I am currently sinning to this accompaniment. Thumbs up if you too are sinning.

This is very handy indeed, but the score of the accompaniment is a third lower than the music you hear. What you hear is g minor and what you see is e minor.

This helped me so much a couple of years ago for solo/ensemble. I sang it and received a superior. I then went on to state with this song and received a superior. If I had not have used this video to practice day and night, I would not have been prepared.

This is NOT composed by Pergolesi. However, it is probably composed by Alessandro Parisotti, an Italian composer and music editor. According to Wikipedia, Parisotti attributed this song to Pergolesi in his collection, however no early manuscripts of this song have been located, so scholars now believe Parisotti composed the song himself. This song is also used in Igor Stravinsky's ballet "Pulcinella".

Any one here from LAG? This just jumped into my spirit this past week. I love the Italian word phrasings, finally checked the translation. Not too thrilled. This melodic expression is enchanting. I will use this to play on piano. Many thanks!

Ma nessuno ha mai detto al pianista come si accompagna una voce? Un bravo accompagnatore ha il dovere di rispettare i fiati di chi canta ma questo si è preoccupato solo delle note...complimenti!!!!!

Bite-sized and large print for those of us who are slower and near-sighted. GRAZI !

I used this video to memorize the song for a performance! This helped me so much! Thank you!!

It was one of first arie antique... Good Memories!

Definitely not in the same key as the music on the screen. This accompaniment is in G minor.

No one recognizes this as written by Pergolesi anymore, as far as I know. I listened to it a couple of times. It has some chromatisms that remind one of Pergolesi. But that's it. Can you imagine a piece circulating on KZfaq and attributed to Johann Sebastian Bach while everyone thinks it is not by him? That would be imagineable. And yet, while Bach was a genius, Pergolesi's musicality was transcendental. How can this piece of music pass for the eternal Pergolesi. It is time to rewrite the history of the music of Western civilization. Let's put _Se tu m'ami_ mercifully out of its misery. Leo Depuydt

Thanks :) This song is my final exam in my voice class, LOL! :D

Thanks so much! Using this song as my solo/audition piece! Really helpful! :)

Other lyrics English version: If thou lov'st me, and sighest ever But for me, O gentle swain, Sweet I find thy loving favor, Pitiful I feel thy pain. Should'st thou think tho', that demurely I on thee alone may smile, Simple Shepherd, Thou art surely Prone thy senses to beguile; Simple shepherd, thou art surely prone thy senses to beguile; prone thy senses to beguile. As a fair red rose discover, Fain might Sylvia choose today, Haply if he thorns discover 'Tis tomorrow thrown away, 'Tis tomorrow thrown away. All men say of maiden folly Finds no favor in mine eyes, Nor because I love the lily shall I other flow'rs despise.

This helped me with my festival WDA SONG it is the perfect pitch for sopranos

thank you! totally helped me get that last rehearsal before my performance:)

This is not bad music. Please do not get me wrong. But it is symptomatic that this is one of the top-ranking compositions by Pergolesi on KZfaq in terms of hits and it is not even by Pergolesi! It kinds of annoys me that so many people listen to this as testimony of Pergolesi's musicality whereas it is so far below his transcendental musical genius. This is not an ideal way to reevaluate the history of western music and to elevate Pergolesi to the place that he justly deserves, that of the most musical composer that ever existed. I append a number of parts, I to V, with III divided into a, b, and c. There are therefore seven parts. Leo Depuydt

Thanks its really good

A bit too allegro? Is there an andante version

This is perfect for me to learn from

Ottima registrazione, la consiglio a tutti quelli che iniziano ad apprendere ,dopo tecnica respiratoria, il legato con agilità .

Thank you for posting, and for the nice score. My personal impression is, that the pianist is not breathing very well: On the fermatas we singer usually would need some time to breath. But this is musically quite rushing over it. I guess it's the accompaniment by John Keene who recorded it for Schirmer's Library of Musical Classics? He expressively takes a 'less romanticized manner' 'in keeping with current scholarship'. But to my taste, it's rushing. But, thanks, after all.

Oh, I just realized how old this post is. I hope by now you're enjoying a great opera career.

Pergolesi wrote this? Forget it. One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections. ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC: AN ESSAY (PART II) _by_ Leo Depuydt _To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_ (_Continuation of the main text in Part I._) First are the six features that set apart Pergolesi from his teacher Durante according to Pergolesi, as follows: 1) _L’allievo Pergolese_ [Correction!: Pergolesi always signed his name “Pergolesi”] _all’opposto era pieno di estro e vivacità;_ 2) _accoppiava insieme lo stilo forte ed armonioso ne’_ repieni _delle voci_ 3) _con un_ accompagnamento _instrumentale_ [sic]_, che sempre cantava;_ 4) _mosse naturali dei bassi per lo più_ camminanti _, che anch’essi cantavano;_ 5) _un passeggiar di tuoni semplice e regolare, ma sempre rintracciando nuovi sentieri;_ 6) _e quindi se qualche volta mostravasi lungo anzi che no, pure non attediava._ de Rosa’s description continues with features that first (_primo_) manifested themselves in Pergolesi’s music in his opinion, as follows: 7)_Egli si fu il primo, cui venne in pensiero vestire qualche_ Aria _di un accompagnamento_ instrumentale _diverso dalla_ cantilena _dell’attore,_ 8)_egli il primo che tra i due violini intrecciasse due motivi diversi;_ 9)_egli il primo che pose in campo il_ semitonare _cantando;_ 10)_in somma egli il primo che spogliasse la_ cantilena _delle_ ariette _dal difficile e secco dello Scarlatti, e cercasse, per quanto fosse possibile, adattarla alla passione, che destar dovevano le parole, onde coll’espressione del cantante si commovesse il cuore di chi ascoltava. Dotato dalla natura di un cuore sensibilissimo, non iscrisse un verso di musica, che non corrispondesse alle parole, che volle animar con forza e finezza, consultando sempre la natura, e la verità, …._ I classify the rest of this sentence as an eleventh characteristic: 11) _... senza far uso di quelle fragorose modulazioni, che simili alle fugitive meteore, abbagliano talvolta gl’ignoranti, ma che tosto svaniscono e nel nulla restan sepolte._ A more detailed discussion of this unparalleled characterization of Pergolesi’s music is desirable. The need is for illustrating each with concrete musical examples. The examples are very much present to me. But I do not know exactly as to how to present it. The fact remains that there is nothing like Pergolesi’s music anywhere. Meanwhile, here is a provisional English translation of de Rosa’s epochal text (now completely forgotten, I again note): “(1) His (Durante’s) student Pergolesi was, by contrast, full of whim (¬_estro_) and vivacity, (2) which he combined with his (Durante’s own) strong and harmonious style of voices singing all together [that is, in _¬tutti_], (3) and also with instrumental accompaniments that always sing, (4) as well as with natural movements by the basses that almost always march on while also singing, (5) and moreover with a progression of notes that is simple and regular while always tracing new paths. (6) And so when he (Pergolesi) sometimes expressed himself at greater length (‘rather longer than shorter’), he never caused boredom”. (On to the features that the Marquese believed Pergolesi to be the first to exhibit in the history of music.) “He was (1) the first who came up with the idea of adorning an aria with an instrumental accompaniment that differed from the melody of the actor, (2) the first who made the two violin parts intertwine two different motives, (3) the first to put into the field the singing halftone, (4) in sum the first who stripped the sing-song of the arias from the difficult and dry properties of Scarlatti’s arias and sought as much as possible to adapt it to the passion that the words are designed to excite so that the heart of the listener moved along with the expression of the singer. Gifted with the nature of a most sensible heart, he never wrote a verse of music that did not correspond to the words, which he wished to animate with strength and finesse, always consulting with nature and truth,” (and classifying the following property separately) “without using the deafening modulations that, like fleeting meteors, at times dazzle the ignoramuses but before long vanish and remain buried in nothingness”. I hope to discuss these characteristics in detail at a later time. I am not sure about how to convey musical examples.

Се ту м'ами, се ту соспири соль пер ме, джентиль пастор, о долор де туой мартири, о дилетто дель туо амор. Ма се пенси ке солетто йо ти деббо ари амар... Пасторелло, сей соджетто, фачильменте а т'инганнар, пасторелло, сей соджетто, фачильменте а т'инганнар, фачильменте а т'инганнар. Белла Роза порпорина оджи Сильвио шельера, кон ла скуза делла спина доман пой ла спреццера, доман пой ла спреццера. Ма дельи уомини иль консильо йо пер ме нон сегуиро. Нон пер ке ми пьяче иль джильо льяльтри фьори спреццеро. Се ту м'ами, се ту соспири соль пер ме, джентиль пастор, о долор де туой мартири, о дилетто дель туо амор. Ма се пенси ке солетто йо ти деббо ари амар... Пасторелло, сей соджетто, фачильменте а т'инганнар, пасторелло, сей соджетто, фачильменте а т'инганнар, фачильменте а т'инганнар.

thanks so much, this is so much help! this may seem fast but my recording is soo much faster and harder to sing to so this one is great! just letting you know, you're playing the G flat minor one but the music on the video is the E minor version (a little off putting for people with perfect pitch :/)... (im singing the G flat minor one though, so this recording was helpful :D )

This music is too holy for sinning.

You are right! It is hard to sing G minor while looking at E minor score. Scrolling also does not give enough time to anticipate the next phrase. Nevertheless, thanks for the effort.

Se tu m'ami, se tu sospiri Sol per me, gentil pastor/ Ho dolor de' tuoi martiri/ Ho diletto del tuo amar/ Ma se pensi che soletto Io ti debba riamar// Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar Facilmente a t'ingannar Bella rosa porporina Oggi Silvia sceglierà Con la scusa della spina Doman poi la sprezzerà Doman poi la sprezzerà Ma degli uomini il consiglio Io per me non seguirò Non perché mi piace il giglio Gli altri fiori sprezzerò Se tu m'ami, se tu sospiri Sol per me, gentil pastor Ho dolor de' tuoi martiri Ho diletto del tuo amor Ma se pensi che soletto Io ti debba riamar Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar Facilmente a t'ingannar

It's nice to find an accompaniment....however, I wish the key that's showing in the music was the key being played. It shows the low one, but the high is being played.

I don't think that it is played in the same key as shown. Anyone else think so? Or am I going crazy?

Se tu m'ami, se tu sospiri Sol per me, gentil pastor Ho dolor de' tuoi martiri Ho diletto del tuo amor Ma se pensi che soletto Io ti debba riamar Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar Bella rosa porporina Oggi Silvia sceglierà Con la scusa della spina Doman poi la sprezzerà Ma degli uomini il consiglio Io per me non seguirò Non perché mi piace il giglio Gli altri fiori sprezzerò Se tu m'ami, se tu sospiri Sol per me, gentil pastor Ho dolor de' tuoi martiri Ho diletto del tuo amor Ma se pensi che soletto Io ti debba riamar Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar

It is... the Aria for Medium high goes up to high G

Music in the video is in the wrong key, good job! (G minor is what was needed)

one of my college audition songs.. huzzah for scholarship money (hopefully)

of course you can...Low voices are very nice indeed :-) It's only that your first answer didn't really match the statement you commented on. Because Clayton Avery WANTED the music to be lower...

Sorry, your answer doesn't really make sense since in this case the key of of the actual accompaniment (audio) ist HIGHER than the key of the sheet music (video) and therefore is suitable only for sopranos.

Hello, friends! I'm back and I made new video in HD of "Se tu m'a mi" (the link is in the description) for medium voice. All mistakes are corrected. Enjoy!

Podrías incluir acompañamientos para lied. Schuber, Schumann, Brahams, Wolf, Reynaldo Hahan, muchas gracias y felicitaciones.

hi! this is great! I'm so happy that I found 'karaoke' version for this song, now I can sing :D Can you send me the sheets?

I order the king of my love to earth in human form.

The music on-screen is in the alto key but the audio is soprano. Quite frustrating.

Woah! Thank You!!!!!

awesome now can you do the accompaniment for singing? im getting tired of sinning

is there any other key available for the sheet music? like a lower key!!

For Sinning

I'm all about the sinning :)

Grazie potete fare anche i karaoke di" canzoni liriche siciliane "

Why do you show music in e minor when the recording is not e minor?

Can u please tell me where to find this sheet,because I need it so badly ,excatly in E minor ! Thank u ! :D

Çoook hızlı çalınmış; asla söylemelik değil. :))

Great :) but could you do the medium low one? :)

Sin aporrear el piano mejor! Pero muchas gracias

I FUCKING LOVE THIS GOD BLESS YOU OMGGGGGGQJKWEHL;KESD

isn't this already the lower one??

It's written in E minor, but it sounds in G minor...

Lo oigo con distorsión, debería ajustarlo

The actual music played is in a higher key than the music that's showing.

is there one in the key of Bb?

The score is in the wrong key it is a tone lower than the accompanist

En ce moment je l'apprend avec ma profe de chant et je galère parce que je suis nul en déchiffrage de partitions.....

0:09

For sinning 😂

The translations are terrible. besides that, it is good accompaniment.

it would be nice in a better recording quality

Holy shit this key is far too high for me!! Can't someone upload the piano for Cecilia Bartoli's cover? That's a.much better key :3

*singing

What is heard is not the same key as written.

nope this is the soprano accompaniment

LUL. For 'Sinning'.

la imagen esta en mi menor pero el audio esta en sol menor :v

lmaoooo right

25 seconds

Ummmm...how about you match the audio with the key you have on the video.

lol...nice title.........

accompaniment for sinning... teehee

yes :D because it is a sin to sing it;)

How is a 12 yo supposed to sing this?

Se tu m'ami, se tu sospiri Sol per me, gentil pastor Ho dolor de' tuoi martiri Ho diletto del tuo amor Ma se pensi che soletto Io ti debba riamar Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar Bella rosa porporina Oggi Silvia sceglierà Con la scusa della spina Doman poi la sprezzerà Ma degli uomini il consiglio Io per me non seguirò Non perché mi piace il giglio Gli altri fiori sprezzerò Se tu m'ami, se tu sospiri Sol per me, gentil pastor Ho dolor de' tuoi martiri Ho diletto del tuo amor Ma se pensi che soletto Io ti debba riamar Pastorello, sei soggetto Facilmente a t'ingannar Pastorello, sei soggetto Facilmente a t'ingannar