PREFACE - Belcanto Italiano · 2012-10-06 · M. Marchesi Vocal Method, Gp. 31 Part 1 PREFACE T HE...

M. MarchesiVocal Method, Gp. 31

Part 1

PREFACE

T HE Theoretical and Practical Yocal Method that I now publish is an educational work which

commences with the vocal alphabet, that is to say, with elementary exercises, and con

tains also a series of Elementary and Progressive Yocalises for the formation of the mech

anism of the voice.

I would again set forth the principle that I have already laid down in prefaces to different worksthat I have published, which is, that in order to obtain a speedy and satisfactory result, pupils should

never be burdened with more than one difficulty at a time, and they should be assisted in overcoming

obstacles by having them presented in a natural and progressive order. It is with this object in view!

that I have written special Exercises and Vocalises for each particular difficulty.

It is essential that the mechanism of the voice should be trained to execute all possible rhythmical

and musical forms before passing to the resthetical part of the art of singing.

May this work, which I look upon as my last of the kind, add to the important results that I

have obtained from forty-two years' application of my system.

MATHILDE MARCHESI

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M. Marchesi - Vocal method, Op. 31

CONTENTS

FIRST PART

ELEMENTARY AND PROGRESSIVE EXERCISES FOa. THE DEVELOPMENT OF THE VOICE

Practical Guide for Students •Emission of the VoiceChromatic SlurDiatonic SlurPortamentaScalesExercises for Blending the Registers •Exercises on Two NotesExercises on Three NotesExercises on Four NotesExercises on Six NotesExercises on Eight NotesChromatic ScaleMinor ScalesExercises for FlexibilityVaried ScalesRepeated NotesTripletsArpeggiMessa di Voce (Swelled Tones)The Appoggiatura-The Acciaccatura (Crush-note)-The MordenteThe TurnThe Trill .Trills Separated by a Third

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PRACTICAL GUIDE FOR STUDENTS

ATIITUDE OF THE SINGER

THE attitude of the pupil, in singing, should be as natural and easy as possible. The body should be

kept upright, the head erect, the shoulders well thrown back, without effort, and the chest free. In

order to give perfect freedom to the vocal organs while singing, all the muscles surrounding those

parts should be completely relaxed.

THE MOUTH

As the vocal tube extends to the lips, the beauty of a voice may be quite spoiled by a faulty

position of the mouth.

The smiling mouth, for example, favored by many singing-teachers past and present, is absurd,

and quite contrary to the laws of acoustics. Smiling causes the mouth to assume the position required

for pronouncing the Italian E (prounced ay.) This vowel makes the vocal tube square, and gives the

voice a too open tone, called by the Italians voce sgangherata and by the French ooi» blanche. There

fore, the mouth should be opened naturally, by letting the chin fall, as in pronouncing "ah" (not too

broad), and it must be kept immovable in this position for the entire duration of the sound.

In opening the mouth, only the lower jaw moves, the upper one being fixed; hence the necessity

for lowering the chin. The muscles of the jaw possess great contractile power, and will not, at first,

remain relaxed during the whole length of the sound; but with practice they will eventually gain the

necessary elasticity. When this elasticity is once acquired, it will enable the chin to articulate the

consonants distinctly and rapidly in singing.

RESPIRATION

Respiration consists of Inspiration, during which the air passes through the glottis, the trachea

or windpipe, and the bronchial tubes to enter the lungs; and of Expiration, during which the air is

breathed out again through the same channels.

In the normal state, these two movements succeed one another in a regular and rhythmical

manner and without any intervention of the will, as during sleep. Consequently, all premeditated action

for facilitating or regulating these functions in a special manner is fatally injurious, because it opposes

and impairs the freedom of the normal movements of the vocal organs and of the muscles which govern

them. In addition to the outward movement of the ribs, the chest (thorax, a bony, conical cage, slightly

flattened) can expand, in Inspiration, at its base, summit and sides. So there are three respiratory

movements, or three kinds of breathing, namely:-

Diaphragmatic or Abdominal;

Clavicular;

Lateral or Intercostal.

The lungs, formed of a spongy, elastic tissue, perforated in every part. by thousands of little

tubes destined to receive the air, are concave and largest at their base, and separated from the abdominal

cavity by a convex muscular partition, called the Diaphragm, upon which they rest. At the moment

of 1nspiration this partition descends, causing the base of the lungs to expand.

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Normal respiration, or the natural breathing of a healthy person, is diaphragmatic or abdominal.

By this method of respiration the lungs are expanded at the base, and consequently receive the greatest

quantity of air. By the other methods, which are bad, the lungs are only partly filled; whence the

necessity for more frequent breathing and the impossibility of singing long phrases in a single breath.

The use of the corset by females causes lateral breathing, because it compresses the abdominal

walls. Ladies who would become singers are, therefore, strongly advised to avoid clothes which, by

interfering with the freedom of the waist, prevent the inflation of the lungs at the base.

ATTACK (COUP DE GLOTTE),

After the lungs are filled, it is necessary, for the production of a tone, that the pupil should her-

metically close the glottis so that its extreme edges, called the Focal Cords, may be set vibrating by

the air which bursts through at the moment of Expiration. The Coup de Glotte requires, then, a sudden

and energetic approximation of the lips of the glottis, an instant before Expiration commences.

This organic action, which forms the Attack or Emission of the voice, is brought about by pre

paring the glottis and mouth for the production of a vowel. As stated above, the best vowel for usefor the formation and development of the voice is the Italian vowel A (ah) , attacking it naturally

and without effort or affectation.

It should be understood that the Coup de Gloue is a natural movement of the vocal organs,

and that the pupil has only to bring under the control of the will this spontaneous action which has

been developing since the first cry at the moment of birth. It is, in fact, the possession of this same

natural faculty that enables us to form unconsciously all the vowels in speaking.

The closing of the glottis is, then, a natural and spontaneous organic action. But, in speaking,

this action is intermittent, the opening of the lips of the glottis being followed by their contraction

with an equal rapidity. The pupil need do no more than endeavor to keep the glottis contracted after

its lips have been brought together. That is to say, when once the note has been attacked, it is necessary

to practice holding the glottis contracted as long as the teacher considers it expedient for the develop

ment of the elasticity of the vocal organs; a development which practice will increase daily. We repeat,

then, that if the pupil would acquire a good attack, the glottis must be closed an instant before Expira

tion commences; in other words, it should be prepared.

If the column of air issuing from the lungs finds the glottis open, and, in consequence of there

being no obstacle in its way, no body is set vibrating, then the result is Aphony (no sound). If the

Focal Cords are not firmly and evenly closed throughout their entire extent at the instant that the air

commences to escape from the lungs, the lips of the glottis being unable to contract fully during Ex

piration, the tone will be weak and hoarse, and the intonation uncertain, because the Focal Cords

will not vibrate throughout their entire extent, and the vibrations cannot be isochronous (equal).

Moreover, because the air escapes in puffs and the lungs empty rapidly, the tone is of short duration,and the pupil's respiration is short and unsteady, as the supply of breath has to be renewed so frequently.

To sum up, the firmer:'and more complete the approximation of the lips of the glottis, the more"resistance they will offer to the air which escapes from the lungs, and the less air it will take to set the

Focal Cords vibrating. The slower the Expiration, the longer the tone will last. The equal and continuous pressure of the air against the vibrating body produces isochronous (equal) vibrations, and

maintains equality of tone throughout its entire duration.

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REGISTERS OF THE FEMALE VOICE

This is the Alpha and Omega of the formation and development of the female voice, the touch

stone of all singing methods, old and new. As this is to be, above all, a Practical Guide for students, this

important subject cannot here be treated in detail. The anatomical, physiological, and acoustical expla

nations and demonstrations necessary for a clear understanding of the organic phenomena which cause

the three series of consecutive and homogeneous tones of the three registers, of an essentially different

nature, I give verbally to pupils, with the aid of anatomical charts and an artificial human larynx.

Nevertheless, before offering any practical remarks upon this subject, so important in the

formation of the voice, I consider it necessary to explain, in a few words, the production of sound ingeneral, in order to make clear to the pupil the theory which establishes the existence of the three

registers. Moreover, as all the tones belonging to one register are of the same nature, the modifications

of intensity and quality which they can undergo are of little moment.

Sound is a property of the air, as color is of light, for there can be no sound without air, any

more than there can be color without light. At the present day, the immediate causes of effects in

these great phenomena of nature are well known, but the principles underlying these causes are yet

to be discovered. The special organization, interior and exterior, of a body, which by its oscillations

sets the air vibrating, or by its surface reflects light in a particular manner, decides the nature of the

sound or the shade of the color.

Three things are needed for the production of a sound; namely, a Motor, which acts either by

sending a column of air against a vibrating body, or by immediate friction with this body; a Fibrator,

which executes a certain number of regular (isochronous) or irrgeular vibrations in a given time when

set in motion by the Motor; and, finally, a Resonator (because of its function, it would be more correct

to call it the cooperating element), which receives the sounding column of air that escapes from the

vibrating body to imbue it with the character of its own sound by reverberation. These three elements,

indispensable for the production of sound, are found in all wind, stringed, or percussion instruments.

It is, therefore, only logical to admit that they should also exist in the vocal organs.

Upon examination, it will be found that the tone of most of these instruments is of a similar

nature throughout their compass, and that they are free from those sudden changes in the quality of

the sound that are met with in the human voice. This is because the three generating elements of

sound, in these instruments, are unalterable in their functions as well as in their shapes and sizes.

If we examine these three elements in the vocal organs, we find that the Motor (the lungs and the

parts connected with them) may possess greater or lesser activity, more or less power and elasticity,

according to its physiological or pathological state, but the nature of its functions never changes,neither does its organic form alter. The Fibrator (the glottis) in its normal state is susceptible of in

numerable degrees of tension and contraction, but is unalterable in its function. The glottis can,indeed, augment or diminish the intensity of the sound, by a corresponding increase or decrease in

the amplitude of vibration of the Focal Cords, according to the force of the concussion caused by the

air in Expiration; it can also raise or lower the pitch, by shortening or lengthening the Focal Cords,

in combination with the modifications of the shape of the resonance tube; but no alteration can bediscovered in its functional acitivity as a Yibrating body that would account for the different nature ofthe tone in the change of registers. It is evident, therefore, that the secret of the phenomenon metwith in passing from one register to another is to be found in the Resonator of the vocal organs. It is

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the Larynx which, by change of position, directs the column of air escaping from the Yibrator (the

glottis) toward the three resonant walls alternately.

Since, then, each register of the voice consists of a series of consecu tive and homogeneous tones,

of a kind essentially different from those of the other registers, it follows that the vocal apparatus

should contain three quite distinct resonance chambers (walls.) These three Resonators, formed of

different organic tissues, impart, by reason of their special physiological properties, a distinct character

to each series of tones contained within the limits of each register.

After many years' successful experience, I am convinced that scientific knowledge is indispensable

to teachers of singing, because it enables them to treat the vocal instrument in a natural and rational

manner and with greater certainty; also, by showing them the causes of the defects, it helps them in

training difficult voices and in correcting the numerous faults of emission that each pupil brings, the

result either of bad habits or inferior training.

If we do not teach the elements of the anatomy and physiology of the human voice, we need

lessly deprive the pupil of the means of becoming acquainted with the physical phenomena of the

vocal organs. Each pupil should, therefore, at least be taught how to manage and preserve the voice

in its career, and should understand the exact meaning of the words Larynx, Glottis, Focal Cords, etc.,

words which the antagonists of the physiology of the voice are themselves obliged to use continually

in speaking of the art of singing.

I most emphatically maintain that the female voice possesses three registers, and not two, and

I strongly impress upon my pupils this undeniable fact, which, moreover their own experience teaches

them after a few lessons.

The three registers of the female voice are the Chest, the Medium and the Head. I use the term

Medium and not Falsetto (the word used for the middle register by some teachers of singing), firstly,because the word Medium (middle) precisely and logically explains the position that this registeroccupies in the compass of the voice, and, secondly, to avoid all confusion that might be caused by theterm Falsetto, which belongs exclusively to men's voices. Falsetto, which signifies False (false), that is,in place of the true, is a term that has been used in Italy from the earliest period in the history of theart of singing, to indicate certain piano effects in the high tones of the Tenor voice.

Empiricism, which in these days appears to struggle more than ever against the incessant progress made by all the sciences connected with the phenomena of the voice, as well as against all rulesof modern pedagogy, has put in circulation, among other absurdities, the assertion that the femalevoice possesses only two registers, Chest and Falsetto. This grave error has also been endorsed byseveral eminent modern physiologists, who have persuaded themselves that they have establishedthis theory, after their observation with the laryngoscope, but who are incapable of making comparativeexperiments with their own vocal organs.

Nevertheless, the female voice most certainly does possess thre« registers. But for defining thespecial nature of the tone of each of them, for determining their respective limits, and for blendingthe three registers and establishing homogeneity of tone throughout the compass of the voice, theoretical

and practical knowledge is needed.Unfortunately, it is owing to this ignorance of the limits and the treatment of these three registers

of the female voice that there are so-many imperfectly trained singers, who struggle against the faultsAnd difficulties of a mechanism wrongly used, and so many unequal voices, which possess sets of weakand heterogeneous tones, commonly called breaks, These brea.ks, however, are only tones wrongly

placed and produced..

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When commencing to study, the lowest notes of a register, in most voices, have not so much

power as the highest notes of the register next below. The theoretical and practical explanation that

I give to pupils of this phenomenon soon convinces them that here lie difficulties, inherent to the

physical construction of the vocal organs, which are easily conquered when the causes are understood.

Therefore, in using the exercises designed for developing, in the Larynx or Glottis, those faculties that

are necessary for removing this imperfection of the vocal compass, the homogeneity in the nature of

the tone throughout the particular compass of each register, as well as the blending of the three

registers, depends, above all, upon the ability of the teacher, the patience and assiduity of the pupil,

and the method of practising.

Female voices are divided into Contralto, Mn.zo-Soprano, Dramatic Soprano, and Light Soprano

(sfogato). The highest note in the chest-register of all female voices varies between the notes ;. ." IContralto and Mezzo-Soprano differ from Soprano voices in having generally ,1 chest-register

of much greater compass, which extends more or less to the lower tones.

To equalize and blend the Chest and Medium registers, the pupil must slightly close the last two

notes of the former in ascending, and open them in descending. Every effort expended upon the

highest notes of a register increases the difficulty of developing the power of the lower tones in the next

register, and therefore of blending the two registers, until eventually it becomes impossible.

When the limits of the register are not fixed, there is always a series of tones that are unc-ertain,weak, and out of tune, when singing a scale with full voice, or a sustained phrase. According to modern

pitch, the highest chest-note of nearly all Contralto and Mezzo-Soprano voices varies from~;

Soprano voices from~

There are Contralto voices which, by reason of an exceptional position of the Larynx, never

succeed in developing a Head-voice. These short voices, which consist merely of the Chest and Medium

regiaters, are very rare, and they can aspire only to a career as concert-singers.

The limit of the Medium register in all female voices varies from ¥ "-=u; as a general rule,

however, ~ should be looked upon as the highest note.

As the Head-voice is very rarely used for speaking in ordinary circumstances, the tones of this

register are but little developed, and, on commencing the study of singing, they present a great contrast,

in intensity and volume, to the highest notes of the M,-dium register. More time is needed, therefore,

for the development of the Head-register than for the other registers.

The same instructions that we have given for the change and blending of the Chest and Medium

registers apply also to those of the Medium and Head.

METHOD OF STUDY

A rational and progressive course of vocal gymnastics will develop great elasticity as well as agreat power of contraction in the muscles of the vocal organs, without ever causing fatigue; while the

least excess in practising causes exhaustion. On commencing study, the pupil should not continue

singing too long at a time, and, at first, practice should not last longer than five or ten minutes, repeated

after long intervals, three or four times a day. The time devoted to practice may be gradually increasedfive minutes at a time to half an hour. A conscientious teacher will never allow the lesson to last

longer than half an hour.

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If, as very frequently happens, the pupil disregards these instructions and practises at home

longer than the teacher advises, that distressing result, fatigue of the voice, will soon follow. In this

case the Focal Cords, the most delicate and important part of the vocal organs, are the first to be affected,

and it will be necessary to stop practice for a time. This interruption of study, at the beginning, is

sufficient to undo all the work that has already been done. Besides the loss of precious time, the pupil

has also to regret the loss of the progress that has been made by the muscles of the vocal organs. It is

of the greatest importance that the pupil should always commence, when practising at home, with the

emission of the voice, and continue the exercises in the order appointed by the teacher. In order to

develop the power, compass and equality of the voice, and to succeed in blending the registers, the

scales should be practised with full voice, but without torcing ; and avoid shouting.

ANALYSIS

Most pupils who learn singing have very little knowledge of music. They commence, conse

quently, by singing the exercises and scales mechanically, guided entirely by ear, paying no attention

to the length and rhythmical division of each measure, or the particular value of each note. This

method of singing by ear is most pernicious, and wastes much of the pupil's time; besides, when studying

in this manner, the pupil is obliged to repeat the same passage over and over again, which, instead of

aiding progress, tends only to tire the vocal organs. Therefore, the pupil should, from the very first

lesson, cultivate a habit of analyzing, or mentally preparing, the exercises, etc., before commencing

to sing them. It is only by finding out the exact motive of the task in hand that pupils can so grasp

the teacher's ideas as to make them guide their studies and lead on to the road of independence.

If this analytical method is adopted by the pupil from the very beginning, it will be of great

assistance in all the different periods of study, as well as in his or her professional career, when new

works have to be studied. It will also prove of great service when, in passing to the second part of

my method (the Elementary and Graduated Vocalises), new difficulties are encountered, such as the

different kinds of time (duple, triple, etc.), the various modulations, the multiform divisions of each

measure, the very varied rhythmical accents, and, finally, the new combinations of intervals constantly

occurring.

When the time, the division of each measure, and the accentuation of the phrase are under

stood, the pupil may commence to sing with full voice, because then attention need be given only to

the intonation, and a successful result will be obtained before fatigue sets in.

After finishing the course of Vocalises, the pupil should pass on to the third part of my Method,

which contains Vocalises with words, and where still further purely mechanical difficulties will be found

In accordance with my system (explained in the Preface of this work), which consists of p~

senting to the pupil only a single obstacle at a time, I have composed Vocalises with words, for blending

pronunciation with vocalization; that is to say, for accustoming the pupil to pronounce the words

distinctly, without affecting the emission of the voice, and not neglecting to correct faults of pronun

ciation; and this should be done before commencing to sing Airs, and before giving thought to sentiment

or expression. For this purpose I have chosen the Italian language, because it is the only one that is

free from the guttural vowels of Teutonic languages, and the closed and nasal ones of the French lan

guage; without mentioning cercam consonants produced by the root of the tongue in 'the former Ian

guages, or the "grasseyement"· generally met with among the French•

• "Grasoeyemellt," defective prollulICiatioll of the letter R.

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It is impossible to give rules for correcting the very many faults of pronunciation that one meets

with in pupils. They must be left to the skill and experience of the teacher. Not only do these faults

of pronunciation of the various nationalities differ among themselves, but they vary very considerably

even among pupils of the same country, being the result either of a special organization, bad habits»

or the particular dialect spoken in each of the provincial towns of the different countries.

Equality in the emission of tone upon the five simple Italian vowels, a, e, i, 0, u; the correction

of defective articulation of the consonants by the means best adapted to each individual; and the

formation of a habit of good pronunciation-these are the tasks for the pupil commencing the third

part of my Method.

The closed E and 0, that one would willingly receive into the Italian language, do not, however,

exist in it, although the sentiment, sad or cheerful, of a word or a phrase impels the orator, actor or

singer to close or open the vowels. So, too, words are frequently met with that express alternately

grief and terror, or joy and sarcasm.

In order to properly render the sense of the situation» it is necessary, therefore, to close or open

the vowel of a word in accordance with the sentiment to be expressed. As to the consonants, it is the

linguals 'i, a, t, s, Z, r, n, c, g, k, q, x, that interfere with the emission of tone when commencing to sing

words, because the root of the tongue is so closely attached to the larynx. They alter the equilibrium

of the tension and the regularity of the vibrations of the vocal cords, because the movements of the

tongue jer k the larynx. After a time, practice will render these movements independent of the operations

of the larynx.

The pupil should look upon the studies in the third part as belonging exclusively to the mechanism

of the art of singing, since expression or sentiment has yet to be dealt with. Nevertheless, as the different

melodies have been inspired by the sense of the words» they commence to develop the taste and sentiment

of the pupil with regard to phrasing and style.

In commencing this part of my Method, pupils who have hitherto followed the system of analysis

adopted at the beginning of their studies will be quite competent to decipher the musical part of the

Vocalists with Words, by reading them, at first, without the text, in the manner indicated above. The

next thing to do, before commencing to sing the Focalises, is to distribute the syllables to their notes.

When once complete mastery has been obtained over the mechanism of the voice, as well as

over all the degrees of power, expression, and of quality and color of sound that the vocal organs can

produce, and when the movements of the tongue and lips are thoroughly under control, then the pupil

can easily learn to sing in any language, without sacrificing beauty of tone to clear pronunciation of

each syllable, or distinct pronunciation to beauty of tone.

When ali mechanical difficulties have been overcome, from the formation of tone up to pro

nunciation, the pupil may pass on to the study of the Air with Recitative, and so enter upon the

resthetics of the art of singing without being arrested every moment by vocal or musical faults, or by

a badly pronounced word or syllable. Pupils can now give their attention exclusively to the sentiment

and expression, and commence to acquire a knowledge of the different styles found in the many kinds

of vocal music.

In studying an Air, pupils should always employ the same analytical system they have used

hitherto. They should commence, therefore, by reading and translating the text, trying to get an idee

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of the character they have to represent, studying, at the same time, the dramatic situation in which

this character is placed at the moment of singing the particular Air. At this psychological moment,

so important for the development of the sentiment and mode of expression, the pupil should obtain

from the teacher every explanation that can facilitate the task.

Later, when the studies in singing, elocution, and acting have come to an end, and pupils in

the course of their careers as singers are called upon to learn new works, they will find that this system

of analyzing the measure, text, character, and dramatic situation, before commencing to sing, will

give them a great advantage over other vocalists. Both voice and time will be saved, and the spirit

of a new piece or role will be more quickly seized by them than by others.

STYLE

People often speak of the Italian, French, or German School or Style of singing. Having resided

for many years in the different centres of these three nationalities, I can safely say that, with the

exception of national songs of a popular and local character, peculiar to each nation, there are only

two Vocal Schools in the whole world: the good, from which the best results are obtained, and the

bad, in which the reverse is the case. The same may be said with regard to style. It is, therefore,

quite a mistake to speak of a German, English, French, or Italian Vocal School or Style.

There have alw ays been many great singers of both sexes belonging to different European nations

who have been received with the same degree of enthusiasm at Paris as at Rome. London, St. Peters

burg, etc.

Before bringing this Practical Guide to conclusion, I must again call the attention of pupils to a

serious error, disseminated in these days by empiricism. It is argued, that because modern vocal music

consists of long and declaimed phrases, without florid passages or embellishments, it is unnecessary

(so it is said) for the singer to cultivate the mechanism of the voice, as it tires the vocal organs and

causes loss of time to the pupil.

As regards the fatigue of the vocal organs caused by practice, that depends entirely upon the

ability of the teacher and the intelligent docility of. the pupil. As to all that concerns the technical

requirement of the long and declaimed phrases of modern vocal music, the true facts are quite at vari

ance with these statements.

A singer who has learned how to breathe well, and who has equalized the voice, neatly blended

the registers, and developed the activity of the larynx and the elasticity of the glottis and resonant

tube in a rational manner, so that all possible shades of tone, power, and expression can be produced

by the vocal organs, would most assuredly be able to sing well, and without fatigue or effort (that is,

without exaggeration or shouting), the long and declaimed modern phrases. While a singer whose

respiration is badly managed, and who lacks control over the vocal organs, and, consequently, exag

gerates and distorts the modern musical phrase, will very soon tire the voice.

Every art consists of a technico-mechanical part and an resthetical part. A singer who cannot

overcome the difficulties of the first part can never attain perfection in the second, not even a genius.

10


The Marchesi Vocal Method.First Part.

Elementary and Progressive Exercises for the Development of the Voice.

Emission of the Voice (Attack).

OPEN the mouth naturally, keep it quite still, and draw in breath slowly; then attack the to ne s neatlyon the broad Italian vowel A (an), by a resolute articulation or stroke of the glottis (coup de glotte),avoiding all jerkiness as well as effort.

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fI fli? I ~~ I I I I ~i I I r I

12


Diatonic Slur.

Il I

eJ -6J.~. ~ ~ <c.:>: ~

11 , I

lI!.J -tI-~. <:» -9-~ «:» <:» -6'-----../...

t~ ~ ~ ~.--....... ~ -..

I I I -------r 1"--1"

Il --- ------ • i:; .,.eJ

Il _I I I I I ~ ~ «:»-

IeJ <c:> -~ ~- I I I I I I

~

I ..---... ~ ~ I\'#~ .".~ ~· '"·I~ I-I

Il -t9- ..it ,.j ..;. -~ ~ ~ -eJ I

", '8-~ .r>. .rr>. ~I 1.-----. I I I

~ ~ I -, I I I '-" <:.:OJ~ I I -----I ·· -- T1'~

Il

- ------ ~ <::» <:»_.JII

IV

~

t~ <:» .~ ~~ I~?i

.. ~~.. t: ..IL~ ~ - Il k~

I :

r~

13


Portamento .

II

·"( .,---- -- "-e.! ~ ~ -

III ·l

e

~r. itr.--Ir #j r li!f I~~r~

~f ~

f...

- --- "'!'"

4.

~ /" <, I

- ---- -- -!! <.c.:»--..rl

fJ

I

"~i :t;.~r ~ *-9- ... l. ?J" ~-.; -&-" r-< ~ ,-------r --------I,I »> <,

I :~ ~ 71_ =....------------

~

. -- I~ "'t$!: .> --II'l

( ·«:»:» I:i

~.

~~ «:s:» 1 it"~ ~• .......

~

j : .." .............. ..

5

~

-- ___ OJ

e.! I

1\ I~I I...... I --........ ,- ---II tI r -e- i -e- f ti f•

11 ---------I .~ --

14


Por tamento.

6." I - -

Of!)~ ~ C".!_ -- ~

~- I~I...-----:---... ~I ,-- I '1

~ f 11 r 'I ~i 1f i I r I I.---:----... -- 1>•

....... .........--=--- ~.... ~:

1

~ I~ --- - ,

~ ~ <:» <:»~ (1\ d-:---J J~I 1-.......... 1 1-- I 1- I I I

, tJ I

. . .I I

.1 I I I I

<

~l ··

I-I 0·1'=1 ['--"I ffr'--"T ~ ~r ~ r----/ I

7.~ I - ..-.. --------~ 4---.-/ ""- ---~ I I I

cV r pr i l'j r, r r i r i r I ~rII - .--...

<:.:» '--.-'

~ --- - I

~ .. <:» "-..--r;} ..I'l

~ ~ 4 Q~ ~ ~ ~ =-:.. ~ H -&

I Ju

··I r

~ I I

'cV~ -9- -6!:... ~ ~ ~ <::»~ ~ ~ ~ ~----;<

t':\ t':\ b~ ~ Ib~ t':\I :

t':\8

15


Scales.

The voice in its natural state is, as a rule, rough, uneven, heavy, and of limited compass. Having securedaccuracy of intonation in the attack of each tone (by the stroke of the glottis), the next task ...hould be thedevelopment of volume, po·wer, and compass of the voice, and the blending of the registers. The pupil shouldnot at first attempt to sing the complete scale, but begin by practising exercises of two, three and fournotes, etc., otherwise there is a risk of never succeeding in any kind of passage.

All scales should be transpos-ed throughout the compasi-o of the voice a semitone at a time up and down,care being taken not to overexert the extreme limits of the voice; they should be sung with perfect equality of length and power as well as with correct intonation of the half- tones. ",Yhen the de-r-ending- scaleis out of tune, it is because the sernitories are too wide.

9.

10

I'! '- .u I .u J!,

@J ... ... 06- • • (J • • u etc.

I'! I I' I .ul!,

4!J 4· • 06- • (J - u etc.

fJ I l.l I l.l ~.

eJ -e- I..... ..... UI' I .... ~-6UI' c. c.. - f!c.. ~~ .II

etc..1 l L L.b ~ c. I': .L.~ In 0 16,. II

:

I I 1 'I I 1 I

3I'! 3 3 J 3 3 jJ, 3 3 , 3

eJ 4- .• 4 . . • • etc.

fJ '- I' I I

~ .. • I· .. • . .,~... • • • '\'t •etc.- - • • •.

I I I I I I I I I 1

11.

12.fJ I jJ, I --....

eJ ... .. .. - - • - etc.

I'! I u I I I

eJ -9 TJ- I" .g u -6- • ~-9- Co' 4- - " Co' - tfGol

etc.

.~ I I , I I

16

13


1\ I - I

@.I "*" .. .. g • t:7

fl I

· · · .·@, r pr r ~r "*" 4' I "r r ~- ..

I~'-&'r r'· · · .· . .

, , .I \ -I "1

lIl 101 - I - I - -~ .. ~ etc.

1\ ~ I I

. · [email protected] r ~ r ~r f'

.. ~ . r v .. r ~i r'I etc.1\ . ~ . . ·

@.I I

14.~ - - I - 1"-9-..

@, .... - - .. ... .. -- ..etc.

f) I

: · [email protected] .g' -d. .. ... Q. ~ .

.~'. etc.

·· · .:;5 • ~ "1::. ""iI

!I'J 101 - - I - -

• .. ..eta.

f') 101 I I I I I. :: . :t- e.-' -&. • • 7J · If •~

etc.

. .. .@, "1::. "1 -6' ..

5.fJ

""""'"'"'"... I ........,0'\ a .-rl""l -

Ie,) ... ..... • .. '. --.- IiiiI -..--,,-etc.,., I Li

@.I ~ I~ 7'1 I~ -& '" ~ 4 ~ .~-& ~ Q 4 Q Q

ete::

~ :& ::: ;st "U' "ZO ~ ~ 'U' "I:: ?:~

17

16.

17.


II ....-l"'I I ... JJ, ..~

.,.~

..... . ....... ~ . - ....... ~ - etc.f! I U

t. -& ti ... ..g 'J'I~

,. .,~..g

~ 1-6- - ~:tc.L~ ~ -:

I I

f! f -.~ "* • '-.oil

.. .... .. - --II 1 I

· :·tJ -5-' -6l- .... ... ... <.I'

· .· ·I

f! I - Jlo - -to ---- .. ..

~ --... .. etc.II I Jlo I

.e; ~ *" .. ~# <.I' " • • ..

etc.: .

I I I I

18.

19.

20.

II JJ, ~ - ... L. lot .-tIIII!!II •t. .."...- - -....... ..... - -.. ...... etc.

f'! u # L lot,.: ..

"..: ~: IS: I" ' ...". -6-' I~: I· ..-"

etc., .· . . ,

~. ,lI.u.oIt ..-o!!I!!!!I • ... • .....

., 7t ..... - ..... .... etc.f'!.u. ~.

t.! ti # ... etc.":

n "

Il I .... /'-' ... ~ ~

ft} T· ..... --- ..... .... etc.Il I 1"':\

~ ~ :6 ~ ~ t etc.f':\:

I

18


All scales and exercises should be sung with full voice, but without forcing. By practising with half-voice(m,.....sa voce) the tension of the glottis will never develop, neither will the tones attain the requisite power. The pupil isadvised not to practice more than a quarter of an hour at a time. It is left to the teacher to extend this period whenthe pupil is sufficiently advanced.

N.B._ All scales and exercises art' to be transposed into the keys best adapted to each voice,

etc.

etc.

etc.

etc.

etc.

etc.

etc.

etc.

19


20

etc.


Exercises for Blending the Reg·istel's.

C!lromaticThird.

37.~ I • lJ.

@, -n- T ~..~ ~* .. ~.. , .~.. 1''' "R" ~1T.,

~. etc,

'" I u,r -6i -.. .. e;, -. ~.. e;, -. •

L~e c.rL ,I. . t-

·19=______ ~I I!';----. ..'I b" __

---~---- ITo be transposed into other keys,"

~ ~

~ .... .. - -I'l -~ .... -.J - .. .. - ..'" I I I r I

~~

-6i Q

I·· , I I

f} - .. - .. ... - -e..

1\ - .. ...... -.... --~ I,.. v -6 -6 .g ~ '.6J

(..

II I""'I""T""1 ~ ---""l 1':\

tJ - .. ..... 7JPTfl .- """'-- r':\

.. ~ - .--.. .. ~ .. ..fl I I I It:'\

tJ .g -9 ?f ~Q Q 1!9

1':\:

uIt is left to the teacher to decide which scales and exercises are best adapted to the capacity and votCt' tlf

,ale pupil.

21


91'l1O lot. a ......, a 1> .. ~ 3

.eJ ..... ... ---- ..I'l~ ~. 1>

_ 3 .. .-? -!l... 1> .1 3

e. - ....... -.. ........., •

~~ ~.

I~ .. ., ... ~ ~ ~ • ,. ...

""

( r-):It

I

40

~~I+. s a •9__ .. /1 • .,.. a 9-. 1> .2- II

to - ....... - - ...... --.r

"\ 10 ~t .9 .'? _9 .!. /l .!!.... .9 .. 9 9 .. 9

.. - - ~ - ...."'..l ..1\ U lot.,~ ......... . := :I j 1 • :1 iJ .,;

I ...L_

11 I T

II~ ~~, .. 9_ 0> .'1 D ~ .

tI ... --- -.J •• ~ ~ .....-... r I

1'l1O lot. a ...L .'1 1> 9 ~ 9 1":\-

.. - ..... ....... ....... ~ .....~ -,J-

I'l~++ 1":\

~ ·s :; :I: T.. ii ii ~ .. .. ..I

It1':\

:11 •

22


All scales s.hould be sung s lowly at first, taking breath at each bar, so that the voice may be well developed and equalized. The proper method of breathing is to stop after the f ir st note of any measure, takebreath during its remaining beats, and then star-t with the note just quitted, at the beginning of a fresh measure (see example below)"!'"

When the pupil is more advanced, the speed may be increased and two or more measures taken in one breath.

42.1\ I - - - -

e) -. ..... ...... -. ..... • -. -.--.fI I - - -

~fl I.......... - .. - .... -

I I_. . t--r-

~ --~.

f-"7"-L!7 H~ -~ _------..

-..I

- --,-

•

++-+--+.iiiiIiiiiiiiI:;

--

I

....

@.fI I ..

l-4F.-r-J..-

I I

..--4- r -- _A_ ~ - - - -'II - - - ~ --..;;; --

I ~ ~ - -- -~II ~ • - ..... iiiiiiI;;I;; ---

I

@)~ :f .,. .. ~ ~

J-L.--1 I

fl I - - - rz-. ...'IJ

.. - . .. .. .... 71r - r:-..

-~ .....-:J-... .. -.

@) • -#~7i""'''.... T

II I r:-..

eJ .,. .,. #" :t: ... 1":\. .-

~._. .. ..~Takebre~. _

42. ~ ,. ! . ~=tgjetc.)

23


44.

45.

*~JJ.~ - - -~ -,J ..... 7t ...... ...... ..... .~ l.I loI. - - -

e. ......... • .... 7 -.+ ....I') l.I It

e • • -L1.

I') l.I Iol. - - - -t • ~ . ==--- - - - -

I"l J.I Iol. - - - -l!! ~ .~ • - - - -

I') J.I 10\. I I

e • • ..... ..... ..... .-··

I' I I

1').lJ, Iol. ~ . ~ • - - - -e - - --- -

'" l.I It • ~. ~ - - - -e - - - - -----

'" J.j. H.

l!! ~ :I .. ... ~ ~I

·II

'I jJ, H. - - 1':\

l!! ·- - • - ..... ...... 7tI'l J.j. Iol. - - 1':\

e • • .... .... I- '-.oiiiiI

I"l jJ, H. 1':\

e -I- .,. ..... .$ 1-1-,II 1':\·

I' ... •*~ ~J EX~Take breath.

44. +\ I! j' I letl'.24

46.

47.


- -~ * -@j .. ..... • - --,.. - - - - -eJ .. - - .. • ..~ I I I I

eJI I.

I I

-~ - - - rr.

e - • .. ...I'l - - ~- - - r':\-

to - • - I

I'l I r':\

e ... ... ., .- • r':\

-4.~1

Take breath.

J; "1 j I etc.

25


48.

49.

1'\ -I< ~~ - - l!!Ioo..- .*.e- •• -. - -- - ~ ~

~ ~ ~ - .-o!!!I • .#

t .... -..oIIiiii; - ~~

f'l I I I

" .. .. ..

• •

f'l .- - - .t - - - • •- - - t':\1'\ .- - -t - - •

1'\ I I I I t':\

tI ... • : t':\.• -,j ~

9933*1'\ * ~ 9 9

____ 9~ /"'C;. 9 .r-. 9.

eJ #-J • - - -..-..J --."

1'\ - !!!!!oo.... ---- ,....-:; . r:;; •. .eJ • -.....:I • - ~ IIIiiiIiiiOI::: --.;;ji

1'\ ~ ~ --. - ...--:;;;. !!!!!oo..... ~

.'" ....../ •• -,j~ • • --.oIiiiI • - ~

I'l oIO!!I!!!II\lll ~ - - .-..... .-o!!!!II' .-....... •

eJ ... • jijjIll""" - ~

~

It. i j , I ~ ~ • $: .. ..

., ...

51

52

50

*~ake breath:. _4S.tf,~!f I - 1_ auu-76 Wtt"J I

** EX:'!}? Take breath..J .J

50·PEj ~~rr:umill J I I I rtc.

11 ell'.

26

M, Marchesi - Vocal method, Op. 31

(Continuations of Exercises 011 page, IH)1 33~ .>: n - 3 ~ ----- 3 - :, l""'olOo. :, -:L s r.'\

~ ~ .........- '~ .~ • •~ I~. .---. - t!!Ioo.... - ~ rr.. . . .

~ ~======= - -..;; .~ '...

~ r~. ~.. ,r-- I!!!Ioo.... -- - ~ r.'\,0'1

eJ ~ ~ - -.oiiiIi;lI ./ '--rT ...

~ #'~ .-oI'!!!!l ..-..... - ~ .-- .-.o!!I r.'\

@) - - ~ • .... - ~.'T

1'\ r.'\

e.. • • .. .. .. .. .. ¥ ..~ ~

r.'\..I -.I

~ ,r-";;:--#'.. ~- ~r---. I!!iooo...__ r---. - ~ r.'\

~ lIIIll:I ... - -.;; -- --. "'lIT.~ ...r-, ........l!!!I ..--.... - _--.. ~ ~ ~ r.'\

@J <:»: - ------;iii""" .J ...... ... .,;.---- --

'l r.'\

.~-- -e. .... • •• ... ...... ... .... ¥ .... S- !~

r.'\..

8*EX~~~b'''~54. e 14' iF ""'~ 7----=tt1

27


~Ufr * ~~ ~ _.6.

@. .. ../ ...... .. ... .. -- r

I'} a fr I - - dIIIIIIIl,

t <.» .... ... *.*~, •. .. .....'I a ~.

t@. 11 11 11 :I 1 :I t .. t

-<

(..

5

57

,., a ~.~- - r-...;. __

- ~ "..~----r":__

I!!!!!Io...

to - """"""Iiiii - - llIIi:::j -I"i a 1+ - ---------

..-.oI!!!!I L _ • ..-.......,!!!!!I!!!!!l'!! ~ -~ .--!!!!

t.I ..~ '!T- - ,.. -

~ a ~.,t, I i i I- .. .. ... i" i" .. .,. ...

-<11, ··

fl a ~. ----. - - -- ~ 1":\-

tJ --.oiiIiiiiil ._~ . .. ... ..~ a ~. - ~ - I 1":\

, ,"

to .- - .- .... - I ........~.....", a ~. 1":\

It,

~ ft ft .. .. .- .". • 1j

11 1":\, ·11 -9 OJ

28


11* - - - ~ ~ ~-

~ ~ .... • ~ • --.;;; -~ -- - - ---- -~~ I ....- .. . .. - --

r1 ---- ---- ---~ ~ ~

.. .I

58.

59.

r1 ,--.., - --. ~- I!!!!oooo.... t:\

~ -- --- . ~ • ..~ .;;--.....- _ .-o!!!!!!lS - - 1":\

tJ ~- - • ~

11 ~ i i ! t:\

~ ~ • ... ~ :=: ...•

f'-~ .. I 1":\l ..

J -6 Go:;jj

Example.=i"t~J Take breath.

58':wY)~J I - ~~J I

29

I ell".


The scales from Nos. 60 to 67 are especially intended for light Soprani; they should not be attempted until the voice has attained a certain degree of flexibility.

30

•


(Continuations of Exercises 011 page 20)

31


Example' 7 ake breath.~.- ~-- .Ci3-!~!. }), i i

66. n~ ~ ..

Takebr~67. "t_,'l

32

~ ere.

II etc.

ti9.


1'\ I_ l ..... - ....If.

,.I- .....- 1i 4- .,; ..- P'""" ..,..•. ~

1'\1 r-- ~ ~ .fI. ..... ~

~ --..,;' ·-4 "li"' ..•.,;' · ......1

~I (':\ rr. 1":\ 1":\

1.1 U ti H 1:1.

70

71.

fl U loI - ,...... - -... ... 4- • 411' .. •• ...~ulol ~ - l - --

eJ ... .".. .. -...". ..~uloI (':\ 1":\

... U- ti.

" . .1'\ jj.lol - ~

_ ...(1. ....__IlIII!Io. 1":\

~ .,; ..- ....... ...... ' .,;.•. ~ -.."I'lulol --. - -

.fI. ....__~ ,.~ 1":\..... • IiiiI"""" .......... ~

fljj.1oI (':\ !":'.

eJ ti- H11

" . .

'..;)

33


The exercises On two, three, four, six, and eight notes, are useful for blending the registers, increasing flexibility, and fOT accuracy of intonation. Like the scales, they must be sung slowlyat first, breathing at intervals, and transposing them a semitone at a time, higher or lower, to suitthe voice. As in the scales, the speed may be increased and the frequent breathing omitted whenthe pupil is sufficiently advanced.

Exercises on Two Notes.

fl * - ,......, ......., -- 1"':\.,.·

e ... • ....... ...... -. --.,., - ~ ,......". - 1"':\

eJ • • - ---- .--Exercises on Three Notes.

fl n -~ -3 3 ~~ 3 3 3 ~ ~ 3 3 3 1"':\,e; .,.

e- .... -. - .......... r - ......... • .'I'i n n 3 3 ",..,,(I... ~ n 3 ~~ 3 3 n 1"':\.,.

e- •• • --- - --- •fJ n o 3 3 ..fI... ~ n ~ ..!!.. 3 3 3 n 1"':\

· ,..eJ .';.- .... • r ....... • .......'

~ n 3 3 3 ..f!.. ~ ... 3 n ~ ..fL 3 3 3 1"':\,-

III! ...... '. 0.....1-1 r ...... 0...0..1 -. ---.-------.-.I'i 3 3 3 ,.f!- ~r-4, 3 3 3 ~~ .s: 3 3 1"':\

.,--..·

eJ ......... • ~ r ......, 0...0..1 • q

I'i 3 (I 3 .s: ~~ n 3 n ~~ .Ii.. (I (I t:'\, ...e- .... • .........

- o...o..J . -1\ 3 3 ~~ 3 3 (I 3 3 3 3 ~..ft.. 3 1"':\... -..

·e- .. - ~~ ---- -..... ~ r....l.J ,.

fl 3 (I .s: ~ ~r-+, s 3 /1 3 /1 ~ .s: (I 1"':\

.. .. -. ~ r ...... ~ ~_.;r • -..'

3 -!(I

~ -.:,'1 3 1"':\11 n (I 3 ~ n n n (I 3 .,.e; ..... If*. ft· I...l..J ~'~ I ~. q*.

Il I I I I r:'\

eJ .. • I ---.- ..-

1':\..~ ~ ~ :;s :;s ~ :;s 6

------ -------------- --- ----------- ---~* Example. Take breath. 11 Take breath. f1Take bre~A....h.~__

74.~[.n ~~ "I l ~l~ ]J "lJ4~4JJ14fB2fHj H3

~o

77.

82

HI.

76

78

79

75

34


Exercises on Four Notes.

1":\

88.

1":\

89.

1":\90.

1":\

91.

1":\

92.

1":\

93.

1":\

94.

1":\

95.

1":\

96.

1":\97.

~ Exam le. Take breath Take bre tho

35


Exercises on Six Notes.

fl

ti:: .. -. - -~ - -~

e: ....... ..... .. ..f)

·@. • • ..... • -fl

·@.i ·'. • ..... •r.

_...

4!! .. . ...- ... - .. ..r.

·4!! ............. •fl

·@. ........ '... '.. •fl

· @.i •• ".. •fl - - --

---" -

4!! • .... ..fl

·~ ... ••• '.f!

· t • . "... •11

·~ ....... ...... • - -

11

· @.J ... .......... • • - •~

·@.J ...... ... . •fl I

· . :· .

eJ ;: ,= ~. .... .. ... ' .. ..,... · . .. .. .

98.

101

99.

111

1O:Z

110

100

lOR

105

103

109

107

104

106

~ Example.

98.tn~jql I1/{'.

36


(Continuations of Exercises on pag-e 26)

1'\ * .it! .. .. .. ...

'" t":\. "L _J.

t! .. .. - ...I'l t":\

..JII

It! • ...fl t":\

It • .. .........'" t":\

Ie, • - .....~ t":\

.JJI~...--

.JJI~ .. .. .. .. ...

1'\ t":\

I~ • .- ....1'\ t":\

~ .JJI

I~ .- - ..I'l - - - t":\- -

i ... • ..... ..fJ t":\

I'" • ...I'l 1':"1

~ l.-

It: • .....1'\ t":\

.111

e. • .. .....1'\ - t":\

I~ - .. - --'" t":\

~..JJI

~ • - ...-.1'1 .. I I I t":\. · = ·. · · :·It! I I .... ... .... ..... •• · t":\. .. · .

~f'I("

37


Exer-cises on Eig'ht Notes.

114.

@. -.- - ...-.... - .. ....f\

=-us. -f) .... .."117. -~

-"•... . •...- ......

"·11k. - ..

•

-@. - .. - -...- •~·1~:{. -

@. ..-.... ...... - . .. -fl

124. ,

@. --'¥:J:# 1-., ..~ ·125. -

@. ... ..... .. •

)11 I I- ,

f.} • I I...

38

I

I

-

r

r

r

r

r

r


(Continuations of Exercises on page 28.)

~ 1":\

I • • ...fJ 1":\

I • • •••~ 1':'\

t .. ..... ....~ 1":\

• • ...... .. ....fI 1':'\

f-Ft-

• 59 •~ 1':'\

.. .. -.--.- -.~

f} 1":\

.. • .....fI - -- 1":\

• -..-. --.-:jj:

~ 1":\

I ... ....~ t:\

, .' .. .....-f}

~ 1":\

• .• · ...... ' ..fI ~

• -- -.. -- --.' ----.-fJ • - 1':'\

t ... ..... ...... ...1'\ ~ t:\

t ... .... --. ......"

1'\ I I t:\,. ., ,..- -i' 1:1: ~ I" ':..1

t:\

-...~

etc.

39


Chromatic Scale.At first the notes of the chromatic scale should be played on the piano, wh i le the pupil sings the scale, to

insure perfect intonation. Thebe scales, like the preceding ones, should be transposed by semitones, and at firstpractised wry slowly.

126.'~_lt~ttl

127.~~_

128.

129.

f} - I

e ...~ ---:.!!../ <cs-> .~ ---.fl.-/ <cs>: etc.

'1 - I ~.e ~

~ ~.. .... - <:«:: '-...:.!L-.. etc.

f} - I -~

e ..~ ~ .,~.+ ..-.---- ------ ~ • etc.

f} - - I I - -e ~""~~"1'l"~ - ,~-'1~ etc.-Il I

I ... i i l~W? i i ~q~rI etc.

t ..::;j' =6 r;:. "Z:

1:31

Ia2

40


~ .@j #~ • R· - ]1 -1'\- - ]1

I"l

n ,~".

e, -....- .- --rJ

l!. , :; ; : ; i : ;... .

1\ I!!!!!!!!!!!!I!

t

I

--

....

-.u.~ I -

-

I

fI II .J.l ~ _J.l_ ~. ~

Ii - ,....... 1 -~ _II I

I .~ _L. I .. I -~ ~ - -II

I -

.:J $: • $:$: ~:f • H'• ~ ~ ~f:.{

I

r

fl I!!!!!I!!!!!!!! - 1":\

@) ]1 .1t. - II ~ I' I-rr- II

I"l I - ...... ~ 1":\

~ IIIlIIIIIII:I II "',- -- .. I .v.. ..-

fI 1":\

e,~ ~ s. :r S- •• J ~/-=-. -4 1":\.

• - ~ ~ -

41


Minor Scales.

These scales are to be transpos ed in the same way as the others.

1'37 Harmonic Scale.Melodic ScalefJ - r--. . - 1":\

"e; .."- I - . ... I .. ....

fJ 1":\

~. e- -e- ..~ip?: lbi ~gT; ~i 1":\

I

136.

- ..- ...

- ...

.. ....

... ...

- .. -.

-

-

--'<

--

-

-

-- -

~-

-

-

-

-

"

-

......- ..-.----

......

-

...

........ .....

189.

147.

146.

Exercises for Flexibility.These exercises should be sung in one breath and should not be attempted until the pupil is capable

of ::;0 singing them. They are to be transpo s ed like all other exercises,

fJ 1":\

148. - 11 .. ..I

42


Varied Scales.

'Vhen the scales can be sung quickly with ease, they should be practised in various waysj with accents, dottedHotPH, staccato, slurred (legato), slurred and staccato, staccato and slurred (!UUees), mezzo staccato, syncopated, ere,scendo and diminuendo, forte and piano. This exercise is especially adapted for light voices, Staccato notes are produced by attacking the note rapidly and crisply (by the coup de glotte); they should not be practised too long at atime, as the constant repetition of the coup de glotte tires the voice.

The mezzo staccato (notes flutees) is a prolonged staccato.The accented scales are excellent for promoting flexibility.

I-

3rd note accented.- ::>

I

::> • ..

I-

2nd note accented.:.-

I.....::>

I

Ist note accented.-1\

Ith note ac ent d. c e Dotted Wes. Sta~. Slurred and staccato:1\ ~ ::> • .. .,... . . .- - .

. . .@) - .. - ::.../ . -II """"'"- . ' - .;...:.. iii;;.. .- , iiii~ -

@) ::> ~.

~;\ I

t.! Q-6 -6 -6- 1.: -6- -6- -6/.

.I I I I

t dsMt nd lu dSt;\ acoa 0 a s rre . ezzo stacca o. - , yncopa e .--I ~

It.! ! ":' -- «: ":i' A • A

7!/"~ '----' -1\ -- • A , '----'

~..:. . ------ , , - ~

I@)I\ - -- - • A r --~ '---.-:~..AI I I " rr.

I'!J 1: 0&1- - ~ ~ -9I ~.

rJ -lCrescendo and diminuendo.

1\ ~-.. I Forte. - .101 Piano. -.I@);\

, - =".. f· ~ --.. • u,P =--" --..oil - etc.

I ,

o ~ 1! ,9 4 ~ .g .~ '~-9 v -9 IV ~

etc..I ~ I I I

151

43


Repeated Notes.

In these exercises the repeated note should be slightly aspirated (ha, ha) in order to make it quite dear; but this aspiration should be carefully avoided in the scales and other exercises.

153

II - ....., - "'"".

~

·eJ e~ ::J . ,.../ joIlI ~ ... ~ --..'

--..' ---.!!~ ...II - ,...,... /9' /"3' /3' r7'-~ I"'!""I - 1':\

·eJ ~~~-.$/ ~l,.j".I--- -ioIooIoo,j~~ ~0!.::~~'"

1"1 I I I I I I I 1':\

~ ... , ~ • [. .. -- '. • I'" S :5;I ~ III - [-6 1':\

I I~

ITriplets.

In practising- the triplet, the pupil should accent the middle note in order to avoid inequality; the general tendency isto make the first a dotted note.

33333II * o /1 3 3 3 ~ .....liiooo 3 .....- 3 !J 3•

·eJ .....- - .-. ....... - -

1"1 !J !J 3 3 3 3 ..L. 3 .L ... .!l ~ 3

·eJ .... • .~.. .. - ~ -" I

~ ~ ~ I

~ ~ ~ ~ ~-t

~ :i-9

155

33II 3 3 3 3 ~ 3 -iJ.. 3 3 ~ 3 ~ 3 3 ~

eJ - - - .. .. ...IJ !J 3 ~ '} ..Ii- ., 3 ..L. 3 3

!J 3 !J e ~

Ie.! ....... - -.... 11 .. .. ~.. ~

" I 1":\

eJ I I~ u ~

I.-:: ~ ~ :;§ 71 ~ .3 3J _____"'-"' ________________ ~-...

44


,.,n .9 ...:;... 9 ..::- 9 I -" .9

""'"""""3 -- .f

It!) ....... - - .... ... • etc.11 .-" 3 .":> .9 -" I .n 3 ~ .f) ....L 3

7=l1It!) ....... ·Ti· TT ~ TT rH·- .... "..... ~- - "r' -" etc .

fJ n 3 n ..L. n .f) 1 .-" 3 .n ~ .":> 3".

@) ........ II....... .......- ... • • • •• • • • etc.fl ., 3 n I .'> if n ~ n -"

II

tJ ........ ·tl .. ...........II.......- .... ...... "I ...... ..... - • etc.

1'\ I

@) -6 !:6 "06 r" ... G c.. c.- r- ~- .L .~

---- --------- I~ --- L...~ +- 19: .Ji: p-~~ 'i5 .. '1

----------f-------~ ---------- etc.1

157.

156

159

158

fJ * 3 3 if if,- - ~. ---@. .... ..... --" -" - -

fJ-___.t_ c:!.

tJ ...--------- -.~ ~~ .s>

..: . . : :: ·

I I I I

160

fl /1 , n 3 .f) 3 3n 3

t!) ...,.j I - -~~--u..J U J

fJ ~ ---t!)

if:---. .,'!-:,: :$ ~:· . · .· .

I

11if _3 if if 3 if if 1":\"'T"""'I if if 3 ., ..,...

«- • ...... • • . ....fJ - 1":\.,~ <, ..... "-- ~ <c.:.» ...-.... •• · I 1":\· : :· · · .,

· · -

I I I l

~Ple. ~a.kebreath.160. m =; ,. ,. Ietc.•

45

l

161.

162


~ ~ ~. ,. ..~ .-. .. .. ......... ---~ ~ ~. - .. L

~ ...... ''3 1'1 ....... ~TT ...... ~ tr

fJ ~ J+ (II

l~ .. .. - ~~._- - -11

1

1

~ ~ ~ ..pt c. • ..... -l~ .. . - -

1'1 .u ~ »to." .. •

~ ..~.. 1'1 , ..1'\ u J+ I I

It. .. .. ... ...11··

I

I'l.u~ - . ~ .. - .~.

'e1'1 J1 J+ .u _ ......# ., ..

,

e 'IT ., ..1'1 .u jof,

e .... ... ""i ""i

··

~.ujof • t:'\

ltJ .. ". ~... - -,j-~ .11 jof .u a-.

~ ~1'1' ~TT .- lO!!!!!!I!!l - 1'1 ..,.- -~ JJ ~ I .L t:'\

eJ t i ... ... ..rz-;

··]1 .. ..

... 161,162. Take breath.

46


Arpeggi.

Arpeggi should be sung quite evenly, avoiding, above all, any increase of power in the hig1wr notes.The pupil should pass with precision from one note to another, not by detaching them, but by lightly

joining them.

I163.

II.-!d !!!!!1oo-

t':'. 164. .-o!!!!I .-o!!!!!II .---::::--....1.1 -- - t':'.

@}~ ~ _. ... ....~ -- <c.:» ...

II I I 1 n-. I I I I t":\

tJ .. "... t':'. ~ .. "... t":\

166II === ~ ~ a-. ....-... .~ - t':'.

@} ... '--....~ <c:» ... ~ ---- <c:» ...II I f... I I t":\ I I I 1':\

@} -....... v- - -~ "... .. r:-.. Sl- .. r:-..

1/

165.

167.II ~=== rr. 168. ~ «z-: ~ r:-..

tJ~~-~ ... ~ - - '--!!" ...

~ I I 117\ I I I I 1":\

@} ........... -'- ........ ; -~ 9-"" .. t':'. ~ .. .. t":\

:

I i

Example.

~:;~169.~__!'1"S

47

~ etc.


IJ, *

eJ

III

- - - --

. ..

170.

171.

172.

Ilti~ - ~ .r:»,:«> ~.--...

eJ «:> .---- ~ - ~ ~.. ....-J~J III u llo. J

~ -LC"" ~~... ' '!}!~ '-.'.... I 1ry '-- '.' ~1t:/'--!!' ....

1JJ.l~ I !'!II-..... -- I!!!!I!!!!!I!!! .a--: ~- ~""7"\~ ~ ~

eJ ~ ... ....~""'J -......-~ ....' -~~ ..

lIu~ t:\ I-

eJ '"! ..--.u ',;.; r--...

11 --« Example. :\eye~

1~~: ,,. t . Metc.

48


173.~ * -.. - -----

e, :..-..---' - _/ .~ - "-

II I I I Iiii'"

I I

@J

... .I

1"\ 1":\

e, - ---- -- - ------.;../ .~ ----- -~ ...II I ~

@J I I I I1":\

:

Messa di Voce (Swelled Tones).The messa di voce should not be practised until the voice has acquired a certain degree of

suppleness and flexibility, and should never be attempted by beginners.

174/'\

.@J

~- _-e-~.. "~ ~ »:.:»,., =~ -8' -e- -e- .. -6 ...~ "'" 1''tJ • ~-6

~ --.. I l L I !>no l ,.---- <, d.-

- -~~ I "U 11-0 ~'U' ... "1/

-8' -e-~

1

II

~~~ ~~. ~~- etc.

--tJ-:

"" -

o ~'tJ.., .., • ""

,,~ - +t~etc.- LI, ~~ I.oft" I,~ <, .l.h~ ~ " ..., ...,

.qn ty u .. I "-e- "'6" tJ-e- ~ '1

~ ~

~Takebreat~.173.~@!+2¥II1Jfl'.

49

M. Marchesi - Vocal method, Op.31

The Appogg-Iatura,

The appog-giatura is the easiest of all vocal ornaments. It is, as its Italian name implies, a note

on which the voice leans, before pa ssing on to the real note of the chord" The appoggiatura is

g-enerally a note foreign to the harmony; it may be above or below the note of the chord, and its

duration if, very variable.

In duple time it takes half tire value of the note it precedes, and in triple time it takes two

thirds of the value of the principal note. ItR duration generally de pend s upon the character of

the phrase.

The appog-giatura may be at any interval from a semitone upwards.

Appoggiatura "/175.

Sung thus.

~ I ~ ~ t-, I I " .. ."IJ .-., ,.--..

@) - - ===:II r

The Acclaccatura (CrltShllofe).

TIlt' acc iacr-atura is a rapid little note which precedes by a tone or a semitone a second notewhich j;, long-er.

177IJ - - .-"'!""""!. b<_~ 1':\~ I

~ ~

~ ~ ~

~ "*'/- ~~ - I ~ .""..? •.AJ- ~~

./ "-'" .~ i..!,*

/) 1':\

~ ~ "II ~ "II ~ ...~ .i-> -..... .--- r- 1':\..

-&- ~ ~ ~ ~ .--~------ - --

176

The Mordente .

The mordente convixts of a g-roup of two or three notes preceding the melody-note. This groupshould be ex ec ut ed rapidly, although at first it should be prae tised slowly, 1-,0 as to make eachnot e dis-tin ct ,

I'i -.>- :>- >- >- ~ _>I!!!!ilI>_~ >- :> :>.n

~ <c:> ----- ------. <:»: <c:> etc.Il I I,

eJ """<....-...: .--- ..--- -............

< etc.

i L

'\

178

50


180.1':\fl >- >- >- .->- 1lI"I>-_>- ::> >- >- . >- >- >- _ >- JII==I >- .. >- >- >- >- 1':\

~-lI.@. ~~.:!"~ - I - .----- ~ ':ti.-..-...£.- 1 I - ~ ~."!!!f'

-----fJ 11':\ I 1':\~ ---

tJ -...........:: --- -........::: - JI ~ ~ -"'-.:: VI~ I 1':\··

179.

The Turn.The turn Cgruppetto) is a group of two, three, or four notes, which do not form part of the melody. It

consists of a combination of the upper and lower appoggiatura with the principal note.

" - I '"" ...-'I

· ----, ...---....:.....lj ~~ ----~ .------- :..--' - ..........

fJ - ,....,I

· , .. •.J-f*...-/ -:.y~ ~~ ---- - ~ - jIIII""

fJ ------- ,,-""\....... ...· , ...~~ ~~ ~ :../ ~- - I -

I'l ...-'I -· ---I, .....~~ ~:../ ~ .......... ~ --- ...... I -,., ~ II I I I _I

, .. .. ... ..• ,.

·, ·I

182

...181

183

184

" - - - .I' - - - ~ :..--' ---- ~ ~~-/. ..

'" -- I- - 1':\

" - -- ..... ~

------- - :.J-- ~ :3....-.../ ..1\ - .- - t:\

" - I

--- ---~ <s:»: - -~-- ~.-.../ ...

fj -- 1 -"'"'" 1':\.JII

iI!J - - - ~ ~ ~- .....::t!! ~ ...,,\ I I I I I I I 11':\

" - .. " .. • ..~ • 1':\

:

51


The Trill.TIlt' trill i:- a regular csr i ll at ion of the larynx. It i:- the rapid and eye n alt ernat io n of two notes a

tone or a se rnitone (a major or minor second) apart. The only way to acquire a good trill is by pract is i ng ill strict time with the same number of notes to each beat. At first it should be practised sID,,:..

ly, but as the voice gains suppleness the speed may be increased in proportion. To avoid fatigue, femalevoices should commence practis ing the trill in the medil""'~ register.

The se exerc is es , like the others, should be transposed chromatically.

How to Practise the Trill.fl 3 .

.e ... .,;- .... * ... . .... * ..* .......... ~~... ....~~ ------ '-" ~

f) !':'.(

e ~ 1"6 -6 "II

<!':'.

{. -. -,

-e- -- ~ ~ jj:~

IS5

ISo.fl 3 .

Ie .. ...... * ...~~...~-~....~ "---'fl !':'.

e "8- f"'"l'!l -.!!i ..1':\.

~ Ii=~~ ti=----- ------

187.fl /? 1':\

4! !t"!---. "'--' "'--' - -~-~- - :Jt-~

1':\

4! #.~ '# #:t s-- 1':\:

188.~., .:

Different Endings of the Trill.

189.

-

52


Scale of Trills.

Trills Separated by a Third.etr

~ ------~--------------------

fl~

rir rir rir etr rir rir ir irfll.• ~.~

@ .... ,...:.- ~ "'....-' I I.,..

I'l I I Ij

@ -9 ~

{..

=& - - ~ ~'6"

192

Example. Take breath.

53

194


il, ...' .............. • ",..- ......

.e,_____ _____-----------------------

:e:________.-------------------

Exercise<to facilitate the practice of the trill for voices lacking- in suppleness.

fl .~ ............... ~ ... .. .. ... ........... ... ... . ... ...- "61-

I"j (:\

l! .. ..'" .. .. ... ... 'iI • ~

• (:\..- :; • r F ~oft-

54

M. MarchesiVocal Method, Gp. 31

Part 2

CONTENTS

SECOND PART

DEVELOPMENT OF THE EXE"CISEB IN THE Fo-.w OF VOCALISES

AttackPortamentoSostenutoDiatonic ScalesDotted Diatonic ScalesMinor ScalesMajor and Minor Scales, AlternatingChromatic ScaleRepeated Notes.TripletsArpeggiThe Appoggiatura and Acciaccatura (Grace-notea)The Mordente and TurnsSyncopation .Long IntervalsStaccato, Mezzo-staccato, and Accented Note••Trills

1

2:1

101331353743474951535557

• 5960

. 61

M. Marchesi - Vocal method, Op. 31(Part 2)

Development of the Exercises in the Form ofVocalises.

Attack.Largo

~.

.t! p~-6l-. ~ -== ::;:::::=- -fl --===::::==-

t!

p i f '~#i:i #1 • #j~ :j q ;: f -. -~ -.I I

".. ..~ ~ :;!. .- .- -6-. •

Voice.

~ ~

------~ ~r -.. .-..

t! ~ - ~: I- -

~ I I I I I I,t! ....... .. .. "'tt#'" ~.. .. .... .. .... -. .......

" I I·· .I I I 1'1' - I .. ~

~.- ---- 1"':\ a tempo

.,~~..g. ~

--=s= ====- -=== -~ -- 1"':\ a te71~po

e ~ ... ~~p 1 • f##i i #j -I: #.Jii ~ ~

1"':\ I

·· ..-&~ ?; ~ ~ :;;. .. ... ---=So

~ 4 I I~I 1"':\..---.- --........... ..4! =-=::::::. -==::::. :fl 1"':\

~ .t! :;: .. ... .... "''[1".- -- .. ;: ~

.. ~ 7f ~

I I 1"':\

{: ... • -- -- <:»

2


Portamento.Andante.

I'j .-- -...... I. . .

4! P -------: - ~. u· ~ ------- - nr-- . f"' •

=,.,.....-~ ,.,.....-,. ~ /1i- ~ ~ /1i- ,.,.....-,. ,.,.....-,. ~ ~..

I

P.. ." .. . . . ..=6 • :;S. :;;. ~ . ~~

=6~ :;S. ~~ ~~I

2.

fl r::::::- --............ »->: ---... ~..·4!~

'- .~ ~

··OJ

~7t -... ~ it· *~ lit-- ... ~ 1t~~'-

·· . ·,,-----?:f. -~ ~..... ~. .6-' ?t. 73-. ~~

~. I~ ~ ~1'\:;:::::-. -- <,. . · . .· . ,. .· ,4! f I =====-=-== I- ::::::=---

~ ~I'l:

14~ ~. .-:j ..* "'-:J '" ~--;;1:

. ..... .--·,

· · , ,

~, <c:> !~ TI,,-"" ------- ~"".

1'\ II I mIl. --------a tempo.- -.,...... -

, . .l!! I :1 -- <:.:» .-' ~

_________6,'"- --=

~~

,.,.....--~ ~~ ~1'\ ~:- -~: ,.,.....--~ -----a: ,

4 :J.,'" "*.--:J. colla voc) a tempoI·· . , , ,. , , , ,

.,. --------- ~ ---------- -6-- .g. :;S ... ~ -------~ »->: ---- I ::---'1 1":\- - - - . 1..l1.

II ~ <, ~

I"--r~f---r-- -:

......--. ~,. ,.,.....--,... ~,. ~,. ~,. ~~ ~ ~.. ~,. ?- 1":\··

1":\·· , . ,

, , ........- :;So ~. ~ ;Sa..

~

4' -~. +-----+'-

3

3.


Portamento.

fJl Moderato.~ ~ ~ ~

e; ---.- -~ ---:» ~P~ ~ ~.,. ~,.. ~,. ~,.. ,r::-~.

p.

?f ~ -61-

JI --------. ~111 ~ ~ ~ I I

eJ ~ --- .,~ .> .> ~ =h.~ ~,.. ~,.. ~,.. «z-.·· ........

u =tv .~ ~ ~1J 1V··

-& ~ 1J?i

111 »>: =------- ------ ~ 1-- , --...",.

~ 4--.-/ -4 I '--'=IJI I

"- "tV ~ -:;tV' ~ ~ ~ ~ '"'--""' ~ ~

··?: :; :; :; :;; ~ ?f 11: ~

III ~ --:;::::::-... ...- --- ~ -- ,,----.:....---"""'" ----I tJ - -~::::::=- =III I

tJ -e.:-: ~ ..~ 4t--.V ~v -- -...- ..~ :> ;. ~~I I I I -- ----··

-f!1- q.g ll'6'" <-' c;?: 71 -Qo ~ ~

<c:>

11 Lratl. a tempo

~rull~L:'i.--- --- --::::: -- ---- -- .~

1":\II I

eJ -...Y <-' ~ ~ ..~ ~ ~---

~... --:;...--- .r. "" I 6>-

roll :::::- -:::::.. ~ tempo ;::: ~polla roe o 1":\

:

~ I I I I "<, --- ~

4


Portamento.raIl.Andantino

1'\ - --- ::::0-....tJ -6-~ -----.--- ~ ~... "'(.

-----P1'\ J I

tJ ... ... ... "* ~ I~ ....... -P J..- J,. mIl.

..... '" . . . . · .:r. f' ~. ~. ~. ~. = =?: • ~"

4.

~ ate'l1l~

--------~ (':\

" . · "tJ -6-~ <c.::> I I I

fJ 1 I t":\ ..

I tJ

~.. *1 7 I~'" ..,. I

a tempo

tJr-4

· · ". ."

..r' ~. ~ " - ~. ?; " "'<':i' -0"~ .

~

fJ .-----= ~ ---=::::::: -----. . "."IL :

fJ I I I 1 I ~

tJ • #~. .. ~... ... ..:I#~. .q" .. ... ..

·· . . . " .-,.;:: = ~ ~. :: .:::

~ ;t.~~--.: y. ~ y"

1

.i>: /'"""'J =:::::::::::- I t":\~ --- ~ ~ 1.-

tJ -9~

r ______

~ f-:.-----f-fJ I I I t":\

~ .... • ~..- *1 I ".. .... ~

..~ J t":\.

" .

'"~. ~. - ." .:: ::

f~:;;j ?: • '2: "

5


Portamento.

CantabileilJJ. -- .--- -........ . . ..

IV PilJJ. I I

IV V ~~ V ~~ V -"-~ Vp I ... ,.

11 ... • 11 11 11

5.

ilJl, ,..-- :--.. -~ >- ""I--..

·~ ../ '---' "-~ ~ =

ilJl,

~

~ -u= V C~ "t..3 ~ '---~ V:

I I

ilJJ. --- -----=__ I

. .· .IV : "'~ T "'=

ilJl,

~ V -tj: V V ~q~ "'~t!i "-t#-" U:

111 .. •

illlo ,-- ..-... I__ J-......

·eJ '-----" r::---, I I I :

<,

"JJ.

~

~ <» ~ W ~U ~L~ & Ui:..... -4

ilJl, .....-:: ::> --..... -- ::> ----..

· . .~ ~ ......... -- 11 ........ J'- '-'~ ~

"UIV

q'~ q~ ~ U;" "~~TT~~ qff~~ WI

:

... .. ... ... ... ... 4J.

6


I~iJ,---. :::> _:::>' .-- --,

· . .~ '---'" = : 11 --~iJ,

~

U~ ~'I+J ~'~ ~I't-~ ql'~~ V VI·

.... l:7-.. ~ "II 'I ....

t~JJ.-- t':\ a empo .· . . .. .

~ --~iJ, I I I

~

~~ ~ ~ V -u: V ~~ '\.J -colla coce a tempo

•··= i ~ "II .... • 'I -..

~iJ,- ~ 1- ----------:::> >- I

· .~

= --'~ ~ I '-"'".-~iJ,

~

\.....~ ~:;;: ~ ~ V V <» <»··

\

"II 111 I

~iJ,-- J I -----.I T--'" I ---- -.........

~ -= =-"=" - I - CI I

~.u I

~~~ V ~ ~~ ~~ ~... ~~

<:»

:I 11

------ ··,1..'---'1 I I---~I t':\~iJ, .-- . .·

~ 1-......... r--=----r.'"" -i'~r= = -=-== =~lJ, t':\

. .~ <:»

~~ iV ~... V ~~~ LoR ::?: •~.-

"'- f t':\

· . .I I I I I I 1I

7


Portamento.

trr

A I Andante mosso. ~ I --- -z: -----------...

@)

P-===::. ===-- ~ =--=-- I

jI\ I

e.J?lif ~-. I..... ~ .

~ ffl .. 111 ~Bl~m..I I I I ~

.~ ----;: T

6.

r

11\ I ------:- "I .---~

e.J -==== ====- ~=- -========-~ I

e, 1"- 4- .-.~R1~~ ~~t

• • 1"'4-

·I T I " " I L.LJ I I

r

fJ I »>:------

~. . .@) - ---..I

,., I - - --eJ I· • 1... ·4- I· • 14-'" I·.. I..·•..

· •·

I I I I I1\ I --- --- ~ ----------

~

-----. . .~ : =fJ I - -tJ I"''' ~. ,.,. I" q.... 1"-' ~. ·v. I"'q~ 1"- T 1* '.

· ""

r r r r r f

rrrrf

fJ I I-- -<; ~~- (':\

tJ ----- I-W,;,J

A I -tJ • • ..~ i-'- T ~---'~

~ ~offl:e~ ~l:r.iJT..J:11 "iI! ~/~.,..

.I ~ 1- 1-----1 ~

8


Portamento.

~Andante. :::,-- ----- ,...-.... --....... ~..

e. 4 I <I

-=:::::::::: ::::=- =- l..--

P --==== -~ . .

I .. . . ,@J .g.' """ -6!-' -6-' ~ . 4' ?:?-: #.. p

~.,;. Il:In. bo· .--" ----... ~ ..----

:

r •

7

IJ ~ - ~ ---:::::::::: I - ~

· .«~

<I l ,.. ..- -fI I

I , , ,: ,

e. -6J-' .,." -6' ~. q~: -6'" :

I~~- = ::::=--9-' hn. IIL~ I':> , ~

t, , .· ·" I ..... #'H~ -

~~ 7'tll~1\ ....-::::::::..~

--------.e. .-!.- - ~.

IJ

l , . ,. . . . ,.: ~?f • -6!-' Iq?f . -9 1"#: :j: Ib£~ l~

,,TO--":"': .. -- rail.----- ~·· , ,

".

'-----.-/ <:» '-..3t -6' :;i:,

ta C1JlPO - 1:\IJ ~ - - ---. I I I~ ,

·,e. 4-====:: .,--- ---=-== ::::::=- -f\ a tempo 1:\

,, ,,

e. -61-' ., . -9' -6 -!. -d' "iJ9": $:

-!9-' Ihl':> , I~;;. ~ ~ --- ~ I 1:\: .- ...

9

1

8.


Sostenuto.

II 1Cantabile. »>: ~ ~ -------......... .

v~- -

Il I - -eJ

nif~ '1" .* ~'1' ~ ~ ~ «:» < .7!~ *J

-..

A I1 _____

~, ---- ~ .>: ,",m:~. -,........

-----1.0 -- I -=::::: - -= .:-:=::: =AI - .. .. ..I~ ? '1.... «.» ~

.:4~

-..~ <:» ~. ...~-~~ -- ,/ ~

··I

AI ~ ~ ~-- -... , .Ie.> l.I.l.I = I ~~-,---...-/ - --I -AI ... ....... =I~ ~. •• ~~ ~ .J

:~J .~1 ~. -y~

I·,

-z; 1,,-,[ u

A I, ---- ~ ,---------....

IV~ ~-AI ~ ~~

I@} -,r. .-.~ 9- r ~

•*~ ~~

·.'6 .6

'7

~ ~c.

A I ---- -~ ...-;:::.-.....~-..... ~ ? rail. ---0. . .!II

It.' - - -----A' .. :::::=:::::=--'~ .. (":\

Ie.>~ ~ <:» I~ -r '1"-* e.:» < "l ... ~

I~ I rall· .u u u .'-"

10

Andante mosso.


Sostenuto.

II J.I, If. ------:::=: - ~;> ---- --..--............ .

leJ "'"---' ----- I - 1: -IIJ.I,# ...

leJ~ ~ =J"'. ~ --p:. .-.I~ ... ·-.li ~:" .~ 1:J:Y .~

-------- -------- ~ '<,

..i i i 11 -4

11


~ '" ~, ~ --I

- :>--- >--- ---:;:-----=~

~ J.l H. -~ I!!!!o... ..1( -~ ~~ ~~ ~- 1t:;; ~. ..., ~..- .~~ -." ..-.~

__"i -----.--- -- ----- ---.u,.

.. *a t~~?::.- ________

-, - -- -c,fl .It .jt, -.-~ - =::::==-

11 J.l if, -_"1

~.. "*yJ. "J~- ~~ ~~[-.'4

~~ "'--~ ~- .~~

-~------ -------- colla voce a tempoI

-~11... "*

11 .It if, r--. -1 .~ 1= - - <"Utll - -

.. "iJ_......" ....-.,,-0· ~~ ~..~ it-- ..~ ~...."'!-~ ~.. .~---- ------ ---------u I

:;jj.. :::; i i ..

oj

......~ - 1":\'Ht .jt, ~ J J -,-,

. ... ..... I r '--.7 ----~ -=:::::::: :::::::::=--

1 .. H, a tempo t:\--,",-

V I..~ .~ ..~ ~.. -"il- I

----------- - f:ratl I ..... - 1\ t:'\.u.

i i .. .- " ...*' ~ ..= ---- ---..12


Diatonic Scales.

fJ Andantino. - ------ -@) ~ . ~ - -:::::::::=-

/"j ,H.-- ~ -rr--- ~:

4tJ

111.1I

:

~ 2 -:::I- -:::I- ~. 7

10.

"" ---- - =-

~ -- .. -t9- I ~ -

~~h n- ----n -6- -----.. ",. -----;p1{i:---------:

I

··~.

-I-~ 7 ~- ~ .---

fJ ........ .~ --- -:::--.

tJ - Q • 1'. _____

=--~ ~ g-:=- ~ .f!:. --------· ~·

I I I

··--. <, ::f ~ ... !t~l::=.

1'\ ~ .-r 1 ~ J .J ~I~ ---tJ ---...- ..

"----I-

~n-- --" --- -.... hn--- ~, ··0(

I I I, ··---- - ---

13


~ ...--r-:--.. ::---~ -- --41 .- - T~

...... - ---- --- Iotn- -" Iot"----.,,

··

I I I , I

·· -- - - ---- ----IIrtf, .

~ -----::::: ~ a tempo »>: --~

• - =~ ..~\,n--------'" 1.,.90-:::::::: ~ ~;;:::. ~

·colla v ce a te7JIP'1

I

··'-- ~ 4~ ~-- ~ ~~

'\ -- -- -- J--..,.

Ii ..... '-. • 4 .....----::..-:.---:-~ II n-::::::== ~n ~ ~ I..,.g-:::=- ~

·· .....-

··~/ ~- s-> ~~ ":J. ~

" 1 J 1 ., r--. t:\.-

II -.... ~

~ .:::::::-". ~- ~ ------- t:\-- ~- --.,.·I t:\·

..--- -----.. ~ ~• :;i:

~14


Diatonic Scale.

" I

Andante. --- ::::--..•

• s-: ----- -- -/ " I

I~ ~j ":itj «:» ~---./- ....~.

P

I .. e

"1 .... '1 "11 ...

11

I') J -----I - - ~

~ - ~ "'- ~ ~

= -"l I

I~ U ~ ""L/ ~-J" ~j

f ··"11 = = :i ~

=i =i

" I -- -:--..... :-...

~ ----.. ../ - =I') I I

,4~ -:j.-.--/ --------.. --'-~T <c:»

•

·... "11 ...

15


1'\ r j jj b.l J i j- ...---:::: - ---..eo - I I - -

1'\ I I

It.. <:» <:» ... ~ .----.,..../

-<

f · .. 11

rit~1\1 -> ---.

_______ I , I i i

e.J I - =-' -- --- <, - .,.~

= ===-~ I • I

I• ~ «:> ., .. .. • :I: ., '.. ~ .S •

r#.

·

a, tempo J J Ip;; ~ Fv- ----..........;1'\ I I T 1 I ~ ---- ~

• - U 1 i I r -'--'~ -1'\ I ... $--.:.~ - ~~ . -t-~~ j: ~J ;J.~....-.

a tempo colla voce a tempo

·· . . .'---. --- ----- ~---- --- 'i 'I

1" I~ ~ ~ - ~. -~ 1':\

tJ "- --' - ~

1\ I • 11':\

e ~.. 4L/ ~j ~ ».» ~f~

~I':\

I ··11 .. ~ 11 :;; 11..

16


Diatonic Scale.

12.

Andantino. ______-OO!!!!!!I~ ~, ~

'"' ---- -----~

tJ <:-: ~... ~ ~

~. ..---=------:::= ~JIll -- ==-=.::::::=::: :

"... .. • .. .. .. • • •

- ~. -,.

r ~ r r ~ 9"

" ~~ ~ ~~ ~ ~---- ---- -~

~ .-...-.":-/ - <, -. ~~ ~- ~ <c:>

-Il

l!J • • ~i-,,-rl lJj tJj lJj. ------··

r r ~ ~ 6: 6:

Il~- Fi?", <:= ~ >. ~>.- ---- ~ ~ <,.tJ - -- - -- == ::::=:=::.- ------ - - - -~

Il --e-

.~ t:-I: 1: t: 1: ~~:-- ~~··~ 1! ~ ~ --- ----

ItlYI . a tempo,,----- - ---- ------- ~ ....---:=- ~ ~,.e- >. ----....- ::;:-- <c::: ..~~ ~~ e.:: '- - ~..= ====-====-~

tJ~ '--.. b~ rail

.. .. .. ..a tempo

··v~"--- ----"" r r r r f..

N~ r!!!!!.f!!!!//!~Il~ ~ ~_-..............~ .------:::. t:\

~ ~ -- - ~ - - -- ~ ..-= ===== ---- r":\Il

~ .. .. -6 -6 z -,.t:\

··r r. r f. r;:__________ ~

~ .------j:

17

13.


Diatonic Scale.

IiAllegretto.

------ ------ --- ----@. jiiiiI '--' ~

.......... ,--'" - .......-P-==:::: -=::::::=fJ

eJ p:t::# :t:# .... 'i-" :1:$ ..... :#$ ......" " " f.... .. .

• • • •

fJ - -- ;;:.. - ~ r------.

@) ----- - .......- - - -=::-=:::::::: =fJ

leJ ::t: • ~ ... -.. 1 11 1 ~r~ ~ i i

~ "- ;

··• • V I I

~ ~, P I . I

1'1 ::;;,., - ~ --- ..-- ~~

e- ....... :.:-- r 1-- --fJ

@. .. 1 1 t 11 1 • • .. -;;i~1 1

··V I I V I

~ V ' ·V i" r pfJ~ ..----------: ~. • -«:-: a tempo ...--....

eJ ... ~ ~ --- - ---=:::

Il

,@) .. .. ~1~ 1 jIIJ- .. --=;I ...~--.: ~.-: :l:S :I: :t:

rat! ar:-..tempo "· .. .I I 1 I I I • •

Ii ----::: -----.... ----- - _---.......... 1':'\.,..

eJ - -r-:» -...lI.-- 'C.-- - - --Il --=== = 1':'\

eJ ~~ ::t::f= ~ $$ ~ ... .$ ~ .. :t:

" " "- f~, 1':'\·

• • • •18


Diatonic Scale.Allegretto.:-:::::;~~ ~ ...... 1= ~ - ~"""'"' ~

.@) ~ - -- ~----p =

1'lJ.L

@) .. .. .. • ..,.1 I I I.

14-

= ~=====:: =====- :

I----- ~ ~~

Dolce leg-ato.I\JO~ - ---- ~.

@) - - - --- r- =/Ill -==== ===- .

eJ • .. ~ -S- .. ......I I·· ..,. ..,.

"*

II'l II - - .~ ::::- ---------..-

eJ r f!!----!!~ .-----'".~, -I __

----I\J.L

-eJ 1..- ... ... ... .. -it'- 1t ... ~ ... .. ..-··~ ~ ~

"'1..1. -rz:' -- ~, -.

i eJ .. , r :::>

".10

eJ .. .. ..... I...... .. .. ...... 'r •

··4J. :jJ. ~ ..

19


.>: ~fl~~ -~ .- ~e, -

.~~

.. - .. - -... ...... -I~ -- ..- ...-··

I1

===

-------------:::::~

~==~: ==::::==-

a tempo

~~ ~ "J.=- - ~ ~ 1":\I")~ - ~

~~ - -- 1--- -----I~

1':\flu

~ "tt' - :::...-"",~ - ...

1::: -..1 1":\.J:

::111 ----- ----...'I

- -~ .z:-:fl~

-,

- ~ --------- -eJ

=-~ :=3-' =-I")jj. _D......

... ... ... .."I~ ~ ...colla v0c;.; a

ltempo

I J··....

.A~~ ~-/. -

'<, .. »>:l~ -- =1lJ,j,

... ... ... -a- ..,. --['l!J _... .. ... - ...-·

~ 11 11 ....I ..~

{20


Diatonic Scale.

15.III Andante mosso

~- ~ ~ ::>-~ ~.-'>,..

@.I ~ ~ ---==~,

- --

@.I

~ ~ ~~ .~ """L:/ ~ ~~P

-~---.----t-r- ,~-

.... ... ... ... .... T i

1

III .:::>.- - --------,~ ~ ~.

~ - ---- ~~ ~ ~ I

1';,: = = : =

~

~-.-V .~~ ~ ~-.-:,/ .~ ~.~ It.:/+

:; .., '11 ... ..,~ i..

Il I .:.- --- ~ - ~ ~ - -------.:. - ~

-::I -,or.! . .---- IiiiI"'"""'" - - - --....::' • -' ----- -......:.----

III =--f

~ ...~ ~ ~-..V ~J .. .. .. .. .. -<- -··

:: = ~... r r r

11 :j

fJ, ...--.. ~- ~- ~ - ....... :::;;;;.-...

'V - - ....... '-'--" ---- --..-

~ L===- -=:::: = : =

L

tJ .. .. ..... -F ... .... ... ... iii/- ... ... .. .. ..- -·

r r r r r

IfJ L ratl~

-------------= 1---"" :---------- ---- - t':\

--,

~ ""-'-- - - ---- ., -~I l l L L

rt-. [email protected] '. ,... .... .. .... .... .. .. .... ... .. .,..

colla voce /1· , r r ... ... I) .,

21


~Ieno mosso.

~I.0:::: ~ ~ >- --;:----....-.

eJ ., 1 J =::::::::- ~ =- ~-=I'J' ,.-., .r--! - r--'l -.

eJ ..- .. .,... ... ,.. .. ..... .. . .... ..... ...1\ r r'l 1\

··• 1

~ • • .:1j

~I ~ - ~ ~- -@) ====- =

1 = 1 - !: -===::-~I ~ ~ -

@.J ...... .. ... 1-i oj ~ ~ ..... .. .. ......1\ L r'l 11

·... • • 1

~ • i ~

Tem~I'JI --- >- ---...... .

eJ = = ~ .../ ~/

I'JI ....-.... 1":\ Tempo I.

@) "HI .oj- :f $ ~~ L:/ :i:--.Y ~~··

:1j • ~. 11 11 1 11

I~I ~ ~ >- - .-:::::--... I ...---:: ....-"I ~ ----..... . --@) : -

~~. ..~ =--- ..~~

I'J'

@)

~~ ~~ "4j .. L:/ L:/ C/>-

- - 'ill 11 11 11~ ~

~I -- - ~ ~ ~ -~ ~ ---- - -- f':\,

eJ ......... --...- I '---':: ~= - -- ::--- '-....-/ ..~.~I

1':'\- -@) ...~ ..~ U & -9 :: f I-:-,

I~ I fl-·

q..t • - - 1:1j

22


Diatonic Scale.

AllegrettoIl -- - -:-- --- - -··

eJ1Ji/' ---- ~ ~~

11 ·eJ

~ ~ ~ ~ : ! , ~ j 1: : ~1JIf >-..

:4 ~ =i ~ ~ '4

16.

1

Il ~ !!"!!

----------- -- ----.eJ = ---- ~ ---- :==0-

Il

eJ~ ~ I 1 , ! ~ ~ -,- -$ 1 1>-

:

i ~ ~ =i ~ =-

Il.- "'::::::--.. ~ .J I 1 1 -~

eJ r --- • ...- :11

eJ .- .. ~ .... ., ":., ~ ... ... -rt ...... ~ h··~= - • :: ~111 ~ 11

I

11 - --- ---- ~-- -.eJ -

=-~ I ---- ...-/ -~

11

eJ~ ~ ~ Ip~ p~ 17~ rf~ ~-I I I I

· . .· .. . .. ' .. ' :4, ~ , ..... ~ . -.",

23


Il~ - - ---..; -.~ :::::=- r : r - Iiiiiiiiiiii:::

-II

~ ~~ ~~ ~ ~.. ~-..~

I· . . .· . . ... . • • 'J • ~i . ~i . :;I •I

I

11----= mIt. ------ 1':\a tempo~ --- -- --- --.

.~ ---- - <i:.:» <z:>-II 1':\

~~ ~7 -

~ ~~ ~ :t , ~ -,-$ ~ 1C( Iia ecce a tempo >- >-

.· ..~ . .. 'I. ::;jj ::;jj 4 ::;jj

II~ i i i i i ~ --- -----.~ " ..... --- ~

= = = - -II,

t.J ; ~ J I , :I: ~ ~ ~ :t: ~ ~>- >-

{ ··1i

.;::c::;jj ~ ~ ~i

~ ~, ~11--::= ~ .J J 1~ - 1':\---~ r --. --.- =

1'1 .--......1':\

~ ~ .. .. ...... ., -' ... ... 7- 7 1:t\ ~

\;,/ ralt.

I ·· .~: - • = .;;jj •;11 .;;jj

11 .24

I17.


Diatonic Scale.

Ihl ~. Allegretto.~ ------- -..... ...---

~ ~

@)<c:>: - 1 ~ - ~~ :--..---/ - =

Il ~ ~..,

tJ 11 ... i- it .. • ... 'i i- T ... ~

Llnif

.t r r' r r

I

I

i\~ ~._ ----- I 1 ~- --- - - ~ ~. .tJ ~

<; ~ I~ =---

~- ..~~ - -----= :

I'lJ,j, tl.--l

tJ • T -J- #~,. -J- ~::: ~ ~ ~ T ...

It

r ¥ • ~ i i ~ i i i 11

Il ~ tl. ---- ---- - ~ ~~ t:'\ L. b,..tJ ==-=-- r' .!:::= ~ <c:> l!"~~ - ---- --.....-/ ~ =Il u ~. t:'\ h.

tJ "i- T :: ::: ~ ... -j- J ...71 1Y"' r\ ~ ~ I

·i i i i • 11 4 i ... ~"11 ~.

Il - ------- ~ ~ ----- -m - .---------.." ==..~~ .--- ~.tJ - ~ ~ ~ - ~~ - --- ~-===== :~

tJ 1j' ~ l:/ LV lt~ 1V ~

··• 11 i = = ~ =4i

11 'i

25


>~'I ~~ ~~ »-> ---..It - - - ~ ~-----

-0--, e

#~~ ~- ...~ ~ ~ #~~-<

f ·-,

i ~= ~ ~ i ~!"iII

a tempo'I'll

'1----- ~ w. ~ ~ -..........

It <:> r~ "-..:... ---- - I <c;»: '<, --- ~- -

fl t":\ ~ ~a tempo

'4tJ #~~ it?j- ... ... ... T T .,; ",. T-< eolia roce

Il

( ·· -- "-

~~ 7J r r r r r

~J,jlof ~ .---~ ~ I~, ~ ~I"1.f-~ ----.--- - I ------ "1

.~ ;:---r ~= :::====- --= -

f1.ulof ~ I L L

IIt ... - ... ..- T • • • :=: ... j

( It..r "r •

26


Diatonic Scale.

A d te 8n an mo 80.fl ..----:::::--- ~ ~ ~ ~. ..~ ... -- - - -- '--.-.. r

-="I

'" ~ • • ... • ~ ..- ...?Ilf >-• I I I I

I . . -#---. .. .. ..

IS

'\~ ~~ ~ ~ ~>- .....,~ --..t! .- -- - - -- ~~ --- -::

fl

lt! • :l- s: ... $ .. .... I"" "'1"" GJ 11

>-I I

I ··• . ..

~ ~ r ~ ~

~~.~ ~ ~~~ ~

t! '-' ~. ----....- ~ ~.. ff*--/- =--fl

jIt! qi 1 ... ... q.. t H'" .

j~

r "- ~ ~ ~ r "- ~ I ~

~~1'\ ~ ~---r - mit.

-t!H·~- - ~-

~ ~ '<:»

'I

I . .t! R- lfi ". ~... '~ -::::::: :~:

colla voce

II·· . .

l"---r ~ - --- --27


ta empo1\ .i->: - ------ --- ------ ~

W--....~ -- "'-....--... ..<:»: ~.. <:> '-" -~..1\

1l!J 1 • '! ~ I J 1a tempo ~

I

·1

\

,., --~ ->: ~ ~---=:-' ~. ,.., ....,....~ #~ - ------- <» "'--..:" ~

I'J

.~

~ .. j ~ p~-=- y: 1 ------~

~ ~

· -:6- ~- :;§

tI\,-~

a e'lllpo~ ~-- ~~ ---- ---- --

l!J - mIt. =--- - "'--' - --.... ~:::::=- -.~

fl

l!Jr~ ~ ~ s:t ...... • :=~ rail.

a tempoI

·~ • .. •

1\ -------- --- -'-- ~~ r':\

1l!J ~ - ----- I..-J= r':\1\

l!J :t: .- • • ... ... • j~~

t-:

• • i ii

I28

!19.


Diatonic Scale.

11Allegro. ~~ ~ ~ ~

'!J - ~'* '--" ~ =-=-:~

'!J • • • # 1: 1: ## ..... ~q:.- ~. t: •nil'

:4j •

I

~~--- <, ~ .-o!!!I~ .... ~ »>: ~- ---... .~

~......- - - '-..,;;../ '-.......::--...' - ~~ =

~

@) qt I ,~

~. i :# ~ .... ....... ~q;.-~."t.I·· e

r 4 '1 - :4j •

I'!J

~- --

•

- • ....j.~ -

-...

~~ ~-~ ~

I MOd~ __________--------I~it) - -c:»: ~ mil. ---/~ ---.. -== <;

=Il - [t:'\ f

i '!J iU· ~ ..~ "-61- ~ i- T • .. ..rail.

I I t:'\ I I··l; 1)6 Q <Jf

?; .... - .. •

29


I

III ,.--... ~ --~~ ~ ..-----; ~

Ie.! "" - --- ~ <:» - J. I I

~r

I~ -I -I ..,111 "I- -I Y ... 1IY ~¥ .., ... - q••

.

i 11 ~ill ... 111 j~:a ~:, 4

Tempo I~I --:::=::::- ~. 1Wl. .. \1 1':\ ~ ==----

e.! ===- 1"- r I I I -= ~- ..= :I'll 1":\ 1':\

.e.! ..... ~

, .. .. qt !.PY j: • .... y.rail.

:

i • = ~.11

I1\ ~ ------ ~ I~ ~ -::::..,--... ~I ~~.

!e.! .. = ~ ~_- I

~ ~ -~

I~ ...... ~q,r~ ~ ns • ... !js:" ... ... ... .. ..lb•.

i • r ~

~i

30


Dotted Diatonic Scale.

I

D .eeiso. ---==----II I -------=:;;;; - -~ ..----=-:-... . .. .. ..v ~~ _.../

'-.....;./-------- '-' - -1'1 I

~ J -g. :.? j t11t1'. ::::. -: . . . .4~

-6 •~-'----

20.

!

III ~..;. - ~ .>; - ~--.. ~ <,. . .. . .. . ..f!J - ....... ./ -~-.: ~'- .../

III

v~ ~ j t • •::::. ::::.

. . . .-6' -6'

I

~Meno mo.§S.O

...~ - ~-I'll 1 ~. .. . .. .~ - - --- - - - ......III L - -

I~ i j ,.~ ~- ./" .. "<:>:--.

I ..

!

III~, do~........,

"""""'"~

f _ ............... J :----:== --- I~

~.-

III

eJ <:» ~ ~.. ~ ~- .. - ~<c:>

:

.. .. -4

31


b",'lla IIt.=-e _

~"J I - - ---- ......~ ~.---.. . .. . . . . . .

l! - - ......... --II , - -,~

*-----=------- ~

----...<c::>.. • ..~ <c.:»'"-"'"'

<

tI I

I \ • "11

~ ~ Tempo I.f} I - J. , .J. J 1":\ I -.------ ~... . · .. .. .. . -~ .-/ - I I

'--'"----------- -II r 1":\ I ·

e.; * "* .. . .. ... ~.. J ~~ -----------< >-

(I I

· -· · ... --. T i.~

\;,)

f} I - -- ~. tt!!!l. - <,. . .. .. . . . ~

~ '----../--- - - - -1\ I

I--

t ,.,.~ j ~,.~

>- >- >-

( I: . . .

.go 'f'.i}-: '6~<;:>

II 1----""'"~~---- .~ ~ 1":\

". .. . . .. . . . .

'---" - - '--""-- - - -~ r 1":\

, l!

j~ S:3 j j ::JiJ ~>- >-

".I - 1":\

I · .~

.I ..

32


Dotted Diatonic Scale.

l21.

1'\Andante-

~ -----r:- ~....-r---.. .

e. •-:?= ~ - ~ ----- - ...-------- = -=flP

4!~ tV ~ ~ ':Y "rt:!!;/ ~ ~ ~ ~

p - ---- ~I - -.

'" ---- .-.If!~ »-;: ~ :::,.~ ~ ~. .. .4! I - ~ ~ -- ~

~= =r.

4!~~~J ~J ....~ ~ -,j~ #~ ~ ~ ~~

I - -..... --...:

- '-.... I '"

'"~ ~ -"'""!l ~ I ~.. .. .

4 '--.-/. -- I .--./ ==-- '-' I • - ~ -- -===== ==

1'\

I 4!~ ~ ....~ ....~ ~ ~~ ~~ ~ """L:/ ~~'

<

l/ . ...............

.~

33


#

~~ ~- ~ ~ .--- - ~ ~. .. ..----'~

r~~

~ ..... I <:» - ::::=-==

--.

I -'~ ~ #~ q.- :t: ... q'" """" qe ...

~

l ·· .. .. qir ~= - ~ 11 "11tll ~~

~ -:--. . ,.-- - ~--. ------- ------ "'"""'"!"""!!. .. .. .

~ ~ - ~~q~ - '-' ~ ------- -=-:--. ::>

I • ~ #If ~t

~ ~ qt • ~ qt

I :

-e- ... ::: ~i =~ 7 ;;J. ~i" i'JI 11

~~ ~a tentpo

_rall. - ~.. .. . .• - "---' .~ '":...!Y ~ 1+ <s:»: =' ...= --=~ f':'\

It :t:

==:j: q". *-9 ~ "1V ~ ~

rail.I

a tentpoI I ..... <,

I :

:i .,; ... ... I '-:.I

,.~ ~-, t>; ---- - ~. 1':\"/---..1"". -........, . ... .. ., -- = I I I I <:» -

fl 1':\j , ..~ ~ ~ .~ ~..~ ~ ~ ~ e:; • ! :I~

I 1'\I ··

IJ!: 1:.1 :; :;,- :; :; . ~ ~

34


Minor Scale_

Andante~.u

.~

~~

Ie, "i:t ~ :i

>- >->-1111' - ---..

I ..~ <, .-/ -----

22

/'l.u .i->: ~ ..-- - ~ ...--

~ -~ - <; I- ::===-

I'lJl.

I ~ j j j: 1 =- j-< p

II

: ... ... .. .. ..»>

~ ~~ JI, »>: ~~

@ ...... - ~ tt~ -~-- -"I.u

(~ tI:;w j tt~ j 1

-<

(I·· .. ...

r..Ll ~ -~ ~ --------- - " ~ ~

.. - <, ~ ...... ~-- =ILu

I .@ :I #j t: •• ...

-·· ... .. ..... 'r

35


I

1I.u -- --= ----. --.tV 'I ... ----- ..

.::::=--

=1I.u

tV .,~ ~... <:» <:.:» <:»r- -,-.."

··I --.::- 7:.: '?; '?;

------------\:,,1

::::> ------- Pi --... ratt.IIJJ~ == r T J .j i A t:"\.

eJ ---- - -~ ----- ---

IIJJ t:"\

tV '----Y -~ ~ ..----t'-- =-~colla v(Jce

··17:.: -6 :z; ~

I-------;:-....a tempo

1.lJJ--------

~ - --=:::::--.. ..;::::::::::: -......

eJ ~ - ~ 1

~ == -~.u

eJ j I .:j ) ¥~

a tempo

·· ... ... ... ...I

I

IIJJ~ -;;---..... -----= - ...-- - .-.,..-----... t:"\

eJ ~- ft~ - - <c:> 1t ..~=1I.u t:"\

tV I ft7 j ft;- j~ t:"\

·"111!! ...:

36


Major and Minor Seales Alternating.

Con energia.

I23.

~ ~ -- i i i ;-..". ~ ~.eJ «:: --- ~~ - -- : :::=-

i\ .eJ ... ,... H-;' ,. • • • •

1Iif. ..

~

Ii- ~ I .. ~ t r;-___ .---'- I------

r.............._-----

II ---::::-= - ~-----..-.- ---_--..... .

eJ I ~ - .---- --=:: = =i\ .

@) R> ". J J J j I ~• •

11·.· .. -6i ... ~ ~

I

rr

11--- ----- ~ =::-...--- l~~ ~. .

eJ~

.- - = = ~ <c:»

II

e} .. .. • • .. .. ... ... •11 •·

~ (. 1- ~ I 1- 1- r 1- r ~ TTr ~

II ---- =rn ".;...~ate7J~po..........- -. .

eJ .. :::::=-- ~~ ==== IiiiiIIIIlIj - -~ ~--- ~

II

eJ .. .. ..J .I

.. ..Nt. ate7JtpO -··

I ~ r 1- r ~ r ~ r f.~ ~ It-. -

37


I

II --; I i ~ ~ ..---: ~---

~ --- = ---..:;/ ~ - I =-=== ::::==- --:::::::: ===-1\ .~

~~ ~ • • • • ft~ ~ ••: .

.. 1- 1- ~ ~ .. I ~

rrr

Il ----- ..--"..... --- .-:---.. • ..--- ----...... ~. . .~ ~- - :- '---" ...... -~ ~

1\ ,

~ j j J ~ • • .. ... • •

",I

:-6______ .. ~ 1- ~ 1- ~ ~----

\

11---- ~ --:::::- ~ --- ~. .~ ~ ~ ~ <c:» 4: = ---: =II

~ .. .. .. .. • "-11 ~

..:

I ~ ~ i ~ r ~ 'If ~ I ~ r ~

---- F.friII I!!!!!!I!!!!!I! ~ ,;,. --- t:\

.~ I.-o-ii ~ -------- ~. ~ --- - - "-.: . ~ ...

= ----=== :::::==-

II t:\

~ .. .. ... .. '.j ~ .,~

j t:\..r ~ r 1- ~~I • -I ~ ~

I- ..~

38


Major and Minor Scales Alternating.

11 Andante. ~ --- - ---- ;=:::--

@) = = ~ .~ --- -=:::::::=II -

@)

~ ~ ~ :t :: ~ ~ ~ :t ~nff.

&>

-4 ~ ~ ~ ~ ~ = = ~ ~i 1

1

24.

Il~ -.... -- / ~ ~ ~

eJ -=::::: =~ ~ ...~.... .....~ - I

......=::::::: === -=11

e; .~ bP7 li) ~:: 1 qJ 1 :: ~ )

~··.:4 ... 1).- ~ = i=

~.....

~~ "11

~ "11 ~ ~l,;'

11---- ----~ c-- - ...---r-.~~ ~ --...... .---.-

e; .. .-/ - ::..---- ~:.-- ===--- -==== I -====-11

e;1 ~ ~

., ., ..··

"11 t1.- I)" • ft-I

1

11/ - -----------

=:::-...-- I ----

@) ---- <, ..-=--"-"~ JY' -== <:i:» ~ - -~-==:::

II

@)

~ J ~ .~ ~

:

"... ... 1 ~ P'"

39


~ ~

'" --- ----- ~----------- - .~ v~

._-------- - ---- <:» ...~ --- -= :::=,....

fl

@) v~~ :: '* ~ 11 I ~ ~1 ; I~ -6

~- .--- • D I I

~ ~ ~~ ~

Il - ------- =-r=:::=. - L. _________~--,

~ - "-..y .. ~ ft .. -~ - - ~fIl

~ ~~ ~ Tt~ ~c;

+- ~ ~ ~ ~+-ra tempo

I'J/"""" ------~ -~ --- ~_------.::.. . ---:--- ,.....,;;------------ ---v- - ------ ---------- - <::-===== ===- -====

1'\ (:\ a tempo

~ J '= ~ ~ ) -jII"---. r ~i ~ i s ~ ~~r-..

~.. :: :: = 1'1' " --j ~ ~ ~ ~

11 11 11

Il ------ - ~~ -;;""",.,.. - .....-r-- ~ (':\

~ .~-----~ ---- - ~ ~---------- ..--====

r. 0

~

~ J • : 'J ~p.. [,"j ~, 1 1j '~

~-"/'-

i = 4 ~ ~ 11 1;1-- ~ -~ ~

11 4 i40


Major and Minor Scales Alternating.

Andante.

=11If.

-III -----=::.::::;- - .>: --- ----...~ ---,-----. ~

tJ~ --- ..~ <c:> ~ I - --:;::::,- -=::

~ I

t .. .. .. .. .. ~... .. "11 • •:

1i ~i 1i ..::.~ 11 ..

i1'1 I ~------. - ----- ,..-::::.... --- -.: --- ::~ ---..

t ~ ~.. «> ------I If r - ~ ~~- -==

~ I

e 11 .,; 111 -,J ...-- • .... -,J

.

i i .. .. ..1'1 f ---- ~ ~ - :::::::--.-- -<;

t l!J"~ ...q......./ ------- - --- ~

====-- --1'11

e I 'I i' ~... ~ ~ ; ; J ~ qt tI.

i .. 11 ~ = • 11J

a tempo11ra~. -> ~II I --- .....-..... ~- --- .-.--!I-"

tJ ../ ~ l- I 1'1 --~.. ~---- ~ -,--Iol"

===========--= ==f"\ I t:\

.t J J ; ~

ll~ :

Iq~ colla voce~ ~ .. ..

rail. a tempo..

1i - - - ~ ~ii ::;§ • l;

41


Pill mosso e legato

1\ I ~ 1........-~I ------= - :::::;;...........--- .-

l!-"'-.....-/ - - I- I ..~ - I ~

~I

eJ .. .- q.. .. ¥ .. ,. ,.

··:ji ::: :ji qi11

1\ I ---- - -------- --------. ..---......,

eJ ~ I =-:::::=-~ I Pill. mosso.

l!- ... q1f ... "1 ~ I t.. 11 t

I I··:ji i :ji 11 .. • ..

~ I --- ---- -- ~ .J] ---l!- = - I

~ ,

eJ i- t 11 q... .. ,. .. , ... ",I rail.

·· .. i 11 i ~ qi ~ ~ -~~:ji i

raIl.ad Ubitttm

f':\~0--~ ~Tempo I.

~~ I !!!!I!o... ~ ---- ~,

t "I ~~ - --.u-- -........:...~~ *5-- --.:/ ~~ -= :~ I 1":\ f':\ .

eJ ,- ... .. .. .. ... ..,-" f':\·· .3i ~ 3i :ji

~ ~ ~~

'I (':\.~ I

~ I---';:::::::-1 --~ .. * ~ ------..- ,. -- - ~

f:::::::o--1111 l I 1":\

eJ qlt ... ... ... .. , , , ... .. q-.F ...f~ f':\1\ 1\ 1\ 1\ ~,

::: .. .. .. .. .. • ;i •11

42

26


Chromatic Scale.

Andantino. .>: - =.::---.~jj. -i ~ - ----..,

~ .~ .-----:. • -~p-=::::: ----===::

~ 1+ ,.,t.. ... ., .... ,. • •• • .. • ..

pI I I-l . . .. . . . . . ..- -

rit.

<:>dt.

a tem,l::.p~o _

a tempo

43

c


trit. ~1'l.lJ, : - t:\ a empo

I ~

Il!J ............ ..-1.... ,=/" -:::==-I ==-- -==::

I'l.u. t:\ a tempo, . . [email protected] ..~ :::;--: I~·: ;;:::.~.... : .,. .... "rit.

t:\ I

t · . . . ..I I I I I

J'I.u.~ ~ - ~l- - ~

,~ ~ ..~ ..~'----"-==:::::: -==::

1'l.lJ, -IIl!J .- .. ...... ...... t .. .. , .., ...... ..... -

I. . . ·{ . .. . . ·I I

ril a tempo

~ ~ ->: J]1'l.lJ, - ......- r"""""'TT I I

@.I-----~ II!' --- --- --- -II I"

~

I'l.ll. ~ ....- ~ a tempo, [email protected] -i -i .... ~ :: : ; .j ~ ...... .., 1.=

I Ir#. .....-r1. .

·I ·. ..I I ~

~ ~~1'l.lJ,~ -........ t:\.

~ r I ri I ri- -=--=.==--

1I.u. 1":\

I . . . . .lEI ..: ..... : I': 1-1-: .......!!.

:::::-1~ :;'1-~.'-j

~p - .-.----r ::.:!f;.-,- 1'\ 1":\, ·· - - - -- '- ....... ,-

44


Chromatic Scale.

Andante sostenuto.II I -- - :::::::--"1 ...----= - ~ .

.~ """l.... .: -=1'\ 1

t,@J .... ~ • j: • • j j

'PJT

I :

ii ...

27.

~~ L ~I. ______ ---- ---. ~

IV ~ ~ -- --- - -= - : = ='" I,

I-V =: =: J I • ~ j j

·• · ..

~I »> - :::--'1 .>: - ~C

IV 'l.l..- :..-r --- ---..u --- r ...........

= : = : --==== -i'l I

IV ~~ I i- ~ t :;

~:

i -411 • r t- t-

'" , ~ - - ~ ~ - ~

~ U-.: • ., -"" ~ d- ~ ---II ______ -

11 : -'" I

I

liT t .. t t bU- UL.

·1 ·~ J. ~ r f' to ~ f' f' i ..

45


»->: - -- -----= - =::----.~ I <,

Ie] .,-~.~., --- -------- "I 1'[ -. -

~ Il

leJ -J-~ q~J «::» q~

I ..:;jj

--.1

.~

m!!.~IJ L . --- ~, --- . --..

.-01 ---eJ -.-v ~ - I'~.= -,., I ~ t':\ a tempo

~ ~,~ ~ ~=-mIl cot/a race

t':\.

-...:.J i

I"l I ~I »>: ~--. ~I~ ----e! ~. = - 1 1000-"'"'"= .:::

,., I,e] j j T • i i '= ~

I'<II I

mil11 I ~ - - --- - t:\.

Ie! ~ - ~-IJ I t:\

jillJ

~ ~ • :.- ~ :::::i

lcolla voce t:\

; -- ---- .1 --. -.46


Repeated Notes.

Risolu to1\ ---- ...:::: --..........

I eJ ~ -........::; .. '---'

f

1'\ f I I I I I I I

t ~~.. .. I .. ""2:: T. .. .i1 i-

f 'u .fI .. •i~

'....< r

I I iI .. .

11' I ~ I -II ~

28

colla uoce

Allegretto.

p

:Di'p

=- ==-

47


~.u ------= ~ ~ »> ~

. ..eJ r

.= -= ---~ -

~J(,

l!) iJ .. -'- .. ~$ ~ ~ ri ~~~C? 7t.J .,.j.. ...

~ ~I ~

·( · .. . . .

- 111 •...~~~ ::>

::;....... .> ----.eJ ~ ~

~.~

= -....-

~JJ.

&eJ 10 - ... --

'...-/ <s:> ..-..../ - .. - ~ ~~ ~

I

·, · . .111 • 'ir"' •• ~..

rat! malta, . Tempo 1, risolltto~ ~ ~--~f1JJ. r--- I- »>: ---

eJ '--" '--" ;/' --- "---" -.-~ -

~~1":\ I-

Tempo I) rz"8olutoI' I, ·

<: ~ ·eJ --...-/ -- 1I • 'll "j i -I~ ·Folia coce j

I. .I · . . , .. I I ~

Dectso creec

~ -> I - ---.....~ -:::::::::: ::>-..~ 1":\.1"11

lei~ "'--- L --= 17tf=-'

-,: =

~ I I I I I , IPee Z80. cresco

I I t":\I

{ ..... 1r=

.ei -ft'. "j-i ~ .... I

I 1171/'

Ir

: (":\

(..

1'T I ., '" .4t48


Triplets.

A~~

llegretto.~/I ~~/I .....--;;--.. /I ~ ~

@./ ~ ---- • ~ • -'-- - ----- ~==-=- -=== ""-=Il~,

@} J -." ., .;- --., .,-,

,, . ..... .. "'I

29.

Meno mO~S~SOl'-&- _

:::C /I~

p

p----- ~ "--' T

Meno mosso.

. .."·1

I

~~~~ 3 ~I ~ ->: --- -=:::::-....Ie) --------: -.. -rJ- .-......-/ • If''----./ • "--"

: = -IlJ.l

(

~-@./ J: : i:fV I .. itt i #U -j

I

··r ~ ~ flj ~ ~ r ~ ~.

1'\.1&- ---- /I ~ /I /I -:»:-; zr-:~ I <r-.c:> ~ "--' r<:»: ~

::::==-- =-====- ~1'1.1&

•I..,"/ .. "I ti-l 1 i i

.. " ,1, ·

-=f to- 1 f' to I to- ~ I t- t-

49


1IlJ. r-.. .> ~ <'"~ .'1 ~ .---...

tJ "----" "--'""" ---J'! - ..-Y ~.,.

~ '-..:.1-" --..l/ I "--====-- : ====== -II ..

ItJi~ fI'" ~ ~i~ #~~~ ~ ~~..

I

·

··~

1'\ .u (':\ (':\ t':\,,

eJ Q: q.~ t':\ t':\.

I .--J

II L1 ~ ~ ~ ~ 3 --- ~ ..- .wJ '-' .. ~ .. ---...-. - "---""' ~ ~ --- .. ""'--' .. --- ~ -=:::=-- : -=::::.

/IoU l,

t':\•, , ·~ "'1 , ... .. , , ... ....1 ." .. .. j" V

I.

I, ! j: to.. t':\· ., · ,.. .. .. 11 .::

~50


Arpegg·i.

II Moderato. 1 ______ - .---.~ ~..-0!!!!!!1 --. ~

•I~

P - .... .._..~~ :: --..;;;;;

II

j@,

p-U-~ »: -:» ~..-/.. -:» "it---.Y <r:»I I

I ·· . . .

30.

~ ~I'\~ -:::---.. ----::::: -...- .t1 ""'----" I i ...

~ - I 1-

=II

I

~~.~IlPJ~~~ U~ ~~~·0 ~~~

I I

I.. .· . .

=

51


-========== =--=--=-

====-- '...-.;2::==== =ra=ll=.:::::1:=

a tempo

\

52


The Appoggiatura and Acciaccatura (G-race"-llotes).

1

31.

" Allegretto graz ioso. -r:" -=:::::::---. I

lI! "----'- I -: - =-/'j

~ ..~ ~ ~ ~ :;:1 ~t- :; :::; ~ =- =-:s .:s :; :;::;: ~'l!if'"• l l l l l.

/'j »>: ---..... .:::::. ~ ~

~ ~• ~ --- ...--" - <<z:» ....<; ----=-

fl~

~ ~~ ~ , J i it i ~ ~~ S D ~ j) ~•.f...L..

I r I r

= =

" ~ ·1 ). -----.

-• ="• b~3 ~J b~ ~~ .. ~ ~ ~ ~~ ~. ~ ~ b~ ~~ .. ~ ~.

----------- ------------- ~!1-*' •• '--" --./

l53


p cresco

=

11 I .i>: ::> '.----..-.. ~ ~ ----. .

~ "1',-",'-.S.!' -- "I ----- r

.=

11,eJ ~11"~" 7J ~ ~!>., -=i In'·"1 ... _

~.J !>C =iJ3 ~------- - --- -------I ·· .

----..,

a, tempo1"\- ~ --- ..~' mit. ~ --------- ~~ , . .~ "---' 11 IiIIIIiIIII - ......... 11 '-'" --- '-' -

==-==- ~ ::::=- = =11 ~ ~

--~~ S ~J : , ~ff ~ , If:: 1:1 •• --.

~ ~a tempo

I I·, ...11---- ~- I l~ ~-- - --------- ~

... - ------------ ~.::::=- ~. '4!' --.-- ~

~ ....-...~

'a.' ~ll ~ I~~ :1 1 i i: q1 11 .. 11 11 ....:

~

,r r i ~ r P r p ~

54


The Mordents and1111"118.

Moderatof"i.u. >-~ >- >- ~ -:: ~

~. . , .4V 111' =- ~ - • ""-'

-"'I~- = --==::::: = ====-=--I'l JJ, .

.. .. ~. '=: " ~~I)

111'I.

-41 -41 111I 111I 11

Il ~ -. <, >----- >- [ --;;--------, - ---.~

--.. .eJ ~ 9- - 11 -

~: =-====- =- = =fI JJ, I

..~ ~:fln. ... ~. .. ..- .. .- ...

I

ill -41 ... -41 I

'!'all.

1

---- illll~a tempo

f11.l _ r-r~ »->: - - "~[lIII -;:::=::::--

~

• »<:»~ -- I ~ .. -=::::::::===-==- =:f1J.1

.. • .. ., .,. • • "'7 .... ~ .,; ... .. ......raIl. I

a tempoI I I.

[ I

a tempoIt.1'0, .

~J.I~ i i I i i ~ --=---------- .;:> FI --------..rr>

""-'.., "--. ---- "'" - .. ::::==- = =====-----1'\ JJ,

~ '. .. S .. .. -ill- ..... ~. .. ... ...

colla voce a tempoJJ, -:1

55


I, ,--'"= - = rail.

IlJ.l I I I I I I

~ t1' - ff4'- ... ott· • tt· .. i 11 ttt •rail.

. , . . .n v·

t11 J.I ~!':'I

a e711po::>~ ~ --------.::> :---- ::> ::>

. .:../ .

,~ "l~ "- • • ..==- ~/!f: =

I'lJ.l !':'I

.I~ Hf;-: .. ff~ ~ ': ~ 1

!':'IlItfa tempo

?t. ... ... "iI 11 111

I

I'lJ.l ~ .«: ::::>-- ~ ~.

.~

-~ -9 " "---"" ~---..- ..

==1'l.lO

If) , :tt"... "i" ~... .... .. .. .... ....

.. ... .. ..

I

IIll1rall~1'llJ, ~~ ...-... ~ f":',Il=::::>-- I'" I.f) ..~ r I I ----- '-. . .----=

!\lJ, f":',

f) ~ ... • • ""i" 11.... ~. I ., .,~

raIl I t:\4}:-J.

I I I I

56


Syncopation.

I33

,., Energico.~ ~ ...-.. ~

eI 41- ~ """- :;: <:»~

eJ

m; i • i i i i i i j $: •

..~ - ~ ~ 4i • ~ ~ :i 4i • •

IIJ ~ ~ ----- -»: ~ ~

lei r r '-. /~ '-----''-"'" ... '-"'

~

It! S S :;: ~ S S • i i ; • i··

"4 4i -:;J. 4J. • ~

~/" --- ~ ~ ~ ,

tJ ""'"- --- r r <; • ...-~

!t! ~t 1 ;: . ,~ ~

, ! ! ~I

:

... 11 • • - "---4J.I

IJ ---___ J>

/'" --.....> - ri I

'el ~. ~ • --- =~

eJ ~~t" # If~ # q~ -9 ~

·~~~ V V ~---'" ~.-/ .t~ 4J.~

57


~->- r-' P"'"""L- _ "'"- ~ .......>- - ~

eJ :::==- ~~---'-.-/ - I r r

~

eJ $"'P~r1 r i pr~ i $" ~q~17, -j

··~~ - U ~

<- U i~=6

Ite

---.!!!!.l.a 1npO

~1\ l ~ > ~r--1

eJ - >- >- > >. .... ~ L -..:- <:»

1\ a tempo

I -eJ

~ ~ ~ i i j i i =- =-ratl.,

I :

- = ::J ~ ~ =i ~ :;jj.- .-

iJ "J~

~ > > --> ~> >---

eJ r I'" : <c:> .. ~ I:

~

t~ eJ ~ ~

,. ,. $ ~ i i i i i i··

~ ~ :4 ~ :4 ~

1\ ----;: ~ .,.-...---. -:. ---..... f':\> ..--....

eJ - ~ <:':» ....1\ f':\,

~ eJ 1 .. • i $ S j)=J J J-4 f':\

I I-=:

.. :;jj i r r r '--~'58


Long Intervals.Deciso

Il nd' _____ --- ----- ..---------.... »<-s-'.IV

----I

~ ~--- = -~ ~ ~ ~ ~ t:\

,eJ

7lif ~ ::1

1J ~l 1 I~ qJ l !~ l ~ i~i i t:\.. . ,

~ = :! = - :::: = =~ 'i 15 i ?::: iI -z;

34.

Il .-::.'> ~ ;:- -.....

eJ - <i:» .... I .... • ..= =Il

IV

}~ ~ ~ ~ J J ,j·

=6 =6 ".6 r r r11 ~ ~ --- ..I 1 _____0 .

@) - <c:» .... ... I ...::=L ~~ .

W) H ~ ~ # ~ w 1J 1j- ~/ I rr.

··=6 =6 =6 =6 'IT

.,~

=6

Allegretto dolceIl --==- rJ ..., i i J------ ---

@) pi r """'--l r ~ -r~ -- - 'l.J ~- -~

eJ ~~~-.~ 11"· .~ ~... "..:;. i V• ..~ ~~lln -..-; ~~i i' ~~

p~ ----- <c::> ~ ~ <c:>·· . . .

11";" 11*. qT. ~.-"

i .Tempo I. deciso

~~ rf!:!L t:\ 711t' --- -...... ~ nT -I t:\

eJ ~ ~ ~ • -_. - ""'"'--J I I'" r~ -==== ===- -~t:\ deciso t:\-.

"l-9 1J ... 09-@) l' II , ~ i~ ~J tl~t:\'colla voce nif. ~ i ~! I t:\. ".· . • ~:::: .. <- -<II

~ =iI • ..I59


Staccato, Mezzo- staccato and Accented Notes.

:M d to era o, .> ~ -------fJ .ll .~~ 3 3 -".. ~

------f) ----.. --- ~ r" L ~

~ ~.. ----------==:: -I"l .ll

f)?ltf' :t :s: :I Tr~ ti~

'I..... -4 -4 -41 -41

35.

I"l ~ 3:> '. , """'-- - ~f) ~ I r. - ---------I'l ~

f) tr:=: ~~ • ~ -j/ ~....·

-41 -41 -41

tF0 i I ~~a 8mpo

.....,..., -I"l U :--:

@) - ~ :> ~ ..;;»>:> '--..- .- ::S=- ------ - r L.-.

fJ U 1':\

f) ... "'I .... raIl. #~ ita" a tempo I =tI

·I . .. ...

f1 .ll ~~ ~I , ~ , ~

@) ~A -=::::::::::

fJ U =e, j: ~ t: 1 If:)r T

··-41 :j

II .ll ~ ~ . ~ ~ -- ~'<,

@) : I

~ U 1':'\

4!J :I: j ~ .l+~ #~~ ::;1~' - 1':'\

·" ----- .. 4. ...

60


Trills.

1

AndanteJ'\ I .------- cit- ........... ..., ............ .. , ........--.

eJP

fI I____ ---oo!!!I - - --...---.

eJP

I

II IAndante.

i

eJ "C.-7 ... Ji ....~ T ..----- - ..,;p ~ ------. r\ r\. .. .. ... .. ... ...

36.

Notation.

Sung thus'

l

fI I ~ ~ ---. ~ - - ~

.e. ......-- I --- ~ ~ L-

fI I ~ ..-::::::::::::---- - - ---------- ~.e. '-oi I ------ -----~ IiiiiII""'" '---"::-

fI I

Ie. ...."--.-/71 "I • JI ... "--.-/"1 ...~ Y~ ..,;"--.-/7"--.-/

.. .. • ii .. .. ..

J'\ I :> c1r' .........., ... . .... *"- -:-----............ ........ .... .... , ..........

t '" ->fI 1"'- :> I - --- ~.

It r' --==== -- ~ - --=..;;7

fI , l I -- -.., ll~ ~

~ ~... .------ .. ~

I:

... .. ... .. • •161


~ I ----I - =-------t:IJ..~ .......... ..~ . --

~ '----..'!'!' ...~I - ~ ~~ ---- ~ ----- - -=:::::-....

@. <i:» ..~ I - -

t C ... .., ..----- «::« 1l ~-

··i

1'\ I .- ir"":"""" .. ...., ..... ...... .. i7- .,.. .... .. .. ,. . .......... --.~ ===-Il I ...--...

-~- ....--. - --

eJ - -- ------ ~ 1'1"

:::::=--

1'\ I

f., «.':> q~ ~ ~ i.> ...~··

I

III ~

1 ___ --- --- - ... -. -- --..If., - l......I=I - I

.::=- : .::-~ I ...--... ---- --- »>: - - --.. -

'--I~ - L......I=t:::::=- : - - -

III - - -

eJ q~ ..._/ ...-------- .~ --..: .---.--r

··62


.. .... "' ..

(Jolla vO(:IJ

iJa ......ir ...... " " "" .... " ..........

Pili mossoIJ I - --......... ~....,

-~~----...

· ..4tJ 11- - .'----'~ - --- -- -

-----::::;;0;

--------IJ I -- :::-----.. ~,----··I-\@ . .

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65

PREFACE - Belcanto Italiano · 2012-10-06 · M. Marchesi Vocal Method, Gp. 31 Part 1 PREFACE T HE...

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