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+Project Gutenberg's Observations on the Florid Song, by Pier Francesco Tosi
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Observations on the Florid Song
+       or Sentiments on the Ancient and Modern Singers
+
+Author: Pier Francesco Tosi
+
+Translator: Johann  Ernest Galliard
+
+Release Date: August 29, 2008 [EBook #26477]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK OBSERVATIONS ON THE FLORID SONG ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[The spelling of the original has been retained.]
+
+OBSERVATIONS
+
+ON THE
+
+Florid Song;
+
+OR,
+
+SENTIMENTS
+
+ON THE
+
+_Ancient_ and _Modern_ SINGERS,
+
+Written in _Italian_
+
+By PIER. FRANCESCO TOSI,
+
+Of the _Phil-Harmonic_ Academy
+
+at _Bologna_.
+
+Translated into _English_
+
+By Mr. _GALLIARD_.
+
+Useful for all PERFORMERS, _Instrumental_
+as well as _Vocal_.
+
+To which are added
+
+EXPLANATORY ANNOTATIONS,
+
+and Examples in MUSICK.
+
+_Ornari Res ipsa negat, contenta doceri._
+
+_LONDON_:
+
+Printed for J. WILCOX, at _Virgil's_ Head, in
+the _Strand_. 1743.
+
+_Note_, By the _Ancient_, our Author
+means those who liv'd about thirty
+or forty Years ago; and by the
+_Modern_ the late and present Singers.
+
+N.B. _The Original was printed at_
+Bologna, _in the Year_ 1723.
+
+_Reprinted from the Second Edition by_
+WILLIAM REEVES Bookseller Ltd.,
+1a Norbury Crescent, London, S.W. 16
+
+1967
+
+Made in England
+
+
+
+
+[Illustration]
+
+TO ALL
+
+Lovers of MUSICK.
+
+
+LADIES and GENTLEMEN,
+
+Persons of Eminence, Rank, Quality, and a distinguishing Taste in any
+particular Art or Science, are always in View of Authors who want a
+Patron for that Art or Science, which they endeavour to recommend and
+promote. No wonder therefore, I should have fix'd my Mind on You, to
+patronize the following Treatise.
+
+If there are Charms in Musick in general, all the reasonable World
+agrees, that the _Vocal_ has the Pre-eminence, both from _Nature_ and
+_Art_ above the Instrumental: From _Nature_ because without doubt it was
+the first; from _Art_, because thereby the Voice may be brought to
+express Sounds with greater Nicety and Exactness than Instruments.
+
+The Charms of the human Voice, even in Speaking, are very powerful. It
+is well known, that in _Oratory_ a just _Modulation_ of it is of the
+highest Consequence. The Care Antiquity took to bring it to Perfection,
+is a sufficient Demonstration of the Opinion they had of its Power; and
+every body, who has a discerning Faculty, may have experienced that
+sometimes a Discourse, by the Power of the _Orator's_ Voice, has made an
+Impression, which was lost in the Reading.
+
+But, above all, the soft and pleasing Voice of the _fair Sex_ has
+irresistible Charms and adds considerably to their Beauty.
+
+If the Voice then has such singular Prerogatives, one must naturally
+wish its Perfection in musical Performances, and be inclined to forward
+any thing that may be conducive to that end. This is the reason why I
+have been more easily prevail'd upon to engage in this Work, in order to
+make a famous _Italian Master_, who treats so well on this Subject,
+familiar to _England_; and why I presume to offer it to your Protection.
+
+The Part, I bear in it, is not enough to claim any Merit; but my
+endeavouring to offer to your Perusal what may be entertaining, and of
+Service, intitles me humbly to recommend myself to your Favour: Who am,
+
+  LADIES _and_ GENTLEMEN,
+    _Your most devoted,
+      And most obedient
+        Humble Servant_,
+
+          J. E. GALLIARD.
+
+
+
+
+[Illustration]
+
+A
+
+Prefatory Discourse
+
+GIVING
+
+_Some Account of the_ AUTHOR.
+
+
+_Pier._ _Francesco Tosi_, the Author of the following Treatise, was an
+_Italian_, and a Singer of great Esteem and Reputation. He spent the
+most part of his Life in travelling, and by that Means heard the most
+eminent Singers in _Europe_, from whence, by the Help of his nice
+Taste, he made the following Observations. Among his many Excursions,
+his Curiosity was raised to visit _England_, where he resided for some
+time in the Reigns of King _James_ the Second, King _William_, King
+_George_ the First, and the Beginning of his present Majesty's: He dy'd
+soon after, having lived to above Fourscore. He had a great deal of Wit
+and Vivacity, which he retained to his latter Days. His manner of
+Singing was full of Expression and Passion; chiefly in the Stile of
+Chamber-Musick. The best Performers in his Time thought themselves happy
+when they could have an Opportunity to hear him. After he had lost his
+Voice, he apply'd himself more particularly to Composition; of which he
+has given Proof in his _Cantata's_, which are of an exquisite Taste,
+especially in the _Recitatives_, where he excels in the _Pathetick_ and
+_Expression_ beyond any other. He was a zealous Well-wisher to all who
+distinguished themselves in Musick; but rigorous to those who abused and
+degraded the Profession. He was very much esteemed by Persons of Rank
+among whom the late Earl of _Peterborough_ was one, having often met him
+in his Travels beyond Sea; and he was well received by his Lordship
+when in _England_, to Whom he dedicated this Treatise. This alone would
+be a sufficient Indication of his Merit, his being taken Notice of by a
+Person of that Quality, and distinguishing Taste. The Emperor _Joseph_
+gave him an honourable Employment _Arch-Duchess_ a Church-Retirement in
+some part of _Italy_, and the late _Flanders_, where he died. As for his
+_Observations_ and _Sentiments_ on Singing, they must speak for
+themselves; and the Translation of them, it is hoped, will be acceptable
+to Lovers of Musick, because this particular Branch has never been
+treated of in so distinct and ample a Manner by any other Author.
+Besides, it has been thought by Persons of Judgment, that it would be of
+Service to make the Sentiments of our Author more universally known,
+when a false Taste in Musick is so prevailing; and, that these Censures,
+as they are passed by an _Italian_ upon his own Countrymen, cannot but
+be looked upon as impartial. It is incontestable, that the Neglect of
+true Study, the sacrificing the Beauty of the Voice to a Number of
+ill-regulated Volubilities, the neglecting the Pronunciation and
+Expression of the Words, besides many other Things taken Notice of in
+this Treatise, are all _bad_. The Studious will find, that our Author's
+Remarks will be of Advantage, not only to Vocal Performers, but likewise
+to the Instrumental, where Taste and a Manner are required; and shew,
+that a little less _Fiddling_ with the _Voice_, and a little more
+_Singing_ with the _Instrument_, would be of great Service to Both.
+Whosoever reads this Treatise with Application, cannot fail of
+Improvement by it. It is hoped, that the Translation will be indulged,
+if, notwithstanding all possible Care, it should be defective in the
+Purity of the _English_ Language! it being almost impossible
+(considering the Stile of our Author, which is a little more figurative
+than the present Taste of the _English_ allows in their Writings,) not
+to retain something of the Idiom of the Original; but where the Sense of
+the Matter is made plain, the Stile may not be thought so material, in
+Writings of this Kind.
+
+
+THE
+
+AUTHOR'S Dedication
+
+TO HIS
+
+Excellency the Earl of
+PETERBOROUGH, General
+of the Marines
+of _Great-Britain_.
+
+
+MY LORD,
+
+I Should be afraid of leaving the World under the Imputation of
+Ingratitude, should I any longer defer publishing the very many
+Favours, which _Your Lordship_ so generously has bestow'd on me in
+_Italy_, in _Germany_, in _Flanders_, in _England_; and principally at
+your delightful Seat at _Parson's-Green_, where _Your Lordship_ having
+been pleased to do me the Honour of imparting to me your Thoughts with
+Freedom, I have often had the Opportunity of admiring your extensive
+Knowledge, which almost made me overlook the Beauty and Elegance of the
+Place. The famous _Tulip-Tree_, in your Garden there is not so
+surprising a Rarity, as the uncommon Penetration of your Judgment, which
+has sometimes (I may say) foretold Events, which have afterwards come
+to pass. But what Return can I make for so great Obligations, when the
+mentioning of them is doing myself an Honour, and the very
+Acknowledgment has the Appearance of _Vanity_? It is better therefore to
+treasure them up in my Heart, and remain respectfully silent; only
+making an humble Request to _Your Lordship_ that you will condescend
+favourably to accept this mean Offering of my OBSERVATIONS; which I am
+induc'd to make, from the common Duty which lies upon every Professor to
+preserve Musick in its Perfection; and upon Me in particular, for having
+been the first, or among the first, of those who discovered the noble
+Genius of your potent and generous Nation for it. However, I should not
+have presum'd to dedicate them to a Hero adorn'd with such glorious
+Actions, if _Singing_ was not a Delight of the Soul, or if any one had a
+Soul more sensible of its Charms. On which account, I think, I have a
+just Pretence to declare myself, with profound Obsequiousness,
+
+  YOUR LORDSHIP'S
+    _Most humble_,
+      _Most devoted and_
+        _Most oblig'd Servant_,
+          Pier. Francesco Tosi.
+
+
+
+
+THE
+
+CONTENTS.
+
+
+The Introduction.
+
+CHAP. I.
+
+Observations for one who teaches a _Soprano_.
+
+CHAP II.
+
+Of the _Appoggiatura_.
+
+CHAP. III.
+
+Of the _Shake_.
+
+CHAP. IV.
+
+On _Divisions_.
+
+CHAP. V.
+
+Of _Recitative_.
+
+CHAP. VI.
+
+Observations for a _Student_.
+
+CHAP. VII.
+
+Of _Airs_.
+
+CHAP. VIII.
+
+Of _Cadences_.
+
+CHAP. IX.
+
+Observations for a _Singer_.
+
+CHAP. X.
+
+Of _Passages_ or _Graces_.
+
+Footnotes.
+
+
+
+
+
+THE
+
+INTRODUCTION.
+
+
+The Opinions of the ancient Historians, on the Origin of Musick, are
+various. _Pliny_ believes that _Amphion_ was the Inventor of it; the
+_Grecians_ maintain, that it was _Dionysius_; _Polybius_ ascribes it to
+the _Arcadians_; _Suidas_ and _Boetius_ give the Glory entirely to
+_Pythagoras_; asserting, that from the Sound of three Hammers of
+different Weights at a Smith's Forge, he found out the Diatonick; after
+which _Timotheus_, the _Milesian_, added the Chromatick, and
+_Olympicus_, or _Olympus_, the Enharmonick Scale. However, we read in
+holy Writ, that _Jubal_, of the Race of _Cain, fuit Pater Canentium
+Cithara & Organo_, the Father of all such as handle the Harp and Organ;
+Instruments, in all Probability consisting of several harmonious Sounds;
+from whence one may infer, Musick to have had its Birth very soon after
+the World.
+
+Sec. 2. To secure her from erring, she called to her Assistance many
+Precepts of the Mathematicks; and from the Demonstrations of her
+Beauties, by Means of Lines, Numbers, and Proportions, she was adopted
+her Child, and became a Science.
+
+Sec. 3. It may reasonably be supposed that, during the Course of several
+thousand Years, Musick has always been the Delight of Mankind; since the
+excessive Pleasure, the _Lacedemonians_ received from it, induced that
+Republick to exile the abovementioned _Milesian_, that the _Spartans_,
+freed from their Effeminacy, might return again to their old Oeconomy.
+
+Sec. 4. But, I believe, she never appeared with so much Majesty as in the
+last Centuries, in the great Genius of _Palestrina_, whom she left as an
+immortal Example to Posterity. And, in Truth, Musick, with the Sweetness
+of _his_ Harmony, arrived at so high a Pitch (begging Pardon of the
+eminent Masters of our Days), that if she was ranked only in the Number
+of Liberal Arts, she might with Justice contest the Pre-eminence[1].
+
+Sec. 5. A strong Argument offers itself to me, from that wonderful
+Impression, that in so distinguished a Manner is made upon our Souls by
+Musick, beyond all other Arts; which leads us to believe that it is part
+of that Blessedness which is enjoyed in Paradise.
+
+Sec. 6. Having premised these Advantages, the Merit of the Singer should
+likewise be distinguished, by reason of the particular Difficulties that
+attend him: Let a Singer have a Fund of Knowledge sufficient to perform
+readily any of the most difficult Compositions; let him have, besides,
+an excellent Voice, and know how to use it artfully; he will not, for
+all that, deserve a Character of Distinction, if he is wanting in a
+prompt Variation; a Difficulty which other Arts are not liable to.
+
+Sec. 7. Finally, I say, that Poets[2], Painters, Sculptors, and even
+Composers of Musick, before they expose their Works to the Publick, have
+all the Time requisite to mend and polish them; but the Singer that
+commits an Error has no Remedy; for the Fault is committed, and past
+Correction.
+
+Sec. 8. We may then guess at but cannot describe, how great the Application
+must be of one who is obliged not to err, in unpremeditated Productions;
+and to manage a Voice, always in Motion, conformable to the Rules of an
+Art that is so difficult. I confess ingeniously, that every time I
+reflect on the Insufficiency of many Masters, and the infinite Abuses
+they introduce, which render the Application and Study of their Scholars
+ineffectual, I cannot but wonder, that among so many Professors of the
+first Rank, who have written so amply on Musick in almost all its
+Branches, there has never been one, at least that I have heard of, who
+has undertaken to explain in the Art of Singing, any thing more than the
+first Elements, known to all, concealing the most necessary Rules for
+Singing well. It is no Excuse to say, that the Composers intent on
+Composition, the Performers on Instruments intent on their Performance,
+should not meddle with what concerns the Singer; for I know some very
+capable to undeceive those who may think so. The incomparable _Zarlino_,
+in the third part of his Harmonick Institution, chap. 46, just began to
+inveigh against those, who in his time sung with some Defects, but he
+stopped; and I am apt to believe had he gone farther, his Documents,
+though grown musty in two Centuries, might be of Service to the refined
+Taste of this our present time. But a more just Reproof is due to the
+Negligence of many celebrated Singers, who, having a superior Knowledge,
+can the less justify their Silence, even under the Title of Modesty,
+which ceases to be a Virtue, when it deprives the Publick of an
+Advantage. Moved therefore, not by a vain Ambition, but by the Hopes of
+being of Service to several Professors, I have determined, not without
+Reluctance, to be the first to expose to the Eye of the World these my
+few Observations; my only End being (if I succeed) to give farther
+Insight to the Master, the Scholar, and the Singer.
+
+Sec. 9. I will in the first Place, endeavour to shew the Duty of a Master,
+how to instruct a Beginner well; secondly, what is required of the
+Scholar; and, lastly, with more mature Reflections, to point out the way
+to a moderate Singer, by which he may arrive at greater Perfection.
+Perhaps my Enterprize may be term'd rash, but if the Effects should not
+answer my Intentions, I shall at least incite some other to treat of it
+in a more ample and correct Manner.
+
+Sec. 10. If any should say, I might be dispensed with for not publishing
+Things already known to every Professor, he might perhaps deceive
+himself; for among these Observations there are many, which as I have
+never heard them made by anybody else, I shall look upon as my own; and
+such probably they are, from their not being generally known. Let them
+therefore take their Chance, for the Approbation of those that have
+Judgment and Taste.
+
+Sec. 11. It would be needless to say, that verbal Instructions can be of no
+Use to Singers, any farther than to prevent 'em from falling into
+Errors, and that it is Practice only can set them right. However, from
+the Success of these, I shall be encouraged to go on to make new
+Discoveries for the Advantage of the Profession, or (asham'd, but not
+surpriz'd) I will bear it patiently, if Masters with their Names to
+their Criticism should kindly publish my Ignorance, that I may be
+undeceiv'd, and thank them.
+
+Sec. 12. But though it is my Design to Demonstrate a great Number of
+Abuses and Defects of the Moderns to be met with in the Republick of
+Musick, in order that they may be corrected (if they can); I would not
+have those, who for want of Genius, or through Negligence in their
+Study, could not, or would not improve themselves, imagine that out of
+Malice I have painted all their Imperfections to the Life; for I
+solemnly protest, that though from my too great Zeal I attack their
+Errors without Ceremony, I have a Respect for their Persons; having
+learned from a _Spanish_ Proverb, that Calumny recoils back on the
+Author. But Christianity says something more. I speak in general; but if
+sometimes I am more particular, let it be known, that I copy from no
+other Original than myself, where there has been, and still is Matter
+enough to criticize, without looking for it elsewhere.
+
+
+
+
+CHAP. I.
+
+OBSERVATIONS _for one who teaches a_ Soprano.[3]
+
+
+The Faults in Singing insinuate themselves so easily into the Minds of
+young Beginners, and there are such Difficulties in correcting them,
+when grown into an Habit that it were to be wish'd, the ablest Singers
+would undertake the Task of Teaching, they best knowing how to conduct
+the Scholar from the first Elements to Perfection. But there being none,
+(if I mistake not) but who abhor the Thoughts of it, we must reserve
+them for those Delicacies of the Art, which enchant the Soul.
+
+Sec. 2. Therefore the first Rudiments necessarily fall to a Master of a
+lower Rank, till the Scholar can sing his part at Sight; whom one would
+at least wish to be an honest Man, diligent and experienced, without the
+Defects of singing through the Nose, or in the Throat, and that he have
+a Command of Voice, some Glimpse of a good Taste, able to make himself
+understood with Ease, a perfect Intonation, and a Patience to endure the
+severe Fatigue of a most tiresome Employment.
+
+Sec. 3. Let a Master thus qualified before he begins his Instructions, read
+the four Verses of _Virgil_, _Sic vos non vobis_, &c.[5] for they seem
+to be made[4] on Purpose for him, and after having considered them
+well, let him consult his Resolution; because (to speak plainly) it is
+mortifying to help another to Affluence, and be in want of it himself.
+If the Singer should make his Fortune, it is but just the Master, to
+whom it has been owing, should be also a Sharer in it.
+
+Sec. 4. But above all, let him hear with a disinterested Ear, whether the
+Person desirous to learn hath a Voice, and a Disposition; that he may
+not be obliged to give a strict Account to God, of the Parent's Money
+ill spent, and the Injury done to the Child, by the irreparable Loss of
+Time, which might have been more profitably employed in some other
+Profession. I do not speak at random. The ancient Masters made a
+Distinction between the Rich, that learn'd Musick as an Accomplishment,
+and the Poor, who studied it for a Livelihood. The first they instructed
+out of Interest, and the latter out of Charity, if they discovered a
+singular Talent. Very few modern Masters refuse Scholars; and, provided
+they are paid, little do they care if their greediness ruins the
+Profession.
+
+Sec. 5. Gentlemen Masters! _Italy_ hears no more such exquisite Voices as
+in Times past, particularly among the Women, and to the Shame of the
+Guilty I'll tell the Reason: The Ignorance of the Parents does not let
+them perceive the Badness of the Voice of their Children, as their
+Necessity makes them believe, that to sing and grow rich is one and the
+same Thing, and to learn Musick, it is enough to have a pretty Face:
+"_Can you make anything of her?_"
+
+Sec. 6. You may, perhaps, teach them with their Voice----Modesty will not
+permit me to explain myself farther.
+
+Sec. 7. The Master must want Humanity, if he advises a Scholar to do any
+thing to the Prejudice of the Soul.
+
+Sec. 8. From the first Lesson to the last, let the Master remember, that he
+is answerable for any Omission in his Instructions, and for the Errors
+he did not correct.
+
+Sec. 9. Let him be moderately severe, making himself fear'd, but not hated.
+I know, it is not easy to find the Mean between Severity and Mildness,
+but I know also, that both Extremes are bad: Too great Severity creates
+Stubbornness, and too great Mildness Contempt.
+
+Sec. 10. I shall not speak of the Knowledge of the Notes, of their Value,
+of Time, of Pauses, of the Accidents, nor of other such trivial
+Beginnings, because they are generally known.
+
+Sec. 11. Besides the _C_ Cliff, let the Scholar be instructed in all the
+other Cliffs, and in all their Situations, that he may not be liable to
+what often happens to some Singers, who, in Compositions _Alla
+Capella_,[6] know not how to distinguish the _Mi_ from the _Fa_, without
+the Help of the Organ, for want of the Knowledge of the _G_ Cliff; from
+whence such Discordancies arise in divine Service, that it is a Shame
+for those who grow old in their Ignorance. I must be so sincere to
+declare, that whoever does not give such essential Instructions,
+transgresses out of Omission, or out of Ignorance.[7]
+
+Sec. 12. Next let him learn to read those in _B Molle_, especially in
+those[8] Compositions that have four Flats at the Cliff, and which on
+the sixth of the Bass require for the most part an accidental Flat, that
+the Scholar may find in them the _Mi_, which is not so easy to one who
+has studied but little, and thinks that all the Notes with a Flat are
+called _Fa_: for if that were true, it would be superfluous that the
+Notes should be six, when five of them have the same Denomination. The
+_French_ use seven, and, by that additional Name, save their scholars
+the Trouble of learning the Mutations ascending or descending; but we
+_Italians_ have but _Ut_, _Re_, _Mi_, _Fa_, _Sol_, _La_; Notes which
+equally suffice throughout all the Keys, to one who knows how to read
+them.[9]
+
+Sec. 13. Let the Master do his utmost, to make the Scholar hit and sound
+the Notes perfectly in Tune in _Sol-Fa_-ing. One, who has not a good
+Ear, should not undertake either to instruct, or to sing; it being
+intolerable to hear a Voice perpetually rise and fall discordantly. Let
+the Instructor reflect on it; for one that sings out of Tune loses all
+his other Perfections. I can truly say, that, except in some few
+Professors, that modern Intonation is very bad.
+
+Sec. 14. In the _Sol-Fa_-ing, let him endeavour to gain by Degrees the high
+Notes, that by the Help of this Exercise he may acquire as much Compass
+of the Voice as possible. Let him take care, however, that the higher
+the Notes, the more it is necessary to touch them with Softness, to
+avoid Screaming.
+
+Sec. 15. He ought to make him hit the Semitones according to the true
+Rules. Every one knows not that there is a Semitone Major and
+Minor,[10] because the Difference cannot be known by an Organ or
+Harpsichord, if the Keys of the Instrument are not split. A Tone, that
+gradually passes to another, is divided into nine almost imperceptible
+Intervals, which are called Comma's, five of which constitute the
+Semitone Major, and four the Minor. Some are of Opinion, that there are
+no more than seven, and that the greatest Number of the one half
+constitutes the first, and the less the second; but this does not
+satisfy my weak Understanding, for the Ear would find no Difficulty to
+distinguish the seventh part of a Tone; whereas it meets with a very
+great one to distinguish the ninth. If one were continually to sing only
+to those abovemention'd Instruments, this Knowledge might be
+unnecessary; but since the time that Composers introduced the Custom of
+crowding the Opera's with a vast Number of Songs accompanied with Bow
+Instruments, it becomes so necessary, that if a _Soprano_ was to sing
+_D_ sharp, like _E_ flat, a nice Ear will find he is out of Tune,
+because this last rises. Whoever is not satisfied in this, let him read
+those Authors who treat of it, and let him consult the best Performers
+on the Violin. In the middle parts, however, it is not so easy to
+distinguish the Difference; tho' I am of Opinion, that every thing that
+is divisible, is to be distinguished. Of these two Semitones, I'll speak
+more amply in the Chapter of the _Appoggiatura_, that the one may not be
+confounded with the other.
+
+Sec. 16. Let him teach the Scholar to hit the Intonation of any Interval in
+the Scale perfectly and readily, and keep him strictly to this important
+Lesson, if he is desirous he should sing with Readiness in a short time.
+
+Sec. 17. If the Master does not understand Composition, let him provide
+himself with good Examples of _Sol-Fa_-ing in divers Stiles, which
+insensibly lead from the most easy to the more difficult, according as
+he finds the Scholar improves; with this Caution, that however
+difficult, they may be always natural and agreeable, to induce the
+Scholar to study with Pleasure.
+
+Sec. 18. Let the Master attend with great Care to the Voice of the Scholar,
+which, whether it be _di Petto_, or _di Testa_, should always come forth
+neat and clear, without passing thro' the Nose, or being choaked in the
+Throat; which are two the most horrible Defects in a Singer, and past
+all Remedy if once grown into a Habit[11].
+
+Sec. 19. The little Experience of some that teach to _Sol-fa_, obliges the
+Scholar to hold out the _Semibreves_ with Force on the highest Notes;
+the Consequence of which is, that the Glands of the Throat become daily
+more and more inflamed, and if the Scholar loses not his Health, he
+loses the treble Voice.
+
+Sec. 20. Many Masters put their Scholars to sing the _Contr'Alto_, not
+knowing how to help them to the _Falsetto_, or to avoid the Trouble of
+finding it.
+
+Sec. 21. A diligent Master, knowing that a _Soprano_, without the
+_Falsetto_, is constrained to sing within the narrow Compass of a few
+Notes, ought not only to endeavour to help him to it, but also to leave
+no Means untried, so to unite the feigned and the natural Voice, that
+they may not be distinguished; for if they do not perfectly unite, the
+Voice will be of divers[12] Registers, and must consequently lose its
+Beauty. The Extent of the full natural Voice terminates generally upon
+the fourth Space, which is _C_; or on the fifth Line, which is _D_; and
+there the feigned Voice becomes of Use, as well in going up to the high
+Notes, as returning to the natural Voice; the Difficulty consists in
+uniting them. Let the Master therefore consider of what Moment the
+Correction of this Defect is, which ruins the Scholar if he overlooks
+it. Among the Women, one hears sometimes a _Soprano_ entirely _di
+Petto_, but among the Male Sex it would be a great Rarity, should they
+preserve it after having past the age of Puberty. Whoever would be
+curious to discover the feigned Voice of one who has the Art to disguise
+it, let him take Notice, that the Artist sounds the Vowel _i_, or _e_,
+with more Strength and less Fatigue than the Vowel _a_, on the high
+Notes.
+
+Sec. 22. The _Voce di Testa_ has a great Volubility, more of the high than
+the lower Notes, and has a quick Shake, but subject to be lost for want
+of Strength.
+
+Sec. 23. Let the Scholar be obliged to pronounce the Vowels distinctly,
+that they may be heard for such as they are. Some Singers think to
+pronounce the first, and you hear the second; if the Fault is not the
+Master's, it is of those Singers, who are scarce got out of their first
+Lessons; they study to sing with Affectation, as if ashamed to open
+their Mouths; others, on the contrary, stretching theirs too much,
+confound these two Vowels with the fourth, making it impossible to
+comprehend whether they have said _Balla_ or _Bella_, _Sesso_ or
+_Sasso_, _Mare_ or _More_.
+
+Sec. 24. He should always make the Scholar sing standing, that the Voice
+may have all its Organization free.
+
+Sec. 25. Let him take care, whilst he sings, that he get a graceful
+Posture, and make an agreeable Appearance.
+
+Sec. 26. Let him rigorously correct all Grimaces and Tricks of the Head, of
+the Body, and particularly of the Mouth; which ought to be composed in
+a Manner (if the Sense of the Words permit it) rather inclined to a
+Smile, than too much Gravity.
+
+Sec. 27. Let him always use the Scholar to the Pitch of _Lombardy_, and not
+that of _Rome_;[13] not only to make him acquire and preserve the high
+Notes, but also that he may not find it troublesome when he meets with
+Instruments that are tun'd high; the Pain of reaching them not only
+affecting the Hearer, but the Singer. Let the Master be mindful of this;
+for as Age advances, so the Voice declines; and, in Progress of Time, he
+will either sing a _Contr'Alto_, or pretending still, out of a foolish
+Vanity, to the Name of a _Soprano_, he will be obliged to make
+Application to every Composer, that the Notes may not exceed the fourth
+Space (_viz._, _C_) nor the Voice hold out on them. If all those, who
+teach the first Rudiments, knew how to make use of this Rule, and to
+unite the feigned to the natural Voice, there would not be now so great
+a scarcity of _Soprano's_.
+
+Sec. 28. Let him learn to hold out the Notes without a Shrillness like a
+Trumpet, or trembling; and if at the Beginning he made him hold out
+every Note the length of two Bars, the Improvement would be the greater;
+otherwise from the natural Inclination that the Beginners have to keep
+the Voice in Motion, and the Trouble in holding it out, he will get a
+habit, and not be able to fix it, and will become subject to a
+Flutt'ring in the Manner of all those that sing in a very bad Taste.
+
+Sec. 29. In the same Lessons, let him teach the Art to put forth the Voice,
+which consists in letting it swell by Degrees from the softest _Piano_
+to the loudest _Forte_, and from thence with the same Art return from
+the _Forte_ to the _Piano_. A beautiful _Messa di Voce_,[14] from a
+Singer that uses it sparingly, and only on the open Vowels, can never
+fail of having an exquisite Effect. Very few of the present Singers find
+it to their Taste, either from the Instability of their Voice, or in
+order to avoid all Manner of Resemblance of the _odious Ancients_. It
+is, however, a manifest Injury they do to the Nightingale, who was the
+Origin of it, and the only thing which the Voice can well imitate. But
+perhaps they have found some other of the feathered Kind worthy their
+Imitation, that sings quite after the New Mode.
+
+Sec. 30. Let the Master never be tired in making the Scholar _Sol-Fa_, as
+long as he finds it necessary; for if he should let him sing upon the
+Vowels too soon, he knows not how to instruct.
+
+Sec. 31. Next, let him study on the three open Vowels, particularly on the
+first, but not always upon the same, as is practised now-a-days; in
+order, that from this frequent Exercise he may not confound one with the
+other, and that from hence he may the easier come to the use of the
+Words.
+
+Sec. 32. The Scholar having now made some remarkable Progress, the
+Instructor may acquaint him with the first Embellishments of the Art,
+which are the _Appoggiatura's_[15] (to be spoke of next) and apply them
+to the Vowels.
+
+Sec. 33. Let him learn the Manner to glide with the Vowels, and to drag the
+Voice gently from the high to the lower Notes, which, thro'
+Qualifications necessary for singing well, cannot possibly be learn'd
+from _Sol-fa_-ing only, and are overlooked by the Unskilful.
+
+Sec. 34. But if he should let him sing the Words, and apply the
+_Appoggiatura_ to the Vowels before he is perfect in _Sol-fa_-ing, he
+ruins the Scholar.
+
+
+
+
+CHAP. II.[16]
+
+_Of the_ Appoggiatura.[17]
+
+
+Among all the Embellishments in the Art of Singing, there is none so
+easy for the Master to teach, or less difficult for the Scholar to
+learn, than the _Appoggiatura_. This, besides its Beauty, has obtained
+the sole Privilege of being heard often without tiring, provided it does
+not go beyond the Limits prescrib'd by Professors of good Taste.
+
+Sec. 2. From the Time that the _Appoggiatura_ has been invented to adorn
+the Art of Singing, the true Reason,[18] why it cannot be used in all
+Places, remains yet a Secret. After having searched for it among Singers
+of the first Rank in vain, I considered that Musick, as a Science, ought
+to have its Rules, and that all Manner of Ways should be tried to
+discover them. I do not flatter myself that I am arrived at it; but the
+Judicious will see, at least that I am come near it. However, treating
+of a Matter wholly produced from my Observations, I should hope for more
+Indulgence in this Chapter than in any other.
+
+Sec. 3. From Practice, I perceive, that from _C_ to _C_ by _B Quadro_,[19]
+a Voice can ascend and descend gradually with the _Appoggiatura_,
+passing without any the least Obstacle thro' all the five _Tones_, and
+the two _Semitones_, that make an _Octave_.
+
+Sec. 4. That from every accidental _Diezis_, or Sharp, that may be found in
+the Scale, one can gradually rise a _Semitone_ to the nearest Note with
+an _Appoggiatura_, and return in the same Manner.[20]
+
+Sec. 5. That from every Note that has a _B Quadro_, or Natural, one can
+ascend by _Semitones_ to every one that has a _B Molle_, or Flat, with
+an _Appoggiatura_.[21]
+
+Sec. 6. But, contrarywise, my Ear tells me, that from _F_, _G_, _A_, _C_,
+and _D_, one cannot rise gradually with an _Appoggiatura_ by
+_Semitones_,[22] when any of these five _Tones_ have a Sharp annex'd to
+them.
+
+Sec. 7. That one cannot pass with an _Appoggiatura_ gradually from a third
+_Minor_ to the Bass, to a third _Major_, nor from the third _Major_ to
+the third _Minor_.[23]
+
+Sec. 8. That two consequent _Appoggiatura's_ cannot pass gradually by
+_Semitones_ from one _Tone_ to another.[24]
+
+Sec. 9. That one cannot rise by _Semitone_, with an _Appoggiatura_, from
+any Note with a Flat.[25]
+
+Sec. 10. And, finally, where the _Appoggiatura_ cannot ascend, it cannot
+descend.
+
+Sec. 11. Practice giving us no Insight into the Reason of all these Rules,
+let us see if it can be found out by those who ought to account for it.
+
+Sec. 12. Theory teaches us, that the abovementioned _Octave_ consisting of
+twelve unequal _Semitones_, it is necessary to distinguish the _Major_
+from the _Minor_, and it sends the Student to consult the _Tetrachords_.
+The most conspicuous Authors, that treat of them, are not all of the
+same Opinion: For we find some who maintain, that from _C_ to _D_, as
+well as from _F_ to _G_, the _Semitones_ are equal; and mean while we
+are left in Suspense.[26]
+
+Sec. 13. The Ear, however, which is the supreme Umpire in this Art, does in
+the _Appoggiatura_ so nicely discern the Quality of the _Semitones_,
+that it sufficiently distinguishes the _Semitone Major_. Therefore
+going so agreeably from _Mi_ to _Fa_ (that is) from _B Quadro_ to _C_,
+or from _E_ to _F_, one ought to conclude That to be a _Semitone Major_,
+as it undeniably is. But whence does it proceed, that from this very
+_Fa_, (that is from _F_ or _C_) I cannot rise to the next Sharp, which
+is also a _Semitone_? It is _Minor_, says the Ear. Therefore I take it
+for granted, that the Reason why the _Appoggiatura_ has not a full
+Liberty, is, that it cannot pass gradually to a _Semitone Minor_;
+submitting myself, however, to better Judgment.[27]
+
+Sec. 14. The _Appoggiatura_ may likewise pass from one distant Note to
+another, provided the Skip or Interval be not deceitful; for, in that
+Case, whoever does not hit it sure, will show they know not how to
+sing.[28]
+
+Sec. 15. Since, as I have said, it is not possible for a Singer to rise
+gradually with an _Appoggiatura_ to a _Semitone Minor_, Nature will
+teach him to rise a Tone, that from thence he may descend with an
+_Appoggiatura to that Semitone_; _or if he has a Mind to_ come to it
+without the _Appoggiatura_, to raise the Voice with a _Messa di Voce_,
+the Voice always rising till he reaches it.[29]
+
+Sec. 16. If the Scholar be well instructed in this, the _Appoggiatura's_
+will become so familiar to him by continual Practice, that by the Time
+he is come out of his first Lessons, he will laugh at those Composers
+that mark them, with a Design either to be thought Modern, or to shew
+that they understand the Art of Singing better than the Singers. If they
+have this Superiority over them, why do they not write down even the
+Graces, which are more difficult, and more essential than the
+_Appoggiatura's_? But if they mark them that they may acquire the
+glorious Name of a _Virtuoso alla Moda_, or a Composer in the new Stile,
+they ought at least to know, that the Addition of one Note costs little
+Trouble, and less Study. Poor _Italy_! pray tell me; do not the Singers
+now-a-days know where the _Appoggiatura's_ are to be made, unless they
+are pointed at with a Finger? In my Time their own Knowledge shewed it
+them. Eternal Shame to him who first introduced these foreign
+Puerilities into our Nation, renowned for teaching others the greater
+part of the polite Arts; particularly, that of Singing! Oh, how great a
+Weakness in those that follow the Example! Oh, injurious Insult to your
+Modern Singers, who submit to Instructions fit for Children! Let us
+imitate the Foreigners in those Things only, wherein they excel.[30]
+
+
+
+
+CHAP. III.
+
+_Of the Shake._
+
+
+We meet with two most powerful Obstacles informing the _Shake_. The
+first embarrasses the Master; for, to this Hour there is no infallible
+Rule found to teach it: And the second affects the Scholar, because
+Nature imparts the _Shake_ but to few. The Impatience of the Master
+joins with the Despair of the Learner, so that they decline farther
+Trouble about it. But in this the Master is blameable, in not doing his
+Duty, by leaving the Scholar in Ignorance. One must strive against
+Difficulties with Patience to overcome them.
+
+Sec. 2. Whether the _Shake_ be necessary in Singing, ask the Professors of
+the first Rank, who know better than any others how often they have been
+indebted to it; for, upon any Absence of Mind, they would have betrayed
+to the Publick the Sterility of their Art, without the prompt Assistance
+of the _Shake_.
+
+Sec. 3. Whoever has a fine _Shake_, tho' wanting in every other Grace,
+always enjoys the Advantage of conducting himself without giving
+Distaste to the End or Cadence, where for the most part it is very
+essential; and who wants it, or has it imperfectly, will never be a
+great Singer, let his Knowledge be ever so great.
+
+Sec. 4. The _Shake_ then, being of such Consequence, let the Master, by the
+Means of verbal Instructions, and Examples vocal and instrumental,
+strive that the Scholar may attain one that is equal, distinctly mark'd,
+easy, and moderately quick, which are its most beautiful
+Qualifications.
+
+Sec. 5. In case the Master should not know how many sorts of _Shakes_ there
+are, I shall acquaint him, that the Ingenuity of the Professors hath
+found so many Ways, distinguishing them with different Names, that one
+may say there are eight Species of them.[31]
+
+Sec. 6. The first is the _Shake Major_, from the violent Motion of two
+neighbouring Sounds at the Distance of a _Tone_, one of which may be
+called Principal, because it keeps with greater Force the Place of the
+Note which requires it; the other, notwithstanding it possesses in its
+Motion the superior Sound appears no other than an Auxiliary. From this
+_Shake_ all the others are derived.[32]
+
+Sec. 7. The second is the _Shake Minor_, consisting of a Sound, and its
+neighbouring _Semitone Major_; and where the one or the other of these,
+two _Shakes_ are proper, the Compositions will easily shew. From the
+inferior or lower Cadences, the first, or full _Tone Shake_ is for ever
+excluded.[33] If the Difference of these two _Shakes_ is not easily
+discovered in the Singer, whenever it is with a _Semitone_, one may
+attribute the Cause to the want of Force of the Auxiliary to make itself
+heard distinctly; besides, this _Shake_ being more difficult to be beat
+than the other, every body does not know how to make it, as it should
+be, and Negligence becomes a Habit. If this _Shake_ is not distinguished
+in Instruments, the Fault is in the Ear.[34]
+
+Sec. 8. The third is the _Mezzo-trillo_, or the short _Shake_, which is
+likewise known from its Name. One, who is Master of the first and
+second, with the Art of beating it a little closer, will easily learn
+it; ending it as soon as heard, and adding a little Brilliant. For this
+Reason, this _Shake_ pleases more in brisk and lively Airs than in the
+_Pathetick_.[35]
+
+Sec. 9. The fourth is the rising _Shake_, which is done by making the Voice
+ascend imperceptibly, shaking from Comma to Comma without discovering
+the Rise.[36]
+
+Sec. 10. The fifth is the descending _Shake_, which is done by making the
+Voice decline insensibly from Comma to Comma, shaking in such Manner
+that the Descent be not distinguished. These two _Shakes_, ever since
+true[37] Taste has prevailed, are no more in Vogue, and ought rather to
+be forgot than learn'd. A nice Ear equally abhorrs the ancient dry
+Stuff, and the modern Abuses.
+
+Sec. 11. The sixth is the slow _Shake_, whose Quality is also denoted by
+its Name. He, who does not study this, in my Opinion ought not therefore
+to lose the Name of a good Singer; for it being only an affected Waving,
+that at last unites with the first and second _Shake_, it cannot, I
+think, please more than once.[38]
+
+Sec. 12. The seventh is the redoubled _Shake_, which is learned by mixing a
+few Notes between the _Major_ or _Minor Shake_, which Interposition
+suffices to make several _Shakes_ of one. This is beautiful, when those
+few Notes, so intermixed, are sung with Force. If then it be gently
+formed on the high Notes of an excellent Voice,[39] perfect in this
+rare Quality, and not made use of too often, it cannot displease even
+Envy itself.
+
+Sec. 13. The eighth is the _Trillo-Mordente_, or the _Shake_ with a _Beat_,
+which is a pleasing Grace in Singing, and is taught rather by Nature
+than by Art. This is produced with more Velocity than the others, and is
+no sooner born but dies. That Singer has a great Advantage, who from
+time to time mixes it in Passages or Divisions (of which I shall take
+Notice in the proper Chapter). He, who understands his Profession,
+rarely fails of using it after the _Appoggiatura_; and he, who despises
+it, is guilty of more than Ignorance.[40]
+
+Sec. 14. Of all these _Shakes_, the two first are most necessary, and
+require most the Application of the Master. I know too well that it is
+customary to sing without _Shakes_; but the Example, of those who study
+but superficially, ought not to be imitated.
+
+Sec. 15. The _Shake_, to be beautiful, requires to be prepared, though, on
+some Occasions, Time or Taste will not permit it. But on final Cadences,
+it is always necessary, now on the Tone, now on the _Semitone_ above its
+Note, according to the Nature of the Composition.
+
+Sec. 16. The Defects of the _Shake_ are many. The long holding-out _Shake_
+triumph'd formerly, and very improperly, as now the Divisions do; but
+when the Art grew refined, it was left to the Trumpets, or to those
+Singers that waited for the Eruption of an _E Viva_! or _Bravo_! from
+the Populace. That _Shake_ which is too often heard, be it ever so fine,
+cannot please. That which is beat with an uneven Motion disgusts; that
+like the Quivering of a Goat makes one laugh; and that in the Throat is
+the worst: That which is produced by a Tone and its third, is
+disagreeable; the Slow is tiresome; and that which is out of Tune is
+hideous.
+
+Sec. 17. The Necessity of the _Shake_ obliges the Master to keep the
+Scholar applied to it upon all the Vowels, and on all the Notes he
+possesses; not only on Minims or long Notes, but likewise on Crotchets,
+where in Process of Time he may learn the _Close Shake_, the _Beat_, and
+the Forming them with Quickness in the Midst of the Volubility of Graces
+and Divisions.
+
+Sec. 18. After the free Use of the _Shake_, let the Master observe if the
+Scholar has the same Facility in disusing it; for he would not be the
+first that could not leave it off at Pleasure.
+
+Sec. 19. But the teaching where the _Shake_ is convenient, besides those
+on[41] Cadences, and where they are improper and forbid, is a Lesson
+reserv'd for those who have Practice, Taste, and Knowledge.
+
+
+
+
+CHAP. IV.
+
+_On_ Divisions.
+
+
+Tho' _Divisions_ have not Power sufficient to touch the Soul, but the
+most they can do is to raise our Admiration of the Singer for the happy
+Flexibility of his Voice; it is, however, of very great Moment, that the
+Master instruct the Scholar in them, that he may be Master of them with
+an easy Velocity and true Intonation; for when they are well executed in
+their proper Place, they deserve Applause, and make a Singer more
+universal; that is to say, capable to sing in any Stile.
+
+Sec. 2. By accustoming the Voice of a Learner to be lazy and dragging, he
+is rendered incapable of any considerable Progress in his Profession.
+Whosoever has not the Agility of Voice, in Compositions of a quick or
+lively Movement, becomes odiously tiresome; and at last retards the Time
+so much, that every thing he sings appears to be out of Tune.
+
+Sec. 3. _Division_, according to the general Opinion, is of two Kinds, the
+Mark'd, and the Gliding; which last, from its Slowness and Dragging,
+ought rather to be called a Passage or Grace, than a _Division_.
+
+Sec. 4. In regard to the first, the Master ought to teach the Scholar that
+light Motion of the Voice, in which the Notes that constitute the
+Division be all articulate in equal Proportion, and moderately distinct,
+that they be not too much join'd, nor too much mark'd.[42]
+
+Sec. 5. The second is perform'd in such a Manner that the first Note is a
+Guide to all that follow, closely united, gradual, and with such
+Evenness of Motion, that in Singing it imitates a certain Gliding, by
+the Masters called a _Slur_; the Effect of which is truly agreeable when
+used sparingly.[43]
+
+Sec. 6. The _mark'd Divisions_, being more frequently used than the others,
+require more Practice.
+
+Sec. 7. The Use of the _Slur_ is pretty much limited in Singing, and is
+confined within such few Notes ascending or descending, that it cannot
+go beyond a fourth without displeasing. It seems to me to be more
+grateful to the Ear descending, than in the contrary Motion.
+
+Sec. 8. The _Dragg_ consists in a Succession of divers Notes, artfully
+mixed with the _Forte_ and _Piano_. The Beauty of which I shall speak of
+in another Place.
+
+Sec. 9. If the Master hastens insensibly the Time when the Scholar sings
+the _Divisions_, he will find that there is not a more effectual way to
+unbind the Voice, and bring it to a Volubility; being however cautious,
+that this imperceptible Alteration do not grow by Degrees into a vicious
+Habit.
+
+Sec. 10. Let him teach to hit the _Divisions_ with the same Agility in
+ascending gradually, as in descending; for though this seems to be an
+Instruction fit only for a Beginner, yet we do not find every Singer
+able to perform it.
+
+Sec. 11. After the gradual _Divisions_, let him learn to hit, with the
+greatest Readiness, all those that are of difficult Intervals, that,
+being in Tune and Time, they may with Justice deserve our Attention. The
+Study of this Lesson demands more Time and Application than any other,
+not so much for the great Difficulty in attaining it, as the important
+Consequences that attend it; and, in Fact, a Singer loses all Fear when
+the most difficult _Divisions_ are become familiar to him.
+
+Sec. 12. Let him not be unmindful to teach the Manner of mixing the _Piano_
+with the _Forte_ in the _Divisions_; the _Glidings_ or _Slurs_ with the
+_Mark'd_, and to intermix the _Close Shake_; especially on the pointed
+Notes, provided they be not too near one another; making by this Means
+every Embellishment of the Art appear.
+
+Sec. 13. Of all the Instructions relating to _Divisions_, the most
+considerable seems to be That, which teaches to unite the _Beats_ and
+_short Shake_ with them; and that the Master point out to him, how to
+execute them with Exactness of Time, and the Places where they have the
+best Effect: But this being not so proper for one who teaches only the
+first Rules, and still less for him that begins to learn them, it would
+be better to have postponed this (as perhaps I should have done) did I
+not know, that there are Scholars of so quick Parts, that in a few
+Years become most excellent Singers, and that there is no want of
+Masters qualified to instruct Disciples of the most promising Genius;
+besides, it appeared to me an Impropriety in this Chapter on _Divisions_
+(in which the _Beats_ and _Close Shake_ appear with greater Lustre than
+any other Grace) not to make Mention of them.
+
+Sec. 14. Let the Scholar not be suffered to sing _Divisions_ with
+Unevenness of Time or Motion; and let him be corrected if he marks them
+with the Tongue, or with the Chin, or any other Grimace of the Head or
+Body.
+
+Sec. 15. Every Master knows, that on the third and fifth Vowel, the
+_Divisions_ are the worst; but every one does not know, that in the best
+Schools the second and fourth were not permitted, when these two Vowels
+are pronounced close or united.
+
+Sec. 16. There are many Defects in the _Divisions_, which it is necessary
+to know, in order to avoid them; for, besides that of the Nose or the
+Throat, and the others already mentioned, those are likewise displeasing
+which are neither mark'd nor gliding; for in that Case they cannot be
+said to sing, but howl and roar. There are some still more ridiculous,
+who mark them above Measure, and with Force of Voice, thinking (for
+Example) to make a _Division_ upon _A_, it appears as if they said _Ha_,
+_Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels.
+The worst Fault of all is singing them out of Tune.
+
+Sec. 17. The Master should know, that though a good Voice put forth with
+Ease grows better, yet by too swift a Motion in _Divisions_ it becomes
+an indifferent one, and sometimes by the Negligence of the Master, to
+the Prejudice of the Scholar, it is changed into a very bad one.
+
+Sec. 18. _Divisions_ and _Shakes_ in a _Siciliana_ are Faults, and
+_Glidings_ and _Draggs_ are Beauties.
+
+Sec. 19. The sole and entire Beauty of the _Division_ consists in its being
+perfectly in Tune, mark'd, equal, distinct, and quick.
+
+Sec. 20. _Divisions_ have the like Fate with the _Shakes_; both equally
+delight in their Place; but if not properly introduced, the too frequent
+Repetition of them becomes tedious if not odious.
+
+Sec. 21. After the Scholar has made himself perfect in the _Shake_ and the
+_Divisions_, the Master should let him read and pronounce the Words,
+free from those gross and ridiculous Errors of Orthography, by which
+many deprive one Word of its double Consonant, and add one to another,
+in which it is single.[44]
+
+Sec. 22. After having corrected the Pronunciation, let him take Care that
+the Words be uttered in such a Manner, without any Affectation that
+they be distinctly understood, and no one Syllable be lost; for if they
+are not distinguished, the Singer deprives the Hearer of the greatest
+Part of that Delight which vocal Musick conveys by Means of the Words.
+For, if the Words are not heard so as to be understood, there will be no
+great Difference between a human Voice and a Hautboy. This Defect, tho'
+one of the greatest, is now-a-days more than common, to the greatest
+Disgrace of the Professors and the Profession; and yet they ought to
+know, that the Words only give the Preference to a Singer above an
+instrumental Performer, admitting them to be of equal Judgment and
+Knowledge. Let the modern Master learn to make use of this Advice, for
+never was it more necessary than at present.
+
+Sec. 23. Let him exercise the Scholar to be very ready in joining the
+Syllables to the Notes, that he may never be at a Loss in doing it.
+
+Sec. 24. Let him forbid the Scholar to take Breath in the Middle of a Word,
+because the dividing it in two is an Error against Nature; which must
+not be followed, if we would avoid being laugh'd at. In interrupted
+Movements, or in long _Divisions_, it is not so rigorously required,
+when the one or the other cannot be sung in one Breath. Anciently such
+Cautions were not necessary, but for the Learners of the first
+Rudiments; now the Abuse, having taken its Rise in the modern Schools,
+gathers Strength, and is grown familiar with those who pretend to
+Eminence. The Master may correct this Fault, in teaching the Scholar to
+manage his Respiration, that he may always be provided with more Breath
+than is needful; and may avoid undertaking what, for want of it, he
+cannot go through with.
+
+Sec. 25. Let him shew, in all sorts of Compositions, the proper Place where
+to take Breath, and without Fatigue; because there are Singers who give
+Pain to the Hearer, as if they had an Asthma taking Breath every Moment
+with Difficulty, as if they were breathing their last.
+
+Sec. 26. Let the Master create some Emulation in a Scholar that is
+negligent, inciting him to study the Lesson of his Companion, which
+sometimes goes beyond Genius; because, if instead of one Lesson he hears
+two, and the Competition does not discountenance him, he may perhaps
+come to learn his Companion's Lesson first, and then his own.
+
+Sec. 27. Let him never suffer the Scholar to hold the Musick-Paper, in
+Singing, before his Face, both that the Sound of the Voice may not be
+obstructed, and to prevent him from being bashful.
+
+Sec. 28. Let him accustom the Scholar to sing often in presence of Persons
+of Distinction, whether from Birth, Quality, or Eminence in the
+Profession, that by gradually losing his Fear, he may acquire an
+Assurance, but not a Boldness. Assurance leads to a Fortune, and in a
+Singer becomes a Merit. On the contrary, the Fearful is most unhappy;
+labouring under the Difficulty of fetching Breath, the Voice is always
+trembling, and obliged to lose Time at every Note for fear of being
+choaked; He gives us Pain, in not being able to shew his Ability in
+publick; disgusts the Hearer, and ruins the Compositions in such a
+Manner, that they are not known to be what they are. A timorous Singer
+is unhappy, like a Prodigal, who is miserably poor.
+
+Sec. 29. Let not the Master neglect to shew him, how great their Error is
+who make _Shakes_ or _Divisions_, or take Breath on the _syncopated_ or
+_binding_ Notes; and how much better Effect the holding out the Voice
+has. The Compositions, instead of losing, acquire thereby greater
+Beauty.[45]
+
+Sec. 30. Let the Master instruct him in the _Forte_ and _Piano_, but so as
+to use him more to the first than the second, it being easier to make
+one sing soft than loud. Experience shews that the _Piano_ is not to be
+trusted to, since it is prejudicial though pleasing; and if any one has
+a Mind to lose his Voice, let him try it. On this Subject some are of
+Opinion, that there is an artificial _Piano_, that can make itself be
+heard as much as the _Forte_; but that is only Opinion, which is the
+Mother of all Errors. It is not Art which is the Cause that the _Piano_
+of a good Singer is heard, but the profound Silence and Attention of the
+Audience. For a Proof of this, let any indifferent Singer be silent on
+the Stage for a Quarter of a Minute when he should sing, the Audience,
+curious to know the Reason of this unexpected Pause, are hush'd in such
+a Manner, that if in that Instant he utter one Word with a soft Voice,
+it would be heard even by those at the greatest Distance.
+
+Sec. 31. Let the Master remember, that whosoever does not sing to the
+utmost Rigour of Time, deserves not the Esteem of the Judicious;
+therefore let him take Care, there be no Alteration or Diminution in it,
+if he pretends to teach well, and to make an excellent Scholar.
+
+Sec. 32. Though in certain Schools, Books of Church-Musick and of
+_Madrigals_ lie buried in Dust, a good Master would wipe it off; for
+they are the most effectual Means to make a Scholar ready and sure. If
+Singing was not for the most part performed by Memory, as is customary
+in these Days, I doubt whether certain Professors could deserve the Name
+of Singers of the first Rank.[46]
+
+Sec. 33. Let him encourage the Scholar if he improves; let him mortify him,
+without Beating, for Indolence; let him be more rigorous for
+Negligences; nor let the Scholar ever end a Lesson without having
+profited something.
+
+Sec. 34. An Hour of Application in a Day is not sufficient, even for one of
+the quickest Apprehension; the Master therefore should consider how much
+more Time is necessary for one that has not the same Quickness, and how
+much he is obliged to consult the Capacity of his Scholar. From a
+mercenary Teacher this necessary Regard is not to be hoped for; expected
+by other Scholars, tired with the Fatigue, and solicited by his
+Necessities, he thinks the Month long; looks on his Watch, and goes
+away. If he be but poorly paid for his Teaching,--a God-b'wy to him.
+
+
+
+
+CHAP. V.
+
+_Of_ Recitative.
+
+
+_Recitative_ is of three Kinds, and ought to be taught in three
+different Manners.
+
+Sec. 2. The first, being used in Churches, should be sung as becomes the
+Sanctity of the Place, which does not admit those wanton Graces of a
+lighter Stile; but requires some _Messa di Voce_, many _Appoggiatura's_,
+and a noble Majesty throughout. But the Art of expressing it, is not to
+be learned, but from the affecting Manner of those who devoutly dedicate
+their Voices to the Service of God.
+
+Sec. 3. The second is Theatrical, which being always accompanied with
+Action by the Singer, the Master is obliged to teach the Scholar a
+certain natural Imitation, which cannot be beautiful, if not expressed
+with that Decorum with which Princes speak, or those who know how to
+speak to Princes.
+
+Sec. 4. The last, according to the Opinion of the most Judicious, touches
+the Heart more than the others, and is called _Recitativo di Camera_.
+This requires a more peculiar Skill, by reason of the Words, which
+being, for the most part, adapted to move the most violent Passions of
+the Soul, oblige the Master to give the Scholar such a lively Impression
+of them, that he may seem to be affected with them himself. The Scholar
+having finished his Studies, it will be but too[47] easily discovered
+if he stands in Need of this Lesson. The vast Delight, which the
+Judicious feel, is owing to this particular Excellence, which, without
+the Help of the usual Ornaments, produces all this Pleasure from itself;
+and, let Truth prevail, where Passion speaks, all _Shakes_, all
+_Divisions_ and _Graces_ ought to be silent, leaving it to the sole
+Force of a beautiful Expression to persuade.
+
+Sec. 5. The Church _Recitative_ yields more Liberty to the Singer than the
+other two, particularly in the final Cadence; provided he makes the
+Advantage of it that a Singer should do, and not as a Player on the
+Violin.
+
+Sec. 6. The Theatrical leaves it not in our Election to make Use of this
+Art, lest we offend in the Narrative, which ought to be natural, unless
+in a _Soliloquy_, where it may be in the Stile of Chamber-Musick.
+
+Sec. 7. The third abstains from great part of the Solemnity of the first,
+and contents itself with more of the second.
+
+Sec. 8. The Defects and unsufferable Abuses which are heard in
+_Recitatives_, and not known to those who commit them, are innumerable.
+I will take Notice of several Theatrical ones, that the Master may
+correct them.
+
+Sec. 9. There are some who sing _Recitative_ on the Stage like That of the
+Church or Chamber; some in a perpetual Chanting, which is insufferable;
+some over-do it and make it a Barking; some whisper it, and some sing it
+confusedly; some force out the last Syllable, and some sink it; some
+sing it blust'ring, and some as if they were thinking of something else;
+some in a languishing Manner; others in a Hurry; some sing it through
+the Teeth, and others with Affectation; some do not pronounce the Words,
+and others do not express them; some sing as if laughing, and some
+crying; some speak it, and some hiss it; some hallow, bellow, and sing
+it out of Tune; and, together with their Offences against Nature, are
+guilty of the greatest Fault, in thinking themselves above Correction.
+
+Sec. 10. The _modern_ Masters run over with Negligence their Instructions
+in all Sorts of _Recitatives_, because in these Days the Study of
+Expression is looked upon as unnecessary, or despised as _ancient_: And
+yet they must needs see every Day, that besides the indispensable
+Necessity of knowing how to sing them, These even teach how to act. If
+they will not believe it, let them observe, without flattering
+themselves, if among their Pupils they can show an Actor of equal Merit
+with _Cortona_ in the Tender;[48] of Baron _Balarini_ in the Imperious;
+or other famous Actors that at present appear, tho' I name them not;
+having determined in these Observations, not to mention any that are
+living, in whatsoever Degree of Perfection they be, though I esteem them
+as they deserve.
+
+Sec. 11. A Master, that disregards _Recitative_, probably does not
+understand the Words, and then, how can he ever instruct a Scholar in
+Expression, which is the Soul of vocal Performance, and without which it
+is impossible to sing well? Poor _Gentlemen Masters_ who direct and
+instruct Beginners, without reflecting on the utter Destruction you
+bring on the Science, in undermining the principal Foundations of it! If
+you know not that the _Recitatives_, especially in the vulgar or known
+Language, require those Instructions relative to the Force of the Words,
+I would advise you to renounce the Name, and Office of _Masters_, to
+those who can maintain them; your Scholars will otherwise be made a
+Sacrifice to Ignorance, and not knowing how to distinguish the Lively
+from the Pathetick, or the Vehement from the Tender, it will be no
+wonder if you see them stupid on the Stage, and senseless in a Chamber.
+To speak my Mind freely, yours and their Faults are unpardonable; it is
+insufferable to be any longer tormented in the Theatres with
+_Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars.
+
+Sec. 12. The reason, however, of not giving more expression to the
+_Recitative_, in the manner of those called _Antients_, does not always
+proceed from the Incapacity of the Master, or the Negligence of the
+Singer, but from the little Knowledge of the _modern_ Composers (we must
+except some of Merit) who set it in so unnatural a Taste, that it is not
+to be taught, acted or sung. In Justification of the Master and the
+Singer let Reason decide. To blame the Composer, the same Reason forbids
+me entering into a Matter too high for my low Understanding, and wisely
+bids me consider the little Insight I can boast of, barely sufficient
+for a Singer, or to write plain Counterpoint. But when I consider I have
+undertaken in these Observations, to procure diverse Advantages to
+vocal Performers, should I not speak of a Composition, a Subject so
+necessary, I should be guilty of a double Fault. My Doubts in this
+Perplexity are resolved by the Reflection, that _Recitatives_ have no
+Relation to Counterpoint. If That be so, what Professor knows not, that
+many theatrical _Recitatives_ would be excellent if they were not
+confused one with another; if they could be learned by Heart; if they
+were not deficient in respect of adapting the Musick to the Words; if
+they did not frighten those who sing them, and hear them, with unnatural
+Skips; if they did not offend the Ear and Rules with the worst
+Modulations; if they did not disgust a good Taste with a perpetual
+Sameness; if, with their cruel Turns and Changes of Keys, they did not
+pierce one to the Heart; and, finally, if the Periods were not crippled
+by them who know neither Point nor Comma? I am astonished that such as
+these do not, for their Improvement, endeavour to imitate the
+_Recitatives_ of those Authors, who represent in them a lively image of
+Nature, by Sounds which of themselves express the Sense, as much as the
+very Words. But to what Purpose do I show this Concern about it? Can I
+expect that these Reasons, with all their Evidences, will be found good,
+when, even in regard to Musick, Reason itself is no more in the _Mode_?
+Custom has great Power. She arbitrarily releases her Followers from the
+Observance of the true Rules, and obliges them to no other Study than
+that of the _Ritornello's_, and will not let them uselessly employ their
+precious Time in the Application to _Recitative_, which, according to
+her Precepts, are the work of the Pen, not of the Mind. If it be
+Negligence or Ignorance, I know not; but I know very well, that the
+Singers do not find their Account in it.
+
+Sec. 13. Much more might still be[49] said on the Compositions of
+_Recitative_ in general, by reason of that tedious chanting that offends
+the Ear, with a thousand broken Cadences in every Opera, which Custom
+has established, though they are without Taste or Art. To reform them
+all, would be worse than the Disease; the introducing every time a final
+Cadence would be wrong: But if in these two Extremes a Remedy were
+necessary I should think, that among an hundred broken Cadences, ten of
+them, briefly terminated on Points that conclude a Period, would not be
+ill employed. The Learned, however, do not declare themselves upon it,
+and from their Silence I must hold myself condemned.
+
+Sec. 14. I return to the Master, only to put him in Mind, that his Duty is
+to teach Musick; and if the Scholar, before he gets out of his Hands,
+does not sing readily and at Sight, the Innocent is injured without
+Remedy from the Guilty.
+
+Sec. 15. If after these Instructions, the Master does really find himself
+capable of communicating to his Scholar Things of greater Moment, and
+what may concern his farther Progress, he ought immediately to initiate
+him in the Study of Church-Airs, in which he must lay aside all the
+theatrical effeminate Manner, and sing in a manly Stile; for which
+Purpose he will provide him with different natural and easy _Motets_[50]
+grand and genteel, mix'd with the Lively and the Pathetick, adapted to
+the Ability he has discovered in him, and by frequent Lessons make him
+become perfect in them with Readiness and Spirit. At the same time he
+must be careful that the Words be well pronounced, and perfectly
+understood; that the _Recitatives_ be expressed with Strength, and
+supported without Affectation; that in the Airs he be not wanting in
+Time, and in introducing some Graces of good Taste; and, above all,
+that the final Cadences of the _Motets_ be performed with Divisions
+distinct, swift, and in Tune. After this he will teach him that Manner,
+the Taste of _Cantata's_ requires, in order, by this Exercise, to
+discover the Difference between one Stile and another. If, after this,
+the Master is satisfied with his Scholar's Improvement, yet let him not
+think to make him sing in Publick, before he has the Opinion of such
+Persons, who know more of singing than of flattering; because, they not
+only will chuse such Compositions proper to do him Honour and Credit,
+but also will correct in him those Defects and Errors, which out of
+Oversight or Ignorance the Master had not perceived or corrected.
+
+Sec. 16. If Masters did consider, that from our first appearing in the Face
+of the World, depends our acquiring Fame and Courage, they would not so
+blindly expose their Pupils to the Danger of falling at the first Step.
+
+Sec. 17. But if the Master's Knowledge extends no farther than the
+foregoing Rules, then ought he in conscience to desist, and to recommend
+the Scholar to better Instructions. However, before the Scholar arrives
+at this, it will not be quite unnecessary to discourse with him in the
+following Chapters, and if his Age permits him not to understand me,
+those, who have the Care of him, may.
+
+
+
+
+CHAP. VI.
+
+_Observations for a Student._
+
+
+Before entering on the extensive and difficult Study of the _Florid_, or
+_figured Song_, it is necessary to consult the Scholar's Genius; for if
+Inclination opposes, it is impossible to force it, and when That
+incites, the Scholar proceeds with Ease and Pleasure.
+
+Sec. 2. Supposing, then, that the Scholar is earnestly desirous of becoming
+a Master in so agreable a Profession, and being fully instructed in
+these tiresome Rudiments, besides many others that may have slipt my
+weak Memory; after a strict Care of his Morals, he should give the rest
+of his Attention to the Study of singing in Perfection, that by this
+Means he may be so happy as to join the most noble Qualities of the Soul
+to the Excellencies of his Art.
+
+Sec. 3. He that studies Singing must consider that Praise or Disgrace
+depends very much on his Voice which if he has a Mind to preserve he
+must abstain from all Manner of Disorders, and all violent Diversions.
+
+Sec. 4. Let him be able to read perfectly, that he may not be put to Shame
+for so scandalous an Ignorance. Oh, how many are there, who had need to
+learn the Alphabet!
+
+Sec. 5. In case the Master knows not how to correct the Faults in
+Pronunciation, let the Scholar endeavour to learn the best by some other
+Means; because the not being born[51] in _Tuscany_, will not excuse the
+Singer's Imperfection.
+
+Sec. 6. Let him likewise very carefully endeavour to correct all other
+Faults that the Negligence of his Master may have passed over.
+
+Sec. 7. With the Study of Musick, let him learn also at least the Grammar,
+to understand the Words he is to sing in Churches, and to give the
+proper Force to the Expression in both Languages. I believe I may be so
+bold to say, that divers Professors do not even understand their own
+Tongue, much less the _Latin_.[52]
+
+Sec. 8. Let him continually, by himself, use his Voice to a Velocity of
+Motion, if he thinks to have a Command over it, and that he may not go
+by the Name of a pathetick Singer.
+
+Sec. 9. Let him not omit frequently to put forth, and to stop, the Voice,
+that it may always be at his Command.
+
+Sec. 10. Let him repeat his Lesson at Home, till he knows it perfectly; and
+with a local Memory let him retain it, to save his Master the Trouble of
+Teaching, and himself of studying it over again.
+
+Sec. 11. Singing requires so strict an Application, that one must study
+with the Mind, when one cannot with the Voice.
+
+Sec. 12. The unwearied Study of Youth is sure to overcome all Obstacles
+that oppose, though Defects were suck'd in with our Mother's Milk. This
+Opinion of mine is subject to strong Objections; however, Experience
+will defend it, provided he corrects himself in time. But if he delays
+it, the older he grows the more his Faults will increase.
+
+Sec. 13. Let him hear as much as he can the most celebrated Singers, and
+likewise the most excellent instrumental Performers; because, from the
+Attention in hearing them, one reaps more Advantage than from any
+Instruction whatsoever.
+
+Sec. 14. Let him endeavour to copy from Both, that he may insensibly, by
+the Study of others, get a good Taste. This advice, though extremely
+useful to a Student, is notwithstanding infinitely prejudicial to a
+Singer, as I shall shew in its proper Place[53].
+
+Sec. 15. Let him often sing the most agreable Compositions of the best
+Authors, and accustom the Ear to that which pleases. I'd have a Student
+know, that by the abovementioned Imitations, and by the Idea of good
+Compositions, the Taste in Time becomes Art, and Art Nature.
+
+Sec. 16. Let him learn to accompany himself, if he is ambitious of singing
+well. The Harpsichord is a great Incitement to Study, and by it we
+continually improve in our Knowledge. The evident Advantage arising to
+the Singer from that lovely Instrument, makes it superfluous to say
+more on that Head. Moreover, it often happens to one who cannot play,
+that without the Help of another he cannot be heard, and is thereby to
+his Shame obliged to deny the Commands of those whom it would be to his
+Advantage to obey.
+
+Sec. 17. Till a Singer pleases himself, it is certain he cannot please
+others. Therefore consider, if some Professors of no small Skill have
+not this Pleasure for want of sufficient Application, what must the
+Scholar do? Study,--and study again, and not be satisfied.
+
+Sec. 18. I am almost of Opinion, that all Study and Endeavours to sing are
+infallibly vain, if not accompanied with some little Knowledge of
+Counterpoint. One, who knows how to compose, can account for what he
+does, and he, who has not the same Light, works in the Dark, not knowing
+how to sing without committing Errors. The most famous _Ancients_ know
+the intrinsick Value of this Precept from the Effects. And a good
+Scholar ought to imitate them, without considering whether this Lesson
+be according to the _Mode_ or not For though, in these Days, one now and
+then hears admirable Performances, proceeding from a natural Taste, yet
+they are all done by Chance; but where that Taste is wanting, if they
+are not execrable, at least they will be very bad: For Fortune not being
+always at their Command, they cannot be sure to agree, neither with Time
+nor Harmony. This Knowledge, although requisite, I would not however
+advise a Scholar to give himself up to an intense Application, it being
+certain, I should teach him the readiest way to lose his Voice, but I
+exhort him only to learn the principal Rules, that he may not be quite
+in the Dark.[54]
+
+Sec. 19. To study much, and preserve a Voice in its full Beauty, are two
+Things almost incompatible; there is between them such a sort of Amity,
+as cannot last without being prejudicial to the one or the other.
+However, if one reflects, that Perfection in a Voice is a Gift of
+Nature, and in Art a painful Acquisition, it will indeed be allowed,
+that this latter excels in Merit, and more deserves our Praise.
+
+Sec. 20. Whoever studies, let him look for what is most excellent, and let
+him look for it wherever it is, without troubling himself whether it be
+in the Stile of fifteen or twenty Years ago, or in that of these Days;
+for all Ages have their good and bad Productions. It is enough to find
+out the best, and profit by them.
+
+Sec. 21. To my irreparable Misfortune, I am old; but were I young, I would
+imitate as much as possibly I could the _Cantabile_ of those who are
+branded with the opprobrious Name of _Ancients_; and the _Allegro_ of
+those who enjoy the delightful Appellation of _Moderns_. Though my Wish
+is vain as to myself, it will be of Use to a prudent Scholar, who is
+desirous to be expert in both Manners, which is the only way to arrive
+at Perfection; but if one was to chuse, I should freely, without Fear of
+being tax'd with Partiality, advise him to attach himself to the Taste
+of the first.[55]
+
+Sec. 22. Each Manner of Singing hath a different Degree of Eminence; the
+Nervous and Strong is distinguished from the Puerile and Weak, as is the
+Noble from the Vulgar.
+
+Sec. 23. A Student must not hope for Applause, if he has not an utter
+Abhorrence of Ignorance.
+
+Sec. 24. Whoever does not aspire to the first Rank, begins already to give
+up the second, and by little and little will rest contented with the
+lowest.
+
+Sec. 25. If, out of a particular Indulgence to the sex, so many female
+Singers have the Graces set down in Writing, one that studies to become
+a good Singer should not follow the Example; whoever accustoms himself
+to have Things put in his Mouth, will have no Invention, and becomes a
+Slave to his Memory.
+
+Sec. 26. If the Scholar should have any Defects, of the Nose, the Throat,
+or of the Ear, let him never sing but when the Master is by, or somebody
+that understands the Profession, in order to correct him, otherwise he
+will get an ill Habit, past all Remedy.
+
+Sec. 27. When he studies his Lesson at Home, let him sometimes sing before
+a Looking-glass, not to be enamoured with his own Person, but to avoid
+those convulsive Motions of the Body, or of the Face (for so I call the
+Grimaces of an affected Singer) which, when once they have took Footing,
+never leave him.
+
+Sec. 28. The best Time for Study is with the rising of the Sun; but those,
+who are obliged to study, must employ all their Time which can be spared
+from their other necessary Affairs.
+
+Sec. 29. After a long Exercise, and the Attainment of a true Intonation, of
+a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well
+expressed, if the Scholar perceives that his Master cannot teach him all
+the Perfection of Execution required in the more refined Art of singing
+the Airs, or if he cannot always be by his Side, then will he begin to
+be sensible of the Need he has of that Study, in which the best Singer
+in the World is still a Learner, and must be his own Master. Supposing
+this Reflection just, I advise him for his first Insight, to read the
+following Chapter, in order thereby to reap greater Advantage from those
+that can sing the _Airs_, and teach to sing them.
+
+
+
+
+CHAP. VII.
+
+_Of_ Airs.
+
+
+If whoever introduced the Custom of repeating the first Part of the
+_Air_ (which is called _Da Capo_) did it out of a Motive to show the
+Capacity of the Singer, in varying the Repetition, the Invention cannot
+be blam'd by Lovers of Musick; though in respect of the Words it is
+sometimes an Impropriety.[56]
+
+Sec. 2. By the _Ancients_ beforementioned, _Airs_ were sung in three
+different Manners; for the Theatre, the Stile was lively and various;
+for the Chamber, delicate and finish'd; and for the Church, moving and
+grave. This Difference, to very many _Moderns_, is quite unknown.
+
+Sec. 3. A Singer is under the greatest Obligation to the Study of the
+_Airs_; for by them he gains or loses his Reputation. To the acquiring
+this valuable, Art, a few verbal Lessons cannot suffice; nor would it be
+of any great Profit to the Scholar, to have a great Number of _Airs_, in
+which a Thousand of the most exquisite Passages of different Sorts were
+written down: For they would not serve for all Purposes, and there would
+always be wanting that Spirit which accompanies extempore Performances,
+and is preferable to all servile Imitations. All (I think) that can be
+said, is to recommend to him an attentive Observation of the Art, with
+which the best Singers regulate themselves to the Bass, whereby he will
+become acquainted with their Perfections, and improve by them. In order
+to make his Observations with the greater Exactness, let him follow the
+Example of a Friend of mine, who never went to an Opera without a Copy
+of all the Songs, and, observing the finest Graces, confin'd to the most
+exact Time of the Movement of the Bass, he made thereby a great
+Progress.[57]
+
+Sec. 4. Among the Things worthy of Consideration, the first to be taken
+Notice of, is the Manner in which all _Airs_ divided into three Parts
+are to be sung. In the first they require nothing but the simplest
+Ornaments, of a good Taste and few, that the Composition may remain
+simple, plain, and pure; in the second they expect, that to this Purity
+some artful Graces[58] be added, by which the Judicious may hear, that
+the Ability of the Singer is greater; and, in, repeating the _Air_, he
+that does not vary it for the better, is no great Master.
+
+Sec. 5. Let a Student therefore accustom himself to repeat them always
+differently, for, if I mistake not, one that abounds in Invention,
+though a moderate Singer, deserves much more Esteem, than a better who
+is barren of it; for this last pleases the Connoisseurs but for once,
+whereas the other, if he does not surprise by the Rareness of his
+Productions, will at least gratify your Attention with Variety.[59]
+
+Sec. 6. The most celebrated among the _Ancients_ piqued themselves in
+varying every Night their Songs in the Opera's, not only the
+_Pathetick_, but also the _Allegro_. The Student, who is not well
+grounded, cannot undertake this important Task.
+
+Sec. 7. Without varying the _Airs_, the Knowledge of the Singers could
+never be discovered; but from the Nature and Quality of the Variations,
+it will be easily discerned in two of the greatest Singers which is the
+best.
+
+Sec. 8. Returning from this Digression to the abovementioned, repeating the
+first Part of the _Air_ with Variation, the Scholar will therein find
+out the Rules for Gracing, and introducing Beauties of his own
+Invention: These will teach him, that Time, Taste, and Skill, are
+sometimes of but small Advantage to one who is not ready at _extempore_
+Embellishments; but they should not allow, that a Superfluity of them
+should prejudice the Composition, and confound the Ear.[60]
+
+Sec. 9. Let a Scholar provide himself with a Variety of Graces and
+Embellishments, and then let him make use of them with Judgment; for if
+he observes, he will find that the most celebrated Singers never make a
+Parade of their Talent in a few Songs; well knowing, that if Singers
+expose to the Publick all they have in their Shops, they are near
+becoming Bankrupts.
+
+Sec. 10. In the Study of _Airs_, as I have before said, one cannot take
+Pains enough; for, though certain Things of small Effect may be omitted,
+yet how can the Art be called perfect if the Finishing is wanted.
+
+Sec. 11. In _Airs_ accompanied only a Bass, the Application of him who
+studies Graces is only subject to Time, and to the Bass; but in those,
+that are accompanied with more Instruments, the Singer must be also
+attentive to their Movement, in order to avoid the Errors committed by
+those who are ignorant of the Contrivance of such Accompaniments.
+
+Sec. 12. To prevent several false Steps in singing the _Airs_, I would
+strongly inculcate to a Student, first, never to give over practising in
+private, till he is secure of committing no Error in Publick; and next,
+that at the first Rehearsal the _Airs_ be sung without any other
+Ornaments than those which are very natural; but with a strict
+Attention, to examine at the same time in his Mind, where the artificial
+ones may be brought in with Propriety in the second; and so from one
+Rehearsal to another, always varying for the better, he will by Degrees
+become a great Singer.
+
+Sec. 13. The most necessary Study for singing _Airs_ in Perfection, and
+what is more difficult than any other, is to seek for what is easy and
+natural, as well as of beautiful Inventions. One who has the good
+Fortune to unite such two rare Talents, with an agreeable _putting
+forth_ of the Voice, is a very happy Singer.
+
+Sec. 14. Let him, who studies under the Disadvantage of an ungrateful
+Genius, remember for his Comfort, that singing in Tune, Expression,
+_Messa di Voce_, the _Appoggiatura's_, _Shakes_, _Divisions_, and
+accompanying himself, are the principal Qualifications; and no such
+insuperable Difficulties, but what may be overcome. I know, they are not
+sufficient to enable one to sing in Perfection; and that it would be
+Weakness to content one's self with only singing tolerably well; but
+Embellishments must be called in to their aid, which seldom refuse the
+Call, and sometimes come unsought. Study will do the business.
+
+Sec. 15. Let him avoid all those Abuses which have overspread and
+established themselves in the _Airs_, if he will preserve Musick in its
+Chastity.
+
+Sec. 16. Not only a Scholar, but every Singer ought to forbear
+_Caricatura's_, or mimicking others, from the very bad Consequences that
+attend them. To make others laugh, hardly gains any one Esteem, but
+certainly gives Offence; for no-body likes to appear ridiculous or
+ignorant. This Mimicking arises for the most part from a concealed
+Ambition to shew their own Merit, at another's Expence; not without a
+Mixture of Envy and Spight. Examples shew us but too plainly the great
+Injury they are apt to do, and that it well deserves Reproof; for
+Mimickry has ruin'd more than one Singer.
+
+Sec. 17. I cannot sufficiently recommend to a Student the exact keeping of
+Time; and if I repeat the same in more than one place, there is more
+than one Occasion that moves me to it; because, even among the
+Professors of the first Rank there are few, but what are almost
+insensibly deceived into an Irregularity, or hastening of Time, and
+often of both; which though in the Beginning is hardly perceptible, yet
+in the Progress of the _Air_ becomes more and more so, and at the last
+the Variation, and the Error is discovered.
+
+Sec. 18. If I do not advise a Student to imitate several of the _Moderns_
+in their Manner of singing _Airs_, it is from their Neglect of keeping
+Time, which ought to be inviolable, and not sacrificed to their beloved
+Passages and Divisions.
+
+Sec. 19. The Presumption of some Singers is not to be borne with, who
+expect that an whole _Orchestre_ should stop in the midst of a
+well-regulated Movement, to wait for their ill-grounded Caprices,
+learned by Heart, carried from one Theatre to another, and perhaps
+stolen from some applauded female Singer, who had better Luck than
+Skill, and whose Errors were excused in regard to her Sex.----Softly,
+softly with your Criticism, says one; this, if you do not know it, is
+called Singing after the _Mode_----Singing after the _Mode_?----I say,
+you are mistaken. The stopping in the _Airs_ at every second and fourth,
+and on all the sevenths and sixths of the Bass, was a bad Practice of
+the ancient Masters, disapproved fifty Years ago by _Rivani_, called
+_Ciecolino_,[61] who with invincible Reasons shewed the proper Places
+for Embellishments, without begging Pauses. This Percept was approved by
+several eminent Persons, among whom was Signer _Pistochi_,[62] the most
+famous of our, and all preceding Times, who has made himself immortal,
+by shewing the way of introducing Graces without transgressing against
+Time. This Example alone, which is worth a Thousand (O my rever'd
+_Moderns_!) should be sufficient to undeceive you. But if this does not
+satisfy you, I will add, that _Sifacio_[63] with his mellifluous Voice
+embrac'd this Rule; that _Buzzolini_[64] of incomparable Judgment highly
+esteemed it: After them _Luigino_[65] with his soft and amorous Stile
+followed their Steps; likewise _Signora Boschi_[66] who, to the Glory of
+her Sex, has made it appear, that Women, who study, may instruct even
+Men of some Note. That _Signora Lotti_,[67] strictly keeping to the
+same Rules, with a penetrating Sweetness of Voice, gained the Hearts of
+all her Hearers. If Persons of this Rank, and others at present
+celebrated all over _Europe_, whom I forbear to name; if all these have
+not Authority enough to convince you, that you have no Right to alter
+the Time by making Pauses, consider at least, that by this Error in
+respect of Time, you often fall into a greater, which is, that the Voice
+remains unaccompanied, and deprived of Harmony; and thereby becomes flat
+and tiresome to the best Judges. You will perhaps say in Excuse, that
+few Auditors have this Discernment, and that there are Numbers of the
+others, who blindly applaud every thing that has an Appearance of
+Novelty. But whose fault is this? An Audience that applauds what is
+blameable, cannot justify your Faults by their Ignorance; it is your
+Part to set them right, and, laying aside your ill-grounded Practice,
+you should own, that the Liberties you take are against Reason, and an
+insult upon all those instrumental Performers that are waiting for you,
+who are upon a Level with you, and ought to be subservient only to the
+Time. In short, I would have you reflect, that the abovementioned
+Precept will always be of Advantage to you; for though under the
+neglecting of it, you have a Chance to gain Applause of the Ignorant
+only; by observing it, you will justly merit that of the Judicious, and
+the Applause will become universal.
+
+Sec. 20. Besides the Errors in keeping Time, there are other Reasons, why a
+Student should not imitate the _modern_ Gentlemen in singing _Airs_,
+since it plainly appears that all their Application now is to divide
+and subdivide in such a Manner, that it is impossible to understand
+either Words, Thoughts, or Modulation, or to distinguish one _Air_ from
+another, they singing them all so much alike, that, in hearing of one,
+you hear a Thousand.----And must the _Mode_ triumph? It was thought, not
+many Years since, that in an Opera, one rumbling _Air_, full of
+Divisions was sufficient for the most gurgling Singer to spend his
+Fire[68]; but the Singers of the present Time are not of that Mind, but
+rather, as if they were not satisfied with transforming them all with a
+horrible Metamorphosis into so many Divisions, they, like Racers, run
+full Speed, with redoubled Violence to their final Cadences, to make
+Reparation for the Time they think they have lost during the Course of
+the _Air_. In the following Chapter, on the tormented and tortured
+Cadences, we shall shortly see the good Taste of the _Mode_; in the mean
+while I return to the Abuses and Defects in _Airs_.
+
+Sec. 21. I cannot positively tell, who that _Modern_ Composer, or that
+ungrateful Singer was, that had the Heart to banish the delightful,
+soothing, _Pathetick_ from _Airs_, as if no longer worthy of their
+Commands, after having done them so long and pleasing Service. Whoever
+he was, it is certain, he has deprived the Profession of its most
+valuable Excellence. Ask all the Musicians in general, what their
+Thoughts are of the _Pathetick_, they all agree in the same Opinion, (a
+thing that seldom happens) and answer, that the _Pathetick_ is what is
+most delicious to the Ear, what most sweetly affects the Soul, and is
+the strongest Basis of Harmony. And must we be deprived of these Charms,
+without knowing the Reason why? Oh! I understand you: I ought not to ask
+the Masters, but the Audience, those capricious Protectors of the
+_Mode_, that cannot endure this; and herein lies my Mistake. Alas! the
+_Mode_ and the Multitude flow like Torrents, which, when at their
+Height, having spent their Violence, quickly disappear. The Mischief is
+in the Spring itself; the Fault is in the Singers. They praise the
+_Pathetick_, yet sing the _Allegro_. He must want common Sense that does
+not see through them. They know the first to be the most Excellent, but
+they lay it aside, knowing it to be the most difficult.
+
+Sec. 22. In former times divers _Airs_ were heard in the Theatre in this
+delightful Manner, preceded and accompanied with harmonious and
+well-modulated Instruments, that ravished the Senses of those who
+comprehended the Contrivance and the Melody; and if sung by one of those
+five or six eminent Persons abovementioned, it was then impossible for a
+human Soul, not to melt into Tenderness and Tears from the violent
+Motion of the Affections. Oh! powerful Proof to confound the idoliz'd
+_Mode_! Are there in these Times any, who are moved with Tenderness, or
+Sorrow?----No, (say all the Auditors) no; for, the continual singing of
+the _Moderns_ in the _Allegro_ Stile, though when in Perfection That
+deserves Admiration, yet touches very slightly one that hath a delicate
+Ear. The Taste of the _Ancients_ was a Mixture of the _Lively_ and the
+_Cantabile_ the Variety of which could not fail giving Delight; but the
+_Moderns_ are so pre-possessed with Taste in _Mode_, that, rather than
+comply with the former, they are contented to lose the greatest Part of
+its Beauty. The Study of the _Pathetick_ was the Darling of the former;
+and Application to the most difficult Divisions is the only Drift of the
+latter. _Those_ perform'd with more Judgment; and _These_ execute with
+greater Boldness. But since I have presum'd to compare the most
+celebrated Singers in both Stiles, pardon me if I conclude with saying,
+that the _Moderns_ are arrived at the highest Degree of Perfection in
+singing to the _Ear_; and that the _Ancients_ are inimitable in singing
+to the _Heart_.
+
+Sec. 23. However, it ought not to be denied, but that the best Singers of
+these times have in some Particulars refined the preceding Taste, with
+some Productions worthy to be imitated; and as an evident Mark of
+Esteem, we must publicly own, that if they were but a little more
+Friends to the _Pathetick_ and the _Expressive_, and a little less to
+the _Divisions_, they might boast of having brought the Art to the
+highest Degree of Perfection.
+
+Sec. 24. It may also possibly be, that the extravagant Ideas in the present
+Compositions, have deprived the abovementioned Singers of the
+Opportunity of shewing their Ability in the _Cantabile_; in as much as
+the _Airs_ at present in vogue go Whip and Spur with such violent
+Motions, as take away their Breath, far from giving them an Opportunity
+of shewing the Exquisiteness of their Taste. But, good God! since there
+are so many _modern_ Composers, among whom are some of Genius equal, and
+perhaps greater than the best _Ancients_, for what Reason or Motive do
+they always exclude from their Compositions, the so-much-longed-for
+_Adagio_? Can its gentle Nature ever be guilty of a Crime? If it cannot
+gallop with the _Airs_ that are always running Post, why not reserve it
+for those that require Repose, or at least for a compassionate one,
+which is to assist an unfortunate Hero, when he is to shed Tears, or die
+on the Stage?----No, Sir, No; the grand _Mode_ demands that he be quick,
+and ready to burst himself in his Lamentations, and weep with
+Liveliness. But what can one say? The Resentment of the _modern_ Taste
+is not appeased with the Sacrifice of the _Pathetick_ and the _Adagio_
+only, two inseparable Friends, but goes so far, as to prescribe those
+_Airs_, as Confederates, that have not the _Sharp_ third. Can any thing
+be more absurd? _Gentlemen Composers_, (I do not speak to the eminent,
+but with all due Respect) Musick in my Time has chang'd its Stile three
+times: The first which pleased on the Stage, and in the Chamber, was
+that of _Pier. Simone_[69], and of _Stradella_[70]; the second is of
+the best that now living[71]; and I leave others to judge whether they
+are _Modern_. But of your Stile, which is not quite established yet in
+_Italy_, and which has yet gained no Credit at all beyond the _Alps_,
+those that come after us will soon give their Opinion; for _Modes_ last
+not long. But if the Profession is to continue, and end with the World,
+either you yourselves will see your Mistake, or your Successors will
+reform it. Wou'd you know how? By banishing the Abuses, and recalling
+the first, second, and third _Mood_[72], to relieve the fifth, sixth,
+and eighth, which are quite jaded. They will revive the fourth and
+seventh now dead to you, and buried in Churches, for the final Closes.
+To oblige the Taste of the Singers and the Hearers, the _Allegro_ will
+now and then be mixed with the _Pathetick_. The _Airs_ will not always
+be drowned with the Indiscretion of the Instruments, that hide the
+artful Delicacy of the _Piano_, and the soft Voices, nay, even all
+Voices which will not bawl: They will no longer bear being teased with
+_Unisons_[73], the Invention of Ignorance, to hide from the Vulgar the
+Insufficiency and Inability of many Men and Women Singers: They will
+recover the instrumental Harmony now lost: They will compose more for
+the Voice than the Instruments: The part for the Voice will no more have
+the Mortification to resign its Place to the Violins: The _Soprano's_
+and _Contr'Alto's_ will no more sing the _Airs_ in the Manner of the
+Bass, in Spight of a thousand _Octaves_: And, finally, their _Airs_ will
+be more affecting, and less alike; more studied, and less painful to the
+Singer; and so much the more grand, as they are remote from the Vulgar.
+But, methinks, I hear it said, that the theatrical Licence is great,
+and that the _Mode_ pleases, and that I grow too bold. And may I not
+reply, that the Abuse is greater, that the Invention is pernicious, and
+that my Opinion is not singular. Am I the only Professor who knows that
+the best Compositions are the Cause of singing well, and the worst very
+prejudicial? Have we not more than once heard that the Quality of the
+Compositions has been capable, with a few Songs, of establishing the
+Reputation of a middling Singer, and destroying That of one who had
+acquired one by Merit? That Musick, which is composed by one of Judgment
+and Taste, instructs the Scholar, perfects the Skilful, and delights the
+Hearer. But since we have opened the Ball, let us dance.
+
+Sec. 25. He that first introduced Musick on the Stage, probably thought to
+lead her to a Triumph, and raise her to a Throne. But who would ever
+have imagined, that in the short Course of a few Years, she should be
+reduced to the fatal Circumstance of seeing her own Tragedy? Ye pompous
+Fabricks of the Theatres! We should look upon you with Horror, being
+raised from the Ruins of Harmony: You are the Origin of the Abuses, and
+of the Errors: From You is derived the _modern_ Stile and the Multitude
+of Ballad-makers: You are the only Occasion of the Scarcity of judicious
+and well-grounded Professors, who justly deserve the Title of
+Chapel-Master[74]; since the poor Counterpoint[75] has been condemned,
+in this corrupted Age, to beg for a Piece of Bread in Churches, whilst
+the Ignorance of many exults on the Stage, the most part of the
+Composers have been prompted from Avarice, or Indigence, to abandon in
+such Manner the true Study, that one may foresee (if not succoured by
+those few, that still gloriously sustain its dearest Precepts) Musick,
+after having lost the Name of Science, and a Companion of Philosophy,
+will run the Risque of being reputed unworthy to enter into the sacred
+Temples, from the Scandal given there, by their Jiggs, Minuets, and
+Furlana's[76]; and, in fact, where the Taste is so deprav'd, what would
+make the Difference between the Church-Musick, and the Theatrical, if
+Money was received at the Church Doors?
+
+Sec. 26. I know that the World honours with just Applause some, tho' few
+Masters, intelligent in both Stiles, to whom I direct the Students in
+order to their singing well; and if I confine the Masters to so small a
+Number, I do beg Pardon of those who should be comprehended therein;
+hoping easily to obtain it, because an involuntary Error does not
+offend, and an eminent Person knows no other Envy but virtuous
+Emulation. As for the Ignorant, who for the most part are not used to
+indulge any, but rather despise and hate every thing they do not
+comprehend, they will be the Persons from whom I am to expect no
+Quarter.
+
+Sec. 27. To my Misfortune, I asked one of this sort, from whom he had
+learned the _Counterpoint_? he answered immediately from the Instrument,
+(_i.e._, the Harpsichord)--Very well. I asked farther, in what _Tone_
+have you composed the Introduction of your Opera?----What _Tone_! what
+_Tone_! (breaking in upon me abruptly) with what musty Questions are you
+going to disturb my Brains? One may easily perceive from what School
+you come. The _Moderns_, if you do not know it, acknowledge no other
+_Tone_ but one[77]; they laugh, with Reason, at the silly Opinion of
+those who imagine there are two, as well as at those who maintain, that
+their being divided into _Authentick_ and _Plagal_, they become Eight,
+(and more if there were need) and prudently leave it to everybody's
+Pleasure to compose as they like best. The World in your Time was
+asleep, and let it not displease you, if our merry and brisk Manner has
+awakened it with a Gayety so pleasing to the Heart, that it incites one
+to dance. I would have you likewise be lively before you die, and,
+abandoning your uncouth Ideas, make it appear, that old Age can be
+pleased with the Productions of Youth; otherwise you will find, that
+you will be condemned by your own Words, that Ignorance hates all that
+is excellent. The polite Arts have advanced continually in Refinement,
+and if the rest were to give me the Lie, Musick would defend me Sword in
+Hand; for she cannot arrive at a higher Pitch. Awake therefore, and, if
+you are not quite out of your Senses, hearken to me; and you will
+acknowledge that I speak candidly to you; and for a Proof be it known to
+you----
+
+Sec. 28. That our delicious Stile has been invented to hide with the fine
+Name of _Modern_ the too difficult Rules of the _Counterpoint_, cannot
+be denied.
+
+Sec. 29. That there is an inviolable Rule amongst us, to banish for ever
+the _Pathetick_, is very true; because we will have no Melancholy.
+
+Sec. 30. But, that we should be told by the old _Bashaws_, that we strive
+who can produce most extravagant Absurdities never heard before, and
+that we brag to be the Inventors of them ourselves, are the malign
+Reflections of those who see us exalted. Let Envy burst. You see, that
+the general Esteem which we have acquired, gives it for us; and if a
+Musician is not of our Tribe, he will find no Patron or Admirer. But
+since we are now speaking in Confidence and with Sincerity, who can sing
+or compose well, without our Approbation? Let them have ever so much
+Merit (you know it) we do not want Means to ruin him; even a few
+Syllables will suffice: It is only saying, He is an _Ancient_.
+
+Sec. 31. Tell me, I beseech you, who, without us, could have brought Musick
+to the Height of Happiness, with no greater Difficulty than taking from
+the _Airs_ that tiresome Emulation of the first and second Violin, and
+of the Tenor? Is there any that ever durst usurp the Glory of it? We, we
+are those, who by our Ingenuity have raised her to this Degree of
+Sublimity, in taking also from her that noisy murmuring of the
+fundamental Basses, in such Manner,----(mark me well, and learn) that
+if in an _Orchestre_ there were an hundred Violins, we are capable of
+composing in such a Manner, that all and every one shall play the very
+_Air_ which the Voice sings. What say you to that? Can you have the Face
+to find Fault with us?
+
+Sec. 32. Our most lovely Method, that obliges none of us to the painful
+Study of the Rules; which does not disquiet the Mind with the Anxiety of
+Speculation, nor delude us with the Study of reducing them into
+Practice; that does not prejudice the Health; that enchants the Ear _a
+la Mode_; that finds those who love it, who prize it, and who pay for it
+the Weight in Gold; and dare you to criticise upon it?
+
+Sec. 33. What shall we say of the obscure and tedious Compositions of those
+whom you celebrate as the Top of the Universe, tho' your Opinion goes
+for nothing? Don't you perceive that those old-fashioned Crabbednesses
+are disgustful? We should be great Fools to grow pale, and become
+paralytick in studying and finding out in the Scores, the Harmony, the
+_Fugues_, their _Reverses_, the _Double Counterpoint_, the
+Multiplication of Subjects, to contract them closer, to make _Canons_,
+and such other dry Stuff, that are no more in _Mode_, and (what is
+worse) are of little Esteem, and less Profit. What say you now to this,
+_Master Critick_? Have you comprehended me?----Yes, Sir. Well, what
+Answer do you make me?----None.
+
+Sec. 34. Really, I am astonished, O beloved Singers, at the profound
+Lethargy in which you remain, and which is so much to your Disadvantage.
+'Tis You that ought to awaken, for now is the Time, and tell the
+Composers of this Stamp, that your Desire is to Sing, and not to Dance.
+
+
+
+
+CHAP. VIII.
+
+_Of_ Cadences.[78]
+
+
+The _Cadences_, that terminate the _Airs_, are of two Sorts. The
+Composers call the one _Superior_, and the other _Inferior_. To make
+myself better understood by a Scholar, I mean, if a _Cadence_ were in
+_C_ natural, the Notes of the first would be _La, Sol, Fa;_ and those of
+the second _Fa, Mi, Fa_. In _Airs_ for a single Voice, or in
+_Recitatives_, a Singer may chuse which of these _Closes_ or _Cadences_
+pleases him best; but if in Concert with other Voices, or accompanied
+with Instruments, he must not change the Superior for the Inferior, nor
+this with the other.[79]
+
+Sec. 2. It would be superfluous to speak of the broken _Cadences_, they
+being become familiar even to those who are not Professors of Musick,
+and which serve at most but in _Recitatives_.[80]
+
+Sec. 3. As for those _Cadences_ that fall a fifth, they were never composed
+in the old Stile for a _Soprano_, in an _Air_ for a single Voice, or
+with Instruments, unless the Imitation of some Words had obliged the
+Composer thereto. Yet these, having no other Merit, but of being the
+easiest of all, as well for the Composer as for the Singer, are at
+present the most prevailing.[81]
+
+Sec. 4. In the Chapter on _Airs_, I have exhorted the Student to avoid that
+Torrent of _Passages_ and _Divisions_, so much in the _Mode_, and did
+engage myself also, to give my weak Sentiments on the _Cadences_ that
+are now current; and I am now ready: But, however, with the usual
+Protestation of submitting them, with all my other Opinions, to the
+Tribunal of the Judicious, and those of Taste, from whence there is no
+Appeal; that they, as sovereign Judges of the Profession, may condemn
+the Abuses of the _modern Cadences_, or the Errors of my Opinion.
+
+Sec. 5. Every _Air_ has (at least) three _Cadences_, that are all three
+final. Generally speaking, the Study of the Singers of the present Times
+consists in terminating the _Cadence_ of the first Part with an
+overflowing of _Passages_ and _Divisions_ at Pleasure, and the
+_Orchestre_ waits; in that of the second[82] the Dose is encreased, and
+the _Orchestre_ grows tired; but on the last _Cadence_, the Throat is
+set a going, like a Weather-cock in a Whirlwind, and the _Orchestre_
+yawns. But why must the World be thus continually deafened with so many
+_Divisions_? I must (with your leave, _Gentlemen Moderns_) say in Favour
+of the Profession, that good Taste does not consist in a continual
+Velocity of the Voice, which goes thus rambling on, without a Guide, and
+without Foundation; but rather, in the _Cantabile_, in the putting forth
+the Voice agreeably, in _Appoggiatura's_, in Art, and in the true Notion
+of Graces, going from one Note to another with singular and unexpected
+Surprizes, and stealing the Time exactly on the true _Motion_ of the
+Bass. These are the principal and indispensible Qualities which are most
+essential to the singing well, and which no musical Ear can find in your
+capricious _Cadences_. I must still add, that very _anciently_ the Stile
+of the Singers was insupportable, (as I have been informed by the
+Master who taught me to _Sol-fa_) by reason of the Number of _Passages_
+and _Divisions_ in their _Cadences_, that never were at an end, as they
+are now; and that they were always the same, just as they are now. They
+became at last so odious, that, as a Nusance to the Sense of Hearing,
+they were banished without so much as attempting their Correction. Thus
+will it also happen to These, at the first Example given by a Singer
+whose Credit is established, and who will not be seduced by a vain
+popular Applause. This Reformation the succeeding Professors of Eminence
+prescribed to themselves as a Law, which perhaps would not have been
+abolished, were they in a Condition to be heard; but the Opulency of
+some, Loss of the Voice, Age and Death of others, has deprived the
+Living from hearing what was truly worthy our Admiration in Singing. Now
+the Singers laugh at the Reformers, and their Reformation of the
+_Passages_ in the _Cadences_; and on the contrary, having recalled them
+from their Banishment, and brought them on the Stage, with some little
+_Caricatura_ to boot, they impose them on the Ignorant for rare
+Inventions, and gain themselves immense Sums; it giving them no Concern
+that they have been abhorr'd and detested for fifty or sixty Years, or
+for an hundred Ages. But who can blame them? However, if Reason should
+make this Demand of them, with what unjust Pretence can you usurp the
+Name of _Moderns_, if you sing in a most _Ancient_ Stile? Perhaps, you
+think that these overflowings of your Throat are what procure you Riches
+and Praises? Undeceive yourselves, and thank the great Number of
+Theatres, the Scarcity of excellent Performers, and the Stupidity of
+your Auditors. What could they answer? I know not. But let us call them
+to a stricter Account.
+
+Sec. 6. _Gentlemen Moderns_, can you possibly deny, but that you laugh
+among yourselves, when you have Recourse to your long-strung _Passages_
+in the _Cadences_, to go a begging for Applause from the blind Ignorant?
+You call this Trick by the Name of an _Alms_, begging for Charity as it
+were for those _E Viva's_, which, you very well know, you do not deserve
+from Justice. And in return you laugh at your Admirers, tho' they have
+not Hands, Feet, nor Voice enough to applaud you. Is this Justice? Is
+this Gratitude?----Oh! if they ever should find you out! My beloved
+Singers, tho' the Abuses of your _Cadences_ are of use to you, they are
+much more prejudicial to the Profession, and are the greatest Faults you
+can commit; because at the same time you know yourselves to be in the
+Wrong. For your own Sakes undeceive the World, and employ the rare
+Talent you are endowed with on Things that are worthy of you. In the
+mean while I will return with more Courage to my Opinions.
+
+Sec. 7. I should be very desirous to[83] know, on what Foundation certain
+_Moderns_ of Reputation, and great Name, do on the superior _Cadences_
+always make the _Shake_ on the third in _Alt_ to the final Note; since
+the _Shake_ (which ought to be resolved) cannot be so in this Case, by
+reason of that very third, which being the sixth of the Bass hinders it,
+and the _Cadence_ remains without a Resolution. If they should go so far
+as to imagine, that the best Rules depended on the _Mode_, I should
+notwithstanding think, they might sometimes appeal to the Ear, to know
+if That was satisfied with a _Shake_ beaten with the seventh and the
+sixth on a Bass which makes the _Cadence_; and I am sure it would
+answer. No. From the Rules of the _Ancients_ we learn, that the _Shake_
+is to be prepared on the sixth of the Bass, that after it the fifth may
+be heard, for that is its proper Place.
+
+Sec. 8. Some others of the same Rank make their _Cadences_ in the Manner of
+the Basses, which is, in falling a fifth, with a Passage of Swift Notes
+descending gradually, supposing that by this Means they cover the
+_Octaves_, which, tho' disguised, will still appear.
+
+Sec. 9. I hold it also for certain, that no Professor of the first Rank, in
+any _Cadence_ whatsoever, can be allowed to make _Shakes_, or
+_Divisions_, on the last Syllables but one of these
+Words,--_Confondero_--_Amero_, &c. for they are Ornaments that do not
+suit on those Syllables which are short, but do well on the
+Antecedent.[84]
+
+Sec. 10. Very many of the second Class end the inferior _Cadences_ in the
+_French_ Manner without a _Shake_[85], either for want of Ability to
+make one, or from its being easy to copy them, or from their Desire of
+finding out something that may in Appearance support the name of
+_Modern_. But in Fact they are mistaken; for the _French_ do not leave
+out the _Shake_ on the inferior _Cadences_, except in the _Pathetick
+Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude
+it every where, tho' in the _Allegro_ the _Shake_ is absolutely
+necessary. I know, that a good Singer may with Reason abstain from the
+_Shake_ in the _Cantabile_; however, it should be rarely; for if one of
+those _Cadences_ be tolerable without that pleasing Grace, it is
+absolutely impossible not to be tired at length, with a Number one after
+another that die suddenly.
+
+Sec. 11. I find that all the _Moderns_ (let them be Friends or Foes to the
+_Shake_) in the inferior _Cadences_ beforementioned go with an
+_Appoggiatura_ to the final Note, on the penultimate Syllable of a Word;
+and this likewise is a Defect, it appearing to me, that on such
+Occasions the _Appoggiatura_ is not pleasing but on the last Syllable,
+after the Manner of the _Ancients_, or of those who know how to
+sing.[86]
+
+Sec.12. If, in the inferior _Cadences_, the best Singers of these Days
+think they are not in the wrong in making you hear the final Note before
+the Bass[87], they deceive themselves grossly; for it is a very great
+Error, hurts the Ear, and is against the Rules; and becomes doubly so,
+going (as they do) to the same Note with an _Appoggiatura_, the which
+either ascending or descending, if not after the Bass[88], is always
+very bad.
+
+Sec. 13. And is it not worst of all, to torment the Hearers with a thousand
+_Cadences_ all in the same Manner? From whence proceeds this Sterility,
+since every Professor knows, that the surest way of gaining Esteem in
+Singing is a Variety in the Repetition?
+
+Sec. 14. If among all the _Cadences_ in the _Airs_, the last allows a
+moderate Liberty to the Singer, to distinguish the end of them, the
+Abuse of it is insufferable. But it grows abomable, when the Singer
+persists with his tiresome Warbling, nauseating the Judicious, who
+suffer the more, because they know that the Composers leave generally in
+every _final Cadence_ some Note, sufficient to make a discreet
+Embellishment; without seeking for it out of Time, without Taste,
+without Art, and without Judgment.[89]
+
+Sec. 15. I am still more surprised when I reflect, that the _modern_ Stile,
+after having exposed all the _Cadences_ of the theatrical _Airs_ to the
+Martyrdom of a perpetual Motion, will likewise have the Cruelty to
+condemn to the same Punishment not Those in the _Cantata's_ only, but
+also the _Cadences_ of their _Recitatives_. Do these Singers pretend, by
+their not distinguishing the Chamber-Musick from the immoderate
+_Gargling_ of the Stage, to expect the vulgar _E Viva's_ in the Cabinet
+of Princes?
+
+Sec. 16. Let a sensible Student avoid this Example, and with this Example
+the Abuses, the Defects, and every other Thing that is mean and common,
+as well in the _Cadences_ as elsewhere.
+
+Sec. 17. If, the inventing particular _Cadences_ without injuring the Time,
+has been one of the worthy Employments of the _Ancients_ (so call'd) let
+a Student revive the Use of it; endeavouring to imitate them in their
+Skill of somewhat anticipating the Time; and remember, that Those, who
+understand the Art of Gracing, do not wait to admire the Beauty of it in
+a Silence of the Bass.
+
+Sec. 18. Many and many other Errors are heard in the _Cadences_ that were
+_Antique_, and which are now become _Modern_; they were ridiculous then,
+and are so now; therefore considering, that to change the Stile is not
+always to improve it, I may fairly conclude, that what is bad is to be
+corrected by Study, and not by the _Mode_.
+
+Sec. 19. Now let us for a while leave at Rest the Opinions of the aforesaid
+Ancients, and the supposed _Moderns_, to take notice what Improvement
+the Scholar has made, since he is desirous of being heard. Well then,
+let him attend, before we part with him, to Instructions of more Weight,
+that he may at least deserve the Name of a good Singer, though he may
+not arrive at that of an eminent one.
+
+
+
+
+CHAP. IX.
+
+_Observations for a Singer._[90]
+
+
+Behold the Singer now appearing in Publick, from the Effects of his
+Application to the Study of the foregoing Lessons. But to what Purpose
+does he appear? Whoever, in the great Theatre of the World, does not
+distinguish himself, makes but a very insignificant Figure.
+
+Sec. 2. From the cold Indifference perceived in many Singers, one would
+believe that the Science of Musick implored their Favour, to be
+received by them as their most humble Servant.
+
+Sec. 3. If too many did not persuade themselves that they had studied
+sufficiently, there would not be such a Scarcity of the Best, nor such a
+Swarm of the Worst. These, because they can sing by Heart three or four
+_Kyrie's_[91], think they are arrived at the _Non plus ultra_; but if
+you give them a _Cantata_ to sing, that is even easy, and fairly
+written, they, instead of complying as they ought, will tell you with an
+impudent Face, that Persons of their Degree are not obliged to sing in
+the vulgar Tongue at Sight. And who can forbear laughing? For a Musician
+knowing that the Words, let them be either _Latin_ or _Italian_, do not
+change the Form of the Notes, must immediately conclude, that this pert
+Answer of the great Man proceeds from his not being able to sing at
+Sight, or from his not knowing how to read; and he judges right.
+
+Sec. 4. There are an infinite Number[92] of others, who wish and sigh for
+the Moment that eases them from the painful Fatigue of their first
+Studies, hoping to have a Chance to make one in the Crowd of the second
+Rate; and stumbling by good Luck on something that gives them Bread,
+they immediately make a Legg to Musick and its Study, not caring whether
+the World knows they are, or are not among the Living. These do not
+consider that _Mediocrity_ in a Singer means _Ignorance_.
+
+Sec. 5. There are also several who study nothing but the Defects, and are
+endow'd with a marvelous Aptness to learn them all, having so happy a
+Memory as never to forget them. Their Genius is so inclined to the Bad,
+that if by Gift of Nature they had the best of Voices, they would be
+discontented if they could not find some Means to make it the worst.
+
+Sec. 6. One of a better Spirit will endeavour to keep better Company. He
+will be sensible of the Necessity of farther Discoveries, of farther
+Instructions, and even of another Master, of whom, besides the Art of
+Singing, he would be glad to learn how to behave himself with good
+Breeding. This, added to the Merit acquired by his Singing, may give him
+Hopes of the Favour of Princes, and of an universal Esteem.
+
+Sec. 7. If he aims at the Character of a young Man of Wit and Judgment, let
+him not be vulgar or too bold.
+
+Sec. 8. Let him shun low and disreputable Company, but, above all, such as
+abandon themselves to scandalous Liberties.
+
+Sec. 9. That Professor ought not to be frequented, though excellent in this
+Art, whose behaviour is vulgar and discreditable, and who cares not,
+provided he makes his Fortune, whether it be at the Expence of his
+Reputation.
+
+Sec. 10. The best School is the Nobility, from whom every thing that is
+genteel is to be learned; but when a Musician finds that his Company is
+not proper, let him retire without repining, and his Modesty will be to
+his Commendation.
+
+Sec. 11. If he should not meet with a Gratification from the Great, let him
+never complain; for it is better to get but little, than to lose a great
+deal, and that is not seldom the Case. The best he can do, is to be
+assiduous in serving them, that at least he may hope for the Pleasure of
+seeing them for once grateful, or be convinced for ever of their being
+ungrateful.
+
+Sec. 12. My long and repeated Travels have given me an Opportunity of being
+acquainted with most of the Courts of _Europe_, and Examples, more than
+my Words, should persuade every able Singer to see them also; but
+without yielding up his Liberty to their Allurements: For Chains,
+though of Gold, are still Chains; and they are not all of that precious
+Metal: Besides, the several Inconveniencies of Disgrace, Mortifications,
+Uncertainty; and, above all, the Hindrance of Study.
+
+Sec. 13.[93] The golden Age of Musick would be already at an End, if the
+Swans did not make their Nests on some Theatres in _Italy_, or on the
+royal Banks of the _Thames_. O dear _London_!----On the other Streams,
+they sing no more as they used to do their sweet Notes at their
+expiring; but rather sadly lament the Expiration of those august and
+adorable Princes, by whom they were tenderly belov'd and esteemed. This
+is the usual Vicissitude of Things in this World; and we daily see, that
+whatever is sublunary must of Necessity decline. Let us leave the Tears
+to the Heart, and return to the Singer.
+
+Sec. 14. A discreet Person will never use such affected Expressions as, _I
+cannot sing To-day;--I've got a deadly Cold;_ and, in making his Excuse,
+falls a Coughing. I can truly say, that I have never in my Life heard a
+Singer own the Truth, and say, _I'm very well to-day_: They reserve the
+unseasonable Confession to the next Day, when they make no Difficulty to
+say, _In all my Days my Voice was never in better Order than it was
+Yesterday_. I own, on certain Conjunctures, the Pretext is not only
+suitable, but even necessary; for, to speak the Truth, the indiscreet
+Parsimony of some, who would hear Musick for Thanks only, goes so far,
+that they think a Master is immediately obliged to obey them _gratis_,
+and that the Refusal is an Offence that deserves Resentment and Revenge.
+But if it is a Law human and divine, that every Body should live by
+their honest Labour, what barbarous Custom obliges a Musician to serve
+without a Recompence? A cursed Over-bearing; O sordid Avarice!
+
+Sec. 15. A Singer, that knows the World, distinguishes between the
+different Manners of Commanding; he knows how to refuse without
+disobliging, and how to obey with a good Grace; not being ignorant, that
+one, who has his Interest most at Heart, sometimes finds his Account in
+serving without a Gratification.
+
+Sec. 16. One who sings with a Desire of gaining Honour and Credit, cannot
+sing ill, and in time will sing better; and one, who thinks on nothing
+but Gain, is in the ready way to remain ignorant.
+
+Sec. 17. Who would ever think (if Experience did not shew it) that a Virtue
+of the highest Estimation should prejudice a Singer? And yet, whilst
+Presumption and Arrogance triumph (I'm shock'd to think on't) amiable
+Humility, the more the Singer has of it, the more it depresses him.
+
+Sec. 18. At first Sight, Arrogance has the Appearance of Ability; but,
+upon a nearer View, I can discover Ignorance in Masquerade.
+
+Sec. 19. This Arrogance serves them sometimes, as a politick Artifice to
+hide their own Failings: For Example, certain Singers would not be
+unconcern'd, under the Shame of not being able to sing a few Barrs at
+Sight, if with Shrugs, scornful Glances, and malicious shaking of their
+Heads, they did not give the Auditors to understand that those gross
+Errors are owing to him that accompanies, or to the _Orchestre_.
+
+Sec. 20. To humble such Arrogance, may it never meet with that Incense
+which it expects.
+
+Sec. 21. Who could sing better than the Arogant, if they were not ashamed
+to study?
+
+Sec. 22. It is a Folly in a Singer to grow vain at the first Applauses,
+without reflecting whether they are given by Chance, or out of Flattery;
+and if he thinks he deserves them, there is an End of him.
+
+Sec. 23. He should regulate his Voice according to the Place where he
+sings; for it would be the greatest Absurdity, not to make a Difference
+between a small Cabinet and a vast Theatre.[94]
+
+Sec. 24. He is still more to be blam'd, who, when singing in two, three, or
+four Parts, does so raise his Voice as to drown his Companions; for if
+it is not Ignorance, it is something worse.
+
+Sec. 25. All Compositions for more than one Voice ought to be sung strictly
+as they are written; nor do they require any other Art but a noble
+Simplicity. I remember to have heard once a famous _Duetto_ torn into
+Atoms by two renown'd Singers, in Emulation; the one proposing, and the
+other by Turns answering, that at last it[95] ended in a Contest, who
+could produce the most Extravagancies.
+
+Sec. 26. The Correction of Friends, that have Knowledge, instructs very
+much; but still greater Advantage may be gain'd from the ill-natur'd
+Criticks; for, the more intent they are to discover Defects, the greater
+Benefit may be receiv'd from them without any Obligation.
+
+Sec. 27. It is certain, that the Errors corrected by our Enemies are better
+cur'd, than those corrected by ourselves; for we are apt to indulge our
+Faults, nor can we so easily perceive them.
+
+Sec. 28. He that sings with Applause in one Place only, let him not have
+too good an Opinion of himself; let him often change Climates, and then
+he will judge better of his Talent.
+
+Sec. 29. To please universally, Reason will tell you, that you must always
+sing well; but if Reason does not inform you, Interest will persuade you
+to conform to the Taste of that Nation (provided it be not too deprav'd)
+which pays you.
+
+Sec. 30. If he that sings well provokes Envy, by singing better he will get
+the Victory over it.
+
+Sec. 31. I do not know if a perfect Singer can at the same time be a
+perfect Actor; for the Mind being at once divided by two different
+Operations, he will probably incline more to one than the other; It
+being, however, much more difficult to sing well than to act well, the
+Merit of the first is beyond the second. What a Felicity would it be, to
+possess both in a perfect Degree![96]
+
+Sec. 32. Having said, a Singer should not copy, I repeat it now with this
+Reason; that to copy is the part of a Scholar, that of a Master is to
+invent.
+
+Sec. 33. Let it be remembered by the Singer, that copying comes from
+Laziness, and that none copy ill but out of Ignorance.
+
+Sec. 34. Where Knowledge with Study makes one a good Singer, Ignorance with
+one single Copy makes a thousand bad ones; however, among these there
+are none that will acknowledge her for a Teacher.
+
+Sec. 35. If many of the female Singers (for whom I have due Respect) would
+be pleased to consider, that by copying a good one, they are become very
+bad ones, they would not appear so ridiculous on the Stage for their
+Affectation in presuming to sing the _Airs_ of the Person they copy,
+with the same Graces. In this great Error, (if it does not proceed from
+their Masters) they seem to be governed by Instinct, like the inferior
+Creatures, rather than by Reason; for That would shew them, that we may
+arrive at Applause by different ways, and past Examples, as well as one
+at this present make us sensible, that two Women would not be equally
+eminent if the one copy'd the other.[97]
+
+Sec. 36. If the Complaisance, which is due to the fair Sex, does not excuse
+the Abuse of copying when it proves prejudicial to the Profession, what
+ought one then to say of those Men, who, instead of inventing, not only
+copy others of their own Sex, but also Women. Foolish and
+shameful!----Supposing an Impossibility, _viz._ that a Singer has
+arrived at copying in such a Manner as not to be distinguished from the
+Original, should he attribute to himself a Merit which does not belong
+to him, and dress himself out in the Habits of another without being
+afraid of being stripp'd of them?
+
+Sec. 37. He, that rightly knows how to copy in Musick, takes nothing but
+the Design; because that Ornament, which we admire when _natural_,
+immediately loses its Beauty when _artificial_.
+
+Sec.38. The most admired Graces of a Professor ought only to be imitated,
+and not copied; on Condition also, that it does not bear not even so
+much as a Shadow of Resemblance of the Original; otherwise, instead of a
+beautiful Imitation, it will become a despicable Copy.
+
+Sec. 39. I cannot decide, which of the two deserves most to be despised,
+one who cannot imitate a good Singer without _Caricatura's_, or He that
+cannot imitate any well but bad ones.
+
+Sec. 40. If many Singers knew, that a bad Imitation is a contagious Evil,
+to which one who studies is not liable, the World would not be reduc'd
+to the Misfortune of seeing in a _Carnaval_ but one Theatre provided
+with eminent Performers, without Hopes of[98] an approaching Remedy.
+Let them take it for their Pains. Let the World learn to applaud Merit;
+and (not to use a more harsh Expression) be less complaisant to Faults.
+
+Sec. 41. Whoever does not know how to steal the Time in Singing, knows not
+how to Compose, nor to Accompany himself, and is destitute of the best
+Taste and greatest Knowledge.[99]
+
+Sec. 42. The stealing of Time, in the _Pathetick_, is an honourable Theft
+in one that sings better than others, provided he makes a Restitution
+with Ingenuity.
+
+Sec. 43. An Exercise, no less necessary than this, is That of agreeably
+_putting forth_ of the Voice, without which all Application is vain.
+Whosoever pretends to obtain it, must hearken more to the Dictates of
+the Heart, than to those of Art.
+
+Sec. 44. Oh! how great a Master is the Heart! Confess it, my beloved
+Singers, and gratefully own, that you would not have arrived at the
+highest Rank of the Profession if you had not been its Scholars; own,
+that in a few Lessons from it, you learned the most beautiful
+Expressions, the most refin'd Taste, the most noble Action, and the most
+exquisite Graces: Own, (though it be hardly credible) that the Heart
+corrects the Defects of Nature, since it softens a Voice that's harsh,
+betters an indifferent one, and perfects a good one: Own, when the Heart
+sings you cannot dissemble, nor has Truth a greater Power of persuading:
+And, lastly, do you convince the World, (what is not in my Power to do)
+that from the Heart alone you have learn'd that _Je ne scai quoy_, that
+pleasing Charm, that so subtily passes from Vein to Vein, and makes its
+way to the very Soul.
+
+Sec. 45. Though the way to the Heart is long and rugged, and known but to
+few, a studious Application will, notwithstanding, master all Obstacles.
+
+Sec. 46. The best Singer in the World continues to study, and persists in
+it as much to maintain his Reputation, as he did to acquire it.
+
+Sec. 47. To arrive at that glorious End, every body knows that there is no
+other Means than Study; but That does not suffice; it is also necessary
+to know in what Manner, and with whose Assistance, we must pursue our
+Studies.
+
+Sec. 48.[100] There are now-a-days as many Masters as there are Professors
+of Musick in any Kind; every one of them teaches, I don't mean the first
+Rudiments only, (That would be an Affront to them;) I am now speaking of
+those who take upon them the part of a Legislator in the most finished
+part in Singing; and should we then wonder that the good Taste is near
+lost, and that the Profession is going to Ruin? So mischievous a
+Pretension prevails not only among those, who can barely be said to
+sing, but among the meanest instrumental Performers; who, though they
+never sung, nor know how to sing, pretend not only to teach, but to
+perfect, and find some that are weak enough to be imposed on. But, what
+is more, the instrumental Performers of some Ability imagine that the
+beautiful Graces and Flourishes, with their nimble Fingers, will have
+the same Effect when executed with the Voice; but it will not do[101]. I
+should be the first to condemn the magisterial Liberty I take, were it
+meant to give Offence to such Singers and instrumental Performers of
+Worth, who know how to sing, perform, and instruct; but my Correction
+aims no farther than to the Petulancy of those that have no Capacity,
+with these few Words, _Age quod agis_; which (for those who do not
+understand _Latin_) is as much as to say,-----Do You mind your _Sol-fa_;
+and You, your Instrument.
+
+Sec. 49. If sometimes it does happen, that an indifferent Master should
+make an excellent Disciple, it is then incontestable, that the Gift of
+Nature in the Student is superior to the Sufficiency of the Instructor:
+and it is not to be wonder'd at, for, if from time to time, even great
+Masters were not outdone, most of the finest Arts would have sunk before
+now.
+
+Sec. 50. It may seem to many, that every perfect Singer must also be a
+perfect Instructor, but it is not so; for his Qualifications (though
+ever so great) are insufficient, if he cannot communicate his
+Sentiments with Ease, and in a Method adapted to the Ability of the
+Scholar; if he has not some Notion of Composition, and a manner of
+instructing, which may seem rather an Entertainment than a Lesson; with
+the happy Talent to shew the Ability of the Singer to Advantage, and
+conceal his Imperfections; which are the principal and most necessary
+Instructions.
+
+Sec. 51. A Master, that is possessed of the abovementioned Qualifications,
+is capable of Teaching; with them he will raise a Desire to study; will
+correct Errors with a Reason; and by Examples incite a Taste to imitate
+him.
+
+Sec. 52. He knows, that a Deficiency of Ornaments displeases as much as the
+too great Abundance of them; that a Singer makes one languid and dull
+with too little, and cloys one with too much; but, of the two, he will
+dislike the former most, though it gives less Offence, the latter being
+easier to be amended.
+
+Sec. 53. He will have no Manner of Esteem for those who have no other
+Graces than gradual _Divisions_[102]; and will tell you, Embellishments
+of this Sort are only fit for Beginners.
+
+Sec. 54. He will have as little Esteem for those who think to make their
+Auditors faint away, with their Transition from the sharp Third to the
+Flat.
+
+Sec. 55. He'll tell you, that a Singer is lazy, who on the Stage, from
+Night to Night, teaches the Audience all his Songs; who, by hearing them
+always without the least Variation, have no Difficulty to learn them by
+Heart.
+
+Sec. 56. He will be affrighted at the Rashness of one that launches out,
+with little Practice, and less Study; lest venturing too far, he should
+be in great Danger of losing himself.
+
+Sec. 57. He will not praise one that presumes to sing two Parts in three of
+an Opera, promising himself never to be tiresome, as if that divine
+Privilege of always pleasing were allowed him here below. Such a one
+does not know the first Principle of musical Politicks; but Time will
+teach it him. He, that sings little and well, sings very well.
+
+Sec. 58. He will laugh at those who imagine to satisfy the Publick with the
+Magnificence of their Habits, without reflecting, that Merit and
+Ignorance are equally aggrandized by Pomp. The Singers, that have
+nothing but the outward Appearance, pay that Debt to the Eyes, which
+they owe to the Ears.
+
+Sec. 59. He will nauseate the new-invented Stile of those who provoke the
+innocent Notes with coarse Startings of the Voice. A disagreeable
+Defect; however, being brought from[103] beyond the _Alps_, it passes
+for a _modern_ Rarity.
+
+Sec. 60. He will be astonished at this bewitched Age, in which so many are
+paid so well for singing ill. The _Moderns_ would not be pleas'd to be
+put in Mind, that, twenty Years ago, indifferent Singers had but mean
+Parts allotted them, even in the second-rate Theatres; whereas at
+present, those, who are taught like Parrots, heap up Treasures beyond
+what the Singers of the first Degree then did.[104]
+
+Sec. 61. He will condemn the Ignorance of the Men most, they being more
+obliged to study than the Women.
+
+Sec. 62. He will not bear with one who imitates the Women, even in
+sacrificing the Time, in order to acquire the Title of _Modern_.
+
+Sec. 63. He will marvel at that[105] Singer, who, having a good Knowledge
+of Time, yet does not make use of it, for want of having apply'd himself
+to the Study of Composition, or to accompany himself. His Mistake makes
+him think that, to be eminent, it suffices to sing at Sight; and does
+not perceive that the greatest Difficulty, and the whole Beauty of the
+Profession consists in what he is ignorant of; he wants that Art which
+teaches to anticipate the Time, knowing where to lose it again; and,
+which is still more charming, to know how to lose it, in order to
+recover it again; which are the Advantages of such as understand
+Composition, and have the best Taste.
+
+Sec. 64. He will be displeased at the Presumption of a Singer who gets the
+Words of the most wanton _Airs_ of the Theatre rendered into _Latin_,
+that he may sing them with Applause in the[106] Church; as if there
+were no Manner of Difference between the Stile of the one and the other;
+and, as if the Scraps of the Stage were fit to offer to the Deity.
+
+Sec. 65. What will he not say of him who has found out the prodigious Art
+of Singing like a _Cricket_? Who could have ever imagin'd, before the
+Introduction of the _Mode_, that ten or a dozen Quavers in a Row could
+be trundled along one after the other, with a Sort of _Tremor_, of the
+Voice, which for some time past has gone under the name of _Mordente
+Fresco_?[107]
+
+Sec. 66. He will have a still greater Detestation for the Invention of
+Laughing in Singing, or that screaming like a Hen when she is laying her
+Egg. Will there not be some other little Animal worth their Imitation,
+in order to make the Profession more and more ridiculous?
+
+Sec. 67. He will disapprove the malicious Custom of a Singer in Repute,
+who talks and laughs on the Stage with his Companions, to induce the
+Publick to believe that such a Singer, who appears the first time on the
+Stage, does not deserve his Attention; when in reality he is afraid of,
+or envies, his gaining Applause.
+
+Sec. 68. He cannot endure the Vanity of that Singer, who, full of himself
+from the little he has learned, is so taken with his own Performance,
+that he seems falling into an Extasy; pretending to impose Silence and
+create Wonder, as if his first Note said to the Audience, _Hear and
+Die_: But they, unwilling to die, chuse not to hear him, talk loud, and
+perhaps not much to his Advantage. At his second Air the Noise
+encreases, and still encreasing, he looks upon it as a manifest Injury
+done him; and, instead of correcting his conceited Pride by Study, he
+curses the deprav'd Taste of that Nation that does not esteem him,
+menacing never to return again; and thus the vain Wretch comforts
+himself.
+
+Sec. 69. He will laugh at one who will not act unless he has the Choice of
+the Drama, and a Composer to his liking; with this additional Condition,
+not to sing in Company with such a Man, or without such a Woman.
+
+Sec. 70. With the like Derision, he will observe some others, who with an
+Humility worse than Pride, go from one Box to another, gathering Praises
+from the most illustrious Persons, under a Pretence of a most profound
+Obsequiousness, and become in every Representation more and more
+familiar. Humility and Modesty are most beautiful Virtues; but if they
+are not accompanied with a little Decorum, they have some Resemblance to
+Hypocrisy.
+
+Sec. 71. He will have no great Opinion of one, who is not satisfied with
+his Part, and never learns it; of one, who never sings in an Opera
+without thrusting in one _Air_ which he always carries in his Pocket; of
+one, who bribes the Composer to give him an _Air_ that was intended for
+another; of one, who takes Pains about Trifles, and neglects Things of
+Importance; of one, who, by procuring undeserved Recommendations, makes
+himself and his Patron ridiculous; of one, who does not sustain his
+Voice, out of Aversion to the _Pathetick_; of one, who gallops to follow
+the _Mode_; and of all the bad Singers, who, not knowing what's good,
+court the _Mode_ to learn its Defects.
+
+Sec. 72. To sum up all, he will call none a Singer of Merit, but him who is
+correct; and who executes with a Variety of Graces of his own, which his
+Skill inspires him with unpremeditately; knowing, that a Professor of
+Eminence cannot, if he would, continually repeat an _Air_ with the
+self-same _Passages_ and _Graces_. He who sings premeditately, shews he
+has learn'd his Lesson at Home.
+
+Sec. 73. After having corrected several other Abuses and Defects, to the
+Advantage of the Singer, he will return with stronger Reasons to
+persuade him to have Recourse to the fundamental Rules, which will
+teach him to proceed on the Bass from one Interval to another, with sure
+Steps, and without Danger of erring. If then the Singer should say, Sir,
+you trouble yourself in vain; for the bare Knowledge of the Errors is
+not sufficient; I have need of other Help than Words, and I know not
+where to find it, since it seems that there is at present such a
+Scarcity of good Examples in _Italy_: Then, shrugging his Shoulders, he
+will answer him, rather with Sighs than Words; that he must endeavour to
+learn of the best Singers that there are; particularly by observing two
+of the fair Sex,[108] of a Merit superior to all Praise; who with equal
+Force, in a different Stile, help to keep up the tottering Profession
+from immediately falling into Ruin. The one is inimitable for a
+privileg'd Gift of Singing, and for enchanting the World with a
+prodigious Felicity in executing, and with a singular Brilliant (I know
+not whether from Nature or Art) which pleases to Excess. The delightful,
+soothing _Cantabile_ of the other, joined with the Sweetness of a fine
+Voice, a perfect Intonation, Strictness of Time, and the rarest
+Productions of a Genius, are Qualifications as particular and uncommon,
+as they are difficult to be imitated. The _Pathetick_ of the one, and
+the _Allegro_ of the other, are the Qualities the most to be admired
+respectively in each of them. What a beautiful Mixture would it be, if
+the Excellence of these two angelick Creatures could be united in one
+single Person! But let us not lose Sight of the Master.
+
+Sec. 74. He will also convince the Scholar, that the Artifice of a
+Professor is never more pleasing, than when he deceives the Audience
+with agreeable Surprizes; for which reason he will advise him to have
+Recourse to a seeming Plainness, as if he aim'd at nothing else.
+
+Sec. 75. But when the Audience is in no farther Expectation, and (as I may
+say) grows indolent, he will direct him to rouse them that Instant with
+a _Grace_.
+
+Sec. 76. When they are again awake, he will direct him to return to his
+feigned Simplicity, though it will no more be in his power to delude
+those that hear him, for with an impatient Curiosity they already expect
+a second, and so on.
+
+Sec. 77. He will give him ample Instructions concerning _Graces_ of all
+sorts, and furnish him with Rules and profitable Documents.
+
+Sec. 78. Here should I inveigh (though I could not enough) against the
+Treachery of my Memory, that has not preserved, as it ought, all those
+peculiar Excellencies which a great Man did once communicate to me,
+concerning _Passages_ and _Graces_; and to my great Sorrow, and perhaps
+to the Loss of others, it will not serve me to publish any more than
+these few poor Remains, the Impressions of which are still left, and
+which I am now going to mention.
+
+
+
+
+CHAP. X.
+
+_Of_ Passages _or_ Graces.
+
+
+_Passages_ or _Graces_ being the principal Ornaments in Singing, and the
+most favourite Delight of the Judicious, it is proper that the Singer be
+very attentive to learn this Art.
+
+Sec. 2. Therefore, let him know, that there are five principal
+Qualifications, which being united, will bring him to admirable
+Perfection, _viz._ _Judgment_, _Invention_, _Time_, _Art_, and _Taste_.
+
+Sec. 3. There are likewise five subaltern Embellishments _viz._ the
+_Appoggiatura_, the _Shake_, the _putting forth of the Voice_, the
+_Gliding_, and _Dragging_.
+
+_The principal Qualifications teach,_
+
+Sec. 4. That the _Passages_ and _Graces_ cannot be form'd but from a
+profound _Judgment_.
+
+Sec. 5. That they are produced by a singular and beautiful _Invention_,
+remote from all that is vulgar and common.
+
+Sec. 6. That, being govern'd by the rigorous, but necessary, Precepts of
+_Time_, they never transgress its regulated Measure, without losing
+their own Merit.
+
+Sec. 7. That, being guided by the most refined _Art_ on the Bass, they may
+There (and no where else) find their Center; there to sport with
+Delight, and unexpectedly to charm.
+
+Sec. 8. That, it is owing to an exquisite _Taste_, that they are executed
+with that sweet _putting forth_ of the Voice, which is so enchanting.
+
+_From the accessory Qualities is learned,_
+
+Sec. 9. That the _Graces_ or _Passages_ be easy in appearance, thereby to
+give universal Delight.
+
+Sec. 10. That in effect They be difficult that thereby the Art of the
+Inventor be the more admired.
+
+Sec. 11. That They be performed with an equal regard to the Expression of
+the Words, and the Beauty of the Art.
+
+Sec. 12. That They be _gliding_ or _dragging_ in the _Pathetick_, for They
+have a better Effect than those that are mark'd.
+
+Sec. 13. That They do not appear studied, in order to be the more regarded.
+
+Sec. 14. That They be softened with the _Piano_ in the _Pathetick_, which
+will make them more affecting.
+
+Sec. 15. That in the _Allegro_ They be sometimes accompanied with the
+_Forte_ and the _Piano_, so as to make a sort of _Chiaro Scuro_.
+
+Sec. 16. That They be confin'd to a _Group_ of a few Notes, which are more
+pleasing than those which are too numerous.
+
+Sec. 17. That in a slow _Time_, there may be a greater Number of them (if
+the Bass allows it) with an Obligation upon the Singer to keep to the
+Point propos'd, that his Capacity be made more conspicuous.
+
+Sec. 18. That They be properly introduc'd, for in a wrong Place They
+disgust.
+
+Sec. 19. That They come not too close together, in order to keep them
+distinct.
+
+Sec. 20. That They should proceed rather from the Heart than from the
+Voice, in order to make their way to the Heart more easily.
+
+Sec. 21. That They be not made on the second or fourth Vowel, when closely
+pronounc'd, and much less on the third and fifth.
+
+Sec. 22. That They be not copied, if you would not have them appear
+defective.
+
+Sec. 23. That They be stol'n on the _Time_, to captivate the Soul.
+
+Sec. 24. That They never be repeated in the same place, particularly in
+_Pathetick Airs_, for there they are the most taken Notice of by the
+Judicious.
+
+Sec. 25. And, above all, let them be improv'd; by no means let them lose in
+the Repetition.
+
+Sec. 26. Many Professors are of Opinion, that in _Graces_ there is no room
+for the marked _Divisions_, unless mix'd with some of the aforesaid
+Embellishments or some other agreable Accidents.
+
+Sec. 27. But it is now time that we speak of the _Dragging_, that, if the
+_Pathetick_ should once return again into the World, a Singer might be
+able to understand it. The Explanation would be easier understood by
+Notes of Musick than by Words, if the Printer was not under great
+Difficulty to print a few Notes; notwithstanding which, I'll endeavour,
+the best I can, to make myself understood.
+
+Sec. 28. When on an even and regular Movement of a Bass, which proceeds
+slowly, a Singer begins with a high Note, dragging it gently down to a
+low one, with the _Forte_ and _Piano_, almost gradually, with
+Inequality of Motion, that is to say, stopping a little more on some
+Notes in the Middle, than on those that begin or end the _Strascino_ or
+_Dragg_.[109] Every good musician takes it for granted, that in the Art
+of Singing there is no Invention superior, or Execution more apt to
+touch the Heart than this, provided however it be done with Judgment,
+and with putting forth of the Voice in a just _Time_ on the Bass.
+Whosoever has most Notes at Command, has the greater Advantage; because
+this pleasing Ornament is so much the more to be admired, by how much
+the greater the Fall is. Perform'd by an excellent _Soprano_, that makes
+use of it but seldom, it becomes a Prodigy; but as much as it pleases
+descending, no less would it displease ascending.
+
+Sec. 29. Mind this, O my beloved Singers! For it is to You only, who are
+inclined to study, that I have addressed myself. This was the Doctrine
+of the School of those Professors, whom, by way of Reproach, some
+mistaken Persons call _Ancients_. Observe carefully its Rules, examine
+strictly its Precepts, and, if not blinded by Prejudice, you will see
+that this School ought to sing in Tune, to put forth the Voice, to make
+the Words understood, to express, to use proper Gesture, to perform in
+_Time_, to vary on its Movement, to compose, and to study the
+_Pathetick_, in which alone Taste and Judgment triumph. Confront this
+School with yours, and if its Precepts should not be sufficient to
+instruct you, learn what's wanting from the _Modern_.
+
+Sec. 30. But if these my Exhortations, proceeding from my Zeal, have no
+Weight with you, as the Advice of Inferiors is seldom regarded, allow at
+least, that whoever has the Faculty of Thinking, may once in sixty Years
+think right. And if you think, that I have been too partial to the Times
+past, then would I persuade you, (if you have not a shaking Hand) to
+weigh in a just Ballance your most renowned Singers; who you take to be
+_Moderns_ (but are not so, except in their _Cadences_;) and having
+undeceived yourselves, you will perceive in them, that instead of
+Affectations, Abuses, and Errors, They sing according to those powerful
+Lessons that give Delight to the Soul, and whose Perfections have made
+Impressions on me, and which I shall always remember with the greatest
+Pleasure. Do but consult them, as I have done, and they will truly and
+freely tell you, That They sell their Jewels where they are understood;
+That the Singers of Eminence are not of the _Mode_, and that at present
+there are many bad Singers.
+
+Sec. 31. True it is, that there are some, tho' few, very good Singers, who,
+when the Vehemence of their youthful fire is abated, will by their
+Examples do Justice to their delightful Profession, in keeping up the
+Splendor of it, and will leave to Posterity a lasting and glorious Fame
+of their Performances. I point them out to you, that, if you find
+yourselves in an Error, you may not want the Means to correct it, nor
+an Oracle to apply to whenever you have occasion. From whence I have
+good Grounds to hope, that the true Taste in Singing will last to the
+End of the World.
+
+Sec. 32. Whoever comprehends what has been demonstrated to him, in these
+and many other Observations, will need no farther Incitement to study.
+Stirred up by his own Desire, he will fly to his beloved Instrument,
+from which, by continued Application, he will find he has no Reason to
+sit down satisfied with what he has learn'd before. He will make new
+Discoveries, inventing new Graces, from whence after comparing them well
+together, he will chuse the best, and will make use of them as long as
+he thinks them so; but, going on in refining, he will find others more
+deserving his Esteem. To conclude, from these he will proceed on to an
+almost infinite Number of _Graces_, by the means whereof his Mind will
+be so opened, that the most hidden Treasures of the Art, and most
+remote from his Imagination, will voluntarily present themselves; so
+that, unless Pride blinds him, or Study becomes tiresome to him, or his
+Memory fails him, he will increase his Store of Embellishments in a
+Stile which will be entirely his own: The principal Aim of one that
+strives to gain the highest Applause.
+
+Sec. 33. Finally, O ye young Singers, hearken to me for your Profit and
+Advantage. The Abuses, the Defects, and the Errors divulged by me in
+these Observations, (which in Justice ought not to be charg'd on the
+_Modern_ Stile) were once almost all Faults I myself was guilty of; and
+in the Flower of my Youth, when I thought myself to be a great Man, it
+was not easy for me to discover them. But, in a more mature Age, the
+slow Undeceit comes too late. I know I have sung ill, and would I have
+not writ worse! but since I have suffered by my Ignorance, let it at
+least serve for a Warning to amend those who wish to sing well. He that
+studies, let him imitate the ingenious Bee, that sucks its Honey from
+the most grateful Flowers. From those called _Ancients_, and those
+supposed _Moderns_, (as I have said) much may be learn'd; it is enough to
+find out the Flower, and know how to distill, and draw the Essence from
+it.
+
+Sec. 34. The most cordial, and not less profitable Advice, I can give you,
+is the following:
+
+Sec. 35. Remember what has been wisely observed, that Mediocrity of Merit
+can but for a short time eclipse the true Sublime, which, how old soever
+it grows, can never die.
+
+Sec. 36. Abhor the Example of those who hate Correction; for like Lightning
+to those who walk in the Dark, tho' it frightens them, it gives them
+Light.
+
+Sec. 37. Learn from the Errors of others: O great Lesson! it costs little,
+and instructs much. Of every one something is to be learned, and the
+most Ignorant is sometimes the greatest Master.
+
+_FINIS_.
+
+
+
+
+PLATES
+
+Pl. I
+
+Chap. 1.st
+
+[Illustration: Sec. 11 Page 17 Nº. 1]
+
+[Illustration: Page 17 Nº. 2]
+
+[Illustration: Sec. 12 Page 18 Nº. 3 Exachords Transposed a Fifth lower]
+
+[Illustration: Sec. 29 Page 28 Nº. 4 Messa di Voce]
+
+Pl. II
+
+Chap. 2d.
+
+[Illustration: Sec. 2 Page 32 Nº. 1 Semitones Major Semitones Minor]
+
+[Illustration: Sec. 3 Page 32 & 33 Nº. 2]
+
+[Illustration: Sec. 4 Page 34 Nº. 3]
+
+[Illustration: Sec. 5 Page 34 Nº. 4]
+
+[Illustration: Sec. 6 Page 34 Nº. 5]
+
+[Illustration: Sec. 7 Page 35 Nº. 6]
+
+Pl. III
+
+[Illustration: Sec. 8 Page 35 Nº. 7.]
+
+[Illustration: Sec. 9 Page 35 Nº. 8.]
+
+[Illustration: Sec. 14 Page 37 Nº. 9.]
+
+[Illustration: Page 37 Nº. 10.]
+
+[Illustration: Page 37 Nº. 11.]
+
+[Illustration: Page 37 Nº. 12.]
+
+[Illustration: Page 37 Nº. 13.]
+
+[Illustration: Sec.15 Page 38 Nº. 14.]
+
+[Illustration: Page 38 Nº. 15. per Messe di Voce]
+
+Pl. IV
+
+Chap. 3d.
+
+[Illustration: Sec. 6 Page 43 Nº. 1.]
+
+[Illustration: Sec. 7 Page 43 Nº. 2.]
+
+[Illustration: Flat Key]
+
+[Illustration: sharp key Page 43 Nº. 3.]
+
+[Illustration: Sec. 8 Page 45 Nº. 4.]
+
+[Illustration: Sec. 9 Page 45 Nº. 5.]
+
+[Illustration: Sec. 10 Page 45 Nº. 6.]
+
+[Illustration: Sec. 11 Page 46 Nº. 7.]
+
+[Illustration: Sec. 12 Page 46 Nº. 8.]
+
+[Illustration: Sec. 13 Page 47 Nº. 9.]
+
+Chap 4th
+
+[Illustration: Sec. 29 Page 62 Nº. 10. Bad]
+
+Chap. 5th
+
+[Illustration: Sec. 13 Page 74 Nº. 1. affann:, Nº. 2. affan-ni]
+
+Chap 8th
+
+[Illustration: Sec. 1 Page 126 Nº. 3. Superior Cadence
+
+La Sol Fa
+
+Inferior Cadence
+
+Fa me Fa]
+
+[Illustration: Sec. 3 Page 127
+
+Nº. 4. Nº. 5.
+
+nel fondo]
+
+[Illustration: Sec. 7 Page 132 Nº. 6., not Resolved Nº. 7 Resolved]
+
+[Illustration: Sec. 9 Page 134 Nº. 8 Confond[ve]-ro am[ve]-ro]
+
+
+FOOTNOTES:
+
+[1] When Arts and Sciences were retrieving from the Barbarism in which
+they were buried, Musick chiefly took its Rise in _Flanders_, and the
+Composers of Musick of that Nation were dispersed all over _Europe_, to
+the Improvement of others. In _Italy_ there arose from that School,
+among several others, _P. Alis. Palestrina_, a Genius so extraordinary,
+that he is looked upon as the _Raphael_ among the Musicians. He lived in
+Pope _Leo_ the Tenth's Time; and no Musick, that we know of, is
+performed at the Pope's Chapel, to this Day, but of his Composition,
+except the famous _Miserere_ of _Allegri_, who liv'd a little time after
+_Palestrina_.
+
+[2] Our Author seems to be a little too partial in Favour of the Singer,
+all momentary Productions being the same; though it must be allowed,
+that by reason of the Expression of the Words, any Error in Singing will
+be more capital, than if the same were committed on an Instrument.
+
+[3] The Author directs this for the Instruction of a _Soprano_, or a
+treble Voice, because Youth possesses that Voice mostly, and that is the
+Age when they should begin to study Musick. It may not be amiss to
+mention, that the _Soprano_ is most apt to perform the Things required
+by your Author, and that every different Scale of Voice has something
+peculiarly relative to its Kind as its own Property; for a _Soprano_ has
+generally most Volubility, and becomes it best; and also equally the
+Pathetick. The _Contr'Alto_ more of the Pathetick than the Volubility;
+the _Tenor_ less of the Pathetick, but more of the Volubility than the
+_Contr'Alto_, though not so much as the _Soprano_. The _Bass_, in
+general more pompous than any, but should not be so boisterous as now
+too often practised.
+
+[4] By this section, and mostly throughout the Work, one sees, the
+Author calculated this Treatise chiefly for the Advantage of Professors
+of Musick; but, notwithstanding, it appears in several Places, that his
+Intention is, that all Lovers of Musick should also be the better for
+it.
+
+[5] _The Explanation of_ Sic vos non vobis, _&c._, _for the Satisfaction
+of those who do not perfectly remember it_.
+
+_Virgil_ having composed a Distich, containing the Praise of _Augustus_,
+and a Compliment on his good Fortune, fix'd it on the Palace Gate,
+without any Name subscrib'd. _Augustus_, making strict Enquiry after the
+Author, and _Virgil's_ Modesty not suffering him to own the Verses, one
+_Bathillus_, a Poet of a mean Reputation, owned himself the Author, and
+received Honour and Reward from the Emperor. _Virgil_, somewhat
+scandalized at this Accident, fixed an Hemistich in these Words (_Sic
+vos non vobis_) four times repeated under the other, where he had placed
+the former Verses. The Emperor was as diligent to have these Hemistichs
+filled up, but no-body appearing to do it, at length _Virgil_ supplied
+them thus:
+
+    _Hos ego Versiculos feci, tulit alter Honores;
+      Sic vos non vobis nidificatis aves.
+      Sic vos non vobis vellera fertis oves.
+      Sic vos non vobis mellificatis apes.
+      Sic vos non vobis fertis aratra boves._
+
+i.e. These Verses I made, but another has taken the Applause of them.
+
+    _So ye Birds build not your Nests
+        For yourselves.
+    So ye Sheep bear not your Wool
+        For yourselves.
+    So ye Bees make not your Honey
+        For yourselves.
+    So ye Oxen submit to the Plow
+        Not for yourselves_.
+
+Upon this Discovery, _Bathillus_ became the Ridicule of _Rome_, and
+_Virgil_ acquired a double Reputation.
+
+The Distich, which _Bathillus_ claim'd for his, was this:
+
+  _Nocte plut tota, redeunt spectacula mane,
+  Divisum Imperium cum Jove Caesar habet._
+
+i.e. It rain'd all Night; in the Morning the publick Shews return:
+_Jove_ and _Caesar_ divide the Rule of the World. The Compliment is, that
+_Caesar_ designing to exhibit Sports to the People, though the preceding
+Night was rainy and unpromising, yet such Weather returned with the
+Morning, as did not disappoint the Solemnity.
+
+[6] _Alla Capella_, Church-Musick where the Flats and Sharps are not
+mark'd.
+
+[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of
+these Cliffs any Line or Space may be what Note you please. Pl. I. Numb.
+2.
+
+[8] It is necessary to understand the _Sol-Fa_-ing, and its Rules, which
+shew where the two Semitones lie in each Octave, Pl. I. Numb. 3. Where
+Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That
+is _Fa_; if more Flats, the last. If one Sharp, That is _Mi_; if more
+Sharps, the last.
+
+[9] His meaning is, that the _French_ are not in the right.
+
+[10] See Sec. 2, and the following, in Chap. III. where the Difficulty of
+the _Semitone Major_ and _Minor_ are cleared.
+
+[11] _Voce di Petto_ is a full Voice, which comes from the Breast by
+Strength, and is the most sonorous and expressive. _Voce di Testa_ comes
+more from the Throat, than from the Breast, and is capable of more
+Volubility. _Falsetto_ is a feigned Voice, which is entirely formed in
+the Throat, has more Volubility than any, but of no Substance.
+
+[12] _Register_; a Term taken from the different Stops of an Organ.
+
+[13] The Pitch of _Lombardy_ or _Venice_, is something more than half a
+Tone higher than at _Rome_.
+
+[14] A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl.
+I. Numb. 4. This being a Term of Art, it is necessary to use it, as well
+as _Piano_ for soft, and _Forte_ for loud. _N.B._ Our Author recommends
+here to use any Grace sparingly, which he does in several other Places,
+and with Reason; for the finest Grace too often repeated grows tiresome.
+
+[15] See for _Appoggiatura_ in the next Chapter.
+
+[16] This Chapter contains some Enquiries into Matters of Curiosity, and
+demands a little Attention. The Reader therefore is desired to postpone
+it to the last.
+
+[17] _Appoggiatura_ is a Word to which the _English_ Language has not an
+Equivalent; it is a Note added by the Singer, for the arriving more
+gracefully to the following Note, either in rising or falling, as is
+shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The _French_
+express it by two different Terms, _Port de Voix_ and _Appuyer_; as the
+_English_ do by a _Prepare_ and a _Lead_. The Word _Appoggiatura_ is
+derived from _Appoggiare_ to lean on. In this Sense, you lean on the
+first to arrive at the Note intended, rising or falling; and you dwell
+longer on the Preparation, than the Note for which the Preparation is
+made, and according to the Value of the Note. The same in a Preparation
+to a Shake, or a Beat from the Note below. No _Appoggiatura_ can be made
+at the Beginning of a Piece; there must be a Note preceding, from whence
+it leads.
+
+[18] Here begins the Examination of the _Semitones Major and Minor_,
+which he promised in Sec. 15. Ch. 1. It may be of Satisfaction to the
+Studious, to set this Matter at once in a true Light; by which our
+Author's Doubts will be cleared, and his Reasoning the easier
+understood. A _Semitone Major_ changes Name, Line, and Space: _A
+Semitone_ Minor changes neither. Pl. II. Numb. 1. To a _Semitone Major_
+one can go with a Rise or _a_ Fall distinctly; to a _Semitone Minor_ one
+cannot _N.B._ From a _Tone Minor_ the _Appoggiatura_ is better and
+easier than from a _Tone Major_.
+
+[19] These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl.
+II. Numb. 2.
+
+[20] Because they are _Semitones Major_. Pl. II. Numb. 3.
+
+[21] Because they are _Semitones Major_. Pl. II. Numb. 4.
+
+[22] Because they are all _Semitones Minor_, which may be known by the
+abovementioned Rule, of their not changing Name, Line, nor Space. Pl.
+II. Numb. 5. and which makes it manifest, that a _Semitone Minor_ cannot
+bear an _Appoggiatura_.
+
+[23] For the same Reason, these being _Semitones Minor_. Pl. II. Numb.
+6.
+
+[24] Because one is a _Semitone Major_, and the other a _Semitone
+Minor_. Pl. III. Numb. 7.
+
+[25] Because they are _Semitones Minor_. Pl. III, Numb. 8.
+
+[26] The _Tone_, or _Mood_, you are in, will determine which is a _Tone
+Major_ or _Minor_; for if you change the _Mood_ or _Tone_, that which
+was the _Tone Major_ may become the _Tone Minor_, and so _Vice Versa_:
+Therefore these two Examples from _C_ to _D_, and from _F_ to _G_, do
+not hold true.
+
+[27] His Perplexity comes from a wrong Notion, in not distinguishing
+those two _Semitones_.
+
+[28] All Intervals, rising with an _Appoggiatura_, arise to the Note
+with a sort of _Beat_, more or less: and the same, descending, arrive to
+the Note with a sort of _Shake_, more or less. Pl. III. Numb. 9, 10. One
+cannot agreeably ascend or descend the Interval of a third _Major_ or
+_Minor_, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12.
+Examples of false or deceitful Intervals. Pl. III. Numb. 13.
+
+[29] So in all Cases where the Interval is deceitful. Pl. III. Numb. 14.
+With a _Messa di Voce_. Pl. III. Numb. 15. See for _Messa di Voce_,
+Chap. I. Sec. 29, and its Note.
+
+[30] In all the modern _Italian_ Compositions the _Appoggiatura's_ are
+mark'd, supposing the Singers to be ignorant where to place them. The
+_French_ use them for their Lessons on the _Harpsichord_, &c., but
+seldom for the Voice.
+
+[31] See for the several Examples of the _Shakes_, Pl. IV.
+
+[32] The first _Shake_ of a _Tone_, Pl. IV. Numb. 1.
+
+[33] See for the Meaning of superior and inferior _Cadences_, Chap.
+VIII. Sec. 1. Pl. V. Numb. 3. _N.B._ Prom the inferior or lower Cadences,
+the first, or full, _Tone Shake_, is not always excluded; for in a sharp
+Key it is always a _Tone_, and in a flat Key a _Semitone_, Pl. IV. Numb.
+3.
+
+[34] The second _Shake_ of a _Semitone Major_, Pl. IV. Numb. 2.
+
+[35] The third the short _Shake_. Pl. IV. Numb. 4.
+
+[36] The fourth the rising _Shake_. Pl. IV. Numb. 5.
+
+[37] The fifth the descending _Shake_. Pl. IV. Numb. 6.
+
+[38] The sixth the slow _Shake_. Pl. IV. Numb. 7.
+
+[39] The seventh the redoubled _Shake_. Pl. IV. Numb. 8.
+
+[40] The eighth the _Trillo-Mordente_, or _Shake_ with a _Beat_. Pl. IV.
+Numb. 9.
+
+[41] _Shakes_ are generally proper from preceding Notes descending, but
+not ascending, except on particular Occasions. Never too many, or too
+near one another; but very bad to begin with them, which is too
+frequently done. The using so often _Beats_, _Shakes_, and _Prepares_,
+is owing to Lessons on the Lute, Harpsichord, and other Instruments,
+whose Sounds discontinue, and therefore have Need of this Help.
+
+[42] The _mark'd Divisions_ should be something like the _Staccato_ on
+the Violin, but not too much; against which a Caution will presently be
+given.
+
+[43] The _Gliding Notes_ are like several Notes in one Stroke of the Bow
+on the Violin.
+
+[44] The pronouncing _Eror_ instead of _Error_; or _Dally_ instead of
+_Daly_. The not distinguishing; the double Consonants from the single,
+is an Error but too common at present.
+
+[45] See for the _syncopated_, _Ligatura_, or _binding_ Notes, Pl. IV.
+Numb. 10.
+
+[46] _Madrigals_ are Pieces in several Parts; the last in Practice were
+about threescore Years ago; then the Opera's began to be in Vogue, and
+good Musick and the Knowledge of it began to decline.
+
+[47] _Musica di Camera._ Chamber, or private, Musick; where the
+Multitude is not courted for Applause, but only the true Judges; and
+consists chiefly in _Cantata's_, _Duetto's_, &c. In the Recitative of
+_Cantata's_, our Author excelled in a singular Manner for the pathetick
+Expression of the Words.
+
+[48] _Cortona_ liv'd above forty Years ago. _Balarini_, in Service at
+the Court of _Vienna_, much in Favour with the Emperor _Joseph_, who
+made him a Baron.
+
+[49] See Broken Cadences, Pl. V. Numb. 1.
+
+----Final Cadences, Pl. V. Numb. 2.
+
+[50] _Motets_, or Anthems.
+
+[51] The Proverb is, _Lingua_ Toscana _in bocca_ Romana.--This regards
+the different Dialects, in _Italy_; as _Neapolitan_, _Venetian_, _&c._
+the same, in Comparison, _London_ to _York_, or _Somersetshire_.
+
+[52] The Church-Musick in _Italy_ is all in _Latin_, except
+_Oratorio's_, which are Entertainments in their Churches. It is
+therefore necessary to have some Notion of the _Latin_ Tongue.
+
+[53] The first Caution against imitating injudiciously the Instrumental
+with the Voice.
+
+[54] The _Italians_ have a Saying, _Voce di Compositore_, to denote a
+bad or an indifferent Voice.
+
+[55] _Cantabile_, the Tender, Passionate, Pathetick; more Singing than
+_Allegro_, which is Lively, Brisk, Gay, and more in the executive Way.
+
+[56] Suppose the first Part expressed Anger, and the second relented,
+and was to express Pity or Compassion, he must be angry again in the _Da
+Capo_. This often happens, and is very ridiculous if not done to a real
+Purpose, and that the Subject and Poetry require it.
+
+[57] It is supposed, the Scholar is arrived to the Capacity of knowing
+Harmony and Counterpoint.
+
+[58] The general dividing of _Airs_ described, to which the Author often
+refers.
+
+[59] With due Deference to our Author, it may be feared, that the
+Affectation of Singing with Variety has conduced very much to the
+introducing a bad Taste.
+
+[60] Continuation of the general dividing _Airs_ in Sec. 4. The End of this
+Section is a seasonable Corrective of the Rule prescribed in the
+foregoing fifth Section.
+
+[61] _Rivani_, called _Ciecolino_, must have written some Treatise on
+Time, which is not come to us, therefore no further Account can be given
+of him.
+
+[62] _Pistochi_ was very famous above fifty Years ago, and refined the
+Manner of singing in _Italy_, which was then a little crude. His Merit
+in this is acknowledged by all his Countrymen, contradicted by none.
+Briefly, what is recounted of him, is, that when he first appeared to
+the World, and a Youth, he had a very fine treble Voice, admired and
+encouraged universally, but by a dissolute Life lost it, and his
+Fortune. Being reduced to the utmost Misery, he entered into the Service
+of a Composer, as a Copyist, where he made use of the Opportunity of
+learning the Rules of Composition, and became a good Proficient. After
+some Years, he recovered a little Glimpse of Voice, which by Time and
+Practice turned into a fine _Contr'Alto_. Having Experience on his Side,
+he took Care of it, and as Encouragement came again, he took the
+Opportunity of travelling all _Europe_ over, where hearing the different
+Manners and Tastes, he appropriated them to himself, and formed that
+agreeable Mixture, which he produced in _Italy_, where he was imitated
+and admired. He at last past many Years, when in an affluent Fortune, at
+the Court of _Anspach_, where he had a Stipend, and lived an agreeable
+easy Life; and at last retired to a Convent in _Italy_. It has been
+remark'd, that though several of his Disciples shewed the Improvement
+they had from him, yet others made an ill use of it, having not a little
+contributed to the Introduction of the _modern_ Taste.
+
+[63] _Sifacio_, famous beyond any, for the most singular Beauty of his
+Voice. His Manner of Singing was remarkably plain, consisting
+particularly in the _Messa di Voce_, the putting forth his Voice, and
+the Expression.
+
+There is an _Italian_ Saying, that an hundred Perfections are required
+in an excellent Singer, and he that hath a fine Voice has ninety-nine of
+them.
+
+It is also certain, that as much as is allotted to Volubility and
+Tricks, so much is the Beauty of the Voice sacrificed; for the one
+cannot be done without Prejudice to the other.
+
+_Sifacio_ got that Name from his acting the Part of _Syphax_ the first
+time he appeared on the Stage. He was in _England_ when famous, and
+belonged to King _James_ the Second's Chapel. After which he returned to
+_Italy_, continuing to be very much admired, but at last was waylaid,
+and murthered for his Indiscretion.
+
+[64] _Buzzolini_, the Name known, but no Particulars of him.
+
+[65] _Litigino_, in the Service of the Emperor _Joseph_, and a Scholar
+of _Pistochi_.
+
+[66] _Signora Boschi_ was over in _England_ in Queen _Anne's_ Time; she
+sung one Season in the Opera's, returned to _Venice_, and left her
+Husband behind for several Years; he sung the Bass. She was a Mistress
+of Musick, but her Voice was on the Decay when she came here.
+
+[67] _Santini_, afterwards _Signora Lotti_. She was famous above forty
+Years ago, and appeared at several Courts in _Germany_, where she was
+sent for; then retired to _Venice_, where she married _Signor Lotti_,
+Chapel-Master of St. _Mark_.
+
+All these Singers, though they had a Talent particular to themselves,
+they could, however, sing in several sorts of Stile; on the contrary,
+one finds few, but what attempt nothing that is out of their Way. A
+modern Singer of the good Stile, being asked, whether such and such
+Compositions would not please at present in _Italy_? No doubt, said he,
+they would, but where are the Singers that can sing them?
+
+[68] Those tremendous _Airs_ are called in _Italian_, _un Aria di
+Bravura_; which cannot perhaps be better translated into _English_, than
+a _Hectoring_ Song.
+
+[69] _Pierre Simone Agostini_ lived about threescore Years ago. Several
+_Cantata's_ of his Composition are extant, some of them very difficult,
+not from the Number of _Divisions_ in the vocal Part, but from the
+Expression, and the surprising Incidents, and also the Execution of the
+Basses. He seems to be the first that put Basses with so much Vivacity;
+for _Charissimi_ before him composed with more Simplicity, tho' he is
+reckoned to be one of the first, who enlivened his Musick in the
+Movements of his Basses. Of _Pierre-Simone_ nothing more is known but
+that he loved his Bottle, and when he had run up a Bill in some
+favourite Place, he composed a _Cantata_, and sent it to a certain
+Cardinal, who never failed sending him a fixed Sum, with which he paid
+off his Score.
+
+[70] _Alessandro Stradella_ lived about _Pier. Simone's_ Time, or very
+little after. He was a most excellent Composer, superior in all Respects
+to the foregoing, and endowed with distinguishing personal
+Qualifications. It is reported, that his favourite Instrument was the
+Harp, with which he sometimes accompanied his Voice, which was
+agreeable. To hear such a Composer play on the Harp, must have been what
+we can have no Notion of, by what we now hear. He ended his Life
+fatally, for he was murthered. The Fact is thus related. Being at
+_Genoa_, a Place where the Ladies are allowed to live with more Freedom
+than in any other Part of _Italy_, _Stradella_ had the honour of being
+admitted into a noble Family, the Lady whereof was a great Lover of
+Musick. Her Brother, a wrong-headed Man, takes Umbrage at _Stradella's_
+frequent Visits there, and forbids him going upon his Peril, which Order
+_Stradella_ obeys. The Lady's Husband not having seen _Stradella_ at his
+House for some Days, reproaches him with it. _Stradella_, for his
+Excuse, tells him his Brother-in-Law's Order, which the Nobleman is
+angry with, and charges him to continue his Visits as formerly; he had
+been there scarce three or four Times, but one Evening going Home,
+attended by a Servant and a Lanthorn, four Ruffians rushed out, the
+Lady's Brother one among them, and with _Stiletts_ or Daggers stabb'd
+him, and left him dead upon the Place. The people of _Genoa_ all in a
+Rage fought for the Murtherer, who was forced to fly, his Quality not
+being able to protect him. In another Account of him, this Particularity
+is mentioned; that the Murderers pursued him to _Rome_, and on Enquiry
+learned, that an _Oratorio_ of his Composition was to be performed that
+Evening; they went with an Intent to execute their Design, but were so
+moved with his Composition, that they rather chose to tell him his
+Danger, advised him to depart, and be upon his Guard. But, being pursued
+by others, he lost his Life. His Fate has been lamented by every Body,
+especially by those who knew his Merit, and none have thought him
+deserving so sad a Catastrophe.
+
+[71] When _Tosi_ writ this, the Composers in Vogue were _Scarlatti_,
+_Bononcini_, _Gasparini_, _Mancini_, &c. The last and modern Stile has
+pretty well spread itself all over _Italy_, and begins to have a great
+Tendency to the same beyond the _Alps_, as he calls it.
+
+[72] The _Moods_, here spoken of, our Author has not well explained. The
+Foundation he goes upon are the eight Church _Moods_. But his Meaning
+and Complaint is, that commonly the Compositions are in _C_, or in _A_,
+with their Transpositions, and that the others are not used or known.
+But to particularise here what the _Moods_ are, and how to be used, is
+impossible, for that Branch only would require a large Treatise by
+itself.
+
+[73] The _Airs_, sung in Unison with the Instruments, were invented in
+the _Venetian_ Opera's, to please the _Barcaroles_, who are their
+Watermen: and very often their Applause supports an Opera. The _Roman_
+School always distinguished itself, and required Compositions of Study
+and Care. How it is now at _Rome_ is doubtful; but we do not hear that
+there are any _Corelli's_.
+
+[74] _Maestro di Capella_, Master of the Chapel, the highest Title
+belonging to a Master of Musick. Even now the Singers in _Italy_ give
+the Composers of Opera's the Title of _Signior Maestro_ as a Mark of
+their Submission.
+
+[75] _Contrapunto_, Counterpoint, or Note against Note, the first
+Rudiments of Composition.
+
+[76] _Furlana_. A sort of Country Dance, or _Cheshire_-Round.
+
+It is reported, that the Church-Musick in _Italy_, far from keeping that
+Majesty it ought, is vastly abused the other way; and some Singers have
+had the Impudence to have other Words put to favourite Opera _Airs_ and
+sung them in Churches. This Abuse is not new, for St. _Augustine_
+complains of it; and _Palestrina_ prevented in his Time Musick from
+being banished the Churches.
+
+[77] _Tono_, or _Mood_, and sometimes means the Key. Our Author in this
+Section is fond of a Pun, which cannot well be translated. _Tono_ is
+sometimes writ _Tuono_ and _Tuono_ signifies Thunder; therefore the
+Ignorant answers, he knows no other _Tuono_ but that which is preceded
+by Lightning.
+
+[78] _Cadences_; or, principal Closes in _Airs_.
+
+[79] For superior and inferior _Cadences_, see Pl. V. Numb. 3.
+
+[80] Broken _Cadences_, see Example, Chap. V. Sec. 13, and its Note.
+
+[81] _Cadences_ that fall a Fifth, with and without Words, Pl. V, Numb.
+4 and 5.
+
+[82] By the _Final Cadences_ here mentioned, the first is at the End of
+the first Part of the _Air_; the Second at the End of the second Part:
+and the Third at the end of the first Part when repeated again, or at
+the _Da Capo_, as it is always expressed in _Italian_.
+
+[83] For the resolved and unresolved _Cadences_, see Pl. V. Numb. 6 and
+7.
+
+[84] See for the Examples, Pl. V. Numb. 8.
+
+[85] See Example, Pl. VI. Numb. 1.
+
+[86] See Example, Pl. VI. Numb. 2.
+
+_N.B._ An _Appoggiatura_ cannot be made on an unaccented Syllable.
+
+[87] See for Examples, Pl. VI. Numb. 3.
+
+[88] See for Examples, Pl. VI. Numb. 4.
+
+[89] Some, after a tender and passionate _Air_, make a lively merry
+_Cadence_; and, after a brisk _Air_, end it with one that is doleful.
+
+[90] Though this Chapter regards Singers who make it their Profession,
+and particularly those who sing on the Stage, yet there are many
+excellent Precepts interspersed, that are of Use to Lovers of Musick.
+
+[91] _Kyrie_, the first Word of the Mass-Musick in the Cathedral Stile,
+is not so difficult to them as the _Cantata's_; and the _Latin_ in the
+Service, being familiar to them, saves them the Trouble of attending to
+the Words.
+
+[92] _Thomas Morley_ (who lived above an hundred Years ago) in the third
+Part of his Treatise, pag. 179, speaking of _Motetts_ or Anthems,
+complains thus:--'But I see not what Passions or Motions it can stir up,
+being as most Men doe commonlie Sing,--leaving out the Ditty--as it were
+a Musick made onely for Instruments, which will indeed shew the Nature
+of the Musick, but never carry the Spirit and (as it were) that lively
+Soule which the Ditty giveth; but of this enough. And to return to the
+expressing of the Ditty, the Matter is now come to that State, that
+though a Song be never so wel made, and never so aptly applyed to the
+Words, yet shall you hardly find Singers to expresse it as it ought to
+be; for most of our Church-men, (so they crie louder in the Quire then
+their Fellowes) care for no more; whereas, by the contrarie, they ought
+to study how to vowel and sing clean expressing their Words with
+Devotion and Passion, whereby to draw the Hearer as it were in Chaines
+of Gold by the Eares to the Consideration of holy Things. But this, for
+the most part, you shall find amongst them, that let them continue never
+so long in the Church, yea though it were twentie Years, they will never
+study to sing better than they did the first Day of their Preferment to
+that Place; so that it seems, that having obtained the Living which they
+sought for, they have little or no Care at all, either of their own
+Credit, or well discharging of that Dutie whereby they have their
+Maintenance.'
+
+[93] In _Italy_, the Courts of _Palma_, _Modena_, _Turin_, &c. and in
+_Germany_, the Courts of _Vienna_, _Bavaria_, _Hanover_, _Brandenbourg_,
+_Palatine_, _Saxony_, &c.
+
+[94] There have been such, who valued themselves for shaking a Room,
+breaking the Windows, and stunning the Auditors with their Voice.
+
+[95] The renowned Abbot _Steffani_, so famous for his _Duetto's_, would
+never suffer such luxuriant Singers to perform any of them, unless they
+kept themselves within Bounds.
+
+[96] _Nicolini_, who came the first time into _England_ about the Year
+1708, had both Qualities, more than any that have come since. He acted
+to Perfection, and did not sing much inferior. His Variations in the
+_Airs_ were excellent; but in his _Cadences_ he had a little of the
+antiquated Tricks. _Valentini_, (who was here at the same Time) a
+Scholar of _Pistochi_, though not so powerful in Voice or Action as
+_Nicolini_, was more chaste in his Singing.
+
+[97] The two Women, he points at, are _Cuzzoni_ and _Faustina_.
+
+[98] The _Carnaval_ is a Festival in _Italy_, particularly celebrated at
+_Venice_ from _Christmas_ to _Lent_, when all Sorts of Diversions are
+permitted; and at that Time there are sometimes three different Theatres
+for Opera's only.
+
+[99] Our Author has often mentioned Time; the Regard to it, the
+Strictness of it, and how much it is neglected and unobserv'd. In this
+Place speaking of stealing the Time, it regards particularly the Vocal,
+or the Performance on a single Instrument in the _Pathetick_ and
+_Tender_; when the Bass goes an exactly regular Pace, the other Part
+retards or anticipates in a singular Manner, for the Sake of Expression,
+but after That returns to its Exactness, to be guided by the Bass.
+Experience and Taste must teach it. A mechanical Method of going on with
+the Bass will easily distinguish the Merit of the other Manner.
+
+[100] A farther Animadversion against imitating Instruments with the
+Voice.
+
+[101] Many Graces may be very good and proper for a Violin, that would
+be very improper for a Hautboy; and so with every Species of Instruments
+that have something peculiar. It is a very great Error (too much in
+Practice) for the Voice, (which should serve as a Standard to be
+imitated by Instruments,) to copy all the Tricks practised on the
+several Instruments, to its greatest Detriment.
+
+[102] _Passo_ and _Passagio_. The Difference is, that a _Passo_ is a
+sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. A _Passagio_
+is a Division, a Continuation, or a Succession of Notes, ascending or
+descending with Uniformity. See Pl. VI. Numb. 6.
+
+[103] This alludes to the _French_ Manner of Singing, from whence that
+Defect is copy'd.
+
+[104] The Time he alludes to, is at present between thirty and forty
+Years ago.
+
+[105] Compare this Section with Section 41 in this Chapter and the Note.
+
+[106] This is a Fault more than once heard of, in _Oratario's_ or
+_Motetts_.
+
+[107] See Example, Pl. VI. Numb. 7.
+
+[108] _Faustina_ and _Cuzzoni_, they both having within these few Years
+been in _England_, there needs no other Remark to be made on them, but
+to inform Futurity, that the _English_ Audience distinguish'd them Both
+and at the same time, according to their Merit, and as our Author has
+describ'd them.
+
+It may be worth remarking, that _Castilione_, who lived above two
+hundred Years ago, in his _Cortegiano_, describes _Bidon_, and
+_Marchetto Cara_, two famous Singers in his Time, with the same
+distinguishing Qualifications.
+
+[109] See Examples, Pl. VI. Numb. 8 and 9.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Observations on the Florid Song, by
+Pier Francesco Tosi
+
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+
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