Vaccaj: Exercise 13b

Performance instructions

O placido is probably an exercise that leaves almost every singing teacher feeling very uncertain.

This is often because Vaccaj's comments are inconsistent with the notation of the small notes. Almost all editions use short appoggiaturas, which should not prevent the principal note from falling precisely on the beat. Vaccaj, however, wants the note preceding the principal note to be lengthened, so that the principal note naturally arrives slightly late.

Faced with this uncertainty, many have probably abandoned the idea of portamento and simply regarded this as a continuation of Exercise 8b. There, all the acciaccaturas are a second above their principal notes (bars 8–9). Short appoggiaturas can also be practised in the form of four thirds, one fourth, two fifths, one sixth, two sevenths and one octave. However, this easily produces a comical yodelling effect when the principal note of an ascending interval is sung on the beat.

Others may simply have preferred long appoggiaturas because they allow greater freedom to "slide" between notes.

The publishers of Metodo pratico must also have felt uncertain. With the exception of Iffert, none dares to offer a concrete solution. Iffert gives a rhythmic interpretation of the figure consisting of a short appoggiatura and an eighth note, suggesting that it should be performed approximately as a thirty-second note followed by a dotted sixteenth note.

Practice suggestions

Practise the song at a very slow tempo – eighth note approximately M.M. 56 – as follows:

1. Sing the melody legatissimo on a suitable vowel, omitting all the small notes and slurs.
2. Add the text.
3. Then try shortening the small notes into short appoggiaturas in bars 1–7 and 10–18. Notice the yodelling effect.
4. Also try performing the (ordinary) portamenti from the previous exercise by using slurs to connect each upbeat to the following note. The disadvantage is that completely insignificant words, including o, con, e and del, become emphasised.
5. Next, sing all the small notes as sixteenth notes, in other words, as long, accented appoggiaturas.
6. Finally, bring the principal notes forward by approximately a thirty-second note and give them emphasis.

At the practice tempo, you must breathe after every line of the poem. Gradually increase the tempo (eighth note approximately M.M. 84), while still keeping four bars together as one phrase.

A gentle crescendo towards the principal note often helps create a more closely connected portamento.

Ideas for interpretation

Portamento di sotto has an ingratiating, sweetly flattering character, and this should not be concealed.

By contrast, could the short appoggiaturas in bars 8–9 be used to reinforce the negative meaning of terrore and spavento?