Vaccai--Practical Method of Italian Singing Text

7/24/2019 Vaccai--Practical Method of Italian Singing Text

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KusselTs

New

ancKlmppoved

Edition.

^

L

Translated

(ivith special regard

to

afavoraWe

airangeiiieiit

of

syllables

leniT

iadOer.

enry

C

Y/a//rer.

F^.^ZSO

7t£t.

^BOSTON^

Copyright

/ff7ff

6y

B.RFussef/ilj .



Scopo

Del

Metodo

Pratico.

Scope

Of

The

Practical

Method.

Pelgran

vantaggio

che

offrel

idiomaltaliamtêglie

fuordidubbio

chedebhasi

incominciarelo

studio

del

Can.

to

in questa

ltngua,giacche

quexto

conosciuto^riesce

o.v-

sai

facile

ilcantare in

tuttigli

altri

idioma

.Ammae.stmtft

dalV

esperienza

conobbi

che^

nella

Germania,

Francia,

Inghilterra

ed

anche in

Italia^

aipiik che

per

dilettu

lap^

prendono^

riesce di

grandissimo

peso

doversi es-ercitam

in

lunghi

solfeggi

ed

esercizi

(essendo loro unico

scopo

di

cantare

in

camera)

e che

in

conseguenza,avviene di

non

attenersi

ad

alcun

metodo

.

Percio

pensai

a com.

pome

uno

dûn

genere

affatto

nuovoûtileê

dilettevole

die

evitando

la

noia

di

Ivnghi studi, raggiungesselame.

ta

desiderata

.

Essendo

la

difficolta

maggiore

pergli

strameriqueL

la

di

cantare

in

una

lingua

non

propria

ânchedopoquuL

che

eserdziodi

solfeggi

evocalizzi, immaginai

che

fin

da

principio

fosse

meglio ahituarsi

alia lingua^piuttosto

che

a

sillabe

itusignificantiêscegliendo

fra

le

belle

poesie

del METASTASlOy le

piiiadatt*'^

me ne

servii col

propo.

sito direndere

piu

grddite le

prime regole che nessuno

vuol

praticare^

onde

sfUggirne

la noia

.

Certo

che questo sara

utile

non

solo a

dilettanti, ma

anco

a coloro che

vogliono

professare

I'arte^potendosen

rire

di

schiarbnento

ad

altri

metodi^

perche

composto

con

esempi

dimostrativi

,

On

account

«f

the

many

advantages

that

Italian

«ffers,it

is

evident

that

v«cal

culture

should begin

in

this

language,

since,this

once

learned,

it

becomes quite

easy

to

singin

ao.

y

other

tongue.

I

have

found

that

in various

countries,

and

even in Italy,

the most

of

those m\m undertake

this

study

for

pleasure

merely,find

it extremely

tedioust(»

be

obliged

to

practise long exercises

(dieir

only

aim

being

pri.

vate

entertainment),

and

that

consequently

they

do

not be.

come

grounded

in any method.

The

thought

has

therefore

occurred

to me,

of compos,

ing

a

work,

entirely

new,

useful and

pleasing,which

,Mliile

avoiding

all

tediousness,should

attain the

desired end

The chief

difficulty

for strangers

being

that

(»f

sing,

ing

in

a foreign

tongue, I

concluded

that

it were

better to

habituate

the pupil from

the

very beginning

to

use

the

Ian.

guage

itself, rather than unmeaning syllables; therefore,

selecting

from the beautiful

poems

of Metastasio,

those

most suitable, I

have

made use

of

them for

the

purpose

of

rendering

more

acceptable those

primary

exercises,

which

are always

so

tiresome

to

practise.

This work

cannot fail to

be

of

service,

not

only

to

amateurs

but

also

to

those desirous

of

perfecting them,

selves in

the art,

since being

composed of

illustrative

examples,

it

will

serve

to

elucidate

other

methods.

General rules

for

pronouncing

Italian.

{Tuscan.)

as

in

father.

..

let.

•'

•«

machine.

..

.,

not.

as

00

in

cool.

before a,0,U,

like

k.

e,i,

like ch in

chaise (generally.)

another

c,

like ch in

chilly.

must

be alwaj-s

rolled.

g-

before a,o,U,

as

in

gX)ld.

g

••

e,i, like

zh

(gienerally.)

g-

•'

another

g-

as

in

g'entle

.

gh

asin

^>-host.

gl

like Hi

in

million.

gn

n in

onion.

qu

as

in

queen.

sc

before

e,i,

like

sh

in

shade.

Z

like

ts

in

quits, except

in mezzo,

pronounced

medzo.

20*

Copyright

1H7S hy GJOMussell&Co.



Figure e

valore

delle

note

e

sue

pause

corrispondenti.

Form

and

value of

the

notes

and

their

corresponding

rests

FIGURE.

FORMS.

PAUSE

currispmuteiiii

RESTS

corresponding.

Intero.

Meia,

Quarto,

Oitavo.

Sedicesimu.

Whole

note.

Half

note.

Quariec

note.

81^

note.

16

tb

note.

^

3s:

i

P

P

#

Trenâttuc'simo.

Sessauf-ffuaflrfsim o.

32^

note.

6**.h

note.

'Jl^

-f

-*r-

$

r

Tavola

. Table

Intero

,

\^Tiole N'ote

.

e

equivale

a

2

Mfta,

equivalent

to

2halfnote:3,

r

r

rt

4Qunrti

,

to

4

quarter

notes.

r r

8 Ottavi,

to

8

eiffhth

notes.

t

o

16

Sediceitimi,

to 16

sixteentfinotes.

r

r

r

r

-

1^-

r

.

r r

a-32

Tretifaduettimi,

to

32 thli-tv second

notes

1^

a

64 Sessantaquattmshni

.

to

64

sixty

fourth

notes.

n

punio

dopo

una

nota

accrexce

alia

tiuta stessa

la

mfta

df

I suo valore

J.

SOTE COL

PUNTO.

NOTES

\^7TH DOTS.

LOROEFFETTO.

THEIR EFFECT.

3s:

e:

^

A

note

foIlo-wed

by a

dot

\s

increaNed one

half.

W

^

^

P

^

^

r

Lezione

dclla

battuta.

Lessobt

zh

beating

time.

Tt'mpu

ordinario

Common

time.

Due,

êrquattro,

-four

time.

Tr^ p«fr

quattru

.

Three

-

four

time

.

Sei

per

otto

Six

-

eight

t ime

.

#

1

V

i

•1^

f

i

'

w~

1^

1* 1*

'

•

A

»

V

*

ffi

«

i

1/

-*

h=^

-J

u

Si ditidf

in

quattro movimenti.

Divided

into

4 movements.

Tre

per

otto.

Three-

eight

time

In due

movimenti

.

Into

)3

movements.

In tre movimanti

.

Into 3 movements

,

Nove

per

otto,

JVîne-

eight

time.

Dodici

per

otto

.

TMelve-

eight

time.

//{

due oppure

in

sei

movimenti

.

Info

13

or

6 movements

.

Tempo

a

cappella.

UM^

p

liirgrHLC.

'

mtl'^^

[U0

i

1

In

tre

movimenti

.

Into

3 movements.

In ire

movimenti.

Into

3 movements

In

quattro

movimenti.

Into

4

movements

.

In due movimenti

.

Into

*Z

movements.

20*



ESTENSIOBTE.

I

E

xy

Extension.

jk:

3s:

s:

Mi

tenniper

tutto

il

Metodo

ad

unestensione

limita^

taspercomodo

delta

mag

giorparte delle

voci,edancf*

perche

e

migliur

cosa

Vesercitare

in

principioilcentro

delta

voce^ d'attronde

sempre

sufficiente

perimparare.

tutte

te

regute.

,

Intutti

i modinon

sara

difficile

traspurtareiquaii'

do

si

voglia)qualunque.teziotie

tm

tono

opiu

atta

upiiibas.

sa

Scsia

•Sca/at/t

Do

ma^giore,

compoxtadiun

Intero per

ogni

battuta

.

(

Quaff

ro

quarf

i

.)

(1)

(3)

The

exercises

fhroughouf

fhi«

work

are

confined

fo

a

limifed

range,

bofh

forfhe

accommodafion

of

fhe major-

ity of

voices

and

also

because

if is

better

to

cultivate

first

the

middle

register

sufficiently

at

least

to acquire

a

thf»r-

.

ough

comprehension

of all

the

rules.

In

every

case

it

will

not

be

difficult

to franspcise

any

lesson

one

or

two.

t(»nes

higher

or

lower.

Scale

Scale_of

C.

major,

composed

of

one

whole, note,

for

e*u

ery

beat.

(Four

quarters.)

E

3s:

•^1.

(g)

(3)

o

6

.

3s:

:s:

S

i

m

^=#

i

i

f

s

±

i±±

i

Paunad'un Iniero.

Rest of

a wliole note

.

3s:

3s:

<4*.

^

s

^

^

»•

m

m

m

t=M

f

p

is:

Saiti

di Seconda.

Saltidi

Seconda

eompostidi

due

Meta

per

ogni

battuta.

^^

Interval

of the_

Second.

Intervals of

Seconds

composed of

two

half notes to ev-

ery beat

9

i

f

i

M

Z.

H

5.

6_

^^

W=^

m

a 6

7

i.i

if—

i

m

^

i

£

22

6

5

i

7

7

i

m

^^

#—

ZZi

^—^

9^

(1)

ChiarediSol.

(2)

ChiarediFa.

(3)

Tempo

per

fefto^

esso

gi

divide

in

quatiro movimenti.

N.B.

L'accenioy^)

noia ove

Vtdlievo

deveprendere un

metto

regpiro,

i due accenii

(*'}

i7 respiro intiero

.

(\)

Treble Clef.

Vi)

Bass

Clef.

(3)

Perfect

time divides

itself

info

four movements

N.B. The mark(')

denotes

that the

pupilmnst takehalf

a

breath,

the two

marks

( ) a

full respiration

204



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Interval

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Saiti

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•$>ri/^'#/«

Quinta,

compustidi

quattrrt

fûarti

per ogni

battutaêduna

pausa

divn

qnarto

.

Interval

of the Fifth.

\

Interval

of the

Fifth

^ compowed

of

four quarter

noteM

5

for

each

beat,

and a

rewt of

a quarter.

^m

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204



8

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Literval of

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Tastosolo.

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^^

#=P #-5#

Saiti

di Settima

.

Interval

of

the

Seventh

.

^^

m

V

m

59

s

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=«

Ml.

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3s:

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9

SaltiD'Ottava.

Interyal

of

the

Eighth

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^

^

P

m

d a

£iepilogc>

dei

sette

saiti

precedenti

.

I

Recapitulation

of

the seven

preceding intervals.

Sfconda

.

Seconds.

Terta

.

Thirds.

Quarta .

Fourths

.

Quinfa

.

Fifths

i

a:

E

i

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M

£

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6

3 i

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zc=:=zz=5

^

Settfa.

Sixths.

Seffima

,

Sevenths.

Ottava

.

Eig-hths.

^

i

i

P

•i

6.

3t=¥:

a 5

P

6 4

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5

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•2(i^



10

PRACTICAL

METHOD

OF

SINGING.

iV.

Vaccai.

Lezione I.

La

Scala.

//*

que.sta

/'.«

lezione

ladivisione

delle

sillahe

si

stacca

dalPofdhiariOj

onde dare^

il

piu

pussibHe^%ui^idea del

modo di

prommciare

cantaiidui

come cunsnmare

adUi

vocale

il

valore

di

vna

« piu note,

ed

unire la conso.

nnnte colla

sillaba

segnente.

Qnesto servira di

facile

ita

anche

per imparare

il Canto

legato^

cio

eke noupvos^

si ben

insegnare

se

non che colla sola vocedivn biion

maestro

.

Lesson

I.

The

Scale.

The

di\-iHion

of

}<yllable«

in thi« first

lexson

differs

from

the

ordinary

arrangement

in-order

to give

«omeidea of

the mode

of

pronunciation in

singing:

how

to fill

up

wth

the

vowel the

value

ofone

or

more

notex,

uniting the

con-

sonant Mith the

following

syllable

.

This

will

serve

also

to

facilitate the

acquiring

of

the

legato

style,>»iiich

can-

not be

properly

taught,

otherwise

than

by

the

voice of

acompetent teacher.

Adagio

i

n

n

i

n

}

M

s:

i

-©-

m

?

#—

I

(Man .

.

.

ca sol

- -

.

le

.

.ci . fa)

Ma

nca

so

_ ^

lie.

ci

_

ta

Piu

Fa- .

_«te-r

a.nd

fa_stc-r

Manes

E

-

(R«t

-

- -

er

and

fast .

er

wanes,)

de

.

II

u

.

_

sa

_

.

to,

_ver

MJ-tli

fai-nter

glow^

^^

M

/I

_

-

ncoj'rhe

Though

to

a

i

m

^

t^

^-t

-a-

Mi.

f--f

^<^.

-

i

T

^^

^

r^r

r

i

i

i

r t

U

$

i

^

^

m

^

$

*

.vV*.

gi

_

ti

tra.nsient flame.

Co

.-nlie

_

re

fia

_

.to,

One

wou.ld

i.ts

.e.mbers

blow.

Fa

_ -

ce

che

pa

_

_

Ipi

_ ta

Fi-

re

tha.t

i

«

n

da. -

rJkne_ssniu-st

m

i

i

5?

Tt-f*

s

^m

^^

^

•

M

[-

zt

i.i

J

'J

i

J.J

'

li

I

Pre. .s»oa-ljnft

rir.

Soo.-n

di..sa.

.

.ppear.

#

•

Wf

-4V_s

m,

%

ife

P

fa

_

-

ce

che

pa

.

.

Ipi.ta

prcssoa-lw*

-

- rir.

Fi

—

je

tha.t

i--n

da\^

-

ckne«K«nui.8t

Sou-n

dL.sa.

npear.

I

'

n-

^

J

20*



It

Saltidi Terza.

Litepval

of the

Third

^

udantino

^

^

I

5

^^

^

^

Fool-

i«h,

cet

-

ta tor

-

^>

fo«U

i«h

,

lit

-

-

tie

rel

^ la^ Che

non

ve^^deilsuo

pe-

dove

-

let

J.

That-

re

gardr.leKK

of . hep

•7

îL

g

^

-#-

•?

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fe

^^

1

I

J

JH

2.

t

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^

f

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158

Lezione II.

SaltidiQuarta.

Lsssoir

II.

Interval

of

the

Fourth

Adagio

^3.

^'li

}s

i^

I

}

i'

;>

i'

I

i'

,n^''

ii

La

. sciail

Out

.

ward

It

_ -

do^

i( ma

—

V*L^'^

veer- ing,

.

on.

-ward

ft.

.

do

A

sol

steer

.

ine,

Plough«

the

f

ii

»

'n

f

^

^»*

I

f^

[^

I

iff

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^

I

\if}

/

^

car

tor.

nqjl

noc -

chie

^

Nail

. (»r

xtill

the

»

_

ro,

K

pur

. cean,Though

he

.va cA/^

men.

zo

«

knowM

its

tran

.

quil

.gtte

-

ro

Al

.

(re

mo

.

tion Oft

be

,

vol _

te

Vin

.gati.

fore

hath him

de

-

_ _

no.

af

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(re

- _

ceived. Oft be

- _

vol

.

te

I

in

.flan.

fore hath

him

de

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MO,

eeived.

Al .

(re

Oft

be

I

S'

J'

.

p

^'

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vol .

(e

Vin

.gan

no

fore hath

him

de

. . eeived

i'

i'

I

f,

''

J'

^

^

Oft

be

-

_ ff»re

hath

him

de

_

- oeived



13

Salti

di

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Interval of

the Fifth.

Audantc

^4.

\

I

5E

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—

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£

M

t

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^m

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ed

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^>,

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te

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por

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dread

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204



14

LezzoheIII.

Saiti di Sesta

.

Lesson

III.

Interval

of

the

Sixth

M5.

^

I

f

:-

r

;^Tf-4î—y,

Bel

^

(a

prrt. vqj

(VaUnia

fur

.

te

L^

es

.

ser

pla..

.

ci

^

dê

se.

Well ap

- -

pr«v

-

ed,

tru

- ly

no -

ble,

is

the «c>ul

that

calm

re

-

^^'itj

U

J^

I'

III

H

I

^^

m

r-?

^^

m

^^

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i

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r^=?

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f

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na

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suf

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^V

main .

eth ,

.£

en

^hen

fate

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sta

un..

just

or

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J

J

J

pe

.

na D'u .

na

dain.

eth,

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it

col

_

pa

cht*

non

bear an

.

oth

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er^t

s

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^

»

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fe

r

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r

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:-t

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e

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la

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ap

pro.- va

e

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prov

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ed

,

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^^

ta

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fnr

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te

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ble,

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.

nun ha,

main,

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£

en 'when fate un^juxt

or

dain.

eth,

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it

bear

an.

nth.erN shame.

2()4-



16

Lezxone

V.

I Semitoni.

Lesson

V.

Semitoues

.

•^8.

i

Andantino

.

__

^^=^^

JMJTJJ

^

iii

dub

Jbiii

_ -

.va,

and d(»ubt

. in^^

//*

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-

ta

va

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cep

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tain

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de

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t

>

i

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f^

:±:

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p

l^'f

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iwg

~gia O.gtiiaU

^

ma

cheinudeg

â Fra^

/no-

6*

*fe/

cor.

lay ing, I«

each woul

that's sway,

ing E

-

mo

-

tion

«f

^

heart.

De

De

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h.

I

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neg

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li

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rious, and doubt, in^, Un. cer. .tain,

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each

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iiig'

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tion

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del

cor,

£. .mo.

tion

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heart.

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jg

204

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7 £ y £

^

1

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1

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17

LezioneVI.

Modo sincopato.

Lesson

VI.

Syncopation

Moderate

\

>yiij

id^î

lUj

MM

.ilj7

^1^

I

jlj7

I

Nel

don-

.traôamor

s'ac,

-cen.de:

Con

chi cr

-

de a chi

si

Love

con-

-

tes _

ted,

buriiN

le«« ten

- der:

Thowe

^hn

quick

them .

NelveN

«ur

P^

r~T

s

v

fe

r~T

s

fi

^S^

i

i

1^

^

i

iî

fe^

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ty^'i

hy^)^

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@

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^fe

7

11

7

^

7

#

7

^

^

I

p^

li'f

MP

J^

i

J-'j J'

l

ji

s s

....

ren

-

«f*^

.

ren.

der

Mai

si

bar -

ba _

Jfeer do find

it

|l

M5

i

_

ro

/to/t

e.

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cru -

el more.

Jfeer,

mat,

neer.

mat,

neer.

i

^^

m

s

3^5

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*~*

a;

l-t

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pi^-^^'^M^j

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non

e

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ren

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no

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i

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quick them.

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.VI

do

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204



18

LezioneVII.

Intpoduzione

alle

Volate

.

fncominciasi

questa

lezione

col

tempo

Adagio indi

uffrettando

sino

aW

Allegro

a norma delCabilitu

deL

lo

scolaro.

I

Lesson

VII.

\

Iiitpoductorv

to Runs

.

\

This

leNNon

ixto be

begun

Adagio^And

gradu:jll>

\

accelerated

to

^^/I'^ro,

according

to

the

ability

of

\

the

pupil.

P^

^10.

^2

^

^

Co - -

me

il

can

_ _

rfo

» .

_ r«?

Oh

like

the

glo ry

pi'

i'

I

^

s

D'f'n -

- - tat

.

ta

««

-

-

-

ve^

Of

Know

un -

-

stain

. -

ed,

m

4

4

* f *

'i

't M

^m

i

f

^

^

?

J

J

J

«

i

f i

i

^^

«ff?^P

p

1^^'

^

li'*^

^^

?

^^

E

dim

bet co

.

-

r/*

Is

the

bright sto

.

-

ry

La

fe.

deU .

ta .

Of

a true

heart

.

Un

or-

ma

When

....

eer

so

I

m

IJ:

^ri

*

*

If

^ J

^

^

J

s

^

P

M

^

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p

I

>^P

M

^

J>

JM

^

^

.vo

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faint

-

. ly,

CAe

in

se

Spot

it

ri

-

«?

» «

-

f<?,

hath

gain

. . ed,

Tut

.

^

ta ne

in

vo

-

_

la.

Beau,

.ties

so

saint

ly

^^m

p

s

i

^;>j)

i

^J'>

^

fci

m

La

sua bel

.

ta,

AH

then

de

. -

part

,

S^

'

ij»j^

tut

^

ta

ne in .

ro

_

«

/a.

Beau .

ties so

saint

.

ly

la.

sua

bel

»

ta

.

All then

dfe

.

part

-^

€

4

-

•i

T

t

i

t

y

9

i :

i

i.

i

^tt

^

^^;

20-^



LeziobteVIII.

Le

Appoggiature

sopra

e

sotto

U miglior

ornamento

del

canto

e

I'Appoggiatura^l

effete

to

dipeiide

dal

darle

il

suo

giusto

valore;

puossi

anche

qualchevolta

accreseerlit,ma

non

devest

mat

diminuirlo.

LessonVIII.

The appoggiatura from

above

8c

below.

19

The

mosi

pleading

ornament (»f

Nonj^ is

the

Appoggiatura,

the

effect

ofwhich depends

upon

giving

it itxtrue

value;

it may

be increased

but

never

diminished.

Andante.

*

Ex.

I

J

J^J

?

I

Ex.

I

r

rf

^

dante.

[J

*''

\

^^^-

^

#e^

^

Sen.za Va.ma.hile

Dio

di

Ci^

te

^

ra

I.

di

non

tornano

Di pri-ma

^

ve

, raôn

MTien the

a

_ d<irable

Gu.pid

im yeta-far,

Spring days

re.

turn

no more,

Lifen

a Sa

_

ha

-

ra

nliere

^m.

^

^fe

m

^^

^

^11.

^

3^

V^^

:?T

y

177

^^

<

77^^77

^^

^^

^

«:

¥^

i

¥^

^

^^

i=i

:^^

#

—

-j^

—

#-

#

—

r

^

^^V

^'ift^Wvi'J

^

JTj^j

îJ.

J

\\\\

i>J

7

1

J. J

jiijj.

^

spira

vn

zeffirtt^

Nonspunta

nn

fior.

neither

a

zephyr

blow«,XorbIoj<«oms

a flower.

Uer.be sul

margine

Del

fon.teji.mi .

co,

Herbs

that

adorn

the brink

Of

the

cool

fountain,

he

piah-te

re. dove

Plants

that

in

lonelinesx

^J

i^Ji^Jli

Sul colJea.pri.

co

Per

lui ri

.

re.stono

L'an.ti

.

.

co

o.nor.

Per

Fade

on

the

mountain,

For

him

once

more

renewTheirbeauty

of

yore.

For

^m

:^

m

^^

^m.

m

j-^y

-wrw

^

ft\

<-*

—

7 7

17

7

^¥

^^^

r^

^^

^^

^M-

^^

^

4

jj^.

i

6^

•

t

I

i

]*-

j^pr

i

ff

/yt^ft

p

p^^îJ-

p

J'1^

^1

Pr

^^Pl^^pr

^

?5

\=^

y~y

/mi

ri^vedowt

UanJi.

. co

o.

nor,

per

lui

ri^vestono,

V.an.ti^.co

o.nor.

him

<mce

more

renew Their

beau.

ty

of

yore, For

him

once

more

renew

Their

beau, ty

of

yore.



20

L' Acciaccafura.

I

The

Acciaccafura.

V

Aiiciaccatura differisce

daU'Appoggiaiura^nun

to.

\

The

AeciJueatura

differs

from

the

Appoggiatura

m

not

glienduilvalore

nP

Caccento

alia

nota.

I

fciking

from

the

value

northe

accent

of

the

note.

MiZ.

Andantino.

^

'

b

[

P

a

P

'

'

^^

^

^^_^_„

4^

^

Ben

.

ehe di sen.

so

pri.ro.

Fin

lar.

bo.xcel.ltif

gra.

.to

A

A\

.

though

of sense

de

- -pri

-

ved,

Y<»n

grateful

trees

re-

-

pay.ing

The

r r

^^^

nmffi

r

# i^

r

1

7

i

h:

^TlTtfl

r

^

j^ r

»

7

*

^

r

r

r

r

^

4

s

^fe^

P

'p-^l^

p

kV''

'^^

-^

p

It

P'^1

li'^ '

U

^

p

l-f

p f

p

4^

; ^ft

^

J^

a

quell*,

a.mi. CO

ri.vo

Da

cuiri.ee.

vt^.mor.

bank

from^Wchde .

ri-ved,

Its

quickening

current

flows.

Per

lui

di

frondt^r.

na.

to

Bel

For

leaf.y

branches

swaying,

True

P=f

^

^P

i

?

w^m

w

w

w

wZt^'t

w i-

w't

.V:¥^

j^

^-j

fe

^

f

^^:

^^=¥

<

r

« f

^T

i

ir<#

i)^J^

>

l>

p

•,

p

lipi

p^;

p

1^;

p

^

>

IJ^J^'^^

M

_

/«

mer.

ce gli

thanks

it

how

ex

ren.de

^

Dal

sol

quando

di

.ten.detb,

And

while

the sun

of.

- fen.de

. fendeth.

U

suo

be

L

ne.fut

.

A

cool.ing

shadow

rg=f:

?

^m

i

i

Bgg

rr^:

ty-

*

V t

T

'y-^h

i^

i^5

')

y

^-T)

^

^-¥

»

u

K'

j^

iffl

J-

'^^

;.'

I

i>

m

^

*i

^or,

dal solquan.do .

di

. .

fen.de

il suo

be

.

ne.

fat.

.

tor.

thr<>ws. And

while the

sun of «

. fendeth A

?

^^^

i

4

d^d^rl

f-

cool-ing

shadow

throws.

?

h

^

7

*^

fe

Pi

m

¥==a=^=

20*



Lezione IX.

Infroduzione

al

Mordente

U

Mordente

e Vurnamento

H

piu

varittto ed

Hjnu

dif.

ficilr

per la

feagerexza

am

cui

sideve eseguire.Si

ann.

pniie

di

due »> ire notine^

e

sipresta a

tutte

le

graziedel

canto sema

nulla

tnaliere alia

frase^

ed

alia

intenzione

del cnmposUore^

tutti quel

cambiametiti

pero^che

si .v«_

{flinno

(are

net

canto

e che

chiamansi

fioriture

sotutcat^

'tiri

e difettosi

allorche

alterano

la

tneiodia originale^e

faccento pritnitivo

dell'Autore

Allegro

Lesson

IX. n

Introducing

the

use

of

tlie

Mordent.

The

Mordent ik, oI'.'iII

ornatuentM.the luoxt

varied

and

the

nuist

difricultyon

account of

the

delivaey withi»hichitniu.st

burendi^red.

Itiw

compoNed

oftwo or

three

NhortnoteN,

iuidaddK

to

every

^race

of

siyle, without

detractinia;'

from

the

phrase

nor

the

intention-

of the composer

;aIlthoNechan.

ges

M-hichareknoM-na.H/7ortYur#', are taste

lexM

and bad,

M'henever

thev affect the original

melody,

or

the

peculi-

ar

features

of the

c<»niposers

thought.

^13.

ha

gio _ _

Ah joy

- la

re

_

r«

that

would

tru

-,

ce^

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far

si

pa

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ly

Find heart .

.

felt

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se, Dun

lab .

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sion,

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lips.

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.

ce Bi -

so

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ly,

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aid

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quire

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gio

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. ce,

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far

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- si

pa

^ -

fc-

.v**,

J)mi

lab,

_

bro

lo-

joy that would

tru -

ly Find heart-

-

felt

ex

pre««ion,

From

lip«

oft

un

if'''

rj'

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i J''

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ha,

no,m^no,mt,nii,wtjbi

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.

gno

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ha.

ly

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#

204

|<

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y

i

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22

Lo

siesso

in

diversi

modi

The

same

in

different

styles.

MU..

^^

i

L'tfM- -

gt'l

- -

let,

.

tojti

lac ,

ci

stmt,

_

to

Per

- che

mat

tan.

P«Mir,

lone

bird,

oh

why

cfost chant

««>,

Thu«

by

toiU

Mur

.

g

2

?

j)^

J

^r

^^}

m

m

S

^

^tfr

,vVi

-

-

.seal,

.ta'f

round,

ed

ev-

_

er?

Per.

.

che

spe

_ ra

un^ al.

.tra

Ah

be

- -

-

c'iiuse it

^et hopex

to

Vid

.

_

ta

«ev_

.

er

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m^

^m

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^

^

^

i

^

^

^

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S

i

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i

^

^

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in a _ _

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to

woar

a

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> . .

far

1)1

tor.

.

Cru

el

.

na

.

.

re

bonds and

Ilau

.

gel .

.

let

. .

tt^Jn

Poor,

l»>ne bird,

<»h

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^

^

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i

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ci

why

dost

stret.

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chant

Ko,

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.

che

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by

mat

can

.

toils Nur

tar s'a

.

round

.

ed

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.

scol

.

.ta?

ev . -

er.

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20*



29

f

jjjj

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r

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ra nn'

al

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tv*/. .ta

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tor-

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in

li . -

ber

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euuse

it

yet

hopex

to

sev

—

er

Cru

_

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el

bonds

and

to

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a

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be

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cauNe it

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hopes

to

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er

di

tor

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re in

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.

el

bonds and

to

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a

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in

li

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li

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ta,

in

li

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soar a

far.

To

soar

a

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far.

20*



SS4

Leziowe

Z.

LessonZ.

Litroduzione

al

Gruppetto

\

Introducing

the

Turn

.

Ter

questo

esempio

si seguira

ancora

la regola

indi.

\

In

this

example

follow

the

directions

given

in

the Ne\ enth

caia

nella

settima

lezione.

(N^JO.)

I

Le««on.(N«MO.)

Mlo.

^^vj}

jT^]}

4pij

gji^MJ

jjjji^

jj^

^^

Quandti

ac

cen.de

un

no

.bit

pei.

.

to,

E

irino. . .

cen.te,e pu~

.ro

af.

When a

no ble

bo- -

som

glow.eth,

In.

-

no

- .

cent

af-

-

.fee

-

tion

m

fe=^

i: ^r^

î

If W

^

rr^r^

m

mi

f

^

=f

? r

jr #

^

5

F=^

?=a^^5

1^

r=f

|>^'i>

p

j)-^

I J

f

i

i{jlf

J^^^Jil

J j^^{73|p

i

mii%t^

t

.fet

--

tOy

De.

bo lez

_2«

a

mor

Hon

groweth, Love

can

nev_ er

a

fiviil-

ty

e.

be

Qugn

.do

ac

.cen

_

de

tin

Vihan a

no

_

_

.

ble

I

m

^

^s

^^^

ni?

h

^

^

^^

i±i=i

-*

r

s

?

s

\

W

T

\

:5~-iS

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V

s

^

¥==¥

^^

^

5

p

P

p r-p

a

gj^îQjv

\

\^^^\

\

^\^

^\

: ^

^

I

>i>^

/eo

.

h\l

pet

to

^

E

in..no . .

bo

tioni

glow..eth, In no

. .

.cen

_ te^ e

pu r«

af.

.

fet.to

De

bo.

cent

af_ -

fee

-

-

tion groweth,

Love can..

$

^

^5 T^^

^^

^

^

W

I.

^

Hî

I

L=^

k

=^= =^

^

^?

^^

^^

r=^

i

^^p

I

ffl

'a'

&'

I

j^^^.

iu

~M

lex

.

za

a.

mor

non

nev . er a

frail

-

ty

be.

I

^

5

5

i

^

rf«?

.

_

-

bo

lez .

za

a.

jnor

non e

.

Love

can

nev

-

er

a

frail

- _ . .

ty be,

^

m

=«

^5

^

f

a

#

?

m

k

s

5

^

f

s

^

^

»=?:

S

J

20*



D

Gruppetto.

The

Turn

Poco

Andante.

M

16.

f'Mir^y

rr

F

ii^

iii|

i

i

^iifmi

,

i,

»^^

Pm

noH

si

tri»^

juano

Tra

mil.

_

lea.

man.

.ti

Sol

due

bet.

i\o Ion.

ger can we

know,

Mong

fliou.

M.md

lov

_ .

er«,

Two

gentle

^^%

J-^J^]^r-rJ

|;[

; .Jfepi'1.jp

p-^-

liJJgiiJJtJj^

l

r-

pp

^

..

Va .

nime

Che

7...

sien co^ stan-ti,

-

souU

wiiose

glow,

True

faith clij«_

cov.

erj*.

E

tut ti

par.

lano

Yet

all

do

clam.

or

«o

S

^ *iF^

.-^

»

I. -

? «

?

Mj

i:n

^^

h'j ^w

f

*

r^

*

I

J

*

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U>d^^^Mf>

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rj-^

i

J

^ ni

fe.

.

del. ta,

con

-

«tan_

cy,

«?

^tt<_

ft par. .

.la .

no

dt

Yew,

all

do clam

.

.

or

no of

fe

.

del.

con»<tan

.

Im

i

}m

^

J

jgj<

I

^

J^.Jl

f

h

I

j

f-t^

gj

I

^^

^

3

<*

fti^« ti

par.

. .

Ye«, all

do

clam

.

.

la.no

di

fe

.

or

«o of

con

-

.del

-

.

Ntan

.

ey.

s

^

s

pmm

k

'^Ty

J)

^;

3:

is:

^

2()it



%e

M

17.

I

LezzoneXI.

Introduzioneal

Trillo

Allegro

moderato.

Lesson

XI.

Introductory

to the_ Trill

k]-'

i

y

9

JJJ

J

,

JJ

p

i

l^''M

'6'^

^

Se

po.ve

. .

ro

il ru _

jscef

_ -

-

lo

The

brook

MiioMC

wave

Is

.shal

_

-

-

low,

Mormo^

^ra.

leu—

to^

Murmur,

etii

ev . -er

^^

^ffr-^-f^

i^v i .

^5

^

f^

1^

9

»

r

j^j)ij^jmjr

^

iS'-AJg

6av

_

«

» .v«, C/>*

ranio

scet _

.

/o,

w/t

.va.v

— «

-

so

more

l«>w.

A

brancb.a

stone

itMfîint

flow

Qua.

'-

siarresiar

A>

Al.

most hiith

poMer

to

*=?:

S

i

^

ilVi'i

^5

555

i

r

=r^

tit

t

t

^s

s

^TJ

J'n

J)

^

i'^

j

i'rJ>^

i2=i:

^Ê^

iS

I

^*d

i

^m

fa.

bar.

Se

pave-

-

nW/

ru

-

-

seel

The

bro(»k wiione wave

in shal

lo

l<»w.

Murmur,

eth

ev.

.

er

6a.v

.

more

low,

m

_

iwo-

_

seel

_

_ /o, un

A

branch. stone

itx

.va.v _

.so

Qua.i-si^ qua

..

-

siarrestar

lit

faint

flow Al

.

most,

al.

mo.st

hath

power

to

i=^

^

V.J^7

i^7 i)?

j)

I

^

^

—

<—

^

r=f

1=1

j^^-^

—

v^=^=i

f

»

,

^

h

^

[x

J

'7

«f'? 1

^5

J

*

*

tel

^^^^5

%

±=i

i^Bi^B^^^

^

^

rail.

l

i

^^

t

m mm mm m

m

_/^

^

0M0M0m

^

bar

-

V i

j^

^S

i//t

ramo-

*eie/-

.

/«,iirt

.vw.vô

qua..

.

siarrestar

lo

a

branch,a

st<me its faintflow Almost hath

p^twerto

fa.

bar.

5

^Q

M

^

Jfc;

5

te

Ji

7 J)7

il7

J^>

^

i^

i

204-



Lezione

XII.

LeVolate.

Lesson

XII

Runs.

.

-i?

I

Allegro

moderato

M

18

^^

i

i

^^

iam

na

.

vi

alluti

-

-

de

a(

_

^gen

_

ti

La.

^sa'a,

.

tejn

ab

.

.

ban

_

Wejire ships

up _-<»n

the

». -eean

JTo

guide

nor

cap.

.tain

I

f i-

f-

•#

f

f-

m

^$

do.

no:

kn<»wing:

int.

pe.tu.ii

_ _

At*

With

wild im.pet.

.uous

—

r—

veti. ti

mo

. tion

f

nu.stri

af,fet

. ti xo.no:

Passions

fierce

blasts

are

blowing:

^

h

i

hi

^^

^

y/ })W

W

i^

i

f

J

J^J)^g /]

-

^ni di

_ Z**^

.

tut e

scu

_

Ev

. .

ery

de.light

b<»deth

sor

-

_

gliu:

Tut

ta

la vi

ta

e

mar,

- -

row.

On

life's

great

o

.

cean

so vast.

Ogiddi^let.

tu

•

Every

delight b<>deth

iU:)

pJiiJ>^

-6^

scugliitt.Tut.talari.ta

e

mar,

M^

.

ta la

vi, Ja

e

mar.

sorrow

On

lifes

great

o.cean

so

vast^

On

life's

great

o

-

cean

so

vast.

iiiiijfk

@

^

2<»4t



•^8

Lezione ZIII.

Modo per

portare

lavoce

/%v

portare

mm

.v'intende

trascinare

la voce

da vn

suinio

ad un

ultra

com** malamente

si usa; ma

anticipa^

r*'

insetisih'dment*'

coUa vocalf

delta sillaba preceden.

te

ilsuono

che

se(fue,(Esempio

/(*)

o

posticiparCoySem.

pre

inxensibilmente^

promtiitiando

la sillaba conquello

che

si

lasciaAKsempio

2

)

Tutti

e due

i

modi

sono rf

mm

belCeffetto tuttarolta

il

1?

e

il

piu

usato,

NonsarU

difficile

imparare

a portare

la voce

mas^

siine

quando si

sappiamt legar

bene le

sillabe

come

sHn

_

diio nella

li^ lezione(y?

^

ma

solo vn

abile

Maestro

puo

ditrne una_

distinta

idea

colla propria

voce

.

PRIMO

MODO.

Andante.

Lesson

XIII.

Mode of

carrying

the voice

called

Portamento.

Portamento

by

no

meanM

Kignifiesthat

drag-ging

of

fii'Nt

note

by

pronouneing

M-ithit

the

follow

ng

vowel. Both

these

modes

are

effective,aIthough

tlê

fn-nier

ik

oftener

used.

Portamento

will

not be

difficult

to

acquire after one

has

learned

to properly

join-

syllables,

as

shoMn

in the

first

lesson, but

a perfectly

distinct

idea of this style

can only be

conveyed

by

tne

voice

<»fan

able teacher.

FIRST

METHOD.

$

For-

rei

spiegar

laf^fan

.

no^

Na-jicoti^^der^

^to

vor

^

-

r*'

_ «

i;

E

I'd

fain make

knoMn

my

sor

row, Yet

would I

not be

tray

it;

And

^

zzn:

îr^*i

±±M

J.

iV

w r

WW

$

^^

^

5

—

-¥-

1

M19,

I

V'

v,i

- i

L

'l ^

&

^

a

i

i

'

Ji

f

^

f=^

V

•/

_...<„..

•

j-.iLi..'„..L

• rt..

..i \.

I

^^^

mentre

i

dubbimie

—

i

ever

afraid to

say

it,

Co _

A*

cresceii

do raa^

_

wo,

My

doul)tsrr('sh>ig_

or bor-

_

row,

Tut-

tospiegar

non

All

todisclo.se

not

^

'J

j-

J\S

1

fe

^j^

^

^^

J^J^J^;)

^

-*

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fvî

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rîv

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gl'f

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I

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k

.

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r

r

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n/^J>

>ij

^

i

^j>

^

*=jt

xx*

r^

o -

.vo,

darins:.

4£,j*J

^.''|j^j>

S

5

Tut^tononso

ta^verîn^

to

spiff,

gar,

tut.,

.to

non

so,

non

so

ta^cer.

Sfd.

Can

I

not all

ignore

Jfotall

disclose,

all, all 1

ran

not all

ignore.

So

^

-<4-

-JS

I

^#

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I

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r

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.^

^>i^

_

3^^

/*'-

ci.ttt,

pondering,

dubbio .

.

so

despair,

-ing,

Pern

so.

Pensive.

rammento,

rammen

.

(o

and

grieving,

still

pensive.

e

ve. do;

E

a.

and grieving.

Jfoi

)

^^

^

m

m^ro

^

3

20*

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7

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i=3tzar=m

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P=^



29

I

-^

r>iJJ^>CHj

g

^

^^^

pr'ppifJ'^

'' ii'^:-îr-i;^j^

chI-#

l^cr'^

gljocchimiei

lum ere

^

«rf«,

iVo/t

cred(tal into

pen^

sier.

Nun

credo non

credo

almiopensier;,

noncredo^non

een

my

eyes

be

-

.liev

_

_

ing,

My.

«elf

1

trust

no

more.My«mTi.HeW,myownseIf

_I

trust

no

more,

my

ownNeltjmy

i>-FNîra-g]

^yû

jw

Ij^^

j\^

lA;^

^

^

*

»

k

P

^3^

^=^

^

-'i

\M

^k

t

creLdo

almiopen^

.sier.

.

Non ere.

do

almio

pensier,.

non

credttjtlmio

pen^.sier.

own

Melf

I

trust no

more.

My

»

self

I

tru«t

no

more,

my.«e1f

I

trust

no more.

ALTRO

MODO.

ANOTHER METHOD

Allegretto

M20,

*

jM—

^j)

J)

J)

|

i

-^

^

^

1

-

'-^

p

p

I

;^

Jljs

i^/

J->-

J^'

^.p

P

i

T

rj

^-^

—

p'

y

—

^~'

'

—

—

^'

^^

O

|)(a «f»_

JoJ/

/wa

-r**

Lm. .sin^ghi

la

.sponda, porti eon

lon.da Ter.

^Tien ealuily al _

.hiring

Old

ocean

re.-poseth,

Or

when

he

dis

.

eloseth, His

f

^P

j:i>

I tf' i> J) i,h^ J) > ij;p

J)

JM

^

p

iii]i

j^

^

j^

^^

eol.pa

del

The

winds

to

be

r«- re

e spa .

ven.to,

K

col. pa

del vetuto,

Sua

col.

wrath

all

un

-

. tam.ed, The

winds to be

blamed.

JTot

<

-

_

_

pa

non

e.

cean himself

W^

W

-t

%\

Tj

j'

i^H

) ^f^

\

l

jli;

jjjl

L

^^'''l'^r

'V

I

'

ven

. .

to,Sua eol

.

pa

non

e,

blam

. .ed^Kot

o .

cean him

-

self,

e.

eol .pa

del

ren

. .

to,sua

eol

.

pa

non

e.

The

wind's

to

be

blam.

-

ed,

not o-

-cean him

-self.

20*



30

LcziobteXIV.

Recitative

Lesson

XIV,

Recitative

Pel

Recitative

e

mdispeiisabile

sillahaziune

distinta

eAecisa.

Quatido

sHncontraiw

due

notesimili alia

fine

d'un periodoj

od.anche

piu

note

simili lui

mezzo,

quella xu

eui

cade

Caccento

delta

parola

dtveconver.

tirsi.in

appoggiatura delta

seguente^

e

per

maggior

chiarexza

si indica

con

itn

A

sutla

notadellaccento.

In

the'Recitative

a

clear

and

distinct

enunciation

ofev-

ery

syllable,

i«

indispensable

.

Whenever

two

precisely

similar notes

come

t<»gether

at

the

end

of

a

period,ore

-

>eninthe

middle

ofa

phrase,

that

upon which

falls

the ac-

cent

ofthe

word

should

be.converted

into an

appoggiatura

ofthat

which

follows.

F(»r

greater

clearness,

tliis is

indica-

ted

by

an

4,

over

the

accented

note

.

Ex.

ii

,1

i

i'

i'

p

p

^

p

p

p

h

i'l

J

i'^-'p

p

if^4f^^

'ppppp

i

p^^'

p:^^

f^

ha

patriae

nniutto

.

Dicui.siam

parti

.

At

citta.di.Hoe

fallo

Considerar

se

Apart

of

his

country Is every

true man.

That

citizens

in

error

Who

but

himself

con

_

^

21.

i

î]h}i)^^^hi-

i

l:iJ0-'7j-)J:ip).>]|j

J-)

p

l^^.îk^hi'^k

stesso

Separatft

da lej.

llu.tile

ojIdahnojOêi

co^^

noscer

di'e

solo, ecioche .giom

Omioceaffa

sua

siders

And

ignoreth

her wellfare.

Be it

g«»od or e-vil

That

which

histhought

shouldfi»lloM,isMhatdothCivorOrh;irmtlieluidbe-

W

I

g^

*s:

^

J

t

^

iJWi

J^

p

p

p

P

Ji

J/

I

i^p

piJJ^>'7

1

'r

^p

^

p

iJ^'Ji;

i

/>pf

ipj^y

is

patriaâ

eui

di

tuttttK

debt-

tor.

loved to

which he

oMtith

everything.

Quandoi sudori

eil sangue

Sparge

per

lej^

nvlladelptriprio

ei

When

he

out-pouretfa his hearts bliod For her

in

battle^ all

that

he

giveth

is

za

s

20*



31

^

],h^»i

^

^^p^j,

fy)i,k

I

-

ij

i)j)|^;>/)7|i;j^vfl

piu^

_i_JLihi)

dona:

Hemlesttl

ci'oche

-

nebbe.

not hiK;

He

returns Miiat

she

gave

him

.

Kssqjlpro.dusse,

lle.du.coj

loau.dri.

Con

le

sue

She'tii* Mho bore

hlm,and

hath eared for his

needs

.

Her

I

ws pro

^^

/

*1b*^

^^

~ ^#i

J

e

^^^

^

H?

^

m

k

m

i

^^^

^

ir-#

Ex.

^

Ex.

q/' JJ'

^ A

j,il^7jiii,'jJîJ)j^^^^^^^^

ij^

i^'i;

p>i

î)i

j)j)j

jpj)jî] );)J)i)^

^^

leggi

DagV

inxulti

do

^nes.twi

il

difi'ude

Daglh'stt'rni

con

lanni. KUa gli presta

JSoine,gradit

#y/o«

tecth ni,Fi*omthefi>ethjitwoulddesecnitehisfireside

Andfnjmstningers her

armies.

Shetohimlendeth.Honor^

g'^J^y

andre.

I

S

^

^

3E

i

J

Sx:

^1^

^»g*i

,r

i

F

i

i

^

^

''1

^

i

j

^

4

1

^#^

I

^

aiempc).

t

l^h^

^nht^

nor;

nown

fe

^

^Jj^

3

^

nepremiail

merto; A> vendica lejtf.fe.se;

e

ma.

~dre a.

mante

A

fabbricar

s

af.

rewardshiiT

merits

avenges

all

of- -

fences;

And

fond,

h.ving

mother,

Striveth

in

every

a tempo.

1^

Js:

î=t

^

If

m

i

s=#

-#

—

^w

Recit.

^)

;

;'7

j)p

p

p

i,>i

p

^

,^

j^

,^,Jj;);,v

i,ii)

I

>

jUiijjiL^

,

p

I

p

j)^

-

m

fanmt

Lasua

fe.li.ei.

.

ta^

perqnanto

li.ve

Al

de .

.stin

demortaJi

esser

fe.

.

li.ee.

manner,

To

make

him

truly blest,

so

far

as Heaven

Doth

voueh-safe

to

usmortals,TotaHte

en-

joyment.

m

i

t

Recit.

s

m

i

:?=

i

m

i

i^

^^m

i

i

204



32

Lezione

XV.

Riepilogo

Lesson

ZV.

Recapitulation

Moderato

MZZ.

fv.

j-l.y

pif^mi

>iJ'^4

af:^^^j

i^r^£^

Al

When

.la

siagion Spo

.

ri

E

de

noveL

lijf^

mo

.

-

ri

Egm~JoilwoLlefui

toflun

floWiNreiiewtheirglo

_

. vy

And

Lovv

hix

old,

oM

«to

. _

ry,Whh

fair-

y

nj«>-

tion

air-

-

y

The

jy-U',)

i

ij

':^% y^^S\\m

xef.

.

fi

. -ru

leg.

~

ger,

Egra.

xeph yr

l'^^

d»ih

toy.

With

fair

to

UmoUefia^

_

-y

motion

air

.

to D\ui

zef

-

y^

The

zeph

¥

/i^^^'

^^

rt

^^

^îrrvyft^

B

^

i-jij

y

i

^

^

^

*î

»

^

=?

/t.n>

/^^

_

_ -

ger,

-

-jT

light

doth

toy.

ge.ma^

o ge.ma^

o ge

.

.niafra

le p-oti.

.df^

Or

Nighinj^,

or

wighing,

or

Mgh

.

.

ing mong

treeM

«way_ -ingÔr

I

J

m

i

m

t

^^

-mU

s

—

«—

^:

rF^

W^

&i

^m

22t=i:

ti

3t=i

1^

>

rri>#>'^

^

s ^

J

^rt

l>g

< .i^J

y.

*^^

Sj

^

|î;i).

jjj

T

^

^

len.to^

o

len^toy

o

ten.,

.to

mere . spi

ton.

.

de^

Zef.fi.ro

in

o.gni

gent-ly,

or

gently,

or

gent.. -

ly

with

wave,

lets play. . ing. Zephyr,

low,

wobh'theand

^

^

W

i

^

I

?=i?=F?

ess

^^l

i--b^

f

f

F-^-

-•-

Zl

^

^

—a

^

<

a

rr

^

y

—

«

t

*^:¥=J

=^

If*

5

I 5

20^

^-Tit



33

I,*

r

j-'}'

\

i_^hiu~A\

-i \

-i

[\'f r

.

t

fy.^

i

„f .f

-f^LKj

^i

la^tu^

Cinn.pa

gno*'

delpin

.eery.

fair.y,

coni-pan.

.

i<»ii

i«eerof

joy,.,

in

ogiii

la.tu^

imtgni

la.to^

com.

- ^

pagno^

edelpia.

MO

blithe

and

fairy, no

blithe

and

fairy,

eom _

_

-

pan

ion

is eW.

of

m

P

J

iU

fkf^

.A

., k

jkw^'

4

1

kV

^

'

i

X

^

^

^

^

ceVj

com

- -

-

-

pagno^ com

joy

com.

....

panion,con]

pagnUf

com

- _

_

panion,coni

...

. - pa^

.

gno e del pici

. . .pan .

ion is

eW

of

¥'H'l'^

ill

I

^^

fe

?i:3

4

4-§-€

Hf

fK

I

iS^^^^i

^

fc=^

fi^

3E

s

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*^

»»

#

i

»

J'

Ni.n

H

.

1

^

&»7i

ft f?'NrRM-?ii^f

i

cer^

com

joy^

com

pngnOf.com

^ - - -

^pagno^com

panion,com

. .... panion,com

. . .

/7a . .

.

^««

<?

del

pia

. .

pan

.

.

ion

in e'er

of

^

S^^

7 J)'?

J)

7

^

^=^

^^^^5

^

'S0='

Li

t t

S

J^y «^^fe

K

k

k

I

i

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fe^

7

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^-•-9

—

<

7

<

#

#

i:

:y

t

^

^ ^

*

f

,

.

^fj-

:Ji|

^fJr

^

^

pju^

i

j

Jvy^^W'f?ij

^-

M

trr,

<?

rf*7

p/a

-

cer,

e

del pia

. cer

com

_

.

- -

/>flr^/«o

e

del

pia

.

i^*/-.

j y,

*•*

,£^

*

'^

j y,

i*

*''*^''

^

J'%

<^

....

panion

i«

eer

of

joy

j y,

i«

e;Wv*.

<^

^

^

tt

^-^

^^

^j.=fci

W^

1

A^*i

•

i

V-

J:

S:J

i^

5^5

1:13

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^5

#

J

A

A

«

;

^

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^

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Vaccai--Practical Method of Italian Singing Text

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