73CT5S52ZSS

SCHIRMEIVSLIBRARYVol. 294

CONCONEOp. ii

THIRTY

EXERCISESFOR THE

VOICEEdition for the Medium of the Voice

Pr., 65c

\V#V/#V7^\V*\V//W*\V'

HkJGHAM ru^/G UNIVERStTlPROVO, UTAH

Digitized by the Internet Archive

in 2012 with funding from

Brigham Young University

http://archive.org/details/thirtyexercisesfOOconc

(Y)T

Schirmer's Library of Musical

Classics

?Vols. 294, 555

J. CONCONE

THIRTY EXERCISESFOR THE

VOICE

These Exercises form a transition

from the Grand Style to the

Extreme Difficulties of Vocalisation

G. SCHIRMER, INC., NEW YORK

1898

Printed in the U. S. A.

PROVO, UTAH m

Thirty Daily Exercises.

J. CONCONE. Op. 11.

In practising* the following" exercises, always endeavor to produce each tone with cor-

rect and pure intonation and uniform power. To this end,the exercises must be executed

slowly at first, gradually accelerating" the movement at each repetition,at the same timeprogressively augmenting* the power of the tone. Practice conducted in this mannerwill infallibly lead to g"ood vocalization.

Taking breath

.

fTs Cs C\ r\ r\-»-

-«- TT-cr -o- 3t

331 -O-331 -»- 3H

voce.

y: u »33Z

X5

331-»- -fcV 33Z -O- -»--»- ^»-

33: 35-

IC\ r\

33Zns33:

n\331 -*»- -O-

~rr -»- _o_ -«- 333: -»- 331 =&:^= ^=-»- »- & -»- -o-35 -«-

33:13

331 itE33:331 -»- -O- 331-»-*«-

Iff\ fO r\ r\ c\ /Ts

p 5A-? *=* ^ J 8 » £

fe * * * im if2.S J i

* * *^^ i ^^

i^l^ *- ujJ^rfn- \}^ ^mi±

i£ *=

*—

l

^g ^ I p—m ^=^ £^ r rj^J 3U < -

j§j jj «—

ijifltfrfcrcgr i r^ii

e^^F-^i^$m

wmPP -#—«-

ZEo

ZEE 35=

iU69ii.

6

^pUp m^m i i £ £

f4.mi

i J^J:£S^\p 1

1

\ (x& vtf\r i j irt^fJffi

#^pi

£ee£

£ £^ £ £f ¥

g J * i S SH32j ftgfflflij* i i fcflyJaj i j* I If^-J^Tpsgl

^ff £ £I £ £ £f f^m ^£=£ £-5M.In order that the voice may be made to run through all the degrees of its compass.and thus

acquire perfect evenness of the registers; each separate passag-e in the ensuing" six exercises

should be repeated several times before proceeding* to that which follows it chromatically

(. Bis. .f£e= jJ^jjgg^S s £eee

£I£

t£l: H* \rfa~

£J £P€ai—T=r^ w *e;P

j iffitfjffCM^g^F teiStflWQ^S £

I ^ WwBr 3_

^^ ice:Ir

2—ii^

^-ftg -

11469

i^ iiJ^Etfrto^j j - i jggcttftttr^u l$ Hi mW ** T&SIP

3

1^7

* tzs:* te

i gjjjg^i^g ufe

' - iJJpatftr iBf^ *==if

s

ST* *in£

il*ri 1^ & g

i^:£ 3

lti I»

11469

11469

7.

if j'J'fl LfTrJi 1 flfil^^Si

iEE1 »

^Sf£mm

$

st/a: ^^5

2Z

3

i i jifftoflr^s

w ^ 1= p^ **9 "b*F ji3 ezMHw ¥; 3 ^̂ —

^

h^s

I PTm a ffi. «_&

te

I fF f» \>W V v&Sffi S *S- u ^ b* p?

I £ Site

I * *p91 #^ F #*m ^^ ^*22: 3:

In W77

1mmm^j ! 1 jj% JT^ji j i 'E1 W

31

£s?

bi

? o33C

-€»-

-d9

10

8.

^iJ^Xiw 7 i ii

f r p r

pS^ifP

i; n^S Wi•&'\

If*re:

1S>

i^^ «i ^^i-#

* 3F% \ mj,i*\u m̂wrm*g'¥:

^^

—

f* i-^-^

m -&* t * 1

1

*£ rP pp m im—

i ^% wsM ffi i jffi ui^i pi

* j * j

31

^i±5E

iEE*EE

11469

11

9.

pjj p *1

Wfr i>1s y

1^1

jig *=: T*

fa ^3SW 5!

t±

-F=*

*F=t

^m $ £

P^"

i*5

bS

l^f3E£ fr*F=*9^ wsb tt'tE *5ES£ SEEEt¥t*

11469

ia

10.<

ij a jtjJff ctfN Ur^ fl^j jj^jpii

PS^^si-1

^5

ftjjj * /

III fc*

\ ~TJ3ra

3:I^: S«

S *^ £f±V9

11469

13

^ifj^^ i^^m^^^^mj^^

m?••

-&-&-

-6-

£$

m

11.fe j i a *"*" J" J) j J i )y l f>H=£

:-, t c mm ti i c^ £? £ P=^ P ?

"JTJi jjjj jj^^

I ^£=^ £ SEEt fe£ ;^^^^^t y » > m3EEfe *^^? ^ F^ ?Pi£ee£ SEE* I ? I ^ i g * .£S3

g C v j C bI 5 i E s i? ? F^^P ? ^

#j> ' 1

BE *?^^

*

i k̂sir

3E=*E

3E=fc

Tff*

$

11469

14

^^m

•^^Jj^iy=l

^^ 3ee^

Exercises in Triplets

/V^-—Jr

^l^-^JL vr rrr^Tjpi^S t&^mmiEJ J £S 5 ^13. 15E i

-6*

r^rcirTKTB^ 5 •—

•

:sz &IP £=*It£ £ £ £ ff 17 iq

IW¥^ P^s z ZEE.11469

15

|H ^err^Ti i * rUr^JTi >*r^^i^fr*^* * £

f fi -61 1?w£ i m

A ^ 1^ l t i* £ £ =wn n s14.^S^ J s p«

::~T^ * feEt

As K 'J I JJ^i JuJJ/JVr WrCrr^^ .mffifM

£#*

IUs

» =" » ls:

I—i;

J$5i

, j i

1 H2fl:

^F

* rt#3 i ^i

11 1 tfH "r§ JJ; H J, i , i B a^S^^pi

#F^f * #* Tf t4 i T i f^^ t 3=gzj J * 22: £11469

16

* gi^ggp^^^ffimj'i f »"'Mr/\ A B pgjg E j g g S J*" »p j>7 i N i^T^ 5 i±

15. S £ I£ £e£ ttza Ef(AK l J^J%CCrW^^lr^^^ lj^- lh l|iiS^|H yp jvfe £^m m jg i i g terfSPJPfgiiiii in*

p*zF*^F

# i jg:a?^ SfgEffTnTrttrccri J^3J33-QJJ9j * - 1 1"'^wy$* J>yjr>g j £^^ ^ p i J* g fe* sg§ fe - fef

*7

* m

m i ^^^^^^^^^^^^iÎ \ Jpjftjajg^^ £ s &Et«=i^^fe sii^¥ % PS^p * ^^^^p^^^^m i - 1 - ii**j=j }?Inr*r-\-,

9#FJ£

P^SA

8 p g*

11469

m*£p:

**

xn

*

f

17

[ft Wi^ 11 iMm 1 - gSJB16.^

3 3 3

If

^5^ff

1^P^f IT

KmS

mWm^P^ i I?

w p

18

I p gj ^ * jl p F * P g »17.^ ^^*^*m

i

J

f

IP

!18. \&b-

^s^ 3eee=e £ £EB3"F^

| ccrccriJJJ ¥*t î^= jj4^gittd!jj^iiJ^iPI * j * *f & «f *?s^ j * *isH E:fa - ibjw^'rrr i artevJUjg ij i - i^ffffl-i

*i*WF

^ite #

i

i

f

w1

*

*EE=

Iiff^ tF

11469

,

jt,

*EEE5

19

i 'nrr 'r rBa i i - i^ar r i toim- Ji-gnrr ;i

*ife=E

m £m£

33l

-»-

F^^

•#- -»

i

ft

*L^

i3

E ajjJBttr i rrrccr^JJg ei mmWpp* 319. f

feEE ±I

IEm £I*EE^ I J

tzst*r

3~ff^

H-raj iJ J ij ' ujjiJJj^frfi'frf rrf^iJa

I I £ £e^e ££b" 5T1^ P #

9E|i * J £EE2E £mv

i i jg^gtisKV#yp ^St=I=e Tl_#,.p#fE^j^cir•*#

*i ipt * * *WF 1 F if

2^£& * J *™=^lW te

1

1 'rrr^ a „mui**

[£l»J»ffi«M^^i m£ fe £ £u IE

s*

11469

i

#»

II^y-

"t3~

-&

* * mt

so

20.<

^^

3

jii' 7 JjJ fe ?iii^

*

^^*

i

i

£

P » r*r

i

*

p v^rrip.rlip^cljTJ^JdJj^Ljj ijMi i

I * * i £ £ £ £w

ar; * £ £677

i c i *3'

f^P^ g p i rr

r

pg

;^ £ £ £ £ £21.

: ; : .' P t e i^F^

#M f mP ?LLTp =£ P j^ JTJ I j' I 1* £ £ £ £ £^=* -^•6-

77

i—^ J ± £ £ £

fe 5 ^MP*EfE^F"^^ r^ra - e

22.

<

mf*

g ii

j r £ i

ST

k?

mZ

11469

21

^^fiH^ri^p rfrrrnpv^ m f f m f _ jtfgpg¥ e*

tup?^^ fei

-**-

£=i=^ i

i tep

ji

s331

i

ifef^iIf

i» r ^rr'TrrrJ^ Qj^f i r i jug *± IJ^m ai "O"3 3S

Sm

-6

% 9331

£ £ -^ 72-

The following" exercise in detached notes should be practiced mezza voce, taking-care that the delivery of each tone be pure and even.

I 0mmm ^2= # ~ -I £E 33T

23.<-e>-S_ s bK

is 331 331 £ JK*- -**-331

5^T-»-t

15

i^m fci j^tlffUyi^^^P* fTpS4d-

¥f

"ST

(P

3X-

-O-

om

t.ftytpS

^8

17TT

NgK

-tt-

5331

f IS

irvr pp

^ ciir^Hf -5-I

331

11469

33

Preparatory exercise for executing the Trill

24.

^^ffi]JTO

I ^rrrrrrrrrr r;rr>r i r I lfc=*£-»-

*== :^m &^ E&Tl

as < JJ p^* i i9-

;lt^Efc

as p a *

31

i £i£ f̂ert

/?\

*ife

11469

*xs:

th i j J

X

Xe

*

^ Xlf^

£

3£ X

XwX

w-m*»:

E^m3^

X

e££fiawiaggin mx^ IE=§F «

m £ m-*&

ix X=irf X Xf

« i iX X X3

a

If X X m p^

11469

24

These graces, called collectively Gruppetti, require the greatest distinctness of intona-

tion combined with lightness; they are employed chiefly in the medium register. In thefive following* exercises the most common of these graces are given.

p ijpipipipii - i^gj^^ig^# £ £ £ £ £ £¥

25.TI VfW #'? #*

*m £ £ in: 3 * £ * is& * p v

I j bi^->^ v gu) -/ 1 ffj i - i gj§iipiipi|g j

i J a £ £ £?fnre W**mB̂̂ # * iilflJ gig : ± i ** *F

I J jgJ)-/flJ^ff,hl.JflJ l- liJ .^^J'v^i'v jgj i - i

P| m 3=±i J • P i L

rgp^p7jgpir|jg

r< -i

H £ £ w £ma i * i ^ ^

pi-

u*

i

>h s* -£»-

*i=f^3

11469

25

jrjg

p^jp

p>ug

r< -

i

r^ 7^|pirt i^jyypjj J

i ^P^N ^^M *^ S 54i ^ ** zs: J Ieeeee^^9 22jff.r* i^Wifo* iT ny,_ffW^ Mr.Hiv-p V

I dwi' fei^Ei M p £ £ WfeEPP. fee . h

* * £ * J I *=P(9-

Exercises with same accompaniment as the preceding".

26. 1 1 iJ&Ji^JWflJ^J * - p|pjp^plj§§ °«

27. $M iJ^j^^ lj^^ l |,J

26

On the Chromatic Scale

The diatonic progression of the major or minor scale is so natural that even a per-son of mediocre endowments readily succeeds in producing", to any given tone, the sixothers separating* it from its octave. This is not the case, however,when the successionis chromatic, i.e. progressing" by semitones. The ear needs to grow accustomed to this lessusual mode of progression, in order to vanquish a sort of repugnance which the voicefeels to their easy and accurate execution.

It is the aim of the following" exercises to prepare for conquering" this difficulty; oneoug-ht not to proceed to a new exercise before assuring* oneself that the last can be welland correctly executed with respect to the accurate intonation of each tone. Nor shouldone practice self-deception as regards this g*ood execution; it can be obtained only bydint of very considerable study.

In the exercises now following1 , the sign a does not indicate a rinforzando of thevoice, but a light rhythmical accent ; a device, the high value of which will be speed-ily recognised, for the surer attainment of the goal.

?V A a A^""" A q

~~7!r^l_ Ar-0 * A a A i^u A Ji ,£ ep [tfrir%r*rirvJ'

^m ii I fee *fi'

30.95P^ h

«-# #-#•

i - 117 ; paijW i gg i j ^gRj i jjiPgiccicrjiJi#4^ i fp^i ^«S SH i£ ^#-#

#f* i^i^nr if mi a: j i i&-A- I-V-I i

i a

^^5*

w

HI

UJU'J. mm m^iJ PPs ^

11469

THE MASTERPIECESOF VOCALIZATION

A Graded Series of Vocal Studies for allVoices, selectedfrom the Celebrated Works of

BORDESE, BORDOGNI, CONCONE, LABLACHE, LAMPERTI,MARCHESI, NAVA, PANOFKA, PANSERON, RUBINI,

SAVINELLI, SIEBER and others.Edited by Max Spicker

Library 1324/27 113 Vocalises forSoprano

Library 1328J31 112 Vocalises forMezzo-Soprano

Library 1332/35 126 Vocalises forAlto

Library 1336/39 120 Vocalises forTenor

Library 1340/43 100 Vocalises forBaritone

Library 1344/46 102 Vocalises forBass

/"TAHIS collection, in twenty-three books, averaging seventy-five pages each,

comprising the most celebrated Vocalises by the foremost Italian, French,

and German masters, and regularly employed in teaching by the most distin-

guished contemporary instructors, has in the course of the past twelve years,

become one of the classics of vocal pedagogy. There are six series, for Soprano,

Mezzo-Soprano, Contralto, Tenor, Baritone, and Bass, respectively, each series

containing four books (except that for Bass, which has three). The vocalises

in each series are progressively arranged according to difficulty, thus furnishing

a complete graded course in this department of voice cultivation. By virtue of

judicious selection, this instruction book is wholly free from one-sidedness—

a

blemish apparent in so many works by single teachers. It is not, however,

intended for beginners, but as a continuation of Concone's "Fifty Vocalises."

Each series is headed by a preface, wherein will be found interesting explanatory

and instructive matter.

These Vocalises have been most carefully selected and edited; the fine

quality of the press-work and thoroughness in proofreading combine to render

the collection as perfect and attractive as possible.

The increasing interest in the art of singing and the great success of the

collection among singing teachers and pupils prompt us to again draw attention

to its merits and its almost indispensable value to the earnest student.

G. SCHIRMER (Inc.)3 East 43d Street New York

A 622

€ar=Cratrang»> > •>.** *** *•* ***: «• &nb A AI* > •!«

DATE DUE

BRIGHAM YOUNG UNIVERSITY

3 1197 20641 3871

SCHIRMER'S LIBRARY$f MUSICAL CLASSICS

VOCAL METHODS AND STUDIESi

VOL. NO.,

ABT, F.453 Op. 474. Practical Sing-

ing Tutor (Spicker). Sop.or Ten. Complete

454/457 The same, in 4 vols.'458 The same, M.-Sop. or

Contralto Complete459/462 The same, in 4 vols. _

463 The same, Bar. or BassComplete

464/466 The same, Vols. Mil

BEHNKE, EMIL &CHARLES W.PEARCE.

1090/95 30 Voice-training Exer-cises. 6 vols. (Sop., M.-Sop., Alto, Ten., Bar.,Bass)

BONA, P.1170 Rhythmical articulation.

BONOLDI, F.117/110 'Exercises in Vocalisation.

3 vols. (Sop., M.-Sop.,Alto)

BORDOGNI, M.82 24 Easy Vocalises (Intro,

to 36 vocalises)432/433 36 Vocalises (Splcker). 2

vols. (Sop., M.-Sop., orBar.)

CONCONE, J.242 Op. 9. 50 Lessons for the

Medium part of the voice243 The same, for Contralto244 Op. 10. 25 lessons for the

Medium part of thevoice

246 Op. 10 bis. The same forAlto

294 Op. 11. 30 Daily Exercisesfor the Medium part ofthe voice

555 The same for Alto275 Op. 12. 15 Vocalises for

Soprano276 Op. 12 bis. The same for

Contralto247 Op. 17. 40 Lessons for

Contralto248 The same for Bass or

Baritone245 The School for Sight-

singing. Practical me-thod for young begin-ners

DANHAUSER, A. L.1289/91 Solfegedessolfeges.

LAMPERTI, F.570 Daily Exercises in Singing

571/573 Studies in Bravura (Sop.).3 vols.

57. 49. (Bass)

3f Eight-Measure Vocal-tees, for Elementary Vo-:al Teaching:

HI Op. 92. (Sop.)112 Op. 93. (M.-Sop.)113 Op. 94. (Alto)114 Op. 95. (Ten.)115 Op. 96. (Bar.)116 Op. 97. (Bass)

VACCAI, N.240 Practical Ital. Vocal

Method (Sop. or Ten.)(Marzials)

278 The same. (High Sop.)241 The same. (M.-Sop.)279 The same. (Alto or Bar.)

YIARDOT, P.399 An Hour of Study. Exer-

cises for the Mediumpart of the Voice. Vol. I

421 The same. Vol. II

AS84

A QompUte Catalog of Schirmer's Library oj Musical Classics will be.mailed if desired*

Published by G. SCHIRMER, INC. New York