senor Vaccai’s comments.

This edition has been derived from a number of free editions to be found on the Internet. I have chosen what I regard as the easiest to digest pedagogical material and have created a “clean” edition. As part of this edition, I have included a translation of the poetry to give you, the singer, a rough idea of what you are singing about.

In addition, I have, where warranted, included some introductory bars to the exercises. The purpose of these is to allow the singer to prepare themselves for their entry, rather than be late. Never a good idea! Typically, I have taken the two to four bars from the beginning of the piece and inserted them at the head. It seems to work, though I would be interested if anyone has any better ideas on how to do this.

I have also included, with permission, Joanne Bogart’s excellent “Italian for Singers Primer”. As she mentions, it is not comprehensive, but it is a fine place to start if you are not an Italian. That part of this document is copyright to Joanne Bogart.

If you have any comments, find any errors, or wish to provide feedback, please send it to me (Mark Probert) at [email protected] .

Many thanks! And good luck!

Sydney, NSW

Easter 2012

1 Musescore (http://musescore.org) for example

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Hints on Italian Pronunciation

[A Primer for Singers, with courtesy and permission of Joanne Bogart2]

The goal of this little guide is to help those with little or no knowledge of Italian pronunciation avoid some of the errors most commonly made by American English speakers. If you've sung much Italian, you probably know most or all of what's in here.

Italian spelling is largely phonetic; that is, with only a few exceptions a single letter or cluster of letters represents the same sound, and each sound occurring in the language has only a single written representation. Even so, a short, informal guide like this one can't cover the subject in any depth, and no written material can substitute for repeatedly and attentively listening to good spoken and sung Italian.

Vowels:

There are only seven Italian vowel sounds (one each for a, i and u; two each for e and o) compared to fifteen or so in English. The most striking differences between Italian and English vowels are:

Italian vowels are pure. A sound written with a single letter has a single, unchanged value, whereas in English the sound often changes from one pure sound to another. For example, the o in go changes from the pure o-sound of Italian to the sound made by oo in the English word boot.

Unaccented English vowels tend to change value towards a more neutral sound; Italian vowels don't. Compare the two a's in amass. No Italian vowel ever makes a sound (schwa) like the first a.

One-sound vowels a, i, u

Italian a is very open. For many American English speakers, it is similar to the short o in hot or to the first a in papa. It should never sound like uh or aw.

i and u are easier because they make sounds which regularly occur in just about everyone's English. Italian i makes a long e sound, as in the word steep. Italian u makes the sound of oo in boot.

Two-sound vowels e, o

Each has a so-called "open" and "closed" sound. Although there are some rules about which sound to use, there is plenty they don't cover. There is often no way to know which sound to use in a particular word if you haven't heard it spoken correctly. It's much too complicated a subject to embark on here, but there is one simple rule for the spoken language: Italian unstressed e and o are always closed. It's not always the case for sung Italian, however.

2 http://www.stanford.edu/~jrb/reference/italian.html

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Open e makes a sound similar to English short e, as in bet; the Italian sound is maybe a bit more open (mouth taller). Long e makes a sound like the a in chaotic. It's not the same as the much more common (in English) vowel sound in way since this slides from the sound we're looking for into ee.

Open o is like the vowel in awe if you say it without any hint of diphthong. Closed o, like closed e, rarely occurs in English without sliding into something else. It's the first vowel sound in go, before it turns into oo.

Diphthongs

Diphthongs (always written with two vowels) are frequent in Italian. Sometimes i is pronounced like y in yard (e.g. in the word pietà) rather than having its normal value, and similarly u may make a sound like English w (guarda). The rules for when this happens are too complicated to go into here. Other than these cases, each vowel in a diphthong has its usual sound, though in a stressed syllable one is longer than the other (no easy rule to determine which should be the long one), and the two sounds are distinct, with no slide from one into the other.

Consonants:

This section mentions all consonants which have more than one sound and some additional consonants whose Italian sound is enough unlike English that an English pronunciation will stand out unpleasantly in an Italian word.

Double consonants

Double consonants in Italian should take noticeably longer to say than the corresponding single consonants. Usually (unless the setting of text to music makes it impossible) the same is true in sung Italian. It's obvious how to do this for a consonant like s or n but even stopped consonants, like the double tt in tutto can, and should, be make longer. Just hold the position of your mouth when the consonant is formed (in the case of t this would be with your tongue up against your teeth) for a bit, then release.

Hard and soft: interactions among c, g, sc, h, and i

As in English, c and g may be hard or soft. Each is hard when followed by a (different) consonant or by one of the vowels a, o or u and is soft when followed by e or i. The hard sounds are similar to English: g as in good, c as in car. Soft g is also similar to English, like the g in general. However Italian soft c is like English ch in chess. But there are some additional wrinkles:

h following a g or c makes it hard

an i usually gets "used up" in making a consonant soft and has no sound of its own

The soft sound make by sc is like the sound sh makes in ship

Here are examples of practically everything that can happen to a c. g is similar.

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Italian letters sound example

c followed by o, a or u hard c così

c followed by consonants other than c hard c clemenza

c followed by i or e soft c città

c followed by h hard c Pinocchio

c followed by i and additional vowel soft c, silent i pagliaccio

r

Italian r is either trilled or flipped, which is just a very short version of a trill. Double r is generally trilled, if the musical setting allows for it. Exactly when a single r should be trilled (and for how long) and when flipped is beyond the scope of this guide, but a good rule of thumb for single r is flip if between two vowels (e.g. in "fiori"), trill in other positions (initial, preceding another consonant, following another consonant, or at the end of the word), e.g. in "ritorna", "nostro" and "cor". An American r-sound is never appropriate; better to just leave the sound out altogether.

t and d

t and d are less harsh than their English equivalents. The t is not aspirated; that is, you shouldn't be able to feel a strong puff of air in front of your mouth when you say it, as you can with the English version. The difference seems subtle to many English speakers, but not to Italians. To get a more Italian sound for both letters, your tongue should just touch the back of your teeth, not your gums, and it should be somewhat relaxed, not tense and pointed, at the front.

s and z

s and z each can make two sounds: one voiced and the other unvoiced.

Italian Sound English example

Unvoiced s mouse

Voiced s dozen

Unvoiced z pizza

Voiced z like English ds in pads

There is no way to tell just from the spelling of a word containing z whether the z is voiced or not. s is generally voiced if it (single, not double) occurs between two vowels, or if it precedes a voiced consonant (as in the word sdegno). The main thing to start with is to just be aware

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that there are two possible sounds for these letters and listen carefully to an accurate pronunciation of new words containing them.

gn and gl

The Italian sounds represented by these spellings don't exist in English. Italian gn makes a sound approximately like the ny in the English word canyon, but not exactly. To come closer to the Italian sound, the tip of your tongue should touch the back of your bottom teeth.

Similarly, Italian gl makes a sound sort of like the sounds in the middle of the word "million", but not quite the same. To come closer to the correct Italian sound, the tip of the tongue should touch the back of the bottom teeth.

Both of these sounds are pronounced as if doubled.

References

There are plenty of books on Italian diction for singers but inevitably the author will not pronounce English exactly as you do -- no one does -- so examples can be misleading. David Adams, who wrote A Handbook of Diction for Singers (Oxford University Press, 1999) must have a pronunciation similar to mine because the examples were always consistent with what I've heard in good spoken Italian. Also he does a good job of explaining how to produce sounds which are uncommon or absent in English.

Verse Translations

These translations are taken from a German-English-French edition of Senor Vaccai’s work to be found on IMSLP3

Lesson 01 – The Diatonic Scale

Manca sollecita più dell'usato, ancorchè s'agiti con lieve fiato, face che palpita presso al morir, face che palpita presso al morir.

The spark which the gentle wind fanned into a flame, moving to the slightest breath of air, is extinguished by the gale.

Lesson 02 – Intervals of the Third

Semplicetta tortorella, che non vede il suo periglio, per fuggir dalcrudo artiglio vola ingrembo al cacciator, per fuggir dal crudo artiglio, per fuggir dal crudo artiglio vola in grembo al cacciator, vola in grembo al cacciator.

Hapless, frightened dove, beware lest those lightning wings which bore thee safe beyond the falcon’s talons, bear thee towards the hunter’s snare!

3 IMSLP38826-PMLP85474

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Lesson 03 – Intervals of the Forth

Lascia il lido,e il mare infido a solcar torna il nocchiero, e pur sa che menzognero altre volte l'ingannò, altre volte l'ingnanò, altre volte l'in gannò, altre volte l'ingannò.

Dauntless the hardy sailor leaves the shore and trusts his bark to the sea, whose treacherous waves so often have deceived him, and brought him face to face with Death..

Lesson 04 – Intervals of the Fifth

Avvezzo a vivere senza conforto in mezzo al porto pavento il mar.

Though riding at anchor, safe in the harbor, dread thoughts of the ocean my heart still doth harbor.

Lesson 05 – Intervals of the Sixth

Bella prova è d'alma forte l'esser placida e serena nel soffrir l'inguista pena d'una colpa che non ha.

A truly noble mind will brook malignant slander, yea e’en forgive the slanderer.

Lesson 06 – Intervals of the Seventh

Fra l'ombre un lampo solo basta al nocchier sagace che già ritrova il polo, che riconosce il mar.

In tempest’s night, one lightening-flash will show the cautious helmsman the rocks ahead that threatened ship and crew with harrowing death..

Lesson 07 – Intervals of the Octave

Quell' onda che ruina, balza, si frange e mormora, ma limpida si fa, balza, balza, balza, balza, ma limpida si fa.

The wave, which erst did tower and surge and roar, will soon roll calm and limpid towards the shore..

Lesson 08 – Semitones

Delira dubbiosa, incerta, vaneggia ogni alma che on-deggia fra i moti delcor.

We weep for joy, we sigh with longing, we trust, we doubt and smile beneath tears, when the soul is affected by the emotions of the heart.

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Lesson 09 – Syncopation

Nel contrasto amor s'accende, con chi cede o chi s'arrende mai sì barbaro non è, mai, mai, mai, non è, con chi cede o chi s'arrende, no, mai si barbaro non è, no, mai si barbaro non è.

None can withstand the power of love, yet love will yield to the mute pleading of the tearful eye and longing heart..

Lesson 10 – Introduction to Runs

Come il candore d'intatta neve è d'un bel core la fedeltà. Un' orma sola che in se riceve tutta ne invola la sua beltà, tutta ne in vola la sua beltà.

The purity of a faithful heart is chaste as the icicle curded by the frost from driven snow: ‘twill bear no blemish.

Lesson 11 – Appoggiatura

Senza l'amabile Dio di Citera i di non torna-no di primavera, non spira un zeffiro, non spunta un fior. L'erbe sul margine del fonte amico, le piante vedove sul colle a-prico per lui rivestono l'antico o nor, per lui rivestono l'antice o-nor, per lui rivestono l'antico onor.

But for the gentle God of Cythera, Spring would never return to earth, with her garlands of flowers, with sunshine and mirth, but at his bidding and to his glory, blossoms return. Winter hoary flees, and fair roses of Spring deck the earth.

Lesson 12 – Acciaccatura

Benchè di senso privo fin l'arboscello è grato a quell' amico rivo da cui riceve umor; per lui di fronde ornato bella mercè gli rende dal sol quando difende il suo benefattor, dal sol quando difende il suo benefattor.

Although deprived of speech, the tree is grateful to the kind brook for watering its roots. In return, when Summer’s glowing sun would dry up the woodland brook, the tree spreads its leafy branches over its murmuring benefactor.

Lesson 13 – Introduction to Mordents

La javeragioce, per farsi palese, d'un labbro loquace bisogno non ha.

Silence is the perfect harvest of joy, I were but little happy, an I could say how much. (Shakespeare)

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Lesson 14 – Mordents in Different Styles

L'augelletto in lacci stretto perchè mai cantar s'ascolta? Perchè spera un' altra volta ditornara in libertà.

The imprisoned songster sings sweetly, hoping still to escape his narrow cage; sadly, longing for liberty, in vain.

Lesson 15 – Introduction to the Turn

Quando accende un nobil petto è innocente è puro affetto, de bolezza amor non è.

Love is as pure as yonder stars’ bright fire, Love is the Heaven to which our souls aspire; love ne’er was kindled from passions’ wild desire.

Lesson 16 – The Turn

Più non si trovano tra mille amanti sol due bell' ani-me che sian costanti, e tut-ti parlano di fedeltà.

Among one thousand lovers not two will be found to be constant; and yet they all talk of eternal love and devotion.

Lesson 17 – Introduction to the Trill

Se povero il ruscello mormora lento e basso, un ramoscello, un sasso quasi arrestar lo fa.

When a little brooklet creeps slowly along, a twig or a pebble will almost stop its course.

Lesson 18 – Runs

Siam navi all' onde algenti lasciate in abbandono, impetuosi ventti i nostri affetti sono, ogni diletto è scoglio, tutta la vita è un mar.

We are ships abandoned to the cold waves; our passions are violent winds; every pleasure is a sunken reef; our life a storm-wracked sea.

Lesson 19 – Portamento (Example 1)

Vorrei spiegar l'affanno, nascenderlo vorrei, e mentre i dubbi miei cosi crescendo vano, tutto spiegar non oso, tutto non so tacer, tutto spiegar, tutto non so, non so tacer. Sollecito, dubbioso penso, rammento e vedo, e agli occhi miei non credo non credo al mio pensier.

My sorrow I long to reveal, and yet I would fain conceal my doubts and fears, mine anguish, my tears that flow from my heart in despair: and yet I do not dare to tell what none else can feel.

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Lesson 20 – Portamento (Example 2)

O placido il mare lusinghi la sponda, o porti con l'onda terrore e spavento, è colpa del vento, sua colpa non è.

Whether calm be the sea, the shore soft caressing; Or roaring in tempest, the sailor distressing, Oh blame not the waves tho’ like mountains they tower, ‘Tis the winds that have raised the billows that roar.

Lesson 21 – Recitative

La patria è un tuttto di cui siam parti al cittadino è fallo consi-derar se stesso separato da lei: l'utile o il danno ch'ei conoscer dee solo è ciò che giova o nuoce alla sua patria a cui di tutto è debitor. Quando i sudori e il sangue sparge per lei, nulla del proprio ei dona, rende sol ciò che n'ebbe. Essa il produsse, l'educò, lo nudri: con le sue leggi dagl' insulti domestici il difende, dagli esterni con l'armi. Ella gli presta nome, grado ed onor, ne premia il merto, ne vendica le offese, e madre amante a fabbricar s'affanna la sua felicità, per quanto lice al destin de' mortali esser felice.

The land of our birth is our home and forms one whole of which we are part and, as its citizens, it would be wrong of us to consider ourselves independent of, or separated from, our native land. Thus we must learn to look upon, and accept that as beneficial or detrimental to us which is serviceable or harmful to the land, to which we owe all. If we shed our blood or give our life in its cause, we are but returning that which we received from it on trust: for it gave us birth, brought us up and fed and clothed us. Its laws protect us against offence or harm from our neighbor, its army against foreign foes. From our country we borrow our name, our rank in life, it protects our honor, rewards our actions, punishes our wrong doings, and, like a loving parent, is ever working and anxious for the welfare of its children; our happiness is its own!

Lesson 22 – Recapitulation

Alla stagion de' fiori e de' novelli amori è grato il molle fiato d'un zeffiro legger. O gema, fra le fronde, o lento increspi l'onde: zeffiro in ogni lato compagno è del piacer.

When Spring unlocks the flowers, mild zephyrs fan the dale, when kid in rosy bowers soft pleads the nightingale; when balmy showers descending refresh the sunlit grove, each heart in Joy ne'er ending throbs to the voice of Love.

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Lesson Plan

Senor Vaccai has, to my mind, structured his method around a rather unusual concept of a “lesson”. There are fifteen of them listed in his work however, it is not at all clear to me quite what constitutes a lesson. Being confused, and wanting to simplify matters some, I have taken the liberty of placing each exercise separately.

The concordance with Senor Vaccai’s original lessons are shown below.

Vaccai Lesson Exercises

One 01 – The Diatonic Scale

02 – Intervals of the Third

Two 03 – Intervals of the Fourth

04 – Intervals of the Fifth

Three 05 – Intervals of the Sixth

Four 06 – Intervals of the Seventh

07 – Intervals of the Octave

Five 08 – Semitones

Six 09 – Syncopation

Seven 10 – Introduction to Runs

Eight 11 – Appoggiatura

12 – Acciaccatura

Nine 13 – Introduction to the Mordent

14 – Mordents in Different Styles

Ten 15 – Introduction to the Turn

16 – The Turn

Eleven 17 – Introduction to the Trill

Twelve 18 – Runs

Thirteen 19 – Portamento (Example 1)

20 – Portamento (Example 2)

Fourteen 21 – Recitative

Fifteen 22 – Recapitulation

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In this this Lesson, Signor Vaccai has not grouped the letters of the Italian syllables according to the correct rules of spelling, but in such a fashion that the pupil may 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 acquiring what the Italians call the Canto legato (Chant lié) though, of course, we need hardly say that here the teacher's example and oral explanation is better than all written precept.

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01 - The Diatonic Scale.

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˙ œ œ œ œ œ œ

˙̇n œœ œœ œœ œœ œœŒ ˙̇ œœ œœ œœ œœ œœ

Œ˙ œ œœ œ̇ ™

œ œ œœœ

Œ œ œnœn œ œ# œ Œ Œ œ# œn œ œ œ

œœœ Œ Œ œ

œ œn œ œ œ œ

˙ œ ™ œJ

˙Ó

˙ œ œ œ œ œ œ ˙ œ ™ œj

˙Ó

˙̇ œœ ™™ œœJ

˙˙# Ó

Œ˙

œ#œ̇ œ œœn œœ œ œœ ˙̇ ˙̇ ˙̇ Ó

Ó

˙ œ ™ œJ

˙ Ó Œ œ œ œ# œœ œ

œœbn ˙˙ ˙ Ó

Page 16: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Sem

p

pli- cet- ta- tor to- -

Andantino

rel la- che non ve de il- suo pr ri- glio- per fug gir- dal cru do ar- ti- glio- vo la in-

6

grembo al cac cia- tor,- per fug gir- dal cru do ar- ti- glio,- per fug gir- dal cru do ar-

11

ti glio- vo la in- grembo al cac cia- tor,- vol la in- grembo al cac cia- tor.-

16

68

68

68

&#

∑ ∑ ∑

02 - Intervals of the Third

&#

?#

&#

&#

?#

&#

&#

Ÿ

?#

&#

&#

?#

Œ ‰ œ œJ

œ œJ œ œ

J

œœ œœj

œœ

œœj

œœ

œœj

œœ

œœj

œœ

™™ Œ ™

œœ œœj

œœ œœj

œœœ

œœœj

œœœ

œœœj

œœ œœJ œ œ

jœ œ

J œœ

œœj

œœ

™™ Œ ™

œœ œœJ

œœ œœJ

œœ œœJ

œœ œœJ

œ œR ≈ œ œ

Jœ œ

jœ œ

j œJ

œj‰ œ œ

Jœ œ

J œ œJ

œ œR ≈ œ œ

j

œœœ

œœœj

œœœ

œœœj

œœœ

œœœj

œœœ

œœœj

œœ œœ ‰œœ œœ

jœœœ

œœœjœœœ

œœœj

œœœ

œœœj

œœ œœj

œœ œœJ

œ œJ

œ œJ

œ œJ œ ‰

œœ œœJ

œœ œœJ

œœ œœJ

œœ œœJ

œ œJ

œ œjœ œ

‰œ œ

jœ œ

jœ œ

jœjœj ‰ œ œ

Jœ œ

Jœ œ

J

œœ œœjœœ œœ

jœœ ™™ œ œ

jœ œ

jœœ ™

œj

œ ‰œ œ‰ œœ ™

œj

œœ ™œjœœ ™

œj

œ œJ œ œ

j œ ™ œ ™œ# ™ œn ™ œ

‰ œ ™ œ ™ œ ™

œJ

œJ ‰ œ œ

Jœ œ

Jœ œ

jœ ‰ œ œ

jœ œ

jœ œ

jœ ‰ Œ ‰

œœ œœ ‰ œœ œœJ œœ œœ

jœœ œœ

jœœ ‰

œœ

œœj

œœ

œœj

œœ

œœj

œœ ‰ Œ ‰

œ ‰œ œ

Jœ œ

J œ œJ

œ ‰ œ œj

œ œJ œ

œœœj

œœ ‰ Œ ‰

Page 17: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

La scia il- li do, e il- ma re in- fi do- a sol -Adagio.

e = 85

p

car tor na il- noc chie- ro, e pur sa che men zo- gne- ro- al tre-

4

vol te- l'in gan- nò,- al tre- vol te- l'in gna- nò,- al- tre

8

vol te- l'in gan- nò,- al tre- vol te- l'in gan- - nò.

12

24

24

24

&###

03 - Intervals of the Fourth.

&###

?###

&### >

&### >

?###

>

&### > > >

&###

>>

>

?###

&### > > -

&###

>

?###

Œœj œ

jœj œ

jœj œ

Jœj

œr ≈ œ

J œj

Œœœ

œœœ

œœœ

œœ Œœ œ

œ œ

œ œ œ œœ œ œ œ

œ œ œ œœ œ œ œ

œ œ œ œœ œ œ œ

œJ œ

j œJ

œJ

œJ œ

jœj œ

jœj œ

jœj œ

Jœj

œr ≈ œ

j œJ

œ œ œ œ œ œ ≈œœ

œœœ

œœœ

œœ Œœ œ œ œ

œ œ œ œœ œ œ œ

œ œ# œ œœ œ œn œ

œ œ œ œœ œ œ œ

œ œ œ œœ œ

œ œ

œj œ

J œj œ

J œ œJ œ

JœJ œ

jœJ œ œ œ

j‰ œ

j œJ

œ œ œ œ œ œ œœ œœœ œ œ

œœj

‰ œ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œ œœ œ

œ œœœœ

œ œ œ œœ œ

œ œ

œj œ

J œj œ

J œ œJ œ

JœJ œ

jœJ œ œ œ Œ

œ œ œ œ œ œœœ œ

œœ

œœ œ œ

œœ Œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œ œœ œ

œ œœœ œ

œ Œ

Page 18: Vaccai Method High Voice r1.0

{

{

{

{

{

Voice

Piano

Av vezzo- - aAndante.

p

vi ve- re- sen za- con for- - to

3

in mezzo al- por to- pa ven- to- il mar.

6

Av vezzo- a- vi ve- re- sen za- con for- - to

10

In mezzo al por to- pa ven- to- il mar.

14

c

c

c

&#### ∑

04 - Intervals of the Fifth.

&####

?####

&####

&####

?####

&#### >

&####

?####

>

&####

&####

?####

&#### >

&####

?####

˙ œ œ

‰œ œœ

œ‰

œ œœ œ‰

œ œœœ

‰œ œœ œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œ ™ œJ

œ Œ ˙ œ œœ ™ œn

Jœ Œ

‰œ œœ

œœ

‰œ œœ

œœ

‰œ œœ œ

‰œ œœ œ

‰œ œœ

œ# œ

‰œ œœ

œœ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ##

Œœœ Œ

˙nœ œ ˙ œ ‰ œ

j ˙œ# ™ œ

j˙ Ó

‰œn œœœnœ‰œ œœ œ

‰œ œœœœ‰œ œœœœ

‰œ œœ# œ

‰œ œœ œ

‰œ œœœœ‰œ œœœœ

œœnn

Œœœnn

Œœœ Œ

œœ Œ

œœnn

Œœœn

Œœœ Œ

œœ Œ

˙œ œ œ ™ œ

Œ ˙œ œ œ ™ œ

jœ Œ

‰œ œœœ‰œ œœœ

‰œ œœ œ

‰œ œœ œ

‰œ œœœ‰œ œœœ

‰œ œœ œ

‰œ œœ œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ## Œ

œœ Œ

œœ Œ

œœ Œ

˙ œ œ˙ œ

‰ œJ

˙œ œ

˙Ó

‰œ œœ

œœ

‰œ œœ

œœ

‰œ œœ œ œœ œ œœ

œœ

‰œ œœ

œœ œœ œ œœ

œœ ˙̇

˙Ó

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ

œœ

˙˙ Ó

Page 19: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Bel la- prova è d'al ma- for te- l'es ser- pla cida- e se -

Andantino.

mf p

re na- nel sof frir- l'in gui- sta- pe na- d'u na- col pa- che non

6

ha. Bel la- prova è d'al ma- for te- l'es ser- pla cida- e se -

10

re na- nel sof frir- l'in giu- sta- pe na- d'u na- col pa- che non ha.

14

68

68

68

& ∑

05 - Intervals of the Sixth.

&

?

&

&

?

&

&

o

?

&

&

?

Œ ‰ œ œj œ

œjœ œ

j œœj œ œ

œj œ

œj

œœ œœjœœ œœ

jœœ œœ

jœœ œœ

jœœœ

œœjœœ œœ

jœœœ

œœjœœœ

œœœj

œœœ

œœjœœœ

œœj

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œ œr ≈ œ œ

j œœj

œ œj œ

œj œ

œ#j

œ œr≈ œ

œ#j

œœ œœj

œœ œœj

œœœ

œœj

œœ œœj

œœœ

œœj

œœœ# œœ

jœœ

œœj

œœ# œœ

j

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ

œœ

œœJ œ

œœœj

œ ‰ œ œj œ œ

œJ

œ œR

≈ œ œj œ œ

œJ

œœ

œœj

œ œj œ

œœœJ

œœ œœ

jœœ œœ

jœ œ

j œœ

œœJ

œœ œœ

j

œœ

œœj

œœœn œœ

œJ

œœœœœœJ

œœœ

œœœJ

œœœœœœJ

œœœ

œœœJ

œœœœœœJ

œœœ

œœœJ

œ œR≈œ

œj œ

œj œ

œj

œ œr ≈ œ

œJ œ

œJ œ

œ œJ

œ ‰ Œ ‰

œœ œj œ

œj œ

œj œ

œj

œ œj œ

œJ œ

œJ œœ œ

œœœ

œœ ‰ Œ ‰

œœ œœJ

œœœœœœJ

œœœœœœJ

œœœ

œœœJ

œœ œœJ

œœœœœœJ

œœœœœœJ œ

œœœ

œœ ‰ Œ ‰

Page 20: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Fra l'om bre un- lam po-Adagio.

p

so lo- - ba sta al- noc chier- sa -

3

ga ce- - che già ri tro- va il-

5

po lo,- che ri co- no- sce il- mar.

7

c

c

c

&##

06 - Intervals of the Seventh.

?## &

?##

&##

>

&##

>

?##

&##

&##

?##

&##

&## ∑

?##

Ó Œ ‰œj

œ ™ œj œ œ

œœ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

œ œ œ œœœœ œ œ œ œœœ œ œ œ

œœj

‰œœj

‰œœj

‰œœj

‰œœj

‰œœj

œœj ‰

œœj ‰

˙œ

Œ œ œ ™j

œr œ# œ

œœ œ œ œ œ

œ œ œ œ œœœ# œ œ œ œœœ œ œ œ œœ œ œ œ œ

œ œ œ œœœœ# œ# œ œ

œœœ œ œ œ

œœj ‰

œœj ‰

œœ Œ

œœj

‰œœj

‰œœj

‰œœj

˙œ# Œ œ œ ™

jœr œn

œ

œœœ œ œ œœœœ œ œ œ

œn œ œ œ œ

œœ œ œ œœ

œœ œ œ œœ

œœ œ œ œœ

œnœ œ œ œœ

œœ œ œ

œœj

‰œœj

‰œœ##

Œ

˙˙̇

˙˙

˙œ ™ ‰ œ œ

JœJ œ œ ˙

Ó

œœ œ œ œ œœœ œ œ œ

œœ œ œ œœœ œ œ œœœœ œ œ œ

œœœ œ œ

Ó

œœj

‰œœj

‰œœj ‰

œœj ‰

œœj

‰œœj

‰ œœJ

‰œœ œ œ œ

œœJ

‰ œJ

œœ œ œ œ‰

œœœ œ œ œ

œœJ

‰œœ œ œ œ œ

œœœ Œ

Œ

Page 21: Vaccai Method High Voice r1.0

{

{

{

{

Andante.

07 - Intervals of the Eighth, or Octave.

Voice

Piano

3

6

8

c

c

c

&##

Quell' on da- che ru -

&## ∑

?##

3 3 3 3 3 3 3 3

&##

i na,- bal za,- si fran ge e- mor mo- ra,-

&## ∑ ∑ ∑

?##

>

#

##

>

3 3 3 3 3 3 3 3 3 3 3 3

&##

ma lim pi- da- si fa, bal za,-

&## ∑

œœ œ

3

3 3 3

?###

3 3 3 3

&##

bal za,- bal za,- bal za,- ma

>

lim pi- da- si fa.

&## >

p3

3 3 3 33

?##>

Ó Œ ‰œj

œœ

œœ

wwœ œ œ

œ œ œœ œ œ

œ œ œ

œJ‰

œ œ œœJ ‰œ œ œ

œJ‰

œ œ œœJ ‰œ œ œ

œ ™ œjœ

Œœ

œJ

œJ œ

œœ ™ œ

Œ

˙ ™œ œ œ

œ œ œœ œ œ

œœ

œ œ œ#

œJ‰

œ œ œœJ ‰œ œn œ

œJ‰

œ œ œœJ ‰ ˙ ™

œ œ œœ œ œ

œ œ œœ œ œ

œœ

œ œ œ#

œœj

œj

œ œ œ Œœ

œ

œ œ# œ œœ œ

œ œ œ

˙œ œ œ

œ œ œ˙˙œ œ œ

œ œ œ

œœ œ

œ##

œœ

œœ

œœ

œœ

œœ

˙ œ œ œ œ œ œ ˙Ó

œœ œ

œn œ œœœ œ

œ œ œœœ œ

œ œ œ˙̇ œœ œœ œœ œœ œœ œœ ˙

Ó

œœnn œ

œœœ

œœ

œœJ

‰ œ ˙ ˙ œœ

˙˙ Ó

Page 22: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

De li- - ra dub -

Andantino.

e = 140

p

bio sa,- in cer- ta,- va neg- gia- o -

3

gni al - ma che on deg- - gia fra i

6

34

34

34

&#

08 - Half- tones, or Semitones.

&#

?#

&#

&#

?#

&#

&#

?#

Œ Œ ‰œj œ ™ œ œ ‰ œ#

j

≈œ

œ œ≈

œœ œ

≈œ

œ œ≈

œœ œ

≈œ

œ œ≈

œœ# œ

œœj ‰

œœj ‰

œœj ‰

œœj ‰

œœj ‰

œœj

œ ™ œ# œ ‰ œ#j

œ ™ œ# œ ‰ œ#J

œ# ™ œ# œ ‰ œJ

≈œœ œ

≈œœ œ

≈œ#œ# œ

≈œœ œ ≈

œœ œ ≈

œ#œ# œ ≈

œœ# œ# ≈

œœ œ ≈

œœ œ

œœJ

‰œœJ

‰œœj

‰œœJ

‰œœJ

‰œœ##

j‰

œœ##

J‰

œœJ

‰œœJ

œ# ™ œ# œ ‰ œJ

œ ™ œ# œ ‰ œJ

≈œr œ# œn ≈

œœ œ ≈

œœ œ ≈ œ

œ œ ≈ œœ œ ≈ œ

œ œ

œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœj ‰

Page 23: Vaccai Method High Voice r1.0

{

{

{

{

mo ti- del cor;- de li- ra- dub -

8

bio sa,- in cer- ta,- va neg- gia- o -

11

gni al ma- che on deg- gia- fra i mo ti- del -

14

cor, fra i mo ti- del cor.

17

&#

&#

#

?#

&#

&#

?#

&#

&#

?#

&#

&# U

?# U

œœ œ# œ œn œ# œ Œ ‰ œ

Jœ# ™ œ œ ‰ œn

J

≈ œœœ œ ≈

œœœ œ œœœ

œ œn œ# ≈ œœ œn ≈ œ

œ œ ≈ œœ œ ≈

œœ# œ ≈

œœ œ ≈

œœn œ

œJ ‰

œJ ‰ œ

j ‰œœj

‰œœj

‰œœj

‰œœJ

‰œœJ

‰œœj

œ ™ œ œ ‰ œJ

œ# ™ œ œ ‰ œnJ

œ# ™ œ œ ‰ œnj

≈œœ œ ≈

œœ œ ≈ œ

œ œ ≈ œœ# œ ≈ œ

œ œ ≈ œnœn œ ≈

œœ# œ ≈

œœ œ ≈

œœ œ

œœj ‰

œœj ‰

œœj

‰œœJ

‰œœJ

‰œœ##

j‰

œœJ

‰œœJ

‰œœJ

œ ™ œ# œ ‰ œj

œ ™ œ# œ ‰ œbj

œn œ œ# œ œn œ#

≈œœnœ œ

≈œœœ œ

≈œœœ œ

≈œœ#œ œ ≈

œœœ œ ≈

œœbœb œb

≈œœ œn

≈œ

œ œ œ# œn œn œ#

œœnn

j‰

œœj

‰œœj

‰œœj ‰

œœj ‰

œœj

‰ œœJ

‰ œœJ

‰œœœnn

œ Œ ‰ œnJ

œ œ# œn ˙ Œ

≈œœ œn

≈œœ œ

≈ œœn œ ≈ œ

œ œ ≈ œ œ# œ ≈œœn œ ≈

œœ œ ≈

œœ œ

œœ

œœj ‰

œœj ‰

œœj ‰

œœj

‰œœ

œœ

œœ œœ

œ

2

Page 24: Vaccai Method High Voice r1.0

{

{

{

{

{

Voice

Piano

Nel con tra- sto a- mor- s'ac cen- de,-Andante.

p

con chi ce de o- chi s'ar ren- de- mai sì bar ba- -

7

simile

ro- non è, mai, mai, mai, non è,

13

p

con chi ce de- o chi s'ar ren- de,- no, ma i- si bar ba- -

19

ro non è, no, ma i- si bar ba- ro- non è.

25

24

24

24

&bb ∑ ∑

09 - Synchopated Mode

&bb

- - - - - - -

?bb

&bb

&bb

?bb

&bbU

&bbU

?bb

&bb

&bb- -

?bb

&bb

&bb

?bb

œj œ œ

JœJ

œ œj

œj œ œ

JœJ

œ œj

œœjœœœ

œœœj

œœœj

œœœ

œœj

œœjœœœ

œœœ

œœœ

œœœ

œœ œœ œœœ

œœœ

œœœ

œœœ

œœj

œj ‰

œJ ‰ œ

j ‰ ‰œJ œ

j ‰œJ ‰ œ

j ‰œJ ‰ œ

j ‰œJ ‰ œ

j ‰œJ ‰

œj œ œ

JœJ

œœj

œj œ œ

JœJ

œœj ‰

œ œJ

œJ

œ œJ

‰ œœœœ œœœ

œœœ

œœœ

œœœj

œœœj œœœœ œœ

œœœœ

œœœ

œœj ‰

œœœJ

‰ œœœJ

‰ œœœj‰

œœœj

œj ‰ œ

J ‰œj ‰ œ

J ‰œj ‰ œ

J ‰œj ‰ œ

J ‰ œJ

‰ œj‰ œ

j ‰ œj‰

œJ

œ œJ œ

j‰ œ œ

J‰ œ œ

J‰ œ œ

J‰ œ

œ Œ

‰œœœj‰

œœœj

‰œ œœ

œœ

‰œ

œœœœ

‰œ œœ

œœ

‰œ œœ

œn œ œ

œ Œ

œJ

‰ œnJ

‰˙˙

˙˙nn ˙

˙

˙˙

œœ Œ

œJ œ

œJ

œ ™ œ œJ

œJ

œJ œ

œJ

œ ™ œ œJ

œJ

œJ œ

œJ

œJ œ

œJ

œœnJ œ

œœœJ

‰ œœj

‰ œœj

œœJ œ œœ

œj

‰ œœj

‰œ œ

œœ œ

œœJ

œJ ‰

œJ ‰

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œ œn œ œJ œb Œ

œJ œ

œ œ œœ œ

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œ œn œ œœ

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œJ ‰

œJ ‰

œJ ‰ œ

j ‰œJ ‰

œJ ‰

œJ ‰

œJ ‰ ˙

œ œ œ œ œœ Œ

Page 25: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Co me il- can do- re-

Andante.

p p

d'in tat- ta- ne ve- è d'un bel co re- la fe- del- tà.-

7

Un' or ma- so la- che in se ri ce- ve- tut ta- ne in vo- la-

13

la sua bel tà,- tut ta- ne in vo la- la sua bel tà.-

19

24

24

24

&###

At first, the pupil should take the time of this exercise quite slowly. After study, he maywork up to a sharp Allegro, progressively, as his capacity allows him. Scales should be sungwith extreme smoothness, even and flowingly; but with each note clear and distinct. Alljerking and slurring are equally to be avoided.

∑ ∑ ∑ ∑

10 - Introduction to Roulades (Runs)

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œ œ œ œ œJ

œJ

œ œ œ œ œj ‰

‰œœœ

œœœ

œœœ ‰

œœœ œœœ œœœ‰

œœœ œœœ œœœ‰

œœœ

œœœ

œœœ ‰

œœœ

œœœ

œœœ ‰

œœœ œœœ œœœ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œ œ œ œœJœJ

œ œ œ œ œj‰ œ œ œ œ

œJ

œJ

œ œ œ# œ œJ‰ œ# œ œ œ œ

jœj

œŒ

‰œœœ œœœ œœœ

‰œœœ

œœœœœœ ‰

œœœ

œœœ

œœœ ‰

œœœœ# œœ

œœœœœœ ‰

œœœœ# œœ

œœœœœœ ‰

œœœœœœœœœ

œœ Œ

œœ Œ

œœ Œ

œœ##

Œœœ Œ

œœ Œ

œ œ œ œœJ

œJ œ œ œ œ

œJ ‰

œ œ œ œœJ

œJ œ œ œ œ

œJ ‰ œ œ œ œ œ

jœj œ œ œ œ œ

J‰

‰œœœœn œœœ

œœœœœ ‰

œœœ

œœœœœœ ‰

œœœœ

œœœœ

œœœœ ‰

œœœ

œœœœœœ ‰

œœ œœ œœ‰

œœœ

œœœœœœ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

˙˙

˙˙

œ œ œ œ œj œJ

œ Œ œ œ œ œ œjœj œ œ œ œ œ

J‰ œ œ œ œ œ

j œJ œ Œ

‰œœœ œœœ œœœ

‰œœ

œœ

œœ ‰

œœ œœ œœ‰

œœœ

œœ œœœ ‰

œœœœ

œœœœ

œœœœ

œœœ Œ

˙˙

˙˙

˙˙

˙˙

˙˙ œ

œ Œ

Page 26: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Sen za- l'a -Andante.

p

ma bi- le- Dio di Ci te- ra-

5

i di non tor na- no- di pri ma- ve- ra,- non

8

spi ra- un zef fi- ro,- non spun ta- un fior. L'er be- sul

12

68

68

68

&###

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. Onsome occasions, the singer may slightly lengthen the time; but never, in any case, abbreviate it.

∑ ∑ ∑

11 - The Appoggiatura

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œ œ œœ œ œ

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œ ‰ ‰ œnJ

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jœ ™ Œ ‰ œ ™ œ œ

j

œ# œ œœn œ

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‰ ‰œœj‰ ‰

œœj‰ ‰

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˙˙

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Page 27: Vaccai Method High Voice r1.0

{

{

{

{

mar gi- ne- del fon te a- mi- co,- le pian te- ve do- ve-

17

sul col le a- pri- co- per lui ri ve- sto- no- l'an ti- co- o

22

p

nor, per lu i- ri ve- sto- no- l'an ti- ce- o -

27

nor, per lu i- ri ve- sto- no- l'an ti- co- o nor.-

31

mp

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jœ œ œ œn œ œ

J

œ œ œœ œ œ

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‰ ‰œœj‰ ‰

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œœ ‰ Œ ‰

2

Page 28: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Ben chè- di sen so- pri vo- fin

e = 105

Andantino.

p

l'ar bo- scel- lo è- gra to- a quell' a mi- co-

4

ri vo- da cui ri ce- ve u- mor;- per

7

24

24

24

&b

The Acciaccatura (or grace note) differs from the Appoggiatura in borrowing nothingfrom the value of the note that follows, though it may slightly intensify its accent. It shouldbe sung with extreme lightness and ease, swiftly, and with the least appreciable time stolenfrom whatever precedes it.

12 - The Acciaccatura.

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-

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≈œ œœ œ œœ œ œœ œ

œœj

‰œœj

‰œœj

‰œœj

‰˙˙

Page 29: Vaccai Method High Voice r1.0

{

{

{

{

lui di fron de or- na- to- bel la- mer cè- gli

10

ren de- dal sol quan do- di fen- de- il

13

suo be ne- fat- tor,- dal sol quan do- di -

16

fen de- il suo be ne- fat- tor.-

19

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≈ œœœœ œ ≈ œ œœb œ ≈

œ œœœb

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2

Page 30: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

La ja ve ra- ce,- per

Allegro.

p

far si- pa le- se,- - d'un lab bro- lo -

4

qua ce- bi so- gno- - non ha. La

7

c

c

c

&bb

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 executed. It consists of 2 or 3 notes, and can impart great charm to the singing without influencing the due sentiment of the phrasing of individual passages, or the general intention of the composer. It is, therefore, the only licence that the singer may occasionally take on hisown responsibility. The slightest appearance of effort or premeditation is fatal. We may addthat modern composers write the notes they wish to have sung, and it is impossible to condemntoo strongly the singer's use of any Abbellimenti or vocal ornaments that are not indicatedin the music by the composer himself. We are thankful to say this abuse has longsince gone out of fashion.

13 - Introduction to the Mordent

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>

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n >

Ó Œ ‰ œj œ ™™ œ œ œ ™™ œ œ œ ™™ œ œ œ ‰ œ

j

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œœ œ œœ œŒ

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˙ œ œ œ œ œ ™ œ œ œ ™ œ œ œ ‰ œj œ ™™ œ œ œ ™ œ œ

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œœ œ

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œœ

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j ‰œœj‰

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œ ™™ œ œ œj‰ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ œ Œ Œ ‰ œ

j

Óœœ œ œœ

œœœœj‰

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˙˙

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œœ

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‰ œj ‰ œ

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Page 31: Vaccai Method High Voice r1.0

{

{

{

gio ja- ve ra- ce,- per far si- pa le- se- d'un

10

lab bro- lo qua- ce- bi so- gno- non

14

p

ha, no, no, no, no, no, no, bi so- gno- non ha.

17

p

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œ ™ œn œœ ™ œœœ ™ œœœ ™ œœ ˙ œ ‰ œj

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j‰ ˙̇

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2

Page 32: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

L'au gel- let- to in- lac ci-Andantino.

q = 110

mf p

stret to- per chè- mai can tar- s'a scol- ta?- Per chè- spe ra- un'

8

simile mf

al tra- vol ta- di tor- na- ra- in li ber- tà.

tenuto

- L'au gel- -

15

p

let to in- lac ci- stret to- per chè- mai can tar- s'a scol- ta?-

22

24

24

24

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∑ ∑ ∑ ∑

14 - The Mordent in Different Styles.

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Page 33: Vaccai Method High Voice r1.0

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Per chè- spe ra- un' al tra- vol ta- di tor na- re- in

29

li ber- tà,- per chè- spe ra- un' al tra- vol ta-

35

di tor na- re in- li ber- tà,- di tor na- re in- li ber- -

41

tà,- in li ber- tà,- in li ber- tà,- in

48

li ber- tà,- in li ber- tà.-

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œœj‰

œ ‰ œJ

œ œn œ œ œ œ# œ ‰ œJ

œ œ# œ œ œ œ œn ‰ œJ

œœ œ œœ œ œœœ

œ œœœ

œ œœ œ œœ œ œœ

œ œœ

œ œœ œ œ

œ œ

œ Œ œ Œ œ Œ œ Œ œ Œ

œ œ œ œ# œ œ œ ‰ œJ

œ œ œ œ# œ œ œn Œ

œœ œ œœ œ œœ œ œ

œ œ œœ œ œœ œ œœ œ œ

œ œ œœ Œ

œ Œ œ Œ œ Œ œ Œœ

Œ

2

Page 34: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Quan do- ac cen- de- un no bil-Moderato.

e = 160

p

pet to- è in no- cen- te- è pu ro- af fet- to,-

6

de bo lez- za- a mor- non è; quan do- ac -

11

24

24

24

&b

At first, the pupil should take the time of this exercise quite slowly. After study, he maywork up to a sharp Allegro, progressively, as his capacity allows him. Scales should be sungwith extreme smoothness, even and flowingly; but with each note clear and distinct. Alljerking and slurring are equally to be avoided.

∑ ∑

15 - Introduction to the Gruppetto or Turn.

&b

?b

&b

&b

?b

&b

&b

?b

œ œ œ œn œ œ œb œ œ# œ œ œn œ œ œ

‰œœœœj‰

œœœœj

‰œœœœj‰

œœœœj

‰œœœj‰

œœœj

‰œœœj‰

œœœj

‰œœœj ‰

œœœj

œœj‰

œœj‰

œœj‰

œœj‰

œœj‰

œœj

‰œœj‰

œœj

‰œœj‰

œœj

œ œ# œ œ œj ‰ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œ œ

j‰

‰œœœj ‰

œœœj ‰

œœœj ‰

œœœj ‰

œœœj‰

œœœj

‰œœœj‰

œœœj

‰œœœj‰

œœœj

œœj

‰œœj‰

œœj‰

œœj

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœj‰

œœj‰

œ œj œn œ œ œ œ

j ≈ œr

œ œj œn œ œ œ Œ œ œn œ œ œ œ œ œ

‰ œœj‰ œœn

j‰ œœ

j‰

œœj ‰ œœ

j‰ œœn

j‰

œœj‰

œœj

‰œœœbj

‰œœœj

œœj‰

œœj‰

œœj‰

œœj‰

œœj‰

œœj‰

œœj‰

œœJ

‰œœJ

‰œœJ

Page 35: Vaccai Method High Voice r1.0

{

{

{

cen de- un no bil- pet to- è in no- cen- te,- è

16

pu ro- af fet- to,- de bo- lez- za- a mor- non

21

è, de bo- lez- za- a mor- non è.

26

&b

&b

?b

&b

&b

?b

&b

&b

?b

œ œn œ œ œJ

œJ œ œ# œ œ œ

j œJ

œjœ œ œ œn

j ‰ œn œ œ œ œ œ œ œ œn œ œ œ œJ œ

j

‰ œœj

‰ œœj

‰œœœj

‰œœœj

‰ œœj

‰ œœj

‰œœœbj

‰œœœj

‰ œœj

‰ œœj

œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

œ# œ œ œœJ

œJ œ

jœnj Œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ œn œ œ œ œ# œ

‰œœj ‰

œœœj

‰ œœj‰ œœ

j‰

œœœj ‰

œœœj ‰

œœœj

‰œœj

‰ œœj

‰ œœj

œœJ

‰œœJ

‰œœj‰

œœj‰

œœj

‰ œœJ

‰œœj

‰œœj ‰

œœJ

‰œœJ

œ Œ œ œ œ œ# œj œJ

œ œ œ œn œ œ œ œnœ œ œ œ œ œ ™

jœr

œ Œ

‰œœj ‰

œœj ‰

œœœj ‰

œœœj ‰

œœœj ‰

œœœj

œœœj ‰

œœœj ‰

œœœ Œ

œœJ

‰œœJ

‰œœj

‰œœj‰

œœj

‰œœj ‰

œœj‰

œœj‰

œœ Œ

2

Page 36: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Più non si tro va- no-

Poco Andante.

p

tra mil le a- man- ti- sol due bell'

4

a ni- me- che sian co stan- ti,-

7

c

c

c

&b ∑

16 - The Gruppetto or Turn.

&b

?b

&b

&b

.

?b

&b

&b

?b

œ ™ œ œ œn œ œJ

œ œœ ™ œb œ œ œ œ

Jœ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œ ™ œn œ œ œ œjœ ™ œ œ œ# œ

œJ œ œ œ œ œ Œ œ ™ œ œ œn œ œ

Jœ œ

œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œ ™ œb œ œ œ œJ

œ Œ œ œ œ œ# œœ œ œn œ œ œ œ

œnJ œ

Jœj œ œ

J‰ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œœ œ œ œ œ œ œ œ

œœj‰ Œ

œœj‰ Œ

œœj

‰ Œœœœj

‰ Œœœj‰ Œ

œœj‰ Œ

Page 37: Vaccai Method High Voice r1.0

{

{

{

{

e tut ti- par la- no- di fe del- -

10

tà, e tut ti- par la- no-

13

di fe del- tà,- e tut ti-

16

par la- - no- di fe del- - tà.-

19

&b

&b

?b

&b>

&b

?b

&b

&b

?b

&b> >

&b

?b

œb ™ œ œ œ œ œj œ ™ œ œ œ œ œ

j œ ™ œJ

œ Œ œ ™ œ œ œ œ œj œ ™ œ œ œ œ œ

j

œb œœ

œ œ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

˙ Ó œ œ œ œ œ

œœ œ œ œ# œ

œnœ œ œ œ# œ

œ œ œ œ œ

œ œ œ œ œ œ œ œœ œ

œœ œ œ

œœ œ œ œ œ œ œ œ

jœj

œœ Œ

œœ Œ

˙ ˙ ˙˙

˙

˙ œ œ œ œn ˙# œ Œ œ œ œ œ# œ œœ œ œ œ œ œ œn

œ

œ œ œ œ œ œ œ œ œn œ œ# œ œ œ œ œœ œ œ œ œb œ œ œ

œ Œœœ Œ

˙˙

˙˙

˙˙

˙˙

œ œ œ œn œ œœ œ œ œb

J œj

œœ œ œ œ œ œ œ œ œ œ Œ Ó

œ œ œ œ œ œ œ œœœœj‰ œœ

œj‰

œœœj ‰

œœœj ‰

œœœ

œœœœœœ Œ

˙˙ œ

œ œj‰ œ

j‰

œœj

‰œœj

‰œœ œ

œœ Œ

2

Page 38: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Se po ve- ro il- ru scel- lo-

Allegro moderato.

p

mor mo ra- len to e- bas so,- un ra mo- scel- lo,- un

4

sas so- - qua si- ar restar lo fa; se

7

c

c

c

&#

17 - Introduction of the Trill or Shake.

&#

?#

&#

&#

?#

&#

&#

.

?#

Ó Œ ‰œj œ

jœ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ Œ

‰œœœ

œœœ

œœœ ‰

œœœj ‰

œœœj ‰

œœœ

œœœ

œœœ ‰

œœœj ‰

œœœj ‰

œœœœ

œœœœ

œœœœ ‰

œœœœj ‰

œœœœj

œœj ‰ Œ

œœj ‰

œœj ‰

œœj ‰ Œ

œœj ‰

œœj ‰

œœj‰ Œ

œœj‰

œœj‰

œJ

œ œ œ œ œ œœn œ œ œ œ œ œ œ# œ

œ‰

œj œ

Jœ œ œ œ œ# œ œ

œnjœj

‰œœœ

œœœ

œœœ ‰

œœœj ‰

œœœj ‰

œœœ

œœœ

œœœ ‰

œœœj‰

œœœj

‰œœœ

œœœ

œœœ ‰

œœœj‰

œœœj

œœj ‰ Œ

œœj ‰

œœj ‰

œœj‰ Œ

œœj‰

œœj‰

œœj ‰ Œ

œœj ‰

œœj ‰

œ œn œ œ œ œ œœ Œ œ œ

œ ™j

œrœ ™ œ œ ™ œ œ Œ Œ ‰ œ

j

‰œœœ

œœœ

œœ‰

œœœj ‰

œœœj ‰

œœœ

œœœ

œœœ ‰

œœœj ‰

œœœœj ‰

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œj‰ Œ œ

j‰ œ

j‰ œ

J‰ Œ œ

J‰

œœj‰

œœj ‰ Œ

œœj ‰

œœj ‰

Page 39: Vaccai Method High Voice r1.0

{

{

{

{

po ve- ro il- ru scel- lo- mor mo ra- len to e-

10

mf

bas so,- un ra mo- scel- lo,- un sas so- qua si,-

13

qua si ar- re- star- lo fa, un ra mo- scel- lo,- un

16

sas so- qua si ar- re- star- lo fa.

rall.19

rall.

&#

&#

?#

.

&#

&#

?#

&#

&#

?#

&#

&# U

?#>

œjœ œ œ œ œ œ

œnœ œ œ œ œ œ œ œ

œ Œœjœn œ œ œ œ œ

œœ

‰œœœœn œœœ

œœœœœ ‰

œœœœj‰

œœœœj

‰œœœ

œœœ

œœœ ‰

œœœj‰

œœœj

‰œœœ#

œœœ

œœœ ‰

œœœj ‰

œœœj

œœj ‰ Œ

œœj ‰

œœj ‰

œœJ

‰ ŒœœJ

‰œœJ

‰œœj‰ Œ

œœj‰

œœj‰

œ œn œ œ œ œ œœ ‰ œ

Jœ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ

œ œ œ œ œ

‰œœœ

œœœ

œœœ ‰

œœœj‰

œœœj

‰œœœ#j

‰œœœj

‰œœœj

‰œœœj

‰œœœ

œœœ

œœœ ‰

œœœj‰

œœœj

œœJ

‰ ŒœœJ

‰œœJ

‰œœj

‰œœj

‰œœj

‰œœj

‰œœj ‰

œœj ‰ œ

j‰ œ

j‰

œjœ œ

jœj œ

jœ œ œ ˙ Œ ‰ œ

JœJ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‰œœœj ‰

œœœj ‰

œœœj‰

œœj ‰

œœ œœœ

œœœ

œœœ

œœœ

œœœ

œœœ œœœ

j‰ œœœ

j‰ œœœ

j‰ œœœ

j‰

œœj‰

œœj‰

œœj‰

œœj‰

œœj ‰ Œ

œœj ‰

œœj ‰ œ#

J‰ œ

J‰ œ

J‰ œ

J‰

œ œJ ‰ œ œ

JœJ œ

Jœ œ œ œ œ œ œ œ œ œ œ œ œ# œ

œ Œ Ó

‰œœœ

œœœ

œœœ ‰ œ

œœœ

œœb œœn

j‰ œœ

j‰

œœœn

j‰

œœœj

‰œœœ

œœœœœœ Œ

œ Œ˙˙## œ

J ‰œJ ‰ œn

j‰ œ

j‰

œœœ œ

œ Œ

2

Page 40: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Siam na vi all'- on de- al gen- ti- la -

Allegro moderato.

q = 105

mp

scia te in- ab ban- do- no,- im pe- tu- o- si-

4

vent ti- i no stri af- fet- ti- so no,-

7

c

c

c

&##

18 - Roulades and Scale-Passages.

&##

?##

&##

&##

?##

&##

&##

?##

Ó Œ œ œ œœ œ œ œ œ œ œ

jœ œ œ œŒ

œ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj

‰ Œœœj‰ Œ

œœj‰ Œ

œ œœ œ œ œ œ

jœ œ œ œ œ œÓ

œ œjœjœ œ œ œ œ œ œ œ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœj ‰ Œ

œœj ‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj

‰ Œ

œœ

Œ ‰œj

œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Ó

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœj ‰ Œ

œœj ‰ Œ

œœj ‰ Œ

œœj ‰ Œ

œœj‰ Œ

œœj‰ Œ

Page 41: Vaccai Method High Voice r1.0

{

{

{

o gni- di let- to- è sco glio,- tut ta- la vi ta- è un

10

mar, o gni- di let- to- è sco glio,- tut ta- la

13

vi ta- è un mar, tut ta la vi ta- è un mar.

16

&##

&##

?##

&##

&##

?##

&##

&##

?##

œ œn œœ œœ œ œœ œœ œœ œœ œ œ œ œœ œ

œ œn œ Œ œ œn œ œ œœ œœœœ œœ œ

rœrœ œ

œœœœn œœœ

œœœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœ# œœ

œœœœ

œœœ

œœœœœœœœœœœœ

œœœœn œœœ

œœœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœj

‰ Œœœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj

‰ Œœœj‰ Œ

˙ Ó œ œjœjœ œ œ œ œ œ# œ œ œ œ œ œ œ

JœJ

œœœ

œœœ

œœœ

œœœ

œœœ œ

œœœn œœ

œœœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ

œœœ œœœ œœœ œœœ

œœj ‰ Œ

œœj ‰ Œ

œœ##

j‰ Œ

œœj

‰ Œœœj‰ Œ

œœj ‰ Œ

œjœ œ

j‰ Œ œ œœœœœœœœ

œœœœœœœœ œœ œœœœœœœœ ˙

Ó

œœœœœœœœœœœœœœœœœœœœœœœœœœœœ

œœœ

œœœ

œœœ

œœœ

œœœ œœœ œœœ œœœ œœœœœœœœœœœœœœœ

œœœ

œœœ

œœœ

œœœœœœœœœœœœœœœj ‰ Œ

œj ‰ Œ œ

j ‰ Œœœj‰ Œ

œœj ‰ Œ œ

j ‰ Œ œj ‰ Œ ‰ œ œ œ œ

j ‰ Œ

2

Page 42: Vaccai Method High Voice r1.0

{

{

{

Voice

Piano

Vor rei- spie gar- l'af fan- no,- na -Andante.

p

scen der- lo- vor re- i,- e men tre- i dub bi-

4

mie i- co si- cre scen- do- va no,-

7

p

c

c

c

&##

In order to acquire an effective Portamento, the pupil must be careful not to slur one note intothe other with that sort of quavering that one hears too frequently in ill-trained voices. On thecontrary, he must blend the different registers and so bind the notes so that they seem to flow intoone even tone. When the true art of phrasing has been mastered by the means indicated in LessonI, the Portamento will offer few difficulties, but here, more than anywhere, is the practicaldemonstration by a teacher or a proficient of the first importance. Failing these, we must be contentwith adding that the Portamento can be taken "by Anticipation" or "by Posticipation"! By the firstof these methods, the singer attacks the value of the following note with the vowel of the precedingsyllable, as was shown in the rules given for Lesson I. In certain phrases, where a greatdeal of sentiment has to be expressed, this manner is highly effective. For this very reason it mustbe used very sparingly, as in abuse it sounds affected, and the music grows languishing and mono-tonous. By the second method, which is less common, the singer attacks almost imperceptiblythe syllable that follows with the value of the syllable that precedes.

Example 1.

19 - The Portamento.

&##

?##

&##

&##

?##

&## ∑

&## . .

?##

. .

Ó Œ ‰ œj œ

j œ ™œjœj

œ ‰ œj œj ˙

œjœ ‰ œ

j

‰œ œœ œ

‰œ œœ œ

‰œ œœ œ

‰œ œœ œ

‰œ œœ# œ

‰œ œœ œ

œœJ

‰ ŒœœJ

‰ ŒœœJ

‰ ŒœœJ

‰ Œœœj‰ Œ

œœj‰ Œ

œj

œ œ œj

œjœ œ œ

jœ œ œ

jœjœ œ ˙ œ œ œ ‰ œ

Jœ œ

jœ ‰œJ

œJ

œJ

‰œœœ ‰

œœœ ‰

œœœ ‰

œœœ ‰

œ œœ œ‰

œ œœ œ‰

œ œœ œ‰

œ œœ œ

œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœJ

‰ ŒœœJ

‰ ŒœœJ

‰ ŒœœJ

‰ Œ

œ œ Œ ‰™ œr œ ™™ œ

Rœ ™™ œ

œjœ Œ

‰ œ œœ œ ‰œ œœ# œ

‰œœœj‰ œœj

‰ œœœj‰ œœJ

‰ œœœœ# œ ‰ œ œœ œ

œ œœJœJœn œ

œn œj

œœJ‰ Œ

œœJ‰ Œ

œœJ‰œ#J ‰

œœJ‰œœj ‰

œœj‰ Œ

œœj‰ Œ

œ œ œœn œn œ

Page 43: Vaccai Method High Voice r1.0

{

{

{

{

tut to- spie gar non o so,- tut to- non so ta -

11

cer, tut to- spie gar,- tut to- non so, non so ta -

14

sf p

cer. Sol le- ci- to,- dub bio- so-

17

pen so,- ram men- to- ram men- to- e ve do,- e a -

20

&##

&##

?##

. . . . . .

&##

33

&##

?##

&##

&##

?##

&##

&##

?##

œjœ œœJ

œJ

œn œœ œ

jœjœ œœ Ó œ

jœ œœJ

œJ

œn œœ œ

j

œ œœ œ

jœ œn

œ œj œ œ

œ œJ

œn œœ œ

jœ œ

œ œjœ œn

œ œj

œ œ œœ œ

œœ œ œ œ œn œ

œ œ œœ œ

œ

œJ

‰ œ œ œœj œ œ œ œ œn œ œ œ# œœn œ œn œ

j ‰ ‰ œj

œj œ ™ œ

j

œJ

‰œœœ# œœ

œ œœœn ‰œ œœn œ

‰œ œœ œ

‰œ œœ œ

‰œ œ

œn œ

œJ ‰ œ œ œn œn

j‰ Œ œ

j‰ Œ œ

J‰ Œ œ

J‰ Œ

œ Œ Œ ‰ œj

œ ™j

œrœ Œ ‰ œ

œjœ Œ Œ

‰œ œœ œ

‰œ œœ œ

‰œ œœn œ

‰œ œœ œ

‰œ œœn œ

‰œ œœ œ

œœj ‰ Œ

œœj ‰ Œ

œœJ

‰ ŒœœJ

‰ Œœœnn

J‰ Œ

œœJ

‰ Œ

œ œjœ Œ ‰ œ

œjœŒ ‰ œ

j œn œ Œ ‰ œj

œ œ Œ œœj

‰œ œœœ

‰œ œœœ

‰ œ œœ œ ‰ œ œœ œ ‰ œ œœœ ‰ œ œœœ ‰ œœœ œ ‰ œ

œœ œ

œœ##

J‰ Œ

œœJ‰ Œ

œœJ‰ Œ

œœJ‰ Œ

œœ##

J‰ Œ

œœJ‰ Œ

œœJ‰ Œ

œœJ‰ Œ

2

Page 44: Vaccai Method High Voice r1.0

{

{

{

{

gli oc chi- miei non cre do- non cre do al- mio pen -

24

sier, non cre do,- non cre do- al mio pen sier,- non cre do,- non

27

cre do- al mio pen sier,- non cre do- al mio pen -

30

p

sier, non cre do al- mio pen sier.-

33

&##

&##

?##

&##

&##

?##

&## ##

###

&## ##

###

?## #####

&##### ∑

&#####

?#####

œœ

œjœ

œœj ˙ œ œ œ

j ‰ œ œj œ

œœjœ

œ œj

‰œ œœ# œ

‰œ œœ œ

‰œ œœ

œ# œ‰ œ œœ œ ‰ œ œœ œ ‰ œ œœ

œ# œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œ ‰ œJ

œ œjœJ

œJ

œ œjœ ‰ œ#

jœJ

œJ

œ ‰ œJ

œ œjœj œJ

‰ œ œœ œ ‰œ œœ œ

‰œ œœ œ

‰œ œœ# œ

‰ œ œœ œ ‰œ œœ œ

œœJ

‰ Œœœj‰ Œ

œœj‰ Œ

œœj‰ Œ

œœj ‰ Œ

œœj‰ Œ

œ œjœ ‰ œ

jœ#j

œ#j

˙ Œ ‰ œJ

œ œœ ™ œ# œ œœ ™ œ œ œœ ™ œ œ œj

‰œ œœ œ

‰œ œœ# œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ

œœj‰ Œ

œœj‰ Œ w

www

˙ Œœ œj œ œ

jœ œjœ œ

jœ œj ˙

Ó

œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙Ó

ww

ww ˙̇

˙˙̇˙

˙̇˙ Ó

3

Page 45: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

O pla ci- do il- ma re- lu sin- ghi- la spon da,- oAllegretto.

e = 130

p

por ti- con l'on da- ter ro- re e- spa ven- to,- è col pa- del

6

ven to,- sua col pa- non è: è col pa- del ven to,- sua

11

co pa- non è: è col pa- del ven to,- sua col pa- non è.

16

rf

38

38

38

&###

20 - PortamentoSecond Example of Portamento

&###

?###

&### > > >

&###

?###

&###

&###

?###

&###

&###

?###

‰ ‰œj

œjœj

œj

œj

œjœJ

œJ

œJ

œjœJ

œJ

œJ œ

JœJ œ

j

œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ# œ œ œ œ#œ

œ œ œ œ œ œ

œœ ™

™ œœ ™

™ œœ ™

™ œœ ™

™œœ

™™

œjœJ

œJ

œJ

œjœJ

œJ

œJ

œjœJ

œjœJ

œjœJ

œjœJ

œj

œj

œjœJ œ

jœj

œ œœœ œ œ œ œ œ œ

œœ

œœœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ

™™

œœ

™™

œœ

œœ

œœ œ

œ ™™ œ

œ ™™

œjœJ œ

jœj

œjœ œ

Rœr

œj ‰

œj

œjœJ œ

jœj

œjœ œ œ œ

RœR

œ œ œ œ œ œ œ œ œ œ œ#œ

œ œ œ œœœ

œœnœ œœ œ œœ œ

œœœœœœœœœ

œ

œœ ™

œœ

™™

œœ

™™

œœ

™™ œ

œœœj

œ œ œ œœœ

œJ ‰

œj

œjœJ œ

jœ#j

œ œ œ œrœR

œ œœ ™™J œ

Krœ ‰

œœ œ œ

œ œ œœ œ œœ œ œœ œ œœ œœœœ œœ œ œ

œ# œ œœ œ œœ œ œœ œ

œœ œ œœœœœœœJ œœ

œ ‰

œœ

œœj œ

œ ™™

œœ œ

œJ

œœœj

œœ

œœ

œJ œ

œ ‰

Page 46: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

La patria è un tutt to- di cui siam par ti- al cit ta- dino- èRecitativo.

q = 80

f

fal lo- con si- de- rar- se stes so- se pa- ra- to- da le i:-

5

f

l'u ti- le- o il dan no- ch'ei co no- scer- dee so lo- è ciò che

8

gio va- o nuo ce- alla sua pa tria- a cui di tut to è- de bi- tor-

10

p

c

c

c

&##

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. When we come across two similar notes at the end of a phrase, or several repeated notes in the body of a phrase, the note on which the word-accent falls should be entirely converted into an appoggiatura of the following note. To exemplify our meaning, we have marked with an "+" where such notes occur in the following exercise.

+ +

21 - The Recitative

&## ∑

?## ∑

&##

+ + +

&## ∑

>

?## ∑> >

&##

+ + +

&## ∑ ∑

?## ∑ ∑

&##

+ + + +

&##

?##

≈ ≈‰ Œ Ó Ó Œ ‰ œj

œ œjœJ

œJ

œJ≈œR

œR

œR

œJ œ

jŒ œ

JœR

œR

œJ

œJ

œœœr≈‰ Œ Ó

œœœ

™™™ œœ

œ œœœœœœœ≈‰ ‰™

œœœr

œœœ Ó

œœR≈‰ Œ Ó

œœ ™

™ œœœœ ™

™ œœœœ Œ ‰™ œ

œR

œœ Ó

œJ

œJ

‰ œJ

œJ

œJ

œ ™J

œR

œ# œ ‰ œrœR

œJ œ

rœr œ

JœJ

Œ Ó

˙ œœœj

‰ Œ Œœœœ

œœœœ Œ

˙˙

œœj

‰ Œ Œœœ

œœœœ Œ

œR

œR

œJ

‰ œJ

œJ œ

j œ ™j œr œ œJ

œJ

œJ

œR ≈ œ

JœR

œR

œ#jœj ‰ œ

jœjœjœjœj

œjœJ

≈ œRœR

œR

œJ

œJ

œJ

œJ

œ Œ Ó

www#

˙̇˙n

œœœj ‰ Œ Œ

œœ

œœb œœœn

w ˙ œJ

‰ Œ Œœ œn

œn

Page 47: Vaccai Method High Voice r1.0

{

{

{

{

Quan do i- su do- ri- e il san gue- spar ge- per le i,- nul la- del pro prio- ei

13

f

do na,- ren de- sol ciò che n'eb be.- Essa il pro -

16

dus se,- l'e du- cò,- lo nu dri:- con le sue leg gi- dagl' in sul- ti- do -

19

p

me sti- ci il- di fen- de,- da gli- ester ni- con

22

f

&##

+ +

&## ∑

?## ∑

&##

+

&##

?##

&##

+ +

&## bnb

?##

&##

+ +

&##

?##

Œ œnJ

œR

œbR

œjœj‰

œnJ

œn œnJ

‰ œ œbJ

œj

œnjœj œnJ

œR

œbR

œJ œ

j ‰ œj

œœœnn Œ Ó Œ

œœœœnb œœœ

œj

‰ Œ

œœœœnnn Œ Ó Œ

œœnn œ

œj

‰ Œ

œbJ

œJ

‰ œR

œR

œ œbJ

œnJ

œnJ œb

JŒ Ó Ó œ œ

jœj

‰ œœœb#rœœœn Ó ≈ Œ œ

œœn

œœb

œ œœ Œ Ó

‰™œœbbR

œœ Ó Œ

œœbb

œœ œ

œœœ##

Œ Ó

œ#jœj ‰ œ

rœbR

œn ‰ œR

œR œb Œ ‰ œ

JœJ

œJ

œbJ

œJ

‰ œR

œR

œ œJ

œnJ

Œœœœ# Œ œœ

œn Œ ‰™œœœbr

œœœ Œ www

Œœœ Œ

œœ Œ ‰™

œœr

œœ Œ w

œbj

œj

œ ™j

œnr

œj

œj Œ Œ œn ™

JœR

œJ

œbJ

‰ œnj

Ó Œ œ œ# œ œœn Œ Ó

Ó Œœœbb œ

œnn

Œ Ó

2

Page 48: Vaccai Method High Voice r1.0

{

{

{

{

l'ar mi.- El la- gli pre sta- no me,- gra do- ed o -

24

nor, ne pre mia il- mer to,- ne ven di- ca- le of fe- se,- e

26

p

ma dre- a man- te- a fab bri- car- s'af fan- na- la sua fe li- ci- -

29

tà, per quan to- li ce- al de stin- de' mor ta- li- es ser- fe li- ce.-

32

&##

+ + + +

&## ∑

?## ∑

&##

+ +

&## ∑

. . . .?## ∑

. . .

&##

+ +

&##

. . . . . .?##

. . . . . .

&##

+ +

&##

?##

œj

œj

Œ Œ œJ œ

rœr

œj

œr ≈ œ

jœr≈ œn

JœR

≈ œJ

œJ

Œ œ œ# œ œœ Œ

Œœœnn œ

œ##

Œ

œn Œ ‰ œJ

œJ œ

J œ#j

œj ‰ œ

Jœj

œj

œj

œj œ œ

j‰ Œ œ#

Œ œn œ# œ œœ Œœœœ# œœ

œœœœ

œœœ

Œœœ

œœ#n

Œœœ

œœ

œœ

œœ

˙ œ œ œ#j

œj ‰ œ

jœj

œj

œj

œj

œJ

œJ

‰ œJ

œJ

œJ

œJ

œJ

œœœ

œœœ

œœœ

œœœ

œœœ#

œœœ

œœœ

œœœ

œœœ# Œ Ó

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ Œ Ó

œJ

≈ œnr

œ ™j

œrœjœj ‰ œ

rœr œ œ

J œjœJ

œJ

œJ

œR

œR

œJ œ

jŒ Ó

‰™œœœnr

œœœ Œ œœ

œ Óœœœ Œ Œ

œœœœ

œœœ Œ

‰œœJ

œœ Œ

œœ Ó

œœ Œ Œ

œœ

œœ Œ

3

Page 49: Vaccai Method High Voice r1.0

{

{

{

{

Voice

Piano

Al la- sta gion- de' fio ri- e de' no vel- li a-

Moderato.

p

mo ri- è gra to- il mol le- fia to- d'un

5

zef fi- ro- leg ger,- è gra to- il mol le-

8

fia to- d'un zef fi- - - ro- leg ger.- O

11

c

c

c

&###

A Recapitulation or Comprehensive Study of all the Rules given in the previous Lessons.

22 - Recapitulation

&###

?###

&###

&###

?###

&###

&###

?###

&###

&###

?###

œ œ ™jœR

œ œ œ œœœœœ Œ œ œ ™jœrœ ™ œ

J

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œ œ œ œ œ œ ‰œj

œj œ œ œ œ

j œ œ œ œ œ œ œ œ œJ ‰ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œj œ

jœ œ# œ œ œjœn œ œ

œœjœ œ œ

œœ œ œ

œœ

Œ Œ ‰œj œ œ œ œ œ œ œ œ

r≈œjœjœj

œœj

‰ œœj

‰œœj ‰

œœ#j ‰

œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ

œœj ‰

œœJ

‰œœJ

‰œœj ‰

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œ œœœœœœœJ ‰ œ œ œœœœ

œœœœœœ œjœœœœ œ ™jœrœj ‰ œœœœœœœœ œ Œ Œ ‰

œj

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ Œ

œ œ œ œ œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

œœ Œ

Page 50: Vaccai Method High Voice r1.0

{

{

{

{

ge ma,- o ge ma,- o ge ma- fra le

15

fron de,- o len to,- o len to,- o

18

len to in- cre- spi- l'on de:-

21

zef fi- ro- in o gni- la to- com pa- gno è- del pia-

23

&###

&###

?###

&###

&###

?###

&### .

&###

?###

&###

&###

?###

œj ˙# œ

‰ œj

œnj ˙n œ ‰ œ

Jœn œ œ œ ‰ œ

Jœ œ œ œ ‰ œ

J

˙˙n œ

œj‰ Œ

˙̇˙n

œœœj‰ Œ ‰

œœœn

œœœ ‰ ‰

œœœœ

œœœœ ‰

˙˙

œœJ

‰ Œ˙˙

œœJ

‰ Œ ‰œœ

œœ ‰ ‰

œœ

œœ ‰

˙ œn œ œ ‰ œj

˙ œj œn ‰ œn

J˙n œ

jœ ‰ œnj

‰œœœn œœ

œœœœ

œœœj

‰ Œ˙˙n œ

œj

‰ Œ ˙̇n œœJ

‰ Œ

‰œ œ œn œ

j ‰ Œ˙˙nn œ

œj

‰ Œ˙˙nn œ

œj

‰ Œ

œn œ# œn œ# œ œ# œ œn œ œ œ œ œ œœn œ ˙n œb œn œ Œ

œœœnnj ‰

œœœj ‰

œœœj ‰

œœœj ‰

œœœbn

j ‰œœœj ‰

œœœj ‰

œœœj ‰

œœnn

j‰

œœj

‰œœj

‰œœj

‰œœnn

j‰

œœj

‰œœj

‰œœj

œbjœ ™j

œrœ ‰ œ

jœnJ

œ#J

œœ

Œ ‰ œj

˙ œj œnJ

œJ

œj

œ œn œn œ œ œ#œ#

œ œ œ œn œ œ œ œ œ œ œnœ

œ œ œ#œ

œ

œœnn

Œœœ Œ

œœ Œ

œœ Œ

œœnn

Œœœ Œ

2

Page 51: Vaccai Method High Voice r1.0

{

{

{

{

cer, in o gni- la to,- in o gni-

26

la to- com pa- - gno- è del pia -

28

cer com pa- - - - gno,- com - - - -

30

pa- gno,- com pa- - gno- è del pia -

32

&###

&###

?###

&###

&###

?###

&###

&###

.?##

#

&###

&###

?###

˙ œJ

œ# œ œ œ œjœ œ# œ œ ‰ œ œ œ œ œ œ

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œj ‰ œ

J‰

œj ‰ œ

J‰

œj ‰ œ

J‰

œj ‰ œ

J‰

œ# œ œ œ œ ‰ œ œ œ# œ œœ œ œn œ œ œ ‰ œ œ œ œ œn œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œj ‰ œ

J‰

œj ‰ œ

J‰

œj ‰ œ

J‰

œj ‰ œ

J‰

œj

‰œr œ

r

œ œ# œœnr

œ œ œ œ œ# œ œJ œ

jœr œ

r

œ œ# œœnr

œn œ# œ œ œ œ

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœj

œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœj

‰œœj

‰œœj

‰œœj

œJ œ

jœnr œ

jœ œ‹ œ

œ#r

œ œ# œ œ œ# œ ˙ œJ

œr

œn œ œœ œ œ ˙ ™ œ

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœ

œœœ

œœœ ‰

œœœ

œœœ

œœœ ‰

œœœ

œœœ

œœœ ‰

œœœœ

œœœœ

œœœœ

œœj‰

œœj‰

œœj‰

œœj‰

œœ Œ

œœ Œ

œœ Œ

œœ Œ

3

Page 52: Vaccai Method High Voice r1.0

{

{

{

{

cer, com pa- - - - gno,- com - - - -

35

pa- gno,- com pa- - - - gno- - - è

37

del pia cer,- è del pia cer,- è del pia -

39

cer, com pa- - gno- è del pia cer.-

42

&###

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&### U >

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>

œJ

‰œr œ

r

œ œ# œœnj

œ œ œ œ œ# œ œJ œ

jœr œ

r

œ œ# œœnr

œn œ# œ œ œ œ

‰œœœj

‰œœœj

‰œœœj

‰œœœj

‰œœœj

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œœJ

‰œœJ

‰œœJ

‰œœJ

‰œœj

‰œœj

‰œœj

‰œœj

œJ œn

rœj œ

rœ œ‹ œ

œ#r

œ œ# œ œ œ# œ ˙ œ œ œ œ œ œn œ œ

‰œœœj ‰

œœœj ‰

œœœj ‰

œœœj ‰

œœœ

œœœ

œœœ ‰

œœœ

œœœ

œœœ

œœj

‰œœj

‰œœj

‰œœj

‰œœ Œ

œœ Œ

œ ˙ ™ œœj œ ‰ œ

Jœjœ ‰ œ

J

œ ™j œ ‰ œJ

œjœ ‰ œJ

‰œœœ

œœœ

œœœ ‰

œœ œœœœn œœœ

œ ‰œœœj‰ œœ

œj‰ œœ

œj‰

œœœj

‰œœœj‰ œœ

œj‰ œœ

œj‰

œœœj

œœ Œ

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