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diff --git a/26477.txt b/26477.txt new file mode 100644 index 0000000..f785358 --- /dev/null +++ b/26477.txt @@ -0,0 +1,3954 @@ +Project Gutenberg's Observations on the Florid Song, by Pier Francesco Tosi + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Observations on the Florid Song + or Sentiments on the Ancient and Modern Singers + +Author: Pier Francesco Tosi + +Translator: Johann Ernest Galliard + +Release Date: August 29, 2008 [EBook #26477] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK OBSERVATIONS ON THE FLORID SONG *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + +[The spelling of the original has been retained.] + +OBSERVATIONS + +ON THE + +Florid Song; + +OR, + +SENTIMENTS + +ON THE + +_Ancient_ and _Modern_ SINGERS, + +Written in _Italian_ + +By PIER. FRANCESCO TOSI, + +Of the _Phil-Harmonic_ Academy + +at _Bologna_. + +Translated into _English_ + +By Mr. _GALLIARD_. + +Useful for all PERFORMERS, _Instrumental_ +as well as _Vocal_. + +To which are added + +EXPLANATORY ANNOTATIONS, + +and Examples in MUSICK. + +_Ornari Res ipsa negat, contenta doceri._ + +_LONDON_: + +Printed for J. WILCOX, at _Virgil's_ Head, in +the _Strand_. 1743. + +_Note_, By the _Ancient_, our Author +means those who liv'd about thirty +or forty Years ago; and by the +_Modern_ the late and present Singers. + +N.B. _The Original was printed at_ +Bologna, _in the Year_ 1723. + +_Reprinted from the Second Edition by_ +WILLIAM REEVES Bookseller Ltd., +1a Norbury Crescent, London, S.W. 16 + +1967 + +Made in England + + + + +[Illustration] + +TO ALL + +Lovers of MUSICK. + + +LADIES and GENTLEMEN, + +Persons of Eminence, Rank, Quality, and a distinguishing Taste in any +particular Art or Science, are always in View of Authors who want a +Patron for that Art or Science, which they endeavour to recommend and +promote. No wonder therefore, I should have fix'd my Mind on You, to +patronize the following Treatise. + +If there are Charms in Musick in general, all the reasonable World +agrees, that the _Vocal_ has the Pre-eminence, both from _Nature_ and +_Art_ above the Instrumental: From _Nature_ because without doubt it was +the first; from _Art_, because thereby the Voice may be brought to +express Sounds with greater Nicety and Exactness than Instruments. + +The Charms of the human Voice, even in Speaking, are very powerful. It +is well known, that in _Oratory_ a just _Modulation_ of it is of the +highest Consequence. The Care Antiquity took to bring it to Perfection, +is a sufficient Demonstration of the Opinion they had of its Power; and +every body, who has a discerning Faculty, may have experienced that +sometimes a Discourse, by the Power of the _Orator's_ Voice, has made an +Impression, which was lost in the Reading. + +But, above all, the soft and pleasing Voice of the _fair Sex_ has +irresistible Charms and adds considerably to their Beauty. + +If the Voice then has such singular Prerogatives, one must naturally +wish its Perfection in musical Performances, and be inclined to forward +any thing that may be conducive to that end. This is the reason why I +have been more easily prevail'd upon to engage in this Work, in order to +make a famous _Italian Master_, who treats so well on this Subject, +familiar to _England_; and why I presume to offer it to your Protection. + +The Part, I bear in it, is not enough to claim any Merit; but my +endeavouring to offer to your Perusal what may be entertaining, and of +Service, intitles me humbly to recommend myself to your Favour: Who am, + + LADIES _and_ GENTLEMEN, + _Your most devoted, + And most obedient + Humble Servant_, + + J. E. GALLIARD. + + + + +[Illustration] + +A + +Prefatory Discourse + +GIVING + +_Some Account of the_ AUTHOR. + + +_Pier._ _Francesco Tosi_, the Author of the following Treatise, was an +_Italian_, and a Singer of great Esteem and Reputation. He spent the +most part of his Life in travelling, and by that Means heard the most +eminent Singers in _Europe_, from whence, by the Help of his nice +Taste, he made the following Observations. Among his many Excursions, +his Curiosity was raised to visit _England_, where he resided for some +time in the Reigns of King _James_ the Second, King _William_, King +_George_ the First, and the Beginning of his present Majesty's: He dy'd +soon after, having lived to above Fourscore. He had a great deal of Wit +and Vivacity, which he retained to his latter Days. His manner of +Singing was full of Expression and Passion; chiefly in the Stile of +Chamber-Musick. The best Performers in his Time thought themselves happy +when they could have an Opportunity to hear him. After he had lost his +Voice, he apply'd himself more particularly to Composition; of which he +has given Proof in his _Cantata's_, which are of an exquisite Taste, +especially in the _Recitatives_, where he excels in the _Pathetick_ and +_Expression_ beyond any other. He was a zealous Well-wisher to all who +distinguished themselves in Musick; but rigorous to those who abused and +degraded the Profession. He was very much esteemed by Persons of Rank +among whom the late Earl of _Peterborough_ was one, having often met him +in his Travels beyond Sea; and he was well received by his Lordship +when in _England_, to Whom he dedicated this Treatise. This alone would +be a sufficient Indication of his Merit, his being taken Notice of by a +Person of that Quality, and distinguishing Taste. The Emperor _Joseph_ +gave him an honourable Employment _Arch-Duchess_ a Church-Retirement in +some part of _Italy_, and the late _Flanders_, where he died. As for his +_Observations_ and _Sentiments_ on Singing, they must speak for +themselves; and the Translation of them, it is hoped, will be acceptable +to Lovers of Musick, because this particular Branch has never been +treated of in so distinct and ample a Manner by any other Author. +Besides, it has been thought by Persons of Judgment, that it would be of +Service to make the Sentiments of our Author more universally known, +when a false Taste in Musick is so prevailing; and, that these Censures, +as they are passed by an _Italian_ upon his own Countrymen, cannot but +be looked upon as impartial. It is incontestable, that the Neglect of +true Study, the sacrificing the Beauty of the Voice to a Number of +ill-regulated Volubilities, the neglecting the Pronunciation and +Expression of the Words, besides many other Things taken Notice of in +this Treatise, are all _bad_. The Studious will find, that our Author's +Remarks will be of Advantage, not only to Vocal Performers, but likewise +to the Instrumental, where Taste and a Manner are required; and shew, +that a little less _Fiddling_ with the _Voice_, and a little more +_Singing_ with the _Instrument_, would be of great Service to Both. +Whosoever reads this Treatise with Application, cannot fail of +Improvement by it. It is hoped, that the Translation will be indulged, +if, notwithstanding all possible Care, it should be defective in the +Purity of the _English_ Language! it being almost impossible +(considering the Stile of our Author, which is a little more figurative +than the present Taste of the _English_ allows in their Writings,) not +to retain something of the Idiom of the Original; but where the Sense of +the Matter is made plain, the Stile may not be thought so material, in +Writings of this Kind. + + +THE + +AUTHOR'S Dedication + +TO HIS + +Excellency the Earl of +PETERBOROUGH, General +of the Marines +of _Great-Britain_. + + +MY LORD, + +I Should be afraid of leaving the World under the Imputation of +Ingratitude, should I any longer defer publishing the very many +Favours, which _Your Lordship_ so generously has bestow'd on me in +_Italy_, in _Germany_, in _Flanders_, in _England_; and principally at +your delightful Seat at _Parson's-Green_, where _Your Lordship_ having +been pleased to do me the Honour of imparting to me your Thoughts with +Freedom, I have often had the Opportunity of admiring your extensive +Knowledge, which almost made me overlook the Beauty and Elegance of the +Place. The famous _Tulip-Tree_, in your Garden there is not so +surprising a Rarity, as the uncommon Penetration of your Judgment, which +has sometimes (I may say) foretold Events, which have afterwards come +to pass. But what Return can I make for so great Obligations, when the +mentioning of them is doing myself an Honour, and the very +Acknowledgment has the Appearance of _Vanity_? It is better therefore to +treasure them up in my Heart, and remain respectfully silent; only +making an humble Request to _Your Lordship_ that you will condescend +favourably to accept this mean Offering of my OBSERVATIONS; which I am +induc'd to make, from the common Duty which lies upon every Professor to +preserve Musick in its Perfection; and upon Me in particular, for having +been the first, or among the first, of those who discovered the noble +Genius of your potent and generous Nation for it. However, I should not +have presum'd to dedicate them to a Hero adorn'd with such glorious +Actions, if _Singing_ was not a Delight of the Soul, or if any one had a +Soul more sensible of its Charms. On which account, I think, I have a +just Pretence to declare myself, with profound Obsequiousness, + + YOUR LORDSHIP'S + _Most humble_, + _Most devoted and_ + _Most oblig'd Servant_, + Pier. Francesco Tosi. + + + + +THE + +CONTENTS. + + +The Introduction. + +CHAP. I. + +Observations for one who teaches a _Soprano_. + +CHAP II. + +Of the _Appoggiatura_. + +CHAP. III. + +Of the _Shake_. + +CHAP. IV. + +On _Divisions_. + +CHAP. V. + +Of _Recitative_. + +CHAP. VI. + +Observations for a _Student_. + +CHAP. VII. + +Of _Airs_. + +CHAP. VIII. + +Of _Cadences_. + +CHAP. IX. + +Observations for a _Singer_. + +CHAP. X. + +Of _Passages_ or _Graces_. + +Footnotes. + + + + + +THE + +INTRODUCTION. + + +The Opinions of the ancient Historians, on the Origin of Musick, are +various. _Pliny_ believes that _Amphion_ was the Inventor of it; the +_Grecians_ maintain, that it was _Dionysius_; _Polybius_ ascribes it to +the _Arcadians_; _Suidas_ and _Boetius_ give the Glory entirely to +_Pythagoras_; asserting, that from the Sound of three Hammers of +different Weights at a Smith's Forge, he found out the Diatonick; after +which _Timotheus_, the _Milesian_, added the Chromatick, and +_Olympicus_, or _Olympus_, the Enharmonick Scale. However, we read in +holy Writ, that _Jubal_, of the Race of _Cain, fuit Pater Canentium +Cithara & Organo_, the Father of all such as handle the Harp and Organ; +Instruments, in all Probability consisting of several harmonious Sounds; +from whence one may infer, Musick to have had its Birth very soon after +the World. + +Sec. 2. To secure her from erring, she called to her Assistance many +Precepts of the Mathematicks; and from the Demonstrations of her +Beauties, by Means of Lines, Numbers, and Proportions, she was adopted +her Child, and became a Science. + +Sec. 3. It may reasonably be supposed that, during the Course of several +thousand Years, Musick has always been the Delight of Mankind; since the +excessive Pleasure, the _Lacedemonians_ received from it, induced that +Republick to exile the abovementioned _Milesian_, that the _Spartans_, +freed from their Effeminacy, might return again to their old Oeconomy. + +Sec. 4. But, I believe, she never appeared with so much Majesty as in the +last Centuries, in the great Genius of _Palestrina_, whom she left as an +immortal Example to Posterity. And, in Truth, Musick, with the Sweetness +of _his_ Harmony, arrived at so high a Pitch (begging Pardon of the +eminent Masters of our Days), that if she was ranked only in the Number +of Liberal Arts, she might with Justice contest the Pre-eminence[1]. + +Sec. 5. A strong Argument offers itself to me, from that wonderful +Impression, that in so distinguished a Manner is made upon our Souls by +Musick, beyond all other Arts; which leads us to believe that it is part +of that Blessedness which is enjoyed in Paradise. + +Sec. 6. Having premised these Advantages, the Merit of the Singer should +likewise be distinguished, by reason of the particular Difficulties that +attend him: Let a Singer have a Fund of Knowledge sufficient to perform +readily any of the most difficult Compositions; let him have, besides, +an excellent Voice, and know how to use it artfully; he will not, for +all that, deserve a Character of Distinction, if he is wanting in a +prompt Variation; a Difficulty which other Arts are not liable to. + +Sec. 7. Finally, I say, that Poets[2], Painters, Sculptors, and even +Composers of Musick, before they expose their Works to the Publick, have +all the Time requisite to mend and polish them; but the Singer that +commits an Error has no Remedy; for the Fault is committed, and past +Correction. + +Sec. 8. We may then guess at but cannot describe, how great the Application +must be of one who is obliged not to err, in unpremeditated Productions; +and to manage a Voice, always in Motion, conformable to the Rules of an +Art that is so difficult. I confess ingeniously, that every time I +reflect on the Insufficiency of many Masters, and the infinite Abuses +they introduce, which render the Application and Study of their Scholars +ineffectual, I cannot but wonder, that among so many Professors of the +first Rank, who have written so amply on Musick in almost all its +Branches, there has never been one, at least that I have heard of, who +has undertaken to explain in the Art of Singing, any thing more than the +first Elements, known to all, concealing the most necessary Rules for +Singing well. It is no Excuse to say, that the Composers intent on +Composition, the Performers on Instruments intent on their Performance, +should not meddle with what concerns the Singer; for I know some very +capable to undeceive those who may think so. The incomparable _Zarlino_, +in the third part of his Harmonick Institution, chap. 46, just began to +inveigh against those, who in his time sung with some Defects, but he +stopped; and I am apt to believe had he gone farther, his Documents, +though grown musty in two Centuries, might be of Service to the refined +Taste of this our present time. But a more just Reproof is due to the +Negligence of many celebrated Singers, who, having a superior Knowledge, +can the less justify their Silence, even under the Title of Modesty, +which ceases to be a Virtue, when it deprives the Publick of an +Advantage. Moved therefore, not by a vain Ambition, but by the Hopes of +being of Service to several Professors, I have determined, not without +Reluctance, to be the first to expose to the Eye of the World these my +few Observations; my only End being (if I succeed) to give farther +Insight to the Master, the Scholar, and the Singer. + +Sec. 9. I will in the first Place, endeavour to shew the Duty of a Master, +how to instruct a Beginner well; secondly, what is required of the +Scholar; and, lastly, with more mature Reflections, to point out the way +to a moderate Singer, by which he may arrive at greater Perfection. +Perhaps my Enterprize may be term'd rash, but if the Effects should not +answer my Intentions, I shall at least incite some other to treat of it +in a more ample and correct Manner. + +Sec. 10. If any should say, I might be dispensed with for not publishing +Things already known to every Professor, he might perhaps deceive +himself; for among these Observations there are many, which as I have +never heard them made by anybody else, I shall look upon as my own; and +such probably they are, from their not being generally known. Let them +therefore take their Chance, for the Approbation of those that have +Judgment and Taste. + +Sec. 11. It would be needless to say, that verbal Instructions can be of no +Use to Singers, any farther than to prevent 'em from falling into +Errors, and that it is Practice only can set them right. However, from +the Success of these, I shall be encouraged to go on to make new +Discoveries for the Advantage of the Profession, or (asham'd, but not +surpriz'd) I will bear it patiently, if Masters with their Names to +their Criticism should kindly publish my Ignorance, that I may be +undeceiv'd, and thank them. + +Sec. 12. But though it is my Design to Demonstrate a great Number of +Abuses and Defects of the Moderns to be met with in the Republick of +Musick, in order that they may be corrected (if they can); I would not +have those, who for want of Genius, or through Negligence in their +Study, could not, or would not improve themselves, imagine that out of +Malice I have painted all their Imperfections to the Life; for I +solemnly protest, that though from my too great Zeal I attack their +Errors without Ceremony, I have a Respect for their Persons; having +learned from a _Spanish_ Proverb, that Calumny recoils back on the +Author. But Christianity says something more. I speak in general; but if +sometimes I am more particular, let it be known, that I copy from no +other Original than myself, where there has been, and still is Matter +enough to criticize, without looking for it elsewhere. + + + + +CHAP. I. + +OBSERVATIONS _for one who teaches a_ Soprano.[3] + + +The Faults in Singing insinuate themselves so easily into the Minds of +young Beginners, and there are such Difficulties in correcting them, +when grown into an Habit that it were to be wish'd, the ablest Singers +would undertake the Task of Teaching, they best knowing how to conduct +the Scholar from the first Elements to Perfection. But there being none, +(if I mistake not) but who abhor the Thoughts of it, we must reserve +them for those Delicacies of the Art, which enchant the Soul. + +Sec. 2. Therefore the first Rudiments necessarily fall to a Master of a +lower Rank, till the Scholar can sing his part at Sight; whom one would +at least wish to be an honest Man, diligent and experienced, without the +Defects of singing through the Nose, or in the Throat, and that he have +a Command of Voice, some Glimpse of a good Taste, able to make himself +understood with Ease, a perfect Intonation, and a Patience to endure the +severe Fatigue of a most tiresome Employment. + +Sec. 3. Let a Master thus qualified before he begins his Instructions, read +the four Verses of _Virgil_, _Sic vos non vobis_, &c.[5] for they seem +to be made[4] on Purpose for him, and after having considered them +well, let him consult his Resolution; because (to speak plainly) it is +mortifying to help another to Affluence, and be in want of it himself. +If the Singer should make his Fortune, it is but just the Master, to +whom it has been owing, should be also a Sharer in it. + +Sec. 4. But above all, let him hear with a disinterested Ear, whether the +Person desirous to learn hath a Voice, and a Disposition; that he may +not be obliged to give a strict Account to God, of the Parent's Money +ill spent, and the Injury done to the Child, by the irreparable Loss of +Time, which might have been more profitably employed in some other +Profession. I do not speak at random. The ancient Masters made a +Distinction between the Rich, that learn'd Musick as an Accomplishment, +and the Poor, who studied it for a Livelihood. The first they instructed +out of Interest, and the latter out of Charity, if they discovered a +singular Talent. Very few modern Masters refuse Scholars; and, provided +they are paid, little do they care if their greediness ruins the +Profession. + +Sec. 5. Gentlemen Masters! _Italy_ hears no more such exquisite Voices as +in Times past, particularly among the Women, and to the Shame of the +Guilty I'll tell the Reason: The Ignorance of the Parents does not let +them perceive the Badness of the Voice of their Children, as their +Necessity makes them believe, that to sing and grow rich is one and the +same Thing, and to learn Musick, it is enough to have a pretty Face: +"_Can you make anything of her?_" + +Sec. 6. You may, perhaps, teach them with their Voice----Modesty will not +permit me to explain myself farther. + +Sec. 7. The Master must want Humanity, if he advises a Scholar to do any +thing to the Prejudice of the Soul. + +Sec. 8. From the first Lesson to the last, let the Master remember, that he +is answerable for any Omission in his Instructions, and for the Errors +he did not correct. + +Sec. 9. Let him be moderately severe, making himself fear'd, but not hated. +I know, it is not easy to find the Mean between Severity and Mildness, +but I know also, that both Extremes are bad: Too great Severity creates +Stubbornness, and too great Mildness Contempt. + +Sec. 10. I shall not speak of the Knowledge of the Notes, of their Value, +of Time, of Pauses, of the Accidents, nor of other such trivial +Beginnings, because they are generally known. + +Sec. 11. Besides the _C_ Cliff, let the Scholar be instructed in all the +other Cliffs, and in all their Situations, that he may not be liable to +what often happens to some Singers, who, in Compositions _Alla +Capella_,[6] know not how to distinguish the _Mi_ from the _Fa_, without +the Help of the Organ, for want of the Knowledge of the _G_ Cliff; from +whence such Discordancies arise in divine Service, that it is a Shame +for those who grow old in their Ignorance. I must be so sincere to +declare, that whoever does not give such essential Instructions, +transgresses out of Omission, or out of Ignorance.[7] + +Sec. 12. Next let him learn to read those in _B Molle_, especially in +those[8] Compositions that have four Flats at the Cliff, and which on +the sixth of the Bass require for the most part an accidental Flat, that +the Scholar may find in them the _Mi_, which is not so easy to one who +has studied but little, and thinks that all the Notes with a Flat are +called _Fa_: for if that were true, it would be superfluous that the +Notes should be six, when five of them have the same Denomination. The +_French_ use seven, and, by that additional Name, save their scholars +the Trouble of learning the Mutations ascending or descending; but we +_Italians_ have but _Ut_, _Re_, _Mi_, _Fa_, _Sol_, _La_; Notes which +equally suffice throughout all the Keys, to one who knows how to read +them.[9] + +Sec. 13. Let the Master do his utmost, to make the Scholar hit and sound +the Notes perfectly in Tune in _Sol-Fa_-ing. One, who has not a good +Ear, should not undertake either to instruct, or to sing; it being +intolerable to hear a Voice perpetually rise and fall discordantly. Let +the Instructor reflect on it; for one that sings out of Tune loses all +his other Perfections. I can truly say, that, except in some few +Professors, that modern Intonation is very bad. + +Sec. 14. In the _Sol-Fa_-ing, let him endeavour to gain by Degrees the high +Notes, that by the Help of this Exercise he may acquire as much Compass +of the Voice as possible. Let him take care, however, that the higher +the Notes, the more it is necessary to touch them with Softness, to +avoid Screaming. + +Sec. 15. He ought to make him hit the Semitones according to the true +Rules. Every one knows not that there is a Semitone Major and +Minor,[10] because the Difference cannot be known by an Organ or +Harpsichord, if the Keys of the Instrument are not split. A Tone, that +gradually passes to another, is divided into nine almost imperceptible +Intervals, which are called Comma's, five of which constitute the +Semitone Major, and four the Minor. Some are of Opinion, that there are +no more than seven, and that the greatest Number of the one half +constitutes the first, and the less the second; but this does not +satisfy my weak Understanding, for the Ear would find no Difficulty to +distinguish the seventh part of a Tone; whereas it meets with a very +great one to distinguish the ninth. If one were continually to sing only +to those abovemention'd Instruments, this Knowledge might be +unnecessary; but since the time that Composers introduced the Custom of +crowding the Opera's with a vast Number of Songs accompanied with Bow +Instruments, it becomes so necessary, that if a _Soprano_ was to sing +_D_ sharp, like _E_ flat, a nice Ear will find he is out of Tune, +because this last rises. Whoever is not satisfied in this, let him read +those Authors who treat of it, and let him consult the best Performers +on the Violin. In the middle parts, however, it is not so easy to +distinguish the Difference; tho' I am of Opinion, that every thing that +is divisible, is to be distinguished. Of these two Semitones, I'll speak +more amply in the Chapter of the _Appoggiatura_, that the one may not be +confounded with the other. + +Sec. 16. Let him teach the Scholar to hit the Intonation of any Interval in +the Scale perfectly and readily, and keep him strictly to this important +Lesson, if he is desirous he should sing with Readiness in a short time. + +Sec. 17. If the Master does not understand Composition, let him provide +himself with good Examples of _Sol-Fa_-ing in divers Stiles, which +insensibly lead from the most easy to the more difficult, according as +he finds the Scholar improves; with this Caution, that however +difficult, they may be always natural and agreeable, to induce the +Scholar to study with Pleasure. + +Sec. 18. Let the Master attend with great Care to the Voice of the Scholar, +which, whether it be _di Petto_, or _di Testa_, should always come forth +neat and clear, without passing thro' the Nose, or being choaked in the +Throat; which are two the most horrible Defects in a Singer, and past +all Remedy if once grown into a Habit[11]. + +Sec. 19. The little Experience of some that teach to _Sol-fa_, obliges the +Scholar to hold out the _Semibreves_ with Force on the highest Notes; +the Consequence of which is, that the Glands of the Throat become daily +more and more inflamed, and if the Scholar loses not his Health, he +loses the treble Voice. + +Sec. 20. Many Masters put their Scholars to sing the _Contr'Alto_, not +knowing how to help them to the _Falsetto_, or to avoid the Trouble of +finding it. + +Sec. 21. A diligent Master, knowing that a _Soprano_, without the +_Falsetto_, is constrained to sing within the narrow Compass of a few +Notes, ought not only to endeavour to help him to it, but also to leave +no Means untried, so to unite the feigned and the natural Voice, that +they may not be distinguished; for if they do not perfectly unite, the +Voice will be of divers[12] Registers, and must consequently lose its +Beauty. The Extent of the full natural Voice terminates generally upon +the fourth Space, which is _C_; or on the fifth Line, which is _D_; and +there the feigned Voice becomes of Use, as well in going up to the high +Notes, as returning to the natural Voice; the Difficulty consists in +uniting them. Let the Master therefore consider of what Moment the +Correction of this Defect is, which ruins the Scholar if he overlooks +it. Among the Women, one hears sometimes a _Soprano_ entirely _di +Petto_, but among the Male Sex it would be a great Rarity, should they +preserve it after having past the age of Puberty. Whoever would be +curious to discover the feigned Voice of one who has the Art to disguise +it, let him take Notice, that the Artist sounds the Vowel _i_, or _e_, +with more Strength and less Fatigue than the Vowel _a_, on the high +Notes. + +Sec. 22. The _Voce di Testa_ has a great Volubility, more of the high than +the lower Notes, and has a quick Shake, but subject to be lost for want +of Strength. + +Sec. 23. Let the Scholar be obliged to pronounce the Vowels distinctly, +that they may be heard for such as they are. Some Singers think to +pronounce the first, and you hear the second; if the Fault is not the +Master's, it is of those Singers, who are scarce got out of their first +Lessons; they study to sing with Affectation, as if ashamed to open +their Mouths; others, on the contrary, stretching theirs too much, +confound these two Vowels with the fourth, making it impossible to +comprehend whether they have said _Balla_ or _Bella_, _Sesso_ or +_Sasso_, _Mare_ or _More_. + +Sec. 24. He should always make the Scholar sing standing, that the Voice +may have all its Organization free. + +Sec. 25. Let him take care, whilst he sings, that he get a graceful +Posture, and make an agreeable Appearance. + +Sec. 26. Let him rigorously correct all Grimaces and Tricks of the Head, of +the Body, and particularly of the Mouth; which ought to be composed in +a Manner (if the Sense of the Words permit it) rather inclined to a +Smile, than too much Gravity. + +Sec. 27. Let him always use the Scholar to the Pitch of _Lombardy_, and not +that of _Rome_;[13] not only to make him acquire and preserve the high +Notes, but also that he may not find it troublesome when he meets with +Instruments that are tun'd high; the Pain of reaching them not only +affecting the Hearer, but the Singer. Let the Master be mindful of this; +for as Age advances, so the Voice declines; and, in Progress of Time, he +will either sing a _Contr'Alto_, or pretending still, out of a foolish +Vanity, to the Name of a _Soprano_, he will be obliged to make +Application to every Composer, that the Notes may not exceed the fourth +Space (_viz._, _C_) nor the Voice hold out on them. If all those, who +teach the first Rudiments, knew how to make use of this Rule, and to +unite the feigned to the natural Voice, there would not be now so great +a scarcity of _Soprano's_. + +Sec. 28. Let him learn to hold out the Notes without a Shrillness like a +Trumpet, or trembling; and if at the Beginning he made him hold out +every Note the length of two Bars, the Improvement would be the greater; +otherwise from the natural Inclination that the Beginners have to keep +the Voice in Motion, and the Trouble in holding it out, he will get a +habit, and not be able to fix it, and will become subject to a +Flutt'ring in the Manner of all those that sing in a very bad Taste. + +Sec. 29. In the same Lessons, let him teach the Art to put forth the Voice, +which consists in letting it swell by Degrees from the softest _Piano_ +to the loudest _Forte_, and from thence with the same Art return from +the _Forte_ to the _Piano_. A beautiful _Messa di Voce_,[14] from a +Singer that uses it sparingly, and only on the open Vowels, can never +fail of having an exquisite Effect. Very few of the present Singers find +it to their Taste, either from the Instability of their Voice, or in +order to avoid all Manner of Resemblance of the _odious Ancients_. It +is, however, a manifest Injury they do to the Nightingale, who was the +Origin of it, and the only thing which the Voice can well imitate. But +perhaps they have found some other of the feathered Kind worthy their +Imitation, that sings quite after the New Mode. + +Sec. 30. Let the Master never be tired in making the Scholar _Sol-Fa_, as +long as he finds it necessary; for if he should let him sing upon the +Vowels too soon, he knows not how to instruct. + +Sec. 31. Next, let him study on the three open Vowels, particularly on the +first, but not always upon the same, as is practised now-a-days; in +order, that from this frequent Exercise he may not confound one with the +other, and that from hence he may the easier come to the use of the +Words. + +Sec. 32. The Scholar having now made some remarkable Progress, the +Instructor may acquaint him with the first Embellishments of the Art, +which are the _Appoggiatura's_[15] (to be spoke of next) and apply them +to the Vowels. + +Sec. 33. Let him learn the Manner to glide with the Vowels, and to drag the +Voice gently from the high to the lower Notes, which, thro' +Qualifications necessary for singing well, cannot possibly be learn'd +from _Sol-fa_-ing only, and are overlooked by the Unskilful. + +Sec. 34. But if he should let him sing the Words, and apply the +_Appoggiatura_ to the Vowels before he is perfect in _Sol-fa_-ing, he +ruins the Scholar. + + + + +CHAP. II.[16] + +_Of the_ Appoggiatura.[17] + + +Among all the Embellishments in the Art of Singing, there is none so +easy for the Master to teach, or less difficult for the Scholar to +learn, than the _Appoggiatura_. This, besides its Beauty, has obtained +the sole Privilege of being heard often without tiring, provided it does +not go beyond the Limits prescrib'd by Professors of good Taste. + +Sec. 2. From the Time that the _Appoggiatura_ has been invented to adorn +the Art of Singing, the true Reason,[18] why it cannot be used in all +Places, remains yet a Secret. After having searched for it among Singers +of the first Rank in vain, I considered that Musick, as a Science, ought +to have its Rules, and that all Manner of Ways should be tried to +discover them. I do not flatter myself that I am arrived at it; but the +Judicious will see, at least that I am come near it. However, treating +of a Matter wholly produced from my Observations, I should hope for more +Indulgence in this Chapter than in any other. + +Sec. 3. From Practice, I perceive, that from _C_ to _C_ by _B Quadro_,[19] +a Voice can ascend and descend gradually with the _Appoggiatura_, +passing without any the least Obstacle thro' all the five _Tones_, and +the two _Semitones_, that make an _Octave_. + +Sec. 4. That from every accidental _Diezis_, or Sharp, that may be found in +the Scale, one can gradually rise a _Semitone_ to the nearest Note with +an _Appoggiatura_, and return in the same Manner.[20] + +Sec. 5. That from every Note that has a _B Quadro_, or Natural, one can +ascend by _Semitones_ to every one that has a _B Molle_, or Flat, with +an _Appoggiatura_.[21] + +Sec. 6. But, contrarywise, my Ear tells me, that from _F_, _G_, _A_, _C_, +and _D_, one cannot rise gradually with an _Appoggiatura_ by +_Semitones_,[22] when any of these five _Tones_ have a Sharp annex'd to +them. + +Sec. 7. That one cannot pass with an _Appoggiatura_ gradually from a third +_Minor_ to the Bass, to a third _Major_, nor from the third _Major_ to +the third _Minor_.[23] + +Sec. 8. That two consequent _Appoggiatura's_ cannot pass gradually by +_Semitones_ from one _Tone_ to another.[24] + +Sec. 9. That one cannot rise by _Semitone_, with an _Appoggiatura_, from +any Note with a Flat.[25] + +Sec. 10. And, finally, where the _Appoggiatura_ cannot ascend, it cannot +descend. + +Sec. 11. Practice giving us no Insight into the Reason of all these Rules, +let us see if it can be found out by those who ought to account for it. + +Sec. 12. Theory teaches us, that the abovementioned _Octave_ consisting of +twelve unequal _Semitones_, it is necessary to distinguish the _Major_ +from the _Minor_, and it sends the Student to consult the _Tetrachords_. +The most conspicuous Authors, that treat of them, are not all of the +same Opinion: For we find some who maintain, that from _C_ to _D_, as +well as from _F_ to _G_, the _Semitones_ are equal; and mean while we +are left in Suspense.[26] + +Sec. 13. The Ear, however, which is the supreme Umpire in this Art, does in +the _Appoggiatura_ so nicely discern the Quality of the _Semitones_, +that it sufficiently distinguishes the _Semitone Major_. Therefore +going so agreeably from _Mi_ to _Fa_ (that is) from _B Quadro_ to _C_, +or from _E_ to _F_, one ought to conclude That to be a _Semitone Major_, +as it undeniably is. But whence does it proceed, that from this very +_Fa_, (that is from _F_ or _C_) I cannot rise to the next Sharp, which +is also a _Semitone_? It is _Minor_, says the Ear. Therefore I take it +for granted, that the Reason why the _Appoggiatura_ has not a full +Liberty, is, that it cannot pass gradually to a _Semitone Minor_; +submitting myself, however, to better Judgment.[27] + +Sec. 14. The _Appoggiatura_ may likewise pass from one distant Note to +another, provided the Skip or Interval be not deceitful; for, in that +Case, whoever does not hit it sure, will show they know not how to +sing.[28] + +Sec. 15. Since, as I have said, it is not possible for a Singer to rise +gradually with an _Appoggiatura_ to a _Semitone Minor_, Nature will +teach him to rise a Tone, that from thence he may descend with an +_Appoggiatura to that Semitone_; _or if he has a Mind to_ come to it +without the _Appoggiatura_, to raise the Voice with a _Messa di Voce_, +the Voice always rising till he reaches it.[29] + +Sec. 16. If the Scholar be well instructed in this, the _Appoggiatura's_ +will become so familiar to him by continual Practice, that by the Time +he is come out of his first Lessons, he will laugh at those Composers +that mark them, with a Design either to be thought Modern, or to shew +that they understand the Art of Singing better than the Singers. If they +have this Superiority over them, why do they not write down even the +Graces, which are more difficult, and more essential than the +_Appoggiatura's_? But if they mark them that they may acquire the +glorious Name of a _Virtuoso alla Moda_, or a Composer in the new Stile, +they ought at least to know, that the Addition of one Note costs little +Trouble, and less Study. Poor _Italy_! pray tell me; do not the Singers +now-a-days know where the _Appoggiatura's_ are to be made, unless they +are pointed at with a Finger? In my Time their own Knowledge shewed it +them. Eternal Shame to him who first introduced these foreign +Puerilities into our Nation, renowned for teaching others the greater +part of the polite Arts; particularly, that of Singing! Oh, how great a +Weakness in those that follow the Example! Oh, injurious Insult to your +Modern Singers, who submit to Instructions fit for Children! Let us +imitate the Foreigners in those Things only, wherein they excel.[30] + + + + +CHAP. III. + +_Of the Shake._ + + +We meet with two most powerful Obstacles informing the _Shake_. The +first embarrasses the Master; for, to this Hour there is no infallible +Rule found to teach it: And the second affects the Scholar, because +Nature imparts the _Shake_ but to few. The Impatience of the Master +joins with the Despair of the Learner, so that they decline farther +Trouble about it. But in this the Master is blameable, in not doing his +Duty, by leaving the Scholar in Ignorance. One must strive against +Difficulties with Patience to overcome them. + +Sec. 2. Whether the _Shake_ be necessary in Singing, ask the Professors of +the first Rank, who know better than any others how often they have been +indebted to it; for, upon any Absence of Mind, they would have betrayed +to the Publick the Sterility of their Art, without the prompt Assistance +of the _Shake_. + +Sec. 3. Whoever has a fine _Shake_, tho' wanting in every other Grace, +always enjoys the Advantage of conducting himself without giving +Distaste to the End or Cadence, where for the most part it is very +essential; and who wants it, or has it imperfectly, will never be a +great Singer, let his Knowledge be ever so great. + +Sec. 4. The _Shake_ then, being of such Consequence, let the Master, by the +Means of verbal Instructions, and Examples vocal and instrumental, +strive that the Scholar may attain one that is equal, distinctly mark'd, +easy, and moderately quick, which are its most beautiful +Qualifications. + +Sec. 5. In case the Master should not know how many sorts of _Shakes_ there +are, I shall acquaint him, that the Ingenuity of the Professors hath +found so many Ways, distinguishing them with different Names, that one +may say there are eight Species of them.[31] + +Sec. 6. The first is the _Shake Major_, from the violent Motion of two +neighbouring Sounds at the Distance of a _Tone_, one of which may be +called Principal, because it keeps with greater Force the Place of the +Note which requires it; the other, notwithstanding it possesses in its +Motion the superior Sound appears no other than an Auxiliary. From this +_Shake_ all the others are derived.[32] + +Sec. 7. The second is the _Shake Minor_, consisting of a Sound, and its +neighbouring _Semitone Major_; and where the one or the other of these, +two _Shakes_ are proper, the Compositions will easily shew. From the +inferior or lower Cadences, the first, or full _Tone Shake_ is for ever +excluded.[33] If the Difference of these two _Shakes_ is not easily +discovered in the Singer, whenever it is with a _Semitone_, one may +attribute the Cause to the want of Force of the Auxiliary to make itself +heard distinctly; besides, this _Shake_ being more difficult to be beat +than the other, every body does not know how to make it, as it should +be, and Negligence becomes a Habit. If this _Shake_ is not distinguished +in Instruments, the Fault is in the Ear.[34] + +Sec. 8. The third is the _Mezzo-trillo_, or the short _Shake_, which is +likewise known from its Name. One, who is Master of the first and +second, with the Art of beating it a little closer, will easily learn +it; ending it as soon as heard, and adding a little Brilliant. For this +Reason, this _Shake_ pleases more in brisk and lively Airs than in the +_Pathetick_.[35] + +Sec. 9. The fourth is the rising _Shake_, which is done by making the Voice +ascend imperceptibly, shaking from Comma to Comma without discovering +the Rise.[36] + +Sec. 10. The fifth is the descending _Shake_, which is done by making the +Voice decline insensibly from Comma to Comma, shaking in such Manner +that the Descent be not distinguished. These two _Shakes_, ever since +true[37] Taste has prevailed, are no more in Vogue, and ought rather to +be forgot than learn'd. A nice Ear equally abhorrs the ancient dry +Stuff, and the modern Abuses. + +Sec. 11. The sixth is the slow _Shake_, whose Quality is also denoted by +its Name. He, who does not study this, in my Opinion ought not therefore +to lose the Name of a good Singer; for it being only an affected Waving, +that at last unites with the first and second _Shake_, it cannot, I +think, please more than once.[38] + +Sec. 12. The seventh is the redoubled _Shake_, which is learned by mixing a +few Notes between the _Major_ or _Minor Shake_, which Interposition +suffices to make several _Shakes_ of one. This is beautiful, when those +few Notes, so intermixed, are sung with Force. If then it be gently +formed on the high Notes of an excellent Voice,[39] perfect in this +rare Quality, and not made use of too often, it cannot displease even +Envy itself. + +Sec. 13. The eighth is the _Trillo-Mordente_, or the _Shake_ with a _Beat_, +which is a pleasing Grace in Singing, and is taught rather by Nature +than by Art. This is produced with more Velocity than the others, and is +no sooner born but dies. That Singer has a great Advantage, who from +time to time mixes it in Passages or Divisions (of which I shall take +Notice in the proper Chapter). He, who understands his Profession, +rarely fails of using it after the _Appoggiatura_; and he, who despises +it, is guilty of more than Ignorance.[40] + +Sec. 14. Of all these _Shakes_, the two first are most necessary, and +require most the Application of the Master. I know too well that it is +customary to sing without _Shakes_; but the Example, of those who study +but superficially, ought not to be imitated. + +Sec. 15. The _Shake_, to be beautiful, requires to be prepared, though, on +some Occasions, Time or Taste will not permit it. But on final Cadences, +it is always necessary, now on the Tone, now on the _Semitone_ above its +Note, according to the Nature of the Composition. + +Sec. 16. The Defects of the _Shake_ are many. The long holding-out _Shake_ +triumph'd formerly, and very improperly, as now the Divisions do; but +when the Art grew refined, it was left to the Trumpets, or to those +Singers that waited for the Eruption of an _E Viva_! or _Bravo_! from +the Populace. That _Shake_ which is too often heard, be it ever so fine, +cannot please. That which is beat with an uneven Motion disgusts; that +like the Quivering of a Goat makes one laugh; and that in the Throat is +the worst: That which is produced by a Tone and its third, is +disagreeable; the Slow is tiresome; and that which is out of Tune is +hideous. + +Sec. 17. The Necessity of the _Shake_ obliges the Master to keep the +Scholar applied to it upon all the Vowels, and on all the Notes he +possesses; not only on Minims or long Notes, but likewise on Crotchets, +where in Process of Time he may learn the _Close Shake_, the _Beat_, and +the Forming them with Quickness in the Midst of the Volubility of Graces +and Divisions. + +Sec. 18. After the free Use of the _Shake_, let the Master observe if the +Scholar has the same Facility in disusing it; for he would not be the +first that could not leave it off at Pleasure. + +Sec. 19. But the teaching where the _Shake_ is convenient, besides those +on[41] Cadences, and where they are improper and forbid, is a Lesson +reserv'd for those who have Practice, Taste, and Knowledge. + + + + +CHAP. IV. + +_On_ Divisions. + + +Tho' _Divisions_ have not Power sufficient to touch the Soul, but the +most they can do is to raise our Admiration of the Singer for the happy +Flexibility of his Voice; it is, however, of very great Moment, that the +Master instruct the Scholar in them, that he may be Master of them with +an easy Velocity and true Intonation; for when they are well executed in +their proper Place, they deserve Applause, and make a Singer more +universal; that is to say, capable to sing in any Stile. + +Sec. 2. By accustoming the Voice of a Learner to be lazy and dragging, he +is rendered incapable of any considerable Progress in his Profession. +Whosoever has not the Agility of Voice, in Compositions of a quick or +lively Movement, becomes odiously tiresome; and at last retards the Time +so much, that every thing he sings appears to be out of Tune. + +Sec. 3. _Division_, according to the general Opinion, is of two Kinds, the +Mark'd, and the Gliding; which last, from its Slowness and Dragging, +ought rather to be called a Passage or Grace, than a _Division_. + +Sec. 4. In regard to the first, the Master ought to teach the Scholar that +light Motion of the Voice, in which the Notes that constitute the +Division be all articulate in equal Proportion, and moderately distinct, +that they be not too much join'd, nor too much mark'd.[42] + +Sec. 5. The second is perform'd in such a Manner that the first Note is a +Guide to all that follow, closely united, gradual, and with such +Evenness of Motion, that in Singing it imitates a certain Gliding, by +the Masters called a _Slur_; the Effect of which is truly agreeable when +used sparingly.[43] + +Sec. 6. The _mark'd Divisions_, being more frequently used than the others, +require more Practice. + +Sec. 7. The Use of the _Slur_ is pretty much limited in Singing, and is +confined within such few Notes ascending or descending, that it cannot +go beyond a fourth without displeasing. It seems to me to be more +grateful to the Ear descending, than in the contrary Motion. + +Sec. 8. The _Dragg_ consists in a Succession of divers Notes, artfully +mixed with the _Forte_ and _Piano_. The Beauty of which I shall speak of +in another Place. + +Sec. 9. If the Master hastens insensibly the Time when the Scholar sings +the _Divisions_, he will find that there is not a more effectual way to +unbind the Voice, and bring it to a Volubility; being however cautious, +that this imperceptible Alteration do not grow by Degrees into a vicious +Habit. + +Sec. 10. Let him teach to hit the _Divisions_ with the same Agility in +ascending gradually, as in descending; for though this seems to be an +Instruction fit only for a Beginner, yet we do not find every Singer +able to perform it. + +Sec. 11. After the gradual _Divisions_, let him learn to hit, with the +greatest Readiness, all those that are of difficult Intervals, that, +being in Tune and Time, they may with Justice deserve our Attention. The +Study of this Lesson demands more Time and Application than any other, +not so much for the great Difficulty in attaining it, as the important +Consequences that attend it; and, in Fact, a Singer loses all Fear when +the most difficult _Divisions_ are become familiar to him. + +Sec. 12. Let him not be unmindful to teach the Manner of mixing the _Piano_ +with the _Forte_ in the _Divisions_; the _Glidings_ or _Slurs_ with the +_Mark'd_, and to intermix the _Close Shake_; especially on the pointed +Notes, provided they be not too near one another; making by this Means +every Embellishment of the Art appear. + +Sec. 13. Of all the Instructions relating to _Divisions_, the most +considerable seems to be That, which teaches to unite the _Beats_ and +_short Shake_ with them; and that the Master point out to him, how to +execute them with Exactness of Time, and the Places where they have the +best Effect: But this being not so proper for one who teaches only the +first Rules, and still less for him that begins to learn them, it would +be better to have postponed this (as perhaps I should have done) did I +not know, that there are Scholars of so quick Parts, that in a few +Years become most excellent Singers, and that there is no want of +Masters qualified to instruct Disciples of the most promising Genius; +besides, it appeared to me an Impropriety in this Chapter on _Divisions_ +(in which the _Beats_ and _Close Shake_ appear with greater Lustre than +any other Grace) not to make Mention of them. + +Sec. 14. Let the Scholar not be suffered to sing _Divisions_ with +Unevenness of Time or Motion; and let him be corrected if he marks them +with the Tongue, or with the Chin, or any other Grimace of the Head or +Body. + +Sec. 15. Every Master knows, that on the third and fifth Vowel, the +_Divisions_ are the worst; but every one does not know, that in the best +Schools the second and fourth were not permitted, when these two Vowels +are pronounced close or united. + +Sec. 16. There are many Defects in the _Divisions_, which it is necessary +to know, in order to avoid them; for, besides that of the Nose or the +Throat, and the others already mentioned, those are likewise displeasing +which are neither mark'd nor gliding; for in that Case they cannot be +said to sing, but howl and roar. There are some still more ridiculous, +who mark them above Measure, and with Force of Voice, thinking (for +Example) to make a _Division_ upon _A_, it appears as if they said _Ha_, +_Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels. +The worst Fault of all is singing them out of Tune. + +Sec. 17. The Master should know, that though a good Voice put forth with +Ease grows better, yet by too swift a Motion in _Divisions_ it becomes +an indifferent one, and sometimes by the Negligence of the Master, to +the Prejudice of the Scholar, it is changed into a very bad one. + +Sec. 18. _Divisions_ and _Shakes_ in a _Siciliana_ are Faults, and +_Glidings_ and _Draggs_ are Beauties. + +Sec. 19. The sole and entire Beauty of the _Division_ consists in its being +perfectly in Tune, mark'd, equal, distinct, and quick. + +Sec. 20. _Divisions_ have the like Fate with the _Shakes_; both equally +delight in their Place; but if not properly introduced, the too frequent +Repetition of them becomes tedious if not odious. + +Sec. 21. After the Scholar has made himself perfect in the _Shake_ and the +_Divisions_, the Master should let him read and pronounce the Words, +free from those gross and ridiculous Errors of Orthography, by which +many deprive one Word of its double Consonant, and add one to another, +in which it is single.[44] + +Sec. 22. After having corrected the Pronunciation, let him take Care that +the Words be uttered in such a Manner, without any Affectation that +they be distinctly understood, and no one Syllable be lost; for if they +are not distinguished, the Singer deprives the Hearer of the greatest +Part of that Delight which vocal Musick conveys by Means of the Words. +For, if the Words are not heard so as to be understood, there will be no +great Difference between a human Voice and a Hautboy. This Defect, tho' +one of the greatest, is now-a-days more than common, to the greatest +Disgrace of the Professors and the Profession; and yet they ought to +know, that the Words only give the Preference to a Singer above an +instrumental Performer, admitting them to be of equal Judgment and +Knowledge. Let the modern Master learn to make use of this Advice, for +never was it more necessary than at present. + +Sec. 23. Let him exercise the Scholar to be very ready in joining the +Syllables to the Notes, that he may never be at a Loss in doing it. + +Sec. 24. Let him forbid the Scholar to take Breath in the Middle of a Word, +because the dividing it in two is an Error against Nature; which must +not be followed, if we would avoid being laugh'd at. In interrupted +Movements, or in long _Divisions_, it is not so rigorously required, +when the one or the other cannot be sung in one Breath. Anciently such +Cautions were not necessary, but for the Learners of the first +Rudiments; now the Abuse, having taken its Rise in the modern Schools, +gathers Strength, and is grown familiar with those who pretend to +Eminence. The Master may correct this Fault, in teaching the Scholar to +manage his Respiration, that he may always be provided with more Breath +than is needful; and may avoid undertaking what, for want of it, he +cannot go through with. + +Sec. 25. Let him shew, in all sorts of Compositions, the proper Place where +to take Breath, and without Fatigue; because there are Singers who give +Pain to the Hearer, as if they had an Asthma taking Breath every Moment +with Difficulty, as if they were breathing their last. + +Sec. 26. Let the Master create some Emulation in a Scholar that is +negligent, inciting him to study the Lesson of his Companion, which +sometimes goes beyond Genius; because, if instead of one Lesson he hears +two, and the Competition does not discountenance him, he may perhaps +come to learn his Companion's Lesson first, and then his own. + +Sec. 27. Let him never suffer the Scholar to hold the Musick-Paper, in +Singing, before his Face, both that the Sound of the Voice may not be +obstructed, and to prevent him from being bashful. + +Sec. 28. Let him accustom the Scholar to sing often in presence of Persons +of Distinction, whether from Birth, Quality, or Eminence in the +Profession, that by gradually losing his Fear, he may acquire an +Assurance, but not a Boldness. Assurance leads to a Fortune, and in a +Singer becomes a Merit. On the contrary, the Fearful is most unhappy; +labouring under the Difficulty of fetching Breath, the Voice is always +trembling, and obliged to lose Time at every Note for fear of being +choaked; He gives us Pain, in not being able to shew his Ability in +publick; disgusts the Hearer, and ruins the Compositions in such a +Manner, that they are not known to be what they are. A timorous Singer +is unhappy, like a Prodigal, who is miserably poor. + +Sec. 29. Let not the Master neglect to shew him, how great their Error is +who make _Shakes_ or _Divisions_, or take Breath on the _syncopated_ or +_binding_ Notes; and how much better Effect the holding out the Voice +has. The Compositions, instead of losing, acquire thereby greater +Beauty.[45] + +Sec. 30. Let the Master instruct him in the _Forte_ and _Piano_, but so as +to use him more to the first than the second, it being easier to make +one sing soft than loud. Experience shews that the _Piano_ is not to be +trusted to, since it is prejudicial though pleasing; and if any one has +a Mind to lose his Voice, let him try it. On this Subject some are of +Opinion, that there is an artificial _Piano_, that can make itself be +heard as much as the _Forte_; but that is only Opinion, which is the +Mother of all Errors. It is not Art which is the Cause that the _Piano_ +of a good Singer is heard, but the profound Silence and Attention of the +Audience. For a Proof of this, let any indifferent Singer be silent on +the Stage for a Quarter of a Minute when he should sing, the Audience, +curious to know the Reason of this unexpected Pause, are hush'd in such +a Manner, that if in that Instant he utter one Word with a soft Voice, +it would be heard even by those at the greatest Distance. + +Sec. 31. Let the Master remember, that whosoever does not sing to the +utmost Rigour of Time, deserves not the Esteem of the Judicious; +therefore let him take Care, there be no Alteration or Diminution in it, +if he pretends to teach well, and to make an excellent Scholar. + +Sec. 32. Though in certain Schools, Books of Church-Musick and of +_Madrigals_ lie buried in Dust, a good Master would wipe it off; for +they are the most effectual Means to make a Scholar ready and sure. If +Singing was not for the most part performed by Memory, as is customary +in these Days, I doubt whether certain Professors could deserve the Name +of Singers of the first Rank.[46] + +Sec. 33. Let him encourage the Scholar if he improves; let him mortify him, +without Beating, for Indolence; let him be more rigorous for +Negligences; nor let the Scholar ever end a Lesson without having +profited something. + +Sec. 34. An Hour of Application in a Day is not sufficient, even for one of +the quickest Apprehension; the Master therefore should consider how much +more Time is necessary for one that has not the same Quickness, and how +much he is obliged to consult the Capacity of his Scholar. From a +mercenary Teacher this necessary Regard is not to be hoped for; expected +by other Scholars, tired with the Fatigue, and solicited by his +Necessities, he thinks the Month long; looks on his Watch, and goes +away. If he be but poorly paid for his Teaching,--a God-b'wy to him. + + + + +CHAP. V. + +_Of_ Recitative. + + +_Recitative_ is of three Kinds, and ought to be taught in three +different Manners. + +Sec. 2. The first, being used in Churches, should be sung as becomes the +Sanctity of the Place, which does not admit those wanton Graces of a +lighter Stile; but requires some _Messa di Voce_, many _Appoggiatura's_, +and a noble Majesty throughout. But the Art of expressing it, is not to +be learned, but from the affecting Manner of those who devoutly dedicate +their Voices to the Service of God. + +Sec. 3. The second is Theatrical, which being always accompanied with +Action by the Singer, the Master is obliged to teach the Scholar a +certain natural Imitation, which cannot be beautiful, if not expressed +with that Decorum with which Princes speak, or those who know how to +speak to Princes. + +Sec. 4. The last, according to the Opinion of the most Judicious, touches +the Heart more than the others, and is called _Recitativo di Camera_. +This requires a more peculiar Skill, by reason of the Words, which +being, for the most part, adapted to move the most violent Passions of +the Soul, oblige the Master to give the Scholar such a lively Impression +of them, that he may seem to be affected with them himself. The Scholar +having finished his Studies, it will be but too[47] easily discovered +if he stands in Need of this Lesson. The vast Delight, which the +Judicious feel, is owing to this particular Excellence, which, without +the Help of the usual Ornaments, produces all this Pleasure from itself; +and, let Truth prevail, where Passion speaks, all _Shakes_, all +_Divisions_ and _Graces_ ought to be silent, leaving it to the sole +Force of a beautiful Expression to persuade. + +Sec. 5. The Church _Recitative_ yields more Liberty to the Singer than the +other two, particularly in the final Cadence; provided he makes the +Advantage of it that a Singer should do, and not as a Player on the +Violin. + +Sec. 6. The Theatrical leaves it not in our Election to make Use of this +Art, lest we offend in the Narrative, which ought to be natural, unless +in a _Soliloquy_, where it may be in the Stile of Chamber-Musick. + +Sec. 7. The third abstains from great part of the Solemnity of the first, +and contents itself with more of the second. + +Sec. 8. The Defects and unsufferable Abuses which are heard in +_Recitatives_, and not known to those who commit them, are innumerable. +I will take Notice of several Theatrical ones, that the Master may +correct them. + +Sec. 9. There are some who sing _Recitative_ on the Stage like That of the +Church or Chamber; some in a perpetual Chanting, which is insufferable; +some over-do it and make it a Barking; some whisper it, and some sing it +confusedly; some force out the last Syllable, and some sink it; some +sing it blust'ring, and some as if they were thinking of something else; +some in a languishing Manner; others in a Hurry; some sing it through +the Teeth, and others with Affectation; some do not pronounce the Words, +and others do not express them; some sing as if laughing, and some +crying; some speak it, and some hiss it; some hallow, bellow, and sing +it out of Tune; and, together with their Offences against Nature, are +guilty of the greatest Fault, in thinking themselves above Correction. + +Sec. 10. The _modern_ Masters run over with Negligence their Instructions +in all Sorts of _Recitatives_, because in these Days the Study of +Expression is looked upon as unnecessary, or despised as _ancient_: And +yet they must needs see every Day, that besides the indispensable +Necessity of knowing how to sing them, These even teach how to act. If +they will not believe it, let them observe, without flattering +themselves, if among their Pupils they can show an Actor of equal Merit +with _Cortona_ in the Tender;[48] of Baron _Balarini_ in the Imperious; +or other famous Actors that at present appear, tho' I name them not; +having determined in these Observations, not to mention any that are +living, in whatsoever Degree of Perfection they be, though I esteem them +as they deserve. + +Sec. 11. A Master, that disregards _Recitative_, probably does not +understand the Words, and then, how can he ever instruct a Scholar in +Expression, which is the Soul of vocal Performance, and without which it +is impossible to sing well? Poor _Gentlemen Masters_ who direct and +instruct Beginners, without reflecting on the utter Destruction you +bring on the Science, in undermining the principal Foundations of it! If +you know not that the _Recitatives_, especially in the vulgar or known +Language, require those Instructions relative to the Force of the Words, +I would advise you to renounce the Name, and Office of _Masters_, to +those who can maintain them; your Scholars will otherwise be made a +Sacrifice to Ignorance, and not knowing how to distinguish the Lively +from the Pathetick, or the Vehement from the Tender, it will be no +wonder if you see them stupid on the Stage, and senseless in a Chamber. +To speak my Mind freely, yours and their Faults are unpardonable; it is +insufferable to be any longer tormented in the Theatres with +_Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars. + +Sec. 12. The reason, however, of not giving more expression to the +_Recitative_, in the manner of those called _Antients_, does not always +proceed from the Incapacity of the Master, or the Negligence of the +Singer, but from the little Knowledge of the _modern_ Composers (we must +except some of Merit) who set it in so unnatural a Taste, that it is not +to be taught, acted or sung. In Justification of the Master and the +Singer let Reason decide. To blame the Composer, the same Reason forbids +me entering into a Matter too high for my low Understanding, and wisely +bids me consider the little Insight I can boast of, barely sufficient +for a Singer, or to write plain Counterpoint. But when I consider I have +undertaken in these Observations, to procure diverse Advantages to +vocal Performers, should I not speak of a Composition, a Subject so +necessary, I should be guilty of a double Fault. My Doubts in this +Perplexity are resolved by the Reflection, that _Recitatives_ have no +Relation to Counterpoint. If That be so, what Professor knows not, that +many theatrical _Recitatives_ would be excellent if they were not +confused one with another; if they could be learned by Heart; if they +were not deficient in respect of adapting the Musick to the Words; if +they did not frighten those who sing them, and hear them, with unnatural +Skips; if they did not offend the Ear and Rules with the worst +Modulations; if they did not disgust a good Taste with a perpetual +Sameness; if, with their cruel Turns and Changes of Keys, they did not +pierce one to the Heart; and, finally, if the Periods were not crippled +by them who know neither Point nor Comma? I am astonished that such as +these do not, for their Improvement, endeavour to imitate the +_Recitatives_ of those Authors, who represent in them a lively image of +Nature, by Sounds which of themselves express the Sense, as much as the +very Words. But to what Purpose do I show this Concern about it? Can I +expect that these Reasons, with all their Evidences, will be found good, +when, even in regard to Musick, Reason itself is no more in the _Mode_? +Custom has great Power. She arbitrarily releases her Followers from the +Observance of the true Rules, and obliges them to no other Study than +that of the _Ritornello's_, and will not let them uselessly employ their +precious Time in the Application to _Recitative_, which, according to +her Precepts, are the work of the Pen, not of the Mind. If it be +Negligence or Ignorance, I know not; but I know very well, that the +Singers do not find their Account in it. + +Sec. 13. Much more might still be[49] said on the Compositions of +_Recitative_ in general, by reason of that tedious chanting that offends +the Ear, with a thousand broken Cadences in every Opera, which Custom +has established, though they are without Taste or Art. To reform them +all, would be worse than the Disease; the introducing every time a final +Cadence would be wrong: But if in these two Extremes a Remedy were +necessary I should think, that among an hundred broken Cadences, ten of +them, briefly terminated on Points that conclude a Period, would not be +ill employed. The Learned, however, do not declare themselves upon it, +and from their Silence I must hold myself condemned. + +Sec. 14. I return to the Master, only to put him in Mind, that his Duty is +to teach Musick; and if the Scholar, before he gets out of his Hands, +does not sing readily and at Sight, the Innocent is injured without +Remedy from the Guilty. + +Sec. 15. If after these Instructions, the Master does really find himself +capable of communicating to his Scholar Things of greater Moment, and +what may concern his farther Progress, he ought immediately to initiate +him in the Study of Church-Airs, in which he must lay aside all the +theatrical effeminate Manner, and sing in a manly Stile; for which +Purpose he will provide him with different natural and easy _Motets_[50] +grand and genteel, mix'd with the Lively and the Pathetick, adapted to +the Ability he has discovered in him, and by frequent Lessons make him +become perfect in them with Readiness and Spirit. At the same time he +must be careful that the Words be well pronounced, and perfectly +understood; that the _Recitatives_ be expressed with Strength, and +supported without Affectation; that in the Airs he be not wanting in +Time, and in introducing some Graces of good Taste; and, above all, +that the final Cadences of the _Motets_ be performed with Divisions +distinct, swift, and in Tune. After this he will teach him that Manner, +the Taste of _Cantata's_ requires, in order, by this Exercise, to +discover the Difference between one Stile and another. If, after this, +the Master is satisfied with his Scholar's Improvement, yet let him not +think to make him sing in Publick, before he has the Opinion of such +Persons, who know more of singing than of flattering; because, they not +only will chuse such Compositions proper to do him Honour and Credit, +but also will correct in him those Defects and Errors, which out of +Oversight or Ignorance the Master had not perceived or corrected. + +Sec. 16. If Masters did consider, that from our first appearing in the Face +of the World, depends our acquiring Fame and Courage, they would not so +blindly expose their Pupils to the Danger of falling at the first Step. + +Sec. 17. But if the Master's Knowledge extends no farther than the +foregoing Rules, then ought he in conscience to desist, and to recommend +the Scholar to better Instructions. However, before the Scholar arrives +at this, it will not be quite unnecessary to discourse with him in the +following Chapters, and if his Age permits him not to understand me, +those, who have the Care of him, may. + + + + +CHAP. VI. + +_Observations for a Student._ + + +Before entering on the extensive and difficult Study of the _Florid_, or +_figured Song_, it is necessary to consult the Scholar's Genius; for if +Inclination opposes, it is impossible to force it, and when That +incites, the Scholar proceeds with Ease and Pleasure. + +Sec. 2. Supposing, then, that the Scholar is earnestly desirous of becoming +a Master in so agreable a Profession, and being fully instructed in +these tiresome Rudiments, besides many others that may have slipt my +weak Memory; after a strict Care of his Morals, he should give the rest +of his Attention to the Study of singing in Perfection, that by this +Means he may be so happy as to join the most noble Qualities of the Soul +to the Excellencies of his Art. + +Sec. 3. He that studies Singing must consider that Praise or Disgrace +depends very much on his Voice which if he has a Mind to preserve he +must abstain from all Manner of Disorders, and all violent Diversions. + +Sec. 4. Let him be able to read perfectly, that he may not be put to Shame +for so scandalous an Ignorance. Oh, how many are there, who had need to +learn the Alphabet! + +Sec. 5. In case the Master knows not how to correct the Faults in +Pronunciation, let the Scholar endeavour to learn the best by some other +Means; because the not being born[51] in _Tuscany_, will not excuse the +Singer's Imperfection. + +Sec. 6. Let him likewise very carefully endeavour to correct all other +Faults that the Negligence of his Master may have passed over. + +Sec. 7. With the Study of Musick, let him learn also at least the Grammar, +to understand the Words he is to sing in Churches, and to give the +proper Force to the Expression in both Languages. I believe I may be so +bold to say, that divers Professors do not even understand their own +Tongue, much less the _Latin_.[52] + +Sec. 8. Let him continually, by himself, use his Voice to a Velocity of +Motion, if he thinks to have a Command over it, and that he may not go +by the Name of a pathetick Singer. + +Sec. 9. Let him not omit frequently to put forth, and to stop, the Voice, +that it may always be at his Command. + +Sec. 10. Let him repeat his Lesson at Home, till he knows it perfectly; and +with a local Memory let him retain it, to save his Master the Trouble of +Teaching, and himself of studying it over again. + +Sec. 11. Singing requires so strict an Application, that one must study +with the Mind, when one cannot with the Voice. + +Sec. 12. The unwearied Study of Youth is sure to overcome all Obstacles +that oppose, though Defects were suck'd in with our Mother's Milk. This +Opinion of mine is subject to strong Objections; however, Experience +will defend it, provided he corrects himself in time. But if he delays +it, the older he grows the more his Faults will increase. + +Sec. 13. Let him hear as much as he can the most celebrated Singers, and +likewise the most excellent instrumental Performers; because, from the +Attention in hearing them, one reaps more Advantage than from any +Instruction whatsoever. + +Sec. 14. Let him endeavour to copy from Both, that he may insensibly, by +the Study of others, get a good Taste. This advice, though extremely +useful to a Student, is notwithstanding infinitely prejudicial to a +Singer, as I shall shew in its proper Place[53]. + +Sec. 15. Let him often sing the most agreable Compositions of the best +Authors, and accustom the Ear to that which pleases. I'd have a Student +know, that by the abovementioned Imitations, and by the Idea of good +Compositions, the Taste in Time becomes Art, and Art Nature. + +Sec. 16. Let him learn to accompany himself, if he is ambitious of singing +well. The Harpsichord is a great Incitement to Study, and by it we +continually improve in our Knowledge. The evident Advantage arising to +the Singer from that lovely Instrument, makes it superfluous to say +more on that Head. Moreover, it often happens to one who cannot play, +that without the Help of another he cannot be heard, and is thereby to +his Shame obliged to deny the Commands of those whom it would be to his +Advantage to obey. + +Sec. 17. Till a Singer pleases himself, it is certain he cannot please +others. Therefore consider, if some Professors of no small Skill have +not this Pleasure for want of sufficient Application, what must the +Scholar do? Study,--and study again, and not be satisfied. + +Sec. 18. I am almost of Opinion, that all Study and Endeavours to sing are +infallibly vain, if not accompanied with some little Knowledge of +Counterpoint. One, who knows how to compose, can account for what he +does, and he, who has not the same Light, works in the Dark, not knowing +how to sing without committing Errors. The most famous _Ancients_ know +the intrinsick Value of this Precept from the Effects. And a good +Scholar ought to imitate them, without considering whether this Lesson +be according to the _Mode_ or not For though, in these Days, one now and +then hears admirable Performances, proceeding from a natural Taste, yet +they are all done by Chance; but where that Taste is wanting, if they +are not execrable, at least they will be very bad: For Fortune not being +always at their Command, they cannot be sure to agree, neither with Time +nor Harmony. This Knowledge, although requisite, I would not however +advise a Scholar to give himself up to an intense Application, it being +certain, I should teach him the readiest way to lose his Voice, but I +exhort him only to learn the principal Rules, that he may not be quite +in the Dark.[54] + +Sec. 19. To study much, and preserve a Voice in its full Beauty, are two +Things almost incompatible; there is between them such a sort of Amity, +as cannot last without being prejudicial to the one or the other. +However, if one reflects, that Perfection in a Voice is a Gift of +Nature, and in Art a painful Acquisition, it will indeed be allowed, +that this latter excels in Merit, and more deserves our Praise. + +Sec. 20. Whoever studies, let him look for what is most excellent, and let +him look for it wherever it is, without troubling himself whether it be +in the Stile of fifteen or twenty Years ago, or in that of these Days; +for all Ages have their good and bad Productions. It is enough to find +out the best, and profit by them. + +Sec. 21. To my irreparable Misfortune, I am old; but were I young, I would +imitate as much as possibly I could the _Cantabile_ of those who are +branded with the opprobrious Name of _Ancients_; and the _Allegro_ of +those who enjoy the delightful Appellation of _Moderns_. Though my Wish +is vain as to myself, it will be of Use to a prudent Scholar, who is +desirous to be expert in both Manners, which is the only way to arrive +at Perfection; but if one was to chuse, I should freely, without Fear of +being tax'd with Partiality, advise him to attach himself to the Taste +of the first.[55] + +Sec. 22. Each Manner of Singing hath a different Degree of Eminence; the +Nervous and Strong is distinguished from the Puerile and Weak, as is the +Noble from the Vulgar. + +Sec. 23. A Student must not hope for Applause, if he has not an utter +Abhorrence of Ignorance. + +Sec. 24. Whoever does not aspire to the first Rank, begins already to give +up the second, and by little and little will rest contented with the +lowest. + +Sec. 25. If, out of a particular Indulgence to the sex, so many female +Singers have the Graces set down in Writing, one that studies to become +a good Singer should not follow the Example; whoever accustoms himself +to have Things put in his Mouth, will have no Invention, and becomes a +Slave to his Memory. + +Sec. 26. If the Scholar should have any Defects, of the Nose, the Throat, +or of the Ear, let him never sing but when the Master is by, or somebody +that understands the Profession, in order to correct him, otherwise he +will get an ill Habit, past all Remedy. + +Sec. 27. When he studies his Lesson at Home, let him sometimes sing before +a Looking-glass, not to be enamoured with his own Person, but to avoid +those convulsive Motions of the Body, or of the Face (for so I call the +Grimaces of an affected Singer) which, when once they have took Footing, +never leave him. + +Sec. 28. The best Time for Study is with the rising of the Sun; but those, +who are obliged to study, must employ all their Time which can be spared +from their other necessary Affairs. + +Sec. 29. After a long Exercise, and the Attainment of a true Intonation, of +a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well +expressed, if the Scholar perceives that his Master cannot teach him all +the Perfection of Execution required in the more refined Art of singing +the Airs, or if he cannot always be by his Side, then will he begin to +be sensible of the Need he has of that Study, in which the best Singer +in the World is still a Learner, and must be his own Master. Supposing +this Reflection just, I advise him for his first Insight, to read the +following Chapter, in order thereby to reap greater Advantage from those +that can sing the _Airs_, and teach to sing them. + + + + +CHAP. VII. + +_Of_ Airs. + + +If whoever introduced the Custom of repeating the first Part of the +_Air_ (which is called _Da Capo_) did it out of a Motive to show the +Capacity of the Singer, in varying the Repetition, the Invention cannot +be blam'd by Lovers of Musick; though in respect of the Words it is +sometimes an Impropriety.[56] + +Sec. 2. By the _Ancients_ beforementioned, _Airs_ were sung in three +different Manners; for the Theatre, the Stile was lively and various; +for the Chamber, delicate and finish'd; and for the Church, moving and +grave. This Difference, to very many _Moderns_, is quite unknown. + +Sec. 3. A Singer is under the greatest Obligation to the Study of the +_Airs_; for by them he gains or loses his Reputation. To the acquiring +this valuable, Art, a few verbal Lessons cannot suffice; nor would it be +of any great Profit to the Scholar, to have a great Number of _Airs_, in +which a Thousand of the most exquisite Passages of different Sorts were +written down: For they would not serve for all Purposes, and there would +always be wanting that Spirit which accompanies extempore Performances, +and is preferable to all servile Imitations. All (I think) that can be +said, is to recommend to him an attentive Observation of the Art, with +which the best Singers regulate themselves to the Bass, whereby he will +become acquainted with their Perfections, and improve by them. In order +to make his Observations with the greater Exactness, let him follow the +Example of a Friend of mine, who never went to an Opera without a Copy +of all the Songs, and, observing the finest Graces, confin'd to the most +exact Time of the Movement of the Bass, he made thereby a great +Progress.[57] + +Sec. 4. Among the Things worthy of Consideration, the first to be taken +Notice of, is the Manner in which all _Airs_ divided into three Parts +are to be sung. In the first they require nothing but the simplest +Ornaments, of a good Taste and few, that the Composition may remain +simple, plain, and pure; in the second they expect, that to this Purity +some artful Graces[58] be added, by which the Judicious may hear, that +the Ability of the Singer is greater; and, in, repeating the _Air_, he +that does not vary it for the better, is no great Master. + +Sec. 5. Let a Student therefore accustom himself to repeat them always +differently, for, if I mistake not, one that abounds in Invention, +though a moderate Singer, deserves much more Esteem, than a better who +is barren of it; for this last pleases the Connoisseurs but for once, +whereas the other, if he does not surprise by the Rareness of his +Productions, will at least gratify your Attention with Variety.[59] + +Sec. 6. The most celebrated among the _Ancients_ piqued themselves in +varying every Night their Songs in the Opera's, not only the +_Pathetick_, but also the _Allegro_. The Student, who is not well +grounded, cannot undertake this important Task. + +Sec. 7. Without varying the _Airs_, the Knowledge of the Singers could +never be discovered; but from the Nature and Quality of the Variations, +it will be easily discerned in two of the greatest Singers which is the +best. + +Sec. 8. Returning from this Digression to the abovementioned, repeating the +first Part of the _Air_ with Variation, the Scholar will therein find +out the Rules for Gracing, and introducing Beauties of his own +Invention: These will teach him, that Time, Taste, and Skill, are +sometimes of but small Advantage to one who is not ready at _extempore_ +Embellishments; but they should not allow, that a Superfluity of them +should prejudice the Composition, and confound the Ear.[60] + +Sec. 9. Let a Scholar provide himself with a Variety of Graces and +Embellishments, and then let him make use of them with Judgment; for if +he observes, he will find that the most celebrated Singers never make a +Parade of their Talent in a few Songs; well knowing, that if Singers +expose to the Publick all they have in their Shops, they are near +becoming Bankrupts. + +Sec. 10. In the Study of _Airs_, as I have before said, one cannot take +Pains enough; for, though certain Things of small Effect may be omitted, +yet how can the Art be called perfect if the Finishing is wanted. + +Sec. 11. In _Airs_ accompanied only a Bass, the Application of him who +studies Graces is only subject to Time, and to the Bass; but in those, +that are accompanied with more Instruments, the Singer must be also +attentive to their Movement, in order to avoid the Errors committed by +those who are ignorant of the Contrivance of such Accompaniments. + +Sec. 12. To prevent several false Steps in singing the _Airs_, I would +strongly inculcate to a Student, first, never to give over practising in +private, till he is secure of committing no Error in Publick; and next, +that at the first Rehearsal the _Airs_ be sung without any other +Ornaments than those which are very natural; but with a strict +Attention, to examine at the same time in his Mind, where the artificial +ones may be brought in with Propriety in the second; and so from one +Rehearsal to another, always varying for the better, he will by Degrees +become a great Singer. + +Sec. 13. The most necessary Study for singing _Airs_ in Perfection, and +what is more difficult than any other, is to seek for what is easy and +natural, as well as of beautiful Inventions. One who has the good +Fortune to unite such two rare Talents, with an agreeable _putting +forth_ of the Voice, is a very happy Singer. + +Sec. 14. Let him, who studies under the Disadvantage of an ungrateful +Genius, remember for his Comfort, that singing in Tune, Expression, +_Messa di Voce_, the _Appoggiatura's_, _Shakes_, _Divisions_, and +accompanying himself, are the principal Qualifications; and no such +insuperable Difficulties, but what may be overcome. I know, they are not +sufficient to enable one to sing in Perfection; and that it would be +Weakness to content one's self with only singing tolerably well; but +Embellishments must be called in to their aid, which seldom refuse the +Call, and sometimes come unsought. Study will do the business. + +Sec. 15. Let him avoid all those Abuses which have overspread and +established themselves in the _Airs_, if he will preserve Musick in its +Chastity. + +Sec. 16. Not only a Scholar, but every Singer ought to forbear +_Caricatura's_, or mimicking others, from the very bad Consequences that +attend them. To make others laugh, hardly gains any one Esteem, but +certainly gives Offence; for no-body likes to appear ridiculous or +ignorant. This Mimicking arises for the most part from a concealed +Ambition to shew their own Merit, at another's Expence; not without a +Mixture of Envy and Spight. Examples shew us but too plainly the great +Injury they are apt to do, and that it well deserves Reproof; for +Mimickry has ruin'd more than one Singer. + +Sec. 17. I cannot sufficiently recommend to a Student the exact keeping of +Time; and if I repeat the same in more than one place, there is more +than one Occasion that moves me to it; because, even among the +Professors of the first Rank there are few, but what are almost +insensibly deceived into an Irregularity, or hastening of Time, and +often of both; which though in the Beginning is hardly perceptible, yet +in the Progress of the _Air_ becomes more and more so, and at the last +the Variation, and the Error is discovered. + +Sec. 18. If I do not advise a Student to imitate several of the _Moderns_ +in their Manner of singing _Airs_, it is from their Neglect of keeping +Time, which ought to be inviolable, and not sacrificed to their beloved +Passages and Divisions. + +Sec. 19. The Presumption of some Singers is not to be borne with, who +expect that an whole _Orchestre_ should stop in the midst of a +well-regulated Movement, to wait for their ill-grounded Caprices, +learned by Heart, carried from one Theatre to another, and perhaps +stolen from some applauded female Singer, who had better Luck than +Skill, and whose Errors were excused in regard to her Sex.----Softly, +softly with your Criticism, says one; this, if you do not know it, is +called Singing after the _Mode_----Singing after the _Mode_?----I say, +you are mistaken. The stopping in the _Airs_ at every second and fourth, +and on all the sevenths and sixths of the Bass, was a bad Practice of +the ancient Masters, disapproved fifty Years ago by _Rivani_, called +_Ciecolino_,[61] who with invincible Reasons shewed the proper Places +for Embellishments, without begging Pauses. This Percept was approved by +several eminent Persons, among whom was Signer _Pistochi_,[62] the most +famous of our, and all preceding Times, who has made himself immortal, +by shewing the way of introducing Graces without transgressing against +Time. This Example alone, which is worth a Thousand (O my rever'd +_Moderns_!) should be sufficient to undeceive you. But if this does not +satisfy you, I will add, that _Sifacio_[63] with his mellifluous Voice +embrac'd this Rule; that _Buzzolini_[64] of incomparable Judgment highly +esteemed it: After them _Luigino_[65] with his soft and amorous Stile +followed their Steps; likewise _Signora Boschi_[66] who, to the Glory of +her Sex, has made it appear, that Women, who study, may instruct even +Men of some Note. That _Signora Lotti_,[67] strictly keeping to the +same Rules, with a penetrating Sweetness of Voice, gained the Hearts of +all her Hearers. If Persons of this Rank, and others at present +celebrated all over _Europe_, whom I forbear to name; if all these have +not Authority enough to convince you, that you have no Right to alter +the Time by making Pauses, consider at least, that by this Error in +respect of Time, you often fall into a greater, which is, that the Voice +remains unaccompanied, and deprived of Harmony; and thereby becomes flat +and tiresome to the best Judges. You will perhaps say in Excuse, that +few Auditors have this Discernment, and that there are Numbers of the +others, who blindly applaud every thing that has an Appearance of +Novelty. But whose fault is this? An Audience that applauds what is +blameable, cannot justify your Faults by their Ignorance; it is your +Part to set them right, and, laying aside your ill-grounded Practice, +you should own, that the Liberties you take are against Reason, and an +insult upon all those instrumental Performers that are waiting for you, +who are upon a Level with you, and ought to be subservient only to the +Time. In short, I would have you reflect, that the abovementioned +Precept will always be of Advantage to you; for though under the +neglecting of it, you have a Chance to gain Applause of the Ignorant +only; by observing it, you will justly merit that of the Judicious, and +the Applause will become universal. + +Sec. 20. Besides the Errors in keeping Time, there are other Reasons, why a +Student should not imitate the _modern_ Gentlemen in singing _Airs_, +since it plainly appears that all their Application now is to divide +and subdivide in such a Manner, that it is impossible to understand +either Words, Thoughts, or Modulation, or to distinguish one _Air_ from +another, they singing them all so much alike, that, in hearing of one, +you hear a Thousand.----And must the _Mode_ triumph? It was thought, not +many Years since, that in an Opera, one rumbling _Air_, full of +Divisions was sufficient for the most gurgling Singer to spend his +Fire[68]; but the Singers of the present Time are not of that Mind, but +rather, as if they were not satisfied with transforming them all with a +horrible Metamorphosis into so many Divisions, they, like Racers, run +full Speed, with redoubled Violence to their final Cadences, to make +Reparation for the Time they think they have lost during the Course of +the _Air_. In the following Chapter, on the tormented and tortured +Cadences, we shall shortly see the good Taste of the _Mode_; in the mean +while I return to the Abuses and Defects in _Airs_. + +Sec. 21. I cannot positively tell, who that _Modern_ Composer, or that +ungrateful Singer was, that had the Heart to banish the delightful, +soothing, _Pathetick_ from _Airs_, as if no longer worthy of their +Commands, after having done them so long and pleasing Service. Whoever +he was, it is certain, he has deprived the Profession of its most +valuable Excellence. Ask all the Musicians in general, what their +Thoughts are of the _Pathetick_, they all agree in the same Opinion, (a +thing that seldom happens) and answer, that the _Pathetick_ is what is +most delicious to the Ear, what most sweetly affects the Soul, and is +the strongest Basis of Harmony. And must we be deprived of these Charms, +without knowing the Reason why? Oh! I understand you: I ought not to ask +the Masters, but the Audience, those capricious Protectors of the +_Mode_, that cannot endure this; and herein lies my Mistake. Alas! the +_Mode_ and the Multitude flow like Torrents, which, when at their +Height, having spent their Violence, quickly disappear. The Mischief is +in the Spring itself; the Fault is in the Singers. They praise the +_Pathetick_, yet sing the _Allegro_. He must want common Sense that does +not see through them. They know the first to be the most Excellent, but +they lay it aside, knowing it to be the most difficult. + +Sec. 22. In former times divers _Airs_ were heard in the Theatre in this +delightful Manner, preceded and accompanied with harmonious and +well-modulated Instruments, that ravished the Senses of those who +comprehended the Contrivance and the Melody; and if sung by one of those +five or six eminent Persons abovementioned, it was then impossible for a +human Soul, not to melt into Tenderness and Tears from the violent +Motion of the Affections. Oh! powerful Proof to confound the idoliz'd +_Mode_! Are there in these Times any, who are moved with Tenderness, or +Sorrow?----No, (say all the Auditors) no; for, the continual singing of +the _Moderns_ in the _Allegro_ Stile, though when in Perfection That +deserves Admiration, yet touches very slightly one that hath a delicate +Ear. The Taste of the _Ancients_ was a Mixture of the _Lively_ and the +_Cantabile_ the Variety of which could not fail giving Delight; but the +_Moderns_ are so pre-possessed with Taste in _Mode_, that, rather than +comply with the former, they are contented to lose the greatest Part of +its Beauty. The Study of the _Pathetick_ was the Darling of the former; +and Application to the most difficult Divisions is the only Drift of the +latter. _Those_ perform'd with more Judgment; and _These_ execute with +greater Boldness. But since I have presum'd to compare the most +celebrated Singers in both Stiles, pardon me if I conclude with saying, +that the _Moderns_ are arrived at the highest Degree of Perfection in +singing to the _Ear_; and that the _Ancients_ are inimitable in singing +to the _Heart_. + +Sec. 23. However, it ought not to be denied, but that the best Singers of +these times have in some Particulars refined the preceding Taste, with +some Productions worthy to be imitated; and as an evident Mark of +Esteem, we must publicly own, that if they were but a little more +Friends to the _Pathetick_ and the _Expressive_, and a little less to +the _Divisions_, they might boast of having brought the Art to the +highest Degree of Perfection. + +Sec. 24. It may also possibly be, that the extravagant Ideas in the present +Compositions, have deprived the abovementioned Singers of the +Opportunity of shewing their Ability in the _Cantabile_; in as much as +the _Airs_ at present in vogue go Whip and Spur with such violent +Motions, as take away their Breath, far from giving them an Opportunity +of shewing the Exquisiteness of their Taste. But, good God! since there +are so many _modern_ Composers, among whom are some of Genius equal, and +perhaps greater than the best _Ancients_, for what Reason or Motive do +they always exclude from their Compositions, the so-much-longed-for +_Adagio_? Can its gentle Nature ever be guilty of a Crime? If it cannot +gallop with the _Airs_ that are always running Post, why not reserve it +for those that require Repose, or at least for a compassionate one, +which is to assist an unfortunate Hero, when he is to shed Tears, or die +on the Stage?----No, Sir, No; the grand _Mode_ demands that he be quick, +and ready to burst himself in his Lamentations, and weep with +Liveliness. But what can one say? The Resentment of the _modern_ Taste +is not appeased with the Sacrifice of the _Pathetick_ and the _Adagio_ +only, two inseparable Friends, but goes so far, as to prescribe those +_Airs_, as Confederates, that have not the _Sharp_ third. Can any thing +be more absurd? _Gentlemen Composers_, (I do not speak to the eminent, +but with all due Respect) Musick in my Time has chang'd its Stile three +times: The first which pleased on the Stage, and in the Chamber, was +that of _Pier. Simone_[69], and of _Stradella_[70]; the second is of +the best that now living[71]; and I leave others to judge whether they +are _Modern_. But of your Stile, which is not quite established yet in +_Italy_, and which has yet gained no Credit at all beyond the _Alps_, +those that come after us will soon give their Opinion; for _Modes_ last +not long. But if the Profession is to continue, and end with the World, +either you yourselves will see your Mistake, or your Successors will +reform it. Wou'd you know how? By banishing the Abuses, and recalling +the first, second, and third _Mood_[72], to relieve the fifth, sixth, +and eighth, which are quite jaded. They will revive the fourth and +seventh now dead to you, and buried in Churches, for the final Closes. +To oblige the Taste of the Singers and the Hearers, the _Allegro_ will +now and then be mixed with the _Pathetick_. The _Airs_ will not always +be drowned with the Indiscretion of the Instruments, that hide the +artful Delicacy of the _Piano_, and the soft Voices, nay, even all +Voices which will not bawl: They will no longer bear being teased with +_Unisons_[73], the Invention of Ignorance, to hide from the Vulgar the +Insufficiency and Inability of many Men and Women Singers: They will +recover the instrumental Harmony now lost: They will compose more for +the Voice than the Instruments: The part for the Voice will no more have +the Mortification to resign its Place to the Violins: The _Soprano's_ +and _Contr'Alto's_ will no more sing the _Airs_ in the Manner of the +Bass, in Spight of a thousand _Octaves_: And, finally, their _Airs_ will +be more affecting, and less alike; more studied, and less painful to the +Singer; and so much the more grand, as they are remote from the Vulgar. +But, methinks, I hear it said, that the theatrical Licence is great, +and that the _Mode_ pleases, and that I grow too bold. And may I not +reply, that the Abuse is greater, that the Invention is pernicious, and +that my Opinion is not singular. Am I the only Professor who knows that +the best Compositions are the Cause of singing well, and the worst very +prejudicial? Have we not more than once heard that the Quality of the +Compositions has been capable, with a few Songs, of establishing the +Reputation of a middling Singer, and destroying That of one who had +acquired one by Merit? That Musick, which is composed by one of Judgment +and Taste, instructs the Scholar, perfects the Skilful, and delights the +Hearer. But since we have opened the Ball, let us dance. + +Sec. 25. He that first introduced Musick on the Stage, probably thought to +lead her to a Triumph, and raise her to a Throne. But who would ever +have imagined, that in the short Course of a few Years, she should be +reduced to the fatal Circumstance of seeing her own Tragedy? Ye pompous +Fabricks of the Theatres! We should look upon you with Horror, being +raised from the Ruins of Harmony: You are the Origin of the Abuses, and +of the Errors: From You is derived the _modern_ Stile and the Multitude +of Ballad-makers: You are the only Occasion of the Scarcity of judicious +and well-grounded Professors, who justly deserve the Title of +Chapel-Master[74]; since the poor Counterpoint[75] has been condemned, +in this corrupted Age, to beg for a Piece of Bread in Churches, whilst +the Ignorance of many exults on the Stage, the most part of the +Composers have been prompted from Avarice, or Indigence, to abandon in +such Manner the true Study, that one may foresee (if not succoured by +those few, that still gloriously sustain its dearest Precepts) Musick, +after having lost the Name of Science, and a Companion of Philosophy, +will run the Risque of being reputed unworthy to enter into the sacred +Temples, from the Scandal given there, by their Jiggs, Minuets, and +Furlana's[76]; and, in fact, where the Taste is so deprav'd, what would +make the Difference between the Church-Musick, and the Theatrical, if +Money was received at the Church Doors? + +Sec. 26. I know that the World honours with just Applause some, tho' few +Masters, intelligent in both Stiles, to whom I direct the Students in +order to their singing well; and if I confine the Masters to so small a +Number, I do beg Pardon of those who should be comprehended therein; +hoping easily to obtain it, because an involuntary Error does not +offend, and an eminent Person knows no other Envy but virtuous +Emulation. As for the Ignorant, who for the most part are not used to +indulge any, but rather despise and hate every thing they do not +comprehend, they will be the Persons from whom I am to expect no +Quarter. + +Sec. 27. To my Misfortune, I asked one of this sort, from whom he had +learned the _Counterpoint_? he answered immediately from the Instrument, +(_i.e._, the Harpsichord)--Very well. I asked farther, in what _Tone_ +have you composed the Introduction of your Opera?----What _Tone_! what +_Tone_! (breaking in upon me abruptly) with what musty Questions are you +going to disturb my Brains? One may easily perceive from what School +you come. The _Moderns_, if you do not know it, acknowledge no other +_Tone_ but one[77]; they laugh, with Reason, at the silly Opinion of +those who imagine there are two, as well as at those who maintain, that +their being divided into _Authentick_ and _Plagal_, they become Eight, +(and more if there were need) and prudently leave it to everybody's +Pleasure to compose as they like best. The World in your Time was +asleep, and let it not displease you, if our merry and brisk Manner has +awakened it with a Gayety so pleasing to the Heart, that it incites one +to dance. I would have you likewise be lively before you die, and, +abandoning your uncouth Ideas, make it appear, that old Age can be +pleased with the Productions of Youth; otherwise you will find, that +you will be condemned by your own Words, that Ignorance hates all that +is excellent. The polite Arts have advanced continually in Refinement, +and if the rest were to give me the Lie, Musick would defend me Sword in +Hand; for she cannot arrive at a higher Pitch. Awake therefore, and, if +you are not quite out of your Senses, hearken to me; and you will +acknowledge that I speak candidly to you; and for a Proof be it known to +you---- + +Sec. 28. That our delicious Stile has been invented to hide with the fine +Name of _Modern_ the too difficult Rules of the _Counterpoint_, cannot +be denied. + +Sec. 29. That there is an inviolable Rule amongst us, to banish for ever +the _Pathetick_, is very true; because we will have no Melancholy. + +Sec. 30. But, that we should be told by the old _Bashaws_, that we strive +who can produce most extravagant Absurdities never heard before, and +that we brag to be the Inventors of them ourselves, are the malign +Reflections of those who see us exalted. Let Envy burst. You see, that +the general Esteem which we have acquired, gives it for us; and if a +Musician is not of our Tribe, he will find no Patron or Admirer. But +since we are now speaking in Confidence and with Sincerity, who can sing +or compose well, without our Approbation? Let them have ever so much +Merit (you know it) we do not want Means to ruin him; even a few +Syllables will suffice: It is only saying, He is an _Ancient_. + +Sec. 31. Tell me, I beseech you, who, without us, could have brought Musick +to the Height of Happiness, with no greater Difficulty than taking from +the _Airs_ that tiresome Emulation of the first and second Violin, and +of the Tenor? Is there any that ever durst usurp the Glory of it? We, we +are those, who by our Ingenuity have raised her to this Degree of +Sublimity, in taking also from her that noisy murmuring of the +fundamental Basses, in such Manner,----(mark me well, and learn) that +if in an _Orchestre_ there were an hundred Violins, we are capable of +composing in such a Manner, that all and every one shall play the very +_Air_ which the Voice sings. What say you to that? Can you have the Face +to find Fault with us? + +Sec. 32. Our most lovely Method, that obliges none of us to the painful +Study of the Rules; which does not disquiet the Mind with the Anxiety of +Speculation, nor delude us with the Study of reducing them into +Practice; that does not prejudice the Health; that enchants the Ear _a +la Mode_; that finds those who love it, who prize it, and who pay for it +the Weight in Gold; and dare you to criticise upon it? + +Sec. 33. What shall we say of the obscure and tedious Compositions of those +whom you celebrate as the Top of the Universe, tho' your Opinion goes +for nothing? Don't you perceive that those old-fashioned Crabbednesses +are disgustful? We should be great Fools to grow pale, and become +paralytick in studying and finding out in the Scores, the Harmony, the +_Fugues_, their _Reverses_, the _Double Counterpoint_, the +Multiplication of Subjects, to contract them closer, to make _Canons_, +and such other dry Stuff, that are no more in _Mode_, and (what is +worse) are of little Esteem, and less Profit. What say you now to this, +_Master Critick_? Have you comprehended me?----Yes, Sir. Well, what +Answer do you make me?----None. + +Sec. 34. Really, I am astonished, O beloved Singers, at the profound +Lethargy in which you remain, and which is so much to your Disadvantage. +'Tis You that ought to awaken, for now is the Time, and tell the +Composers of this Stamp, that your Desire is to Sing, and not to Dance. + + + + +CHAP. VIII. + +_Of_ Cadences.[78] + + +The _Cadences_, that terminate the _Airs_, are of two Sorts. The +Composers call the one _Superior_, and the other _Inferior_. To make +myself better understood by a Scholar, I mean, if a _Cadence_ were in +_C_ natural, the Notes of the first would be _La, Sol, Fa;_ and those of +the second _Fa, Mi, Fa_. In _Airs_ for a single Voice, or in +_Recitatives_, a Singer may chuse which of these _Closes_ or _Cadences_ +pleases him best; but if in Concert with other Voices, or accompanied +with Instruments, he must not change the Superior for the Inferior, nor +this with the other.[79] + +Sec. 2. It would be superfluous to speak of the broken _Cadences_, they +being become familiar even to those who are not Professors of Musick, +and which serve at most but in _Recitatives_.[80] + +Sec. 3. As for those _Cadences_ that fall a fifth, they were never composed +in the old Stile for a _Soprano_, in an _Air_ for a single Voice, or +with Instruments, unless the Imitation of some Words had obliged the +Composer thereto. Yet these, having no other Merit, but of being the +easiest of all, as well for the Composer as for the Singer, are at +present the most prevailing.[81] + +Sec. 4. In the Chapter on _Airs_, I have exhorted the Student to avoid that +Torrent of _Passages_ and _Divisions_, so much in the _Mode_, and did +engage myself also, to give my weak Sentiments on the _Cadences_ that +are now current; and I am now ready: But, however, with the usual +Protestation of submitting them, with all my other Opinions, to the +Tribunal of the Judicious, and those of Taste, from whence there is no +Appeal; that they, as sovereign Judges of the Profession, may condemn +the Abuses of the _modern Cadences_, or the Errors of my Opinion. + +Sec. 5. Every _Air_ has (at least) three _Cadences_, that are all three +final. Generally speaking, the Study of the Singers of the present Times +consists in terminating the _Cadence_ of the first Part with an +overflowing of _Passages_ and _Divisions_ at Pleasure, and the +_Orchestre_ waits; in that of the second[82] the Dose is encreased, and +the _Orchestre_ grows tired; but on the last _Cadence_, the Throat is +set a going, like a Weather-cock in a Whirlwind, and the _Orchestre_ +yawns. But why must the World be thus continually deafened with so many +_Divisions_? I must (with your leave, _Gentlemen Moderns_) say in Favour +of the Profession, that good Taste does not consist in a continual +Velocity of the Voice, which goes thus rambling on, without a Guide, and +without Foundation; but rather, in the _Cantabile_, in the putting forth +the Voice agreeably, in _Appoggiatura's_, in Art, and in the true Notion +of Graces, going from one Note to another with singular and unexpected +Surprizes, and stealing the Time exactly on the true _Motion_ of the +Bass. These are the principal and indispensible Qualities which are most +essential to the singing well, and which no musical Ear can find in your +capricious _Cadences_. I must still add, that very _anciently_ the Stile +of the Singers was insupportable, (as I have been informed by the +Master who taught me to _Sol-fa_) by reason of the Number of _Passages_ +and _Divisions_ in their _Cadences_, that never were at an end, as they +are now; and that they were always the same, just as they are now. They +became at last so odious, that, as a Nusance to the Sense of Hearing, +they were banished without so much as attempting their Correction. Thus +will it also happen to These, at the first Example given by a Singer +whose Credit is established, and who will not be seduced by a vain +popular Applause. This Reformation the succeeding Professors of Eminence +prescribed to themselves as a Law, which perhaps would not have been +abolished, were they in a Condition to be heard; but the Opulency of +some, Loss of the Voice, Age and Death of others, has deprived the +Living from hearing what was truly worthy our Admiration in Singing. Now +the Singers laugh at the Reformers, and their Reformation of the +_Passages_ in the _Cadences_; and on the contrary, having recalled them +from their Banishment, and brought them on the Stage, with some little +_Caricatura_ to boot, they impose them on the Ignorant for rare +Inventions, and gain themselves immense Sums; it giving them no Concern +that they have been abhorr'd and detested for fifty or sixty Years, or +for an hundred Ages. But who can blame them? However, if Reason should +make this Demand of them, with what unjust Pretence can you usurp the +Name of _Moderns_, if you sing in a most _Ancient_ Stile? Perhaps, you +think that these overflowings of your Throat are what procure you Riches +and Praises? Undeceive yourselves, and thank the great Number of +Theatres, the Scarcity of excellent Performers, and the Stupidity of +your Auditors. What could they answer? I know not. But let us call them +to a stricter Account. + +Sec. 6. _Gentlemen Moderns_, can you possibly deny, but that you laugh +among yourselves, when you have Recourse to your long-strung _Passages_ +in the _Cadences_, to go a begging for Applause from the blind Ignorant? +You call this Trick by the Name of an _Alms_, begging for Charity as it +were for those _E Viva's_, which, you very well know, you do not deserve +from Justice. And in return you laugh at your Admirers, tho' they have +not Hands, Feet, nor Voice enough to applaud you. Is this Justice? Is +this Gratitude?----Oh! if they ever should find you out! My beloved +Singers, tho' the Abuses of your _Cadences_ are of use to you, they are +much more prejudicial to the Profession, and are the greatest Faults you +can commit; because at the same time you know yourselves to be in the +Wrong. For your own Sakes undeceive the World, and employ the rare +Talent you are endowed with on Things that are worthy of you. In the +mean while I will return with more Courage to my Opinions. + +Sec. 7. I should be very desirous to[83] know, on what Foundation certain +_Moderns_ of Reputation, and great Name, do on the superior _Cadences_ +always make the _Shake_ on the third in _Alt_ to the final Note; since +the _Shake_ (which ought to be resolved) cannot be so in this Case, by +reason of that very third, which being the sixth of the Bass hinders it, +and the _Cadence_ remains without a Resolution. If they should go so far +as to imagine, that the best Rules depended on the _Mode_, I should +notwithstanding think, they might sometimes appeal to the Ear, to know +if That was satisfied with a _Shake_ beaten with the seventh and the +sixth on a Bass which makes the _Cadence_; and I am sure it would +answer. No. From the Rules of the _Ancients_ we learn, that the _Shake_ +is to be prepared on the sixth of the Bass, that after it the fifth may +be heard, for that is its proper Place. + +Sec. 8. Some others of the same Rank make their _Cadences_ in the Manner of +the Basses, which is, in falling a fifth, with a Passage of Swift Notes +descending gradually, supposing that by this Means they cover the +_Octaves_, which, tho' disguised, will still appear. + +Sec. 9. I hold it also for certain, that no Professor of the first Rank, in +any _Cadence_ whatsoever, can be allowed to make _Shakes_, or +_Divisions_, on the last Syllables but one of these +Words,--_Confondero_--_Amero_, &c. for they are Ornaments that do not +suit on those Syllables which are short, but do well on the +Antecedent.[84] + +Sec. 10. Very many of the second Class end the inferior _Cadences_ in the +_French_ Manner without a _Shake_[85], either for want of Ability to +make one, or from its being easy to copy them, or from their Desire of +finding out something that may in Appearance support the name of +_Modern_. But in Fact they are mistaken; for the _French_ do not leave +out the _Shake_ on the inferior _Cadences_, except in the _Pathetick +Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude +it every where, tho' in the _Allegro_ the _Shake_ is absolutely +necessary. I know, that a good Singer may with Reason abstain from the +_Shake_ in the _Cantabile_; however, it should be rarely; for if one of +those _Cadences_ be tolerable without that pleasing Grace, it is +absolutely impossible not to be tired at length, with a Number one after +another that die suddenly. + +Sec. 11. I find that all the _Moderns_ (let them be Friends or Foes to the +_Shake_) in the inferior _Cadences_ beforementioned go with an +_Appoggiatura_ to the final Note, on the penultimate Syllable of a Word; +and this likewise is a Defect, it appearing to me, that on such +Occasions the _Appoggiatura_ is not pleasing but on the last Syllable, +after the Manner of the _Ancients_, or of those who know how to +sing.[86] + +Sec.12. If, in the inferior _Cadences_, the best Singers of these Days +think they are not in the wrong in making you hear the final Note before +the Bass[87], they deceive themselves grossly; for it is a very great +Error, hurts the Ear, and is against the Rules; and becomes doubly so, +going (as they do) to the same Note with an _Appoggiatura_, the which +either ascending or descending, if not after the Bass[88], is always +very bad. + +Sec. 13. And is it not worst of all, to torment the Hearers with a thousand +_Cadences_ all in the same Manner? From whence proceeds this Sterility, +since every Professor knows, that the surest way of gaining Esteem in +Singing is a Variety in the Repetition? + +Sec. 14. If among all the _Cadences_ in the _Airs_, the last allows a +moderate Liberty to the Singer, to distinguish the end of them, the +Abuse of it is insufferable. But it grows abomable, when the Singer +persists with his tiresome Warbling, nauseating the Judicious, who +suffer the more, because they know that the Composers leave generally in +every _final Cadence_ some Note, sufficient to make a discreet +Embellishment; without seeking for it out of Time, without Taste, +without Art, and without Judgment.[89] + +Sec. 15. I am still more surprised when I reflect, that the _modern_ Stile, +after having exposed all the _Cadences_ of the theatrical _Airs_ to the +Martyrdom of a perpetual Motion, will likewise have the Cruelty to +condemn to the same Punishment not Those in the _Cantata's_ only, but +also the _Cadences_ of their _Recitatives_. Do these Singers pretend, by +their not distinguishing the Chamber-Musick from the immoderate +_Gargling_ of the Stage, to expect the vulgar _E Viva's_ in the Cabinet +of Princes? + +Sec. 16. Let a sensible Student avoid this Example, and with this Example +the Abuses, the Defects, and every other Thing that is mean and common, +as well in the _Cadences_ as elsewhere. + +Sec. 17. If, the inventing particular _Cadences_ without injuring the Time, +has been one of the worthy Employments of the _Ancients_ (so call'd) let +a Student revive the Use of it; endeavouring to imitate them in their +Skill of somewhat anticipating the Time; and remember, that Those, who +understand the Art of Gracing, do not wait to admire the Beauty of it in +a Silence of the Bass. + +Sec. 18. Many and many other Errors are heard in the _Cadences_ that were +_Antique_, and which are now become _Modern_; they were ridiculous then, +and are so now; therefore considering, that to change the Stile is not +always to improve it, I may fairly conclude, that what is bad is to be +corrected by Study, and not by the _Mode_. + +Sec. 19. Now let us for a while leave at Rest the Opinions of the aforesaid +Ancients, and the supposed _Moderns_, to take notice what Improvement +the Scholar has made, since he is desirous of being heard. Well then, +let him attend, before we part with him, to Instructions of more Weight, +that he may at least deserve the Name of a good Singer, though he may +not arrive at that of an eminent one. + + + + +CHAP. IX. + +_Observations for a Singer._[90] + + +Behold the Singer now appearing in Publick, from the Effects of his +Application to the Study of the foregoing Lessons. But to what Purpose +does he appear? Whoever, in the great Theatre of the World, does not +distinguish himself, makes but a very insignificant Figure. + +Sec. 2. From the cold Indifference perceived in many Singers, one would +believe that the Science of Musick implored their Favour, to be +received by them as their most humble Servant. + +Sec. 3. If too many did not persuade themselves that they had studied +sufficiently, there would not be such a Scarcity of the Best, nor such a +Swarm of the Worst. These, because they can sing by Heart three or four +_Kyrie's_[91], think they are arrived at the _Non plus ultra_; but if +you give them a _Cantata_ to sing, that is even easy, and fairly +written, they, instead of complying as they ought, will tell you with an +impudent Face, that Persons of their Degree are not obliged to sing in +the vulgar Tongue at Sight. And who can forbear laughing? For a Musician +knowing that the Words, let them be either _Latin_ or _Italian_, do not +change the Form of the Notes, must immediately conclude, that this pert +Answer of the great Man proceeds from his not being able to sing at +Sight, or from his not knowing how to read; and he judges right. + +Sec. 4. There are an infinite Number[92] of others, who wish and sigh for +the Moment that eases them from the painful Fatigue of their first +Studies, hoping to have a Chance to make one in the Crowd of the second +Rate; and stumbling by good Luck on something that gives them Bread, +they immediately make a Legg to Musick and its Study, not caring whether +the World knows they are, or are not among the Living. These do not +consider that _Mediocrity_ in a Singer means _Ignorance_. + +Sec. 5. There are also several who study nothing but the Defects, and are +endow'd with a marvelous Aptness to learn them all, having so happy a +Memory as never to forget them. Their Genius is so inclined to the Bad, +that if by Gift of Nature they had the best of Voices, they would be +discontented if they could not find some Means to make it the worst. + +Sec. 6. One of a better Spirit will endeavour to keep better Company. He +will be sensible of the Necessity of farther Discoveries, of farther +Instructions, and even of another Master, of whom, besides the Art of +Singing, he would be glad to learn how to behave himself with good +Breeding. This, added to the Merit acquired by his Singing, may give him +Hopes of the Favour of Princes, and of an universal Esteem. + +Sec. 7. If he aims at the Character of a young Man of Wit and Judgment, let +him not be vulgar or too bold. + +Sec. 8. Let him shun low and disreputable Company, but, above all, such as +abandon themselves to scandalous Liberties. + +Sec. 9. That Professor ought not to be frequented, though excellent in this +Art, whose behaviour is vulgar and discreditable, and who cares not, +provided he makes his Fortune, whether it be at the Expence of his +Reputation. + +Sec. 10. The best School is the Nobility, from whom every thing that is +genteel is to be learned; but when a Musician finds that his Company is +not proper, let him retire without repining, and his Modesty will be to +his Commendation. + +Sec. 11. If he should not meet with a Gratification from the Great, let him +never complain; for it is better to get but little, than to lose a great +deal, and that is not seldom the Case. The best he can do, is to be +assiduous in serving them, that at least he may hope for the Pleasure of +seeing them for once grateful, or be convinced for ever of their being +ungrateful. + +Sec. 12. My long and repeated Travels have given me an Opportunity of being +acquainted with most of the Courts of _Europe_, and Examples, more than +my Words, should persuade every able Singer to see them also; but +without yielding up his Liberty to their Allurements: For Chains, +though of Gold, are still Chains; and they are not all of that precious +Metal: Besides, the several Inconveniencies of Disgrace, Mortifications, +Uncertainty; and, above all, the Hindrance of Study. + +Sec. 13.[93] The golden Age of Musick would be already at an End, if the +Swans did not make their Nests on some Theatres in _Italy_, or on the +royal Banks of the _Thames_. O dear _London_!----On the other Streams, +they sing no more as they used to do their sweet Notes at their +expiring; but rather sadly lament the Expiration of those august and +adorable Princes, by whom they were tenderly belov'd and esteemed. This +is the usual Vicissitude of Things in this World; and we daily see, that +whatever is sublunary must of Necessity decline. Let us leave the Tears +to the Heart, and return to the Singer. + +Sec. 14. A discreet Person will never use such affected Expressions as, _I +cannot sing To-day;--I've got a deadly Cold;_ and, in making his Excuse, +falls a Coughing. I can truly say, that I have never in my Life heard a +Singer own the Truth, and say, _I'm very well to-day_: They reserve the +unseasonable Confession to the next Day, when they make no Difficulty to +say, _In all my Days my Voice was never in better Order than it was +Yesterday_. I own, on certain Conjunctures, the Pretext is not only +suitable, but even necessary; for, to speak the Truth, the indiscreet +Parsimony of some, who would hear Musick for Thanks only, goes so far, +that they think a Master is immediately obliged to obey them _gratis_, +and that the Refusal is an Offence that deserves Resentment and Revenge. +But if it is a Law human and divine, that every Body should live by +their honest Labour, what barbarous Custom obliges a Musician to serve +without a Recompence? A cursed Over-bearing; O sordid Avarice! + +Sec. 15. A Singer, that knows the World, distinguishes between the +different Manners of Commanding; he knows how to refuse without +disobliging, and how to obey with a good Grace; not being ignorant, that +one, who has his Interest most at Heart, sometimes finds his Account in +serving without a Gratification. + +Sec. 16. One who sings with a Desire of gaining Honour and Credit, cannot +sing ill, and in time will sing better; and one, who thinks on nothing +but Gain, is in the ready way to remain ignorant. + +Sec. 17. Who would ever think (if Experience did not shew it) that a Virtue +of the highest Estimation should prejudice a Singer? And yet, whilst +Presumption and Arrogance triumph (I'm shock'd to think on't) amiable +Humility, the more the Singer has of it, the more it depresses him. + +Sec. 18. At first Sight, Arrogance has the Appearance of Ability; but, +upon a nearer View, I can discover Ignorance in Masquerade. + +Sec. 19. This Arrogance serves them sometimes, as a politick Artifice to +hide their own Failings: For Example, certain Singers would not be +unconcern'd, under the Shame of not being able to sing a few Barrs at +Sight, if with Shrugs, scornful Glances, and malicious shaking of their +Heads, they did not give the Auditors to understand that those gross +Errors are owing to him that accompanies, or to the _Orchestre_. + +Sec. 20. To humble such Arrogance, may it never meet with that Incense +which it expects. + +Sec. 21. Who could sing better than the Arogant, if they were not ashamed +to study? + +Sec. 22. It is a Folly in a Singer to grow vain at the first Applauses, +without reflecting whether they are given by Chance, or out of Flattery; +and if he thinks he deserves them, there is an End of him. + +Sec. 23. He should regulate his Voice according to the Place where he +sings; for it would be the greatest Absurdity, not to make a Difference +between a small Cabinet and a vast Theatre.[94] + +Sec. 24. He is still more to be blam'd, who, when singing in two, three, or +four Parts, does so raise his Voice as to drown his Companions; for if +it is not Ignorance, it is something worse. + +Sec. 25. All Compositions for more than one Voice ought to be sung strictly +as they are written; nor do they require any other Art but a noble +Simplicity. I remember to have heard once a famous _Duetto_ torn into +Atoms by two renown'd Singers, in Emulation; the one proposing, and the +other by Turns answering, that at last it[95] ended in a Contest, who +could produce the most Extravagancies. + +Sec. 26. The Correction of Friends, that have Knowledge, instructs very +much; but still greater Advantage may be gain'd from the ill-natur'd +Criticks; for, the more intent they are to discover Defects, the greater +Benefit may be receiv'd from them without any Obligation. + +Sec. 27. It is certain, that the Errors corrected by our Enemies are better +cur'd, than those corrected by ourselves; for we are apt to indulge our +Faults, nor can we so easily perceive them. + +Sec. 28. He that sings with Applause in one Place only, let him not have +too good an Opinion of himself; let him often change Climates, and then +he will judge better of his Talent. + +Sec. 29. To please universally, Reason will tell you, that you must always +sing well; but if Reason does not inform you, Interest will persuade you +to conform to the Taste of that Nation (provided it be not too deprav'd) +which pays you. + +Sec. 30. If he that sings well provokes Envy, by singing better he will get +the Victory over it. + +Sec. 31. I do not know if a perfect Singer can at the same time be a +perfect Actor; for the Mind being at once divided by two different +Operations, he will probably incline more to one than the other; It +being, however, much more difficult to sing well than to act well, the +Merit of the first is beyond the second. What a Felicity would it be, to +possess both in a perfect Degree![96] + +Sec. 32. Having said, a Singer should not copy, I repeat it now with this +Reason; that to copy is the part of a Scholar, that of a Master is to +invent. + +Sec. 33. Let it be remembered by the Singer, that copying comes from +Laziness, and that none copy ill but out of Ignorance. + +Sec. 34. Where Knowledge with Study makes one a good Singer, Ignorance with +one single Copy makes a thousand bad ones; however, among these there +are none that will acknowledge her for a Teacher. + +Sec. 35. If many of the female Singers (for whom I have due Respect) would +be pleased to consider, that by copying a good one, they are become very +bad ones, they would not appear so ridiculous on the Stage for their +Affectation in presuming to sing the _Airs_ of the Person they copy, +with the same Graces. In this great Error, (if it does not proceed from +their Masters) they seem to be governed by Instinct, like the inferior +Creatures, rather than by Reason; for That would shew them, that we may +arrive at Applause by different ways, and past Examples, as well as one +at this present make us sensible, that two Women would not be equally +eminent if the one copy'd the other.[97] + +Sec. 36. If the Complaisance, which is due to the fair Sex, does not excuse +the Abuse of copying when it proves prejudicial to the Profession, what +ought one then to say of those Men, who, instead of inventing, not only +copy others of their own Sex, but also Women. Foolish and +shameful!----Supposing an Impossibility, _viz._ that a Singer has +arrived at copying in such a Manner as not to be distinguished from the +Original, should he attribute to himself a Merit which does not belong +to him, and dress himself out in the Habits of another without being +afraid of being stripp'd of them? + +Sec. 37. He, that rightly knows how to copy in Musick, takes nothing but +the Design; because that Ornament, which we admire when _natural_, +immediately loses its Beauty when _artificial_. + +Sec.38. The most admired Graces of a Professor ought only to be imitated, +and not copied; on Condition also, that it does not bear not even so +much as a Shadow of Resemblance of the Original; otherwise, instead of a +beautiful Imitation, it will become a despicable Copy. + +Sec. 39. I cannot decide, which of the two deserves most to be despised, +one who cannot imitate a good Singer without _Caricatura's_, or He that +cannot imitate any well but bad ones. + +Sec. 40. If many Singers knew, that a bad Imitation is a contagious Evil, +to which one who studies is not liable, the World would not be reduc'd +to the Misfortune of seeing in a _Carnaval_ but one Theatre provided +with eminent Performers, without Hopes of[98] an approaching Remedy. +Let them take it for their Pains. Let the World learn to applaud Merit; +and (not to use a more harsh Expression) be less complaisant to Faults. + +Sec. 41. Whoever does not know how to steal the Time in Singing, knows not +how to Compose, nor to Accompany himself, and is destitute of the best +Taste and greatest Knowledge.[99] + +Sec. 42. The stealing of Time, in the _Pathetick_, is an honourable Theft +in one that sings better than others, provided he makes a Restitution +with Ingenuity. + +Sec. 43. An Exercise, no less necessary than this, is That of agreeably +_putting forth_ of the Voice, without which all Application is vain. +Whosoever pretends to obtain it, must hearken more to the Dictates of +the Heart, than to those of Art. + +Sec. 44. Oh! how great a Master is the Heart! Confess it, my beloved +Singers, and gratefully own, that you would not have arrived at the +highest Rank of the Profession if you had not been its Scholars; own, +that in a few Lessons from it, you learned the most beautiful +Expressions, the most refin'd Taste, the most noble Action, and the most +exquisite Graces: Own, (though it be hardly credible) that the Heart +corrects the Defects of Nature, since it softens a Voice that's harsh, +betters an indifferent one, and perfects a good one: Own, when the Heart +sings you cannot dissemble, nor has Truth a greater Power of persuading: +And, lastly, do you convince the World, (what is not in my Power to do) +that from the Heart alone you have learn'd that _Je ne scai quoy_, that +pleasing Charm, that so subtily passes from Vein to Vein, and makes its +way to the very Soul. + +Sec. 45. Though the way to the Heart is long and rugged, and known but to +few, a studious Application will, notwithstanding, master all Obstacles. + +Sec. 46. The best Singer in the World continues to study, and persists in +it as much to maintain his Reputation, as he did to acquire it. + +Sec. 47. To arrive at that glorious End, every body knows that there is no +other Means than Study; but That does not suffice; it is also necessary +to know in what Manner, and with whose Assistance, we must pursue our +Studies. + +Sec. 48.[100] There are now-a-days as many Masters as there are Professors +of Musick in any Kind; every one of them teaches, I don't mean the first +Rudiments only, (That would be an Affront to them;) I am now speaking of +those who take upon them the part of a Legislator in the most finished +part in Singing; and should we then wonder that the good Taste is near +lost, and that the Profession is going to Ruin? So mischievous a +Pretension prevails not only among those, who can barely be said to +sing, but among the meanest instrumental Performers; who, though they +never sung, nor know how to sing, pretend not only to teach, but to +perfect, and find some that are weak enough to be imposed on. But, what +is more, the instrumental Performers of some Ability imagine that the +beautiful Graces and Flourishes, with their nimble Fingers, will have +the same Effect when executed with the Voice; but it will not do[101]. I +should be the first to condemn the magisterial Liberty I take, were it +meant to give Offence to such Singers and instrumental Performers of +Worth, who know how to sing, perform, and instruct; but my Correction +aims no farther than to the Petulancy of those that have no Capacity, +with these few Words, _Age quod agis_; which (for those who do not +understand _Latin_) is as much as to say,-----Do You mind your _Sol-fa_; +and You, your Instrument. + +Sec. 49. If sometimes it does happen, that an indifferent Master should +make an excellent Disciple, it is then incontestable, that the Gift of +Nature in the Student is superior to the Sufficiency of the Instructor: +and it is not to be wonder'd at, for, if from time to time, even great +Masters were not outdone, most of the finest Arts would have sunk before +now. + +Sec. 50. It may seem to many, that every perfect Singer must also be a +perfect Instructor, but it is not so; for his Qualifications (though +ever so great) are insufficient, if he cannot communicate his +Sentiments with Ease, and in a Method adapted to the Ability of the +Scholar; if he has not some Notion of Composition, and a manner of +instructing, which may seem rather an Entertainment than a Lesson; with +the happy Talent to shew the Ability of the Singer to Advantage, and +conceal his Imperfections; which are the principal and most necessary +Instructions. + +Sec. 51. A Master, that is possessed of the abovementioned Qualifications, +is capable of Teaching; with them he will raise a Desire to study; will +correct Errors with a Reason; and by Examples incite a Taste to imitate +him. + +Sec. 52. He knows, that a Deficiency of Ornaments displeases as much as the +too great Abundance of them; that a Singer makes one languid and dull +with too little, and cloys one with too much; but, of the two, he will +dislike the former most, though it gives less Offence, the latter being +easier to be amended. + +Sec. 53. He will have no Manner of Esteem for those who have no other +Graces than gradual _Divisions_[102]; and will tell you, Embellishments +of this Sort are only fit for Beginners. + +Sec. 54. He will have as little Esteem for those who think to make their +Auditors faint away, with their Transition from the sharp Third to the +Flat. + +Sec. 55. He'll tell you, that a Singer is lazy, who on the Stage, from +Night to Night, teaches the Audience all his Songs; who, by hearing them +always without the least Variation, have no Difficulty to learn them by +Heart. + +Sec. 56. He will be affrighted at the Rashness of one that launches out, +with little Practice, and less Study; lest venturing too far, he should +be in great Danger of losing himself. + +Sec. 57. He will not praise one that presumes to sing two Parts in three of +an Opera, promising himself never to be tiresome, as if that divine +Privilege of always pleasing were allowed him here below. Such a one +does not know the first Principle of musical Politicks; but Time will +teach it him. He, that sings little and well, sings very well. + +Sec. 58. He will laugh at those who imagine to satisfy the Publick with the +Magnificence of their Habits, without reflecting, that Merit and +Ignorance are equally aggrandized by Pomp. The Singers, that have +nothing but the outward Appearance, pay that Debt to the Eyes, which +they owe to the Ears. + +Sec. 59. He will nauseate the new-invented Stile of those who provoke the +innocent Notes with coarse Startings of the Voice. A disagreeable +Defect; however, being brought from[103] beyond the _Alps_, it passes +for a _modern_ Rarity. + +Sec. 60. He will be astonished at this bewitched Age, in which so many are +paid so well for singing ill. The _Moderns_ would not be pleas'd to be +put in Mind, that, twenty Years ago, indifferent Singers had but mean +Parts allotted them, even in the second-rate Theatres; whereas at +present, those, who are taught like Parrots, heap up Treasures beyond +what the Singers of the first Degree then did.[104] + +Sec. 61. He will condemn the Ignorance of the Men most, they being more +obliged to study than the Women. + +Sec. 62. He will not bear with one who imitates the Women, even in +sacrificing the Time, in order to acquire the Title of _Modern_. + +Sec. 63. He will marvel at that[105] Singer, who, having a good Knowledge +of Time, yet does not make use of it, for want of having apply'd himself +to the Study of Composition, or to accompany himself. His Mistake makes +him think that, to be eminent, it suffices to sing at Sight; and does +not perceive that the greatest Difficulty, and the whole Beauty of the +Profession consists in what he is ignorant of; he wants that Art which +teaches to anticipate the Time, knowing where to lose it again; and, +which is still more charming, to know how to lose it, in order to +recover it again; which are the Advantages of such as understand +Composition, and have the best Taste. + +Sec. 64. He will be displeased at the Presumption of a Singer who gets the +Words of the most wanton _Airs_ of the Theatre rendered into _Latin_, +that he may sing them with Applause in the[106] Church; as if there +were no Manner of Difference between the Stile of the one and the other; +and, as if the Scraps of the Stage were fit to offer to the Deity. + +Sec. 65. What will he not say of him who has found out the prodigious Art +of Singing like a _Cricket_? Who could have ever imagin'd, before the +Introduction of the _Mode_, that ten or a dozen Quavers in a Row could +be trundled along one after the other, with a Sort of _Tremor_, of the +Voice, which for some time past has gone under the name of _Mordente +Fresco_?[107] + +Sec. 66. He will have a still greater Detestation for the Invention of +Laughing in Singing, or that screaming like a Hen when she is laying her +Egg. Will there not be some other little Animal worth their Imitation, +in order to make the Profession more and more ridiculous? + +Sec. 67. He will disapprove the malicious Custom of a Singer in Repute, +who talks and laughs on the Stage with his Companions, to induce the +Publick to believe that such a Singer, who appears the first time on the +Stage, does not deserve his Attention; when in reality he is afraid of, +or envies, his gaining Applause. + +Sec. 68. He cannot endure the Vanity of that Singer, who, full of himself +from the little he has learned, is so taken with his own Performance, +that he seems falling into an Extasy; pretending to impose Silence and +create Wonder, as if his first Note said to the Audience, _Hear and +Die_: But they, unwilling to die, chuse not to hear him, talk loud, and +perhaps not much to his Advantage. At his second Air the Noise +encreases, and still encreasing, he looks upon it as a manifest Injury +done him; and, instead of correcting his conceited Pride by Study, he +curses the deprav'd Taste of that Nation that does not esteem him, +menacing never to return again; and thus the vain Wretch comforts +himself. + +Sec. 69. He will laugh at one who will not act unless he has the Choice of +the Drama, and a Composer to his liking; with this additional Condition, +not to sing in Company with such a Man, or without such a Woman. + +Sec. 70. With the like Derision, he will observe some others, who with an +Humility worse than Pride, go from one Box to another, gathering Praises +from the most illustrious Persons, under a Pretence of a most profound +Obsequiousness, and become in every Representation more and more +familiar. Humility and Modesty are most beautiful Virtues; but if they +are not accompanied with a little Decorum, they have some Resemblance to +Hypocrisy. + +Sec. 71. He will have no great Opinion of one, who is not satisfied with +his Part, and never learns it; of one, who never sings in an Opera +without thrusting in one _Air_ which he always carries in his Pocket; of +one, who bribes the Composer to give him an _Air_ that was intended for +another; of one, who takes Pains about Trifles, and neglects Things of +Importance; of one, who, by procuring undeserved Recommendations, makes +himself and his Patron ridiculous; of one, who does not sustain his +Voice, out of Aversion to the _Pathetick_; of one, who gallops to follow +the _Mode_; and of all the bad Singers, who, not knowing what's good, +court the _Mode_ to learn its Defects. + +Sec. 72. To sum up all, he will call none a Singer of Merit, but him who is +correct; and who executes with a Variety of Graces of his own, which his +Skill inspires him with unpremeditately; knowing, that a Professor of +Eminence cannot, if he would, continually repeat an _Air_ with the +self-same _Passages_ and _Graces_. He who sings premeditately, shews he +has learn'd his Lesson at Home. + +Sec. 73. After having corrected several other Abuses and Defects, to the +Advantage of the Singer, he will return with stronger Reasons to +persuade him to have Recourse to the fundamental Rules, which will +teach him to proceed on the Bass from one Interval to another, with sure +Steps, and without Danger of erring. If then the Singer should say, Sir, +you trouble yourself in vain; for the bare Knowledge of the Errors is +not sufficient; I have need of other Help than Words, and I know not +where to find it, since it seems that there is at present such a +Scarcity of good Examples in _Italy_: Then, shrugging his Shoulders, he +will answer him, rather with Sighs than Words; that he must endeavour to +learn of the best Singers that there are; particularly by observing two +of the fair Sex,[108] of a Merit superior to all Praise; who with equal +Force, in a different Stile, help to keep up the tottering Profession +from immediately falling into Ruin. The one is inimitable for a +privileg'd Gift of Singing, and for enchanting the World with a +prodigious Felicity in executing, and with a singular Brilliant (I know +not whether from Nature or Art) which pleases to Excess. The delightful, +soothing _Cantabile_ of the other, joined with the Sweetness of a fine +Voice, a perfect Intonation, Strictness of Time, and the rarest +Productions of a Genius, are Qualifications as particular and uncommon, +as they are difficult to be imitated. The _Pathetick_ of the one, and +the _Allegro_ of the other, are the Qualities the most to be admired +respectively in each of them. What a beautiful Mixture would it be, if +the Excellence of these two angelick Creatures could be united in one +single Person! But let us not lose Sight of the Master. + +Sec. 74. He will also convince the Scholar, that the Artifice of a +Professor is never more pleasing, than when he deceives the Audience +with agreeable Surprizes; for which reason he will advise him to have +Recourse to a seeming Plainness, as if he aim'd at nothing else. + +Sec. 75. But when the Audience is in no farther Expectation, and (as I may +say) grows indolent, he will direct him to rouse them that Instant with +a _Grace_. + +Sec. 76. When they are again awake, he will direct him to return to his +feigned Simplicity, though it will no more be in his power to delude +those that hear him, for with an impatient Curiosity they already expect +a second, and so on. + +Sec. 77. He will give him ample Instructions concerning _Graces_ of all +sorts, and furnish him with Rules and profitable Documents. + +Sec. 78. Here should I inveigh (though I could not enough) against the +Treachery of my Memory, that has not preserved, as it ought, all those +peculiar Excellencies which a great Man did once communicate to me, +concerning _Passages_ and _Graces_; and to my great Sorrow, and perhaps +to the Loss of others, it will not serve me to publish any more than +these few poor Remains, the Impressions of which are still left, and +which I am now going to mention. + + + + +CHAP. X. + +_Of_ Passages _or_ Graces. + + +_Passages_ or _Graces_ being the principal Ornaments in Singing, and the +most favourite Delight of the Judicious, it is proper that the Singer be +very attentive to learn this Art. + +Sec. 2. Therefore, let him know, that there are five principal +Qualifications, which being united, will bring him to admirable +Perfection, _viz._ _Judgment_, _Invention_, _Time_, _Art_, and _Taste_. + +Sec. 3. There are likewise five subaltern Embellishments _viz._ the +_Appoggiatura_, the _Shake_, the _putting forth of the Voice_, the +_Gliding_, and _Dragging_. + +_The principal Qualifications teach,_ + +Sec. 4. That the _Passages_ and _Graces_ cannot be form'd but from a +profound _Judgment_. + +Sec. 5. That they are produced by a singular and beautiful _Invention_, +remote from all that is vulgar and common. + +Sec. 6. That, being govern'd by the rigorous, but necessary, Precepts of +_Time_, they never transgress its regulated Measure, without losing +their own Merit. + +Sec. 7. That, being guided by the most refined _Art_ on the Bass, they may +There (and no where else) find their Center; there to sport with +Delight, and unexpectedly to charm. + +Sec. 8. That, it is owing to an exquisite _Taste_, that they are executed +with that sweet _putting forth_ of the Voice, which is so enchanting. + +_From the accessory Qualities is learned,_ + +Sec. 9. That the _Graces_ or _Passages_ be easy in appearance, thereby to +give universal Delight. + +Sec. 10. That in effect They be difficult that thereby the Art of the +Inventor be the more admired. + +Sec. 11. That They be performed with an equal regard to the Expression of +the Words, and the Beauty of the Art. + +Sec. 12. That They be _gliding_ or _dragging_ in the _Pathetick_, for They +have a better Effect than those that are mark'd. + +Sec. 13. That They do not appear studied, in order to be the more regarded. + +Sec. 14. That They be softened with the _Piano_ in the _Pathetick_, which +will make them more affecting. + +Sec. 15. That in the _Allegro_ They be sometimes accompanied with the +_Forte_ and the _Piano_, so as to make a sort of _Chiaro Scuro_. + +Sec. 16. That They be confin'd to a _Group_ of a few Notes, which are more +pleasing than those which are too numerous. + +Sec. 17. That in a slow _Time_, there may be a greater Number of them (if +the Bass allows it) with an Obligation upon the Singer to keep to the +Point propos'd, that his Capacity be made more conspicuous. + +Sec. 18. That They be properly introduc'd, for in a wrong Place They +disgust. + +Sec. 19. That They come not too close together, in order to keep them +distinct. + +Sec. 20. That They should proceed rather from the Heart than from the +Voice, in order to make their way to the Heart more easily. + +Sec. 21. That They be not made on the second or fourth Vowel, when closely +pronounc'd, and much less on the third and fifth. + +Sec. 22. That They be not copied, if you would not have them appear +defective. + +Sec. 23. That They be stol'n on the _Time_, to captivate the Soul. + +Sec. 24. That They never be repeated in the same place, particularly in +_Pathetick Airs_, for there they are the most taken Notice of by the +Judicious. + +Sec. 25. And, above all, let them be improv'd; by no means let them lose in +the Repetition. + +Sec. 26. Many Professors are of Opinion, that in _Graces_ there is no room +for the marked _Divisions_, unless mix'd with some of the aforesaid +Embellishments or some other agreable Accidents. + +Sec. 27. But it is now time that we speak of the _Dragging_, that, if the +_Pathetick_ should once return again into the World, a Singer might be +able to understand it. The Explanation would be easier understood by +Notes of Musick than by Words, if the Printer was not under great +Difficulty to print a few Notes; notwithstanding which, I'll endeavour, +the best I can, to make myself understood. + +Sec. 28. When on an even and regular Movement of a Bass, which proceeds +slowly, a Singer begins with a high Note, dragging it gently down to a +low one, with the _Forte_ and _Piano_, almost gradually, with +Inequality of Motion, that is to say, stopping a little more on some +Notes in the Middle, than on those that begin or end the _Strascino_ or +_Dragg_.[109] Every good musician takes it for granted, that in the Art +of Singing there is no Invention superior, or Execution more apt to +touch the Heart than this, provided however it be done with Judgment, +and with putting forth of the Voice in a just _Time_ on the Bass. +Whosoever has most Notes at Command, has the greater Advantage; because +this pleasing Ornament is so much the more to be admired, by how much +the greater the Fall is. Perform'd by an excellent _Soprano_, that makes +use of it but seldom, it becomes a Prodigy; but as much as it pleases +descending, no less would it displease ascending. + +Sec. 29. Mind this, O my beloved Singers! For it is to You only, who are +inclined to study, that I have addressed myself. This was the Doctrine +of the School of those Professors, whom, by way of Reproach, some +mistaken Persons call _Ancients_. Observe carefully its Rules, examine +strictly its Precepts, and, if not blinded by Prejudice, you will see +that this School ought to sing in Tune, to put forth the Voice, to make +the Words understood, to express, to use proper Gesture, to perform in +_Time_, to vary on its Movement, to compose, and to study the +_Pathetick_, in which alone Taste and Judgment triumph. Confront this +School with yours, and if its Precepts should not be sufficient to +instruct you, learn what's wanting from the _Modern_. + +Sec. 30. But if these my Exhortations, proceeding from my Zeal, have no +Weight with you, as the Advice of Inferiors is seldom regarded, allow at +least, that whoever has the Faculty of Thinking, may once in sixty Years +think right. And if you think, that I have been too partial to the Times +past, then would I persuade you, (if you have not a shaking Hand) to +weigh in a just Ballance your most renowned Singers; who you take to be +_Moderns_ (but are not so, except in their _Cadences_;) and having +undeceived yourselves, you will perceive in them, that instead of +Affectations, Abuses, and Errors, They sing according to those powerful +Lessons that give Delight to the Soul, and whose Perfections have made +Impressions on me, and which I shall always remember with the greatest +Pleasure. Do but consult them, as I have done, and they will truly and +freely tell you, That They sell their Jewels where they are understood; +That the Singers of Eminence are not of the _Mode_, and that at present +there are many bad Singers. + +Sec. 31. True it is, that there are some, tho' few, very good Singers, who, +when the Vehemence of their youthful fire is abated, will by their +Examples do Justice to their delightful Profession, in keeping up the +Splendor of it, and will leave to Posterity a lasting and glorious Fame +of their Performances. I point them out to you, that, if you find +yourselves in an Error, you may not want the Means to correct it, nor +an Oracle to apply to whenever you have occasion. From whence I have +good Grounds to hope, that the true Taste in Singing will last to the +End of the World. + +Sec. 32. Whoever comprehends what has been demonstrated to him, in these +and many other Observations, will need no farther Incitement to study. +Stirred up by his own Desire, he will fly to his beloved Instrument, +from which, by continued Application, he will find he has no Reason to +sit down satisfied with what he has learn'd before. He will make new +Discoveries, inventing new Graces, from whence after comparing them well +together, he will chuse the best, and will make use of them as long as +he thinks them so; but, going on in refining, he will find others more +deserving his Esteem. To conclude, from these he will proceed on to an +almost infinite Number of _Graces_, by the means whereof his Mind will +be so opened, that the most hidden Treasures of the Art, and most +remote from his Imagination, will voluntarily present themselves; so +that, unless Pride blinds him, or Study becomes tiresome to him, or his +Memory fails him, he will increase his Store of Embellishments in a +Stile which will be entirely his own: The principal Aim of one that +strives to gain the highest Applause. + +Sec. 33. Finally, O ye young Singers, hearken to me for your Profit and +Advantage. The Abuses, the Defects, and the Errors divulged by me in +these Observations, (which in Justice ought not to be charg'd on the +_Modern_ Stile) were once almost all Faults I myself was guilty of; and +in the Flower of my Youth, when I thought myself to be a great Man, it +was not easy for me to discover them. But, in a more mature Age, the +slow Undeceit comes too late. I know I have sung ill, and would I have +not writ worse! but since I have suffered by my Ignorance, let it at +least serve for a Warning to amend those who wish to sing well. He that +studies, let him imitate the ingenious Bee, that sucks its Honey from +the most grateful Flowers. From those called _Ancients_, and those +supposed _Moderns_, (as I have said) much may be learn'd; it is enough to +find out the Flower, and know how to distill, and draw the Essence from +it. + +Sec. 34. The most cordial, and not less profitable Advice, I can give you, +is the following: + +Sec. 35. Remember what has been wisely observed, that Mediocrity of Merit +can but for a short time eclipse the true Sublime, which, how old soever +it grows, can never die. + +Sec. 36. Abhor the Example of those who hate Correction; for like Lightning +to those who walk in the Dark, tho' it frightens them, it gives them +Light. + +Sec. 37. Learn from the Errors of others: O great Lesson! it costs little, +and instructs much. Of every one something is to be learned, and the +most Ignorant is sometimes the greatest Master. + +_FINIS_. + + + + +PLATES + +Pl. I + +Chap. 1.st + +[Illustration: Sec. 11 Page 17 Nº. 1] + +[Illustration: Page 17 Nº. 2] + +[Illustration: Sec. 12 Page 18 Nº. 3 Exachords Transposed a Fifth lower] + +[Illustration: Sec. 29 Page 28 Nº. 4 Messa di Voce] + +Pl. II + +Chap. 2d. + +[Illustration: Sec. 2 Page 32 Nº. 1 Semitones Major Semitones Minor] + +[Illustration: Sec. 3 Page 32 & 33 Nº. 2] + +[Illustration: Sec. 4 Page 34 Nº. 3] + +[Illustration: Sec. 5 Page 34 Nº. 4] + +[Illustration: Sec. 6 Page 34 Nº. 5] + +[Illustration: Sec. 7 Page 35 Nº. 6] + +Pl. III + +[Illustration: Sec. 8 Page 35 Nº. 7.] + +[Illustration: Sec. 9 Page 35 Nº. 8.] + +[Illustration: Sec. 14 Page 37 Nº. 9.] + +[Illustration: Page 37 Nº. 10.] + +[Illustration: Page 37 Nº. 11.] + +[Illustration: Page 37 Nº. 12.] + +[Illustration: Page 37 Nº. 13.] + +[Illustration: Sec.15 Page 38 Nº. 14.] + +[Illustration: Page 38 Nº. 15. per Messe di Voce] + +Pl. IV + +Chap. 3d. + +[Illustration: Sec. 6 Page 43 Nº. 1.] + +[Illustration: Sec. 7 Page 43 Nº. 2.] + +[Illustration: Flat Key] + +[Illustration: sharp key Page 43 Nº. 3.] + +[Illustration: Sec. 8 Page 45 Nº. 4.] + +[Illustration: Sec. 9 Page 45 Nº. 5.] + +[Illustration: Sec. 10 Page 45 Nº. 6.] + +[Illustration: Sec. 11 Page 46 Nº. 7.] + +[Illustration: Sec. 12 Page 46 Nº. 8.] + +[Illustration: Sec. 13 Page 47 Nº. 9.] + +Chap 4th + +[Illustration: Sec. 29 Page 62 Nº. 10. Bad] + +Chap. 5th + +[Illustration: Sec. 13 Page 74 Nº. 1. affann:, Nº. 2. affan-ni] + +Chap 8th + +[Illustration: Sec. 1 Page 126 Nº. 3. Superior Cadence + +La Sol Fa + +Inferior Cadence + +Fa me Fa] + +[Illustration: Sec. 3 Page 127 + +Nº. 4. Nº. 5. + +nel fondo] + +[Illustration: Sec. 7 Page 132 Nº. 6., not Resolved Nº. 7 Resolved] + +[Illustration: Sec. 9 Page 134 Nº. 8 Confond[ve]-ro am[ve]-ro] + + +FOOTNOTES: + +[1] When Arts and Sciences were retrieving from the Barbarism in which +they were buried, Musick chiefly took its Rise in _Flanders_, and the +Composers of Musick of that Nation were dispersed all over _Europe_, to +the Improvement of others. In _Italy_ there arose from that School, +among several others, _P. Alis. Palestrina_, a Genius so extraordinary, +that he is looked upon as the _Raphael_ among the Musicians. He lived in +Pope _Leo_ the Tenth's Time; and no Musick, that we know of, is +performed at the Pope's Chapel, to this Day, but of his Composition, +except the famous _Miserere_ of _Allegri_, who liv'd a little time after +_Palestrina_. + +[2] Our Author seems to be a little too partial in Favour of the Singer, +all momentary Productions being the same; though it must be allowed, +that by reason of the Expression of the Words, any Error in Singing will +be more capital, than if the same were committed on an Instrument. + +[3] The Author directs this for the Instruction of a _Soprano_, or a +treble Voice, because Youth possesses that Voice mostly, and that is the +Age when they should begin to study Musick. It may not be amiss to +mention, that the _Soprano_ is most apt to perform the Things required +by your Author, and that every different Scale of Voice has something +peculiarly relative to its Kind as its own Property; for a _Soprano_ has +generally most Volubility, and becomes it best; and also equally the +Pathetick. The _Contr'Alto_ more of the Pathetick than the Volubility; +the _Tenor_ less of the Pathetick, but more of the Volubility than the +_Contr'Alto_, though not so much as the _Soprano_. The _Bass_, in +general more pompous than any, but should not be so boisterous as now +too often practised. + +[4] By this section, and mostly throughout the Work, one sees, the +Author calculated this Treatise chiefly for the Advantage of Professors +of Musick; but, notwithstanding, it appears in several Places, that his +Intention is, that all Lovers of Musick should also be the better for +it. + +[5] _The Explanation of_ Sic vos non vobis, _&c._, _for the Satisfaction +of those who do not perfectly remember it_. + +_Virgil_ having composed a Distich, containing the Praise of _Augustus_, +and a Compliment on his good Fortune, fix'd it on the Palace Gate, +without any Name subscrib'd. _Augustus_, making strict Enquiry after the +Author, and _Virgil's_ Modesty not suffering him to own the Verses, one +_Bathillus_, a Poet of a mean Reputation, owned himself the Author, and +received Honour and Reward from the Emperor. _Virgil_, somewhat +scandalized at this Accident, fixed an Hemistich in these Words (_Sic +vos non vobis_) four times repeated under the other, where he had placed +the former Verses. The Emperor was as diligent to have these Hemistichs +filled up, but no-body appearing to do it, at length _Virgil_ supplied +them thus: + + _Hos ego Versiculos feci, tulit alter Honores; + Sic vos non vobis nidificatis aves. + Sic vos non vobis vellera fertis oves. + Sic vos non vobis mellificatis apes. + Sic vos non vobis fertis aratra boves._ + +i.e. These Verses I made, but another has taken the Applause of them. + + _So ye Birds build not your Nests + For yourselves. + So ye Sheep bear not your Wool + For yourselves. + So ye Bees make not your Honey + For yourselves. + So ye Oxen submit to the Plow + Not for yourselves_. + +Upon this Discovery, _Bathillus_ became the Ridicule of _Rome_, and +_Virgil_ acquired a double Reputation. + +The Distich, which _Bathillus_ claim'd for his, was this: + + _Nocte plut tota, redeunt spectacula mane, + Divisum Imperium cum Jove Caesar habet._ + +i.e. It rain'd all Night; in the Morning the publick Shews return: +_Jove_ and _Caesar_ divide the Rule of the World. The Compliment is, that +_Caesar_ designing to exhibit Sports to the People, though the preceding +Night was rainy and unpromising, yet such Weather returned with the +Morning, as did not disappoint the Solemnity. + +[6] _Alla Capella_, Church-Musick where the Flats and Sharps are not +mark'd. + +[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of +these Cliffs any Line or Space may be what Note you please. Pl. I. Numb. +2. + +[8] It is necessary to understand the _Sol-Fa_-ing, and its Rules, which +shew where the two Semitones lie in each Octave, Pl. I. Numb. 3. Where +Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That +is _Fa_; if more Flats, the last. If one Sharp, That is _Mi_; if more +Sharps, the last. + +[9] His meaning is, that the _French_ are not in the right. + +[10] See Sec. 2, and the following, in Chap. III. where the Difficulty of +the _Semitone Major_ and _Minor_ are cleared. + +[11] _Voce di Petto_ is a full Voice, which comes from the Breast by +Strength, and is the most sonorous and expressive. _Voce di Testa_ comes +more from the Throat, than from the Breast, and is capable of more +Volubility. _Falsetto_ is a feigned Voice, which is entirely formed in +the Throat, has more Volubility than any, but of no Substance. + +[12] _Register_; a Term taken from the different Stops of an Organ. + +[13] The Pitch of _Lombardy_ or _Venice_, is something more than half a +Tone higher than at _Rome_. + +[14] A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl. +I. Numb. 4. This being a Term of Art, it is necessary to use it, as well +as _Piano_ for soft, and _Forte_ for loud. _N.B._ Our Author recommends +here to use any Grace sparingly, which he does in several other Places, +and with Reason; for the finest Grace too often repeated grows tiresome. + +[15] See for _Appoggiatura_ in the next Chapter. + +[16] This Chapter contains some Enquiries into Matters of Curiosity, and +demands a little Attention. The Reader therefore is desired to postpone +it to the last. + +[17] _Appoggiatura_ is a Word to which the _English_ Language has not an +Equivalent; it is a Note added by the Singer, for the arriving more +gracefully to the following Note, either in rising or falling, as is +shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The _French_ +express it by two different Terms, _Port de Voix_ and _Appuyer_; as the +_English_ do by a _Prepare_ and a _Lead_. The Word _Appoggiatura_ is +derived from _Appoggiare_ to lean on. In this Sense, you lean on the +first to arrive at the Note intended, rising or falling; and you dwell +longer on the Preparation, than the Note for which the Preparation is +made, and according to the Value of the Note. The same in a Preparation +to a Shake, or a Beat from the Note below. No _Appoggiatura_ can be made +at the Beginning of a Piece; there must be a Note preceding, from whence +it leads. + +[18] Here begins the Examination of the _Semitones Major and Minor_, +which he promised in Sec. 15. Ch. 1. It may be of Satisfaction to the +Studious, to set this Matter at once in a true Light; by which our +Author's Doubts will be cleared, and his Reasoning the easier +understood. A _Semitone Major_ changes Name, Line, and Space: _A +Semitone_ Minor changes neither. Pl. II. Numb. 1. To a _Semitone Major_ +one can go with a Rise or _a_ Fall distinctly; to a _Semitone Minor_ one +cannot _N.B._ From a _Tone Minor_ the _Appoggiatura_ is better and +easier than from a _Tone Major_. + +[19] These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl. +II. Numb. 2. + +[20] Because they are _Semitones Major_. Pl. II. Numb. 3. + +[21] Because they are _Semitones Major_. Pl. II. Numb. 4. + +[22] Because they are all _Semitones Minor_, which may be known by the +abovementioned Rule, of their not changing Name, Line, nor Space. Pl. +II. Numb. 5. and which makes it manifest, that a _Semitone Minor_ cannot +bear an _Appoggiatura_. + +[23] For the same Reason, these being _Semitones Minor_. Pl. II. Numb. +6. + +[24] Because one is a _Semitone Major_, and the other a _Semitone +Minor_. Pl. III. Numb. 7. + +[25] Because they are _Semitones Minor_. Pl. III, Numb. 8. + +[26] The _Tone_, or _Mood_, you are in, will determine which is a _Tone +Major_ or _Minor_; for if you change the _Mood_ or _Tone_, that which +was the _Tone Major_ may become the _Tone Minor_, and so _Vice Versa_: +Therefore these two Examples from _C_ to _D_, and from _F_ to _G_, do +not hold true. + +[27] His Perplexity comes from a wrong Notion, in not distinguishing +those two _Semitones_. + +[28] All Intervals, rising with an _Appoggiatura_, arise to the Note +with a sort of _Beat_, more or less: and the same, descending, arrive to +the Note with a sort of _Shake_, more or less. Pl. III. Numb. 9, 10. One +cannot agreeably ascend or descend the Interval of a third _Major_ or +_Minor_, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12. +Examples of false or deceitful Intervals. Pl. III. Numb. 13. + +[29] So in all Cases where the Interval is deceitful. Pl. III. Numb. 14. +With a _Messa di Voce_. Pl. III. Numb. 15. See for _Messa di Voce_, +Chap. I. Sec. 29, and its Note. + +[30] In all the modern _Italian_ Compositions the _Appoggiatura's_ are +mark'd, supposing the Singers to be ignorant where to place them. The +_French_ use them for their Lessons on the _Harpsichord_, &c., but +seldom for the Voice. + +[31] See for the several Examples of the _Shakes_, Pl. IV. + +[32] The first _Shake_ of a _Tone_, Pl. IV. Numb. 1. + +[33] See for the Meaning of superior and inferior _Cadences_, Chap. +VIII. Sec. 1. Pl. V. Numb. 3. _N.B._ Prom the inferior or lower Cadences, +the first, or full, _Tone Shake_, is not always excluded; for in a sharp +Key it is always a _Tone_, and in a flat Key a _Semitone_, Pl. IV. Numb. +3. + +[34] The second _Shake_ of a _Semitone Major_, Pl. IV. Numb. 2. + +[35] The third the short _Shake_. Pl. IV. Numb. 4. + +[36] The fourth the rising _Shake_. Pl. IV. Numb. 5. + +[37] The fifth the descending _Shake_. Pl. IV. Numb. 6. + +[38] The sixth the slow _Shake_. Pl. IV. Numb. 7. + +[39] The seventh the redoubled _Shake_. Pl. IV. Numb. 8. + +[40] The eighth the _Trillo-Mordente_, or _Shake_ with a _Beat_. Pl. IV. +Numb. 9. + +[41] _Shakes_ are generally proper from preceding Notes descending, but +not ascending, except on particular Occasions. Never too many, or too +near one another; but very bad to begin with them, which is too +frequently done. The using so often _Beats_, _Shakes_, and _Prepares_, +is owing to Lessons on the Lute, Harpsichord, and other Instruments, +whose Sounds discontinue, and therefore have Need of this Help. + +[42] The _mark'd Divisions_ should be something like the _Staccato_ on +the Violin, but not too much; against which a Caution will presently be +given. + +[43] The _Gliding Notes_ are like several Notes in one Stroke of the Bow +on the Violin. + +[44] The pronouncing _Eror_ instead of _Error_; or _Dally_ instead of +_Daly_. The not distinguishing; the double Consonants from the single, +is an Error but too common at present. + +[45] See for the _syncopated_, _Ligatura_, or _binding_ Notes, Pl. IV. +Numb. 10. + +[46] _Madrigals_ are Pieces in several Parts; the last in Practice were +about threescore Years ago; then the Opera's began to be in Vogue, and +good Musick and the Knowledge of it began to decline. + +[47] _Musica di Camera._ Chamber, or private, Musick; where the +Multitude is not courted for Applause, but only the true Judges; and +consists chiefly in _Cantata's_, _Duetto's_, &c. In the Recitative of +_Cantata's_, our Author excelled in a singular Manner for the pathetick +Expression of the Words. + +[48] _Cortona_ liv'd above forty Years ago. _Balarini_, in Service at +the Court of _Vienna_, much in Favour with the Emperor _Joseph_, who +made him a Baron. + +[49] See Broken Cadences, Pl. V. Numb. 1. + +----Final Cadences, Pl. V. Numb. 2. + +[50] _Motets_, or Anthems. + +[51] The Proverb is, _Lingua_ Toscana _in bocca_ Romana.--This regards +the different Dialects, in _Italy_; as _Neapolitan_, _Venetian_, _&c._ +the same, in Comparison, _London_ to _York_, or _Somersetshire_. + +[52] The Church-Musick in _Italy_ is all in _Latin_, except +_Oratorio's_, which are Entertainments in their Churches. It is +therefore necessary to have some Notion of the _Latin_ Tongue. + +[53] The first Caution against imitating injudiciously the Instrumental +with the Voice. + +[54] The _Italians_ have a Saying, _Voce di Compositore_, to denote a +bad or an indifferent Voice. + +[55] _Cantabile_, the Tender, Passionate, Pathetick; more Singing than +_Allegro_, which is Lively, Brisk, Gay, and more in the executive Way. + +[56] Suppose the first Part expressed Anger, and the second relented, +and was to express Pity or Compassion, he must be angry again in the _Da +Capo_. This often happens, and is very ridiculous if not done to a real +Purpose, and that the Subject and Poetry require it. + +[57] It is supposed, the Scholar is arrived to the Capacity of knowing +Harmony and Counterpoint. + +[58] The general dividing of _Airs_ described, to which the Author often +refers. + +[59] With due Deference to our Author, it may be feared, that the +Affectation of Singing with Variety has conduced very much to the +introducing a bad Taste. + +[60] Continuation of the general dividing _Airs_ in Sec. 4. The End of this +Section is a seasonable Corrective of the Rule prescribed in the +foregoing fifth Section. + +[61] _Rivani_, called _Ciecolino_, must have written some Treatise on +Time, which is not come to us, therefore no further Account can be given +of him. + +[62] _Pistochi_ was very famous above fifty Years ago, and refined the +Manner of singing in _Italy_, which was then a little crude. His Merit +in this is acknowledged by all his Countrymen, contradicted by none. +Briefly, what is recounted of him, is, that when he first appeared to +the World, and a Youth, he had a very fine treble Voice, admired and +encouraged universally, but by a dissolute Life lost it, and his +Fortune. Being reduced to the utmost Misery, he entered into the Service +of a Composer, as a Copyist, where he made use of the Opportunity of +learning the Rules of Composition, and became a good Proficient. After +some Years, he recovered a little Glimpse of Voice, which by Time and +Practice turned into a fine _Contr'Alto_. Having Experience on his Side, +he took Care of it, and as Encouragement came again, he took the +Opportunity of travelling all _Europe_ over, where hearing the different +Manners and Tastes, he appropriated them to himself, and formed that +agreeable Mixture, which he produced in _Italy_, where he was imitated +and admired. He at last past many Years, when in an affluent Fortune, at +the Court of _Anspach_, where he had a Stipend, and lived an agreeable +easy Life; and at last retired to a Convent in _Italy_. It has been +remark'd, that though several of his Disciples shewed the Improvement +they had from him, yet others made an ill use of it, having not a little +contributed to the Introduction of the _modern_ Taste. + +[63] _Sifacio_, famous beyond any, for the most singular Beauty of his +Voice. His Manner of Singing was remarkably plain, consisting +particularly in the _Messa di Voce_, the putting forth his Voice, and +the Expression. + +There is an _Italian_ Saying, that an hundred Perfections are required +in an excellent Singer, and he that hath a fine Voice has ninety-nine of +them. + +It is also certain, that as much as is allotted to Volubility and +Tricks, so much is the Beauty of the Voice sacrificed; for the one +cannot be done without Prejudice to the other. + +_Sifacio_ got that Name from his acting the Part of _Syphax_ the first +time he appeared on the Stage. He was in _England_ when famous, and +belonged to King _James_ the Second's Chapel. After which he returned to +_Italy_, continuing to be very much admired, but at last was waylaid, +and murthered for his Indiscretion. + +[64] _Buzzolini_, the Name known, but no Particulars of him. + +[65] _Litigino_, in the Service of the Emperor _Joseph_, and a Scholar +of _Pistochi_. + +[66] _Signora Boschi_ was over in _England_ in Queen _Anne's_ Time; she +sung one Season in the Opera's, returned to _Venice_, and left her +Husband behind for several Years; he sung the Bass. She was a Mistress +of Musick, but her Voice was on the Decay when she came here. + +[67] _Santini_, afterwards _Signora Lotti_. She was famous above forty +Years ago, and appeared at several Courts in _Germany_, where she was +sent for; then retired to _Venice_, where she married _Signor Lotti_, +Chapel-Master of St. _Mark_. + +All these Singers, though they had a Talent particular to themselves, +they could, however, sing in several sorts of Stile; on the contrary, +one finds few, but what attempt nothing that is out of their Way. A +modern Singer of the good Stile, being asked, whether such and such +Compositions would not please at present in _Italy_? No doubt, said he, +they would, but where are the Singers that can sing them? + +[68] Those tremendous _Airs_ are called in _Italian_, _un Aria di +Bravura_; which cannot perhaps be better translated into _English_, than +a _Hectoring_ Song. + +[69] _Pierre Simone Agostini_ lived about threescore Years ago. Several +_Cantata's_ of his Composition are extant, some of them very difficult, +not from the Number of _Divisions_ in the vocal Part, but from the +Expression, and the surprising Incidents, and also the Execution of the +Basses. He seems to be the first that put Basses with so much Vivacity; +for _Charissimi_ before him composed with more Simplicity, tho' he is +reckoned to be one of the first, who enlivened his Musick in the +Movements of his Basses. Of _Pierre-Simone_ nothing more is known but +that he loved his Bottle, and when he had run up a Bill in some +favourite Place, he composed a _Cantata_, and sent it to a certain +Cardinal, who never failed sending him a fixed Sum, with which he paid +off his Score. + +[70] _Alessandro Stradella_ lived about _Pier. Simone's_ Time, or very +little after. He was a most excellent Composer, superior in all Respects +to the foregoing, and endowed with distinguishing personal +Qualifications. It is reported, that his favourite Instrument was the +Harp, with which he sometimes accompanied his Voice, which was +agreeable. To hear such a Composer play on the Harp, must have been what +we can have no Notion of, by what we now hear. He ended his Life +fatally, for he was murthered. The Fact is thus related. Being at +_Genoa_, a Place where the Ladies are allowed to live with more Freedom +than in any other Part of _Italy_, _Stradella_ had the honour of being +admitted into a noble Family, the Lady whereof was a great Lover of +Musick. Her Brother, a wrong-headed Man, takes Umbrage at _Stradella's_ +frequent Visits there, and forbids him going upon his Peril, which Order +_Stradella_ obeys. The Lady's Husband not having seen _Stradella_ at his +House for some Days, reproaches him with it. _Stradella_, for his +Excuse, tells him his Brother-in-Law's Order, which the Nobleman is +angry with, and charges him to continue his Visits as formerly; he had +been there scarce three or four Times, but one Evening going Home, +attended by a Servant and a Lanthorn, four Ruffians rushed out, the +Lady's Brother one among them, and with _Stiletts_ or Daggers stabb'd +him, and left him dead upon the Place. The people of _Genoa_ all in a +Rage fought for the Murtherer, who was forced to fly, his Quality not +being able to protect him. In another Account of him, this Particularity +is mentioned; that the Murderers pursued him to _Rome_, and on Enquiry +learned, that an _Oratorio_ of his Composition was to be performed that +Evening; they went with an Intent to execute their Design, but were so +moved with his Composition, that they rather chose to tell him his +Danger, advised him to depart, and be upon his Guard. But, being pursued +by others, he lost his Life. His Fate has been lamented by every Body, +especially by those who knew his Merit, and none have thought him +deserving so sad a Catastrophe. + +[71] When _Tosi_ writ this, the Composers in Vogue were _Scarlatti_, +_Bononcini_, _Gasparini_, _Mancini_, &c. The last and modern Stile has +pretty well spread itself all over _Italy_, and begins to have a great +Tendency to the same beyond the _Alps_, as he calls it. + +[72] The _Moods_, here spoken of, our Author has not well explained. The +Foundation he goes upon are the eight Church _Moods_. But his Meaning +and Complaint is, that commonly the Compositions are in _C_, or in _A_, +with their Transpositions, and that the others are not used or known. +But to particularise here what the _Moods_ are, and how to be used, is +impossible, for that Branch only would require a large Treatise by +itself. + +[73] The _Airs_, sung in Unison with the Instruments, were invented in +the _Venetian_ Opera's, to please the _Barcaroles_, who are their +Watermen: and very often their Applause supports an Opera. The _Roman_ +School always distinguished itself, and required Compositions of Study +and Care. How it is now at _Rome_ is doubtful; but we do not hear that +there are any _Corelli's_. + +[74] _Maestro di Capella_, Master of the Chapel, the highest Title +belonging to a Master of Musick. Even now the Singers in _Italy_ give +the Composers of Opera's the Title of _Signior Maestro_ as a Mark of +their Submission. + +[75] _Contrapunto_, Counterpoint, or Note against Note, the first +Rudiments of Composition. + +[76] _Furlana_. A sort of Country Dance, or _Cheshire_-Round. + +It is reported, that the Church-Musick in _Italy_, far from keeping that +Majesty it ought, is vastly abused the other way; and some Singers have +had the Impudence to have other Words put to favourite Opera _Airs_ and +sung them in Churches. This Abuse is not new, for St. _Augustine_ +complains of it; and _Palestrina_ prevented in his Time Musick from +being banished the Churches. + +[77] _Tono_, or _Mood_, and sometimes means the Key. Our Author in this +Section is fond of a Pun, which cannot well be translated. _Tono_ is +sometimes writ _Tuono_ and _Tuono_ signifies Thunder; therefore the +Ignorant answers, he knows no other _Tuono_ but that which is preceded +by Lightning. + +[78] _Cadences_; or, principal Closes in _Airs_. + +[79] For superior and inferior _Cadences_, see Pl. V. Numb. 3. + +[80] Broken _Cadences_, see Example, Chap. V. Sec. 13, and its Note. + +[81] _Cadences_ that fall a Fifth, with and without Words, Pl. V, Numb. +4 and 5. + +[82] By the _Final Cadences_ here mentioned, the first is at the End of +the first Part of the _Air_; the Second at the End of the second Part: +and the Third at the end of the first Part when repeated again, or at +the _Da Capo_, as it is always expressed in _Italian_. + +[83] For the resolved and unresolved _Cadences_, see Pl. V. Numb. 6 and +7. + +[84] See for the Examples, Pl. V. Numb. 8. + +[85] See Example, Pl. VI. Numb. 1. + +[86] See Example, Pl. VI. Numb. 2. + +_N.B._ An _Appoggiatura_ cannot be made on an unaccented Syllable. + +[87] See for Examples, Pl. VI. Numb. 3. + +[88] See for Examples, Pl. VI. Numb. 4. + +[89] Some, after a tender and passionate _Air_, make a lively merry +_Cadence_; and, after a brisk _Air_, end it with one that is doleful. + +[90] Though this Chapter regards Singers who make it their Profession, +and particularly those who sing on the Stage, yet there are many +excellent Precepts interspersed, that are of Use to Lovers of Musick. + +[91] _Kyrie_, the first Word of the Mass-Musick in the Cathedral Stile, +is not so difficult to them as the _Cantata's_; and the _Latin_ in the +Service, being familiar to them, saves them the Trouble of attending to +the Words. + +[92] _Thomas Morley_ (who lived above an hundred Years ago) in the third +Part of his Treatise, pag. 179, speaking of _Motetts_ or Anthems, +complains thus:--'But I see not what Passions or Motions it can stir up, +being as most Men doe commonlie Sing,--leaving out the Ditty--as it were +a Musick made onely for Instruments, which will indeed shew the Nature +of the Musick, but never carry the Spirit and (as it were) that lively +Soule which the Ditty giveth; but of this enough. And to return to the +expressing of the Ditty, the Matter is now come to that State, that +though a Song be never so wel made, and never so aptly applyed to the +Words, yet shall you hardly find Singers to expresse it as it ought to +be; for most of our Church-men, (so they crie louder in the Quire then +their Fellowes) care for no more; whereas, by the contrarie, they ought +to study how to vowel and sing clean expressing their Words with +Devotion and Passion, whereby to draw the Hearer as it were in Chaines +of Gold by the Eares to the Consideration of holy Things. But this, for +the most part, you shall find amongst them, that let them continue never +so long in the Church, yea though it were twentie Years, they will never +study to sing better than they did the first Day of their Preferment to +that Place; so that it seems, that having obtained the Living which they +sought for, they have little or no Care at all, either of their own +Credit, or well discharging of that Dutie whereby they have their +Maintenance.' + +[93] In _Italy_, the Courts of _Palma_, _Modena_, _Turin_, &c. and in +_Germany_, the Courts of _Vienna_, _Bavaria_, _Hanover_, _Brandenbourg_, +_Palatine_, _Saxony_, &c. + +[94] There have been such, who valued themselves for shaking a Room, +breaking the Windows, and stunning the Auditors with their Voice. + +[95] The renowned Abbot _Steffani_, so famous for his _Duetto's_, would +never suffer such luxuriant Singers to perform any of them, unless they +kept themselves within Bounds. + +[96] _Nicolini_, who came the first time into _England_ about the Year +1708, had both Qualities, more than any that have come since. He acted +to Perfection, and did not sing much inferior. His Variations in the +_Airs_ were excellent; but in his _Cadences_ he had a little of the +antiquated Tricks. _Valentini_, (who was here at the same Time) a +Scholar of _Pistochi_, though not so powerful in Voice or Action as +_Nicolini_, was more chaste in his Singing. + +[97] The two Women, he points at, are _Cuzzoni_ and _Faustina_. + +[98] The _Carnaval_ is a Festival in _Italy_, particularly celebrated at +_Venice_ from _Christmas_ to _Lent_, when all Sorts of Diversions are +permitted; and at that Time there are sometimes three different Theatres +for Opera's only. + +[99] Our Author has often mentioned Time; the Regard to it, the +Strictness of it, and how much it is neglected and unobserv'd. In this +Place speaking of stealing the Time, it regards particularly the Vocal, +or the Performance on a single Instrument in the _Pathetick_ and +_Tender_; when the Bass goes an exactly regular Pace, the other Part +retards or anticipates in a singular Manner, for the Sake of Expression, +but after That returns to its Exactness, to be guided by the Bass. +Experience and Taste must teach it. A mechanical Method of going on with +the Bass will easily distinguish the Merit of the other Manner. + +[100] A farther Animadversion against imitating Instruments with the +Voice. + +[101] Many Graces may be very good and proper for a Violin, that would +be very improper for a Hautboy; and so with every Species of Instruments +that have something peculiar. It is a very great Error (too much in +Practice) for the Voice, (which should serve as a Standard to be +imitated by Instruments,) to copy all the Tricks practised on the +several Instruments, to its greatest Detriment. + +[102] _Passo_ and _Passagio_. The Difference is, that a _Passo_ is a +sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. A _Passagio_ +is a Division, a Continuation, or a Succession of Notes, ascending or +descending with Uniformity. See Pl. VI. Numb. 6. + +[103] This alludes to the _French_ Manner of Singing, from whence that +Defect is copy'd. + +[104] The Time he alludes to, is at present between thirty and forty +Years ago. + +[105] Compare this Section with Section 41 in this Chapter and the Note. + +[106] This is a Fault more than once heard of, in _Oratario's_ or +_Motetts_. + +[107] See Example, Pl. VI. Numb. 7. + +[108] _Faustina_ and _Cuzzoni_, they both having within these few Years +been in _England_, there needs no other Remark to be made on them, but +to inform Futurity, that the _English_ Audience distinguish'd them Both +and at the same time, according to their Merit, and as our Author has +describ'd them. + +It may be worth remarking, that _Castilione_, who lived above two +hundred Years ago, in his _Cortegiano_, describes _Bidon_, and +_Marchetto Cara_, two famous Singers in his Time, with the same +distinguishing Qualifications. + +[109] See Examples, Pl. VI. Numb. 8 and 9. + + + + + + +End of the Project Gutenberg EBook of Observations on the Florid Song, by +Pier Francesco Tosi + +*** END OF THIS PROJECT GUTENBERG EBOOK OBSERVATIONS ON THE FLORID SONG *** + +***** This file should be named 26477.txt or 26477.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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