Vaccaj: Exercise 5

Performance instructions

This exercise practises the minor second interval, or semitone, which forms the basis of the chromatic scale. There are a total of 46 such semitones in the song's 19 bars. The semitones make the simple repetitions in the melody considerably more enjoyable. You can try how sparse the song sounds without the sixteenth notes.

The poem chosen by Vaccaj describes feelings of uncertainty and hesitation, and is therefore well suited to practising chromaticism. Thanks to the consistent stress patterns of the six-syllable verse, the text and music blend seamlessly together.

Practice suggestions

Begin by singing the dotted eighth notes and sixteenth notes as quarter notes. Do the same with groups of four sixteenth notes. Then add Metastasio's text to the simplified melody. Try to avoid stressing the a vowels that occur in several final syllables.

When you later return to singing the melody as notated, take care that the sixteenth notes do not become too prominent. All short notes should sound light, both for the singer and the pianist.

If breathing feels rushed, you can shorten the final note that falls on the second quarter-note beat of the bar slightly.

As soon as possible, the pianist should stop doubling the singer in unison on the four semitones at the ends of bars 8 and 16. Otherwise, there is a risk that the singer will rely too heavily on the piano's sound.

Ideas for interpretation

At first, let the andantino be slow and contemplative. Over time, you can make it more neurotic if you wish.

As singing teachers know, chromatic exercises are an invaluable aid, among other things, in refining intonation. Both the chromatic and diatonic scales should be part of daily practice.