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diff --git a/26477-h/26477-h.htm b/26477-h/26477-h.htm new file mode 100644 index 0000000..83feddb --- /dev/null +++ b/26477-h/26477-h.htm @@ -0,0 +1,4263 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of +Observations On The Florid Song, by Pier Francesco Tosi. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 2%; + } + .bg {font-size:125%;font-variant:small-caps;} + .hang {text-indent:-2%; + margin-left:2%; + } + .head {text-align: center; + text-indent: 0%; + margin-bottom:3%;} + .line {line-height:2em;} + .music {text-indent:0%;text-align:center; + margin-top:5%;margin-bottom:5%;} + .non {text-indent:0%;} + .lg {font-size:150%;} + h1 {letter-spacing:5px; + text-align: center; + clear: both; + text-indent: 0%; + font-size:300%; + margin-bottom: .25em; + margin-top: .25em; + } + h2,h3 {letter-spacing:5px; + text-align: center; + clear: both; + text-indent: 0%; + } + .top5 {margin-top: 5%;} + .top15 {margin-top: 15%;} + hr { width: 90%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + color:black; + } + hr.full { width: 100%; + margin-top: 5%; + margin-bottom: 5%; + border: solid black; + height: 5px; } + table {margin-left: auto; margin-right: auto;} + body{margin-left: 10%; + margin-right: 10%; + background:#fdfdfd; + color:black; + font-family: "Times New Roman", serif; + font-size: large; + } + ul {list-style-type: none;text-align:center;} + + a:link {background-color: #ffffff; color: blue; text-decoration: none; } + link {background-color: #ffffff; color: blue; text-decoration: none; } + a:visited {background-color: #ffffff; color: blue; text-decoration: none; } + a:hover {background-color: #ffffff; color: red; text-decoration:underline; } + .pagenum { /* uncomment-remove forward-slash and asterisks from the next line + to make the page numbers invisible */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: 50%; + text-align: right; + color: gray; + background-color: #ffffff; + } /* page numbers */ + .smcap {font-variant: small-caps; + font-family: "Times New Roman", serif; + font-size: large; + } + .img {border: none;margin-top:20%;margin-bottom:1%; + text-align: center;text-indent: 0%;} + .imgg {border: none;margin-top:5%;margin-bottom:15%; + text-align: center;text-indent: 0%;} + .letter {float:left; padding-right:10px;} + .box {border-top: solid 1px black; + border-bottom: solid 1px black; + margin-left:20%;margin-right:20%;} + sup {font-size: 75%;} + .c {text-align: center; + text-indent: 0%; + } + .footnotes {border: dashed 1px;margin-top:10%;} + .footnote {margin-left: 10%; margin-right: 10%;} + .footnote .label {position: absolute; right: 84%; text-align: right; font-size: 0.7em;} + .fnanchor {vertical-align: super; font-size: .6em; text-decoration: none;} + .poem {margin-left:25%; + white-space:nowrap; + text-indent: 0%; + } + .poem2 {margin-left:15%; + white-space:nowrap; + text-indent: 0%; + } + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +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] +[Last updated: August 11, 2016] + +Language: English + +Character set encoding: ISO-8859-1 + +*** 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 + + + + + + +</pre> + + +<p class="c">[The spelling of the original has been retained.]</p> + +<hr class="full" /> + +<h2 class="top15">OBSERVATIONS</h2> + +<h3>ON THE</h3> + +<h1>Florid Song;</h1> + +<h3>OR,</h3> + +<h2>SENTIMENTS</h2> + +<h3>ON THE</h3> + +<p class="c"><i>Ancient</i> and <i>Modern</i> <span class="smcap">Singers</span>,</p> + +<p class="c">Written in <i>Italian</i></p> + +<h3>By <span class="smcap">Pier. Francesco Tosi</span>,</h3> +<p class="c">Of the <i>Phil-Harmonic</i> Academy<br /> +at <i>Bologna</i>.</p> + +<p class="c">Translated into <i>English</i></p> + +<h3>By Mr. <i>GALLIARD</i>.</h3> + +<p class="c">Useful for all <span class="smcap">Performers</span>, <i>Instrumental</i> +as well as <i>Vocal</i>.</p> + +<p class="c">To which are added</p> + +<h3><span class="smcap">Explanatory Annotations</span>,</h3> + +<p class="c">and Examples in <span class="smcap">Musick</span>.</p> + +<div class="box"> +<p class="c"><i>Ornari Res ipsa negat, contenta doceri.</i></p> +</div> + +<h3><i>LONDON</i>:</h3> + +<p class="c">Printed for <span class="smcap">J. Wilcox</span>, at <i>Virgil's</i> Head, in<br /> +the <i>Strand</i>. 1743.</p> +<hr /> +<p class="c hang"> +<i>Note</i>, By the <i>Ancient</i>, our Author<br /> +means those who liv'd about thirty<br /> +or forty Years ago; and by the<br /> +<i>Modern</i> the late and present Singers.</p> + +<p class="c hang">N.B. <i>The Original was printed at</i><br /> +Bologna, <i>in the Year</i> 1723.</p> + +<p class="c"><i>Reprinted from the Second Edition by</i><br /> +WILLIAM REEVES Bookseller Ltd.,<br /> +1a Norbury Crescent, London, S.W. 16<br /> +<br /> +1967<br /> +<br /> +Made in England<br /> +</p> +<hr /> +<ul> +<li><a href="#ALL">To ALL Lovers of MUSICK</a></li> +<li><a href="#PREF">A Prefatory Discourse</a></li> +<li><a href="#DED">The Author's Dedication</a></li> +<li><a href="#TOC">The Contents</a></li> +<li><a href="#PLATES">Plates</a></li> +</ul> + +<hr /> + + +<p class="img"> +<img src="images/toall.png" alt="image of bar not available" +width="400" height="137" /><a name="ALL" id="ALL"></a></p><p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p><h3>TO ALL</h3> + +<h2>Lovers of MUSICK.</h2> + + +<p><span class="smcap">Ladies</span> and <span class="smcap">Gentlemen</span>,</p> + +<p class="non"><span class="letter"><img src="images/00p.png" +alt="P" +width="100" +height="105" /></span> <span class="bg">ersons</span> +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.</p> +<p><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p> +<p>If there are Charms in Musick in general, all the reasonable World +agrees, that the <i>Vocal</i> has the Pre-eminence, both from <i>Nature</i> and +<i>Art</i> above the Instrumental: From <i>Nature</i> because without doubt it was +the first; from <i>Art</i>, because thereby the Voice may be brought to +express Sounds with greater Nicety and Exactness than Instruments.</p> + +<p>The Charms of the human Voice, even in Speaking, are very powerful. It +is well known, that in <i>Oratory</i> a just <i>Modulation</i> 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 <i>Orator's</i> Voice, has made an +Impression, which was lost in the Reading.</p> +<p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> +<p>But, above all, the soft and pleasing Voice of the <i>fair Sex</i> has +irresistible Charms and adds considerably to their Beauty.</p> + +<p>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 <i>Italian Master</i>, who treats so well on this Subject, +familiar to <i>England</i>; and why I presume to offer it to your Protection.</p> +<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span></p> +<p>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,</p> + +<p class="poem"> +<span class="smcap">Ladies</span> <i>and</i> <span class="smcap">Gentlemen</span>,<br /> +<span style="margin-left: 1em;"><i>Your most devoted,</i></span><br /> +<span style="margin-left: 2em;"><i>And most obedient</i></span><br /> +<span style="margin-left: 3em;"><i>Humble Servant</i>,</span><br /> +<br /> +<span style="margin-left: 4em;"><span class="smcap">J. E. Galliard</span>.</span><br /> +</p> + + +<p class="img"><img src="images/prefatory.png" +alt="image of bar not available" +width="400" height="102" /><a name="PREF" id="PREF"></a> +<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span></p> +<h3>A</h3> + +<h2>Prefatory Discourse</h2> + +<p class="c">GIVING</p> + +<h3><i>Some Account of the</i> <span class="smcap">Author</span>.</h3> + +<p class="non"><span class="letter"><img src="images/00p.png" +alt="P" +width="100" +height="105" /></span> <span class="bg"><i>ier.</i></span> +<i>Francesco Tosi</i>, the Author of the following Treatise, was an +<i>Italian</i>, 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 <i>Europe</i>, from whence, by the Help of his nice +<span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span> +Taste, he made the following Observations. Among his many Excursions, +his Curiosity was raised to visit <i>England</i>, where he resided for some +time in the Reigns of King <i>James</i> the Second, King <i>William</i>, King +<i>George</i> 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<span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span> +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 <i>Cantata's</i>, which are of an exquisite Taste, +especially in the <i>Recitatives</i>, where he excels in the <i>Pathetick</i> and +<i>Expression</i> 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 <i>Peterborough</i> was one, having often met him +in his Travels beyond Sea; and he was well received by his Lordship +when in <i>England</i>,<span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span> +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 <i>Joseph</i> +gave him an honourable Employment <i>Arch-Duchess</i> a Church-Retirement in +some part of <i>Italy</i>, and the late <i>Flanders</i>, where he died. As for his +<i>Observations</i> and <i>Sentiments</i> 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<span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span>. +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 <i>Italian</i> 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 <i>bad</i>. The Studious will find, that our Author's<span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span> +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 <i>Fiddling</i> with the <i>Voice</i>, and a little more +<i>Singing</i> with the <i>Instrument</i>, 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 <i>English</i> Language! it being almost impossible +(considering the Stile of our Author, which is a little more figurative +than the present Taste of the <i>English</i> allows in their Writings,) +<span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span> +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.</p> + +<p class="imgg"><img src="images/013.png" +alt="image not available" +width="100" height="102" /></p> + + + +<p class="img"><img src="images/002.png" +alt="image of bar not available" +width="400" height="217" /><a name="DED" id="DED"></a> +<span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></p> + +<h3>THE</h3> +<h2><span class="smcap">Author's</span> Dedication</h2> + +<h3>TO HIS</h3> + +<h2>Excellency the Earl of<br /> +<span class="smcap">Peterborough</span>, General<br /> +of the Marines<br /> +of <i>Great-Britain</i>.<br /> +</h2> + + +<p><span class="smcap">My Lord</span>,</p> + +<p class="non"><span class="letter"><img src="images/00i.png" +alt="I" +width="100" +height="105" /></span> Should be afraid of leaving the World under the Imputation of +Ingratitude, should<span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span> +I any longer defer publishing the very many +Favours, which <i>Your Lordship</i> so generously has bestow'd on me in +<i>Italy</i>, in <i>Germany</i>, in <i>Flanders</i>, in <i>England</i>; and principally at +your delightful Seat at <i>Parson's-Green</i>, where <i>Your Lordship</i> 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 <i>Tulip-Tree</i>, 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.<span class='pagenum'><a name="Page_xvi" id="Page_xvi">[xvi]</a></span> 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 <i>Vanity</i>? It is better therefore to +treasure them up in my Heart, and remain respectfully silent; only +making an humble Request to <i>Your Lordship</i> that you will condescend +favourably to accept this mean Offering of my <span class="smcap">Observations</span>; 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.<span class='pagenum'><a name="Page_xvii" id="Page_xvii">[xvii]</a></span> However, I should not +have presum'd to dedicate them to a Hero adorn'd with such glorious +Actions, if <i>Singing</i> 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,</p> + +<p> +<span class="smcap">Your Lordship's</span><br /><br /> +<span style="margin-left: 1em;"><i>Most humble</i>,</span><br /><br /> +<span style="margin-left: 2em;"><i>Most devoted and</i></span><br /><br /> +<span style="margin-left: 3em;"><i>Most oblig'd Servant</i>,</span><br /><br /> +<span style="margin-left: 4em;">Pier. Francesco Tosi.</span><br /> +</p> + + +<p class="img"><img src="images/content.png" +alt="image of bar not available" +width="400" height="96" /><a name="TOC" id="TOC"></a></p> + +<h3>THE</h3> + +<h2>CONTENTS.</h2> + + +<table summary="toc" cellspacing="0" cellpadding="0" +style="text-align:center;"> + +<tr> +<td><img src="images/00t.png" +style="float:left;margin-right:-20%;" alt="T" +width="100" +height="100" /><span class="bg" +style="margin-left:-10%;">he</span> <a href="#INTRODUCTION">Introduction.</a></td> +<td valign="top">Pag. <a href="#Page_1">1</a></td></tr> + +<tr class="line"><td colspan="2" style="line-height:3em;"><a href="#CHAP_I">CHAP. I.</a></td></tr> + +<tr class="line"><td>Observations for one who teaches a <i>Soprano</i>.</td><td>p.<a href="#Page_10"> 10</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_II">CHAP. II.</a></td></tr> + +<tr class="line"><td>Of the <i>Appoggiatura</i>.</td><td>p.<a href="#Page_31"> 31</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_III">CHAP. III.</a></td></tr> + +<tr class="line"><td>Of the <i>Shake</i>.</td><td>p.<a href="#Page_41"> 41</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_IV">CHAP. IV.</a></td></tr> + +<tr class="line"><td>On <i>Divisions</i>.</td><td>p.<a href="#Page_51"> 51</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_V">CHAP. V.</a></td></tr> + +<tr class="line"><td>Of <i>Recitative</i>.</td><td>p.<a href="#Page_66"> 66</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_VI">CHAP. VI.</a></td></tr> + +<tr class="line"><td>Observations for a <i>Student</i>.</td><td>p.<a href="#Page_79"> 79</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_VII">CHAP. VII.</a></td></tr> + +<tr class="line"><td>Of <i>Airs</i>.</td><td>p.<a href="#Page_91"> 91</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_VIII">CHAP. VIII.</a></td></tr> + +<tr class="line"><td>Of <i>Cadences</i>.</td><td>p.<a href="#Page_126"> 126</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_IX">CHAP. IX.</a></td></tr> + +<tr class="line"><td>Observations for a <i>Singer</i>.</td><td>p.<a href="#Page_140"> 140</a></td></tr> + +<tr class="line"><td colspan="2"><a href="#CHAP_X">CHAP. X.</a></td></tr> + +<tr class="line"><td>Of <i>Passages</i> or <i>Graces</i>.</td><td>p.<a href="#Page_174"> 174</a></td></tr> +</table> +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Page 1]</a></span></p> + + +<p class="img"><img src="images/00v.png" +alt="image of bar not available" +width="400" height="128" /><a name="INTRODUCTION" id="INTRODUCTION"></a></p> + +<h3>THE</h3> + +<h2>INTRODUCTION.</h2> + + +<p class="non"><span class="letter"><img src="images/00t.png" +alt="T" +width="100" +height="105" /></span> <span class="bg">he</span> +Opinions of the ancient Historians, on the Origin of Musick, are +various. <i>Pliny</i> believes that <i>Amphion</i> was the Inventor of it; the +<i>Grecians</i> maintain, that it was <i>Dionysius</i>; <i>Polybius</i> ascribes it to +the <i>Arcadians</i>; <i>Suidas</i> and <i>Boetius</i> give the Glory entirely to +<i>Pythagoras</i>; asserting, that from the Sound of three Hammers of +different Weights at a Smith's Forge, he found out the Diatonick; after +which <i>Timotheus</i>, the <i>Milesian</i>, added the<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span> Chromatick, and +<i>Olympicus</i>, or <i>Olympus</i>, the Enharmonick Scale. However, we read in +holy Writ, that <i>Jubal</i>, of the Race of <i>Cain, fuit Pater Canentium +Citharâ & Organo</i>, 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.</p> + +<p>§ 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.</p> + +<p>§ 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 <i>Lacedemonians</i> received from it, induced that +Republick to exile the abovementioned <i>Milesian</i>, that the <i>Spartans</i>, +freed from their Effeminacy,<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span> might return again to their old Oeconomy.</p> + +<p>§ 4. But, I believe, she never appeared with so much Majesty as in the +last Centuries, in the great Genius of <i>Palestrina</i>, whom she left as an +immortal Example to Posterity. And, in Truth, Musick, with the Sweetness +of <i>his</i> 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<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>.<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 7. Finally, I say, that Poets<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>,<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> 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 <i>Zarlino</i>, +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<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 10. If any should say, I might be dispensed with for not publishing<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +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.</p> + +<p>§ 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.</p> + +<p>§ 12. But though it is my Design to Demonstrate a great Number<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> 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 <i>Spanish</i> 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.<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p> + +<p class="img"><img src="images/00ia.png" +alt="image of bar not available" +width="400" height="141" /><a name="CHAP_I" id="CHAP_I"></a></p> + +<h2>CHAP. I.</h2> + +<p class="head"><span class="smcap">Observations</span> <i>for one who teaches a</i> Soprano.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<p class="non"><span class="letter"><img src="images/00t.png" +alt="T" +width="100" +height="105" /></span> <span class="bg">he</span> +Faults in Singing insinuate themselves so easily into the Minds of +young Beginners, and there are<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> 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.</p> + +<p>§ 3. Let a Master thus qualified before he begins his Instructions, read +the four Verses of <i>Virgil</i>, <i>Sic vos non vobis</i>, &c.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> for they seem +to be made<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a><span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> on Purpose for him, and after having considered them +well, let him<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> 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.</p> + +<p>§ 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,<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span> 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.</p> + +<p>§ 5. Gentlemen Masters! <i>Italy</i> 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: +"<i>Can you make anything of her?</i>"<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p> + +<p>§ 6. You may, perhaps, teach them with their Voice——Modesty will not +permit me to explain myself farther.</p> + +<p>§ 7. The Master must want Humanity, if he advises a Scholar to do any +thing to the Prejudice of the Soul.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span></p> + +<p>§ 11. Besides the <i>C</i> 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 <i>Alla +Capella</i>,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> know not how to distinguish the <i>Mi</i> from the <i>Fa</i>, without +the Help of the Organ, for want of the Knowledge of the <i>G</i> 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.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<p>§ 12. Next let him learn to read those in <i>B Molle</i>, especially in +those<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> 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 <i>Mi</i>, which is not so easy to one who +has studied but little, and thinks that all the Notes with a Flat are +called <i>Fa</i>: for if that were true, it would be superfluous that the +Notes should be six, when five of them have the same Denomination. The +<i>French</i> use seven, and, by that additional Name, save their scholars +the Trouble of learning the Mutations ascending or descending; but we +<i>Italians</i> have but <i>Ut</i>, <i>Re</i>, <i>Mi</i>, <i>Fa</i>, <i>Sol</i>, <i>La</i>; Notes which +equally suffice throughout all the Keys, to one who knows how to read +them.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> + +<p>§ 13. Let the Master do his utmost, to make the Scholar hit and sound +the Notes perfectly in Tune in <i>Sol-Fa</i>-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.</p> + +<p>§ 14. In the <i>Sol-Fa</i>-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.</p> + +<p>§ 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,<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> 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<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> with a vast Number of Songs accompanied with Bow +Instruments, it becomes so necessary, that if a <i>Soprano</i> was to sing +<i>D</i> sharp, like <i>E</i> 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 <i>Appoggiatura</i>, that the one may not be +confounded with the other.</p> + +<p>§ 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.</p> + +<p>§ 17. If the Master does not understand Composition, let him provide +himself with good Examples of<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> <i>Sol-Fa</i>-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.</p> + +<p>§ 18. Let the Master attend with great Care to the Voice of the Scholar, +which, whether it be <i>di Petto</i>, or <i>di Testa</i>, 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<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>.</p> + +<p>§ 19. The little Experience of some that teach to <i>Sol-fa</i>, obliges the +Scholar<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> to hold out the <i>Semibreves</i> 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.</p> + +<p>§ 20. Many Masters put their Scholars to sing the <i>Contr'Alto</i>, not +knowing how to help them to the <i>Falsetto</i>, or to avoid the Trouble of +finding it.</p> + +<p>§ 21. A diligent Master, knowing that a <i>Soprano</i>, without the +<i>Falsetto</i>, 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<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> Registers, and must consequently lose its +Beauty. The Extent of<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> the full natural Voice terminates generally upon +the fourth Space, which is <i>C</i>; or on the fifth Line, which is <i>D</i>; 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 <i>Soprano</i> entirely <i>di +Petto</i>, 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>i</i>, or <i>e</i>, +with more Strength and less Fatigue than the Vowel <i>a</i>, on the high +Notes.</p> + +<p>§ 22. The <i>Voce di Testa</i> has a great Volubility, more of the high than +the lower Notes, and has a quick Shake,<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> but subject to be lost for want +of Strength.</p> + +<p>§ 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 <i>Balla</i> or <i>Bella</i>, <i>Sesso</i> or +<i>Sasso</i>, <i>Mare</i> or <i>More</i>.</p> + +<p>§ 24. He should always make the Scholar sing standing, that the Voice +may have all its Organization free.</p> + +<p>§ 25. Let him take care, whilst he sings, that he get a graceful +Posture, and make an agreeable Appearance.</p> + +<p>§ 26. Let him rigorously correct all Grimaces and Tricks of the Head, of +the Body, and particularly of the<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> 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.</p> + +<p>§ 27. Let him always use the Scholar to the Pitch of <i>Lombardy</i>, and not +that of <i>Rome</i>;<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> 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 <i>Contr'Alto</i>, or pretending still, out of a foolish +Vanity, to the Name of a <i>Soprano</i>, he will be obliged to make +Application to every Composer, that the Notes may not exceed the fourth +Space (<i>viz.</i>, <i>C</i>) nor the Voice hold out on them. If all those, who +teach the first Rudiments, knew<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> 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 <i>Soprano's</i>.</p> + +<p>§ 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.</p> + +<p>§ 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 <i>Piano</i> +to the loudest <i>Forte</i>, and from thence with the same Art return from +the <i>Forte</i> to the <i>Piano</i>. A beautiful <i>Messa di<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> Voce</i>,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> 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 <i>odious Ancients</i>. 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.</p> + +<p>§ 30. Let the Master never be tired in making the Scholar <i>Sol-Fa</i>, as +long as he finds it necessary; for if he<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> should let him sing upon the +Vowels too soon, he knows not how to instruct.</p> + +<p>§ 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.</p> + +<p>§ 32. The Scholar having now made some remarkable Progress, the +Instructor may acquaint him with the first Embellishments of the Art, +which are the <i>Appoggiatura's</i><a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> (to be spoke of next) and apply them +to the Vowels.</p> + +<p>§ 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 <i>Sol-fa</i>-ing<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> only, and are overlooked by the Unskilful.</p> + +<p>§ 34. But if he should let him sing the Words, and apply the +<i>Appoggiatura</i> to the Vowels before he is perfect in <i>Sol-fa</i>-ing, he +ruins the Scholar.<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></p> + +<p class="imgg"><img src="images/0030.png" +alt="image not available" +width="100" height="111" /></p> + + +<p class="img"><img src="images/00ii.png" +alt="image of bar not available" +width="400" height="133" /><a name="CHAP_II" id="CHAP_II"></a></p> + +<h2 class="top5">CHAP. II.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor"><span style="font-size:60%;letter-spacing:1px; +font-weight:normal;">[16]</span></a></h2> + +<p class="head"><i>Of the</i> Appoggiatura.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> + + +<p class="non"><span class="letter"><img src="images/00a.png" +alt="A" +width="100" +height="102" /></span> <span class="bg">ong</span> +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,<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> than the <i>Appoggiatura</i>. 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.</p> + +<p>§ 2. From the Time that the <i>Appoggiatura</i> has been invented to adorn +the Art of Singing, the true Reason,<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span> 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.</p> + +<p>§ 3. From Practice, I perceive, that from <i>C</i> to <i>C</i> by <i>B Quadro</i>,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> +a Voice can ascend and descend gradually with the <i>Appoggiatura</i>, +passing without any the least Obstacle thro' all the<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> five <i>Tones</i>, and +the two <i>Semitones</i>, that make an <i>Octave</i>.</p> + +<p>§ 4. That from every accidental <i>Diezis</i>, or Sharp, that may be found in +the Scale, one can gradually rise a <i>Semitone</i> to the nearest Note with +an <i>Appoggiatura</i>, and return in the same Manner.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<p>§ 5. That from every Note that has a <i>B Quadro</i>, or Natural, one can +ascend by <i>Semitones</i> to every one that has a <i>B Molle</i>, or Flat, with +an <i>Appoggiatura</i>.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p> + +<p>§ 6. But, contrarywise, my Ear tells me, that from <i>F</i>, <i>G</i>, <i>A</i>, <i>C</i>, +and <i>D</i>, one cannot rise gradually with an <i>Appoggiatura</i> by +<i>Semitones</i>,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> when any of<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> these five <i>Tones</i> have a Sharp annex'd to +them.</p> + +<p>§ 7. That one cannot pass with an <i>Appoggiatura</i> gradually from a third +<i>Minor</i> to the Bass, to a third <i>Major</i>, nor from the third <i>Major</i> to +the third <i>Minor</i>.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p> + +<p>§ 8. That two consequent <i>Appoggiatura's</i> cannot pass gradually by +<i>Semitones</i> from one <i>Tone</i> to another.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> + +<p>§ 9. That one cannot rise by <i>Semitone</i>, with an <i>Appoggiatura</i>, from +any Note with a Flat.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> + +<p>§ 10. And, finally, where the <i>Appoggiatura</i> cannot ascend, it cannot +descend.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p> + +<p>§ 12. Theory teaches us, that the abovementioned <i>Octave</i> consisting of +twelve unequal <i>Semitones</i>, it is necessary to distinguish the <i>Major</i> +from the <i>Minor</i>, and it sends the Student to consult the <i>Tetrachords</i>. +The most conspicuous Authors, that treat of them, are not all of the +same Opinion: For we find some who maintain, that from <i>C</i> to <i>D</i>, as +well as from <i>F</i> to <i>G</i>, the <i>Semitones</i> are equal; and mean while we +are left in Suspense.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p> + +<p>§ 13. The Ear, however, which is the supreme Umpire in this Art, does in +the <i>Appoggiatura</i> so nicely discern the Quality of the <i>Semitones</i>, +that it sufficiently distinguishes the<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> <i>Semitone Major</i>. Therefore +going so agreeably from <i>Mi</i> to <i>Fa</i> (that is) from <i>B Quadro</i> to <i>C</i>, +or from <i>E</i> to <i>F</i>, one ought to conclude That to be a <i>Semitone Major</i>, +as it undeniably is. But whence does it proceed, that from this very +<i>Fa</i>, (that is from <i>F</i> or <i>C</i>) I cannot rise to the next Sharp, which +is also a <i>Semitone</i>? It is <i>Minor</i>, says the Ear. Therefore I take it +for granted, that the Reason why the <i>Appoggiatura</i> has not a full +Liberty, is, that it cannot pass gradually to a <i>Semitone Minor</i>; +submitting myself, however, to better Judgment.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> + +<p>§ 14. The <i>Appoggiatura</i> may likewise pass from one distant Note to +another, provided the Skip or Interval be not deceitful; for, in that +Case,<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> whoever does not hit it sure, will show they know not how to +sing.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p> + +<p>§ 15. Since, as I have said, it is not possible for a Singer to rise +gradually with an <i>Appoggiatura</i> to a <i>Semitone Minor</i>, Nature will +teach him to rise a Tone, that from thence he may descend with an +<i>Appoggiatura to that Semitone</i>; <i>or if he has a Mind to</i> come to it +without the <i>Appoggiatura</i>, to raise the Voice with a <i>Messa di Voce</i>, +the Voice always rising till he reaches it.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p> + +<p>§ 16. If the Scholar be well instructed in this, the <i>Appoggiatura's</i> +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<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> 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 +<i>Appoggiatura's</i>? But if they mark them that they may acquire the +glorious Name of a <i>Virtuoso alla Moda</i>, 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 <i>Italy</i>! pray tell me; do not the Singers +now-a-days know where the <i>Appoggiatura's</i> 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<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> +Weak +ness 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.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> + +<p class="imgg"><img src="images/040.png" +alt="image not available" +width="100" height="98" /></p> + +<p class="img"><img src="images/0iii.png" +alt="image of bar not available" +width="400" height="141" /><a name="CHAP_III" id="CHAP_III"></a></p> + +<h2 class="top5">CHAP. III.</h2> + +<p class="head"><i>Of the Shake.</i></p> + + +<p class="non"><span class="letter"><img src="images/00w.png" +alt="W" +width="100" +height="99" /></span> <span class="bg">e</span> +meet with two most powerful Obstacles informing the <i>Shake</i>. 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 <i>Shake</i> 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.<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> + +<p>§ 2. Whether the <i>Shake</i> 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 <i>Shake</i>.</p> + +<p>§ 3. Whoever has a fine <i>Shake</i>, 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.</p> + +<p>§ 4. The <i>Shake</i> 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.<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p> + +<p>§ 5. In case the Master should not know how many sorts of <i>Shakes</i> 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.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> + +<p>§ 6. The first is the <i>Shake Major</i>, from the violent Motion of two +neighbouring Sounds at the Distance of a <i>Tone</i>, 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 +<i>Shake</i> all the others are derived.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p> + +<p>§ 7. The second is the <i>Shake Minor</i>,<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span> consisting of a Sound, and its +neighbouring <i>Semitone Major</i>; and where the one or the other of these, +two <i>Shakes</i> are proper, the Compositions will easily shew. From the +inferior or lower Cadences, the first, or full <i>Tone Shake</i> is for ever +excluded.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> If the Difference of these two <i>Shakes</i> is not easily +discovered in the Singer, whenever it is with a <i>Semitone</i>, one may +attribute the Cause to the want of Force of the Auxiliary to make itself +heard distinctly; besides, this <i>Shake</i> 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 <i>Shake</i> is not distinguished +in Instruments, the Fault is in the Ear.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p> + +<p>§ 8. The third is the <i>Mezzo-trillo</i>, or the short <i>Shake</i>, 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 <i>Shake</i> pleases more in brisk and lively Airs than in the +<i>Pathetick</i>.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p> + +<p>§ 9. The fourth is the rising <i>Shake</i>, which is done by making the Voice +ascend imperceptibly, shaking from Comma to Comma without discovering +the Rise.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p> + +<p>§ 10. The fifth is the descending <i>Shake</i>, 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 <i>Shakes</i>, ever since +true<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span> 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.</p> + +<p>§ 11. The sixth is the slow <i>Shake</i>, 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 <i>Shake</i>, it cannot, I +think, please more than once.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a></p> + +<p>§ 12. The seventh is the redoubled <i>Shake</i>, which is learned by mixing a +few Notes between the <i>Major</i> or <i>Minor Shake</i>, which Interposition +suffices to make several <i>Shakes</i> 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,<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span> perfect in this +rare Quality, and not made use of too often, it cannot displease even +Envy itself.</p> + +<p>§ 13. The eighth is the <i>Trillo-Mordente</i>, or the <i>Shake</i> with a <i>Beat</i>, +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 <i>Appoggiatura</i>; and he, who despises +it, is guilty of more than Ignorance.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> + +<p>§ 14. Of all these <i>Shakes</i>, 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 <i>Shakes</i>; but the Example, of those who study +but superficially, ought not to be imitated.<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p> + +<p>§ 15. The <i>Shake</i>, 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 <i>Semitone</i> above its +Note, according to the Nature of the Composition.</p> + +<p>§ 16. The Defects of the <i>Shake</i> are many. The long holding-out <i>Shake</i> +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 <i>E Viva</i>! or <i>Bravo</i>! from +the Populace. That <i>Shake</i> 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.</p> + +<p>§ 17. The Necessity of the <i>Shake</i><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> 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 <i>Close Shake</i>, the <i>Beat</i>, and +the Forming them with Quickness in the Midst of the Volubility of Graces +and Divisions.</p> + +<p>§ 18. After the free Use of the <i>Shake</i>, 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.</p> + +<p>§ 19. But the teaching where the <i>Shake</i> is convenient, besides those +on<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span> Cadences, and where they are improper and forbid, is a Lesson +reserv'd for those who have Practice, Taste, and Knowledge.<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p> + +<p class="imgg"><img src="images/050.png" +alt="image not available" +width="100" height="102" /></p> + +<p class="img"><img src="images/0iv.png" +alt="image of bar not available" +width="400" height="128" /><a name="CHAP_IV" id="CHAP_IV"></a></p> + + +<h2 class="top5">CHAP. IV.</h2> + +<p class="head"><i>On</i> Divisions.</p> + + +<p class="non"><span class="letter"><img src="images/00t.png" +alt="T" +width="100" +height="100" /></span> <span class="bg">ho'</span> +<i>Divisions</i> 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.</p> + +<p>§ 2. By accustoming the Voice of a Learner to be lazy and dragging, he<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span> +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.</p> + +<p>§ 3. <i>Division</i>, 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 <i>Division</i>.</p> + +<p>§ 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.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a><span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></p> + +<p>§ 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 <i>Slur</i>; the Effect of which is truly agreeable when +used sparingly.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p> + +<p>§ 6. The <i>mark'd Divisions</i>, being more frequently used than the others, +require more Practice.</p> + +<p>§ 7. The Use of the <i>Slur</i> 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.</p> + +<p>§ 8. The <i>Dragg</i> consists in a Succession of divers Notes, artfully +mixed with the <i>Forte</i> and <i>Piano</i>. The Beauty of which I shall speak of +in another Place.<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p> + +<p>§ 9. If the Master hastens insensibly the Time when the Scholar sings +the <i>Divisions</i>, 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.</p> + +<p>§ 10. Let him teach to hit the <i>Divisions</i> 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.</p> + +<p>§ 11. After the gradual <i>Divisions</i>, 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<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> loses all Fear when +the most difficult <i>Divisions</i> are become familiar to him.</p> + +<p>§ 12. Let him not be unmindful to teach the Manner of mixing the <i>Piano</i> +with the <i>Forte</i> in the <i>Divisions</i>; the <i>Glidings</i> or <i>Slurs</i> with the +<i>Mark'd</i>, and to intermix the <i>Close Shake</i>; especially on the pointed +Notes, provided they be not too near one another; making by this Means +every Embellishment of the Art appear.</p> + +<p>§ 13. Of all the Instructions relating to <i>Divisions</i>, the most +considerable seems to be That, which teaches to unite the <i>Beats</i> and +<i>short Shake</i> 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,<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> 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 <i>Divisions</i> +(in which the <i>Beats</i> and <i>Close Shake</i> appear with greater Lustre than +any other Grace) not to make Mention of them.</p> + +<p>§ 14. Let the Scholar not be suffered to sing <i>Divisions</i> 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.</p> + +<p>§ 15. Every Master knows, that on the third and fifth Vowel, the +<i>Divisions</i> 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.</p> + +<p>§ 16. There are many Defects in the <i>Divisions</i>, which it is necessary<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span> +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 <i>Division</i> upon <i>A</i>, it appears as if they said <i>Ha</i>, +<i>Ha</i>, <i>Ha</i>, or <i>Gha</i>, <i>Gha</i>, <i>Gha</i>; and the same upon the other Vowels. +The worst Fault of all is singing them out of Tune.</p> + +<p>§ 17. The Master should know, that though a good Voice put forth with +Ease grows better, yet by too swift a Motion in <i>Divisions</i> 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.</p> + +<p>§ 18. <i>Divisions</i> and <i>Shakes</i> in a <i>Siciliana</i> are Faults, and +<i>Glidings</i> and <i>Draggs</i> are Beauties.<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + +<p>§ 19. The sole and entire Beauty of the <i>Division</i> consists in its being +perfectly in Tune, mark'd, equal, distinct, and quick.</p> + +<p>§ 20. <i>Divisions</i> have the like Fate with the <i>Shakes</i>; both equally +delight in their Place; but if not properly introduced, the too frequent +Repetition of them becomes tedious if not odious.</p> + +<p>§ 21. After the Scholar has made himself perfect in the <i>Shake</i> and the +<i>Divisions</i>, 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.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p> + +<p>§ 22. After having corrected the Pronunciation, let him take Care that +the Words be uttered in such a Manner, without any Affectation that<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> +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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p> + +<p>§ 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 <i>Divisions</i>, 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span> +Pain to the Hearer, as if they had an Asthma taking Breath every Moment +with Difficulty, as if they were breathing their last.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> 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.</p> + +<p>§ 29. Let not the Master neglect to shew him, how great their Error is +who make <i>Shakes</i> or <i>Divisions</i>, or take Breath on the <i>syncopated</i> or +<i>binding</i> Notes; and how much better Effect the holding out the Voice +has. The Compositions, instead of losing, acquire thereby greater +Beauty.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p> + +<p>§ 30. Let the Master instruct him in the <i>Forte</i> and <i>Piano</i>, but so as +to<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span> use him more to the first than the second, it being easier to make +one sing soft than loud. Experience shews that the <i>Piano</i> 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 <i>Piano</i>, that can make itself be +heard as much as the <i>Forte</i>; but that is only Opinion, which is the +Mother of all Errors. It is not Art which is the Cause that the <i>Piano</i> +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.</p> + +<p>§ 31. Let the Master remember, that whosoever does not sing to the<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span> +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.</p> + +<p>§ 32. Though in certain Schools, Books of Church-Musick and of +<i>Madrigals</i> 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.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p> + +<p>§ 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<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> Lesson without having +profited something.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p> + +<p class="img"><img src="images/00v.png" +alt="image of bar not available" +width="400" height="128" /><a name="CHAP_V" id="CHAP_V"></a></p> + +<h2 class="top5">CHAP. V.</h2> + +<p class="head"><i>Of</i> Recitative.</p> + +<p class="non"><span class="letter"><img src="images/00r.png" +alt="R" +width="100" +height="104" /></span> <span class="bg"><i>ecitative</i></span> +is of three Kinds, and ought to be taught in three +different Manners.</p> + +<p>§ 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 <i>Messa di Voce</i>, many <i>Appoggiatura's</i>, +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.</p> + +<p>§ 3. The second is Theatrical, which being always accompanied<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span> 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.</p> + +<p>§ 4. The last, according to the Opinion of the most Judicious, touches +the Heart more than the others, and is called <i>Recitativo di Camera</i>. +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<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span> 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 <i>Shakes</i>, all +<i>Divisions</i> and <i>Graces</i> ought to be silent, leaving it to the sole +Force of a beautiful Expression to persuade.</p> + +<p>§ 5. The Church <i>Recitative</i> 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.</p> + +<p>§ 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 <i>Soliloquy</i>, where it may be in the Stile of Chamber-Musick.</p> + +<p>§ 7. The third abstains from great part of the Solemnity of the first, +and<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span> contents itself with more of the second.</p> + +<p>§ 8. The Defects and unsufferable Abuses which are heard in +<i>Recitatives</i>, and not known to those who commit them, are innumerable. +I will take Notice of several Theatrical ones, that the Master may +correct them.</p> + +<p>§ 9. There are some who sing <i>Recitative</i> 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<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> of Tune; and, together with their Offences against Nature, are +guilty of the greatest Fault, in thinking themselves above Correction.</p> + +<p>§ 10. The <i>modern</i> Masters run over with Negligence their Instructions +in all Sorts of <i>Recitatives</i>, because in these Days the Study of +Expression is looked upon as unnecessary, or despised as <i>ancient</i>: 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 <i>Cortona</i> in the Tender;<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> of Baron <i>Balarini</i> in the Imperious; +or other famous Actors that at present appear, tho' I name them not; +having determined in these Observations, not to mention<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span> any that are +living, in whatsoever Degree of Perfection they be, though I esteem them +as they deserve.</p> + +<p>§ 11. A Master, that disregards <i>Recitative</i>, 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 <i>Gentlemen Masters</i> 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 <i>Recitatives</i>, 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 <i>Masters</i>, 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<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span> 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 +<i>Recitatives</i>, sung in the Stile of a Choir of <i>Capuchin</i> Friars.</p> + +<p>§ 12. The reason, however, of not giving more expression to the +<i>Recitative</i>, in the manner of those called <i>Antients</i>, does not always +proceed from the Incapacity of the Master, or the Negligence of the +Singer, but from the little Knowledge of the <i>modern</i> 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<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span> 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 <i>Recitatives</i> have no +Relation to Counterpoint. If That be so, what Professor knows not, that +many theatrical <i>Recitatives</i> 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,<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> endeavour to imitate the +<i>Recitatives</i> 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 <i>Mode</i>? +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 <i>Ritornello's</i>, and will not let them uselessly employ their +precious Time in the Application to <i>Recitative</i>, 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.</p> + +<p>§ 13. Much more might still be<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span> said on the Compositions of +<i>Recitative</i> 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p> + +<p>§ 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 <i>Motets</i><a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> +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 <i>Recitatives</i> 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<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span> the final Cadences of the <i>Motets</i> be performed with Divisions +distinct, swift, and in Tune. After this he will teach him that Manner, +the Taste of <i>Cantata's</i> 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p> + +<p>§ 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.<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p> + +<p class="imgg"><img src="images/078.png" +alt="image not available" +width="100" height="102" /></p> + +<p class="img"><img src="images/0vi.png" +alt="image of bar not available" +width="400" height="134" /><a name="CHAP_VI" id="CHAP_VI"></a></p> + +<h2 class="top5">CHAP. VI.</h2> + +<p class="head"><i>Observations for a Student.</i></p> + +<p class="non"><span class="letter"><img src="images/00b.png" +alt="T" +width="100" +height="100" /></span> <span class="bg">efore</span> +entering on the extensive and difficult Study of the <i>Florid</i>, or +<i>figured Song</i>, 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 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!</p> + +<p>§ 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<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span> in <i>Tuscany</i>, will not excuse the +Singer's Imperfection.</p> + +<p>§ 6. Let him likewise very carefully endeavour to correct all other +Faults that the Negligence of his Master may have passed over.</p> + +<p>§ 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 <i>Latin</i>.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p> + +<p>§ 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.</p> + +<p>§ 9. Let him not omit frequently to put forth, and to stop, the Voice,<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> +that it may always be at his Command.</p> + +<p>§ 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.</p> + +<p>§ 11. Singing requires so strict an Application, that one must study +with the Mind, when one cannot with the Voice.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> more Advantage than from any +Instruction whatsoever.</p> + +<p>§ 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<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a>.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> +does, and he, who has not the same Light, works in the Dark, not knowing +how to sing without committing Errors. The most famous <i>Ancients</i> 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 <i>Mode</i> 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<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span> principal Rules, that he may not be quite +in the Dark.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 21. To my irreparable<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span> Misfortune, I am old; but were I young, I would +imitate as much as possibly I could the <i>Cantabile</i> of those who are +branded with the opprobrious Name of <i>Ancients</i>; and the <i>Allegro</i> of +those who enjoy the delightful Appellation of <i>Moderns</i>. 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.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p> + +<p>§ 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.</p> + +<p>§ 23. A Student must not hope for Applause, if he has not an utter +Abhorrence of Ignorance.<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span></p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 29. After a long Exercise, and the Attainment of a true Intonation, of +a <i>Messa di Voce</i>, of <i>Shakes</i>, of <i>Divisions</i>, and <i>Recitative</i> 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<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> +following Chapter, in order thereby to reap greater Advantage from those +that can sing the <i>Airs</i>, and teach to sing them.<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> + + +<p class="imgg"><img src="images/078.png" +alt="image not available" +width="100" height="102" /></p> + +<p class="img"><img src="images/0vii.png" +alt="image of bar not available" +width="400" height="94" /><a name="CHAP_VII" id="CHAP_VII"></a></p> + +<h2 class="top5">CHAP. VII.</h2> + +<p class="head"><i>Of</i> Airs.</p> + + +<p class="non"><span class="letter"><img src="images/00i.png" +alt="I" +width="100" +height="103" /></span> <span class="bg">f</span> whoever introduced the Custom of repeating the first Part of the +<i>Air</i> (which is called <i>Da Capo</i>) 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.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a><span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></p> + +<p>§ 2. By the <i>Ancients</i> beforementioned, <i>Airs</i> 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 <i>Moderns</i>, is quite unknown.</p> + +<p>§ 3. A Singer is under the greatest Obligation to the Study of the +<i>Airs</i>; 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 <i>Airs</i>, 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<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span> +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.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p> + +<p>§ 4. Among the Things worthy of Consideration, the first to be taken +Notice of, is the Manner in which all <i>Airs</i> 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<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> be added, by which the Judicious may hear, that +the Ability of the Singer is greater; and, in, repeating the <i>Air</i>, he +that does not vary it for the better, is no great Master.</p> + +<p>§ 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.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p> + +<p>§ 6. The most celebrated among the <i>Ancients</i> piqued themselves in +varying every Night their Songs in the Opera's, not only the +<i>Pathetick</i>, but also the <i>Allegro</i>. The Student, who is not well +grounded, cannot undertake this important Task.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p> + +<p>§ 7. Without varying the <i>Airs</i>, 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.</p> + +<p>§ 8. Returning from this Digression to the abovementioned, repeating the +first Part of the <i>Air</i> 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 <i>extempore</i> +Embellishments; but they should not allow, that a Superfluity of them +should prejudice the Composition, and confound the Ear.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p> + +<p>§ 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<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> 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.</p> + +<p>§ 10. In the Study of <i>Airs</i>, 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.</p> + +<p>§ 11. In <i>Airs</i> 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.</p> + +<p>§ 12. To prevent several false Steps in singing the <i>Airs</i>, I would +strongly inculcate to a Student, first, never to give over practising in +private, till<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> he is secure of committing no Error in Publick; and next, +that at the first Rehearsal the <i>Airs</i> 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.</p> + +<p>§ 13. The most necessary Study for singing <i>Airs</i> 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 <i>putting +forth</i> of the Voice, is a very happy Singer.</p> + +<p>§ 14. Let him, who studies under the Disadvantage of an ungrateful +Genius, remember for his Comfort, that singing in Tune, Expression, +<i>Messa di Voce</i>, the <i>Appoggiatura's</i>, <i>Shakes</i>, <i>Divisions</i>, and +accompanying himself,<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span> 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.</p> + +<p>§ 15. Let him avoid all those Abuses which have overspread and +established themselves in the <i>Airs</i>, if he will preserve Musick in its +Chastity.</p> + +<p>§ 16. Not only a Scholar, but every Singer ought to forbear +<i>Caricatura's</i>, 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<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> 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.</p> + +<p>§ 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 <i>Air</i> becomes more and more so, and at the last +the Variation, and the Error is discovered.</p> + +<p>§ 18. If I do not advise a Student to imitate several of the <i>Moderns</i> +in their Manner of singing <i>Airs</i>, it is from their Neglect of keeping +Time, which ought to be inviolable, and not sacrificed to their beloved +Passages and Divisions.<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> + +<p>§ 19. The Presumption of some Singers is not to be borne with, who +expect that an whole <i>Orchestre</i> 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 <i>Mode</i>——Singing after the <i>Mode</i>?——I say, +you are mistaken. The stopping in the <i>Airs</i> 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 <i>Rivani</i>, called +<i>Ciecolino</i>,<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> who with invincible Reasons shewed the proper Places<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span> +for Embellishments, without begging Pauses. This Percept was approved by +several eminent Persons, among whom was Signer <i>Pistochi</i>,<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> the most +famous of our, and all<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span> 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 +<i>Moderns</i>!) should be sufficient to undeceive you. But if this does not +satisfy you, I will add, that <i>Sifacio</i><a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> with his mellifluous<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> Voice +embrac'd this Rule; that <i>Buzzolini</i><a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> of incomparable Judgment highly +esteemed it: After them <i>Luigino</i><a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> with his soft and amorous Stile +followed their Steps; likewise <i>Signora Boschi</i><a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> who, to the Glory of +her Sex, has made it appear, that Women, who study, may instruct even +Men of some Note. That <i>Signora Lotti</i>,<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a><span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span> 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 <i>Europe</i>, 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<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span> 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.</p> + +<p>§ 20. Besides the Errors in keeping Time, there are other Reasons, why a +Student should not imitate the <i>modern</i> Gentlemen in singing <i>Airs</i>, +since<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span> 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 <i>Air</i> from +another, they singing them all so much alike, that, in hearing of one, +you hear a Thousand.——And must the <i>Mode</i> triumph? It was thought, not +many Years since, that in an Opera, one rumbling <i>Air</i>, full of +Divisions was sufficient for the most gurgling Singer to spend his +Fire<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a>; 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<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span> during the Course of +the <i>Air</i>. In the following Chapter, on the tormented and tortured +Cadences, we shall shortly see the good Taste of the <i>Mode</i>; in the mean +while I return to the Abuses and Defects in <i>Airs</i>.</p> + +<p>§ 21. I cannot positively tell, who that <i>Modern</i> Composer, or that +ungrateful Singer was, that had the Heart to banish the delightful, +soothing, <i>Pathetick</i> from <i>Airs</i>, 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 <i>Pathetick</i>, they all agree in the same Opinion, (a +thing that seldom happens) and answer, that the <i>Pathetick</i> 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<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span> Masters, but the Audience, those capricious Protectors of the +<i>Mode</i>, that cannot endure this; and herein lies my Mistake. Alas! the +<i>Mode</i> 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 +<i>Pathetick</i>, yet sing the <i>Allegro</i>. 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.</p> + +<p>§ 22. In former times divers <i>Airs</i> 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<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span> +Motion of the Affections. Oh! powerful Proof to confound the idoliz'd +<i>Mode</i>! 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 <i>Moderns</i> in the <i>Allegro</i> Stile, though when in Perfection That +deserves Admiration, yet touches very slightly one that hath a delicate +Ear. The Taste of the <i>Ancients</i> was a Mixture of the <i>Lively</i> and the +<i>Cantabile</i> the Variety of which could not fail giving Delight; but the +<i>Moderns</i> are so pre-possessed with Taste in <i>Mode</i>, that, rather than +comply with the former, they are contented to lose the greatest Part of +its Beauty. The Study of the <i>Pathetick</i> was the Darling of the former; +and Application to the most difficult Divisions is the only Drift of the +latter. <i>Those</i> perform'd with more Judgment; and <i>These</i> 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,<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span> +that the <i>Moderns</i> are arrived at the highest Degree of Perfection in +singing to the <i>Ear</i>; and that the <i>Ancients</i> are inimitable in singing +to the <i>Heart</i>.</p> + +<p>§ 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 <i>Pathetick</i> and the <i>Expressive</i>, and a little less to +the <i>Divisions</i>, they might boast of having brought the Art to the +highest Degree of Perfection.</p> + +<p>§ 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 <i>Cantabile</i>; in as much as +the <i>Airs</i> at present in vogue go Whip and Spur with such violent +Motions, as take away their Breath, far from giving<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span> them an Opportunity +of shewing the Exquisiteness of their Taste. But, good God! since there +are so many <i>modern</i> Composers, among whom are some of Genius equal, and +perhaps greater than the best <i>Ancients</i>, for what Reason or Motive do +they always exclude from their Compositions, the so-much-longed-for +<i>Adagio</i>? Can its gentle Nature ever be guilty of a Crime? If it cannot +gallop with the <i>Airs</i> 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 <i>Mode</i> 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 <i>modern</i> Taste +is not appeased with the Sacrifice of the <i>Pathetick</i> and the <i>Adagio</i> +only, two inseparable Friends, but goes so far, as to prescribe those +<i>Airs</i>, as Confederates, that have not<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span> the <i>Sharp</i> third. Can any thing +be more absurd? <i>Gentlemen Composers</i>, (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 <i>Pier. Simone</i><a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a>, and of <i>Stradella</i><a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a>; the<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> second is of +the best that now<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> living<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a>; and I leave others to judge whether they +are <i>Modern</i>. But of your Stile, which is not quite established yet in +<i>Italy</i>, and which has yet gained no Credit at all beyond the <i>Alps</i>, +those that come after us will soon give their Opinion; for <i>Modes</i> 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<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span> +reform it. Wou'd you know how? By banishing the Abuses, and recalling +the first, second, and third <i>Mood</i><a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a>, 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 <i>Allegro</i> will +now and then be mixed with the <i>Pathetick</i>. The <i>Airs</i> will not always +be drowned with the Indiscretion of the Instruments, that hide the +artful Delicacy of the <i>Piano</i>, and the soft Voices, nay, even all +Voices which will not bawl: They will no longer bear being teased with<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> +<i>Unisons</i><a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a>, 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 <i>Soprano's</i> +and <i>Contr'Alto's</i> will no more sing the <i>Airs</i> in the Manner of the +Bass, in Spight of a thousand <i>Octaves</i>: And, finally, their <i>Airs</i> 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,<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span> +and that the <i>Mode</i> 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span> 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 <i>modern</i> 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<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a>; since the poor Counterpoint<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> 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<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span> 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<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a>; 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?</p> + +<p>§ 26. I know that the World honours with just Applause some, tho' few +Masters, intelligent in both<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> 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.</p> + +<p>§ 27. To my Misfortune, I asked one of this sort, from whom he had +learned the <i>Counterpoint</i>? he answered immediately from the Instrument, +(<i>i.e.</i>, the Harpsichord)—Very well. I asked farther, in what <i>Tone</i> +have you composed the Introduction of your Opera?——What <i>Tone</i>! what +<i>Tone</i>! (breaking in upon me abruptly) with what musty Questions are you +going to disturb my Brains? One may easily perceive from what School<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> +you come. The <i>Moderns</i>, if you do not know it, acknowledge no other +<i>Tone</i> but one<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a>; 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 <i>Authentick</i> and <i>Plagal</i>, 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<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span> +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——</p> + +<p>§ 28. That our delicious Stile has been invented to hide with the fine +Name of <i>Modern</i> the too difficult Rules of the <i>Counterpoint</i>, cannot +be denied.</p> + +<p>§ 29. That there is an inviolable Rule amongst us, to banish for ever +the <i>Pathetick</i>, is very true; because we will have no Melancholy.</p> + +<p>§ 30. But, that we should be told by the old <i>Bashaws</i>, that we strive +who can produce most extravagant Absurdities never heard before, and +that we brag to be the Inventors of<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span> 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 <i>Ancient</i>.</p> + +<p>§ 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 <i>Airs</i> 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<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span> +fundamental Basses, in such Manner,——(mark me well, and learn) that +if in an <i>Orchestre</i> there were an hundred Violins, we are capable of +composing in such a Manner, that all and every one shall play the very +<i>Air</i> which the Voice sings. What say you to that? Can you have the Face +to find Fault with us?</p> + +<p>§ 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 <i>à +la Mode</i>; 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?</p> + +<p>§ 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<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> Fools to grow pale, and become +paralytick in studying and finding out in the Scores, the Harmony, the +<i>Fugues</i>, their <i>Reverses</i>, the <i>Double Counterpoint</i>, the +Multiplication of Subjects, to contract them closer, to make <i>Canons</i>, +and such other dry Stuff, that are no more in <i>Mode</i>, and (what is +worse) are of little Esteem, and less Profit. What say you now to this, +<i>Master Critick</i>? Have you comprehended me?——Yes, Sir. Well, what +Answer do you make me?——None.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span></p> + + +<p class="img"><img src="images/0viii.png" +alt="image of bar not available" +width="400" height="132" /><a name="CHAP_VIII" id="CHAP_VIII"></a></p> + +<h2 class="top5">CHAP. VIII.</h2> + +<p class="head"><i>Of</i> Cadences.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a></p> + + +<p class="non"><span class="letter"><img src="images/00t.png" +alt="T" +width="100" +height="100" /></span> <span class="bg">he</span> +<i>Cadences</i>, that terminate the <i>Airs</i>, are of two Sorts. The +Composers call the one <i>Superior</i>, and the other <i>Inferior</i>. To make +myself better understood by a Scholar, I mean, if a <i>Cadence</i> were in +<i>C</i> natural, the Notes of the first would be <i>La, Sol, Fa;</i> and those of +the second <i>Fa, Mi, Fa</i>. In <i>Airs</i> for a single Voice, or in +<i>Recitatives</i>, a Singer may chuse which of these <i>Closes</i> or <i>Cadences</i> +pleases him best; but if in Concert<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span> with other Voices, or accompanied +with Instruments, he must not change the Superior for the Inferior, nor +this with the other.<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a></p> + +<p>§ 2. It would be superfluous to speak of the broken <i>Cadences</i>, they +being become familiar even to those who are not Professors of Musick, +and which serve at most but in <i>Recitatives</i>.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p> + +<p>§ 3. As for those <i>Cadences</i> that fall a fifth, they were never composed +in the old Stile for a <i>Soprano</i>, in an <i>Air</i> 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.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p> + +<p>§ 4. In the Chapter on <i>Airs</i>, I have exhorted the Student to avoid that +Torrent of <i>Passages</i> and <i>Divisions</i>,<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span> so much in the <i>Mode</i>, and did +engage myself also, to give my weak Sentiments on the <i>Cadences</i> 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 <i>modern Cadences</i>, or the Errors of my Opinion.</p> + +<p>§ 5. Every <i>Air</i> has (at least) three <i>Cadences</i>, that are all three +final. Generally speaking, the Study of the Singers of the present Times +consists in terminating the <i>Cadence</i> of the first Part with an +overflowing of <i>Passages</i> and <i>Divisions</i> at Pleasure, and the +<i>Orchestre</i> waits; in that of the second<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span> the Dose is encreased, and +the <i>Orchestre</i> grows tired; but on the last <i>Cadence</i>, the Throat is +set a going, like a Weather-cock in a Whirlwind, and the <i>Orchestre</i> +yawns. But why must the World be thus continually deafened with so many +<i>Divisions</i>? I must (with your leave, <i>Gentlemen Moderns</i>) 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 <i>Cantabile</i>, in the putting forth +the Voice agreeably, in <i>Appoggiatura's</i>, 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 <i>Motion</i> 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 <i>Cadences</i>. I must still add, that very <i>anciently</i> the Stile +of the Singers was insupportable,<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span> (as I have been informed by the +Master who taught me to <i>Sol-fa</i>) by reason of the Number of <i>Passages</i> +and <i>Divisions</i> in their <i>Cadences</i>, 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 +<i>Passages</i> in the <i>Cadences</i>; and<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span> on the contrary, having recalled them +from their Banishment, and brought them on the Stage, with some little +<i>Caricatura</i> 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 <i>Moderns</i>, if you sing in a most <i>Ancient</i> 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.</p> + +<p>§ 6. <i>Gentlemen Moderns</i>, can you possibly deny, but that you laugh +among yourselves, when you have Recourse to your long-strung <i>Passages</i><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span> +in the <i>Cadences</i>, to go a begging for Applause from the blind Ignorant? +You call this Trick by the Name of an <i>Alms</i>, begging for Charity as it +were for those <i>E Viva's</i>, 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 <i>Cadences</i> 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.</p> + +<p>§ 7. I should be very desirous to<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a><span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span> know, on what Foundation certain +<i>Moderns</i> of Reputation, and great Name, do on the superior <i>Cadences</i> +always make the <i>Shake</i> on the third in <i>Alt</i> to the final Note; since +the <i>Shake</i> (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 <i>Cadence</i> remains without a Resolution. If they should go so far +as to imagine, that the best Rules depended on the <i>Mode</i>, I should +notwithstanding think, they might sometimes appeal to the Ear, to know +if That was satisfied with a <i>Shake</i> beaten with the seventh and the +sixth on a Bass which makes the <i>Cadence</i>; and I am sure it would +answer. No. From the Rules of the <i>Ancients</i> we learn, that the <i>Shake</i> +is to be prepared on the sixth of the Bass, that after it the fifth may +be heard, for that is its proper Place.</p> + +<p>§ 8. Some others of the same Rank make their <i>Cadences</i> in the Manner of +the Basses, which is, in falling a fifth,<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span> with a Passage of Swift Notes +descending gradually, supposing that by this Means they cover the +<i>Octaves</i>, which, tho' disguised, will still appear.</p> + +<p>§ 9. I hold it also for certain, that no Professor of the first Rank, in +any <i>Cadence</i> whatsoever, can be allowed to make <i>Shakes</i>, or +<i>Divisions</i>, on the last Syllables but one of these +Words,—<i>Confonderò</i>—<i>Amerò</i>, &c. for they are Ornaments that do not +suit on those Syllables which are short, but do well on the +Antecedent.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p> + +<p>§ 10. Very many of the second Class end the inferior <i>Cadences</i> in the +<i>French</i> Manner without a <i>Shake</i><a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a>, 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 +<i>Modern</i>. But in Fact they are mistaken; for the <i>French</i> do not leave +out the <i>Shake</i> on the inferior <i>Cadences</i>, except in the <i>Pathetick<span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span> +Airs</i>; and our <i>Italians</i>, who are used to over-do the <i>Mode</i>, exclude +it every where, tho' in the <i>Allegro</i> the <i>Shake</i> is absolutely +necessary. I know, that a good Singer may with Reason abstain from the +<i>Shake</i> in the <i>Cantabile</i>; however, it should be rarely; for if one of +those <i>Cadences</i> 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.</p> + +<p>§ 11. I find that all the <i>Moderns</i> (let them be Friends or Foes to the +<i>Shake</i>) in the inferior <i>Cadences</i> beforementioned go with an +<i>Appoggiatura</i> 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 <i>Appoggiatura</i> is not pleasing but on the last Syllable, +after the Manner of the <i>Ancients</i>, or of those who know how to +sing.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a><span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p> + +<p>§12. If, in the inferior <i>Cadences</i>, the best Singers of these Days +think they are not in the wrong in making you hear the final Note before +the Bass<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a>, 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 <i>Appoggiatura</i>, the which +either ascending or descending, if not after the Bass<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a>, is always +very bad.</p> + +<p>§ 13. And is it not worst of all, to torment the Hearers with a thousand +<i>Cadences</i> 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?</p> + +<p>§ 14. If among all the <i>Cadences</i> in the <i>Airs</i>, 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<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span> +persists with his tiresome Warbling, nauseating the Judicious, who +suffer the more, because they know that the Composers leave generally in +every <i>final Cadence</i> some Note, sufficient to make a discreet +Embellishment; without seeking for it out of Time, without Taste, +without Art, and without Judgment.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a></p> + +<p>§ 15. I am still more surprised when I reflect, that the <i>modern</i> Stile, +after having exposed all the <i>Cadences</i> of the theatrical <i>Airs</i> to the +Martyrdom of a perpetual Motion, will likewise have the Cruelty to +condemn to the same Punishment not Those in the <i>Cantata's</i> only, but +also the <i>Cadences</i> of their <i>Recitatives</i>. Do these Singers pretend, by +their not distinguishing the Chamber-Musick from the immoderate +<i>Gargling</i> of the Stage, to expect the vulgar <i>E Viva's</i> in the Cabinet +of Princes?<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span></p> + +<p>§ 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 <i>Cadences</i> as elsewhere.</p> + +<p>§ 17. If, the inventing particular <i>Cadences</i> without injuring the Time, +has been one of the worthy Employments of the <i>Ancients</i> (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.</p> + +<p>§ 18. Many and many other Errors are heard in the <i>Cadences</i> that were +<i>Antique</i>, and which are now become <i>Modern</i>; 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 <i>Mode</i>.<span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span></p> + +<p>§ 19. Now let us for a while leave at Rest the Opinions of the aforesaid +Ancients, and the supposed <i>Moderns</i>, 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.<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span></p> + +<p class="imgg"><img src="images/078.png" +alt="image not available" +width="100" height="111" /></p> + +<p class="img"><img src="images/0ix.png" +alt="image of bar not available" +width="400" height="167" /><a name="CHAP_IX" id="CHAP_IX"></a></p> + + +<h2 class="top5">CHAP. IX.</h2> + +<p class="head"><i>Observations for a Singer.</i><a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a></p> + + +<p class="non"><span class="letter"><img src="images/00b.png" +alt="B" +width="100" +height="100" /></span> <span class="bg">ehold</span> +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.</p> + +<p>§ 2. From the cold Indifference perceived in many Singers, one would +believe that the Science of Musick implored their Favour, to be<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span> +received by them as their most humble Servant.</p> + +<p>§ 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 +<i>Kyrie's</i><a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a>, think they are arrived at the <i>Non plus ultra</i>; but if +you give them a <i>Cantata</i> 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 <i>Latin</i> or <i>Italian</i>, do not +change the Form of the Notes, must immediately conclude, that this pert<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span> +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.</p> + +<p>§ 4. There are an infinite Number<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a><span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> 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 <i>Mediocrity</i> in a Singer means <i>Ignorance</i>.</p> + +<p>§ 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<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 7. If he aims at the Character of a young Man of Wit and Judgment, let +him not be vulgar or too bold.</p> + +<p>§ 8. Let him shun low and disreputable Company, but, above all, such as +abandon themselves to scandalous Liberties.</p> + +<p>§ 9. That Professor ought not to be frequented, though excellent in this +Art, whose behaviour is vulgar and discreditable, and who cares not,<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span> +provided he makes his Fortune, whether it be at the Expence of his +Reputation.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 12. My long and repeated Travels have given me an Opportunity of being +acquainted with most of the Courts of <i>Europe</i>, 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,<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span> +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.</p> + +<p>§ 13.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> The golden Age of Musick would be already at an End, if the +Swans did not make their Nests on some Theatres in <i>Italy</i>, or on the +royal Banks of the <i>Thames</i>. O dear <i>London</i>!—--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.<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span> Let us leave the Tears +to the Heart, and return to the Singer.</p> + +<p>§ 14. A discreet Person will never use such affected Expressions as, <i>I +cannot sing To-day;—I've got a deadly Cold;</i> 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>I'm very well to-day</i>: They reserve the +unseasonable Confession to the next Day, when they make no Difficulty to +say, <i>In all my Days my Voice was never in better Order than it was +Yesterday</i>. 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 <i>gratis</i>, +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<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span> a Musician to serve +without a Recompence? A cursed Over-bearing; O sordid Avarice!</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 18. At first Sight, Arrogance has<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span> the Appearance of Ability; but, +upon a nearer View, I can discover Ignorance in Masquerade.</p> + +<p>§ 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 <i>Orchestre</i>.</p> + +<p>§ 20. To humble such Arrogance, may it never meet with that Incense +which it expects.</p> + +<p>§ 21. Who could sing better than the Arogant, if they were not ashamed +to study?</p> + +<p>§ 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.<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span></p> + +<p>§ 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.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a></p> + +<p>§ 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.</p> + +<p>§ 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 <i>Duetto</i> torn into +Atoms by two renown'd Singers, in Emulation; the one proposing, and the +other by Turns answering, that at last it<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a><span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span> ended in a Contest, who +could produce the most Extravagancies.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span></p> + +<p>§ 30. If he that sings well provokes Envy, by singing better he will get +the Victory over it.</p> + +<p>§ 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!<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a></p> + +<p>§ 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.<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span></p> + +<p>§ 33. Let it be remembered by the Singer, that copying comes from +Laziness, and that none copy ill but out of Ignorance.</p> + +<p>§ 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.</p> + +<p>§ 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 <i>Airs</i> 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<span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span> make us sensible, that two Women would not be equally +eminent if the one copy'd the other.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p> + +<p>§ 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, <i>viz.</i> 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?</p> + +<p>§ 37. He, that rightly knows how to copy in Musick, takes nothing but +the Design; because that Ornament, which we admire when <i>natural</i>, +immediately loses its Beauty when <i>artificial</i>.<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span></p> +<p>§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.</p> + +<p>§ 39. I cannot decide, which of the two deserves most to be despised, +one who cannot imitate a good Singer without <i>Caricatura's</i>, or He that +cannot imitate any well but bad ones.</p> + +<p>§ 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 <i>Carnaval</i> but one Theatre provided +with eminent Performers, without Hopes of<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a><span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> 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.</p> + +<p>§ 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.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p> + +<p>§ 42. The stealing of Time, in the <i>Pathetick</i>, is an honourable Theft +in one that sings better than others, provided he makes a Restitution +with Ingenuity.<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span></p> + +<p>§ 43. An Exercise, no less necessary than this, is That of agreeably +<i>putting forth</i> 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span> learn'd that <i>Je ne sçai quoy</i>, that +pleasing Charm, that so subtily passes from Vein to Vein, and makes its +way to the very Soul.</p> + +<p>§ 45. Though the way to the Heart is long and rugged, and known but to +few, a studious Application will, notwithstanding, master all Obstacles.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 48.<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> 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<span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span> 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<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a>. I +should be the first to condemn the magisterial Liberty I take, were it<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span> +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, <i>Age quod agis</i>; which (for those who do not +understand <i>Latin</i>) is as much as to say,——-Do You mind your <i>Sol-fa</i>; +and You, your Instrument.</p> + +<p>§ 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.</p> + +<p>§ 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<span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span> 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.</p> + +<p>§ 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span></p> + +<p>§ 53. He will have no Manner of Esteem for those who have no other +Graces than gradual <i>Divisions</i><a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a>; and will tell you, Embellishments +of this Sort are only fit for Beginners.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span></p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a><span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span> beyond the <i>Alps</i>, it passes +for a <i>modern</i> Rarity.</p> + +<p>§ 60. He will be astonished at this bewitched Age, in which so many are +paid so well for singing ill. The <i>Moderns</i> 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.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> + +<p>§ 61. He will condemn the Ignorance of the Men most, they being more +obliged to study than the Women.</p> + +<p>§ 62. He will not bear with one who imitates the Women, even in +sacrificing the Time, in order to acquire the Title of <i>Modern</i>.</p> + +<p>§ 63. He will marvel at that<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a><span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span> 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.</p> + +<p>§ 64. He will be displeased at the Presumption of a Singer who gets the +Words of the most wanton <i>Airs</i> of the Theatre rendered into <i>Latin</i>, +that he may sing them with Applause in the<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span> 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.</p> + +<p>§ 65. What will he not say of him who has found out the prodigious Art +of Singing like a <i>Cricket</i>? Who could have ever imagin'd, before the +Introduction of the <i>Mode</i>, that ten or a dozen Quavers in a Row could +be trundled along one after the other, with a Sort of <i>Tremor</i>, of the +Voice, which for some time past has gone under the name of <i>Mordente +Fresco</i>?<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a></p> + +<p>§ 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?</p> + +<p>§ 67. He will disapprove the malicious Custom of a Singer in Repute,<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span> +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.</p> + +<p>§ 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, <i>Hear and +Die</i>: 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.<span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span></p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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 <i>Air</i> which he always carries in his Pocket; of +one, who bribes the Composer to give him an <i>Air</i> that was intended for +another; of one,<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> 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 <i>Pathetick</i>; of one, who gallops to follow +the <i>Mode</i>; and of all the bad Singers, who, not knowing what's good, +court the <i>Mode</i> to learn its Defects.</p> + +<p>§ 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 <i>Air</i> with the +self-same <i>Passages</i> and <i>Graces</i>. He who sings premeditately, shews he +has learn'd his Lesson at Home.</p> + +<p>§ 73. After having corrected several other Abuses and Defects, to the +Advantage of the Singer, he will return with stronger Reasons to<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span> +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 <i>Italy</i>: 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,<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> of<span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span> 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 <i>Cantabile</i> 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 <i>Pathetick</i> of the one, and +the <i>Allegro</i> 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<span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span> Person! But let us not lose Sight of the Master.</p> + +<p>§ 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.</p> + +<p>§ 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 <i>Grace</i>.</p> + +<p>§ 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.</p> + +<p>§ 77. He will give him ample Instructions concerning <i>Graces</i> of all +sorts, and furnish him with Rules and profitable Documents.<span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span></p> + +<p>§ 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 <i>Passages</i> and <i>Graces</i>; 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.<span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span></p> + +<p class="img"><img src="images/00x.png" +alt="image of bar not available" +width="400" height="142" /><a name="CHAP_X" id="CHAP_X"></a></p> + +<h2 class="top5">CHAP. X.</h2> + +<p class="head"><i>Of</i> Passages <i>or</i> Graces.</p> + + +<p class="non"><span class="letter"><img src="images/00p.png" +alt="P" +width="100" +height="105" /></span> <span class="bg"><i>assages</i></span> +or <i>Graces</i> 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.</p> + +<p>§ 2. Therefore, let him know, that there are five principal +Qualifications, which being united, will bring him to admirable +Perfection, <i>viz.</i> <i>Judgment</i>, <i>Invention</i>, <i>Time</i>, <i>Art</i>, and <i>Taste</i>.</p> + +<p>§ 3. There are likewise five subaltern Embellishments <i>viz.</i> the +<i>Appoggiatura</i>, the <i>Shake</i>, the <i>putting forth of the Voice</i>, the +<i>Gliding</i>, and <i>Dragging</i>.<span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p> + +<p><i>The principal Qualifications teach,</i></p> + +<p>§ 4. That the <i>Passages</i> and <i>Graces</i> cannot be form'd but from a +profound <i>Judgment</i>.</p> + +<p>§ 5. That they are produced by a singular and beautiful <i>Invention</i>, +remote from all that is vulgar and common.</p> + +<p>§ 6. That, being govern'd by the rigorous, but necessary, Precepts of +<i>Time</i>, they never transgress its regulated Measure, without losing +their own Merit.</p> + +<p>§ 7. That, being guided by the most refined <i>Art</i> on the Bass, they may +There (and no where else) find their Center; there to sport with +Delight, and unexpectedly to charm.</p> + +<p>§ 8. That, it is owing to an exquisite <i>Taste</i>, that they are executed +with that sweet <i>putting forth</i> of the Voice, which is so enchanting.</p> + +<p><i>From the accessory Qualities is learned,</i></p> + +<p>§ 9. That the <i>Graces</i> or <i>Passages</i> be easy in appearance, thereby to +give universal Delight.<span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span></p> + +<p>§ 10. That in effect They be difficult that thereby the Art of the +Inventor be the more admired.</p> + +<p>§ 11. That They be performed with an equal regard to the Expression of +the Words, and the Beauty of the Art.</p> + +<p>§ 12. That They be <i>gliding</i> or <i>dragging</i> in the <i>Pathetick</i>, for They +have a better Effect than those that are mark'd.</p> + +<p>§ 13. That They do not appear studied, in order to be the more regarded.</p> + +<p>§ 14. That They be softened with the <i>Piano</i> in the <i>Pathetick</i>, which +will make them more affecting.</p> + +<p>§ 15. That in the <i>Allegro</i> They be sometimes accompanied with the +<i>Forte</i> and the <i>Piano</i>, so as to make a sort of <i>Chiaro Scuro</i>.</p> + +<p>§ 16. That They be confin'd to a <i>Group</i> of a few Notes, which are more +pleasing than those which are too numerous.</p> + +<p>§ 17. That in a slow <i>Time</i>, there may be a greater Number of them<span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span> (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.</p> + +<p>§ 18. That They be properly introduc'd, for in a wrong Place They +disgust.</p> + +<p>§ 19. That They come not too close together, in order to keep them +distinct.</p> + +<p>§ 20. That They should proceed rather from the Heart than from the +Voice, in order to make their way to the Heart more easily.</p> + +<p>§ 21. That They be not made on the second or fourth Vowel, when closely +pronounc'd, and much less on the third and fifth.</p> + +<p>§ 22. That They be not copied, if you would not have them appear +defective.</p> + +<p>§ 23. That They be stol'n on the <i>Time</i>, to captivate the Soul.</p> + +<p>§ 24. That They never be repeated in the same place, particularly in +<i>Pathetick Airs</i>, for there they are the<span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span> most taken Notice of by the +Judicious.</p> + +<p>§ 25. And, above all, let them be improv'd; by no means let them lose in +the Repetition.</p> + +<p>§ 26. Many Professors are of Opinion, that in <i>Graces</i> there is no room +for the marked <i>Divisions</i>, unless mix'd with some of the aforesaid +Embellishments or some other agreable Accidents.</p> + +<p>§ 27. But it is now time that we speak of the <i>Dragging</i>, that, if the +<i>Pathetick</i> 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.</p> + +<p>§ 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 <i>Forte</i> and <i>Piano</i>, almost gradually, with<span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span> +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 <i>Strascino</i> or +<i>Dragg</i>.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> 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 <i>Time</i> 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 <i>Soprano</i>, that makes +use of it but seldom, it becomes a Prodigy; but as much as it pleases +descending, no less would it displease ascending.</p> + +<p>§ 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<span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span> +mistaken Persons call <i>Ancients</i>. 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 +<i>Time</i>, to vary on its Movement, to compose, and to study the +<i>Pathetick</i>, 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 <i>Modern</i>.</p> + +<p>§ 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<span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span> renowned Singers; who you take to be +<i>Moderns</i> (but are not so, except in their <i>Cadences</i>;) 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 <i>Mode</i>, and that at present +there are many bad Singers.</p> + +<p>§ 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<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span> 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.</p> + +<p>§ 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 <i>Graces</i>, by the means whereof his Mind will +be so opened, that the most hidden Treasures of the Art, and most +remote<span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span> 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.</p> + +<p>§ 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 +<i>Modern</i> 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<span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span> its Honey from +the most grateful Flowers. From those called <i>Ancients</i>, and those +supposed <i>Moderns</i>, (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.</p> + +<p>§ 34. The most cordial, and not less profitable Advice, I can give you, +is the following:</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p>§ 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.</p> + +<p class="c"><i>FINIS</i>.</p> + + +<h2 class="top15"><a name="PLATES" id="PLATES"></a>PLATES</h2> + +<p class="c"><a name="pl_1" id="pl_1"></a>Pl. <span class="smcap">i</span></p> + +<p class="c">Chap. 1.<sup>st</sup></p> + +<p class="music">§ 11 <a href="#Page_17">Page 17</a><br /><img src="images/001pl.png" alt="musical notation" /></p> + +<p class="music"><a href="#Page_17">Page 17</a><br /> +<img src="images/002pl.png" alt="musical notation" /></p> + +<p class="music">§ 12 <a href="#Page_18">Page 18</a><br /><img src="images/003pl.png" +alt="musical notation" /></p> +<p class="c"> +<img src="images/004pl.png" +alt="musical notation" /></p> + +<p class="music">§ 29 <a href="#Page_28">Page 28</a><br /><img src="images/005pl.png" alt="musical notation" /></p> + +<p class="music"><a name="pl_2" id="pl_2"></a>Pl. <span class="smcap">ii</span></p> + +<p class="music">Chap. 2<sup>d</sup>.</p> + +<p class="music">§ 2 <a href="#Page_32">Page 32</a><br /><img src="images/006pl.png" +alt="musical notation" /></p> + + +<p class="music">§ 3 <a href="#Page_32">Page 32</a> & 33<br /><img src="images/007pl.png" +alt="musical notation" /></p> + +<p class="music">§ 4 <a href="#Page_34">Page 34</a><br /><img src="images/008pl.png" +alt="musical notation" /></p> + +<p class="music">§ 5 <a href="#Page_34">Page 34</a><br /><img src="images/009pl.png" +alt="musical notation" /></p> + +<p class="music">§ 6 <a href="#Page_34">Page 34</a><br /><img src="images/011pl.png" +alt="musical notation" /></p> + +<p class="music">§ 7 <a href="#Page_35">Page 35</a><br /><img src="images/012pl.png" +alt="musical notation" /> +</p> + +<p class="music"><a name="pl_3" id="pl_3"></a>Pl. <span class="smcap">iii</span></p> + +<p class="music">§ 8 <a href="#Page_35">Page 35</a><br /><img src="images/013pl.png" +alt="musical notation" /></p> + +<p class="music">§ 9 <a href="#Page_35">Page 35</a><br /><img src="images/014pl.png" +alt="musical notation" /></p> + +<p class="music">§ 14 <a href="#Page_37">Page 37</a><br /><img src="images/015apl.png" +alt="musical notation" /></p> + +<p class="music"><a href="#Page_37">Page 37</a><br /><img src="images/015bpl.png" +alt="musical notation" /></p> + +<p class="music"><a href="#Page_37">Page 37</a><br /><img src="images/016pl.png" +alt="musical notation" /><span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span></p> + +<p class="music"><a href="#Page_37">Page 37</a><br /><img src="images/017pl.png" +alt="musical notation" /></p> + +<p class="music"><a href="#Page_37">Page 37</a><br /><img src="images/018pl.png" +alt="musical notation" /></p> + +<p class="music">§15 <a href="#Page_38">Page 38</a><br /><img src="images/019pl.png" +alt="musical notation" /></p> + +<p class="music"><a href="#Page_38">Page 38</a><br /><img src="images/020pl.png" +alt="musical notation" /></p> + +<p class="music"><a name="pl_4" id="pl_4"></a>Pl. <span class="smcap">iv</span></p> + +<p class="music">Chap. 3<sup>d</sup>.</p> + +<p class="music">§ 6 & § 7 <a href="#Page_43">Page 43</a><br /><img src="images/021pl.png" +alt="musical notation" /></p> + + +<p class="music">§ 8 <a href="#Page_45">Page 45</a><br /><img src="images/022pl.png" +alt="musical notation" /></p> + +<p class="music">§ 9 <a href="#Page_45">Page 45</a><br /><img src="images/023pl.png" +alt="musical notation" /></p> + +<p class="music">§ 10 <a href="#Page_45">Page 45</a><br /><img src="images/024pl.png" +alt="musical notation" /></p> + +<p class="music">§ 11 <a href="#Page_46">Page 46</a><br /><img src="images/025pl.png" +alt="musical notation" /></p> + +<p class="music">§ 12 <a href="#Page_46">Page 46</a><br /><img src="images/026pl.png" +alt="musical notation" /> +</p> + +<p class="music">§ 13 <a href="#Page_47">Page 47</a><br /><img src="images/029pl.png" +alt="musical notation" /></p> + +<p class="music">Chap 4<sup>th</sup></p> + +<p class="music">§ 29 <a href="#Page_62">Page 62</a><br /><img src="images/030pl.png" +alt="musical notation" /></p> + +<p class="music">Chap. 5<sup>th</sup></p> + +<p class="music">§ 13 <a href="#Page_74">Page 74</a><br /><img src="images/031pl.png" +alt="musical notation" /></p> + +<p class="music">Chap 8<sup>th</sup></p> + +<p class="music">§ 1 <a href="#Page_126">Page 126</a><br /><img src="images/032pl.png" +alt="musical notation" /></p> + +<p class="music">§ 3 <a href="#Page_127">Page 127</a><br /><img src="images/033pl.png" +alt="musical notation" /></p> + + +<p class="music">§ 7 <a href="#Page_132">Page 132</a><br /><img src="images/034pl.png" +alt="musical notation" /></p> + +<p class="music">§ 9 <a href="#Page_134">Page 134</a><br /><img src="images/035pl.png" +alt="musical notation" /></p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> When Arts and Sciences were retrieving from the Barbarism +in which they were buried, Musick chiefly took its Rise in <i>Flanders</i>, +and the Composers of Musick of that Nation were dispersed all over +<i>Europe</i>, to the Improvement of others. In <i>Italy</i> there arose from that +School, among several others, <i>P. Alis. Palestrina</i>, a Genius so +extraordinary, that he is looked upon as the <i>Raphael</i> among the +Musicians. He lived in Pope <i>Leo</i> 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 <i>Miserere</i> of <i>Allegri</i>, who liv'd a +little time after <i>Palestrina</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The Author directs this for the Instruction of a <i>Soprano</i>, +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 <i>Soprano</i> 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 +<i>Soprano</i> has generally most Volubility, and becomes it best; and also +equally the Pathetick. The <i>Contr'Alto</i> more of the Pathetick than the +Volubility; the <i>Tenor</i> less of the Pathetick, but more of the +Volubility than the <i>Contr'Alto</i>, though not so much as the <i>Soprano</i>. +The <i>Bass</i>, in general more pompous than any, but should not be so +boisterous as now too often practised.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <i>The Explanation of</i> Sic vos non vobis, <i>&c.</i>, <i>for the +Satisfaction of those who do not perfectly remember it</i>. +</p><p> +<i>Virgil</i> having composed a Distich, containing the Praise of <i>Augustus</i>, +and a Compliment on his good Fortune, fix'd it on the Palace Gate, +without any Name subscrib'd. <i>Augustus</i>, making strict Enquiry after the +Author, and <i>Virgil's</i> Modesty not suffering him to own the Verses, one +<i>Bathillus</i>, a Poet of a mean Reputation, owned himself the Author, and +received Honour and Reward from the Emperor. <i>Virgil</i>, somewhat +scandalized at this Accident, fixed an Hemistich in these Words (<i>Sic +vos non vobis</i>) 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 <i>Virgil</i> supplied +them thus: +</p> + +<p class="poem2"> +<span style="margin-left: 2em;"><i>Hos ego Versiculos feci, tulit alter Honores;</i></span><br /> +<span style="margin-left: 3em;"><i>Sic vos non vobis nidificatis aves.</i></span><br /> +<span style="margin-left: 3em;"><i>Sic vos non vobis vellera fertis oves.</i></span><br /> +<span style="margin-left: 3em;"><i>Sic vos non vobis mellificatis apes.</i></span><br /> +<span style="margin-left: 3em;"><i>Sic vos non vobis fertis aratra boves.</i></span><br /> +</p> +<p> +i.e. These Verses I made, but another has taken the Applause of them. +</p> +<p class="poem"> +<span style="margin-left: 2em;"><i>So ye Birds build not your Nests</i></span><br /> +<span style="margin-left: 4em;"><i>For yourselves.</i></span><br /> +<span style="margin-left: 2em;"><i>So ye Sheep bear not your Wool</i></span><br /> +<span style="margin-left: 4em;"><i>For yourselves.</i></span><br /> +<span style="margin-left: 2em;"><i>So ye Bees make not your Honey</i></span><br /> +<span style="margin-left: 4em;"><i>For yourselves.</i></span><br /> +<span style="margin-left: 2em;"><i>So ye Oxen submit to the Plow</i></span><br /> +<span style="margin-left: 4em;"><i>Not for yourselves</i>.</span><br /> +</p> +<p> +Upon this Discovery, <i>Bathillus</i> became the Ridicule of <i>Rome</i>, and +<i>Virgil</i> acquired a double Reputation. +</p><p> +The Distich, which <i>Bathillus</i> claim'd for his, was this: +</p> +<p class="poem"> +<span style="margin-left: 1em;"><i>Nocte plut totâ, redeunt spectacula manè,</i></span><br /> +<span style="margin-left: 1em;"><i>Divisum Imperium cum Jove Cæsar habet.</i></span><br /> +</p><p> +i.e. It rain'd all Night; in the Morning the publick Shews return: +<i>Jove</i> and <i>Cæsar</i> divide the Rule of the World. The Compliment is, that +<i>Cæsar</i> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>Alla Capella</i>, Church-Musick where the Flats and Sharps +are not mark'd.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Seven Cliffs necessary to be known. <a href="#pl_1">Pl. I.</a> Numb. 1. By the +Help of these Cliffs any Line or Space may be what Note you please. Pl. +I. Numb. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> It is necessary to understand the <i>Sol-Fa</i>-ing, and its +Rules, which shew where the two Semitones lie in each Octave, <a href="#pl_1">Pl. I.</a> +Numb. 3. Where Flats or Sharps are marked at the Cliff, the Rule is, if +one Flat, That is <i>Fa</i>; if more Flats, the last. If one Sharp, That is +<i>Mi</i>; if more Sharps, the last.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> His meaning is, that the <i>French</i> are not in the right.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> See § 2, and the following, in Chap. III. where the +Difficulty of the <i>Semitone Major</i> and <i>Minor</i> are cleared.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Voce di Petto</i> is a full Voice, which comes from the +Breast by Strength, and is the most sonorous and expressive. <i>Voce di +Testa</i> comes more from the Throat, than from the Breast, and is capable +of more Volubility. <i>Falsetto</i> is a feigned Voice, which is entirely +formed in the Throat, has more Volubility than any, but of no +Substance.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <i>Register</i>; a Term taken from the different Stops of an +Organ.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> The Pitch of <i>Lombardy</i> or <i>Venice</i>, is something more +than half a Tone higher than at <i>Rome</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> A <i>Messa di Voce</i> is the holding out and swelling a Note. +Vide <a href="#pl_1">Pl. I.</a> Numb. 4. This being a Term of Art, it is necessary to use +it, as well as <i>Piano</i> for soft, and <i>Forte</i> for loud. <i>N.B.</i> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> See for <i>Appoggiatura</i> in the next Chapter.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> <i>Appoggiatura</i> is a Word to which the <i>English</i> 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, <a href="#pl_2">Pl. II.</a> Numb. +2. The <i>French</i> express it by two different Terms, <i>Port de Voix</i> and +<i>Appuyer</i>; as the <i>English</i> do by a <i>Prepare</i> and a <i>Lead</i>. The Word +<i>Appoggiatura</i> is derived from <i>Appoggiare</i> 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 +<i>Appoggiatura</i> can be made at the Beginning of a Piece; there must be a +Note preceding, from whence it leads.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Here begins the Examination of the <i>Semitones Major and +Minor</i>, which he promised in § 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 <i>Semitone Major</i> changes Name, Line, and Space: <i>A +Semitone</i> Minor changes neither. <a href="#pl_2">Pl. II.</a> Numb. 1. To a <i>Semitone Major</i> +one can go with a Rise or <i>a</i> Fall distinctly; to a <i>Semitone Minor</i> one +cannot <i>N.B.</i> From a <i>Tone Minor</i> the <i>Appoggiatura</i> is better and +easier than from a <i>Tone Major</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> These are all <i>Tones Major</i> and <i>Minor</i>, and <i>Semitones +Major</i>. <a href="#pl_2">Pl. II.</a> Numb. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Because they are <i>Semitones Major</i>. <a href="#pl_2">Pl. II.</a> Numb. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Because they are <i>Semitones Major</i>. <a href="#pl_2">Pl. II.</a> Numb. 4.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Because they are all <i>Semitones Minor</i>, which may be known +by the abovementioned Rule, of their not changing Name, Line, nor Space. +<a href="#pl_2">Pl. II.</a> Numb. 5. and which makes it manifest, that a <i>Semitone Minor</i> +cannot bear an <i>Appoggiatura</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> For the same Reason, these being <i>Semitones Minor</i>. Pl. +II. Numb. 6.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Because one is a <i>Semitone Major</i>, and the other a +<i>Semitone Minor</i>. <a href="#pl_3">Pl. III.</a> Numb. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Because they are <i>Semitones Minor</i>. Pl. III, Numb. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> The <i>Tone</i>, or <i>Mood</i>, you are in, will determine which is +a <i>Tone Major</i> or <i>Minor</i>; for if you change the <i>Mood</i> or <i>Tone</i>, that +which was the <i>Tone Major</i> may become the <i>Tone Minor</i>, and so <i>Vice +Versâ</i>: Therefore these two Examples from <i>C</i> to <i>D</i>, and from <i>F</i> to +<i>G</i>, do not hold true.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> His Perplexity comes from a wrong Notion, in not +distinguishing those two <i>Semitones</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> All Intervals, rising with an <i>Appoggiatura</i>, arise to the +Note with a sort of <i>Beat</i>, more or less: and the same, descending, +arrive to the Note with a sort of <i>Shake</i>, more or less. <a href="#pl_3">Pl. III.</a> Numb. +9, 10. One cannot agreeably ascend or descend the Interval of a third +<i>Major</i> or <i>Minor</i>, <a href="#pl_3">Pl. III.</a> Numb 11. But gradually very well. <a href="#pl_3">Pl. III.</a> +Numb. 12. Examples of false or deceitful Intervals. <a href="#pl_3">Pl. III.</a> Numb. 13.</p></div> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> So in all Cases where the Interval is deceitful. <a href="#pl_3">Pl. III.</a> +Numb. 14. With a <i>Messa di Voce</i>. <a href="#pl_3">Pl. III.</a> Numb. 15. See for <i>Messa di +Voce</i>, Chap. I. § 29, and its Note.</p></div> + +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> In all the modern <i>Italian</i> Compositions the +<i>Appoggiatura's</i> are mark'd, supposing the Singers to be ignorant where +to place them. The <i>French</i> use them for their Lessons on the +<i>Harpsichord</i>, &c., but seldom for the Voice.</p></div> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> See for the several Examples of the <i>Shakes</i>, <a href="#pl_4">Pl. IV.</a></p></div> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> The first <i>Shake</i> of a <i>Tone</i>, <a href="#pl_4">Pl. IV.</a> Numb. 1.</p></div> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See for the Meaning of superior and inferior <i>Cadences</i>, +Chap. VIII. § 1. Pl. V. Numb. 3. <i>N.B.</i> Prom the inferior or lower +Cadences, the first, or full, <i>Tone Shake</i>, is not always excluded; for +in a sharp Key it is always a <i>Tone</i>, and in a flat Key a <i>Semitone</i>, +<a href="#pl_4">Pl. IV.</a> Numb. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> The second <i>Shake</i> of a <i>Semitone Major</i>, <a href="#pl_4">Pl. IV.</a> Numb. +2.</p></div> + +<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> The third the short <i>Shake</i>. <a href="#pl_4">Pl. IV.</a> Numb. 4.</p></div> + +<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> The fourth the rising <i>Shake</i>. <a href="#pl_4">Pl. IV.</a> Numb. 5.</p></div> + +<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> The fifth the descending <i>Shake</i>. <a href="#pl_4">Pl. IV.</a> Numb. 6.</p></div> + +<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> The sixth the slow <i>Shake</i>. <a href="#pl_4">Pl. IV.</a> Numb. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> The seventh the redoubled <i>Shake</i>. <a href="#pl_4">Pl. IV.</a> Numb. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> The eighth the <i>Trillo-Mordente</i>, or <i>Shake</i> with a +<i>Beat</i>. <a href="#pl_4">Pl. IV.</a> Numb. 9.</p></div> + +<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> <i>Shakes</i> 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 <i>Beats</i>, <i>Shakes</i>, and +<i>Prepares</i>, is owing to Lessons on the Lute, Harpsichord, and other +Instruments, whose Sounds discontinue, and therefore have Need of this +Help.</p></div> + +<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> The <i>mark'd Divisions</i> should be something like the +<i>Staccato</i> on the Violin, but not too much; against which a Caution will +presently be given.</p></div> + +<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> The <i>Gliding Notes</i> are like several Notes in one Stroke +of the Bow on the Violin.</p></div> + +<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> The pronouncing <i>Eror</i> instead of <i>Error</i>; or <i>Dally</i> +instead of <i>Daly</i>. The not distinguishing; the double Consonants from +the single, is an Error but too common at present.</p></div> + +<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> See for the <i>syncopated</i>, <i>Ligatura</i>, or <i>binding</i> Notes, +<a href="#pl_4">Pl. IV.</a> Numb. 10.</p></div> + +<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> <i>Madrigals</i> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> <i>Musica di Camera.</i> Chamber, or private, Musick; where the +Multitude is not courted for Applause, but only the true Judges; and +consists chiefly in <i>Cantata's</i>, <i>Duetto's</i>, &c. In the Recitative of +<i>Cantata's</i>, our Author excelled in a singular Manner for the pathetick +Expression of the Words.</p></div> + +<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> <i>Cortona</i> liv'd above forty Years ago. <i>Balarini</i>, in +Service at the Court of <i>Vienna</i>, much in Favour with the Emperor +<i>Joseph</i>, who made him a Baron.</p></div> + +<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> See Broken Cadences, Pl. V. Numb. 1. +</p><p> +----Final Cadences, Pl. V. Numb. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> <i>Motets</i>, or Anthems.</p></div> + +<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> The Proverb is, <i>Lingua</i> Toscana <i>in bocca</i> Romana.—This +regards the different Dialects, in <i>Italy</i>; as <i>Neapolitan</i>, <i>Venetian</i>, +<i>&c.</i> the same, in Comparison, <i>London</i> to <i>York</i>, or <i>Somersetshire</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> The Church-Musick in <i>Italy</i> is all in <i>Latin</i>, except +<i>Oratorio's</i>, which are Entertainments in their Churches. It is +therefore necessary to have some Notion of the <i>Latin</i> Tongue.</p></div> + +<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> The first Caution against imitating injudiciously the +Instrumental with the Voice.</p></div> + +<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> The <i>Italians</i> have a Saying, <i>Voce di Compositore</i>, to +denote a bad or an indifferent Voice.</p></div> + +<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> <i>Cantabile</i>, the Tender, Passionate, Pathetick; more +Singing than <i>Allegro</i>, which is Lively, Brisk, Gay, and more in the +executive Way.</p></div> + +<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Suppose the first Part expressed Anger, and the second +relented, and was to express Pity or Compassion, he must be angry again +in the <i>Da Capo</i>. This often happens, and is very ridiculous if not done +to a real Purpose, and that the Subject and Poetry require it.</p></div> + +<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> It is supposed, the Scholar is arrived to the Capacity of +knowing Harmony and Counterpoint.</p></div> + +<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> The general dividing of <i>Airs</i> described, to which the +Author often refers.</p></div> + +<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> Continuation of the general dividing <i>Airs</i> in § 4. The +End of this Section is a seasonable Corrective of the Rule prescribed in +the foregoing fifth Section.</p></div> + +<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> <i>Rivani</i>, called <i>Ciecolino</i>, must have written some +Treatise on Time, which is not come to us, therefore no further Account +can be given of him.</p></div> + +<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> <i>Pistochi</i> was very famous above fifty Years ago, and +refined the Manner of singing in <i>Italy</i>, 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 <i>Contr'Alto</i>. Having Experience on his Side, +he took Care of it, and as Encouragement came again, he took the +Opportunity of travelling all <i>Europe</i> over, where hearing the different +Manners and Tastes, he appropriated them to himself, and formed that +agreeable Mixture, which he produced in <i>Italy</i>, where he was imitated +and admired. He at last past many Years, when in an affluent Fortune, at +the Court of <i>Anspach</i>, where he had a Stipend, and lived an agreeable +easy Life; and at last retired to a Convent in <i>Italy</i>. 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 <i>modern</i> Taste.</p></div> + +<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> <i>Sifacio</i>, famous beyond any, for the most singular Beauty +of his Voice. His Manner of Singing was remarkably plain, consisting +particularly in the <i>Messa di Voce</i>, the putting forth his Voice, and +the Expression. +</p><p> +There is an <i>Italian</i> Saying, that an hundred Perfections are required +in an excellent Singer, and he that hath a fine Voice has ninety-nine of +them. +</p><p> +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. +</p><p> +<i>Sifacio</i> got that Name from his acting the Part of <i>Syphax</i> the first +time he appeared on the Stage. He was in <i>England</i> when famous, and +belonged to King <i>James</i> the Second's Chapel. After which he returned to +<i>Italy</i>, continuing to be very much admired, but at last was waylaid, +and murthered for his Indiscretion.</p></div> + +<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> <i>Buzzolini</i>, the Name known, but no Particulars of him.</p></div> + +<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> <i>Litigino</i>, in the Service of the Emperor <i>Joseph</i>, and a +Scholar of <i>Pistochi</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> <i>Signora Boschi</i> was over in <i>England</i> in Queen <i>Anne's</i> +Time; she sung one Season in the Opera's, returned to <i>Venice</i>, 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.</p></div> + +<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> <i>Santini</i>, afterwards <i>Signora Lotti</i>. She was famous +above forty Years ago, and appeared at several Courts in <i>Germany</i>, +where she was sent for; then retired to <i>Venice</i>, where she married +<i>Signor Lotti</i>, Chapel-Master of St. <i>Mark</i>. +</p><p> +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 <i>Italy</i>? No doubt, said he, +they would, but where are the Singers that can sing them?</p></div> + +<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Those tremendous <i>Airs</i> are called in <i>Italian</i>, <i>un Aria +di Bravura</i>; which cannot perhaps be better translated into <i>English</i>, +than a <i>Hectoring</i> Song.</p></div> + +<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> <i>Pierre Simone Agostini</i> lived about threescore Years ago. +Several <i>Cantata's</i> of his Composition are extant, some of them very +difficult, not from the Number of <i>Divisions</i> 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 <i>Charissimi</i> 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 <i>Pierre-Simone</i> 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 <i>Cantata</i>, and sent it to a +certain Cardinal, who never failed sending him a fixed Sum, with which +he paid off his Score.</p></div> + +<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> <i>Alessandro Stradella</i> lived about <i>Pier. Simone's</i> 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 +<i>Genoa</i>, a Place where the Ladies are allowed to live with more Freedom +than in any other Part of <i>Italy</i>, <i>Stradella</i> 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 <i>Stradella's</i> +frequent Visits there, and forbids him going upon his Peril, which Order +<i>Stradella</i> obeys. The Lady's Husband not having seen <i>Stradella</i> at his +House for some Days, reproaches him with it. <i>Stradella</i>, 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 <i>Stiletts</i> or Daggers stabb'd +him, and left him dead upon the Place. The people of <i>Genoa</i> 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 <i>Rome</i>, and on Enquiry +learned, that an <i>Oratorio</i> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> When <i>Tosi</i> writ this, the Composers in Vogue were +<i>Scarlatti</i>, <i>Bononcini</i>, <i>Gasparini</i>, <i>Mancini</i>, &c. The last and +modern Stile has pretty well spread itself all over <i>Italy</i>, and begins +to have a great Tendency to the same beyond the <i>Alps</i>, as he calls it.</p></div> + +<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> The <i>Moods</i>, here spoken of, our Author has not well +explained. The Foundation he goes upon are the eight Church <i>Moods</i>. But +his Meaning and Complaint is, that commonly the Compositions are in <i>C</i>, +or in <i>A</i>, with their Transpositions, and that the others are not used +or known. But to particularise here what the <i>Moods</i> are, and how to be +used, is impossible, for that Branch only would require a large Treatise +by itself.</p></div> + +<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> The <i>Airs</i>, sung in Unison with the Instruments, were +invented in the <i>Venetian</i> Opera's, to please the <i>Barcaroles</i>, who are +their Watermen: and very often their Applause supports an Opera. The +<i>Roman</i> School always distinguished itself, and required Compositions of +Study and Care. How it is now at <i>Rome</i> is doubtful; but we do not hear +that there are any <i>Corelli's</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> <i>Maestro di Capella</i>, Master of the Chapel, the highest +Title belonging to a Master of Musick. Even now the Singers in <i>Italy</i> +give the Composers of Opera's the Title of <i>Signior Maestro</i> as a Mark +of their Submission.</p></div> + +<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> <i>Contrapunto</i>, Counterpoint, or Note against Note, the +first Rudiments of Composition.</p></div> + +<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> <i>Furlana</i>. A sort of Country Dance, or <i>Cheshire</i>-Round. +</p><p> +It is reported, that the Church-Musick in <i>Italy</i>, 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 <i>Airs</i> and +sung them in Churches. This Abuse is not new, for St. <i>Augustine</i> +complains of it; and <i>Palestrina</i> prevented in his Time Musick from +being banished the Churches.</p></div> + +<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> <i>Tono</i>, or <i>Mood</i>, and sometimes means the Key. Our Author +in this Section is fond of a Pun, which cannot well be translated. +<i>Tono</i> is sometimes writ <i>Tuono</i> and <i>Tuono</i> signifies Thunder; +therefore the Ignorant answers, he knows no other <i>Tuono</i> but that which +is preceded by Lightning.</p></div> + +<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> <i>Cadences</i>; or, principal Closes in <i>Airs</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> For superior and inferior <i>Cadences</i>, see Pl. V. Numb. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> Broken <i>Cadences</i>, see Example, Chap. V. § 13, and its +Note.</p></div> + +<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> <i>Cadences</i> that fall a Fifth, with and without Words, Pl. +V, Numb. 4 and 5.</p></div> + +<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> By the <i>Final Cadences</i> here mentioned, the first is at +the End of the first Part of the <i>Air</i>; 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 <i>Da Capo</i>, as it is always expressed in <i>Italian</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> For the resolved and unresolved <i>Cadences</i>, see Pl. V. +Numb. 6 and 7.</p></div> + +<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> See for the Examples, Pl. V. Numb. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> See Example, Pl. VI. Numb. 1.</p></div> + +<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> See Example, Pl. VI. Numb. 2. +</p><p> +<i>N.B.</i> An <i>Appoggiatura</i> cannot be made on an unaccented Syllable.</p></div> + +<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> See for Examples, Pl. VI. Numb. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> See for Examples, Pl. VI. Numb. 4.</p></div> + +<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Some, after a tender and passionate <i>Air</i>, make a lively +merry <i>Cadence</i>; and, after a brisk <i>Air</i>, end it with one that is +doleful.</p></div> + +<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> <i>Kyrie</i>, the first Word of the Mass-Musick in the +Cathedral Stile, is not so difficult to them as the <i>Cantata's</i>; and the +<i>Latin</i> in the Service, being familiar to them, saves them the Trouble +of attending to the Words.</p></div> + +<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> <i>Thomas Morley</i> (who lived above an hundred Years ago) in +the third Part of his Treatise, pag. 179, speaking of <i>Motetts</i> 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.'</p></div> + +<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> In <i>Italy</i>, the Courts of <i>Palma</i>, <i>Modena</i>, <i>Turin</i>, &c. +and in <i>Germany</i>, the Courts of <i>Vienna</i>, <i>Bavaria</i>, <i>Hanover</i>, +<i>Brandenbourg</i>, <i>Palatine</i>, <i>Saxony</i>, &c.</p></div> + +<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> There have been such, who valued themselves for shaking a +Room, breaking the Windows, and stunning the Auditors with their Voice.</p></div> + +<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> The renowned Abbot <i>Steffani</i>, so famous for his +<i>Duetto's</i>, would never suffer such luxuriant Singers to perform any of +them, unless they kept themselves within Bounds.</p></div> + +<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> <i>Nicolini</i>, who came the first time into <i>England</i> 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 <i>Airs</i> were excellent; but in his <i>Cadences</i> he had a little of +the antiquated Tricks. <i>Valentini</i>, (who was here at the same Time) a +Scholar of <i>Pistochi</i>, though not so powerful in Voice or Action as +<i>Nicolini</i>, was more chaste in his Singing.</p></div> + +<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> The two Women, he points at, are <i>Cuzzoni</i> and +<i>Faustina</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> The <i>Carnaval</i> is a Festival in <i>Italy</i>, particularly +celebrated at <i>Venice</i> from <i>Christmas</i> to <i>Lent</i>, when all Sorts of +Diversions are permitted; and at that Time there are sometimes three +different Theatres for Opera's only.</p></div> + +<div class="footnote"><p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> 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 <i>Pathetick</i> and +<i>Tender</i>; 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.</p></div> + +<div class="footnote"><p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> A farther Animadversion against imitating Instruments +with the Voice.</p></div> + +<div class="footnote"><p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> 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.</p></div> + +<div class="footnote"><p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> <i>Passo</i> and <i>Passagio</i>. The Difference is, that a <i>Passo</i> +is a sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. A +<i>Passagio</i> is a Division, a Continuation, or a Succession of Notes, +ascending or descending with Uniformity. See Pl. VI. Numb. 6.</p></div> + +<div class="footnote"><p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> This alludes to the <i>French</i> Manner of Singing, from +whence that Defect is copy'd.</p></div> + +<div class="footnote"><p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> The Time he alludes to, is at present between thirty and +forty Years ago.</p></div> + +<div class="footnote"><p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> Compare this Section with Section 41 in this Chapter and +the Note.</p></div> + +<div class="footnote"><p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> This is a Fault more than once heard of, in <i>Oratario's</i> +or <i>Motetts</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> See Example, Pl. VI. Numb. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> <i>Faustina</i> and <i>Cuzzoni</i>, they both having within these +few Years been in <i>England</i>, there needs no other Remark to be made on +them, but to inform Futurity, that the <i>English</i> Audience distinguish'd +them Both and at the same time, according to their Merit, and as our +Author has describ'd them. +</p><p> +It may be worth remarking, that <i>Castilione</i>, who lived above two +hundred Years ago, in his <i>Cortegiano</i>, describes <i>Bidon</i>, and +<i>Marchetto Cara</i>, two famous Singers in his Time, with the same +distinguishing Qualifications.</p></div> + +<div class="footnote"><p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> See Examples, Pl. VI. Numb. 8 and 9.</p></div> + +</div> + +<hr class="full" /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Observations on the Florid Song, by +Pier Francesco Tosi + +*** END OF THIS PROJECT GUTENBERG EBOOK OBSERVATIONS ON THE FLORID SONG *** + +***** This file should be named 26477-h.htm or 26477-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/4/7/26477/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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