Metodo pratico de canto · 10 PRACTICALMETHODOFSINGING. iV.Vaccai. LezioneI. LaScala....
32
"KusselTs New ancKlmppoved Edition. ^ L Translated (ivith special regard to afavoraWe airangeiiieiit of syllables leniT iadOer. lenry C Y/a//rer. F^.^ZSO 7t£t. ^BOSTON^ Copyright /ff7ff 6y B.RFussef/ilj!.
Transcript of Metodo pratico de canto · 10 PRACTICALMETHODOFSINGING. iV.Vaccai. LezioneI. LaScala....
"KusselTs New ancKlmppoved Edition.
^L
Translated
(ivith special regard to afavoraWe airangeiiieiitofsyllables
leniT iadOer.lenry
C Y/a//rer.
F^.^ZSO 7t£t.
^BOSTON^
Copyright /ff7ff6y B.RFussef/ilj!.
Scopo Del Metodo Pratico. Scope Of The PracticalMethod.
Pelgran vantaggio che offrel idiomaltaliamt^eglie
fuordidubbio chedebhasi incominciarelo studio delCan.
to in questa ltngua,giacche quexto conosciuto^riesce o.v-
sai facile ilcantare in tuttigli altri idioma .Ammae.stmtft
dalVesperienza conobbi che^ nella Germania, Francia,
Inghilterra ed anche in Italia^ aipiik che per dilettu lap^
prendono^ riesce digrandissimo peso doversi es-ercitam
in lunghi solfeggi ed esercizi (essendo loro unico scopo
di cantare in camera) e che in conseguenza,avviene di
non attenersi ad alcun metodo . Percio pensai a com.
pome uno d^un genere affatto nuovo^utile^e dilettevole
,
die evitando la noia di Ivnghi studi, raggiungesselame.
ta desiderata .
Essendo la difficolta maggiore pergli strameriqueL
la di cantare in una lingua non propria^anchedopoquuL
che eserdziodi solfeggi evocalizzi, immaginai che fin
da principio fosse meglio ahituarsi alia lingua^piuttosto
che a sillabe itusignificanti^escegliendo fra le bellepoesie
del METASTASlOy le piiiadatt*'^ me ne servii col propo.
sito di rendere piu grddite le prime regole che nessuno
vuol praticare^ onde sfUggirne la noia .
Certo che questo sara utile non solo a dilettanti, maanco a coloro che vogliono professare I'arte^potendosen
rire di schiarbnento ad altri metodi^ perche composto
con esempi dimostrativi
,
On account «fthe many advantages that Italian «ffers,it
is evident that v«cal culture should begin in this language,
since,this once learned, it becomes quite easy to sing in ao.
y other tongue. I have found that in various countries,
and even in Italy, the most of those m\m undertake this
study for pleasure merely,find it extremely tedioust(» be
obliged to practise long exercises (dieir only aimbeing pri.
vate entertainment), and that consequently theydo not be.
come grounded in any method.
The thought has therefore occurred to me, of compos,
ing a work, entirely new, useful and pleasing,which ,Mliile
avoiding all tediousness,should attain the desired end
.
The chief difficulty for strangers being that (»fsing,
ing in a foreign tongue, I concluded that it were better to
habituate the pupil from the very beginning to use the Ian.
guage itself, rather than unmeaning syllables; therefore,
selecting from the beautiful poems of Metastasio, those
most suitable, I have made use of them for the purpose
of rendering more acceptable those primary exercises,
which are always so tiresome to practise.
This work cannot fail to be of service, not only to
amateurs but also to those desirous of perfectingthem,
selves in the art, since being composed of illustrative
examples, it will serve to elucidate other methods.
General rules for pronouncing Italian. {Tuscan.)
as in father.
" .. let.
•' •« machine.
.. ., not.
as 00 in cool.
before a,0,U, like k.
e,i, like ch in chaise (generally.)
another c, like ch in chilly.
must be alwaj-s rolled.
g- before a,o,U, as in gX)ld.
g •• e,i, like zh (gienerally.)
g- •' another g- as in g'entle
.
gh asin ^>-host.
gl like Hi in million.
gn " n in onion.
qu as in queen.
sc before e,i, like sh in shade.
Z like ts in quits, except in mezzo, pronounced medzo.
20* Copyright 1H7S hy GJOMussell&Co.
Figure e valore delle note e sue pause
corrispondenti.
Form and value of the notes and their
corresponding rests
.
FIGURE.FORMS.
PAUSEcurrispmuteiiii
,
RESTScorresponding.
Intero. Meia, Quarto, Oitavo. Sedicesimu.
Whole note. Half note. Quariec note. 81^ note. 16 tb note.
^
3s:
i P P
#
Tren^attuc'simo. Sessauf-ffuaflrfsim o.
32^ note. 6**.h note.
'Jl^
-f-*r-
$ r
Tavola . TableIntero ,
\^Tiole N'ote
.
e
equivale a 2 Mfta,equivalent to 2halfnote:3,
r r
rt 4Qunrti,
to 4 quarter notes.
r ra 8 Ottavi,
to 8 eiffhth notes.
to 16 Sediceitimi,
to 16 sixteentfi notes.
r r r r -1^- r . r r
a-32 Tretifaduettimi,
to 32 thli-tv second notes1^
a 64 Sessantaquattmshni
.
to 64 sixty fourth notes.
n punio dopo una nota accrexce alia tiuta stessa la
mfta dfI suo valore
.
J.SOTE COL PUNTO.NOTES \^7TH DOTS.
LOROEFFETTO.THEIR EFFECT.
3s:
e: ^
A note foIlo-wed by a dot \s increaNed one half.
W^^
P
^ ^r
Lezione dclla battuta. Lessobt zh beating time.
Tt'mpu ordinario
.
Common time.Due,^erquattro,
-four time.Tr^ p«fr quattru
.
Three - four time .
Sei per otto
Six - eight t ime .
#1 V i •1^ f i
'
w~1^ 1* 1* ' • A » V * ffi « i1/ -* h=^ -J uSi ditidf in quattro movimenti.
Divided into 4 movements.
Tre per otto.Three- eight time
In due movimenti
.
Into )3 movements.
In tre movimanti
.
Into 3 movements
,
Nove per otto,JV^ine- eight time.
Dodici per otto .
TMelve- eight time.
//{ due oppure in sei movimenti
.
Info 13 or 6 movements
.
Tempo a cappella.
UM^ p liirgrHLC. !
' mtl'^^ [U0 i 1In tre movimenti
.
Into 3 movements.In ire movimenti.
Into 3 movementsIn quattro movimenti.
Into 4 movements
.
In due movimenti .
Into *Z movements.
20*
ESTENSIOBTE.
IE xy
Extension.
jk:3s:
s:
Mi tenniper tutto il Metodo ad unestensione limita^taspercomodo delta maggior parte delle voci,edancf*perche e migliur cosa Vesercitare in principioilcentrodelta voce^ d'attronde sempre sufficiente perimparare.tutte te regute. ,
Intutti i modinon sara difficile traspurtareiquaii'do si voglia)qualunque.teziotie tm tono opiu atta upiiibas.sa
.
Scsia
,
•Sca/at/t Do ma^giore, compoxtadiun Intero perogni battuta . ( Quaffro quarfi .)
(1)(3)
The exercises fhroughouf fhi« work are confined fo alimifed range, bofh forfhe accommodafion of fhe major-ity of voices and also because if is better to cultivate firstthe middle register sufficiently at least to acquirea thf»r- .
ough comprehension of all the rules.In every case it will not be difficult to franspcise any
lesson one or two. t(»nes higher or lower.
Scale
.
Scale_of C. major, composed of one whole, note, for e*uery beat. (Four quarters.)
E 3s:
•^1.(g) (3)
o6 .
3s::s:
S i m ^=# ii^ f s±± i±±
i
Paunad'un Iniero.
Rest ofa wliole note
.
3s:3s:
<4*.^ s ^ ^ »•m m m t=M
f p is:
Saiti di Seconda.
Saltidi Seconda eompostidi due Metaper ognibattuta.
^^Interval of the_Second.
Intervals of Seconds composed oftwo half notes to ev-
ery beat
.
9
i f iM Z.H 5. 6_^^ W=^ m a 6 7 i.i if—
im ^
iZ£ 22
6 5
i7 7
im ^^f#—
t
ZZi ^—^ 9^
(1) ChiarediSol.
(2) ChiarediFa.
(3) Tempo perfefto^ esso gi divide in quatiro movimenti.
N.B. L'accenioy^) noia ove Vtdlievo deve prendere un metto regpiro,
i due accenii (*'} i7 respiro intiero
.
(\) Treble Clef.
Vi) Bass Clef.
(3) Perfect time divides itself info four movements
.
N.B. The mark(') denotes that the pupilmnst takehalfa breath,
the two marks (") a full respiration
.
204
e
2t
^
-^
6 y ft
I
2t
b5_^ 6 5,
1 ^ J ij ^
^^ 8^3
f
:p=3:
:s :i ;^
if
6 6
i1=.
^
i
i its^18
m
i
^^3 2 «
J»—
^
f^
i:< r, •.
i^ a #
i6
6 5 3 6 6
ISi
8 » 5^ 6 , 6^ ^
^i^^ 1* s^p i
SaltidiTepza. Interval of the Third
.
iEI i^ f
JIS 3.
^ -« 'f if*
i mi22=^ ZC^IS
jjgi ^ t[
^*
fe j i i32
f35t
^6 5 6 6
*• b ^ I i^ 6 6 8* 6 6
i E ^^ 3 ?^
^^^§«iF
?6.
6 5
W ff
^ f
^p ,
6 3
iip r ^
i
i6 6
P i
jO:
s:
:»o-i-
Salt! di Quarta
.
Interval of the Fourth.
M^.^m^ Z2=?
¥=^
* 6 ^ « , ^e
s p
I
f3
32
^ 336. 7 5
^i
—
^ ^ i ^ 3e:
•i 2 6 6
3 I ^^^ i^mm i
Z2=^iZt=^ "g-
I•^. a :^ 6 6 »6 6 :i 3 3^ ^ 19 19
i i ^*=i
^ ^ i$ 19-
^if«
£ i6 5.
^« fl
2 6 ^P i ^^ P
Saiti di Quinta
.
•$>ri/^'#/« Quinta, compustidi quattrrt f^uarti per ognibattuta^eduna pausa divn qnarto .
Interval of the Fifth.
\Interval of the Fifth ^ compowed of four quarter noteM
5 for each beat, and a rewt ofa quarter.
^m ^^ ^s iJ ^ ?^ p ? ^±±^r*
•f?5.
^^ f»-=-IS ^ 35:
j^^ ^ ^^ i^ s:iE f*=i
s M ^ i« 6 *7 ^
204
8
Saltidi Sesta. Literval of the Sixth
f^- i
MB. Tastosolo.
^^ P
P
^f
i^
^?=«
i=«
^^
^p^
1^ ^ ^ sp I ^ ^ iTJ-^
3 m i^ ^ i^ iH^
?¥ f p ^
:^^ i^ m m i^ ^^ ^^ i g^ 3^^ #=P #-5#
Saiti di Settima
.
Interval of the Seventh
.
^^ m V m 59
s^^ f^ ^i=«
Ml.
^ 3s: ^ .^^ PS ¥=«^??
±±
•) r r u 3P*675^
I
^i
•5_.^Pi
# ^??
«-
ti:
'^^ T^-r
^
^i tii
6 a^^^
i"Z?
tnrfr^
f ±±^ pH^ iP P
zt
^?j
P6 7 6 5
g
1^6 6•^ t 7
P 13:
i-'o-i-
9
SaltiD'Ottava. Interyal of the Eighth
.
m iWm f I i^m ii=« ¥3^8.
5 6
'Xn - J ^ f=^^ m « 6
F^p p ^ i
*^$
$ m ^w f^^ t=5
6 «
H'r-l' pr
S 6 m M5
0. M
I ^^ i
I i s W j^C«-
i^ p ^ ^t* i^itt*
^^ 8 4 6 6 6 6
m 3P#—I—
#
^ ^ P m d a
£iepilogc> dei sette saiti precedenti . IRecapitulation ofthe seven preceding intervals.
Sfconda .
Seconds.
Terta .
Thirds.
Quarta .
Fourths
.
Quinfa
.
Fifths
i a:E i if I-©«—S^
^9. •» 2
')'n if r i6 ^=='= M £
* 6
3 ii ^ zc=:=zz=5
^Settfa.
Sixths.
Seffima
,
Sevenths.
Ottava
.
Eig-hths.^ i i P
•i 6.
3t=¥:
a 5
P
6 4 6 :i 5 6 ^p f
6
i i
•2(i^
10
PRACTICAL METHOD OF SINGING.
iV. Vaccai.
Lezione I.
La Scala.
//* que.sta /'.« lezione ladivisione delle sillahe si stacca
dalPofdhiariOj onde dare^ il piu pussibHe^%ui^idea del
modo di prommciare cantaiidui come cunsnmare adUivocale il valore di vna « piu note, ed unire la conso.nnnte colla sillaba segnente. Qnesto servira di facile
ita anche per imparare il Canto legato^ cio eke noupvos^
si ben insegnare se non che colla sola vocedivn biion
maestro .
Lesson I.
The Scale.
The di\-iHion of }<yllable« in thi« first lexson differs from
the ordinary arrangement in-order to give «omeidea of
the mode of pronunciation in singing: how to fill upwth
the vowel the value of one or more notex, uniting the con-
sonant Mith the following syllable . This will serve also
to facilitate the acquiring of the legato style,>»iiich can-
not be properly taught, otherwise than by the voice of
acompetent teacher.
Adagio
.
i n n i n }Mzs: i -©- mE ? #—
^
I
(Man . . . ca sol - - . le . .ci . fa)
Ma nca so _ ^ lie. ci _ ta Piu
Fa- . _«te-r a.nd fa_stc-r Manes
^
E -
(R«t - - - er and fast . er wanes,)
de . II u . _ sa _ . to,
_ver MJ-tli fai-nter glow^
^^ M/I _ - ncoj'rhe
Though to a
i m ^f t^^-t -a-
Mi. f--f^<^. - i T ^^ ^ r^r r ii i r t U
$ i ^ ^m ^ $• *
.vV*. gi _ ti
tra.nsient flame.
Co .-nlie _ re fia _ .to,One wou.ld i.ts .e.mbers blow.
Fa _ - ce che pa _ _ Ipi _ ta
Fi- re tha.t i « n da. - rJkne_ssniu-st
m i
i55? Tt-f* s ^m^^^
• M [-
zt
i.i J 'Ji J.J ' li I
Pre. .s»oa-ljnft rir.
Soo.-n di..sa. . .ppear.
# •
Wf-4V_s m,
%
ife
P
fa _ - ce che pa . . Ipi.ta prcssoa-lw* - - rir.
Fi— je tha.t i--n da\^ - ckne«K«nui.8t Sou-n dL.sa. npear.I
'
" n-
^
J20*
It
Saltidi Terza. Litepval of the Third
.
^Audantino
^ ^^ I 5^^ ^ ^
Fool- i«h,
cet - ta tor - ^>
fo«U i«h , lit - - tie
rel ^ la^ Che non ve^^deilsuo pe-dove - let
J.That- re gardr.leKK of . hep
•7 ^iLg ^
-#- •? 4-
fe ^^1 1 I JJH 2.
tM^ ^ f f
« « ^^ ^^^ 2
i'J)^I
^' I ^f m i' p ^ p*:
ruglio Per fugdan.ger, To .eM ..
^gir. da eru _ rf<>jir . ti. glio Vo — /oJ»_..cape the cru . el ran._ger, Fliett un .
grem^ bo.al cac. .da.
to the hunt . er^M
s £ i ^^1^
p ^ « §. ^^=i ^^=* ^ ^
i ^g ^^^^ ^3e==?
^/r. P<fr fug gir da cru.-d(t^r. ti-glio.
per fug.
breast. To an cape the eru . el ran.g^er, To ew .
.gir da eru d<^ar.
eape the eru . - el
^' h j^ m s m j> J i>
Prf
>'b J- J- ^r^^
^j\l>
i)| J I'
p J)| J I) J ;) I J »^?^^^^^^ft^ft'o P^>. . /1^« grem.hoal cac^ia tor, r« - /aj/i grem.bfijil cac .cia^ — tor,
ranger, Flies un - - to the hunt.erM breast, Flies un.-to ' the hunt . ers breast.
ft ib:
i g# r
^^WW
V ^ V
^ V i V
204t
158
Lezione II.
SaltidiQuarta.
Lsssoir II.
Interval of the Fourth
.
Adagio
.
^3.
^'li }s i^ I } i' ;>i'
I i' ,n^'' ii
La . sciail
Out . ward
It _ - do^ i( ma— V*L^'^
veer- ing, . on. -wardft. . do A sol
steer . ine, Plough« the
f ii » 'nf^
^»* I f^ [^ I iff \ I \if} /m
car tor. nqjl noc - chie ^
Nail . (»r xtill the »
.
_ ro, K pur. cean,Though he
.va cA/^ men. zo «
knowM its tran . quil
.gtte - ro Al . (re
mo . tion Oft be ,
vol _ te Vin .gati.
fore hath him de
- _ _ no. af - (re
- _ ceived. Oft be - _
vol . te I in .flan.
fore hath him de _
. MO,
eeived.
Al . (re
Oft be
IS'
J'. p ^' P
vol . (e Vin .gan nofore hath him de . . eeived
i'
i'I
f,
'' J'^ ^Oft be - _ ff»re hath him de _ - oeived
.
13
Salti di Quiiita
.
Interval ofthe Fifth.
Audantc
.
^4. \
I 5E-d—Av -
Wont
£ M t-G- ^m 3t
ed ii\ mix _ - er- y,
S<'ii sa cim for - - - ^>,Com . . .fori.leMK sor- _ - row.
't¥=^*
^y\ i ^ i
Ii i i ^ ^
^
I4 te
\
^
^ ^ 3
In
- cor nel
port I
por _
bor -
_ _ to Pa » ven . . 6*
- -row New dread of
lY mar.the Nea
.
ji^=^:ia=t^
i W SJ—
;
L
^''s ^ i=^in^m^ i ^; i i J ^
«1
—m
i i £ JI fW r ^^
P J JI J. J'J ' ^ ^3i:
- iv?_ re
- ep- y,Wont -
vex . zo aed tf>
Vt - S#?/t . . . za con _ _ y^>r . » - ^o^
Com - - -fort _ less sor- - - row.
I ^ -r-^ill ^.1w w w w
'mBJ^I^TT—«- £ ^ i ^ i i i at ^^
204
14 LezzoheIII.
Saiti di Sesta .
Lesson III.
Interval of the Sixth
.
M5.
^ I f:- r ;^Tf-4^i—y,
Bel ^ (a prrt. vqj (VaUnia fur . te L^es . ser pla.. . ci ^ d^e se.
Well ap - - pr«v - ed, tru - ly no - ble, is the «c>ul that calm re -
^^'itj U J^
I' III H I
^^m r-?
^^m ^^
H^^
i^ S
r^=?
^^ Si ^^ i fr«; na Nel suf - . ^Vmain . eth , .£en ^hen fate
Im^ffiii sta
un.. just or
J'i J J J
pe . na D'u . nadain. eth, That it
col _ pa cht* nonbear an . oth . er^t
s ^5 ^^» i
Efe
r ^ r ^i
f I7 -/ V :-t
^^ ^ i ^s^^ ^ ^^ eAflf. ^i*/ la
Nhame.. Well appro.- va e (Vat^'maprov - ed , tru - - ly
^^ta tru.-iy
fnr _ te Lesno ble, In
ser pla^ „ _ ci - rfi^ .v«?
the Nout that calm re
^^—
<
* f » fr r r p
f'^r r^ -^''^ ^'T i'ljjr^J I' I
'
r ^r i.f^^
re - na iVi^/ .vo^_ frir ibi^iu^ ^ sta pe « wa I)\,na col ^ pache . nun ha,main, eth, £ en 'when fate un^juxt or dain. eth, That it bear an. nth.erN shame.
2()4-
LezioneIV.
Salti di Settima
.
Lesson IV.»f -
Interval of the Seventh
.
15
M6.
$
Adagio
.
^^ ^j)ii iif r 'r J J i j ^^
Fra I'om. bre un lam - po so . - . . /o
^Mid d;irkneMH,(ine flash Huf. 1 fi . _ . . ceth ITn. .to the ski 11. ful
p^f^L^f J
I
M ^ 15 Oi *J ^ IJ ;>.ff ^
^a - . - f«f
pi . ... lot.
Che gia nJnt^ vail poHim fromhiMcourMe en— ti eeth
^MGia ri.co^nu ^sceil mar.Then noMsepo. lar wtar.
I
Quell* an da eke ru^ _ i _ _ « /la
That wave that now is break . ing,
Balza^si fran^ge^ mor, mora,ilollethanddasheth mur. muring,
EMl.
^^mmm^mw ' I' J II J f J iM r i ^JJjjrj-i# #
Ma limpida si
But liihpidthen re .
fa^ jbaUza, bal.za, hal.za, hal . ta, matreatH, Roll. eth, roll, eth , roll- eth , roll . eth, But
iim. pi.-, da si fp.
lim. pid then retreats
,
16
Lezxone V.
I Semitoni.
Lesson V.
Semitoues
.
•^8.
i
Andantino
.
__
^^=^JMJTJJ ^ iii
dub Jbiii _ - .va,
and d(»ubt . in^^
//* _ cer - ta va
Tin - cep - _ tain
,
de
|)^a?mB?-^^^ K I
t > i * > >
f^
:±:
^^JpJ 7 «iM^£p^ ^p l^'f ^p
iwg ~gia O.gtiiaU ^ ma cheinudeg ^a Fra^ /no- 6* *fe/ cor.
lay ing, I« each woul that's sway, ing E - mo - tion «f ^ heart.
DeDe
i^aw.m ^^ ^?.f^?j^i
h.
I£-!§:c±
;^
''L/r'^p
1*^^ ' p '"rl?r "'p '^r ' *' '5^^ i
/» _ - rof dub^hto . _ .va^ //« . cit- ta t'o _ neg ^gia^ O.gnial^ .ma cheun.
li . IP rious, and doubt, in^, Un. cer. .tain, de . lay. .in^, Is each soul thats
^^£pj nJMiiJ j .miJ ^ --plf. ^p ^p1 _
.dfg .gia Fra' iwo _ ti del for,
sway, iiig' E_ . mo. tion of heart,
fra^ mo . 6* del cor,
£. .mo. tion nf heart.
D\ J)•> j) V jg
204 s^
i 7 £ y £^ 1 ? 1 T 1 '^
—
i—4 ^m
C/
17
LezioneVI.
Modo sincopato.
LessonVI.
Syncopation
.
Moderate
.
\
>yiij id^^i lUj MM .ilj7 ^1^I jlj7
I
Nel don- .tra^oamor s'ac, -cen.de: Con chi cr - de a chi si
Love con- - tes _ ted, buriiN le«« ten - der: Thowe ^hn quick them . NelveN «ur
P r~Ts v fe
r~Ts f i S^»i i1^^ i i^i
fe^
M9.
ty^'i hy^)^ ^g @=u=^ ^fe 7 11 7^ 7 # 7^ ^I p^ li'f MP J^
iJ-'j J'
lji s s
.... ren - «f*^
. ren. der
Mai si bar - ba _
Jfeer do find it
|lM5
i
_ ro /to/t e. Mai^.
cru - el more. Jfeer,
mat,
neer.
mat,
neer.
i ^^ m s13^5 :t^=S*~* a; l-t ^^#
S ^ ^^ ^^ «*
^ ^-I b pi^-^^'^M^j j-1 j?i'^^*
non e
,
ne'*er more
.
/O/i cA/ fi*- -de fa chi. St ren - rflf^. no mat
i
/?N
Th(K«<e Mho quick them. . »ielve« «ur . ren. der Oh^ Ne'er
.VI
do
P k k f i i i ^^I fcaw^ jE
m /?N
fe^ ^ ^ ^ fes a
j'* r'j r'L.^'ilj^MN p ift^ ^^
bar -
fmd6a _ ro
it . cru
/io« **. no tftai
^mel more, No ne'er
.VI 6ar_ _ bu _ ro non e.
do find it cru el more.
5^ m t^ ^^ JPf
^^^ ^^ ^ ^m?=^ fe^ pX
204
18 LezioneVII.
Intpoduzione alle Volate
.
fncominciasi questa lezione col tempo Adagio indi
uffrettando sino aW Allegro a norma delCabilitu deL
lo scolaro.
I
Lesson VII.
\ Iiitpoductorv to Runs .
\This leNNon ixto be begun Adagio^And gradu:jll>
\accelerated to ^^/I'^ro, according to the ability of
\the pupil.
P^^10.
^2 ^ ^Co - - me il can _ _ rfo » . _ r«?
Oh! like the glo ry
pi'i' I ^ s
D'f'n - - - tat . ta «« - - - ve^
Of Know un - - stain . - ed,
m 4 4
* f *
'i 't M^m i
f ^ ^
? J
J J «
i f i
i
^^ «ff?^P p 1^^' ^ li'*^^^ ? ^^E dim bet co . - r/*
Is the bright sto . - ry
La fe. deU . ta .
Of a true heart
.
Un or- maWhen .... eer so
I m IJ: ^ri* * * If
^ J ^ ^ J s¥
^ P M^ J^'p I >^P M^ J> JM ^^
.vo ^ . - ia
faint - . ly,
CAe in se
Spot it
ri - «? » « - f<?,
hath gain . . ed,
Tut . ^ ta ne in vo - _ la.
Beau, .ties so saint ly
^^m ps
i^;>j) i^J'>^ fci m
La sua bel . ta,
AH then de . - part,
S^ ' ij»j^
tut ^ ta ne in . ro _ « /a.
Beau . ties so saint . ly
la. sua bel » ta .
All then dfe . part
-^ € 4 -
•i T t i ty 9 i :
i i. i ^tt ^^^;20-^
LeziobteVIII.
Le Appoggiature sopra e sotto
.
U miglior ornamento del canto e I'Appoggiatura^l effete
to dipeiide dal darle il suo giusto valore; puossi anche
qualchevolta accreseerlit,ma non devest mat diminuirlo.
Lesson VIII.
The appoggiatura from above 8c below.
19
The mosi pleading ornament (»f Nonj^ is the Appoggiatura,
the effect of which depends upon giving it itxtrue value;
it may be increased but never diminished.
Andante.
*
Ex.I
J J^J ? I Ex.I
r rf ^
dante. [J*''
\ ^^^- ^#e^
^
Sen.za Va.ma.hile Dio di Ci^ te ^ ra I. di non tornano Di pri-ma ^ ve , ra^onMTien the a _ d<irable Gu.pid im yeta-far, Spring days re.turn no more,Lifen a Sa _ ha - ra nliere
^m. ^fem^^h
^11. ^ 3^
V^^:?Tyy 177 ^^ < 77^^77 ^^ ^^ ^ «: ¥^
i¥^ ^ ^^
i=i :^^#—
#
-j^—#- #—
#
jr ^
^^V ^'ift^Wvi'J ^ JTj^j ^iJ. J \\\\ i>J 7 1 J. J jiijj. ^spira vn zeffirtt^ Nonspunta nn fior.
neither a zephyr blow«,XorbIoj<«oms a flower.
Uer.be sul margine Del fon.teji.mi . co,
Herbs that adorn the brink Of the cool fountain,
he piah-te re. dovePlants that in lonelinesx
^J i^Ji^Jli
Sul colJea.pri. co Per lui ri . re.stono L'an.ti . . co o.nor. Per
Fade on the mountain, For him oncemore renewTheirbeauty of yore. For
^m :^ m^^ m.mrj-^y -wrw
^ ft\<-*—
#
7 7 17 73 ^¥ ^^^ r^ ^^ ^^ ^M- ^^^ 4
jj^.
i
6^ •
t I i]*- j^pr i
ff /yt^ftpp^^^iJ- p
J'1^^1Pr ^^Pl^^pr
^«?5-\=^ y~y
/mi ri^vedowt UanJi. . co o. nor, per lui ri^vestono, V.an.ti^.co o.nor.
him <mce more renew Their beau.ty of yore, For him once more renewTheir beau, ty of yore.
20
L' Acciaccafura. I The Acciaccafura.
VAiiciaccatura differisce daU'Appoggiaiura^nun to. \ The AeciJueatura differs from the Appoggiatura m not
glienduilvalore nP Caccento alia nota.I
fciking from the value northe accent of the note.
MiZ.
Andantino.^
'
! b[ P a P ' '
^^ ^
^^_^_„
4^^Ben . ehe di sen. so pri.ro. Fin lar. bo.xcel.ltif gra. .to AA\ . though of sense de - -pri - ved, Y<»n grateful trees re- - pay.ing The
r r
^^^nmffir # i^ r
1 7 ih:
^TlTtflr ^ j^ r
» 7 *^
r r r r^4 s
^fe^P 'p-^l^ p kV'' '^^
-^
p It P'^1li'^"' U ^ p l-f p f p4^r; ^ft ^ J^
aquell*, a. mi. CO ri.vo Da cuiri.ee. vt^.mor.
bank from^Wchde . ri-ved, Its quickeningcurrent flows.
Per lui di frondt^r. na. to Bel
.
For leaf.y branches swaying, True
P=f ^ ^P i ? w^mr w w w wZt^'t w i- w't
.V:¥^ j^ ^-jfe ^
f!^^:¥^^=¥ < r « f
^y T
iir<# i)^J^ > l> p•,
p lipi p^; p 1^; p^ > IJ^J^'^^
M_ /« mer. ce gli
thanks it how ex
ren.de^
Dal sol quando di
.ten.detb, And while the sun of.
- fen.de. fendeth.
U suo be L ne.fut .
A cool.ing shadow
rg=f: ?^m i iBgg
rr^:ity- * V t T
'y-^h i^ i^5 ') y ^-T) ^«^-¥
—
»
uK'
j^ iffl J-'^^ ;.'
I i>m ^*i
^or, dal solquan.do . di . . fen.de il suo be . ne. fat. . tor.
thr<>ws. And while the sun of « . fendeth A
?^^^ i4 d^d^rlf-
cool-ing shadow throws.
?
h ^7 *^
fe
Pim¥==a=^=
20*
Lezione IX.Infroduzione al Mordente
.
U Mordente e Vurnamento H piu varittto ed Hjnu dif.
ficilr per la feagerexza am cui sideve eseguire.Si ann.
pniie di due »> ire notine^ e sipresta a tutte le graziedel
canto sema nulla tnaliere alia frase^ ed alia intenzione
del cnmposUore^ tutti quel cambiametiti pero^che si .v«_
{flinno (are net canto e che chiamansi fioriture sotutcat^
'tiri e difettosi allorche alterano la tneiodia originale^e
faccento pritnitivo dell'Autore
.
Allegro
.
Lesson IX. nIntroducing the use oftlie Mordent.
The Mordent ik, oI'.'iII ornatuentM.the luoxt varied and the
nuist difricultyon account of the delivaey withi»hichitniu.st
burendi^red. Itiw compoNed oftwo or three NhortnoteN,iuidaddK to every ^race of siyle, without detractinia;' fromthe phrase nor the intention- of the composer ;aIlthoNechan.
ges M-hichareknoM-na.H/7ortYur#', are tastelexM and bad,
M'henever thev affect the original melody, or the peculi-ar features of the c<»niposers thought.
^13.
ha gio _ _
Ah! joy
- la re _ r«
that would tru
-, ce^ Per far si pa- - ly Find heart . . felt ex
_ » se, Dun lab .
_ sion, From lips.
lo jqua. . ce Bi - so
-. ly, No aid
M M m-X
gno non ha
.
doth re - . quire
^J^ fi
¥irm7 })V h^ hp ^
li * i •&- •
)
-&- J- inJljl^'^pj'i''r^r^ i'lf"^^"' 6'
I
gio _ _ - ia ve- .ra . ce, Per far . _ - si pa ^ - fc- .v**, J)mi lab, _ bro lo-
joy that would tru - ly Find heart- - felt ex pre««ion, From lip« oft un
-
if''' rj' .'" i''" i" J'' F.
'
£ j|^7 yJ
\mm
Wr
).
^V rijl>7 Q,|J^;., ;3;^|pP0mm1^
rt
W!|^J| y^U^ I
Pqua. . _ _ ce Bi - - .v« _ - - ^'w> '*''" ha, no,m^no,mt,nii,wtjbi ~ so . gno mtn ha.
ly Hfo aid doth re_-_quire,no,no,no^no,no,no,no aid doth re -- quire.ru -
m^z . p ,. #^
204 |<
•#• *^ fy i ?
^:^ 5
^^
22
Lo siesso in diversi modi
.
The same in different styles.
MU..
^^ iL'tfM- - gt'l - - let, . tojti lac , ci stmt, _ to Per - che mat tan.
P«Mir, lone bird, oh! why cfost chant ««>, Thu« by toiU Mur .
g
2
?
j)^ J ^r ^^}m mS ^^tfr ,vVi - - .seal, .ta'f
round, ed ev- _ er?
Per. . che spe _ ra un^ al. .tra
Ah! be - - - c'iiuse it ^et hopex to
Vid . _ ta
«ev_ . er
^mm^
^m ^—a
^^ i ^
^
^P
S i »3e:
i^ ^ ^ ^f^-M f ^-h-in a _ _ 6^r _ _ - .ta,
to woar a . > . . far
1)1 tor. .
Cru el
. na . . re
bonds and
Ilau . gel . . let . . tt^Jn
Poor, l»>ne bird, <»h!
^H^rjTiI
^#?^=^ «i ' #
^m ^ ^ p ^ p M f/^^m
^ j^jiJ I JJ^ iJ/r N Tr4 i
r ' T- ^ p
/«f . ci
why dost
stret. _ ^<>
chant Ko,
Per . che
Thus by
mat can .
toils Nur
.
tar s'a
. round . ed
- . scol . .ta?
ev . - er.
$ y })i hI I
k ^^ ^^
Ife
f ^ ^ f
I
7 p 7
^rrq
fe20*
29
f jjjj iJ h}\\ J j^Jj,^ I J r •-'
\YY^\^.J^^^if _
Per .cbe spe ra nn' al— (ra tv*/. .ta Di tor- _ na _ re in li . - ber .
Ah! be - - euuse it yet hopex to sev— er Cru _ . el bonds and to «*>ar a » _
^^!» f J) 7 A \y })y })1±±4 §^I ^ ^^ ^^^ h^^^5=32?:
F '"T
^\ i'^p
^ ^ ^ ^ ^1 ^fe #^=^ ^l
^^r-npir/r-^ir i^^4^%^ i 4^
far
l><'r _ che spe _ ra ?//t' «/ _ _ ^ra vul ^ .ta
Ah! be . _ cauNe it yet hopes to «ev. _ er
di tor - _ «a re in
Cru . el bonds and to
m m^ m^ ^ m ^J-^—
?
^^ ^ & ^ 1 p 1 ^^ P 7 J )
' jSv J^^
f pj;'..j)i p ^I fJj_.^
I pjj^jj I pJ/? IJ 7
p, 1^^Noar a - far,
fii tor- _ na rein li _ -ber. -ta.
Soon a . _ eain to
in li _ - ber _ _
.soar a _ - far, To soar a
i ^ ^ i^ ^ ^5 ^^ I Ir=f
^ ^ ^^§ ^^ i^^Tp 7J;'|J^ ^^^ ^ s
far.
in li _ » 6«?r_ _ ta^
To s«>ar a _ > _ far,
in li - -ber- - ta, in li - -ber- -ia.
To soar a far. To soar a _ _ far.
20*
SS4Leziowe Z. LessonZ.
Litroduzione al Gruppetto
.
\
Introducing the Turn .
Ter questo esempio si seguira ancora la regola indi. \ In this example follow the directions given in the Ne\ enth
caia nella settima lezione. (N^JO.) I Le««on.(N«MO.)
Mlo.
^^vj} jT^]} 4pij gji^MJ jjjji^ jj^^^Quandti ac cen.de un no .bit pei. . to, E irino. . . cen.te,e pu~ .ro af.
When a no ble bo- - som glow.eth, In. - no - . cent af- - .fee - tion
m fe=^i:!^r^
^iIf W
irr^r^ m"mif r=f
? r jr #
^5
F=^
?=a^^51^
r=f
|>^'i>p
j)-^I J f ii{jlf J^^^Jil J j^^{73|p i mii%t^ t
.fet -- tOy De. bo lez _2« a mor Hon
groweth, Love can nev_ er a fiviil- ty
e.
be
Qugn .do ac .cen _ de tin
Vihan a no _ _ . ble
I m ^ ^s ^^^ ni? h ^^^^^ ii±i=i -* r s ?
s \
W T
\:5~-iS ^^m V s ^=¥==¥ ^^^ 5 p P p r-p
a gj^^iQjv\\^^^\ \^\^ ^\:!^^ I >i>^
/eo . h\l pet to^
E in..no . .
bo tioni glow..eth, In no . .
.cen _ te^ e pu r« af. . fet.to
^
De bo.
cent af_ - fee - - tion groweth, Love can..
$^ ^5 T^^ ^^ ^ ^ W^ I. ^ H^i
I
L=^ k"=^="=^ ^^? ^^ ^^ r=^
i ^^p I
ffl'a'&'
I j^^^. iu~Mlex . za a. mor non
nev . er a frail - ty be.
I^ 5 5 i^
rf«? . _ - bo lez . za a. jnor non e .
Love can nev - er a frail - _ . . ty be,^ m?=« ^5 ^ fta
# ?
m ks 5
^f s^ ^
»=?: S J
20*
D Gruppetto. The Turn
.
Poco Andante.
M 16.
f'Mir^yrrF ii^ iii| i
i
^iifmi,
i, »^^
Pm noH si tri»^ juano Tra mil. _ lea.man. .ti Sol due bet.i\o Ion. ger can we know, Mong fliou. M.md lov _ . er«, Two gentle
^^% J-^J^]^r-rJ|;[;!.Jfepi'1.jp p-^- liJJgiiJJtJj^
l r- pp ^
.. Va . nime Che 7... sien co^ stan-ti,
- souU wiiose glow, True faith clij«_ cov. erj*.
E tut ti par. lano
Yet all do clam. or «o
S^"*iF^
.-^ » I. - ? « ?Mji:n ^^ h'j ^wf * r^ *
I?J
*^''i. J..b^hJ.^NU>d^^^Mf> jqr jBif ugr rj-^ iJ ^"ni
fe. . del. ta,
con - «tan_ cy,
«? ^tt<_ ft par. . .la . no dt
Yew, all do clam . . or no of
fe . del.
con»<tan .
Im i }m!^ Jjgj< I
^J^.Jlfh I
j f-t^gj I^^*^
3
<* fti^« ti par. . .
Ye«, all do clam . .
la.no di fe .
or «o of con
- .del -
. Ntan . ey.
s ^s pmm k'^Ty J)
^; 3: is: ^2()it
%e
M 17.
I
LezzoneXI.Introduzioneal Trillo
.
Allegro moderato.
Lesson XI.Introductory to the_ Trill
.
k]-' i y 9 JJJJ,
JJp
i l^''M'6'^ ^
Se po.ve . . ro il ru _ jscef _ - - lo
The brook MiioMC wave Is .shal _ - - low,
Mormo^ ^ra. leu—to^Murmur, etii ev . -er
^^^ffr-^-f^
i^v i .^5^f^
1^9 »
r j^j)ij^jmjr ^ iS'-AJg6av _ « » .v«, C/>* ranio scet _ . /o, w/t .va.v— « - so
more l«>w. A brancb.a stone itMf^iint flow
Qua. '- siarresiar A>
Al. most hiith poMer to
*=?:S i ^ ilVi'i ^5555 i rr=r^ tit t t^s s ^TJ J'n J) ^ i'^ j i'rJ>^^ai2=i:
^^E^ iS I ^*d i ^mfa.bar.
Se pave- - nW/ ru - - seel
The bro(»k wiione wave in shal
lo
l<»w. Murmur, eth ev. . er
6a.v .
more low,
m _ iwo- _ seel _ _ /o, unA branch.
a
stone itx
.va.v _ .so Qua.i-si^ qua .. - siarrestar lit
faint flow Al . most, al. mo.st hath power to
i=^ ^ V.J^7 i^7 i)? j) I ^ ^4—<—
J
^ r=f 1=1 j^^-^—
«
v^=^=i»f » ,
»
^ h ^ [x
J '7 «f'? 1^5 J
* *
tel ^^^^5 %±=i i^Bi^B^^^^ ^
rail.li
^^t m mm mm m m _/^^ 0M0M0m ^^
bar
- V i j^^S
i//t ramo- *eie/- . /«,iirt .vw.v^o qua.. . siarrestar lo
a branch,a st<me its faintflow Almost hath p^twerto
fa.
bar.
5 ^Q M ^^ Jfc; 5
te Ji 7 J)7 il7 J^> ^i^ i
204-
Lezione XII.LeVolate.
Lesson XIIRuns. .
-i?
I
Allegro moderato
.
M 18
.
^^ i i ^^Siam na . vi alluti - - de a( _ ^gen _ ti La. ^sa'a, . tejn ab . . ban _
Wejire ships up _-<»n the ». -eean JTo guide nor cap. .tain
If" i-
f-•# f" f-
m ^$do. no:
kn<»wing:
int. pe.tu.ii _ _ At*
With wild im.pet. .uous
—r—veti. ti
mo . tion
f nu.stri af,fet . ti xo.no:
Passions fierce blasts are blowing:
^ h i hi ^^^^ y/ })W W i^ i
f
J J^J)^g"/]
- ^ni di _ Z**^ . tut e scu _
Ev . . ery de.light b<»deth sor -
_ gliu: Tut ta la vi ta e mar,- - row. On life's great o . cean so vast.
Ogiddi^let. tu •
Everydelight b<>deth
iU:) pJiiJ>^-6^
scugliitt.Tut.talari.ta e mar, M^ . ta la vi, Ja e mar.
sorrow On lifes great o.cean so vast^ On life's great o - cean so vast.
iiiiijfk@
^2<»4t
•^8 Lezione ZIII.Modo per portare lavoce
.
/%v portare mm .v'intende trascinare la voce da vnsuinio ad un ultra com** malamente si usa; ma anticipa^
r*' insetisih'dment*' coUa vocalf delta sillaba preceden.te ilsuono che se(fue,(Esempio /(*) o posticiparCoySem.
pre inxensibilmente^ promtiitiando la sillaba conquelloche si lasciaAKsempio 2 ) Tutti e due i modi sono rf mmbelCeffetto tuttarolta il 1? e il piu usato,
NonsarU difficile imparare a portare la voce mas^siine quando si sappiamt legar bene le sillabe come sHn _
diio nella li^ lezione(y?^ ma solo vn abileMaestropuoditrne una_ distinta idea colla propria voce .
PRIMO MODO.
Andante.
Lesson XIII.Mode of carrying the voice called Portamento.
"Portamento" by no meanM Kignifiesthat drag-ging of
fii'Nt note by pronouneing M-ithit the follow !ng vowel. Both
these modes are effective,aIthough tl^e fn-nier ik oftener used.
"Portamento" will not be difficult to acquire after onehas learned to properly join- syllables, as shoMn in the
first lesson, but a perfectly distinct idea of this style
can only be conveyed by tne voice <»fan able teacher.
FIRST METHOD.
$
For- rei spiegar laf^fan . no^ Na-jicoti^^der^ ^to vor ^ - r*' _ « i; EI'd fain make knoMn my sor row, Yet would I not be tray it; And
^ zzn:^ir^*i
±±MJ. iV w r WW $^^s 5—
1
-¥- 1M19,
IV' v,i -!i L'l ^ & ^ a i i '
Ji
f?^ f=^ V7
•/ _...<„.. • j-.iLi..'„..L • rt.. ..i \. I
^^^mentre i dubbimie— i
ever afraid to say it,
Co _ A* cresceii do raa^ _ wo,
My doul)tsrr('sh>ig_ or bor- _ row,
Tut- tospiegar nonAll todisclo.se not
^ 'Jj-J\S 1 fe^^j^^ ^^ J^J^J^;)^n -*—
e
^s E ^fv^i 7 r^iv^^ Qf gl'f ^^ ^^ ^^? |f^^
I %kn]^n k . V
r r K^a^^^Hj n/^J> >ij ^ i ^j>^ *=jtxx* r^
o - .vo,
darins:.
4£,j*J^.''|j^j>S5
Tut^tononso ta^ver^in^to spiff, gar, tut., .to non so, non so ta^cer. Sfd.
Can I not all ignore Jfotall disclose, all, all 1 ran not all ignore. So
^ -<4-
-JS I ^# 'J I ^S 7 IJ"l7 M I
-
^
S ^ 5kiL?* jpE
^^ !>> J J)^ ^ J^y^-^ I^^ ^ g^MJ
iuiu-u ±>J i ^J-'iJ r ^ ^i^i^'LJ .^ ^>i^# _
3^^/*'- ci.ttt,
pondering,
dubbio . . so
despair, -ing,
Pernso.
Pensive.
rammento, rammen . (o
and grieving, still pensive.
e ve. do; E a.
and grieving. Jfoi
)
^^ ^ m m^ro ^320*
^ 3::*:
"7 ^^
•< / L^ jt ^?^
# #
^#"
i*^ #
^^ ^ i
i=3tzar=m
^^P=^
29
I -^ r>iJJ^>CHj g^ ^^^
pr'ppifJ'^ ''!ii'^:-^ir-i;^j^*chI-# l^cr'^
gljocchimiei lum ere ^ «rf«, iVo/t cred(tal into pen^ sier. Nun credo non credo almiopensier;, noncredo^noneen my eyes be - .liev _ _ ing, My. «elf 1 trust no more.My«mTi.HeW,myownseIf _I trust no more,myown Neltjmy
i>-FN^ira-g]^y^u jw Ij^^ j\^ lA;^ ^^
* »
k
P^3^ ^=^
-'i \M ^kt
creLdo almiopen^ .sier. . Non ere. do almio pensier,. non credttjtlmio pen^.sier.own Melf I trust no more. My » self I tru«t no more, my.«e1f I trust no more.
ALTRO MODO. ANOTHER METHODAllegretto
.
M20,
*jM—
j
^j) J) J)|
i-^^ 1
-'-^p p I
;^ Jljs i^/ J->- J^'^.p Pi"T
—
rj ^-^—p'
—
y—^~'
—
'—'—' ^' ^^
O |)(a «f»_ JoJ/ /wa -r** Lm. .sin^ghi la .sponda, porti eon lon.da Ter.
^Tien ealuily al _ .hiring Old ocean re.-poseth, Or when he dis . eloseth, His
f^Pj:i>
I tf' i> J) i,h^ J) > ij;p J) JM ^
piii]i j^
^j^ ^^K eol.pa del
The winds to ber«- re e spa . ven.to, K col. pa del vetuto, Sua col.
wrath all un - . tam.ed, The winds to be blamed. JTot < - _
_ pa non e.
cean himself
W^ W -t
%\Tjj' i^H !)!^f^\ l jli; jjjl L ^^'''l'^r 'V I'
ven . . to,Sua eol . pa non e,
blam . .ed^Kot o . cean him - self,
e. eol .pa del ren . . to,sua eol . pa non e.
The wind's to be blam. - ed, not o- -cean him -self.
20*
30
LcziobteXIV.
Recitative
.
Lesson XIV,
Recitative
.
Pel Recitative e mdispeiisabile sillahaziune distinta
eAecisa. Quatido sHncontraiw due notesimili alia
fine d'un periodoj od.anche piu note simili luimezzo,
quella xu eui cade Caccento delta parola dtveconver.
tirsi.in appoggiatura delta seguente^ eper maggior
chiarexza si indica con itn A sutla notadellaccento.
In the'Recitative" a clear and distinct enunciation ofev-
ery syllable, i« indispensable . Whenever two precisely
similar notes come t<»gether at the end ofa period,ore -
>eninthe middle ofa phrase, that upon which falls the ac-
cent ofthe word should be.converted into an appoggiatura
ofthat which follows. F(»r greater clearness, tliis is indica-
ted by an 4, over the accented note
.
Ex. ii ,1 i i' i'p p ^
p p p
h i'l J i'^-'ppif^4f^^ 'ppppp i p^^' p:^^f^
ha patriae nniutto . Dicui.siamparti . At citta.di.Hoe fallo Considerar se
Apart of his country Is every true man.That citizens in error Who but himselfcon _^M21.
i
^i]h}i)^^^hi- i
l:iJ0-'7j-)J:ip).>]|j J-)
pl^^.^ik^hi'^k
stesso Separatft da lej. llu.tile ojIdahnojO^ei co^^ noscer di'e solo, ecioche .giom Omioceaffasua
siders And ignoreth her wellfare. Be it g«»od or e-vil Thatwhich histhought shouldfi»lloM,isMhatdothCivorOrh;irmtlieluidbe-
W Ig^^ *s:
^2 J t
^ iJWiJ^ p p p
P Ji J/ Ii^p piJJ^>'7
1
'r ^p^p iJ^'Ji; i
/>pf ipj^y is
patria^a eui di tuttttK debt- tor.
loved to which he oMtith everything.
Quandoi sudori eil sangue Spargeper lej^ nvlladelptriprio ei
Whenhe out-pouretfa his hearts bliod For her in battle^ all that he giveth is
za s
20*
31
^ ],h^»i^
^^p^j, fy)i,kI
- ij i)j)|^;>/)7|i;j^vfl piu^ _i_JLihi)
dona: Hemlesttl ci'oche - nebbe.
not hiK; He returns Miiat she gave him
.
Kssqjlpro.dusse, lle.du.coj loau.dri. Con le sue
She'tii* Mho bore hlm,and hath eared for his needs
.
Her Iws pro
.
^^ / *1b*^^^i~"^#iJ e ^^^i
^ H?^ m km i ^^^^ ir-#
Ex.^ Ex. q/' JJ'
^ A
j,il^7jiii,'jJ^iJ)j^^^^^^^^ ij^i^'i; p>i^i)i j)j)j jpj)j^i] );)J)i)^^^leggi DagV inxulti do ^nes.twi il difi'ude
,
Daglh'stt'rni con lanni. KUa gli presta JSoine,gradit #y/o«
tecth!ni,Fi*omthefi>ethjitwoulddesecnitehisfireside Andfnjmstningers her armies. Shetohimlendeth.Honor^ g'^J^y andre.
I S ^^ 3E iJESx: ^1^ ^»g*i
,r
i5F i i^ ^ ''1 ^ i j
^4 1
^#^
I^ aiempc).
tl^h^ ^nht^nor;
nown
;
fe ^ ^Jj^ 3 ^
nepremiail merto; A> vendica lejtf.fe.se; e ma. ~dre a. mante A fabbricar s af.
rewardshiiT merits avenges all of- - fences; And fond, h.ving mother, Striveth in every
a tempo.
1^ Js:
^i=t^
Ifmi
s=# -#—
#
^wRecit.
^) ; ;'7 j)pp
p i,>i p ^,^
j^ ,^,Jj;);,v i,ii) I
> jUiijjiL ,,
pI p j)^ - m
fanmt Lasua fe.li.ei. . ta^ perqnanto li.ve Al de . .stin demortaJi esser fe. . li.ee.
manner, To makehim truly blest, so far as Heaven Doth voueh-safe to usmortals,TotaHte en- joyment.
m it
Recit.
s
m i
:?= i
m i
i^
^^mi i
204
32 Lezione XV.
Riepilogo
.
Lesson ZV.
Recapitulation
.
Moderato
MZZ.
fv. j-l.y pif^mi >iJ'^4af:^^^ji^r^£^Al
When.la siagion Spo . ri E de noveL lijf^ mo . - ri Egm~JoilwoLlefui toflun
floWiNreiiewtheirglo _ . vy And Lovv hix old, oM «to . _ ry,Whh fair- y nj«>- tion air- - y The
jy-U',) iij
':^%!y^^S\\mxef. . fi . -ru leg. ~ ger, Egra.xeph yr l'^^ d»ih toy. With fair
to UmoUefia^ _
-y motion air .
to D\ui zef -
y^ The zeph
¥ /i^^^' ^^ rt ^^g^^irrvyft^BS ^ i-jij yi7 ^^^*^i»^=?
/t.n> /^^ _ _ - ger,
- -jT light doth toy.
ge.ma^ o ge.ma^ o ge . .niafra le p-oti. .df^
Or Nighinj^, or wighing, or Mgh . . ing mong treeM «way_ -ing^Or
I J mi m t ^^ -mUsi—
#
«—
•
^: rF^W^&i ^m 22t=i:
ti 3t=i1^"> rri>#>'^i ^ s ^ J
^rt l>g< .i^J y.*^^ Sj ^ |^i;i). jjj T ^^len.to^ o len^toy o ten., .to mere . spi ton. . de^ Zef.fi.ro in o.gni
gent-ly, or gently, or gent.. - ly with wave, lets play. . ing. Zephyr, low, wobh'theand^ ^ Wt i ^ I?=i?=F?ess
^^li--b^
f f
F-^- -•-
Zl ^ ^ —a ^ < arr ^y—« t *^:¥=J=^
If* 5 I 5
20^
^-Tit
33
I,* rj-'}'
\ i_^hiu~A\-i \
-i[\'f r.
tfy.^ i
„f!.f -f^LKj
j
^ila^tu^ Cinn.pa gno*' delpin .eery.
fair.y, coni-pan. . i<»ii i«eerofjoy,.,
in ogiii la.tu^ imtgni la.to^ com. - ^ pagno^ edelpia.
MO blitheand fairy, no blitheand fairy, eom _ _ - panion is eW.of
mtP J iU fkf^ .A ., k jkw^' 41 kV ^ 'i X ^ ^ ^ ^ceVj com - - - - pagno^ com
joy com. .... panion,con]
pagnUf com - _ _
panion,coni .... - pa^ . gno e del pici
. . .pan . ion is eW of
¥'H'l'^ ill I ^^fe ?i:344 4-§-€
Hf fKI iS^^^^i ^ fc=^ fi^ 3E^s ?
—
*^
»» # i »
J' Ni.nH . 1^ &»7i ft f?'NrRM-?ii^f i
cer^ comjoy^ com
pngnOf.com ^ - - - ^pagno^companion,com . .... panion,com
. . . /7a . . . ^«« <? del pia
. . pan . . ion in e'er of
^ S^^ 7 J)'? J) 7 ^ =^ ^^^^5^f'S0='
Lit t
S J^y «^^feK k k
I i^3 fe^-7
—
H- ^-•-9—< 7 <# #
i: :y t ^ ^ ^ *
f ,
.
^fj-:Ji| ^fJr^ ^
pju^ i j Jvy^^W'f?ij ^- M
trr, <? rf*7 p/a - cer, e del pia . cer com _ . - - />flr^/«o e del pia . i^*/-.
j"y, *•* ,£^ * '^ j"y, i* *''*^'' "^ J'% <^"".... panion i« eer of joyj"y, i« e;Wv*. <^
^ ^ tt^-^
^^^j.=fciW^ 1 A^*i •i* V- J:
S:J i^ 5^5
1:13
-#^^5# J
A A «;
^J
^ i3
1^;^=^
¥20* Schlimper. Eag"i'
