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TRANSCRIPT
MUSIC
LIB.
mj885
S65
op. 42-43
SIEBER
SCHOOL OF VELOCITY
FOR SINGING
D
67
685
rf SCHIRMER'S LIBRARYOF MUSICAL CLASSICS
"Ui
VoL 721
SIEBEROp. 42 and 43
School of Velocity
for Singing
$2.00
'^i'-)^'i^\-'>-^'>^'>-'>-'>-'i^\^ ^' •. Twi—w. tmp.
SCHIRMER'S LIBRARYOF MUSICAL CLASSICS
Vol. 721
FERDINAND SIEBEROp. 42 and 43
School of Velocity
for Singing
Translated from the German by
DR. THEODORE BAKER
®
G. SCHIRMER, INC.New York
Cooyright, 1902, by G. Schirmer, Inc.
Copyright renewal assigned, 1930, to G. Sctiirmer, Inc.
Primed In th< U S. A.
IJNIV OF CAIIF. UR'^flRY ins flNRELF"'
MusicLibrary
F. Sieber^ School of Velocity,
P RE FA C E .
MY School of Velocity, which during the past thirty years has attained
wide popularity, both at home and abroad, wherever singing is
practised and taught, now appears, with many emendations, in a
new and complete edition. Parts I and II being included in the present
volume. I venture to indulge the hope, that the abundant experience of
six lustra devoted to practical instruction, has served to bring my work
nearer to perfection, which ever was and shall be the aim of my exertions.
Neither the experienced teacher, nor the admirer and connoisseur of
artistic song, requires proof of the necessity of thorough technical training
and vocal dexterity ; it is denied only by those who were never properly
trained themselves, or who would transform art-vocalism into a dry and
monotonous recitation.
By the adoption of the syllables introduced by Graun, da, me, nt, po,
tu, la, be, which are employed in all my text-books, not only the sharp and
rapid articulation of the consonants and comprehensive practice of all the
vowels are insured, but also the throwing-forward of the tones is essentially
promoted. It was not, however, my intention to place any restriction on
teacher or singer ; it is left to their discretion at first to practise on a single
vowel, where I have set two, three or more vowels under the notes;the
syllables may likewise be shifted, and other syllables or vowels may be
sung to difficult tones or at awkward pitches, as may appear most con-
venient and suitable for individual cases. Experienced teachers are also
at liberty to deviate from the regular order of these studies, should this
appear desirable.
On the next page several rules are given, which are of peculiar
importance in the study of vocal dexterity. Most ample instructions con-
cerning all branches of vocal art may be found in the second edition of my
" Complete Manual of the Art of Singing."
UNIV. OF CALIF. LIBRARY. LOS ANGELL:,
F, Siebefy School of Velocity
,
RULES AND DIRECTIONS.
THE technical studies must not be suspended for a single day; but
after practicising them for a quarter or half-hour, a rest of con-
siderable and sufficient length should be taken.
The singer should usually practise standing, planted firmly and
quietly on both feet, neither stretching the neck unnaturally upward, nor
bending it downward ; not crossing the arms on the chest, nor letting them
hang down stiffly, but folding the hands easily and loosely. He should
open his mouth properly, without making faces, and in breathing should
keep the shoulders and the upper part of the chest immovably fixed, con-
signing the processes of respiration to the lower ribs and the diaphragm, so
that inspiration is always inaudible. The breath, and with it the tone, must
never be driven out forcibly, but rather drawn out like a fine-spun thread,
and guided toward the aperture of the mouth ("thrown forward") as muchas possible ; the position of the mouth, whenever the runs or arpeggios are
sung on a single vowel, must not be altered, otherwise the tone-color
(timbre) will be continually changing, whereby the homogeneity of the
passage will suffer.
In joining a series of tones, the pupil should take care not to com-
mence each vowel with an "h" (i e., not to aspirate his vowels), and should
equally avoid the drawing-over of one tone to the next (i.e.. an unseason-
able portamento) ; the tones ought to follow one another like a string of
pearls, without running into each other; this is best attained by mentally
repeating the same vowel with each tone. All exercises must be practised
slowly at first, increasing the rapidity very gradually, finally taking them
very fast ; furthermore, they should be sung at first (and also, preferably,
in general) piano, later mezzo forte, and then occasionally /br/^.
Foot-notes on various pages explain where deep, medium and high
voices are to begin each Study, and how it should be practised.
The Author.
ISSM
5
The Step of a Major Second, upward and downward.
FERDINAND SIEBER.
Fr'^
r ^ r 'T r ftM. m -
i^], nm- >/''>-
Ipg IEni ni - po- po
Eif pgs?=fe
< • «-<'"b*>^
" 'r'r'
r rrr^Pr ^ i-r^r^ir ^r ^^^l># -9-
fcEi ^^ ^^i- I''.. iJi^ ^''t - I
tu - tu - la - la^ m^a—iza: ^«•«> « «
^^^»a"i r^ r^
^ g^^ ^^ P i^^^ ?*? *=r=< ^
be - - -
^^i 1*^ o |i'{|*/i- i^'/^ Int Mr
be da- - da
*^ a J =» => »>^i^s i ^ ^-^t>^a=a=a:
liff
'n'lV rrfr rr^r l^rrfr#—:=-^ • ^ # ^f£¥^ P£f ^ fE^
The letters T*), M and H, indicate, in each of these exercises, where the low, medium and high voices begin. Be-sides, the last 18 or 16 measures of Studies I to X (read in the lower octave) offer more material for low voices; thefirst measures (an octave higher), on the other hand, for medium and high voices.
*)T stands for the German word tief, deep (ie., low).
Copyright, 1902, by G. Schirmer, Inc.
»»»»0 Copyright mmotU tmigned, 1930, to 9. Schirmer, Ino. P''"*'* in the u. s.A.
UNOL OF CALIF. LIBRARY, LOS ANGELES-
6
^^^-4f¥^TQC ^
po po- la- - -
3x:
laP?''^
-I
Continuation from thebeginning of N? 1
(p.5;an octave higher.
'
y-\i^ T r f ^ e^Eiw p—pr
11. T.
Short Runs within the compass of a major or minor Third,
upward and downward.
Jfej.i] i j^^^-ijjoij^ Wu. J i J^s ^da me me
i feE(&1^111 S fW^—%r iiji
^> <^ - Mii g si?
^Jkfe^l.iiiglat Kodnc #^^sp m: P ^^ •rr-
¥"
^S j'j;;
i V- 1 j^j:j |.|jfii_- iib'i, j^;i i V;- i )^J.j| jw^t^
ni ni - po po -
3 mm^W-M 5TW ms f ^« !
(!»
^);ilu ^m* m ^ Tl~ ^^^ F
Every four measures the signature and key are changed; all accidentals placed above or before the notes (with
the exception of the final chord in every fourth measure), apply only when the major exercise is to be sung in
minor.
IM90
n. H.
rf¥» I fliU- hi^i-
, n I )\n -I
J. ..^1 iff >
-
tu tu - la la
$tt
S^ ^^ flf^e9=«4_.**"*-
*»l? ri^j*•r *W¥ (j)4tttt
'*)'•titttjl n ^ Tr~ ^^
ft "J. jj i k^
i
:). gsap^ ^-I
J^/3|M ^^ «t"—••
be be da - da
fcI¥^ (5i 1*1 1414 a33: «4-«-«
f3^ ffif #*^*^)«fi# (I.)! il"
^te -o- IS" f» r' r^ m: nz:
p' \> ,\. _ r^\\ii',i-\\'^
\hi -
ii^i i
"^)- ,J^i
j^v>-i r~[jiiw -
me me - ni ni
^^ i ^ i MJ* ;
**:# § i ii=fii 1 !2a ]SE^ ^«l 4-^^
^ i9 & -^ S-
,\ftttt-^ # -#
t9 (S^ fi^l5>-
po - - po - - la - - la - -
^^ J jiij'j-^tt ^^
Continuation from the
beginning of N9II( p. a ) an octave higher.
VW^9 •^Sfff
S -0_ /2_ ^ _Q_ JQ_ P^
m( See Remark on page 6.)
1RR90
8
Short Runs (major and minor) within the compass of a perfect fourth, upward and downward.
m.T.
sda - - da - - me - - me
Hi^f^ m. J ^nj^ii ^w13 n ^=^ s^T^
(
t* «« 6)«* t|>|t fttiftt ^
^ feJ^ #^^ <—«<< «-«- «—
«
H*—
r
*—••• • *
—
w -0 00» 00
M.^ ^
ni ni po po
i Ife: ^1^ ^ ^ I^ fclr
11Sir* ^^«r a:
ic I III ^^~f^^
m W % s ^ #-—i»i*i»- •• P !^n 0-«-
PP-f-
W—
t
ectrti M^# 000' 00 * *t|W W *~r
\i*i j'. js i
>^?-1
J. ii jffi- •j
l
i^^^I
J_ J^i^^^«>^^ :# is:
tu tu la la
$a ^ M i^ ^\Ai
m M^ ^4-4
fel III Sf=¥^ V^
^>#^rFf#—1»#^ #—^#-
iirifi
#it^ •• * M 0.a=a:
f=H 1^»^» »^»
1^r rrr ' rr
—
#
;#-#
Key of C.
^^^^=Vt
i i
jPPf
t-4
^9 U9
M 0.0M.
jri i m=^-
00 00
VI lt,
tPP>
# C.4
d*W^ ^
l=M
^^# i»##
^bJ-Ji^
-##- 0-0-
5Egg EE^
Every four measures the signature and key are chcinged; all accidentals placed above or before the notes (with the exception
of the final chord in every fourth measure), apply only when the major exercise is to be sung in minor.
IKBflO
9
^\!'\K J-^^^g
U!.-^ ^
J^vt - liJ^^ ^ JJu^^=#r^
10
fA -&^ -0
- ia- - - la- - - la- - -
ASe iH i mm ^P54=JJ ^^
gft a =23 3 «—
«
- a T3 27 ^r^S^-& -S- -S- -9- -&\^ P-
be- - - be-
^ ^g ^^^da. da-
te «^ i #^s* i=« ^ ^/^iWWW9^V^^
Sfe
*
—
w
;!l22ZZ nizzzz ==«: =^^«—
«
-si
o C «» a ' o—
^
-<st^ Wo o
T. (an octave lower.)
me- - - me--- ni--- ni---
^ p pn= EZI 52=
fg—
n
nr inz1
y=
fp (g
^5=ff
^fS^
!Z=:gzzlz 'y g)
^ 1 (SJ?*^
r^=?
po- - - po - - la- - - la-
Continuation from the
Ill-ginning of NQ FV(p. 9) an octave higher.
^ 9-»
a. a.
9 9- »== i ftef s-s^ 9 » h: =^
^E
Every four measures the signature and key are changed^ all accidentals placed above or before the notes (with the ex-
ception of the final chord in every fourth measure), apply only when the major exercise is to be sung in minor.
151)90
11
Runs within the compass of a major or minor sixth, upward and downward.
|^<1j^ J^ \ M' I
rl ^:be
jM^^V-j^ p \M- \i 4\fi- I
be da da _
te^m ^i \ii^-^m ns^^
'iT rfr 4i$
^^^%^f ^^^-Hl ^J^
frr
-^^f*'^^
Y=ir ¥TJ" Tf- "TT"
nie _
^'J.
;3JJi^?>-
i r ^ i jft^>-
^ me 111 _ 111
i*S J* I
J ^* lifqUJ^I
,^JU^
«»frr
^=^ Tl- EE^J^i^T r rr
-o- J J^JJ
W^f=^-o- 3CE: 331
po___ J)0___ tu___ tu___
^p ^iiii [iuu
J JbJ J
fr rrr
.^ 1 1
—
^ iiiiJULJ
f& o
wm Tt~f" f=
la_ . _ la_ _ .
Key of C.
-a^
be.gj l
F^v> -I [ ^\ hi -
I
be _
^^m i jjI
j J.
jjf^ iji^vjffJ-s
pfe^ .iUi
bin
f*
t*-«)»
J J^^^ 311 ~n-
(Sec Remark on pag'c 10.')
12
T. (an octave lowert
da- - - da_ _ _ me _ _ _ me _
Jiii \i JJ^Ji
l l jijj 1^ J. ^ ^^rf
rJifU
?*=*^
i«l;^j J3jaip3]
nM. ijujWjs:311 Tt~ P
^^ ^ H^i'yt -ll¥^
SPO'l^v^t
-COylf^'v^- II
po_ po_ la_
1 ^ Jjjj~7^ J^vy^ ^^m^
la.
Continuation from the beginning-
of N<? V.(p. II) an octave higher.
m^ W ^^^^rs r^ w
j^ ^iSj J jhijtt
iS ^ jp^j A A^Ates -ry n: TT- Sxn
Runs within the compass of a major seventh, upward and downward.
VI. M
j<U JJ^ '
F^^^'ir% ijff^^- lA^ jj^gi^
iF^- \r^^ \ }K^^- I
poni _ ni po
I mE^ t^ i ^#-»frr f CDt
'
1^
f
:i^^ ^T
tu _ _ _ tu _ _ _
t±O
3jSy^>-i rlj'Da i;;^- i
la. la
^ i I^ ^j:jjjt^jj J
s*
J-M^>=fc| jyj J ^5i^ ^
rrrr
* jpiwxx= xe: S ^
I5»»(>
13
fi^> jj3jg |p^>- f^j^-'i- iKLngfi^^^- irc;r-^3^jbe- - - - be- - - - da- - - - da- - - -
^ ©T*)--itti«i fii
#«#
i^IT
i3jU
^^i3
i ip3
jj^
^
i.=^¥f ^ xx= laz
te1^ -ui^gQ
-ip^^^ irci-53ijii?i>--i^^fo-'^ ir %ii^m^- - - - me- - - - po- _ . - po- - - -
iteiV 1 J
agerr
^
^«i
se:
W^ijj^hi:
SifTrr
^
nra
tedajjjj OH
, T. (an octave lower.)
be- - - _ be- - - - da- - - - da- - - -
S i Si*rrr r
^tt
Continuation ftom <h"
bejjinning of N9\T(p. 12) an octave higher.
IMSO
14
Runs within the compass of a minor seventh, upward and downward.
MI. M
be- - - - be- - - - dau"^ -
^^m^P
^i
m^ m^
i^fes ^^^
^p »—
»
p^^#V' r'cj-^ i ji?''*- II
*J j:jj3^i p^^<- iro-^^^i^
da- me- me-
& ^^^^g^c|
iffC g »
1
;^!
"^
*^*=^
¥ ^
mp-p-
imrt
i^' \> ] p^\^^i-iQ'/J]]
I>«•»>-
a mps^^ 0^
ni- ni- po-^^ ^^ fc«
>« ^• *" jn9^? ^ I^EEi ^ feji
« «. ^m
fcft T» 1^mffi"ajr>u jJ^g^yd^4Ctj-^l ii^->>-
po- tu- tu-^^ ^ ^af ^1t=«
-^:-|
||
f-W s ^ •=Mqr UJi
I5S90
15
Msla-
^^ 321
la-
^ Key of C.
#Ff^
V-»a"t|l f F f
^^r=^4^
^^^
J^ ^lg^^^be-
i^mi Jlf % ^
EC
T. f.in octave lower.)
^^H' f'i>^ J^J^ggg'iU^^i;- if [/
^^^^^i->da- da
• »w i ^'1HJ 1 j j fe i ^*"* ^
#l#-^ '- t*^^^ ^^ & f lt\)fm1
^^11 J^JlggpTlh^^- iT ^^\h^i' \ \
h f-^;^ \h^t'me me. po-^ ^^ m'' rff f ^m ^M ftti ^k. ^mm
i jji
po- -- la--- la---
i ^^ aContinuation from the
beg^inning- of N9\1I(p. II) an octave higher.
m ± m^ m ^
t 4^"°''"* ^ij j ' ^ in HM i'
i jJ ^^5»
iBBflO
16
Runs (major and minor) within the compass of an octave, upward and downward.
YIII. T. L _ ^ i utt. "
il
L
I
Key of C.
po-- - tu-- - tu---
iA ^;>-* —
»
-U1
I'—Tff-
i"ttfriw H^
MX
^r zl^ r^P
t^ i± J <bJ j5 4i
^ ^^ ^^^«
f- r f r
if iiV it
J jii PJJip r»- i r c^jA iji^^^- i i
'«
j jrs^ipy*^la- la- be-
itt ^S«si~rr
g=* «i*
T'lT
stee-^^^4-
«"ii"» 'f- r
I f r'
r ^
f t^
m W^ J 'J J
ii
pirrr- r ir^
Every four measures the signature and key are changed; all accidentals placed above or before the notes (with
the exception of the final chord in every fourth measure), apply only when the major exercise is to be sung in minor.
1RR90
17
ikk , rA..^^^^ ^ r.^^-^- II ^ .1 Jiflrrj i ^ '<-'>-I«—#
me - me ni
m i TV ^(b)fl Jr.
I^i2i
s*r^^-^
^^h^or
'>•« y^' ''
J .JJ J <bJj?z^
i ^^ ^^¥
f rrr.r^iJ i^v>-
ii¥»iiii i_ i% r i ffr,-i- iMT/%im^
*
ni
-^
po po
^ ftys ^ ^»^^f^ <VK ' ^' m3X
iwJi'^-^
r- rfa^s «L (lliii iJi 4^IS-. ^^^^ P^
la - - - - la . - ^? -
jiOT j - ai* cereal ^vt-
i ^ c*
be
^ I*n ^^^a? g(n,f
8l'«
i3Is i^ iJi^^ ^ffl i ^^^
l
f''i> n:[rgQ.iiiy>t-
ii¥j-Jcea'i^^>>- irls^eQ.ii^be - - - - da - ^^ - - da - - - - Continuation
i^^ "f-f a tf: ^Continuation
from the beg^-ningofNoVIIKp.ie)an octave higher.^m * ^ ^p^^5p ^^err
j*Ji
^^^H> r- r w ^^ gj*ji^m (i>i3si1
(See Remark on page 16^)
1M80
18
Runs (major and minor) within the compass of a major ninth, upward and downward.
IX.T.t ^
1^
be - be
^E m ada
I^jj(l.)<
"^wiitt:Of^'?
^^xt xn
r rrr f fr rrr
v^^|' <<'^'i'^
^ J ^ 5^^^^ ^ \hA^ ^ ^CS XEJOl
? ^=t7^^ -r»"
^ll^^
l l
( '-ri^jj l
j,^.t
=
Key of C.
M. \>
^ ^ ^ ^^ 1^da me -
^ gfP f^f%
t^fi-^»-
^^ rrrr rr^)-ttA, JJJ J ^ ^m ^^^^^-^ ^=^-^
r f=T^"XT" f
*AftJ ffli3^ i
p^^>-ir-^^ i ^te
tupo po -^^ s ^s; I i^iF=P-^ f ts^
rrrf rr rr^^^^^^ ^^^=^ =3^ ^^-^
era
¥^Tff -o-
^^11 r-^ ^1^*/^ -II
H
^ ^^ tetu
-®
la - la
i^ ^ ^s si^ ^w^
1 '
' -
-^^
S^ ^^ ¥Every four measures the signature and key are changed: all accidentals placed above or before the notes (with the ex-
ception of the final chord in every fourth measure), apply only when the major exercise is to be sung in minor.
i«mo
19
UW
*^
be
o# ^ i
^^^^^^
s-^y
r(S ^
be
^^J?sa:da -^^
-^
^P 31] s
-U^^^^< -
I
^Tf^X»_
^^^ ¥ ^J' HTiami I ' i^"V I ^11^ I irljmii
da - me - "^ me - ^^^^ ^^-.b.^rfi
?^
rt*fp I i
tfiJI'''^^^ ^
f
^^fff*_o_^ ^T"^
ij^=^m
^n
¥
k|^ y-J^!\%^i- f rrrcrrn. 1 . i ^r^^ r'l' ' nj^i ff i-po - '^ -
- po - - - tu - "^ !
f oJJ^^^ F¥^ ^^1ij^
J ik
ttrr
^
l-'' l> ..JJ'!"^
Si^^J^
tu - - - la - - - la - -
SS HE
i
i
¥..JJ:J ^
tfl-^'^'^i
IEm^a* # f
*
^XE
CSee Remark on pag-e 18.)
1AA90
20
Runs within the compass of a major or minor tenth, upward and downward.
ni
I
jii""•"•
jimfif
I
I f -^'iri 'j'"" - itf^T^'T^^
ni po
P^v-i,^c jr- i
^-^
to
MAm
fff
^ *^Hi
z:
tf
^#
^.Jv^f;
po -
Key of C.
5 teP^i
p.r..-
I r %rj j^^>>- I
tu- tu
=a
I
r
ffP5^^:r~^
^:
-fi
ibi
?S^J.
(W# i
fe
^J(tJ J
^
mi^^
?^fs
ft\li|
|
^jITT:^ ! l
lr. -I \ ^JIjH I' ll
" J ^4^la--- la--- be---
^myffrF
^ ^
iW-^
i
^^ J. ^v y
Is
*it*5
^^
i^tip
>)J ^
^^^^^ |i
j '
i''i
J^^iJ'V^I i[^_rn;i^i;>v^>- II
*^;^ T il
fef^
^=^g^5
Ik
^ "M
P
^ iJ^s
^ii^pipe
f
rs
J^,i»ij ^rv^^^g
Every four measures the signature and key are changed; all accidentals placed above or before the notes (with
the exception of the final chord in every fourth measure), apply only when the major exercise ia to be sung in minor.
15690
21
fe^- me- - ^ - po - - -me
m -^i m t
/,
^^^ W^ ?=dte S3
^ 4^^ lu tf- fs w ij7EE
f * ¥ ^? 1
I
j^ rc^ i i,.> i|t|i\ ii
I ^ I rn u -I
r ri
jj^. ,j,., .. ^
po - - - tu - - - tu - -
i iiim to ^^^^
S ^
^CT#^ * ^ t^
y^ 21w jjje
^iJisF
ft4=WpT. (an octave lower.) l>
^la
g^Xng.77^- |[ Z^\k^i !#I^
l/ r
be -
^
^ *(!>)#
zt
^«s
=fs[^
I
^J J^Uni>irm^
^1*
4 ^l\f
:itaU»A)
^rr42
ffi
S^^^
(t)i^afei ^^ a
da-
Ii
r<
OttjlQ- l
ityvr^^s i^i - ni"^ v?^ -
be da-
#=fef^ ^^ tf
(li)#B^ :*
$lisp ^
^m 4 ^f^^ a .^:^a w
rr^^ ^g ^ 4g ?g
p^—-rr(See Remark on page ;80.)
Ifi590
22
Ascending^ Fig^urated Scales prog^ressing^ by Seconds and Thirds.
XI. T.
1^' 'ijn^j i JTj'Jida - me ni po tu la be - da
'i'''ijJjjJiiJi
6.
7.
9.
10.
po - tu - la tu - la - be la - be - dii me
JU J Jl lJ ^ 71 J
I
J -y
dameni potu menipotula nipotulabe da potulabeda tula be dame la be dame ni po
1;JJJJi
JTT lJJ |bJ^ J J^^
da - me- ni me- ni- po ni - po - tu la po- tu - la tu - la - be la -be- da me
P 'i JJJJj ' jJJJj ' JAJ ^#jJJJ J lAJTJi ij
j^^J^J^dameni potu menipotula nipotulabe da tula be da me la be dameni bedamenipo tu
po - o - tu - u -tu - u - la - a - be da - a - me - e - ui - i
'r''ii j']]jj i jjjjjij7J wrm I7J J ^ i^^po
da-a-a me-e-e ni-i-i po tu-u-u la-a-a be-e-e da
^^>:J> ^ J. P mHalf of the scale, up to the first rest, is to be sung- in one breath. The singer may also combine, with the first
four measures of any series, the second half of any other, or even unite the first measure of one exercise with the
second, third, etc., measure of any other. When a note is repeated, as in Nos. 7, 8,0 and 10, the vowel under the
first note must be repeated on the second.
15590
S3
Descending- Fig^urated Scales prog^ressing- by Seconds and Thirds.
XI. T
po - - - tu - - - la - - - be da - - - me - - - ni - - - po
2.$ *=? ^g^gpo - tu - la tu - la - be la - be - da me be - da- me da - me- ni nie - ui - po tu
3. V ^ JJ^JI
J JJ J, :
potulabeda tulabedame la bedameni po bedamenipo da menipotu menipotula be
JJ]|/7T3J I J ^I JJJJj I jjJJj t
po
^po - - - tu- la be da me - - - m -
po - tu - la tu - la - be la - be - da me be - da- me da - me- ni nie - ni - po tu
# ^t^ ^ ±=d -^^iJ^j l jJJJi^^^^potulabeda tulabedame la bedameni po labedameni bedamenipo da menipotu la
P ^^I. J^JJJ I J ^ I ffllJ I J JJJJ I J:J^-^
^=
po o - - tu u - - la a - - be da a - - me e - - ni i - - po
^1> J JiJ^I
J JJJi ftzd 'JJiJ i JJJiJ i J^^po-o-- tu-u-- la -a-- .be da- a - - me -e-- ni-i-- po
10.
P- ±^ ^ J J J^ I J-'
I JTri^4#j^^-35^po - o - tu - u - la - a - be da - a - me - e - ni-i - po
po-o-o tu-u-u la-a-a be da-a-a me - e - e ni - . i - i po
S^I
m ^ ?
1i
(See Remark on page 22.)
IR590
24
Ascending: Fig:urated Scales prog^ressing^ by Seconds and Thirds.
XI. M ,=»»„1 ^^
po tu da
*J Jj^^^ ^ljJ I
JJ ^^tip f F If ^ Pf=i=::ie
}tp I*r P m^^«=^=F
da - me - ni me - ni - po ni - po - tu la po - tu - la tu - la - be la - be - da me
JJJJJIJJJJJIJ i ^wtm i*~ * *
damenipotu menipotula nipotulabe da po tu la be da tu la be dame la be dameni po
fllJ JJJJ I JJJJ^ tlP-F l » l| ^ P I P
da me m - po tu - la be - da
I m i m ^ hmS^d^ I d ^Hi~m-t^ «=*==¥
• •da - me-ni me-ni- po ni - po - tu la po - tu - la tu - la - be la - be- da me
6. j"ii jj;'jJJUJjjj i J'^ »J^ J i
^j-'i d
ft. ppI
.r^pEB^damenipotu menipotula nipotulabe da po tu la be da la be dameni bedamenipo tu
ife • • ';pff |
« w=:^z:mm ^ - m m gn^ir
da a me e - - - mi po tu u la a be e da
^ I J J J^ I J J ^ ^^^d * * ' dd * • 'dda - a - - me - e - - ni - i po tu - u la - a be - e - - da
9.
10.
i^h jj jjj i jJJ^jiJTJU i J -Hf r'lrrr iryrgpo - o - tu - u - la - a - be da a - me - e - ni - i - po
# mii \ iti ii \ !T7^ \ h \
f!t<i
: Vif,rjvj:fffda - a - a me-e-e ni-i-i po tu-u-u la-a-a be-e-e dam ^
^^ s p^ ^
Half of the scale, up to the first rest, is to be sung in one breath. The singer may also combine, with the
first four measures of any series, the second half of any other, or even unite the first measure of one exercise
with the second, third, etc., measure of any other. When a note is repeated, as in Nos. 7, 8, 9 and 10, the vowel under
the first note must be repeated on the second.
1BR9U
25
*
Descending: Fig^urated Scales progressing^ by Seconds and Thirds.
XI. M.
2.
i W^=¥
po - tu
^i^fUi|
ii
J VI ^i^j^j^jj^^,^^^^^^
la - - - be da - - - me - - - ni - - - po
\ f ^mff \m » . mP 1^
be da -
*^~^
1 ^ JJJ^-+^^po - tu - la tu - la - be la - be - da me be - da - me da - me - ni me - ni - po tu
th ^m0;is \ Ui^r. i
JJJJJiJ •,
\^^ ^*' J d
4.#potulabeda tu la be dame la bedameni po bedamenipo damenipotu me nipotula be
h f f ff \ f P m P m \ yi ] ^ m ^po - tu - la - be da - me ni -
-0-
po
5.
ft frfrr i rrrrr I
^ J^^J i^ ^IJJJJJ IJ JJJJ i
j jjjjda- me- ni ine- ni - po ni - po - tu la po- tu - la tu - la - be la - be- da me
»).
$
damenipotu me nipotula ni potulabe da potulabeda la bedameni bedamenipo tu
^=g=^ JJJJ I J JJJJ I J JJjpo o - - tu u la a - - be da a - - me e ni 1
-0—
po
ihf rr rf if rrrr '
^^'^ '^ -^ijjjjj^^ 9=
be da - a - - me - e - -po- o tu-u-- la-a--.
ni - i -
-0—
po
fe=^w kmP *=9=¥ i ^mTTW
po - o - tu - u - la - a - be da - a - me - e - ni - i
-0-
po
10,
ft LC£^ lUQT '
^^^i-^^iTi: infm^m
po-o-o tu-u-u la-a-a be da-a-a me -e-e ni-i-i po
h=ii
mi
P^(See Remark on page 84.)
tn590
26
XI.H
Ascending: Figrurated Scales progressingr by Seconds and Thirds.
^m m ^ i
da me ni - po tu - la be - da
fj"j:j|jjjZit: kr'^'^rrrlT^
3.
da - me-ni me-ni- po ni - po- tu la po - tu - la tu - la - be la - be- da me
TTP \
!Tm\
^^^
dnmenipotu menipotula nipotulabe da po tu la be da tu la be dame la be dame ni po
6.
damenipotu menipotula nipotulabe da la be dame ni be dame ni po damenipotu la
da a - - me e - - ni i - - -
*
po tu u - - la a - - be e - da
4^ ni7] \ jm #—
»
^da - a - - me- e-- ni-i-- po tu-u-- la -a-- be-e-- da
f jmiJTOiJTT?]i
r
\/m m I pl;» P p ^i tjp
m-Jm-
9.
10.
po - o - tu - u - la - a - be da - a - me - e - ni - i - po
p jfjf] I
j??nI
jffl]I ^TT^j^^Jrm P ff i fcl P f r
M-m-
po-o-o tu-u-u la-a-a be da-a-a me -e-e ni-i-i po
i P^ ^m ^
Half of the scale, up to the first rest, is to be sung in one breath. The singer may also combine, with the
first four measures of any series, the second half of any other, or even unite the first measure of one exercise
with the second, third, etc., measure of any other. When a note is repeated, as in Nos. 7, 8, 9 and 10, the vowel
under the first note must be repeated on the second.
15590
27
Descending' Figurated Scales progressing: by Seconds and Thirds.
XI. H.^ J >flrrrr |
i
i r vlJiU'
ll iJIJ J iiJiiittlvKI
po - tu - la be da me ni po
? s -
fflji J ^11
po tu - la tu - la - be la - be - da me be - da - me da - me - ni me - ni - po tu
If »i JTm in
t
potulabeda tulabedame la bedame ni po bedameni po damenipotu menipotula be
#=FFm ^ ^po tu - la be da me ni po
5.* rihJ'^'IJ m Uii I J JJJJ I J
•'li
^po - tu - la tu - la - be la - be - da me be - da- me da - me- ni me - ni - po tu
Ip f ^=g^ ^ 7UU^-0-^-^ -m-^-m
*
potulabeda tulabedame la bedameni po bedameni po damenipotu menipotula be
F P » »F^ ^^m
po o - - tu u la a be da a - - me e ni 1 po
^^
po-o-o tu-u-u la-a-a be da-a-a me -e-e ni-i-i po
^S
ax
^i i
^
I
^
(See Remark on page 26.)
1BR»0
38
XII. T
Short Runs and Fig-ures, ascending- and descending:,
within the compass of a fourth, in triplets.
II Key of C.
k"n frij>i 4i JTi l i
i - F*
be
be - - da - - me
f J33J3]J3Jj}lj**da -
da - - me - - ni
#" JjJjJjlPJjj I j^ - ftj33JJJjJ3iJda- me-ni - po - tu
3.
be - da - me-ni - po me - ni - po - tu - la
^J33JJ]j33J]]lj^
- Ft ;j3J33j-j3rj i
j Jjjjjjj^jj^bee-e-e-e daa - a - a - a mee - e - e - e
S it- Pl"»i
4.
ni - i - - i - tu - u - - u
^ ttjjjjjjjjjjjjj'
- F'iijiJjjjiJjjij IJ]]JJ]JJJJJ]li
bee-e - e-eifcl £L — cL ~ cL ~ H, daa-a- -(a-a
jii^jjJ^jjJiri - fif'ii JJ^JJ^g^jgla -
la - be - da - me - ni
f rrpJ^ rrpJ>bebe - da - me - ni - po
cg^^^tcr^^
f''/.0-JJJjJ33JJJlr^ - flh^\l\^\
dada- me - ni - po - tu
^^^II1\^tla - be - da - me - ni be - da - me - ni - po da - me - ni - po - tu
8.
9.
^ J3jJ]J33jJjl ri - ft^^
ccr^jjccr^jjirf•dd ' *dd.
la - a - - a be - e - - e - da - a
bee--e- - daa- -a- gH%^?mee - - e -
^o- p'^'' totor>
- fiF^ii Jjjjjj-J-jjj^ Q^TpfJ]^[cr^j^ [ir^Jiir
po o-o - o-
o
tuu-u - u-u
i ^m^ ^ Key of C.
f^^ ^^ft ! rrt rpTf^m ua HI ^^^^^ ^=^=±=5-^:
^ # t,^* t?
In the first 5 Exercises, the pupil may combine the first half of either with the second half of any other; in
Nos. 6 10, the same may be done.
15590
29
Short Runs and Fig-ures, ascending- and descending- within the compass of a fourth, in triplets.
xn. M
1.
2.
4.
7.
^^ni
ni - po - tu
mkfe
ni - po - tu - la - be
ni-i - 1 - 1 - 1
p'h mm\ime-e - e - e - e
h.i^ f>.-.»i'^^mme - - -
ni - po- tu - la - be
i-^h-[[^U]f^U]
me- ni - po - tu - la
pSK tcf^rrcrctf
10.
ii]K [cr^ccr^me - e - e
m-i - 1
^^^^^P
ft^^mpo - -
po - tu
k mmpo - tu - la - be - da
po-o - o - o - o
'*J^JJJJ3J^^J|Jni-i - 1 - 1-1
T. (an octave lower)
" [i::i![i!-j!po - - -
po - tu - la - be - da
*«C[r^Ccr^ni - po- tu - la - be
Wli]rprJ]]pni - 1
k ##-
ffggpo-o
hbe-e-e - e-e
tcrffltrar
tu - la - be - da - me
l;i-a - a - a - a
?s «:i=¥
da-a - a - a - a
h^irgrtagi
r^#pf ir
betu - la - be - da -me
te?Fgiggpo- tu - la - be - da
k'l rrrrr-r_ I
>gggpo-o
tF=ff?! ' [LrccT LEratu-u - u
^"1'ErrciTLrrccT
= i
^da-a- a - a - a ne-e- e - e-e
^ m^m 9i O-
^;
^if j i^lS' f/j. l^Jii'J'Jlf'iiQ. !' p l|i'l"^
; -^
1>1
Tr ^^^
At the end of the exercise the lower voices, which begin at T in the lower octave, may return to the beginning of No.XII,
and continue at the given pitch.
1BS90
30
Short Runs and Fig^ures, ascending- and descending" within the compass of a fourth, in triplets.
xn. H.
P -l¥»i|lj.DJJjJJ3J3]
| J
me -
me - ni
ni
po ni - po - tu
2.i% jTJJiJjnJTj ^JJJ^JJJ^ I J \hii:^^m\ida -me- ni - po - tu me-ni - po- tu - la ni - po- tu - la - be^^ hhm^^m
da-a - a - a - a me-e - e - e - e ni-i - 1 - 1-1
ishj:]im^\i j]^j]^ m^^mbe - e da-a me - e - e
^ , P JI]JJ]J]]'D] i^^^^ hVin^m
7.
ni- 1 - 1 - i - 1 po-o-o - o-o
M. (an octave lower)
tu-u-u - U-U
po - tu - la - be - da tu - la - be - da - me be - da- me. ni - po
la - a - a
$m Ff frirrcrccrccT
to:i
31
Short Runs and Figaires, ascending' and descending within the compass ofa fourth, in triplets
xn.
2.
popo tu - la
^^::i^m\ipo- tu - la - be - da
^^mmn
- iih,^%%tu - - - -
tu - la - be
k*I'"
etf[crccrccrtu - la - be - da - me
k^ ••_—wi»*^^m
a
Continuation from thi-
beginning of N9 XII(ji. 28) an OL'tave higher.
^^^^^^1-—»#•
la
la - be da
fei[tf[[TerrLtf I ^ ^ ^la- be - da- me - ni
lA'rrTtLffrrtlf l
^' ^lm-i - 1 - 1 - 1 po-o - o - o - o la-a - a - a - a
^ jJ]^MlJ fe acErto'flirCiir i ^ ^^^cLrtcrcErCcr
be - e da - a - a
P^pJJ] l>''i.^ .rfrr,.r^"'^ccrCLrctrCCri^* ^iLgifCCFeccQ
6.
la-a -a - a-a
(j* ccrFircf.rrr:da - - -
da- me-ni- po - tu
fm^m^ ^tm#-=^i»-*i»-
me-ni - po - tu - la
k''i> crrccfCfrtcrrM
po- tu - la - be - da
a'trfrrrtfrccfir ^E^;^
e.mda- me-ni - po - tu
• _ •^g. ,-0-
me- ni- po - tu - la po - tu - la - be - da
## F#^ ki'i> tcrcirttr^^ir ^tcrrcrrLTrcrin - i
10.
da - a - a - po - o
ki'i> firccrtcrcffirM
la-a - a
pt£rFcr^[[fi
r> ^EE|
i
la-a - a
P-»i- g »;
be-e - e - da-a - a
''!> [f rcfTtrrccrr)t)|lt
[[]'rp]'1jfrrT i fj- ll
po-o-o - O-O tu-u -u - u -
u
la-a-a - a-a
#^«4V4—U-
W-U
k^^^rf,^=^
^
:a=S;
a^#
1^r^
(See Remark on pag^e 30.)
IMSO
32
Ascending: and descending: Runs and Figures in fifths and sixths.
1.ixm.T.
&f^ma
Key of C.
M.
' t) f ;yrjj-JT2ipo tu la
#feffi m A ^^ ^* W • «=j * ' 4 *-9
da me - ni me m - po m - po tu
te AJ77: J J J-J
J'
in'"'i' p 3 f P ^da - me - ni - po - tu me - ni - po - tu - la ni - po - tu - la - be
4.
!=Ef*
\ n\ n ^^-m—zg
a-la-a-la-a-la-a-la-a a-da-a-da-a-da-a-da-ae-be-e-be- e-be - e-be-e
XIY. T
da-me-ni-po-tu - la-be me-ni-po-tu-la - be- da ni-po-tu- la- be- da-me
The singer may also repeat, in Nos. 1_5, the figure in one breath without pausing, and sing the quarter -note as final note.
The triplets in No. 7 may also be sung as sextuplets, and the sextuplets as triplets.
«*R90
Ascending: and descending^ Runs and Figures in fifths and sixths.
2.
p'hm n^ ^^m ^i
S3
* * « » I • d
po - tu - la - be - da tu - la - be - da - me la - be - dn - me - ni
4.
po - o - o - o tu - u - u - u la - a - a - a
m h-m—=g tfe==*==»
a-la-a-la-a-la-a-la -a e-me-e-me-e-me-p-me-e i-ni- i-ni- i-ni- i-ni-i
6.
po-tu- la - be- da-me-ni po-tu - la- be-da-me-ni tu- la -be- da-me-ni -po
10.
tto fe ^P'ra 5W"is:
^^^^ fc ^ ^^ m( See Remark on page 32)
16K90
84
Ascending^ and descending- Runs and Figures in fifths and sixths.
xm.w te
po tia
da - me - ni me - ni - pc
^i i
^ii jwi rrpni - po - tu
tt JJJjJ'J^Jj iII^JJJjJJJJ m
4 • d
da - me - ni - po - tu me - ni - po - tu - la ni - po - tu - la - be
da - a - a - a me - e - e - e ni - 1 - 1 - 1
5.^m ^ ited 4 d *
a-la-a-la-a-la-a-la-a
XIV.
Sh ^'^j^ffJTt^ ^^o-do-0-do-o-do-o-do-o e-re-e-re-e-re- e-re-e
tfii\ii ^^J]tS^,da me ni -
S . ^3
.
3 3- -^ 3 b^^
10.
da-me-ni-po-tu- la-be me-ni-po-tu-la-be-da ni- po-tu-Ia-be -da-me
i* ^ to1 Jffl^^^^«=gbe da me
m feym wIS 3=^*
^ PU- *^i^
The singer may also repeat, in Nos. 1-5, the figure in one breath without pausing, and sing the quarter-note as final note.
The triplets in N9 7 may also be sung as sextuplets, and the sextiiplets as triplets.
1M»0
35
xin.
2.
4^ J j'Tjp ^ p p^m
Ascending and descending Runs and Figures in fifths and sixths
.
if rr^ u^ ' 'I'''' yuj' I uj- I ^
ii'"W ^'^ ^ ^be--- - da-- -- po----
po - - -tu- la - - - be
^ tf » . F ^1po - tu - la - be - da tu - la - be - da - me la - be - da - me - pi
4.
po-o - o - o- tu - u - u - u- la - a - a - a-
a-la-a-Ia-a-la-a-la-a o - dq-o - do-o - do-o - do-o
XIY
e-re-e-re-e-ie-e- re-e
Continuation from the beginning
of N9 XIII, an octave higher.
4^ ^'^JT^dat^ ^^^^''f'w^^ '
i
^ii^^tf cfaffj > I
6.
po- tu. la-
4^ it:^ d:ii;i ^ f^^^^^daj:^ » f ^^^iini^m7.
p - o - o - o tu-u-u-u- la - a - a - a.
i^'aumlij
te U::i;:m^^ M^^dlb/^Mi^8.
po tu la-
^^rrrrrr^ ^ r«'
g ^ 6
cr[r^[rrr[r^ '
'
10.
po-tu - la- be- da- me-ni tii- la - be- da-me-ni- po la- be- da-me- ni - po-tu
I W i* aContinuation from the beginning
of N9 XIV, an octave higher.
u9-\n-r.
3 t^ff f
*=& ^ ^^ ^!>«
s ^e(See Remark on page 34.)
36
XYt
Arpeg^g'ios and Runs, ascending" and descending",
within the compass of a minor seventh
me - ni - po - tu - la ni - po - tu - la - be po - tu - la - be - da
^^ ^^ ^toi W^Tr-
e t il I. J-^r
s^Szr Y'^jpda-p ^
Later, each of these studies may be sung twice in one breath, in which case the final quarter-note is not to be sung until
after the repetition.
IMflO
37Arpeg'g^ios and Runs, ascending" and descending^,
within the compass of a minor seventh.
^^ W %i rftl^rr ? iTT^^nI
i I
ni -
^te
me- - ni -po-tu
6L^ « ^
IPfem
be-
po - tu - la
ff
po tu - la - be
Sm
*-dla- da-
f Jj/^J ffeg
(y
la - be- da-me-ni - po-tu
6. : ^^6.
m mwauM
tu- la - be- da-me-ni- po
6. ; _. g.^^m m Ijm^Jm
be - da - me - ni - po - tu - la
^^^^^^i^ W0-0-
la-a-a-a-a-atu-u-u-u-u-u be-e-e-e-e-e
(See Remark on page 86.)
1B590
S8
XYh
Arpeg-pos and Runs, ascending: and descending',
within the compass of a minor seventh.
\
t^> j.ri^i
da
^^'i> r f^ -^i¥ [m ^
me-
y=p^^i
#^ ^m-
t^ ^§Z.
\^
la- - be -
^§be- - da -
i i¥^q:g:^
da - - me^la -
t*
be - da - me6
be
S B]?:^-^ «^
da-me-ni
6
da
g :?^-^ ^ me-ni-po
^Pni po- tu-
i t* tf: S t ^P5. ¥ac;i±3|t
da-me-ni - po-tu - la- be
6. ^ ^^ G.
w^ f^^^me- ni - po - tu - la - be - da
6.^ ^:^e.
Hr^t^^^nh
ni- po-tu - la -be- da-me
1^ G ---^ ^^JeC^Cfl ^OCQ-
da-R-a-a-a-a- - me-e -e-e-e-e- ni- 1-1 - 1-1-1-
7.m Itfg
be - da me da - me ni me - ni po
t'l^ \!jimm)
fct8.
tu - lii - be - da - me
y—
«
la - be - da - me - ni be - da - nie - ni - po
^ i ^^ ^99. =*i *±*1-gSig
be - - da - - me da - - me - - ni me - - ni - ~- po
t* tf: a m i10. a^^gjj^^«*
me- po.
kt=i
^ ftM
tu-
-^ ps ^^tf
i^""^~"^ifi^p ^ ¥?zi
Later, each of these studies may be sung twice in one breath, in which case the final quarter- note is not to be sung un
til after the repetition.
inB90
3i)
Arpeggios and Runs, ascending and descending,
within the compass of a minor seventh.
XVli^ii^i r^ rjj- n Ijj r u -' ^ i^'^''-^^ r ^ f r
J" >i
1.
po- tu-
%%=T^» J^ ^ K£^J ^ IcX-T ^^ J > ^'ig
la-
kk 1-' U^^ ^
II
2.
ni - - po6
po - - tu- tu- - la
po - - tu-la-be tu - - la-be-da la- - be-da-mela -be -da
u.m- be-da-me
6
J^£Ci^ J Mg^ ^g^J mf''iHe^:c^j ^
la- - - - be-- - - da-- --4.
hk migs crxb^ 'iJJJ^;cfcfj ^t\^^\^^ HIy^TT
po-tu-la- be-da-me-ni tu-la-be- da-me-ni-po be-da-me-ni- po-tu -la
6. mm- 6
^^"^'iigji^cc^J Mg^iie/^j u^''iKEni£fr:cb^ ^ j6.
po- 0-0- O- o-o tu-u-u - u-u-u la- a- a- a- a-a-
7. *tt^
J > ^'i'^frrO ^^m - po - - tu po - - tu - - la tu - - la - - be
^m m ^^^&!^^me - ni - po-tu-la ni - po - tu - la - be po - tu - la - be - da
^m m ^Mr^ M l^'iHcCCefflrd^^^
10.
Continuation from the beginning
of N? XV, an octave higher.
(See Remark on page 38.)
15590
40
Ascending" and descending Runs and Figures in sevenths, octaves and ninths
.
XVI. T
More advanced students, having better command of the breathing, may sing each of these figures twice in one breath, leav-
ing out the final quarter- note the first time, and singing it after the repetition as the first note of a new measure.
iK6«0
Ascending" and descending" Runs and Figures in sevenths, octaves and ninths.
XVI. M.
41
tu - la - be - da - me- ni - po
• 6
tu - la - be - da - me
XVII.M
^^^ s
la - be- da - me-ni - po-tu
la - be - da - me - ni
i*
be - da - me - ni - po - In - la
be - da - me - ni - po
^la _po - f.u_
m e[#—
#
9*«po tu tu la be
k^ »ni - po - tu - la - be po-tu - la - be - da tu - la - be - da - me
^g^-^ 1^-^;^tu _ la. be _
fe ^^^ n wm ^m t. ^P w ii f P ftpm^
(See Remark on page 40.)
19»»0
42Ascending" and descending- Runs and Figfures in sevenths, octaves and ninths.
XVI. H
me _ _ _
s ^^^po _ -Ini _
ni _ po _
% tiT^ -^ *^"i^^po _ tu po^ i^Stu _ la
ntu _ la
6
be^da-nie-ni -po- tu - la - be me-ni - po - tu - la - be - da ni - po-tu - la- be- da-me
^''1. f^^^^ Ui* tfn73-^ it
- r^i
10,
la - be - da - me - ni - me - ni - po
i^ «^ ftl
ni _
da - me - ni - po _ tu
po tu
^'^'"''
j ;a ^^ ip ^^ m tiipp is
More advanced students, Having better command of the breathing, may sing each of these figures twice in one breath,
leaving out the final quarter- note the first time, and singing it after the repetition, as the first note of a new measure.
151(90
Ascending' and descending" Runs and Figures in sevenths, octaves and ninths. 48
XVI.
w i::^^p *:
be _ _ _ da _la
¥^Hg?53^be -. da
-J^ Cl^^fl'JMA'-'^C^Ifl-J^Ila _ be be
¥*iii i IT!^
da _ me
S
ni^iU . '.,r
po _ fu
e^cJllt^rJMi^v^^ranj-JMpo - tu - la - be - da - me -ni tu - la - be - da - me - ni - po da - me-ni - po- tu - la -be
po - tu - la - be - da
XVII.tu - la - be - da - me la - be - da - me - ni
8.
ni - po - tu - la - be po - tu - la - be - da tu - lii -be - da - me
9.
10.
^ ^ k^ ^w^^te^ i ^ m
(see Remark on pag:e 48.)1B590
44
XIX. T
Studies on the Short Accented and Unaccented Appog^g-iatura,
the Double Appog^g-iatura, and the Turn.
^''1 iJ- iX"JJ.. J U u:." i jj.- J u - I
me ni _
Z.Wl . ji iJ.. J J- ju-
i ^lJ J" J^" J
da po
j.. J J.. J i. i J.^^ i i ^* ••
tt^ *
•
5.
T'J- JJJ- J3^^^
ni tu_
f ^ -» 3 •' d *
la
J*J" J*J-' J*«t-«^ #» ' g
la - a - a - a be - e
me - e
^ *5J" "5*^" '^ ^ " ^" "P ^ " '^^" '^ ^ " ^da me
me ni _
10.Y i'^\)t^iSSS^\JSS' f^^^^^F ^^^SBF ^^^^^^F^^ ^^^S
po _ la -
iEr r
^^ :i
if
i ^
*
4:XE
i
The exercises on this page may be used for high voices an octave higher. ForNos.6 and 6, see Remark at foot of
page vi.
15690
studies on the Short Acrented and Unaccented Appog^g^iatura,
M.H. the Double Appof^f>-iatura, and the Turn.
45
Uf 1. i 1. J J.. J J.. 31.1^
la _j
-I r
-II
po
k^ j J j J j n ijy?
be la _
^t?|/ J.. J.. J J.. • J.. ^
da _
F23 ^3. mme
^^'l> J.. j J.. ^ J.. j J..1I
J Ip- |> p" / ^•' ^ ^" ^ TSr
me ni
Sh^^ i^^ PT" fl-f r ^***•• J *•• *
ni - 1 - 1 da - a - a - a
^4^ j. ^i- ^J.. 4J" Si J - ip" ^^-^ ^^-^ Q*r" p6. TZZ
la -a- a- a- a po-o - O- o- o
fct ^aQT" &T" ^f 6
-
be la
IJ* I Bl N I Ifr^^rtf^ J- > m- V^^m- mfP" ^^F" mf ^
'- HI N I HI H ^be _
8.
da _
uI
^i^B^-HinIirn
me _ po -
po_ _ _ _ da_
10,
The exercises on this pag'e may be used for low voices an octave lower. For Nos. B and 6, see Remark at foot
of pag:e -ii.
ins9o
46
XX. T.,M.and H.
Triltexercises with the Major Second.
H..\ jj jj jj jirr
(fl) ^J S" ' S- * J - » J- » |J »:
da _
1
fc J JJ J J J Ji j J J J Tj J J J
nie
.
¥ •J * J~ J J J J a
ni _
4.I S «L-« # » J m
po -
^^ ^^la
fe i ^ 7X3 JJJJJJJbe _
Ife 3 3 ^^17.
da
IfeE J] JOTTO l
JUITjTTVT^fTTTT?ni
^ ^ ^ ^ 3 S S 9A ti *} o
po_
I *-^-* J JJ JJ JJ i^^^ff
10.
^ ,? ^ J* 3333 3333
Iisffii *
SiBoth measures are to be sung in one breath; but the vocalist should shorten the exercise at first by ad'iing lo the
first measure the final note of the second, not adding the notes belonging to the first two (omitted} beat^ of the «e-cond measure until later.
fMSO
47
Trill-exercises with the Minor Second.
iM.and H.
ir ir /1.
me-
2. frr rrrrrni -
po-
1 ?la
r f rrrr rr:p^ ?be-
ifr-rr^rr^^
da-
7.
4^' ^^rrrr8.
la -
3 S S 3 S 39.
be-
i^ S 3 3 3 3 3 3 3 3 3 S
r ir ir rfjr rrrrrda- - -
I10.
f' j ' i I =1
§s iBoth measures are to be sung in one breath; but the vocalist should shorten the exercise at first by adding to the first measuretbe
final note of the second, not adding the notes belonging to the first two (omitted) beats of the second measure until later.These exercises
may be used for low voices an octave lower.
Iftli90
48Trill-exercises with the Major Second.
XX. M.andH.Mf^ ^ ^^ mla.
ts rrr r r r r r ir r-^-^
[ ^ [^^
be-
.{.te m m f m -^m f r f f
^
da-
S mme-
r r rf f p f p f
rn i^po-
i m f—w ^3=PFpbe-
8.
me-
3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
10.
i t 3
^ i * t .'J .-
Both measures are to be sung in one breath; but the vocalist should shorten the exercise at first by adding- to the first measure the
final note of the second, not adding the notes belonging to the first two fomitted) beats of the second measure until later. These ex-
ercises mav be used tor low voices an octave lower.
IftMO
49
Trill-exercises with the Minor Second.
1.
^ • P •r rr i r r r r
la-
I ^ ^ ^ r r "r r^^
be-
i(»—
r
^*_ » .^zzz*:
s4.
da-
ipo-
me
-
3 3 3 s 3 3 3 3
10,
^E
s i iBoth measures are to be sung in one breath; but the vocalist should shorten the exercise at first by adding to the first measure the
final note of the second, not adding the notes belonging to the first two (omitted) beats of the second measure until later.
lliS90
60Arpeg^gfios in Major on the Tonic and Subdominant.
tfXXI.T.^da-
Key of C.
M.
Im ^^*~^i-^ J ^
•^ <.F='
la-
mEwm =^i5E*l—
•
imda- - me- - ni - - po - tu- - ni- - po- - tu- - la- bem
i i^4.#^fe#
da me ni po tu la da me ni po tu la be da me ni po tu la da me ni po tu la be
E i ^J, # * * * i
t^
la- - be- - da- - me- - ni tu- - la- - be- - da- me
5.
la- - be-
UjjH'^lj IJT mlabedamenipotula bedamenipotulabe da potu la bedamenipo bedamenipotu labe da
" " mffcTTTl^^ fe ^mlabe damenipo tula bedamenipo tula be da la be dame nipo tu la bedamenipotu labe da
9.
10.
Each of these exercises is to be sung up to the rests in one breath; if this be not possible for the singer in such prolonged and com-
plicated studies, for which a rather slow tempo is advisable, he should close with the first note on the third beat, and,after taking breath,
begin the second half of the measure with the same note.
iiinso
fil
XXI. HArpeg-grios in Major on the Tonic and Sub dominant.
fc mda- la-
^ mpo- - tu^ ni- - po- - tu- - la- he
i^ m^LTj J ^ ^ \l^\M
t
da me ni po tu la da me ni po tu la be
3 3
da me ni po tu la da me ni po tu la he
m 1^ s r-^ . s^ [j/J^4. ^ mt±
la da- - me- - ni tu- - la- - be- - da- me
jA, !f^^rf^:^j\M'^:i^ iS^lU^^po- - tu- - la- - be- - da ni- - po- - tu- - la- - be
6. ffT3.r,r/g7S i^ ^f?T^.r«—
#
•
da- - me- - ni- - po- - tu tu- be- - da- - me
7.
potu la bedamenipo be damenipo tu labe da potu la bedamenipo bedame nipo tu labe da
rr^jrv SiS mla be da me ni po tu la be da me ni po tu la be da la be da me ni po tu la he da me ni po tu la be da
^* - 3^ ^^ 3^
I
9. ^\f I P
me - ni - po - tu - la - be- da- me- ni me- ni- po- tu- la- be- da- me- ni
^ # .• ^•-•-» m10,
la - be - da - me - ni - po - tu - la - be ni - po - tu - la - be - da - me - ni - po
^ P ^ P P
P5 'V — 9 _z:
(See Remark on page 50.)
lf>690
52
xxn. T
studies in Chromatic Passages.
/T\
^£j^ J^j IJ" UU iU ume- - - - ni- - - -
¥=^ ^^po-
li- - - - be- - - - da-
tu-
^^d
^dj dj^
^'11li l t
po-
/T\
¥^^^^i^
me-
da- - _ _ me- _ _ _ ni- - - - po^ . _ .
^^-T=t ^=T^rff I2^nr
^ ^9 t
i^^ J2N
^f=^
mxxm. T /^,
me- - - - ni po- - - - tu
r\
|J d I^J^i*_ J t]
^ J1,J
tu la be da- m
>ij^ j'ijiiij^"i"n j;]
gi^^ i
^ J^iPpo tu- la be- - - - da me- - - - ni
7.
8.
po_ _ _ - _ la- - - - - be- - - - da----
1^ ,q3pj?ii^ l
^'l^'-g1i^ lj '^l'" JJ'S^^^iS
la- - - - - be- - - - - da- po-
1KB90
studies in Chromatic Passag-es.
^XXII. M. and H.
z.
ti
me ni -
||
V JiiJ pY |[^ - ipi
i
p pjypo- - - tu-
JL
53
/C^
la
^.^_j I
I I I
I
I
I
I
/^ u H III"
^' tf *l" f l>#
be- da -
/T\
me-
gl*
'^ JjJ||J «P*^ I
^J "i
J^iJ^^
tf
ni - po- tu-
Pg¥ ^S ^
la-
(^^ JjJaJJ^^^ jiiiJttjj^^^ i r ir^c^^'-^ju i j - IT JiiJJt^ITO u'i^ JiiArrri
JCi- spf^/Ts^
da- me ni- po
i M r^^— —
, I,
—
^^^ c\
r=3=r1^ fc3E^1^ fei^S3^i
^m £^ ftf^ig£3 ^ S ^^1itr^
#XXIII. M.and H.
ttJ^ H ^ T ^
i ri i f jgj^ |iT
ii
¥j iiJItrr irt i r r' lg^ CI [^ i^'Tii«=!»me- ni po -
ti.
tu la be da - me
^^ rj jp Ja]Jir> i^ J~3i,j:jiiTi'iiVj !? ^ 'i i, 'i^^
ni po tu la be- da me ni
7.
8.
fe ^ il/C\a
?^ «L /T\a^fe F^ ^r =f
^a
i4Jj ^
15590
54
XXIV. T.
studies in Staccato and Accentuation.
tu la be da me ni po tu la be da me ni
6
ni po tu la be da me ni po tu la be da
po - tu- la - be - da - me- ni - po - tu da - me - ni - po - tu - la - be - da - me
hh^ \j^ M^
M:\U^i ^ ^ i TWrz
fl-r
No8. 1-3 contain examples in staccato, No. 4 in picchettato or stadcatissimo; No. 5, the martellato; Nos.6, 7 and
10, the marcato; No. 8, the slentato; No. 9 combines staccato, marcato and martellato. Besides, iij these examples, the
accentuation may be varied.
ItMO
ti.t
XXIY Mstudies in Staccato and Accentuation.
(See Remark on pa^e 54.)
155«0
56
Studies in Staccato and Accentuation.
Key of C.
A.
4.Ji' lU I I
I LU '
rIJ^
IITLJ'I ULr T-l l
da- - me- - ni- - po- - tu me- - ni- - po- - tu- - la
5.
6.
^fyywLj'^l^ i ^r^rMrfjr^ir ' ifMfMlf^rTr^nr^r^rg
^ f ^
^^^rnWjMtu la be da me ni po tu la be da me ni ni po tu la be da me ni po tu la be da
po
j^tu - la - be - da - me - ni - po - tu da - me - ni - po - tu - la - be - da - me
Key of C.
P
^^ 'l
g=2i
S:
n f ^=
Nos. 1-3 contain examples in staccato, No. 4, in picchettato or staccatissimo; No. 5, the martellato; Nos. 6, 7 and
10, the marcato; No. 8, the stentato; No. 9 combines staccato, marcato and martellato. Besides, in these examples the
accentuation may be varied.
IMttO
57
i
XXV. T
Minor Fig-ures in Steps and Skips.
M.
fefev^w ^ me-a^^* d *^i^yi^'i^Aifm't4 ^^i ^*Di-me -
*gTFtf m I fjj^JJ^J JJJ J
i
JJJJ^^• w*^ ^J^f*- •
da anii- -i- -i- -i- - i-i-i-i a- -a- -a- - a-a-a-a
rf^'i/MiJJJJJJJJ^JJJJJJIM f *¥ V^ ^t^'^^m~ ^m
da- - me - ni - po- ^ - tu- -la- - be ni- -po- - tu - la- - be - da - me
ni- -po- - tu - la- - be- -da - me po- -tu- - la- -be- - de- -me - ni
^a^^"^ ^-^ij 25^3 ^be - - da - me po-
*Htu- -la- - be
^^^^(^J|,J^JJJJjj^jjjjj]|J^ i m m ^\M''\
>I
po - tu - la - be - - da - - me
-av
la a- -a- -a- -a-f
la- -be- -da- -me- . po tu
9 T "^ ZM ^ct — SL — £1 — £1 poo- -O- -o- -O- -O-O-O-O
9. |#i^.JJJJ I ijJJJ^J^Jj
da- -me- - ni- -po- - tu- -la- -be
10.
po- -tu- -la- -be- - da- -me- -ni
fe
tftin^FPTP
^^'^F=^ f— JGr1*
i^^ 3
^ fIn all these exercises,the single vowels (a, o and e) are also to be used. For Nos. 3 and 8 see Remark at foot of
pag-e 22.
IBB90
68
XXY M.and HMinor Fig"ures in Steps and Skips.
-j i M n^nmrfk^mfrrrrrrrVrrrfrfP
ni i- -I- -1- - 1- - 1- 1- 1- 1 - da a- -a- -a- -a- -a-a-a-a
^ wmim m(P»- ^mW i*~**
da- -me- - ni- - po- - tu- -la- -be
P ^'m^ni- - po- - tu- -la- - be- -da- -me
a^pe«iE m5.
ni- -po- - tu- -la- - be- - da po- -tu- - la- -be- - da- -me - ni
la-
^ Pi«p m«. sI
be- - da- -me po- tu- -la- -be
i fe m^ ^M \\
I AlKg fefFl»Ff
po- -tu- - la- -be- - da- me la- -be- -da- -me- - po - - tu
'f^''' LLl£ffir£MD-^J ^^8.
la a- -a- -a- -a- a-a-a-a- poo- -0-- o- -0-- o-o-o-o
PmiiW CclmTrtrrrrrr l rftrrrr^W9. ^da- -me- - ni- -po- - tu- -la- -be po- - tu- - la- be - da- -me- - ni
P Ma fW^ Mr^rrrcm-r^rirfffFrr^10.
la-
I
- be da-
P I ^ ^ ^^
- me po- - tu
Key of A.
la-
I
Key OT A.
P
-be
Ei
^ f^ ZZI
^
In all these exercises the single vowels (a, o and e) are also to be used. For Nos. 3 and 8, see Remark at foot of
paiere 22.
IMlflO
59
Two-measure Passagres, Syncopations, Triplets, Arpeg^g-ios, Runs and Scales, in Major.
XXVI. T
mKey of C.
M.
jJj^'iijiM-r Nf^r ^ ^ .^^^F=W1.
jU J "T i p
me ni po tu la be da me ni po tu po tu la be da me ni po tu la be
afj'r
J'l rr >jj jJj'- iijJ ^v p-^f^j jj^-EP
be da me ni po tu la be dameni po tu me ni po tu la be dame nipotu la be
3^ .* o „ S^
3. fll^.^^l
JP^l ^^,4 | ,
l
1J |
JJ|Jl|JJl.p1JIrll^l^'^|'^da - me - ni - po - tu - la - be - da - me ni - po - tu - la - be - da - me - ni - po
^f"^
' wjjj^ i ^J^ i^ .i^jij^i j'-ijji4J J'
iJ ^ffl^^
feme - ni - po - tu - la - be - da - me - ni da - me - ni - po - tu - la - be - da - me
^^ ^-i ijCTj:c^^^i[affl'-^W^^# *^*•w«w• da
*,^ipo
j¥r ^jjii ni^ i.7^;j]]j^^i ^,- iijffl:.^^£t£[fi-Wj:a.^-i&
da - me - ni - po - tu - la - be - da - me ni - po - tu - la - be - da - me - ni - po
7.
8.
me - -ni la- -be- -da- - me - - ni
9.
la - - be - - da - - me - - ni tu - - la - - be - - da - - mebe - - da - - me - - ni
10.mas ias*
tu - - la - - be - - da - - me
PP'rWlJiij^ ij^-iJgF^ftob'Jia^Ji^diy-
^-
^
ni - po - tu - la - be - da - me - ni - po
(
feda - me - ni - po
Key of C.
tu - la - be - da - me
^^ ^^ ^^IE
t^ *V-hh^ J i J g ^ i^ ^^xn XXI
Each exercise must be sungr in one breath; when the vocalist has thorougrhly practised all these examples, he may com-bine at will the first measure of one exercise with the second measure of another, etc.
1M90
60
Two-measure Passages, Syncopations, Triplets, Arpegg^ios, Runs and Scales,in Major.
XXVI. H.
^
\
p\ ;jr
r n.Prr
J jjj^-imJr
r ^iFrr r^
me ni po tu la be da me ni po tu po tu la be da me ni po tu la be
^''1, ij .pf M^r fnJ jiij»- iMJ ffpr M^r pb. >i^? ^ ^^
be da me ni po tu la be da me ni po tu me ni po tu la be da me ni po tu la be
i^jqrirrinii^'L^nin,da - me - ni - po - tu - la - be - da - me
i
ni - po - tu - la - be - da - me- ni - po
^ ^ ^ ,f, . ,u^, J F«^^I-
jj j.yjfffr i [|-ff^Sjfflu»^^ J:-^ari'^i'ir" iW^j|Jj iiiJ>-^me- ni - po - tu - la - be - da - me - ni da - me - ni - po - tu - la - be - da - me
da -
MT-P^ I
J >- "PTOlJ?-
po -
f
'
I , jffl]:33^cccr i CQ;^^da - me - ni - po - tu - la - be - da - me ni - po - tu - la - be - da - me - ni - po
f''- Wmii^^^- ^ '-^':i^^m^
la - - be - - da - - me
la - - be
10
tu - - la - - be - - da - - me
jA ^m\m^\ EQ^dj^Qiri^w^^ni - po - tu - la - be - da - me - ni - po da - me - ni - po - la - be - da - me - ni
p'\' \ h i
Vkh. j > j > 4 'i
^
fei^S' r ^ > J i J
p?iEj
^^^!fes^DOC
x»-
Each exercise must be sung in one breath; when the vocalist has thoroughly practised all these examples, he may com-
tine at will the first measure of one exercise with the second measure of another, etc.
IRWO
61
Arpeg'g'ios and Runs within the compass of the chord of the diminished seventh.
XXVn. T. _ T. and M.
tu la be da me ni po tu la be da ine ni po tu la be da
3.
4.
5.
6.
ni - - po - - tu - - la - - be
8.
10
me ni po tu la be dameni potu la be
am LLUOiJ ^^^r^
tu la be da me ni po tu la be da me ni
W==S:G S —^
r'-
1
I rrrrr^" sm'*ra
la be da me ni po tu la be dameni popo tu la be da me ni po tu la be da me
^^ m ii
i
rr-U \k #itiMO
62
Arpeg-g^ios and Runs within the compass of the chord of the diminished seventh.
XXVn. M.andH.
9.
ni - - po tu - - la -
f'E^iiJ^^a&j^ i'i I 0^ 1'^ I'U^^po - - tu
6
la - - be da tu - - la - - be - - da me
Jiin^^^^ to '
ii-' i«aij'dlte'HTr, is10.
me ni po tu la be da me ni po tu la be
\*p. ^ I- - f Fffm -^ - \»m^ \ih i^M t
tu la be da me ni po tu la be da me ni
^f:;rrr'c[rr:[
ig^
Mpo tu la be da me ni po tu la be da me la be da me ni po tu la be da me ni po
V
S
V
V^F^
1BB90
63
Difficult Passag^es on the Tonic and Dominant, in Major.
Each of these studies must be sung in one breath.
15R90
64
Difficult Passag-es on the Tonic and Dominant, in Major.
xxvm.M 3 3
Each of these studies roust be sung in one breath.
1IIII90
Difficult Passagres on the Tonic and Dominant, in Major.
61
xxvm. H3 3
Each of these studies must be sung in one breath.tRS»o
66
Arpeg^g^ios and Runs on the Tonic and Subdominant, in Minor.
XXIX. T
^ ;Jd^^ '^ i^ i^ ^ii ^^m
me - ni - po - tu - la - be - da la - be - da - me - ni - po - tu
^^S • _:
—
w
10.
*^ ^^ "Tl~
T5
15590
67
Arpeg-g^ios and Runs on the Tonic and Subdominant, in Minor.
16690
68
Arpeg^g-ios and Runs on the Tonic and Subdominant; in Minor.
XXIX. M
if'l' M J ^ ^ ?*—it
da - me
^3Etf
1 J*^ V * * ila - be - da - me - ni - po - tume - ni - po - tu - la - be - da
*=¥ ^=^^^ "H ^^tu - la - be - da - me - ni - po
7.
8.
^me- ni - po - tu - la - be - da - me - ni tu - la - be - da - me- ni - po - tu - la
IMAO
Arpeg^g^ios and Runs on the Tonic and Subdominant, in Minor.
69
1B«»0
70
Arpeg-g-ios and Runs on the Tonic and Subdominant, in Minor.
IB590
71
Arpegg^ios and Runs on the Tonic and Subdominant, in Minor.
1M90
72
Wider Interval-skips combined with Runs and Arpeg^g^ios.
XXX. T. ,-.._ '^ M^ rm rm ^ t^ 3 # 1f ?'Hir
po tu la bedame ni po tu la be da me ni la be da me ni potu la be dame ni po tu
.ji 'ii .
;J jjjip^; i I
I
HTjj jl^' J^^JPJJJI JJ^^la - be - da - me - ni - po - tu la me - ni - po - tu - la - be - da me
3.1
1 1> 1*^^^^ 9 #
"^ ^ir
la be da me ni po tu la be - da - me - ni nipotu la be da me ni po - tu - la - be
^^^^^^^be da me - ni po tu - la be da - me ni tu la be - da me ni - po tu la - be da
ji'iJrJi^jjQ^iJ-jjajj r^''^:;:r^:Ka-iJ]-p^j r i
tu 'la - be - da - me - ni - po tu da - me - ni - po - tu - la - be da
!^W=^^j-^j^ igJj^JT]^!^'' ^rjpl^tu - la - be - da me - ni - po da - me - ni - po tu - la - be
be da me - ni potu - la be da- me ni potu la be da - me ni po - tu la be- dameni po
V p^iJ^iT ^r /^^?^ \^^^ j
i^-^ ^ ^ 3 -^^ *^ =
po - tu - la - be - da - me- ni po me- ni - po - tu - la - be - da me
f^^'^m^ni - po - tu - la - be - da - me - ni
rP3-f]3i fm ,
1^'' n ji-^ ra^ i pg-
O^Pw * JI J*~-jv.# ^d-d f* ^9
tu - la - be - da - ni - po - tu - la
10 )#Ejp^f3^ i j?^;gr J
i^'';^-^#-^ i
[co-£f^'9*po - tu - la - be da- - me ni la - be - da - me - po - - tu la
tn^^ f ^f?H''i> '^ .^.jj
d»-
^-^^T
J=:^ J J ^
3X:
Each group of two measures oiight, properly, to be sung in one breath; the singer may, however, in case a
slow tempo is necessary at first, take breath at the end of tne first measure in Nos.l, 3, 9 and 10, and in the
ing' exercises lust before the fourth beat in the first measure.
Wi90
rather
remaia*'
nWider Interral-skips combined with Runs and Arpeg-g^ios.
XXX. M. and H.
^ dxrr J
H.
& iJ'idii'i J II
po tu la be da me ni po tu la be da me ni la be da mem po tu la be dameni po tu
jpjf^ip j::^ \ij^
\
jii'i J irrj r^\^ji^\ .m
5.H c^fl-o ca-i ^j^4 ^n jn^TM-n j^ r vK Msn jji-'i ri ij ^ ri
4p^^ -0331:; to ^jI''' '^ ^^ \i riuu .n
10.
i> tJ ff^J ^^ cf rpjf r iTj]- !
-"I
riijf^be da me - ni po tu - la be da - me ni tu la be - da me ni - po tu la - be da
t=^S K ii Ora- i i'T^j m
tu - la - be - da - me - ni - po tu da - me - ni - po - tu - la - be da
tu - la - be - da - - me - ni - po da - me - ni - po - - tu - la - be
be da me - ni po tu - la be da- me ni po tu la be da - meni po - tu la be - dameni po
if"T]r^ ijM. ji''j^j a^iJ^^|' jipo - tu - la - be - da - me - ni po me - ni - po - tu - la - be - da me
Ijn^^a- '
tffc^-^j'i''' ^lii ^i^ia%ulL-i"
ni - po - tu - la - be - da - me - ni tu - la - be - da - ni - po - tu - la
po - tu - la - be - da - - me - ni la - be - da - me - po - - tu - la
(See Remark on page 7^.)
1KR90
Sc
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MARCHESI, S.
Op. 15. 20 Elem<ercises. I
NAVA, C.
Op. 9. ElementiVoice. [1712].,
Elements of Voc5Preliminary Recises [437]; Bk.
PANOFKA, H.
Op. 81. The ArtSop., M.-Sop., 1
Op. 85. 24 Progiexcept Bass. I
Vocal A-B-C. F
Vocalises [426]
.
PANSERON, A.
A Musical A-B-C. For Elementary Vocal In-
struction (Friedlaender-Spicker) [979] 75
Un A-B-C Musical, sp. [1386] 1.00
SIEBER, F.
Op. 42, 43. School of Velocity. [721] 1.50
Op. 44. 10 Easy Vocalises and Solfeggios.Sop. [971] 75
Op. 45. The same. M.-Sop. [730] 60
Op. 46. The same. Alto [972] 75
Op. 47. The same. Ten. [973] 75
Op. 48. The same. Bar. [974] 75
Op. 49. The same. Bass [975] 75
Op. 92. 35 Eight-Measure Vocalises. ForElementary Teaching. Sop. [Ill] 75
Op. 93. The same. M.-Sop. [112] 75
Op. 94. The same. Alto [113] 75
Op. 95. The same. Ten. [114] 75
Op. 96. The same. Bar. [115] 75
Op. 97. The same. Bass [116] 75
iR A RY ^
|CS
CISES
931
Vocalization. A GradedB for all Voices. Selected frommost celebrated Italian, French,cal teachers ea. 1.50
'if
m
UCLA Music Library
' MT 885 S65 op.42-43
L 007 017 199 6
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1
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fversity of Califoi
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