EDITION WHITE-SMITH No.

lU f'-

Complete Method
S) FOR

%
k Rhyfhmical Articulate
EXPRESSLY COMPOSED FOR THE USE Of PUPILS
IN THE ROYAL CONSERVATORY, MILAN.

BY

PASQUALE BONA
?i
±
PROFESSOR AT THE ROYAL CONSERVATORY. MILAN.
(<^
FOURTH ITALIAM EDITION
RCVISED AND ENLARGED BY THE AUTHOR.

ENGLISH TEXT BY

Ambrose Davenport
(ITALIAN AND ENGLISH TEXT)

If

>>'-d* Ù1U.8.A. Copyrifcht MCITV bj WUte-Smlth Mode Pobliahin^ Go.

 Complete Method
FOR

RiiytliiiiìcalArticu

rXPRESSLY COMPOSED FOR THE USE Of PUPILS

IN TME ROYAL CONSERVATORY MILAN.

BY < V

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.
 FIRST PART. PARTE PRIMA.

Scale in Whole- notes. Scale di Semihreri.

No.l. iSvS
, Lento.

33: -»- 30: o I " ^

"O"
-»- xc -e-

_o_ -»- " o ir

i -o- 3X
I

-«- 3X -»- "O"

The same in Half- notes. Idem di Minime.

No. 3. fflE
^ ^
-Hi
^r r i
r r

^^ r^
-
(P

i ^ ^^ ó

The same in Quarter-notes. I Idem di Sem im in im e .

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No. 3. fflE i W WW- f^
^ §1
The same in Eighth-notes. I Idem di Crome.

N0.4.
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ui3=Tr
^^=0h ^ ] n 5=
j3 .N
ffh ( ri r ^ *
I I I

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The same in Sixteenth-notes. I Idem di Semicrome.

^'JTI^^^
,0
No. 5. 2^ 'l

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Idem.

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The same.

No. 10. ^Ei

^^ ^

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ns

The same. Idem.

No-«. ^«'•jifJ;Jj^i^.,^c>rc/i

r^t] p ^^ • i
-^ìj'jj-ì.
é ^ ^ • è #
^

InterralB of a Fifth. Salti di Quinta.

No.i;8.3^
f s r
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^ n-^

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1'^
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The same. Idem

No.13. 35ffi J j^ ij rJ r 1 ^ r^ r i

r
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^

No. 14.2^
The fiame.

^^ Idem.

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Intervals of a Sixth. Salti di Sesta.
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No.15. 3^ ZE
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The same.

No. 16. ^<'/

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Idem,

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The same.
^ F==^
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Idem.
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MM I No

No.17. 3BE ^
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^

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Intervals of a Seventh. Salti di Settima.

:?2:
THE
No. 18.
J r u r i
J r un

^
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F=^
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N< The same. Idem.

No.19. 35EE
pp fin'iriirii'.iii,i7ii,

The same. Idem,.

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Intervals of an Octave. Salti (/'Off ara.

:?z: ?z:
No.21.^^^ ^ -jz.
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The same. Idem.

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The same. Idem.
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No.23.
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The preceding intervals combined. i Gli anfpcedtntfi qui riuniti.

No.24.iME zz:

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The same. I Idem

No. 25. 2^
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The same I Idem.
/O,

No.26.3HE r: ^ ^;> ; XE

Intervals of a Ninth. Sill ti di Norm.

1^ , ^ O,
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No.27
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The same. Idem.

No.28. ^^^^^ r r J
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Intervals of a Tenth. Sal fi di Decima.

No. 30.
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The same. Idem.

No.31. ffiE È ' P #

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The same. Idem.

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No.SS.^aE
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Various Intervals. Salti misH.
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No.33.fM ^^
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The same. Idem.

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No.34. F^ xe:
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No.35. r r

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The same.

No. 36.^^
5w1 L> ^ ^p :j R
l^ltu^U"
£=^
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Scalewlthnotesof different time-values. I Scala can dherse finire.

No.37.3^E
J N J -'
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Little Solfegrgi, or examples of notes with in- Piccoli Solfegg^i o Esempi di figure fram-
tervening' rests. miste da pause.

No.38. ikil_L
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No.53.3ra

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dot.
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No.54. ^If r^-p

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No-55.
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No. 56.^
The same.

? ^^ Idem.

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The double dot. Del punto doppio.

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No.57.?^
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No. 58.^
Varied Example.

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Esempio misto.

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When a slur Uie) connectB two notes of the La legatura^ che trvrpasi' sopra due note
same name or position, the second note is not di eg-ual nome o posizione, fa tacere il no-
to be played_ simply held_ its time-value being me il deSa seconda conservandone il valore.

^
added to that of the first note.

No.59. ftjH r^'

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Example with the single dot, double dot and Esempio pel punto semplice, doppio e le-
tie. gatura.

No.60. ft) ( !- r-- r =^ (9 •

P
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It is necessary that the teacher should in- È necpssario chp il Maestro faccia conoscere
struct the pupil in cases where the dot, the ail altiero rasi in cui it punto, la leg-atu
i

tie and the syncopation produce the same effect. ra e la sincope producono l'istesso effetto.

Single dot. Tie. Syncupatiun. Tie.

Punto semplice. LefToturn. Sincope. Leeatnrn.
EXAMFLK
ESEMPIO. <'
r r W' ' iir~rr i f^' il rr r ir* I irr~'r 5
On Syncopation. Della Sincope.

^
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No. 61. Le J r rHJJ-R^-^
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Other examples according to the rules given. | Altri Esempi^ secondo le re^le indicate.

No.62. ^f;. ;J-

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No. 64. t)<M

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No. 65. H S a iA^ n L

è f f f f

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Exercipps on all thf previous intervals to en- Esempi di tuffi i salti allo scopo di sci-
sure freedom of the tongue before passing" to ogìiere la lingua prima di passare ai Sol-
the Solfeggio of the Second Part. feggi della Parte seconda.

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No.71. ijffi

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No. 73.
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Scale di Biscrome.

SECOND PART. PARTE SECONDA.

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