Post on 12-Jul-2016
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T O C AIL, M-'US I CI Thefirst and most jiecessaiy Rule in Singing, is to keep the
voice steadj. • . .
II. To forin the voice, in as pleasing a Tone as is in the Powerof the Scholar.
III. i'o be exactly in Tune, as without a perfect Intonation , it is
needless to attempt singing.
IV. Tc vocalize correctly, that is, to give as open and clear asoimdto the Vowels, as fheNa^u re of the Xanguage in which the Student,,sings,will admit.
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y. To articulate perfectly each Syllable.
VI. To sing the Scale, or Gamut frequently, alloWing to eachsoxmd'one BREVE or two SEFIBREVES , which must be sung in the salneBreath,- and this must be done, in both, A MEZZA" DI VOCE ,;thatis, by swelling the Voice, beginning Pianissimo, and encreasing^radu--ally to Eorte, in the first part cjf the Time, and so diminishing graduaL-ly to the end of each Note,which will be expressed in this way.
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Piannssimo ^ Piano
,VII To exercise the Voice in SOtEEGGIO every Day, with the Mo.
-nosyllables Do, Ke,iiyii, f.:ci
VIII.To copy a littleMusic every pay,in order to accustomthe Eyeto divide the Time into aU'its Proportions.
IX. Never to force the Voice, in order to extend its CompafsintheVoceDT FF.TTo ti p v\'ards,but rather to Cultivate the Voce m testa
in whiit is ciTled EALSETTOi in order to join it well, and imperceptiblyto the VOCE 'DI PETTO, for fear of incurring the disat^recable Habitof singing in the Throat or through the Nose; unpardonableEaults in a Singer.
X. In the p:xercise cf Singing, never to discover any Pain or^Jiffici'lty by distortion of the Mouth, or Grimace of any kind,which
d^"5 th"™ost diff,^^^^^countenance in » Lookingglu-
^H.That Scholars ^hrMri,! • ^ i
Friends with a calm .nd ^^^^ Harpsichord and to theirf'he arful Countenance.
-A^IH.Torestor take hr*.n+v u ^ -li.
Time,, that is to say, to tav: ,the Melody are ended- J^- I only when the Periods,or members of
tenninateL tL a^^^^^^^^^o-^ions ofthe^ir, generally
cessary, as by dwellitil +J '^^^^ And this Rule is the more ne-'
the Singer loses the Ot.^ •2''^ last Note of a musicalPeriod
breakingthe ^ss^gef^o^!^^^;' ^^'^'^^ ?^ ^^^'^^ breath, withotit
irT^.%u- . .^''^'^^^^ng perceived by the Audience.^IV. That Without th#» r«^^
Passagenr of an affec^ir, rurgent necessity, ,of either a long
or divided. ^ *^^pi^ession,Words must never be broken,
XV, That a good MFv^a ^ .
always precede the ADT^nr^^ ^^^^ "^^^^^ ^oMce must
XVT . •I^IBITUM Pause^ knd CADENZA.^vi. That m pronounr^^^ ^ ^ ^ a
with the sentii^ent that , ? the Words care mustbe taken to accord
XVTT ^ 4 ^x.intelided by the Poet.AVII, That the acute, m,! j
as to render th enWiniil^r. ; si^per-acute sounds must never be.so forced
A'^r^ _^ .to shrieks.
^Vni.That in Sincin^ +u -r> ' ^ ,cept in. the case of Starr.il ^"^^ Voice must be united, ex-
' ^^lO Notes.X.1"^ Th at
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-lian LanguaV mustbe"^.''!^^^ Consonantsin the Ita-
not to make those thnt • ,enforced, and Care must betake n
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^^'^'^^ ^^^"1 double.To practice the qv,.u , .
which must 'gen e rail vp^^*^^^^^^ JCfeat est. Care and Attepticn,
and;finish with the l^^ve^i"'^'^^^^^^^ highest of the two Notes,
derived fromVe^rh^rj^'^^ and Embellishments of Son^s shoul A beC^haracter of the Aiir, and Passioi^ of the words.
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Pia Seal'- of one Brove in a breath.
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Pia Pia Scale of two Semibreves in a breath.
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Example of the Shake.
Scale for the Practice of the Shake.
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SHORT AND EASY LEJ*,«0!«.S FOR THE EXERCISE OF THE VOICE.
JLESSON for ascondi'ng and desteftdllig by the interval of a 3. with and without thejnterm^idiate note or guide
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LESS ON for the interval of the 4 J with and wlhout the intermediate sounds
th .LE S son for the . ihter-val of the ^; -with and without a guide.
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UCSSON for the
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iESSON for the Octave or
Exercise of all the intervals in the diatonic genus or Scale
Exercise in little divisions or flights in ascending and descending eight notes
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Division or volata of 8 notes ascending and desending successively in the same breath
Exercise ofthe 9. in gradual ascent and of the 8 ; descending
Exercise of the 10, in the diato^nic Scale ascending
Exercise in divisions ^here the time is broken by rests
Exercise of divisions \vithin the compass of the 6^^called by the ItaliansScavnever extend to an Octave
ezze becausethey^
Exercise of Syncopation or driving notes
llxercise in Triplets
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