You can use freely these piano accompaniments for either private or public rehearshal or concert performance (with the singer). You can use them for 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.
The first volume of 15 Arie Antiche (Parisotti Edition) Accompaniments with Melody Added, for Low Voice with transpositions contains 15 favorite Italian Arias piano accompaniments in Parisotti's Edition with various transpositions to suit your voice perfectly. and to follow the evolution of your vocal range or needs.The Vocal Melody 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 : "15 Arie antiche (Parisotti Edition), Vol. 1 Piano Accompaniments for Low 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.
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 Arie Antiche series will be helpful to Classical Voice Teachers and Singers as well. This Edition is faithful to Ricordi Original Edition of Arie Antiche Published by Parisotti. Note that the Schirmer Edition of Arie Antiche is faithful to Ricordi First Edition.
About Tempi for the Arie Antiche: we are not making things easier for the student: some Tempi are slow and the corresponding Arias should be carefully chosen by the teacher for obvious technical reasons.
This Album has been carefully worked out. Particular care has been given to phrasing, breathing , as well as rendering the atmosphere of the song, allowing the singer to sing freely, but also putting him on "the right track" for phrasing, tempo and musical content. We also recommend that the singer rehearshes without the accompaniment as well. But these Arie Antiche Vol. 1 backing tracks (or karaoke, a term that should not apply to the classical genre) will give him the necessary tools to give a consistent interpretation of these Arie antiche, that he should be able to convey to another accompanist.
Vocal range : the keys used for the transpositions are determined by usage of renowned recording artists, and by usage of authoritative editions. The classification High-Medium-Low favoured by these editions varies sometimes : the key chosen for ,a transposition for, say, "Low Voice" in a given edition can be different from the key in another "Low Voice" edition. We try to provide as many transpositions as the authoritative Editions do.
We use 5 vocal ranges instead of 3 : High, Medium-High, Medium, Medium-Low, and Low.
The "Medium Low" and "Low" albums apply to "True low Voices" , Mezzos, Baritones, Contraltos and Bass-Baritones. The High, Medium-High and Medium apply to sopranos -From Coloratura to Dramatic Sopranos-, to light Mezzos (Mezzo Leggero), and from Tenors to Light Baritones. Our "Medium Voice " classification can sometimes suit young Baritones, or Young Mezzos,, and even Young Sopranos, they should in that case follow the advice of their teacher.
For Male Voices : High Voice : Top note(s) G4 or higher
Medium High : Top note(s) F#4
Medium : Top note(s) F4
Medium-Low : Top note(s) E4
Low : Top note(s) Eb4 or Lower.
For Female Voices : High Voice : Top note(s) G5 or higher
Medium High : Top note(s) F#5
Medium : Top note(s) F5
Medium-Low : Top note E5
Low : Top note(s) Eb5 or Lower.
Of course this classification applies to the notes found in the music. To secure singing these notes properly, the singer should be able to sing one tone or one tone and a half Higher, and one tone or one tone and a half lower for the lowest notes.
For this "Melody Added" volume onwards, the tessitura does not appear in the title anymore. For the "Medium and High Voice" volume, the lowest key is always the "Medium" key, the one just above it is the "Medium-High" key, and the highest the "High Voice" key.
For the "Low Voice " Volume, the lowest key is the last key listed, and only suitable for Bass Baritones, Contraltos and Countertenors.
Some Arias will have two or even three (!) "High" keys, as it is the case here in Volume 2 for "Il mio bel foco (Quella fiamma) by Benedetto Marcello). This depends of Vocal Practise, tradition (in this case the original key is in the "High" range already), and the existing transpositions in various authoritative editions.
One reason for the success of Parisotti collection of Arias is for most of them the highest note does'nt go above the top G. The reason for this is the abundance of Arias written for "Castrati" that sung in the Medium or Medium-Low Range, the tessitura of these "Castrati" was exceptionnaly wide, and every singer had his own style (for ornamentation also) : In his famous Opera "Rinaldo", Handel gave 5 main roles to Castrati. These roles were later attributed to contraltos (probably the closest range to Castrati), Countertenors, Bass- Baritones, or even Mezzo-sopranos.
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.