'.  ~  *■ 


2 


T  O  C  AIL,  M-'US  I  C 


I  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  Power 
of  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 asoimd 
to  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  salne 
Breath,- and  this  must  be  done,  in  both,  A  MEZZA"  DI  VOCE  ,;that 
is,  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  Eye 
to  divide  the  Time  into  aU'its  Proportions. 

IX.  Never  to  force  the  Voice, in  order  to  extend  its  Compafsinthe 
VoceDT  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  imperceptibly 
to  the  VOCE  'DI  PETTO, for  fear  of  incurring  the  disat^recable Habit 
of  singing  in  the  Throat  or  through  the  Nose;  unpardonable 
Eaults  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  their 

f'he arf ul  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  musical  Period 

breakingthe  ^ss^gef^o^!^^^;'  ^^'^'^^  ?^  ^^^'^^  breath,  withotit 

irT^.%u-  .        .  ^''^'^^^^ng  perceived  by  the  Audience. 

^IV.  That  Without  th#»  r«^^ 
Passagenr  of  an  affec^ir,    r        urgent  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.  int elided  by  the  Poet. 

AVII,  That  the  acute,  m,!  j 
as  to  render  th en Winiil^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^^*^^  ^^^^  JCf  eat  est.  Care  and  Attepticn, 
and;finish  with  the  l^^ve^i"'^'^^^  ^^^^         highest  of  the  two  Notes, 

derived  f  romVe^rh^rj^'^^  and  Embellishments  of  Son^s  shoul  A  be 

C^haracter  of  the  Aiir,  and  Passioi^  of  the  words. 


I 


Pia 


Seal'-  of  one  Brove  in  a  breath. 


P 


For  rf, 


Pia 


Pia 


Scale  of  two  Semibreves  in  a  breath. 


^        II  ^  II  .  II  ,  lU  II  M  1 

1 — © — 1 

1  1 

1  o — 1 

1   ^  "1 

1 — o^TT^o  

I                               1  F           ^  fl 

Example  of  the  Shake. 


Scale  for  the  Practice  of  the  Shake. 


fl 1     -  - 

■J-1  r  - 

-  p  n  r 

■  [>'  — j 

r  ■ 

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  the 

jnterm^idiate  note  or  guide 

I 


if'trr  I  If  I -^Lju^Lm::^  i  r  i  ir  I 


til 

LESS  ON  for  the  interval  of  the  4  J  with  and  wlhout  the  intermediate  sounds 


th  . 


LE  S  son  for  the  .  ihter-val  of  the  ^;    -with  and  without  a  guide. 


^^^^^^ 


 1      igfaj  {>-  Lf  -f—  "1  fctP   1 

^If^-  II 

UCSSON  for  the 


^^^^^^^^ 


iTblSSONforthe  7>*^ 


^^^^ 


iESSON  for  the  Octave  or 


Exercise  of  all  the  intervals  in  the  diatonic  genus  or  Scale 


Exercise  in  little  divisions  or  flights  in  ascending  and  descending  eight  notes 

m 


 F- 


K  1  r 


Division  or  volata  of  8  notes  ascending  and  desending  successively  in  the  same  breath 


Exercise  of  the  9.   in  gradual  ascent  and  of  the  8 ;  descending 


Exercise  of  the  10,    in  the  diato^nic  Scale  ascending 


Exercise  in  divisions  ^here  the  time  is  broken  by  rests 


Exercise  of  divisions  \vithin  the  compass  of  the  6^^called  by  the  ItaliansScav 

never  extend  to  an  Octave 


ezze  because  they  ^ 


Exercise  of  Syncopation  or  driving  notes 


llxercise  in  Triplets 


10 


n 


12 


IV 


—  ■  

1           1  ■ 

 '■  1  — 1  r-  ^  •~"75  1  ■  — H  1- 

f  H      o        ■  — 
Andante 

^^^^^^^^^ 

a/I  ^' 

li 


i 


VI 


Andante 


23 


m 


Mil     I  ii 


7^ 

!•  — 1 

m 

1^ 

^^^^^^^^^^ 


14^ 


VII  JLarghetto 


17 


Xni  S'^lleg"-". 


XIV 


■  rf\ . . 

A- 

ft4  

X.argo 

— = — 

N=H^ — i 

3  6 

3  3 

9     8  4f     3  3 

7  7 

i         3  6 

''I 

i4 

± 


I 


'^7 


>■     |»  — #—1 

m 

:  #— 1^  1  ■ 

4         2        3           6_  I 

f 

4. 

3 

.^0 


XX 


^*  r  Lfe 

'  ^  r  J 

J  ud  r  ^  1 

Allegro 


i 


3  S 


7  ?s 


6* 


'^r^r  f  r/  r  -1 


1  J     r      -  -[r-T-J";^^^^ 

■<l     *^  '  J — : 

«l  •! — J — J— 

*  lis 

4 

3            4           ,y  5 

3\ 


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 

XXVI 


^^^^^^^ 


Yrr-rrir  j-f^.j    .  ii'nfr|ii||.  if|-ii  r,M|prfr^|  i, , ) ^  1 1„ MTrrn, , 


xxvn 


Andantino 


12 


XXVIII-C  Allegro  ^ 


\  1 

1  ^> 


*rT~i 

r  r  irrrrr  r  ^ 

^  »  *  ^  A 

?4. 

41. 


'•  1  rr  >    ir  r  J 

•  Qj  n — ^  

XXX 


6  6- 


is 


XXXII 


45> 


L— — «^-n 

.')0 


XXXI  Yi-^  Allegro 


Allegro 


VS. 


^^^^^^^ 

— © — 

* 

—  O  ' 

IJ     I-  ^1 

 ©  

 » 

\ 


