IMAGE EVALUATION 
 TEST TARGET (MT-3) 
 
 V 
 
 /. 
 
 ."^^L^.x. 
 
 
 
 1.0 
 
 I.I 
 
 i2 8 
 
 112.5 
 
 i^ 
 
 11^ 
 
 m 
 
 22 
 
 'm 
 
 
 JL 
 
 2.0 
 
 
 
 
 1.8 
 
 
 
 
 1.25 1.4 1.6 
 
 1 — — 
 
 
 "^ 
 
 6" 
 
 ► 
 
 m. 
 
 ^ 
 
 VI 
 
 c*. 
 
 c^^ 
 
 '^ -' 
 
 ^ ^:^ y 
 
 S9. 
 
 e*^> 
 
 ^\ 
 
 7 
 
 ^^ 
 
 ^'k 
 
 Photographic 
 
 Sciences 
 Corporation 
 
 23 WEST MAIN STREET 
 
 WEBSTER, NY 14580 
 
 ( 716) 872-4303 
 
 4v 
 
 V 
 
 ^<fe 
 
 V 
 
 •1>^ 
 
 \ 
 
 \ 
 
 '>"'■ 
 
 SV' 
 
 <^ 
 
 6^ 
 
 ^U 
 
 % 
 
 ^^ 
 
 <i> 
 
 :i7 
 
 c^^ 
 
CIHM/ICMH 
 
 Microfiche 
 
 Series. 
 
 CIHM/ICMH 
 Collection de 
 microfiches. 
 
 Canadian Institute for Historical Microreproductions / Institut canadien de microreproductions historiques 
 
Technical and Bibliographic Notes/Notes techniques et bibliographiques 
 
 The 
 
 to t 
 
 The Institute has attennpted to obtain the best 
 original copy available for filming. Features of this 
 copy which may be bibliographically unique, 
 which may alter any of the images in the 
 reproduction, or which may significantly change 
 the usual method of filming, are checked below. 
 
 L'Institut a microfilm^ le meilleur exemplaire 
 qu'il lui a 6t6 possible de se procurer. Les details 
 de cet exemplaire qui sont peut-dtre uniques du 
 point de vue bibliographique, qui peuvent modifier 
 une image reproduite, ou qui peuvent exiger une 
 modification dans la m^thode normale de filmage 
 sont indiquds ci-dessous. 
 
 The 
 pos 
 oft 
 film 
 
 n 
 n 
 
 Coloured covers/ 
 Couverture de couleur 
 
 Covers damaged/ 
 Couverture endommag§e 
 
 Covers restored and/or laminated/ 
 Couverture restaurde et/ou pellicul6e 
 
 Cover title missing/ 
 
 Le titre de couverture manque 
 
 I I Coloured maps/ 
 
 Certes gdographiques en couleur 
 
 □ Coloured ink (i.e. ether than blue or black)/ 
 Encre de couleur (i.e. autre que bleue ou noire) 
 
 □ Coloured plates and/or illustrations/ 
 Planches et/ou illustrations en couleur 
 
 D 
 D 
 
 D 
 
 Bound with other material/ 
 Reli6 avec d'autres documents 
 
 Tight binding may cause shadows or distortion 
 along interior margin/ 
 
 La reliure serree peut causer de I'ombre ou de la 
 distortion le long de la marge intdrieure 
 
 Blank leaves added during restoration may 
 appear within the text. Whenever possible, these 
 have been omitted from filming/ 
 II se peut que nertaines pages blanches ajout^es 
 lors d'une restauration apparaissent dans le texte, 
 mais, lorsque cela 6tait possible, ces pages n'ont 
 pas 6t6 tilm^es. 
 
 
 D 
 
 
 
 sy 
 
 D 
 D 
 
 n 
 
 Coloured pages/ 
 Pages de couleur 
 
 Pages damaged/ 
 Pages endommagdes 
 
 Pages restored and/or laminated/ 
 Pages restaur^es et/ou pelliculdes 
 
 Pages discoloured, stained or foxed/ 
 Pages ddcolordes, tachetdes ou piqu6es 
 
 Pages detached/ 
 Pages d^tach^es 
 
 Showthrough/ 
 Transparence 
 
 Quality of print varies/ 
 Qualit^ indgale de I'impression 
 
 Includes supplementary material/ 
 Comprend du materiel supplementaire 
 
 Only edition available/ 
 Seule Edition disponible 
 
 Pages wholly or partially obscured by errata 
 slips, tissues, etc., have been refilmed to 
 ensure the best possible image/ 
 Les pages totalement ou partiellement 
 obscurcies par un feuillet d'errata, une pelure, 
 etc., ont 6t6 film6es a nouveau de fapon d 
 obtenir la meilleure image possible. 
 
 Ori{ 
 beg 
 the 
 sior 
 oth( 
 firsl 
 sior 
 or il 
 
 The 
 sha 
 TIN 
 whi 
 
 Ma| 
 diff 
 enti 
 beg 
 righ 
 reqi 
 met 
 
 D 
 
 Additional comments:/ 
 Commentaires suppl^mentaires: 
 
 This item is fiimuu est the reduction ratio checked below/ 
 
 Ce document est film^ au taux de reduction indiqu6 ci-dessous. 
 
 10X 
 
 
 
 
 14X 
 
 
 
 
 18X 
 
 
 
 
 22X 
 
 
 
 
 26X 
 
 
 
 
 30X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 y 
 
 
 
 
 
 12X 
 
 16X 
 
 20X 
 
 24X 
 
 28X 
 
 32X 
 
The copy filmed here has been reproduced thanks 
 to the generosity of: 
 
 D. B. Weldon Library 
 University of Western Ontario 
 
 The images appearing here are the best quality 
 possible considering the condition and legibility 
 of the original copy and in keeping with the 
 filming contract specifications. 
 
 L'exemplaire film6 fut reproduit grAce it la 
 g^n^rositd de: 
 
 D. B. Weldon Library 
 University of Western Ontario 
 
 Les images suivantes ont 6t6 reproduites avec le 
 plus grand soin, compte tenu de la condition et 
 de la nettetd de l'exemplaire i\\m6. et en 
 conformity avec les conditions du contrat de 
 filmage. 
 
 Original copies in printed paper covers are filmed 
 beginning with the front cover and ending on 
 the last page with a printed or illustrated impres- 
 sion, or the back cover when appropriate. All 
 other original copies are filmed beginning on the 
 first page with a printed jr illustrated impres- 
 sion, and ending on the last page with a printed 
 or illustrated impression. 
 
 The last recorded frame on each microfiche 
 shall contain the symbol — ^ (meaning "CON- 
 TINUED "), or the symbol V (meaning "END "), 
 whichever applies. 
 
 Les exemplaires originaux dont la couverture en 
 papier est imprimde sont filmds en commenpant 
 par le premier plat et en terminant soit par la 
 dernidre page qui comporte une empreinte 
 d'impression ou d'illustration, soit par le second 
 plat, selon le cas. Tous les autres exemplaires 
 originaux sont film6s en commenpant par la 
 premidre page qui comporte une empreinte 
 d'impression ou d'illustration et en terminant par 
 la dernidre page qui comporte une telle 
 empreinte. 
 
 Un des symboles solvents apparaitra sur la 
 dernidre image de chaque microfiche, selon le 
 cas: le symbole —^ signifie "A SUIVRE", le 
 symbole V signifie "FIN". 
 
 Maps, plates, charts, etc., may be filmed at 
 different reduction ratios. Those too large to be 
 entirely included in one exposure are filmed 
 beginning in the upper left hand corner, left to 
 right and top to bottom, as many frames as 
 required. The following diagrams illustrate the 
 method: 
 
 Les cartes, planches, tableaux, etc., peuvent dtre 
 film^s A des taux de reduction diff^rents. 
 Lorsque le document est trop grand pour dtre 
 reproduit en un seul clich6, il est film6 d partir 
 de Tangle sup^rieur gauche, de gauche A droite, 
 et de haut en bas, en prenant le nombre 
 d'images ndcessaire. Les diagrammes solvents 
 illustrent la mdthode. 
 
 1 
 
 2 
 
 3 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
^'i I 
 
 4 'i-*— V 
 
 
• M I 
 
 BASsmrs 
 
 V. 
 
 YOCAL METHOD. 
 
 EDirPED BY 
 
 N. H. HILLAKY 
 
 f; 
 
 A,«S.NORDHEIMER 
 
 ' TORONTO, 
 
 —— - ^ _., igf 
 
 '■'""'■"'' "' ■■"'"- '" *" "I I''"'"" '" 1^ '»'•<'*■'. '1 J .■>ii- i-m;. I,j W K sk ,« In tin- ..lll.f ..r II. I. Mliii.i.r ..f Aurliiilliiii 
 
 m 
 
II, I m PHMHilUIHi I I 
 
 g^t^jwwpiPiMPipBH •v>ri 'M 
 
 I 
 
 ft' 
 
 * I •» /C 
 
 65 
 
i 
 
 DiCTIONAItV OF MISK'AL TKR.MS. 
 
 ►*asy»> 
 
 A iM'i'M.i \, ,(>/i I lliil.) Til llii' ( Imiili iitylc. 
 
 All Kl.KttAri) [It'll.) Ai'CfU'i'iilcil, imi-'iiHril ill rii|iiility. 
 
 Ari'KN'l'. A hIIkIiI HlrcN8 nliU'Cil ii|iiih ll imlu Id lil:irk ils |iliiri' iiml 
 
 ri'lativo iiii])i>rtiiiu't' in tno luir. 
 An lAii ATlH.v [lliil.) A Hpt'rit'K (if iiri't'KKio. 
 Ai I lliKNTK. Ori'iiHiiiiiiil !')iiir|iN, Huts ami imliinils plari'il lirrmi: imti'i 
 
 in llio ciiiirse of ii iiii'cp. 
 An\iili) {/'((/.) A very hIiiW (U'hiw of ninrt'iiii-nl, ilniiiimlini; iiiinli 
 
 (lisle aiid c.\|iitwKi(in in tliu iiciriirnianrc. 
 An i.iBiTi'M (Liiliii.) AI ii'lll. III- ilhii'liiiii. TliiK I'xiircwi.pii iiiipliiH 
 
 lliiit IIk' time >>r HiihK! i>artirlilai' iiasiuigu is loll lu llio (iluitHini! nl' llic 
 
 IMM't'iirnier, 
 Ai.ii.iTA, Mill {lliil.) With liKlilnoHH iiml agilily. 
 At.l.AHiiAMKi. Willi IVfH! anil lirnad hIvIi' of t'M'.'iilioii. 
 Ai.i.KnitK'rri) (Iliil. I Siiincwlial rlicerrnl, Iml ik I sn i|nirl< a<« alU'^iin. 
 Al.l.KiiKo {Ildl.) <iiiiA\ liiihi. A triiii iin|ilyiiii a ra|iiil unil vivarimm 
 
 niovoiiifiil, lait whii'li is iVcipii'iitly inuililii'il liv tli<> aililitioii of nllicr 
 
 words. 
 Ai, >KiiNii, iir 111)' rliarai'Icr \t^ Hi^nirirs llial llio |i( rlorniiM' iiinsi ri-liirii 
 
 III a similar cliararlor in llii' I'lmrsi' nl' llit^ mnvi'iiicnl, and play IruMi 
 
 llial place pi the wind h'iiii; or llif nmrk '!^ over a dniililt; liar. 
 A MV././.x Viii K I lliil.) In II siilidiii'd tond. 
 AmuRF, 1(111 (Iliil.) .Virccliunaloly. 
 .\ N I lANTK (//<(/. ) Implies II niiivi'iiu'iil .>^iimr\vli.it slnw and sfdiilf, lull 
 
 in II );onlli' and siintliin^ slylc. TIiIm is ul'lcn inudillod, luilli an lu 
 
 limt! and stylr, l>y llie nddiliiui nf otliiM- wunls. 
 .\siiANTlsii tlliil.) Siimowliat slower tlinn Aiiilniilf. 
 .\mm \, (lilt I lliil.) With nnimalion, in a. Hpirilcd niiiinii'r. 
 A I'lACKHK (lliil.) \t llio pli'iusiiro of 111!.! p<'rrormor. .S'O .li/ liliiliiiii. 
 Ai'itMiiiiATi KA (//i(/.) \ •■ lie LMnlii'llisliinont. 
 .\i<l'Ktiiii() (lliil.) I'lLssniics roi:ut'd of till' noti's of clioids laki'ii in rajiid 
 
 siK'cessiiin, in iniilalion o!' !ho liarp, t.rv naid lo lir in Aiiiii/i/io. 
 .VssAI (lliil.) IVvi/, iwlri .iu!>i. This aihcrh is always joined lo some 
 
 olher word, of 'vhieh il I'xlenils the ^ignitication : as Atlitijii) iinMii, 
 
 very «low ; Alliiim <i/ii«il, very ipiirk. 
 \ rKMli) {fl.) Ill lliiic. A term nsei! to denote that, after some re- 
 
 lii.\alion in iVie time. Ilip performer iniist retnni to the original degiee 
 
 of movement. 
 
 Baijitonk (fV.) A malevoiee, intermeiliate, in resjieil lo pilch, helween 
 
 the hass and the tenor voices. 
 ItA.-iso (Hill.) The hiuw pari, vocal or instrnmenlal. 
 IIkm mahcato (IIiiI.) Well marked. This e.vpressioii iinliiaics that 
 
 the passage must ho executed in iv clear, dislinct and strongly 
 
 accented manner. 
 
 i' WW.S/.K (Tliil .] A iHdence, or dose »{ the termination of » song or 
 olher movement, introducing some faiicitnl and exlemporaneons 
 cmhellislimenl. In moilern niusie llie cadenza is generally written 
 in small notes. 
 
 ('antanim) {Ilitl.) In a singing maimer. 
 
 Canto (IIhI.) The highest vocal pan in choral music. 
 
 ClIlAltO {lliil.) Clear, as rc-gards sound or tone. 
 
 CllKOMATK'. IVoeeodingliyseniilonrs, or formed hy int'iinsof Hemitones. 
 
 Col.t./ ,o»i' (/^(/.) With the melody or voice. This expression implied 
 that lie accompanist must follow llie singer in regard to lime. 
 
 Coi.l.A PAiiTK illiil) Implies thai, the iiccoinpanist must follow the 
 principal pari in regard to time. 
 
 Con (Mi/.) With. 
 
 CoKTRAI.TO (/^(/.) A connter-teiior voice, and the lowest of female 
 
 voices. 
 CiiKscKNDo, or fit U.S. ( //ll/. ) Willi agradnally increasing power of tone. 
 
 DlAToNtr (<i'ii'i^), Snliiiiillii ; thai is, acrording to the degrees of the 
 Major or Minor se.ile, or l>y tones and semiloiies only. 
 
 DiMlNl'KNDo ( //ll/.) This term implies that llie ipianlily or iiilcnsliy 
 of tone must he griulnally diminished. 
 
 DoliiKZ/A, (11)1 (Itiil.) Willi HWe<>tness and sol'lness. 
 
 I'Viio {Ft:) \ repetition or imilalioii of a previniis pansai;e. wilh some 
 reinarkahle niodillcatioii in legtird lo tone. 
 
 KciAi.i (ll'il) Kiiiially ; smoolhly. 
 
 Kl KUXZA, (III) [lliil.) \\"\{\i eligaiicf. gracefully. 
 
 Kmi'IIAsis. .\ parlieiilar stress or marked aiceiit on any iiiile.Keiierallx 
 
 iiidieatud hy - -, or / . or nf. 
 KsKlKilA (//((/.) With energy. 
 
 Kmsktio ( //i(/. 1 Cerlain Holes of Ihe voice which can only he prn 
 
 diiced iirtiticially. 
 I'll 11! I. A vocK (//ll/.) To gradually ainiinciit and diminish Ihe hoiiihI 
 
 of llie voice. 
 
 I ii:i ri'i;no [lliil.\ \ group of notes; nliim. 
 In (lint.) In ; as in tfiii/iii, in lime. 
 
 Inionizionk (lliil.) The act of priKlileiiig or eniilling ninsii-al soniidN, 
 |iarlicnlarly in singing. 
 
 T. Mico (//»/.) A very slow and solemn degri'c of movement. 
 I.KiiATO (//((/.) In a smooth and connected manner. 
 I,f;illill-I(KZ/. 1, cim (//(l/.) ■ ,,,.., 1- 1 . ,r ■!•. e 
 
 , , , With lightness and faeihlv or iniion. 
 
 I.KOOIKIIO (llill.) i " 
 
 I.KXTO ( lliil.) In slow time. 
 
 l.'isrKssd TKMro ( lliil.) In tlx- same time as Ihe previous movement. 
 
 .Maiuki.i.ato (//((/.) Koreihiy nnirked : hammereil. 
 
 Mk.ssa UK VOCK {lliil.) A swelling and diminishing of the voice on a 
 
 long holding note. 
 Mh//.a VI Ml'. (Iliil.) Wilh modeialion as lo lone: rather soft than loud. 
 Mk/./.o soi'KANo (UiiI.) a female voice of a lower |>itcli than the 
 
 soprano or Irehle. 
 MoiiKii Mi> (//((/.) With a inoderiite degree of ipiickness. 
 Moi.To (//ll/.) Very, extremely. 
 
 I »s«i \ (It'll.) Or else; ns {m.sin jn'ii fiuih, or else in this more easy 
 
 manner. 
 I'llliA.SE. A short mnsienl sentence containing an inconi|ilete idea. 
 I'lANi.ssiMo, or y<;) (//"/.) Extremely n e' . 
 I'lVNo, or J) (//ll/.) Sort. 
 
 I'ouTAsiM) i.A VOCK (//((/.) Hiistaining the voice. 
 I'oUTAMKNi'o (It'll.) The manner of sustaining and eoiidncling the 
 
 voice; a gliding from one nol(! to another. 
 It M i.KNTANlHi (It'll.) Implies a gradual diminnlioii in Ihe speed of 
 
 moveinenl, and a eorresponding deerea.ie in the i|naiilily of tone. 
 
 liKi rr.VTiK (fV ) .\ recitative. 
 
 ItKsiMlto {It'll.) \ semii|naver rest. 
 
 ItiNKoii/A.NiK) {It'll.) Wilh additional lone and emphasis. 
 
 If iliATi) (//((/.) Hohhed, horrowed. 
 
 Si KXA ( //'(/.) .\ scene or portion of an opera. 
 
 SKii.N-o, or ',f. (It'll.) A sign. 
 
 SiiMri.ii K (It'll.) I ,,..,, . ,. ., ., 
 
 ^ , „ , " ilh simpllcltv, aillessness. 
 
 ."»i;mi'|,iiita, cdii illnl.i ) i . < 
 
 Sii.Ml'UK ( It'll.) .Mways; gfiniiir Hltiniil'i, always slaccalo or delached. 
 
 Skxtimknto, cdii [It'll.) With feeling and senlinieni. 
 
 .Sii.KKoiiii) (It'll.) \i\ exercise or exercises for llie voice. 
 
 J^iisi'iHo I It'll.) .V crotchet rest. 
 
 SoiTO Vol K (It'll.) In an nnder-tone. 
 
 SiAccATii (It'll.) This lerin implies thai the notes are to he |iiiiyeil 
 
 distinct, short, and delached from one another hy rests. 
 Si oxo (/(if/.) A sound. 
 
 Svxroi'ATK (It'll.) In a eonsi rained and syncopaled style. 
 SVNroi'ATloN. The connecting the last note of oiu; har to Ihe liisl nl 
 
 the next, so as to form hut laie note, of a duration eipial to holh, 
 Ti;mi'0 (It'll.) The degree of inoviMiieiil. 
 TuANi;! ii.i.o i It'll.) TraiKpiilly, composedly. 
 Tlill.l.o (Iliil.) \ shake. 
 Tlioi'i'o (It'll. I Too milch. 
 
 I'mana \ltiil.i Unman; as I'mi "iii'iii", the human loice, 
 Vki.aio ( It'll.) Veiled, indislinci. 
 X'ki.ock (//i(/.) In rapid time. 
 Vivo (//"/) ,\iiimaled, lively. 
 ViM'K (//ll/.) Til© voice. 
 
TAI5IJ<: OF CONTKXTS. 
 
 A|l]l(ljrjri..,t,|,„ 
 
 •^I'l"'*.'*.'!""- ill (Ih'iii .,(• (■•,.|,.n»i>, 
 .Arliciiliiiidii, 
 
 l>ri'Utli-(!ikiMy:, 
 
 <'Iiiin}rc of till. \'„i,^., 
 <'l«'iir iiiid siiiiilirc tiiiiln-c, 
 <'l<'!ii' Mild sDiiilirc iiiiil,ic, 
 
 <'<Hitiii.iii(i.-ii.,r K.x,.ivis.., on |{,.,H, \„„.,, 
 
 |)yii:,iiii,.s_|'i;|,i,,, .M,,^;,„.V„„,J.'„,„,_ 
 Dynamics— Si i Kilali, ll.c Swell, 
 
 Ivvcrcisc on licjM.atcd S„u>, 
 
 I'-xfciilioii, 
 
 Kx|irc.s«i(,ii, 
 
 Kxci'ciscs ill .\r|Mwi,,:s, 
 
 KxiTciso ill ^fiiior, 
 
 IvM-ivisc on dilli.nnt shade-. „f Jm, n>ii\ , 
 
 l-:x.'.vM.|or..oii,,.o|lin;,,|i,.o>..i||,,.,n. ;,,;,,;■, ,,,,., I,;. ,^,,.^.,,^ 
 
 Kxcrciso on llini' vo\v<'ls, 
 
 Kxciviso on the Clindiijiii,. Scah, 
 KxcrciM. on the Octave, 
 
 Kxcrciscs on llic 'j'rill, 
 
 Kxeiviseon tlio pivpaniiion and v^suUiU f tlie 
 
 Kxcivisc on till. .Mart.llato, 
 
 Kx.-ivis,. „„ ,|„, Stacvato or not.. I'i,|„.tiai,.. 
 
 Ivxemse flu- tl,.. nni,,ii ..(•tl... ..|,,.st an.l ,M..|in.i. n.ui.,,.|.. 
 
 Jvx.Tn... on tlK-tlinv ivjris,..|.s_(||,,t, .M..|i,„„ and l|,.ad, 
 
 K\(.|.ci.M. on two notes, 
 
 i'.xeri.ix. on tli|.(.,. iiotcs^ 
 
 K\(.r(.ise on ('oiir iiotc^, 
 
 Kxereise on (i\,. iiiiics^ 
 
 J'-\(.r(.is(. on M.\eii notes, 
 
 K\ei-(.is(. oil (.iulii (i,,i,,s^ 
 
 K.\en.is(. ,,ii thirds, 
 
 l*Ai.|.|.isc. on \aried notes, 
 
 I'Xi.reise on siMeeiilli.and vari...! thirds 
 
 Kxereise |o seeiire (lie n>hi a.lion o/' III,. j,|,,,,is^ 
 
 r>..i. 
 
 • '■>■> I'irsl l-:x..rri>e.s in \\.|,„.itv, 
 
 . «1 ■ ' 
 
 '' '•ni|)(.||o, . 
 
 ''• II ■ 
 
 IIVfiieiM. ol ih,. \',,i,.,,_ 
 
 |,, ''♦•'^■^iiiis on Svn..o|.ai..d .\„|,,s, 
 
 . !i;; .M(.<lmnism of the V.h-.iI ( )|.^,„„s, . 
 
 <i| Minor Sah.s and Kx<.|eises, 
 ss 
 
 I'liiusiiijr, . 
 
 •'-' I'iaiio-li.rt.., or Dynaniies, . 
 
 '" I'ortainento of the voi(.(.. 
 
 irill, 
 
 IM 
 
 so 
 III 
 
 <iiiiditieaii<nis of ih.. Sin.r, 
 
 ^,| '{'■■^piralorv ( )rp,|,s^ 
 
 ^.^ iJe^Milar Minor S<.al.., 
 
 (55 'i<'|H.at(.<l Xotes ill vari(.<l lomi^ 
 
 5{l 
 
 ](,l .S.o|«. of N'ol.vs, . 
 
 11^; .S...oiid Kxereise in \'e|o,.ity, 
 
 <)i; .S.lfi.}.j,iiijr and \'(M.aliziiii;, 
 
 .,7 .^tud.v of the Chest ami .M,.,|iMni IvVyister 
 
 I'D 
 
 L'l i'he \'oii-,., 
 
 :.'.-• 'I'hree ihinns to li.. |„,r„,, j,, ,|,j,„|_ 
 
 ;!() Third Kx(.i.ei..,. i,, \', ,,„.i|y^ 
 
 ;U Tinihres of tli<. \'oi(v. 
 
 .'is TiiiK., 
 
 n 'l'l'" Ke-iMer. ,,/■ ihe N'oi,,., 
 
 (7 ''lie Naiive {.and of Sinjivr-., 
 
 !!l 'I h.. Seal,. S\ve!l„|, 
 oil 
 
 •'I N'Miie,' Kx,.r,.i th,.(|i|.oi,iaiie.S.ale, 
 
 ■'"' \'o(.al .\e..olll|llisl Ills, 
 
 IS 
 
 ll.t 
 
 (i 
 77 
 
 lo 
 
 17 
 ill 
 
 (i 
 NO 
 !)( 
 
 .VI 
 
 s 
 h; 
 
 III 
 
 r,r, 
 V) 
 
BASSmi'S VOCAL MJ^jrtlOD. 
 
 -*-'%-^- 
 
 V.M.t 
 
 !)!) 
 IS 
 
 II;? 
 
 (I 
 77 
 
 !tl 
 
 (I 
 
 Sd 
 !)| 
 
 IS 
 
 ■ III 
 
 s 
 
 hi 
 
 I 
 
 III 
 I.-; 
 
 Tv tin* morn ilolicalc jilay of liiiiiiaii riiiiiiinii^, wlicii' l!ni);iia^<', 
 iis jiri expressive |M)wcr, i-eax's, s(iii|r eiiiiiieiitly U'jiiiis, Stiiji is 
 (iiMJ's tree ^;in III ail. Primarily, \n\ eaiinol (ioiilit, In siiijj His 
 praise; l)iit, iiulirf<'tly, to heighten liiiiiiuii iiappiiiess in its every 
 earthly liiriii. 
 
 Like liiDst iritis, Imwever, soiij; is jriveri us lint in the rude and 
 iiiiiiert'eet freriii, to lie develiiptHJ and |k '"(if •let I l»y (inrsclves ; in 
 iiriler, ap|iarently, to sei'un; that p'lierid expiinsiou of the human 
 liienilies \vhi<li seems to U'eiired fur in tlieeiilirc Divine (K'onomy. 
 
 (liven — tli<' viiiii', then, witii all its marvelous capacity of im- 
 provement, the la.-k is to cultivate it. 
 
 I am a pupil of /ingarelli and Crescentini, and have ("arefnlly 
 apjiliefl myself to the .system of (iai-eia. Addul to thi.s (which I 
 mention as my ijiuisi criKlentials in attempting a work on the voii'c) 
 is an expericiict! of many years as a teacher. Thus (pialiticd, I 
 lioiH) to in>truct and cncoiinige those who would learn to .sin^r. 
 Uut let nw. here fiiuikly .state, that what 1 liave to say is not new 
 — there is little more jxisitive knowlc(l^re to lie i;ain<'<l in viK'al art. 
 Only the method of jircscntiuf; the sulije<1 au<l the pmctical appli- 
 cation of principles already known are my <iwn. ( )f this po-ilive 
 knowiedp', however, iniicli is unknown, or neglected, or forgotten 
 by too many of thoso who profess to teai'h nnisic. 
 
 The pericHl in which the art of singing reai'hed its highest de- 
 velopment wa.s that of the so-called < 'nxlrdti, i\ni\ the names of 
 ('re-. .'Ulini, Velhiti and Tariiuinis come to us as the last ei-lio of 
 the talented singers of the sixteenth, seventeenth and eighteenth 
 centuries ; they were in fai't the genuine representatives of the true 
 (hull) lliiliiiiin — of that lini~h(Hl school, so piu'e and >o exipiisile, 
 which itossini, .Meyerliccr, JJcrlioz ami other mii-ical authorities 
 now say is VtA to ns. 
 
 Since th.it lime the ari of song has progressed ; and, like the 
 lliite of lioelim, the piaiiH-forti' of |!iii-~i'!i>| (an iiislnuncnt of 
 whose make eniliracing eight octaves I reiiieiiilMr In have >een in 
 Ma<lrid), and nearly all oihir me<'hanical in~trnmciit>, the human 
 voice, an iuslriimeiit so snpei'ior to every other, hiis lieeu forced to 
 a gii'at increase of exiensinn and of resonant power. 
 
 One result of this, however, has liecn an undue admiration for 
 what i-ciiiirciy -uliordinate in mu-ical An : for, if a ,-inger shonlil 
 prcM'ul himself at tlie()pera in Paris and liiil togi\ellie ririowue<l 
 chest ( ' in the " llngiienols," or " William Tell," though singing 
 never so well oiherwi-e, he woulil gain liiil li'w admirers and 1k' 
 (|uite certain of producing Imt little ellt'cl. 
 
 This was not so in the age of the singers meutiouiKl. .\i ilial 
 lime an artist's merit consisted in his generally finished and 
 accomplished slyli* — in his e\i'<-ulion of the //vV/, the )i<iil<iiii( iiln, 
 the iiuzzn di riii-f,i/ioi)rtlii, xmnii iiiniiilldtl, (iiijii>i/i/iiiliii(i, (ivriiwnt- 
 liint, and other similar vocjd acconiplishnienls. The past and 
 pii'senl ccninrics, Imwi'ver, hav(> neverthclc-s piodnciKl truly great 
 singer.-; ;nniing whom are pi'c-eniinenlly N'cllnti, l>avitlc, |)on/.elli. 
 l/i l''odor, .Midiliran, ivuliiui, (iaieia, I'asia, Smlag, |)aniorcan, 
 Cinti, Nourri, .lemiy l.iiid. 
 
 lint ol° laic ilii' amiiitiiius disi'lplc- nf .mii aliiiMil art, in ihcir 
 straining al'icr elllii, lia\*: fully kepi p:ire .\iili iIh- iuiiiKMler.iie 
 
 exjMfintions of roinposors. The coming musical eiii will jirove, 
 it IS seriously to Im' feare<l, the deslriiciiiiii of pniilic .-ingers; par- 
 ticularly of fhos»' whose celelirity rcsls rather upon some lalioli'd 
 iinilation of a style, or <|iiality of voice, unlike their ow n, than in 
 I a legitimate develoiiinent of their nalnral vocal jiowcrs. Kveii 
 now, how many victims do [ actnally know of aii insane attempt 
 to follow the .sometimes fantastic ((impositions of such men as 
 N'erdi, Mcyerlieer, llalevy, irlun thine ciimj,iixllliiii/i irrrr irrlflin 
 [ i.fjiri'.is/f/ I'lir nfiii-iiillii-<jijliil mill ixn^ilinniil inins — like J)iipre/, 
 I l'(M"siani, linliiiii. Falcon, J'"re/zolini, and olliers. I have no liesi- 
 I tatioii in saying, that one of the greatest drawliacks to those who 
 study the art of singing is the haliil of at templing pieee> of modern 
 music which an^ directly antagonistic to their viMiil organi/alioii ; 
 and, Iiv a <'oiise(juent forcing and aluisc of the voi'T, rendering 
 that which is natniiilly go(Hl, sweet and meliHlioiis, had, haivli 
 and (lisigrecalile, 
 
 Tlire(^ .-iilijccls ar(' involved iu a wdrk on v(hhI cnllivatioii : 
 namelv, VOICK (the inMninuni): KX K< I 'TION (how to Use 
 it); KXi'K'KSSK »N (lioih, as a vehicle of liding). 
 
 The first snlijcct will einliraee the aiialumy of the xiM'al organs; 
 the dillcrcnl rcgi-lers or ciimparimeur- ol' the voice; the Iwn 
 (|iialities of vocal tone, c/ko- and Munhn (so-i'alled); and the viei.s- 
 .situdes to wlikh the voiw is e.xposeil. 
 
 THE vok;k. 
 
 There is no instrument capalile of priHJiiciug a tone at all com- 
 paraliie to that of the human voice, and the glniy of all other 
 iii>lrumenis ecin>i>i.-- iu the ncarnos of ilieir a|ipr<iach lo its mar- 
 velous perli'cliiiii. Not that it were de-iralile thai ail iii~lniinciil> 
 should exactly re>emlile the Voice ill ijiiil/lli/ iii' liilii — I lie iiidividii- 
 alitv of each iustriiiiient and llie variety of lone in the orcliesira 
 eonstiluling its |M>culiar richnc-s. liiit there ai'c many eliarai'tei- 
 i.sties of the \n\iv which were desiralile in all in^iruuieni- ; -iicli 
 as ea.-e in the priHlnctioii of tone; the liicilily of pa.-.-agc fiinn one 
 lone to another; the iiinili/ni'n tone, w hate\ir its ipialily loa^' he, 
 and a syinpalhelic power in the expression of the emolion-. 
 
 The iii>truiiients which most clo.-cly re.-einlile the hnniaii \ oiei 
 arc the violoncello, the alto, the violin. The iiisirumeiii which 
 comes next alter the voice, however, iu power and eompreheii-ive 
 iicss (although not so nearlv rescinliling it iu (|iialily of lour) is 
 the organ. In its grandeur of ixpressioii ami iu its iiiarvi 'oiis 
 resources, comliiuing, as it does more or le.s.«, all other incchaiiieal 
 insiruments in itself, it is a king aiming insirnnieiils of hiiiiian 
 construction. TIk^ voice, howe\er, ihoiigh po>.-essiiig .so peculiar 
 a (|nality, is yet capahle, to a i-eiiiarkalile degree, of iniiiating ( ilier 
 insiruments, liir iioi only hy cnllivatiou can il produce ih" a> iimI 
 tones of iiianv iii-truinenl>, Imt il can imilalc alimi-i all -<i!iml> 
 with which llic e.'ir i- ac>{iiaiiilci|. 
 
 I.cl 11- linn, lliiii. Ill ihe iiiechanic.'il ~li iicliii'i' >>|' ijii" iii~ii'iiii .'lit. 
 
 (5) 
 
HASSINI'S V'OCAI, MK'I'IHH) 
 
 MKIIIAMSM Ul Tin: VUCAI. OlUJANS. 
 
 IhiIIi rjul-: Wil, till' Hull- liiniilv, in \\lii<li iIh' Imim' j. |>|ih|iiiiiI Iiv 
 till' viliniliiMi III':! (iiliiiiiii iil'iiir in u liviil iiilii'. 
 
 Now, ( Hi'iM'iil) r, ill lii> nli'ltnilril wmk on IniniMii |ili\ ~i<>li>;^\ , 
 I'lih'-iili'ts till' liniiiiiii viiiri' a I'dil iii>tt'iiiiii'iil, tiltlimi^li in ~iiinr 
 MilMiiMi'iit iriiiMrki III' ciiiiiiilrs lliat wliiil arc ciillitl /'i/m//'< tiiiii'^ 
 iiiiiri' fi'.-i'iiilili' tlic tliitc liiinily. 
 
 Itiil I i"iiiiiiit rr>iNt till' ciiiix ii'tiiiii, lliiit till' viiii'i' i> an inlinir- 
 alili' i'iiiii|.iiiiiiii lite// ^/'/'i' )/("7((i//(/<H(.v ,• anil liir llii~ rra.-mi : it i- 
 nut a I'i'iii aloiii', liii'iin-i' a \ nii-i' can i-liili' In mi i>iir tmn' to aiintlicr 
 (likr >li liii<; a liii^ir niiavinlin nr piiitai htrini;) in a inanni'i' 
 iiii|iii-.-iii|i' In a ii'i'il in-ii'innriit. l><"-ii|r-^ in a ri'ii! iii-tnnurii' 
 till' ii'iil 111' tipn;^iii' is til liniil at nin' rml niilx, wliiria-i tlii' vih'jiI 
 rurils (in tlii'ir |M'i'|ii'nilii'nlar cvti'ii-inn llirmi^li tin' '.ir\n\)ai'r 
 lii-<t<'ii(i| al IhiiIi; '2i|, till' \iiiii' ir^ nut a >lriii;:*'<l iii-triMiii'iil almic. 
 Iinii is(> in llic |iriii|iii'liiin nl' liil.-^cttn tula's (MMiilliti) tlii' sti'ilijrs 
 <'ra.s ! to vilinitr; >°iil, it isimt a llntr iii>ti'niii<'iit almir, IhiiiiI'-)' mily 
 a |i il'tiiiil of tlii^ tiiiir- arr ih'imIiii'iiI Iiv iIh' viliratiiiii nl'a rnliiiiiii 
 ol' lit' ill a liMtl tiilH'. 
 
 I'lir viiiii', tliri'rliii')', I laninit Imt tliiiik, wiiiiilirtnllv rninliini'^ 
 ill- ailvaiitap's nt' tlu' niil. tin' -trim; ami llir tliilf iniiliaiii-in — 
 ridsl cIokIv rcMC'liibliiig, Iupwi'MT, the mil. 
 
 tii:.\i:i!AI. KlN'FIOrUATIOX OF THE VOt At, IXSTItl MllXT. 
 
 A.-Hrcillilliul mill's. K.— Till- 1l:lNll IHHvll'.'l'. 
 
 II. — TriK'lii'a Hir Hiii<l|>i|ii' . (i.— I'viila iiii'l ■•nil jialiili'. 
 
 1'. — ViK'ul lijfHIIIl'lll- mIiiIIm . II. K><i|>lllll,'1l>. 
 
 i).— t'liuryiix aii'l liurk |iiiri of llir llipuil. I. ■I'.|iik:l"tti!<. 
 
 E.- t'livily III' till' iiiiMitli, 
 
 At tlic liasi' nC till' vih'jiI aiipanitii.'-, liki' llir licllinv.'iiiran nrL'aii. 
 lit' the liiinian Im'IIdws — tlir innj:-. Tin' olliii'iifilicsc is in ('nrni-li 
 air liir the niiisical iii'-triiiiiiiit IihiiIiiI aluivi'. Tin' air is liirriil 
 liy tliu liiii^s tlirmi^li what ari- lalliij lirmii'liial tiilii- (s<'i> A), 
 wliirli, r.vtciiiliii^ tViiin citliir liinj; ii|itii\varil tlii' tliripat,}rrailnMli\- 
 niiivcr^rc until tlicy an- ri'solvnl intn uni' IiiIk-, iIh' winil]ii|ir (mi' 
 It). .\t tile iipiK'r |iiiiiit III' till' viiiil|ii|H' is a litili! Iinndli: ul' 
 llHi'lianisin iillli'il tlii' Iniiin.r (mi' ( ') ; it is ciiiiiliip-iil III' f'niir pirii's, 
 wliii'li liavi' till' piiwi'r (if |)l:i\ iii;^ intn ('.'nli ntlnr, ur ol" iiniviiiir 
 to>rrlli<'r. 'riiriiiitrli tlu; ci'iitri' oi' tlir laiyn.v is a iioiinw ])as.sij;i', 
 or iiiiiliiniatiiin III' till' air-tnlM'; this hiIh' ti'iininati's in a ^villl' 
 o|i<'iiin^, which o|ii'iiiii(; is liiriiiiil liy the vmiil conls, is of triaii- 
 l^illar slia|H', anil is calliii the pint lis ('-if ('); iiIhivi- this o|ii'iiiiii; 
 is a valvt; cjillcil the cfiiijlntlix (-it; Ij; tlifi«'|)i;.'lottis covers the air- 
 tnU' and prolei'ts it in the ait of" swallowing-, the liioil |)as-iin; 
 ilown iH'liiiiil, at the liaiU of the thiual. Aliove the ('piirlniii'- is 
 a eoiitiniiatioii of the o|M'niii;; (leailin;; ImiIIi intn the nioiith ami 
 the nose) called the filiini/iii' (sii' l>|; the walls of the |>harviix 
 have the |H)\Mr of eoiilraciiiii:, or aetiiii; ii|mii the coliiiun of air, 
 thus nioilifviii|r the tone. 
 
 It will Ih' iinder^loiHl, then, that the lini;rs fnriii-h the air and 
 ^eiid it lip to the larynx (.Vdaiii's ajiple), at w liieli point the tone is 
 iriMliiced liy the viliration of the viM-al conK; the tone then pa-ses 
 "I into .lie pharynx ami liark |i:irt of the tlini.it, w here it i~ niodi- 
 ..ed at will, and then arrives at the innnth and lip-, \\hiri' the 
 orpins of artieiilation shape the tone, wlnii iiiii'ssary, into a wonl. 
 Si that when a |M'r«on liasa inld, and the iiiiniliram' whieh eover- 
 all thc.M'i'iivities is swnlleil and the spai-e of the cavity iliniiliislied, 
 and the sides of the iiivities cliaiipil as to liardne-'S ni- consislenev 
 jrenerally, the \oiee shows it iiiiimiliately ami is chaneid from its 
 iisiial resonant ipiality. 
 
 ,\ similar chan;;e is cdi'ctiil in the ri'soaanee of the vniee liy 
 any iiiinatiii'al caviticH in the iiiii);.-, as in the •iise of the spaiis 
 prodiin'd liy tnln'rciilar softeiiiiie. ( 'oii-iinipii\i' persons, tiiere- 
 fore, eX|H'rieiice a ehaiii^e in \iilie, the tone j;iowiii;^ deep and 
 hollow. 
 
 In iiKK'hiinisni tliei'e are three kind- of iiin-iial iii-tniineiil- : l-t, 
 the recti faiiiilv, in which the toiie i- piiHlmed Iiv the viliration i<t' 
 rii'ds. or tone^nes, fastemil ,'it one end; Jd, the -triiii; limiiK.in 
 w hiili llir tone i^ proihiii il li\ llie \ iliratioii- ol' loiil- lii-leiiid ;il 
 
 "I 
 K 
 
 THE Jilv^riKATOKV UlKiANS. 
 
 'i"hi'^ir;.;aii- of ifspiration .'ire the chest, diaphni;; in. Inn;^-, liroii- 
 clii and trachea. The chi-t is a laii^e conoid i'a\ii\, the wall- 
 ( jiiirl<lrs)u\' w hiili are ciiiii|)iisiil of liinie, cartila;;i' and inii-cle. .so 
 adiiiiralilv adinsted to cadi olher, that strcni^tli and li^litm — ol' 
 slriii'tiire, woiiderl'iil facililv of iiiuiioii. ami -ecnrilN to the iiiiport- 
 aiit origans tiintained in it I'l'-iilt from the union of llie-c |iart.-, 
 lis lionmlarics are the stcrnnin ami cn-lal cai'lila;:cs in f-oiit, the 
 rihs nil each side, and the dorsal vertclii'M' liihiml. It> llnor i- 
 the tliaphra<;in. The fniinewnrk of the li'inale chest is more tlcli- 
 catelv enlist riii'tcd than that of the male. The miiscle- liy wliicli 
 this I'rainework of the liomaml carliki'.;!' is put in niotiiiii aredivided 
 into tlio«e of iii^iiirtitiiiii and i .r^iirnlimi^ each of which may lie 
 uriliiiiini, luiriil^ or rinlnil. 
 
 The oidin.irv nspiratury imivcimiil in nun i~, t'nr ilie nio-l 
 jiart, pcrlnrnieil Iiv the action of the ili.ipiira^in, liiielhciiiii^ and 
 siiipileiiiiii; its traiisMi'-e tliaim tcr. 'I'lic n-piralion of female- i- 
 more co-tal, and le-s tliaphra^niatie than that of the men. Tin 
 iiiiinlier of their in-pi rations may lieea-ily iiniiiletl liy watchiii;; the 
 moveiiients of the Imisoiii ; while the -ainc liict is Ik'-I a.-cciiaimil 
 in ineii liy placinj^ the hand upon the iliaphragm, and ohscrviiiir 
 the upward and downward niovcincnt of it. 
 
 Till' diaphia^iii is a hiii:e irrci^idar inn-cli . anhinfj; upward 
 toward the cln-t, and separating il from the aliilomcn. It is, in 
 fill, till' lloorof the client, and in powers of contraction, when 
 propeilv maiiaiieil, ollir the iiio-t liiiicdcial cxeici-c, and are the 
 oiilv means hv which we can ii;ihtly rcunlaie the action of the 
 Inii):-. This iniiscle has tin; faciiily of tiiicin^ out theaircon- 
 taineil in tho limes with any tlinrie of int' n-ity, wiili cijiiality 
 ami accuracy, jiist as nil inlelliuciit and skillful hand niiyhi do, 
 lieyniid tpii'slicin, a strict at I cut inn to the use ot'this ori.'aii U'coines 
 tln'7'"/'/ "//I of oiir w hole study. It is the basis of all normal and 
 lc^ilimate cdncatioii of the hniiian voire. 
 
 Knr a practical exeni-e in -li'cni.'thciiin,L' tin- diaphrairni ainl 
 hint's, the follow iiiir, as ^iven l>.v Km.\m i;i. ' i M''i iv, in his mw 
 
 edition of his Vvco/c iIk ( 'Ininl, jiiilili.-hcil in I don. will lie loiind 
 
 most excellent. It is well adaplitl to proimili i xpaii-inii ;inil a 
 liialtliy action of the Iniie-, as we lia\e te-icd hy e\|M'rience. 
 
 1 . Inhale, fiir a li'W seconds, as iinicli air a- the chest can well 
 contain. Jn floiiiii: this, close •''•' month so as to liavcniily a very 
 siiiall aperture fur the pa.ssa):t> of the air. 
 
 2. Kxliale iheair Mi-y p'lilly and slowly. 
 
 ."!. l'"ill the liiiie- aL^iin, and keep tlniii inllalcd a- 1oiim- a- 
 
 pn^-illlc, 
 
 I. Kxhalc cninpletcly, and lca\i' tin- elicit cinpt\ , a- Ioiil: :i- the 
 pll\ -ical pnwer- W ill convellienl l\ allow. 
 
 I'he liiiii;-, like the stiiiie of Si-\ phn-. id I. I'ln ir -nli-l.inci 
 
 i- opiii. -poii'jv, anil hiehly cImiIc. I''.;nh liiin.; i- irrc'inlal'lv 
 
 i 
 
r 
 
 f 
 
 ■iiiKiiiliil ill Itiriii. 'I'lic liM^i' i> lii'niiil, coiiciivi' iiMil tM'iiiiliiiiiir 
 in >liii|H', iiikI ii'sIh ii|niii iIh' ili.'i|ilini);iii, wliilr llir ii|h'\ iirujtt'lH 
 into tlu' iHi'k, Tlirv nil' ni|iiililr nl' j;nat dirlt'ii-ioii liy .irtiticiiil 
 iiillaliiin, aii< iiniiiiHliiili'ly rcpiiii llirir usual si/r when tlir <'\<fs.-> 
 III' air i- iM'i'iiiitttil Id cxiiiH'. Tlic lei) Itiii^; is .miialli'i' lliaii liii! 
 ri^lil, and tlicy arr iD'aviir in tln' iiialr tliaii in tlir li'inali'. 
 
 HAHSINIS VOCAL METHOIJ. 
 
 Willi nun, till! iiK'iliuin iigihtcr liii.-* flic Collnwiiijj cxlfiil : — 
 
 Tfiiorx :- 
 
 ^=fe- 
 
 
 i 
 
 
 THE RECJIHTEKS OF THE V(J]CE. 
 
 There art^ Iwn disliiiel eiiin|iartinentH (if tli(! vnii-e, tlint is, tho 
 viHiil iii'irans eaii In- ailjiisle<l into Imt two distiiiet aritl inile|H'n<l- 
 eiit tiiUw. 'I'iie one ])r(Kliiee,H llieciiest tdlics, wliirli are eimsiil- 
 ereil llif niiliirsil tones of the hiinmu voi<i>; the ullier the /'(/m'/Ai 
 (iir (iilse) tulles. 
 
 'I'lie word j'iiIhvHo, \ am aware, isnth'ti niiplietl to the ]M>cn1iar 
 tones ill men wliieli are |ii'<hIii(1'<I in imitation of women's tones — 
 or iii a more pnend sense, |M'riia|is, to the lii;;liest ii'jjions kA' the 
 hninaii voii-e, as in the sense used in tlie f'oii-jroiiijr ailicle. Hut 
 this is not the tlie<irelieal si}rnitiealioii ot' the word; in theory all 
 are tijselto tones wliieli are not |iro<lneed from the chest. 
 
 liiil, tiioii;r|| thi'i-e are liiit two adiustments ol' the viH'al organs 
 |ios>il)|(., Ihirr kiiiilit or iiiin/iliin of tone inav Ih' |iro<ln('«'<l. This 
 arises I'rom the liiet that, nlthoiigh all i'alselio tones (or all tones 
 aliove the chest) are itriHluffd in (ine and the .sjiine IuIm', the viH-al 
 action in this upper tnU' at a <t'rtain pilch oC the voiit! vario — 
 that is, llie vocal li^ramcnls instead ot" vilinitiiifr, Im-chiic lensi- and 
 stiff, and the air rushes ihi'oii)r|i u (ixeil ami iminovalile tnlio (as 
 nieiitioiutl aliove), the voiet? U'in^j chaii|;i'»l from a rci-d to a Hiili^ 
 instruincnt, as elearlv lieaitl in the tone, 
 
 Heniv wc have three riyinlfrH (so-cidled) in the hninuii voitf, 
 although lint two tiiUvs, 
 
 These ii'gisters are the rliitit, the vndiiiiii, the liiml. 
 
 The tones of the liiiiil register an; those which most nearly 
 ap|H'rtaiii to the Hiile fiimily; those of the mcilium and chest to 
 the reed. 
 
 Till! chest register is the hasis of the voice in ImiIIi sexes. In 
 the male voicH', iiicludiii;^ Jiass and 1'enor, its extension is tlire«! 
 oc-iuvcs, from 
 
 Jiariloiies: 
 
 9= 
 
 m 
 
 'I'll!' Masses havo no me<litini ; orslionld have none. The tones 
 should Ih- entirely prixliU'ctl from the chol. 
 
 The Head register, which is the niost lirilliant region ot' the 
 tl'inale voici' aial ap(K'rtaiiis jx-culiarly to this sc\, extends from 
 
 1^ 
 
 Til 4 - 4- 
 
 I 
 
 Very exceptional male voices eoinmaiid a few of these tones. 
 The ri-iiM of women and children are in this ngister. 
 
 Hilt men have iiotliing to do with the head register. It is 
 (entinine anil, in them, elTeminale. Mario has <N'iiisionally 
 struck a high note with the head tone; Imt this great tenor only 
 thcrchy lost inusicsd iiisti; and respect, with all ih'I-soiis of culture 
 and goixl taste. 
 
 Of tlics(' three registers there arc two, the chest and the 
 ineiliiim, which cniiiriilr in a part of th"ir nmgc ; that is, there 
 are certain tones on the w(//i<' itilrli, which cJin he prodiii'cd at will, 
 either in the one reirisler or the other. For example, a soprano or a 
 ti'iior voiet! may sing from the ciu-st register the following tones : — 
 
 9!: 
 
 1 y , ~ I. 
 
 1^=\ 
 
 Men use the tones of (his register in convcr>aiiiiii. 
 voiifs the chest j'cy-istcr e.xteiid.-. from 
 
 In wiiiiicn's 
 
 ^^ 
 
 I'mI ordinary tcmale \iiice^ <'aimot well cmnmaiid more client 
 tones than from 
 
 — + — 
 
 Kilher may then chanp' the |>ositioii of the organs to ihe 
 medium ifgister anil sing the same tones. The ditliiincc Uing 
 only one of toiie-<yi/((/;///, not of pitch. 
 
 On the other hand, the medimn and In ad riigisters do not at 
 all coincide, and ha\c no tones in common — a tact ex|ilaineil liy 
 the identily of Inlii'. 
 
 The riinge of the clie-t register in cliildreii is fruiii 
 
 m 
 
 :^~*. 
 
 The miilinm tones commence, or should coinnieiwe, on F or 
 'J. J5y foiving, the chest tones may lie made to extend as (iir as 
 
 Tile meiliiim register apiM-rtains mure particnlarU- tu woiihii, 
 although I'ommon to lioth sexes, lis tones arc iml -iruii;: and 
 full, Iml fcclile: this is particularly true of the low tunes, which 
 iMinh'r on the chest li'gister. 'Phe extension of the iiiiiliiim 
 register, with women, is from 
 
 iiut this friHnientIv(Kfiisions the lu-sof the Miice — a>iso(len the 
 •ase with churns eliildren. The head tunes may licgin at either 
 >f these jHiints : — 
 
 W uiMcn and children cuiim r-c in ihi- ri;;i«iii-. 
 
 and may uxtund us far tis 
 
 I ■- ^rx. 
 
 1 
 
HASSIMH VOCAIi MK'l'HoM. 
 
 Itiil iImw IiinI IhiiiI t<iii*«4 in chililn-ii tin- ilaiiK<'ri>ii,i in \\m- ami 'riu- ('ontntllii vnio' i^ I'lill mxl |)<i\vi-t-riil in llir i'Ih-i H'^ifii'i-, 
 
 lir<' iliNl^llillliK- ill ijlllllily. ' wllii'li is it- ^'ii'iil (iihl nC cHiii. dintntlhi Hini/HK ii'-r iiiitxl 
 
 'riirri' mi- Iwci otlicr cxci'iilioiiiil n-jjistcis, llic Iniiis of wliidi likilii In I'liil ill II xliiilji iif III,- All; iKil U'citii-c lln'v iMii'l iiiiiri' 
 
 iih- ililli'i'i'iit IVoiii llii)«4! now iiK'iiiiiiiiiil. Tln' liiN| I-, n l<iii<l nf iim'liMiiii-;!! iliHiriiliii-. iliaii ullicr-, lint Iim\ in^ tlir ('lii'>t ri'^i«li'i' 
 
 kiiIi-Inis.s Iiiik'; the Mtunil a Hiinilar toiir |ii-ihIiiii'<I liy inliiilini.' (llic most <lini<'nll) |ii'iiiri|Nilly tn riilllvatr, ^n ill kimwli'tlp; ami 
 
 iilniwiii^ ill) till' iiir, inslnid nl' ci'lialiii^ it. 'I'liis hiiIi-Imimm vnicc --kill arc roini-ili'. 'I'lic (iiiilniUo cxIfiiHion in thin ; — 
 licanl II il liiiin sini'c at ('liri.-ly's anil \N'iiikIV Miii.stn'l>, in New 
 
 York, The Miiimls nil" vi'i'v low and liiisky. Siirli a oiiiilily of 
 torn* is vri'y iiirt'. Tlir ntiirr, tlir inhaling tmii', is iiriMlnnil l»y 
 drawing f'/i tlir air ami sto|)|iiii^ it at tlir larynx, Tliis vnin- is 
 iismI iinly in ilM-laiiiatiiin. We hear it a ^immI dui! in dniinalii' 
 ai'lors ii)° till* milting N'linal. 
 
 Ill training tlw voitr, the tcaclii'r Hlionld coninicm-c with tin' 
 I'lirst rr^istcr; and tliis fniiii the liiri, that wIii'It iIic rlic-t ainl 
 iiM'^liuni ii'^risicrs |ilay into fadi other (in the inaniu'r slmwii) tlic 
 Void' is weak and nmi'i'tain, and il isaii I'Nlri'iiu'ly dil11<'nlt niattt'i' 
 to stri'iijitlii'ii and iiinalim' it. liiil IIiIm ii/iiii/i-jiliini if jii»l lln- im- 
 /Kirlniil limhlolii- iii'i-niiijilisli'ril. The IIIciIiihI to Ih- |miNiic<l is I his; — 
 the tout's wliirli art' cnininon to Imlli the clirst and niMliniii rrjristi'i's 
 iiinst Ik' iiracliccd altcriiali'ly with ciu'li. For, jiist as the skilllnl 
 workinan, who would Join two pii'ii's of wihmI and inakc iIh' 
 sin'iiclh al till' |Miinls of adjnstnii'iit «i|iiiil li> tlir rrsi, will ilnn- 
 luil ihc two, liy I'xti'ndiii); the end of one snnii'ii'iill\ liir in ii|ioii 
 the end of the other to prrvent any weakness al the exireinitie., 
 so the skillful teacher will extend the limit of one re};ister into 
 the middle of the next, until the weak tones ol IhiiIi are lileiidiil 
 and Ut'oine ei|nally sound and stroii|; — the |Hiinl of eoiitael 
 U'liig; siuiHitlied ami ohiiterateil allo<;ellier. 
 
 V 
 
 v 
 
 
 ...i'rrzzzf 
 
 A it'W voittt* may go to 
 
 Male voices are also dividnl into tlirei' cla-sc- ; 'rcimr, Hari- 
 loiic and ISass, The 'reiior is not hi full, lint il is more lirilliant 
 and llexililc in ihc higher tones. Its eom|iass is thi> : — 
 
 I iiiaiT vim K. 
 
 b'* 
 
 SCOl'IO OK VOKIX 
 
 I wril now slate till in|iass of ihe various kinds ol' voice. 
 
 The voice of woiMcii is ilividiKl iiiio three chtssc- : Sipraiio, 
 Mez/.o-Si|iraiio, ( 'onir.'ilio. Tiie lirilliant and elllflive rej_riiiii of 
 
 the Si|irailo Voice i« the liead I'c^fisl.r. As the voice de-ecllds to 
 
 the nie<liuiii re)rister it Uconies weak and li'clile. The extension 
 of tliG Si|iiiino voiei! is this : — 
 
 ^ a^ I Hanii'H viiieib I 
 
 The head rcjiislcr, for reasons nireiidy slateil, I do not ackiiowl- 
 wljrc here. 
 
 The Itaritoiie i> full and well marked. Its coiiipass is this: — 
 
 V 
 
 CHHRT.VIIK'K. 
 
 yi 
 
 
 ^^ 
 
 I 
 
 Mrmi'v VKicK. 
 
 The I'liuss voiii' should u.-e only the chest rjfister; it is full and 
 sonorous, and its eom|iass is this: — 
 
 I 
 
 rio>r VmH> 
 
 [The lilliekets ih.ll ovel'la|i, here, indicate IJie tones eoninioll II 
 
 IkiiIi re;risters, a'rcaily ex|iiaineil.| 
 
 iSoine So|ii-ano viiit's may e\(eii<l as liir as 
 
 '-i=--- 
 
 The Mez/.o-SoprMllo i- the Voice that posscsM's the f^rcillcl 
 \arielv ol" expression and c;i|i.icity for musical shadiii;; ; for, 
 lliouirh possessing; less llexiliility than the Soprano, and less 
 power than the ( 'oiilralto, i' is U'st alili' to make ii-e of the three 
 dini'i-int rc;;isters with fullncssaiid e(|uaiily. Its compass is this : 
 
 r 
 
 i'iin<T \iii('K. 
 
 1 
 
 IIIUII V(ll|-K J 
 
 H 
 
 
 P^ 
 
 MKhll'M VnHK, 
 
 5 ' ' -i 
 
 Keiuarkahle voices may pi ;i-- far as 
 
 
 
 Such, then, is the compass of the dillercnt voici's. I^'i nu- 
 add, 'iial any elliirl to tre.si)a.s.s on these limiis liy the sinjr<'r is 
 di'trinieiilal to the voice ami (Ki'asions often its t<ital loss. How 
 many yuiinjj: voices do I know (parlicul;irly of women) that ha\i' 
 Ih'cii rnimil in the attempt to siii^ hi^dier than their n:ilui'al 
 
 scope. In this iiiiry (America) where, jnil^in^^ liy my own 
 
 ex|H'rienee, the iii.'iorily of \oiccs are Mi zin Si, jnn mi, aniali'iirs 
 prcli'r sin;.'in^ pieces of Italian ojM'ra mn-ic, ino-ily wriiteii (iir 
 sopnino and sometimes snjiiinin sl'iii/iilo (very liighol soprano). 
 Amei'iean piiMisher- .ind c(ini|ioscrs. however, have adoptcil the 
 exeelieiit plan of piililishln;; principally music ot' a small com- 
 pass. I do not wish to lie niiderstoml as sayiutr that Italian 
 mu«ic must not he sum;; hut that every |M'rsoii nudcrtakiut; the 
 .\rl of Siii^inj; should lie alile to JihIjjc of the class to which his 
 void' Ih'Ioiii^s, and never traiisn'iid its limiis; and to this end 
 iiiuch eaiv, is mressjiry in the choice of luusii- to lie sung. 
 
 i 
 
 TIMI'.HKS OF THE VOICK. 
 
 I!\' liiiiliri we mean ihe (|ualily of a musical tone — or, lum- 
 ijiiiiUljI. The weird liniiple will hercafler Ih' used to express this 
 idea, there iH'in^; no l'',nj.di«li word which so compieieiy conveys 
 the meaning'. Il is, moreo\er, alreaily in iinivcrsil use hy the 
 iiinsi(':il world. 
 
 Till liiiiiiaii \oiee ha~ a iiimi'm lull-, power of .iihipliiie ii-elf in 
 
 I 
 
 
IIAHSINIH \tXAI, Ml/nUH). 
 
 O 
 
 |iii"-iii;; I'liiiiliiiii-, fvi'lt lli>»i- III' till' iiiii-l ili'lii'titr mul hhIiiIc 
 
 MMtlll'l', fill' wllirll, if till' llllilldl IlIlM' III) \Miri|, till' \uil1' llM- 
 ii'l'lllillly 11 Inlli'. Klirtliri' lli;in llli>, liuurvrl', llii' Miiii' lia- 
 
 iirtiiiillv till' |Mivv)'i' of iiiiiM'viii^ an iilra >>t' i Atiriur, iiiali'i'iiil 
 ••lia|H-?> ; Ml iliat it' It (liiii nr Ixillnw nliji'i'i Ih' ili'M'rilHtl, tin- vdmi', 
 liy >\ iii|iatliy, may ul.-<ii In iiir lliiii ami liullnw, 
 
 'riiri'c ai'<' two tiiiiliri'^ ill llic viiii'*', \Nliirli liaiinit'iiii all iitlin-s 
 ill llicir ili'liriitriir.-*.*, in Ilir I'l'iijiirniy uC ilnir a|i|tlii-aliiiii ami 
 tlirir iiM'l'iiiiii'v>. 'I'liry arr llii' |iriiii'i|ial liiiilirr< iixtl in nin-ii' 
 aiitl ail' ■■alli'tl (lie f/mr ami tlif mnikliii. 
 
 In iinliT III llii' |iriKliirtiiiii nl' llii> xiiiiiltn- Iniir, till' |iliMi'vii\ 
 
 (wliii'll, it will Im' II'Iiii'IiiIh'IIiI, tiiiMlilii'S lllr Inlic) liiii.t I'lilai';.'! , 
 
 ailniiliiii^ till' ^I'l'ali'^l |iiii<'iiiiili|i' vnliiim', or Inilk, nl'iiir; ami 
 tilt' larviix iiiii-t fall. In |ir<Nlnriii^ tlir i'/i>rf' tunc, mi llir nui- 
 li-ary, till' pliarynx niii.-t Irii^llit'ii ami tiarrnw, llni" in('l°<'a^in^' llir 
 lull iikHi/ (ir riiri'c nf llic aii'Hiiliinin, while it iliiniiii.xlu'.-. ii.s Imlk ; 
 anil ill)' larynx inii'-l riT. 
 
 < 'liililrcn'.s vniii'- U'-t illiiMrati' tin' flmr tiinliii. It i'X|ir(>H.><<->' 
 (a." to M'titinii'iit) a kimi <>l° o|m'|i in^i'inioii^nr^^ ainl li^'lit-licarl- 
 nlni-ss, Olili'r |ii'r-iiin-< iM'tirr illii>lratr I lit' wii/iAii tiniliri' ; wliiili 
 i'X|(ri'<-rs i'arni'.-liii'?<s am! H'riiin«iic'vi. 
 
 Willi till' rlcar linilii'i' llic vuii-c assumes a lirilliant ami |m'iii- 
 tniiin^r ijiiality. AIiIumi^Ii this i|iialily ul' tinii' may U' ii-nl 
 lliriiii^lioiil till' ciitiiv ran;;!' Ill' llic vnii-c and in all tliiii' rc};i-i|cr>, 
 its In'sI ii>c i- witliin this mii|h' ; f'rum 
 
 for, itiinimiH'iii); witii (lie next imtc uImivc, 
 
 U' 
 
 1 
 
 till' clear timlirc Imk-oiiics ilisi^jni'alilc, llic tunc -uumlin;^ Inn 
 scrcamv. Tlii' clear tiinliri' is ca-ic-t ii>cil in ilie liijj;|i imii'- ni' 
 llic clioi rci;i-ter lit' all voiii'> ; ii is with most ilillicnliy -iinrcil 
 in till' iiicilinm icjrisicr. 
 
 A liasx viiiii' mii>l mil us<' this timln'c liiu^licr iliaii 
 
 ;2L^il 
 
 *;• 
 
 » — 
 
 f 
 
 ti>r Imss voices ; an<l on 
 
 V 
 
 i 
 
 E«EEE?E*^?^I 
 
 piiii- in riilliii — .Mill ^iii'iiKlli. Many voniijr siiipT« an' so liMilish 
 as III imitalc oltlcr |h'|>oiis, tlni-. rrei|iiciiil\ making; their voii-e olil 
 IkIoi'i' its time. ( >ii the other liaiiil, olilcr :<iiii;crH in nnler to 
 I'rcsheii their voio's, uliiii allii't a chilili-'h tone. .Ml this is I'lillv. 
 'I'lic \'oii<c, liie cvcrythiiiii; else in \alnr<', sliouhl Hiilmiit kiiiiliy 
 III the natural ami ineviliililc eliaii(;e-' ol' lime 
 
 ('IIAN(JK OF THK VOICK. 
 
 At the a;zc ol' |iiilN-iiy the liiiiiiiin voice iimler^oes a reiiiarkiilili' 
 cliaii^:e. In males ihii chanp' iki'iii's shortly iM'Torc, or at the a(;e 
 of linccii. In li'iiiales at the a^n- of thirti "ii or limrtcen. The 
 anatomical altenition, which etreits the allcsiitioii of the \ih':iI 
 lone, ciiiisi^ts ill an ciilar);cmenl of the larynx, which, in males, 
 ^riN's to such an extcnl a.s tn f\\r this mechanism iironiincme in 
 the thi'iKil — the soh-siIIihI .Vihim's a|i|ilc. In fcniahs the larynx 
 <l<H'.s mil incniiM' ,so jfi-catly, ami iherefoii' ussnnies im .-iich |ii'iim- 
 iiienii' ; the cliniip' of tone, also, U'in^ fiir less markMl. For 
 while the male voii'c liills an octave, the female ri'iains its |iiii'li 
 ami chaii;:c> oiilv in volnnie or fullness of tone, 
 
 'n sonic instances the voice i.s eiilirely lost at this |M'riii<l, iiixl 
 <liK'> not return liir some wii'ks. There fnH|nently, also, m'I.s in 
 a remarkalile hoarseness. Vnnn^ men Ioh' all cmilrol of iheir 
 viiii-i's ; the Voice involiinlarily Inatkn — as the cx|ire>.»ioii is. 
 
 This i> a /'I'/'i/ I'ritical jicriiHl liir the voin'. It i-onliniics fnini 
 one III two years, anil ihiriii).' this time j;rcal care shniilil Iw taken. 
 '/<(»(/ roifiM lire inilriii'tilili/ liml ilnriiii/ IIiIk liinr through cari- 
 h'ssne!*s of their |M(s.sesHir, or the i^'tiorance of sin>rint:-niasiers. 
 Many voii'cs which, U't'orc the i'hanj;c, were rich ami promisi'd 
 well, tliriiiii.;h inili-'crciiiiii> of various kimis Imcoiiic |ioiir in ijiiality 
 ami wiirthlcss. TIium- law> of jilivsical iilncalinii which an -[h- 
 ciallv I'lijoincil al lhi« jH'riiHl, are c->cnlial to the welfare of tin- 
 viiiii'. If -iiiuini: or |iractii'c Ih' iimlcrlakeii at all, it -lioiiiil U- 
 only iimlcr the |;iiiilaiict' of a com|H'ienl inaslcr. 
 
 As in |iaintin|.r, tin. Iiriiinltr tone of coliiriii;; is ailmilliil to 
 express ill." hij^hesl ipialily of iM'aiity, so llic niniilirr limlirc in 
 music is the most syin|iailieiic ami ilislini/iic -if ihc limlni-; it 
 renders the voii-e full, loiiml and soiilfnl. 
 
 The somlirc limlirc may lie apiilicd ci|nally well iii.iil the rc;;;is- 
 tcrs, lint it he^ins to he iiio-l dclliiilc and wcll-deliiicd on 
 
 for tenors and female voices. On the liillowin^ s<'rics of tones it 
 is very |H'r<-c]ilil>le ; — 
 
 The clear and the soinhrc, then, are the two |iriiici|ial liinhres, 
 altlion<rli there are othci's which ari' mi'asioiially heard, like the 
 ji;iitliiral, the nasal, etc. 
 
 (ir<'al freshmss of voici' is the |)ecnliarily of \..mii)j- sinircrs. 
 A voi'i' ri|M'nc<l hy passion, aui' or study, loso in ircslmess Itiil 
 
 (/lAUFICATIONS OF THE STNGKR. 
 
 .\ voice is. of conrs«'. prcsnpposcil. Itnl the voii-e in its naliiiiil 
 state is <:ciier:illy nm'i|iial. or harsh, or of limiteil extension. Sindy 
 alone can iH'i'lii'l the i|naliiv of the tone, ^ive it elasticity ami 
 ci|iiali;tc it. Somciimcs the tone is fais' ; this impcrln'lion, how- 
 ever, iliK- Mot always proci'til from a had ear, Imt ma\ he the 
 ellii .' of a lack of mii-ical cdncalioii. and caii onlv he iirniioiimiil 
 irreiiicdial'lc alter a few iiioiilh- of nii-mi'c— In! .'illcnijits to ( oirect 
 it. The liiulls w liicli 1 consider posiiisc and wilhoiil a i'cmiil\ are: 
 It fiilxi- llir and ti lliin, Imlhnr ruin . .\ false en* is n-iiaily aciom- 
 paiiicil liy verv little taste for, or love of, miisic; and the >liidv of 
 sinjrini; hy snch a person (even if iKisse.s.sed of ajfiHiil voice) would 
 Im' a total loss of time. A thin, Imllow voic<', indicates a consii- 
 tntioii too ill liiiile and weak t > |Mi'mil of the exertion ncccs,sjirv 
 to a development of the voice, and an adei|iiaic cxpiission of the 
 Irnc soul of music. The lhre<' ihinp* miilful to olilain s|t<cdy 
 and sure snecos, arc: l'"ii>t — N'oici"; S'coiid — Taste and love for 
 music; Third — \aliir:d intelli^rcmi'. Willi iIhm' ijiialilicaiions 
 any |M'rson should, in the s|iacc of one xcar and a half, attain a 
 s.'ilisliietory resiill. 
 
 Tlioiifjli the voice lie first anioii;r iiistrnmciils, it is niiially tlie 
 most dclie:ile and l'ra;rile. The or<;aus npoii which it is dc|M'mlent 
 art' snl>iect to the inllueiiec of disea>e, and of all human passions; 
 e\ery kind of excess is |N'rnicioiis to the voice, and once pnie, 
 nillike any inslrnnient that can Ih' rcpairiil or cxchaiiijed for 
 another, it is i/mir funfir ! (in'al care is iheii'liire neccsMiry to 
 preserve it. Amoii!; the ihiiiifs most dcirimeiital to the voice are 
 sin;riufr with Iimi hi^rh-tomil a piiino (Ilaliji.-^ always tune the 
 piano of a sin;xi'r Imr ;) pnicticiiifr tiHi lon;^ al a time witliont 
 lakinj; rest ; sinjiiiif^ imniciliatcly alhr meals, or with an iiisirn-. 
 ment out ol'tniie; too loiid an aii'ompanimeiit ; i>X|H>siirt! tu damp 
 niyrht-air ; rnniTriiiiii/ loo h ml, Iimi loii^, etc. 
 
10 
 
 HASSINIS \'(K'AI. Ml'/niol ). 
 
 THi: .\ATIVK-I.AM> oK VorCES. 
 
 \\'<' Imm^Iii wiili till' ( 'c lilt raltd. It is a iMirimis tiirl, tliat tlii- 
 viiiit' is liiiiiiil |ii'iiii'i|)ally in ilic Snillicrn |iart nf Italy ami Sjiaiii 
 ami aiiiiiiiif tlii' |Mii)i-cf classes that wiirk in tlit- ii|><'ii aii'. I ''•.vc 
 always ri'iiiarkct! in my uwn nmntry ( Italy), that in siniill pi'ii- 
 viiii'ial llicatrt's the (iiiiti-alin chiinis-sinifcrs artt in (iir jjn'ati-r 
 imiiiiIh'I' than the sii|ininii ; I have no tlmiltt liiit that this is owin^ 
 In the liai'il lahiir anil Crural liirc iit" thi-sc wiuiicn (they iH'iii;; 
 iiiiistly |H-asants, liilliiwin^' suiiii' laliiiriuiis, iMit-<liinr iM't'iipatioii), 
 uliiili inaiinri' nf living; ^ivf> tutlic vm'al iii'ij;ans i;ri'att'r stiiMi^tli 
 and Mihiiiir. 
 
 'I'lif .Mi'//ii-Si)jii'anii is, if I may sk siicak, (•iismi)|mlitc ; liir 
 I'Miyu lull' may llii~ liiir voire lie fKiinil. Mailamc Miililiran, 
 S|iaiii ; Siiili/., Frann'; Shi'rill', lMij;laiiil, elr. 
 
 NiiithiTii ciiiinti'ii's. III) the conti-.ify, ai'c the iTaille nf (iiif 
 Sii|(ianii vnii'cs: Mail. Smita^, (iei many ; I'crsiani, Nni'th nf Italy; 
 I >iiiicrii' (will) hail nlii' nf the must iM'ailtiflll nf vniees pnssiiile), 
 llunjiary; .leiiny Liml, Swiiliii ; Damaiii'eaii Cinti, Nnrth nf 
 I'l'aiiiT. 
 
 I'"ine 'reiiiii' vniees ire |(rini'i|ially fnund in the ei'iitre nf Italy 
 ami Sniilh nf Franee : Nniii'i'i, N!nnt|ieliei' ; Uiiliini, lier^anin ; 
 l>ii|U'e/, 'rmilniix' ; Marin, lii'itini ami ( inrdmii, ii'iitre nf Italy. 
 
 Iia~s ami liaiitnlie are also ensnin|inlites ; Lalilaehl' and lielie- 
 
 ilelti, Naples; liarinlhet, I'lanee ; 'ramiuirini, lier^anm; Hadiali, 
 .Mariiii ami Meneventann, centre nf Italy ; llerr iMirmo, (icrmany. 
 lint Uiissia may lioast nt" liaviii<; in'iMliHfd the very dw|)e.st and 
 must |ii)werfiil Hass vniees. 
 
 As I am s|M'al<inir In .\merieans, I wish tn say snmething nf 
 the vniees nf this cniintry. .\s iielnre remarked, the vneal peeu- 
 liarily nf tlie emmtry is the liin.-de Mez/n-Snprann, nf which many 
 remarUaiilv line c.\ami)lcs are In lie (iuiml. (( )f male vnii-es I 
 have iini siillicient cNpcrii'iice to priiiinuni'e an npininn); amnn<; 
 my lady pujiils I have snme very beautiful instances nf .Me/zn- 
 Snpranns. I 'nfnrtiinalcly, the haliits and manners nf liviiij.' in 
 ihisenuntry arc tint tiivnralile tn thedcvclnpment and preservatinn 
 if these vniees, fnr it will he .seen that tlinse countries in which 
 line Voices are commnii to the majority, and wlu^rc rcmarkalile 
 ones a>V' t!a iiiost freipiellt, are those in which it is the custom tn 
 make a niixlerate use nf a |iurc and natuial wine at meals, ami 
 where no one wniild dream of takiiij;' a lumii of /ilcs ami rahcs, 
 ami remain iiio.^l nf the day with im nmrc iioiirishinf;' or suli.-lan- 
 tial food. Manv in .\mcrica suppose that a person with a tine 
 vniir shnulil lorthwith start for Italy, as tlioiiuli the air of llal;. 
 had the power tn improve a vneal nriran, nr imjiart tn a |H'rsnii, 
 inashnrt time, aufiht of the talent ami jircatncss that live hcucath 
 its siiniiy skies, fnrffcttini; entirely the sore trials that await the 
 new cniiier, whn must pass thrnii<;!i that riTi/ imrsl (uid inoxt 
 <l<iii(/vriiiiM of iirilt'dlf, the liniiiDi'iilllf/ <if xiviiiiilnrii lltilinn ilii'ntrex ; 
 1k' nii.'l l>y the hitter rivalry nf a crowd of native talent, and 
 sutler, mnrcnvcr, tlinsc ctlicls ii|)on the voice ever attendant upon 
 a eliaiific nf "limaic, which chaii^n', ilinnj;li not so hurtful in pass- 
 iii'.'' to a more ;:-enial air, is hiirlily dctrimeulal to the same vniif 
 nil rctuniinj; frnin a warm, ei|iial temperature, tn its nwn cnld, 
 chaiificahle climalc. This step wniilil seem reasoiiahle, only, if 
 there were in ihiscniintry no mastcis as capahleus those in Kurnpe 
 — which certainly at ihi' present day is tint the ease. .\iid .sn (iir 
 a> Italy herself i^ eniicerned, whatever lienclit is to he dcriviil 
 from imliiMiij;' its music-ladcn air, may only hi grained when the 
 siraufici' can avoid the alinvc-mciitioned trials hy lieiii^. fmm the 
 start, wnrthv (ilirniiirh picvimi- musical cdmalinu) nf La S'ala nr 
 San Carln. a- was Madame Malilnaii, Madaiuc Soiitug, and, us 
 was till- American, Madaii'.e F-tcnii. 
 
 i:xi:( TTioN. 
 
 Nnlhiii<;' is so piliahle as a had sinj;cr — and the frrcaler the 
 power and capacity nf the vnice, the mnre need is there nf ail 
 ideal perfcctinli ill exccill ion. 
 
 . I address myself especially In those who wish seriously to under- 
 take the study of this most delijilitful Art. \ few siipei'ticial ami 
 liastilv picked-np nolimis \i\' music are nnt siillicient tn make a 
 
 sin^rer , the \rt o( *siiii_'m'.i, llioin^li not leijiiinnj; -n iinnh Iii.h oi 
 teilioiis lahor a> inslriimeiital music in order to attain a salisliicloiy 
 result, demands i-.irefnl and con-cieiitinus stmj\ — and this in >ecurc 
 even U mcdiiH'le sUit'c-s. 
 
 It must lint, for u ninment, he ^iip|N)se<l, that in writing; llii~ 
 linnk for the piililic, I had the lea>t inteiitinii nf fnllnwiii^' the 
 example nf iniKlern fully in creatilifr a system nf " sin^'-int;- »ilh- 
 oiit a master," " music taii;;ht in si.v Ics-oiis," (iir from it. The 
 pupil may rest assuretl that althniijxh he may learn to sin)r, he 
 will not have his " \u|i i: l'nii.Mi;ii " and transferred to his own 
 ke<'pilifr, II jMiJ<v(/i/ iiltiiiiiil iiislrKiiiiiit, iinilir dm/ nllitr fiiiiilllinii 
 IIkiii tlitil nf II riiiiijiiitiil tiiirliir. 
 
 \ prn|M'r |Kisitinn nf the liiMly is the primary iiiiisideratinn nf 
 the sinjjer. .\,s respii-atioii is the iirst nperatinn in iirntlmiii;: 
 snnml, the pnsition must he such ns altofrethcr ti tiivor tins. The 
 task of the hin^s, in sin^in^', is tirst to inhale and then to exii'ilc 
 the air; and the |Kisition most tiiNoralile for this is that of the 
 l)ody i(nite erect and the shnnldcrs thrown hack — avoidin;;-, linw- 
 ever, aiiythiiiir like stitfness nr rijiidity. 
 
 Let me reeommcml, here, that the siiifrcr 1k' jilaced at the start 
 hefore a lonkiiif^-iflass, in order to deti-ct ami correct anv eniitor- 
 tioiis of the liiKly, head, liiniitli or eyelids. 
 
 The tniie which the sinjrer shmild aim tn secure, is that which 
 eniiies fnrth rniiml, clastic and mellnw, This tmic is U'st sii'iired 
 hy keeping the tniiiriie tiat, the curtains of the palalc (or the hack 
 rcfrion nf the mouth) slii;litly raised, and the posterior props (nr 
 the dniihle arch which is visihie at the entrance nf the throat) 
 freely separated. In this position the larynx has free space ahnve 
 it niitward, and the air-eoliimn issiiine; trmii the liin<;s, alter jiass- 
 injf the larynx, is reii'iviMl hy the pharynx and cniidnctiil witlioiu 
 impnlimciit directly against the curtain nf the ]ialatc, and thence 
 tn tlu^ niniith. The elasticity ami mellnwness of the vnice depend 
 very much, it may 1h' said, nn the sii])pleness of the pharynx and 
 nf the parts jrenerally that lie ahove the laryii.x. 
 
 For every shade of sound, there is a enrres])nnilini;, definite 
 |insitiun nf the entire vix-al tnU'. Xow. if a sinjicr hy watclifiil- 
 iiess can ascertain in what position nf the nr<;ans he trcts hi> 
 evidently tnKt tunc, and xivm-c tn liimself that ])n,-itinii — he will 
 have mastered a ^ifcat iinint. 
 
 Hut, hnwevcr favoiahly disposed for tniie the entire air-tulM' 
 may lie from the hiiijrs u|iwards, if tlie outlet — the moiitli — he 
 not just as i'avorahly di.-|Miscil, tlur entire jircparation will 1k> in 
 vain. How, then, should the mouth he opened '.' lfn|Miieil in 
 an oval form, like a li>li, a sad, eomj>lainin<;' tone tnllnws; if 
 njieiicd rniiiid, like the end nf a stove funnel, a dull, contracted 
 tone follows ; if" the lips are drawn apart so as tn show the teeth 
 too much, a shar|i and sour tniie follows; if the teeth are too 
 nearly closeil, a thin, shrill, sereamiiiir tmic follnws. 
 
 The only fiivnrahlc position for the production nf nnisical tniie 
 is thill irliirli till' iiiniilli tiil:is iiiilnriil/j/ irlirii It sini/rx. 
 
 Kverytliinjjj heiiij; fiivnralily dispnsed, then, fiir tone, the )ioiiit 
 is to attack a eiveii sound, )iiiviously in the niiiid, with precision 
 and coiifuleiiec. This must 1k' done without tlii' slielitcst andihle 
 preparation or circumlociitioii. i'y eiri'nnilncutinii, I minu/itliii;/ 
 for the tone, as in a glidin;; tlirou;;'li other tones up tn it, or down 
 upon it, from ahove ; or apiin hy any tixjiliiillun whatever ; as, for 
 instance, the vowel ii (proiioiinced nli) as tlioii<;li an li were hefore 
 it ; like It'll. Till iittiirh must Iir ilirirl iiiiil iiixtdiitiiiiioiix. 
 
 This precision of u/ii/lillni/ U|ion the tone, which is the nr jiliix 
 ii/trii of vocal art, is only accom|)lisheil hy a .-marl stroke nr per- 
 cu>sinn nf the lilnttis. The jilnttis, it w ill he rememhereil, is the 
 niniith (as 'l may he calleil) nf the larynx. It is that trianeiilar 
 npiiiiiijr fiirmed hy the vnciil curds, indicaliil hv I in the 
 lis;iire. The friottis perforins the .siiue function, in the priHliiction 
 of tone, as the lips nf the inniitli do in .speech ; the one is musical 
 articulation — the other convei'satioiial. 
 
 Ijct me explain, then, as to this stroke of tlii' ftinttis. 
 
 No sooner are the liinirs tilled with air than they imiucdialelv 
 seek to expel it. In ordinary lirealliiiif;, the nivalis arc all 
 relaxed and the air freely and gently par-ses niil withniil snimd. 
 I'lit in priHhiein^ a tone, ihe air i> airesteil and aceumnlaled hy 
 
 the closing of the Liloiti this interior niniith. The j;loltis then 
 
 opens ami tlie aci uiiiulated air starts tortli, priHlminu' instaiilly 
 
HAssiNis ^■<)(^\I, Mi/riron. 
 
 ij 
 
 dIii.i 
 
 ilu' )x>V''ii (•»ii' III' '-iiiiiiil ; llii' ail' tli(iru|)iiii llnw^ i|iiii'il\ ai: I 
 i'<|iiully liii'lli at the will of tin,' ^injiti', ilic i.rlii||i> ,-till ciiiitrolliii^ 
 llic aii'-<'(iliiiiiii, a> to lavi>li nr Ircc cxiKiicliiiiic. 
 
 lid iIh' ^illJ;<•l' cxiMTiiiU'iil till' liiiiiM'll' w illi the i;l()Ilis. Willi 
 IkkIv cii'cI, ariii> liiruun liack to ailnw fret' |)la\ to llic elicit, 
 iriiiiilli ii|H'iii'il ill till' iiiaiiiit'i' iH'tiii-c ili'sd'ilM'il as tjic iiui.-t advaii- 
 ta^i'diis line tor >iii^iii^, ami uiili tlir tuiii^iii' in a natural |Misiliiiii 
 (aviiidiiiM- alike the nsnal |irci|ifii>ily ul' >\vclliiij; it at the mot, or 
 ' raisin;;- it at llic jioint), inliair ^iinlly until ilu' liinji> Iw (illc<l ; 
 lliin, williiiiit i'liaii;;in;i in llic Ica^t tlic |io.-iiioii (Inn at the siinc 
 lime willioiit any ••liU'iic.-s in tlic (larts), atlacL hpiiic lone on the 
 Vowel (/ (<ili). Let (lie >inircr closely wat<'li, and lie will find 
 that (lie tone lipi' that nh was |)i'e|iared liv llie closinj; oC tlii' 
 irlotiis, wliicli ari'c-led and ac<'iiniiilal"<l I'ora nioincnl I lie air. 'I'licii 
 witli a siidileii nijilnie, ir a yeiiilc iiii|iiilsioii, llic li|is of the irlottis 
 i'e(i|iiiied ill a i|iiiil<, \ iudrmis inannei', |)i'eci>cly as in the action 
 of llie lips w iicn |iniiionneiii;r with cncriiy the letter //. \ |iersoii 
 can easily salisly hiiiisiH' it' he has pi'iMhii'i'd a soiiikI liv a |ii'o|Kr 
 stroke of the j^lotti-, liy simply holdine- ihe haiul hcdire the 
 nioiilh, lii'eatliiiiLt' out the air in the iisiial way and then pro- 
 iioniiciiii'- the Word n/i. When the air is <li-tinetly li'll on the 
 hand there is no stroke of the e;loitis. Il' there Ijc a stroke of the 
 jrhitti-, the air will only impcrccplihiy he fill. 
 
 the s'liinc Miliime or liiilk of m imil, and the lliiixl witli )i sot), 
 delicate sound. It i- almost eertain that the last note will coiiie 
 out with the miiiiiiiii voice: I ctiiisidcr it, indeeil, an involiiliturv 
 lone and a- a iikmIcI. Kroni this tone, (he voice may <l(',s<'«'iid 
 ;iradiially liy half notes, until it i'ea<'li the note 
 
 which iniist he repealed in order to distinguish well iR'twwn tills 
 tone, as fiivcii hy the liictliiim, 'llid the chest I'cjrister. The 
 -Indent may then proceed to the study of (he nicdiniii rcfristcr on 
 the notes from 
 
 ^S^^E^t 
 
 always eniployini; a proiiijit 'troke of the <;lot(is. The luiid 
 i'e^i»tci' coiiiiiicni-cs (in 
 
 - - «i- 
 
 [ 
 
 s'rri)^' ()!•' rm: chI'Ist and mI'Idiim 
 Ki';(;isTKi{s. 
 
 The followinu loiic~ are lliosc which arc nio-i ca-iK prodnciil 
 with the chest voi<'c, ami the lir-t study ,-lionlil hi' to |iraetiec 
 these notes slowly to the muvcI o (pronoiinccd ali), i^ix inn- hecil 
 that the tones arc ijiiite pure ami i;ooi|. 'The ione~ -hoiilil not 
 he too loii^r dwi'll upon. 
 
 [It should he rcmarki'd, hcpucvcr. thai the exercises for the 
 voice which here t'ollow ar<' Inil prclimiiiarv lo the more compn- 
 hensive excriiscs to follow hci'cafl<i'. I 
 
 Most earnrstly do I advise students lo avoiii traiiwiiulin^; tlii! 
 limits of this register hy siiigine higher tliiiii the note 
 
 -fi Ct 
 
 --H 1- 
 
 
 Afler this, descend below ihisc ikiIc- a- far as the Miic'c can ; o 
 without an cll'ori ; then ascend auain. 
 
 In aH-eiidiii;i, if a chest lone refii-c to conic out well, forcing;' 
 will iioi do it ; the only way to ohlaiii il is lo -in.;- nvcr a^iaiii the 
 note iiixllnjiii-f it tlitif riiiiicK irilli .('.v<,aiid lead the voice liv means 
 (if this Hole lip to the I'clicllioii- one, iinlil il come out also with 
 fullness aiidi'ase; il will then sei'\c in il- nnn as a sleppiiiLi'-sloiic 
 to till! next ahove. 
 
 This is tli<' first step, and fiill time iiiiisi he allowed for the 
 aeipiii'ciiient of neatness, accuracy and fiilliie>s in the emission of 
 these chest sounds. The piompl stroke of tile iflottis, as alnadv 
 desi'i'ilied, is of I'oiii'sc iiidi-pen-alile here as elsewhere; tin re i- 
 11(1 other way to olilaiii the sounds with purity and wilhoiii 
 gropiiii;' fill- them. In altcmpliiii;- the stroke of the Mli,iti>, care 
 
 iiinsi he taken not t( nfoniid it with a inovcmeiil of the chest 
 
 rescinliliiig a congli, or an elliirt of the throat, as if to expel 
 somcthin;;' from it ; the clic-t in sin^injr |i;i^ no fiinetion t<i per- 
 forin hut that of fiiriiishing the air lo liv<l thesoun<ls; never t<i 
 assist in eiiiitling tliciii. l,cl ini' here ein|iliatically sav, that 
 althoiiiili the voice may yield to an atti'iiipt to sing liieher with 
 the chest voice than the Holes 1 have indicated, I wiinld warn 
 <'\-erv one of the danger attciidani upon Ircspas-iiii;- on such limils 
 — ;/'(/;• // /.v rirjl ijriiil. 
 
 Next I'onies the sliiiiy of the nicdiiim regislcr. I'lxpcrienec 
 has shown me thai the shorlcsi way of cal<'liing the tone of this 
 rcuisicr is liv sinM-ing this c\erci>c : — 
 
 .Manual (iareia says, "The aluise of the head tones has spoiled 
 more yiiiees than ever age did." It i> a common error to sup]Mise 
 (hat if the high tones are not exercised, they will gnidiially Im' 
 lost ; the contrary is the ease, for these notes'shonld lie the most 
 carefully iiscd. 
 
 .All the rules that have lieeii given lor the three fciiude 
 itgistci's apply e<pially to male voices. The tones iinist he 
 
 attacked in the same iiiamici'. The te • will licgiii to study (<ir 
 
 the chest \oiee on no|e> cxtelidine' from 
 
 
 afler which he may exercise the niedinin voice from 
 
 that is, when this last note can he reached without too great an 
 clliirt ; fill' as soon a- the tone lieeoincs liiiced, the singer should 
 |ii'ocecd no I'lrlhcr. The hariloiie and hass may sing with (he 
 chest voice from 
 
 '2L 
 
 t:^. 
 
 ■X- 
 
 \ 
 
 TIk' luirilniic iiiiiv cM'rri.^c \\itli tlu* nu'diimi \(»in' Iron 
 
 
 ^ 
 
 -»— 
 
 2^ 
 
 r^-t-- 
 
 i 
 
 1 •»■ 
 
 t hi;-- I 
 
 i — 
 
 — (- 
 
 the tir-l two Holes, 1 icly. with the fi.!' i!ic-l \(iicc, and with 
 
 \\'heii the two registers, chest and iiiediiiin, arc caeh well dcfmed 
 to the mind, we iniist proceed to the study of uniting them. 
 This is a (iresoine and lahorions |(iirt of (he eiillnre of the voice, 
 from which too iiiany shrink, nnalilc or niiwilling to |ii'oeeed. 
 
mmm 
 
 ^mmmm-^^wi .mm 
 
 
 l!2 
 
 HASSINIS VOCAl. MliTllOD. 
 
 I'liii, ;i> i liavi' iilri-aily .siid, uri this iiiiil tin' pniiHT Mrukc ij' tlic ' 
 f;lip|ti> il('|H'li<ls the flilil'c i'liliirr of llic siiijrtT. I'lic li'lii.'ili' Miii'c 
 iiiav iM^riii till' lii>l< lit' joining tlir two iTjjiMt'is l>_v iisiiijr lii'-l mii' 
 aiitl tiicll (lie otllcr oil cacll ol' tlli'sc iiiilcs : — 
 
 J— 1,3— ij<l' 
 
 ^^^^ 
 
 -o 
 
 Take I'lTsli lirralli nil lai'li simiihI, iiiilil tlii' il'lliTi'iiri' lii-twi'i'ii llii' 
 twn lrf;i>ti IS is iiitHtiIv Will Iniinl ami iiiiiliTstiiiHl ; altfiwai'il, 
 liowrvrr, silii;- \\ illi till' w/o/c /</ < if/A I lie liiitc t\V ill' uvrl' — tir-l ill 
 tlic ilii'sl anil thru in ihi' iniiliiiiii ri'ifistcr — Iml willi ^ivui care 
 to iiiaki- as |ii'i-i'i'|itilil(' as |iiissilili> tlic sui't of liiifiiii U'twct'ii the 
 notes thill marks the passajre lietweeii the two rei;i:-ti'rs when 
 iVesh lii'eath is not taken. 'I'liere is a j^ri'eat |)ri)|M'iisilv to renew 
 the lireath on llie ehani;e I'roin the eliest to the iiieililliii rei;ister: 
 this iriii>l liy all means Ite avoiiliil. Care iinist also lie taken not 
 to Ic-M'ii tlie liiree or iiiteiisitv of tile ehest note, ill oniel' to jrive 
 the iiieilinm note all the streii;rth ol' whieh it is eapalile. ( )ne of 
 llie-e I'l'iiisters is always the weaker oC the two, ami the ^riTntcr 
 stl'en^rth lies Meiiinilly in the ehest Voiee : in older to eijiialize the 
 two it woiilil seem at lii"st peihaps natural and |irii|n'r to nilmv 
 tlie power of the stronp'r to a level with the weaker; lint this is 
 wroiij;; for experieiiee has proved that siieli a pri«'ee<linj:- HviK/r/ 
 intihiii the niivc. 
 
 Till' olijii't of the followinir exereise is two-lolil; iii'st, to 
 eipialize the voiee, ami ^eioiiillv to aei|iiire a faeilitv of passinir 
 from one reirister to the other on either one of llie-e notes 
 
 Here ajraiii, the exenise fur the li'lliale voiee serves ei|lially well 
 for the tenor, the only ililli't'eliee iK'injr that the tenor will in 
 reality siiiif an iK'tave hifrher than the written notes. 
 
 Tile liaritone may e.xereiM' the two reirj-iii-s (ihe>t ami 
 iiieiliiim) in the same manner a> the oihe" viiiees, lint eommeiie- 
 iiiff the exeri ises a minor thinl lower. 
 
 On this siilijeei of the re<j:isters, 1 imist not omit to say, that 
 wlieii a pii'Miii has siini;' tiir a len<rtli of time entirely nnmimlfnl 
 of a sillily of the meiliiini voiee, as is too often the i'a>e, he will 
 liiiil that the meiliiiin register has JH'eii (|iiite silisorlieil liy the chest 
 voiw. The nieiliiini voiit." is in its nature liilile; stiiily and 
 exercise are rei|uisite to sustain and stri'iitithen it ; tin: ehest 
 voiee, on the eoiitr.irv, full of power and eiiertiv, seeks to over- 
 eoine it. It will, thereliire, Im' easily iindcrsliuHl, that wlieir, i'mm 
 loiitr haliit, the chest Voiii' li;is irained the a^ielldeiiev, it will lie 
 dillirillt, if not impossilile, liir the siiImIihiI and ili'li''ali' lone of 
 the mrililim le;:i>lrr to lie callf^llt liy orgail.S thus lIMll to the full 
 exerei-e of their inilamc'il |iower>. 
 
 notes; others, on the eonlrary, liy exereisim; their middle tones. 
 'I'liiis each voiee rei|iiires a separate and parlielilar etlueation. If, 
 therefore, yoii take any siiiy:iii}j;-l)iHik with its own eeiieral exer- 
 cises, and nejriect to elioosi' those exercises suited to correct the 
 Weak side ol' voiir own origan, and reject tliii>e, no matter how 
 piod, detrimental to your voice, I cannot peniive what advaii- 
 tiijxe is to Im' derivciJ I'roin any liiiok, however |Kifect it may Im'. 
 ! know of no iiistrnctioii Imok (with the execptioii of (iareia's) 
 that does not liciiin with the exercise of >welline: the notes of thi' 
 scale (srii/u filiilii). Now, to swell the sounds is to pnfirl them_ 
 to fiive them their IiimI Jinixh ; for this purpose, one must lie per- 
 li'ct master of the play of the iiiiip< anil of the action of the 
 pharynx. This study, therefore, if iiiidertakcu in the lH'<|iiiniii|;, 
 Would serve no other end than that of f:.ti;:;iiin^ the student 
 without instructin";' him. Tlie knowled>ic of swcllinjj; the notes 
 should Im', as it were, the result of all previous study, tiir to 
 swell the sounds well is to lie a siiieer. So I may say that all 
 siiiiriiiw Uioks are alike liail without the use of jiid<>iiicni in adap- 
 tation — ;/"()/• tlif iiislriirlliiii blink must he <l(liliiliil to tin' ivi/ci , inrrr 
 thr viiii-e til tlir iiislriiclioii liiiiiL: 
 
 'l"he exercise of entire .scales, rollladcs, etc., slioiild lie pre- 
 ctiled liy the study of two notes, (hen of three, limr, etc. ; for on 
 the execution of two iioles di'iH'iids that of tliO'c, or five, or any 
 niimlier whatever. 1 dexterity in aseeiiiliiiii: is more dinlciilt of 
 attainment than in descindinir, for in ascendinix the voice slackens 
 the notes; ill ilcsceiidiuir, on the contrary, it precipitates them. 
 To avoid this teudencv, the aliove-mcntioncd exercises should 1h' 
 practiced at liist very slowly and with the four or live last miles 
 of the desceiiilin<r scale .-lackcned, and then lie iindertakeii in a 
 little ijiiickcr lime. 
 
 In seeiirinj; the intervals, lictwcen the notes, from the lirst note 
 of the scale to the .second, the lirst to the third, and so on, a ditti- 
 ciilly is eneoinitered from the llict that the voiee lends always to 
 lessen the distance ; thus the tonic (lirst note) has a Icnileney to 
 rise, and the major third to lever; the seventh is ;ilso almost 
 always too low, liotli in aM'cndini; and dcsceiiiliiijr. In order to 
 cotrcet tlii'se IiiIm' intoiiaiions it is lust to kee|)tlie.Mvi'nth and third 
 rather hitrli, and the limrtli low. W here a scale in a voice is I'alsi', 
 it will invarialilv Ih' found that the third and seventh are loo low. 
 
 The following intervals 
 
 7—4: 
 
 1 
 
 fl^AE'^^^'^p:- 
 
 [ 
 
 SOLFU:(}(iINfJ AND V( K AL1ZIN( i. 
 
 These two terms explain their own si^nilicalion. Solliirj>iiijr, 
 or sol-lii-iiie;, is adaptinj: do, re, mi, fa, etc., to musical sounds; 
 roriifixiii;/ i> adapting- nnri/s to such .-oiiuds. 
 
 It would lie well liii' solfeiTirin^ ;iuil voealizini^ to altcruate 
 with each other in Irainiiii;' the voice. < 'omplrlc exercises oii 
 both follow hereafter. 
 
 The voice is a capriciou- iustruminl, ditliriiii;- in each indi- 
 vidual. In one it has a Iciidcucy to fill from the pilch ; in 
 another to rise. Some voices have more ilillieiilly in siniiiiiir 
 some one Hole trile than another — as <he tciior, which is prone to 
 siiij;- this note of the .scale Hat : — 
 
 -« 
 
 merit particular attention. The voice has a natural leiidcncy to 
 fall on what is tcrmcil the au^^nientiil foiii'lh. 
 
 Ill vocali/inir we have to siiiir on all the vowels with the two tiin- 
 hres, and in the three reiristers, with the utmost extension of the 
 voice, and with every dcurec of strcn};th from pianissimo to forte, 
 and with every dc^ircc ol' i|uiekiic,--s. Hy this sinily the orji'an 
 Incomes liirmi'd, and aci|uircs its full extension and perliel ei|uali- 
 zation without any forciiit;-. ( 'are mii.-l lie taken in \ocalizin^ not 
 to attack the note w illi a preparatory purtdiiiiiilit Ji rnci from the 
 note hclow which rcMiiililes somewhat a s!f;li from the chest ; this 
 liahit tie.stroys entirely the etlti't of melody. '\'hr fiintiniinitn <li 
 rixv, or riirri/iiii/ nf llic riiirr, eiiiisists in l)riiij;iiijf one note to 
 another liy passing:; throii<;li all the intermediate sounds: it can 
 lie used from the distance of a hall-toiie to any exteiil anil 
 oii;!pics the time of the last lidlj of tlir iinli- llidt if in iiIiiihI to 
 Inirr. In {\\f jiin'tiiiin iilii ill cue/ the voiee is condiicliil on the 
 >yllalilc alioiit to he aliaiidoued into the next linte, and not, as is 
 
 loo often the iMM', on th.e sil '(Hliliji; syllillile, liefole the first Hole 
 
 is left. For instance : — 
 
 Some voices are miieli improved hy siliiiitijj; nioslly on the low 
 
 Ullii not 
 
 llci • II Illi • i il 
 
 mk 
 
 '^^^m^^^^^^ 
 
 l<ii Illi • i 
 
ItASSINlS vor AT. Miyi'ii<>i>. 
 
 13 
 
 Tlic /Hiildiiiriiln ili (•(«•( iiiiiv l>(' iiM'd cilhcr ill ax'ciidiiijj or 
 (lcsct'ii(liii;r, iiiitl will uiil in ciiiiMli/.iii^r <l"' rf;;is(t'i>, the timln'cs, 
 aiitl lli(.' ficiit'i'iil strcrijitli mC the vnii'c. 'I'liis ^inrliiiaciiln ili riici- 
 must nut lie cdntiiniKliKl w iili tlic pussajri' nf tin' vii!(H' in :i slur. 
 'I'lic latter (liK's nut allow tlu' V(ii<'(' h> (\r;x'^ on <lii' inlfrnicdiatc 
 soiinils, lint causes it to pass from one to the other in the same 
 manner as a wind instrnmeul when pro>;ressin^ from one note to 
 another. There are other ("orms o(" voealizjition, lint they must 
 not lie attempted until the student is perli'ctly well ^rronndeil in 
 the /«)/7((»n'///(( (// nice and the slurring ol' the notes. One liirm 
 is the .■<^^•(•((^>o^ ri>r<ilr.(ili(iii fni/iu'r ; this consists in attaekinjr the 
 note with ii stroke ol' the glottis, and immediately leaving it. 
 K»ir instanee : — 
 
 It would lie useless ^unless iH-easionally, to eorreel some indi 
 
 vidual dctW'l) to voeali/.e on the vowels / or it, as they rt'cpiire 
 trre;it contraction of the viM-iil or>^ius, which contraction would 
 im|ii'de the ilcvclopment of the voice. 
 
 The cxfiMition of wliicli would Ih' this: — 
 
 The other form is the iiKiiiildln (marked); this consists in 
 miirkiiKi the iiot4S liy ihrowiuf;' them out with {freat distinctness 
 yet without any cessation of voice U'tWirii them, simplv dilating; 
 the pharynx a little for eacli note: — 
 
 and not as thouirli an // were added to the a : — 
 
 llu \v.\ lia Ilu liil li:l \r.\ liii 
 
 This style of vocali/alion has the ailvanlaire of <'orrecliii^ the 
 lialiit of sliilin<^ the notes one into the other. Ui'memlMr to ltivi' 
 only a slitrht impulsion to tin- lir-t note, witiioiil inlerrupline- f'or 
 a moment the viliration ot' theair. Such a |iassa;re is thus marked 
 in iinisic: — 
 
 ♦ f " •*■ 
 
 .\fter v(M'alizinjj on a, the same exercises nmst lie rep<'ati'd with 
 the vowels c (pronounced a) and o. 
 
 The .Vnierii'ans ex |ierieuce a decided dillicuity in prououui'inji 
 this vowel (■ (which in Italian, as I have intimali'd, has the sound 
 of Ion;; ((, as \\\ f(itt) ^ivin^r H the sound <if (i-k, that is, in sin^iii^ 
 (/ they terminate the sound on c. This is a very disay:reea(ile 
 haliit, and if not corri'cled from the first, will cause y;reat hindiimce 
 in the development of the Voice, au<l ^iv<' rise to curious mistakes 
 in prononncine- Italian words; as, tlir instance, the word riimr 
 (heart) is oHen suii;; riinni (hearty); ir'i (jiuiity) instead of cc 
 (kin;jr); fiitr instead of /'.c, an alilircviation of /1/vo. 
 
 The remedy is vi'ry simple. No chanp' in the sound of a vowi'l 
 is pi'oduced without a chauirc in the |Hisiti<iu of the vocal orfrans. 
 This chanp' always titkes pla<'e unconsciously to the sinp'r, in the 
 ea.so (if sin^in^ a-cc, as ciui eiisily lie Hti>n liy experinieiil. The 
 task is, then, to keep the organs in th(> same |iosit ion throu<:liout 
 with which voii ciiiumeiHv the vowel. 
 
 Cl.KAIl AND .SOMIJKK TIMHRE. 
 
 .\s the student is to employ lln's«' two tpialilies of tone ii. 
 exercises which are to tlillow, it may U' well to add a few words 
 as to the manner of securing them. 
 
 In ordi'r to the priHiuction o!' the clear limlirc, the entire isth- 
 mus of the throat must 1h' 'ontracted and len^thene<l: the larynx 
 rises aliove its ordinarv position, and contracts in a gradual i.ilio 
 
 to the ascending tones; the glottis als ntracts, assinning the 
 
 shape! of an o|K'n slit, through which the air is oliliged to tiirce 
 it.si'lf in . rder to e.sca|K'; this force ciiasing the lips theni.s«'lves of 
 the glottis t<i vilirate, thus imjiarting a lirilliancy t<i the tone; the 
 palate descends and the tongue rises towaltl it. This position of 
 till' organs must lie maintained while the clear timlire lasts; the 
 corners of the m<iuth assume also a slightly spread position. 
 
 'I'lie somlirc tiinlire, on the contrary, is Just the reverse of all 
 this. The isthhius of the throat is widened to the iitino-t ; the 
 cMtir(! larynx is forced down, the glottis widely o|M'ns, assuming 
 a triangular shajie, through which the air esc;i|K's rapiilly, ciiusing 
 lint a sulHliied tone; the curtain of the palate rises, the tongue 
 I'cciiles from it and lies Hat, the corneiN of the nioutl, :..■: a little 
 inunde<l. \\\ this means it will Ih' seen, the grcati'st pos-ihle 
 space is given to tlii' tone, the chaiiuitur of wLJiJi, on its emission, 
 is full and muud, but not lirilliant. 
 
 VOCAL ACCOM PLISHMI^XTS. 
 
 In ]iracticiiig ehrolimtic phra.ses, I would advise tiie stiidenl to 
 comiii'.'iice verv siowlv and tlivii. "le iiot*^ into grou|is of tlirei 
 or ionr, taking csire to mark well the (Irst note of every group. 
 I am of opinion that no chromatic pa.ssagi' should lie sung so liist 
 tiiat it is lilid-riil to .he ear or that the individual tones are not 
 perfi'ctly clear aim distinct. The intervals o'' the tones must lie 
 closely watched, they are generally made too near or t<io reinoti — 
 in other wor<ls, the tones are not (riir to the pitch. 
 
 Sustained and swelled tones may lie divided into thn lasses 
 
 Isl. Tones sustained with ecpial force throughout; "id. Swelleu 
 tones; .'!cl. Impelled tones. Ill the first class the toiii' is com- 
 incnccd and continued to the close with the same unvar\ iiiu' degree 
 
 niav 1k' either _/"(i/7c or /liaiiu. In the 
 
 ot inti'iisity, wliicl' tone 
 
 second class the tone is comnienci'd very ]iiaiio, swelled gradually 
 to ihc greatest intensity, which should liejust at tln' middle jioin! 
 of its duration and then gradually diminished to its ciriginal soft- 
 ness. The following notes will Iw fiiiind very ditficiilt to swell 
 III l/if )<inii<' iif/ister: — 
 
 :^,^--^,^=izza:: 
 
 ^-- 
 
 i 
 
 The liest inethiNl is to ."iccomplisli this with two registers liy 
 commencing to swell /liinio with tlii^ medium register a<id using 
 the siiiiihrc lliiifirc, then gradually ]iassiiig into the clicsl register, 
 changing the somlirc timlire with the I'/air, so as to reach with it 
 the /'')/•/(' and forlixsiiiio ; and then in going hack, take a.gaiii the 
 nieiliiim registcj;, and gradually return to the jixniu and iilniilxslino 
 with the somlirc timt-re. It is necessary, here, to maintain the 
 larvnx in the same position, as the least ascending iiiovemeiit 
 Would priKlucethe lireak iK-casioned liy passing suddenly from one 
 register to uiiotlier. 
 
 The ap|)oggiatiira is, of all viwal emlM'llishments, the most easy 
 of execution, the most friMpleiitly applied and necessary. The 
 
mm 
 
 I I 
 
 liASSINIS \(><AI, Ml/rilol). 
 
 .l|i|»iL"^i;l|lll':l lll,l\ Ih' l;|ki II ill llli' •ll-Lllli'i' mI .i IoIii-, ii|' ;| Ii;|I|' Imii 
 I'm- lii~l:iiiiT : — 
 
 4 
 
 - - 1 
 
 rill' iliii'iiliiin (it' till' ;i|i|in;r.v!:iMliir:i i- v:iri;i!ili', Iml in :iii\' i:im' ii 
 liiiiTii\v> its tiiiir (Viiiii till' iinli' III wliii'li it is alliii'liiil. 
 
 Till' iirriiiri-dldiii i- a -IiimII lliiti' tllilt In'cciilrs ;illi it lirl', anil is 
 sinii'k i|iiirMy 1 lii'irfly. Il i~ lliii- wi'illi'ii : — | 
 
 ^ ^^ I 
 
 Till' (//(/yir/Zo is al-ii a vi'i'v u^i rnl as well as a wvv cdiiiiiioii 
 iir'iiaini'iil in siii^jiiifj;; tlii' lirst imli' iif llii' i;rii|iitli) slmiilil lii' 
 
 nidi'i' -IiMUiily a iiti'il lliaii tlw iilln-r^, in nnlrr in |ii'ivint tlii' 
 
 null- riuni running intiirai'li uiIht. Tn iif iLirari't'iil, tlic i;ni|iilli) 
 
 slinlllil ni'Vcl' r\crr,l llinr nulls, ailil lir slinu ill \ li'v niiiiliTali' ' 
 linic. Il i- lliii- niarki'il : — ■ 
 
 ^ Si '•, &J_ & «'•-!& 
 
 Tlii- . iiM-r i- I In nil 1-1 Mill I ill' ami llir nil -l ll -i I'lll liil' llir si III I \ 
 111' llii' li'ili, alllimiuli il may lir vaiiiil in srvrral ways. 
 
 Till' hill liillun iiii; ilii' rr;riilar |ii(it;ir— imi lit' till' ilialiiiiir si'ali' 
 Is mil pni'i-allv |ii'r|iai'('il, lint ilir sn|i('i'iiii' imii' is atlarkiil with 
 -mni' vi\ai'ily, anil llir last iioii' trilliil rii'civi's llii' tt'i'ininalinjf 
 I'aili'iii'i' : — 
 
 •^ ^/f. ^/.. *„ *.. I.. 
 
 tr tr ti 
 
 Till' ii'ill ill a rlii'iiiiiatii' plirasi', riilii r in iiscciiiliii^' or dcsiviiil- 
 iiij;', is also atlarknl mi its siiprrinr initr. Tlii' ^rniTal dcli'i't tit' 
 llicli'ill is ihi' ii'i'i'^iiilarily nt' lii'at in tlir luu iinics, priKlncin^ a 
 I'iilii'iliiiiis siiiinil, liki' a kiml ul' iiil(/liliii/. In nii' llii' iiaini' Trillo 
 ( 'iirii/iiii>. |{i'si(li's ilii'sc ai'i' till' il< limit In'// {tri// iiiiiriliiiil) wliiili 
 i- allai'kril willi ia|iiililv, and imnii'dialrlv Icl'l. It is writliii : — 
 
 ^ 
 
 ml 
 
 mil I'M'i'ii 
 
 4.<L 
 
 fr 
 
 IihI llms ; — 
 
 tr 
 
 V -:: 
 
 n 
 
 m 
 
 — I ^ — ~»- 
 
 3^1 
 
 Till' li'iil, wliirli is liii' iliirt'a iin|)ii-iiimiil nl'^rral siiiiiiTs. is 
 
 at llii' -anil' liini' tin- in i-l lnaiilit'iil ni'iianirMl ursiiii^-. A niin- 
 niiin I riiir iiirvails, tlial llii' Ii'ill is llic tiit'l ut' iialnii'. N'ulliin^- 
 is niiiri' I'lTiimiiiis than tlii- hi'lirt', tin' llic will rMTiiIrd irill can 
 iiiily III' till' result lit' a-siiliiiiiis and riiiiiliy-dii'i'i'tiil lalmr. It wa- 
 kiiiiwii to tlu! aiii'ii'iils as Vi/inirc (vilii'atinn). Itaini, in liis nii'- 
 iiioirs lit' till! life (if I'alcsli'iiia, says, that lin' tir-t uim iiiiiiMiiiifil 
 the Irill kmiwii tu sintT''!'- as tlic IV/j/vo'i' was l.ni-a I 'inijuili (('\\\:\- 
 liiT-r). Till' Irill is ih ' ri'|iililiiiii 111" l\Mi miti's (inadi' as n^iilarly 
 ami r\rnlv as |i(i--ililr) di-lant lialfatunc or a tuni' frniii rai'li 
 iillii'r. It is iinliralid liy llir aliliir\ ialiun /r. ; this si^ii ]ilairil 
 
 iivrr a null! sii^i lilies that 1 1 H' Irill sin mid 1 iii|)ii-ril iif that mile 
 
 and llii- 111 lie a halt', nr w hulr Imir, alinsi' (sii|ii'rioi'iiiil(')ai'riiriliii^" 
 li; till? sralc ('iii|iliiyid. Tin' iinIi' that lirai's the /c. iscalli'd the 
 |irini'i|)al iKile, ami it is mi-rr coiii/iIikiI irilli llic mitc Itrlmr (itr 
 iii/crinr iioti) (i.iiilril/, lint always with a siiperiur imte which is 
 lalli'd its (iiwi/iiiri/. Til ' nii'i'lianisin <>*' the trill cnnsists in a 
 ri 'j'lilar up and down inovi'im'iit, ur ii-cillaliuii, of the larviix, 
 u liicli mnveiiiiiit caii-is the larynx to play in the pharynx in tli ■ 
 same niamier as a pi-lmi in a cyliiidei'; this mii\cimnt is perccpi- 
 ilile III till? tmieli i\lernall\', inui'c nr les-, aei'iirdiiej; to the thinness 
 of the tlirnal. The iiii;hlin'.;ale (illl'i's a strikiiij;' example of tli • 
 phemimeiia jii-t drscrilnd. I ii order to siiniv the trill it islirsi i i 
 iMiiimenee within llic liiiiils ul'iioic- -inii; with llicchi-t voice. 
 
 In siiii;in;;, there is a eciiain dexterity to lie grained as to the 
 expnl-ion of air fi'oiii the Inni^s and the action of the pharvn.x. 
 As liiiiii as the e.xei'iilion is /lidiin, the exhalation from the Iniijis 
 must he slow, i;'iviiiu; out hut a small ('i)luiim of air ; on passiiij; 
 to the inrzzii Jortf, more air is ('X|)eiiiled, liiil the Jilay of tlie 
 pharynx is preserved ; in faiif the sounds have to he attacked 
 with a very \ iiforoils moveinelit of the oriians, which iiiovemeiit 
 provokes a ;:'i'eali'r loss ot' air. We may conclude t'roin this that 
 it is inoi'e dillicnll to vocali/e /'(»•/<' than /liiimi ; that the same 
 dexterity is easier in clear liui/irr than in the soinhre (as the lirst 
 — the dear — does not coiilract the pharynx soimich as the laller) ; 
 and llial, for the same na-ou the open vowels are more (avorahlc 
 to ilillieult \ocali/.alioii than the more clo-eil or contracted ones. 
 
 iT^i 
 
 ami lliiii the-e, siiiiii- J' 
 uilh ihe iiiedinin \oiei'. 
 
 Il is lii-l 1.1 liiiiil oiie-elf to llli- exiension al llr-t, as ihe-e uoles 
 
 rei|iiire le-s eonlraclioii than liiii:liei' ones. Thutrill iiin-l lie sunj;' 
 at lir>t very slowly, ami llie time j;railually <piicki'neil, takint;- 
 care lo jiivc it a r unlai', even form. \\ hen the trill is isolated, 
 it must lie prep.-ii'eil and re-olveil, and the trilled noted performed 
 aceonline to ihe rule- of -vvclleil noie-. Tim- : — - " 
 
 • ^ •♦•• ♦ 
 
 T-[ 
 
 AU'ricn.Ai'io.N. 
 
 Sentiment, liy which we imdei'sland the siunllicauce that is 
 i;iveu to music, is music's soul. W'iiliont sentiment, music is 
 me.'iuinjfli'ss ami lifeles-. Sentiment is a natural <;i|'i ; ami not all 
 the rules or study in the wide world would eive it to a person to 
 whom nature had denied il. ^'el, at the same time, |)ei'ti'ctiiin in 
 the i.fjii'i'sxiiiii of setilimeut is only attained liy a marriap' of 
 .V'//i(;'(' to Art; for with ever so ereat mn-ical licliiiir, if tlie 
 siiif^'cr lie left to riiil wild, without the aid of edncation to refine 
 and master his einolions, he will often a|ipeai' exlravai:':iiit and 
 ridiculous. Senliiueut in imi-ic is called hy the l'"rencll ]ieoplc 
 the /(■/( Kdi'ii',, and this, comliined with a tlioroii^h edmaliou, 
 made a iiecthoven, Mo/arl, ilaydii, liocheriiii, Handel, .Men 
 dels-ohn, Madame .Maliliraii, \'eliiti, La ( 'alalani, N'ienxleinp- ; 
 names that will /Ire; whilst this .sacred lire utnur makes only 
 r'pulatiiiiis that li\e no loiijier than the persons they elorily. 
 Siineliines, natural musical fi'eliiin' strikes out for itself a new 
 path in exprc--ion, and liecomes superior to all eslahlishiil rules; 
 this i<, hiiwe\ii', ail exceplion, and is what men call i/iniiiK, and 
 this made a Uo-sini, IJcllini, l'at;aniiii, etc. 
 
 I mav then repeat, in a few words, thai sentinieiii i- iie\er to 
 lie left im^'llided ; it liillst suliinit itself to cdncalioii, which will 
 only serve to devi'lop it more and more; and in sinpint;', of all 
 forms of Art, is it most danncrons to he without the iinidance of 
 careful education ; for all things conihiue to lead to excesses in 
 llli- iinpnl-ivc ami l'a-ciii,'iliii'j' art. 
 
 I 
 
I!.\SSIM\S VOCAI. Ml/n U )l ). 
 
 I.-. 
 
 
 \ 
 
 (imimI ,11 I II i|I:iI loll I- llli III I ijll:llll\ mil -.;|IV III llli' • \ |i| r-.-ii ill 
 <>(' M'lltillli'lll. In Ml'lii'llhllinll \\c liaM' In iln witll \in\i'U ;il|i| 
 willi ciiii-iiiiaiil.-. 'I'lir vi'WcU -.wr :illiii;illirr |ii'iiiliiii'il In tin- 
 ^Inltis anil tliMt piii'iiiHi ul' tlir vmal i^linnii^ IhIwiim tiir 
 liiniix, tlu: root 111" till' iiiiiunc, ;iiiil the cMiiMin til' iln- iialiiii'. 
 'rill' vowels If, (! iinil /(^IlilliMli) 11111-1 III' iiI'ihIuci'iI witliiinl llli'|i;li' 
 licipiitinn (if t lie lips ; the viiwcis o, (/ m- mi ViH[mvf sninc lilllr :iiil 
 from till! lips. We niiiy iiilil tliMl tlii' sliadcs of /o/n iLiiiniiii tln' 
 Vowels iii'o innniiiei'Mlili', ami that tlie-e sliailes are diii riiiiniKl hy 
 the fi'i'linj^ to lie r\|iri'ssi ;l. l''oi' iiistani'e, in liie «iiiiU itmlira 
 
 Itilorillil ilsiiildnii, I'i'iiin " Uoineo anil .Inliel," llie Viiiee lakes 
 
 nalnrally ii <lee|i 'neil and soinlire lone, eoniiiinni<'atini; ils shade 
 to the vowels; whilst in the wm-d-, «//' iilmdi ijiirl uirlii/ln, in the 
 " liarlM'i'of Seville,'' the liine is hi'illiaiit and clear, and the vowels 
 \ partii'ipate similarly in this lone. 
 
 X Consonants are divided iiiio five«dasses: li and V.IkIi'kiI: M 
 / anf} 'r, (/(';(/«/ ,• 1 1, jiii/ntiil ; (i i\ui\ K, </iilhirii/ ; Maud S, iiii.sii/. 
 
 In artieulalinjr c <»'(y.>( IIk; voeal tnhn has to lie opened lielore- 
 liand ; whereas, in arlieiilatiiiu; the eon^onanls, the vocal liilie i-^ 
 only opened at the inoineiit of artieul.iilon. 
 
 'riiero are cerlaiil consonants which are jirodu I liy the fric- 
 tion of the air iyainst the walls of tlio month, and ma\' lie pro- 
 loni;('(i .so loiii^' as the air coniinnes to ])ass onl frmn the linie-s; 
 thev an; F, V, Til, ill Kn.udish, S, Z, ClI, .1, V, II and \. 
 
 riie tonene is the principal a<.:('iit of articulation ; the li[is and 
 teeth are also articulating aeciuics. 
 ^ 'iirc sine-cr should givi; pai'licnlar attention to the manner in 
 
 which artieulalioii is a mplished and what oruaiis come in plav. 
 
 l''or a very coiniiion fiudt with siiii;eis, which causes a jireat 
 iinpidimcnt to voealizalioii, is their failing to restrict arliciilation 
 to th(i organs ulune eonceriied in the aci ; for, instead of Iciiing 
 them act naturally and freely, they I iring other organs into plav 
 which are eulirelv siipii'ttuon^, the movements of which interl'ere 
 with those I'oneerui'd. X clcir and distinct articulation is thus 
 tendered impossible. 
 
 It is e(|nally ran? as delighttui to meet with a singer who sings 
 intclligihiy ; and, nid'ortiina'.ely, as fn'i|nent as jiainfid to hear a 
 person with a liii ' voice and good execution entirely nnintelligilile 
 — often oven as to the /ii,i</ii'i;/r u-eil. Few indei'd are tho- ' who 
 form an deception to this ; it is fir this rea-un that one has such 
 ])leasiM'e in listening to IJadiali and Salvi. In hearing S;int,-ig 
 till! salisliictioii w.is giT.iily diminished; for, in the mid-l ol' the 
 great admiration elicited hy jier superior nni-ical talent, her excel- 
 lent Voealizalioii, her )icrfeet phravolngy, one felt that h:r iini- 
 iiunciation, either of Fuglish or Itali.'in, wa.s not (•ommeii-urale 
 w itli her talent as a singer. I could citi! many singers w hi e\c 1 
 in the art of iiiiisical pniuniieiation, hut as they have not visited 
 this <'iiiintry they would he of less value as exainj)les. In sinsj;- 
 ing inusie with words, then, there an' f mr things which demand 
 careful atleiition: the liiiiigs, the (ilolll-, the I'harviix, and 
 .\rticnlatioii. The funetinii of the lungs is to furnish a continuous 
 coluiiin of air to tlie glottis, who-e duly it is to n'liiain perti'cllv 
 inimoxalili' a:i I niiwavering during ilw eiitin' ihiralion of one 
 soiinil, and to pa<-i instantaneously to its new position. With the 
 change of ininnaiioii tlu? jiharynx innst, by n W('ll-<lireeted move- 
 ment, niodity the sounds acconling to the diHereiit |)assioiis, 
 iimhiYH and vowels ; the organs of artieulalioii divide the niiinds, 
 by tiiriuing the dillerent con-iiiiants that are met with in the 
 words. 
 
 When !v singer knows how to use thesi! dilferent organs in the 
 sphere of action proper to each, without interli'n'nce of one with 
 the functions <if the other, the voice acts with its full power; 
 whilst, on ihecoutrary, if the vocal iiiechaiiisni is at fault in aiiv 
 one of its fiiiii'tious; if the lungs hurry or ceasf loo suddeiilv 
 tiie n's|)iratlon ; if the glottis be wanting in precision; if the 
 pharynx be iintniined, or ciubarrasseij in its work of shading and 
 nioditying sound; if the organs of articulation act incorreeilv or 
 lazily, then t'le voice comes fni'th false, bad in ipialilv. and nniii- 
 telligible as to pniuuncialioii. The rules almve menlinned are 
 not oiiiv necessary (or ;;'ooil ariieidation, but al-o to give fuUne-s 
 when the voice mn-t be pniloiiged without wavering, fioiii one 
 syllable to another, I'rom one note to the note thai (iillows, and 
 when to the niinl mii-t be given the greater pari ol' the \alue of 
 
 ihe iiolr. I'liiplov ill'.' lint a mall piiipoiiinii of the ihiratioii 
 (loll II a- It wile at the cud) 111 till iiiii-i maul thai lollows ; thus ; — 
 
 
 __4.^^||;- 
 
 '^.^ia 
 
 \..\^ ■ ii;t chi'i |>iaii L'ii i.i 'III ■ I" H"* 
 
 %''i--'^--\-^'f 
 
 
 l.ll" • ri - a i'lri'i |M:l • II - l,M III till Til M» • r - If. 
 
 This continuous piolongalioii of sound on the vowels should 
 
 iioi I ei\(' the least interruption, however slight. In every ea-e 
 
 it is indispensable, that until the Ncry iiioiiient of change, not tin 
 /ill-"! ciiiiMUKiiil sound should disturb the voice, which should pre- 
 .serve to the last ils purity of vowel uncontaminated. I have 
 Used Italian words in my explanations of these rules; this coiirse 
 needs no apologv or explanation, as this language is well known 
 as the one most jiroper for musical education. ISiit let mi' 
 observe, that thise same rides inav be applied to other languages, 
 with the slight variatiyus incident to the |iro-ody and ai'centualion 
 of I'acli. 
 
 PJIR.VSLNG. 
 
 Phrasing, in mn-ic, is the art of grouping notes. For, as in 
 laiignaiic we have certain phrases on words \vhieh are groniHil 
 togeilier, and prouoiiiiced as iiearlv as possible with one breath in 
 conformity with the sense, ,so in music a similar grouping is 
 neeessary, in onler to make the iiuislciif xnixr intelligible. In 
 language I'm' instance, we say// !■■< a Jinc dai/ ; this independent 
 ])lirase we should not separate, by taking breath after it in and 
 then diseoniiecledly articulating the rest. In like manner the 
 .singer must intelligently detect the musical jihrasc and so gn'iip 
 lh(! notes ill pei'tiirinanee, that the musical kiuxc will not Ih' 
 turned into nouseiise. 
 
 .Not only in mii-ic, but in oratory, is tho'e no doubt that imin' 
 attention should be |)aid to phrasing. I'oi' iustaiice, when we 
 hear a clergviiiaii ill tlie('hiin'liof Fnglaiid service, as he reads 
 the wonis, "and hast promised that when two o" three are 
 gathered together in thy iiaiiK!" (which, as an iiidependeiii 
 phrase, ought evidently to be rendered with one breath), break 
 the .sense of the period by taking breath after the wonl tlurc, we 
 then perceive that the ai't of phrasing in onidirtj also reipiires 
 attention. 
 
 Mn-ical phrasing has Ih'I'ii nHlnccd to great system by the 
 (icrmans. .V jihrase may consist of one musical measure, of two, 
 three, I'oiir, live, six or even seven measures — which latter is a 
 long iihra-e, but of which we have an instaiice in Mozart. The 
 (icrmans call a phrase ot' one ineasurc an clncr; of two, a zir<i(i\ 
 etc., or, translated literally a one-er, two-er, three-er, etc. Musical 
 plira~i's are always reckoned from the strong accents at the eom- 
 meiiceineut ot' the measure. The detection of what the phrase 
 n'ally is in music, and what its length, involves that intelligeiiee 
 on the part of the singer which has ah'cady been alluded to, and 
 without which it is iiiipossible to make a superior singer. 
 
 .V mnsieal /;(//'/i^ consist. i ol' a number of musical phrases; for 
 iiisiauce : — 
 
 '-'.WM 
 
 •ji# K* 
 
 •:*- 
 
 #• * 
 
 ^ a J^-'^:^£:3.'\ 
 
 Ili'rewc have a musical period, ciimpoiie led of four phrases. 
 
mmmi 
 
 mw^ 
 
 t \rrn-hHt.Attt. 
 
 A le vi • L'i - no d'lt tiinr iraiiior iiti iiiii • tint ii<> 
 
 1« HASSINI'S VOCAT. MHTHOD. 
 
 i:irli |ilirM-r h;!- two -tr.Miif Ujit-, till nlui ndi |ilirii-.' i- in ( i. i- i r .. . ^ yT-M-ny-. . ^ _""ril"\_ 
 
 It may he siiil, hiiwrvi'i-, lliiil hi cIim" is tlK'i-iiiini'rtiiiii iM'twccii | l^]2 J 'I*_.-lJ. "'^ H u"'"_ 1 1_ _~r -JI.Tll 
 
 till' lir-t mill s<i'i)iiil |ilir!isi', in this rase, also iH'twit'ii liir tiiiiil , "^ 
 aixl tiiiirlli, tliat carli t\rii iiii;;'lil lir Juiiii'il iiiln niic, siiii<; witli ii: r I 
 liivatli, ami tin- pri'iiHl tliiis In' inaili' to rmisi-t of two plii'asi-, 
 in-tiail of liiiir. Tlir >iiiirrr ran iiiaki* the i'\|irriiii('iit ami ltIn'- 
 till' |iri'iiHl liiitli >lia|ii's, 
 
 I ran only tliii> liiii'tly call tittnitioii to tln' sniijrrt of |(lira.-iiii;, 
 >tatt' till' llii'oi'y, anil llii' intrlliirinl siiiu'ir iiiiisl i'\ri' iiiaki' ajipli- 
 ralion of it in iiii'liiriiiam'c, li'\'in<; to iliviiir tlir /nnxi- of llic nun- 
 posor as to iiliiuiiiig au«l the j;i'uii|iiii;^ of notes. 
 
 In such cjiscs lircalh must always lie <'aii^lit on the ((-clilc part 
 of the nii'asni'c (which imlciil is a p'ricral rule) or on thi^ fcclilc 
 portion of a stronj; U'at ; the time Ik'Iiij; stolen from the note. 
 
 It will U' nnilerstoiMl that in the wwy)//-/), or lireath, the Innj^s 
 are fully inllatnl ami in the me/zo-sospiro, or half lircalh, 
 ("iitlicieiit air is nmjilit only to complete the phrase. 
 
 In some cases a phrase which is eviilcntly continuous is inler- 
 rnptiil with rests, thus: — 
 
 
 ]'.11KATII-T.\K1N(J. 
 
 The ail of jihrasiiiir is of coiii-se closely comiiM'tcil with that ol' 
 ri'spinition, or lakiii<; lireath, fiiralireath taken in the wroiijr 
 place may lircak np orileslroy a |)lirasc. 
 
 It may lie rcinarkeil, that in tiic seventceiith anil eii;liti'entli 
 I'll. Ulrica, the epoch thai proiliiciil the ccleliraleil siiij>ers Farenelli, 
 I'as~i, !•;, (li/cllo, etc., the art of respiration \\a> a salient accom- 
 plishment of the siii<;er. This art coiisisteil in taking.' lircalh in a 
 ipiiet, inaiiilililc manner to the lisiemr, anil in the power of 
 iiolilimr a lircalh from twenty to twciiiy-limr seiiimls. 
 
 In j;laniiii;j: at the music of these days, its simple ami tlowiii<; 
 meloily, its practicahli! compass for every voice anil the siilionliiia- 
 tion fri'iierally of the sin;;er to the music lie was execiitiiijr, wc ilo 
 not wiimler that an easy ami Iciiirlhy respiration slmnlil aUo have 
 l)ccn cnltivatcil. CoiiipoM'rs tlicmsclvcs always li:iil in view the 
 powers of the singer, ami never wrote so lonii- a plii',i>c as to em- 
 liarrass the siiiiicr, or reiliicc him to tlu' nciissily of linakinj;- in 
 upon, ami iii:irrinij: the coiilinnily of the music, 
 
 Ww latt 'riy all is dianiiiil. The composer, even, is very 
 much snliorilinaleil to the sini^er. The worlil now seeks rather to 
 1(0 astonishcil than to lie pica.-cil. \'i«al /nils, then, lieintj now 
 very much the ol»icet, ami tlu; display of ;;reat power or com|)as.s 
 of the voice, very little care is ifivcii lioir lircalh is taken or irlicir; 
 tlu! olijcct lieinji to accoiiimoiiate the music to iiinxi/f — not one- 
 self to the music. We have had examples ol' this in .Smtai;', 
 .Mlioiii and .Iciiny liiml. Alliiiiii. in ordel to some ercat vocal 
 ti'at will lake a very aiiiliMc lucaili ; whereas .Siutai;-, in order 
 to avoid a loud lircathinj;- woidd ^m to another extreme and 
 lircatlie between the syllables of a word like 
 
 l\iiliir-li), II hi i-lif iiihi-rii. 
 
 .Iiiniy T.iml, ajjain, will so snliordinaic the mii-ic ti some special 
 I'llcct she has in view, that she will i'ciiii|ilclcly chanjic the entire 
 I heme. 
 
 .MiMlcrn ciimposcrs, however, are |iarlly at (anlt (iir this; for 
 I hey wriU' their iinisic with the apparent nmlcrsiaudiiij; that it is 
 to Ih' sunjj (/(/ liltiliiiii and that the sini^er shall make such ti.su <if 
 it as shall best display their fine points, \\li,'ilc\cr these may be 
 — ;just as the modern frreal pianists write iim-ie to «liow. the dex- 
 Icrity of a left hand or the suppleness of a wiist, iiisiead of" 
 writinj; music for music's own sake and to cucliaiii ilie smil. 
 
 Where ]iiacliiable, bicatli should always be taken mi a rest, 
 thus : — 
 
 
 l^i^ll 
 
 Lf •• .- ^»f_ipij. p. 
 
 in such instances, the note of course i- lel'l and the rests 
 observed, but no fresh brcalh is taken. 
 
 When two phrases are joiniil bv :i jmrliiiiDiild ill nici', or earry- 
 inij; up of the voice, breath should Ik- taken after the first noti! of 
 the M'coiid phrase, thus: — 
 
 Mnl, 
 
 
 ?7 ^-r^ 
 
 ^,.^ 
 
 Tempo. i-ATrii-iinKATii. 
 
 I — g, — I — _ — . 1. 
 
 Nil 
 
 Axiiiil lakinjr breath between the syllables of a word ; if this 
 be iiositively unavoidable it should U' dolie iiiniiilili/i/ to the 
 hearer — as is ))ossible. 
 
 ^Vs a j;eiicral rule, respirati •,■. in sini;ini;- slionld be inaudible. 
 Hut still, I an) of the ojiiii' .i, that there are exceptional cases 
 w here ail etli'i't may piisiti\cly be lieii;hlcmil by a slii;iillv andible 
 brealh-lakini;. 
 
 TIME. 
 
 Time, in music, may either be ni/ii/ur, fnr or mt.ird. In 
 I'cfrnlar imasnrc every ehaui:e of time intnidnccd must Ik; (lone 
 in ,'1 maimer not to atlW't the ref;ularity of the beat ; and this is 
 done by slialiuj; time from one note to jrive to aiiothcr ; or bv 
 the so-called li-iiijin iiilinti) (stolen time). 
 
 .V measure is free in the case of the recitative iind chant. 
 
 \ measure is mixed w hen an adi'i|natc expression of the music 
 reipiircs irei|nent irreirularities of time. This is often the ciisi' in 
 a loiiii; musical phrase, like the tiillowiiii.', when the singer should 
 avoid a too marked aii'entuatioii of the time. 
 
 
 
 r 
 
 ilo • lo 
 
 llll 
 
 cl'il. 
 
 li' the music phrase be tmi loiiu; iiir the retcnlive |)ower ol' the 
 liiii;;s, the lea.st obnoxious place slionld be taken, and the eatcli- 
 brcatli, or hclp-brcalh (mc/./o-sospiro) be rcsorlcd to, thus: — • 
 
 CiiN • • . - ■ ta ili ' • ' v«. 
 
 These irreiiularitics of time comprise the sii-callcd ml lihitiini, 
 rdl/i-iiliiiiilii, 1 1 ml III I mil), etc. The ml liliituiii, like the liiii/iii 
 iiiliiilii, shiiuld be performed wilhout lesseiiinji: or i'lian;iinjr ike 
 measure as a whole. In the i-iilU'iilnnihi the entire measure is 
 slackened. Helliui and Doni/etti have many passajies in their 
 works which, althouiih not marked nil. or iimlr. jiistifv their 
 application. In the iirfiliruiiili), which is only the reverse of 
 iiilli iiliiiiilii, the whole time is accelerated. The Innjio riihiilii is 
 an ell'eet much employed — it is much used but also much abused. 
 Iiidced, the correct application of the nihiili is extremely dillicnlt. 
 When a passa^-e is thus treatnl, tin,' measure of the «cco(///<r(;i/- 
 iiiiiil shiiiild lie niaiutaiiicd with )r\vi\\ precision, while the singer 
 
 # 
 
i 
 
 illdll, 
 
 CllljHI 
 1.0 
 
 re is 
 tlicii' 
 tlicir 
 -(• of 
 //() is 
 used, 
 (lilt. 
 iiiiii- 
 iiiicr 
 
 is (Vcr III iio'i'icnitr of ri'liii'il, jjiviiij: lliiis to |i:issii)i<'s an cnlirt'ly 
 new cliiiiiu'lt'f. 
 
 An i'\iitn|ilr nC a |>ii.-.->:ij;<' lis it is nri^iiiiilly wrillcii aixl as it 
 niigiil !«' (•Ii!ingc<i l)_v a tt'iujK) riil)iit(t is the rolldwin^,' : — 
 
 BASSINl'K VOCAl. M KTHOL) 
 
 17 
 
 N"ii la Hi'iaiti ii"ii In - -iiiirii hi sin • Kiir. 
 
 Nun 111 - Hciurti uoii la • wiarti In sin • jar. 
 
 'I'lii' Iniijiii niliiili) is also iiscCiil in llic prcparalion of ihr trill. 
 Tiinf for I hi- [>iv|iaration Is taken front tin; notes which precede it. 
 
 .ri3^:[ril:flf:iJ. 
 
 TA 
 
 mil, 
 
 T« 
 
 ^--f-^sM^mm 
 
 li. 
 
 WHITTKN. 
 
 
 Vr 
 
 "^j (j: f •Ei^:i/Eg"£-- -Zpz;'^- :^ =i 
 
 Li-j^;^[fiirir' 
 
 Tii • mil. 
 
 Ta - mo 
 
 
 I'll - ri.. 
 
 \\x^ ■ li.. 
 
 l-t-'.ltt-iiltMKIi. 
 
 
 I repeat, tile use of the rnhtiln (leiiiaiuls much iliscermnent and 
 litste, and when elninsily done, or lalsely applied, is a great 
 blemish and inelegance in iiuisie. 
 
 lI=^^I?i:I"'"11'jJ 
 
 T.-l 
 
 T/i 
 
 i;;^i^fe;|pj 
 
 Ca 
 
 fiK 
 
 FORTE-rr AXO :— oil DYNAMICS. 
 
 That which gives the hiiinaii voice a marked advantage over 
 all other inechaiiisms is its facility ot' dynamical em])liasis and of 
 emploving those various etlt'cts gciiei-ally inchided under the head 
 ol" hortc-l'IdiKi. 
 
 It is an error, however, to .^^Mpiiose (a.-- many do) thai tlir>e 
 clKH'ts are con.-tantly to l)c employcil and that musical c\ecutioii 
 is to lie one .scries of marked empha.-cs. Not so. ('ontrast is 
 alwavs iice<lcd, even to priMluce the etiicis desired. .\ /iirt<; for 
 in.stanee, constantly employed, would soon cea~e to the car to lie a 
 forte : and in anv case would well he prccc<lcd by a [linito to prove 
 I'lllly elVeclive. 
 
 ruder the head of Fuili'-l'Uiiin are generally included, syucopa- 
 tioii ; l'i)il(nii)iil<) ^which involves a I'ertaiii increase of tht; tones) ; 
 the swell ; the shir ; the Klurtiiti) ; dashed notes ; cinphasized notes; 
 Diartcllato and pointed notes. 
 
 Svucopatiil notes are always antiiled, \\w accent I'linimcucing 
 strong and then siilisiding — and never the reverse. Syncopaiioii 
 liills uiion tlie ordinarily unaccented portions of the measure, its 
 otiice iH'iiig to impart a certain startling piipiancy to the time and 
 style. 
 
 The /ji>/V((;(i('yi/() is far oflener abii,se<l than tastefully used. Ft 
 is in |)laee where .strong emotion tir tender .sentiment are prevalent, 
 lint maiiv singers — very many — make inces.saiit use of the 
 nortiininil'i, really (til iiinisiiiiii. They put, as it were, a kind ot' 
 irksome ilia;/ n|)on their entire execnliou — coiislaiilly anticipaliiig 
 everv note by sliding their voice np to it, and thus ciitirelv 
 obliteiiiting to the ear the reu:iilar beat of the measure. Of this 
 sicklie<l "sweetness long drawn out " no ihoroughbred singer will 
 ever 1h' guilty. 
 
 The fiillowing is an iiis|anee ot' good ami bad application of the 
 //u)7i(ii/i'»/". 
 
 A ])erfectly inconiprehensible thing to me is the ))r,ictiee with 
 siiiging-book makers (even in this late day of musical intelli- 
 gence), lA' (■(iiiiiiK iiciiii/ their studies with .>.//i'//(//7 thi' tones ! How 
 illogical — how absurd — how |)crt('ctly impracticable! 
 
 To swell a lone correctly is to be a ^injifl sinijir. Forconsi<ler 
 — this involves the following things: — coni|)lcte mastery of tliO 
 action of the lungs and the dia|iliragm, of the glottis-stroke, of the 
 diU'ercnt positions to be a.ssnmetl by the |)liaryii.\, of the blending 
 of the two registers, che.st anil (iilsetto (liir it would lie impos- 
 sible smoothly to swell a sound without having first, by practice, 
 perfi'clly united these two registers, so that the iiece.s.sary pa.ssage 
 i'rom one register to the other during the jirogress of the swell may 
 be (|uite imperceptible) ; and fiiud'y a mastery of the two tiwliri'«, 
 clear and sombre — as we alre;/^/ liave (lemoiistrated in s|K'akiiiji- 
 of the dillerenl timbres. 
 
 Iict me repeat, then, elegantly to swell a .sound is to be a 
 perfect singer. How absurd \Mmld it Iw llir a painter to demand 
 iit'a |iii|iil that he should elceanlly finish a IikkI M theHi~t les-on. 
 .\iid vet the siir// is the crowning task and glorv of the singer. 
 
 Nevertheless, with the exception of (larcia this is the |ilan 
 pursued by all niastevs with whose works .or method of teaching I 
 am conversant. 
 
 In addition to the swelhil tones indicated in iiinsic, the tone 
 may be swelled, gencrallv, on a pause (Ty) on anv notes of con- 
 siderable value occurring at the eoimnencemeiit of a piece and in 
 \\w riinliiliili- movement generally whenever an opporlunily oilers. 
 In such cases the li'iiglh of the swell depends upon the ipiaiilily 
 of breath at the command of the singer, or on the phrase that may 
 chance to follow the swelled note. 
 
 iVA/c/vy/ notes must not be couf'oimded \\\\\\\\w fiiirtinnriili). In 
 the slur, which is always indicateil by the composer, the voice 
 passes with iJirrlsioii from one note to another, and without any 
 break in the sound. 
 
 Ihi.s/itil notes should be rendered with piiritv and softness, \e 
 light harmonies. They arc admirably siiiled both to graii' and 
 touching sentiment. 
 
 SliK'i'iili) notes are Icfl, of course, instantly. It is important 
 that their intonation should be iicrlieily true on the in-taut. 
 
 Mnrbil notes are best ijivcn liy ba.ss voices. 
 
 Miiilrl/iilii soiiiiils, on the contrary, are best lendiied b\ tl male 
 voice-. 
 
rnmii 
 
 JH 
 
 |H 
 
 HASSINI'S VOCAI. MKTHOn. 
 
 I'liiiiliil null-, y;cni'r!ill\ , rc'ccivi' :iii iiiTciil. SiriicfinH's, Iidw r<'<|iiiri-<l llniii in » rcincri't-riioni m' n|ii'ra-liiui-c ; ii^iiin, ii will lie 
 
 iviT, llii' >liiiii, iis will ;i- till' pciiiiicd null', riccivcs an aniiii. , iiinrtnlH-rnl, thai in a liiip> Iih .ililv the clVrcis inii«l 1m' Mcn'->arilv 
 
 Itnl as a ^iiii'ral iiili' tli<' -Imrf nuli' is iinai'rc nicil ami is tu lie i lumuli r tlmn in a small <>n<' : liy this I rnnin, tlial in a vast <ir 
 
 j^ivrn willi iicalMcss anil prrcisidn. uprn s|iaci', riill tunes, a liiirlily cdlid'ol cxincssion an<l stninjrlv 
 
 (iikmI niastii's in siiij;in;i, like ('(niccinc, have writtiii many • aci'rntid si'iitiincnts arc cilirtivc ami tcllin^r, iIk' tiiiir .slanlis of 
 
 exercises iin |)iiiiitc(l notes, tin' they ale (if j; real n-e in e-nininf; ' dme and mcii'e delieale style nl' expressicm Kein;,; lost in hir^o 
 
 power of lone, and in aei|iiirin;i a |(i'o|Mf aeeeiit, lint |iointed siiaees. Siii|;iML; in a spai'ions localitv ot' eniirse invoKcs the risk 
 
 not4's iire ('x<'ee<linM;ly alinsed. Singers, like players, are too apt { of a person lieinji unheard or proviiiu; inellietivc. It is pre<'i.seiv 
 
 to point notes where they are neither so marked nor intended to here tliat preparatory eihu'atioii iiinst come in. If pro|)erly 
 
 Ih' pointed: and a^ain, where they iut pointed, to point theiii 
 mneh more than is indieated. This eiyo to excentiiiii a lilldi-if 
 
 anil spa.-i lie (pialily fiir removed from a pure, round and e;oiHl 
 
 style. (live pointed notes their true valne, as indieated, and no 
 more. 
 
 EXI'KKSSION. 
 
 iiislrneled, the sinjrer will know, that the more lie tries to force 
 the sonnd liy sudden ami vi<ilent elllirts ol' respiration, and tlio 
 more he essays nndnly to inc'rense the vohime of his voi<'e, the 
 less will he sneeeed in liein^f heai'cl, and certainly in jrivin;^ pro|M'r 
 coloriiiji to till' innsic. The only inelhod of proeednie, if the 
 sinner finds he is not heard and not rcai'hin^^ the andienee, is to 
 iiiiiiiiliiiii llir ell III- liiiihrr l/iriiiii/lmiil, In (ill ila ii'liil, iiml cli nrli/ mill 
 fiiiTilili/ to nrtii-iiliilc Ihr riiii.iiiiiiiiil.i nf tlir Ir.il. 
 
 On the ^second point, I wotdd iirjic the im^.-sity of strictly 
 Kxprcssion m riuisic is dependent on three thin^rs : — aireiilii- adoptinji the limhrc to the m iitlninit. The somlii'c and clear 
 atioii : coloring; tk'.xihility of voice. .\s rc^rards the lirst, it will tJmlire e\|press dillercnt thinfrs. Kof instance, apply to the woril 
 lie nnderstoiMJ, that as in speakinj; we always accent more stroajjly //,,y>y,/,„ .<.«( the somlire tinilire and yoin- happiness is iannediately 
 miller an excited .-tale of iecliiiii, so in sinjjinir we lind the same to iMriied to somelliimr less than liap|iiiiess — piM'liajis to misery, 
 lie true. ill a joyous (f/Ay//o, therefore, we accent more stron<rly ( ),, il,,. third jioiiil let an earnest word lie said. Music lias 
 
 then in a calm "'/f'///'), and we attack note- most forcihly in the ni.ide rapid strides in Aineiica diiriiii;- the last few years, Imt it 
 
 i/iiiliill.i,iilijiiii/i/iiiliirii.f{i: The natural acceni nation of the voice |,:|s n,,| |<,.pt |i:ice with the w Icrfnladv;n'ccmcnt of this country 
 
 in ordinary coiiver-alioii and social iiilen r~,' is the line lusis of {,, ,,t|„.p iliinu as in aivliileciine, paintiiii;, ])hysics. This 
 
 iiiii.iical aircntnation. The lii;lils and shades arc the same, except connlry sadly lacks y;(rH»n/c,/^ iii.sllliiHon.s i,f Art, (i>r"tlie training 
 that when transferred to music they are somewhal iiileii-iticd. ol' sinileiits, their eneoiirau'eiiient by jirizcs, eti'., o|)portiinities of 
 Mm ;m iinpoitaiit coiidiiioii of rijrht and >;ood acccntiiatioii is an hi.injr hiard liy the piililie, and the estahli^hmcnt of some ac- 
 ideiititicatioii o/' Ihr slnj/ir irilli tin- rhui-iirlir lie is siijijiiiynl In knowledeed critical triliimal. S^hviiIiiHiih is the lianeof Art in 
 ri-jiriwiil. Without this, the accent will neither lie true to nature ||. is country. Kvery iiew-coiiier undertakes it liiniscll', or is in- 
 
 nor eousoiiant with art. Tlie siiificr's mind should always lie ! volved in it liy othei-s. The aim ii «:m\y \-<,i>t jil>ii.-<i Ihr juihlic 
 
 rather on the sentiment lie i.s uUeriii^ than on the execniion. if — l,y whali vi'r incaiis. To iin/irnrr as well as to please is never 
 it is not, he will lietray himself; fa- this is i|iiickly del' led. Thi' tlioi'i^ht of. lint how well the two can lie cinnliiiied is sliowii in 
 >iiii;er -honld j'irl t\>v the time all lie !> cxprcssinu-, and In all t|„' career of that iioMe artist, .liniiy land, who advanced the 
 
 thai hi' repri'M'iits ; iimsical taste of this i n\ry jijiii i/nirs. .\ml how '.'—simply iiy 
 
 refiisiiij:; to prostitute her powers to interior .\i't, and liy ap.pK iii^ 
 
 all her inarveloiis capacity of |ileasiiii; to hinh .\rl — irhlrh Ik hx 
 
 ami all ihe secrets of niusical cx|ii'e-siiin will iciiiaiii unlocked to <il>i>ircinl)k hi/ Ihr i„ilii!r, ailniiiiilrli/ jirr.sriilnl, us loir All. 
 
 IJelieve this, yoiiii"^ students ot' liiiisic, .Mways jiive, in thr Itrsl 
 
 " Sfii'iicr nil is VMin. Iiuly, lill llu- lii';irl Im' I'MicIi.'iI an<l ^-ivilh I'nrlh ils pMin," 
 
 iiiiiiiiirr, Ihr Ixsl. lloiicsiv ill Art is as iniich the licst poliev as in 
 other thiiiiis. 
 
 'file iiiosl csscMlial rciiiiireiiicnts, then, to achieve ercat snccess 
 ill vocal .\i't, an — a pure, tiexililc. wcll-lraiiied oi'iian — a soiil 
 and a cnltivatcd iiitclliueiici — a coi'icct and distinct promiiiciatiim 
 — an expi'es~ivi' liice. With these, success is certain : aided liy 
 ireiiins, i/riiil -nccc-~ ; unaided liy this, a siieeess fully coiiijh;u- 
 satiiii;' for all slud\' and troiiMe. 
 
 llial -lll;;er wllos(' lieai't is strange to tile |o\- or sorrow he sines. 
 
 ( nii'ect i-nliiriii;/ will almost naiiirally follow a lieartti'lt ex- 
 pi'e— ion of the seiiliment eiiilioilicd. To a pcr^nii w ho is alive to 
 the -iinalion it will lie imim— ilile to rem.instratc or nieiiai'c in 
 the same lone of voice with which he sn|iplicates or jiersuadcs. 
 
 'i'lie (■/((»/• limhi'c slioiild prevail in the ntteraiice of <j:ay and 
 liuht-hearted scntiineiits ami in iillri/rn coinposition, ecncrally ; 
 uliilst the s'liiilirr liinlpi'e should prevail in mliii/lo iiioviiiieiits, 
 and in the iitteraiiie of the j)uro and relineil emotions of religion ^ 
 .'ind love. The proper application of these two tiinlires, indeed, j 
 is essential to jllst expres-ion. |''o|' ofteiitinies where Words do 
 Mot ailei|iia;clv con\ev the ti'cliui:, liy the~e tiinlires it is well 
 
 lil'oll^iht out. 
 
 ft iiiav lie remarked, that the true tiinlires are hlniilnl nn\\ in ' 
 ca-es where wi' wish to express indecision ; jicrplexilv; iroiiv ; ill- Sin^ine well i- e,|iii\alcnl lo /„/»./ well— it is l.eim;' cheerful, 
 
 coneiided -rrief, etc. Whenever the idea is a fim'-isr one', eaih j;-:iy and eiijoyiii;.;- iiood health. In order to this it is indispeiisalily 
 timlire should lie kept independent and mainlaiiied pure tliroM<_>l 
 
 olll. 
 
 IIY(;lENK OF THE VoiCK. 
 
 Without Jli.rilillili/ of voice, no person can I'oiiiniaiid that 
 iimliilatorv nioveineiit and that smoothness of transition, wliicli 
 are essential to rapid and vivid shadiiii;. True and 'j:(»»\ expres- 
 sion (like chai'ilN ) will often cover a multilmle n|' sins; and a 
 person it' not even uifted liv nature with ,'i "splcndiil voice," will 
 ot'lcn (and does ot'teii) thus hear away the palm fnim tiiie who is. 
 
 TUHKI': TllLNUS To HK IJOliNK IN .MI.M). 
 
 1 -I. The liiralily of |ieri'onnaiici'. 'Jd. Th ' adaptation of timhir 
 lo ihi' srnlimeiil. .'id. The iiitellii.;ei (or lack of il) on the pari 
 
 of llle pnlllic. 
 
 \ lo the tir-t pninl. il 11111-1 l><' n iiieinlHivil. iIimI in a rlniivh. 
 1 .. p-issj,,|i|| (Xpiis-ion and iooit iiiiriinii ami -iiiiplirin are 
 
 necessary to live a well-i'i'<:ulated liti'. < >nr licst piililic siiif^ers 
 are gifted with excellent constitutions. This is the siiir (/nil. non 
 of a sit ssful siii"er — there can lie 110 j;iiod iiiusic without it. 
 
 Look at siieli sinii-ers as .Mlioiii, (Jrisi, .Mario, lladiali, ISriunoli, 
 Aiiiodio, Moi'elli, I'eniveiilaiio and others: we iiiiist eertainlv 
 ailiiiil, that they an' the very type of health and i;ood spirits. 
 .\nd how is this'.' 
 
 1st. The \ci'V exci'cisr of -iin:iiiL;- is comliietive to he.-ilth. 
 
 'id. I'he sini;ei', in order alw avs to he nady to appe.-ir liefiire the 
 pnlllic must keep hiiiiscit' in j;(iod eondilion : he iiiiisl lie rejiular in 
 all his haliils, pnideiit as to his health, and lirr mi siili.ilufiliiil finiil. 
 
 I'his last remark liriiitrs iiie to a point on which I desire tor a 
 miiinent lo dwell — namely — ■fninl, 
 
 \ siiiuer n-es triple the amount of caloric of any oilier person, 
 
 I'llis if.'ls milst thercfon' adei|ll,'itel\ lie replaced liy pri)|H"r suste- 
 nance. Iflhislie llcpi doll • ill • loss of the \ nice w ill I'cilloW and 
 po.siliK phllii-is. 
 
 I liase leciiiilx' mil with all arliele on I'imhI in the A. )'. Srnljitl 
 
 I 
 
 f 
 
HAHSIMS V()(1AI< MKTIIOI). 
 
 in 
 
 Arl. 
 in 
 
 ■rliil, 
 
 :iii>n, 
 liiily 
 irits. 
 
 :ir ill 
 
 titnil. 
 ill' :i 
 
 Hti' 
 
 •' ?■ 
 
 wiiiili -II iiiliiiK' I'liiliMilic- iii\ iiwii I iiiiviilicm-, 1 1,1 11 ill I 111 riv ii> 
 |-i'^iiril> ■'ir-liiiaii'i' liir till' -iiiiiii, llinl I «ill iii-iil it licrc : — ■ 
 
 " 'I'lll" (lid -llolllil ccili-i-l 111' liiitll llil|ii;.'illi/l>(| llllll 111(11- 
 liill'<i;X<'<li/i'<l illiliirllt ill illli' |llll|lll^lil>ll^. 'l'l|iiiii;li oilv limil ciitl- 
 li'iliiitt: liltit', ifaiiy tn ilic iii'<;Miii/iitiiiii iiC ilic siiliil ti>>ui's ol' llii' 
 liiiily, it is iiiili>|H'iisil>ly iiii|)iiriaiil as a ralm-ii' t'lniiiMit. In I'lilil 
 rliiiiatrs, wliri'i' tlii- licMKiit is iiin«t i'<'i|iiii'i'<l, as ill Kaiiitsi'lial i<a, 
 ( ii'ri'iilaiiil anil niinr liiirli iKH'tlni'ii I'liiinii'ii-, it |ii'ii|ii'i'iv itn'mno 
 till' -lajili' I'hjmI. ( )ii till' I'liiiti'Mi'v, ill till' ti'iijiiiai I'l'^imis, w lii'ic 
 llli' liiiiK- i- -nliji rtiil to I'M'i'— i\r heat, till' ti'rc lisr iil' iiilv tiiml i- 
 ilaii'^ri'iiii-^ ami uttiii |iiiii|iirtivi' ul'dix'ax'. In t(iii|i('i'al(! I'liiiiali'-, 
 I II I WITH tlir-c l\Mi I'Mlillli'-, till' IliallilN' lillll'inirlll (iCtllc 1)II<1\ I'l'- 
 
 i|iiii'i's a jiiiliciiiiis I'liiiiliiiialiiiii of the tun great ('la^.-^•. of alinicnt 
 — nitrojii'iiiy.ril ami caluiii' tinHl. 
 
 "An iiisiinii'iriit iisi'ofoily IimhI is a i'iimiiiiihi ami iim-t iiijiir- 
 ioiis ci'i'or of ilii'i. Iiiliints at llii' In'ia-t arc sonii'tiiiu'-' rcmli'i'rd 
 weak ami -iiidy liy liiis ci'i'in' on tlic jiart of niotlici's, iln' milk, 
 in niii--i'(|nrii('r, liiroiiiiiii;- (li hi'ii'iii of it> oily constitiii'iit. Many 
 cliililiiii, alMi. afirr wianiiiu', liti'onic >ii'kiy from want of oily 
 iiiitriiiH'iil. |)r|iri\r(l of till' liiillcr, to wliii'li tlii'y liavc ix-cn 
 ai'i'ii-ioincil in tlic iimtlu'r'- milk, tlicy ai'r liil on niw's milk too 
 iiiiH'li (liliitcil, paiiaila, ai rowroot, or miiiu' siiii|ili' farinan'oii.- tiioil. 
 A coiiinioii coiiHiincni'c of sinli licdiiii;- is grnrral palcm'-s of tlic 
 skill and iiiiu'oiis niciiil)i'anc- ; the lips lose their natiii'al tlorid hue ; 
 (he cat's art! cold, white and tianslnccnt ; the limit.', and whole 
 siii'liicc of the IiihIv ai'c n>iially cold, with an oi'casional tfansient 
 thi.-h of heat, especially alioiit the head ; the liowels ailcrnatc 
 lietvNccn eosliveiicss and diai'i'liiea, and the child has restless 
 iiil^lits, wiiii l'rei|iii'nt siariine- in its sleep. In many ea-es nf this 
 loiiiiiion train of symploiiis, the health is soon impi'ove<l liy simply 
 adding a liiile liiiiier to tiie onlinary fniKJ. 
 
 " W'itii yiiiniL; i;iris, fasjiion soiiielimesdelci's fi'om eating of fat 
 meat, wliii'h is t'ciianled as a sign of grossiiess and want of ddi- 
 eaey ; and many, hclwcen the ages of thirteen and twenty years, 
 niaiiifest the injurious conscipicnccs of this error. The skin is 
 flaliliy, cool, and lilanelu'd, an<l the whoh^ system ajipears v\- 
 saiignincons ; the cheeks arc soinetiiiK's tlnsiied with a transient 
 irritative, li'verish heat, linl there is a |>ersisti'nt coldness of hands 
 and leet, and the aggregate heal of the Imdv is delleieiit. The 
 lyiiipliatir glamis ot' the liiik lieeoine enlarged. The ajipetitc is 
 irii'giilar and fa-lidimis ; e-peciaiiy in the inorniiig, liiod is taken 
 I'elin'taiitly, or nttiily nl'ii-ed. In short, the general asseinlilage 
 of svmptoms indicate a Miolulons coiwiitiition. In most cases 
 there is a morliid thirst, and the syinptonis lieconic aggravated liy 
 an excessive Use of cold water and other drinks. If, perchance, 
 tli(! friends indulge a I'asiiionahlc hydropiiiiiic monomania, the 
 e\ie iial Use of cold waliM' is lnoiight in i'ii(iiisitioii, -till more to 
 les-en the vital heal, depress the powers of lili', and aid the full 
 'levelopniiiit of phthisis. 
 
 " Most iiiilividiials who avoid liil meal al-o !i-<' iitlle nf linller 
 and oily gravies ; thoiigli many cniiipeiisale liir this want, in pari 
 at Ica-l, l)V a free use of these articles, and al-n milk, eggs, and 
 \arioiis saeehat'iiic snli-tances. ]]\\t they coiistiintc an iinperlici 
 -iili-litnte tiir tilt meat, without which, snnmr nr iTitcr. tlu' Ixnly i- 
 almost sure to show the ellict of ileficient cainrilicatioii. 
 
 "That llic-e striking (iicts arc commonly unnoticed, the truth 
 ofwhii'li is r.'iidcrcd evident liy ohsei'vation and inipiiry, is con- 
 eln-ivc proof thai this suliject has received iiltle alleillioli. its 
 iiiipiii'laiiie can iiardly lie doiilited or ovei'-esiiinated, u hen it is 
 eoii-idercd tliil full one-lilih of the hniiian race is de-troyed hy 
 plilliisis. 'I'll parents, w Im-i' i hildreii have tiiis aversion to oilv 
 f lod — this liarfnl siun of early dissolntion — the snliicci is one of 
 
 deepi-l illlere-l. It al-o dc-llVCS t h(! cat'eful <o|lsiiieralioll nf lif ■- 
 
 insiiiance cmiipaiiii-. of \niiiig |iei'sonH in making matrimonial 
 alliames, and <'erlaiuly of physicians, the protessional ))ul)lic 
 guardians of liinnan liti; and liealth. The presumption will com- 
 iiioiily hold true, that ii jM'r-on who haliitiiaily avuids tiit meat at 
 the age of twenty-one, will die of plitlii-is hefore fnity-live. 
 
 " l>ut the great imporlame of oily t'ood, in li lation to this 
 disease, consi-ls in its |ni\entive eliicacy. In most ca-es of 
 
 geiiiy.i'd and calorie I'oimI may he eniployeij with the iimst -ahitary 
 ellii't. 'I'lie -ignilieant lint that the siiliie. I- of iililhi^i-. are. with 
 a few cxceplioii-, thii-c w ho avoid liit meal, slioiiid Ih' generally 
 known. Young |Mr-oiis -hoiild Ik' fully warned against tlii> 
 dangerous erroi'. The gay miss of eighteen, whose coiintcnaiui', 
 to the practical oliservcr, clearly shows the want of calorie milri- 
 menl, should lie plainly told that if this error of diet is continuetl, 
 phthi-i-. will I'laiiii Inr as a victim hefore forty-live. In short all 
 pei'-niis \Uiii avnid lilt meat -Imnld fully nnder-taiid their ilaiigcr. 
 It i- no plea-ant otlice to press upon the attention nf mir yoiiiig 
 friends and patrons sinli homely trnliis ; lull the pliy-ieiaii who 
 faithtiilly and candidly doe- it, will -nmitiniis liaxe the glad rc- 
 llei'tiiiu of having -avid a patient from premature decline." 
 
 In coiii|)lelioii of this cNcelleiit article I will add here a state- 
 ment of the fiMiil which the singer will liiid I iidiU'c to perlifl 
 
 respiration. The cheini-ts divide fond into two cla-ses : lirsl, that 
 which has the properly nf turning into liluod ; namely : — 
 
 l'"li'sh and Mnnij ol'anim.'ils [/<i Jilirli.r), 
 
 White of eggs {I'lllliiiiiliili). 
 
 I'"arinaceiiiis (!<• i/hdni). 
 
 Milk (/(( iiKiHin fiis/<iiiK)'). 
 
 The s Hid clas- is composed of stihstain'cs containing a large 
 
 proportion ot" carlponii' : namely : — 
 
 (ii'ease; (iiitn; Sugar; Wine. 
 
 .Vs regards the last, let it he rememliered, that iiiijiiin wine or 
 that coiitaitiiug too much alcohol, or other adulterating suli-tances 
 foreign to a pure wine, are very injurious to the voice. 
 
 Mull liiiKdiK of all kinds are also injurion-. 
 
 We may rest assured, then, that in the -iili-tances of the tir-i 
 class, the singi'i' will (ind his real iiniirlxhiiiiiil land I would 
 advise him alwavs to give the prcli'rence to the lli-li and lilnml of 
 animals rather tliaii to vcgetaliles). w iiiie the second-elas-siih-ianei's 
 will secure to him earl ninic ami hydingeii. 
 
 Leaving this snhject nf food, then (-n vital tn the -illger), let n- 
 tiirn In other maiters of iniportanec. 
 
 Young ladies niilst a\oid (in itniKilnriil riiulinniniil uj llir iraisl ; 
 and in llieir dress follow the shape and model of .•.iiii|)le nature — 
 which, ihev inav lie sure they cannot improve upon. 
 
 .Ml -iiigers should avoid c.\ posing themselves t Id and damp 
 
 air immedialely after -iiigiiig. If eiiinpelled, t'rnin any caii.-c, 
 iinwever, io do iliis, tliey will liiid a pi'eveiitivi' In injury in a glas- 
 oi' water (leiiiperate, not ii'cd-water) cnmiiined willi -iiuar and a 
 small glass n( w iiie. 
 
 Fast walking, fast running, conversing loud, Ininl reading, im- 
 moderately loiid l.iiighing, are impriulenl things, and liilii.ine the 
 Vocal organ-, Mvdirdlinn is the word — for singer.- .i- liir all nilur 
 persnlis. 
 
 .Singing iieei-sai'il\' indiici's an iimi-iial degree of siisceptihiliiy 
 ill the lung- am! lliroal. Care slionld llieietiire lie t.ikeii as to 
 snildeii \ariatiniis of the weather. The liest guard again-l this is 
 llaiinel ai'oiiml the elicsl, which -erve- in keep it at an eipial tein- 
 peralnrc, 
 
 .\vniil singing with a piaiio-fortc tuned too high. 
 
 .V void singing immedialely after eating : wait iiiilil the dige-linii 
 is tnleralilv well aeenmpli-hed : llli- varies, fmiii twn in three 
 
 llnlll's. 
 
 1 f liici'e lie ii'i'iialinii ill llie tlii'nat, -lop -iiigiifg iiiiinci lialrl V and 
 gargle with homy and vinegar, 
 
 .Never study more than luilj-iiii-liniir nl n liim. Many a voice 
 has heen lo-t hv an execs- of cnlltimiolls ll-e. The chest is as 
 
 necessary to the singer as the larynv or the iiiiig-. In liid, sing- 
 ing liiiiigs into I'eipii-ilioii the whole hody as well as the spirit, 
 riiereliire singers, iimrc tli.in any othir class of |iei'-iiiis, iK'cd rest 
 — rest of liod\ ; rest of heart. I'nr nnt onlv the nm.-clcs neiil 
 repo.se, hut the emotions also which niii-ie calls in play. linllaiid 
 savs : ".None ought to sleep less than -ix hmiis nr innre than 
 eight." Iii't singers remcinher this. 
 
 Now, none of the aho\e rules can lie slighted wiili impunity. 
 The ait of singing nece— arily involves the .\ii nf lle.illh. 
 KightK learning in -ing i- Icirning to lie !iealth\ 
 
 iiiie(|uiviK',illy developed plillii-is, .'ill ciiiati\ (• pLiii- for t I'eatincnt j l/ct the student enniliim-, linn, w ilh the arl nl' -mig llie lly- 
 
 lilil, I'revelllinli i- I 
 
 lie great oli|i (I : tn ai'inni| 
 
 niiili-h w liieh, I 
 
 il,„l 
 
 il'rd, a liiliniial plan nf diet — a pi'npi r e.iiiiliiniiiiun nf nil n 
 
 gienic arl, as lure hrielh indicated, and -iieie— w ill iiilimatelv Ik' 
 
Bl 
 
 no 
 
 HASHfNIS VOCAT. MI'/I'IIOI >. 
 
 KXKIICISKS K(,|i ',„,•: ,N,nx („. tIFH Cllixr AM. MKDIIM IJHcilSTKIIS. 
 
 :' " '' • '"•'•^^ ''•'"" •"»• "^'""I'l'- to tl.. oil.,.,- ,n,.il h,. i, ,.,„.,;.,.,lv ,„,.. ..,• „„. ,.„.„ , ,„ , ,; , ' " "" ' "I"" 
 
 lii> Idtiiiv prn.'rcss. • ' "" '"*'"' "''x'l'ViiiKT ,,( till 
 
 I- t lint it i- ,,r th.. iitiii,,-! i,i,|„.it.iiH',. ili.ii |„. 
 
 Illr (|i ju'llil-. 
 
 I 
 
 'I'aki' the '/ I'n.iii tjic iMitt-pin ..I' ih,. ilir,,j,i. 
 1. 
 
 TIlc Irllcr II iiMli,.;il.s llniij loiir. 
 I Thi.s Mgii I in,li.7it.s III,, j.hin: „||,.,.,. |,r,.:i,|| n,,,,, |„, ,,,|^,,, 
 
 Miiili nilo , < 
 
 ( 'iUltO. 
 
 I'iiiiKi. 
 
 ** «« .^'a s,.a ..a ,,, ^^; " ^. " 
 
 M ,1 ..., 
 
 ^' *• ^: t: II 
 
 ma 
 
 -o- 
 
 -Q- 
 
 :^{^^^lJ^i::|i:Ei^l 
 
 I 
 
 J 
 
 In il.i> an,! (Ii,. |i,!l„vvi„i: ..M.,vi..., .h.. y;„„, ,,111 , „„.,„.. „,i^ ,_„, 
 
 .■.^.pmiio clcl, as i> iisiialk ilon.. |,v i,.ii,,r~ in ihi- ,.,,iiiiiiv. 
 
 (• 
 
 ^^Slt 
 
 I"' I'-aiil.mran.l I!a>s will ,.,,niiii,.|h-,. Iinv :_ ^y~~-\ ' 
 
 i-znt: 
 
 E=iil 
 
 Til.' use of til,. C.llnwiiijr ,.x,.r,.is,. is |,, ,l,.|,.,.t tlx ,nr,liiiiii loi 
 
 Oi l)\Wl' tllC MHIIIll. 
 
 Ml'; il i^amm/,/i|,|,.„,|,.,l 1,, Ih.iliiat,. III,. >„|,l,.„t ill ,r,.t,i,|„ 
 
 ■I'lir lir>i tun notr, (,1,,.., ,„,t,-, ,ii,i-.| l„. M.nir Willi .■iiciw an.! fullnrss whil,. ,|„. tl,i,.,l mI r 
 
 o. 
 
 Ti'inpn (ilhi ( 'iinnillit 
 V V M 
 
 ('ant( 
 
 foil Di)lcn:(i 
 
 ^' '' M M v xr 
 
 I'iaiiii, 
 
 
 -ens-- 
 
 ;^ii=^,5:^^: 
 
 '. W' 
 
 -_z:z:^bj?j;:-:_«;zEz;^zrzr:-Li;g::-:^ 
 
 7:--TTrt-~. 
 
 Pmi 
 
 (3=:c: 
 
 :^:::^.^^- 
 
 
 ^'/^ 
 
 -^ii^jitze 
 
] 
 
 HASSWl'S WCAI, MKTHOf) M 
 
 The sUhK'M \m^\ he vtiy car.-lul of the way hi- takes Hnath in ?,mdyiiiK tinst- i\. pises parlk'iilarly in No. «, 
 7. i». mil. t, he i-ospii-. in a very Ki^iitle and ea^y way. remcmboriii^f th.u ihi time here is only a -Jeenndary 
 mattir. t'or resyi ration, see pa^^e HI. 
 
 8. CM CM. CMC CMC M, CMC CMCM^CMC 
 
 C'ante 
 
 IMaiio. 
 
 ^ 
 
 P 
 
 ^ 
 
 l i ... J 1 1.,. ~ L J \ 
 
 ^ ^ .» ^ ^ 
 
 t^ p g * y g gi i>o aiho ■ \^ -B 
 
 S('a sea sea sea soa soa sea S«;asoa srasca 
 
 I i I i i 
 
 sea 8(;a ^ca sea sea st^a sea Sf.*; 
 
 9—27 
 
 i 
 a sea sea 
 
 i 
 
 ^ 
 
 
 ^ 
 
 a 
 
 ^ 
 
 221 
 
 -JSZ 
 
 r-' 
 
 T-T 
 
 ^i^^^-^ 
 
 f'^ ' 9 ^ \ >'~M 
 
 
 £ 
 
 b(5' p 
 
 :Ji 
 
 I 
 
 
 ^ 
 
 r 
 
 
 p 
 
 I 
 
 ^ 
 
 K7 
 
 «■ 
 
 # 
 
 J 
 
 ?rp 
 
 4 
 
 m 
 
 i 
 
 ■"ST 
 
 I 
 t f 
 
 C M C M . C M C 
 
 CM C M J C M C 
 
 ^g g i ' 
 
 ^ 
 
 r-*^ 
 
 g 'ffg 
 
 1^ 
 
 C M C M C M C 
 I 
 
 g g ^ I ig — . g i ' g g i g? 
 
 ^^ 
 
 -fX^~a-\ -fs 
 
 ^^ 
 
 sea sea S(!a aea sea sea S(;a sea sea iea sea sea sea sea 
 
 sea S(-a sea sria sea sea sea 
 
 i^jt 
 
 
 ii 
 
 FT 
 
 E 
 
 vk 
 
 FT 
 
 ^ 
 
 I 
 
 r 
 
 ^ 
 
 i 
 
 
 r 
 
 P 
 
 FT 
 
 ^^ 
 
 r=r 
 
 zz: 
 
 r 
 
 jfe 
 
 
 ^ 
 
 J. ^j 
 
 J. 
 
 e 
 
 '23—J3' 
 
 t 
 
 f 
 
 I 
 
 1:8 
 
 Canto. 
 
 Piano. 
 
 ^ 
 
 CM C M . C M C 
 
 C M C M C M C 
 I 
 
 ^ .- ^ 
 
 ■f^ 
 
 T3= 
 
 r 
 
 ^^ 
 
 »r ' *r 
 
 w 
 
 m 
 
 Sea sea sea sea sea sea sea 
 
 S<'a sea sea sea sea sea sea 
 
 ^ 
 
 ^ 
 
 \..^t ». 
 
 .gL L'» 
 
 fe 
 
 ^ 
 
 ^ 
 
 e 
 
 ^ 
 
 1^" 
 
 i 
 
 p 
 
 * 
 
 J- 
 
 ^s 
 
 R 
 
 ^# 
 
 ^ 
 
 I 
 
 i 
 
 CM C M C M C 
 
 CMCMCMC CMCMCMC 
 
 m 
 
 1 
 
 [,g, y Ihffl l;&J Ibffl ^^'^ ii^ 
 
 >* 
 
 r 
 
 r 
 
 3t 
 
 T^ 
 
 32 
 
 TT 
 
 Sca sea sea sea ssea sea sea Sea sea sea sea sea sea sea Sea sea sea sea sea sfai sea 
 
 
 Qi 
 
 W^ 
 
 3: 
 
 z: 
 
 MS 
 
 »«f- 
 
 l^ 
 
 g^ 
 
 3^ 
 
 m 
 
 ifc= 
 
 b^ 
 
 ^ 
 
 i 
 
 m 
 
 %m 
 
 ■tt.uA 
 
 n 
 
 JH 
 
 i 
 
 m 
 
 t- 
 
HA.SSI\1 S VOIAI, MKTKOIK 
 
 / 
 
 5. 
 
 r«nio 
 
 CMC M,C M C CM (' M ,C M T ( M (' M , C M C 
 
 IMaiin 
 
 / 
 
 
 Srasiascas sea M-n sra SVa .-I'a ^ca -ra >ra -«'« ^ra Sra^na sra s«'a ."^fa s«« 9«'a 
 
 ^N 
 
 ^ 
 
 ?^ 
 
 I 
 
 ^^iJ — ^ 
 
 f^ 
 
 ^ 
 
 £: 
 
 ^ 
 
 J — i«^ 
 
 t» g » [» < } 
 
 ^. 
 
 ^ 
 
 ff.^ I.: jy 
 
 ?- qi* *t 
 
 hi^-^ 
 
 ^-frg: 
 
 ^ 
 
 ^^ 
 
 1^ 
 
 ^ 
 
 i=5¥ 
 
 It 
 
 ^ 
 
 ^ 
 
 ^c^ 
 
 ^ 
 
 J 
 
 {* \ m f^\ \ 
 
 i 
 
 ^ 
 
 i 
 
 CM CM C M C 
 
 C M C M ( M ( C M C M C M C 
 
 m 
 
 ^ 
 
 L=.j=k :.:y 
 
 ^3 
 
 j^id- ^ it v I ^ ^ 
 
 1, ^ B/IK ^ aJJi. 
 
 Dz 
 
 yg ■ »^ T g: 
 
 -♦- 
 
 €-^5^- 
 
 S(a sea sea 8ca sea s(!a sea Sea s<*a sea sea sea S(;a »va Sea sea sea sea sea s«ui 
 
 8(ia 
 
 |l 
 
 Sf 
 
 rj ^ 
 
 fe=^ 
 
 f 
 
 Icr 
 
 =^<? 
 
 ,2L ^ 
 
 :r::?: 
 
 rJ. t 
 
 ■Tir-f 
 
 H 
 
 ^^ 
 
 # 
 
 %^ 
 
 
 
 ■9- 
 
 t * 
 
 
 / 
 
 .V^ib^i?'- 
 
 i 
 
 ESC 
 
 □E 
 
 ffinr= 
 
 rjE 
 
 -g-^ 
 
 3= 
 
 «- 
 
 e 
 
 ^ 
 
 Vf-fn»: 
 
 :?c 
 
 :2z: 
 
 l»l ; ^^ 
 
 ^ 
 
 ^ 
 
 5- 
 
 v>. ,.\^l-V'^ 
 
 (^anto 
 
 P 
 
 C M C M ,C M (^ C M C M , ( M ( C M C M ^ C M C 
 
 ■^ 
 
 =te: 
 
 m 
 
 =S:3= 
 
 ^«c: 
 
 5^ 
 
 ^ 
 
 ■JT. 
 
 it 
 
 \ 
 
 Sea sea sea s«'a sea sea sea Sea sea sea sea sea sea sea Sea sea sea s«m sea sea sea 
 
 m 
 
 
 L^22^ 
 
 ■t^ 
 
 IS 
 
 Zi- 
 
 ^ 
 
 9- 
 
 ^ 
 
 -zz; 
 
 ^ 
 
 W: 
 
 t5^ 
 
 ^ 
 
 W- 
 
 u 
 
 i^ 
 
 ^ 
 
 «^ 
 
 s_ 
 
 i^ 
 
 ite:ft 
 
 zr: 
 
 
 9=^ 
 
 ^ 
 
 ■zr 
 
 ti 
 
 ^ 
 
 i 
 
 C M C M C M C 
 
 C M C M C M C 
 
 V 
 
 CM ( M C M C 
 
 |.N l ^^,»H^ i i^il^^ 
 
 "^m 
 
 -«- 
 
 m 
 
 '> >j - — ;>rj — , '> rj ■ 
 
 -V 
 
 m 
 
 Sea sea sea sea sea sea sea Sea sea sea sea srra sea Sf;a SV.-a sea sea sea sea Sfia se;* 
 
 
 
 m 
 
 TT 
 
 w. 
 
 iai 
 
 u 
 
 i±: 
 
 g 
 
 7^-^ 
 
 w 
 
 ^ 
 
 «T 
 
 /.; i-^' 
 
 -»- 
 
 -*- 
 
 22 
 
 K 
 
 -FT 
 
 is: 
 
 »<^ 
 
 t'^ JO- 
 
 rj m 
 
 ^ 
 
 ^ 
 
 3z: 
 
 
 i 
 
' 
 
 ■ASKLNlVi VOCAI. MKTHUU. 
 
 TIm' traMsllltm of tht- vtilcp fr<tii» Ui»' rboht titno in Ihf 
 iuf'dlnm.vyht'ii tlv saino vowt-l Is iix'd miisl be effortrd 
 distliw'tly.hy ibi> hcKlniitT.bul without any ovrr effort. 
 
 The bnMkinMr, nr Hkcno^, i^riwraJly produrod al flr^t. In 
 pa»' 'n^ A'oii) oiH> koy note ti) Ww other should b<; made 
 tultrably eiivrK«Uc.Thls will all.dl»appaAr in time. 
 
 rt 
 
 M 
 
 N 
 
 N 
 
 if I J. y|j. y|J. rf 
 
 Canto 
 
 3j 
 
 :2i: 
 
 S«'a 
 
 (^ 
 
 ana 
 
 sna 
 
 8Ra 
 
 soa 
 
 Hra 
 
 i 
 
 i 
 
 t 
 
 i 
 
 TT 
 
 /»r/ 
 
 f 
 
 3«d 
 
 ^ 
 
 I'inni 
 
 \ 
 
 ^ 
 
 :^ 
 
 3e^ 
 
 1*- 
 
 22= 
 
 -♦- 
 
 P 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 3E 
 
 e 
 
 ? 
 
 -^ 
 
 -* 
 
 
 Sra 
 
 ^ 
 
 sea 
 
 sea 
 
 aca 
 
 M» 
 
 sea 
 
 sea 
 
 m 
 
 f 
 
 ¥ 
 
 3Z 
 
 zcr 
 
 i 
 
 ^ 
 
 rzc 
 
 -*- 
 
 8. 
 
 ("aiilo 
 
 Piano 
 
 Moderato assai 
 
 C C C C M M 
 
 M M M M M MM 
 
 M 
 
ft* 
 
 BASSim^ VOCAL MIi:THOD. 
 
 EXKRaSES ON THE THREE REGISTERS. CHEST. MEDIUM AND HE^AD. 
 
 Theniilon ol the iredUim and head register does mi require special sliidy. a.^ it is ordinarily ef ferted with • 
 out diff inilty. However, soinetiines the head tone is not dis Li net. and vaf:illates betiveen these notes. 
 
 $ 
 
 «- 
 
 it,^ r^ 
 
 This Liq>erfenllon can be easily remedied by aiimnjc to produce upon the D the sajiie quality ot tone ais 
 that whicli natiiraJly cornea out on F. 
 It IS better that the head tone should couiinene on 
 
 J/' 
 
 9. 
 
 Canto. 
 
 Moderato 
 
 c r\^ 
 
 Piano. 
 
 P 
 
 ^gtha^on ^g 
 
 M 
 
 M 
 
 ^ 
 
 3Z 
 
 Sna 
 
 sea 
 
 sea 
 
 sea 
 
 soa 
 
 -«■■ -#. 
 
 ^p 
 
 Z^ZZ 
 
 -6 
 
 ^ 
 
 2z: 
 
 ■^ 
 
 -rr 
 
 mi 
 
 -TT 
 
 M 
 
 ^ 
 
 sna 
 
 22: 
 
 -1^ 
 
 ^ 
 
 i 
 
 Sea 
 
 r^-- 
 
 H 
 
 V>" 
 
 H 
 
 3C 
 
 H 
 
 H 
 
 H 
 
 £: 
 
 -i9-; 
 
 H 
 
 H 
 
 £^ 
 
 il 
 
 sea 
 
 scu 
 
 ^ 
 
 sea 
 
 sea 
 
 sea 
 
 sea 
 
 sea 
 
 t^ 
 
 ■Sm 
 
 Z&: 
 
 -»- 
 
 ■^< 
 
 :r—r . 
 
 ■izzz 
 
 P^ 
 
 & 
 
 -<9~ 
 
 :z2i 
 
 f^ 
 
 S^& 
 
 !i ; 
 
 Sea 
 
 il 
 
 g 
 
 V — K»- 
 
 "?7~ 
 
 M 
 
 -«-r 
 
 ^ 
 
 -«>^ 
 
 sea 
 
 
 M 
 
 M 
 
 M 
 
 M 
 
 M 
 
 ■^ 1 g^ 
 
 3fc 
 
 f 
 
 sea 
 
 3C 
 
 ^ 
 
 sea 
 
 -«- 
 
 sea 
 
 sea 
 
 4. 
 
 ■271 
 
 s«!a 
 
 M 
 
 -i- 
 
 sea 
 
 
 n^ 
 
 ' 1 6 1 
 
 1 
 
 i 
 
fected with- 
 )tes. 
 
 Lone a>f 
 
 10 
 
 Cmto. 
 
 
 -/ A-^ 
 
 X 
 
 S 
 
 ' Moderate 
 
 c 
 
 V 
 
 BASSLM^ vocal METHl)l). 
 
 M 
 
 M 
 
 5 
 
 T. 
 
 i9-=- 
 
 -6>- 
 
 Sf-rt 
 
 sea 
 
 sra 
 
 sea 
 
 sra 
 
 sea 
 
 f 
 
 te 
 
 m 
 
 ;#frp^ 
 
 J 
 
 i 
 
 :fi& 
 
 -77- 
 
 
 Z2Z 
 
 -«>-r- 
 
 -t^ 
 
 i 
 
 2z: 
 
 M 
 
 •^i»~Zig 
 
 sna 
 
 =^ 
 
 ■^T- 
 
 --*- 
 
 221 
 
 25 
 
 h4^=f 
 
 ^ 
 
 >l 
 
 -Jtrfe 
 
 --«-; 
 
 Sra 
 
 
 ::^ 
 
 ir^:::3t 
 
 i3r^ 
 
 H 
 
 22: 
 
 ^ 
 
 H 
 
 S 
 
 H 
 
 H 
 
 H 
 
 S 
 
 H 
 
 H 
 
 3ac 
 
 sra 
 
 iaOa 
 
 soa 
 
 ^ 
 
 2z: 
 
 m 
 
 -^>- 
 
 ^ 
 
 8ca 
 
 sea 
 
 sna 
 
 soa 
 
 S 
 
 iZZ. 
 
 tS"-: i- 
 
 --*- 
 
 ^ 
 
 2z: 
 
 ^-3 
 
 :p 
 
 3: 
 
 fl-^ 
 
 tzz: 
 
 H 
 
 !oa 
 
 ^ 
 
 _M M M M M 
 
 r- g I f^- ^\f- t\ J- ■ y I J. 
 
 5(;a 
 
 # 
 
 ^ 
 
 m 
 
 ® 
 
 tfiirSi 
 
 M 
 
 M 
 
 M 
 
 i 
 
 ^ 
 
 sna 
 
 sea 
 
 sea 
 
 sea 
 
 sea 
 
 sna 
 
 sea 
 
 W 
 
 m 
 
 "77" 
 
 -«i- 
 
 ¥? 
 
 i 
 
 3z: 
 
 i 
 
 * 
 
 3: 
 
 3 
 
 J=4 
 
 32: 
 
 ■^ 
 
 ^ 
 
 EXERaSES UPON TWO NOTES. 
 
 In this expmisc the two notns must be stmg with XTeat equality, and eare taken to slur them welLg'ivin^ 
 Utcarh note a fiill, nnind time, but of small intensity . Be eareM also oftiie iniunation, as the seeond 
 note, is apt to be flat. 
 
 Moderaio. 
 
 11. . c 
 
 Canto. 
 
 Piano 
 
 \ 
 
 Sea 
 
 W ^ - 
 
 mi 
 
 f= 
 
 sea 
 
 n\ 
 
 ^ J^ *" 
 
 ^=^F=^ 
 
 f 
 
 % 
 
 f 
 
 # 
 
 f 
 
 ^ 
 
 i 
 
 d!^ 
 
 s 
 
 ml 
 
mmim 
 
 26 
 
 ^ 
 
 KASSINIS VOCAl. MKl'HOI) . 
 
 ^ J ' ;~* ; ^ U < J ^ 
 
 ii 
 
 te 
 
 Soa. 
 
 sea 
 
 ^ 
 
 < 1 
 
 T*^' 
 
 ^ 
 
 l£L 
 
 & 
 
 W 
 
 bltJ'j t 
 
 ^^ 
 
 ¥ 
 
 ^ 
 
 r 
 
 ^ 
 
 Soa. 
 
 
 sea 
 
 /tN 
 
 iE 
 
 :£_ 
 
 < 1 
 
 *tf,..- ^ "^ 
 
 » 
 
 p 
 
 >v 
 
 =^ 
 
 ^ 
 
 ^ 
 
 f 
 
 ^ 
 
 y'"j^j I J 
 
 m 
 
 5 
 
 ^^ 
 
 <^ J ^ I J : 
 
 S J a 
 
 Sea. 
 
 
 ^ 
 
 sea. 
 
 ^ 
 
 ^ 
 
 
 ^^ 
 
 fc=^ 
 
 HI*— 1 ^ — »* 
 
 ? 
 
 i 
 
 "37 
 
 a 
 
 »- 
 
 lEng; 
 
 Efe 
 
 C M 
 
 (OiieCand the other M, alteraatin^Iy) 
 
 J J J J JJJJ S 
 
 -? =" 
 
 gi f ! i 
 
 :?=* 
 
 S(!a 
 
 . s«!a. 
 
 
 ^ 
 
 ^ 
 
 i 
 
 Wt 
 
 9^VW^ 
 
 «*2- 
 
 <»-4 > 
 
 I 
 
 
 ^ 
 
M 
 
 One C aiid one M 
 
 HAS SIMS VOCAI. M>:THr.l). 
 
 87 
 
 M. 
 
 i 
 
 ife 
 
 J f I 
 
 3: 
 
 Sea sna 
 
 P 
 
 i 
 
 ^ 
 
 ^ 
 
 -^— g - 
 
 ^ 
 
 -£ 
 
 f^ 
 
 giJStfiif 
 
 te 
 
 3z: 
 
 ?==SFf 
 
 ^ 
 
 1 — f- 
 
 M. 
 
 i 
 
 R <^ ^ 
 
 !■ I 
 
 *l J / ■ I 
 
 3Z: 
 
 Sea 
 
 i 
 
 sea 
 
 ^ 
 
 ■r ^ 
 
 E 
 
 -^ 1_ 
 
 4 j . d 
 
 5 
 
 ^ i. ^ 
 
 -^ 
 
 p # g 
 
 ^ 
 
 ^^ 
 
 I,, ".^r 
 
 Was: 
 
 I 
 
 .*,-^-««- 
 
 v:/ 
 
 r^ 
 
 M. 
 
 ; 
 
 I 
 
 ^RF^ 
 
 5ea 
 
 s^ 
 
 s 
 
 l^ffi 
 
 ^^ 
 
 » t - 
 
 sea 
 
 ^ 
 
 Z<>^ 
 
 zz: 
 
 ^ 
 
 :j — ••-^5 — »^ 
 
 i 
 
 2£ 
 
 i \*i ' i 
 
 r » '# \f 
 
 ^ 
 
 ^ 
 
r 
 
 ^■fwi 
 
 >i 
 
 i 
 
 
 HASSANIS VOCAL MKTH(»D 
 
 fjffll J 
 
 -g-»-r 
 
 ??= 
 
 Sea 
 
 ^ 
 
 i 
 
 sea 
 
 /T\ 
 
 -I L 
 
 ^5t 
 
 
 32: 
 
 tt A" 
 
 ^:— ^ 
 
 ■^- 
 
 ^E 
 
 ^ 
 
 zz: 
 
 f g 
 
 m 
 
 ^ 
 
 H 
 
 iL 
 
 -^ — t- 
 
 M. 
 
 m 
 
 r frfrfrf \ r ^ ' I 
 
 3: 
 
 ^ 
 
 + 
 
 Soa sea 
 
 ^ 
 
 P 
 
 V— • 
 
 2z: 
 
 m 
 
 izz: 
 
 I * * g 
 
 =^ 
 
 ^ 
 
 =i 
 
 ^ 
 
 =g 
 
 =f^ 
 
 r—^ 
 
 £ 
 
 i 
 
 ^g 
 
 
 ^ 
 
 vzu: 
 
 M 
 
 fe 
 
 ^ 
 
 MLL f l: 
 
 3Z 
 
 f r f f f \ f ^ 
 
 Sea 
 
 ii 
 
 Si 
 
 aoa 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 :zt 
 
 :S=M 
 
 ^ 
 
 ia: 
 
 ^^ 
 
 :^E 
 
 fl " #^ a '#^' 
 
 i« — ♦ 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 :^z= 
 
 i 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 S 
 
 M 
 
 H ( One M and one H \ 
 
 Sea 
 
 ^ 
 
 ^ 
 
 M 
 
 ^ 
 
 =g=^ 
 
 i 
 
 8ca 
 
 I 
 
 1 ■ ■» 
 
 — *- 
 
 ?i — r- 
 
 zz: 
 
 52: 
 
 ^ 
 
 4- ^ 4 U 
 
 
 *)'« ^ 
 
 f=f=r^ 
 
 I: 
 
 £: 
 
 ^ 
 
 Jt e- 
 
 ^ 
 
 fe^ 
 
8ASSLSIS VOCAl, MKTHOl). 
 
 28 
 
 P 
 
 M H (One M and one H) 
 
 M 
 
 a , * ^ 3c 
 
 ^^ 
 
 zc 
 
 # * # 
 
 ^ 
 
 i 
 
 Sea. 
 
 soa 
 
 
 te 
 
 ^ 
 
 F # y 
 
 o 
 
 
 f 
 
 -^9- 
 
 ^ 
 
 f 
 
 -^2 
 
 !^ 
 
 £ 
 
 ^^ 
 
 I 
 
 f i f r i 
 
 i 
 
 £=^^^ 
 
 ^ 
 
 Up to this point the Tenor haw simx- with chest tone. He will now beg-in to try to unite the two reK"- 
 isters chest and medium; In this way. 
 
 C M C M C M C M C 
 
 $ 
 
 ' j j , g '' A 'f=^ . 
 
 s L * ^ 
 
 :^ 
 
 ^Hc... 
 
 so to fonow tne ruJe g-lven for Soprano 
 
 H" is never ttt carry the chest tone, however, 
 
 (hlsrher than 
 
 voices; in ascendinjyr to employ the chest as much as possible; in deseendiJiK the medium. These remarks 
 apply also to the Baritone- only this will commence the exentises a minor third lower, thus: 
 
 H 
 
 i 
 
 te 
 
 gp 
 
 Sea 
 
 i 
 
 -p- 
 
 I *l * 
 
 ^ 
 
 ^^ 
 
 sea 
 
 ^ 
 
 
 I: 
 
 
 
»0 
 
 p 
 
 H 
 
 % 
 
 ZSl. 
 
 HASSIM'S VOCAl. MKTHOl) 
 
 ' ' " ' .1 
 
 rs:. 
 
 « 
 
 oa 
 
 soa 
 
 W«*' 'i ,% 
 
 f^ 
 
 \ gi>"A 
 
 -«-#- 
 
 22: 
 
 22- 
 
 g- ** I 
 
 ^ 
 
 qr=£ 
 
 ^ 
 
 ^ 
 
 i 
 
 r M. 
 
 
 H. 
 
 5oa 
 
 I 
 
 fe 
 
 J2_ 
 
 sea 
 
 -«- 
 
 :i2: 
 
 T" ' * I 
 
 s 
 
 ^ 
 
 ^f 
 
 it ♦ A ♦ 
 
 SfcZE 
 
 s» - 
 
 Tlic third note is very apt to bo flat Let the Master be careful that it is qiiito r(irrc<t. In t^in^- - 
 Iny: the iM^.iilf, not only the M//v^ but the te^enffi Is too much nejflectcd.ab' to octrrcct intimation. 
 
 1a) Moderafo ^ 
 
 Canto. 
 
 jf 
 
 /C\ 
 
 «FW 
 
 Fiano. 
 
 i^ 
 
 i 
 
 3rjc: 
 
 ■rf .. ■": 
 
 ^ 
 
 Tif"^ 
 
 
 rfra^ 
 
 
 ig 
 
HASSIMS VOCAl, MKl'HUP. 
 
 C C M M (TwoC and two M alteinatlnjfly ' 
 
 I 
 
 .11 
 
 C C M M 
 
 (TwoC two M) 
 
 Sea 
 
 ^ 
 
 J i.^ 
 
 ??i,rfflM y ^^ 
 
 sna 
 
 JA.yj^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 # * 
 
 P=^ 
 
 ^'iiy ^' '^ : 
 
 -^ — « — # 
 
 
 :s^ 
 
 C M M M (OiieC three Ml 
 
 .C 
 
 Sea 
 
 ^ J» * d j ^ 'S= f^ 
 
 ^ ^^^ 
 
 . sea 
 
 fti 
 
 /^ 
 
 P 
 
 E 
 
 J d * d 
 
 d * M 
 
 ^ 
 
 
 y*^i^iti* ^- 
 
 lU 
 
 4^-U 
 
 i 
 
 1 
 
 P 
 
 ^ 
 
 ^ 
 
 C M M M ( One C three M ) 
 
 P 
 
 t 
 
 J J JIJ 
 
 s - 
 
 »-^ ^^ M ^ ' tt m ^ 
 
 SC8 
 
 sta 
 
 
 
 I 
 
 /rv 
 
 4^0 
 
 » d 
 
 1 'H » 
 
 2t 
 
 ! I J I 
 
 _4__t iL 
 
 ^ 
 
 A_^ 
 
 j;lil 
 
 ^ 
 
 ^ ^ 
 
 ^^=^ 
 
npiMH i fPiT i i i B i 
 
 32 
 
 M. 
 
 BASSlNlk VOCAL METHOD. 
 
 m 
 
 I 
 
 jt . :_:^. 
 
 a » 
 
 # v^ # m * ^ * B * -^-^ 
 
 S(-a 
 
 sea 
 
 . ^^ 
 
 ^ 
 
 I I I 
 
 3 
 
 •y— ^ 
 
 I 
 
 ri I 
 
 2 
 
 gi'^ i/S rjj^i*^-/ 
 
 nj 
 
 *— ^ 
 
 I 
 
 1 
 
 r:\ 
 
 
 -* 
 
 xM. 
 
 P 
 
 E^E 
 
 f ^ 
 
 *.* ^ ia^§i§*a^ 
 
 :*:= 
 
 Sea soa 
 
 P 
 
 n\ 
 
 % 
 
 t 
 
 • J I 
 
 
 ^^^r — 
 
 I i 
 
 ife: 
 
 ^ • ^ 
 
 4i 
 
 5c: 
 
 
 1^ 
 
 g'yT 
 
 :z: 
 
 M. 
 
 i 
 
 fe-^j-^ 
 
 _( ^_ 
 
 -J — J- 
 
 i 
 
 * J 
 
 °.TO|,J 
 
 ^== 
 
 ?ca 
 
 sea 
 
 
 ^ 
 
 ?t*J ^ ^ 
 
 JJj7 
 
 9ifeiil^ 
 
 ^ J i J 
 
 ^ 
 
 ^ 
 
 i 
 
 :s: 
 
 i 
 
 ^ 
 
 "5^ ^f^^^jtr 
 
 -Bi»- 
 
 3ri 
 
 P 
 
 M. 
 
 P 
 
 i fi ^ ' ^ 
 
 LJ i .^m m..q?^|j .-^_i 
 
 Sea 
 
 Sea 
 
 I 
 
 «l 
 
 /T\ 
 
 TT. >• 
 
 as 
 
 4 j ^ J 
 
 4Ljt 
 
 i j 
 
 I 
 
 ^ 
 ^ 
 
 
 ^^ 
 
 ^ 
 
 , 
 
., .. . ,, . HASSINl's VOvAl, MriHOH. 
 
 M M n M(Ml<o the first measure.; 
 
 UU 
 
 h'ca 
 
 Bca 
 
 Sir 
 
 ^ 
 
 as 
 
 aft 
 
 i JT.lKtiT^ i 
 
 P 
 
 =s — --m^^-0 
 
 I 
 
 J ±^-[ 
 
 ES 
 
 rs: 
 
 iU 
 
 -< ♦ 
 
 I 
 
 ^ 
 
 i 
 
 F y 1 
 
 
 
 sz 
 
 M M H M (T Jke the first measure 
 
 ■A ^ • 
 
 ♦ -« ^ 
 
 m 
 
 - ^ i J 
 
 _25 ,... rr- 
 
 J: 
 
 n\ 
 
 i 
 
 ^ 
 
 l9-¥Vt ^^ 
 
 zz. 
 
 M H H HiTiiVe the first measure.) 
 
 * 
 
 » * # 
 
 ■» m * ' * m '^~f- 
 
 3^ 
 
 Sea 
 
 eca 
 
 i 
 
 ^: 
 
 .^ 
 
 ■i § f- 
 
 ■x=^ 
 
 » s* 
 
 ra 
 
 ± ^? ^ 
 
 V ^ ± * 
 
 ^ 
 
 -^ — 
 
 
 -^ 
 
 rs:: 
 
 ;;:^= 
 
 M H H H (T.Ike the first measure 
 
 i 
 
 ^i- i^f f r ' 
 
 Sea 
 
 3ca . 
 
 te^ 
 
 ^ 
 
 1 . I 
 ^ * ^ 
 
 f r ^ r 
 
 rs: 
 
 ^ i • z±L 
 
 ' r ' r 
 
 ^ 
 
 ^ 
 
 
RS 
 
 94 
 
 HASSIIM^ VOCAI, MKtHOl), 
 
 H 
 
 I 
 
 Hi^ f^ 
 
 S(ta 
 
 ^ 
 
 g * f #~r 
 
 eca 
 
 # ' J I T- 
 
 i 
 
 s 
 
 ?^ 
 
 ^g 
 
 3z: 
 
 
 i 
 
 
 f 
 
 #^=^ 
 
 H. 
 
 EXTSICISES UPON FOITR NOTES 
 
 The fourth note,inthete exercise, is apt to be too sharp. This arises from a eortaJn attraction of the 
 sub-dominant (4th) toward the d()iiunant(.ith .This is chiefly observable in some l)ra«5S instruments, like the 
 pt»!st- horn*, but it is also a tendency in the human voice. To avoid this it will be necessary slij^tly to 
 accent the third. 
 
 (.' 
 
 1.1 
 
 Canto. 
 
 Moderaio 
 
 c. . . 
 
 :^ 
 
 These notes ail chest. 
 
 Piano. 
 
 ^ca 
 
 
 Sismpre legato ed eguali . 
 
 T-"-F^ 
 
 
 • ^ • 
 
 ^ 
 
 til ; # * 
 
 :?=»= 
 
 ?==^ 
 
 
 -7- -ir^ 
 
 ^ 
 
 I r^ * * I j 
 
 J 
 
C C M M M M 
 
 TVi» r aiut fdiir M 
 
 i 
 
 iica 
 
 sea 
 
 i 
 
 i3 
 
 ^ 
 
 ♦=K 
 
 * ' 
 
 i:zi=3L 
 
 • • 
 
 ^^ 
 
 9 T # #- § ^ § 
 
 '^2r. 
 
 ^ 
 
 3z: 
 
 ::2 
 
 ?rf 
 
 f 
 
 iE 
 
 ^ 
 
 -^^ 
 
 ^ 
 
 ^ 
 
 OneC and f ive M ^ 
 
 C M M M M M C 
 
 ^^ 
 
 i^tat 
 
 » M • 
 
 *0 
 
 acj: 
 
 -»-*-*# j t .0 ' ^ d A 00' M 
 
 ^VA 
 
 sea 
 
 *4 
 
 S 
 
 0> 
 
 ' 
 
 » » 
 
 3=?: 
 
 I 
 
 fefei*"!^ 
 
 yye 
 
 
 -*-^^ 
 
 ^ 
 
 >*' . 
 
 13: 
 
 ^ 
 
 i 
 
 
 I3ZZZZ: 
 
 3 
 
 g 
 
;iii 
 
 C M M M M M 
 
 HASsiNis >wi Al Mh I'HOIl 
 
 One (■ and fivi* M 
 
 M. 
 
 ma 
 
 M 
 
 4fi*iM^' r-J j J ^ *~^ 
 
 
 SOtl? 
 
 •y - 
 
 ^ M * ' * A ^* * ' ^i ^i < "^f 
 
 ^'(■a soa. 
 
 I 
 
 /TV 
 
 — I — \ — ^ — , — ^ — I — 1__, — t 
 
 y-^ . • . J J . ^ ' > -J 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 1) 1^3 * ^ i. 
 
 .^ iT; n^ /^ 
 
 ^s 
 
 i 
 
 ■* -f? 
 
 ^^ 
 
 ti 
 
 ^ 
 
 s; 
 
 M 
 
 -s. ^: 
 
 m * f r f r r ^ F * r*r r - y ^i rrr prrrfrprf r^ 
 
 ^ 
 
 5= 
 
 ^\7 sea 
 
 Sea 
 
 
 ^ 
 
 ^ 
 
 p 
 
 ^ 
 
 iat 
 
 1^-Jt- 
 
 ♦ I . »- 
 
 ggg 
 
 i 
 
 
 ■zz 
 
 ^p 
 
 ,^ 
 
HASSIM'S VOtVtl, MKTHOl). 119 
 
 M M M H M M. K^^'F^} ?"f» ;'"5^* M 
 
 ^ 
 
 Sea . sra ... ... . . 
 
 
 ^ 
 
 ^ 
 
 ♦#- 
 
 ^^v« 
 
 
 -^ 
 
 } 
 
 as 
 
 
 
 s; 
 
 ^ 
 
 ^ 
 
 i 
 
 I 
 
 M M H HUM 
 
 Ihi. M and three H 
 
 M M H H H M 
 
 Three M and three H 
 
 M 
 
 \i * M 
 
 !^ ^r'rrr' = - ^ 'r rjr r r 
 
 « — ■— ^— 1 — = — w # * r I — ^—at — ■ r i — - — m m r , — z—t 
 
 UJ UJ LJ UJ ' IjJ Uj^^ 
 
 -S-** 
 
 1:53 
 
 ^^ 
 
 * ;r - , 
 
 ^«a 
 
 era 
 
 f4i/jT^^^^/r>'^_ 
 
 u^LLJi:: 
 
 » * r * » 
 
 ;>''l"»t<t T' 
 
 i 
 
 ^s:; 
 
 ^^ 
 
 J2- 
 
 X-^ 
 
 Si 
 
 ^ 
 
 '^ " * — P 
 
 ^ 
 
 
 ^ 
 
 M H H H H H. 
 
 One M and flveH 
 
 M 
 
 I 
 
 * 
 
 Sea. .... 80a 
 
 m s* — zr 
 
 ^ u. ^ 
 
 ^ 
 
 il 
 
 ^ ^ * * tf ^^ i^^z^jt: 
 
 abit 
 
 N. 
 
 p r r r ' 
 
 ^ 
 
 ^ 
 
 £: 
 
 s 
 
 
 i::: 
 
 £' 
 
 ■^ 
 
 S 
 
 ifb i ^ i i- 
 
 i 
 
 i 
 
 ^T 
 
an 
 
 MH H H HH 
 
 HASSr.Sl's \(KAI. MKTHOD. 
 
 OiieM and five H 
 
 H 
 
 AllHead 
 
 EXERaSES UPON FIVE NOTES 
 
 The more we increase the number of notes, the greater must be the care of the pupil to siiij^ with equal. 
 ity the descending: notes, which are prone to be hurried in their descent. 
 
 I 
 -- Moderate 
 
 14. C. . . .M 
 
 f'our C and four M 
 
 Canto 
 
 Sea 
 
 J # ; 'i/>^ ^ J ' j J ^ * ^ ^ ^ J i j-y^^^^^^^'^^^ii^^ 
 
 8ca 
 
 
 ^ 
 
 3^ 
 
 3t 
 
 f 
 
 I 
 
 r 
 
 ^ 
 
 T- — irr9- 
 
 i 
 
 i 
 
 :& 
 
 Z3 
 
 n 
 
 ^ 
 

 I 
 
 i 
 
 M 
 
 Three C and five M 
 
 WASSINl's \()IA1. MKl'HOI). 
 
 39 
 
 . .r 
 
 c . . M 
 
 Two C and six M 
 
 i 
 
 « I I 
 
 
 ^ * * ' f zjr- V-t , # * * ' •~T7r^7Tif^' =±: ^^ -i- r^^ 
 
 "'*■■'■ -, 
 
 i 
 
 -ca . . 8«a 
 
 I 
 
 /O 
 
 s 
 
 ^ 
 
 2ti: 
 
 9%^^ d- 
 
 %—-s^ 
 
 ZBL 
 
 -! 'y* '' 
 
 ? 
 
 :te 
 
 -w--^ 
 
 4iJ**- 
 
 t 
 
 ^ 
 
 I 
 
 C. .M 
 
 Two C and six M 
 
 .C 
 
 ;, > * * L.±.* ; I , i * 
 
 * ^ # 
 
 *i J j i * 
 
 ^ §^i * ^ ^ . .A» \ , 
 
 - ^ — zr 
 
 Sea 
 
 sea 
 
 ^§ 
 
 /CN 
 
 3^ 
 
 ^^ 
 
 :::^ 
 
 iz: 
 
 £ 
 
 f 
 
 - *-^ 
 
 T^ 
 
 -f^ 
 
 : T 
 
 t- ^-' lt 
 
 Vi/ 
 
 /tN 
 
 ^ 
 
 I 
 
 C M 
 
 One C and seven M 
 
 ,C 
 
Bi 
 
 40 \C' M ^"® ^ "^^^ seven M 
 
 KASSIMS VOCAL MKTHOD 
 
 «-' Sea. . . . ——"""" 
 
 Tr^ I 
 
 sea 
 
 ^ 
 
 ^ 
 
 -1 — I- 
 
 ! 
 
 
 B gffl- 
 
 f 
 
 i 
 
 s 
 
 rs^ 
 
 r 
 
 ^ 
 
 
 ' a j. T 
 
 ^ 
 
 «- 
 
 2t 
 
 3Z 
 
 M 
 
 All Medium 
 
 .M 
 
 [^ 
 
 w 
 
 W' J > ^ 
 
 [:TJ^^ij::^n7}t^f??^.^jff>^ 
 
 f , 
 
 if 
 
 iii^ 
 
 Sea 
 
 sea 
 
 i^ 
 
 ^ 
 
 I u i 
 
 
 K ,g.^^ 
 
 f 
 
 :;*== 
 
 r 
 
 r 
 
 ^ 
 
 /^ 
 
 iiE 
 
 9¥f ^^ r 
 
 ^ 
 
 ^ 
 
 22: 
 
 f 
 
 M 
 
 .H 
 
 Seven M and one H 
 
 M 
 
 fc^Q^lJJT^r^plff^^rr^ 
 
 ^^ 
 
 i 
 
 >ca 
 
 sea 
 
 ^ 
 
 i 
 
 I 
 
 I 
 
 «= 
 
 E^ 
 
 rj tf 
 
 ■73^ 
 
 S: 
 
 f= 
 
 =^ 
 
 ^ 
 
 ^ 
 
 
 i 
 
 an: 
 
 -^»- 
 
 -*- 
 
 M. . . .H M 
 
 Seven M and one H 
 
 .M 
 
 §^^^'tiUUi:^a:Ili]j^idUiiu^^ 
 
 f 
 
 ,,i 
 
 i 
 

 ' 
 
 M. . .H. . .M 
 
 8A.SSIX1S VOCAI. MKTHOI). 
 
 Five M arid thn-e H 
 
 41 
 
 Sea 
 
 =ca. 
 
 
 fifii- 
 
 ^ 
 
 9^ ( ^ f p 
 
 •^ ^ 
 
 :^ 
 
 I 
 
 i 
 
 ^ 
 
 M. .H 
 
 ,M. 
 
 Three Maim fiveH 
 
 ^ea, 
 
 sea. 
 
 I 
 
 ^^E 
 
 3S 
 
 ?z: 
 
 wc^ r r 
 
 E 
 
 4: 
 
 £ 
 
 ^^ 
 
 ^^=r 
 
 ^ 
 
 £ 
 
 i 
 
 rt\ 
 
 J *u j l-J 
 
 w 
 
 ^^ 
 
 *?»= 
 
 iL 
 
 M 
 
 /CN 
 
 ^ 
 
 55t 
 
 S^ 
 
 E 
 
 
 i 
 
 /T> 
 
 /^ 
 
 M. H 
 
 • M. 
 
 Three M and five H 
 
 .M 
 
 One M and seven H 
 
 .1^ 
 
 $ 
 
 Sea 
 
 sea. 
 
 ^ 
 
 -»fl- 
 
 31: 
 
 -g ^ 
 
 zc 
 
 ^ 
 
 ** .g 
 
 ^ 
 
 ji i j - 
 
 -g 
 
 ..t 
 
42 
 
 
 M 
 
 KASMMb VDiAl, MKTHOU. 
 
 Four C and t;ix M 
 
 C 
 
 ... P- 
 
 N 
 
 5^' JB 
 
 r - T » y 
 
 F-^- 
 
 /tn 
 
 ■<a- 
 
 3t: 
 
 5^1^ 
 
 :zz_ 
 
 :^ 
 
 # f 
 
 
 ■A — 5 — I \- 
 
 i=^ 
 
 
 WI 
 
 USE 
 
 J. ly. llinic (' arid Mcvon M o 
 
 <J 
 
 SE 
 
 9J 
 
 ^ ?* '^ ^E^^^^^^^^^^^^g g^^ ' ^ 
 
 Sea. 
 
 9(!a. 
 
 \ 
 
 rr- 
 
 -9- 
 
 ^ 
 
 ^ 
 
 T -^ 
 
 -9- 
 
 
 -# i- 
 
 ^ 
 
 W" 
 
 ^^se 
 
 nac 
 
 I ! 
 
 ^ 
 
^ 
 
 ^ 
 
 /T^ 
 
 ^ 
 
 m 
 
 /T^ 
 
 =^ 
 
 ^ 
 
 /TV 
 
 - o - 
 
 b-r 
 
 v:/ 
 
 BASSINIS VUCAL MKIHOI) 
 
 p „ One C and nine M ^ q 
 
 43 
 
 Sea 
 
 stta 
 
 te 
 
 g 
 
 TT 
 
 ^m 
 
 kt^ 
 
 ~TT 
 
 2z: 
 
 i 
 
 f=-t 
 
 * 
 
 ^^ 
 
 
 Fl^ 
 
 ^^ 
 
 % 
 
 M 
 
 One C and nine M 
 
 c 
 
 Sea . . ... ... 
 
 ^m 
 
 sea 
 
 ^ 
 
 5 
 
 I I 
 
 ^^s 
 
 gge 
 
 f 
 
 T=r 
 
 ■i9- 
 
 i i J 
 
 *= 
 
 * 
 
 ^^ 
 
 ^ 
 
 2 
 
 i 
 
 
 r^np'r 
 
 M H M ^i' M'^'^iuin except one Head 
 l' 
 
 .M 
 
 i 
 
 ^ 
 
 'ȴ<^. J^' 
 
 ^^ 
 
 Sea 
 
 sea 
 
 fte 
 
 5 
 
 icrr 
 
 y¥*i||^<*" 
 
 s 
 
 :«C 
 
 T^ 
 
 ■<5>- 
 
 1^ 
 
 
 i 
 
 £ 
 
 ^ 
 
 i 
 
 e 
 
 ?^3nF 
 
 ^^j^W 
 
 
 M 
 
 .H 
 
 Seven M and three H 
 
 .M 
 
 \ 
 
 $ 
 
 i ' J i^' 
 
 t=^ 
 
 e 
 
 a 
 
 if 
 
 St; a 
 
 
 ^ 
 
 ■zr 
 
 f^ 
 
 la — 
 
 I ^1 
 
 i 
 
 i^^ 
 
 zc 
 
 
 ^ 
 
 5^ 
 
 a 
 
 ,^ 
 
 ■Vf , tf f 
 
~4 
 
 
 m^^mmmmmim''mmm 
 
 44 
 
 M. 
 
 H. 
 
 HASMr»lS VOCAL MKTHt)!) 
 
 Seven M ai\d three H 
 
 M 
 
 pre .' ^^ f-^^ ^ 
 
 Sea ... sea 
 
 $ 
 
 ^ 
 
 ^ 
 
 33S 
 
 S 
 
 ^ 
 
 3S 
 
 l; \, 7. : 
 
 W 
 
 s 
 
 f^ 
 
 ^st 
 
 -« 
 
 r 
 
 i/* 
 
 i^i 
 
 ■^*- 
 
 t9- 
 
 
 E 
 
 * 
 
 ^ 
 
 :^=t 
 
 ^ 
 
 M. 
 
 rj u Five M and five H 
 
 M 
 
 L#*r p##:y 
 
 Sea 
 
 I 
 
 y — 
 
 ZZS 
 
 p 
 
 sea 
 
 ^ 
 
 E 
 
 y—f- 
 
 1*- 
 
 r 
 
 ■^-fcfe 
 
 fe5«t^ 
 
 
 ^ 
 
 TlT'- ' ^> 
 
 i 
 
 i 
 
 M. . .H. 
 
 M 
 
 Three M and seven H 
 
 .M 
 
 EXERCISES UPON SEVEN NOTES . 
 
 Tlie voice beinjf pronet'idimiiiishlhc intervals of the scale- and especially to sinK the 7th too flattboth as 
 fiindinK: and dcseendinK',it is nccesj^ary to accent the 7th rather more than any other note. 
 
 IG. 
 
 Canto 
 
 C. . . M 
 
 Modcrato 
 
 Four C and ei«ht M 
 
 IMan 
 
 Tlie respiration imi:.i»bc di-en ami »';ti.'V 
 
 I 
 
^ 
 
 I 
 
 ^ 
 
 HASMNIS VOCAL MKTHOI). 
 
 45 
 
 , Three C and nineM 
 
 ^ Sea . 
 
 s<;a 
 
 :^z: 
 
 S 
 
 ^ 
 
 S5:±±:=s 
 
 3: 
 
 552: 
 
 «- 
 
 3z: 
 
 I 
 
 /O 
 
 f 
 
 
 ^^ 
 
 T^ 
 
 Two C and ten M 
 C. . M ( . .M 
 
 .C 
 
 Sea 
 
 sea 
 
 ^ 
 
 -^z 
 
 ^ 
 
 9%-r^ -1 
 
 i 
 
 :^z= 
 
 2S: 
 
 ^ 
 
 *• f — ■*- 
 
 ^ 
 
 i-::^ 
 
 B 
 
 g jf "£- '^ 
 
 :fc# 
 
 
 p « Two C nine M and one H ^ . . . . .C 
 
 ^ili'^Hf^.'^.J?^ 
 
 '»* - ^^ 
 
 ^^^S^^^^S!^ 
 
 "TH b 
 
 **^-B B- 
 
 ^^ 
 
 I 
 
 Sea 
 
 fca 
 
 ^ 
 
 ^ 
 
 9t^ 
 
 1/ " s 
 
 22*: 
 
 -jr 
 
 % 
 
 ^ 
 
 f 
 
 S 
 
 #1=^ 
 
 ^ 
 
 *e 
 
 f^ 
 
 One C ten M and one H ^ 
 
 p jy. »JIie V. ven i»i niiu uiie ii ^ 
 
 si 
 
 Sea 
 
 sea 
 
 S 
 
 -»»- 
 
 i 
 
 y^ii^jMf^ _i 
 
 22*: 
 
 i 
 
 f 
 
 s: 
 
 m 
 
 f 
 
 -# ET* •'-"^ — 
 
 ^ 
 
a 
 
 mmm 
 
 «e 
 
 ^M 
 
 HASSIMVj VOlAI. MKTH()I>. 
 
 One C ei hi M and three H 
 
 IJ^n- ilffl^rJa I jgg^LOg^ :ffi 
 
 -|ia^>'r'Li giy 
 
 = g= 
 
 I 
 
 Sea ■ . . sea 
 
 ^ 
 
 ^ 
 
 ^F^ 
 
 ?F 
 
 rzc 
 
 :;5=: 
 
 P 
 
 r 
 
 r 
 
 ^ t 
 
 t, ji |g 
 
 H- 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 ^^ 
 
 3: 
 
 f 
 
 NLne Mand three H 
 
 
 M 
 
 P 
 
 tlVt^ J.Ji 
 
 Sea. 
 
 (P 
 
 sea 
 
 ig 
 
 ^ 
 
 S^ 
 
 1:522: 
 
 ^: 
 
 =5== 
 
 ^ 
 
 3 h *n - 
 
 5 q^^ * 
 
 ^ ?: 
 
 ( 
 
 as 
 
 <^ 
 
 :rrT-]» 
 
 ^^ 
 
 te 
 
 M 
 
 .H. . . M 
 
 Seven M and five H 
 
 M 
 
 6 fi ^ e 
 
 sea 
 
 ^^ 
 
 Sea 
 
 iP 
 
 ^ 
 
 rs 
 
 ^ 
 
 i 
 
 2^ 
 
 2^ 
 
 f 
 
 g=F^ 
 
 =?z: 
 
 ^ 
 
 :^ 
 
 I " t^» '1 
 
 <?N 
 
 22= 
 
 ^^ 
 
 ^ 
 
 M. . .H 
 
 .M 
 
 Five M and seven H 
 
 M 
 
 Sea 
 
 sea 
 
 $ 
 
 te 
 
 122 
 
 ^ 
 
 :;5=: 
 
 £ 
 
 ^ 
 
 ^ 
 
 ssz: 
 
 ^ 
 
 ^ 
 
 •^ 
 
 ^ 
 
 i:^ 
 
 I 
 
 ^ 
 
 ::^= 
 
i 
 
 ? 
 
 ' 
 
 JtASSINl'S VOCAL MKIHOD 
 
 EXEKCISKS UPON EIGHT NOTES 
 
 47 
 
 When the pupil «an sln«: the scale with equality and with perfect intonation , he may rest assured that 
 the moat difficult part of his task Is accomplished. It is stlli best that in the asceiidinjf scale he 
 should sln«: more strong-Iy the fiist three notes,and in descending: jcive heed to U\e 7th; but he can now 
 (five rather more attention to other thiny-s . 
 
 C^ 
 
 u.\ 
 
 »nJ 
 
 ^ 
 
 Four C. and ten M. 
 
 r .- 
 
 anto . 
 
 PianoJ 
 
 C M •_: . • . . . 
 
 I 
 
 '«■ 
 
 I 
 
 Three C and eleven M. 
 
 sea .si;a . 
 
 ^^'' UTi': 
 
 ^ 
 
 ^ 
 
 4 S 4 
 
 # 
 
 1 
 
 i^^ 
 
 *- 
 
 f= 
 
 ^ 
 
 f 
 
 S 
 
 ffin^ 
 
 'S^* 
 
 §s 
 
 vi- 
 
 Two C, eleven M, and one H. 
 
 C. .M H. .M 
 
T~ 
 
 ^SgS?-' j»:i iuiim'w...g'iiiiLi»^Ji7i^ 
 
 48 
 
 HASSlNl'S VOfAI MKTHOI) 
 
 Two Cnlne M, and three H. 
 
 C. . . M. 
 
 ^ 
 
 :5=it: 
 
 H . . . .M 
 
 ^ I * ^ m 
 
 ^iptff^ [ _^ ^ 
 
 =3^= 
 
 Sea 
 
 sna 
 
 f 7 9-7 
 
 ^ 
 
 i 
 
 ^ 
 
 I 
 
 I 
 
 ?=T 
 
 
 TTT 
 
 »F» 
 
 ^ 
 
 3: 
 
 ^ 
 
 =^ 
 
 -—*-!?: 
 
 v:/ 
 
 m 
 
 C. .M 
 
 1. I rriV \ ' ^ 
 
 One C.ten M, and three H. 
 H . . . .M 
 
 .C 
 
 ^^^^^S 
 
 ^r ' « ^ ; 
 
 i 
 
 ■^ - 
 
 ; i * 
 
 Sea 
 
 ara. 
 
 il'^ '' ffl, /] 
 
 ^ 
 
 /TN 
 
 i 
 
 I 
 
 »■ (rJ» i 
 
 ^ 
 
 ^ 
 
 i 
 
 S 
 
 f 
 
 m 
 
 r> 
 
 \m 
 
 iMrr 
 
 One Ceijfht M.and five H 
 
 Sea 
 
 sea 
 
 J n Jl 
 
 a3 
 
 W 
 
 ^ 
 
 ^H 
 
 3=k5= 
 
 
 ^^ 
 
 
 s^ 
 
 ^ 
 
 z: 
 
 m 
 
 ^ 
 
 ^ 
 
 :^=jt: 
 
 ^ 
 
 Nine M.and five H. 
 
 M 
 
 ,H 
 
 •M 
 
 Sea sea 
 
 ' .t 
 
 i 
 
 
 /?N 
 
 i 
 
 
 v=t 
 
 m 
 
 'I \f 
 
 
> 
 
 L 
 
 WASSINI'S- VOCAI, m:THOI) *** 
 
 EXEKCISK ON THIRDS. 
 
 WhalovtT may bt; the Intelligence or the maisloal caiiaelty of the piipiMf he has eonKrlenllousIy pnrsiiod 
 the syt^teiii this far he must have employed a period of at least t^^(> months. 
 
 Kut by this time he must have become familiar with the different reKlstcra and their use: they will 
 Ihcnfnre no lon^fer be indicated. Strict attentij>n must be paid to this matter, however, rememberlrif^that 
 tlie Clifst rPKl^ter Is prone to rise and dcstroythe Medium ;partieulary In Barltonesand Tenors. These 
 r-in^-ers often mistake a so called mixed voi<;e. or vocf.bianc. , for pure Medlumand Chest. The u.-e of the mixed 
 voice IsdanKcrous to the vocal organs, and tiie t<tne Itself la poor. 
 
 The pupil will always precede the study of exercises by slnjkjin^the two scales, No. 5» andto:employln«: 
 pure lejif isters, and a fiiUequal tone. 
 
 18. 
 
 K 
 
 '/■■ 
 
 /" 
 
 y^ 
 
 V 
 
 s<. 
 
 <;a s<;a 
 
 S.ta 
 
 ^j ^ U^ I ' UJ 
 
 sea 
 
 Soa 
 
 sea 
 
 i — -it 
 
 ^ 
 
 S 
 
 S 
 
 sea 
 
 • sea. 
 
 *ca 
 
 sea 
 
 fe 
 
 5^ 
 
 ^^m 
 
 Sea. 
 
 sea . 
 
 i^ 
 
 ^ 
 
 3 
 
 inno / 
 
 w 
 
 -1*- 
 
 ;^: 
 
 -« 
 
 mi O 
 
 ^ 
 
 !=»=? 
 
 ^ 
 
 t=i 
 
 i 
 
 ] 
 
 T 
 
 A.(r«nt thf i'ii'st ntitcot the triplet 
 
r 
 
 
 U« 
 
 ^tt 
 
 MASSIMIS VOCAI. MKIHOI) 
 
 KXKuri.sh: (ipox vakikd thirds 
 
 t 
 
 V 
 
 m 
 
 Piano 
 
 S<ra . . s(!a . 
 
 ^M^»\ »0^»*90*'*' * I f * #* *»,*# 
 
 §'*9^ * B 
 
 S«!a 
 
 .<(r.i 
 
 Sea 
 
 sea 
 
 ^i^^ffl^^^S 
 
 > 7 * vTv~rr 
 
 ^^^^ *-' 
 
 Sea ^».'a 
 
 Sna 
 
 sea 
 
 Sea 
 
 5(!a 
 
 
KASSImS \0IA), mkiwu* 
 
 •t 
 
 KTKRf'ISKS 0>i srXTKKNTM AND VAKIKI) THIKDS. 
 
 Tlu! a» (!(>iUuation tiC Uu- fnllovsliiic exerciser I« eiiUrt'Iy diffcrunt fiTiiii thalot triplet , and the only nuteinnrk- 
 t(l must bft the l'ii>L of ctairh tcroiip . 
 
 20 
 
 Semft'f legato ..^^^^m^mmt p^— i— wg 
 
 )r 1 
 
 ^. 
 
 ScA 
 
 S«!a 
 
 
 J^|''^'<^ 
 
 *#■ -<**#■ J *V*«'y^ 
 
 Soa 
 
 fttia . 
 
 Piano/ 
 
 * 4 ^ d m 
 
 ^3^ 
 
 ^g 
 
 -* #- 
 
 3BE 
 
 ^S 
 
 ^3B 
 
 ^ 
 
 » # 
 
 :5E=S: 
 
 £E 
 
 ■U- 
 
 i 
 
 If the sln^-er find a difficulty in j^in^in^ the /i?i//-mea.-uics of the fiiregoiny- exercises? with one breath',he 
 will employ two, and sin^ as marked below. 
 
 E^ rr^rri^ 
 
 *_#.* 
 
 ^ 
 
 Sna 
 
BASSIM'S VOCAJ. Mf:TH«)l) 
 
 :«. 
 
 Sea 
 
 !5«;a 
 
 s;.. 
 
 (:;v 
 
 •>ca 
 
 i 
 
 fcs^ 
 
 w 
 
 yrr-f f ttfw ±± 
 
 ^ 
 
 §T r § ^ jc 
 
 3 ^^ ^^Sr^ a »\^ * ^ ; J J g » j 
 
 ^(!a 
 
 S<!a 
 
 1—1 — • — ' — 1 — *— t — ^ ^^^™^ ^^^^ 
 
 Si-a 
 
 !!('.a 
 
 m 
 
 t==t: 
 
 3E3 
 
 * J 
 
 -# — #- 
 
 S 
 
 .J * g 
 
 h< — *- 
 
 h# — 1#- 
 
 ^ 
 
 i 
 
 T # *- 
 
 ^^ 
 
 sfe 
 
 253 
 
 
 i 
 
 
i 
 
 BASSrVlSi VOCAI, MKTHOn. SS 
 
 KXERl'ISKS TO Sf-XLRE THE RIGHT ACTION OF THE GT.OTTIS 
 
 In «;omini!n«ring' th«;SL' exorcix;-^ I -taledthat the word ica would he u.-ed on acoounl of certain advantag-ed its 
 structure secured,as to a pleasant and natural position i»f the mouth, and the proper stroke of the jflottis. 
 
 I need not here dilate upon the dif f ioulty of ohtaining' from a beginner in the study of musio a norrect emi>ision 
 of the vowel a it is sufficient that this is the faot,and it was to avoid the Ios>s of time that the word sra wiis u^ed. 
 
 But we have now arrived at a puint wh(!re we can dispense with it.and use the proper vowi-l a. 
 
 In sin^in^.if you wish to alig'ht upon the tone with neatness ,with true intonation, and will not have the tone 
 preceded by some undesirable aspiration.Iiko A'a\or,i{ you wish to avoid wa^tiri^ a particle of your breath, the 
 proper action of the jflottis must be employed. 
 
 The following ftiur exercises are written with avi«w to this end, and willprove a valuable study, not only on 
 aoeount of this jflottis- stroke but as a means of learning how to comiuand the motions of th(! diaphragm. 
 
 Baritone voices will find these exercises of spectial use. 
 
 Let there be a short intervaJ.or rest.between every note.apply neatly to the first nt)t(! the syllabi*; sca,&i\d then. 
 without taking' breath or chang'ing: the position of the pharynx.pronounce a to the other notes,preeiseIy as you 
 did in its connection with jca .The principal ag-ent in this exercise i-^ the diaphragm. Let every note bog-ivenwitJian 
 outward impulsion of the diaphragm.lt caj\ easily be felt by holding" your hand on the lowr pai-t of your chest Begin 
 veryslowlyandtakethea from the bottom of the throat. Recollectthatthea has the Italian sound.like a/r. 
 
 21. 
 
 Canto 
 
 Piano 
 
 I 
 
 ii Bis. 
 
 $ 
 
 Moderafo. 
 
 Repeat the oxen.'ise witii tlie above aceojnpanimcnt in the following- way. 
 
 n 
 
 Sea a a a a a a 
 
 izir 
 
 -f--9- 
 
 -\ — I — \- 
 
 m 
 
 ^^=^ 
 
 a a a a a a a 
 
 -#- # 0-0-0- 
 
 a a a a a a a 
 
 ^ 
 
 JJ;IJ^- 
 
 ■:f=:^g=g=i=0: 
 
 '^•■~ 
 
 =S= 
 
 Sea a a aa a a 
 
 a a a a A a a 
 
 § 9 9 § » 9 
 
 a a a a a a a 
 
 ^^ 
 
 a a a a a a a 
 
S4 
 
 KASSLMS VOCAL MP;TH0D 
 
 Avoid the propensity of slurring- the last and first note of each group 
 
 'Za , , Lento 
 
 Canto 
 
 ^ ^^^' ^ * * 
 
 Sea a aaaaaa aaaaaaaa aaaaaaaa aaaaa 
 
 ^y 
 
 * 
 
 s 
 
 -f^r r g 
 
 ^ 
 
 5 
 
 Piano 
 
 ' ft 
 
 r ^ r , 
 
 i^''V7 r 
 
 ^ 
 
 ^S 
 
 ^ Vf r ^ j gE 
 
 ^.^hTTT. 
 
 ->r—i 1- 
 
 *-«-*-#-/hiC 
 
 Sea aaaaaa aaaaaaaa aaaaaaaa aaaaaaaa a 
 
 ^^ 
 
 j=N= 
 
 S 
 
 T^TT 
 
 
 *)'<> r T- r ' 
 
 ! f 
 
 ^ 
 
 < g - 
 
 ■^ — i- 
 
 23. 
 
 Canto 
 
 i 
 
 V 
 
 URST EXERCISES ON VELOCITY 
 
 Accent the first note and inake the last one short. 
 
 E 
 
 I 
 
 ^ *? g 
 
 I 
 
 ^MJ/7 j? 
 
 *^. T ':^ f ? 
 
 •/ ^ #: 
 
 * * '"T 77^r7^ 
 
 E^ 
 
 K:*: 
 
 :53r 
 
 A 
 
 i 
 
 :5l 
 
 ^''^^3^ 7 i__i44^^^^3a■^ a I -.' ■ '^i^ ^ ^ 
 
 t 
 
 zz:! 
 
 !s: 
 
 1 
 
 s: 
 
 Piano , 
 
 g w « .., .,^.: 
 
 r _ • >- 
 
 * - > 
 
 ^ 
 
 S^ 
 
 r ^ ^ # ^- 
 
 ' III 
 
 ■* r /r 
 
 * r * :g 
 
 r : f 
 
t3C±l 
 
 ^^^^^^^^^^ 
 
 
 ^ # *~ " ^^ jj "^ 
 
 ^ 
 
 :::n. 
 
 sii; 
 
 P^^^^ 
 
 T-ff^r^ 
 
 ^ 
 
 -*-#-^ 
 
 vJTj7]ti-,:f i »7jj!r ^-' 
 
 jU^'s'.^jjJ T ^ I V^J ^^^ 
 
 jt_r 
 
 -t h 
 
 ^ i g ^ 
 
 H ^ ^ f 
 
 -# — -— #• 
 
 #,..,*., * jE 
 
 ^^ 
 
 f ^ * ^ f ^c zg: 
 
 » r i» ' » r # 
 
 I I 
 
 SKCOM) EXERCISE. 
 
Be 
 
 HASSINlVi VOCAL MI-n'HOI) 
 
 — Q — i ^^^i I i J J # 1 — P^'^ r — ^('■(■■'BS^ 
 
 ^Jf-S-*^ 
 
 i ' J J ^ n J *? A ' 
 
 ^^-^^1 
 
 r 
 
 ^^ 
 
 * M, !■ " 
 
 ^^ 
 
 ^ 
 
 »* 
 
 \ ''» 
 
 y* 
 
 S 
 
 f=^ 
 
 iS 
 
 
 rriTE 
 
 i: -i-r J g j 
 
 THIRD EXERCISE ON VELOCITY. 
 
 Z^. 
 
 Canto . 
 
 i 
 
 ^ 
 
 i < * n j"r~^ 
 
 f 
 
 ^ 
 
 jM * ' * » j . 
 
 ^^ 
 
 ^?=k: 
 
 fe i^7 y 
 
 *:5t 
 
 r^ 
 
 Fiano. / 
 
 mi 
 
 3iliJ-J- 
 
 ^ 
 
 m a 
 
 •^ ♦- 
 
 t t 
 
 ^ 
 
 ^ 
 
 -# *- 
 
 J J J 
 
 r ^' r r 
 
BASSBVl'S VOCAL METOOD 
 
 87 
 
BASSIMV \0CAI; MKi'HOI) 
 
 Sr 
 
 ^^ 
 
 -^— t-^ 
 
 » * '* -»■ 
 
 ±=at 
 
 ^r%. r ^=^ 
 
 ^ir^ 
 
 P^ 
 
 ^^ 
 
 ^ ^ '^-^ 
 
 \% 
 
 -0 *- 
 
 =z: 
 
 -f If 
 
 y ir 
 
 fi t2— 
 
 ■# #- 
 
 ^ 
 
 'm 
 
 § » M r. 
 
 1 
 
 +=F 
 
 mm ilVU m j. • J f Jimeni lta^ -. £Z*X^ ..^lA:ub,-«^J. .^gf .- ---■ r y « -a i ■ * ->< » m. 
 
HASSINl'S VOCAL .VlKl HOD 
 
 8ft 
 
 The following ex(!n;ises are of some Importance. It 
 will be obsorved.that in the interval from 
 
 I 
 
 m 
 
 the voice passes from the Chest to the Medium 
 reg'isterrwhile from 
 
 *' 1(1 
 
 it passes from the Chest to the Head rejf ister 
 A^ain from 
 
 $ 
 
 and still above.the voice sinK's in the so-called falsetto 
 reg-ion of the voice.which it will be remembered, in ■ 
 eludes both the Medium and Head rc8-ister{secpaj|fee. 
 
 Now this passa^f e from the Chest to the falsetto 
 should be well marked and the voice be allowed, in 
 
 thebtt exercises, strongly to produce the breaking 
 or hiccough,whinhil will naturally do in paisting 
 thus from one tube to another;whiIe on the other 
 hand, when singing* in the same tube .whether Chest 
 or Falsetto, all intervals must be passed over smooth- 
 ly, aM will prove natural. 
 
 The same fact applies to Tenors and Baritones;but 
 the Tenors will chang-e from one region t)f i.he voice 
 to tlie other thus: 
 
 ♦ 
 
 %.) To 
 
 and the Baritone thus: 
 
 ^ 
 
 'I'D ■$■ 
 
 Tht' beauty of the male voice is the Chest tone;and 
 this tone may consequently be carried proportionate- 
 ly higher than in the female voice,(Contr.iltos except - 
 
 ed.) 
 
 26. 
 
 EXERCISE ON THE INTERVAL OF THF OCTAVE 
 
 Moderaio. 
 
 i-^^ L- 
 
 <k 
 
 '-/) . 
 
 v-'f 
 
 ^ 
 
 I . *—9 - 
 
 ~r 
 
 ir<T 
 
 a. 
 
 0=3: 
 
 r '-'v 
 
 :s: 
 
 =s: 
 
 ^ 
 
 Canto 
 
 I 
 
 
 m 
 
 ■i-r- 
 
 ¥w=^ 
 
 :s: 
 
 m 
 
 
 # _.. • 
 
 // 
 
 a . . . 
 
 - fa- ■* • • 
 
 ;z:^c 
 
 M a*— ■ 
 
 m 
 
 s 
 
 ^ 
 
 I 
 
 ^ 
 
 ^ 
 
 K 
 
 H 
 
 ^ 
 
 Piano., 
 
 TT 
 
 vr 
 
 T~S~r"n E 
 
 i$ % i i p if 
 
 H--4 I i I ^ 
 
 mi ■■■^■■■i 
 
 1 — r 
 
V-=f 
 
 ^ 
 
 I 
 
 CI) 
 
 C 
 
 ^ 
 
 i 
 
 
 i 
 
 i:S 
 
 «ASSL\IH VOCAI. MKTHOl) 
 
 rJ.. 
 
 [y 
 
 :it2=s: 
 
 4-g-4-^ 
 
 azzzz 
 
 J ^ 
 
 ^ 
 
 ?2=iS 
 
 ^ 
 
 .^ 
 
 * ^:=^ 
 
 S 
 
 
 :e^ 
 
 -< — #- 
 
 — ^^ — . — z-0- 
 
 * 
 
 St=:r:r?^- 
 
 f 
 
 -i5»- 
 
 4JULtAJL^ 
 
 W 
 
 
 S 
 
 s: 
 
 S 
 
 z: 
 
 i 
 
 i^-' 
 
 t^ 
 
 j g ■ I 
 
 ^ 
 
 ^ 
 
 ^ 
 
 Z2Z 
 
 i 
 
 =g= 
 
 ^ 
 
 I 
 
 ^ 
 
 ^ 
 
 ^ 
 
 P 
 
 i 
 
 ^3P= 
 
 — r 
 27" 
 
 P 
 
 s 
 
 • 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 «- 
 
 ii 
 
 :^ 
 
 I 
 
 2t 
 
 :^ 
 
 S 
 
 S 
 
 ^ 
 
 ^^3a 
 
 y-+f^H^ 
 
 ? 
 
 ^ 
 
 i J g 
 
ASSINIS VOCAL MKI'HOI). 
 
 ei 
 
 EXERCISES FOR CONTROLTiNG THE OSCILLATORY MOTION OF THE LARYNX. 
 
 Absolute control of tho motions of the larynx are just as Important to the singer as tht; rontrol of the f iii»f(Ts> 
 to the pianist. The larynx rises with aseendinj? notes and falls with desf;endiii«:;andthi' smoother and hf^tter 
 ^■raduated the motion of the larynx.the smoother and purer, tlu- more distinct andeqiial will he the executinn 
 
 The shake Is produced by a rapid oscillation of the larynx, up and down.as in a piston. 
 
 The sin^r who accomplishes apassajfe of a^ility.or ashal{e las Is possible to do j with tho larynx in one iin - 
 movable position.will never be able to jflve strenjfth power or animation to the perforn(um«:e:on the contrary, 
 the performance will be feeble,lnslpid,and soulless .This style of sinking* we call in Italy sca/a,irillo cmallino:\.Y\('. 
 neighing style of trill andscale.slng'in^.is one occasionally heard even in this country. 
 
 The foUowini^ exercises are written expressly to learn the control of the larynx . 
 
 The singer can easily ascertain if he does this well, by resting- his finger lightly on the larynx, and obsi-rv- 
 ing if it moves up with the ascending and down with the descending notes. 
 
 27. : 
 1 
 
 Canto. 
 
 $ 
 
 Let the time be well markcd,andthe breath taken gently 
 
 Moderaio 
 
 ''(f i? • 
 
 ^h^-'ba 
 
 
 p 
 
 ^ 
 
 w 
 
 Piano. 
 
 mi 
 
 ^m 
 
 I 
 
 •♦- 
 
 «> 
 
 mi 
 .Mai'k weU \\w liivst ii'ift' with tin- sf rcUeortii'- tl'i'ti'^. 
 
68 
 
 HASSINI S VOCAL MFrKOD. 
 
 ■^'JW^ V^t^^^ 
 
 *^~T>*VV*V '>'^' ^'♦' 
 
 1 ^ urr #) r » r »j > » |r # jt -p-r-^nr-^- ije 
 
8ASM.N1S VOIAI MKIHOI) 
 
 $ 
 
 JLEM' W^JL 
 
 * m » m * m * M * 
 
 3E3C 
 
 ■mT-0- 
 
 
 
 
 n ' r/ 
 
 fe^ 
 
 ti> c- 
 
 ► y - ' — i v " 
 
 3r 
 
 2zinziijz: 
 
 S^ 
 
 ^ 
 
 :^« ~?5r 
 
 ■«- 
 
 :^ 
 
 H r 
 
 -■5^ ^" 
 
 -5 BT 
 
 X^T^.A-l£^f, * j|^^--P^ I' .) *^ f * f 'JlTr . 
 
 EJac*:a:3tj 
 
 
 UIV ■ ^ — »i. tiiiTi..^ — ^i_t — ■ m 
 
 ■*_^_*'^l^^iii^7^^»-^*^yi^ 
 
 
 i 
 
 
 ^ 
 
 if^ 
 
(U 
 
 HASSINIS VOCAI, MK'l'HOI). 
 
 KXKKt'ISK ON THKKK VOWlir^.S. 
 
 Aa soon as tht; .slng'er ha.s at.tain«'d to a rurtalii dcg-ivi; id ex'.TUtl'in in -^inKiiiK with the vownl t/.and has 
 ftss!Ur(!d hija>^elf of thi; proper por-itlon of tho ph-irynx ,that positinii riu«ossai;y to sorure th(.' purost.and 
 inoatdi.-t in<;t ^oimd of tho r/,ho should then advaiii;.- to r.v pra<tl ■•.• «t excrrisert on tlic vowt;! e.and o, being- 
 vory trinrful in doityf so to retain. as n'.'arly an po*!!lhli;.thc .-amo position "f tho phr.rynx as In a. 
 
 Head ;4f.iin wliut h<i.x hccn said on paKo 1^^ • 
 
 SliiK tin- f'lllowinK i!XiT<'isi; flr^^t with,j,th<n with ^'.*ci^' to Lhc ;.'i.-t v«am1 lh<j smirid as the Italian word 
 C^ii.j; Sene:anA to o,th(- sound as in lodcjo^gi.] . 
 
 28. 
 
 /"anto . 
 
 Modfrni 
 
 K" 
 
 ^ ' ^ 3_»^ .-g^^f±i:^--^^3r:f:z!y^ 
 
 a 
 p 
 
 
 
 ^ 
 
 ^^-^ 
 
 -=*=r. 
 
 Piano , 
 
 "/ 
 
 ^^ 
 
 ?= 
 
 ijp r :• > :: 
 
 ,„« 
 
 ••w 
 
 f 
 
 ^1 
 
 ffl^^ 
 
 
 r 
 
 «A~-ry-' • '>X,jC~ 
 
 *:i^:£E^:;fe£H 
 
 
 "^-^i"— "— - 
 
 :jtr:rr3s:r_::2. 
 
 "i — ■^-— - -5 
 
 
 -ar- 
 
 3:: 
 
 -a 12_ 
 
 > 1 ::? 
 
 ■< , 7 g 
 
 5 
 
OS 
 
 m 
 
 EXKHCrsllS ox TIIK I'HKOMATK' SCAU: . 
 
 With thi- foicg-oInK" oxfii-olsf «•■ cud tlv lidl'tii- tii-k df iit.ltlmc Ui.' iw rcffl.stiTN.of >faini(\*c the rijfht 
 pot^ltioii of tht! pluu'ynx nl'(r(■.s^•a^•y itipiitdiiw thi- bi>-t p«;j^"»i)lo quality i nic.of set-uriiiy the rijfht imivf- 
 ments of the larynx ami an a^\W u->(J t)f l his ir(.chaiii m . 
 
 We will now attend to tiu- applioation uf tho foriXMlnjf.tn the four mo-t linportatit vocal arcoinpli-^hiiit'iits, 
 viX: Chromatic ica/ps, Arppygio^, Dynamics, kw^. th'j Shukr- . 
 
 Ciimm(;nf!ing- with the Chromatic! sdale.tlu: pupil must siruc In very moderate time.and p.iy jfrcat attention 
 to tho Jialf-tone intervals, which are very difficult to g-ain. 
 
 The student will not pa-s frmn one ex<!r<;isH to the next without having well assured himself that he has 
 mastered the fir-st' 
 
 Mcdcrato • 
 
 1 
 
U(i 
 
 HASSiM'S \<HAI. MFlHt'O. 
 
 ^ 
 
 'J^ 0^g * ^* t* 
 
 -p -i0 fgiL-»'^*':r ^_L^ 
 
 T0-^' 
 
 •-' 
 
 £ 
 
 pioM- 
 
 it -1 ~ 
 
 ■:#"tf* # 
 
 jgp t- J l L l f": :^. ^. i ' -.tj.^- 
 
 
 
 
 /^ 
 
 ^ 
 
 # 
 
 3E 
 
 :& 
 
 r| ^^^gj^'^3rzy-^j4i^ 
 
 i 
 
 
 r y 4*-- * ■■ M ' ) - 
 
 
 4^:^ 
 S 
 
 53^ 
 
 ^ 
 
 P^ 
 
 jpr 
 
 ^ 
 
 :t5r 
 
 ■ b -'# 
 
 i 
 
HASSIVi'S VOCAL MtTHOlJ . 
 
 67 
 
 ird^\f * t » ' -*^ 
 
 > ^ ' jT 
 
 y ^ i ^ ^l * ' * ' -^^ 
 
 S 
 
 l;^ 
 
 ? 
 
 .^j 
 
 SSESHS: 
 
 
 
 
 ^ 
 
 5^^^ 
 
 • f = 
 
 I 
 
 Y;^ a n ^*^ff ! <ln 
 
 -iP — ^ 
 
 ^- * »- 
 
 ^ 
 
 *; ^ 
 
 Ji — ^A 
 
 |rt5«: 
 
 g|f.., f. 
 
 ?^^-Y-t 
 
 l« 
 
 i 
 
 ii 
 
 1 
 
 ''I 
 
 A 
 
 i_ 
 
 lfc=&=:=3E 
 
 l2" 
 
 ^1 
 
 ^ 
 
 i 
 
 4 
 
 ^m 
 
 
 ^^Ei^ 
 
 .i^i 
 
 4=4 
 
 r^'i^0kM-^'' * ^d\ M. 
 
 ^ 
 
 -# — n- 
 
 f 
 
 fc=d 
 
 * L * : 
 
 I 
 
 5» 
 
uo 
 
 «a.ssim's vocal method. 
 
 $ 
 
 I I, ^tf,^ f^f^. f ^f Ihi t tilB* E^'f^f^f 
 
 =«==?: 
 
 aati 
 
 , . r - 
 
 \$ 
 
 ^^ 
 
 '^* a * (> . 
 
 * »( 
 
 3r 
 
 ^E 
 
 -*— ^ 
 
 §^ 
 
 1-.^ i 
 
 ^ 
 
 s 
 
 3^ 
 
 ^ 
 
 ^ 
 
 ^ -j-^i:j:i ::^-iaxg r r<' * h * # : 
 
 > -|r>? 
 
 ^ T* 
 
 
 &E 
 
 7 
 
 3nir 
 
 i 
 
 ! , >• 
 
 ' '"J 
 
 I 
 
 I 
 
 i 
 
 I 
 
Canto. 
 
 ^ vt^*» 
 
 Piano, 
 
70 
 
 HASSINlVi VOCAli METHOD. 
 
 
 tl 
 
 ^ 
 
 j^w ^q^tf^ *ff 
 
 #*1'tf*= ;# \J> 
 
 P 
 
 bw^ 
 
 I 
 
 V 
 
 ^i 
 
 =»?=¥ 
 
 I 
 
 ^ 1 3^^ 
 
 #1' */ /• 
 
 ■/ 
 
 q* 
 
 ^ 
 
 ^ 
 
 ii(.*'i' 
 
 j?jg 
 
 ^ 
 
 
 *; '#. 
 
 a' 1 ST 
 
 E=I.T3t 
 
 r 
 
 idta: 
 
 :^ 
 
 ^=m 
 
 
 ^^ 
 
 ^ 
 
 i 
 
 I 
 
 ^ 
 
 il !*• 
 
 I •> y 
 
 J, :is 
 
 fet 
 
 
 
 ■ MM JIM * ^ ff — 
 
 I* m 
 
 * m ' .m ^ 
 
 ''9*^0 
 
 -*) ^ 
 
 fe 
 
 >«■ ^ * 
 
 Z' 
 
 
 s¥ 
 
 ay tfl-H 
 
 ^ 
 
 ^ 
 
 ^^^ 
 
 I \ I. .....I..-- ., .y^ , 
 
 "; -7 'g 
 
 ^ 
 
 JM. 
 
 m 
 
 TT *^ I t ^ ^ ' ^ n L ^ L' * 2 * ji'^i \ ^ g^g-f_'^r jr:: ^ *-Ak.»-S 
 
 » .^^ » 
 
 .# E 
 
 i^-fTV 
 
 piS 
 
 >tf^^tff'''^t" 
 
 gl^i^^Jhr 
 
 ^ 
 
 Tl ^. 
 
 2—^ 
 
 »«i 
 
 S 
 
 4 4 4 
 
 :E 
 
 4 
 
 ?E^ 
 
 -? — ^g - 
 
 =?=?: 
 
 •? g 
 
 "/ 
 
 • /^ 
 
 ^ 
 
MASSINl'S VOCAl, METHOD. 
 
 71 
 
 ranti> 
 
 A : » 
 
 #ft«f#*f;jl^l<^^^'^vl'4 ^^^fff*.;^ 
 
 s% 
 
 H^r^-^ 
 
 -^ ^ -♦ ♦ 
 
 ^S 
 
 ^t ^^*##**^ * |^^* >- **^# 
 
 ^ 
 
 f^ ^ t 
 
 ^^ 
 
 g 1 g 
 
 i 
 
 ±-2: 
 
 
 S 
 
 r-r 
 
 W-y: 
 
 -#- — *-*f- 
 
 # i » 
 
 ^^V^M \ §\f'.§*\W ^\y 
 
 trruL 
 
 # : » 
 
 [> * ii# *'* I * ^ -ii^-^K 
 
 ^^Si 
 
 
 » J_JL 
 
 ?==^ 
 
 i 
 
 ^ 
 
 y^^y^ ^ »-flnf#''=* * - *^'V] 7ikj>i.gi, ^^*r ^^g^ 
 
 |: 4 " -yr^dat^J^ f^^'g i r 
 
 •^ 
 
 i 
 
 § ^ 
 
 
 l T^ -^ ^ 
 
 ^^^ 
 
 #*=* a i *,^ 
 
 -^ — g - 
 
 
 ^ 
 
 i 
 
 ^ J •;■ 
 
 ^E^ 
 
 L ^ g 
 
 1F# 
 
 -# — t- 
 
 ,/ 
 
 JL. fl 
 
 4 
 
72 
 
 «ASSIM'S VOCAL METHO'). 
 
 Mcderato. 
 
 i% 
 
 *■ '^ 
 
 ' fitC 
 
 i 
 
 
 ST 
 
 7 
 
 W 
 
 r 
 
 i 
 
 ■i*^j- 
 
 -«' 
 
 i^? 
 
 igrjcri 
 
 ^ 
 
 
 i 
 
 JQE 
 
 r 
 
 ; 'T *;gf*C * 
 
 jip>:y|inr 
 
 qtS5s=E 
 
 ■i*^ 
 
 
 ^ 
 
 ^ 
 
 ^ 
 
 f 
 
 5^ 
 
 :^ 
 
 [{»■#- 
 
 a^' 
 
 bs 
 
 9^ 
 
 ii* 
 
 ^^ 
 
 jps j- 
 
 aap 
 
 S 
 
 1 
 
 =?^ 
 
 ? 
 
 ^r 
 
 t5^ — -^^ 
 
 ^^ 
 
 ^s^^ 
 
 *^^ 
 
 f I * 
 
 ^l« ^ 
 
 tV *■, 
 
 i 
 
 
 ^ 
 
 i 
 
 P 
 
 ^S 
 
 ^ 
 
 -^ r5^ 
 
 N 
 
 
 ^ 
 
 I 
 
 ^ 
 
 '«» 
 
 ^^ 
 
 :* 
 
 S 
 «* 
 
' 
 
 HASSINIS VOCAL METHOD. 
 
 73 
 
 ... Is ■ + 
 
 :*i . t jt 
 
 f 
 
 s* 
 
 F 
 
 '#1 
 
 ^ 
 "^5 
 
 i 
 
 m 
 
 2Z: 
 
 3 
 
 *^ 
 
 s 
 
 1 — =^— + 
 
 - ^ 7-^ 
 
 ■^T 
 
 V? 
 
 #r 
 
 ^.tfe?" 
 
 "i' 
 
 ^^^^ 
 
 ^S 
 
 ^^ 
 
 ^^^v-y 
 
 » ' g 
 
 
 fe 
 
 i 
 
 % 
 
 ^s 
 
 3s: 
 
 i 
 
 g >H 
 
 ta 
 
 SSZZTE 
 
 ^ 
 
 frr 
 
 I «^ 
 
 If 
 
 I? 
 
 
 ¥. 
 
 U 
 
 H 
 
 i-*- 
 
 -Of 
 
 % 
 
 f 
 
 iat 
 
 1^^ I 13 
 
 7 g 
 
 T 
 
 qi=i: 
 
 
 32. 
 
 Canto. 
 
 ^^ 
 
 Moderato . 
 
 1 — 
 
 ^i^'** ^ 
 
 in J ^ fll^J^ 
 
 a 
 
 ^1 
 
 Piano. / 
 
 a 
 
 *! g 
 
 "^ if 
 
 f 
 
 -m 0- 
 
 T -W 
 
 
 1 'i 
 
 f 
 
 zg==x: 
 
 ^ ^ ^ 
 
■ 
 
 74 
 
 MASSIM'S VOCAl, MKTHOO< 
 
 \^ 
 
 »■ ■ -J" 
 
 T -0 
 
 ^^^ 
 
 E 
 
 4 0^- 
 
 ? 
 
 ? 
 
 -ir 
 
 r r 
 
 N 
 
 3C1C1 
 
 y^i^ 
 
 ^ 
 
 ■v ftf * ff » *tf 
 
 *3C 
 
 fe^ 
 
 ^#*f<f* fl*l ^ ^ 
 
 ^p 
 
 i 
 
 •■ La g 
 
 aH 
 
 
 ^=^ 
 
 r ^ 
 
 3v: 
 
 X *^' - 
 
 =iP=^ 
 
 ^^ 
 
 -*^ 
 
 ^ 
 
 1 If 
 
 ■ J. 2- 
 
 -« »- 
 
 fe 
 
 : >_>^ >'t' 'l t £ 
 
 a 
 
 s^^ 
 
 ^^^^^ 
 
 m 
 
 ^/ 
 
 dspr?: 
 
 "ts — \» 
 
 s 
 
 -# #- 
 
 b 
 
 ^ 
 
 nb 
 
 i 
 
 
 M 
 
 T=?^ 
 
 ^ 
 
 ^ 
 
 
 • .*; 
 
 ( 
 
 ^^ 
 
 TT 
 
 
 f 
 
 ^ 
 
 1; 
 
 •■/■ 
 
 f 
 
HASSIMS VDlAl. MKIHUI). 
 
 n 
 
 Mo</eruto 
 
 I 
 
 | r *#* ^ 
 
 r> # r 
 
 ^** » 
 
 ^("T^TjiZI^ te 
 
 » ' » 
 
 m 
 
 w=^ 
 
 i 
 
 ^ 
 
 -f — g- 
 
 
 .v ^ >- p 
 
 ^^^ 
 
 i 
 
 =^^=P^ 
 
 = F=^ 
 
-awwnBBB 
 
 76 
 
 HASSINI'S VOCAL m-VrHt)!). 
 
 I 
 
 T=^ 
 
 ,'*'^lfZt. 
 
 f ^*'^*''ftba,\, 
 
 w--ir^ 
 
 Hf^^^kTTtT- 
 
 3C5? 
 
 #^^ 
 
 iN 
 
 ^E 
 
 > ■;.:.'g: 
 
 < *' Tf : 
 
 S ^ i 
 
 • # 
 
 t — y 
 
 3==^ 
 
 
 * •> ig- 
 
 jy. ::! g : 
 
 
 ^ 
 
 s 
 
 ^ 
 
 ^ 
 
 -ar 
 
 " 
 
HASSINIS VOCAI, MKI'HOI). '• 
 
 MINOK srAI.KS AM) KXKIU ISHS 
 
 TIk! Minor Soali^s and Excrrlses aj-f tr"'>''>"ally (M»a-ldiTfd hy sjuffir^f MasttT« of scrondary Importance . An 
 excHpilonto this will be found in Mr.fi. II. rurtis'adniiiablc'Schiiol V(tr(ili>t,'latt'ly piiMi>hi'd hy B;irn<'.s & Co., 
 Nt'w York. In n\y opinion, and judMTiii^ as w«-ll by my i-xpericntH-.tlic study of the Minor Soali'.x Is a.s nenowsary a.s 
 tlWit of tht.' Major Scales and Rxorciscs. 
 
 The Minor ScaJcs ai'e arbitrarily written. sonn'tlnios wilhth' major .-ixth.and soventh.thus: 
 
 «th.7th. 
 
 ¥^^- ./ rv" v^ 
 
 ok-ijLjt^ 
 
 andothiT times with the minor sixth, aiid m.ijor sfV(,'nth,thus: 
 
 r.th. 
 
 ^ 
 
 i H ^' ' "^ 
 
 ^ 
 
 -w — yr 
 
 In descending, the Scales are written with the minor sixth and seventh.thus: 
 
 7 <; 
 
 But Composers oft(?n.in order to produce a Oi.ra £spressione \ f'iri;il»U! expression, jwrite th(! ascending ai\d 
 descendinjf scale with the seventh major, and sixth minor, thus: 
 
 1 ' ■ m # - 
 
 ^-r i 
 
 ^ 
 
 This is the s«!ale that I havt; adopted in my l')x(!r(Mscs:aiLhoii)<-h \\ im hides the Anx-inented second, an inter - 
 val which it is rai'e_very rare to hear sung" correctly. How<;ver,tht' >iiijf(;r iiuiy also study as well the other 
 Minor Scales with the proper accompaniments;thus: 
 
 Canto 
 
 V 
 
 Xi"^'^ 
 
 Be very careful of the intonation. 
 
 Moderato. (a\ 
 
 
 ( a) Those whd t'Ulmot fiiii^ the first tour bars with one r(>S|iu'ati(>ii will biiig (hii: 
 
 I S< ; ■ i f:ikiiig 
 
 breath oil theHest. 
 
f 
 
 70 
 
 HA.SMM N VO(Al. MK IHOI) 
 
 J * 
 
 I 
 
 g " ^ 
 
 
 ZE 
 
 ■< ■ » 
 
 ac* 
 
 7y-^P- 
 
 f 
 
 j5L_«)_ 
 
 ^^E 
 
 ^=5?: 
 
 \$ 
 
 a: — > — 4: 
 
 
 ^ 
 
 f 
 
 f 
 
 :i==^ 
 
 zst 
 
 t^. 
 
 E 
 
 ^ 
 
 -«!•• 
 
 j-JT> 
 
 •<*■ -#• 
 
 ^ 
 
 T» — *-:j: 
 
 IS: 
 
 :2Er^ 
 
 is: 
 
 ■j* ,»: 
 
 ^^£ 
 
 +— r 
 
 
 it 5^ 
 
 
 dS: 
 
 ^' I M* 
 
 ^ 
 
 ^^ 
 
 JP-P^ 
 
 ::3: 
 
 3Z: 
 
 j ^ g 
 
 d9 • 
 
 \^ 
 
 i 
 
 £j 
 
 »=FC 
 
 3' 
 
 »* - 
 
 f 
 
 ,'j ' if 
 
 « 
 
 f 
 
 ^1:5 
 
 2r=22 
 
 ?t 
 
 
 -*!• ^ 
 
 ::^ 
 
 m 
 
 "^'mi^^ H 
 
 s ^ ^ y 
 
 n ^ 
 
 SI 
 
 -T^ 
 
 /t*- 
 
 I 
 
 h 
 
 ,^ e - J 
 
 ^ 
 
 ^rzc 
 
 g ^-^ 
 
 'n .^*»f i * ife» 
 
 ^ti:* 
 
 L^ ' f f * 
 
 (i 
 
 ^^s 
 
 m/ 
 
 ^^^ 
 
 3: 
 
 ^^ 
 
 3c: 
 
 -15>- 
 
 ^^ 
 
 ^ 
 
 IS 
 
 e 
 
 I 
 
 -g — 
 
 - g — - 
 
 f 
 
 '1* ■' 
 
 
 mz 
 
HASSIM S V»)(Al. MKTIIOU. 
 
 fe 
 
 I'TKHnSK IN MINOK 
 Mark well the first note In c.irh »rri)iip and s!tic/kfft allttio the last four noU;H of the third bar. 
 
 I 
 
 ^ 
 
 ^* ', B*a^ f"^ 
 
 
 legafo 
 
 \% 
 
 ^ 
 
 I 
 
 M Ji W 
 
 e •/ ^ 
 
 •? g^ -?- 
 
 ^ 
 
 ,# ■ :,. ' . y., 
 
 ^^^ 
 
 7i'\\c ^ ^- ±= ^ -^f-^ 
 
 f- 1 ^ *i * •? 
 
 '! y -" 
 
 /'a) Siiiij thus it' takint; Breath 
 
uo 
 36 
 
 Canto. 
 
 H*SS|MS VueAL MKTHl)l> 
 
 EXl']f{rLSK IN MINOR. 
 
 Leyaio — 
 
 Piano. 
 
 ■^ 
 
 ^^-^ 1 
 
 gfe^;^!;^ 
 
 ( a ) SMiit; thus if t;iki]if llr«'atli 
 
 
 
 l'«ano./ 
 
 Legato 
 
 f^^f^ 
 
 -M—f 
 
 :w=± 
 
 atrfc 
 
 ^J^J=^^ 
 
 ^ 
 
 =p=;? 
 
 f 
 
 -a- — 
 
 ^ 
 
 -«- 
 
 ^^ 
 
BASSINIS VOCAL METHOD. 
 
 EXF .CISES ON ARPEGGIOS 
 
 Tho .study i>r Ai-i)i'^-jfio.s is of all vnral arcoiiiplishjnunls the most troubl(\some,a;b rejfard?; the aLtaiiunent of that 
 dcj^rei; of perfection whieh enables t h'' Singer to use Arpeg-jfiosi with ta-e.aiid. without the appeai-anee of effort. 
 
 The diff ieiilty ir5,tu sinjc Arpis-gii.i with perfeet equality of tone in every note whatever may be the intervals, 
 and to unite Ihi; different ^roui^ without dra/iCjifiMg- one note into another.ajid yet without ^e/ac/^wp them.To these 
 points the sinj^'er must pay strict attention in studying- my Arpe>r^■^|).s.He must bejpin by sin^in^ them slowly, ta- 
 kinii>: great eai-e to hit distinetIy,thous'hli([<hd>,every interval. and jifivin^ heed that the whole passajij-e is suiij^ 
 as much a-; pos.sible with the saon- position of the pliaryii.\:ar\dthis,in order to preserve the same quality of timbre 
 throiijfhout.Th.' iiharynx oiij^ht i.o be slightly t:ontraeted.so to enable the singer to foree the voice with ease.ajid 
 only with the Diaphii\gin,t(.' the highest notl!^ of his (-oir.pa^s.We have already said.the more we extend, or give 
 capacity to the phai-ynx,the jnore we exhaust our breath, fn th'' exeijutiun of Arpeggios the principal care nuist, 
 
 undoubtedly M'^ a long respiration It is.fur this purpose that in tile following' exercises I indicate wiieri' breath is to 
 
 b(; taken. 
 
 Four things.then.must be kept in mind in the study of Arpeggios,viz;9/-w.'A, i!?^o///)' of fone,fase,R.nA Lightn^'ss. 
 
 It would he useless to mention a good iut«mation.The singer that ha-^ arrived at this point of mvstudy.and does not 
 siivg with perfect truth of tone,would do better to begin ov(;r again.before attempting tf» proceed furtlier. 
 «|0 Mode rata 
 
 Canto . 
 
 I'iano./ 
 
 -4 
 
 n 
 
 
 "* 
 
 ^iJ L/ ' > I E 
 
 -£_ 
 
 'r 
 
 -ai-r- 
 
 1"" 
 
 T 
 
 :5t=3£ 
 
 ^fet: 
 
 mf ■^' 
 
 t-- 
 
 /'V 
 
 r J 
 
 tF 
 
 ^^^^mr^.T^A, 
 
Q2 
 
 Canlr 
 
 Mnderaio. 
 
 ^E 
 
 I ' ■ ■ — ' ' t » M ■ ■ — '■ m M — ' — —m m I 
 
 '^=^ 
 
 -^='=P^ 
 
 J 1 ^ #' 
 
 ■^ 9 J r ^' 
 
 * 
 
 ^E 
 
 I " • >* • 
 
 -5- 
 
 Piano . 
 
 ] 
 
 •4v.k V. a 
 
 «*-r- 
 
 ^ 
 
 S 
 
 
 e 
 
 f 
 
 
 'i' r 
 
 ^• 
 
 7 y 
 
 
 * I ^ * *' ^ V _ ' "• * * *r- l— ' '^ 
 
 r- fj y 
 
 [| 
 
 te 
 
 i 
 
 i 
 
 ^ 
 
 i 
 
 9==^ 
 b''^ 
 
 S 
 
 I 
 
 ^ 
 
 ■«— 
 
 3e: 
 
 f — ff- 
 
 ^ 
 
 '"/ ' 
 
 r 
 
 i 
 
 a ! d • ■ . . « « — - m — # — . « *— . 
 
 i^ 
 
 :jg 
 
 » . # 
 
 ♦-— r-*- 
 
 # , » ' 
 
 ^ 
 
 -gr 
 
 Wi 
 
 H tij rid :- 
 
 ^ 
 
 i 
 
 S 
 
 i 
 
 -« 1- 
 
 l:: iHL. 
 
 ■t^ 
 
 ^'^ 
 
 '1 
 
 i 
 
 -"■~ "" '" 
 
I . 
 
 / 
 
 Moderajo 
 
 Caiiltt. 
 
 PianciJ *^ 
 
 
 KASSIVl .s VOl Al MKlllOi). 
 
 I ' ■ — t-W-#- 
 
 (19 
 
 ■ 'am* 
 
 I r^ i li t i ^ * *^ I'M ^J g -^ 
 
 1^ 
 
 iegato 
 
 n r > ^ -^ 
 
 ^ 
 
 h H h 
 
 ? 
 
 /w/ 
 
 ^m 
 
 *' *i *=^ 
 
 V / 
 
 /wz 
 
 ^ W"^^ 
 
 IL* g 
 
 » * I > 
 
 y * J 
 
 > ' 1 _ g 
 
 -» I i* I rj-g 
 
 ^^^ 
 
 ^-A- 
 
 r~^T ~g 
 
 Ul 
 
 ^ 
 
 ^i^ 
 
 ,'*! -.. .. "» 
 
 ' — #— •- 
 
 _-^_j_ 
 
 S 
 
 ■y .g* 
 
 nr:;^ 
 
 i 
 
 ^ 
 
 i 
 
 -fS — ^ 
 
 * 
 
 
 ^ 
 
 r 
 
 (a) Alilirp\ Kil iiiii fur t;iUiinf Hrcith 
 
 ^ 
 
 
 J t^ { 61 The four la.st mites silow 
 
 KHmi 
 
 nupw-fv- 
 
 -.■■v-' '*.«;■ >*;*■.?• 
 
 r.^ 'iZKU,<4=X«E^ w 
 
- 
 
 H4 
 
 4 . Moderato 
 
 \ / Canto ^^^ 
 
 HASSIMS VOCAL METHOD. 
 
 '(siinc across tlie l>:igr 
 
 l'l,ino 
 
 y^\Lhh^ 
 
 m 
 
 3:* 
 
 * 0^ * m g 
 
 
 rf: 
 
 »* «»»» 
 
 «i4 
 
 .*• * r 
 
 
 ?5^ 
 
BASSIM'S VOCAl, MKIHOI). 
 
 lis 
 
 ^- ^j f^ " ,, — » w I ^g- — # — _|_ — " 
 
 i 
 
 Ju. § — y 
 
 i — i 1 1- 
 
 *^a ^ j ^ f * ^\ 
 
 « 
 
 i 
 
 y m'f 
 
 -0 — --•- 
 
 f r . -it- 
 
 -* 0- 
 
 i 
 
 :;P^ 
 
 r 0- 
 
 -0 1 1- 
 
 ^==Mi 
 
 jf-^r-—^ 
 
 
 2ti: 
 
 I* '^ # '*~0 J^~ -i — i~- ^- « M "ml ' -^-— f"^^" ^- * ^ '' ' -*^ ^T- . * i :f:=^ 
 
 5 
 
 -#•-#• •0- ■0- 5-5- -S-T ■*■*■ -0- •0- -0"- 
 
 *• ^ ^ *• "I - z=:.z=:^==z \ ^ ^ - 
 
 C #-: I » • - ' ■ ' :^^ 
 
 /^ 
 
KMmmmfm^Km^^mmmM^ 
 
 il6 
 
 WASSilMS VOCAI. MKlHOl). 
 
 Mu/ltyufti 
 
 Piano 
 
 } 
 
 m^ 
 
 E 
 
 
 > 
 
— *> 
 
 I 
 
 WASSIM'S VOrAI, MKTHOl). 
 
 07 
 
 i 
 
 i< ^WJ i * 
 
 g *W9if4^9*w'tiirr 
 
 S 
 
 i> « 
 
 ^j i g^' 
 
 ■ y • g y*f *^^ If* rVff » r. 
 
 P 
 
 ^ 
 
 :i #- 
 
 -I- 1 0~ 
 
 3^ 
 
 I 
 
 m 
 
 f-+* 
 
 ^ 
 
 * V I *^ ^ » Mi g *] * -AL m^z 
 
 ^^ 
 
 irac 
 
 SE 
 
 W. 
 
 -0 ' *- 
 
 S 
 
 I 
 
 r 
 
 t l ¥. 
 
 t—w 
 
 § . ' ». 
 
 » , 
 
 # ; I # 
 
 :»z3d 
 
 {Mi 
 
 H — W 
 
 :^=i= 
 
 i 
 
 P 
 
 s 
 
 **■ 
 
 -# — 1- 
 
 i=* 
 
 1 
 
 :^!*; 
 
 -m — r 
 
 -g r— ^- 
 
 * -^ 
 
 ^ 
 
 "^S J 
 
 ?t- "«■**»■ :^,-*?. •>' ^ B ^W «^i ^M ' ' ' Jff !i W '' "" >"' " «'- »iit-.-»*?WfciM.' ''^» 
 
80 
 
 HASSIMS VOCAl, MKTHOI). 
 
 n.EAK AND SOMBRE TIMUKE. 
 
 I have already spuki-n (if those two different qualities of 
 tones, aJid have g'ivtinaphysioloj^-iealexplanation.a,'^ to the 
 manner in whieh they are prodneed. I will now dilate soine- 
 
 edto be ai)Ii' to undertake it without laborinif under the 
 disadvanta^fes whieh would have presented themselves 
 at an eai-lier p<Mnt of the eoiirse.Rein(!mher.then,the 
 
 what upon this topic, To most sin/ifersl am aware.the subject following thinjfs: 
 
 1st. An erect position of the body, 
 
 2d . A lon^ and easy respiration, 
 
 3d . Strike the note softly,andwiththe^l<itUs. 
 
 will be somewhat mjw. But I must assure them that the 
 proper use of the clear and the sombrt> timbre is that which 
 hivs secured to dramatic sin>fers,Iike IVlalibran,LaJ^■ra^^■e, 
 Jenny Iand,Grisi,IVIario,Tajnburiiu,Rubini,etc.,those won- 
 (ierfiil effects, which have so en»!hanted us. 
 
 Aside from the dramatiir effect . however.there are im- 
 portant advantax'es to be se«'ured from a practical know- 
 Iedx"e of these two timhres:like that, for instance.of swell - 
 \s^ a n<ite_whi(;h cannot be wciltdone except by commenc- 
 ing the -vM'll in the >omhre timbre.and g-radually passinj^ 
 as W(! attain to the /oz-z/ssZ/wo, into tJie clear tiiiibre;and so 
 bm^k a^ain to the sombre.as we diminish. 
 
 Of I'CHirse it is impossible to indicate aquality of tone 
 on paper. But passages <ran be written,t(t which those 
 two tone-qualities would naturally b(; applied. Tl>e applica- 
 tioi\ of the cleaj- M\A soinbn; timbre,moreover,is a matter 
 of fceliux"— th(» two timbr<'s are the expression y\i emotion 
 of the soul.Thos(! persor.s only, then, who ai-e capable of 
 emotion,can be successful in {<-ainin^ <'oiwiiandof these 
 two effects. 
 
 As so(m as the eai's of the singer have becom(.' some - 
 whid. a<:quainted with the sound of the two timbres eithcji 
 in others or in himself.he mu-^t repeat some of tht; early 
 Exercises in the sombre tone_avoidinif fatigue, however, 
 which is apt to ensue, from the larynx hein^ necessarily 
 kept low, and from the much quicker outflow of air than 
 when the deai- tone is us(!d. 
 
 DYNAMICS. SUOM FILATI.THE SWELL. 
 
 The sin*fer that <!an properly swell a note is master <if 
 his Art: for to do this, hi,' mnr-t be aJ)le perfectly to com - 
 
 nmnd the vocal orj^an. For this reason I have deliyedthe in- usinK" th( two re^-lsters in the manner Indicated above.and 
 troduc-tion of the Swell until now, when the siii«:er is suppos. slnKin^r the foilowinjf scales in A f lat.and A natural. 
 
 4lh , lii(;rease tlie tone throujfh the 1st. half - 
 note and up to the ad.quarter of the 
 whole note.sustaininK- then.withthe 
 nmximum of intensity the 2d.and ad, 
 quarter «if the whole note.Then decrease 
 from the last quarter.up to the rest. 
 5th . Preserve unalterably .the true sound of 
 the vowel a. 
 Sinjc the syllables ^a,/-f,/;r/, /a, commencing in the falsetto 
 re^'ister and with the sombre timbre.the position of the lar- 
 ynx while usinx this timbre bein^ low enouffh to avoid the 
 break in pa-siri«: from th(! falsetto to the chest re|fister. 
 This rul(! is for the Soprano aj\d Mezzo Soprano voices, 
 as they must swell the sol that follows with the falsetto re- 
 gister altogethi.T.The Conti-alto voice may >f o as far as 
 
 \\Ai\v. the/ir<? re>fl^ters( falsetto and ehest.lTenors wllKswell 
 withUif < Kestri'^isteraione.as far as 
 
 and commenf'ln^ with the next re they will follow the same 
 rule as that j^lvtn for female voices in the use of the two 
 rcjifisters. 
 
 Bai'itones and. Basses will bejfln the swell on 
 
 e 
 
 THE SCALf: SWFILLED. 
 
 42, 
 
 Cantti 
 
 Piano , 
 
 I 
 
 Tempo ad lib' -i^ 
 
 * ■ 
 
 i 
 
 w 
 
 "f 
 
 m 
 
 s 
 
 w 
 
 \' 
 
 :*- 
 
 S 
 
 ^ 
 
 ■ I 
 
 ^ 
 
 
 I woiiM artvise the sing^cr at t'irit t ci t.ik»* iMtlier slow tiine,;ui<t kee|) it. strictly. Ax sdiim as he is a hie in swell the nntfs wf ll,litN«-aii bejfin 
 tu practice the Scales.g-iv iii^ each note the lung- respiration which he will then l>« ahle to rto. 
 
 
f 
 
 KSINIS VOCAI. MKTHOD. 
 
 ^ 
 
 3 
 
 3 
 
 89 
 
 ^S 
 
 i 
 
 5 
 
 ^ , d 
 
 :^ 
 
 =^ 
 
 -c- 
 
 -^ 
 
 / 
 
 .y y 
 
 j«- * 
 
 ^ 
 
 S 
 
 g 
 
 ^ 
 
 rs^ 
 
 3- 
 
 Ts 
 
 I 
 
 ^ 
 
 P^k^ 
 
 :^ 
 
 ■» pi 
 
 rj 
 
 ■s. 
 
 ^ 
 
 gl d 
 
 T7- 
 
 23 
 
 
 7t 
 
 ..g ....a. 
 
 :^ 
 
 ^ 
 
 ■4- -f^ 
 
 ->«- 
 
 £ 
 
 I 
 
 ^ 
 
 :^ 
 
 »- 
 
 :^= 
 
 -S- 
 
 ^1 
 
 S 
 
 221 
 
 3*: 
 
 ^=2: 
 
 g a r * ' 
 
 :S2: 
 
 *>r 
 
 ■ rjg" /^ - 
 
 zlC 
 
 ::§= 
 
 ^=^ 
 
 :^ 
 
 m 
 
 M- 
 
 ^ 
 
 ^ 
 
 rf: 
 
 Is 
 
 -'4«- 
 
 r2s: 
 
 -±^ 
 
 -9 9- 
 
 -rr 
 
 
 
 2z: 
 
 2z: 
 
 ar£ 
 
 3Z 
 
 5C 
 
 -I* — 9- 
 
 I^ 
 
' 
 
 uo 
 
 m 
 
 HKSS^\\\i VOCAI, MKl'HDi). 
 
 tS- 
 
 3C 
 
 ^ZC 
 
 -r»- 
 
 ^ 
 
 
 fg P> 
 
 ^ 
 
 ^^ 
 
 -«>- 
 
 
 ::?: 
 
 ^ 
 
 (» | g ' ■ 
 
 ■^ ■■iT 
 
 ^ 
 
 -«- 
 
 feE$ 
 
 :?=^=?=" 
 
 -<i ci 
 
 -5 *- 
 
 -4^ 
 
 -S? •S^ 
 
 =^ 
 
 =^ 
 
 -«>- ■*• 
 
 g 
 
 j—-^ 
 
 2s: 
 
 tS- 
 
 -4- 
 
 fr 
 
 2z: 
 
 -^' 
 
 -«- 
 
 \$ 
 
 -;>~c 
 
 -51 «u 
 
 ■^ ^ 
 
 -yrr 
 
 _2^ 
 
 S 
 
 iz: 
 
 %* ' 
 
 (1~ 1 
 
 ^,. . .J 
 
 --s. ^ -^ 
 
 1 
 
 -^ 
 
 - --_ ^ 
 
 -9- 
 
 
 -5 
 
 -;^ 
 
 -5 
 
 -^ 
 
 L* 1 
 
 1 
 
 k==i 
 
 -*- 
 
 h '' ' 
 
 I— — « 
 
 ■9- 
 
 y^ # = 
 
 tei. 
 
HASSI.VIS Vi)( Al. MhlHOI). 
 
 »1 
 
 DYNAMIC'S. n WO. MK7//\-\(K^i;. FOKTf-; . 
 
 Tp to this lime the -irufir ha-^ >"'>M" vii\.h ivaily \\v 
 same InU'ivslty (if toiicll Is now tiiiK- fur himto u-f 
 the various dejfrt'i's of lntt'n.-lty.()f Ihi.-f I«*lll hi ri- 
 
 Xive three: Piano, Mfila-^uce, Forte. 
 
 Thi- Pitwo is prtidiiei'dby iMintractiiuf Ih.- phiuyiix, 
 and sliijf intf wiLhmit ai\y further intensity of tent- 
 than that follnwiiiif the natural emission of the vojo'. 
 
 The IHtiza.vocf'^n produeed by >fivin^ tothe pharynx :ill 
 its enpaelty.and -imriii#f wltha<'ert.aln dejfreeof intea<l- 
 
 The /■(;/-/p,oii till! eontrai'y.is produced hy keeping- the 
 phai-ynx in t he same position as that used in the MfU't . 
 v.(>.,anii slnK-iiiif with df real intea-ity. 
 
 The-r thrt'i' dt'if ree- nf (;uliirln*C aie eapablc of medl - 
 fieatiun into nther <hades;hut our prineipal study must 
 he to ma-^ter the three flrst.The slnjfer eaii afterwards 
 viry i'a~ily iiitroduee thi' l.'>ser shades. at will. 
 
 HXKKt ISK ON DIKFKKKNT SHADKS OF INTKNSITY . 
 
 Ki^peat attain the Exirci-i's.No.lT.a;!. !44.23. 
 43 . . Canto. 
 
 in the follow iiur ihanner: 
 
 l'i;uv» 
 
 Men, 
 
 I voee 
 
 Mezza voei; 
 Fort*- . 
 
 Canto 
 
 Mezza vo(;e 
 F«trte. 
 
 44. 
 
 FORTAMFNTO OF TFIF VOK^K. ('AKKYING OF I 
 THF VOK'K. I 
 
 Onpa^e 17.1 have? iiidittatedthi' piupi r- u-c ol Uir Pup - 
 tainonto;and have also jflvon an (^xiin.pl'' a- to Uv disjv^iiV 
 -able dra)4;jf ii^f ofth*.' vriice.so iinivir>;ii ai\d yet so olTiji~ive.: 
 
 I luve written a mel<idy in my first book for the puipo>i' j 
 of furnishing the singer withapraetieaJ exainpli- of tht> 
 preper way of earryin*,'" the voire. An attentive study of it j 
 willproveof serviee to thi! stud''nt. | 
 
 Thi melody is set to Italian words.Thi.' aiusif^il worW is j 
 jf enerally a*creed liiatthe Itdian lan*rua*!:e is the one best \ 
 adapted for the eulti^atioii of the voi»;e,and for fa«;ilita - I 
 tin< th(! study of sinwinK": for this reason I have adopted it.l 
 
 Afew lessons in Italian pronuneiation will be of >f reat I 
 h( ui'fittoth' ^iJlirer.l{owev('r,l(>thimbe very e.-u-eful that 
 his nuister i- aperson f\ip.ible of .^-iviii^ this instruction. ' 
 
 Thus fjir I hjive neither spoken.nor miulo use of.the so | 
 called Repeated nofi's:aivA.L\i\!^A^r the rt.'a«^on that an exeep- 1 
 tional rule in voealization is neressary to fa/tilitate their i 
 execution. Diffe re ntopiiiioas prevail amon>? sin^ln^ Pias- 
 ters as tO¥(hiehis the proper wayof sinjfliyrrepeatednotx'si 
 
 with distinctness and clearness in a varied pas-sag-e. 
 
 rrivelllinhis mrthod,wai'n> his scholars to avoidthe 
 natural propen-ityof a-piratintr the repeated. notes.thus: 
 
 i-EE^ 
 
 ^ — , 
 
 rj-TT 
 
 while Ciai'cia.in his treaties. rec in jnend,- the sinj^er to as- 
 pirate tl)!iiuind direct- tfii- p. t^sajife tobesunx' precisely 
 inthe uuimer thatCrivelli eensures-.thus: 
 
 iC 
 
 - — » • ' ^ " 
 
 . . . h.) ■ . Ii . . . . In . . 
 
 lean say that tiarciais method is the only oiu!t(» be 
 usedinthe e,recuti()n of repeated noti's.I mn-t,howe\er. 
 advise the sinj^er not to j^-jve a full respiration to the 
 repeatt.'d notes but only a slijfht one inthe nmnner of 
 an easy impulsion from the upper parts of the «;hest. 
 
IMAGE EVALUATION 
 TEST TARGET (MT-3) 
 
 1.0 
 
 I.I 
 
 1.25 
 
 iia iiiM 
 
 m 
 
 40 
 
 M 
 1.4 IIIIII.6 
 
 pm 
 
 i9 
 
 /} 
 
 /. 
 
 'm 
 
 e. 
 
 ew 
 
 ^ 
 
 9. 
 
 
 
 O 
 
 / 
 
 /A 
 
 Photographic 
 
 Sciences 
 
 Corporation 
 
 23 WEST MAIN STR6ET 
 
 WEBSTER, NY 14580 
 
 (716) 872-4503 
 

 •fv' 
 
8» 
 
 HASSINIS VOCAl, MKTHOli. 
 
 KXKRCISKS ON REPEATKI) NOTKS . 
 
 Canto 
 
 a a . a a . a a 
 
 • • 
 
 a a a • a a . a a . 
 
 ^^^^^?^B 
 
 ••''MC^i.^iJ P^ 
 
 L^l j^ "I 
 
 a a .a a . a a 
 
 a a . a a . a a . a 
 
 I 
 
 
 ^,>,> I MJ* ^^^^ai^^ 
 
 f "*>'%» 
 
 aa . <ia . aa 
 
 a aa . aa . aa 
 
 ■" 00^ma0/^ 
 
 ^^^^^^^^^^^^^§ 
 
 ['0"jg 00 g,£ ^ 
 
 iui • aa . aa 
 
 a aa . :ia ■ aa 
 
 »,»fi g if,*g»^j#-,'7«i jtJ] nri 'i'''i I sp 
 
 «iJ^ 
 
 »£r ^#'*»J* i? 
 
 g^V^ig 
 
 g 
 
 a . a . a 
 
 a a 
 
 (t 
 
 ^^ ^T i — j: 
 
 X^^^S^''^'''^'--^ aw— 'i''^^*''^^^^ 
 
 a a . a . a 
 
 
 HBrBBSngg 
 
 . a a . a . a 
 
 n. ' a . a 
 
 ' a> a • a * a 
 
 ^^ 
 
 Z2:z 
 
 -m » 
 
 -9-^ 
 
 Plan. 
 
 ^s: — r 
 
 ^^Ei^^EB 
 
 ^f==F 
 
 mt 
 
 
 mi 
 
 ^^TT 
 
 ^ 
 
 £ 
 
 3t 
 
 3CZ 
 
 z=: 
 
KAiiSlNliii VOCAL MKTHOI). 
 
 CONTINUATION OF EXERCISES OF REPEATED NOTES. 
 
 8a 
 
 Aft Moderutn 
 
 Gant(» . 
 
 .. fT\ j 
 
 a a 
 
 a , a 
 
 \P 
 
 i i ^ i ii i 
 
 ^#^ 
 
 f 
 
 Piano./' 
 
 / 
 
 mt 
 
 ^ 
 
 ^m 
 
 J J J J J I 
 
 X^ 
 
 -d ^ ^ 
 
 mt 
 
•.»4 
 
 47. 
 
 Cantt). 
 
 i 
 
 MASSIMS VO( Al, MKTHOn 
 
 RKPKATED NOTKS IN V\KIKD FORMS 
 
 Moderaio un poco mosso. 
 
 a 
 
 ^ 
 
 ^ 
 
 zz: 
 
 ^ » , f^0i 
 
 -0-9- 
 
 -0-0- 
 
 ^JZ^^ Z^ 
 
 1 
 
 TTT 
 
 f f 9 W 
 
 ^^ 
 
 P=E=J 
 
 u • a • a • a • a . a 
 
 I 
 
 "j* coff energia 
 
 « 
 
 -!UL— 1 
 
 i'iano. 
 
 / 
 
 ^ 
 
 ^ 
 
 
 < « t « ^ *^ 
 
 /»/ 
 
 s 
 
 » #■ 
 
 j - ' ' ** --' 
 
 
 aoc 
 
 30:: 
 
 a . a . a • a . a 
 
 rr 
 
 a • a . a • a . a . a . a 
 
 
 1 ■ 
 
 :5£=?: 
 
 t^ t'g* t«^g» 
 
 :^=^ 
 
 :J?: 
 
 i»- 
 
 mt 
 
 I 
 
 a'a<a'a.a.a>a' a. a-a^a-a-a 
 
 t 
 
 m 
 
 -*5^ 
 
 •' rn 
 
 I ! I 
 
 g ir. #. 
 
 ■ »» * 
 
 f s I ,g8r 
 
 & 
 
 ?r 
 
 # w 
 
 wi ■*■ 
 
 FWfff 
 
 r t I, ^ 11 \ T^ 
 
 a . a • a 
 
 a . a . a • a • : . a • a . a • a . a • a . a • a . a . a 
 
 \% 
 
 nn 
 
 ^ 
 
 rr-i rrr 
 I I g I i ^ 
 
 £ 
 
 ^ 
 
 T 
 
» 
 
 m 
 
 hASSlNl'S \l)tAl. MKTHOI). 
 
 83 
 
 -r, ? fftef \i^^ ^. CT ?m 
 
 I . a . » . it i« . a . a . it . a . a . a . a a a . a . a 
 
 mz 
 
 ^ / : 
 
 The cxocuiiotiof suori martellati requin-s >fr«>at ^iippli-m-ss of the viraJ or^fann. As a jfoncral (hiri»f this 
 pa^sa»pe i> bi'st adapted to K'-maii" vnicoibul th<' -tudy iif n\ir(pliati will provf also very bcncfiiial toinaJ"- 
 viiicos.aJxdprinripaJly t<> thtiM' voircs which arc xultiira! or .-haliy. Kxirrlj^*.- No47 imi.^t be >tudl<d at first 
 slowly;thL'n little by little Increa-injf In rapidity; never however to ^/-m/o. but only tink//ve/y morierato . 
 
 Gr»!at rare must be taken In oxeeiitintf those passaif es.that eai-h note Is prodiuied immediately by the 
 iflottis.and eanh repetition by an oseijlatory motion of the pharynx. 
 
 Kxereise No.4ilis for the study of the note s(accat>;\)\v: differenee between these notes and the martellati la, 
 that the first are altojfetht'r produired by the trl<ittis_and their neat and agreeable exeru'ion (ran be r^om- 
 passed only by a Soprano voice. Madain Sonta^f. Madain Perslar.i.and Madaiu Damoieaii Cinti were the mode! 
 singers of this kind of passage, , 
 
Utt 
 
 ■HASSIMS VOCAL MKTHOl* 
 
 EXfclKCI.SE ON THE MAKTKI.LATO 
 
 Canta. 
 
 Plaiio, 
 
 i 
 
 \ i^ i^ M g 9 a fj 
 
 > -^ ^•^ 
 
 ?* 
 
 M M § g Cap 
 
 "^ 5»>» 5*. 
 
 
 
 M"- # »■ # # 
 
 r^ 
 
 11 * M-M-JL. 
 
 ■ I I -I a » * g i W ■ | T _ 
 
 a a a a a 
 
 a >\ a a a a a a a 
 
 
 
 W. 
 
 m 
 
 a a a a a a a a a . . . a a a a 
 
 «— 
 
 P 
 
 r2: 
 
 =r 
 
 -^^ 
 
 Or 
 
 H 
 
 
 •¥^ 
 
 ^ 
 
 
HASSINIS VOCAI. MKTHOI). 
 
 97 
 
 i fE;ij;,g]gj.^i^;g^ji^.^ 
 
 aaaaa..aaaaa aaaaa..aaaaa aaaaa. .aaaaa aaaaa. .^'a a a a 
 
 ^^^>^ 
 
 (I 
 
 lis;: 
 
 TZ. 
 
 f=- 
 
 TSi 
 
 ■T»- 
 
 1*- 
 
 \ 
 
 r 
 
 ■p 
 
 m 
 
 £ 
 
 ¥ 
 
 ZC 
 
 ■^ 
 
 "^ 
 
 EXERCISE ON THE STACCATO, OK NOTE FICHETTATE. 
 
 49 
 
 Cam 
 
 Allegro 
 
 '4,0. 
 
 P 
 
 ff i .Ix 
 
 ^^=?F 
 
 5=^::^ 
 
 a a a a a a a 
 
 .a . . a 
 
 a a a 
 
 a a a a a a a. 
 
 ^m 
 
 ^i 
 
 m 
 
 ^ 
 
 f 
 
 T^ 
 
 1— a 
 
 Pianu. 
 
 ^ 
 
 £ 
 
 TZ 
 
 *!: 
 
 P 
 
 s 
 
 g 
 
 i^rr^ 
 
 i ^ I I ITT^ 
 
 W 
 
 aaa... a aaaaa a 
 
 *: ^-^ 
 
 a a a a a a a 
 
 aa a a a a a. 
 
 ^ 
 
 B 
 
 S 
 
 ^^ 
 
 S 
 
 ^ 
 
 I 
 
 ^ 
 
 ^ jS ^ 
 
 ^ 
 
 r f^ 
 
 Jt — M — * 
 
 f 
 
 ^ 
 
n a n n :i a a 
 
 a a a .T~a a a a 
 
 i^# 
 
 ^ 
 
 -»— r-#- 
 
 .« c «_ 
 
 aczErr: 
 
 * * f 
 
 anu! — IT 
 
 f • f 
 
 3=?: 
 
 TT 
 
 jr' "y 
 
 ■# — « — #- 
 
 X— * • '- ;* : 
 
 * ^ • 
 
 r 
 
 s 
 
 ii g 
 
 3=?: 
 
 
 if 
 
 i^S5 
 
 # y » 
 
 jJi^yu^ 
 
 3C* 
 
 r?: 
 
 5 
 
 Eiqfsrrs;? 
 
 » »■ ' * 
 
 a a a a a 
 
 a a . . a a a a a a . . a a a a 
 
 a a a a a a a a 
 
 W 
 
 •i-if- -^»^ 
 
 -0 — »- 
 
 --0- 
 
 §^ 
 
 -9 — 9^~r 
 
 JL « «- 
 
 T-r 
 
 ilrt 
 
 T -W 
 
 irr^Mi 
 
 -0 — # — #- 
 
 I 
 
 Mfiio voce- 
 
 «3C 
 
 3Cj: 
 
 * ' *' ij F*- 
 
 ^ I* ^ 
 
 ii:* 
 
 ^ 
 
 _ii — fc_ 
 
 a I I ^1 a a 
 
 a . 
 
 a a a 
 
 W^ 
 
 § . r^^u t. 
 
 Wf 
 
 3EF 
 
 -• 0- 
 
 I 
 
 ^ 
 
 ^- ^ 0. 
 
 -J^— ^- 
 
 
 
 » -r 
 
 -0 — 0- 
 
 -0—0- 
 
 * a 
 
 ^ 
 
 ? 
 
 I 
 
MASM" .<» VOIAl. MKtHOIi. 
 
 tl!t 
 
 APPOGGIATrKAS. 
 
 Thi' cxfciitlMn iif thf AppiiKK'*i^H''ad''P''"**'" alt^jfcthor upnnlhi- natiirt' of thf mclndyibiit jfcnci-iiJIy it taki's 
 half of tht? value of ♦he <rur notr.aiid is always ac-onlt-d inori- sironjfly Uiaii th'' piinripaJ noto . 
 
 (iRUPKTTO. 
 
 Th.' Griipi;tto Is.of all nrnaincnts.t hat which Is most used, and mo-.t abu-cd.Il s chirvlcr i- o| o n ml-^lakcn, 
 and by our very b(?si sin»fcrs;aiid itis not rare to hear in an Ar(f.infp»v large sn ii\ii. k an c\McnUono( it as to 
 be entirely out of kecpinif with the character of the melody. 
 
 The Grupctto is suiur Modfratu In an Allegm or Anduntf.anA shw In a largo. \\ Is Well ,\\>\*\\, d i o »>odern mtisli- . 
 
 Andante 
 mod) rato . 
 
 30. ,^ _ ^. 
 
 Ef-g^ ^^i^icj 
 
 Piano. ' 
 
 -^-^-^- 
 
 r. .^ 'w.^ *• J 
 
 ^f^^^^^'^AA 
 
KMI 
 
 HASSINl'S >UrAI, MBTHOII. 
 
 m 
 
 ^^F 
 
 is:^ 
 
 ^^ 
 
 3^ 
 
 ^ 
 
 Eff:*: 
 
 ^ 
 
 # ' # 
 
 t* 
 
 ,^W 
 
 ■^ J ^ J -> 
 
 ^^ 
 
 ^^ 
 
 3=3=31: 
 
 -0 *- 
 
 T -9 t 
 
 r t -^ 
 
 \ 
 
 i 
 
 *?:H % ^ ^ '1 
 
 m ^ w . 
 
 'h *l ' 1 
 
 f-z-nr^ 
 
 ^^ 
 
 *> * f *f 
 
 I «i n 1 f ^ 
 
 ^^ 
 
 » # rf 
 
 -* w r 
 
 ~0 #- 
 
 I 
 
 .1^ 
 
 
 
 ^m 
 
 rd'l, a fempo . 
 
 Slow. 
 
 
 ^^ 
 
 1 
 
 ^ ^=3 
 
 /'/' 
 
 ^ 
 
 
 ^ 
 
 i^ 
 
 / 
 
 
 /■a//. 
 
 
 a tfinpo , 
 
 J^* *^^ 
 
 ^ 
 
 :& 
 
 ^^ 
 
 ^ 
 
 :^ 
 
 ■Slow. 
 
 i 
 
 Slow. 
 
 ^^ L^p 
 
 *• * mU 
 
 ^ 
 
 fl SB f,M 
 
 
 !» S\8 
 
 Sf if 
 
 * # » :g 
 
 ■«- 
 
 mi 
 
 PP 
 
 rail. 
 
 $ 
 
 3 
 
 ^S^ 
 
 -5— .^-V 
 
 e 
 
 i 
 
 J ? g 
 
 3=^f^iF 
 
 -I — — #- 
 
 =3^ 
 
 S 
 
 -* — r-=nr 
 
 -9 r 
 
 T \y 
 
 I 
 
 VP 
 
 S 
 
 :^ 
 
 '"<?/ canto. 
 
 -fi- 
 
 -y-y- 
 
HASSINIB VUCAI. MKTHOII . 
 
 tot 
 
 THE TRIM.. SHAKE.) 
 
 The truly best aeRomplishini'iit of a slnjfcr l> the triil-». »c«>t»d genuine trill. Oftentlme a mere trembling (»f the 
 voice is mistaken for a trill;ai)d by some it i-^ believed thai it may be a natural K-i'^^>I^i>d"<i^^'dly ■-oiiw singers 
 have often more faiiillty to trill well and sooner than olh<T ^InKerx.biit as a general ruleAY\y' trill, when pro- 
 perly exceiited.eannot but be the result of a jf reat deal of praetiee.and a perfect eiuiunand and eontrol of the 
 larynx . 
 
 The atixiliary note of the trill Is always the note above, and this is the note whifjh must always be kept 
 prominent In the study of the shake. 
 
 Ea«;h period must be repeated at least twiee 
 51 . Tempo ad lib 
 
 Canto 
 
 Fiano 
 
tna 
 
 m 
 
 ^ 
 
 HASSINIS VOCAI, MKI'MOI). 
 
 \P 
 
 :& 
 
 ^^ 
 
 if -> 
 
 i 
 
 #f 
 
 ^'f 
 
 i? 
 
 ?; 
 
 if 
 
 'J 
 
 :^ 
 
 
 f 
 
 f 
 
 ^ 
 
 
 i 
 
 
 ^^ 
 
 ?= 
 
 
 ^ 
 
 -* ^ 
 
 :^$^ 
 
 ^r-tr 
 
 'f/ 
 
 ^ 
 
 ql* 
 
 i^» 
 
 ^"T^ 
 
 v:/ 
 
 # 
 
 ^s 
 
 y 
 
 ^ 
 
 
 »/ 
 
 ^ 
 
 ».*• 
 
 ^f 
 
 i 
 
 S 
 
 -J— ^ 
 
 'J 
 
 //I 
 
 ?/ 
 
MASSINIH VlirAI, MKTHtM) . 
 
 lo:i 
 
 ' m^ M ^ m ' m' \ * 
 
 I ■• f ^ f f * r r r ^ r * r * 
 
 * ^? - 
 
 # 
 
 s 
 
 . hu 
 
 :s: 
 
 ^ 
 
 * >* « 
 
 ^ 
 
 i^ 
 
 f -rfr^Tf^fTf 
 
 (I 
 
 # jf ■ 
 
 15:: 
 
 13:^ 
 
 * ^ 
 
 y^ 
 
 ?= 
 
 "i 
 
 ii 
 
 i 
 
 i 
 
 i 
 
 -7g- 
 
 Vf- ■' 
 
 5 
 
 ga g 
 
 "^ 
 
 
 5 
 
 5 
 
 ?^= 
 
 »t4 
 
 r 
 
 
 ^ 
 
 i i_ 
 
 *rM=2r 
 
r 
 
 104 
 
 52. 
 
 RASSIN'IS VOCAI, MK'IHOU. 
 
 Moderato . 
 
 Piano 
 
 \$ 
 
 Eg 
 
 TZ2 
 
 ^ 
 
 ■(»- 
 
 "(E 
 
 "^J 
 
 m 
 
 sg^^i^S^^i fa '^Lrf^^^^^ 
 
 ^ 
 ^ 
 
 
 "KST-W 
 
 § 
 
 ^ 
 
 S 
 
 -3 
 
 
"' 
 
 !■■■■■ 
 
 mmBsmmm 
 
 HASSINIS VOCAI. MKTHOI), 
 
 105 
 
 I 
 
 ^ 
 
 ^ f *l'*' * ' * f * ^H y ** *r ^g»T^g»r|vy"|7r *j*j*J>^flgS 
 
 
 ii 
 
 > <! ' 
 
 ^ 
 
 i 
 
 i 
 
 * 
 
 s 
 
 
 
 ^ 
 
 1 ^ 1 
 
 L-J-JL 
 
 J? I g 
 
 IE 
 
 / 
 
 i 
 
 :^ 
 
 fc=s: 
 
 y '^ 
 
 ^^ 
 
 z: 
 
 "/ 
 
 I'lHJH 
 
mm 
 
 1«M! 
 
 HANS IN IS VOCAL METHOD. 
 
 a4 
 
 m 
 
 3E 
 
 1*-: 
 
 ^ 
 
 13: 
 
 N^ 
 
 :p= 
 
 i»^ 
 
 ^ 
 
 r*^ ff^ z ^P-^^^ I r^ 
 
 ^1 
 
 §fes 
 
 ^ 
 
 2S- 
 
 -»-= 
 
 5 
 
 y *w* M f9*»*a*-rM0it 
 
 m 
 
 Itf ^ r ^ r ^ f J ^ ^ 
 
 :^ 
 
 £ 
 ^ 
 
wwww 
 
 BASSINIS VOCAL MKTHOD. 
 
 107 
 
 54r . ij Tempo ad libffum. 
 Canto 
 
 PIhiio 
 
 HB Jl-h-i-i-i^t— ■ 
 
 
 . . a , . . ....... 
 
 ^ '^ Z^j^Z^ ' ' ' ' ' ''' ' ' '•'] 
 
 
 r^ . 
 
 -»■ 
 -•- 
 
 _5 
 
 1 — _ 
 
 \$ 
 
 5- 
 
 W: 
 
 *-«*- 
 
 S 
 
lOU 
 
 MASSIMS \()tAl- MKIH«tl). 
 
 ^ 
 
 I 
 
 ^ 
 
 •^a'^a^it»T§ ^§^§ ♦# ^t r§*0 ^ § , 
 
 
 
 *- 
 
 4V. 
 
 
 1 
 
■'"""^ 
 
 mm 
 
 ■ 
 
 KASSINI S VOCAI. MKTHUO. 
 
 109 
 
 (^ 
 
 m 
 
 zr 
 
 ^5" 
 
 ^ 
 
 fe 
 
 il 
 
 ;:^ 
 
 ^ 
 
 3e: 
 
 -«- 
 
 il 
 
 ■'/ = 
 
 3 
 
 f 
 
 *==: 
 
 ? 
 
 ^ 
 
 ^ 
 
 I 
 
 ^3 
 
 ^ 
 
 r 
 
 r r 
 
 r 
 
^mmmmtmmf^ 
 
 ■r 
 
 no 
 
 AMLAHK. Benmanaio il Tril/o 
 
 55. ^ _ ^ 
 
 Caiitt 
 
 BASSINIS VOCAL MKTHOD. 
 
 "• ^^ 
 
 *• < l 
 
 > ^ ?^^ I j^ . I ^1^1 1 J- ,n I 
 
 
 i ) ti i i 
 
 ^ 
 
 ^^ 
 
 1 ; ti a 
 
 Pianos 
 
 
 ^ 
 
 i 
 
 ^ 
 
 ^^ 
 
 F^ ^ LJ^?- ^ Lji'g ^ L^' 
 
 ^ 
 
 f ^ f' t =Si 
 
 /r 
 
 » ^ 
 
 a . 
 
 i 
 
 m 
 
 a a 
 
 t> g ^ f *! ■ 
 
 g 1 g 1 
 
 * > f 1 
 
 ^ 
 
 f 1 # * i- 
 
 f 
 
 7 
 
 r-r 
 
 
 ^fe 
 
 ^ 
 
 a u '* 
 
 f 
 
 1 i f 
 
 f 
 
 i ' 1 
 
 r=r 
 
 /r 
 
 -# #- 
 
 tT"^W^ 
 
 *f f- bgP fe>=? 
 
 ^ 
 
 
 (I 
 
 ^ 
 
 ^ 
 
 ) ^ j^i 
 
 r rr-T '^ 
 
 */ g f 
 
 ^ 
 
 r=? 
 
 -# — #■ 
 
 fWH-tM 
 
 ^ 
 
 w 
 
 =! 
 
 1 ■ 1 
 
 ^ — r 
 
 m 
 
 /r 
 
 S 
 
 ^ 
 
 /r 
 
 ZL 
 
 S 
 
 ^1 
 
 ^^ 
 
 ^^ 
 
 ^ 
 
 3 
 
 S 
 
 p==* 
 
 s 
 
 
 j 1 ^ 1 
 
 I 
 

 HASSimS VOCAL MKTHOII. 
 
 The Shake in the DiaUmic scale Is never prepaiod but Is attacked with Piier«-y by the siiperlnr note. 
 
 _ _ Vi\o Ass/ , -- ^ 
 
 56. . .A. .Jr ^/r 
 
 * 
 
 ^'-'^" fe^ 
 
 Piano 
 
 J 
 
 32 
 
 i 
 
 2 
 
 ± 
 
 t iA. 
 
 ^^ 
 
 ji^^ It 
 
 III 
 
 
 
 is: 
 
 ^^ 
 
 W^'ll 't;^ 
 
 "i 
 
 V'kj^ Ml 
 
 ^ 
 
 ^^^^ 
 
 ^EE 
 
 * ^i 
 
 it «( !■ ^b 
 
 It t( !■ 
 
 ^^3ffiSr^t2 
 
 r r r 1^ 
 
 
 i 
 
 • ' K *> L *> — ^ 
 
 P^^ 
 
 h=k 
 
 i\ i\ ii ; ^ 
 
 » ' » 
 
 F=^ 
 
 -* «- 
 
 
 -V'- > 
 
 ^ -r ir 
 
 i^ 
 
 ^ 
 
 #^ 
 
 
 ^^ 
 
 ^ 
 
 3 
 
 ^ 
 
 >^J .^l.^- » 
 
 ^S 
 
 n^^7 
 
 8 
 
 =R«^ 
 
 r f- 
 
 iy% [;'^^ T 
 
 f-— f 
 
 ^ 
 
 ^±=i 
 
 g TT*/ s-; g^ 
 
 ^^ 
 
 
 57. 
 
 Canto 
 
 Vivo Asiai. 
 
 # »■ 
 
 mf? 
 
 ^ 
 
 Ww^ 
 
 £ 
 
 I 
 
 A JL 
 
 1 ni ^ ^ m 
 
 ^ 
 
 j'^^t^^^^^ 
 
 -£ «L 
 
 ^53 
 
 
 
 ^ 
 
 fj^ 
 
 Piano 
 
 iL 
 
 -a- 
 
 m 
 
 1/r 
 
 ^ 
 
 v/r 
 
 V//. pa 
 
 «- 
 
 3C 
 
 z^:zc 
 
 M 
 
 •Mfa(^ ^^^ 
 
 ^ 
 
 ^=3 F^ 
 
 r? 
 
 
 ^^ 
 
 ± ± 
 
 \'ry\ 
 
 
 f 
 
 ? 
 
 t 
 
 i 
 
 ■< i» 1 1 <( 
 
 {^ 
 
 f 
 
 ^^ 
 
 ^ 
 
 3:r~7y: 
 
 » * 
 
 -*---■ — o *> - 
 
 r-t 
 
 -* — * 
 
 ^ 
 
 ■/ L */ ^ »! "^ 
 
 f 
 
 ?^E 
 
 *v*' i <-i' i t '^^^ 
 
 ^ 
 
 -^' ^/z- 
 
 t^ 
 
 an 
 
 1 
 
 • • 
 
 »/ 1^ f'? ^^ 
 
 y? itT - 
 
 b ' j ? 
 
 
 ^ 
 
 v-'vy^v^'.^c^ 
 
 f 4, »» *-g-n» 
 
 "ifi :i ^ 
 
 ^T^ 
 
 * *■ 
 
 '?^itio 
 
 •f) ) } } 
 
 ^^ 
 
 ^ 
 
 ^1 <t^ <|l., :^ 
 
 1 
 
 ^5 
 
 ^ ^ 
 
 if 1 1» *y 
 
 FT=f 
 
 ^^ 
 
 ^g^ 
 
 # — #- 
 
 f f 
 
 
 3S 
 
 :je: 
 
m^^mmm 
 
 ■' 
 
 lis 
 
 58. 
 
 Canto 
 
 KASSIM S VOl'AI. MKTHOI). 
 
 $ 
 
 KXKRnsK ON THK PKErAKATION AM) RK.SOI.UTION OF TIIK TKII,h, 
 
 Tempo ad lib. 
 
 (a) ir 
 
 Ir 
 
 ir 
 
 r^ FF? 
 
 3: 
 
 
 ■g — Jd » I ' de; :J7ir 
 
 TO "<' 
 
 -f^ 
 
 Piano 
 
 ^ 
 
 3:: 
 
 3^ 
 
 
 y^ 
 
 jt'^r^t'f' Tisi 
 
 
 y^ ^ 
 
 4 f.M;*'**ta ;g 
 
 # ' # j * ^ » « »g i^ 
 
 i 
 
 I 
 
 ^ 
 
 :t: 
 
 b 
 
 ^^ 
 
 I 
 
 y ,f t| ft"* ^ 
 
 t' \ i r M»'*9*« 
 
 
 //• - 
 
 E 
 
 //• ^ 
 
 3: 
 
 s. ' rn^ 
 
 ^ 
 
 •?^ A*"'*^ ^^ 
 
 wt ^ f j, < * f ' 7 rJ ,^ 
 
 F= 
 
 \ 
 
 h j ^ 
 
 S 
 
 ^ 
 
 ^ 
 
 §g^ 
 
 (a) 
 
 yi^'ii.OT" .^n^i-T^ 
 
 a* ' T » ^ . ^ . ^ Jg J ' I .T J-T7-.' . ' Tv ,.l ,] ^-jr^.jJ,>l J;l ^ 
 
 
 I 
 
 ^i 
 
 !^ 
 
 S 
 
 Qptzc 
 
 :^ 
 
 The preparation, ttiiil resdliition of Mi»' SW;iUf inust alw.ivs be given Pianissimo aiul Lento. 
 
 c i 
 
T 
 
 s 
 
 59. 
 
 i 
 
 Andantf 
 
 m 
 
 HANSIMS %»)IAI MKl'HMl). 
 
 J.KSSOX ON SYVroPVIKl) NOTKS. 
 
 M^-^^ 
 
 M M. 
 
 dolce e meiia voce. 
 
 -k^* i.° * r±g 
 
 act 
 
 d — t-* 
 
 tia 
 
 lil-KilltlliK 
 
 ^ * "^ f ^ 
 
 \l 
 
 ^ 
 
 SE 
 
 g 
 
 ^ 
 
 rtirr/it: 
 
 iz— I 
 
 J — ^ d 
 
 » # # 
 
 -#— #• 
 
 -# -# • 9-#- 
 
 Pi;ui 
 
 ^-0-0 
 
 mi 
 
 ^^ 
 
 -# # # — #- 
 
 -9-#- 
 
 1 " s t if—M — rj— J J iiLi_i -r—m. 
 
 1^3: 
 
 ra:jr-:=<i?aci: 
 
 -♦ #• 
 
 it.'^-ir^^^ 
 
 H.iK 
 brciifli" 
 I 
 
 -5-#- 
 
 -ji_aL 
 
 ^ 
 
 a a a 
 
 m 
 
 e:^e^e?3eef 
 
 • '.-0 
 
 S 
 
 SIB^ 
 
 ^»4^ 
 
 ^^ 
 
 y * 
 
 3:it: 
 
 * * -*— ^ 
 
 
 -# — #- 
 
 -I u 
 
 ^ # 
 
 r • * --:»: 
 
 I 
 
 g 
 
 St 
 
 H.at breath. 
 
 Tempo 
 
 5 
 
 3^ 
 
 ■ * ^f » 
 
 nac 
 
 a f 'a* 
 
 a a a 
 
 \l 
 
 a= 
 
 . a a 
 rail. 
 
 If nip o 
 
 i i i f 
 
 T -r ▼ 
 
 i 
 
 MrH-»- 
 
 ?ir 
 
 -I 1- 
 
 -# 9- 
 
 T 7 r in 
 
 t=g 
 
 5-#- 
 
 y * ^ 
 
 ? y ♦ r 
 
 -0 0- 
 
 ' i- 
 
 ■#-■#-• 
 
 -^•^ 
 
 da: 
 
 f J 
 
 ^^^TT 
 
 -* t 
 
 •■ 
 
 te 
 
 a5S3c: 
 
 rrrc 
 
 # »• ■■ 
 
 r^ ' 0^1 ^ *^*g 
 
 rm^ 
 
 ■i f- 
 
 *#, * 
 
 ^^S 
 
 a a . a a a a a 
 
 a a 
 
 a a a . 
 
 ^ 
 
 H 1 1- 
 
 I ' I 
 
 » y r c 
 
 -* — * na — 
 
 d r J 
 
 :?=? 
 
 5*: 
 
 'i4.- 
 
 ^ 
 
 ■0 0- 
 
 00m 
 
 Vr 
 
 ^ T W If. 
 
 t^^ 
 
 ^ 
 
 ■0-9r^ — • — *- 
 
 ( 
 
 xrrx 
 
 •■» — 0- 
 
 q* pf J iTf 
 
 *i • 
 
 ■^-0- 
 
 -I 1 u- 
 
 TT^ 
 
 1* ^ y 
 
 -#—• ♦- 
 
m 
 
 8ASMNIS VOCAI. Ml< I'HOIt. 
 
 P 
 
 ^\f '^f i 
 
 -li: 
 
 ? 
 
 f r' 
 
 -#->- 
 
 3C5q 
 
 3&: 
 
 ±33 
 
 -#' «2^ 
 
 ^ 
 
 » H 
 
 Meiia vocp 
 
 il 
 
 i 
 
 i 
 
 ^ 
 
 i 
 
 Tr==F 
 
 T=T 
 
 * ^ m 'm 
 
 J J =?: 
 
 5 
 
 ir :; 5: y 
 
 ^r r 
 
 Hi 
 
 ^ ^ 
 
 ^ 
 
 ^ 
 
 ■ ^1 
 
 m 
 
 1 ■! c 
 
 iT g = a * 
 
 * n 
 
 fT 
 
 <t- ■» ' -L ^~ «l ^ 
 
 t 
 
 I 
 
 ^ 
 
 s 
 
 ^ 
 
 Halland 
 MiihMi) 
 
 '' 00 
 
 ^r^Sx: 
 
 ^M 
 
 Tempo 
 
 m 
 
 ^. *^ I *r 
 
 t-t- 
 
 Mezia voce a a 
 
 i^ 
 
 /I Tf'/w/jo mil. dim. Tompo 
 
 m 
 
 ^3 
 
 ^ 
 
 «K gi 
 
 m sfi l 
 
 ¥ 
 
 TT T 
 
 ♦^ -#^ •«- 
 
 Col Can fo 
 
 ^m 
 
 ^ 
 
 1 
 
 tf g 
 
 "^ 
 
 rr 
 
 -^^^ 
 
 Co/ Canto 
 
 r 
 
 w/ 
 
 I 
 
 I 
 
 ij;r * 1'^ 
 
 f' rj U9 \^r 0- r # - 
 
 ^ 
 
 /^ 
 
 *• ;|#»> 
 
 ) , 1) I Aij: 
 
 \$ 
 
 ? rj 
 
 r 
 
 ^r 
 
 ^5=S 
 
 m 
 
 s 
 
 5-f^- 
 
 f 
 
 ^ 
 
 ; J j 
 
 £ 
 
 I I 
 
 ^ » 
 
 /:> 
 
 rrr 
 
 mz 
 
 r> 
 
 r 
 
 m 
 
 I 
 
 te 
 
 Jfezta voce % 
 
 "^ p. 
 
 fT f ■ 
 
 W^ 
 
 >* J j''J Jl »» '8' ^^^ ^ 
 
 S 
 
 r<"/»oo Prima 
 
 \P 
 
 M 
 
 —m m '^ 
 
 ■0- -0- * 
 
 $ 
 
 MiJii. r r r ^ 
 
 ^ 
 
 i^ ^ If 
 
 f 
 
 E 
 
 <* ^ — » 
 
 :eit 
 
 ^ 
 
 ^ 4 4 : 
 
 i 
 
 
 
 * * 
 
 f f f =g 
 
 I I 
 
 ^^ 
 
 5: 5: ?: fa^ 
 
 P 
 
 ^ 
 
 «ii 
 
=5^ 
 
 ^ 
 
 -ill 
 
 ^ 
 
 ^ 
 
 ^ 
 
 
 W—l— — 
 
 HASSINIS vnCAl, Mt. I Udll 
 
 i 
 
 Kr .#* '*** ^=g 
 
 » ■ :■ » 
 
 -#-#- 
 
 3qc 
 
 g±: i^<r; ** »^, I ^» 
 
 """TpTko 
 
 Tempo 
 
 ,f[ffM'^f^ tl 
 
 >J i^^ ^ ^ f>ff< 
 
 M- f 
 
 g 
 
 il 
 ^ 
 
 RHen Mo/fo Tempo 
 
 rrt 
 
 ^>Hi^^ r f 
 
 i 
 
 :J ' y ? 
 
 I ' 
 
 ^ 
 
 ; 5 ^ T 
 
 ? 
 
 ^ I 4^ 
 
 m 
 
 -0 # 0- 
 
 B W W : 
 
 Col Canto 
 
 ^ 
 
 i 
 
 !*: 
 
 S 
 
 f r I 
 
 n=^ 
 
 yi vo*!i 
 
 m 
 
 f r* I y 
 
 m 
 
 a a 
 
 a a 
 
 a a 
 
 P 
 
 ^ 
 
 ^ 
 
 r * f 
 
 f 
 
 ^i«=i= 
 
 s^ 
 
 s 
 
 -# #- 
 
 ^ 
 
 g It 
 
 r 
 
 2 
 
 ^ 
 
 m 
 
 s 
 
 >i> fg 
 
 r r r r 
 
 /ff/j/o Meiza voce 
 
 I 
 
 -# #- 
 
 /'Z' 
 
 f^ 
 
 ^ a If 
 
 * # ♦ 
 
 ^ 
 
 jzai 
 
 ^ 
 
 j2i 
 
 }^^ 
 
 m 
 
 j i 4 4 
 
 s 
 
 *i *i ~* 
 
 ill lit 
 
 ^ 
 
 a . 
 
 ^A* 
 
 ^ 
 
 /i^ 
 
 I 
 
 -/gy 
 
 -: 3 
 
 ^1 f 
 
 jli.. 
 
 / 
 
 -ffiu 
 
 i/3 
 
 [ttiSB