Ferdinando Carulli Solfèges and Vocalises Op. 195 sheet music cover for guitar and voice, edited by Gonzalo Gallardo and Sam Desmet
Ferdinando Carulli Solfeges and Vocalises sheet music, page 2, edited by Sam Desmet
Ferdinando Carulli Solfèges and Vocalises Op. 195 sheet music cover for guitar and voice, edited by Gonzalo Gallardo and Sam Desmet
Ferdinando Carulli Solfeges and Vocalises sheet music, page 2, edited by Sam Desmet

Ferdinando Carulli – Solfèges and Vocalises

$70.00

Ferdinando Carulli (1770 – 1841) is known primarily for his guitar tutor, Op. 241, and for his many solo and ensemble works with guitar. The present edition brings to light a lesser-known text: a collection of solfèges and vocalises with simple guitar accompaniment, published by Carli in Paris ca. 1822-6. According to Philip J. Bone, Op. 195 “met with the approval of masters and teachers of the vocal art.”

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Title: Solfèges and Vocalises
Composer: Ferdinando Carulli (1770-1841)
Genre: Classical, nineteenth-century, instructional, music theory, technique
Score reviews: Gonzalo Gallardo / Sam Desmet
Instrumentation: guitar and voice
Publisher: Production D’Oz (catalog DZ 1828)
Format: Text and score (189 pages)
Notation: treble staff
Level: Intermediate
Download: pdf and print

REVIEW:

“This is a brave and noble venture for d’Oz as I guess there can’t be too many guitar students around wishing to improve their solfege skills and they should be congratulated for producing such a lavish and painstaking production such as this, knowing full well that it is very unlikely to sell like the proverbial hot cakes.

Originally published in two volumes, the first volume appeared in 1822 and was titled ‘Solfges with very easy guitar accompaniment’. This consists of 61 singing exercises each one underpinned with a written-out guitar part taking the form of arpeggios or block chords. These are presented in order of complexity with the early ones having very simple major scale ‘tunes’ to sing using very easy rhythms. Soon more complex rhythmic patterns are utilized and by the conclusion the works have embraced dotted rhythms, ties, grace notes, and note values up to demisemiquavers (32nd notes). These exercises are not just throwaway little snippets, rather they are miniature pieces in themselves many are most enjoyable albeit the guitar accompaniment doesn’t hold many surprises.

Volume two dates from 1826 and consists of 59 exercises in solfege and vocalises for mezzo-soprano or medium voice. Once again this section begins with scales and intervallic exercises but this time includes works of much more complexity in both the singing and the guitar part. Phrasing (and therefore thoughts on ‘breathing’) is introduced as is more difficult rhythmic patterns and the student is advised to use the vowel sound ‘ah’ instead of the previously used tonic sol-fa names.

This book contains both the original volumes and has a wealth of information regarding these original publications (sources, original wordings); ten-page “Principles of Music’ section; glossary; and a large section of editorial comments.

For anyone wishing to begin/improve sight-singing this is an excellent method to choose. Another excellent use for this sizeable publication would be for teachers to use with students for sight-reading development. With eighty pieces to go at, all un-fingered of course, this could prove to be a valuable and highly functional teaching aid.”

– Steve Marsh, Classical Guitar Magazine (December 2013)