Studies in Bravura - Lamperti Ed Liebling

SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

Vol. 1633

FRANCESCO LAMPERTI

Voc a I S t u d i e si n B r a v u r a

Provided with explanatory text

of a pedagogical nature by

ESTELLE LIEBLING

G. SCHIRMER, Inc., NEW YORKCopyright, 1942, by G. Schirmer. Inc.

International Copyright Secured

CHAPPELL a CO. LTD., 50 New Bond Street, London, W.1PRINTED IM ENGLAND

TRis edition if authorised for sale in Great Britain an/tits Possessions, excfadtTig- Canada, Rut not elsewhere.

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PREFACE

As an aid in acquiring vocal fluency, good habits of

breathing, and a tasteful and effective style of executing

cadenzas, as well as in attaining perfect execution both of

rapid passages (coloratura) and of embellishments, I have

ventured to publish this work, "Studies in Bravura". It

should not, however, be taken up by the student before

pursuing a thorough course of solfeggii and vocalises, after

which it will facilitate accurate rendition of both the modern

repertory and the music of an earlier period.

FRANCESCO LAMPERTI

4

Studies in BravuraFrancesco Lamperti

Revised and edited by Estelle Liebling

This exercise presents an opportunity primarily to cultivate a greater fluency in scales.In every scale, regardless of its length or compass, place the voice in the position of thehighest note in the phrase. This creates a lovely singing-line, and ensures an evenness ofcolour indispensable to perfect scale execution. For example, in bar 27, place thefirst note in the position of the "G" and continue thus through bar 30.

Attention is called to the many accidentals in this exercise. They should be sung withmeticulous regard for pitch. This will lead to perfect intonation and will add to the charmof the melody.

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Copyright, 2942, by G. Schir7nert Inc.International Copyright Secured

Chappell & Co. Ltd., SO New Bond Street, London^W.lPrinted in England

Studies in BravuraFrancesco Lamperti

Revised and edited by Estelle Liebling

This exercise presents an opportunity primarily to cultivate a greater fluency in scales.In every scale, regardless of its length or compass, place the voice in the position of thehighest note in the phrase. This creates a lovely singing-line, and ensures an evennessofcolour indispensable to perfect scale execution. For example, in bar 27, place thefirst note in the position of the "G" and continue thus through bar 30.

Attention is called to the many accidentals in this exercise. They should be sung withmeticulous regard for pitch. This will lead to perfect intonation and will add to the charmof the melody.

Allegro

Voice

Piano

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nThis exercise is primarily for the practice of chromatic scales, the trill, and large vo-

cal skips. In bars 2,3 and 4,the demi-semi-quavers should be treated as an essential part ofthe melody and given their full value.

In bars 12,22,32,49 and 52, when the voice ascends by half-steps, be sore that thesenpward Intervals are large enough; and when the voice descends by half- steps, be sure thatthese downward intervals are small enough. Place the voice as high as the highest note in thephrase.

In bars IS and 19, where the voice has to accomplish large and clumsy vocal skips, thesinger is again advised to keep the voice in the position of the highest note.

A reminder that the trill must always consist of two distinct notes, no matter how rapid-ly execnted, is to be found in bars 14,15,16 and 17.

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mThe importance of this exercise is a musical one. The intervals are not easy; there

are many accidentals and difficult changes of key.Practise bars 19 throngh 22, 31 through 36,61 through 67. ;There is no florid music that contains greater musical difficulties for the singer.

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• ' • iv. .. .This study offers an opportunity for a reminder that the mordent may not take away any ap-

preciable amount of time from the note that it precedes. Examples will be found in bars 21,23,43,65,66 and 70.

Staccato notes, snch as those in bars 14,34,64 and 65, are attacked as gently as thoughthey were legato notes. No glottis attack and no additional diaphragmatic assistance when sing-ing staccato will add in any way to the limpid execution which is indispensable to a beautifol-ly sung staccato tone.

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lis exercise is a summary of practically every difficulty that confronts the singer ofL music. Here is an opportunity to study the two-note and the four-note mordent, toasize, the difference between isfaccafo and 'niarcato^ and to practise triplets, trills, andgios. •,e the three concluding bars as an example of correct tone-placing, in seeking aness of colour from the low C to the C above the staff,actise syncopation in bars 22,26,53,34,35 and 39.

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VIThis concluding and very difficult exercise should be practised with an almost mathemati-

cal distribution of breath. In bars 31 through 34, we find the only necessity for a longbreath. Throughout the rest of the exercise,- take short breaths. Do not breathe every timea rest occurs. Stop the sound,take no breath, and continue the phrase •without any change ofvocal colour. Use your judgment and taste in deciding -where to breathe in a composition thathas so many rests. Above all, remember not to obscure the quality of the voice by using toomuch breath where it is not needed.

Andante sostenuto

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