Matching Editions are:
Schirmer Vaccai Practical Method for Soprano and Tenor (First Lesson in C Major), Schirmer Ed. Vol.. 240
Peters Vaccai Practical Method Edition for Medium Voice (First Lesson in C Major), Peters Ed. No. 2073b
Ricordi Edition for Mezzo e Baritono (First Lesson in C Major).
"Vaccai Practical Vocal Method (Piano Accompaniments) with Melody Added , for Medium Voice" by Xavier Palacios offers high quality backing tracks for the classical singer to suit your voice perfectly and to follow the evolution of your vocal range or needs. The Soprano (medium range) is played on the Piano is Added to the Accompaniment .
Please note that the tracks in this Album with Vocal melody added match exactly the album with accompaniment only : "Vaccai Practical Vocal Method (Piano Accompaniments)for Medium Voice with transpositions". The accompaniment is exactly the same in this two albums, only the Vocal Melody has been added, allowing the singer to focus on Voice Production and on the Lyrics (Vaccai has chosen Metastasio poems exclusively).
The Voice of a singer singing the melody with the accompaniment would disturb the practising singer who has to be "his own teacher" . Sometimes the melodic line played by the piano is interrupted for breaths, or cesurae, or articulation (slightly detached notes). For instance after two slurred notes of equal value (see lesson XIII). The ability to "articulate" i.e to sing slurred notes follow by detached notes, pausing briefly without breathing, etc... is very important. It develops the mechanics of vocal folds closing properly before singing the following note, in association with the muscles of the Larynx and the abdominal muscles. We hope that these Vaccai series will be helpful to Classical Voice Teachers and Singers as well. This edition is faithful to Ricordi Original Edition of Vaccai Practical Method.
You can use freely these accompaniments for either private or public rehearshal or concert performance (with the singer). You can use them for radio broadcast if you mention that all accompaniments are by Xavier Palacios. For Tv broadcast you will need to ask a written permission to Xavier Palacios (The artist and Producer).
Xavier Palacios studied at the Ecole Normale de Musique de Paris de Paris with Antonio Ruiz Pipo, a pupil of Alfred Cortot, and Billy Eidi, a renowed accompanist of French song. He also studied Musical analysis with Ginette keller, a pupil of Nadia Boulanger. He has given many recitals in France and has been the assistant and accompanist of Laurence Russel Albert (Pushkin Prize, Metropolitan Opera) for a few years.
This volume contains the Piano Accompaniments for the Original Vaccai Practical Vocal Method, with Vocal Melody Added to the Accompaniment, and which is now in the Public Domain. It is part of a complete Edition of Vaccai Practical Method Accompaniments, matching the Vocal Range and key of almost every authoritative Edition.
We prefer to classify here the Vocal range in three main sections: High, Medium and Low, instead of : Soprano, Mezzo, Baritone, etc...It seems that Vaccai was concerned, when adopting the "Medium range" (not higher than F5 for female voices, F4 for male voices), with securing the "Mixed Voice" ("Voce Mista"), and the subsequent use of the precise amount of breath and energy (going from a note to another) to produce a proper, "Bellinian", legato. Of course, it is very useful to transpose this "Practical Method" in the High range for Sopranos and Tenors, and in the Low range for Mezzos, Bass-Baritones, and Contraltos.
Some "Mezzo Editions" in Italy use the "Soprano" key chart adopted by other Western Editions. Some "Contralto" or "Basso" Editions in Italy adopt in some instances the "Medium" key chart.
Last, but not least, Vocal range is only one aspect of Voice classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and the advice of your teacher.
Here is the track list with the corresponding text openings :
01 Manca sollecita (The Diatonic Scale)
02 Semplicetta tortorella (Intervals of the Third)
03 Lascia il Lido (Intervals of the Fourth)
04 Avezzo a vivere (Intervals of the fifth)
05 Bella prova e d'alma forte (Intervals of the Sixth)
06 Fra l’ombre un lampo solo (Intervals of the Seventh)
07 Quell’onda che ruina (Intervals of the Octave)
08 Delira dubbiosa (Half tones or semitones)
09 Nel contrasto amor s’accende (syncopation)
10-12 Come il candore (Runs and Scale Passages)
13 Senza l’amabile Dio di Citera (The Appogiatura, from above or below)
14 Benchè di senso privo (The accaciatura)
15 La Gioja verace (The Mordent)
16-17 L’augeletto in lacci stretto (different ways of executing the Mordent)
18-20 Quando accende un nobil petto (Introductory to the Grupetto or Turn)
21 Piu non si trovano (The Grupetto or Turn)
22-23 Se povero il ruscello (introduction to the Trill or Shake)
24-25 Siam navi all’onde (Runs and Scale passages)
26 Vorrei spiegar l’affanno (Portamento)
27 O placido il mare (Portamento, The second way)
28 La patria e un tutto (Recitativo)
29 A la stagione de’ fiori (Recapitulation)