THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES Vault Folio MT830 ,C6 v.l MUSIC LIBRARY THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES This book must 1 not be taken from the Library building. Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hill http://archive.org/details/singerspreceptorOOcorr THE SiXGERS PRECEPTOR, 'l/ffd&JC YVY IyYYY/c fC/HJ/C THIS TREATISE IS EXPIRES SILT CALCULATED TO teach the -Aut rf : ^matrta A>' D CONSISTS OP ESTABLISHING PROPER RCLES,( THE RESCLTQP F I FT V TEARS EXP K B [ B X C E AC ( 1 OMMOBATED T THE CAPACITY OP ETERT STCDEiXT WHETHER .AMATEUR OR PROPE 5 S OR, THEATRICAL OR CHORAL ALSO TO ASSIST THOSE "WHO SLTG BTEAR OXLX, AOT> SO ARRANGED AS TO ENABLE THE PPPIL TO IMPROVE BT THE EXERCISE OF THESE RL'LES, LN THE ABSEXCE DP A MASTER, \)VA)[\ vjn-w i TO II Kl? ; ;l? iCl TH .: i'\ X This Work is Coinprized in Two Volumes. (fiintntte. .Memoir.-- of the Authors frofefsiona] Life. (;•/./:' Vie Nature I'n./i/i ami /hfttnts at'Voeal Musie . Olvemilians en the Ob.ttnr/es ami Impediments in t/,e attainment of the .In ,>/' ■ >'iti,/inr/ iJtiiiiiiien ei' Hrpressioti mi, I Utiles In he alisen-eit far it., attainment i This I'eitn/ i/ie anlv '/realise E-rtant in lehieh flint Qini/ii'imtii'ii is luuieed ./ A SET OF SOLFEGGI . AXilkXT .l.XJ: MODERN. Vol. 2" J ' .i Select CoUfftioti of F.nalish. Sii'teh ami Italian ,>'am/s Duet., Trie; embellished ii'iffi Outers t'adenzes iv. e.eempliMna Hi- feinioiiie Kale.. I tormina die film Velum, <■/■' Corns Work. ) \;. The whole of fliis Worb is arranged witli an Acroinpajnmi-nl for tli<- Pianoforte. First r<>L is. second is: or together I t/' 1 - Lflndon Published byt'hiippcll .< '"' Music Sellers./:' ,.SenIioi„l Street. H.-L-F. GUERMONPREZ. 'PRATTEN LEGACY.' 1889. ADDRESS TO THE PUBLIC. In entering; on the following Work, was I to pursue my journey along the well-known hacknied road, I might expect to arrive easily at its termination ; but as the path I mean to take deviates in part from the usual route, 1 have reason to apprehend, notwithstanding the incentive of my undertaking, and zeal for the art, that I shall not pass unattacked : custom, that formidable idol, will, probably, send forth against me the arrows of ill-nature, ignorance, and conceit, — a malignant banditti that generally annoy the eccentric adventurer ; but good intention must prove my shield of defence. Men of talents, and liberal minds, before they decide on what has the appearance of innovation, always investigate and consider its merit and worth, and will be ever ready to encourage every attempt in which they may discover even a slight degree of improvement — but in my profession how few are there of this class ! A profession which, of all others, affords the greatest latitude for imposition, — the qualifications of a school-master — a dancing-master, and a drawing master, most people can fully ascertain, — but the music-master's how few parents are capable of' appreciating, or can judge whether he plays or sings in tune or in time, in good style, &c. &c. and even with this, his knowledge may be merely superficial and inadequate to instruct a pupil in the principles and theory of the science. Possessed, perhaps, of a good address, and furnished with a few vocal and instrumental pieces, he exhibits his pretensions with the utmost assurance, stops at nothing, dashes through, right or wrong — confident his hearers will not discover his errors ; should they be in some degree perceived, civility, and good-nature, pass over what appears doubtful, — and thus ignorance triumphs ; — and it frequently happens, that a shop-boy of a music-seller, exchanging the broom for the tuning-hammer, and obtaining half a dozen lessons from a professor, sets up for a master. To prevent such shameful impositions, which are not only injurious to the art, but to the public at large, in a country where music is so generally cultivated, it would be, in my opinion, a regulation of great utility, if, as in other professions, there was a public ordeal of strict examination, which all who teach music must first pass through. Being well avyare that one's own judgment may not always be correct and impartial, where favourite ideas are the subject, I consulted several professors on the novelties I intended to introduce into the rules of singing; — their approbation and favourable opinion gave me confidence to proceed, and thus to venture this Treatise before the public, to whose candid and liberal judgment I submit my work. My friends also suggested the idea, that a sketch of my professional life might not too far encroach on the time of the reader ; which idea I adopted, from a desire of proving I have possessed those advantages of study, and that experience which qualifies me for the Work I here undertake ; my knowledge of the art having been derived from preceptors of the highest abilities, and the opportunities of hearing the first talents Europe has produced within the last fifty years; also from having been in the constant practice of public and private teaching, fur almost as long a period up to the present moment. Thus apologising for the introduction of the following pages, I submit a short sketch of The Life of Domenico Corri. b '6487 v. I ADVERTISEMENT, The Author, with the view of giving to his Instructions the most convenient and familiar form, and of impressing more forcibly on the mind of the Learner the principal requisites for attaining excellence as a Vocal Performer, has thought it expedient to convey his Directions and Observations in the shape of a Dialogue, supposed to pass between Master and Scholar, which lie lias endeavoured to assimilate, as nearly as possible, to the method which he pursues with his Pupils. DIALOGUE. Introductory REQUISITES FOR VOCAL MUSIC- Scholar. I wish to receive some instruction in the art of singing. Master. In what line or style do you mean to practice,— as professor or amateur? Scholar. What difference can my intentions in this respect make? — What is the distinction between these styles? Master. The distinction between them is not in the principles of the art, but in the application of them, or rather, in the extent to which the application should be carried : — to acquire the art of singing in a superior degree, there must be a gift of nature, and much assiduous practice. There exists a false notion of its easy attainment, for it may be observed, that in all parts of Europe, where this art is very generally cultivated, we seldom can name ten (what may be called) first-rate singers, whose abilities and excellence constitute them standards of the art. Scholar. You dishearten me. Master. Be not discouraged, I will explain to you: — Singing may be compared to painting, — which art has various styles, — historical, landscape, portrait, miniature, scenery, &c. &c. and each of those styles may be finished with more or less accuracy ; but the effect of each is produced from design, proportion, light, and shadow; — so the vocal art affords various characters, — die sacred, the serious, the comic, anacreontic, cantabile, bravura, &c. &c. and though each style requires different gifts and cultivation, yet true intonation, the swelling and dying of the voice, with complete articulation of words, are essential to all. Thus, whatever style you may wish to attain, and possess the natural qualifications for, the ground- work, the foundation, must be subject to the same principles. Scholar. What are the requisites, or gifts, necessary for a good singer. Master. First, — A singer ought to have a good ear, which is a most important and indispensable requisite ; a gift, without which no perfection can lie obtained. The perfection of the ear is derived from two causes, — first, the construction of the auricular nerves ; — secondly, an early opportunity of hearing good music; from which circumstance it may be observed, that children of musical parents often excel in the profession; the intervals of sounds thus early habituated, are, like their oral language, learned without study. Secondly, — The voice, — this is capable of great improvement, and, like metal or stone, may be polished to a high degree of perfection; it is not the extent or compass, nor the body of voice, which alone will constitute a good singer, but its proper and skilful management; — good quality, or sweetness of voice, however, is a very desirable possession. Thirdly, — The swelling and dying of the voice; [the crescendo and diminuendo] without this important requisite no other can avail. Fourthly, — Distinct articulation of words and sounds; by which only, meaning and sentiment can be expressed. Fifthly, — Quick perception ; to give to every word its proper energy or pathos. Sixthly, — The physical requisites; — spacious lungs, muscular larynx, wide mouth, with regular teeth: and, if added to these, an expressive countenance, it will greatly contribute to the perfection of a singer. In addition to the foregoing requisites, some knowledge of music, and of the rules of composition, are of great advantage, without which, no ornaments of cadenzes, graces, shakes, &c. &c. can be adapted, conformably to the laws of harmony and modulation. Scholar. I have always understood that the voice was the principal requisite for a singer. Muster. I allow that a good voice is one of the principal requisites, and does not require so much labour in the culture, for voice alone will, in general, impose with great effect; — yet a correct ear, a gradual swelling and dying of the voice, distinct articulation, (which creates expression) with a moderate compass of voice, will certainly produce B Dialogue between Master and Scholar. "B more real effect on the heart, than voice only can possibly do: — Pacchiarotti, Guadagni, Tenducci, Rau2zini, and many others are striking examples of this truth. Scholar. This account encourages me; — shall I venture to give you a specimen of my qualifications ? 'Will you hear a song ? Master. I would rather decline it at present ; it is a misfortune attending our art, that songs are learned and sung before the rudiments are acquired, while in other professions there are certain established rules, to which every one submits: — In order to attain any degree of perfection, a singer should be instructed at a very early period in life, and the practice ought to be gradual ; for, in the first instance, the organs of voice are incapable of much exertion; they acquire strength and flexibility only by degrees, after much patient and attentive exercise; and it too frequently happens that a singer by attempting difficulties, before he is accustomed to the performance of progressive passages, gets a habit of singing out of tune; occasioned chiefly by the relaxation of the wind-pipe, and the other organs not having attained sufficient strength and tone: Knowledge and practice should " grow with the growth, and strengthen with the strength ;" on the contrary, not one in a thousand ever thinks of applying to a master until they have learned, and sung, most of the popular songs ; — can it, therefore, be reasonably expected, that, after considering themselves as nearly perfect, they will submit to the drudgery of the art, and the acquisition of the fundamental and elementary rules ? Scholar. I fear that you will apply these observations to me ; I know many songs, and several of those sung by the most eminent performers. Master. Then I shall find more trouble, in unteaching you what you have learned, than in teaching you what you ought to know. Scholar. And yet my friends have expressed themselves much pleased with my performance. Master. If you wish really to excel, you must study to please, not only your friends who may be prejudiced in your favour, but likewise all your auditors ; and not only to please but to delight and charm, which is the intent and power of music. — Let us proceed. WORDS THE ORIGIN OF MUSIC. Master. I will begin by giving you an idea of the nature of vocal music ; pray which do you consider as most inte* resting, words, or musical sounds? Scholar. Words, I should imagine. • . Master. Why ? Scholar. Because they give meaning to all things, and express every passion of the mind. Master. Words probably first gave rise to music, and do you not think that if those words were assisted by musical sounds, they would express still more forcibly. Scholar. Certainly ; and I have often regretted that I could not understand the words of the song by many public performers, from their indistinct articulation. Master. This is a great defect, and what every one ought most sedulously to correct — words are the prime object: when language was first framed, mankind endeavoured to give to the sound of their words some resemblance to the ideas which they were intended to represent ; this is manifest from many words such as rough, smooth, hard, soft, roar, murmur, whisper, sound, hum, hiss, loud, high, low, crush, and a multitude of others; instances of which might be given in all languages, both ancient and modern; in the utterance of such words with emphasis, more especially when several of them are strung together in a sentence, there is a kind of vocal music; — In process of time this emphasis advanced into musical sounds — hence the origin of melody, which, doubtless, at first, was rude and unpolished, but, at length, being reduced to rule, became an art; but as in all other human inventions, both improve- ments have been introduced, and errors have crept in. Scholar. What are the improvements and errors to which you allude ? INTRODUCTION OF GRACES. Master. I will endeavour to explain : — In the infancy of the art, it is probable that one sound, or note, was allotted to each syllable; — at' subsequent periods, singers introduced occasionally, an additional note to that already allotted to the syllable, which was expressed by inflexion of the voice, and denominated a grace; this embellishment, which added great charm to vocal music, was soon multiplied into various forms, producing the shake, turn, divisions, variations, cadences, &c. &c. — and in course of time gave rise to bravura singing ;— this new style of singing these captivating ornaments, when executed with neatness and precision, had great influence on the ear, but not on the heart : — hence arose a kind of contest amongst professors in the vocal art, and those who could quaver most thought themselves the best singers. — The public taste being seduced by this decorated style, expression, the true perfection of music, was destroyed by the excessive and improper introduction of ornaments, incompatible with energy Dialogue between Master and Scholar* 3 or pathos. Ornaments should ever be in subordination to the characterand design of the composition, and introduced only on words which will admit of decoration, without destroying the sentiment; nor, indeed, should they ever be intro- duced, but by singers capable of executing them with precision andertect; when used properly, and with moderation, they are no doubt brilliant concomitants to the vocal art; but, at present, no one thinks of singing a song without flourishing on every note, as is now the general practice and manner of our first performers, whereas, would they content themselves with singing according to their ability, observing the character and meaning of the compo- sition, to give to each its true expression, though their performance he not ornamented, they may be entitled to as much admiration, as sometimes is excited by a display of supeifluous decoration. Scholar. I have often observed ornaments introduced not only on every word, but in the midst of a syllable. Master. This is very common, for instance, it is the fashion to begin I landers celebrated song " Angels ever Bright and Fair" by a shake on the first syllable " An-" — and after the shake run a division of a thousand notes, tor- turing the audience with suspence what word it is, till at length, with exhausted breath, comes forth — " gels." — Also in the song " Comfort ye my people" the same liberty is taken with the sense of the words, and the patience of the audience. — " Com" — a shake or cadence-" fort" — the same impropriety is too often apparent in the words of many other airs. The singer ought to observe, that the repetition of words by the composer was no doubt intended for the purpose of giving the singer an opportunity for that display of ornament, which on their first utterance even common sense forbids, and it was from this consideration, that the Da-C.po in aiis was first introduced, which allows the singer every latitude of ornament consistent with the rules of harmony, and the character of the composition. Scholar. Could not composers prevent this impropriety in vocal performers? -REMARKS ON VOCAL PERFORM ERS.- Masler. The evil I fear will not be easily eradicated, for the scarcity of first-rate performers, renders the generality of that description so opinionated, that they become not only dictators in this licentiousness of ornament, but direc- tois of the author and composer, and also of the manager: — the poet, unfortunately, in our modern operas, thus controlled by the singer, is obliged to write, cut, and carve, according to his, or her will and pleasure. The composer, likewise, is placed in a similar situation, he must compose a bravura, rondo, pollaca, &c. &c. for any situation the singer may select, which frequently destroys the design of the piece ; and, even after this accommodation, every note of the songs shall be so ornamented and twisted, as to alter entirely the composer's oiiginal ideas: — in former times, the composer had the arrangement of the whole opera, and of course contrived to .place the performers in situations adapted to their abilities; bravura, rondo, polacca, &c. were introduced in proper progression, the uhole forming as it were, an historical painting, where every part of the composition was in true keeping and just proportion. An opera now is frequently composed by different composers — the first origin of this was called Centone, which is a compilation from different authors, but always under the management of one master, and by' that means produce a good effect; whereas, in the modern mode of several composers being employed in the same opera, and working sepa- rately, and consulting only his own favorite ideas, the whole may be compared to a concert of detached pieces, and the original unity of the poet's design is entirely lost. I do not mean to say, that singers skilled in composition may not be equally capable, as composers, in the arrange- ment of a piece, but as self-partiality will in geueral predominate, it is to be feaied that they may sometimes sacrifice all other considerations, to the display of their own talents — an instance of which occurs to my recollection in the Opera of Artaxerxes — the celebrated Madam Mara always introduced the song " Hope told a flattering tale," in the place of " Monster away," — an absurdity which it is wonderful that any singer could be guilty of, and, still more so, that any manager would have permitted. Scholar. Are these abuses of recent date? Master. Only of recent date ; within my memory, those famous singers Farinelli Cafarello, Geziello, Pachiarotti, Milico, Aprili, David, Raff, and others of the first eminence, sung compositions with little ornament, exerting their talents, on the parts appointed to them; nor were they permitted to introduce, at random, -any graces, ornaments, &c. as caprice directed ; but in such places only as the composer had allotted. Scholar. What was the particular excellence of these singers? Master. Their merit consisted in the Portamento
  • for every modulation of key, which has removed much difficulty ; — a farther explanation you will find in the ensuing treatise, (page 34.) —HINTS TO PARENTS, Observation and experience have evinced that there are many whose souls are susceptible to the charms of music, yet, _ notwithstanding, are incapable of acquiring the art; — few can be persuaded of this, and a master were he honestly to tell such a pupil " yon do not possess the talents and requisite gifts for music" would, most probably, give great offence. I can say, from experience, I have never been able to convince a parent, nor have I ever lost a scholar from a fair repre- sentation of a child's inability : for so prevalent is the rage for musical education, that persons totally unqualified, waste in - this unavailing pursuit that portion of their time, which, employed in studies suited to their genius, might reward them with success. What credit and advantage to themselves, or pleasure to others, can such musicians create? If intended for professors, they never can arrive at perfection ; if amateurs— most particularly the ladies, who frequently de- vote perhaps six hours a day for years to this study, no sooner are they married, or free from parental controul, than the piano forte is locked up, and good morrow to it ! Scholar. I can neither afford six hours a day, nor spend a fortune in the pursuit of music, but once attained, I shall never willingly abandon it. Master. To Scholars of genius there too often exists an inconvenience detrimental to their progress : a master is desired to give instruction without acquainting him how much time is intended to be devoted to the stud}'; which information, if obtained, would enable him. to arrange his method in a manner most beneficial to his pupil: also the particular style best suited to the scholar's abilities should be first considered. Scholar. My ambition is to sing well, in whatever style you may think I am most likely to succeed. Master. I will thenfirst direct my attention, to determine which will be most suitable to your natural endowments, the cantabile, bravura, characteristic, comic; and thereby be better enabled to render you service : but I must repeat, whatever style we may fix on, in order to sing with meaning and expression, the following important requisites are indispensable. First, — Intonation. • . Secondly, — Crescendo and Diminuendo. Thirdly, — Articulation. Fourthly, — Giving the proper character to the words and the different styles of music, leaving extravaganzas and stage tricks to professors. I shall conclude my Preface with some extracts from the well-known publication of my countryman Tosi, a book which I had never met with till this Work was nearly completed : with him I may say, that these " my remarks and exhortations, proceeding from my zeal, may claim some regard, as whoever possesses the faculty of thinking, may once, at least, in sixty years be supposed to think right." Although our opinions on some points differ, in the observations here annexed we entirely agree. " If the generality of singers," says Tosi, " did not persuade themselves that they have studied sufficiently, there would not be such a scarcity of the best, nor such a swarm of tire worst; — the best singer in the world continues " to study, and persists in it as much to maintain his reputation, as he did to acquire it; — to arrive at that glorious end, Dialogue between Master and Scholar. 9 every body knows that there is no other means than study; but that does not suffice; it is also necessary to know in "what manner, and with whose assistance, those studies should be (jursued. " There are now-a-days as many Masters as there are Professors of Music in any kind ; every one teaches ; I do not mean the first rudiments only, that would be an affront to them; I am now speaking of those who take upon them the part of a legislator in the most finished part of singing. So mischievous a pretension prevails not only among those who can barely be said to sin;*, but among the meanest instrumental performers ; who, though they never sung, nor knew how to sing, pretend not only to teach, but to perfect, and find some who are weak enough to be imposed on. But what is more, the instrumental performers of some ability imagine, that the beautiful graces and flourishes with their nimble fingers, will have the same effect when executed with the voice; but it will not do — it is a very great error for the voice (which ought to be the standard of mutation by instruments) to copy all the tricks practised on the several instruments, to its very great detriment. I should be the first to condemn the magisterial liberty I take, were it meant to give offence to. such singers, and instrumental performers of worth, who know how to sing, perform, and instruct; but my correction aims no farther than to the petulancy of those who have no capacity. " It may seem to many, that every perfect singer must also be a perfect instructor; but it is not so, for his qualifica- tions (though ever so great) are insufficient it' he cannot communicate his sentiments with ease, and in a method adapted to the ability of the scholar; if he has not some notion of composition, and a manner of instructing, which may seem rather an entertainment than a lesson; with the happy talent to shew the ability of the singer to advantage, and to conceal his imperfections. " A master possessed of the above mentioned qualifications, is capable of teaching; with those he will raise a desire to study, and will correct errors with reason. " lie knows that a deficiency of ornament displeases as much as the too great abundance of them ; that a singer makes one 1 mguid end dull with too little, and cloys one with too much; but of the two, he will dislike the former most, though it gives less offence, the latter being easier to be amended; he will tell you that a singer should not copy ; even the most admired graces of a professor ought not to be imicated and copied; a bad imitation is a conta- gious evil, to which those who study are not liable. " If singers would be pleased to consider, that by copying servilely even a good one, they may become very bad ones, they would not appear so ridiculous on the stage, for their affectation in presuming to sing the airs of the person they copy with the same graces : copying comes from laziness, and none copy ill but out of ignorance. Let it be remembered also, that arrogance, though it can assume the appearance of ability, upon a nearer view, it is ignorance in masquerade, and will be'infallibly discovered.. Arrogance sometimes serves as a politic artifice to hide failings; for example, certain singers would be concerned, under the shame of not being able to sing a few bars at sight, if with shrugs, scornful glances, and malicious shaking of their heads, he did not give the auditors to understand, that their gross errors are owing to him who accompanies, or to the orchestra. He is still more to be blamed who, when singing in two, three, or four parts, does so raise his voice as to drown his companions; for if it is not ignorance, it is some- thing worse. " He also is equally absurd, who never sings in an Opera without thrusting in one air which he always carries in his pocket; he who bribes the composer to give him an air that was intended for another, and who objects to sing in company with such a man, or without such a woman. " To sum up all — no one can be called a singer of merit, but he who is correct, and who executes with a variety of graces of his own, which his skill inspires him with unp'remeditatedly : knowing that a professor of eminence cannot, if he would, continually repeat an air with the self-same passages and graces." AVe will now proceed to the practical part of the art of singing — concluding our present discussion by the following observation. Explanations of length are usually thought, bv parents, of little use, and that time is lost unless the master sings; the scholar also, impatient to begin singing, listens with careless and superficial attention — but be assured that teach- ing the ait of singing without the preliminary knowledge, is nomiore than teaching a parrot to speak. 1 trust, from our present preparatory dialogue, you are fully aware of the necessity of entering on your studies v ith a steady attention and persevering assiduity, without which no advantage can be obtained; and remember, that should you arrive at the highest proiiciency of what is generally termed execution, viz. a facility of voice in running rapid divisions and other difficult passages, should you possess in perfection the» portamento di voce, divide the phrases with accuracy, and embellish with all the ornaments of the art, yet, unless you can animate this combination of excellencies, they are still uninteresting, unintelligent, and unfinished : The Promethean fire of eloquent expression, as the soul to the body intuitively guides and directs the whole, while the latter, the mere agent of its will, when 'thus inspired, conveys with grace and truth every sentiment and every passion. D COBRAS SW&ERS PKBCEPTO'K ji Progressh e rules for daily practice proportioned to the age and ability of Pupils. The intention of this Exorcise is to acquire the art of taking breath and how to retain it, by which is effected the swelling and dying of the Voice; the most important qualification in the vocal art, and may be learned in a few days by moderate, regular, and frequent practice . Begin by half an hour at a time, increasing more and more in proportion to the age and strength of the constitution on an average from two to three hours each day, untill it is acquired, after which you may relax the exertion , but must never abandon it totally as long as you wish to improve and preserve your Voice. The best time for practice is considered to be after break fast, the Lungs then being in the hap _ piest state to bear the exertion; during this progress you must abstain from any other Singing, because, for this appointed Exercise, all your power should be reserved . I s . Place yourself near a Piano Forte and before a Looking Gla-ss, standing, you will thus poss - ess more strength. 2°- Keep the Head and Body upright which gives free passage to the Voice . 3? Open the Mouth in an oblong form, as smiling, so that the lower Lip may not rise above the Teeth, which otherwise will damp and weaken the tone of the Voice. 4-*." Take as much breath as you can, draw it with a moderate quickness , with suspiration, as if sighing, use it with economy, and at the same instant sound the letter A as pronounced by the Italian or Scotch, thus, ah . .j 1 .' 1 Take any Note of LesSsiON I, page 13, the most easy and powerful within the natural com- pass of the Voice, which in general does not exceed twenty Semitones (see page 66 ) NLJ.Too much exertion above or below the natural compass would be detrimental to the Voice, and t ho' not felt in youth, its injurious effects will soon be discovered when the constitution of the Voice begins to relax . A Caution to the Scholar. After the exertion on any single Note, which if practised with proper energy will exhaust the breath leaving a palpitation of the Lungs; forbear to proceed to the next Note, untill this seilSiitioii i •iii ; '-eh -■ ■' : >■■ I 12 Explanation of the Nature of Musical Intervals and Practical Excercisesi for the acquirement of Intonation. A Semitone is the smallest distance which the E^r'can distinguish or the Voice execute wi
  • ate softness, increas,^ ffl( , de^ca *i M rJftP ::'V'V t>=fc- . - nWS J~ m The swelling and dying- of the Voice Messa di Voce Tile Soul. of Music. o> " e *8 «,- ""*' .VTK WIT J ' ■ >/a These accords are only intended to give the Notes their Har - Sf}\-'^^ monic parts , it' Scholars find the Arpeggio difficult as noted, they = may take only the Chord, which may he played with either hand . a s al)ov t . W i. Voice Accompaniment *"* a W**ii*rTO Forte ■ To enforce on the Ear tho proper pitch of th e Note ! fii-st play this arpeggio several times over. -&- 1 ah mill.Srpi ♦» ■ 1:\ P^^r ^ m m Play this arpeggio as before. *^y^ 382 #C ^=h=fc Q=s^ >«_ £ ah £&- I t!= -r:~ r J>»~*m fc ah *5 VOBZ m >*- m (^~D 1! 1 ** 1 frS M \ \L.) 1 IS): ■0- & ah v-=fV » « -•-' ■rt- IF !v^ ZOZffi SE=£ ■# #^ -if— ih gl ..»i*. ah B^gy H t ■4 i ^ « «~ ^— ^ c ^ 1 1.5 : fc J' >V f i gtf ah I 2E3: -G^ *•' • ^^ fe=£ ^H I* I ^^ • J o m ¥ l@ ■!?/•% Y \Y \^^Z^i= U ^ {f and the crescendo J-7 ^ «r—p- "■ J7X— -# 9 of theV.Mce.it will 1 ' ah ■ "^ After attaining the true Intonation O .. of tie Minor and Major Semitones, and diminuendo be unnecessary to continue this exercise as a daily IF practice, tor in every part of singing von will = m u£_._ S S EXAMPLE VII. r*& I.33E -nrzcc :fc2Z: a 20 ]\ "' New System. The following 1 Examples, which introduce a new principle of practice into the system ol* ru- ler the cultivation of the Vocal art, will no douht encounter many different and, perhaps, som< disapproving opinions; reverence for. ancient custom, and the early impressions derived from the established system of our Fathers have great influence in this, as in all other things, over the human mind; and prejudices thus strongly rooted will continue to perpetuate error, even when their fallibility may have been discovered: it is not always talent which alone makes dis- coveries, chance frequently produces the opportunity where experience discerns a capability of improvement. The original introduction of the syllable si into the Gamut by Le Maire, a French Musician, affords an instance to prove the pertinacity, or rather obstinacy, of opposition with which every alteration in established forms is at first received; Le Maire laboured for thirty years to bring- the syllable SI into practice , but he was no sooner dead than all the Musicians of his Country made use of it; frequently has it been the fate of -merit to contend not only with custom and prejudice, but at the same time to meet with insurmountable obstacles from the illiberal minds of Contemporaries. it must be admitted that in a Wor!; combined of many parts or requisites, each ought to be allow- ed that share- of* labour which tits it for the allotted purpose; and wherever this cultivation is *an- ting>d(tffect must be the consequence, and render the intention of the whole incomplete: such must be the case in singing if the Intonation of the smaller distances is not perfectly acquired, aind that.I am convinced from, long experience, can only be done, by those distances being first established . ... . I cannot suppose but that many Professors are aware of the imperfection I speak of in the mode of teaching the first rudiments of singing, and are also aware of the difficulty of effecting an) change in received aud established opinions. In ail professions it has frequently occured that Persons of genius have arrived at excellence with little instruction, and that little derived from a Preceptor far inferior to themselves in talent;-. to such, possessed of the pre-eminent gifts of nature, the minuter a,s well as the more prominent parts of study,are alike executed with truth alio, facility, whether Tone, Semitone, or Comma,or the most difficult Intervals of the Gamut; unfortunately there ai e but few of this description} per- sons of such superior abilities arrived at 'the head of the ' profession are consequently- directors of the school of singing, and of course establish the same rule.-, by which they were instructed; aietiong Singers of this class,there may not be any disposed to undertake the tedious task of form- ing a Treatise on the art, in order to render its attainment more easy and certain to Pupils less gifted by nature; their thoughts are probably more concentrated in self- advantages than promot- ing those of general utility, and would rather be employed in constructing- their own Cadences, Shakes &c. than troubling their heads about the formation and utterance of semitones; while o-. ther Musicians, who perhaps may be inclined to attempt this improvement in the mode of in - struction,may be deterred from the undertaking- for want of opportunity and the necessary con - comitants (.which are not inconsiderable) for publication; thus the impediments to the perfection of singing which should be eradicated still remain to the detriment of the Vocal art. When the discovery of the Gamut by Guido Aretine (see page 7 ) took place-, its novelty and utility charmed all Musicians, as also his contrivance of applying to the Notes the six syllables 'B.As the high Notes of the Chords in the following Exercises are necessary to be in unison with the Voice in order to support it, and the intention of these Exercises being to accustom the Ear to all variety of harmonies, this necessity must plead the apology for infringing a lit tie on'the rules of harmony. Example I. Voice Ac« P Min.-Sem: I I I Ma: Sem-. -ste- I J£- m -N— r- -tr -ip-cr P Mim." Sem: O fliO r 0'|o|| -O-^€>-Q- W^ - #0" Example II. ^ — | | Ma. G ei ^oll qT"~^ oil o l 'in*- r— ~ F E a _ a _ a - a a - a ^7 ip * ■' H _* fi a •- -d — s * ^ -©• -e- "" ■> k - '-1— -&- ^S?r ^ Example IIL , ^ __ __ -^ - I Ma. Sct bt a _ a _ a ~ a. fc *—*-iF- f 3 fa ; O" a — a- SE T<5 P 1 " te Fi^ <=>' "SO" Progression of all the Semitones, Minor and Major, contained within the compass of an Oc tave,with their different harmonies. Example I. Of the Minor Semitone. offo , _,____.-,- V- i a - - - - - : — : — : — : — - '- - = Si 5 f l i^JiH i g _ii i f 7ro -^p I s " o ^o EXAMPLE U. Of the Major Semitone o 23 ^-\>o \o b^i^W^^^o g l;o^ ^Qglx c ,ko g ,, bo = T1 b— — ■ tt m $ ^^,;Sf5^ ^ EXAMPLE III . i ^ I Jibuti ■ J<~, ' > , - «~-^o teto£ ^^P^^^^^^^Jium*t^^ H ja #zz 1% i i *°T° g |a ^o^ p ft— r^r^l^Tr Ills *= gg :bOip g ^ EXAMPLE IV. O '■ " - ' 1 i O to o b: "' 0i>Q Q l 7 j jf £c± a _ ,,_ ■# • b a ^g^qMyo ,, ^ o- - " g m g " rj =& r nwni The Tones in their various harmonic combinations. /T . a - a ._ a _ a „ a _ s_ a _ a _ -i'il Ji I Zjc 1 il-^-^-^-M HF *^-e-ll-o- f - ' g o-ll- a _ a I I E a _ a I IlpillflillplplE _*- -*_ TbffX -•• • • £©=zr- EC <9- Sr ~Q-W- j a , n -*iv ■ jtj P S U g cR F^s^^cH I-^ O O a —• a - a _ a _ .t - a _ a - =^=& t -»o-" -'i a ,;«"• — tj " O ^ ^T^g 24< LK.SSON IV.. Having 1 acquired the perfect Intonation of the Semitones and Tones,\ve r.h.;!i proceed to the GAM U.T . Which consists in a particular system, or Construction of sounds', by which the Octave is di- vided into certain Intervals of .Semitones and Tones , according to the Genus . There are tvo Modes, the Minor and the Major . The Minor Mode is that division of the Octave.by which the Intervals between the second 'and third , and fifth" and sixth, become half Tones', and all the others whole. Tones . The Major Mode,is that division by vvdiici) the Intervals hetv een.-the (hire! an -! fourth, and •.--•-" : hth,become half tones, and all other Intervals vhoie tones. Another distinction alsO exists between the Major and ; Minor,Modes , the Major Mode is the same both ascending- and descending, but the Minor Mod. , in ascending from the necessity of having 1 the 7\ u sharp and to prevent & leap of 3 sem&which k. the « - -- from the ff™ 1 £ Q ^hfe 7!- h snar^rwe take the liberty of sharpening the 6''r which produces a bad < ['feet in slow Movements. These two Modes have a different Character md Expression; the Minor Mode being best adapted for Plaintive Subjects, the Major for those of bolder description. > Tho'trie Minor Mode claims Originality yet in modern Compositions its use is very limit- ed, & is almost entirely neglected . From the disadvantage resulting to Singers from the latter' circumstance, I am induced to take the liberty of deviating- from the established Rule, by beginning Practice withtheMinor Mode in preference to the Major , and dividing the Practice eouaily on the tv o Modes: '' When the Scholar has acquired the Intervals of the former correctly, he will have little difficulty in attaining those of the latter, for "most Compositions being written in theMaior Mode those Intervals are habituated and familar. ^to the Ear, and this earlv knowledge of the Major Intervals, is also confirmed by the chief Practice being always made in that Mode . The Minor Mode , being therefore, so much neglected, it follows, that whenever any of those Intervals in the Minor Gamut are required, there will in general be found great dif- ficulty in the execution of them. And yet this inconvenience could easily be removed, by deviding the Practice equallyonthe two Modes, to prevent either from acquiring a superior power in the Ear. , Practice of the Minor Gamut . EXAMPLE I. tone sera: tone tone sem: osem: sem: tone tone sem: tone tone S'-m: tone ^ i tone atm: to ne tone sem: osem; sem; tone tone sem: tone tone s>m. tone -o — & a a a a a , a a a a . a a a a a a a tt^r i&E •»" H»- -*■ • -<_ ._ ^ -*. |^*- -©- ■:b~~l-::::-5~~«^^-~ z==r-\ rj " " 7T~ S~ =J * S=fp 1, l h _ _ar~ P ■ , o a GL— S3— : :o_n ~_.: i~ zz_ _ o -jt: • i7 _ _ :r_ = _g — -q n r EXAMPLE II. _Y tone Bern! tune tone tone tone » semi ton* tone semr tone tone *eml ton* <2,5 r -T l r : ^^or- |- : -^ : ^>fe r - ^ C S 11; -o — ^: " -■ a h « 9 -^ m -• • • „ »- -©- ja_ -&- m ZZ ZZZ -9 & ^ EXAMPLE III frF$ ice g bo b r. o ps at = ?~fry b. . - I 4 *_ p a o = zz zz; I :§£: zz: EXAMPLE IV. Repetition of the same Pracfi< •<• in a higher Key -tT-fc ^=fc I Z2: P a a a a a a a ^^ a ^=231 i ^= u I -<& O 9 -9- O- Z2I ZP~ -©- -©- 1 EXAMPLE V . -^o-#^— -Q- I g j Z^-r zai I XT 1r»- a j ; m : i -* — r ^M7 zr. *T ZZ! -&- ZZI ^ Q- Z2_ zz: zr ■Jul -G ©- I EXAMPLE VI - i 2S Lesson V. Practiee of the Major Gamut Example I. p tone tone sem: tone tone tone seni: sem: lone tone tone sem: tone tone -53 *»" a a a o 33: S3: — *J — &- 33: -o- XL -&- "o — ^ a a 1 I fa I ^ k <-•> a n *^ a a a t^- 33 ^ — cs a ^> <^ <. - » c - s Example II. 1 a a •Q O ^ 5 zr o -*■*- :.ar: -o- 33: ---- •cy- -©- a a a i i i ¥ P?fP=S 33: -©- 3 3~T~ 13: 33: XT 32E 33: 32: -e>- o o, Example III. 33: -©- P 331 33: ©- 33: -©- 331 -©- -©- 33: -e» a o "Cr I $ 33: -©- • ■ ^ I 331 1 -©- 33: 331 TT 33" ^ 33: 33. mt^m 27 A Repetition of the foregoing" Practice in a higher Key. Example V. tone tone sem: tone tone tone sem: , -© Ci- -© H » " " c c t^ g XT 1 "'J. "A ~Q~~~C1 ^ O <-> ^ ^ IT X I -© © © © O ■©- -O © © © © © © ©- • O ^ -&■ 351 -©- 33: Example VI. —ev. — C3 — — © — ©_ m 33: -©- 351 -©- 331 -©- r g g . « • — ■ • - i — WM 331 -©- -©- ICC TOlZZ -©- -©- =H i£ Z3 > © — -is: - o p -©- 6 B - o ■ a © cr -©- XX. Example YIi. K ~CT o~ 33: -©- xs: -©- a a a a a a a ' a a '=*£—— ^ i^-S-a— 4- -t — r m -©- -©- 3= XX rj~° — q- i — ■ sje -0_;s!t_ 33: --©- ^E Jt m ^ -©- rn -© 35— © 35: Example VIII. -© ^L_ Ia © Q- 1 135: -©- 3s: -©- xr -©- a a a ;< a a (^^P^i^^ ^•z -&■ H ♦ 07y^==^© 33Z E5H 331 I^ T O © ===^_l .#£3 li : a ^=p j— 4- :cy: ^ct^: xt -;.s L v. sson VI For the Intonation of Intervals. Nil. Refer to page !J For a full explanation of the nature of musical Interva[s,to regulate *he execution of the following exercises. The Singer ought to make a difference in the pitch of those notes which bear a double name, and yet are the same note, for instance, the .4* sharp or .J 1 . 11 false, which is the same number of Semitones distance, hut the latter must be sung higher than the former and so ;ili '>ther Intervals of a similar description. T HIRDS. S* Trial of Minor :;'} Vi^nn'"^."' I _^«S. ■ Trial of Mai or jor 3*. mt — | / Z_ — ! -:>:■ ft — "—- ; — ZZ'll ~ m ' - -■ — ± — _zrz — i f ' - "r "r — - — f-)-^ -h 9 "{> • — J — -~- -:**.< - Q-^3C ■• ^_ x—ifc • J= t ; I a -O © -r— J Pruu Piano Fort« *5 =-3i . ; IritumUuili l m m The 4 tli FOURTH S. The sli„rp 4 ; .' \ -fj 1 ~-~z jC£ Q~~" O- _e>. 3TT5- "^"T:* - ~ » "?i~lP 4 < > * * ■ * pe- ls "^ — &s — r* The false .i'. h 3CZJ 1 *». a»„ g r jwi^fr * >- — — Trr - FIFTHS. *■••■{': The sharp J'. 1 ' IF i -),'£ The-? 1 * * ( ' The shar p J'. 1 ' & : — I £ z3pz—:--: ~.:z:T =iz=i — rp [ : t —^-^wq^* ■#o- ^-♦a*- i F «?*g ;— — z->-*J i- ■•■fir* 1 * #• H The flat Gt.ii SIXTHS. f ^^M^p p *'(- Tlie sh;irp !.'." The stmerfloas 6^ a - a _ a - -©-"^-•#« a _ a - a - a - a - 3 ~-fa- I i L 8 3 * S » EC i L. i ..»i"'^^ ISTC /£ The flat 7 1 . 1 ' SEVENTHS. The sharp 7'-' 1 trp Nsss^e^ ?-© — e>- -^ i ^. t ..**^^ gg -»- ♦#•-' o o ^-^■T--^--^-a ^E^^ IE H ♦ #^ * # 4 -r^- HK-^ i =^ £ / Thp O' tavi O c: T AV E . ;^=5^f^5^ CT O a - -©- ^~5E£E3^^ ■I A similar Lesson to the foregoing iii a higher Key. THIR D S . Ct"2-& S-r se^A. Trial of \he Minor 3 A Vl*3-- %j P"^~--Qm Trial of the Major 3 d . V-'- ^^-^ ^L I >-m fr»- EE 33: So. — cr 33: jcqpc -•— «♦ £ ^ ^r r-rr-— "( ft « — ~~FT ! ; «: a - a Froof of the Intonation US 11 -• ¥* Piano Forte The **? s FOURTH S. tii =fc4— -t The sharp 1- . - g ? J35=zg=qg ? ^=5 ti r.^gr-n r»=g: 33: -o — o- 33__lWr 1 ^^i-"— ~ =3& ~T T * *. « a» ' f« 1 FIFTHS too S . Tht false 3 * ■th 3233 oJL j? Th- s harp 5 X V ^,.».K'^t ^M I ~m b — L >a h «t? » IM 4 — if*-i -j^ 3 — }Tf - - — ■.#■ * * | 3pzag »gjgSg= -^-ry- -y %» ■■r»«"»-* -*g*- — -m a ■---.__ a - a a 1 ' -.'* - .» - a' - a----- a - a _ The fla t 6V 1 Th,' s harp 6 V th The s'aperfloas 6 - fc>- I c^ cSM # 1fg-«»f» — * # '.tZ -oo- 333 cv a . a . a (^^^^^^^gjj^^^g^^ ^ feT^rr^ | ^t^PZ^IE SEVENTHS. The Hat 7' , t .Ui .H. '^ .LOJ '... .1 ^IlT?3 J 1 • j "~ B 2 ^E^flf^l^^^^lE^ O C T l V E . The ()( l;i ^,, , .i..b. .h^e se* - O P c > 33: 33 m ^z^dg ^ ryWl-iH ^ t , ' . !> ■ h » "^ fr* * : =xc i HO LESS () N V 1 I THE SHAKE* Tii. re are various opinions respecting the manner of executing the shake some are for a Close rapid Shake, giving a brilliancy and shortness to the upper Note; others prefer Loth Notes of equal, length and forte; from the instruction's I received from my Pree?p1 )i Porptfra r and from my own observation of almost all the best Singers Europe has produced within rhese list.50 year [find that the qualifications necessary to form a perfect Shake are EOLALITY Of NOTES DISTINCTLY MARKET) FiVSY AND V.ODERATELY QUICK. .iso that the Note Which bears; the Shake ought to the ruobi predominant,}being the Note longing to the Melody, and if the auxiliary Note is too closelj b'ended, the principal cannotl be sufficiently distinguished, by which means the Melody must suffer and the Harmony be - come perplexed .(see page7&31) There ure several sorts of shakes i but all spring from the same r'r from these to the next "degree, that Woiilt he doui !ii g the velot ity of the Shake al! at once, ..huh would be a skip not a gradation, hut you can imagine between a Quaver and a Semiqua-- \er ,i:t intermediate degree of rapidity quicker than the one and slower than the other of these Characters, you are therefore to encrease'-in velocity, by the sa lie degree in practis.ing.tbe Shake ys in loudness when you make a swell . . ' Trillo or' the Cadenza Shake. Of the Semitone . Trial Andante to ^ v V- -/■ Repeat these Notes as Ions; as von can. e .^ r, l —L^_, ^ ir *" general at the conclusion ot a 1 J-U- Shake, a. Tarn is added, the natui Ac coiTipaniment Voice A ( i ompaniment ^^ ai A. _ _ _ A- _ - _ _ - _ „ __ of which being; so various, it is Sf scarcely possible to ascertain it by any fixed rule,(see page 33) there - » m ■- — ~ — ' — — j-tiire must be left to the judgment. of K tbe Singer, this circumstance evinces the advantage possessed by those Singers who have acquired a know- ledge of the rules of harmony (see page. 63) ' , - Trial Tile Tone Shake, similar to the above T 1 1 K MOIUiKNTK OR SHORT SHAKE This is Executed with more velocit) than llw foregoing, and is no sooner born than «' •■, . All? Voice A- Semitone Tone -i^*-» » » « «, ' « j£? " I tv JT«T^B *-*^ ;£* A - A - - ffi A - DOPPIO TRILLO,OR REDOUBLED SHAKE. h- . Voice ip I i^T^ JTJT^f73?^~^ Vbi< p PRACTICES OF EVERY SEMITONE AND TONE, WITHIN THE NATURAL COMPASS OF THE VOICE. Sem: Tone Sem; Tone .Sem: Tone A- \\ h~ H =£ Sem : H t \so t ill Q |H% oil ^ P" . ; I I- A " .. A-_- A- - _ - A , A--_ A gn 3E I Veto '»— tt -e> .' Tout tX5>- Sem: Tone -O- ig^gssgssl a <"■ -jv U3I Ti n lone r>em: lone .-»eni: li ne Vni: / lone A. .'-"■'" : P A 7T\. A - - - A A- - - A - - _ A ■- - - A - - - A "£ OE ■ fro; o - i'O, o - IP^Isb^i °y\r^7rm ^^ = tS CT ■ fQ ^- Tone IP , i>mic Sem: .Tone / jseiu: / Aune / i i i /Tone 6 - * * It Ztt A - A - - - A A _ . _ A \ BB S : i = n i ; -<4 — H-~- — i — EHS E^ « » • ; ■ iia* «■ « Hi ■ ■ • : : : II*- : , |l a rt ; : :=fl . fi^F^^ ^^g^ P^fe^^ ^ -©- - H- o o =?r ^3^^ #■© <£► V-.Ti.is Practice ought to be short and frequent but not when fatigued by any other ex r - tion of Singing } a fev minutes at a time will be best; besides this principal practice,the Scholar. may even when ahsent from the Instrument exercise the Shake on any Note which will contribute to render the organ of the Throat flexible. •i liefer to the DJalogue (page 7) for further information. ^ : - ' i tl e pntl of this Tn-iitisu will he exin-ples of Catlenzes, I'anses.Jfcc, for the purpose of introtlori: •'. ■■-, '■■ ■ '. i 'nJ Si' \cs , 'I'm ins \ c . Le sson VIII Appogi atura The Grace This is the most expressive ornament of Vocal Music :md appears to have been the origin of all the other embellishments, as Turns, Shakes, &c. (see page 2) These Graces are of different descriptions, as in the fallowing Example, but that which We * term the superior, without doubt, is the one dictated by nature, while all others are the mere production of art. The distance of the intervals of Graces of all descriptions, should be consonant with the Key, and, as the modulation varies, so the Graces must be regulated, as the incidental alterations may require. The length of time to be given to Graces, altho in general marked, vet never can be given so accurately as to direct the true expression of the words, which must be therefore regulated by the judgment, taste, end feeling of the Singer. Exapiple Superior Grace thus: snn&f thus — Take the Grace forte and melt it into the. Note. Inferior Grace thus — 5l sung thus P Take the Grace softly and force it into the Note. or or Leaping Grace thus ^P= IP sung thus This Grace is similar to those above, but has this distinction, that the strength necessary to its execution must be regulated more or less according to the distance of the Intervals. Anticipation Grace thus: 3* . 3. 4. down left right tonejjv sem:?ff tone tone sein: Ssetn: sem: C. MINOR ##M fffr i rjfjirrff^ I -a— a— »—4 1 A m iJ S=as= m ■ • * rrrrr rr 'i 3 C . MAJOR j — fjf — ■ » *» ~ — sr il tone tone sera: tone tone tone sem : Do "£5~ R<- -€>- rCT -&~ 3CE -O- ^m m Mi Fa Sol la Si Do ^q p fi i l l ! J M j-^ 4- Hit IW^mj--' a J '' Jl-yt sem: tone tout tone sem: tone ~cr -o- -o- ICd Do Si La Sol Mi Re" Re - "- - - - - Do ■ p\\m\\\ \ {{{ J J J .< j J J J J-J-^-J-r-J — pL z±=rX=xr^- *~= iz ±! — !u— 1 -^, — a- =3= ^ =FS if W 3? D. M I NOR g yM^ tone sem . tone tone' seni . 3 scm. sem . <±a 3^ Re Mi ICE -e- TT -©- =SEC I Fa Sol La Si Do Re ^ ^^ ? ■ \. — ' S ^^i^n c i n=h = ^ s f^ J g lj ; '^ ^ n ton ton sem. ton ton sem. ^ 1 g w -©- -gL d J i':^U' 3 i g m R Do Si Sol Fa Mi Re i^^^^S tone tone sem: tone tone tone sem: D.MAJOR E±j ~CT "O- 331 ice -&- m IX3I m He Mi Fa Sol La Si Do Re 'J^J I rJ^ l r/rJ l rJrJ l -| ■ | | jg r I r i l r JQ t r j <■ J I '■ J f j a B H H Yi T r n ^ '[^H h 1 U4 u sem: tone tone tone sem: tone I .1 HJ.rM - zc A* 33C I f -&- ~CT~ -O- -i^M- 33= C * * ' R< Dc La Sol Fa M 1 Rt . • J I 1; _ * j o 5=5 1 * a (I ^ a ^ ' U- I 5 ^ H^ 5 E . M I N R ^ tone sem: tone tone sem: -i sem: sem: 1& Mi ICE -«- ICE -©- ICE s Fa Sol la Si Do Re Mi ji\g j uuufj miU4*J=J H ,-! 1 1 ■ c (n FF ^ , a TTj'i , -J, I ^f^ m • >8 t dHt er tone tune scnv: tone tone scm: O I 33= -O- A-- =C3C — H '-J • * » * » J % j 1. Mi Re 1)< Si La Sol Fa Mi 4=± =3 fhrTiM 3 B I 1 O r^T "5* --sr— ^"^r H ( p r f f n r r r r|J 5 WH5 P ^paii^ M i M tone tone sem: tone tone tone scm E. MAJOR tone sein: 3,9 tone F. MAJOR W 2 — z^= ^=^ 35 • »"* «"*- je zcs: -o -©- Sol La p i rjji gag i jT^ c pT I nq nyB iSp 5E ^ ^^PP* £§ tone tone y tr -©- 33= iMi sen> : tone zc E Do Re Mi Fa Fa M? f"\Aj[^j lo/izjj ^^^^^ j=j a — a- — a ■ a •*rf i r r it F-»i-T-g-#-. ^R^ mmmm . +i b0+--0-p-' i^j— 1- tone tone tone I n' 33 L- > — h -e>- — — , 1 H&rSfe^B -'"* i — - a — Ri- Dc Si La. S-)l F? | N4^=^ N^ r> ■■^4=^44 m 3 8 i ^ g . minor 2d* tone tone a -o-^ , .,., o... -«5>~ Sol Si m IP ^ ^g n^ 33= ' : « i » -■U.*' 1 i g ^¥=¥ gj3nfe| JU_L^^ lg ^ - p| 40 » P^ « . ton * tone 1 © «■' 1 seni © me r • So! Fa i _ ft — { t Re ^¥~ |^gk #" ^^m ^- r : r r t##t ^ —g-f- - f'.j — p tune TTT- -©- ^^ f--te ^sa I -©- r=*- Do Si La - So] ■ * r *> JTl '~tf] JviS J . fj* irfj ;.; ; j- r— m mE ^&egsg 3=e i 16 rg . _--»rtt O tone G. MAJOR Is xs: -o- Sol $T La ! i " £-£* ^v- 33: tone tone '# — O tone tone tone zzzzzrz ~o~ -e»- Sol Fa Mi Re !^5^i^==?i=fes^^ m^m 41 A. MI NOR ^ tone seni : tone tone sem: 3 sem:a _^. sem:_a. _c!» _ el£ 5 ^a_ y 33: -©- 331 -©-- XX 3?: La Si Do Re Mi Fa M I I N a e J J a B BgsJg gSa se e ^^^^ ^ ^^^ ^^^^^Hi ^^f^ * ' «j. •_ 1 1 . 1 1 <-•- 1 m \ \ m \ 9* J^^U^ ^ _ev- tone tone sem: — VJ 1 © -r- tone tone sem: 33= 33: szC?;-z37.-T±» f ^O ff a if Sol Fa :fff •*- , g • » • Mi Re - Do I I Si . - ^ k i i i ^ ki i i ir ki ryr rf ? i {^^ES^gj^ ^ f^^^ ££iS ^E^5g= ^^ §1 A. MAJOR .^S^Efe^: tone tone sem: tone tore £ 33= o I a 331 -O- t: " ^ *"-"■■ La Si J). Re Mi Sol TZZr—rs ^^ ^^^ ^^m -f- , » F » - Se JJ. ?~T~T~ r *c= #-eh pum sem: „ tone tone — O _ — o — tnne sei : tone /f 33- f.a Sol Fa ?~B l! . l v '? r-!r Mi fto ^ i)o Si - 0» _ L: p^=^^ ^^mm^^^m^l^^^W V 4.2 ti=3P *S7* —Z \\myr£;- : . ; ' ■ - 3 sim: sem: tone seni: tone tone sem: <-_«^. _Q -m 1 — o — ■ — o Je^: r ^±_. p4£ _o ^^ H mm s; Do Re Mi fa Sol La Si pilSfisHiiS^ill^^^j^ 4t^-^ir-i*- EE3 S£ m * f=f O tone q tone sem: tone tone 3^£f =F=?= fff^fT f fjTffl^ i o- tr La Sol F;i - ton Hlff afoi Fa I'il ; V j-— ^ ~f y.r~ mk 1 — — '■ -ail-— *^5'~— *li — l = v £ v.- J .tf r^ _ jP F , a ■# a _ r^' T K 3_T____L^[ i _S_ y j j ^^ T~ j r > j Hffo - &- P b#^!ii j ri jHjjJ^^uii ,a ^M^ ^ Mi Fa Fa Sol Sol _ _ _ _ _ La M s=t iw w w *m ? i __E I gss i r r r ±53? f^F =g=H P iifl-fflJS} A- fe gyiy^gy yj~r ^3 jsaa jja jjjj , La _ _ — _ _ _ _ Sol Sol Fa Fa m $ :a r g=^= 33 ^= rr fiJ £_S _n_* ^^^^ ^ ^^^ ^g^l Ml Mi ______ Re Re Do Do mm fEEES 2 -rr _= 14 L E S S O N, XIV. practice of theVolate to learn to take breath quickie Allegro ^_a _i^ ± ,_*_! !_»»_ -#- ^ flfl I^Sfe -*- Do _______ Ke _ 1 a f v =P gi ngy^ jgil^f^^ i^^fe La Sol Fa ±3' * Mi- Ke___ J)o ________ , Go . as Go as far as your Voice hiIJ adiiiit ___a -< S St - i r - r 3 ___ LESSON.XV. Practice for encreasing the compass of the Voice . Take any of the following Exercises and follow it up as far as the voice will reach with mo _ -derate exertion-, and at the extremity of the compass of yojir voice take those notes as short as possible; The notes which yon may not he aide to utter at the first or second practice , will perhaps he attained in some subsequent trial, and therefore you must not force the voice too much at once hut humour its extent; do not he so anxious to posses* them as to over strain the voice — if after a few attempts you do not find facility or at least some symtom of obtaining them you may conclude that the organic structure of your throat will not allow it . "hjoio Legate " ' i I , L l j3jCT2_ e_ A Volata of Semitones. 3L±3^T ( [ > £> > »b* t j? __±_ • P » .p» A _ _ _ _ _ __ _ _ _\__ __ _ ._ _ _._ _ _______ men 4 \> the arbove of Minor Semitones ■ #.^#****g*fr«y-h«jy t jy gFf 5 2 _£_5__2_^ -__'-. "" xr,. p vi »»• t»«j_ -. ~ -- - _ _ _ me [, Staccat( Volata of the Mjnor Mode \+ fj-_ _" b_. j>«. ^_ ^^ ^^^^= J_ '3>- ___ A S t aerate Volata of the Major Mode . + _. ± a. ♦ . _ men : F r ^ = f D____ «7 ^TTT • « .' men L ESSON. XM. . Exercises for the acquirement of Beating Time. 4.~ 1 2 3 j ^ii i rv -*=- I #^ 2=¥= Do Re Mi Fa Sol La Si Do Do Si La Sol F;i Mi Re Do d. a , iaM , -fr i Jtt I * * Ml fl .^ ft + ft * ' "*" i ^ ^ ^gtTTHTTg ^^a m ^T?= 477^ -j Fa Sol La Si Do Re Mi Fa ^^^P «P Fa Mi Re Do Si La Sol Fa 'iis sii FFi i JjaFm s^g ■S J p ttrm * : i i 2 »5^ * ' ^4 r SS « # :sfc zz ^TEZ3St -a — ,» C7~ rz g= #^ -i — t m rj- — ^ C7 46 -tr yxr ■ — •- — ■ - i m ^1 Fa Sol La Si Do Re Mi „.Fj Fa Mi Ke Do Si La Sol Fa ^ « i^ l^ ^F^ ^ T2 1 I -Tj ~— ^ 1 2 * 15~ it PS I *£ J. ilJ.i l IE Fa Sol La Si Do Re Mi Fa Fa Mi Re Do Si -La Sol Fa Fa m t &zm 3F?=i ^ !■• » m j rJ- ijr4 H -V J-lr-fU. J m W IFPg zc 4 — 3- G.1MUTS OX THE TWKLVK' KeVS AND Passages for the acquirement of Time -— * * J • j J.j- ^c ^ 3£ Mi Re Do Do Re Mi Fa . Sol La Si Do Si La Sol Fa m i me m *J- -* — *r Re Mi Fa Sol — Y- Do Re 4 K- Fa Mi Re 1 a s fe La Si * Do Si La Sol -N z^«£3r ¥ m mm ±==i. Re x\Ii Fa Sol La Si Do Re Do Si i JL g -^ 6 4 Sol Fa Mi K( Mi Fa Sol La Si Do Re Mi Re Do Si La Sol Fa Mi M Mi Fa Sol La Si Do 1 2,3 , 4k m '»*(* E : — d- ■ ft - w——t> ¥ ^ -J 1 JCC3Z =s=g= 6 7' 8 I IE Mi Fa Sol La Si _ _ Do Re Mi Re_- Do Si La Sol _ _ Fa 'Ml 1 2 k 3 4, m ? g~ g — ir g y ^3^ -fc- M±ZZ te — V -J—& Fa Sol La Si Do Re Mi Fa Mi Re Do Si La Sol F'a _ _ Fa Sol La Si Do Re Mi Fa Mi Re Do Si La Sol Fa Fa Mi Re Do Si La Sol Ke Mi Fa Sol Fa Mi Re Do Si 47 spi^gffi a S£}^fcg La Si Do Re Mi Fa Sol La Sol Fa Mi Ke Do Si Lt 10 ^i^recrPttrl r tfEg S ________ men n ^ftj^ i^ ggg ..Ti't-Tr^ ^_nn O II A_____ _____ men ui .ngH'jCTJffl prf'pi__crl_cCrcCi-r--Xr Cfi C n C-Cr'cC- rerrpprr^ tJ^JJ JJ33 .,' E men 14 WTTT^-^ S^S S r-r-r—w a f rr J i^T^^ S i_ _ uit'ii A. _____ _ _ _ _ _ _ _ __________ men rfttffW ____cta V-_ v r _-C # ■ p < s&y ^ _ tL__x_z_lf F men 18 *3EjEf^j g^ ^L^£^±j^^:rr _ _ _ T*^ _ _ _ _____ men 19 _S #__ a « ±3^__g £BJ£fr« I JJj ___ffi Sg ^EE______ -C_s • -J . 1 A pg^^g^^j^ ^^fe^f^ 3^ IF L.E S SON XV. 11. MUSICAL IN T E RVAL S Thirds. These Intervals arc often executed with the same rapidity as a Volata passage; this practice requires great nicety from the intermixture of minor and major thirds according- to the law of the Gamut, as their frequent fluctuation will be apt to deceive the Scholar unless by particu- lar attention in slow and careful practice he acquires the habit of making the true distinction between the minor and major third, as in the Example. C. MINOR PRELUDE nun. nun. nun. niu a nuij. nun. nun. "i'J- nun. tone lib Mi Re Fa Mi Sol Fa La Sol Si La Do Si Re Do I i i r i -| — l ^-t-^' i-J-s: n Jg^- 1 ggj r^J" Do La Si Sol La Fa Sol Si Fa ^pPIPpP in p i Ro Mi LT5 Rr-T • . . . „ _ D^ rrr^frff^n^ o Fourths 4-9 ,C. MAJOR 1 2 3 4) H~" I - ^ ^ sharp |4 th ^ Do Fa Re Sol Mi La Fa Si Sol Do La Re Si Do 3 ^iUi i ii i d4u4U4 4. 4. » » -^ » ■ ,) ■ ■ *t I r^-irp M-JJjj i .i^fUijJlrrrr l ffJr l rrr ^ i n :- zz^& sharp 4 . Unison I J B 1 U 4 §P | Re Fa Do Mi Si Do O Do Sol Si Fa La Mi Sol Re Fa Do Mi Si Do ~C~ Do Sol I 5 ' d 4 S # I . ! 3E fct3r -jLj-U4-^ ^ ^SE i -F— #- 3X Fifths False S^ C. MAJOR £ ^ -&-. "vT m ^^=: h rtV 33 £ 1 Do Sol Re La Mi Si Fa Do Sol Re La Mi Si Fa - _ Mi I J J g j I. J '1 ±J. LS 1 L S WW • • » rH*+d- — ' ■ — I? : €r r *HMF ): J!I Q 5 5 =a=g= ^ S^£ 3CZ ¥S^ (O 1 1 En— ffi - 4—F A o-e-'j o — r -©- FalseJ* -,_^ p T^fj^^jzhtzH i i J i i <0 IIP i£f? Sol Do Fa. - Si Mi La Re Sol Do Fa Si Mi La- Re Sol Do Re *^ do §E J -i— c 1 ■ i n— ^Id ^E^E^E^ ~a~ — 1 xc i a .! ^r -sh -s- s^^^p ij j J J L-^ p f!rrii' o j pfe s Sixths ,o «:ij. , niaj.| min. maj . maj . mm. min- T>1 J*l I i . i i i - i i s i I a i 1 Q i H • « J -^ lt *'J* t maj.} in in. ,I,a J • i lua J • T ~cr I Do La Re Si Mi Do Fa Re Sol Mi La Fa Si Sol : ~3^ 4*£~ Mi a a S I S s^ ^uj naCTi ^JJ i frfr i 'iT ^=r W ,>u &S=rrntTi=l £f 3 IllilJ maj. m i 0* ^.tone s^Pl Sol Si Fa La Mi Sol Re Fa Do Mi Si Re La Do Re Do . :ft I i~ i ^~^~^^~^- -» — » £* ■#— # =g£ d=J C.MAJOR (1 I m Sevenths maj. min. min . i ,ia .7- f^f i torn Ipl ,min. min. nnn^,- fc=£ S Do Si Re Do Mi R.e Fa Mi Sol Fa La Sol Si La Sol 1 ~* — * -I- * r- o ~^ » ' ■ ■? : p p- - 1 I llJ-dr S^ 3 ° — W -»:-* -d- ^-r 8 ^F -u_ 4 'hj- § S 3 v ^ ' J J p J ' d ^ b-d- -d- ' if P i§ IS fe *2 33 1=^9 f id & I Sol Sol Fa Fa Fn Fa Mi Mi Mi Mi Re Re Re Re Do Do ^-^-^ S NP^P* ' p? tfc ^ — ■ -I l>! -J — i=y J li>cU a=£s ^ J'U'J V U r> =2F 3^3 I i >m i C.Mlm l* \ s s A c; k s NS . Kix i In* Vbicf on the 1^' Note of. the. beguiling of eaeh jpafsage. C.Mai; a - - either - ~ - - - - - ■**- _ , a - - - "^- - ~ .*• - - _ . - UP. mill: _ __ - C=» , D!».maj: ___ ^^ ___ top^m il - - il - .. K . niinj ^ a F. min: "^l^t: '"^^^S^ - ^^^^j^ n^S^ F.maj: i^ g^^^ sapa c^a •FJUain: _ ->*, FS.maj: ^ * G-.min: G.mnj: \P. maj.' P^^^M^i i^^si «C^S»C =S^ g53^ r%#^%^ ^ ^^^^^ fa^^ ^ ^ ^ fe- t? — cr Solfeggio Solfeggio .u«' in reality Melodies m the form of Sonars , and to y-U'e thorn thai meanfiiK; , i:3 *=4 r- Re Fa Mi Re Do La Sol Si Do — ; ■ » J, P^ '» - t ' Do Fa Mi Si ■ O ^ S -y ^rrrnzrt ±t r ^ I m * ^m^ tt4 / -■' -i^ z„ Fifths a t . o ^ t - O ■ a — -ir La Re Mi Re Do Sol La Mi Fa Si La Sol Li Si Mi La Si Do Re Sol J— *sL-3 1 ^m s=^j ^ =*=^ j 1 J j r M^=l g l r r r i - 1 ^ J=i fe^ ^^ j& =^= is 3P ^ 3ee^£ Sixths — -ft — i 1 — t a t Q 1 :i mi I — i " — ' — i *^ Do Re Mi Fa Si Do Si Do La So! Re Do 6,- '-L P 6' ma. 6 1 gta-q-' ! I-+- iir.a.A «• S -M~ fca 1— ! ££: 3= 8 j i r rT?=^U4^i :#=t La Fa Mi Sol Fa Rp Do Si Sol ^ ^ : j!,i rn^ s a , — f- 1 fri -f- zfc^rjfc: -jlJ ir « at fe£? -*t™-t 7ir 6 mi I w +• — * P-4— F-4 R3 Sevenths s s s s 'l " V-s t — s t ^t* Si j- $Qr± TTZM ■4 s- S 1 r *-^ ^S Fa La Si.' Sol So! Ea So] La Sol Fa Mi Re Do Si La' Sol Fa Mi Re Do Si Do Re Mi La -111.-. da ^^ T ^ 5 ^^r ^M =jl- pi '~^fe ^ : a * 5 g -* — «- a: ^^ * lb J - yj_ p-{ =crr p r^T * fcl^^^-g ?i\ 4>ma.7mi. 6 ma. 7 Ivs I ■ ""'■/ " '■ ' H Octaves # 4q §^SE^i=jSB=t2a I^Si t - s s s H 331 P Mi Mi Fa Fa . Mi Soi La La Sol Sol Fa Mi Re Mi Mi La. Ja. I S OLFEGGIO II. Andante ^jil p 1 1 ^Wffffe La Do Mi Mi lie 1)<» .Vr. Co h «-orri B ^ 3EE& isp /. a£ ftfc ± * I I — F ^^ y — 2i r mrgT^- rn ■£** / /» F=t=F^=FF P { UjV J -=2=^.^ -- LT. . Tf -t- ^ • ja S-"^= 'IV ./ ?t\ g^SS M^i r - j H-j^Ffj ^ S3= ifc^ftly *E ■T i't :z2:5r Pffl f+gfr B5 I frTl*_g g*£f=3 i M -A 9-tm ! m Wl\J JJ i t f-rfcfe t7 — n» ■i y- «i ' a Fs3 p " : Tcj UjljUJJ^j^4^J^ Q£^p:^£ ^33 3 E &3 ft ^ergzr ^gr^. H-'B-^-H.! r ^ I ! U < • — p- #=^ M :^ = t S+R=f ^ ■ — e= • — # s / '^ L ! i> ^^^P^H^P "i ' ' i * ^ f k+£jF:'--fa ^3 a s ^tg ^fc.fcfft «H w ±4 I ,_):^-~sr teari-faa aq H hf"'-- .!: prri . rzr: ^^^ i^fHalu ~m ss -:-/", is, rr-T-rr-, . . s l.-M . . . - — i: ^-*" ^^^^^1^^^^^^ ( K L r i rir r r) y-f^ -B Crcs: ./ /• 3BJ4If-f-4 J 1 u e r ^ i i i i N N, N - I h->«fc— * si a q— ^- -a^a- i— T^g ggESrgr B — CT PT> ■ ■ g =r i^-&> 5= -*^r t ^H - 4 i O 1 1 - P F =F 4 ■ j i Solfeggio III dte ^^ £ -X/* m mm tX i m-Jii ,i I J J-LJ-tJ J- y — J N J i , j I ■! f l ill ._£ J I J i, cJ EEEfliEE pp =S* P * *q #q= ~2: 5 I rs -*a- FP? /O c i r - I • iJ n^ pp *£. -A K a w=^ li^B g 3 ' »j d^ j ' 'cf Bfc I 3B QE 1^^| ^^-h^ -© i- -e>- ff^i as? /> ^fh^ ■¥-?* M 3 k !* 3± aaljw; i i : o— r 7f dim: § i jijJiJ in J 1 'i| iiilJii,"iji. | i l l XjJ | J- 8 E= ±= £ I 1 ! ' 1 =E — — I 1 EE E gpj: q=xr S^f ^~r Andante con moto Solfeggio IV. Corri #^r r i r f i r urr mj.ji'- if tit i f u'i f=g Si Do Re Si Do &c fe J J, I J , HP frt"?H 7=N S £p3 ~» * * A-4 v • s tnumpi P =? 3=^ i er- as /> *=F= S 5f / • F- & +**£$ ?m j JVTO J v I J Ihb^ij. >l J. ^fiSffi^ ■ i*'* ^^ ^ . ./■ pp^^^^^ affiag ^ 3f*P r»& =C=fc£ We ■±E=T± ^=* f f r—T ' ' i -T=* bf- E^ ■ }/ A # -y- 5 -* — 5 I l* is P \ P F~ P m[ - f*::* P^W^ B -» A^ -rf-y-- - *"T r- — i"T< i ^ iP tr v N K .J.^ i JTJ-B o> fee !£=* 48- 4- ^ /S HA** f- , b * te f g i f J it 3* £ • £ i » ► £ S fe i rrr ii * ' * i -h^ fr^O^B II -C*. i i E= A ■ ' B i i i j j * • * t 5>E §E £1 * i f /, m r m P— H* »!--F- * £33 5 OT I*" "J T* s .A- i r * sa r hr 3J Eg r-r^ j pp ^1 p &Hj o» (pa f =c ^F 5 s I Minuetto Solfeggio V. sg f I ! V Crc -^ij r rif^ J .u.Ni ^s Corri It .;s usi 2, ^^ iMaiiMppM 1 * H^¥^f W ^ ^=±^^^4lU-W-^U i^T* * atf fi-l-rH P W ^S ^2 ^ Mp^^P^^^^^ SFfrrE ES 5f "^w -/ =2£=2 rrfA^ jlfillii •5 & f l^i^^^f j#~j_i~ f » j- i * ffW i ie^^^pEf M ^ ^ < i j» ■ >:«. ! - .2 4 .f 1/444, J ^m & f f r' l "^ Larglietto Pastorale. Solfeggio VI. Corri gfl * m jig - C.l c_i o__ i «/ i= Sol Sol &c s ^ J I u y Hi -i-m^^m m^m^ ^s ■H — V- rfc^ =p= LP /» £ '* m. f Sr-i r**- Hi ITl 1 I S. ■ ^V^i^' r #^ ^ ^^i £ • X.T P -&- ^^^P^^^a^ £ 2 -t — ± i5^=K JE -q 0- . t 1 ■ ! ■ 1 — »h 3 * ft— »- 4—^ — * -*— ^r +-* + * » f ^ tiLa * ■»:* * ■» * ^ • «•*♦-«■«■# r .g a^ » ft , .f- * *^l~ — ■ ■ — i * — h-«-4...je — , — j . -i jc «--- - ~ ■ > F -«4" — . ' — 4 — #'— (- — ^ — , — ^— , — i — m I j i — t — •I-— *-="-J- -i-ESS =^±&sss£ ^■ ass^-H^ x^=^s ^ ^ *•£* s *tl — * : __^J. _l b ar - : - g^- ^~ Hgi^t^ £3333 E^EEE EE=5 -if ' fa. , i -^ i t,.-^-. . i — r i N I - Si I N i — T rf^ :N mm W^^^^H- GtJ E ft (in ±=afe=ipl==^=±i: in ^-j ^ ^m m^ ^^m ^^^^ ^^m^ 2. p^Ptto tz jfi */ SE S fci i. a ?5# SEE |! i pplipNi^ Andante p^S^^ffi Solfeggio VII j*-4 Si soiinr &c #*s tft±i -g — hd- Hasso r i • g *—*—*- F— S— T S H^-«- ^=J ' *=F5 /■ £ tt^ 4 ra# i^£ > i » .f«.g a : K4 S^f P Q P 1 ^ S 2q ^ gab ^ jjj^^^e^P ^ | j prp-^pii-M, ^3 Ff^ ■* F' a gjjfcl ^£ j ^ - f-^ * y Ira P lk H?- q r p^ £ :^^ g^ fe y^ Jj g ^LZiEE )! * $se§== fefoj-;^ iQ^j^=^i^fin^E V -i»-!r- •- - - fegtef^s ,ct3EE^E fet^=p^^^^^ # — »■ p r , p * a -J— ~-T ^P^jJ^^'^^^^^^Ep i j L 1_ 1 &J tij£== 4 — *—* : jJ - : * [ -j - * ^ ±4 m * a — t- s ±I^Et£ffi4 I ^^* *=fr =3=6 ^£- , , f g_r 1 ! ^-^ ^^i 35 =?^ - * -^ ss o Alleg-ro / LL^l^ R^FF? 12: I ^ »W-»- Fine / f i,\ ;'l J , j J - g J JHtUi-ri-ptT-fe E ^1 m ^ / mm «g-t ^^3 ^ :i 2 ^S H-rf ff I g S ^=» r g p - it=* F#- A r j . j | .j-^ | J-j fag B r r « S *=? %M A S^ ^ firrf-Tzt; ^^ ^ aFfJrJ EP Hpc ^^ro^-jS ^ A. ( jf^j^jjto^p^b ?^ r i i *^Hi ^ M S fe SS£ -T— r- #■ xin =d± / ?P£E ^ X E3fj^ jgf. Dal Seg-n- ^^^H fj*2 S O LFEOGIO V 1 1 1 . All? 11011 troppo Re La Fa &c ft— A-i — ^ — I 1 ■, — i N — I N— i — i N- fe ;If h* Porpora tsJ- ^^m p W^mmmmmmmmmmmm fA ryff ^m ^ ^ r ^J^frF^ ^ z= ^r^ is0 m^ = ^ m^^m=^ 9 ^m f): 3 t g ^-f- 1 ? r i r S se iCT — 3~ 3==* ^^L - - if » . j» ^JF *- f£Bfcfa! l » pv p^P ^^^ ^ ± -sj-^ ! *v . ■ '-'-V.J — J ^* — .^%ir^_-\ A-* — •-#-. US* *»«3 S3E fri 1 P " £ y— N- ^DZ ^ — ~ -jp£5 ^rrr- *. dT*, JS=JPB&-T- m ^m^^^rn *- — * i*-* xdssSShtisc H VJ.Sf . T • ON EXPRESSION. r '* Rules to be observed in order to it's attainment. Tliis Qualification being so Important aivl indispensable to Vo- cal Music, which in a skilfull Performer directs and guides the utterance of^very Tone and Word , I have thought it expedient by some farther observations to enforce on the mind of the Scholar the absolute necessity of its attainment . There are four distinct Requisites, to be obtained. First, the formation oi' the Voire. Secondly, to Comprehend fully the Character of the Words. Thirdlv, the Nature of the musical Phrase . Fourthly, and lastly to be well acquainted with the Style of Composition . Added to all these it would of great advantage to the Scholar to possess some know- ledge of the Rules of Composition, & he should also have a good portion of Discretion to re_ gulate the use of these several Qualifications; always holding in mind that as too much Honey will be apt to cloy, so too much of the Italian Taste of dragging Notes as if from the very bottom of the Stomach, may too much resemble that retrogade motion it is some- times MibJecT to , and which would be kidelicate to express in broader terns . Singers are of too sorts , those of Taste, and those of Knowledge'; the attention of the for- mer is entirely given to Graces, as dragging, shakes, turns, &c. at every Note , (a Rock where most Singers are wrecked;) the latter chiefly attends to the Character .Phrase, and Stvle « having Ornaments a.s a secondary consideration. • j The Scholar having fully attained all the above and. foregoing Requisites, and Qualifications, as the Architect who has collected Materials "Tor the execution of his Design, before he begins trie Structure', may proceed, thus prepared, to the completion of the Work . SINGING. i By which is understood a Voice uttering Sounds conjoined with Words . it may be- observed, that although Sounds and Words separately produce effect and meaning, yet, when happily combiner!, the- power of both is increased; but unless the combination be so just that each appears created b^ the same impulse ; that the Mind, the Heart, and Features of the Counte- nance, which is the Indi'X of the Passions, be impressed with the feeling, those Words and Sounds convey no correspondent sensation can be produced on the Auditor ; for a smiling Face accompanying; the plaintive tones of Grief, or a melancholy one uttering the gay sounds of Joy, could not effect the aim of the Singer, which ought to be not only to please, but to delight and to charm; f<< r .Mediocrity in a Singer, as v*ell as in a Pott or a Painter is not to be admitted, bet a Scholar should endeavour to proceed towards that perfection which touches the H^art so delicately, as the finest Pen is incapable of describing to the under- standing . 64 FIRST REQUISITE . ' The formation of the Voice, and also the different acquirements in the preceding 1 Exercises. SECOND REQUISITE . To ascertain the Character of the Poetry ,whef her Sacred, Heroic, Plaintive, Joyful, 'Comic, &c. and accordingly endeavour to assimilate your imagination to those ideas. To elucidate the true expression of the different characters of Words it may be of use to divide them into Classes thus Fillet. CLASS. WORDS SACRED AS God, Jehovah, Lord, Redeemer, Holy, TW'rcy, Kc . These should be sung with a chaste dignified simplicity ; every Note taken with softness obser- ving the Crescendo and Diminuendo with moderation , not to the full extent of theVoice.and.fu <• from all Graces or Ornaments . SECOND CLASS. WORDS OF GRANDEUR AS Valour, Victory, Fane, Glory, Honour, Triumph, Re . These Words ai*e to be sung with a full firnrtone of Voice, taking the Note strong at once, and dying it away as the Rules of Diminuendo direct; sometimes the introduction of the anti- cipation Grace may produce good effect, but^e cautious in the Use thereof. THIRD CLASS. WORDS OF ANGER AS Scorn .Disdain , Hatred, Rancour, Malice, Revenge, Kc . These Words are to be uttered similar to Recitative, ( See Recitative Page 7®) for the effect . is chiefly produced by the Words, not the. Music ; it is also a general Rule to be invariably ob- served, that Words accented on Consonants ending in st,th,gh, ght, ph, or ss'd.mustbeexpress'd at once, short and distinct, taking care that the Consonants are heard at the ending of the Note . FOURTH CLASS. WORDS OF SENTIMENT AS Love, Tender, Amiable, Dear, Fair, Chirming, 8Cc. On these Words , as containing many Vowels, and on which the accent is long and sonorous, the whole' scope of the Voice may be exerted to its full extent, for on such Words only, Singers may m ith Propriety display their Fancy, Taste, and Knowledge, by the introduction of Ornaments Ca - fences Graces &c . &c .The letters A and E are particularly favourable for the Singer, and it is their frequent occurrence in the Italian which renders that Language so preferably calculated for Music . . FIFTH CLASS. WORDS OF GAITY AS Mirth. Pleasure, Joy, Laughing, Jovial, Sprightly , Re , Th'-se Words ought to be sung playfully » (SherzandoV with clear, smart articulation, introdu- cing -i less, degree «f ornament than the former Class, Turns excepted, as they give sprightliness to the style of singing. 6v; SIXTH CLASS. WORDS OF GRIEF AS Ah me.', Alas!, Crying, Dying, Sighing, Sorrow, &c. These words are to be broken by a suspiration introduced between the two Syllables thus, Sigh-; suspiration) -in;- &c but unless the Singer feels the distress, it rather produces mock _ ery, . n Expression, for the just and true effect can only be dictated by the heart,"the heart: t lat fi t and best Master which corrects the delects of Nature, softens a Voice that is harsh, ameliorates an indifferent one; and perfects a good one; when the heart sings you cannot diss - emble, nor has truth a greater power of persuading'.' THIPT REQUISITE. A ^hrase in Music is like a sentence in Language , with this difference, that one word will not form a sentence, but one Note can form a Phrase in Music. Cre / Din, ^ p ___Cve__j/ 4, C re / D Thus a Phrase Thus a I'hrast r -n Thus not a Phrase I ^ i£* /> I Thus not a Phrase I tr Thus not zh. a Phrase Cve / r oj Thus a Phrase P i i Thus =S=li : a Ph - .mu so oil of any number of Notes that form a passage, wherever the Voice falls by a diminuendo. Some sentences containing many words may be uttered in one breath; indeed a sentence is sel- dom or ever broke in the midst by taking breath; . whereas, in a musical Phrase you are fre - quently compelled to do so, from the length of some Notes, and the slow movement of the Musi( but v.hen the Singer finds' it necessary to take breath, he should always contrive to do so by ;> dying or diminuendi of the Voice, because the brea 1 : will then be less perceived; this does not produce uny defect in Vocal Music, on the contrary it is sometimes productive of happy effect , as it serves to sep.ii ite words which v. lien conjoined might lose their true and precise '.near. - "*• Example The following Song Angels ever bright* '&c. of Handel, if the first sentence is sung without any the effect woulc 1 he the same to the separation of the woi-' a written, thus, Ever bright ar Ear as if these two words bright and" were joined together thus' brightand" whefreayf the word '..i l"was separated from I right "by a break as in the following Example,it would preserve the true „ , , h* F p m ; l hi ' -'He of « accent ot the words, tins, ~}^- ^ « r -g ,— t^,^ ^.^ [ ^ all words in repetition as Sad sad is my K-vel- bright and fair breast ' Gone gone is my resl ' :r should be divided. Mv Song' Beware of love" affords another instance to prove that the st parating words greatly conduces to effect, in the first Verse, which Koyan address es to his Mother expressive ofgrati _ tilde, the repetitions of the word "no" are sung, th' g&c m> nn no ru Mother no In the second Verse, which he addresses t<> his Sister,.couvev"ing a sly caution w ith s ome degree of irony, the repetitions of th- word "Yes " should be sung, thus , ZEE* \es jes vt* _\-.s oh Sister yes and the difference of effect demonstrates the advantage produced by separation of words as above /••marked; also, when the letters K, th, gh.&c or ;mv harsh sounding Consonants end a word i'nmo - •itely followed 1>\ one begining with simil ir Ictti rs, great rar • sh< i II !•<• taken t 'iv'^e t'"v ■» vior 's . fid Rules for tile management of the Voice . There are four sorts of .Voices, Basso, Tenure, Contralto, and Soprano, (see page 81) the ex- tent of the Natural-Voice 6f either denomination , is in general no more than one Octave and 2 3 or 4- Notes beyond; altho 1 the Voice may contain above four Octaves the p; rt of the Voice be- low the Nate - ! is in general indistinct, inexpressive and destitute of power -, thai part above the Natural is called the feigned or falsetto Voice, with which some effert of Pathos m-.y \ <• pro - duced, but is not capable of energy: therefore the attention and practise of the Scholar ought to be chiefly directed to the attainment of as much of the Natural Voice as he can'possil ly ac- quire, and this practice ought to be made With great care and prudence; extending a compass of Voice may be compared to the stretching a piece of Leather, which if^done violently at once, wilt break, but if by gentle degrees, daily increasing the force and distance, it may be brought to stretch very far: The Scholar ought to begin the Exercises of the Voice from that Note which he thinks the first of his Natural Voice, and from thence proceed to its last x *< te, every time if after several trials, he should not succeed, he ought to give up the attempt, contenting htmselfwjtl what nature has given, on the contrary, if he sht.uld obtain this additional semitone, make the same experiment with the next, and' so on '. After the Scholar has ascertained the compass of the Natural " >ice,his great study shoulc, re to contrive to unite the Natural to the first Note of the Falsetto, to blend them with such nicety, that the union may be imperceptible. < A great defect in most Singers is the imperfect Manner of joining the Natural to the Feigned Voice, the sadden transition of which, frequently gives a shock to the Ear., abrupt, as the squeak •>f a little «!> y, which is unbecoming the dignity of manhood to utter, or produces a similar ef- fect, as playing at the same time with one hand on a. Small, and with the other on a Grand Piano Forte . . Examples of the bad effect produced, when the Natural ;ird Feigned Voice is not properly united . In Mr Shields celebrated Song The Thorn " this passage No, by H-av'n.' I exclaim'd, may I perish] " requires three different degrees of energetic Expression . 1** Degree 2^ Degree ^ 34 Degree Piano ' Crescendo f=3^E pET£ Z — - j^--£ =£Eg No, by Heav'n! I ex- daim'd, \ m'aj T r>er - ishl But Singers from want of skill in not measuring their Compass of Voice, are often obliged to Sing the third degree (may 1 perish) in the Feigned Voire, instead of the manly energy require the effect of which is, that supposing one's Ryes had been shut, one might have mistaken it for «■ Duet, the Tenor Voice singing"No, by Heav'n!" and the Soprano answering "m.y T perish ' at the mime time', I do not mean to exclude the introduction of the Feigned Voice( which some- ' i ' 1 1 •■ ■ ma) l( ■ -sod i great advantage, f"r example, in the words of the second Wrse to th.- ! f)M mention >d Song, ' Yes, • II consent, if y<>" 11 promise Sec. which should he express.^ 1 in nii'i i «i exactly the opposite of the former Line, for in uttering th<"se words conveying the I adys answei to her Lover, energy should rather give place to delicacy and softness of ex _ pression . I My Song Victory in the Opera of the Travellers affords another instance of this unskil _ inl execution; the following passage requiring also three different degrees of Expression . I** Degree 2'. 1 Degree 3d D( , Rree / Piano Crescendo Piano Cresrendo 111 come to thee. Til come 1m thee. When the glad Trumpet sounds a Vic^to_ry! iilrss the words of Glad, sounds; and \ictory"are Sung with great energy and in the ivie Natural Voice as the rest, the meaning and effect must be destroyed. I ' Singers ought therefore to measure the extent of the Song, with the extent of the Voce, ami pitch the Key accordingly, for every Composition is not calculated for every ones ahil - ities, hut should they have a particular wish or fancy for those pieces that are unsuitable to their extent of Voice, by which some part must be sacrificed, either the lower or higher Notes, in this case, I advise them rather to sacrifice -the lower part of the Voice than risk tlw break of the Natural Voice with the Feigned; should this transposition be ineffective, let the whole of these passages be taken in the Feigned Voice . A circumstance also productive of bad effect in flinging, frequently occurs among Amateurs, Viz: Soprano Voices singing Tenor Songs, which is in my opinion extremely absurd, ^irst , hecause the words are seldom adapted for a Female to Sing, being intended to express the sentiments and passions of Men ; secondly, the Composition in general requiring more ener - gy than a Soprano can give, and thirdly, a Soprano Voice sings an Octa»e higher than the Tenor, consequently the same Key which is ■ easy to the latter Voice, would often be squeakie ■- and displeasing Sung by a Woman . I feel it here incumbent on me to recommend a caution to the Parents of those Youths employed as Choristers or otherw ise, v. hose Voices in point of compass are at that early period of life e _ qual in pitch to the Soprano of Female Singers, that as soon as any affection in the quality of the Tone of Voice, which sometimes very suddenly takes place, is perceived, they should immediate y ' be, forbidden to Sing and avoid all practice whatever, for the Voice generally remains for some fiine in an unsettled state, and even when it begins to form either into Tenor or Bass, the prai _ .it first should 1 ■■ \ r.v short and moderate; endeavouring: to cultivate that Voice t«> vifTcb ■ 1 • seems I ' ' 1 1 <>8 MUSICAL ACCENT To this study the Performer should particularly apply, for without Accent there can be no ex pression, it is this knowledge that directs the Singer to moderate the Voire t<> tli.it exquisite decree of torn- adapted to the spirit and meaning of every Note. The accented Note or Notes of a Bar, are those on which the Emphasis falls; in E'en Time I there are two Accents in the Bar, in Tripple Time, there is only one Accent in a Bar. Ex amp It" Even Time accented unaccented ac: nnac: ac: nine: at': unae: ii< •• nnac: a( : una' : xr^ f ■ E =^H ^-^E^E^m Triple Time ac: nnac: nnac: nnac: nnac: i^ 4= m^ It may be observed in all Vocal Music, thai a Composer to express energy will place the ac - ■ -.ted s\ !1;.| le to the accented part of the Bar, and also use distant Intervals, whereas to express hos, he will employ gradual Intervals; but although the Composer has thus arranged them ac - cording to the meaning of the words,the Singer cither careless, or unskillful, often destroys their intended effect. Example, in the Song "l know that my Redeemer liveth".the great Handel intended the Accent to fall on the word "know "and accordingly employed a distant ascending Interval, ' I know that my r_ (which in point o( Met- Had lie expressed it by a descending Interval, thus, J know ody might have produced as good effect) he must have destroyed the Energy required to that word . A contrary effect from the above Example was intended by the Composer in the Song of ac : "Aiurels ever bright and fair" the Accent here, resting on the first Syllable thus — m __j -SE no *-* f— « . ac: ac: ac: , ac: Angles ; Also in the National Song 'Rule Britannia" 5£=q^=j i m— f^ ^j^fLL- f ' j (r£= ^= '-'When Britian first at Heavhs command Sin<«ers ought rigourously to adhere to tin meaning of the subject, and this, if glided by common sense, they may easily do, by first reading the words with attention and marking the most important in each sentence, which word will be always found to correspond with the ac- cented Note of the Music; the Voice can then be regulated in the manner that will best enable the Singer to give to the passage the degree of Energy or Bathos its subject demands, and with . out such appropriate execution no effect can ever b'e product 69 STYL K S . All Styles in Music are regulated b\ the Rythui of Time, the measure of which gives the character of the Melody, every Melody has some peculiar predominant accent which distin - -guishes its Style , whether Slow, Moderate, Quick .Pointed .Majestic, Legato, Staccato, 4 c^cwhich is expressed by the different denomination of the Time I shall divide all Styles into three degrees of Time , namely , The Cantabile. The Andante. The Allegro. Slow. Moderate. Quick. Bv the addition of other words to these degrees viz: Piu Lento, Piu Presto, Non Tauto,Con Moto, Maestoso, Stherzando ,\c: we can effect innumerable changes of Character . First J) e g r e e . The Cantabile . Which term is derived from the Italian verb Cantare (to sing) this may justly be called the superlative of all Styles, and is the source of every other, like a River furnishing various streams; the elegance ot tast<' in Singing originates from the touching and beautiful effect of this Style, from, as the Bard expresses; its."-Notes of linked sweetness long dnwn ouf'The Cantabile compre- -hends all soft, slow movements, where all the charms of Vocal Music may be combined — the Messa di Voce, the Portamento , Tempo Rubato,4rc:here are used to their full extent, united with an elegant and noble delivery of the words. The Grand Cantabile is that Style, where the Singing part is left alone and the Piano Forte or other accompaniment, only gently touching a part of the Harmony, and seldom in unison with tlie principal Melody . The Pastorale or Siciliana,maj be included in this degree, but does not possess equal gran- -deur of Style . The Time of this National Air consists of Six Quavers thus (6) an d unless the last of these Quavers is retarded or dragged , a wry small almost imperceptible degree, its peculiar character will be lost, and also, if the. Singer is not very cautious, the Time of this Air will be apt to steal into a Jig of dancing measure . The Scotch , Irish, and Welch, Slow Airs , may also come under the degree of Cantabile, but with this distinction, that the manner of executing them partakes more of the familiar than the grand ; or(to exemplify the manner meant) as in conversing With a Superior or an Inferior a difference of tone and manner is assumed , thus , in Singing, the former refers to the Cantabile Style, the latter to the National Air . In these Styles am passage of the following description thus J * ' - ot — 2~*~~* — the shortest of the two notes ought to be made still shorter, an«J a smart accent given to the se- -cond note thin • =gi £S S E t O N D D E G K E E The Andante. This teml being the medium of the two other degrees , although ot itself it has little sig- nification , vet with the additional words annexed to it as mentioned above, affords various Styles. Characteristic Songs — The principal and chief attention , should be given to the -energy and pathos of the words, arid accordingly to vary the Time, as they require . v See Pa'j;e 67.) Rondo and Ballad — This Style is of various degrees more or less Slow or Quick, and in ge_ -neral comes under this denomination ; this Style is simple, easy, and uniform in the Time. Polaeca —These Polish Airs are of peculiar construction; the Time is triple thus('J) but instead of beating it as three Crotchets.it ought to be divided as six Quavers, and place -the ac- -cent always on the second Quaver of the Bar . Romanella ,Barcaroia, Ritornello, and other Italian National Airs, are sung in a flowing careless Style (if such an epithet as the latter liiay be admitted) dropping the sound of the notes, as soon as the Syllable is articulated . 70 T H I It I) 1) E G R K E . The Allegro . This Style embraces every thing Spirited, Lively, Gay,' Animated; Agits^ed ,-.«$•€:: The Bravura —The execution of this Style requires firmness of Time, and distinct -articulation, and whenever any holding notes occur, the Messa di Voce must be used in its fullest extent . The Alh-gro Agitato (of distress) affords little Singing, but should be uttered nearly as speaking in musical notes, similar to Recitative , the introduction of the Tempo Rubato in this Style produces good effect . M I S I t A B l F F A . Comic Music . This Style is susceptible of the greatest variety, and maybe said to include every other, for its range is unlimited ; Sentiment as well as Humour is occasional!} introduced , and the manner of uttering the words must accordingly change, therefore , a Singer of this species of Music, should not only know the peculiarities of the Musica Bulla , but he acquainted with those of all other Styles to he fully complete in his own . This Style is not properly understood, and is by many slighted , yet , is certainly the most com- -prehensive and expressive; it does not permit the adapting words to Melody, which' is often the case in serious Music . but Melody must be created to words , consequently, truth of expression belongs particularly 'to this Style of Music • it approaches Aery nearly to speaking, and its deli- -mt\ should he free , natural , and animated. It is best cultivated in Italy, but even among the Italians, capital Singers in this Style are very rare. The Vocal Music of all the other European Nations bears no distinguishing peculiarity of Style; their Melodies in general appear to have been derived from the Italian School . Recitative. The Recitative is well known to be a Style of Music peculiar to the Italians — the true and correct expression of which like the Idiom of a language is best learnt from orai communication, indeed it is almost impossible to convey in writing any idea of its peculiar character. Revo resemble'S speaking in Musical notes _ hut mere description cannot li\ the exact measure of that inflexion of tone necessary to be used , which should be a medium of sound b< - - tween speaking and singing; the only certain way by which a Scholar can obtain any accui <• knowledge of this Style, is from opportunities of hearing it executed by skillful Performers,;lx _ -sides the peculiar mode of delivery belonging to this Style ., the manlier in which it'is written is not always sufficient to direct its performance , nor will the various changes to which it is subject , admit of those general rules that might apply on every occasion •. therefore the ear must be the first Instructor , and judgement, taste, and experience, the subsequent guides. No particular degree of Time is marked to Recitative .but it is left to the Singer to pro_ -long or shorten notes, which he ought to do agreeable to the passion and accent of the words ; also __ , When a Bar, or the half of a Bar begins with two similar notes , the first of the two is often .sung a note higher . \ And particular care must be taktm in the utterance of the last note , concluding a Pas - -sage. Phrase or Period, which note must always be made longer than it is written, giving to it a sudden Cres:or Dim: (See Example) Hwdul Recitative. _ *- Written Example *J iir figure fyc ,<$-c ■ fix your whole attention on the subject of the Music, arid your manner of performance, 3- If near the Instrument, do not hold the Piano Forte, or the chair of the person playing, but stand easy and uneriibarrassed . +. Conquer any alarm which may seize you on going to sing, by recollecting the general good will of society, and the kind reception which the Public always bestows on merit ; remembering also, thai • very hearer is not a judge . ' ?■_,. '■'.■ ^XkA^&xihe cast of countenance adapted to the subject of the composition or character m which you sing. 6*. According to the size of the Place whether, a small or large- room, or a Theatre, proportion the degree of power you give your voice, and this circumstance should also regulate the degree of expression in the countenance . ' > Ml \ou. sing in a small place, do not take songs of high pitch . . S.If you hold a book, do not.let it be so near the face as to impede sound. 9. Do not shew any motion of beating Time, either with the head, fingers, or foot . lO.You should not delay till the Symphony is over,to clear your throat from any little roughness or husk on the voice,which frequently the agitation attending performance will occasion —but prepare } ourseH du = ring the Symphony. ...--- 11. Do not wait the striking of the Instrument to anticipate your notes-— you are to sing. and the Ins; in = rhent to accompany . 12.1f you miss any note or passage, commit any inaccuray in the Time tyc .(and such accidents rftttj hap =pen to the best Singer)do not be alarmed, and look about to discover who may. have observed it, which only serves to betray your error ; reccollect I repeat, how few among even a great number of persons arc Connoisseurs.- 13.Ifyou accompany yourself, remember that the voice is principal,the accompaniment should onl\ be subservient, and instead of playing Octaves or Chords with the left hand (as some persons frequen Ij do) content yourself with what Handel , Haydn , or other eminent Composers may have assigned, lii most pardonable fault is the playing less than is written, rather than the adding to a Composition . Pt-In any passage where the notes of the Medody-Tarie: in Unison with the Bass, if you possess knowledge of Thorough Bass, do not use it here by putting Chords —for, it must be supposed it was the intention of the Composer to have the Unison, and it would be presuming to make any alteration . l-5.lt is not judicious to play accompaniments to Songs which differ widely from the Melody, unless you are perfect in Intonation ; many Singers are led into this error by the desire of appearing possessed of greater skill, but it may sometimes betray defects . lo Words .should, n *>t be divided or disjointed so as to injure their meaning . 17. Be attentive to the proper , accent of the words, and articulate the last letters of those ending j with < onsonants, other\. ise,part h ul ir!\ in a Theatre, they would h'e indii inct to the Audience . \ is If you Execute am ornaments, graces, turns, shake . nr-v he Shortened by omitting the Note-, under this Si^ ii e r ^'" r '~~ """-"-<- If they ai -\ .& too mg' ot .ton difficult. ' A. miii: j '--^ . Y.mdj- -*■ l J% lib. miii: IS p . iit 1 1 1 :^ r _ = — ; _, ,j J **« a ii . miii: Bb.ma]: Eg d? ij^Ss -t-rni bt» .w" lgj g||gi j jgll iil ..-^'•"~--_ in: ,-' "N .. B.nu,i' 1 j-^ .itrS n /,• N. C . miii; ^ ^^^^fe^ ^^^ ^ ^ f^^^ nb.miii^, J. ^ ~^ | Db-nij.- J^£f^Z2£hJ! - Dj. m in: .,, ~^^ D.mai: rr[_ _ , i, ,. ip^^liiiiji g^g ^ Eb.mih, . «/' Z'^''~ I ■■ »'»i-- .''^ ,,' e-^."^. - ^ — -■ * -.r« .~m ■-•-■i> ■" -«m— !-l — lw ^ ; -&4. /r ^ «^ -X :; l! .... J^/ /^ >S^- A. Ab.nrtiu.^*^ ^t, — l R E P R I s R A Pause of Suspension, A, mai: =^ 1 <- ! «.Vg.. E Pv" |, fe &=S ^ • f I I -I I 3 -* i KT^ - s -'s¥^^'-^"' ? ^ n7 *7-» B i I — Clu>rd ' " — • '■■»« i i i B-rnin.- B.maj.- . mimti ^^ S- 1 1 — -T — -*i* m *-^#h*j • 1 m S Wn 1 #~nr- -~m — «m*J«-- -»^«wg ^r— « — E5£5< « — -Q- ^U r h.-^-^* ~-ZM-aJZJ! a „-*«, -*-«^-< F»-«-.i-*- 1 Mfe -■——*-- a. Q , : ■i.b a rr — =-g-j m -r . S^ll^^^^r - r - v ^«-^*#, « »V » 1 »- - ,- r — r-gSh- ■ D.mill: D.iTiai." a* - * *- I- »- Chord *• ^^ *— ' *~^ S^.' -<"* iw ^ ww ^ , Bb.iniii; _*v -— v ' "v Kb.maj.- f^ -> Kb. mii:.- -. ^—y ' '7? liP.maj: ., ChoPl Char" Chor" CljOKl G. linn: Ac i £=te ^^j . g i . — =a P ■■ ■■ Chord ^^ ™ ^ — «. t-'.ntaj. Reprise of 3 Chords ^ G.raaj.- ^ ^p^ if:'; i J J j i fcJ » rgjg* c rcr^'tffcf^ J L i g gg^.-'i 1*1^1'^ p^iTLttrxf ! w rfiQ^i^f C. iiui.- PK m ..: . m C.maj; Bb.mai.- r— 1 he -SJ-C »■ i t .»! , Q *0m m 1 > I I 1 .. Ii 1 g^g^v^^rNe i . -- A Dictionary explaining* such Italian Words as occur in Vocal Music Ad libitum. \t pleasure. AffcttllOSO. Tn ii tender delicate style. Ai>"itatO. Agitated-. AllegrO; Gay. lively, quick . Allegretto. Not so quick. Al Seg"IlO, or thus'S. Repeat from that mark. Alll01*OSO. As addressing the person you love. Andailte. See page 69: AllimatO. With animation and spirit. AppOg-itttlira. See page 32. Aria. An Air or Song,. AriOSO. With a free delivery of voice. A tempo, hi the 01 gin; 1 time al't< r ;i suspenc ■ Hrio or COn brio.With spirir^v brilliancy. Calando. Gradually softer and slower. Cantabile. See page 69. Canzonetta) Cavatina _ A sIt.i t Song. J (VeSCendo or thns-^Agradual swell,see page 1 1 CreS: & Dim: or thns-O- A gradual swell and, decrease of sound. . Da CapO or D.C To resume the Song from the beginning, see page ,' i . Diminuendo or thus ^^ A gradual lessening of the sound, see page 14'. Expressione ) .' . L 'Willi expression, see page 63. Express no \ Forte or/ Loud. Fortissimo nrj'f Ver) loud. FUIMOSO. With boldness. Grave. The slowest tin'ie'. GrazioSO.In a graceful style. GrilppO- \ Turn, see page 33. GllSto or- COll g"UStO. With taste. Lar^O ,.r Lento. \ degree less slow than grave. Eai'ghettO. Not so slow as largo. v.' vol: I C'nrii' T EegatO. Every Note smooth K flowing. MailCandO. See Diminuendo. MeSSa di VOCe. Prepare the Voice for a swell . Mosto. In a melancholy style. MeZZa VOCe. With half the strength oTthe Voice. Mezza forte A . j^ A medium between loud &. soft. Mezza piano.) MiniiettO. A dancing Movement. ModeratO. Between slow & quick. Mordente s«-e pa ge si . MorClldo. Dying the sound. Pastorale, see page ss. PerdendOSl. Diminishing the sound. Pi alio or p. soft. .Pianissimo or pp. Very soft. PolaCCa. See page ?0 . Portamento di voce. See page 3. Presto. Fast. Prestissimo. Very fast. Rallentando?) L To retard the time gradually. Ritardando. j Romanello o. Ritornello. a Roman Air. Scherzaildo. Playfully. Siciliaiia. See page 6.9. SlbrzatOjor Sforzando.ors/-. a parti^ia. accent to that Note where it is so marked. Sostenilto. Supporting the note with firmness. Sotto VOCe. See Mezza voce. StaCCatO. Distinct and pointed. TaCet. Silence. TempO primO.To resume 'he former time. Tempo rubato. See page 6. VivaCe. Lively Quickly. Vblata. See page 4 t. Volti SUbitO,orVS Turn over quickly. L llisoil . When stwral narls e\ei ute the same Not I X T R DUCTlbN. Musical G r y '.m m a k Musical Sounds arc expressed by certain Characters, called Notes; their numbers are Sev and are named from the first seven letters in the Alphabet, viz. A. B,C,D',E,F,andG.ThoseNotes. are placed mi a Stave which consists of fhe lines and four Spaces, and wheiffhe Notes >ohi»her or lower than the Stave , additional Lines. are used above and below. EXAM P L E 1 . "a Sta 1 " . '.' Lii Spaces ,5 —\r~~ L-mV 3 - si ., ~i Space: '■ >U s >n tii tei N '-sab? Stave . • the. e ^^p^'-r^;-; Notes on t he Stave . ' \ T ore.s below th< Stave . p*=p=h i i f^ E X A M J* L K According to the [sositi« n which is given to the Notes that ace placed cither below or abo\ tii ■ Siiivc the\ are known by one of the Names iriven in the Introduction .the rest beius - onlvii repeiition of the Ka.iiii* , ei ery succession ofeighf Notes as from A to A»orB.to R, &f..i-s calif d a EXAMPLE of the OAMIT or SCALE Tr.bie For the Right Hand, an Octave y -Zgr-r i i * ^ D E F G G A B C Bass for the Left Hand. , /, ■■ Qrt-M -a- Jk. «xc ,A B C D E V G A B C & E F w^M ♦ "»~ ^ — -4 — f— # — ♦ — *- : ::£: *" "*• G A B C I) v D E F 3= ^fefeiS; G A B C B =E F EXAMPLE 3 . The Accidents . Each Sound may be altered by adding; any of the Following Signs.Viz. m t* A Sharp thus $ raises the Note a Semi Tone, or Key higher. A Flat thus b lowers the Note a Semi Tone or Key lower. A Natural thus Ij brings the Note to its former place. A Double orChron.atic Sharp thus v raises the Note a Whole Tone, or two Keys higher. A Double Flat thus bb lowers the Note W whole Trine or two Keys lower. The Sharp, or Flat, placed at the Key, that is at the beginning of the Air, affects every Note of the same degree throughout the ^ir . Placed before a Note they affect onlif those within ihe saixv Bar, and which continues if the last Note of a Bar is the ..am^/as the first Note of tht following Bar . Th- Notts affected by Sharps, OjC^Flats, still retain their name, with addition of Sharp, or l' I it. a.* F Sharp., or B Flat. &< . .. E X \ M PEE 4 . Characters and Length of the Notes in Modern Music. its Rests AS niibreveistli longest Sound and marked thus. O -_ m — A Minum is. half the length of a Semibreve. * A Crotchet is haif the length of a Minum and) r r r the fourth of a Semibreve ■_ .. _ _ ^ _ _ _ _! A Quaver is half the length of a Crotchet the -~) f f f I* J* |* T fourth of a Minum and the sixteent of a Semebreve .J A Semiquaver is half the length of a Quaverj, fl • .• ^ . - - - - . m the fourth of a Crotchet the eighth of a Minum L | 1 ' I ' l,J -» - 1 tfyVyfififiy and the the sixteenth of a Semibreve. A A Demisemiquaver is half the -P— • mmmmwMMm length of a Semiquaver the fourth ! [11 BSBMl WPIPI of a Quaver the eighth of aCrothet v the sixteenth of a Minum and the i thirty second of a Semebreve . J A Rest of two Bars thus lt r Rest of four ==*£: Resr of five EfcTE A Dot, or Speck .placed after a Note, encreases half its duration, for Example A Semebreve Dotted thus O- is equal to three Minums &c. A Minum _ _ _ thus is equal to three Crotchets &c. A Crotchet- _ - thus is equal to thre«^ Quavers &c \nd so on w ith th<- others . The Rests are likewise Dotted in the same manner . , > E X A M PL E 5 Explanation of the Bar. The Measure orBar,is a perpendicular Lino , across the St;i\ e .thus z$ 77 \ — — A-*- each of thtse Bars enclose less or more Notes, as the Character of the Time requires, which is sign i- fied at the beginning of the \ir,as in the following Example and divides the Time according to The double Bar is marked. thus qffj -.-_- |jj — -rJJ^and divides the different Strains of a Song-, -^— - -,>r- each Strain between the Dots to be repeat- or Piece of Music, and when dottetf thus ed . E X AMPLE The different Degrees of Time Explained . Simple Common Time Explained . t 6 . lO: m m i fe^N^ EE JiJr^Jq^U^U f Compound Common Time Explained Simple Triple Time Explained ( fei -I 4-^- i ^ L J^JEJtEp^ ^i Compound Triple Time Explained ^m p i ^n^in^ &tigg^^^m EXAMPLE 7 . Of the different Cliffs Notes should have a positive Sound, they are guided by certain Characters called Cliffs .which are placed on the Stave at the Commencement of everv Piece of Music .The extent of a common Piano Forte is five Octaves .All sorts of Modern Music is arranged for two Cliffs Viz. Treble and R;iss . The lowest is called Bass and is that which is designed by th is Ma rlc S jggggg which Line isthethhd F,on the Piano Forte, beginning with the lowest. — — " The second is called Baritona,or Bass Tenor, th»i»zz±i-j-- which is the same Note as the former. Thethird is called Tenor, orVoce Umana,thusffe~ f-^ ; which is the third C on the Piano Forte. The fourth is called Alto, or Contra alto, thus |gj|>= and is th e same Note as the former . The fifth is called Mezzo SopranO,or third Treb'le.thus li^elland is the same as the last. The sixth is called Soprano Canto, or »econdTreble,thusifflsS~|s and is the same as the last . The seventh is the highest of all, and is Violino,or fh\stTreble,thus =-£': ~f and is the fourth G , on the Piano Fort*' . '<■ ■J 1 1 s X i • * 1 ' ...■ ,. 3, : tf ^ ?-S ? s: ) III 1 MM Q T orE$ rr — (Ft Gb i\\ 1 /r ;il A L c in H > ♦i — (ArKb tr 1 -ii n w n cb CB X f3 Pi ►d fr£ nu i 3 w 1* 1 M Fb ? 1 • 1 1 i ! J 1 t i 1 1 1 . *J E# /lT-4. C"L *> I Til i iii i I i i ! J Ii __/fjitAb K rs ► • ■ ! i i i 1 1 • iii t I i tp ^ c n / » - Til '< ec jt> M n 1 1 l ! 1 j w c r b fcd **j-p O 1 I i! o • I O «l| »«> " : c p (riTi\j i-! > 3 * | j- ' ° « ' 34 3 Q C < fnivL i H k j pa m H • . •3 li.'-)>t> M Fb £ w i 41 •* ■ *j «i *l E# ^ > 1 £3 •j p i l Q * 53 «|| c j j C 5> (C. " \ b r ' ^ II t ii > i » r*- » > ii >*\ > M 1 t -1 > M ** P Ii • ii I - 31 1 " ■ ~ i a m rr •' a ^A-f IjP j cb 2 ^ ' ' * ■ II O i\ r II o I On "4 o liJf X (rsnb — , a i : 1 w 1 5 i a • s • a H ^^i (DiEb r-^ ■,'. II 1 ii :i ii Mil M O K ^r - Fb C" -. 1 1* 1 i i * I *j 1 "*1 F,= c (F'fi Ii I ii ii < > Q i> ^r flVj p (c- Mi !>• • >• i |» ■ > ■ > M • ^ ^ - lib i-l ::<» 3' II 51 < i wv v_'t> r4- "! • <* 1 n i o , r a — ■ /f>» T^L i . ; " " a ^ ^n^Fli n~. . r r L w Fb ft 5 » i> *j E = ft /t-4 ^l H / !« o r* -/ ::ih ^ - >'♦ > tr. ^ J* w 1 A- DP H cb 7- «>tt q B* ill* i {{.'* Dp In* w •; Fb , ' 1 ! 1 Ii' j ■ J{l!l» ■— i i: - Contents ok t'h F mblematical. Frontis :)ict c Ai\drefs to the Public Life of Domenico Corri Dialogue between Master and Scholar Words the Origin of Music j: Introduction of Graces . • Remarks on Vocal Performers .... Portamento di Voce Effects of Countenance. Intonation Construction of the Organ of the Voice Remarks on Gabrielli s Voice,Brydone Effect Chromatic Divisions Influence of Music Rhythm of Time .... . . / • • Tempo rubato. . Accelerating or retarding of Time. Example in the song of ""Victory. Phrase • • • • Styles in Music Nature of the Shake. ......... Solfeggio . . . Hints to Parents ..**.... Remarks on Profefsors Tosi .... Colvi'lusion of the Dialogue Rules for Singing Musical Intervals • • • The Formation of the Voice ... . . The Swelling and Dying of the Voice . O.i Intonation . . . f^5 I II . 1 i I" >- 6 } \ 11 I 2 13 It 16 E X. E first Volume. New System of Practices ...... ...'<> Minor & Major Semitones . . . . . . i Minor & Major Gamuts . .ft Intonation of different Intervals . . . . .28 Shake • 80 Mo'rdente °\ Graces °^ The Turn ] The Slur. . >'.-'& Divisions . . J Introduction of Solfeggio 3 1 Gamuts Vith different- Modulation . . . 35 Execution of Divisions • • *3 Extent of the Compafs of the Voice . . . 4t Beating of Time 4l5 The Inlcrvals of 8? s 4. ths 5*)* &e. , . . 48 Pafsages ....;. - 51 Solfaing . - . o c i On Exprefsion • . • • • ..■■■■■&'> The. Feigned and Natural Voice $5 Accent • • • • 6 ' & Styles .... . • - • ■ "I Different Degrees of* Time . . -.. ; .j Recitative .... . . Advice totho.se who Sing by Far mil) Recapitulation and Remarks "r2 A Dictionary of Italian terms . . Musical Grammar .... . . . . Example of Piano Forte .... Example of Cadenzes ; N3. A Continuation of Solfeggios arrang-ed in a manner similar to those in this Work, and the .&«( Duets &e contained in the second Vol: may he had single, at the Publishers. The Author also continues, to instruct in Music in all its several branches, either abroad or at N? 22. Air Street Piccadilly. ■'