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2
T O C AIL, M-'US I CI Thefirst and most jiecessaiy Rule in Singing, is to keep the
voice steadj. • . .
II. To forin the voice, in as pleasing a Tone as is in the Powerof the Scholar.
III. i'o be exactly in Tune, as without a perfect Intonation , it is
needless to attempt singing.
IV. Tc vocalize correctly, that is, to give as open and clear asoimdto the Vowels, as fheNa^u re of the Xanguage in which the Student,,sings,will admit.
• ' /
y. To articulate perfectly each Syllable.
VI. To sing the Scale, or Gamut frequently, alloWing to eachsoxmd'one BREVE or two SEFIBREVES , which must be sung in the salneBreath,- and this must be done, in both, A MEZZA" DI VOCE ,;thatis, by swelling the Voice, beginning Pianissimo, and encreasing^radu--ally to Eorte, in the first part cjf the Time, and so diminishing graduaL-ly to the end of each Note,which will be expressed in this way.
:4
Piannssimo ^ Piano
,VII To exercise the Voice in SOtEEGGIO every Day, with the Mo.
-nosyllables Do, Ke,iiyii, f.:ci
VIII.To copy a littleMusic every pay,in order to accustomthe Eyeto divide the Time into aU'its Proportions.
IX. Never to force the Voice, in order to extend its CompafsintheVoceDT FF.TTo ti p v\'ards,but rather to Cultivate the Voce m testa
in whiit is ciTled EALSETTOi in order to join it well, and imperceptiblyto the VOCE 'DI PETTO, for fear of incurring the disat^recable Habitof singing in the Throat or through the Nose; unpardonableEaults in a Singer.
X. In the p:xercise cf Singing, never to discover any Pain or^Jiffici'lty by distortion of the Mouth, or Grimace of any kind,which
d^"5 th"™ost diff,^^^^^countenance in » Lookingglu-
^H.That Scholars ^hrMri,! • ^ i
Friends with a calm .nd ^^^^ Harpsichord and to theirf'he arful Countenance.
-A^IH.Torestor take hr*.n+v u ^ -li.
Time,, that is to say, to tav: ,the Melody are ended- J^- I only when the Periods,or members of
tenninateL tL a^^^^^^^^^o-^ions ofthe^ir, generally
cessary, as by dwellitil +J '^^^^ And this Rule is the more ne-'
the Singer loses the Ot.^ •2''^ last Note of a musicalPeriod
breakingthe ^ss^gef^o^!^^^;' ^^'^'^^ ?^ ^^^'^^ breath, withotit
irT^.%u- . .^''^'^^^^ng perceived by the Audience.^IV. That Without th#» r«^^
Passagenr of an affec^ir, rurgent necessity, ,of either a long
or divided. ^ *^^pi^ession,Words must never be broken,
XV, That a good MFv^a ^ .
always precede the ADT^nr^^ ^^^^ "^^^^^ ^oMce must
XVT . •I^IBITUM Pause^ knd CADENZA.^vi. That m pronounr^^^ ^ ^ ^ a
with the sentii^ent that , ? the Words care mustbe taken to accord
XVTT ^ 4 ^x.intelided by the Poet.AVII, That the acute, m,! j
as to render th enWiniil^r. ; si^per-acute sounds must never be.so forced
A'^r^ _^ .to shrieks.
^Vni.That in Sincin^ +u -r> ' ^ ,cept in. the case of Starr.il ^"^^ Voice must be united, ex-
' ^^lO Notes.X.1"^ Th at
* '
'
-lian LanguaV mustbe"^.''!^^^ Consonantsin the Ita-
not to make those thnt • ,enforced, and Care must betake n
^v- T ,
^^'^'^^ ^^^"1 double.To practice the qv,.u , .
which must 'gen e rail vp^^*^^^^^^ JCfeat est. Care and Attepticn,
and;finish with the l^^ve^i"'^'^^^^^^^ highest of the two Notes,
derived fromVe^rh^rj^'^^ and Embellishments of Son^s shoul A beC^haracter of the Aiir, and Passioi^ of the words.
I
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Pia Seal'- of one Brove in a breath.
PFor
rf,
Pia Pia Scale of two Semibreves in a breath.
^II ^ II . II
, lU IIM
1
1—©—
1
1 11 o—
1
1 ^ "11—o^TT^oI 1 F ^ fl
Example of the Shake.
Scale for the Practice of the Shake.
fl1 - - J-1 r - - p n r
[>' —
j
r
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SHORT AND EASY LEJ*,«0!«.S FOR THE EXERCISE OF THE VOICE.
JLESSON for ascondi'ng and desteftdllig by the interval of a 3. with and without thejnterm^idiate note or guide
I
i f'trr I If I -^Lju^Lm::^ i
ri i
rI
til
LESS ON for the interval of the 4 J with and wlhout the intermediate sounds
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th .LE S son for the . ihter-val of the ^; -with and without a guide.
^^^^^^1 igfaj {>- Lf -f— "1 fctP 1 ^If^- II
UCSSON for the
^^^^^^^^
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iTblSSONforthe 7>*^
^^^^
iESSON for the Octave or
Exercise of all the intervals in the diatonic genus or Scale
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Exercise in little divisions or flights in ascending and descending eight notes
m F-
K 1 r
Division or volata of 8 notes ascending and desending successively in the same breath
Exercise ofthe 9. in gradual ascent and of the 8 ; descending
Exercise of the 10, in the diato^nic Scale ascending
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Exercise in divisions ^here the time is broken by rests
Exercise of divisions \vithin the compass of the 6^^called by the ItaliansScavnever extend to an Octave
ezze becausethey^
Exercise of Syncopation or driving notes
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llxercise in Triplets
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10
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n
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12
IV
— 1 1'
1 —1r- ^ •~"75 1 —H 1-
f H o —Andante
^^^^^^^^^a/I ^'
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li
i
VI Andante
23 m Mil I
ii
7^!• —
1
m1^^^^^^^^^^^
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14^
VII JLarghetto
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17
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Xni S'^lleg"-".
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XIVrf\ .
.
A-
ft4
X.argo
—=
—
N=H^—
i
3 6 3 3 9 8 4f 3 3 7 7 i 3 6
''I i4 ±
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I
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'^7
> |» —#—1 m: #—1^ 14 2 3 6_ I
f 4. 3
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.^0
XX^*
r Lfe '^ r J J ud r ^
1
Allegro
i 3 S 7 ?s 6*
'
^r^r f r/ r -1
1
Jr - -[r-T-J";^^^^
<l *^ ' J—
:
«l •!—J—J—* lis 4 3 4 ,y 5
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3\
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32
XXI "jLargo
J .'
Jj /b4. 3 3 l; -1 -J^ I 1
it3 4 6..6
. 3 3 ^f6
\r]n\ J #^5 6
- -^T™
6 «3 .> 4
6* 6 3-1 6 7 ; 1^6 t3 3 6 3 .}^3
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XXVI
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12
XXVIII-C Allegro ^
\ 1
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1 ^>
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41.
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