Complete Method Fo 00 Bona

EDITION WHITE-SMITH
No.
lU
f'-
Complete Method
S)
FOR
Rhyfhmical Articulate
EXPRESSLY COMPOSED FOR THE USE Of PUPILS IN THE ROYAL CONSERVATORY, MILAN.
BY
PASQUALE BONA
PROFESSOR
(<^
AT THE ROYAL CONSERVATORY. MILAN.
?i
FOURTH ITALIAM EDITION RCVISED AND ENLARGED BY THE AUTHOR.

ENGLISH TEXT BY
Ambrose Davenport
(ITALIAN
AND ENGLISH TEXT)
If
>>'-d*
1U.8.A.
Copyrifcht
MCITV bj WUte-Smlth Mode Pobliahin^
Go.
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-i-35
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a*!^^
Complete Method
FOR
RiiytliiiicalArticu
rXPRESSLY COMPOSED FOR THE USE Of PUPILS IN TME ROYAL CONSERVATORY MILAN.
BY
<
PASQUALE BONA
PROFESSOR
AT THE ROYAL C0N5ERVAT0RY,.MILAN.
FOURTH ITALIAN EDITION RCVISED AND ENLARGED BY THET AUTHOR.

ENGLISH TEXT BY
Ambrose Davenport
(ITALIAN
AND ENGLISH TEXT)
Copyright
MCMV
by White-Smith Mugic Publishing Co.
Made
in U.S.A.
Preface.
Prefazione.
The favorable reception and extraordinary

success which
La
famoreroole accoglienza
e lo smeril
has attended the publication of
cio straordinario chp ottenne
mio Met-
my Method
induced
for
JRhythmical Articulation has
odo per la Divisione
mi persuasero a farne
me
to issue a fourth edition carefully
una Quarta Edizione, diligentemente riveduta, riordinata e
revised, rearranged and

for greater
much enlarged, and

into
for
largamente ampliata,di-
advantage, divided
parts
three
'vidpndola
in tre
parts; the first and second
those
all
per maggior rantaggio comune Parti: la prima e la seconda per
who
intend to
make
a stuiy of singing, and
coloro che si dedicano allo studio del canto,
three parts for instrumentalists.
tutte e tre
per
gli Stromentisti.
An
incontestable proof of the utility^ of
my
is
Pro'ra incontrastabile delV utilit di codesto mio laTioro, oltre

cio,
il
labors, aside
from
its
universal acceptance
forno re e lo
smer-
the fact of
its
adoption as a text-book
by the
fu
il
'cederlo adottato dai migliori
ma-
best class of teachers, and
by musicallnstitutes
the Conservatory
estri e dai
pm
il
accreditati Stabilimenti
of tht highest rank, such as of Music at Milan.
Musicali, come
Conserratorio di Milano,
quale libro di
testo.
le
The favor and consideration which

been accorded
have
Il faroore
con cui tennero accolte
mie
my
earlier editions argues with-
prime Edizioni mi
argomento non dubbio
out doubt the acceptance of this, the latest, which
di quello di cui rorrei onorata anche quesV

ultima, certamente migliore delle altre.
certainly will be
found superior to the o+hers.
P.
BONA.
P.BON.
^1^9-90
Copyright
MCMV
by White-Smith Music Publishing Co.
II
Introduction.
It is certainly of the greatest importance in musical instruction that young pupils should acquire a correct and practical method em bodying the principles of the rhythmical di-
L'autore.
nel^
cosa di maggior importanza inspgnampnto musicale, senza dubbio quella di far apprendere ai giovaSi
harm
vision of the single notes that constitute
the
beats of a musical theme,^ knowledge of their respective values, and of imparting to each note, so to speak, a special significance and
individuality considered
to the others. Such instruction
in
its
relationship
il modo pratico di dividere le singole note che compongono le battute d\in tema musicale-, di conoscere il rispettivo valore e di dare alle medesime, per cosi dire, un significato ed una specile esistenza, considerate complessiva-
ni scolari
mente
le
une
colle altre.
"Method for very rare in our
assumed under the title Rhythmical Articulation" has been

Italian school&in
years passed,
having been taught exclusively

servatories where
in the large con-
its great utility and importance has been duly recognized, and where it has been adopted as a most essential part of the musical education of the young, as well as one
of
the
most important branches of
musical
theory. *' It is unnecessary, perhaps, to speak at length

of the many advantages to be derived from a good method of rhythmical articulation; it leads to a knowledge of the relations which naturally exist between the notes of a musical beat and an appreciation of their individual character; moreover,
it
enables executants to divine

that
the time-value of peculiarly grouped notes
are not always easily distinguished at a glance, and to recognize the different forms of tempo
upon the force and precision of which the cora thing rect execution of the theme depends,
often difficult for the pupil to accomplish; also to effect sudden changes in the time quickly and accurately, a result only to be attained after
thorough schooling
in rhythmical articulation.
A consideration of its many advantages has induced the publication of the present method,
which, although of comparitively small size and of modest appearance, contains, in a word, all the essentials of a perfpct school of rhyth mical articulation; also the fact that my labors have everywhere received the most flattering
adoption as a text-book by vatory at Milan.
indorsement, and finally the great honor of its t lie Royal Conser-
Tale insegnamento, assunto sotto il none nella nostra di (Metodo per la Divisione,) scuola italiana era per gli anni addietro assai raro, non praticandosi se non nei grandi Conservatori, nei quali, conosciutane la grande utilit ed impor inza,r enne adottato come massima essenziale nello iniziarvi i giovani apprpndisti e anzi fu vpjnitato uno dei pi importanti rami della scuola teoretica musicale. *) Inutile sarebbe qui parlare deivantaggi che produce un buon metodo di divisione, sia per conoscere il rapporto che passa fra le note componenti una battuta musicale, sia per conoscere ^''intrinseco loro natura, sia per facilit da parte degli esecutori di rilevare a prima giunta il valore delle note stes.<fe. le quali talvolta aggruppate insieme non si apprese nta no air occhio del lettore cosi di leggeri, sia per conoscere la variet dei tempi musicali, l di cui forza ed esattezza regolano il tema che si eseguisce, il che per gli scolari riesce faticose d'assai, e sia finalmente, per avvezzare lo scolaroa cambiar di tempo con precisione, cosa assai malagevole, se radicata in lui non fosse la scuola della divisione. Persuaso di tanti ranfagg m'indussi alla pubblicazione del presente metodo, il quale, quantu//que comparisca modesto in piccola forma, contiene per tutto quello che possa bastare per j/na perfetta scuola di divisione, e mi lusingo chf questo mio lavoro sar favorevolmente accolto, in vista anche della circostanza che assai mi onora, quella cio di essere stato adottato come testo dal Regio Conservatorio di Milano.
*^NeUa pagina seguente
u Divisione.
vieti
*)
See following page for explanation of i?^yMii-
apiegato cosa sia
cal j4rticiilatxon.
12789-90
Ill
Preliminary Remarks.
Before und.?rtaking to read the First
of this method,
it
Istruzioni Preliminari.
Per intraprendere
la lettura della
Part
pupil
Pri-
is
necessary
that the
should have a knowledge of the

ferent kinds of notes and rests
relative time-values,
fect of the dot
elementary
and of their
principles of music, and above all of the dif-
ma Parte di questo Metodo e necessario che faliter conosca i Principi elementari di musica e sopratutto le lezioni rig-iiardanti
il
valore delle note e delle pause,

l
il
common
time, and the ef-
tempo ordinario,
la sincope,'
effetto del
and
slur.
For the Second Part
per
la
punto e delSeconda Parte dere pos-
a knowledge of
all the
various kinds of time,
of the scales and note-groups of different forms
and their values

is
is essential.
The Third Part

per-
devoted to a study of everything that

(tied notes)
sedere la cognizione di tutti i tempi, di tutti i toni e dei gruppi di note sorrabbond anti, in valore; e pu serbarsi alla Terza Parte, l'apprendere tutto quanto si riferisce alla legatura, agii abbellimenti, ecc.,
ecc.
tains to ligatures
embellish-
ments
etc.,
etc.
Rhythmical Articulation consists in pronouncing the name of each note precisely as though
La Divisione
nome come
consiste nel pronunciare
ii
di ciascheduna nota nef egual
modo
words were being read, with this differ eace, however, that the voice must sustain the
the
word
jiote
for the duration of time indicated by the
named; and should the
latter
have a great-
er time-value than a quarter- note, to repeat the
vowel in a connected, sustained manner for as
many quarters
the
as are contained
in
the
time-
se si avessero a leggere le parole, coldifferenza che la voce dev^ essere ten uta per la durata di tempo espressa dalla figura della nota medesima, e se questa esprime un valore maggiore di un- quarto si ripete la vocale, tenendola legata, tante volte, quanti sono i quarti di durata,
la
ii movimento della lingua- nei gruppi di due, tre, quattro o pi note, 'si pronunciano i diversi nomi legandoli come si avesse a leggere una parola sola composta di pi sillabe, avvertendo di dare maggior inflessione al nome delle note che occupano tempi fort In quanto alle pause od aspetti, alla fig-
value of fhe note to be sounded.
To
facilitate
-^facilitare
movement of the tongue in groups of two, threp, four, or more notes, their different names
must be pronounced
if
fluently, yet connectedly, as
reading a word of several syllables, giving a
special inflection to the
names of notes that

of the time-
occur upon the strong beats.
As regards the
"One?
of
rests, a rest
is indicated by the word two quarter- notes "One," "Two," and so on, always beginning again with"On' whenever a rest is interrupted by a note, or occurs
value of a quarter-note
on any other beat.**

used to distinguish the
notes.
The word "One" is also eighth-rests among the
ura di un quarto vien contrapposta la parola uno, .ff quella di due quarti uno, due e cosi di seguito cominciando eoli' mh(% {ogni qual volta\l/j pausa viene interrotta da una nota o si presenta in diversa battuta.*^ La parola uno adottasi anche per distin -
The .time-beats are indicated with the
hand.
*)
guere gli ottavi frammisti a po si segna colla mano.
note. Il tem-
What has been
said here aboit the rests
is not
) Quanto
ti
vien detto inforno alle
pause od
in
aspetl'al-
to be jjut in practice until the pitpil has learned the
non e da porsi in practica se non quando

sar in possesso della lettura, e
il
exercise; for this reason, silence must be maintained
lievo
seguito
during the time-value of the rests as they occur.
si adotter
silenzio
per
il
tempo di durata instessa.
dicalo dalle
figure
della
pausa
127^9-90
Examples of Execution.
The figures
1,
Esempi
/
di Esecuzione.
/. ?. .x
2, 3, 4, indicate the quarters
H'intT
4 indicano
quarti che con-
.that conafitute the beats, and the syllable Do0-0-0 indicates the prolongation of the pro -
stituiscono fa batti fa. e la sillaba
Do- o-o-o
indicn di nllunârc la prnnunriazione spiaole Uno, due< tre, quattro fiervono
Buneiation, each quirter bein^ slightly ac cented. The words One, Tko, Three, Four
indicate the quarter rests.
nando Iffi-gprmpnfp ciascun quarto. L^ parad accen narc i quarti da.s'ppfto.
Por characters "f the value of four quarters

notes, or rests.
Per le figure del valore di quattro quarti, sien note, che appetti.
1
1
12
12
-ORe
-
W XE
Do-o
-
One
Pronounce. Pronunciasi.
Uno
Two Three Four Due Tre Quattro
One rno
Two Three Due Tre
Four Quattro
For ch-^ractera of the value of two quarters.
1234
-
1234
-
Per
le
figure del
3
4
"valore di
due quarti.
3
12
One Two Uno Due
ii
5
So
ol
So
ol
So
ol
One Two Uno Due
So
ol
So
ol
One Uno
Two Due
For characters of the value of one quarter.
1234
g
Do
Do
Do
Do
^
1.
234
Sol
Per
1234' 1234
f=^^
t
One
le figure del
valore di un quarto.
J
Sol
Sol
Sol
Sol
Do
One Uno
Do
One
^
Sol
One
Uno
Uno
col punto,
Uno
e
For dotted notes or

one eighth value.
rests,
and for the rest of

3
Per le note o pause pause di un ottaro.

3
per
*
le
12
Do o
-
12
Do
3^
-
One Two Three Do Uno Due Tre
t^
Uno
Do
Do
Do Do
Do One Two Three I Uno Due Tre
Do One Do One
Uno
Por notes
in groups.
Per
le
note aggruppate.
Do Re
Do
Re Mi
Do Re
Mi
Fa
Dq Mi
'""''^^^^^^^^?^*
H Sol
"'
12789-90
Scales showing the
names of the notes
in all
Scale ppr conoscere

tutte le chiavi.
nomi delle note in
the clefs.
Violin- Clef.
Ascendine:.
Chiave di Violino.
Descendine:.
Ascendente.
Discendente.
-Re
Mi
33:
Fa
-OSol
33:
La
-Si
K\
ti
-OSi
33:
La
-OSol
Do
Do
m
Fa
33~
Mi
Re
D
Re
E
Mi
F
Fa
G
Sol
A
La
C
Do
C
Do
B
Si
A
La
--
33:
-o-
gi"
^ ^
G
Sol
G
Sol
F
Fa
E
Mi
Do
D
Re
c
Do
SL
o
D
33:
-O-
35:
F
Fa
G
si
li
i^
^ I. o ^ ^
So
Fa
:^
Sol
E Mi
Re
C Do
^
Si
r^ La
G
Sol
->
Sol
TS
Si
-z^
O^
33:
Fa
-e
G
-er
oC Do
31:
Fa
--
Sol
Sol
La
Mi
"XT" Re
Do F
Fa
A
notes.
B
Si
Si
A
La
l.
La
15
Sol
G
Sol
E Mi
D
Re
Low
Do
Note basse.
I
Mi
Fa
Sol
eLa
XT
Si
33- -Do C
Re
Mi
High notes. Note acute. B
Do^ ReH
SUMMARY. RIEPILOGO
Do
Mi;
Miti.
Mi
Fa^
Fa
soi-^ ''"^^
Sol S ol
LaA
Lntt
Rc-e-
TT
La -e:
^^::
C Doli.
SiTT
S
i
Do^
D'j-U-
Do-C
Extension.
KeO
D
Milff
E
Fa ti
Fa:GP
SoloG
La-O-
Si
Do^
C
Per Estensione.
I
When
the pupil is familiar with
^
the
raraes
First
^?S
of the notes
composing the
first
two scales,
delle note che compongono
he may proceed to the reading of the

Part.
possesso del nome le prime due Scale della prima parte^ potr passare alla lettura
in
V alliero quando sia
12789-90
Bass- Clef.
e
Chiave
E Mi
di
Basso.
D
Re
F
Fu
A
La
B
Si
Do
C Do
B
8i
A
La
Do
XE
-o-
XE
-O-
m
Sol
F
Fa
E
Mi
D
Re
xn
Descending. Discendente.
Sol
C Do
XE
xr
Ascending. Ascendente.
m
Do
C Re
-oMi
XE
La A
-OSi
IX.
-eSi
XE
La
-eSol
Fa F
lôl
Do
C
Do
C
xr
Fa
Mi
Re
Do C
B
Si
C Do
-e-
D
e
E Mi
F
Fa
G
Sol
G
Sol
F
Fa
E
Mi
il
n ^
D
Re
:^
il
C Do
m m
XI
^^
&-
XE
XT
Do C
oHe
JS
Mi
:^
Fa
Ts
Sol
^
^'^
'^
XT
Si
Do
G
Do
C
T3
Si
La
^ ^
G
p
T^
^'
:^
Re
Do
G
E
-'^'l:
SUMMARY. RIEPILOGO.
Do--
Reil
ne-g>-
Fai '"IT:
FaO
Fail
F
Sol::
^*^
ZZ
Si
A =
Doja
ZZ
^"-^
'^
Dun
Mi.
g"J"
^'
^"Q
far^ i
SiTg
Do^
DoTT
C
Ren.
^^"^
-^''Y E
"^2
G
n
A
La-O-
O
S
Si
iO z:
B
^P=
zr
Do-t-
Extension.
Per Estensione.
^0=W
z - 5
4j4JjJJ^-'^^rr ^*
#f
^M
?^
iz
12789-90
Tenor- Clef.
Chiave di Tenore.
31: -oSi
Do
-oRe
33: Mi
-oFa
XE
Sol
-oLa
^
Do
33:
Si
-oLa
33:
Sol
-oFa
33:
Mi
Do
-ORe
E
Mi
C
Do
-iz
C
Do
-*i
A
La
Do
G
Sol
Re
Ci
F
Fa
E
Mi
^
-
Si
D
Re
C
Do --
33
3r
->-
Sol
La
Si
Do C
^^
331 Mi
E
-O- 33:
Fa
Sol
331
Sol
-eFa
331 -eMI E
Re
33Do
C
T5
Si
B
T I:*
La
Sol
G
Do
Si
Sol
La
Si
-- 33: -- 33: -*-o- 33: xr Mi Fa Sol La Do Re A G E F D C
_ -^
-e-
Bo
Re ,_, 331
. Mi L^
^ ^
Fa
i^_
Sol
9.
-Or
-B-
CL ^ ^
Ci
Soprano- Clef.
Chiave di Soprano.
33:
La
33:
Do C
-Mi
33:
Fa
-oSol
-Si
ti
Descending. Discendente. ti -e-
331
La
-oSol
33:
Fa
TMi
33:
Re
Re
Do
C C
Do
C C
Si
E E Mi
F
F Fa
G G
Sol
B B
Si
L
-e-
Do
Do
B B
Si
G G
Sol
F
F
Fa
E
E Mi
Do C
e
A
La
Do
Re
33
D
Re
S.
Do
331
S
15
Sol
^
\*
33Si
Do C
~rr Re
-OMi
3r
Fa
-o
G
- 33: -o- 33: -OMi
Sol
Sol
Re
Do
C
Sol
Si
B
La
^ A
*>
fi
Sol
TT -^
Sol
"
B
-e- 33:
dTo
o "
Mi E
Fa
Si La Do 33: -O 33: -O-o-
je
"-
yi
Fa
41
-G
^ ^ ^ ip ^Â
Re
Sol
G 12789-90
^ A
Mezzo- Soprano -Clef.

C Do
Chiave di
B
Si
Me zzo -Soprano,
P
Sol
D
Re
ti
E Mi
r Fa
ti
e
Sol
A
La
ti
wi WJ
m^\ Ilo
Do
A
La
ti
Fa ti
E Mi
i"^
B
Re
il
C Do
Aisendinp.
ascendente.
Descendi ag. Discendente.
m 1*1 f^ t^\ Ili

1
II
Do C
Re
Mi E
-eFa
Sol
c% La
Kl
Si
r>
"
*J
ti
Si
Do
C
Do
C
n U
A
tJ
Sol
XT
Fa
Mi E
xy
Re
Do
C
Bf7 V&Sol
f"l
m
La
Si
r^
ti
dr\
O
Fa
f^
r% ^
Sol
ti
Fa.
o
Mi
11
c%
"e"
il
Si
Do
C
Re
Mi
Sol
Re
La
Sol
Sol
Fa
l'I kt\
i.Y
-* **
ti p r
Sol c^ *J
La
ti
Si
Do
-^
n
^
"
Q.
-^
V
n W
W ^ ^ Do ^ ^1
g
1^
p
^ 1
La
Si
Do
C
Re
Mi
Contralto- Clef.
Ascendmg-.
Chiave di Contralto.
Il
|W| n-^ Iti Bit
A scendente.
iJ
tf^
i^
Sol
4^
ti
Si
f^
t^ *-
ti
Si
r^
ti
Sol
I II
tr\
Do C
Re
Mi E
Fa
La
Do
C
Do
C
La
u
Mi
Fa
E
Re
1>
Re
XT
Do C
Fa
Sol
D
Mi
JS
Do
Re
11
Mi
tSM lr\ lai
fi
O
Do C
n
Re
Mi
E-'
1^ WlA 1
VI nJ I&-
D D
Re
Fa F
^^ So
c\
\
ti
Si
tf^
o
H
C
Fa *'
*
Sol
La
Si
va "
O
\
-ets
Do
La
G
P
Fa
A G
Sol
'-'
-ri
&-
E Mi
A
La
B
Si
-O O
Do S
Do
La
F
Sol
Fa
& ti
E Mi
D
Re
-^
'-'
n H
1! 11
'
1
1 1 1
T3
Sol
XT
Si
o
Re
ti
J O IJ
Sol
Mi
Fa
Sol
La A
Do
C
Pa
Mi E
XT
Re
Do C
XT
Si
La
Sol
Baritone -Clef.
e Do
Chiave di Baritono.
e
D
Re
E Mi
F
Fa
G
Sol
A
La
B
6i
Po
m XE
-Gh
XE
-O-
XE
JOl -o
oDo
B
Si
A
La
G
Sol
F
Fa
E
Mi
D
Re
Do
-O-
3X
-O-
XE
-O-
XE
Ascending Ascendente.
Descending Discendente.
33: XF" -O- Do Si

Sol
-oRe
xr
Mi
-oFa
ti
Sol
K-%
-oFa
XE
Mi
La
Sol
-oRe
XE
Do
C
Si
-tr
B
La
G G
Sol
S'ol
G
Sol
A
La
D
Re
m
m
XE
-e-
XE
Si
-O- JQ_
Do
E Mi
F
Ri
E
Mi
D
Re
Do -O-
A
La -o-
G
Sol
XE
Si
XE
F
Fa __
G
Sol
A
La
B
Si
D
Do Re
E Mi
Fa
IJ
^1
= ;^ ^ ^ ^ ^ ^ F Do
Fa
R*"
"^
Sol
Q
Si
=^
XE
M
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SUMMARY.
RIEPILOGO
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study of the preceding;
scales is recommenof the notes

in
Feci precedere queste scale allo scopo che

Call iero
ded the pupil, that
a knowledge
prenda cog^nizione
delle note nella
method the various clefs may in the Violin-Clef, although its being written
be acquired, this
use
is
not strictly appropriate.
chiare di cui andr a far studio di lettura, raccoma-ndando per di esercitarsi anche nella chiare di Violino in cui e scritto il presente metodo, ancorch questa non gli
appartenesse.
12789-90
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FIRST PART.
Scale in Whole- notes.
,
PARTE PRIMA.
Scale di Semihreri.
Lento.
"O"
No.l. iSvS
--
xc
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33:
--
30:
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--
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No. 3. fflE
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3X
--
3X
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The same in Half- notes.
Idem di Minime.
^
r^
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The same
in
(P
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Quarter-notes.
Idem di Sem im in im e
No.
3.
fflE
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in
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Idem di Crome.
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The same
Eighth-notes.
N0.4.
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ffh (
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The same
in
Sixteenth-notes.
Idem di Semicrome.
No.
5.
2^
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12789-90
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Interval of a Third.
Salti di Terza.
Nq.6.
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No. 7.
The same.
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Idem.
No. 8.
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Intervals of a Fourth.
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Salti di Quarta.
No. 9. ffivW
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32
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The same.
No. 10.
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Idem.
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The same.
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No-.
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InterralB of a Fifth.
Salti di Quinta.
f
f'J
ij
ij
ri-ir
n-^
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The same.
Ir J
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Idem J
No.13. 35ffi
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The fiame.
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Idem.
No. 14.2^
^^
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Intervals of a Sixth.
No.15.
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Salti di Sesta.
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Idem,
So.l
The same.
No. 16. ^<'/

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No.17.
^ F==^
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The same.
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No. 18.
L^
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Intervals of a Seventh.
Salti di Settima.
THE
u
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zn
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The same.
Idem.
No.19. 35EE
pp
fin'iriirii'.iii,i7ii,
Idem,.
The same.
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127R9-90
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11
Intervals of an Octave.
Salti (/'Off ara.

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No.21.^^^
The same.
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Idem.
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The same.
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No.23.
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No.24.iME
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Gli anfpcedtntfi qui riuniti.
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The preceding intervals combined.
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The same.
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No. 25.
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No.26.3HE
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Intervals of a Ninth.
di Norm.
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Idem.
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No.27
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No.28. ^^^^^ r
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Sal fi di Decima.
Intervals of a Tenth.
No. 30.
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No.31. ffiE
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Various Intervals.
No.33.fM
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No.34.
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The same.
Idem.
No.35.
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The same.
No.
36.^^
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Scalewlthnotesof different time-values.
Scala can dherse finire.

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No.37.3Ê
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12789-90
13
examples of notes with
Piccoli Solfeggî o
Little Solfegrgi, or
in-
Esempi di figure fram-
tervening' rests.
miste da pause.
No.38. ikil_L
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No.39.
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The single
dot.
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Del punto semplice.
No. 53.
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The same.
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The double
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Varied Example.
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a slur Uie) connectB two notes of the or position, the second note is not to be played_ simply held_ its time-value being added to that of the first note.
When
same name
La legatura^ che trvrpasi' sopra due note di eg-ual nome o posizione, fa tacere il nome il deSa seconda conservandone il valore.
No.59.
ftjH
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Example with the single

tie.
dot, double dot
and
Esempio pel punto semplice, doppio e

gatura.
No.60.
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It is
necessary that the teacher should in-
necpssario chp
ail altiero
i
il
Maestro faccia conoscere
struct the pupil in cases where the dot, the tie and the syncopation produce the same effect.
rasi in cui it punto, la leg-atu ra e la sincope producono l'istesso effetto.
Single dot.
Tie.
Punto
semplice.
LefToturn.
Syncupatiun. Sincope.
i
Tie.
Leeatnrn.
I
EXAMFLK
ESEMPIO.
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On
No. 61.
Syncopation.
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Della Sincope.
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Altri Esempi^ secondo le re^le indicate.
No.62.
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Exercipps on
sure freedom
all
thf previous intervals to en-
Esempi di
tuffi
salti allo
scopo di sci-
of the tongue before passing" to
ogiere la lingua
prima
di
passare ai Sol-
the Solfeggio of the Second Part.
feggi della Parte seconda.
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No. 73.
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Scale di Biscrome.
SECOND PART.
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PARTE SECONDA.
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Exercises introducing abbreviations and signs
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T.L.NO.
121

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EDITION WHITE-SMITH

FOURTH ITALIAM EDITION RCVISED AND ENLARGED BY THE AUTHOR.

AND ENGLISH TEXT)

MCITV bj WUte-Smlth Mode Pobliahin^

FOURTH ITALIAN EDITION RCVISED AND ENLARGED BY THET AUTHOR.

AND ENGLISH TEXT)

by White-Smith Mugic Publishing Co.

The favorable reception and extraordinary

has attended the publication of

cio straordinario chp ottenne

JRhythmical Articulation has

odo per la Divisione

to issue a fourth edition carefully

una Quarta Edizione, diligentemente riveduta, riordinata e

revised, rearranged and

much enlarged, and

parts; the first and second

per maggior rantaggio comune Parti: la prima e la seconda per

a stuiy of singing, and

coloro che si dedicano allo studio del canto,

three parts for instrumentalists.

incontestable proof of the utility^ of

Pro'ra incontrastabile delV utilit di codesto mio laTioro, oltre

'cederlo adottato dai migliori

best class of teachers, and

of tht highest rank, such as of Music at Milan.

The favor and consideration which

con cui tennero accolte

earlier editions argues with-

argomento non dubbio

out doubt the acceptance of this, the latest, which

di quello di cui rorrei onorata anche quesV

found superior to the o+hers.

by White-Smith Music Publishing Co.

vision of the single notes that constitute

"Method for very rare in our

assumed under the title Rhythmical Articulation" has been

having been taught exclusively

in the large con-

most important branches of

theory. *' It is unnecessary, perhaps, to speak at length

enables executants to divine

the time-value of peculiarly grouped notes

adoption as a text-book by vatory at Milan.

See following page for explanation of i?^yMii-

apiegato cosa sia

should have a knowledge of the

principles of music, and above all of the dif-

valore delle note e delle pause,

time, and the ef-

For the Second Part

punto e delSeconda Parte dere pos-

various kinds of time,

of the scales and note-groups of different forms

and their values

The Third Part

devoted to a study of everything that

consiste nel pronunciare

di ciascheduna nota nef egual

for the duration of time indicated by the

named; and should the

er time-value than a quarter- note, to repeat the

vowel in a connected, sustained manner for as