CDF: usic Vaccai Practical Method for High Soprano PREFACE BY N. VACCAI. NYONE who wishes to sing really well should begin by learning how to sing in Italian, not only because the Italian school of vocalisation is acknowledged to be superior to all others, but also on account of the language itself, where the pure and sonorous tone of its many vowel sounds will assist the singer in acquiring a fine voice-production and a clear and distinct enunciation in any language he may have to sing, no matter what may be his nationality. Experience has shown us that not only in France and England, but also in Germany, and even in Italy, many who are studying as amateurs rebel at the thought of the weary time their professors require them to devote to ‘‘Solfeggio.” Here they first urge that very trivial 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 epite of themselves, that I present this “Method” of mine to the public. ‘They will find it new in design, very practical, very brief— yet very effective—and, as physicians say, ‘very pleasant to take.” The pupil will attain the same goal, and may even beat the record, but he will find the course far less lengthy and laborious, with spaces of contrasted sun and shade to beguile the tedium of the race. ‘As at first all must find a fresh difficulty in having, as they sing, to pronounce words in a language which is not habitual to them—a difficulty which is not altogether obviated by any amount of study in Solfeggio and Vocalising exercises on the same model,—I have tried to make matters easier by this plan of mine, where I adopt, even on the simple notes of the diatonic scale, words selected from the fine poetry of Metastasio instead of just the mere names of notes or syllables conveying neither meaning nor interest, By these means I trust I have rendered the pupil’s task so far less wearisome and thankless that he may even find pleasure in contracting the habit of clear articulation as he sings and, without experiencing any aversion, be led to the study of an indispensable form of exercise. Iam 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 fo 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. 1Vaccai Practical Method for High Soprano HINTS ON PRONUNCIATION.* ITALIAN. Vowels: General rule: The vowels are very ‘open, and never to be pronounced as impure vowels or diphthongs ; they are Jong in accented syllables, which they’ terminate,—short in unaccented syllables, orin accented ones ending with a consonant, a like ah or dh (never 4) ; eg, amare {pron. ah-mah’-réh}. ay in bay (without the vanish 2); Zin bed? ¢ in bare (before 7). ze in beet; Fin bit; 4 before a vowel, like y (consonant). aw, or oh (without the vanish 2); din épinion, 00 in boot ; x in bull. Consonants: General rule : Exen the hard con- sonants are somewhat softer than in English; the soft consonants are very delicate. BG eh asp qu, 3, t, ¥, a8 in ¢ like 2, before a, 0, s, or another consonant ¢, a8 below. cc “ ch in chair before ¢ or #5 cc like #-h before ¢ or d. - g hard before a, 0, u, or another ‘consonant ; except before / (pro- ounce ¢/ lke /y [consonant}, © ', [pron. sool’-yé]), and ce gt like # in cafion flse-yoa! ge sin azure (or a very soft /) bee fore ¢ or i. as like y'in you. , pronounce with a roll (tip of tongue against hard te). consonant oc- curs, the first syllable is dwelt upon; eg in, eco [pronounce ck’-Ko, not ek’-o].—Accented syllables take a less explosive stress © These “hints” are offered as an ald for tyros, and not in the least as an exhaustive set of Files, sheet. CDi: 2" than in English, being and dwelt upon ‘rather bly marked. sc like s4, before ¢ and i: 2 ds (very soft ts). GERMAN, ‘Vowels: ‘The simple vowels as in Italian; y like German i or #. Modified vowel ‘i like @ in bare, broader ; in bed. & has no English equivalent ; long'¢ can be nced by forming the lips to say of, and then saying @ (as in bay) with the ips it the fist position: ar by saying 2 (as\n bed) fast of @. [N.B—Long @ is the French ou (in jen), fi has no English” equivalent ; pro- nounce long @ by forming the lips to say oo (as,in boot), and ‘then saying ce (Beet) with the lpg in the first position ; short i (ab in| in bit) instead ia Ne B—Long @ & the French #,] Diphthongs : al and ei like long 7 in bite. ae like &, au‘ owin brow, eu and itu like of (more exactly ai’-#, closely drawn together). Consonants: & ele my, Fan toc Se Daf nn Eich, inning, a word or syllable, os he Bog; coding 2 word o spas like # and # respec- © Hike & before a, 0, and uw, like ts before ¢, #, and 4. g wsually hard, but like + in azure in words from the French and Taian in which gis so sounded; ang, eng, ing, ong and ung terminate, at the'end of a word, with a Asound (eg., B¢-Sungt).Vaccai Practical Method for High Soprano HINTS ON PRONUNCIATION. J. Hike y (consonant). qu be. F either with a roll, or a barsh breath- * beginnkag a word or syllable, and before a vowel, like 2 (oft); ending a word ‘or syllable, like sharp +} betore ¢and 4, begin- ning a’ word, usually like st (eg. stumms, pron. shttim [u as in buil)) ; otherwise as in Eng- Tish. v like f. w “ ‘y(but softer, between » and 1). x‘ &s (lsowhen beginning a word), zh : Compound consonants: ch is 2 sibillant without an English equivalent ; when beginning a syllable, or after ¢, i, d, J, #, af, Gi, ae, ex, and au, it is saft'toet the tongue as if to pronounce d, and breathe an 4 through it ; e.g. Sirich, pron. shtrig-h) ; ‘after ie An at BS dard (a gutta ‘chs like x. sch “sh, ap and st, sce s, above, like £, ‘Accented Have a forcible stress, as in English. In com- pound words there is always a| secondary accent(”), sometimes = tertiary one(’”), depending on the number of separate words enter- ing into the composition of the ind word; e.g. Zari’schen- abe" musi”, Bu genhans’” merkl vier”. ‘The: principal accent is regularly marked (’) fn this work, FRENCH. Vowels: ‘#5 in Italian, but shorter, often ap- proaching English 4, Cees ae in polysyllabic words. ay in bay. Zin there, German , and always long. sheet. é« a au Cc win but; e-final is almost silent] Accentuation. The strony lusic® 3 for i like ein beet; short fas in ish, © as in Italian, wlike the German a. Diphthongs: ‘ai like af in bait; but before (final, or 2 Js pronoanond as. diphhong irawn closely together), at and ei I u on, ed and i ike German 3. oi li lrawn closely together). ow and of like oo in boot. eau like ¢ long, without the vanish #, Modified by a following 1, m, rd, #1 or ‘mi at the end of a syllabie, the vowels and dipthongs are nasal (exception,—verbal ending of Consonants as in English, with the following exceptions ©, like s in song before ¢, ¢, 2, é and i, ch “ sh, g “ zin azure before ¢, 42,4, and i, as in Italian. is offen mute ; no extended rule can be given here, like s in azure, after Zs usually sounded like Eng- ish y (consonant), and frequent- ly prolongs the i (¢); eg. travailler [trth-vih-yay’],'tran- quille (trihngkee’y]. | mnasal, see above; otherwise as in English, [The masal effect is accurately obtained by soundin, afc, m together sith (sea after) g vowel ; but the sound of 2 is changed to ah, # to d (in bat), and to eta} m, nasal in certain situations, f with a roll. S-final is silent. t-final is silent. er, et, es, est, ez, as final syllables, are pronounced like é English stress on some one syllable of a polysllabic word is ‘wanting, in rrench ; the general rule is sighily to accent the Zast syllable.‘Vaceai — Practical Method — for High Soprano Lesson I. The Diatonic Scale. In this 18t 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 per- ceive, 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 imme- diate articulation of the consonants he should attack the following syllable. This will great- ly facilitate him in acquiring what the Italians call the Canto legato (Chant 1i¢)_ though, of course, we need hardly say that here the teacher's example and oral explanation is better than all written precept. Adagio. Voice. Child, tho’ your way seems long, Since first we start-ed, Come,learn how Voce. Ma-nea so-le- ci- ta pid de-Iu-sa- to, a- neo-rchd Adagio. Piano. P = faith and song Keep men brave-hoart-ed. While spring re - joic- es, And sa- gi-ti co - nlie-ve fia - to, fa - ce che- pa - Ipi-ta while yet “tis day, Out with your voic-es, And march,march a - way. pre-ssq-a-lmo-rir, fa - ce che pa- Ipi- ta pro-ssqa-]_mo-rir, > as CDi: 4Vaccai — Practical Method — for High Soprano Intervals of the Third. Andantino. ‘Ah! for those who feel no pit - y, When the sim-ple dove,so Sem-pli- cet - ta tor- to- rel-la, che non ve-deil suo pe- Andantino. BP pret-ty, "Mid the ar-.rows,shel-ter su-ing, Here and there, and sore dis - i glio, per fug-gir dal cru-dqar - ti-glio vo-lain grembaq_al cac- cia - tress'd,Wound-ed falls, with gen- tle coo-ing, Wound-ed falls, with gen-tle tor, per fug-gir dal crudgar- ti-glio, per fug-gir dal cru-dqar- coo-ing, On the fowl- er’s faith-less breast; On the fowl - er's faithless breast. ti-glio vo-lain grembgal cac-cia - tor, vo-lain grembqal cac-cia-tor.Vaceai — Practical Method — for High Soprano Lesson II. Intervals of the Fourth. Ah! ’tis sad - ness, Not mere mad-ness, Not mere Adagio. La-seieil li-dqejl ma-rein - fi-do a sol - P cE want that oft-times urg - es, Thro’those dread-ful deaf’ning surg-es, Far, s ear tor-najl noc. chie-ro, e ur sa che men-zo - gne-ro al - tre a 2 ? far and forth to sea, One who knows what storms can bel One who vol-te Yin-gan - nd, al-tre vol -te Jin - gan-nd, al. tre “Ee 7 fees knows what storms gan be, All too well what storms can vol-te Tin - gan~ nd, al.tre vol-te Tin - gan = CDi: 6Vaccai — Practical Method — for High Soprano Intervals of the Fifth. Andante. Then do not mock at me, Call me no cra_- ven, Av - vez-zQa vi - ve-re sen - za con~ for - to Andante. P Toss'd in mid-ha - ven, And furl'd all my sail. mez-zqal por - to pa-ven_- to il mar. I Where winds most fa . vor me, Most In de - spair- ing— Ay - vez-zoa vi - sen - za con~ for - to sad sea - far - ing, fear pre - vail. mez-zo_al por - to pa-ven - to il mar. “e_4‘Vaccai — Practical Method — for High Soprano Lesson II. Intervals of the Sixth. Andantino. ‘When, un - just - ly, blame thou bear-est, All in si- lent scorn se - Bel-la pro-va.é dal - ma for- te Tes-ser pla- ci-d: se - Y ne Andantino., I P —_——~ rene-ly, While the guilt- y one so mean-ly Sees and gives not look, nor e- na nel sof-frir Vin-giu-sta pe -na dn -na col - pa’ che non sign, Then, tho all un-seen,tfou wear-ést Such a crown as Saints déem ha. Bel-la pro-vad dal- ma for. te Yes- ser pla - ci-dae fair-est,Rar-er far than gems - the rar-est Brought'from far Gol-Conda’s mine. re-nha nel sof-frir Tin-gin- sta pe-na du - na col-pa che non haVaceai — Practical Method — for High Soprano Lesson IV. Intervals of the Seventh. Adagio. a One gleam ‘mid the thun - der Fra Yom - bre un lam - Where winds and waves ba - staal nocchier P £ =e = == SS =: dash - -' ing; : One glance, and now the a oe Bz = = mt — | ga - - ce che gia ri-tro -° vail + ‘ a + P Sigaseae! eeerss ' + === £ ee zi ——— J : re pi Bd Sees _wierehisbark should _ steer. as =F ; et sa 4 Pe : 0, che ri- co-no- sce it mar. seo gag aaa ses; Ses see a =a a : - TET s ¥ a) CDi: 9Vaceai — Practical Method — for High Soprano Intervals of the Eighth, or Octave. And now dawn’s _ first Quell’ on - da che p pb” All gen-tly ris - ing, fall - ing, bal - za, si fran-gee mor - mo-ra, How fair these Fall - ing, lim. pi - da i bal - za, t, fall - ing, gen - tly fall - ing) How lim- pid, sweet and clear. bal - za, bal - za, bal - za, ma lim-pi- da asi fa. Pp > Sheet CDi: 10Vaceai — Practical Method — for High Soprano Lesson V. Half-tones, or Semitones. Andantino. ‘When leaf - Andantino. P feath - er Have bro - ken their teth - er, cheon ~- deg ~ Sheet CDins: uNVaceai — Practical Method — for High Soprano tost them con _~ science li = re) simile In pas_-_sion’s in - cer - ta On! see, test cheon- deg - gin fraj On! see, lest fraiVaceai — Practical Method — for High Soprano Lesson VI. Syncopation. Moderato. Like wild bees at sun - rise_rang-ing, What were— life but Nel con - tra-stoz.-mor sac - cen-de; con chi. ce-deo Moderato. p-.- simile one long changing, Shone there not, all_' worlds a-bove, Love, . love,” chi sar-ren-de mai si__bar-ba - ro non, mai mai, a — true love, Times and chances,and dreams and fan-cies,All range and chi ce -de o chi sar-ren-de,no mai si —~ change,and pass from sight; But love is life’s one stead - fast light. bar - ba-ro_ non 6 no mai si bar - ba-ro —— non é@ CDiVaceai — Practical Method — for High Soprano Lesson VII. Runs and Scale-Passages. At first, the pupil should take the time of this exercise quite slowly. In after-study; hemay work up to a sharp Allegro, progressively, as his capacity allows him. Scales should be sung with extreme smoothness, even and flowingly; but with each note clear and distinct. All jerking and slurring are equally to be avoided. ‘When snows are whitest, Lightzest and brightest," One_fleck the Co - meilean-do - re din - tat-ta ne - ve dun bel Pp slight - est, Their_beau-ty flies, When_friends are near - est, Ja _fe- del - ta. Un’. or - ma so -_la Dear- est, sin- cer - est, One—doubt,;the mer_- est, Their__friendship, chein_se ri- ce - ve, tut - tanein-vo -_la Ja sua bel - One doubt; the mer ést, Their_friendship dies. tut - ta nein-vo ~ a la sua bel - ta. CS . 14Vaceai — Practical Method — for High Soprano Lesson VII. The Appoggiatura taken from above or below. 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. On some occasions, the singer may slightly lengthen the time} but never, in any case, abbreviate it. Andante. If in my la-dyseyes Love wak-eth nev - er, Sen - za Va - ma-bi-le Dio di Cit- te - Andante. sintle Pp X ‘What need of a - aure skies, May’s— sweet en - deav - or? The itt. di__non tor - na-no di___ pri - ma-ve - ra. Non The blossom birds sing all dies. spi - ra non spunta = un fior. Ler - be sulVaceai — Practical Method — for High Soprano la - dys eyes Comes sweet fre - lent - ing, One look that love implies, mar-gi-ne lel fon-tea- mi - co, le pian-te ve-do-ye One word con-sent-ing, ~, Dawn-breaks on Jand and sea,The flows re-a- sul col-len- pri- co per— lui_ ri - ve-sto-no Van-fi - The pirds sing $0 cheer-4 -ly, nd day fills the per lu-i ri - ve ~ sto-no Tan-ti - skies; The ,hirds sing 80. cheeri-ly, dday fills the skies. per In -i ri-ve-stono Tan-ti - co 0 - nor. CDi 16‘Vaccai — Practical Method — for High Soprano The Acciaccatura. The Acciaccatura (or grace note) differs from the Appoggiatura in borrowing nothing from the value of the note that follows, though it may slightly intensify its accent. It should be sung with extreme lightness and ease, swiftly, and with the least appreciable time stolen from whatever precedes it. Andantino. A - long the riv-er - reach-es : Ben - che di sen - so pri - vo, Andantino. DP whis-pring wa - ter - beech-es down when night is Yar - bo - scel-loe gra - to fall ~ ings lin - gifing CDi "Vaceai — Practical Method — for High Soprano now when noon is burn - ing, Their il - ver leaf - lets Ini di fron-deor - na - to, bel - Ia mer- ce gli turn- ing, They shade the sleep - ing wa - ters, ren- da, dal sol quan-do di - fen -de fan them clear and cool; They shade the sleep-ing fio be - ne - fat - tor, dal sol. quan -do di And keep them ,clear and cool.Vaceai — Practical Method — for High Soprano Lesson IX. The Mordent. Of ali the musical graces or embellishments the Gruppetto (or Turn) is, at once,the most va ried and the most difficult, from the apparent ease and lightness with which it must be exe- cuted. It consists of 2 or 3 notes, and can impart great charm to the singing without influ- encing 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 his own responsibility. The slightest appearance of effort or premeditation is fatal. We may add that modern composers write the notes they wish to have sungy and it is impossible to con- demn too strongly the singer's use of any Abbellimenti or vocal ornaments that are not in- dicated in the music by the composer himself. We are thankful to say this abuse has long since gone out of fashion. Allegro. your laugh _- _ ter, Allegro. i j ve - ra P com - ing The whole world @un lab it, They show. bi - 80 ©Vaceai — Practical Method — for High Soprano ~ SSS ———— = am cret__they__treasure Of pain =—_ or—— of ___ pleasure. Con- canny ja_ve - ra-ce, per far si__pa - le-se, dun To_ tide gno non =~. vain. No, no, no_ no no, no, to - hide eS ha. No, no no, no no no bi -Vaccai — Practical Method — for High Soprano Different ways of executing the Mordent. Andantino. Tho I tend you morn-ing, With such care your VAn- gel - let-toin stret-to per- ch’ = mai can - Andantino. uf * - - : : “| sémite cage a - dorn-ing, Vain en - deav-or, Mysweet bird nev-er Greets me tar s’a- scol-ta? Per-ché spe-ra un al - tra vol-ta di tor - ev-er With one sweet song. Tho I love you, Queen of a - dies, na-re in li-her - ta. LAu- gel - let-toin lac - ci stret - to lore I love where dan-cing shade is; "Mid green al -leysWheresun- light_ per-ché mai can- tar sa - scol - ta? Per~cha spe-ra un al . traVaceai — Practical Method — for High Soprano dal -lies, Leaf - lit__val-leys,Where wild bees_ throng, Notes come ring-ing When volta di-_tor - na-re in li - ber - ta, per- che spe-fa un ee there_I'm__wing- ing, Sing - ing, sing - ing loud__— and strong: al - tra__ vol - ta di__tor - na-rein i ber - ta, This_way,— that_way,— all__day long, So clear_and strong, So di_tor - na-rein_—_ li . ber. ta in li. ber - a, a, Mmn—” clear_and strong The whole day long, the wholeday — long. i- ber - ta, in li - ber - fa, in ii - ber - ta.‘Vaceai — Practical Method — for High Soprano Lesson X. Introductory to the Gruppetto or Turn. For the Gruppetto or Turn, the pupil follows the rules given in Lesson VIL, for the study of Scale Passages. Moderato. Sweet, how sweet when. tears come well - ing; Quan-do— ac - cen - de un— no - bil pet - to Moderato. DP, poco stace. * inecntineaS Where some dear one’s voice is tell - ing Deeds of. Gin - no - cen~ feg___ pu- ro_af - fet- to: de - bo he -roes In days gone by. Tears like-_—_ these. are Jez - za & a-mor non een - de un Quan - do ac -Vaccai un - man - nish; van-ish, Love_ it © Practical Method for High Soprano Ere__ the grand__._ old mem ~- ’ries cen - te e@ pu - ro af- self___ shall fall. and. die, - za a - mor__non__. 6, shall 24‘Vaccai — Practical Method — for High Soprano Poco andante. The Gruppetto or Turn. Execution: now - a- days, Poco andante. ss ‘Mia all these mu - fi- tudes, =’ due bell’ simile, con - stant lov-ers. All for e-ter- ni-ty => sian —__ co- stan- ti, . tut - ti par- la-noVaceai — Practical Method — for High Soprano P ie Swear. they'll - del- ta; ones Where fe - del - ta, > z=, <> ful onesWhere can we —— find? > Yet __ but__two faith tat - ti parVaceai — Practical Method — for High Soprano Lesson XI. Introduction of the Trill or Shake. Allegro moderato. The wind seem’d__ ne'er to Se po-ve - rail Allegro moderato. P Cold fell___ the rain, and And all so ghost-ly and mor-mo - ra len-toe un ra-mo -_ scel-lo,un rie Night sank on sea and — plain. Were qua - siar-re -star_ lo__Vaceai — Practical Method — for High Soprano > these dark wind-swept spac Once fair—— with sum-mer’s 71 See roil ru - scel mor-mo - ra_ len-tee And bright with dear__ glad__ fac - es, fac - es_ Cre =~ un ra - mo - scel - Jo,.un_sas-so qua -.si,— I neershall see Thosedear bright —— love - lit qua-si_ar-re-star seel - lo, un_ ll never shall see a ~ rail, gain? Sas - so qua-siar-re- star lo fa. 28 ©Vaceai — Practical Method — for High Soprano Lesson XII. Runs and Scale-Passages. Allegretto moderato. Like ships from anch - or stray- ing, Siam ha-vial-Yon - deal - gen-ti Allegretto moderato. P winds and tides__o - _ bey-ing, Swaying to each__e scia-tein im.pe-tu-o - We drift oer life’s__. dark__ no- striaf-fet - ti___ Sheet CDirx: 29Vacca — Practical Method — for High Soprano Great wavés are break-ing be - fore Great clouds. aregath- er-ing o - gni_di-let - toe sco - gilio, jut - ta__ la_vi- ta ém Ah! well, ah! well, if__ day, if_ day shall re. o-gni di- let - toé seo - glio,tut - ta la store us land, safe homeat-_last,safe home at_— last. mar, tut - ta_la_vi- ta é__un__mar. sheet CDi: 30Vaceai — Practical Method — for High Soprano Lesson XIII The Portamento. In order to acquire an effective Portamento, the pupil must be careful not to slur one note in- to the other; with that sort of quavering that one hears too frequently in ill-trained voices_on the contrary, he must so blend the different registers and so bind the notes that they seem to flow- in- to one even tone. When the true art of phrasing has been mastered by the means indicated in Les- son I, the Portamento will offer few difficulties but here, more than anywhere, is the practical demonstration by a teacher or a proficient of the first importance. Failing these, we must be content with adding that the Portamento can be taken “by Anticipation” or“by Posticipation” By the first of these methods, the singer attacks the value of the following note with the vowel of the pre- ceding syllable, as was shown in the rules given for Lesson I. In certaia phrases,where a great deal of sentiment has to be expressed, this manner is highly effective. For this very reason it must be used very sparingly, as in abuse it sounds affected, and the music grows languishing and mo- notonous. By the second method, which is less common, the singer attacks almost imperceptibly the syllable that follows with the value of the syllable that precedes. Andante. (st way) With eyes nigh blind with, weep - ing, With Andante. Vor- rei spie-gar Yaf- fan BP poor pale_ lips__that__ trem - ble, This Se-cret, that I am scon-der ~ lo vor i men-tre i dub-bi P Se keep-ing, That robs my nights _of sleep - ing; mie-i co-si ere-scen - dovan ~ nol! h CDi: 31‘Vaceai — Practical Method — for High Soprano How long can I dis - sem - ble? How long can I Tut - spie- gar non 0. tut - to non so_ ta- aS eee ceal What I would most, what [would most, would most _re- cer, tut-to spie - gar, tut to non so, non so ta- ——_ Pp — S. And tho? a smile Tm wear - ing; Sol - le - ci-to, dub - bio - so, lope-less, de-spon dent, de -spon-dent, de-spairing,, At pen- so; rammen.- to, rammen - to, e ve- do, CDi: 32Vaceai — Practical Method — for High Soprano heart a—grief Im— bear ing, TW know can—nev - er__ do, non cre-dgal_mio pen - glioe-chi_miei non. cre heal; Ah! nev- er, ah! nev- er my pain can heal, Ah! nev - er, ah! al mio pen-sier, non cre - do, non sier, non cre- do, non cre - do _o oe such pain—can— nev - er. a ON heal, nev-er such pain can non cre - dgal. mio—pen al mio pen a such, paincan__nev - er heal. 33 ase CDi:Vaceai — Practical Method — for High Soprano Allegretto. (22¢ way.) “Ye call me de - ceiving}The grey sea was grieving, “O oO la~ ci-dqi ma-re iu - sin-ghi la spon-da, o Allegretto. 7 . Z : P > CS men,reft of reason, Go chide this wild gea-son.These mad winds,my por-fa con Yon-da ter - roree spa - yen-to: 6 col-pa del mas-ters,Go chide them, not me! They cause your dis - as_- térs,Not ven-to, sua ja non é col- pa del ven - to, sua Ir said the sea; “These madwinds,my mas - ters, Go chide them, not me!” col-pa_non 8 * 6 col-pa del ven - to, sua col -pa non & simile CDi 34Vaceai — Practical Method — for High Soprano Lesson XIV. We need hardly say, that nowhere is a clear enunciation of each word and syllable of more impor- tance 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 hody of a phrase, the note on which the ‘word-accerit falls should be entirely converted into an appoggiatura of the following note. To exemplify our meaniig, we have marked with an “4” where such notes occur in the following exercise. Recitativo. Our first earthly duty is toward ourcountry. How base and how mean- La Patria yn tutto di cui siamparti,, al cit-ta-dino_s 4 -he who seeks ad - van-tage in his coun-try’s dis - hon-or! flo con-si-de-rar $e stes-so se-pa-ra-to da Ie -i. Ff: A no loss or gain We need to con-sid-er save what can gil dan-no cHei G0 - no-scer dee so-lo 2% cid ¢he A A A A pros-per, or whiat can shame or in-jure,the 1nd where first we saw the light.’ gio-va o nuoce_al- Ja sua patria & dui di tut-todde-bi-tor. 35 ©Vaceai — Practical Method — for High Soprano A A ‘When for her ee she bids us sac- ri-fice fortune,lifetime, and e-ven our 4 A ~Quanddi Su-do-ri eil san-gue sparfe per le- i, nul-la del pro-prio ei zx A dear ones, ‘Tis her due that we ren-der: She “twas, who lo - ma, ren-de sol cid che neb-be. Es- sail pro- A A made us, what we have,what we are. ler laws pro-tect us in our homes,and a.- dus-se, Ye-du-cd, fo nu-dri. le sue leg-gi daglin-sul- ti do- e zi! P eee her arms de-fend us, And her coun - sels me - sti-cijl di fen - de, da - glie-ster - hi fVaceai — Practical Method — for High Soprano A 4 A light us, She gives safety, xjo- ry) _ sta thon, name, and Yar - mi. gli. pre-sta no-me, gra-do ed o - Re-wards our mer-its and vin-di-cates our cen A ne pre-miajl mer-to, ne ven-di-ca lepf- fe - se, all lov-ing-kind-riess, un-ceas-ing-ly she watch- és our hap-pi-ness and ma-dre-a.- man-te a fab-bri-car saf- fan- na la sua fe- li - ci- A peace,if, per-ad-venture, mortal man can be hap-py out of God’ heaven! 4, perquan-to li- ce al de-stin de morta- fi es-ser fe - li- ce. S>FVaceai — Practical Method — for High Soprano Lesson XV. A Recapitulation or Comprehensive Study of all the Rules given in the foregoing Lessons. Moderato. ‘When nowwe go a - May_- ing, Over hill and vale a - Al- la stagion de’ fio i e de’ no-vel - lia- Moderato. Pp sémele. Like chil - dren round us ing, Soft ® gra - toil mol - le— to dun zeph_- yrs come and__ go; Like chil -~~dren around us a leg - ger; to il mol-le play = ing, Soft zeph yrscome and fia = to dun zef ~ fi-ro legVaceai — Practical Method — for High Soprano sigh - ing, now sigh - ing, They ‘ge - ma, Then light - ly, So bright - ly; len - to, len - to, stream makes. glad___ re “Mer-r keep hid- ing ones! a-roundus gilid- ing, On! why Zef- fi- ro in o-gni la - to com -pa - gnge del pia-Vaceai — Practical Method — for High Soprano ~~ We see your trac - pa eS es, Feel your em oe 1G simile, brac - es, eeaaaoml Why won't you ln - to é— del pia - show? You: a fac-es, your pa- gno, com fac-es, your pa-gno, com sheet. CDi: 40Vaceai — Practical Method — for High Soprano show, yout fac -es, your pa-gno, com fac-es, your pa- gnoy show, Oh! why hide so, nl why hide pia - cer, é del pia - cer, e del pia- fac - es, Oh! why not show?” > pa-gno 6 del pia - cer. a sheet CDi: 41