Singing methodes

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#FORMATION AND CULTIVATION
1)
A COMPLETE AND PRACTICAL METHOD OF VOCALIZATION,
CONSISTING OF EVERY VAKIETY OF i
^rogitssibl^i Jrrangeb, aitb %hi^it)i to it fomtts of beginners anb l^bbiinctb pupils in ttc
f'r-
mi^r^
BY B. F. BAKER.
Price $1.50. j^i
s 0ston:
RUSSELL & RICHARDSON,
(SOCCESSOBS TO GEO. P. REED * CO., AND NATHAN EICHARDSON,*
NO. 391 WASHINGTON STREET.

2. fAUSlC UBRARY
UNIVERSITY
OF CALIFORNIA
BERKEirr
GIFT OF
Professor S, G. Morley
m

4. ^Si^r'

5. BAXBR'S
FORMATION Al CVLTIVATION
0f tt
. »
-•
. -• ' •
% €m$tk anb: ^rattkal
METHOD OF YOCALIZATION,
Consisting of €kvs farietg d
SCALE EXERCISES AND SOLFEGGIOS,
PROGRESSIVEL.Y ARRANGED,
AND
Adapted to the wants of Beginners and Advanced Pupils
IN THE
HITWf
BY B. F. BAKER. Price, $1,50.
BOSTON:
PUBLISHED BY RUSSELL & HICH^'^TIDS OIs ^
Ko. 291 WASHINGTON STREET.

6. (tK}ZZ LIBRARY
UNIVERSITY
OF CALIFORNIA
BERKELEY
^
133
^^ f-^^-^*^
Entered, according to Act of Congress, in the year 1856, by
NATHAN KICHARDSON,
in the Clerk's Office of the District Court for the District of Massachusetts.
8TEESOTTF£D BT A. B. KIDDEX.

7. PREFACE.
The development and cultivation of the voice at the present day, is regarded as an important branch of
education by all classes of persons who can avail themselves of the necessary means.
In the compilation of this work, the author has had access to every work of celebrity on the subject, pub-
lished either in this country, or in Europe ; and the selections of Scale Exercises, have been carefully systemized,
while the consecutive order of the solfeggios, has been adapted to the progressive stages of the pupil's progress.
The exercises will be found easy, and progressive; should the pupil practice each in course, he will have
prepared himself to meet the difficulties of the next succeeding lesson.
By transposing the scale exercises into the key of G, or A, they will be found adapted as well to the Bass,
or Alto, as they are now in the key of C, to the Soprano or Tenor voices.
The selection of solfeggios for this work, has been made with no less reference to the cultivation of the
taste of the pupil for good music, than for facility in execution, and the formation of a pure and a chaste style
in singing.
The two standard Bass songs in the last part of this work, are designed to be sung as solfeggios, by those
who may wish to relieve the severity of scale practice by reverting to melodies appropriate to their compass
of voice.
With the hope that this method will have a fair trial in the hands of able teachers and diligent and persevering
pupils, it is respectfully submitted to the public, by
THE AUTHOR.
823006

8. ,, I
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Drgitteed by the Irfternet Archive
in 2008 with funding from
IVIicrosoft Corporation
http://www.archive.org/details/bakersformationcOObakerich

9. BAKER'S
FORMATION AND CULTIVATION OF THE YOICE.
FOIl]yj:A.TION OF TON^E.
Sound is the sensation produced by the vibration of the air on some other medium with which the ear is in
contact There are three words used as describing the sensations produced on the auditory nerve, viz : Sound,
Noise and Tone. Sound is a general term, but Noise and Tone are specific terms. Noise is that kind of sound
which results from irregular, interrupted and confused vibrations, -while Tone results from uniformly even
uninterrupted vibrations. Tone, in the human voice, is produced by the exercise of the vocal organ, and other
parts called into requisition, in accordance with the design of nature.
A well organized throat seems to be essential to the formation of tone ; but a bad voice is oftener the result
of neglect, or carelessness on the part of the singer or speaker, than the effect of organic difficulty. In a general
sense, tone, or a good voice, must be taught by imitation, as are style in conversation, good manners, and the like.
In the early stages of vocal practice, the pupil should rid the voice of all pectoral, guttural, or nasal qualities,
and until this be accomplished, all practice of scales and other exercises may not advance the student, but rather
serve to confirm an exceptionable use of the voice.
The pupil should commence his practice by learning to inflate the chest by a single deep and silent inspiration,
abstaining carefully from any sighing or sobbing sound, then allowing the breath to escape as slowly and gradually
as possible ; this should be repeated till the pupil can fill the lungs completely at one effort, and moreover till
it come to be a matter of habit.
The learner must stand erectly, resting the weight of the body on both feet equally, and the head kept
steadily in its proper position, inclining neither to the right or left; in short, let the attitude be easy and graceful.
*
Let the tone be formed in the back part of the mouth, behind the veil of the palate, and let it issue
unaccompanied by any wheezing, gurgling, or reedy sound. The mouth should be opened sufficiently wide to
emit the tone freely, not however so wide as to distort the features. Avoid protruding the lips, adjusting them so
as to slightly expose particularly the upper teeth. Ordinarily, huskiness and hoarseness result from an overissue
of breath ; hence the less amount of breath given to the voice, the more pure will be the tone.

10. 6 FORMATION AND CULTIVATION OF THE VOICE.
The student should inflate the lungs and check the breath before commencing the tone. The tone must be
approached with the rilightest possible current of breath,—with certainty and firmness,—still avoiding abruptness.
A secmingiy. rdtiiral aiid- fitting position of the mouth must be secured before the tone commences; no change
should take place in the shape of the mouth during the prolongation of tone, that is, supposing the tone to be on one
and the same vowel element. Neither should the general position of the mouth change when the tone is increased
or diminished ; for just in proportion as the mouth changes, so will also change the vowel element. Hence it is
recommended that the pupil form the tone on the following vowels, viz: A, long, as in fate ; E, long; 0, long ; and
A as in far; all of which are single elements, demanding the same position of the mouth in their approach,
prolongation, and termination.
The tongue should lie unnerved in its proper place, neither drawn back nor elevated. The tone should be
formed without causing any apparent effort, for it is probably true that when the voice is exercised in accordance
with the design of nature, it is pure,—costing the singer but little effort, and thereby rendering the tones fur
more grateful to the listener.
The words Chest Voice, Head Voice, and Mixed Voice,—which, by the way, are terms to most minds as
vague and equivocal, as they are wanting in real significance in themselves,—we feel obliged to receive them
as technical terms, since custom has so long recognized their use. These words refer not so much to the formation,
as to the characteristic quality of tones.
The Chest Voice, is that kind of tone which is clear and shrill, yet at the same time, wanting in resonance.
The Head Voice, is characterized by resonance, but wanting in clearness. The Mixed Voice, combines the clearness
of the Chest Voice, with the resonance of the head tone, and this, is the quality of voice which, in this work
is recommended.
In the proper exercise of the voice, the breath contained in the lungs is compressed through the contraction of
the muscles of the waist, and forced upward into the Che^t, thereby giving a strong impulse to the current of air
passing through the trachea. This may be illustrated in part by a pipe Organ, the waist serving as a bellows, the
chest as a receiver, or wind chest, the trachea as a pipe, and the head as a reflector or sounding board.
Notwithstanding the many suggestions that may properly be made to the learner in his early stages of practice,
it is important, and indeed necessary, to attain excellence in the use of the voice, and form a chaste and finished
style in singing, that the pupil should be under the direct instruction of a competent master, who is himself a
practical singer, and whose examples are fit models for imitation.
EXERCISE No. 1.
fe —^
m^--
Ah'..
-J^-
Ah!. Ah!.
i=i=^J^i=UYA^i=i=ki=h^^d:«=£EE li 1 1
1—i~| 1 1
H
-1=
urn

11. FORMATION AND CULTIVATION OF THE VOICE.
i i
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-^
f=i^
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r I f=f^
i
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—Jj-ZjI-lz^lTl k—I—|r:
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f I I I—l-H I I 1 1 3J=:J=:1:=^=t=l-4f-J- ! ! | |J J 1ir4:T=4=}=|i4:FJ=j=4=4
Exercise No. 1, may be sung to all of the vowels ; but chiefly are recommended, Ah, 0, and E, according as
may be the wants of the pupil. If the pupil be inclined to produce a pectoral or a guttural tone, the vowel E is
recommended ; and if the voice be wanting in freedom and roundness, the vowels ah or 0, should be used.

12. 8 FORMATION AND CULTIVATION OP THE VOICE.
EXERCISE No. 2.
i ZII?^3 ^ cs IS
_^..
I 1 I I I I I I
$:
^ ^^gi- -i i i J J J J J_J J J" J__J_J__M-i---M^.^-^--^—-^:
^1
fe?«^^F
^-
^r r r r r r r r i i i r r^r^ r
~# ^ P •--r-» m m m
:dz
:a=-
:^.:
These Exercises may be transposed, or the compass of them extended, to suit the wants of the pupil.
EXERCISE No. 3.
^=^ =d-
Jh!..
1 1
—«- 1 1
-^-
1 1
Ah!..
=i=ir^
j
-t-
=J^
Ah!..
'f'-
4=
I
=1=-M
1
=f= i»
-^^::f:=e- i::zp-
=P=
—•—
1" t ^
=f=
-P- p —px

13. FORMATION AND CULTIVATION OF THE VOICE. «
(:
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rr~r' "f rTfTTrrT=rrr-r=f=rrTf=f
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f T -r f- ^ 1 1 !
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i^^ i!L_fL> -"i
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i ^-r If-, f- f-
T-rrrfrrn'TTT i

14. n FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 4.
Do! Ke!. Mi!. Fa!.
I M M fj_t f
J
M i
J_JJ J J jJ^^^^
fTTTSol!.
;:tr4=t-t
i
-es_
©
Mi!. Fa! Sol!. La!.
i
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I I I If^
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Do!.
f f t > r (
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f=F=f=F t=t
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^
A -€
=S>-^ ri^iz;
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Sil. La! Sol!. Fa!.
I I
4—J-4-J-f-4--i-fJ.
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j^t :1:rt
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i
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Mi!. Eel. Do!.
^^fe i^
Sol!. Fa!. Mi!.
-^
e
Rel Do!.
ifr^'miHmfmm^sm&

15. FORMATION AND CULTIVATION OF THE VOICE. 11
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A
:tii:t=l=t::
Re!. Do!. Fa! Sol!. Do!.
m #-!«-P_.^.
tr-t=a:
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Si!. La!. Sol!. Fa!.
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ti j!
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Sol!. Fal. Mi!.
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f=f=f=r rrrr-^TT

16. 12 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 6.
P
I^arco.'
i^s:
:s^
Do!. Re!. Mi!. Fal
^S333t==t
Jill
^f=r'f=f^rT-?=i'=^-I I
TTTf' T~rrr '~r^^Sol! La! Si!
-C- -0- H* ^ H« ^
:p=p=p=p:r:ti=t=:^t=ff=:r=r^:r
Do!.
ft—f—PL—fL
p—•—• »-
:t:=t=t: i 3;3=E3i
T-rrr 'rm
F"^""
Si!. La! Sol!
3^3|i^E||i-7-7-^-1*-
I
I
:^.
^ -^ -#- r r If' -^ -w -w "w^ ' ' '
1 r I I
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Mi!. Re!
I rj ;.^:::
Si!
i!
:p=»=!f=p:
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±=t
iS^^
La!. Sol!.
:4: II-C3-
Fa!. Do!,
^mmtft^mmffmmmmm

17. FORMATION AND CULTIVATION OF THE VOICE
EXERCISE NO. 7.
13
-rrrf f-r-fT T=fT^'-
Sol! I^a! bl !
f-f-r-f^
F=p=p=p
H i 1—
0—^—0 0-
0—0—0—0-
l=t:=t:
ipzip:
t=t= IIEE
ii mDo! Re!
A
:P-^f?: fcf=?=:ft
A
:f _, 1 1 L
Mi!.
m.f f T f- 0—0—•-
-P
^—i*-p—
t=t=t-
ipziprzprzip:
JgEEteEgEEg
Do!
A ->
=F-FF=F^*^
:zs^
.^ar
rrrrTTT-r rr-r'rSol
9fe
:p=T=P=P=
t-.z±=t;
-(•-#—p-
£ i
# 0-
0—0—0-
£ qczjczzpziip:
:t==pz::
&
Fa!
^
'^'^-0—0—0—0^
Si! Re! I>oI
j. ./ V w-J- -J- -/ J J J J ,
j._j_J_iU-J-U.g-^.U^^-^-J
Ti~y-p~F:
-J-H 1 1 h
-^-f-J^=W.
t=t=:t=l: f=f=r^^t3iEt£i^:=pE^
i 33: i¥
Si!. La!. Sol!.
-5=^
Do!.
a^
u^J-vaj=^^JEJE^aEa34j=^^=i=j^
r7Tr^""^"^rrr r^ ^ ^ rV r-rTTTf
feii

18. u FORMATION AND CULTIVATION 01" THE VOICE.
EXERCISE No. 8.
Pi e^
:^-
Do!. Ee!.
..^.
MiT.
^
1
f
^leiE^^^- 1 1
H
3^«^^^EE^^i^di3^^=M^=J^
f—f—r—r f=f=f= f=f=r^
P
:?s:
1^ t-
Fa!. Sol! .^T7: . . La! r r r f
./ si!r:.:v.vv...,
SEE H«—^L-#-=P
If^fH^^^-rn'n^V f r
r -H^-r^'-f^-rrf
Do!.
i§a=f=f=r -S :pz:p=pz:p:
:t:
Re!.
Ht _^. _je. _^-
-k-U-U-U
Do!.
•—
^E|
Mi! La! Sol! Fa!
-^— -# —•-
i;
:W=¥=W=W~ -9—p—p—P-
?S
_^_^_^_^_
1:^
-»—•- »—•-
X-t-t-^
i Mi!. Re!. Do.
I I I I
i i3FSi!. La! Do!.
._i——I— —I— I
f~f~r~T
—(-
^^: ^^B i

19. FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 9.
15
^
Iatco.
9i=5
-S3I-
-r -r^r -r r~r~r~r
^^^1 i ~t~
r-r-rr
sfii^HHi^fiH^
p
-^—*-
f=f= =P=F=
^S^—A.
f=F=F=f
1*— -f--
-1 H
I I
Fa! Sol! La!
Si!. Do! Do!.
I
t=)=t
'^n-f-^ti-fTn-rrf-rn-'mW^fa ?E ^ P W—p:
-I h- :l?=l^
i
Si!. La!. Sol!.
i
M-jU,U-jU
^!=(: 3^ i;
?=*=^=
I I 'f=f=f-i-^-f-rr^r-r-rr
P=:p=::=p:
f r,x:r: Do!
sttBdrf-^i'^ffl^^^-H^fffrfrr^
i s 1
-r f-
r -r
Do! LLLL Do'.
^^N^f^Wn^ffN^N^^^+fexfe^

20. 16 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 10.
These Exercises may be transposed into the Key of G, when used for a Barytone, or Bass, or an Alto voice.
Wm^^^^m :it
^—*— -'-y~^^ ,-j-*
Do, Ke, Do, lie,
-J- -J- -J-
r- m • 5 5
J J_ J J J
5=f=i=? S=?=ii:^- -#-^-»-r
f—f- r—r-^-r t-t
J S -j- -^ -J^
__^«H
-# « U 1
U 1 J.
-«l- -jr -j- -j- ,-j- -j- .-^ -^
1 i
J— - L- 1
'
I I
^ -j-
-f -#- -j--
i=5=i=^":-*-^-
^r u:g=F+F-r-FHrEgz:h:
J J J J -J- -i
EEtPEf^^"
^ :p SJ- --U -i- .
tzi ^- -^
^ 1
L ^
—i—-J-i H-
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- • B •-
J J.
-IE—i-
T ji iS-
-^ f p=
i.
S 5 ?:
i
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r- r- r- r- r- -f-
I
PT-' r 'ff^
=?=^
:fi=
i
i

21. FORMATION AND CULTIVATION OF THE VOICK 17
EXERCISE No. 11.
The pupil will take breath only at the end of each phrase.
Lecato • ostennto.
fe^te^^^^^^P^^^^^^n^^^
-Jr -I -I
4
—*~Ltl
5rjh?::|=5:
i^ I
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1
1
i y~'i=^
dw
1
i I 'i
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r T
J-j-,j-_-j__,j
^ y #=f-ot»^
r— r
d^-t-4—--i^
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1
H
:|3EE^E3
t
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-I -I -J
-( H
iii^3;^E33^
i
1^:
j^ ,#4-1-7^^ f-T^ 1-
i i
gg^i^ ^^=^t J, J- -J- -i-
f^Fr-
^ 1-
fe^l^S
rit
-) (-
I
' ' '
' '
[3]
' '
^ ir-tr 1
I
I 4=ni f-
^

22. 18 FORMATION AND CULTIVATION OF THE VOICE.
-• 0-
Siizz^ ^
J
r-'-r T
fei=tri=.i=:^0~SZ9^Frpnzp:
1
H-
|^^---jE£ f^ J=2j
smsg ^^--
--^ V 4 -i
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t:±=P=^i^
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dt:
r
l§^feg
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l=f^ -f— -^-
I
i
liM
i
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a^^^
-j-
-»—
-I
—

23. FORMATION AND CULTIVATION OF THE VOICE. 19
Too much care cannot be bestowed oa the increase and decrease of tone in the practise of these Exercises.
EXERCISE NO. 12.
Ijesato e wo*tcniita»
M^^^^^ R=
^-^ J jtrJ''t-ri-:^^i^^^::^Ei'iip^^
gfe|=g=f m^t
:l^
-?=-
.'.•i"**.»«.*«
s i5i^^33i^i-T.i^=S£^3=3Ei5i3E±|:i:fci
1 J I-
tttt
.J_
3: =5=
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1
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i=J=± i 1
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tiziiittr^t*: ^zifc:
3^
4 f
^^ •
c —„»,s^ —.zP5^—.f*^—iF?!^-i- P: ^ i
I
i— I
i
!
I
III
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i .^ "I H ^"i i i
:st=:
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(
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V
—t— V V
4—r^ ^n^T^q^g^=J?1l-J^^S-Jl4Tn |..!J-J-jJ-4^IL'-i:p=|ipi=i:
-•I- -Jr
Sgi F^^ ^:
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=> ^ -

24. 20 FORMATION AND CULTIVATION OF THE VOICE.
Brf ^-
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i #—^-»
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1
1 1
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gt|: 3:
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li
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25. FORMATION AND CULTIVATION OF THE VOICE. n
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26. 22 FORMATION AND CULTIVATION OF THE VOICE,
1^
1
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J
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t
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ips:
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I
i i I I I
,
i !^— I : ,
i Tl- I i
I
S^S~==1"—j—
i^ J
i*
i-p-
^13 E3
Ss=^-33E353=^=i3iS^='"=i3=3^=^"i3=333
I t
± JiuJP.,
^1

27. J?ORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 13.
n
EXERCISE No. 14.
EXERCISE No. 15.
The fourth measure of each phrase in this exercise, may be omitted in the early stages of practice, in case
the pupil find it too difficult.
P =j=:4±::4
P
y Crcs.
«l**-^
tatXlr'jt XTitK'-i
^^ Crea. «l Cre«.
MJbi^M^Mi^
C«-e«.
^JE^Sfc^r i^Z^ti-J^S-:* i^vSi^- *-2^J2iivt^iJ53Ej« ^;*:r*z ;Mifti^ iSie-*v?3Cf
P
Cres. Cres< Cre*.
^^^^
Crea.
^TS^=#-J^-Jf3-^V»j^-^~#-j.3; 3^
f *#
' ' I I
'
ll -
^ I
, , :
—^ ff i
1
I
I i H^
Cres.
^

28. 24 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 16.
-^^.
'"•P"
H i^'-^m ti^
1==T=1=
^iii S^::
-ff^-aii
r-^-f
i^
j-
f
«—
w-^-
ip:
hJ^
"P
:e:
^^fe^^i^^lS^ii^^^
s^^teig
5:=^::
^ »±3::: iz3: S^^i^:
J-
^S^E^ ij: ?^
EXERCISE No. 17.
A9 S^ SV9 A»
«*.i?g :&i; ..-- -—

29. FORMATION AKD CULTIVATION 0:P THE VOICE.
EXERCISE No. 18.
25
No. 1.
a=3=^1^ m^No. 2.
•ft«-*- IzMzt:
-r-t-^-ti-.-
g=|^
No. 3.
^^
tttzit^i ^2_4TI3.
i
— — —°^^—— 1
f? 1
^ "K—
No. 4.
I^^§lilig^gl^^5^3^fe
^>t ^^ .^^ "o^ .^ ^%>K ^^ ^^«A i^4^ f^dv^ KTu'-'iT^ 5rv*^>NA *<v-#-i*>^ ^^^"•^^
No. 8.
[ijid 1
z iJ-
'
-J i# M—:^^jt ^° Ip 1 1
^° ff
I
^^~r I
No. 9.
^73^i^l^
i-#—-—-*-#—I —•
—*
—I
'-
—I
-0-^
-*•',
0-^-
-4 >
1
1-
m
—d
—»
—9- 4=t
piS=J=S^: -t=^i=t=i
ACCOMPANIMENT.
3e^
• 9 m *-
^^-0 • 4 0-
-m #~
V^l^ S^fe
9 4 *=ti
-4—d •—iP P^^

30. 26 rORMATION AND CULTIVATION OF THE VOICE,
EXERCISE No. 19.
i >> -^^3^3
53=^
"SH^
1 s^
=t:
HS^S^S^ ^#:
t
r
gizgzi :^
fe
iiiPi ^~ -#- -jTi" .,2>'
:p==r
-<-3 9'--
±tl
:?szz:
s:s-fe"
U±. :iB=:
^1—fc-_p_=:-^-^-
3::t=: s
^-^-SigEE#:^pEpg^^r^^^p^!^E^ -#-r-
I u I 1
^f^—
?^^:t
-?r-^-
-^'
m -^^ ^^i M=t:-^.:
|^EE^=4=g-:^
<= t^»-
l?=?^-
jTi
i=w^ rfe:
'ii ist^;:
J=S^--^ -U
S-g——gafeiiife^fesiEii^Ejpfgia^i^^h
1^-^^§f:
E
ips: :cl^: ::
S^fes;;: ±:
i 1*=^ =S' "I
zizm ^
izjfes:
^
Si
;=te;
^^^p^i^_^i3^ "ST!:
H r«-
1-^;;
^fe =#=
fcs; 1^
izS-
=ffS?-
Jz^S~^feft:
-^- -^
-P^'-
-^—1€- :ii:

31. FORMATION AND CULTIVATION OF TIIE VOICR
EXERCISE No. 20.
27
Sl=^^=Pf :^-
^^^-
^Jf-'
Do, Mi, i)o,Di,Ue,lli, 3Ii,
-^=; ^^^^
ffi=3=f=*=^iiiiEi?J5:^-^: :S=.:
i=^iEE!^ife res: -P=ii^
1—fti—-
_-_*.
-PS-
t ,=f?i^-'--
" -»-. A
::±: g=EEE^^i:i=
r^r- ,-rz._^,_r^^:^^-z|!M
-_-fZ?=#l>*_^_-_, -fSS- -f—^-0-~r :?=2:
S •-=-
^t :f5E
:«=ipxi??i?;:
4=
?f=pii::
t==?:
is?
—c=) ^ shm-
:J=f?i:i!at :^itbi:^ :t
E*EE^ *2zz5:z:
3^3!
i =!: -'^.
3: ^^^ip "CS^
EXERCISE No. 21.
—ITA-
^*- it=^
^f-
^^ -
t-T^
fe^^^i^^^^^^4t*= 7=^ Sit
0~—=*=^W^!^ t±

32. 28: FORMATION AND CULTIVATION OF THE VOICE.
-^^-=^-
^=^^^^^^^^:^,-J^^^^^-^^"!^=R'-5a-S.^=^==tJ=^=:
-f-^-^-ii ;-»-»:
iiz:z?z^ir!iL''r-^^
. A
E;Et=fc;
f^^i^ii ^-T-^'-ifef^^:
i<u-»- i?^-- A
t--=-rr«_... :^=b:
^J^-^-r-4^„g^-^^fa^-.4^f^.^ ^^^^ ^ ^^'if^fe^-.
i^ ;;eEee2E- :5z::
^-^^-•-»f
A
^:
P2P=
^^
^ K^ —I
—I
—h-H "--
zlip:
?=^=5r
iP
-»-^*
^-•^-I
^
zizri i^s:
3EszpgJEJ5^EJ=z=^^p4E^|g^zS55--f^^=^
_^_i.
^tiw^=^ -#-^
s
^f^M i^: 3==^=S^=i5i=y
_A_
:===t
^^^'^--'^^--S^-'-'^^-^-^'S^^.
5[E
EXERCISE No, 24.
^;^-~Jp- ^-jt*^
'^-
—<^
^^^Mm%'f—

33. FORMATION AND CULTIVATION OF THE VOICE. 29
:p3zg:^E±^F^iEPEf^
.-0^0--^,
:^^^MM
i:
A -C5-. -•
=&
^fl^J?^
f=P2p:
t
gEi^^^^ ^i^z^^-4-3=M^^=FJ=^^^^-^^#-^
'^ EjE^^S^gz^t^Za^El^f^^ i
EXERCISE No. 23.
%|^^E^^I^^J^^^ ^-^
^^^^^-
P^^P^S "p=f= =-^ •
I ~i--j-MH-J=jf^=#=P=^:
f^^^^i^^^jg 33 i^i^^B^
i10-^
—1--
S^IE^tEfE^ :?=
^^Sitfc

34. 30 FORMATION AND CULTIVATION OF THE VOICE.
i
5ZTE^^^z:Pii^=^^^^
SS -'?-
:?5= ~^E=w=fzk=f.-k^BMl
A
i
w
¥
MjlM.
^^.lIESE4pfe=Et^Ef^t^
i
-»-3#
s 'kJ^0-r=SM. _P2_
^^^^li^s^s^"^^^i=
H^g^
~ I i i i 1 i^iii-^=P ^4^
EXERCISE No. 24.
-- p? »
>f
-
- — 1"'^'^^— I I
,
i
^ i'J^J lO •
^
^=gl^Eipi^ ^^^E^a^ . A
^^^:
P li^gS E^il^^
m^^!^^^^^m^^0^^4=i!^mi^M:^::

35. FORMATION AND CULTIVATION OF THE VOICE. 31
-»—I I
I
T-f-t-^-F-^-^^f^f-
i^^rfe"^^-^ i^rz::;
^^^ES^3
^^=^--%t^
mp
EXERCnSE No. 25.
S^-^Sr^^^^-S^
E?^£-J--i5i=i^S^S^5^^^L#!z1^^SE^^^=^^-^E^4i^
ff- |j^:gg_^_._,,
A -^-
-;-r--
P*^*^:g3;j m^-^-^u^^^

36. 32 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 26.
^Ejr3^^ 3i^&^
&W^ dV:
:2=i -*f
~^ 7 V
^H-
L:iI^
j^=tr:d-_iz2=r:
f-PZ-^T--^
J=J==A
V
:3=tp:
i-Ti T^.=^=
I i=^
^.j^=^p=t|i=2=
^=p:f:
^Ji- =gz _J^ -^z i-gz _^ zf: iii -5= -^
.J^-
N
^
-7--^
fe
,-.?
^•r
-^-
f—
^=J^=
f=5zzf=2z=i
Sl=ni
^ h
V—^--
/__j^
-7-f i?;
^-rf
gJ^^P^jg
±S^-^=—ig: ti=—=j_ _s- =i= _;= t%z
l^^^^J^J^J^,!:^,,^.^^^
V- ^^ i
j
'
I ' -hr h ^h b—-IP-I-/
fc:t=5:
Si

37. FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 27.
3S
gE=^-^-i!jT^f]^:J^ ±ji 0,0g»^S-i-
:fev5^E2E: -*y-j^-?- ifi:
t
:-9r±l
^==:^.qi=2.
S=j J?at
tM:ijti^iL,m ?^^:«r^
K*jilM^jM
gup^ i£5
si
i:
^ ^
^^r te;
a: f ^ r 1.
V
-^-*-
i i
^1^1=
^=31-t
V-J=—-If; S
dQi=fe5=5:
1^^^Eee;3^es:
/=
:a?s^=f
4
p=5:ji-^Mr-^
;/ ? -V'
i
^V ?
-A
'^ ±:
Eg^P^^ip^agjgrfS^^^igt
I
I^s;=jv
r
i^-?- 1^=^=
^^1^. ,^^^^,^^,,^^il^^
1/ [SJ rf 1^ ^ "p
iS

38. 34 FORMATION AWD CULTIVATION OF THE VOICE,
EXERCISE NO. 28.
£)ifc^-i:trf i^_
f^^^^^
t
:.^
«*
-=t
#- -•-
J
ip=p=^:
^:
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• p «t
:^—t:
:fr*
E^=£2=?^gg :J^=E
^^
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tI
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J
m
^
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# i^EiS^^ii^*^
=|:
:*^i=5: :-j=£r-_t::z:
fe?
i
:i
=S:
:3=;
S Tr
:|r=tz=2:
-t /
^^^^^^^^ifci 1^=2:
•litif
! M 1 1 1-
•-•tirl
m'-^- -^- -*-
I 5^ji ^^ i=«^
i
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I 1/ "^
J Wit
f
:4C=p:
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sB

39. FORMATION AND CULTIVATION OE THE VOICK
EXERCISE No. 29.
35
^^^^^^^m
^^^j!
^
m
EXERCISE No. 30.
mmf33S":^:^S-: si^:|
'"Wl
:piSgJ^^I^
ilp^iligf^fel^^g|f^^3g^z^^
EXERCISE No. 31.
=f=H«-#^
^^f^^^l^pff
EXERCISE No. 32.
^^^fr^^^^^M^S^^^^^^^I^^^W^u$ ^H—^•i^^
L^4 t BS
^^^W^^^^^^^^^^^^EXERCISE No. 33.
::]:: ^a^i=#=^
££^a3N^i^^«^=*-
pm^aif^^E^gii^^^^
EXERCISE No. 34,

40. 36
No. 1.
FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 35.
No. 4
=iz^
m ^^^^t^-
-0—i=
-^-^- :5=:q: 1^
No. 5.
#felp^^-E^ :f:=:i
i-^3^
No. 6.
S
feS^' VJ^_J. ._ mNo. 7.
.^_
%:5E^^=jj:jjE:i^-:i:^J=^Jg^
^^^31^^ 1 1
No. 8.
^•:J-^
;[i
fc--=?^:
fS3HEE^
3iz*:i ?z:i*at*atf az*:^J;*z±*az*
No. 9. iK^
ai
No. 10.
^
gggg«^ggj|iJ:!-jJ6**yg»: [^
[^ -o- ^
lEt IS

41. No. 1.
m
FOnaiATION AND CULTIVATION OF THE VOICE.
EXERCISE No, 36.
/T
m
mN N
r^^7=^^^ -_ss~ zst IP—1/-»-^ St
No. 3
m /TS
^^=^^^=^^
No. 4-
tj
/TN
S-
te
^mw^^^w^^ ittiE
?3p^=E^^SEp
S
No. 5.
Js
^lE^^^-gSg
No. 6
/^
-N ^
'ISC
3t ^HE4
I^3=
No. 7.
n-
^^^^^^^lil
«:ti:4
n ^"^
*-d-J;
«_*^
^•—•-
izzi!!
•- -^z
No. 8
Sir ^tdi.gJ-P—
/t.
No. 9.
i^
}!a-:it^=--U
-^- #--•
^—l-fTF
'
' ' '
—I
—I
1 —LJ^t-- I
—«-h—#-
.-^
^^^^ 1^
L'S^Z
m^^ 3 .':>
WT^'-T-
-^0-
n
!
' '
mwmuiii say-
No. 10.
M
»^^1^^^S
s
^
.t=x-
/TV
^
3:^
^
m
m
i
ig
^
n

42. 38 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 37.
The practise of this exercise will secure to the pupil the ability to change into remote keys quickly, and sing
the scale with equal certainty.
No. 1. No. 2.
BIS.-
X^>
i^-
^Pite"
No. 5.
IS
No. 6,
'X^: tk^
'i
^^m^s^^ip^^^^^^^^^^
I
-^— m
0MSi
_ca-
-—'+
:s3:
I I
I
IBNo. 7-
^^i^=
No. 8.
^=P=i:it^zTztpzi:pz^
i;
1^
_.,,,^,_i__j_.
Es=
t:
'i^tei
:^:
igfeil
.C5_
i

43. FORMATION AOT) CULTIVATION OF THE VOICE 39
No. 10.No. 9.
<^^ r^: ^ No. 1
i=p:
--io^--^=^
iT
^^^m
iS5
^M ^^ s
m^ m I^5~
;=s=
i
No. 11 No. 12.
'^^^
gp^^t-#^t|gip5^g^^g^,g^|
sl^ ^gp
No. 13. No. U.
P^^^^^^^^^^i^:-fze-H
as-:Jzi|J
:S:
i£?^3 rt
:|
»:
IS
)>*
t?^^
5tfc*
^^
il|=S:
•^y
^^Pte=i;iE^ :^5_
No. 15.
Z^A -hiMfaii^
:|i=t=:: s
9<=H1
1
—^ 1
—g
1
—d—

44. 40 FORMATION AND CULTIVATION OF THE VOICE.
THE poiita.:men^to.
The Portamento consists in a concrete movement, —in a carrying of the voice uninterruptedly from the
pitch of one note to that of another either above, or below, for the acquirement of which Exercises Nos. 3, 4, 5,
6, 7, 8, 9, are designed.
EXECUTION.
Execution consists in a discrete movement of the voice —in a slightly interrupted, and articulate manner,
effected through the agitation of the larynx, with reference to which most of the preceding exercises were
constructed. But Exercise 38 is designed especially to secure to the pupil the ability to execute with facility,
and with neatness.
EXERCISE No. 38.
This Exercise is intended for a formula which the pupil will practice four times a day, fifteen minutes at a
time, —repeating each measure three or four times at one breath, and extending each number as far as the
compass of the voice will admit.
No. 1.
/Oi
'~^-i^^^^:i>-•-
H—1--<- 1—
^MM^^MMtitr^^i
No. 2.
No. 3.
Pl^pli^^t^i^i^^iiSlSiggNo. 4.
i:4*=:iJ4it=]:j-4-iiiil:izli
?n-Pn=5..
No. 5.
^ p"j3"3 ^^33 ^^^^2 ^223_ ^^ ^^JU ^23Z>_ hZS _CSE3_
No. 6.
Ppa^p^
"^^^ ^^^^*^ ^^^*i^3 ^^ ^^^^^1 ^^^^^^ ^^^^^^ ^^^^^^
THE TRILL.
The Trill consists in the execution of a rapidly repeated second, either major or minor. The trill, is
undoubtedly the most difficult accomplishment in the art, and is attainable only through continued, and
persevering practice.
THE TRILL.
This is intended to be sung in all the different keys.
WRITTEN. t/r„^^^
^^^mw^=^ te
AS 8UNC. RUard.
'^^m ^—d-'i-i* 4 d-^-d-^-d-^»—^0-ji0-^-*- ^* dz^d i
The trill should be practiced slowly at first, giving the two notes with equal force. A greater, or a less
number of notes may be sung j but the above is a plan of the general construction of a trilL

45. FOBMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 39.
41
Andante. Sempre leornlo c nofltcnuto*
VOIC!E.
I.ABL4CnE.
m ^^^ -•-^-#
^^isi^^g^ia?{$ i
i .i .i:
^^
?=t
^U JizitrftF=^^ :f==#=
-rFFr- S
-#-#-^
eg
I
—I
I
'
I
^^ 1-1— «^ -t- I
'
— c___zn
^==i
fg^^^gSggp^^^g^^j|==4.p^
#=p:
J.
n
4- -i
-f-t-^
:i.
?=f=?^¥=:
^1==^
('i£P^=
^a=«=
-^-
^^?=*^si3
^t ¥--
±=fe S^g£Mji=|i
'
i
-»—t—«-?—-»-jf-8J—
r ?^
»—
f ?^
^^s
S
fl^z^ififif.
^ti*i
#=»=it
^ 3ESSEt
^tiizzrp^
1=^tzzitzzpt
/p..^_
_^
^P^Eg
J -i-
^

46. rOKMATION AND CULTIVATION OF THE VOICE.
^^^ 3S: 3cP=P=i:
t=t
-I I I
-li^:
w=ir
mig^^^^mm^i^mmmkm
O-^-
j^
^^
1-—I p—if^
1»
—i^
——t
h—^ ^^ ^ ^
SSiE^S
JL _/ -J- -4- J. J
i* r **=¥=
-^ ^^ -^-
jZ-T^Sigr*---^:J=3ElE?i; ;?sivz--|-
P
Z^arsbetto. Doice*
VOICE.
EXERCISE No. 40.
vtAitro nonnooM.
-&-t^ -•—•-
-3-#-
ACCOMP. -#- -f f-
I t I
--? li ^ ^-T-T ^ ,^
^ -pJf ^ :
-^-^?=f==^ ?=f=^
r-T-
ip=:s:
iEfEEf^
4=ii

47. FORMATION AND CULTIVATION OF THE VOICE. 43
f^e^
:;=*= ^'=F'-Mii=r-,
*E±-E=>^
3ig^^: ^^
i^Si^g^^^l^^Si^te-^
/^
>. ^-A.«Ai.
fe^^^^^^ltS^si7^?!SS!^liS|ffi#^iI§
[m^ f
^i^^ii^^^^^^i3^
f siji t s:i - s « 8 «z#^ ^±
m
!LM-JLJt.jzcjcr.
zir:=:
T:t#::
r- T
|^,^^ii^ii.^^^^-i^
^s -—o-
1^
^^^^^^^^^^r-
^
r-s i^^g ^^^^IeP^MS
ltjul_L^f-ii.-^ii;i^
if tfp "^^
r
'^^ '^- dd imipzpzpnpipip—

48. 44
m if^^
FORMATION AND CULTIVATION OF THE VOICE.
^
••-J).
ILMi
J _J J
3 > > >
li^ -J- J-
ii^*:^j^^
_^^_^_
r .J- r -J
K?t
-^^
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^-o- -f^-
i
^^#
i^: «^ksJ 3 ^ - - -a-g— -'-
:^ ^^ « - ^s- -^ cJ >* -f- -5- -J- y -t- -i—Sz >* -fi" -2" "fi- *• -J- -zr -^
§g' .j^_^_
?3 - ?=^ £
-^-
ffii
J ^ ^»»~*— —•" >»_"•_ z*_"*^ ^ z* -•-_
r -#- -?- -g- ,
V 9 m V 9 #L.
'* 0~9
r
'-T-
:tf-a
•-^- -^#- -^*-
^* e—0-.
p6a=fei'Pz^zzgzii;;«z
SI it=S:
=IZ
r
:s._i
f. -»— ff5^ -
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"III I ^—fW# &^2l— ^-- 1" '
1
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49. FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 41.
4d
Andante enntablle.
VOICE.
J, CONCONE.
m pasM—ft 1
=*=F
F=a:
0^ :^
-#-^-*~ ±± sdol eoprexa.
W^^^^^^^^^^ m^^-:=Xi=
ACCOMP.
i^is :^ - zc mr^ r^ ^
^ig^^^is :^r=P==P^
^-^Egdoico*
gl^^^^^i^P^^^^^^
'a^
•=d: fe
^
±i=i=4
it
^
•rit f
5=:::
iiiiPJ-^s^^^^^^^^si
T-^a-^
iz:*==in!:!=*=^
Si^^S^^#^^S^^^^
iH i:=4=<:
-^=^-~r
T- ^
m £|SE?E!EeS
P=t fEEp^?~£E^t O-
^^^^^^^^^^^ -^
'ii*
3^ s

50. 46 FORMATION AND CULTIVATION OF THE VOICE.
f^^^H h-
fii: ifrf: --^'- m
Cre«<
EEE
p^p^?^^^^
i;5=*
I ^ f-^-^
:#^^-#
§=S^SE5i^g3^g^x
i ^.stii: re -!^-
*^ iDim. 5^
P^i^^^^^g^^^^ftsfp^^^
r^^^as
3f -•- -g- -4-
:z±±±.
—^S— m
^^m=M ^-
:it=tr
ES^
:^=«?=p=i=zp;
i^izit
33 5=^ dEj=B=5=rd±5=: 3=«—«-
=J^^Ei±
i^ i i i
J-—•—•—«—i-
iz::1=:1izit
s d s s-
^3^5=J=d'=
:3^^3^^ ^i ::}=d=l=5i
^—^—*—
i=izii^=:^=2z=i^=5:
d—d—w
mdolce.
^^=-^^d.
-¥-^
E
SEpBt

51. FOBMATION AND CULTIVATION OF THE VOICE,
EXERCISE No. 42.
47
BIsderata*
VOICK.
^B^^^iS=t -JIU ^ *^#fi •-«-
ta
srazliMO*
^^Sii^iiiiii^ii^feffi^a^^iPIANO.
^&=iiEr=s;^r^r^^^Si*7^^^ =^^~' S«= =«x^
iiil35^
-^
^^=^!§ ititirijf '::i5:t
?5 -f^-
-^^^-
^ ^1^^
±Bzl
rdar iji
^ -^
rT -Jir^
^:^ *-
^=^
.^
rf=f==
£E£K
:^S^P^^Pi"^i^^^i|i^
§51
M __l-J* u_ P_
a
g I
..nHi^gS—--#-P^
^3:^;:
b lizjii: z«ijz z|i|i
±±:i
«g^
is

52. 48
pJ^^P
FORMATION AND CULTIVATION OF THE VOICE,
^^i
S£ y^^^
^:-i/-^
^3= ^^-t^r^zr.
tempo. espress.
&^^SIzi^zM.
O- -g- -g- .g-
:s5
3=
r A'
i i:
iz*z=5:
Bp
S^j^l^g^^lg^j^cou abbaudono.
rt
-• —#-^3:5zi^'.-it5z:i!zj^3i Pii=
^^-^^^--^—
^i?ie
^?i*^
H r
iziHit
U^--4
~-=^^--i
tmm^-^- ^g---g- -ii-'~g-
3r::
g:^ Si=?
f
ist
?*—f-
:^= :te
-^^
bt-
"^
fi^fei^E3^ :i2p: ^"^=
^=t
:J2^ -#—"-o-
:jsz
f&^:t:t=t
V
i ^-?=i-H-^-^H=H=---^ztlC^
i^S-t-
^*-#-
95^ i 11=5:
-^J- W-
JT'
JEjEgz ziE^J:
"C5-
-C3 #-
r
^' -^-
^i^
^t^^g^i :J^
Inrffemcnt.
^&ii^l^=i==i:^ '^^'^^~^^1f^i^^
col canto*
^?-=i-
i^ g—j-

53. FORIklATION AND CULTIVATION OF THE VOICR 49
/c
gS-p- iit^: ^^§5
tE±±l -f
—
V - sf=- '
^
m/r
IZZ^^'.m
w
Allecro Ri8olnr<v
i=^
/TN
^-1-f-
33Ei i
EXERCISE No. 43.
^=t^S ^3^^ S^^^iEacrstco.
fe
r -v I
r f^
i
£?EES-=t :> !
'
g=f=r m^ #-
i 11
i=5?s
?^^^^^^^^^1
p) f f
-
o>
• -
J
^

54. 50 FORMATION AND CULTIVATION OF THE VOICR
^ ^ ±w- -N i
P c^ :!*
^ :!?:
*=ft 3-iE3Eg
^?*S^'^Si 4 -^v
^ ~- -.
J 1) ZZ(
^ •
4 ^—^ 4 '
—^ 1^ --
—^ -»-
i
I:
% S3 ^^^^3EE.^
Jw:
E
> v.i -»-.
i^
-^-g^ P^ j^*^ ^^ -;}: ^ ^^ ^4
m (_—
<=> »
i
^=1^^:^f?=P=P=fi: :^^_-0 ^-^
._^=_..
J^
IP
'^^ =t^= =4g==^=^—-^Tp=^ ^-^(^
r f
r
Tine.
'^ ^iT^W
=E^r=^ iai:
s=p:
E^ :E^l:t
:i^:
deciso*
i
nne.
iI^He
'gi-
^jJ^: JT] ^TjJH^^.^^jiiS^B^:
5/=-
!==> »
r r r
7"
r

55. FOIl]LA.TION AND CULTIVATION OF THE VOICE. If-
^^gj
> > > > > > > > > > >
t^
>>>>>>>
fan e SKeead'e*
3^^^i0^^3^^^.f^l^U=y^
m.3 3iJ ^-
=f-^
iz±i~:^±=zzt
fzt:tt -^ n* S
^:| « :g^
m fS:
af:
-^-•-#-
^=
=^ ii^zS^
-i^-# 5=
:±
-!^-
-i,
1 1
—I-
^=^=i
£^iit|'tti^: }^iE*_=6P
> > > > > > >
]=nqB:
^S^^ *^
«»iixetlie>.
^^^^iM^^i
^P "•C3"
^te 1«J; t: tii^ li: Ji J: t^ t
H—I
^
iSitl^: nti5ii{=i=it 53{i!=izSz: Sffl-Mzi^: :^:
-#-•#-#- -#- -0-^0^ -0-
^"V^-
nilgai:
-r- -^n^
^ > > >
> > > > i> > >
--fr-^.
tt^ > > > ^1
> > > Q ?**^
p
fc
D. C
^^=s®<
V
1=dT_^
««^%3^ ^£il^-,1=5--
^rTf:?
S^i
-^ J=ar:
"^ US is i

56. 52 FORMATION AND CULTIVATION OF THE VOICR
EXERCISE No. 44.
This exercise is designed to familiarize the pupil with the triplet, to the even execution of which he will give
careful attention.
=^3i^^
^T~V~
^9
^E^.
t
-0-
mi X
I
—I-
=3=^i:j
-Sr
? t
-P2- -CS T
:ii5: -f ^ -#^ :E^
It—a P- I i i
:tzt
=^=:1=i
3t*Zil 3ip^Egp£gg^^|g^|g^±;£|
rr^-
—i-
i^
m :E^:
ips:
» »
-•J- r J r
:it=z±zz5:
iSl
J- -J-
:^:«-:«^
-J-.—-
3E£;-:fc
Ill:
t I » ^TV
t 1 /Ts
sa^
A >, Rltnrd.
-^—Pn
-H 1
h
d ^ «-
I I
a I f f f I I
i i#

57. FORMATION AND CULTIVATION OF THE VOICE,
>-— A RltBTd. tempo. L, ifi^
:-J=3^=li*
3
f » t t
3
m^m ^^1:5:
—(^-
-^ M^^m
isa^a
eat voce.
^ffi± ^-^^-
-bd -^
W ~ey
*p
E* 1 f
cwllando. A ^^
^^i^feg^^^g
§±3^11
-/CS-
D. C.
i
"1P- iz^ -zi^ ^-
E^^^i ^.^-
e*I race.
5z-5:
^V
i-6^
^ -f- ^-
r
EXERCISE No. 45.
The practice of this solfeggio with the accompaniment, will advance the pupil in the ability to read his part
independently, as the instrumental, is widely different from the vocal part ; and especially will the student derive
benefit from the practice of the Syncopation herein contained.
Altecro Moderato. ^'entnre lesato.
—N-
p M« — :P ^
MARCO nonnooNi.
^^3^?:^
ii*5: z^z
^
=^

58. 54 FOBMATION AND CULTIVATION OF THE VOICE.
^^^^^
I
P p-
t±:*zji±ziL 'W-
P—P-##«-^
'fet=^
(t ^=±-i!-±i^:
±q— —^—0-^-0r
-m 1-^ l-J-
i^4=^i^ -j^-zi;—1^-# ^—III
^—*hI
^ -^ ^
„^^
g iprgg|fe^%^^g=^P^^g=>=fJ^^^
z_-t -f-^-H-^ - mia-:;
-^529' i
^-^-H—1-
i;:-*it^>5tj
i^
Sit
3:
Ji.-
I
;?=5:
•=-—5=
^
^^m^^^ :=m
3:± ^^- 1^5?*"
_-^ -#—^
-^=
^^*
^ggipipi^iiu^j^^^'Jliii
'S i H

59. FORMATION AND CULTIVATION OF THE VOICR 55
U=f^^
wi^t-r^if-nfm
J^^eSm
'^&^M
i^^4zM~±^MzMi.
:s=5:
?^
=^^
^?—»—f- )^=^=p=i^ >
^F=#
3^^m- -9-*-m—0-<i^^-
m
^3 ^ *3 y^;ftEa:SfSfEE£&-i-!=? SSSfctES
('!^^-^.-^—I—1-?—f'"!- -->'
1
I I
f *} X
1033
P^
i-»-?—-#-—f-

60. 56 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 46.
Andante con moto. Sempre I>ecnto.
V S
P
^gg^l^Ei^i^^ppI
«—« «—«,
—*r—*.
—,
*r'*r
B^i^=1-S=:i=1=izr^z:jzzi|-ti^=i=*:
^
^^>^^^^f=*^"^g
g=^5^5g^ :iz<»zit liiztii:
iat
3r ^=,=^=
Cres*
^
S35E?: a^^P^
pip=p=z=:rf=p
1^
P=?=P= :^=P=
1
i?
iii?^=5: s^g^a?^^
feliSi^ I
-#•—••-
:2=4:
-•zzf:^ »—rj
S^r^'
^
n=i:
g=L=^S=£^f=^
tn-* fl«
p=r=jg~">{p=p-»-
tsst—^^^^«u—P'-
#
»Ba ees^-J rr
^1S§^^^^
i^^
^
-t^-t
^5=2: S=i#- -^
'71
33E£=z=^ ^

61. FORMATION AND CULTIVATION OF THE VOICR
fcjz==:1^
^r p-
3^
p=#^
p-#- i^=i -^ *? ^ ?-
- -«- -•- -«- -*! -4-
fS!^^
1 jTrji
^
JiJ^^3^J^
s
i^^-:g;^^5EgEE^^:
;gs S: 1=5:
II _^_1»- —0—0-0—0-
I^ZZltlil
^-T—gEE^TzS^-•--•j
tf 0- £t
J«_>
:5=it ^
/TN
St
gSStf:.^
tS^^.%=t.
:2=t
^E^^^K|^^i^f-t^:
^5S r l ; !
I
/CS
^:f^:^if=^^lt=y=P=r^P—

62. 58 FORMATION AND CULTIVATION OF THE YOICB
^iigSfepfe^^^ii-gitfp^l^^
•^ -0-«r -*h*I^*r -•- -*--*- -0-*—d-d ^-9«- -»•••- I'll-
J—•-«- -bp^i
sag
^ iftI^^Efefi
liJ
!?•*•» -•*•-
i^EES^t^^
ife «=£
=?
d ^-M-=- -t,ij»-: -^=^-f?=f^^=^
^P
M^pEEEj^^3EilEEEEt|^ pn:^,rd3:
^teS
j-j:
-^^ '— -—• Oi
'
—li
;s I
-#—#- H jL-4.
• -*- ^*»- **
JJ
5zz=*:
-? d
^^^^jife^l^g^
*•
1
:?*^«i
^q
s
tr
S3EE tt*:
^ -»f-# 5i=r^*=^
^g
l^^^^ppg^pites^^^iiiEEE^^^
3^-: F=P=P=
I-Jl-
'- - - - -, - * # « 9, «—« -—
F-.^-F^=F—P=P=P=P=p:
r-f-*--r-r-
-
1^^:^=2=::^

63. FORMATION AND CULTIVATION OF THE VOICK. 59
p^^^^^g^^S^^^^p^
. J I
-i-J
«-<- * -I— -*
J I
{^.
Si/
^
1-T--- _,._i. -r^^
/^E
/OS /CN /T^
i:T=:t-'?—•- -T--T'
=^P^
^
Anegro Brillante.
i^lfJ^^p
EXERCISE No. 47.
Ht ! 1*>
±Jizt tint eSM^^
ge
r rr=^ ^f
Jf-i-5=i
4^r^=t t
^.§iiB2:
g
?=^-F-r- g=ii £
-y--
^Ejl-^ •zJzj^j-i^j.J-^-^
S3E=^^^
(|rzzj=r=3^{mggJ3E^g^^^ ^^^r¥^
^=t=:5:
.^g::
S -^- Si^

64. 60 FORMATION AND CULTIVATION OF THE 'VOICE.
i^^^P^E^il^^ ^;::^:
i|:
y^^s^^fc
:^^S^
f
(
tlZJ^-ZLZl
a^EE
S^
^-S3?.3EdF,f;
s=3rt.an ^_i_^ ^ -
—I-
••- -^ -c^ ij; -1^-
ga^pSlpip
-=)—^""-
i^PeE=iil
^^
9*
a^
Itj iSi
^-W
fc&=R^i^^iip^pLg=^-]
^i^^^. R
"-f^ ^-4
3^fe 3^1 _^>_
3 -•
-0 #
gi^l^^^^S^^^iiii^P^^iPi
^=3?
te^^i^^S^^^^f^Epf^-^?-^-#- -j^
'Oil
:fe3 iq:
::ss:
-o oi-
W^^^^^^^^^^^^^^^
m
=^=r*
^

65. FORMATION AND CULTIVATION OP THE VOICR
s
?==TiC n ?i
61
1P^^^ vl^ 3=tTIZ±± _& * zss:
-4=^ T
Se^ i^e:
{>-• :i±=3^zz*
il-^
aizi^ :*±:
=R^
SEiE^t^ r rr-
i
SeBipre legato e portando la Toce*
Aodnnle. .^--"^^^^^^
^: -^= 0-
-P #-
EXERCISE No. 48.
-C5
i^i:
ii^z:
-^ =3=¥=
/?
-5?-^ T=tfi^=i? §^a^Efe^^m =¥=^
p
m £££fc H^^-:^-.
^-T-t -f-T- -?—?-
4=f=
ER oi-^
^-
^^^^^^
^^i^f
^—?-
r^
5d M- '^^f^
e?^
g^-^?-f- *zi:?=5
"^ i
Tut* ••lo.
W
I
i . I .
-=Sniaiii
« 4-
35
r r^r

66. 62 FORMATION AND CULTIVATION OF THE VOICE.
E^g^g&^gEteEr^i^pzpiF3=I^=c=nT=:*zj^p:x;^i*
f5f=ife
3^ fee^a
^^^?gg -? >f-
s^
155- ^f?ci^#:+-[—I-
^^^^^
^= f^^
^^ 5—?:
^^m
.J
^4:
i:^—
:^:i::=:^s:
I
I
—^-P- SSSr- .
PTFr'F-iTr
^ pziBT^p:
S^§*=-£
?r?-
1
""^
-It;. ?=-1 r—d .
1
-.-T e1-J
-l
—J^-i
'
-^-^—^—^—P—1 1
H— 1-
—F-—p=
L^ :^^^-•

67. FORMATION AND CULTIVATION OF THE VOICE 63
ef3.
b^z fe^ ffr^y-^^ffi^
'if^i
S5 M ^^^^ 31=1=?:
^&P-itr^f§: 5=3:
-•-•a
g^pp|^^,:p^ i^iliE • 0- W W-
^
ZfT—=:
•--a-r ^H :e
fSf-zS^-
«—
^-1—^
—h-t—!--h=4-^ * -fO--*-
^=^&=P^.^
=1=1:
:*tz:i:
:<=«'
— =a^
# 4-
—
TTwtw^zw.inipi^E
:^ie*
K?^#:^
m 3E*
^*E|_=j^|^^^: ttr^i^ -»—-U. Hi
s=P=p:
^^
.3-lL
EE

68. 64 FORMATION AND CULTIVATION OF THE VOICE.
!
IP—f- ffL^^^^^^^^m^i^k^^.A piacere.
SIHJ::::S
/TN /T
Bt:pzpzir,i::?zpzl=}
-=-—I
—)—I
—1
—I
—
^T ^T
H 1— 1 1-
i^-
-^ 0- -ed-r
dol.
gff^fr^gJPEEEp
/7
-f-^-
= 0-
^=^=1= :^^Si^iizi
i]fe|&6
^0^h- -EEit
E ^rv
^m^-^-w- -^-r- -T-y-
EXEBCI8E No. 49.
This song is inserted for its intrinsic merit, as well as for its suitableness to the design of this work. The
practice of " Rejoice Greatly " will be found no less valuable as a solfeggio, than it is fitted to form and cultivate
a taste for classical music.
g
. Allecro.
fe- y 7~M^^±±M: ^g^g^^^^^^
g^^^=ffl=4J I
*^_ 5L fr tr
&^. P—#-^
^^^
'Site
I=s
H r i
r
^-£g
i-pz=i:
1....
"':'

69. FORMATION AND CULTIVATION OF THE VOICK 65
i
Allecra.
h_CZ^^=^t^ s^t
Re-joice, re-joice, re - joice .... greatly re - joice
'^^^^^M^
S-'Si
i==ph=~^i
I
^§i r-pr:
qrri:
*={!: ^ £-?—•> L-l^^P
diiughter of Zi - on daughter of
u^^^^^m^^^^^^m± -T-l J p
miS:r^ f t f
:^
grpz^y^fti-gg
-L
Zi - on re-joice,
-0-
re-joice, re-joice,,
iz=tcf:
4^>^
i^^-i^
N 1 . t
tt-» •-
m±11,
-f ¥i
,=^i
^^^s^
;3^=f=S^r=^g^E^E^EEEJE^j^^^^SN^^^^
SiS
-^-
[9]
.if:
^

70. 66 FORMATION AND CULTIVATION OF THE VOICE.
daughter of Zi-on re-joice great-ly; Shout,.
0- -o- -0-
III/ ^^ -5-
F^ * F—?-b J^Sf i5^i
f -t^- Izl
^i^^"^ ^=f
5^ :tc=:^^t -^^^-J-?
daughter of Jerusalem Be-hold, thy King cometh un - to thee.
P^f^ ftefSi^=#^
:ii
-«- ^
^3i^^§5^Epg3^:
•?-^
P' =i^
i^i ^ =^=
i s^^^^^
-^- er=p=p
U=iii=:2=t2= :t=:?:±
Be - hold, thy King cometh un - to thee, cometh on - to thee.
35fc
^^g ^^^ -J-/-i-..
^=E
fc^fflSi

71. FORMATION AND CULTIVATION OP THE VOICE.
P
-^'^P^mH» is the
EiS?^E#I^
-f—r-
-^—
righ ----- teous Saviour,
V=^
F=h=?=^
:t^=?
i:f:
Aad he shall speak peace unto the hea -
^^^^^^
Ja-iVfJ-
-p
—r-f^?-^
*:;Ei33^5£Si3
p
f ^^
?*: Eisfc
1K
^ t^
p
±=£=»
SE
ZjV-tv—?v
E£ES^^ -^9- li
Sthen, He shall speak peace, lie shall speak peace.
^3E»
peace. He shall speak
i^
;,S2-
p^^^ii^ ^^^^E^EfE^igEEfe^-T f-
peace unto the hea then he is the righ teous

72. 68 FORMATION AND CULTIVATION OF THE VOICR
i r
*:
q^l^ ± ±=ff=t::e^={2z:t?:
i^:
Sa - viour, And he shall speak,
^ggggg: E
he shall speak peace,
^*=Jz^^
qrrw-0-
peace,
^1^
irgE
^^^-:^^^^
i^- #=
*^^te^i £-?=t^
he shall speak un to the hea - then.
d
'^==t
^
TM^iip'
feEEE^JSE^te^Pg^^gpB^^^S^ Re-joice, re-joice, re - joice greatly;
E=Ei33g3EE^±S3:
^^^^^^Re - joice,.
^ ilS^^ r^^^^ y F ^^i^^
I
J-
P
'
^^=¥=r=S f y J ^^ -f=^—

73. FORMATION AND CULTIVATION OF THE VOICE. 69
f-^-r
^^^ ^—^
daugh - - ter of Zi - on Shout, daughter of Je-
^^=^^j--i—s -^
^- -#.
li^^EE^
I
^??3 =F^ -#-r
1— E^ It v=RS^E ^f:p=p-^-F-
i
ru - sa-lem Be-hold thy King cometh un -to thee; re - joice,.
-^ 1=t^
f=^r
T^f •-?-#
rif
:it5
:4:
» ^ *-
SiSE i
:p=t:
:?=i:
r I
^?33==^^
shout,
g--^ ^i3£^^^^^^Ijj^^,— i
shout, shout, re-joice greatly;
m—a^ m—-« V*-
a=
i ??Ei -«— ^fesi
^^^f^^f
t

74. 70 FORMATION AND CULTIVATION OF THE VOICE.
Re-joice great-ly, daugh-ter of Zi-ou: Shout,.
-TT^- ^—I
—
-jt^—jtAzr^iUzjt
^?si ^^
daugh-ter of Je-
=^=
f=
-^^ •-
§^=gig
_^4__*
g 3^EE^f-
^l»-f-^»-T-^-*-#-/*-»-#-—It
-^^^ s^ ^
feS^~»=M^ --±^- -3=z^
f^^-r-
:t=: gEEEEg.i^gE§
/^
^=*i:
^*EE?
ru-sa-lem : Behold, thy King cometh un to thee Behold, thy King cometh un - to
/TN
S^-
=i=E2
a rfs
ies 53: ^^==^^ 3=S:
t :E
I
&=¥=
thee.
-WZ'Llt
j-^J--ff#-^nJ4---J=f->-t-7f
• -,-•
3tt
^^ gs;£p»^'
=i;^: ^
.^__
-g- =p- -4-
r
It
^^
^
£Ef
fo* tr
^-0'
?^^^*s=
^ ,f_f_f^J J r gj. -J- J J ^J
9^2:S itcit
jJ^^~ ^
^ -
'
*-»iQj'
^1

75. FOKMATION AND CULTIVATION OF THE VOICR 71
EXERCISE No. 60.
A.^E M^m^.
Ijarchett*.
pp_
t t4=^t=^.
^^^^P^^^S^S^^^^ ^i^fe±='?-
m^ ±zi <==?-
m m i:
4=- fe.
:S=± ?^ ?^=p:
-«y
—f- -rrif
? '^^"^ 7 ¥-
^Ff=?E£gE|
p
—^ * ¥
£^^b^
f-fL]l*iaf-_l_if
i=EEll
^ ^H^Mta i^
#=F^ ri^ ^^
=1=
*—
^^a4=-
^M^ib :~i

76. 72
S
FORMATION AND CULTIVATION OF THE VOICE.
s_
:f=r
i :^: =P-^-^
:tc=JJ:
^=^^
:t
Gra ti - - a pie - - na Do - mi - nus te - - - cum.
'i
55^ £ it
-^-f-
if^_jpz__je
:E
i
•?^i—.•-JT^-
££t^E2^
do - - mi - - nus te -- cum.
^^*ii-r^—<^—O- r^
^a—-^ *-.
^
* * •• ?S='
:E3=i: lizit
ppj
i
«r
fS- :?=*:
-+-
J! i_ a
tZ=t2=t?
^=^
^^^
Be-ne -die ta - - tu in mu - li - - - e ri bus
^n ^^
.p^
33;
-^—
r=« P pEpg ^—
•zzi:
^«^ ^ 1^^ J^ -^-^-
^i^
i ;*
et
:p:
#-r- :|^
Sl^^
•^-
fe:i=3
be - ne - die - - tus frac tus ventris tu - i
S^-i—
Je - su
»-pib^ibp^J^
:^ 5^3
^-f-r
i

77. FORMATION AND CULTIVATION OF THE VOICE.
tr _
SB
^^m ^*-
73
i
Je --- su fructus ventris tu-i Je
n
su
M
Mm^-
Sane ta Ma - - ri
:;^-- :^=^ ;t
;^/?,
^==p=i'=r
=P=
:te=*
^^g^ ^:
Ma ter de - - - - i
-^^^^m
F=^f--?-
1
ra pro - no - bis - pec-ca - to ri -bus
^^^i^
SE^z!:
nos - trae Sauc
--^
•=F
42=1
ta sane - - - - ta Ma
^l^^Jippe|^^giyp^pP^
^ [11]
-^h^ ritizS: ''QE
^H—ZZZ
TTTl-l-

78. 74 FORMATION AND CULTIVATION OF THE VOICE
^ ^x-
-r—^f-
'-^
33^
:?3:*za:
n
r
Ma - - - - ter de - i - ra pro -
^2p: :W=i=^4 -H 1-
-^—^-'Hf- f:
-]• ^ ?•- -»-
"^^^3=^=3—^^
£I
——h-
t±EE
I
I
t^^ • #-
^=t: ^^EE
-/—V- I p»-
^ :5=:fc^S^ r=jt=ir
a=EEESE
i^:izi:
^E5JEE]
i^
no - - bis pecca -to----- ri
^=^ f-^^-;=£jiEf^-
- bus nunc et in ho - ra mor - tis nos
m
-ft-
^%^±JL^
i=1=:l:
•zlM:
:3^
*1^ is
3=J
tr—dc:
i=fc5=^zt::
-:T
^^
#-#-
tree.
^E^^^^^Ei^^
A - - - - - men, A
ir 3
. .^J^_^
EeE
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tr
men, A
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?=:^lj^E|^^:^p£|fc^=^
'm^ -^-f-r- =^-T-^Eh:=:g
r
S
^
^=F -!—•-
^zi^S -VJ/'
-^*- ;g
men.
t=^
tJ^i:.-^. H~#-#-v-i— =- —f^^-»^=^Z^
Cres.
?=^ -g-^
*
m
/TS
m
^

79. FORMATION AND CULTIVATION OF THE VOICE. 75
EXERCISE No. 51.
This lesson is designed for practice on the Turn, and the Trill.
tr
^.-^
H^B53EE53
1
^33
i t-t^tg:
I T n
?^ ^=i:
-l-it±
i^^i^^rT=TF?p
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3=::
ft-
^EajHESiffl^im ^^^m^
ft-
^^d.^saEf^pt e^?eJ|^
^_J,J_Jj_
M^ -S>T-
T=
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piigi
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tr
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— ^
li
t^=t
3^3^^?=<=£ ^^Pl -jf—
s^
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y I y ^ y Ft^
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1^
ii
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E^a^iSS^t^s ^
^-^..M:wittu i^^^^M ii
^^^^=f=}H—y"
I
P
m ^5 ^^=33i^^i frrii3=1—^ ^gSf

80. 76 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 52.
. ,
Adaslo. I t A^ . .
:=— At » '_ A
Inserted by permission of John A. Scokcia.
?_-5-
Le di - ro che va - go sei le di - - ro che tu Pa - - do - ri
'^m
e che
= Tl—r:
—f—^—# *f-
fep^_^^g=^=:^^^ ^ :%= :f=P=^i
^
t'a
g3f
t gE!=t :^
mi e che t'a - - mi e che t'a - mi io le di -
3 rf-
-•—^—J-—H-—-4—q—
f"
i^ 3E!§iS=S
^^'
s
-^-
:£tz^
In quel sen co' det - ti mie i des - te - ro no - vel - 11 ar
.Jzi|i;-ilrr|z:jz=|:
feESEL!^£
S=S
^:
-
mj n ^ ^ z—ir
do
Pfc
i
tee
^^^-
^"~™i
n
a^Et
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gli an - ti
i
^=fz
chi am - mor
|§p=g25
-+-
-F- -t-r-r-f-^
'
ze - - - - ro e
I
5/
0-
gli an

81. FORMATION AND CULTIVATION OF THE VOICR 77
^^^^^^^^^^^^^^^^^^Nti — chi am - mor — ze — ro le di - - - ro le di r« le di -
m a^^ ^ -^
9iS
^^^rt
r^ ^
^—Ti—#-
:b=ff
A» »
jfcub:
i^£EEgE^ ^^^^y^^=^E3 3^«E3
ro
m
che va - go sei le di - ro che tu I'a do - ri
_ 1
1
-— —• ^- i^i
e che
^—ji—g:
:?=f ^^^=# -4- #-
^^=£
=t^
=3? ^
Af I Al I
^^^^S^^^SIt'a
:=2:
(
:^^>:
mi e che t'a mi e che t'a - - mi io le - ao e che
: .^13.
^
gg^^ s— ^ t:
t'a - mi io le di - - ro e
ri^E:^=i^E$S
3= cs= £ ;[i
i^3^
che t'a - - mi io le di - - ro.
-t^ r
E^^^P=? ^- ^t ^ 5=1
T
^-^ -r j3:
•I—
ai9=
^i^"

82. 78 FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 53,
Aimwlo.
Inserted by permission of Joiix A, Scoscia.
/^
£ ^mi^=i^ i i^^=
Ti - mor mi scac - cia
f :^: mmi chia - ma a - mo - re ques - to m'ag
.ft
/TV
m^E^iidl^t^-
—I-
sf
m^M^ & 7=t
Si
^3"^g^^^^£^l^^p^=S^gip^p
ghiaccia quel m'ar-de il co - re e I'uno e
Pi
I'al - tro pe-nar
^=z
j^
i
^
3=
:g3Ep:
mi fa.
1
%-=rr
-5—«-
Cres.
giJ *3,11 —
^^.
;?
¥ 2i
=#:
iY
:f--:
^EEfe
iE3
E I'alma
:-.=&.
^S=,
-CS- =^_i.
pro - va den - tro al mio pet - - to dop - - pio tor- pio
^^-
4=
rf^ 5^ S ^^^ii:*: 4:
js-#^^
g
£ |EE± -?=?-J
- - men-to con - tra - rio af - fet - to e un sol mo-men - to e un sol mo-men - to pa-ce non

83. FORMATION AND CULTIVATION OF THE VOICE. n
.*=^^5FE=
^^E^^ '^^^-^^^m^ Wz
ha no no no no non ha e Talma pro - va dop - pio tor - men - to e iin sol mo«
J* ^ - ^
J:
-^^,
sf
sfet ±^ T-f j
i 2^;trf:
;«^^13 f—-K-fe
ISt^M^i^^pB3
- - men-to
^^?^^0!E5Efc
pa-ce non ha e Talma pro - va con - tra-rio af - fet - to ennsolmo*
^
:3=! t =2:
-•—
-1—I- ^ -I—I
—I-
« :x=4'-
i
f^t
fe^ ^—tr
^E^^^^-g--J4^iz^zi^f-r-^f-^--i-^^
men-to
^
pa - ce non ha no no no no no pa
J 1^
^ ±
'^3^^ s ii
^r^T^-
^

84. 80 FORMATION AND CULTIVATION OF THE YOICE.
EXERCISE No. 54.
^ Alleyro.
^$^m#
Non piu andrai,
Moti en - fant
far - fal-lo - - - ne a - mo - ro so,
plu3 de ten - - - dres fleu-j^-ret tes
2#i^ '^m^
ilE :^ ^i=i^^^iJ m
f=
i^notte e -
plus de
:|._
m -^
T^ ^^=1^
gior - no d'in-tor - no gi - ran - - - do,
jeux de chan-son d'a - mou - ret tes
* ^Si s^fV—
3S^-»^
-?=t
del -le bel - le tur-bando il ri - po - so, nar-ci
plus de vi-ves et jeu - nes sou - bret - tes que tu
ia£E=^=TJyi=fi=r
1^ 4-^
=tt=i
-^—^ -#-=-
'^-W mr -
set - to, a-don-ci - no d'a - mor
Tien - nes tou-jours In - ti - ner
-0-'
del-le bel-le tur-ban - do il ri - po - so, nar-ci
plus de vi - ves et jeu - nes sou - bret - tes que tu
set-to, a - don-ci - no d'a -mor
vien - nes tou-jours lu - ti - ner
non piu av -
a - dieu

85. FORMATION AND CULTIVATION OF THE VOICR 8i
I
Init^
il'E^E±=M-t.-+7 ^7-
^ tz=t?
rai ques-ti bei pen-na - chi - - ni,
dnnt le cha-peau dii beau pa ge
quel ca - pel - lo le - ge-ro e gal-
a - dieu done son ga-lant e - qui-
=pf
3 ^- iN-^
Ian - te
- pa - ge
•^-
-jt-t: -0—
quella chio - ma, quell' a - ria bril-lan-te,
ce teint frais cet-te fleur du bel a - ge
^Squel ver-mig - lio don-nes -co co -
au so - leil vent bien-tot se fan-
c^i ^'"''
'
J-
H I I rp— -^
III ii I
_i
-Li I I
J—
sS p sf
S^V--
^^^^^^^^^^m:
m =|: *=ts
3 3
lor,
ner
.tZ-I— 3?^^ 3:^t
quel ver-mig - lio donnesco co - lor
au so - leil voni bien-tot se fan-ner
tf^^
non piu a-vrai
plus de jeux
quel pen-na -
plus d'a mou-
•u^o^-^ -i--i-^iz^^^^L2^^f~n^
urn i^^=3ji^-
chi - ni,
ret - tes
quel ca - pel - lo,
de fleu-ret - tes
quella chioma,
de sor-net - tes
queir a - - - ria bril-
et plus de sou-
^^^
7_zr_^^jz^l g^ ^ ^Xk-:u^O --GM:
[11]
I

86. 82 FORMATION AND CULTIVATION OF THE VOICE.
m-9— 1^ -A
*r—fr
-#-r# i- id:
tz^-t
1= A-±r-
I
Ian - te non piu aiidrai far fiil-lo - ne a-mo - ro - - so,
bret-tes mon en - fatit plus de ten - dres fleu-|^ret - - tes
utr*:
<f
n^^.^ :t^=rp=—^ZT^fzrt
no d'intor no gi -
de chansons d'a mou
s: f
notte e gior
plus de jeux
9—-9~r-- 9-^-9 O-^
i^^S=E3EE:E i
^P^^ '^- -j
— 1
—I
—[-
—I I—[
—!
— 1
-
fe^^i &- 5--X :'±^
-^—^^f*-:=:
-^:S^-
rv—
_^^_ =|ti=i- :5=^
ran - do del - le bel-le tur-bando il-ri - po - so, nar-ci - set-to, a donci - no d'a-mor,
ret - tes plus de vi - ves et jeu-nes sou-bret-tes que tu vien-nes tou-jours lu-ti - ner !
w— -w- -teii>- -w-
del-le
phis de
i ^2=S.
fi_l_- -.9^ I
bel-le tur ban-do il-ri - po - so, nar-ci - setto, a don-ci - - no d'a-mor
vi-ves et jeu-nes sou - bret - tes que tu vien - nes tou-jours lu - ti - ner
-9~ -9- ^^ -^- -9- -»-a -9- -9- -•-_
St p
5=tf^=5-' ;t
i!
-9- -wh
^miipiii!tra guerrieri poai far Bacco,
deux mous-ta-ches d'or-don nan-ce
j--.^
gran nius-tacchi, stretto sac - co,
e pou-van-tes des a - mours ;
schioppo in
hstut sa
9-

87. FORMATION AND CULTIVATION OF THE VOICE. 83
i T=^=fh •
spal - la,
ten - te,
P=?:
sciabla al fian - co,
de la pres - tan — ce
TT-
ee
col - lo den - to,
tourne a drit - te
?=? ^1mu - so fran-co,
qu'on s'a - van - ce
un gran
bien den
|^^^^^^=,=»
^^g^^|E^^
I
t=:i—
S^E
^m
^—p-
::-3=P-^^—r—^-
-r
^ 1t:?^=Jv
:t=2=atz«zn^
fV-K
s;z=j=L5B
tniftil^
-#-r-«F=^=^=» 5
cas - CO, oun gran tur-ban-te molto o - nor,
pei - nes pent de fi - nan - ce, de I'hon-neur
po-co con-tan ---te, po---co con
en re - com-pen — -se en — --re -com
t
a^EfcfejElfeEi
=hihH
1
ti 1 ' 1
iw«J
M: ::z|::
^m
p
s* -#—•- s^?-0—.''
i
i
^V
m ^TSl
^i^-:i=ut
u -na
le-va -
tan - - te, po - co con - tan - te, ed in ve - - - ce del fan - dan go,
pen - - se en r6 - - com - pen - se an lieu de la con - tre - dan se
il fan - go,
tam - bours
^=iSI ! I 1 t L_
tiiiU=it^=t?:
zwiz:::
fv-N-
3=3:3I3Ze;
per mon-ta-gne, per val - lo - ni,
au doux bruit de ces au - - dades
0-r-4—0 * -^ I ^ '- ^— -1 1—4^ t=^
p^^^M^m^

88. 84 FORMATION AND CULTIVATION OF THE VOICR
^ -^—^—^ J—^— —i^ ^-F
con le ne - vi ei sol - lio - ni - al con - cer - to di trom - bo - ni, di bom-bar - de, di can -
si - ni - rent les mous-que - ta - des les pe - tards et les gre - na - des les ron- fla- des |^.can - non
-•_
ii;
i±=*:
^^=f
£ ;$:
i-t:
no-ni, che le palle in tutti i tuo -ni, a - I'o - rec-chia fan-fis - chiar
na des, ra vis-san - tes se - re - na - des pour Tor -oil - le - des pan - - dours
non pm av-
a - dieu-
3E
rai
done
:?EM=f-i *— :HFl^0—0-
quei penna chini
fleur du bel a - ge
non pm avrai
a-dieu done
quel ca-pel-lo,
le pill ma-ge
iiil
non piu av-
a-dieu
^'^'^0
^i
rai
done
V L-. :?=it
15=11:
Et
quella chio-ma
I'e qui pa - ge
_^
iS[^^fei^igii
non piu avrai
a-dieu done
§t;
:0:iA.:TJ.i_a:i^,jTS:
quell' a-ria bril-lante, non piu an-
a - dieu le beau pa -ge mon-en
f^i
fi—^-T
^ -^ i^nx ^/r
^fa^

89. FORMATION AND CULTIVATION OF THE VOICE 85
I t-i I
[^^j
i -0—0- tZJt
?=^
atzi
N--
i-=±=:h-l
drai, far - fallone a - mo - ro - - so,
fant plus de ten - dres fleu - ret - tes
notte e gior - no d'in-tor-no gi - ran - do,
plus de jeux de chansons d'a-mou-ret - - tes
d*el-le
plus de
S EEESEJ
^-*-#-
p=F=-
.^
-^^^^
^ i ^=
a m m^
pi^l^ t^ —j^ 1.-0-4h
:^=fcp:
bel-le turbando il ri - po- so, naroi - setto, a-don-oi - no d'a mor,
vi-ves et jeu-nes sou -bret-te que tu viennes tou-jours hi - ti - ner
del-le bel - le turbando il ri
plus de vi - ves et jeu-nes sou-
{
E.^M|I^^:^JE«^
^^^^
-0-
it=:
£
sf p
S^^^^^S^
W- 3SEI
*
m ^s^^i- po - 80, nar - ci - set - to a - don-ei - - no d'a - mor.
- bret - tes que tu vien - nes tou-jours lu - ti - ner
PI -«-A
-^-
Che - ru - bino, al - la vit
Ch6 - ru - bin marche a la
-1^
Sf
m^m^^^^^^
^ s
^^
m^w^i^ 3!
m^^ -mBm.
r- ^
m s ':Ef^^
to - ria
gloi - re
al - la glo-ria mi - li - tar
vole au feu sans t'e - ton - ner
j-i- ^^m
^^^^^^gi
Che - ru - bi - no, al - la
des lau-riers de la |S
vit
vie
E*H^^^J^
i^^ -«- -<-
5
* *•
i^ :£M:

90. 86 FORSIATION AND CULTIVATION OF THE VOICE.
m^^= :t^-
^^i. -0— -h <r
to - ria al - la glo -
- tor - re |^ tu sau - ras
ria mi
te coil
li - tar.
ron - ner
1^=^ •
al - la glo - - - ria mi - - - li -
tu sau-ras te cou — ron -
i
-^—!-
^»-^^-
-tr—
^- -• 0- -X ^-
- tar
ner
al - la glo ria mi - - - li - tar!
tu sau - ras to cou - - ron - ner.
Is
jrV-W
^=^^H—•—I
—^-
iitJ^lil=tifefe3=^ * * **
:LJJ: 4-1=
-
#- -# '^ -#- -f-
-f- -»- -F- -p- -- -»-t
^zti:
*-^
^^i^^^Si^gi ®
3^
:=iixji->i:
t^-r •Htt^—#- 3^ ^=*:
pfeMzi^:
9- rj'uJ- J^S^^Si? ^i^=f^
ffl ^^

91. FORMATION AND CULTIVATION OF THE VOICE.
EXERCISE No. 55.
i;^E[Y DO THE ]S'A.TIO:NrS.
67
pifi^taS^i^SSisSJf^^^^ I
&£=f=f=f=P :^—p:
^~^ ^^^•^^^•^'^^^^^^'^^^^^•^^'^'^'^^^^•^^'^•^^^•^^^^^^^^^^^^^^'^^•^^^^^'^••^^^^^^^^'^^'^^^
It:
Why do the
&p.
ifif^fi^sm^m^jf^ftmi^^^i^
'p^zHr-'—^^^—^—*—F-i-p-*r—-!
—J—-ki
g p=#=p: :t
P
^3E
^da
f
H 1
1'-=t
:jb-i^—3^-tz:*
E
-^-#
m»eEeE =ic=s -*—y-
1 :t
na - tions so fu - riously rage to - ge - ther, why do the peo - plo i

92. 88 FORMATION AND CULTIVATION OF THE VOICE.
mr r
—-
-1
It:
JEEEE^EP ^fofS
'^Mmma - gine a vain thing? Why do the na - - - tions rage.
EEE±
so fu - rious-lj to
#—»—!
—I
—I
—I
—-ftS—•— ^m^
- ge - - ther, Why do the peo-ple
r -#—«—«—•—«.—• m
/,ab=g=g=p--=f-=g=g=f
p^^^ggg?^rtf^PfflS?^^^g- ma gine a vain thing?
F^J^^t^^^^iS^icl^^^iC^^^^^H
w=w~w~w^-#—•-
i^^nt £=E ^|^g:j^P=.^-|gj:j^:^EJEaEg

93. FORMATION AND CULTIVATION OF THE VOICE. 89
^ ^ m- ^
ig^m
- ma gine a vain thing?
'^^^^mM'i"^-
^^^E^
t:
A * -»-
-#-#-
i±
^
h
^Eg3^g^^^Why do the na - tions so fu - riously rage to - geth - er, and
^i"r?^=F3^^^§^^^^^^^^^^^^^^ L^
rz::p=iz=zii
why do the peo-ple, and
'^ I -W-W- 1 -#H^ I
-#-1
ji IT-#- 1 -#! I
—^—^-^-—
do the people
ifffiS-
ifZ^^SEEEi:
« 0-
^^=fr-
rmriE^^^.^wi^^
m 0f0-r0~-Ppl=WWi^-y-
i^E ±*
- ma - - - gme a vain thing ?
rLoU
why do the na - tions rage
]Jj» !?i y |?! ^S ^ E±a c== t±a ^=i B B Is
;^

94. 90 FORMATION AND CULTira^TION OF THE VOICE.
.^ Bi^iJ 1 !
1 ki«
^ ^mm^ 1
1
^1"^ i^ *-
tp:
:?=±~?=5=?
_?z^_x
so furiously to-
i:
• —•—•—•-
—I
1
h-
-•—*:
in :ES:
W=W—W=W^—I
^___P=?: nr-p:
W-WUft
^=^ =U:
ge-ther, so fu-rious-ly to - geth - - er, And why do the
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95. FORMATION AND CDlTIVATION OF THE VOICR 91
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97. mCIAeSON'S mm&l SIGMNSS SLLUSTMYS:) m&LQQ^^.
A SELECTED LIST OF
NEW AND TALVABM
SKET iiysic
PCBLISHSO AND FOR SALE BT
^i^it^i^n.
Music sent to knr part of the United Slates, (postage paid,) on
receipt of tlie price annexed to the piece desired.
IP(DIE IPUJIPIILS,
fSichardson's Collection of Celebrated
Katioual and Operatic melodies.
From the most distinguished Composers; arranged for the
Piano, thoroughly and carefully fingered, after the method
of the Modtm School for the Piano- Forte,—as taught hy
the most eminent Teachers, and found in all the original
Works of Beethoven, Mendelssohn, Mozart, Chopin,
Czemey, Liszt, Thalberg, Dreyschock, Henselt, Mos-
cheles, Dohler; Mason, Bcrtini, Iliinten, ond other Com-
posers and Pianists of celebrity. Arranged in a very
simple form, and particularly adopted to pupils who
hove played from three to nine months. In 20 Nos.
' No. 1—Barcarolle, DoniteUi. Air from Don Juan, 1
Mutart. Kaniska, Chtrubini. Song with- > 15
out Words, -
J
No. 2—Polka I'aysanne. Russian Nationol Hymn, j ,,
March from Norma, Bellini, j
No. 3—Song jn Don Juan, Mozart. Cavatina from
j
La Violette, Carvfa, Theme from Sonnam- > 16
bula, Bellini, .!••)
No. 4—Don Juan, MuzarL Waltz, Beelhocen, 16
No. 5—Heart Song. Swiss Air, 16
No. —Te Dcum Laudnmus. Romance from Joseph, ,,
Mehtil. Itondino from Stradella, J
No. 7—Mazurka. Magic Flute, ilozart, 16
No. S—Serenade from Don Juan. Romeo and Juliet, 16
No. e—Beautiful Fantasia on the Child of the Kegi- j ,,
mcnt, Donizetti. j
^
No. 10—Magic Flute, J/tanrt. Song without Words.W ,.
Anilantn, Beethorm, )
*°
No. 11 —Russian Air. God Save the King. Le Petit f ,.
Tambour, •
j
"
No. 13—>I:ircli from Mo5es in Egypt, Hoss'ni. I ,.
Weber's Last Waltz. Air Irlandais, J
^*
No. 13—Stradella Fantasia, Flotnw, 15
No. 14—-Mr Tvrolien. Vival Bacchus, ilozart.) ,,
Thotno from Cnrufa, j
^"'
No. 15—March from Romeo and Jaliet, DeUini, i
Cavatina frorti Belisario, Donizetti, (
No. 16—Duetto, Mjznrt. Barcarole, Auber. Cava- j
„.
tina from Sonnambuln. Rule Britannia, • •
)
No. 17—Andnnto from Sonata P.ithetique, Beethoven.
„-
Rustic Song, AwireL Norma, BtBini, j
^
No. IS—Air fro:n Don Juan. Aria from the Pirate,
j
,-
Rondino from Bclisario, J
'°
No. 19—Air I'opulair Allemand. Rondino from >
Nachilagc.-. Der Freischntz Fantasia. > 26
Zampa, IlerM, )
No. 20—Charming little Fantasia on Locrczia Borgia, 25
MX EAST ABTD FROGRESSIVX: PTECES,
BY A. CROISEZ.
roB PUPILS WHO HAVE PLATED THREE OB SIX VOSTHS.
Highly Recommended.
No.]—Barcarolle, 16
No. 2—Cemtileni, 16
No. 8—Melodie Allemande, 15
No. 4—Rondoletio, 16
No. 6—Cavatina 16
Ko. e—La F6m des Pigodw, »
•^m, jpujipiiLSo
CHILDREH'S FESTIVAL,, HT I.E CARPENTIER
Recommended to very young Pvpih.
No. 1—Polka, 20
No. 2—Schottische, 20
No. 8—Polka-Mazurka, 13
No. 4—Waltz, 20
No. 5—Galop, 20
No. 6—Quadrille, 25
DELICACIES OF THE ITALIAIT OPERA, SIX
GRACEFUL. BIELK>I>IE8, DY BlIRGaiULLiEK.
For players offrom tix to twche monihi' experience.
No. 1—March from Norma, 25
No. 2—Polacca from Bianca e Fernando, 25
No. 8—Fantaisia from Beatrice di Tenda, 26
No. 4—Capriccio from La Stranicro, • • .25
No. 6—Cavatina from Montecchi e Capnletti, 26
No. 6—Bolero on the Cavatina of The Pirate, 25
THE FOI.IX>WING AVILI. BE FOITITD EXCEL,-
I^ENT L.ESSOJIS FOR TOVNO Pi;PII.S.
They art fuO of melody.
Trifles,—Two little Rondos. B. Lemouu, 38
Twenty-fonr little Progressive Lessons, (3 Nos.)
Uunten, each, BO
Flowers of Hair, (3 books.) BwgmuUer, each, 63
Kncoursging l^ieces for the Young, (3 Nos.)
BurgmuUer, each, 20
lE^fTUIDSSo
Twentr-five Etiides, lOp. 45,) in 8 books.
St'rphm IhUfr, each, 75
Tlier-e r elebratrd Ktu<1e« arc In the ittvU of the Moilcni bchool
of pUylntr the Flano-Forte. The onljr correct e<tiUoa U pub*
Itshcd by us. rit'Aso inquire for Ulchardcon's edition.
Grande Etude, in F sharp. Oirl Mayer^ 50
This £la<Te has been played by the author, at his Concerts In
Europe, wiih great succeu.
Octnve Stiidv. Ottl £vtr$. 60
An excellent Study for acquiring a finished ityle of octave
playing.
Tremolo Etude. J. F. Petri, 88
A rerr Interesting composition. Dedicated to Wm. Mason,
thePUolaU
THBEE VEBT CBAMD AND DBILLIAET COBFOSTTtOSS.
La Capricense. IT. ifiton, 25
La Sicilienne, Tarantella. Carl Mayer, 88
Tarantella Calabraise. n. IMolff, 38
Six celebrated Koctnmes, (not difficult,) - • • -John FUld.
No. l,in Eflat, 26
No. 2, in C minor, 26
No. 3, in A flat, 88
No. 4, in A major, 88
No. u, in B flat 26
No. 6, in F major, 88
Erening BSverie. A. XidUock, •• 8»
Les Adicux de Varsovie, Impromptu. A Dreychock, -39
A splendid plec« for practice.
Romance. A. Kielbhrk, 38
Duke of Reichstadfs Waltz with Variatkins. J. F. Petri, 75
V ery brlUlant, and not difficult.
Sehncucht am Meen-. HV//»if r», T't
This pioce Is played by Wm. MasoK, at lUs Cooevrts, with
great suucctf.
Bijoux k la Sontag. Aluschelet, 63
A braiKlful Fantasia. l^cviiMd and flnyered by ttie author, fvr
the pul>ll.bvr.
Romance sans PomlcSj Sprenger, 88
Ainiti^ pour Amititi. irin. Matun, ?*
Berceuse, (Op. 67. ) F. Chopn, Zi
Two Polnnai«c«, (Op. 26.) F. Ch'-pi", '5
Two beautiful compositions, but dllUcult.
Air Vari<<. Hmdcl, 88
A most ctianniriK composition, and pinyrd with much Juccua
by Sliss W. CtAL'ss, at her Cui(cert» In London ajd i'arla.
Lucia de Lammermoor, Fantasia. C IV»», 75
Grand, and not dldlcult
Gazelle Impromptu. IK Kniger, 60
La Ilarpe Kolienne, Rfivorie. W. Knu/er, 60
A very fine piece to bear, If well pived. It Is somawhat
dIfficulL
Chanson d' Amour. Jule$ Ei/ghanl 38
Zum Wintermahrchen. A. hrry$<hmk, •
60
Rertsed and flnjferrd Ity the author, espres'ly for the patf.
llsher; as played by Wm. Maauk, at his Concerts.
The Swallow ami the Priwner. A. Cmitrz, 38
A very fasclnaihi; and nut diffictiU composition.
Minuet, by .Mozart, nrrnnped fur the Pimiobv Rhtilhi'jr,..SO
riared'by Mr. Battsb, at his Concerts, with uKat succ«a8t
notdutlcult.
Imitation of the Banjo. 11'. A'. B"tchrhlrr. 26
A perfect Imitation of the Banjo upon the I'iano.
La.Inven«e. C F. Sihuster, 30
Brilliant and pretty.
La Danse des Nulades. J. Egghard, 40
eTf pleasing.
Capriccio Brillnnt. E. Thorltrnte, 60
A very flue piece and worth U-amiug.
Rondoletto (from Wm. Till). IK. LtUz, 25
ron ri.v:(o sulo.
Mendelssohn's Two-Part Snng^, arranged bjr OUo DrtuL
No. 1—I would that my U>se, so
No. 2—Passage-Bird's 'Farewell, 13
No. 8—Greeting, 20
No. 4—Autumn Song, 26
No. 6—Oh, wert thou in the co'd blast, 13
No. 6 —The May HrIU and the Flowers, 25
These admirably arranged Son{;s are rerv InatmctlTe, and not
difficult. Tbcy should lay upon every riano.
ThefolUncing are highly recommendei ty the Crilic*.
Coronation March. F. Kielbhrk. 25
Funeral March, (with lithograph of J. Cbickerlng,)
W. R. Babcock, 76
Grand March do Bmvonre. tf. .Ridkarrfstm, 26
Marche Militaire. G. W. Stralton, 26
Binghamton March. J. H. Janet, 26
Print*' March, {tnm Atbalia-J F. Mmftlmim,;' M

98. RiGSiMsoN's mmmki sighjihss ilws^mteb mkimm,
•63
Six progressive Sonatines (Op. 36 and 38), in two books.
M. Ckmenii, each, 60
Those who have played nine months, can learn these with
facility. They are much mlmlred. This Is the only correct edi-
tion, with the original Ongerlug, published In this country.
Twelve Sonatas by tbe same nutlior, M. Clementi.
No. 1, in A, 50
No. 2, in G, , 75
No. 3, in C, 75
No. 4, in G, 40
No. 6, in C, 75
No. 6, i n B flat, 60
No. 7, in D, 75
No. 8, in 1), 40
No. 9, in G minor, 75
No. 10, in H minor, 60
No. II, in F sharp minor, 40
No. 12, in F, 60
The abOTC will be found valuable Composlttons.
Thefollowing is a I'st of excrl'ml OmposilUmi, well aiapted
fvr Ltssons, or topUiyfor amv»emtnt.
Itcmembranco of Nantucket. A. Kielblx-t, 38
The Prettiest Fiower. Carl Tfiuse, 88
Carrie liobcrta. C. E. Snrr/en'., 25
Much admired; notdlfHcult.
Tlio Sniin.Is f.f tlio Alps. jE. Fritzsih, 38
Very sweet and pleasing.
Adolfina. A'. Frilzsek, 60
Quite brilliant.
Souvenir (!e Niilmnf. ./. F. Ptiri, 60
A delicious set of Waltzes.
Flowers of the Soutli. J. F, Petri,
A set of brilliant and intcreslliiK Waltzes.
Love's Dream Waltzes. C. L. Kofhler, 63
The riihlr«her will w.irr«nt the above set of Waltzes to please.
They arc full of rich sounds.
Fanny Fern Waltz. A. IT. Fremel, 2-5
Recommended to those who desire a good Waltz that is not
difficult.
Valse de Bravonre. IPm. Mown, 75
Brilliant and elTectlve.
Flenr de Salon. Ascher, 50
Queen's Musketeers. Burffmuller, 15
Kroll's Ballklangii Waltzes, arranged by Bergnuinn, 50
The Three Sisters, (3 Waltzes,) Le Carpentier.
No. 1 —Clara, 25
No. 2—Aurelia, 25
No. 3—Antonia, 25
Adonis Redowa. A. Gmkel, 38
A spirited and effective Uedowa, sincerely recommended.
Three Brilliant Waltzes, (Op. 84, No. 1.) F. Chopin,-. .50
(Op. 34, No. 2.) " 38
Three Waltzes, (Op. 64,) F. Chopin.
No. 1, in I) flat major, 25
No. 2, in C sharp minor, 38
No. 3, in A flit major, 38
All I he mn^lc frtim Chopin Is Invaluable to every Piano-player,
and it will be found Interesting and good.
In the Dark E. T. Bnlhmn. 25
A very beaatlful plfcc Indeed, and not difficult for one who has
played a year.
JuliT, {Val'ie brillante.) 11 Lemoinr, 40
Easy, melodious, and very beautiful.
!P(D12Lfi^3 AHID (liTni!tnDiai:iI.ILISSo
77ie fuHoicing art recommended by our bett musical critics.
Sea Nymph I'olka. A. C. B., 25
Jlallie Polka. IK S. FooU, 25
Easy and brilliant.
Eliza. T. miller, 38
Very brllliant-
Grnziella. A. Croisez, 25
Spharen. MulUnhauer, 38
Belles of Bo-ton. Oirl Ilause, 25
Ix»uisen. Btrf/mann, 20
Ko«ine. /^ Oirpentier, 38
Three Pretty Polkas, Le Carpentier.
No. 1 —Oiirika, 25
No. 2—Carabine, 26
No. 3—Marictto, 25
Two ea»y Fav.irite Polkas. BurgmuUer, 25
Polka. Otto Dresel, 30
Jervinins. Srtppe, 25
Spring Flowers. Leibeck, 25
Annen. A. T. Lanner, 15
P.lue Kve». Brrgmnnn, 15
Wavelet. E. T B'lblicin. 38
Banjo Quadrille., (from Negro Melodies,) 38
Carli.tta. T f)ijhkr, 25
Marie. T. DohUr, 25
LoU. P. IlearUm, 26
Very tuj and ezeeedingly ellecUve.
©(DIfiBio
Mr. Kichardson has concluded an engagement with the
distinguished composer, G. 1'. Hoot, (more widely known
as "WuuzKL,") author of //««; X»t«, and other popular
pieces, who will compose a series of Songs, particularly
adapted to the public taste. The following six are just
published.
Glad to get Home, 25
The Honeysuckle Glen, 25
Rosalie the Prairie Flower, 25
The Church within the Wood, 25
All Together again, 25
I'rond world, good bye ! Pm going home, 25
The above are simple, Instructive, and exceedingly Ijcautiful.
TiiiitD Book of 25 Lessons in Singing, for the
Middle Registers of the Voice, (Op. 10,) J. Omcnne, 2.00
The only complete and correct edition to be found In this coun-
try. They are very proKressivo and instructive, and indispensa-
ble to ail Teachers of Kinging.
My Dearest Rose. J. L. Du Bois, . 25
This Is a simple Song of great popularity, and is having a large
sale. It Is as pretty as It Is simple.
Would I were still but a Child. Lortzing, 25
Bong of the Czar; for a baritone voice. One of the best of
German songs.
Mabel Ide. E. T. Baltlwin, 25
A beautiful Ballad, and admired by everybody ; quite easy.
Moonlight deep and tender. L. II. Southard, 25
A very pleasing Ballad.
Sleep, oh Sh'ep, my gentle Lovo. J. H. Ilinton, 25
Full of melody.
The Mignon Song. F. Schubert, 25
On the Sea. /'. Schubert, 25
These two beautiful Songs are recommended and taught by
Prof. A, Krelsmann.
The Trumpeter, a fine baritone Song. W. Speier, 38
Salutaris. //. Millard, 38
For religious service ; very Impressive.
Serenade. T. S. Lloyd, 25
Ave Maria. R. Franz, 25
A Song full of religious feeling.
Like Music o'er the Waters stealing. C. C. Convene, .25
A very pleasing melody, with good accompaniment.
Oh, Whisper what thou Feelest. B. Richards, 26
A popular sentimental Song.
1 have found Thee, but too Late ! C. C. Converse, 25
Full of melody.
The Kansas Home. Marion Dix Sullivan, 25
Very simple and pleasing.
There's a Star that is beaming for Me. Ilerherl Du Lnnq, 25
Sung by Mrs. Wood, with great applause,at the Boston Theatre.
To the loved ones at Home. J. Pierpont, 25
Simple, melodious, and pretty. Very popular.
Ever Speak in Tones of Kindness. C. C. Converse, ... .38
A Song that will please all.
The Parting Song. Josephine Lang, 25
A very tKautiful Song for an alto voice.
The Fountain L. II. Southard, 25
A Song of decided picrlt, deserving a place upon every Piano.
Deacon Foster and the Conl Dealer. Anthracite Carbon, 25
A local Comic Song, sparkling with wit and good " hits."
The Orphan of the Tvrol. J. M. Deerns. 25
One of the prettiest Songs out.
Come, said .lesiis' sacred Voice. T. Spencer Lloyd, 38
A very Impressive religious Solo, with Quartette.
Romance from Wra. Tell. Rossini, 25
I did not know Thee then as now. S. Sawtell, 25
A Song that Is destined to great popularity.
Cot with the Sanded Floor. Wm. Mason, 25
A very pleasing melody with charming accompaniment and
excellent words.
The Fisher's Canzonette. T Rynn, 26
Simple and pretty; has been suii(r by Mas. Wjjitwoeth. atseveral Concerts, with much applause.
"iwouia, n
Those Evening Bells. 7'. Ryun, 26
A very pleasing Song.
Would I were with Thee. F. N. Crouch, 88
Singtome, Norah. " " 50
These two Soiic« were compose d by the auUior of " Kathleen
JUavounicen," and arc destined to become qulie as popular.
No More. L. II. Simthanl, 35
This Song is highly retoniracndcd.
Apparition. C. F llmhrrtr. 50
Ballad dramatised for u baritone, from the lierjnaii, hy Lesslng.
Six German Songs, Mendelssohn.
No. 1 —Far Awav, 13
No. 2—The Jhxin, 13
No. 3—The Nun, J3
No. 4—The Favorite Spot, 25
Little Gipsey Jane. Clinr, 33
A charming and simple little Song,
Homeward Bound, 38
Fully deserving Its great popularity.
The little Star. A. W. Frenzel, 25
This is a pcrlect gem.
Christine, [ adore Thee! A. W. Frenzel, 25
A very sweet Scotch Song.
Memory. T. S. Lhyd,
Very beautirul.
25
The Departed Brother. A. P. )ryman, 25
Simple and plaintive.
I heard thy Fate without a Tear. Harrison Millard, . • -25
A most charming Ballad.
Thekla's Lament. F. SImherl, 25
It never comes afain. //. Millard, 25
Very sweet and simple.
From the day that first I met Thee. (Duett)
G. W. Strntttm, 40
Absence, arranged fn™ the Italian. J. Q. Welherbee,- .2i
A most exquisite love Song.
My Soul to G"d mV Heart to Thee. Clupisson, 25
Very beautiful. '
FOU THE GUITAU.
Lady, wilt thou be Mine ? J. J. Valer, 25
©AILOJSo
L'Assaut, Grand Galop Mililaire. Chas. Voss, 60
Chromatic Galop. A. Kielblutk, ;
38
Storm Galop. Bilse, 38
RondoMilitaire on Stnrmmarsch Galop. F. Beyer,. . .38
Very brilliant compositions, and not difficult. They will most
certainly plcuse all.
Four Jtflznrkn*!, (Op. 5.) J. S(hulhoJ} each, 25
Much admired by everybody; moderately easy.
Giirafilia Mazurka. C- Gartner^ 38
Mazurka H?id Polka. A. Iit:netlt, 60
A flue Salon piece.
La belle Tyrolienne Polka Mazurka. E. Newmann^ 20
Kasy and bewUchlnb'.
RICHARDSOIV'S COI-I-ECTIOIir OF
ID^niS^T^S IP(DIE IF(Dir31 IEIiiiR[ID§o
Fugue on a Melody by Wobbe. E. S. Cutler, 60
Overture to the Pilgrims (Cantata). C. C. Perkins,. . ..bO
Grand and effective.
Mother and Daughter, (in 4 Nos.) 11. Berlin!, each, 25
24 SIcIodies, progressively arranged, by Brunner, in 5
books, each, 20
Pleasures of Youth, or six Sonatines A. Diabelli.
Very easy, progressive, and melodious.
No. 1, in C, 40
No. 2, in G, 40
No. 3, in F, 40
No. 4, in D, 40
No. 6, in A, 40
No. 6, in D minor, 10
Three Sonatas, A. DiabeVi,
A little more difficult than the above.
No. 1, in F, 60
No. 2, in D, 60
No. 3, in C, 76
SIXTY-SIX UTTEBITIDES, in the most usual U«jor
Keys, for the Organ, Uelodeon, or Fiano-Forte.
By ,T. 11. Jokes. Price 60 cts.
Very suitable for the Church, or Sabbath evening recreation.
Quite easy, but church-like and effective. Highly recommended.

99. mCSAil320IfS M-ISSCAL SICSMGS ELUSTM?S9 CMM.0SUS.
THE
IRIBCHFS, POLKASi SQlSSg ft6i
30BncnANA.N'8 Union Grand March, . - . -
In the key of F major; quite easy. Got up in fine style, having a perfect
likeness of Hon. James Buchanan. This March is dedicated, by special
permission, to the distinguished statesman above-named. The music is
grand and btilliant.
Fremont's Great Republican March, ... 30
In the key of E flat major ;
quite easy. This beautiful piece of music is
arranged from two popular melodies, and dedicated, by special permission,
to Col. John C. Fremont. The title-page represents Col. Fremont placing
the American flag upon the extreme summit of the Kocky Mountains ; and
also bears a iwirfcct likeness of the celebrated " Pathfinder," done in superb
style. This March is universally admired for its melodious brilliancy.
We're Free! we're Free! a Republican Campaign Song.
Words by J. G. Whittier, the Quaker poet. Set to music
by Karl Cora, 25
In the key of B flat major. Written in a spirited style, and consists of a
solo and chorus.
Who 'll Follow ! who 'll Follow ! a Republican Song.
Words by Miss Whittier. Set to music by Karl Cora, 25
In the key of G major. A very effective song and chorus.
Shower of Gold Polka. Carl Lorenz, ' .
' .
' ^^
In the key of E major. A brilliant composition, not di6Bcalt ; it is very
much liked.
Twinkling Star Polka. A. de Anguera, - - - 25
In the key of C major. Easy and pretty. Whoever hears it buys it.
Banjonet ScHOTTiscnE. E. M. Edwardy, - - - 25
In the key of B flat major. A very good imitation of the Banjo. Qaite
simple, and much admired.
Souvenir d'Auburndale. T. H. Hintoti, - - - 85
In the key of A flat. Original in style and effectjre in character. Not
difficult. A good piece to play at a party.
Romance. F. Moscheles, - - - - _
- - 25
In the key of F. A very fine composition, and a favorite with those who
appreciate good and classical music. Not difficult.
Br THE Stream a Youth was sitting. W. Fries, - 25
In the key of A flat major. A charming Song j
sweet and pleasing.
I FEEL AS IP MT HAND UPON THY HEAD MUST REST. Af. Haute, 25
In the key of G major. A beautiful Ballad, and worthy the attention of
all Concert singers. Not difficult.
Fab away, across the Sea. (From " La Traviata.") Verdi, 25
In the key of G major j arranged for a soprano voice. This is the real
gem of the Opera.
Do YOU REALLY THINK HE DID ? F. Heller, - - 25
'
In the key of B flat major. An amusing and taking Ballad, quite simple.
!
The accompaniment is almost a beautiful Waltz in itself.
Father John. Wurzel, ( G. F. Root,) ... - 25
t In the key of F major. A capital Song, full of melody, and is destined
to as great popularity as his former ballads. The accompaniment is very
easy mdeed.
i^iikiii^ifi^i9coNsiSTiNO or
ftotlbt mt abmiwi Cnmpsitiflns for {t ^iano-|ortt,
No, 1.—Simple History. H. Ravina, ..." 2.—Last Souvenir, Poetic Thoughts. H. Ravina,
" 3.—The Melancholy Song. Prume ; arr. by C. Voss,
" 4.— Departure for Syria, Fantasie. A. Oroisez,
" 6.— Mi Manca la Voce. (Quartette from "Moses
in Egypt") G. A. Osborne, ..." 6.—Roses without Thorns. Sophie Dtdken, -
« 7.—The Beautiful Eyes. /. O. Metzger,
" 8.—Nocturne. H. Ravina, ....." 9.— Galop Bkavoura. /. Pascal Gerville,
" 10.—Elegant Impromptu on Pepita's March. Th. Oesten, 35
" 11.— Grand Waltz, from the Prophet. F. BurgmulUr, 50
" 12.—Oh, WEBB I BUT THE LIGHT OF THE MoON.
Kitcken ; arranged by H. Cramer, - - 45
The above pieces having already become very popular in Europe, and also
with many amateurs in this country, we deem it only necessary to say that they
are published in handsome style, and are well worthy the attention of all Piano
players. They may be played by those having had a year's experience under a
good teacher. The publisher is confident that the above set of pieces will meet
with success.
35
30
40
25
25
40
35
85
35
TWELVE
OF CXaLEBRATia} coiaposiois:
^ wlUctinn of §riUiant anli Instratfibt |ittts for ik lianir.
No,
«
1. Deux Noctuknes. A. Gutmann, ...
2. Amoub k Jesus Cheist. /. Schad,
" 3.—Au Gee des Flots. L. Tonel, . . -
« 4. Les Refrains du Lido. A. Croisez, -
" 5. La Fete des Condoles. A. Croisez,
" 6. Indra de Flotow. H. Cramer, ...«< 7. Tannhausee de Wagner. H. Cramer,
« 8.—GiBALDA d'Adam. H. Cramer, ...
" 9.—An Vedkai de Bellini. H. Cramer,
" 10. Lebewohl de Pboch. H. Cramer,
« 11. LiEBEND GEDENK iCH DEM, DE Kbebs. H. Cramer, 50
« 12. L'Esclave du Harem. A. Croisez, • - - 40
The above set of pieces were selected with much care, and are considered by
musicians to be compositions of a very fascinating character. They are admired
by every one. We can therefore recommend them with confidence. Intende4
for players of fair execntion.
35
35
25
50
50
50
50
50
50
50

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