OBSERVATIONS ON THE Florid Song 5 OR SENTIMENTS ON THE Ancient and Modern Sincrrs Written in Italian By Prer. Francesco Tost, OF the Phil Harmonic Academy ~ at Bologna, Tranflated into Exglyb By My. G ALLIARD. Uleful for all Perrormers;:. Inftruimcens tal as well as Vocal, To which are added, ExpLANAToRY ANNOTATIONS, and Examples in Musicx. Ornert Res ipja negat, contenta adsceri. The Econp Epirion. L LO NDON : . Printed for J. Witcox, at /7irgiPs Head, in the Strand, 1743. &Noic, By the Ancient, our Author means thofe who liv’d about thirty or forty Years ago; and by the Mod:rn the late and prefent Sing- ers. N.B. Tée Original was Printed at Bologna, ia the Yrar 1723.TO ALL Lovers of MUSICK. Lavirs and GENTLEMEN, XErfons of Eminence, sai Rank, Quality, anda @ diftinguifhing Tafte * in any particular Art or Science, arealways in View of Authors who want a Pa- tron for that Art or Science, which they endeavour to re- commend and promote. No ‘wonder therefore, I fhould have a2 fix'div To all Levers fa’d my Mind on You, to pa- tronize the following Treatife. If there are Charms in Mu- fick in general, all the reafon- able World agrees, that the Fecal has the Pre-eminence, beth from Wainee and Art a- breve the Inflrumental: From Nature, becaufe without doubt it wes the Arlt; from rz, be- cauie thereby the Voice may be brought to exprefs Sounds with greater Nicety and Ex- actnefs than Inftruments. The Charms of the human Voice, even in Speaking, are very powerful. It iswell known, that in Oratory a juft Modula- zion of it is of the higheft Con- fequence. The Care Antiquity took to bring it to Perfection, iscf Musics. Vv is a fufficient Demonftration of the Opinion they had of its Power ; and every body, who has a dif cerning Faculty, may have experienced that formetimes a Difcourie, by the Power of the Orators Voice, has made an Impre{iion, which was loft in the Reading. But, above all, the foft and pleafing Voice of the fair Sex has irrefiftible Charmis, and adds confiderably.to their Beauty. If the Voice then has fuch fingular Prerogatives, one muft naturally wifh its Perfection in mufical Performances, and be inclined to forward any thing that may be conducive to that end. This is the reafon why I have been the more eaiily pre-vi Zo all Lovers, &c. pres vail d upon to engage in th us Vrors, in order to make a : who Protvciien. ‘Tne Part, T scar init, is not £ absy enough to ciaim any Merit 5 but my endeavouring to offer to your Perufal what may be entertai ain vc hymbly to re- eit to your Pa- wo amy ADDS #2 SEN SLESLEN, J. E. GaLiiaRrD>Cee SR ee te EKER Se uu: Ss eee Se eae A Prefatory Difcourfe, GIVING Scouse Account of the AuTHor. aL ER. Francefco Tofiy "28 the Author of the following ‘Treatife, 368 was an Tialian, and 2 Singer of great Etlecm-and Xeputation. Te fpent the moft part of his Life in travelling, and by the at Means heard the moft ersinent Singers in Ea- rope,vil Prefatory Difeourfe rote, from whence, by the Help of his nice Tafte, he mode the following Obferva- vans. Among his many Ex- curfions, his Curiofity was reiied to vulit England, where he refided for tome time in the Reigns cf King ames the Second, Ning Willian, Ning Geerse the Firf, and the Beginning of his prefent Afatciiw’s: He dy’d feon af- ter, having lived to above Fourfcore. Tie hada great deal cf Wit and Vivacity, which he retained to his lat- ter Days. His manner cf Sing- ing wes full of Expreftion and Patiion ; chiey, in the Stile of Chamber-Mutick. The beft Per-concerning the Author. ix Performers in his Time thought themfelves happy when they could have an Opportunity to hear him. After he had loft his Voice, he apply'd him- ‘felf more particularly to Com- potition 5 of which he has given Pzocf in his Cantata’s, which are of an exquifite ‘Tatle, efpecially in the Re- citatives, where he excels in the Parhetick and Exprefi- en beyond any other. © He was a zealous Well-wifher to all who diftnguithed tnem- felves in Mutick ; but rigos rous to thofe who abofid and degraded the Profeition, He was very mucit efteered by Perionsof Rank ; arsong whos. b I Phyx Prefatory Difesurfe the late Farl of Peterborough was one, having often met nim in his Travels beyond Seca; and he was well received by his Lordihip when in Eng- fird, to Whom he dedi- cated this Treatife. This a- Jone would te a fufficient In- dication of his Merit, his be- ing taken Notice of by a Per- son of that Quality, and di- {tinguihing Tete. The Em- peror Fofep gave him an ho-. nourable Employment in fome part of Italy, ana the late Ai ch-Duzchefs a Church-Re- tirement in Fluzders, where he died. As for his Ob/erva- ticns and Sentiments on Sing- ing, they muft fpeak for them- felves ;concerning the Author, xa felves; and the Tranflation of them, it is hoped, will-be ac- ceptabie to Lovers of Mufick, becaufe this particular Branch has never been treated of in fo diflinct and ample a Man- er by any other Autor. Be- fides, it has been th ought by Perfons of Judgme..:, that it would be of Service to make the Sentiments of our Author mOoie univer{all ily known, when. Tefte in Mui ick j is fo vain ti that thefe oe ae they are pafled \ Lf, alan upon his own Countrymen 3, cannot but be looked upon as impartial. It is inconteftable, that the Neg- lect of true Study, the facri- bz ficingxi Prefatory Difcourf2 ficing the Beauty of the Veice to a Number of ill-reculated Volubilitics, the negleéting the Pronunciation and Expreflion of the Words, belides ma- ny other Things taken Notice of in this ‘Treatife, are all tad. The Studious will find, that our Author’s Remarks will be of Advantage, not only to Vocal Performers, but likewife to the Inftrumental, where Tafte and a Manner are re- guired; and fhew, that a little lefs Liddling with the VY cice, and a little more Sing- ing with the Inflrument, would be of great Service to Both. Whofoever reads this Treatife with Application, cannot fail ofconcerning the Author, xiii of Improvement by it. It is hoped, that the Tranflation will be indulged, if, notwith- ftanding all poflible Care, it fhould be defe@ive in the Puri- ty of the Exglifh Language; it being almoft impoftible, (con- fidering the Stile of our Au- thor, which is a litéle more figurative than the prefentTafte of the Exgl/p allows in theis Writings, ) not to retain fome- thing of the Idiom of the O- riginal ; but where the Senfe. ct the Matter is made plain, the Stile may not be thought fo material, in Writings of this. Kind. b 3 THETHE AvctuHor’s Dedication TO HIS Excellency the Earl of PETERBOROUGH, Ge-~ neral of the Marines, ot Great-Britain. My Lorp, ee Should be afraid of leaving the World * under the Imputation ofDedication. xv of Ingratitude, fhould I any longer defer publifhing the ve- ry many Favours, which Your Lordfbip {o generoufly has be- ftow'd on me in Italy, in Ger- many, in Flanders, in Englands, and principally at your de- lightful Seat at Parfon’s-Green, where Your Lordfbip having een pleafed to do me the Honour of imparting to me your Thoughts with Freedom, I have often had the Op- portunity of admiring your ex- tenfive Knowledge, which al- moft made me overlook the Beauty and Elegance of the Place. The famous Zi/ip-Tree, in your Garden there, is not fo furprifing aRarity, as the un-~ common Penetration of your Jud gsx¥i Dedication. Judgment, which has fome- times (I may fay) foretold E- yeats, which have afterwards come to pais. But what Re- urn can IT make for fo great ati ons; when the mention- oF them is doing myfelf var, and the very Ac- Ip ecibaliv filent ; only ma hie an hanble Requclk to Pour that vou will con- this mean Cricring of my Os- SO RVATIONS 3 which To am in- cuc'd to make, from the com- roa Duty which lics upon every Prefeilor to preferve. Mu- fickDedication. xvii fick in its PerfeCtion; and upon Me in particular, for hav- ing been the firft, or among the firft, of thofe who difcovered the noble Genius of your potent and generous Nation for it. However, I fhould not have prefum’d to dedicate them to a Hero adorn’d with fuch glo- rious Adtions, if Singing was not a Delight of the Soul, or if any one had a Soul more fenfi- ble of its Charms. On which account, I think, I have a juft Pretence to declare myfelf, with profound Obfequioufnefs, Your Lor psurp’s Mt bumble, Moft devoted, and Molt oblig’d Servant, Pier. Francefco Toft.CONTENTS, HE Introduction. Pag. 1 CHAP. I. Obfervations for one who teaches a Scprane, p. ro CHAP. IL Of the Appeegiatura. p. 31 CHAP. Hil. Of the Sheke. p. 41 CHAP. IV. On Divifcis. p. 5 CHAP,CONTENTS. CHAP. V. Of Recitative. p. 66 CHAP. VI. Obfervations fora Student. p.79 CHAP. VIL Of Airs. - - Pp 9e CHAP. VII. Of Cadences. - p. 126 CHAP. IX. Obfervations fora Sizger.p. 140 CHAP. X. OF Paffages or Graces p.174U wee! A ERR Bes ices BOOKS Printed for J. Wincox, oppotite the new Church in the Etravd. J. AL Pisin ane eompendiou: Methed of teach- srough Bafs atter the moft ra- h proper Rules and Exam- y J.¥. Lampe. as anc Duette’s in the Burleé que re Dragon of Wantley, in Lampe, §s. cape to the German Fiute, > by JF. Lampe, 35. gue Opera, called Margery, ‘the Dizg gon of Wantley, in AMpey “és. ‘crtures and Cheru:’s to both Opercs, which are to be fold to thete ie Gentlemen who have tie Opera’s Being a Col- ers, as well An- Z the hiftorical, the- ¢ uperibed, a bag a Mafical as very uleful, fofah Levers of Mufick, J.C. Pepuscu. AL Greene. ‘ J.-E. CAuiarD,Sou Pagei7 Page 17 G12 Pige 18 . a - ‘ TO ‘ $529 Net Do Page 2a = - -Mefsa di VoceII Pl. ad Chap- Semitones Major Minor SemitonesPl. ut per Mefse di VoceNO 5, Chap gth Superior to? -0- — HI Cadeneaf a - Page . La Sol Fa i Inferior ‘====0—=; Cadence ——_—— SSE { Fa me Fa NO, NO 5.Pl.vr a a 9 a t onfunde _ro C te Mor — ame — ro - fo . aime aman - te + re L_ Saeed eeeeee Pee LeELIE Opinions of the an- cient Hiftorians, on the rigin of Mufick, are vari ZOUus, Pliny belic eves, 7 a) that Ampbion was the Inventor ofit ; 3 the Grecians maintain, that it was Dionvfius; Polybius af. cribes it to the wfrcadians ; Suidas and Boctius give the Glory entirely to Pythagoras ; alerting, that from the Sound of three Hammers of diffe. rent Weights at a Smith’s Forge, he found out the Diatonick , ; after which Timotkeus, the Milefian, added the A Chro-[2] Chromatick, and Obvmipicus, or Ohi- pus, the Esharmerick Seale, How- ever, wereadin holy Writ, that u- bol, of the Race of Carn , fuit Pater Canentiuin . ao Organs, the Father of al handle the Harp and Organ ; ts, in all Pro- bal ily, ¢ c teve-cl harmo- nious § ice one may inter, rth ve- her irom. erring, _ Mitte nee nny hematicks: and sof her Beau- nes, Numbers, the was adopted het me 2 Selence. wv reafonably be fup- ing the Courfe of feve- , Mufick has al- 5 sent of Mankind ; ince the exce ve Fleature, theLace- aericnt ons d from it, induced epubick to. exile th 12 above- mm, that the Spar- 1 their Effeminacy, might(3 ] ht retarn again to their old Oeco- aomy. 3 4. But, I believe, fhe never ap- pewed with fo much Majefty as in the let Centuries, in the great Genius of Pelefinag, whom fhe left as an pamortal Examovle to Pofterity. And, ia Truth, Matick, with the Swectness of fis Harmony, arrived at ro high a Pitch, (beeing Pardon of the emi- 0D nent er of our Days) that Hu xed only in the Numbe rs, fhe micht with fut- Pre-eminence, © 4. When Arte ond Sciences were re from the Darharifm in which they 'y took its Rive in Comporers of Mufick of thas . petted ali over Eurepe. wo the mmexement of ethers. Tar Zraly thers prove woo that School, omong fyeral others, PAs, a, a Genius fo extraodinary, tht he dupe as the Replad among the Alu. He lived in Pope Les the Tenth's 3 and no Mufick, that we know of, is petormed at the Pops Cospel, to this Day, vat OF bis CompaSti on, except the famous Mife- roe of Aller’, who liv’d a licthe ume after Pa- Aa § 5.[4] § 5.. A ftrong Argument offers itfelf to me, from that wonderful Impreffion, that in fo diftinguithed a Manner is made upon our Souls by Maufick, beyond all other Arts ; which leads us to believe, that it is part of that Blefiednefs which is enjoyed in Paradife. § 6. Having premifed thefe Ad- vantages, .the Merit of the Singer fhould likewife be diftinguifhed, by reafon of the particular Difficulties that attend him : Let a Singer have a Fund of Knowledge fufficient to per- form readily any of the moft difficult Compofitions ; let him have, befides, an excellent Voice, and know how to ufe itartfully ; he will not, for all that, deferve a Character of Diftinc- tion, if he is wanting in a prompt Variation ; a Difficulty which other Arts are not liable to. § 7. Finally, I fay, that Poets, Painters, . Our Author feeins to be a little too par- tial ia Tavour of the Singer, all momentary Pro- deétions eing the fame ; though it mutt be al- 7 ~ lowed[5] Painters, Sculptors, and even Com-. pofers of Mufick, before they ex pofe their Works to the Publick, have all the Time requifite to mendand po- jifb them ; but the Singer that com- mits an Error has no Remedy; for the Fault is committed, and paft Cor- rection. § 8. We may then guefs at, but cannot defcribe, how great the Application muft be of one who is obliged not to err, in unpremeditated Productions ; and to manage a Voice, alwys in Motion, conformable to the Rules of an Art that is fo difficult. I confe's ingenuoufly, that every time ] refteét on the Infufficiency of many Matiers, and the infinite Abufes they introduce, which render the Applica- tion and Study of their Scholars inef- fectual, I cannot but wonder, that among fo many Profeffors of the firft Rank, who have written fo amply on lowed, that by reafun of the Expreffion of the Words, auy Error in Singing will be more ca+ pial, than if the fame were committed on an inftrument, A3 ManfickLo | Mutick im aimoft ali its Branches, there has never been one, at leaft that I have heard of, who has undertaken to explain in the Art of Singing, any thing more than the firft Elements, know “n toall concealing the moft ne- ceficry Rules for Singing well. It is no Excu:e #5 inv, that the Compofers Intent on Com 190 ofition, the Performers cna i: intent on their Per- i not meddle with Sinzer; for I know deceive tho% . Phe incompara- xe third part of his chap. 46, jut ait thofe, who h fome Defects, ; nd Tam apt to believe, athe er, his Documents, malty j in two Centu- f Se ervice to the refin- our prefent time, nrouf is due to the cclebrated Sing- 2 duperiorkc nowledge, sy their Silence, even under[7] under the Title of Modefty, which ceafes to bea Virtue, when it deprives the Publick of an Advantage. Mov- ed therefore, not by a vain Ambition, but by the Hopes of being of Service to feveral Profeffors, I have determin- ed, not without Reluctance, to be the firft to expofe to the Eye of the World thefe my few Obfervations , my only End being (if IT fucceedt) to give farther Infight to the Mailer, the Scholar, and the Singer, § g. I will, in the firft Place, endeavour to fhew the Duty of a Mafter, how to inftruét a Beginner well; fecondly, what is required of the Scholar; and, laftly, with more mature Reflections, to point out the way toa moderate Singer, by which he may arrive at greater Perfection. Perhaps, my Enterprize may be term’d rath, but if the Effects fhould not an- fer my Intentions, I fhall at leaftin- cite fome other to treat of itin a more ample and correct Manner. § 10. If any fhould fay, I might be difpenfed with for not publifhing Things[8] Things already known to every Pro. feflor, he might perhaps deceive him- felf; for among thefe Obfervations there are many, which as I have ne- ver heard them made by any body cl, | inall cok upon as my own; and fach picbably they are, from rot being genzrell Hy known, vn thercfore take their Chance, for the Approbazion of thofe that have Judemen: end Tafte, § ir. It would be needles to fay, that verbal Inftructions can be of no Ule to Singers, any farther than to prevent’em from falling into Errors, and that it is Practice only can fet them right, Tiowever, from the Succefs of theie, I fhall be encouraged to go on to make new Difcoveries for the Ad- vantage of the Profeffion, or (afham‘d, but not furpriz’d) I will bear it pati- ently, if Mafters with their Names to their Criticifm fhould kindly publith my Ignorance, that I may be unde- ceiv’d, and thank them. 12, But though it is my De- fign to demonftrate a great Number ofC9] of Abufes and Defects of the Moderns tobe met with in the Republick of Mufick, in order that they may be corrected (if they can ;) I would not have thofe, who for want of Genius, or through Negligence in their Study, could not, or would not improve themfelves, imagine, that out of Ma- lice I have painted all their Imperfec- tions to the Life; for I folemnly proteft, that though from my too great Zeal I attack their Errors with- out Ceremony, I have a Refpect for their Perfons ; having learned from a Spanifh Proverb, that Calumny re- coils back on the Author. But Chrif- tianity fays fomething more. I {peak in general; but if fométimes I am more particular, let it be known, that” I copy from no other Original than myfelf, where there has been, and {till is, Matter enough to criticize, with- out looking for it elfewhere. ‘CHAP,HE Faults in Singing infi- neate themselves {0 eafily into the Minds of ycung Beginners, and there are fuch for the Tn@rug Votce. becaufe Ye that is the Age to Bucy Noefck. fc thet the. sy to its 727 has beits ainLn] Pidicaltics in correéting them, grown into an Habit, that it to be wifh’d, the ableft s would undertake the Tafk of hing, they beit knowing how Scholar trom. the firft Vioments to tion. But there being none, (if T mitake not) but whta abhor the T houghts of it, we trelerve them tor thore De lica- of the Art, which enchant the L § 2. Therefore the firft Rudi- iments neceflarily fall toa Mafter of a lower Rank, till the Scholar can Snz his part at Sight; whem one eu at leaft with to be an ronet 1, diligent and experienced, with- th e Defects of finging through the Note, or inthe Throat, and that ae ad alo equally the Pathevek., The Contr’ 41- nore of the Path. than the Volubility 5 2 Tour lelgsef the Puthetick, but more of the y Volubility than the Conér Also, thoush not fo mich as the Sipranx The Bafs, in general mere pompous than any, but fhould not be fo bsiferous as now too often practifed, 3 he[ 12 ] he have a Command of Voice, fome Glimpfe of a good-Tafte, able to make himfelf underftocd with Eafe, a perfect Intonation, and a Patience to endure the fevere Fatigue of a moft tirefome Employment. § 3. Let a Mafter thus qualified, before he begins his Inftructions, read the four Verfes of Virgil, Sic vos non cvobis, &e, * for they feem to be made on ” § 3. By this Seétion, and moftly through- out the Work, one fees, the Author cal- culated this Trearife chiefly for the Advantage of Profeffors of Mufick ; but, notwithfanding, it appears in feveral Places, that his Intention is, that all Lovers cf Mufick fhould alfo be the better for it. * ThExplanazion of Sic vos non vobis, Fc. for the Satisfaétion of thofe who do not perfeétly remem- ber it. Firgil baving compo‘ed a Diftich, containing the Praife of Avgu/fus, and a Compliment on his good Fortune, fixed it onthe Palace Gate, without any Name fubfcrib’d, Augu/fus mak- ing ftri& Enquiry after the Author, and Virgil's Modefty not fuftering him to own the Verfes, one Pathyllus, a Poet of a mean Reputation, cwned himfelf the Author, and received Honour and Reward from the Emperer. Virgil, fome- what{13 ] on Purpofe for him , and after hav- ing confidered them well, let him confult what fcandalized at this Accident, fixed an Hemiftich in thefeWords (Sic. vos non vobis) four times repeated under the other, where he had placed the former Verfes, The Emperor was asdiligent to have thefe Hemiftichs filled up, but no-body appearing to doit, at length Virgil fupplied them thus: , Hos ego Verficulos foci, tulit alter Honoress Sic vos non vobis nidificatis aves. Sic vos non vobis vellera fertis oves.. Sic vos non vobis mellificatis apes, Sic vos non wobis fertis aratra boves. . i.e. Thefe Verfes I made, but another hae taken the Applaufe of them. So ye Birds build not your Nefls Far yourfelves. So ye Sheep bear net your T¥ oot For yuu filves. Soye Bees make nat your Honey For yourfelues, So ye Oxen fubmit to the Plow Not for yourfelves. Upon this Difcovery, Bathilus became the Ridicule of Rome, and Virgil acquired ‘a double Reputation, an B . ‘The[ 4 } Reto! ution ; becaufe (to t is mortifying to help and be in wane ainger fhould 5 but jult the Matter, as «been owing, fho wuld be alin. Sharer in it, above all, let him hear w ‘interested Ear, whether the Por. wn detivozs to lecrn hatha Voice, and a Dilvoution; that he may not be untto Gu Hit tpe ent, ¢ Child, be vi The D. ns caim’d for hh, cla mare, cue Cavar babet. in th: Morning Yate and Cejar wiar defigning te, theugh the pre- J unpromifing, yet the Morning, 4 Solesnnity. whic)[is ) which might have been more protita- sploved ia iome other Profe(fion. hor rdom. The 2 Diftinction vd tsar! d Ma- i + Ascent thmenr, and the sar, who fludied it fora T ivelihood. enrit they inftrua&ed out of Inte- reff, and the latter out of Charity, i they difcuvered a fingular Talent, ery few moilern Mafters refufe Scho- ars; and, provided they are paid, istle do they care if their Greedine{s ruins the Profeffion, & g. Gentlemen Matters! Italy he cars DO more fuch exquifite Voices ain Times patt, particularly among the Women, and to the Shame of the Guilty PH tell the Reafon: The Ig- uerance of the Parents does not let them perceive the Badnefé of the Voice of their Children, as their Necetfity makes them believe, that to fing and vrow rich is one and the fame Thing, id to learn Mufick, it is enough to ea pretty Face: “ Can you make aiy thing of ker 2” Ba § 6, my oti 16 J -, perhaps, teach them Mode will co explain myfelf far- € 6, You ima erimuft want Huma. xs a Schoiur to do any “udice of the Soul. tirtt Leffon to the er remember, that or ony Omiffion in te moderately fe- niclf feard, but not it is not eafy to find Severity and Mild- know aifo, that both bad: Tco great Seve- tes Stubbornnefs, and too great Nindnel? Contempt. § ro, T shail not fpeak of the c Knowledge of the Notes, of their Value, cr Tirne, of Paufes, of the Accidents, nor cf other fuch trivial eginnings, becaufe they are gene- Known, § 11.[17] S11. Befides the C Cliff, let the Scholar be inftruéted in all the other Cutts, and in all their Situations, that he may not be lable to what often hoppers to fome Singers, who, in Co ‘npolitions Alla Capella *, know set how to diftinguiih the Mi from > Jz, without the Help of the Or- von, for want of the Knowledge of the G Cuff; from whence fuch Dit vordancies arife in divine Service, that it isa Shame for thofe who grow ald ta tieit Ignorance. I mutt be fo fin- wre to declare, that whoever does not give tuch eflential Inflructions, trant- wefies out of Omifiion, or out of Ig- Lorance. § 12. Neat Ict him learn to read thiein B Melle, efpecially in thofe Com- So 11. Seven Cliffs neceflary to be known. Phoa. _ Numb. 1. By the Help of thefe Cliffs Line or Space may be what Note you P). 1, Numb. 2. * Ada Capel, Church -Mufick, where the Farsand &! varps are not mark’d. s 12. it is nceeflary to underMand the Sol- dei g, and its Rules, which fhew where the 83 tue[ 13] Compofitons that have four Flats at the Clif, and which on the fixth ot the Bafs require for the moft part an accidental Flat, that the Scho- iaf mav find in thein ‘the ME, which is not fo eafy to one who has ftudied but little, and thinks that allthe Notes with a Flat are called Ba: for iy that were true, it would be fuperruous that the Notes thould be fix, when five of them have the tame Denomi- nation, The French ute feven, and, by that additional Name, fave their Schclars the Trouble of learning the Niutations afcending or detcending ; but we Jee 1005 have bat Ur, Re, Mi, Fa, Sl, La; Notes which equally fubice “hecachont all the Keys, to one who knows how to read them * e:ch OStave, PI. 1. Numb, are marked at the one Flat, That is Za, if Tf one Sharp, That is AZ iat,[ 19 } § 13. Let the Matter do his ut- mott, to make the Scholar hit and found the Notes perfectly in Tune in Sof-Fa-ing. One, who has not a good Ear, fhould not undertake either to inttruct, or to fing ; it being intole- rable to hear a Voice perpetually rife and fall difcordantly, Let the In- irnétor reflect on its for one that fings cut of Tune lofes all his other Per- fections. I can truly fay, that, ex- ceptin fome few Profeflors, the mo- dern Intonation is very bad, § 14. In the So/ Fa-ing, let him en- deavour to gain by Degrees the high Notes, that by the Help of this Ex- ercife he may acquire as much Com- pafs of the Voice as poffible. Let him take care, however, that the higher the Netes, the more itis neceflary to. touch them with Softnefs, to avoid Screaming. § 15. He ought to make him hit the Semitones according to the true Rules, Every one knows not that there is[ 20 ] emi itone Maior and Minor *, be. e Difference cannot be known “Os aan cr Harpfichord, if the Infirument are not fplit, i dualiv patles § to ano- sine almoit im- which are called which contiitute jor, and four the of Opinion, that > than feven, and that half fecond ; weak Underd: a would And ne Disteulty to dittineulfh tne feventh cr a Tones whereas with 2 ver fF one were to thofe above-: this Know- but fince introduced the Opera's in Chap, ITE 6 iajor and I with[ 21 J wah a vatt Number of Songs ac- companied with Bow-Inftruments, it becomes fo neceilary, that if a So- frang was to fing D fharp, like E ‘that, a nice Ear will find he is out of Tune, becaufe this laft rifes. Who- ever is not fatisfied in this, let him road thofe Authors who treat of it, and let him confult the beft Perform- ers on the Violin. In the middle parts, however, it is not fo eafy to diftinguith the Difference; tho’ Iam of Opinion, that every thing that is civifible, is tobe diftinguifhed. Of thefe two Semitones, [H {peak more amply in the Chapter of the Appaggra- tura, that the one may not be con- founded with the other. § 16. Let him teach the Scholar to hit the Intonation of any Interval in the Scale perfeétly and readily, and keep him ftridtly to this impor~ tant Leffon, if he is defirous he fhould ting with Readinefsin a fhort time. § 17. If the Matter does not un- deritand Compofition, let him pro- vide himfelf with good Examples of Sol-22 ] a divers Stiles, whead from the mote ealy Hi aecordinng as bs finds is Can. ficult, the cy may Tand agreeable, to in- tes S. Let the Mafter attend with erent Core to the Voice of the Scholar, which, whether it be di Petfo, or di cyte, iho uld always come forth neat and clear, without pafling thro’ the 2 Ot, or being choaked in the Throat; which are two the moft horrible De- ina Singer, and paft all Remedy ence grown into a Habit. § 00. Phe titte Experience of fome thar teach to Salsa, obliges the Scho~ lar23 ) iar to hold out the Sembreves with Force on the higheft Notes ; the Con- fegucnce of which is, that the Glands of the Throat become daily more and more inflamed, and if the Scholar lotes not his Health, he lofes the tre- ble Voice, § 20. Many Mafters put their Scho- iis to fing the Coztr’ dito, not know- ns how to help them to the Fa//et- i, or to avoid the Trouble of finding Sar. Adiligent Mafter, knowing that a Sopran, without the Faljitto, i conttrained to fing within the nar- : Compas of a tew Notes, ought wet only to endeavour to help hi im wo it but alfo to leave no Means un- tical, fo to unite the feigned and the tural Voice, that they’ may not be siftingnithed; for if they do not per- etly” unite, the Voice will be of di- ele » Regiiter s,and muft confequently Late its Beauty. The Extent of the S21. * Regier ;a Term taken fiom the dif- srcnt Stops of an Organ, fullL244 fall natural Veice terminates general- ly upon the fourth Space, which is C; or onthe firth Line, whichis D, and there the feigned Voice becomes of Vie, as well in going up to the high Notes, as returning to the na- tural Voice; the Difficulty confifts in uniting them, Let the Mafter there- fore confider, of what Moment the CorreGtion of this Defect is, which ruins the Scholar if he overlooks it, simong the W’ omen, one hears fome- times 3 a Scprans entirely di Petto, but amorg the Male Sex it would be 2 great Rarity, thould they preferve ut citer having pait the Age ct Puber- zy. Whoever would be curious to dicover the feigned Voice of one who has the Artto difguite e it, let him take Notice, that theArtiit founds theVow- el?.ore, with more Strength and lef Fanugue than the Vowel a, on the high Notes. § 22. The/ “sce d? Tefia has a great Volubilitv, more of the high than the lower 2} Notes, and has a quick § “hax bat[ 25 J bat fubje&t to be loft for want of Strength, § 23. Let the Scholar be obliged to pronounce the Vowels diftindly, that they may be heard for fuch as they are. Some Singers think to pro- nounce the firft, and you hear the fecond ; if the Fault is not the Maf- ter’s, it is of thofe Singers, who are {carce got out of their firft Leffons ; they ftudy to fing with Affectation, asiv afhamed to open their Mouths; others, on the contrary, ftretching theirs too much, confound thefe two Vowels with the fourth, making it impoffible to comprehend whether they have faid Balla or Bellz, Seffa or Seffa, Mare or More. 8 24. He fhould always make the S-holar fing fanding, that the Voice may have all its Organization free. §25. Let him take care, whilft he ngs, that he get a graceful Potture, and make an agreeable Appearance. § 26. Let hina rigoroufly correét all Grimaces and Tricks of the Head, of te Body, and particularly of the , C Mouth ;[ 26} Mouth 5 wich ought to be compofed in a Manner (if the Senfe of the Words permitit) rather inclined toa Smile, than teo much Gravity. § 27. Letiiim alw. ays ufe the Scho- lar to the Pitch of Lombardy, and not that of Rowe; not ony to make him acquire and preterve the high Notes, But alio that he may not find it troubleiome when he meets with In- ftrumerts that ere tun’d high; the Pain of reaching them not only affect- ang the Hearer, but the Singer, Let the Mafter be mindful of this; for as Age advances, fo the Voice declines ; yin Progreis of Time, he will ei- ther fing a Centr’ Alts, or pretending aye £1, out ofa foolifh Vanity, to the ame of a Sspran, he will be obliged to make Application to every Compo- ter, that the Notes may not exceed the fourth Space (27a. C) nor the Voice hold out onthem. Ifall thote, who teach the Arft Rudiments, knew and Ae 8 27. Tie Pitch of Lomlard, viv, OF Pentce, is fomethi ng more than half a Tone bicher than at Revie, how[27 ] now to make ufe of this Ruie, ank to unite the feigned to the natural. Voice, there would not be now fo greet a Scarcity of Sopranos. Sah. Let him learn to hold out the Notes without a Shrilinefs tike 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 great- er; otherwife, from the nakural Incli- nition 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 fubject toa Flutt’ring ia the Manner of all thofe that fing ina very bad Tutte. Seg. In the fame Leffons, im rt to pat forth the Voi or jt {well by telt Plano to the fom thence with m the forte28 Singer that ufes it aud ently on the open Vow- fol of havitig an ex. Very few of the pre- Ped i: to their ‘Tafte, the Iotebility of their order to evoid all Man- mibiznce of the odreus is, ho owever, an manifett to the Nightingale, a of it, and the Voice can well they have found hered Kind wor- 1 {mnitation, that lings quite +2 twew “oce. Maiter never be tired ,» 25 long ; forar “he thould eed coe he e dy the holding out Namb. 4. ury to ule > ated Forte for loud. mends bere to ule any Fe dossin feveral other ; for the Aneft Grace fet[ 29 ] let him Gng upon theVo:vels too foon, . ke knows hot how to inttruct. § 31. Next, let him ftady on the three open Vowels, p2rticularly on the firft, bat not always upon the fame, as is practifed now-a-days ; in order, that from this frequent Exer- cife- he may not confound one with the other, and that from hence he may the eafier come to the ufe of the Words. §32. The Scholar having now made fome remarkable Progrets, the Tnftructer may acquaint him with the firft Embellithments of the Art, which are the dpfoggiatura’s * (to be fpoke of next) and apply them to the Vowels, § 33. Let him learn the Manner to glide with “ Vowels, and to drag tne Voice gently from the hich to the Jower Notes, which, tho’ Q: Qualifiva- ons neceffary for finging well, cannot ponibly be learn’d from $./-fa-ing on- § 3% See for Appacgintuna in the next Chag- der. Cc wa[ 30 J and cre overlcoked by the Unfkil §c4. Butifhe theuld let him fing the Words, and y the .45/ hogeia 7 to ne Vowels before he is per- Silja-ing, he rains the Scho. CHAP.ENMONG all the Embel- “% lithments in the Art of Singing, there is none fo eafy for the Mafter to * teach, or lefs difficult for the * This Chapter contains fome Enquiries into Matters of Curiofity, and demands a little At- tention. The Reader therefore is defired to reftpone it to the laft. + Aopegziatura isa Word to which the Eng- ‘ Language has not an Equivalent; it isa eadded by the Singer, ior the arriving more cracefully to the following Note, either in rifing or falling, asis fhewn by the Examples in Notes of iMufick, Pi, Numb, 2, The French exprefs it by iwo different Terms, Port de Voix and dppuyer 5 es I[ 32] the Schclar to learn, than the f/fegg?.. atura. This, belides its Beauty, hag obtained the cle Privilege of being heard often without tiring, provided it dees not go bevond the Limits pre- ferib'd by Profettors of good Tafte. § 2. From the Time that the 4- been Invented to adorn ug, the truce Reafon, why sanda Lead. The trom dpperetare, vou lean on the firtt tthe Nete intenccd, rifling or falling ; ewe lonzer cn Preparation, than fcr which the Preparation is made, and to the Valueot the Note. “The fame on tea a Bhakes ora Beat from the ‘ctv can be made at it leads, ce Examination of the S¢- mitts Rafer and 1 which he promifed in 15. Ch. I. I: may be ot Satisfadtion to the Stu. dicus, to fet this Matter atonce ina true Light; ty whi sch our Auther’s Doubts will be clear- is Rea‘cning the eafier underftcod, * changes Name, Line, and calfivcr changes neither. Pl. TL,all Places, a Secret. after having Coit emong Singers of the vain, 1 confidered that as a Science, ought to have its “nd that all Manner of Ways ild be tried to difcover them, I not fatter miylelf that] am arrived it; but the Judicious will fee, at ut, that Tam come nearit. How- t treating ot a Matter wholly produced from my Obfervations, I ihould hove for more Indulgence in taia Chapter than in any other, § 3 “From Practice, I perceive, that from CtoCby B Quadro, a Voice can afeend and deicend gradually with ne Aptcggietura, palling without wny the leaf Gbilacle thro’ ail the Numb. 1, Toa Semitene Majer one can go a Rive or a a Pas dikinGly; to a Senitene ». B. From a 2 Toe Ake ar sor and Adinsry mb, 2, amd 3 Uist: Maia pe I. N fivei 344 from every accidental , that mav be found in an gradually rife a Se pearett Note with an Ir, . That from everv Note that has : Natural, one can al- nes to every one that tev, or Flat, with an fp- §. But, contrarywite, my Ear tells from fy G, A, ¢, and D, fe fue ly with an Ap- ‘ones, when any of Semitsnes Minir, ubuvementioned ng Name, Line, nor d which makes it aJingr Gannot bear an thefe[35] tiefe five Tones have a Sharp annex’d to them. § 7. That one cannot pa‘s with an Aspoggictura gradually from a third Rixer to the Bais, to a third Major, ror trom the third Mézjor to the thir ed Minor. 48. That two confequent Appag- utura’s cannot pals gradually by Se- witgues From one Tone to another. § 9. That one cannot rile by Semi= pone, with an Appoggiatura, from anv ‘Note witha Flat, S1o. And, finally, where the Appog- Tetrachords. The Authors, that treat not all of the fame we find fome who tron. Cto D, as well to G, the Semitones are mean while we are left Est, however, which ° in this Att, ore thele two Exam- end from F to G,do not comes from a wrong {hing thele two Sumix Scmi-{ 37 J Semitone Major. Therefore going fo agr. ably from Mj to Fa, (that is) from B 2uadro to C, or from E to #, one cught to concludeThat to be a Semitone Major, as itundeniably is. But whence does it proceed, that from this very Fu, (that is, from F or C) ¥ cannot ‘2 to the next Sharp, which is el- Semttone ? Yt is Minor, fays the ar. Therefore ¥ take it for granted, that the Reafon whv the Apprggiatu: -2bas not a full Liberty, is, that it annot pals gradually to a ‘Somitons Minors fubmitting mytelf, hovvever, ~ hotter A idament, - 14. The 2 pps staturd may like ‘vite pafs from one diftant Note to uiwther, provided the 2 Skip or Intervet we not deceitful; for, in that Cate, 4, All Intervals, wing with an feogg‘e : to the Nor i “or tefs 3 and the fame, defending, atrive Note with a fort of S4akey more or lefs, IJ. Numb, 9, 2. One cannot agresably ot defend the Interval of a third Majer or PL ILL, Numb. r2. But gradually very well. Pl. ITE Numb. 12, Examp les OF ae or deceitful Intervals, Pl If. Numb, my. D whoeveri 35] vhoeves Joes not hirit ture, will thew Know not hea to fing, T fad, “it is not er to rife gradually Uiuvrd toa Seuutone ui teach him to rile thence he may de- o> Fa « etoinw rake the , , Mi iff a till he Hing cholar be well in- Xe Appoggiatura’s tmiliar to him by 2, that by the Time ut his arft Lefions, at thote Compofers that39 | park them, with a Defign either io be thought Modern, or to thew that they underftand the Art of Sing- igg better than the Singers. Tf they hove this §& Superiority over them, why da they not write down even the which are more dimeculr, more eflential than the .dppog- was? But if they inark them, may acgnire the glorious of addrineya ella Mala, o snpofer in the new Stile, they heat leaft to know, that the Ad- dition of one Note cofts little Trou- ble, and lefs Study. Poor Italy! pray tcll me; donot the Singers now- cnudays know where the Apporgiaiu s are to be made, unleis they are pointed at with a Finger? In my “fune their own Knowledge fhew- editthem. Eternal Shame to him who firtt introduced thele foreign Pu- erlides into our Nation, renowned for teaching others the greater part of the polite Arts; particularly, that of Singing ! Oh, how great a Weak- ne& in tho that follow the Exam- Da ple! e.3 * wer 1 tO 5 injurious Infult to you Mo- who fubmit to Inftruc- or Children! Let us imitate vcgners in thofe Things only, \ CHAP.IE meet with two moft pow- aM erful Obttacles in forming NM the Shake. The firft em- Lea feel) barraties the Matter ; for, to this Hour there is no infallible Rule ‘ound to teach it: And the fecond cfidts the Scholar, becaufe Nature cupurts the Shake but to few. The q sipaticnce of the Mafter joins with the Defpair of the Learner, fo that xy decline farther Trouble about i But in this the Mafter is blame- el in not doing his Duty, by leav- ‘ug the Scholar in Ignorance. One wut i{trive again: Ditliculties with P.ticnve to overcome them, D3 § 2,[ 42 ] § 2, Whether the Shake be necef- fary in Singing, afk the Profeflors of the firft Rank, who know better than any others how often they have been indebted to it; for, upon any Ab- fence oF Mind, they would have be- traved to the Publick the Sterility of Art, without the prompt AL ce of the Sharky, Whoever has a fine Shake, : every other Grace, Advantage of con- yet giving Dif : Cadence, where for “v effential 5 and it imperfect- reat Singer, let ever fo great. 'y then, being of Hed , let the Mafter, by cans of verbs! Initractions, and ; inftremental, » mark’d, ealy, wich are its c ations, , Ww toy[ 43 ] § 5. In cafe the Mafter fhould not know how many Sorts of Shakes there are, I fhall acquaint him, that the Ingenuity of the Profeffors hath found fo many Ways, diftinguifhing them with different Names, that one may fay there are eight Species of them. § 6. The firft is the Shake Ma- jor, from the violent Motion of two neighbouring Sounds at the Diftance of a Tone, one of which may be call- ca Principal, becaufe it keeps with greater Force the Place of the Note which requires it; the other, not- withftanding it poiielics in its Motion the fuperior “Sound, appears no other than an Auxiliary. From this Skane ul the others are derived. § 7. The fecond is the Shake Mi ror nor, § 5. See for the feveral Examples of the Shakey PLAY GC. The firft Shake of a Tous, PIV, Numb. 1 § 5. The fcond Siate of a Semen Maver, Pi, W. Nunb, 2.[ 44 ] nor, confifting of a Sound, and its neighbouring “Semitone Major ; and where the one or the other of thefe two ‘hakes are proper, the Compo- fitions will eafily fhew. From the inferior or lower Cadences, the firft, or full Yone Shake is for ever ex- cluded *. If the Difference of thefe two Shakes is not eailly difcovered in the Singer, whenever it is with a Semitone, one may attribute the Caule to the want of Force of the Aux- iliary to make itfelf heard diftindtly ; befides, this Shake being more difficult to be beat than the other, every body ~ does not know how to make it, as it fhould be, and Negligence becomes a Hab. if this Shake is not di- itinguifhed in Inftruments, the Fi ault is in the Ear, * See for the Mcaning of fuperior and in- wor Cadencet, Chap. VII. § 1. PLY. umb, 3. A.B. From the intcrior or low- Cadences, the firft, or full Tone Shake, is xcluced ; for in a fharp Key it is » and in a Hat Key a Semitone. gy toe > §8.[45 ] § 8. The third is the Mezzo-tril- b, or the fhort Shake, which is like- wife known from its Name; One, who is Mafter of the firft and fe- cond, with the Art of beating it a little clofer, will eafily learn it; end- ing it as foon as heard, and adding alittle Brilliant. For this Reafon, this Shake pleafes more in brifk and lively Airs than in the Parhetick. § 9. The fourth is the rifing Shake, which is done by making the Voice afcend imperceptibly, fhaking from Comma to Comma without difcover- ing the Rife. §1o. The fifth is the defcending Shake, which is done by making the Voice decline infenfibly from Com- ma toComma, fhaking in fuch Man- ner, that the Defcent be not diftin- guithed. Thefe two Shakes, ever . § 8. The third the thort Shale, Pl. IV, Numb. 4. ‘ § 9. The fourth the rifing Shake, Pl. 1V. Numb. 5 § ro, The fifth the defcending Shate, Pl: IV. Numb, 6. : fince e.yailed, are no nt rather to be nice Bar equal- wy Scuff, and ithe dow Shaky, 9 dnoted be its not ftudy not there- cr a good an affected es with the it cannot, | ririt and think, wah: more than once. S12. The teventh is the redoubled ch is learned by mixing No: e€: between the Major or which nterpoats ion - hes of one. thots e few ung with forme d[47] Voice, perfect ‘in this rare Quality, and not made ufe of too often, it cannet difpleafe even Envy inelf, §13. The eighth is the Tr//lo- Mordente, oc the Slate with a Beat, which is a pleaiing Grace in Singing, and is taught rather by Nature than by Art. "This is produced with more Velocity than the others, and is no tooner born but dies. ‘That Singer has a great Advantage, who fom time co time muyes it in Paffages or Di- vilions, (oF which T fhall take Notice a the proper Chapter.) He, who derftands his Profeflion, rarely fails of ufing it atter the Appoeciatur as d he, who deipiles it, is guilty of more than Tenorance. 814. Of all thefe ¢ Shakes, the two ar j wy, and require £ the Mat- it is cufto~ thout Shakes; bur , of thos whe ftudy bet » be initated, “to ie Examp wurerficial[ 48 ] §15. The Shake, to be beautiful, requires to be prepared, though, on fome Occafions, Time or Tatte will Not permit it. But on final Caden- ces, it is always neceflary, now on the Tone, now on the Semtone above its Note, according to the Nature of the Compofition. : § 16. The Defects of the Shake are many. The long holding-out Shake triumph’d formerly, and very improperly, as now the Diviffons do; but when the Art grew refined, it was left to the Trumpets, or to thofe Singers that waited for the Eruption ef an E Viva! or Bravo! from the Populace. That Shake which is too often heard, be it ever fo fine, cannot pleafe. That which is beat with an uneven Motion difgufts ; that like the Quivering ofa Goat makes one laugh; and that in the Throat is the worft: That which is produced by a Tone and its third, is difagreeable ; the Slow is tirefome ; and that which is out of » Tune is hideous, § 17. The Neceffity of the Shake obliges the Mafter to keep the Scho- ar[49] jar applied to it upon all the Vowels, and on ail the Notes he poffeffes s not only on Minims or long Notes,. but likewife on Crotchets, where in. Procefs of Time he may learn the hfe Shake, the Beat, and the Form- ing them with Quicknefs in the Midft oi the Volubility of Graces and Divi- fions. § 18. After the free Ufe of the Shake, let the Mafter obferve if the Scholar has the fame Facility in dif wing it; for he would not be the firft that could not leave it off at Pleae & 1g. But the teaching where the ‘@ is convenient, belides thofe on § 13. Shades are generaily proper from fing Notes defcending, but not alcending, « On articular Occafions. Never too ay, Or too near one another; but very ed to bezin with them, which is too frequente te done. The ufing fo often Bouis, Shakes, and Prepares, is owing to Lefions on . the Lute, Harpfichord, an! other Inftruments,* whofe Sounds difcontinue, and therefore have Need of this Help, ” E Ca-[50] Cadences, and where they are ismpro- per and forbid, is a Leffon referwd for thofe who have Praétice, Tafte, and Knowledge CHAP,[ 51] CHAP. IV.. On Divifions. . Ey Power fufficient to touch LE} the Soul, but the moft cy they can do is to raife our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Mafter inftruét the Scholar in them, that he may be Matter of them with an eafy Velocity and true Intonation; for when they are well executed in their proper Place, they deferve Applaufe, and make a Singer mere univerfal ; that is to fay, capa: me to fing in any Stile. 2. By accuftoming the Voice of Len arrer to be lazy and dragging, he ha ignd ‘Dis weing, ought da Yt Patlege or Grace, tien of the Voice, mn ores that confti tate ne articulate in equal moderately dif tins, ot too much join’d, ner{53 ] § 5. The fecond is perform’d’ in fuch a Manner, that the firft Note ig a Guide to all that follow, clotely. united, gradual, and with fuch Even. nefs of Motion, that in Singing it. imitates a certvin Gliding, by the Mat ters called a Slur; the Effeét of- which is truly agreeable when uted. iparingly. § 6. The mark'd Divifions, being | mi ‘he frequently ufed than the others require sore Practice. & 7. The Ute of the Slur is pretty mach limited in Singing, and is confine ed within fuch few Notes afeending or eetcending, that it cannot go beyond « fourth without d ditple: ing. It feems tome to be more gratetul to the Ear defending, than in the contrary Motion Vhe Dregs coniifts in a Suc- on of divers Notes, arifully mix- eiwith the Forte and Pianz. The Beauty of which I thall peak of in another Place, & 5. The Gliding Netes are lke feveral Notes mone Sireke of the Buw on the Violin. E3 §9.© vill Sn that ee ual way to unbind yg it toa Volubi- ever cautious, that ration do not imrerceptible Alter t are of Pas : —— x ae Pune with Fuiudee de- The Siud iV of Time end a Sing- yet 2 Gli, 1[ 53} er Jofes all Fear when the moft diff: cult Divifions are become tamiliar to. him. § 12. Let him not be unmindful- to teach the Manner of mixing the Plano with the Forte in the Divi/- secs the Glidings or Slurs with the Alred, and to intermix the Clyye ate; efpecially on the pointed vs, “provided they be not too aear one another; making by this Afeans every Embellishment of the rt appear. § 13. Of all the Inftrudctions relat- ing to Divifons, the moft confider- ble feems to be That, which teaches to unite the Beats and fhort Shale with them ; and that the Mafter point to him, how to execute the with Exa€tnefs of Time, and the Pia. ces where they have the beft Effect : Dut this being not fo proper for eve who teaches only the firft Rules, and {lull lefs for him that begins to learn them, it would be better to have poftponed this (as perhaps I Should have done) did I not know thatom 6] that there are Scl polars of fo quick Parts, that in a few Years become. moit excellent Singers, and that there js no Want cf Masters qualified to inftruct Ducinies of the moft pro- iing Genius; befides, it appeared in this Chapter h the Reats and far not be iif with Uneven- : ard let he Tongue, or wih the Chin, ry other Grimece of the Head or Body. § 1s, Every Mafter knows, that on vird and fath Vowel, the Diii- are the wori; but every one that in the beit vd and fourth were not hen thefe two Vowels ced clofe or united. here are many Defects in "IS. which it is neceflary, to[s7] - rao knew, in order to avoid them ; ter, befides that of the Nofe or the ''hyoat, and the others already men- toned, thofe are likewife difpleafing which are neither mark’d nor gliding ; rorin that Cafe they cannot be faid to fing, but how] and roar. There are fome ftill more ridiculous, who tk them above Meafure, and with ce of Voice, thinking (for Exam- pie) to make a Divifion wpon A, it eppears as if they faid Ha, Ha, Ha, or Gha, Gha, Gha; and the fame upon the other Vowels, The worft Fault of all is finging them out of Vune, § 17. The Mafter fhould know, that though a good Voice put forth with Eafe grows better, yet by too feift a Motion in Divifions it be- “comes an indifferent one, and fome- umes by the Negligence of the Maf- ter, to the Prejudice of the Scholar, * it is changed into a very bad one. § 18. Divifions and Shakes in a Stedliana ave Faults, and Gliding: and. Drages are Beauties, u § 19.{ 58 J § 19. The fle and entire Beauty e Divifen confits in its being rin Tune, mark’d, equal, di nd quick, & 20. Dicifens have the like Fate wih the Sraées; both equally de- light in their Place; but if not pro- perly introduced, the too frequent Repetition of them becomes tedious, if not odious, § 21. After the Scholar has made himielf perteét in the “fake and the Divifons, the Mafter fhould let hin read and pronounce the Words, free from thoie eof and ridiculous Er- rors of Orthography, by which many deprive one Word of its double Con- fonant, and add one to another, in which itis fingle. § 22. After having corrected the Pronunciation, let him take Care that the Words be uttered in fuch a Man- per, without any Affectation, that nourcing Ersr inftead of Er- def Det. The not di- le Conionants from the ttce commen at prefent. they[59 ] they be diftinétly underftood, and no one Syllable be loft; for if they are not diftinguifhed, the Singer deprives the Hearer of the greateft Part of that Delight which vocal Mufick conveys by Means of the Words. For, if the Words are not heard fo as to be underftood, there will be no great Difference between a human Voice and a Hautboy. This Defeé, tho’ one of the greateft, is now-a-days more than common, to the greateft Difgrace of the Profeffors and the Profeflion; and yet they ought to know, that the Words only give the Preference to a Singer above an in- itrumental Performer, admitting them to be of equal Judgment and Know- ledge. Let the modern Mafter learn to make ufe of this Advice, for ne- ver was it more neceflary than at prefent. § 23. Let him exercife the Scho- lar to be very ready in joining the Syllables to the Notes, that he may sever be at a Lofs in doing it, § 24,160 J § 24. Let him forbid the Scholar to take Breath in the Middle of a Word, becaure the dividing it in two isn Evror again _Natars which t if we would at. In inter. , orin long Divi. fo rigorouily required, “the other cannot be reath, An neiently fach not necellary, but for 2 of the nrit Rudiments; Abufe, having taken is i 3 Sy gathers nil'ar with aito Eminence, The correct this Fault, in raaree to manage his at he mey always | be ed with more Breath than is 1; and nay avoid undertaking , for want of i it, he cannot go through with, t him fhew, in all forts of fitions, the proper Place where to | take Breath, and without Fatigue; becaute there are Singers who give ‘ Pain[ 61} Pain to the Hearer, as if they had an Afthna, taking Breath every Mo- ment with Difficulty, as if they were breathing their lait. § 26. Let the Mafter create fome Fmulation in a Scholar that is negli- gent, inciting him to ftudy the Lefion of his Companion, which fometimes goes beyond Genius ; becaufe, if in- ttead of one Leffon he hears two, and the Competition does not difcounte- nance him, he may perhaps come to learn his Companion’s Leffon firft, and then his own. 827. Let him never fuffer the Scholar to hold the Mufick-Paper, in Singing, before his Face, both that the Sound of the Voice may not be ovitructed, and to prevent him from being bathful, § 28. Let him accuftom the Scho- lirto fing often in Prefence of Per- fons of Diftinétion, whether from Hirth, Quality, or Eminence in the Profeifion, that by gradually lofing hts Fear, he may acquire an Affu- rance, but not a Boldaefs. Affurance r leads[ 62 ] Fortune, and in a Singer be- Merit. On the contrary, rful is rnoft unhappy ; labour- under the Dihculty of fetching the Voice ts always trem. and cbiiged to lofte Time at evers Note for fear of being choaked; He gives us Pain, in not being aole to fhew his Ability in publick ; * difguits the Hearer, and ruins the Compo- fitions in vuch a Manner, that they are net known to be what thev are. A timovous Singer 1s unha appy, like a Prodigal, who is miterably poor. & 2g. Let net the Mafter neglect to fhew him, grest their Error is sho mane & - Divifions, or 3reath on the “cepated or bind- nnd how such better Ef = eut the Voice has. is, inflead of lofing, r Beauty. Jadier inftrudt him Ferte and Pras, but foas to tated, Ligatura, OF 2 Hh 2 3 ule[63 J ufe him more to the firft than the fe- cond, it being eafier to make one fing foft than loud, Experience thews taat the Pano is not to be trufted to, fnce it is prejudicial though plea- ing; and if any one has a Mind to lofe his Voice, let him try it On this Subject fome are of Opinioa, that there isan artificial Prano, thit can make itfelf 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 Caufe that the Piano of a good Singer isheard, but the profound Silence and Attention ot the Audience. For a Proof of this, let any indifferent Singer be fi- lent on the Stage for a Quarter of a Minute when he fhould fing, the Audience, curious to know the Reafon of this unexpected Paufe, are huth’d in fuch a Manner, that if in that inftant he utter one Word with a foft Voice, it would be heard even by thofe at the greateft Diftance. § 31. Let the Mafter remember, that whofoever does not fing to the Fe utmoftrc { €4 J urmoft Rieour of Time, deferves not rhe Efteem of the Judicious ; there- ‘xe fet him take Care, there be no eration or Diminution in it, if he retends to teach well, and to make excellent Scholar, S 3. Though in certain Schools, of Church- Miufick and or ° Ma. ae He buried in Duft, a gocd “fatter would wipe it off; for the are the moit effeGual Means to make 2 Scholar ready and fure, If Singing not for the moft part performed Micmory, as is cudtomary in thefe abt whether certain Pro- \ leterve the Name of of the firft Rank, . Let him encourage the Scho- : Inproves 5 let bim mortify him, without Be ating, tor Indolence; let him be more rig rous for Negli- genees; ner iit the Scholar ever sees in feveral Parts; tthreefeore Years nto be in Vozury tie Knowledge of it end[ 65 ] end a Leflan without having profit- ed fomething. § 34. An, Hour of Application in a Day is not fufficient, even for one of the quickeft Apprehenfion ; the Mafter therefore fhould confi- der how much more Time is ne- ceflary for one that has not the fame Qucknefs, and how much he is obiiged to confult the Capacity of his Scholar. From = a_ mercenary Teacher this neceffary Regard is not to be hoped for; expected by other Scholars, tired with the Fa- uzue, and follicited by his Neceffities, he thinks the Month long; looks on his Watch, and goes away. If he be but poorly paid for his Teach- ing, --- a God-b’wy to him, F 3 CHAP.CHAP. V. Of Recitative. SECITATIVE is of three Kinds, and ought to be ‘taught in three different eA Manners. Ss 2. 2. The frit, being ufedin Charch- , thouli be fung as becomes the Sanctity of the Place, which does not .dnvit thore wanton Graces of a lighter ile; buc requires fome Meffa di Ve- Rony page ‘atura’s, and a noble jetty throuescut. But the Art cf extrcffing iv. is not to be learned, bu: trom the fecting Manner of tuove who c voutly dedicate their Vous to the Si.vi.c of God. 3. The fecond is Theatrical, wiich being always accompanied with{ 67 J with Aion by the Singer, the Maf- ter is obliged to teach the Scholar a certain natural Imitation, which can- not be beautiful, if not expreffed with that Decorum with which Princes ipeak, or thofe who know how to foeak to Princes. § 4. Vhe laft, according to the O- pinion of the moft Judicious, touches the Heart more than the others, and 3s called Recitative di Camera. This requires a more peculiar Skill, by reafon of the Words, which being, for the moft part, adapted to move the moft violent Patlions of the Soul, oblige the Mafter to give the Scholar fach a lively Impreflion of them, that he may feem to be affected with them himfelf. The Scholar having fnithed his Studies, it will be but too § 4. Mufica di Cam-va. Chamber, or pri- yaic, Mufick; where the Multitude is not court- edfor Apolaufe, but only the true J ‘zes ; and confifts chiefly in Cantata’s, Duett?s, &c. In the Recitative of Canteta’s, our A.wthor excel- led ina fingular Manner for the patheugk Ex- preflion of the Words, eafily[ 68 J eafily difcovered if he ftands in Need of this Leffon. The vait Delight, which the Judicious feel, is owing to this particular Excellence, which, wi hout the Helo of the ufual Orna- ments, produces all this Pleafure from ivelf; and, let Truth prevail, where Palio freaks, all Shakes, all Diwi- OKs ond Graces ought to be filent, leaving it to the fole Force of a beautifal Expreifion to perfuade. & 2. The ‘Charch Recitative yields more Liberty to the Singer than the other two, particularly in the final i ; provided he makes the Ad- f it that a Singer fhould not as a Player on the Vi- § 6. The Theatrical leaves it not in cur Election to make Ufe of this e offend in the Narrative, which ought to be natural, unlefs in a Soliloquy. where it may be in the Sule of Cl namber-Mufick. § 7. The third abitains from great part of the Sciemnity of the firft, and con-[ €9 ] vontents itfelf with more of the fe- cond, § 8 The Defects and unfofferable Abuies which ere heard in Recita- ies, and not known to thofe who commit them, are innumerable. 1! will take Notice of feveral Theatrical ones, that the Mafter may correct them. § 9. There are fome who fing Re- ctative on the Stage like That of the Church or Chamber; fome in a per- petual Chanting, which is infuffer- able; fome over-do it and make ita Barking ; fome whifper it, and fome fing it confufedly ; fome force out the laft Syllable, and fome fink it; fome fing it blufVring, and fome as if they were thinking of fomething elfe ; fome ina Janguifhing Manner ; others in a Hurry ; fome fing it through the Teeth, and others with Affectation,; fome do not pronounce the Words, and others do not exprefs them; fome fing it as if laughing, and fome cry- ing ; fome fpeak it, and fome hifs it; fome hallow, bellow, and fing it out or[79] cf Tune; and, together with their C&ences againit Nature, are guilty of the greateft Foult, in thinking them. es * Shove ores étion, 8 . The medern Mofters run with Negligence their Inftrudi- ons in all & corte of Recitetives, be- in thefe Devs the Study of Ex- — d upon as unneceffary, F ed as neient : And vet they mutt reels iee every Day, that be- fides the indilpenfible Neceflity of knowing how to fing them, Thefe even teach how to act, If they will not believe it, let them obferve, with~ cut flattering themtelves, if among their Pupils they can thew an Actor cf equal Merit with Cortona in the Tender ; “of Baron Baleriné in the Imperious; cr other famous Actors that at prefent appear, tho’ I name them net; having determined in thefe Observations, not to mention S19. Cortna liv'd above forty Years azo, S * z at the Court of /tenna, 4 the Emperor Fofeph, who Bow any[ 71 J cay that are living, in whatfoever Degree of Perfection they be, though letteem them as they deferve. jin A Matter, that ditregards Re- citative, probably does not underftand the Words, and then, how can he ever inftruct a Scholar in Expreffion, which is the Soul of vocal Perform- ance, and without which it is impof- ‘ible to fing well? Poor Gentlemen ALifters, who dire&t and inftru@ Be- sinners, without reflecting on the utter Deftruction you bring on the vclence, in undermining the principal Foundations of it! If you know not what the Reestatives, efpecially in the vulgar or known Language, require chote Inftruétions relative to the Force af the Words, I would advife you to venounce the Name, and Odjce of Mofters, to thofe who can maintain them; your Scholars will otherwiie be made a Sacrifice to Ignorance, and not Knowing how to diitinguifh the Lively from the Pathetick, or the Vehement from the Tender, it will he no wonder if you fee them ftupid On72 ] on the Stage, is enfelefS ina Cham- ber, Yo {peak my Mind freely, Faults are unpar- i: infuffer.ble to be any ented in the Theatres “, fung in the Stile i Caf puchin Friars, _ The Reaton, however, of not « mnere Exprefiion to the Reesto- in the Manner of thofe called ifs, docs not always proceed trem the Incapacity of the Matter, or the Negliger. ce of the Singer, but from the litte Know ledge of “th he 710~ gern Cor mpoters, iw “nott except jome of Merit) whx 5 fet vit in do unnatu- yal a Taite, that i is not to be taught, acted or dung. In Juttification of the Matter and the $ cinger let Reafon de- cide, To blame the Compofer, the fame Reafon forbids me entering into a Matter too high for my low Un- Gertianding, and wilely bids me con- fider the little Infight I can boatt of barciy futficient for a Singer, or to vrite p.cin Counterpoint, But when T couiider ] have undertaken in thete Ob-L 73] Obfervations, to procure diverfe Ad- vantages to vocal Performers, fhould I not “peak of Compuiition, a Subject 4) neceflary, I fhould be guilty fa double Fault, My Doubis in tis Perplexity are refclved by the Re- fection, that Reeitatives heve no'Re- ation to Counterpoint. Ef Tat he fo, WN vat Profeflor Knows not, that many th eatrical Reviiarices would | De eX- ts nt it Hey were not contated c che er if they could be learn- Wothey were not de- oF adapting the Aa Tas >; it, with their of Keys, & the ; ee Heare; a the *Petios “cre not crippled \ n who know neither Point nor Comma? Tam aftonified that fach as thefe do not, for their Improvement, endea-[ 74 ] endeavour to imitate the Recitatives of thofe Authors, who reprefent in them a lively Image of Nature, by Sounds which of themfelves expres the Senfe, as muchas the very Words, But to what Purpofe do I thew this Concern about it? Can J expect that thefe Reafons, with all their Eviden- ces, will be found good, when, even in regard to Mufick, Reafon itfelf is no more in the Mode? Cuftom has great Power. She arbitrarily releafes her Followers from the Obfervance vf the tue Rules, and obliges them to no other Study than that of the Ritornello’s, and will not let them ufe- leffly 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 Ac- count init, § 13. Much more might ftill be § 13, See Broken Cacences, P:. V, Numb, 1. ——Final Cadences, P], V. Numb. 2. faid[75] faid on the Compofitions of Recitative in general, by reafon of that tedious chanting that offends the Ear with a thoufand broken Cadences in every Opera, which Cuftom has eftablithed, though they are without Tafte or Art. To reform them all, would be worfe than the Difeafe, the introducing eve- ry time a final Cadence would be wrong: But if in thefe two Extremes a Remedy were neceflary, I fhould think, that among an hundred bro- ken Cadences, ten of them, briefly ter- minated on Points that conclude a Period, would not be ill employed. The Learned, however, donot declare themfelves upon it, and from their Silence I muft hold myfelf condemn- ed. § 14, Ireturn to the Mafter, only to put him in Mind, that his Duty is io teach Mufick ; and if the Scholar, before he gets out of his Hands, does not fing readily and at Sight, the In- Nocent is injured without Remedy from the Guilty. G2 § 15.f po fe Inftruétions, the ud bimfelf capa- to his Scholar and what rogrels, he Ars, “in whith the theatrical cnd fing ina Parpote he ? ¥ vend the Spache. 2 Ability he has overed in him, and by frequent ke him become pericct in Unefs and Spirit, At he mutt. be careful = be well pronounced, ae that the pl refied with Strength, ithout Affectation ; ¢ be not wanting in niroducing fome Graces and, above all, that Ww nh the[77] ube final Cadences of the Meéets bz perfor med with Divifions ditiinét, twit wandin Tune, After this he will ch nim that Manner, the Tafle of ata’s requires, in order, by this fe, to difcover the Difference between one Stile and another, If, arter this, the Mafter is fatisfied with his Scholar's Improvement, yet let him not think to make him fing in Publick, before he has the Opinion uf fuch Perfors, who know more of finging than of flattering; becaule, thew not only will chute Tach Com- eus proper to do him Honour Credit, bat alfo ‘will corre in am thofe Deteéts and Errors, which vat oF Overfight or Ignorance the after had not perceived or cor- reered, § 16. If Mafters did confider, that irsin our firft appearing ia the Face of the World, depends our ecquiring Kame and Courage, they would not io bindly expofe their Pupils to the Danger of falling at the Seth Step. G3 Sip._ “I co Lt ne Mafter’s Know- forties than the fore- en ought he in con- , and to recommend * bet ter Inttructions. Scholar arrives € quite unnecef- wit! him in the s, end if his Age not to underfiand me, , Who have the Care of him, may, CHAP.CHAP. VI. Obfervations for a Student. a] FORE entering on the ex- H tcnfive and difficult Study fof the Florid, or figured Prams) Song, it is neceflary to con- tult the Scholar’s Genius; for if In- dination oppoles, it is impoflible to force it, and when That incites, the Scholar proceeds with Eafe and Plea- ure § 2. Suppofing then, that the Scho- lar is earneftly defirous of becoming 2 Maftcr in fo agreable a Profefiion, and being fully inftructed in thefe tirelome Rudiments, befides many others that may have flipt my weak Memory ; aftera frit Care of his Morals, he fhould give the reft of 2 his[ 80 ] his Attention to the Study of finging in Perf:ciion, that by this Means he may be fo happy as to join the moft noble Qualitics of the Soul to the Excellencies of his Art. §3. He that ftudies Singing mut confider, that Praife or Difgrace de- pends very much on his Voice, which if he has a Mind to preferve, he muft abftain from all Manner of Diforders, and all violent Diverfions. § 4. Let him be able to read per- fedtly, that he may not be put to Shame for fo icandalousan Ignorance. Ob, how many are there, who had need to learn the Alphabet! : & 5. In cafe the Mafter knows not how to correét the Faults in Pro- nunciation, let the Scholar endeavour to learn the beft by fome other Means; becaufe, the not being born § 5. The Proverb is, * Lingua Tofcana in becca Romana. — This regards the different Dialects in Italy; as Neapolitan, Venetian, &e. the fame, in Comparifon, Londen to York, or Scanerfeiftire, . in[ 8] in Tufeany, will not excufe the Sing- er’s Imperfection. § 6. Let him likewife very care. jully endeavour to correct all other Faults that the Negligence of his Mafter may have pafied over. § 7. With the Study of Mufick, let him learn alfo at leaft the Gram- mar, to underftand the Words he is to fing in Churches, and to give the proper Force to the Expreffion in both Languages. I believe 1 may be fo bold to fay, that divers Profeffors do not even underftand their own Tongue, much lefs the Latin. § 8. Let him continually, by him- felt, ufe his Voice to a Velocity of Motion, if he thinks to have a Com- mand over it, and that he may not go by the Name of a pathetick | Singer. § 9. Let him not omit frequently to put forth, and to ftop, the Voice, §7. The Church-Mufick in aly is all in Latin, except Oratoria’s, which are Entertain- mentsin their Churches, It is therefore necef- fary to havé fome Notion of the Latin Tongue. that[825 be at his Com. repeat his Leffon knows it perfectly ; Memory let bim re- Study of all Ob- Detects _ Mother's howe ey er,[ 83 ] yore Advantage than from any In- dip ion whatloeser i4. Let him enseavour to copy vn Boh, that he may intenfibly, by the -tudy or cthers, get a good Tatle. This Advice, tough extreme- iv ufeful to a Student, is notwith- honding infinitely prejudicial to a as I thall thew in its proper v ihe tone Sag. Let him often fing the moit ee ble Compofitions of the beft Au- ‘ and accuitom the Ear to that which pleafes. I'd have a Student ow, that by the abovementioned ingtations, and by the Idea of good Compoitions the Tafe in Time. be- nes Art, and Art Nature, % 16, Let him learn to accompany ii anfelf, if he is ambitious of flinging weil, "The Harpt chord § isa great ‘Ine citement to Study, and =. we con- tinnally improve A » Knowledge, The evident Advantaze arifing to the S14. 7 tiun again imitating in- pucicioufly the Iv tliumental with the Voice. Singer84] res it rapertuous to fay more on 2 Moreover, it often hap- ens to one who cannot play, that vithout the Help of another he can- t be heard, and is thereby to his oblied to deny the Com- f fe whom it would be ill a Singer pleafes himfelf, in eznnot pleafe others, der, if fome Profeffors kill have not this Plea- cicnt Application, nolar do? Study, and not be fatif- of Opinion, that vours to fing are ot accompanied edge of Coun- ws how to tor what he[ 85 J does, and he, who bas not the fame Light, works in the Dark, not know- ing how to fing withcut committing rs. The mot famous Aavients laow the intrinick Value of this Precept from the EffeGs. And a cod Scholar ought to imitate them, without confidering whether this Let. ion be according to the Mado or not. For though, in thele Days, cne now end then hears admirabls Perfor- mances, procec: ding from a natural Cotte, yet they are all done by © ‘hance , bat where that Pate is w: x they are not execrable, at leaft they will be very bad: For Fortune not being always at their Command, they cennot be fure to agree, neither with Fine nor Harmony. This Know- : ge although requiite, T would not hot wever advile a Scholar to give hum- felt up to an intenig Application, it deing certain, I thould teach him the readieft way to lofe his Voice; but I exhort him only to learn the princi- H pal[ 86 j iat he may not be quite v much, end preferve full Be auty, are two there is fort ‘of Amity, Poh being prejudi- ne one oF the other. How- r that P erfection a ci of Nature, and al Acqu ifition, it will wed, that this Tater ex- and more deferves our ey ftudies, let him moft excellent, and it wherever it is, ne himielf whether it bein the Sile of fifteen or twen- tv Years ace. or in that of thete Ors Ages have their good It is enough and profit by irreparable Misfor- tune, Paffionate, Pathe-[ 87 J rune, I am old ; but were T young, i would imitate as much as poffibly I could the Cantabile of thofe who are branded with the opprobrious Name of Ancients, and the Allegro of thofe who enjoy the delightful Appellation of Moderns. Though my With is vain as to myfelf, it will be of Ute to a prudent Scholar, who is defirous to be expert in both M anners, which is the only way to arrive at Perfection ; but if one was to chufe, I fhould freely, without Fear of being tax’d with Puartiality, advife him to y attach himfelf to the Tafte of the frft, § 22. Each Manner of Singing hath a different Degree of Eminence ; 3 the Nervous and Strong is diftin- guifhed from the Puerile and Weak, as is the Noble from the Vulgar. § 23. A Student muft not hope for Applauie, if he has not an utter Ab- horrence of Ignorance. Pathetick ; more Singing than Allegia, which 8 Lively, Brisk, Gay, and more in the execu- te Way . Ha § 24.i $8 Whoever does not afpire to K, begins elready to give : tile and Jittle ted with the loweft, ar Indul- wimale 4 down in W s to become a not follow the - pocuttoms him- atin his Mouth, i Huon, add becomes his Memory. Te the Scholar fhould have of tne Note, the Throat, ar, let him never fing en the Master is by, or fome- iderftands thé Profetfion, correct him, otherwue he nul Habit, pat all Re- a ‘27, Whea he fudies tis J.eifon .€, let Lim fometiines fing be- a L noking- alafs, not to he. ena- soured with his. own Perfon, but to avad thefe convulfive Motions of the Body ?[ 89 ] Body, or of the Face (for fo I call the Grimaces of an affected Singer) which, when once they have took Footing, never leave him. 928. The beft Time for Study is with the rifing of the Sun ; but thofe, who are obliged to ftudy, muft em. oy all their Time which can be {par- ed from their other necefiary Af- fairs, 829. After a long Exercife, and ine Actainment of a true Intonation, of a Mefla di Voce, of Shakes, of Divifions, and Recitativ te well exe preted, if the Scholar perceive es that fis Maer cannot teach nin all the bert den of Executicn required in the more refined Art of finging the ‘Airs, or u he cannot always be by his Side, then will he begin to be fenable of the Need he has of that Study, in which the beft Singer in the World is ftill a Learner, end mutt be his own Mafter. Suppofing this Reflection ju@t, I advite him for his firk Ipfight, to read the H 3 fuliow-[ 90] rollowing Chapter, in order there- by to reap greater Advantage from thore that can fing the rs, and teach to fing them, CUIAP.[ 9: ] SPLPREY SREOLS CHAP. VIL. Of Airs. ‘I whoever introduced the | Cuflom of repeating the fat firft Partofthe Air , (which fH) is called De Caps) did it nut of a Motive to fhew the Capacity of the Singer, in varying the Repe- tition, the Invention cannot be bl.im'd by Low ers of Mufick ; ; though in re- ipect of the Words it is fometimes an innpropriety. § 1. Suppefe the firft Part expreffed Ancer, ond the fecond relented, and was tu expres Pity or meee he mut be anzry avzin in the Da G. fs, Thisoften happens, aad is very ridi- cu" if not done to areal Purpofe, and that the Subjectand Poetry require it, 2[ 92 ] § 2. By the Ancients beforemen- toned, Ais were fung in three dif. ferent "Manners; ; for the Theatre, the Stle was lively, and various; for the Chember, detlicace and finith’d; and ae the _Church, moving and grave, i ence, to very many Mo- is under the greateft cudy of the APS; uins or lofes his Re- ° the 2 scaliting this valu- erbal ~cllo ns Cannot ah it be of any great Stto the Scholar, to have a great Fo frs, in which @ a Thou- 23 Nor wwou re written down: ‘dcrve for all Pur- youd always be “which accompa~ erfc,mances, and is ‘le Imitations, All cau be faid, is to re- *2 Scholar is arrived to Flarmonv and Coun- come-[93 ] commend to him an attentive Obfer- vation of the Art, with which the beft Singers regulate themfelves to the Bais, whereby he will become acquainted ‘vith their Perfections, and improve by them. In order to make his Ob- cavations with the greater Exaétnefs, ict him follow the Example of a Vriend of mine, who never went to sy Opera without a Copy of all the ung, and, oblerving the fineft Gra- ces, confin’d to the moft exa& Time cf the Movement of the Bafs, he made thereby a great Progrefs. § 4, Among the Things worthy of Confideration, the firft to be taken Notice of, is the Manner in which all stirs divided into three Parts are to be fung. In the firft they require no- thing but the fimpleft Ornaments, of 2 good Tafte and few, that the Com- politiun may remain fimple, plain, und pure; in the fecond they expect, that to this Purity fome artful Gra- § 4. The general dyiding of Airs defribed, wo which the Author often sefers, ces[94 J ces be added, by which th '¢ Judicious the ae ity of th 3e Sing. an fit F who a bh oren afin the 8 pica cS te Co: wOlis for this but for whereas the other, if he does not farpr we by the Rare- refs of his Productions, will at leat ert ify your Attention with Variety. § 6. The moft celebrated among the Asc ient iqued themifelves in va- ght their Songs in the the Path-tickh, but The Student, who cea cannot under- zence to Our Author, it nof Singing & 7.[95 ] § 7. Without varying the 4irs, the Knowledge of the Singers could ne- yer be difcovered ; but from the Na- ture and Quality of the Variations, it will be eafily difcerned in two of the createft Singers which is the beft. §8. Returning from this Digreffion to the above-mentioned repeating the firtt Part of the “/r with Variation, the Scholar will therein find out the Rules for Gracing, and introducing Beauties of his own Inventioi: Thefe will teach him, that Time, Tate, and Skill, are fometimes of but fmall Ad- ntage to one who is not ready at extempore Eimbellifaments ; but they thouid not allow, that a Superfluity or them fhould prejudice the Com- pofition, and confound the Ear. § 9. Leta Scholar provide himfelf with a Variety of Graces and Embel- Uthments, and then let him make ufe of them with Judgment; for if he & 8. Continuation of the general in & as. he End of this Secti frafonable Corr.ctive of the Rule preferiled in tue foregoing firth Section. lividing obferves,96 j re will "bin id that the mot cers never make a Pa. clent in afew & Songs ; 2 at if Singers “expoia L they have in their they are near becoming g Bank- tect on one cannot. take oe, though certain Effect may be omit- be called Ait uC my pplication of him 1. only fabjedt to iS ; hati in thote, cd with more In- muft be alld in order ment 2 rivate, till heL 97 } ie is fecure of committing no Error in Publick; and next, that at the firt Rehearfal the Ars be fung with- out any other Ornaments than thofe which are very natural; but with a frit Attention, to examine at the {ame time in his Mind, where the artificial ones may be brought in with Propriety in the fecond; and fo from. one Rehearfal to another, always va- rying for the better, he will by De- grees become a great Singer, § 13. The moft neceflary Study for finging Airs in Perfection, and what 'y more difficult than any other, is to feek for what is eafy and natural, as well as of beautiful Inventions. One who has the good Fortune to unite two fuch rare Talents, with an agreeable putting forth of the Voice, isa very happy Singer. § 14. Let him, who fudies under the Difadvantage of an ungrateful Ge- nius, remember for his Comfort, that anging in Tune, Expreflion, Mejfe dt Voce, the Appoggiatura’s, Shakes, Divifions, and accompanying }imiels, I are98 J are the principal Qualifications; and no fuch infuperable Difficulties, but what may be overcome. I know, ‘they are not fufficient to enable one to fing ction; and that it would be oS to content one’s felf with ing tolerably well, but Em- muit be called in to their aid, which itliom refufe the Call, and fommedmcs come unfought, Study will do the Batiness. 5. Let him avoid all thofe Abu- which have ov eripr ead and efta- ed themfelves in the “rs, if he whl preierve Miutick in its Chaftity. § 16. Not only a Scholar, but every r ought to forbear Car 2catura’s, other:, from the very aleg: rvences that attend them. s laugh, hardly gains a, but certainly gives n+ body likes to appear rant, This Mimick- the moit part froma cled Ambiicn to thew their 3 Merit, at another's Expence; s without a Mixture of Envy and Epight, §[ 99 J Spight. Examples fhew us but too plainly the great Injury they are apt to do, and that it well deferves Re- proof; for Mimickry has ruin’d more than one Singer. § 17. I cannot fufiiciently recom- mend to a Student the exact keep- mg of Time; and if I repeat the same in more than one Place, there ss more than one Occafion that moves me to it; becaufe, even among the Profeffors of the firft Rank there are tew, but what are almoft infenfibly deceived into an Irregularity, or hat- tening of Time, and often of both, which though in the Beginning is hardly perceptible, yetin the Progrets of the 4r becomes more and more fo, and at the laft the Variation, and the Error is difcovered. § 18. If Ido not advile a Student to imitate feveral of the Moderns in their Manner of finging irs, it is from their Neglect of keeping Time, which ought to be inviolable, and not facrificed to their beloved Paflages and Divifions, Ta §i9,[ 10>] The Prefumption of fome not to be borne with, who thatan whole Orcheffre fhould the midit of 2 well- regulated ovement, fo walt for their ill- ‘cd Caprices, learned by Heart, carrh. from one Theatre to another, haps olen from fome ap- female Singer, who had bet- then Skill, a and whofe Er. were excufed in regard to her Soitiy, toitly with your Cri- t . ne; this, if vou do not Know i, is called Singing after the Vig ie ww—— Singing after the Mode ? -~-— I fay, you are mittaken. The ping in the Airs at every fecond fourth, and on all the fevenths fixths of the Bafs, was a bad Bee of Pa ancient Matters, dit ifiy Years ago by Rivani, 3 ™®, who with invinci- hewed the proper Pla- (tr Jeg, muft have cn ‘Lime, which is not no further Account can we ce[ ror } ces for Embellithments, without begging Paufes. This Precept was ap- proved by feveral eminent Perfons, among whom was Signor Piffo- chi *, the moft famous of our, and all * Pifto:hi was very famous above fifty Years ago, and refined the Manner of finging in /ra- , which was then a little crude. “His Merit in this is acknowledged by all his Countrymen, contradicted by none, Briefly, what is recount- ced of him, is, that when he firft appeared to the Wort, anda Youth, he had a very fine treble Voce, admired and encouraged univerfally, but difulute Life loft it, and his Fortune. Be- : ced to the utmoft Mifery, he entered to the Service of a Compofer, as a Copyift, where he made ufe of the Opportunity of uing the Rules of Compofition, and became od ‘Proficient. After fome Years, he reco- vered a little Glimpfe of Voice, which by Fime and Practice turned into a fine Catr Alea ilaving Experience on his Side, he took Care of 'r, and as Encouragement came again, he took tee Opportunity of travelling all Eurepe over, ¢ hearing the different Manners and Taflcs, appropriated them to himfelf, and formed : at “areeuble Mixture, which he preduced in- Lu, where he was inttated and admired. He at daft pat many Years, when in an affluent ne, at the Court of Anfpach, where he hii 3 ace Mortun[ 102 ] all preceding Times, who has made himfelf immortal, by fhewing the way of introducing Graces without tranfgreffing againft Time. This Ex- ample aloné, which is worth a Thou- fand, (O my rever’d Moderns ! ) fhould be f. ficient to undeceive you. But if this does not fatisfy you, I will add, that Sifacio * with his mellifluons Voice a Stipend, and livedan agreeable eafy Life ; and ac lait retired toa Convent in Hay. It has been remark’d, that though feveral of his Difciples hewed the Improvement they had from him, cthers made an ill ufe of it, having not a 2 contriputed to the Introduction of the mo- 2 Tafe, * Sifacia, famous beyond any, for the moft fingu'ar Beauty of his Voice, His Manner of inging was remarkably plain, confifting parti- rly inthe dAdef/2 di Foce, the putting forth his Voice, and the Expreffion, here is an Jtatian Saying, that an hundred Perieftions are required in an excellent Singer, and he that hath a fine Voice has ninety-nine of th salfo certain, that as much as is allotted to Volubikty and Tricks, fo much is the Beauty of the Voice facrificed; for the one cannot bs dcae without Prejudice to the other, . Sifa{ 103 J Voicéembrac’d this Rule ; thatBuzzo- lint * of incomparable Judgment high- ly efteemed it: After them Luigino + with his foft and amorous Stile follow- ed their Steps; likewife Signora Boj: _ chi {, who, to the Glory of her Sex, has made it appear, that Women, who ftudy, may inftru& even Men of fome Note. That Signora Lotti ||, frilly Sifacio got that Name from his a@ting the Part’ of Syphax the firft time he appeared on the Stage, He was in England when famous, and belonged to King ‘fames the Second’s Chapel. After which he returned to Jtaly, continuing to be very much admired, but at laft was way- laid, and murthered for his Indiferetion. * Buzzolini, the Name known, but no Par- ticulars of him. + Luigine, in the Service of the Emperor Fofeph, and a Scholar of Piftechi. 4 Signora Bofchi was over in England in Queen Anne’s Time; the fung one Seaton in the Opera’s, returned to Venice, and left her Hus~ band behind for feveral Years; he fung the Bas, She was a Miftrefs of Mufick, but her Voice was on the Decay when fhe came here. || Santini, afterwards Signora Letti, She was famous above forty Years ago, and appeared at feveral Courts in Germany, where fhe was fent for ; .[ 104 ] firidily keeping to the fame Rules, with a penetrating Sweetnefs of Voice, ined the Hearts of all her Hearers, If Perfons of this Rank, and others at prefent celebrated all over Europe, whom I forbear to name; if all thefe have not Authority enough to con- vince you, that you have no Right to alter the Time by making Paufes, confider at leaft, that by this Error in refpect of Time, you often fall in- toagreater, which is, that the Voice remains unaccompanied, and deprived of Harmony; and thereby becomes flat and tirefome to the beft Judges, You will perhaps fay in Excufe, that few Auditors have this Difcern- for ; then retired to Vmce, where fhe married Sicnr Loti, Chapel-Mafter of St. Maré. All thefe Singers, though they had a Talent particular to themfeives, they could, however, ing in feveral forts of Stile; on the contrary, one finds few, but what attempt nothing that - is outof their Way. A modern Singer of the good Stile, being asked, whether fuch and fuch Compofitions would not pleafe at prefent in Ha- £2 No doubt, faid he, thev would, but where are the Singers that can fing them? 2 ment,[ 105 ] ment, and that there are Numbers of. the others, who blindly applaud every’ thing that has an Appearance of No- velty. But whofe Fault is this? An Audience, that applauds what is blame- able, cannot juftify your Faults by their Ignorance ; itis your Part to fet them right, and, laying afide your ill-grounded Praétice, you fhould own, that the Liberties you take are againft Reafon, andan Infult upon all thofe inftrumental Performers that are wait- ing for you, who are upon a Level with you, and ought to be fubfervient only to the Time, In fhort, I would have you reflect, that the abovemen- tioned Precept will always be of Ad- vantage to you ; for though under the neglecting of it, you have a Chance to gain Applaufe of the Ignorant only ; by obferving it, you will juftly me- rit that of the Judicious, and the Ap- plaufe will become univerfal. § 20, Befides the Errors in keeping Time, there are other Reafons, why a Student fhould not imitate the mo- dern Gentlemen in finging Airs, fince it{ 106 ] it plainly appears that all their Appli- i vis to divide < and tubdivide ‘Manner, that it is impoffible er Words, Ficughts, Nios 3 ‘tion, er to diftinguith one from cnether, they finging them ah fo much alise, thar, in hearing of one, yeu hear Thoutsnd.«—— And triumphs Tt we: $ fince, ther @ rumbli ng Air fulk s was < fafficiene for the molt Gnas to {pend his Fire *; e Singers of the prefent Time ere not of ‘the t Mind, but rather, as ir they were not fatished with trant- forming them ail with a horrible Me- temorphofs into fo many Divifions, thev, like Racers, run full Speed, with redoubled Violence to their final Cadences, to make Reperation for the k they have loft du- ae g poe to 5 ne Time they thi Airs areculed ia which cennct per- into Encl, than a 1ipg[ 107 J ring the Courle of the Air. Inthe following Chapter, on the tormented and tortured Cadences, we {hall fhort- ly fee the good Tafte of the Mode ; in the mean while I return to the A- bufes and Defects in firs. § 21. I cannot pofitively tell, who that Modern Compoter, or that un- grateful Singer was, that had the Heart to banifh the delightful, foothing, Pathetick from Airs, as if no longer worthy of their Commands, after hav- ing done them fo long and pleafing Service. Whoever he + was, it is cer- tin, he has deprived the Profeffion of its moft valuable Excellence. Afk all tes ¢ Muficians in general, what their Ynoughts are of the Patbetick, they idl agree in the tame Opinion, (a thing that feldom happens) and aniwer, that the Pathetick 1s what is mot delicious to the Ear, what moft fweetly affects the Soul, “and is the flrongeft Batis of Harmony. And mult we be de- prved of thete Charms, without know- ing the Reaion why ? Oh! I under- tiand you: T ought not to afk the Mal-[ 103 J Matters, but the Audience, thofe ca- pricious Protectors of the Mode, that cannot endure this; and herein lies my Miftake. Ales! the Mode and the Multitude flow like Torrents, which when at their Height, having tpent their Violence, quickly difap- The Mifchief isin the Spring f; the Fault is in the Singers, y praite the Parhetick, yet ‘fing ‘ero. Hemuft want common Sente that does not jee through them. They | know the fit to be the moft eilent, but they lay it afide, know- it to be the > moft diticule. ° ci times divers ars e Theatre i in this de- figintfol 3 x n2 tous and well-mo- : :, thatravithed the uae Wo comprehended tcc and the Melody ; ; and ir dung ly st Pert } ine te : ore bumen Soul, not to melt into Tendernets and Tears from the violent Niction of the Affec- tions[ 19 ] tions. Oh! sowerful Proof to cor- found the -doli:’d Mode? Are there in thefe Tirics any, who are moved with Tendernets, or Sorrew? i alithe Auditors) no: for, the conti- nual finging of th Afodrrnsin the A/- caro Stile, though when in Perfec- ion That deferves Admiration, yet toucies very fliehtiy ene that bach a dheate Ear. The Tiie of the 4y7- ts was a Mixture of the Lich ad rhe Cantabile, the Variety of w cuuld not fail giving Deaght; but the Moderns ave fa pre- pot ted with Tare in Maze, that, rather than ccm- ply with the formes, they are content. ed to lofe the yreate eit Part of its Beauty. The Strdy cf the Petheticd was. the Daning of ‘the former; and Application to the mott dificult Divi- ions is the only Deitt of Fthe latter. Teste perform’d with more Judgment; nd Thefe execute with greacer Bold- nels, But fince I have prefum’d to compare the moft celebrated Singers in both Ftiles, pardon me if I conclude wich faying, that the Moderns are av- K rived{ 110 ] rived at the higheft Degree of Perfecti- on in finging to the Ear ; and that the Ancients are inimitable in finging to the Heart. § 23. However, it ought not to be cen but that the beit Singers of nes have in fome Particulars ced the preceding Talte, with fome Productions worthy to be imita- ted; and as an evident Mark of E- fteem, we muit publickly own, that if they were buta little more Friends to the Parbetich and the Exprefive, and a little leis to the Divifons, they might boatt of having brought the Art tothe highest Degree of Perfec- tion. §24. Itmay aifo potfibly be, that the extravagant Ideas in the prefent Compatitions, have deprived the a- vovementioned Singers of the Oppor- tunity of fhewing their Ability in the Cantab: ey in as much as the Airs at prefentin vogue co Whip and Spur “ith fuch violent Motions, as take a- way their Breath, far from giving them[ 119 ] them an Opportunity of fhewing the Exquifitenels of their Tafte. But, good God! fince there are fo many niedern Compolers, among whom are fome of Genius equal, and perhaps ereater than the beft dacients, for what Reafon or Motive do they al. ways exclude from their Compofiti- ons, the fo-much-longed-for Adagio ? Can its gentle Nature ever be guilty afa Crime? Ifit cannot gallop with the drs that are always running Poft, why not referve it for thofe that re- quire Repofe, or at leaft for a com- paflionate one, which is to affift an unfortunate Hero, when he is to fhed Tears, or die on the Stage? - No, sir, No; the grand Mode demands that he be quick, and ready to burft himfelf in his Lamentations, and weep with Livelinefs. But what can one fay? The Refentment of the mo- dern Tafte is not appeafed with the Sacrifice of the Pathetick and the Adagio only, two infeparable Friends, but goes fo far, as to prefcribe thofe dirs, as Confederates, that have not Ka the[ 112 } the Sharp third. Can any thing be more abfurd? Gentlemen Compofers, (I do not fpeak to the eminent, but with all due Refpect) Mufick in my Time has chang’d its Stile three times: The firft which pleafed on the Stage, and in the Chamber, was that of Pier. Simone *, and of Stradelia+; the fecond § * Plerre Simine Agofiini lived about thiccicore Years ago. Several Cantata’s of his Compofiticn are extant, fome of them very dif- ficz't, not from the Number of Div:fens in the vecal Part, but from the Expreffion, and the furprifing Incidents, and alfo the Execution of the Baties. He feems to be the firft that put Baf- fes with fo much Vivacity ; for Charifimi be- fore him compofed with more Simplicity, tho’ he is reckoned to be one of the firft, who enli- vened his Mufick in the Movements of his Baf- fes, Of Pierre-S:menz nothing more is known but that he ioved his Bottle, and when he hed run up 2 Bil in {cme favcurite Place, he compofed a Cantata, and fent it to a certain Cardinal, who never failed fencing him a fixed Sum, with which he paid off his Score, t Mieflandrs Sirest.cJs lived about Pier, Simsne's Time, or very litce after. He was a moft ex- cellent Compofer, fuperior in all Refpects to the fcregeing, and encowed with diftinguifhing per- fonal[ 113 ] fecond is of the beft that are now living ; fonal Qualifications. It is reported, that his favourite Inftrument was the Harp, with which he fometimes accompanied his Voice, which was agreeable, ‘To hear fuch a Compofer play on the Harp, muft have been what we can have no Notion of, by what we now hear. He ended his Life fatally, for he was murthered. The Faét 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 anoble Family, the Lady whereof was a great Lover of Mufick. Her Brother, a wrong- headed Man, takes Umbrage at Stradella’s frequent Vifits there, and forbids him going up- on his Peril, which Order Stradella obeys. The Jady’s Husband not having feen Stradella at his Houfe for fome Days, reproaches him with it. Stradella, for his Excufe, tells him his Brother- sn-law’s Order, which the Nobleman is angry with, and charges him to continue his Vifits as formerly ; he had been there fcarce three or four Times, but one Evening going Home, attend- ed by a Servant and a Lanthorn, four Ruffians rufhed out, the Lady’s Brother one among them, and with Stiletts or Daggers ftabb’d him, and left him dead upon the Place. ‘The People of Genea all ina Rage fought for the Murther- er, who was forced to fly, his Quality not be- ing able to protect him. In another Account K3 of{ 114] living *; and leave others to judge whether they are Modern. But of your Stile, which is not quite eftablith- ed yet in Italy, and which has yet gained no Credit at all beyond the Alps, thofe that come after us will foon give their Opinion ; for Modes laft not long. But if the Profeffion is to continue, and end with the World, either you yourfelves will fee your Miftake, or your Succeflors will re- of bim, this Particularity is mentioned ; that the Mu:derers purfued him to Reme, and on Enquiry learned, that en Oratorio of his Com- polition was to be performed that Evening; they went with an Intent to execute their Defign, but were fo moved with his Compofition, that they rather chof to tell him his Danger, advifed him to cezart, and be upon his Guard. Bur, being purfued by others, he lofthis Life. His Fate has been lamented by every Body, efpeci- ally by thofe who knew his Merit, and none have thought him deferving fo fad a Cataftroph. * When of writ this, the Compofers in Vogue were Scarlatti, Baonancini, Gafparini, fancini, &c. The laft and modern Stile hes pretty well fpread itfelf ail over /tak, and begins veagreat Tendency to the Jame beyond the dips, as he calls it. form[ 115] form it. Wou’d you know how? By banifhing the Abufes ;. and recall- ing the firft, fecond, and third Mood *; to relieve the fifth, fixth, and eighth, which are quite jaded. They will revive the fourth and feventh now dead to you, and buried in Churches, for the final Clofes. To oblige the Tafte 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 Indifcretion of the Inftruments, that hide the artful Delicacy of the Piano, and the foft Voices, nay, even all Voices which will not bawl: They will no longer bear being teafed with * The Afocds, here fpoken of, our Author has not well explained The Foundation be goes upon are the eight Church Mesds. But his Meaning and Complaint is, that commonly the Compolitions are in C, or in 4, with their Tranfpofitions, and that the others are not ufed or known. But to particularize here what the Adoods arc, and how to be ufed, is impoffible, for that Branch only would require a large Treatile by icfelf. : Un-{ 116 J Unt /ans *, the Invention of Ignorance, to hide from the Vulgar the Infuffi- ciency and Inability of many Men and Women Singers: They will reco- ver the in®rumental Harmony now ioit: They will compote more for the Vice than the Inftruments: The part for the Voice will no more have the Mortification to refign its Place to the Violins: The Seprans’s and Contr’ Al- vos willnomore fing the “vrs in the Manner of the Bais, in Spight of a thoutrd Odevrs: And, finally, their stirs will be more affecting, and lefs : yore itudied. and Tels painful ger; and fomuch the more -s they are remote from the . But, methinks, I hear it faid, ine theatrical Licence is great, a Union with: the Infiru- “er. fe hows n s diftinguifh- p of S:udy x oat Rome is doubt- there are any Co 2 and[ 117 ] and that the Mode pleafes, and that I grow too bold. And may I not reply, that the Abufe is greater, that the In- vention is pernicious, and that my Opinion is not fingular? Am TI the only Profeflor who knows that the heft Compofitions are the Caufe of finging weil, and the worft very pre- iu cial? Have we not more then opce heard that the Quahity of the Compotitions has been capable, with a few Songs, of eftablifhing the Re- putation of a middling Singer, and de- ftroyingThat of one who had acquired one by Merit? That Mufick, which is compoied by one of Judgment and ‘Vafte, inftru@s the Scholar, perfects the Skilful, and delights the Hearer. Bat fince we have opened the Ball, Jet us dance. . He that firft introduced Mu- ack on the Stage, probably thought to lead her to a Triumph, and raite her to a Throne. But who would ever have imagined, that in the fhort Courfe ofa few Years, fhe fhould be reduced to the fatal Circumftance of feeing{ 118 j feeing her own Tragedy? Ye pom- pous Fabricks of the Theatres!’ We fhould lock upon you with Horror, being raited from the Ruins of Har- mony: You are the Origin of the Abutes, and of the Er rrors: From You is Gerived the modern Stile, and the Multitude of Billad- makers : You are the cnl v Oceal us beta we zon of the Scarcity of rr ounded Pr fet 3 who juts y deturve the Title hapel-Vatt 3 fincet the poot Coun erpoint -$ has 5 been condemned, in this orp sted Age, to beg for a Piece of Bree din Churches, whilft the Ignorance fie any exultson the Stage, the moft t of the Compoiers have been prompted from Avarice, or Incigence, to abandon in fuch Manner the true Study, that one may forelee (if not “-, Mafter of the ing toa Mafter y the Singers in Ttaly ‘s the Title of as a Mark of their Submiffion, POC: seit, Counterpoint, or Note againft Note, the ark Rudments of Compofition, fuccoured[119 ] fuccoured by thofe few, that ftill glo. rioufly fuftain its deareft Precepts) Mafick, after having loft the Name of Science, and a Companion of Phi- lofophy, will run the Rifque of being reputed unworthy to enter into the facred Temples, from the Scandal gi- ven there, by their Jiggs, Minuets, and Furlana’s * ; and, in fact, where the Tafte is fo deprav’d, what would make the Difference between the Church-Mufick, and the Theatrical, if Money was received at the Church Doors ? § 26. I know that the World honours with juft Applaute fome, tho’ few Mailers, intelligent in both * Furlane, A fort of a Country Dance, or Chephire-Round, It is reported, that the Church-Mufick in ftaly, far from keeping that Mojeity it ought, i. valtly abufed the other way ; and (ome Sing- crs have had the Impudeice to have other Words put to favourite Opera Airs, and fung them in Churches. This Abule is not new, for St. Aucufiin complains of it; and Palejtina prevented in his “Vime Mulick from being ba- nifhed the Churches, Stiles,4 [ 120 ] Stiles, to whom I dire&t the Students, in order to their finging well; and if Iconfine the Mafters’ to fo fmalla Number, I do beg Pardon of thofe who fhould be comprehended therein; hoping eafily to obtain it, becaufe an involuntary Error does not offend, and an eminent Perfon knows no other Envy but virtuous Emulation. As for the Ignorant, who for the moft part are not ufed to indulge any, but rather defpife and hate every thing they do not comprehend, they will be the Perfons from whom Iam to expect no Quarter, § 27. To my Misfortune, I afked one of this fort, from whom he had learned the Counterpoint ? he anfwer- ed immediately, from the Inftrument. (i. e. the Harpfichord)~—Very well. Tafked farther, in what Tone have you compofed the Introduction of your Opera? --—— What Tone! what Tone! (breaking in znon me abrupt- ly) wih what muy Queftions are you going to if... 3 my Brains ? One may eafily perccive from what School you{ 141 ] you come. The Moderns, if you do not know it, acknowledge no other Tone iui one *; they laugh, with Reafon, at the filly Opinion of thofe who imagine there are two, as well as at thofe who maintain, that their be- ing divided into duthentick andP /agal, they become Eight, (and more if there were need} and prudently leave it to every body's Plesfure to compofe as they like bef. Vhe World in your Time was afleep, and ‘ct it not dif- pleafe you, if our merry and brifk Manner has awakened it with a Gayety fopleafing to the Heart, that it tacites one to danc2. I would have you likewife be lively befoze you die, and, abandenii:g your uncouth Ideas, make it appear, that cld Age can be pleafed with the Productions cf Youth; other- § 27 * Tono, or Jud, and fometimes means the Key, Our Author 1: t!is Section is fond of a Pun, which cannot well be tranflated, Ton is fometimes writ Luono, and Tino figni- fies Thunder ; therefore the Ignorant aidwers, ‘he kricws no other Luono but that which is pre- ceded by Lightning. Lo wife{ 122 ] we you will find, that you will be oademned by vour own Words, that serance hates all that is excellent, ie polite Arts have advanced conti- ly in Refnement, and if the reft re to give me the Lic, Mufick ‘cull defend me Sword in Hand; “not arrive at a higher Pitch. 1 if you are not » hee arken to hk + candidly to you ; and ‘for a be ir known to you 8. That cur delicious Stile has invented to bide with the fine Re 20. The at there is an inviolable us, to bunith for ever is very true ; becaufe will have no Melancholy, Sac. rt that we fhould be told ty the oid Bajieres, that we firive who can produce moft extravagant Abfardities never heard betore, and that we brag to be the Inventors of them{ 123 J them ourfelves, are the malign Fe- ficctions of thofe who fee us exalted, Let Envy burft. You fee, that the eeneral Efteem which we have ac- quired, gives it for us; and if « Mu- Reian is not of our Tribe, he will snd no Patronor Admirer. But fince we are now {peaking in Confidence and with Sincerity, who can fing or compofe well, without our Approba- tion? Let them have ever fo much Werit (you know it; we do not want Means to rnin him; evena few Syl- lables will fuffice: It is only faying, He isan Ancient. § 31. Tell me, I befeech you, who, without us, could have brought Mufick to the Height of Happiness, with no greater Difhculty than taking from the Ars that tirelome Emula- tion of the firft and fecond Violin, ant of the Tenor? Is there any that ever durtt ufurp the Glory of it? We, we are thofe, who by our Ingenuity have raifed her to this Degree of Sublimity, in taking alfo from her that noify murmuring of the fundamental Baffles, L2 in[124 ] in fuch Manner, —— (mark me well, and learn) that if inan Orcbeftre there were an hundred Violins, we are ca~ pable of compofing in fuch a Manner, that all and every one fhall play the very ir which the Voice fings. What ty you to that?’ Can you have the Face to find Fault with us? ° § 32, Our melt lovely Method; that cbliges none of us to the painful Study of the Rules ; which does not difguiet the Mind with the Anxiety of Speculation, nor delude us with the Study of reducing them inte Practice ; that does not prejudice the Health; that enchants the Ear 4 /¢ Moze; that finds thofe who love it, who prize it, and who pay for it the Weight in Gold; and dare you to iticile upon it? § 33. What fhall we fay of the ob- {cure .and tedious Compofitions of thofe whom you celebrate as the Top of the Univerfe, tho’ your Opinion goes for nothing ? Don’t you perceive that thofe old-fathioned Crabbedneffes are difguftful? We fthould be great Fools[ 125 ] Fools to grow pale, and become para~ lytick in ftudying and finding out in the Scores, the Harmony, the Fugues, their Reverfes, the Double Countér- point, the Multiplication of Subjects, to contract them clofer, to make Canons, and fuch other dry Stuff, that are no more in Mode, and (what is worfe) are of little Efteem, and lefs Profit. What fay you now to this, Majter Critick ? Have you com- prehended me?—— Yes, Sir. Well, what Anfwer do you make me ? —— None. §34. Really, I am aftonifhed, O beloved Singers, at the profound Le- thargy in which you remain, and which is fo much to your Difadvan- tage. "Tis You that ought to awaken, for now is the Time, and tell the Compofers of this Stamp, that your Defire is to Sing, and not to Dance, L 3 CH AP,{ 126] CHAP. VUL Of Cadences*, a eee E Cadznces, that termi- = a ¥ rate the “rs, are of two Sorts. The Compofers call = the one Suferior, and the other Inferior, To make my vylelf bet- ter underftood by a Scholar, I mean, if a Cadence were in C natural, the Notes of the firft would be La, Sol, Fa; and thofe of the fecond Fz, Mi, Fa. In Airs fora fingle Voice, or in Recitatives, a Singer may chufe which of thefe Clofes or Cadences pleafes him beft ; but if in Concert * Cadences 5 of, principal Clofes in Airs. § 1. For fuperior and inferior Cadences, fee PL V. Nurab. 3. with[ 127 } with other Voices, or accompanied with Inftruments he muft not change the Superior for ‘the Toferior, nor this with the other, § 2. It would be fuperfluous to fpeak of the broken Cadences, they being become familiar even to thofe who are not Profeffors of Mufick, and which ferve at moft but in Reci- tatives, § 3. As for thofe Cadences that fall a fifth, they were never compofed in the old Stile for a Soprano, in an Air for a fingle Voice, or with Inftruments, unlefs the Ixhitation of fome Words had obliged the Compofer thereto, Yet thefe, having no other Merit, but of being ‘the eafieft of all, as well for the Compofer as for the Singer, are at prefent the moft prevailing. » § 4. In the Chapter on irs, Thave exhorted the Student to avoid that Torrent of Paffages and Divifons, $2. Broken Cadences, fee Example, Chap. V. § 13, and its Note. § 3. Cadences that fall a Fifth, with and without Words, Pl, V, Numb. 4 and 5. 0he utnal Protef them, with all i to the Tribunal of the 3s Jasco: there of Fath whence here Is no AAppeat; t leait} three chrce final. Ce ving of Pajfuges ure, and the Or- ci the fecond here mentioned, Part of the cfthe fecond Party fal Part, when Le Caps, a3 it is al- the[ 129 J the Dofe is cncreafed, and the Or- chy re grows tired ; but on the laft Cantence, the Throat is fet a going, Weather-cock in a Whirlwind, he Oreleffre yawns, Bat why the World be thus continuslly deafened with fo many Driifons? I moft (with your Leave, Gentlemen AMuderns) fay in Favaur of the Pro- on, that goad Tafte does not con- fit in a continual Velocity of the Voice, which goes thus rambling on, without a Guide, and without Foun- dation ; but rather, in the Cantabile, in the putting forth the Voice agre- ably, in Apporgiatura’s, in Art, and in the true Notion of Graces, going from one Note to another with fine gular and unexpected Surprizes, and fiealing the Time exactly on the true Motion of the Bafs. Whefe are the Principal and indifpenfible Qualities which are moft effential to the finging well, and which no mufical Ear can find tn your capricious Cadences, 1 rauft till add, that very anctently the Stile of the Singers was infpportable, (as mit{ 130 ] I have been informed by the Mat. ter who taught me to Sola) by cafon of the Number of Paffages a th cir Cadences, t that nd, as they are now rays the fame, They became s a Nusance ring, they were wnuch as attempt- Thus will it al- at the Arft Ex- er whofe Credit vi not be fe- Applauie, ne > facceeding preferthed to , Which perhaps ‘akolithed, were te heard ; but Lois ot the , has Sdmisation in cers langh at Refoumation on[131] of the contrary, having recalled them irom their Banifhment, and brought them on the Stage, with fome little Caricatura to boot, they impofe them on the Ignorant for rare Inventions, and gain themfelves immenfe Sums ; it giving them no Cencern that they have been abhorr’d and detefted for fifty or fixty Years, or foran hundred Ages. But who can blame them? However, if Reafon fhould make this Dernand of them, with what un- juft Pretence can you ufurp the Name of Moderns, if you fing ina moft An- cient Stile? Perhaps, you think that thefe Overflowings of your Throat are what procure you Riches and Praifes? Undeceive yourfelves, and thank the ert Number of Theatres, the ¢car- ci'y of excelient Performers, and the Supidity of your Auditors, What could they anfwer? I know not. But let uscall them toa ftricter Account. § 6. Gentlemen Moderns, can you polfibly deny, but that you laugh a- mong yourfelves, when you have Re- courfe to your long-ftrung Pa/fages yl, Which, you sO Hot deiérve efurn you tho’ they , ent : rr own Ses unde- rid, and empioy tae re are cnvowed with on osthy of you, In relearn wid[ 133 ] know, on what Foundation certain Moderns of Reputation, and great Name, do on the fuperior Cadences always make the SAake on the third in Alt to the final Note; fince the Shake (which ought to be refolved) cannot be fo in this Cate, by reafon of that very third, which being the fixth of the Bais hinders it, and the Cadence remains without a Refolution. If they fhould go fo far as to ima- gine, that the beit Rules depended on the Mode, I thould notwithftanding think, they might fometimes appeal to the Ear, to know if That was ‘% (sited with a Shake beaten with the feventh and the fixth ona Bafs which makes the Cadenee ; and Tam fare it would anfWwer, No, From the Roles of the lectents we leara, that the Shake is to be prepared on the 6 ot the Bats, thai ofeer it the may be heard, for that is its proper Place. § 8. Some others of the Mme Ras make their Casem cs in the Manner of the Baties, which is, in filling a fifth, M with[ 134 ] with a Paflage of fwift Notes defcend- ing gradually, fuppofing that by this Means they cover the Oéfaves, which, tho’ difguifed, will {till appear. § 9. I hold it alfo for certain, that no Profeflor of the fir Rank, in any Cadesce whatfoever, can be allowed to sakes, or Divifions, on the lad ‘les but one of thefe Words, --- Cs vt---Aners, &c. for they are Ornaments that do not fuit on thofe Syilables which are fhort, but do well on the Antecedent. § 10. Very many of the fecond Clais end the inferior Cadeices in the French Manner without a Shake *, cither for want of Ability to make one, or from its being eafy to copy them, or from their Defire of finding out fomething that may in Appearance dapport the Name of Modern. But in Pact they are miftaken ; for the French do not leave out the Shade on the in- ferior Cadences, except in the Patbe- &9, Seefor the Examples, Pl. V. Numb, 8. 410, * sce Exemple, PL VI) Numb 4. tick[135 ] tick Airs; and our Italians, who are ufed to over-do the Mode, exclude it every where, tho’ in the Allegro the Shake is abfolutely neceflary. I know, that a good Singer may with Reafon abftain from the Shake in the Canta- bile; however, it fhould be rarely ; for if one of thofe Cadences be tolerable without that pleafing Grace, it is ab- folutely impoffible not to be tired at length, with a Number one after an- other that die fuddenly. § 11. I find, that all the Moderns (let them be Friends or Foes to the Sdake) in the inferior Cadences before- mentioned go withan Appoggiatura tothe final Note, on the penultimate Syllable of a Word ; and this likewife is a Defect, it appearing to me, that on fuch Occafions the Appoggiatura is not pleafing but on the laft Sylla- ble, after the Manner of the Ancients, or of thofe who know how to fing, § 11, See Example. Pl. VI. Numb. 2. N. B. An Appoggiatura cannot be made on an unaccented Syllable. M2 § 12,tor Cadences, the e Days think they fonz in making you ‘te before the Bats +, mielves grofily ; for it hurts the Ear, tes; and becomes as they do) to the 1 Apprggiatura, the icending or deicending, Buis *, 1s always very a! . Andis it not worft of all, to nent the Hearers with a thoufand s all in the fante Manner? vom whence proceeds this Sterility, fince every Proteflor knows, that the fureft way of “gaining Efteem in Sing- ing is a V ariety in the Repetition ? rq. Ir among all the Cadences he itirs, the laf allows a mode- rate bi iberty 09 the Singer, to diftin- : yd cr them, “the Abute of bie Lut it grows abo- vee, Pl Vi. Numb. z minable[137 ] minable, when the Singer perfifts with his tirefome Warbling, naufeating the Judicious, who fuffer the more, be~ caufe they know that the Compo- fers leave generally in every fra Ca~ dence fome Note, fufficient to make a difcreet Emabellithment ; without seeking for it out of Time, without T: ite, vithout Art, and without jadement *, ae 5. Tam ftill more furprifed vhen I refleét, that the modern Stile, ter having expoted all the Cadences ot the theatre cal Airs to the Martyi- om of perp. nual Mo.ion, will Kewile have the Cruelty to condemn to the fame Puoithment not Tiofe in the Cantata’s ony, but alfo the Ca- ch aces of their Recitatis ves. Do thefe Singers pretes by their not di- finguithings a niber-Mufick from the immoderate © ers ofthe “tage, to expect the vulgar Ep Viva’s in th Cabinet of Princes? ? and paffionste and, atcra boas duuguitl, “Semt, aftera ter merry c & 16,[138 } . Let a fenfible Student avoid I xample, end with this Example the Abufes, the Defects, and every other Thin z that is mean and com- rell in the Cadences as elie- erthy vEmploe fs (fo call’d) let ne Use of it; endea- them in their Skill ating the Time; wl hese, who un- a a a a s or °. =, Me > € °. Many and many other Errors 1 in the Cr i noes that were dowhieh ee now become ulous than,{ 139 J § 19. Now let us for a while leave at Reft the Opinions of the aforefaid Ancients, and the fuppofed Moderns, to take Notice what Improvement the Scholar has made, fince he is de- firous of being heard. Well then, let him atiend, before we part with him, to Infractions of more Weight, that he may atleait deferve the Name of a good Singer, though he may not arrive at that of an eminent one,jEhcld the Singer now ap- + pearing in Publick, frona } the Effecis of his Applica- tion to the Study of the icfions. But to what Pur- pote does he appear ? Whoever, in the great Theatre of the World, does not aiftinguifh himielf, makes but avery inflgnit Figure. $2, From the cold Indifference perceived ij in many Singers, one would believe that the Science of Mufick im- * Ticuch this Chapter regards Singers who i : Mion, azd particularly thofe e, vet there are many ex- plored[ 141 ] plored their Favour, to be received by them as their meft humble Servant. § 3. Iftoo many did not perfuade themfelves that they had ftudied fut> ficiently, there would not be fuch a Scarcity of the Beft, nor fuch a Swarm of the Worft. Thefe, becaufe they can fing by Heart three or four Ky- rie’s*, think they are arrived at the Non plus ultra ; but if you give them a Cantata to fing, that is even eafy, and fairly written, they, inftead of complying as they ought, will tell you with an impudent Face, that Per- fons of their Degree are not obliged to fing in the vulgar Tongue at Sight, And who can forbear laughing? For a Mufician knowing that the Words, let them be either Latin or Italian, do not change the Form of the Notes, muft immediately conclude, that this pert Anfwer of the great Man pro- § 3. Kyrie, the firfl Word of the Ma6- Mutick in the Cathedral Stile, is not fo difficult to them as the Cantata’s; and the Latin in the Service, being familiar to them, faves them the Trouble of attending tothe Words. ezeds[ 142 ] ceeds from his not being able to fin at Sight, or from his not knowing how to read ; and he judges right. § 4. There are an infinite Number of § 4. Ylaaes Adoricy, (who lived above an huncred Years azo) in the third Part o? his Treatile, 179, Speaking of Avctetts or An+ thems, come ns thus: --» © But I fee not © what Paffions or Motions it can ftir up, being © as moft Men doe commoniie Sing, --- leaving © our the Ditty --- as it were a Muficke made © onely for Infiruments, which will indeed thew € the “Nature of the Mufick, but never carry ‘ pit and (283 it were! that lively Souie ‘ which the Ditty giveth ; but of this enough, And to return to the exprefing of the Dity, c cf © c « ‘ the Matter is now come to that State, that -though a Song be never fo wel made, and never fo aptly applyed to the Words, yet fhali you hardiy find Singers to exprefie it as it ought to be ; for moft of our Church-men, (fo they can crie louder in the Quire then their Fellowes) care for no more ; whereas, by tke contrarie, they ought to ftudy how to vowel! and fing clean, exprefing their Words with Devotion end Pafion, Ww hereby to draw the Hearer as it werein Chaines of Gold by e Eares to the Confideration of holy Things. But this, for the moft part, you fhall find a- moneft them, that let them continue never fo © long nwa anan[143 ] of'others, who with and figh for the Moment that eafes them from the painful Fatigue of their firft Studies, hoping to have a Chance to make one in the Crowd of the fecond Rate; and ftumbling by good Luck on fome- thing that gives them Bread, they im- mediately make a Legg to Mufick andits Study, not caring whether the World knows they are, or are not a- mong the Living, Thefe do not con- fider that Medzocrity in a Singer means Ignorance. 5. There arealfo feveral who ftu- dy nothing but the Defects, and are endow'd with a marvelous Aptnefs to learn them all, having fo happy a Me- mory as never to forget them, Their Genius is fo inclined to the Bad, that * Jong inthe Church, yea though it were twen- tie Years, they will never iudy to fing better than they did the firft Day of their Prefer- ment to that Place; fo that it feems, that having obtained the Living which they fought for, they have little or io Carseat all, either of their own Credit, or wel difcharging of a vow 2? * that Dutie whereby they have their Mainte- * nance,’ ‘ « © 6 € . if -[ 144 ] if by Gift of Nature they had the beft Vol y would be difeontented Shot find tome Means to : a. elt vit, <6. Ore cfa better epi will en- Voces oO 9° Ey + ! 2 aA Co 3 e g = = O* ey > 5 , ther iooverie. ot eee porate end t ro her Matter, Art of Singing, ie 1 how to behave Preeding. This, yuired by his Sing- Hopes of the Fa. nd of an univerfal the Cnaraéter of and Judgment, ular vw too bold. ih un law and difre+ bat, above all, tuch plves to feandalous er ought not to be excelent in this rois vulvar and 2 Re (Mts NGt, pro- vided[ 145 ] vided he makes his Fortune, whether it be at the Expence of his Reputa- tion. § 10. The beft School is the Nobi- lity, from whom every thing that is genteel is to be learned; but when « Mofician finds that his Company ix not proper, let him retire without repining, and his Modctiy will be to his Commendation. § 13. Tf he thould not meet wi a Gratification from the Great, ls him never complain ; for in is better to get but little, then to lofe a great deal, and thatis not feldora the Cofe. The beft he can do, is to be atlidaous in ferving them, that at leaft he may hope for the Pleafare of feeing th re for once gratcful, or be convinced or ever of their being ungrateful, 3 12, My long and repeated Tra- vels have given me an Opp ortunity of being acquainted with raoik of the Courts of Europe, and Examples, more than my “Words, fhoula per- fuade every able Singers to fee them ai-. fo ; but without yielding up his Liber- N tyi 140 ] ty to their Allurements: For Chains, though of Gold, are itill Chains; and they are not all of that precious Me efides, the ieveral Incon- sot Difzrace, Mortifications, ninty 5 and, above all, the Hin- om End, if the heir Nefts on reais In Teas or on the kes of the Thames. O dear Jn the other Streams, 1 no more as they ufed to do their tweet Notes at their expiring; but rather fadly lament the Expiration cr thoie auguit and adorable Princes, by whom they were tenderly belov ‘d nd eiteemed. This is the ufual Vi- tude of Things in this World; we daily fee, that whatever is + o uit of Neceffity decline. SL 147 J Let us leave the Tears to the Heart, and return to the Singer. § 14. A difcreet Perfon will never ufe fuch affected Evxpreffions as, I cannot fing To-day; --- Ive got a deadly Cold; and, in making his Ex- cufe, falls a Coughing, T can truly fay, that U have never in my Life heard a Singer own the Trath, and fay, I’m very well To-day: They referve the unfeafonable Confeffion to the next Day, when they make no Dificulty to fay, In all my Days iy Voice was never in better Order than it was Yefterday, Y own, on certain Con- junétures, the Pretext is not only fuit- able, but even neceffary ; for, to fpeak the Truth, the indifcreet Parfimony of fome, who would hear Mufick for Thanks only, goes fo far, that they think a Mafter is immediately obliged to obey them gratis, and that the Refufal is an Offence that deferves Refentment and Revenge. But if it is a Law humanand divine, that every Body fhould live by their honeft La- bour, what barbarous Cuftom obliges Na a Mu-how to refute end how to obey with a being ignorant, that mot at Accouns _who ne in ks on » nothing ig jn the ready way to re- x ignorant, i>. Who would ever think, (Gf ce did not fhew it) that a cf the high heft Eftimation dice a Singer? And yet, mption and Arrogance wampa, (I’m iheck’d to think on’t) isbic Humility, the more the Sing- er hes of it, the more it depreffes him. § 16. At frit Sight, Arrogance has the[149 ] the Appearance of Ability ; but, upon anearer View, I can difcover Igno- rance in Mafquerade, § 19. This Arrogance ferves them fometimes, as a politick Artifice to hide their own Failings : For Example, certain Singers would not be uncon- cern’d, under the Shame of not being able to fing a few Barrs at Sight, if with Shrugs, fcornful Glances, and malicious fhaking of their ‘Heads, they did not give the Auditors to un- derfland, that thofe grofs Errors are owing to him that accompanies, or to the Orche/ffre, § 20. To humble fuch Arrogance, may it never meet with that Incenfe which it expects, § 21. Who could fing better than the Arrogant, if they were not afham- ed to ftudy ? § 22. It is a Folly in a Singer to grow vain at the firft Applaufes, with- out reflecting whether they are given by Chance, or out of Flattery ; and if he thinks he deferves them, there is an End of him. N3 $23,[ 159 ] § 23. He fhould regulate his Voice ording to the Place where he fings; ud! be the greatest Abfurdity, ke a Difference between a and avait Theatre. tell mere to be blam’d, Zin two, three, or cHtions for more “ought to be fung are written; nor do « other Art but a no- yy remember to have nous Duet-9 torn into enown'd Singers, in one proofing, ‘and ins iwering, that at who valued eaking the vith their ch, fo fa- faffer fuch laft[ 151] laft it ended in a Conteft, who could produce the moft Extravagancies. § 26. The Correction of Friends, that have Knowledge, inftructs very much; but ftill greater Advantage may be gain’d from the ill-natur’d Criticks ; for, the more intent they are to difcover Defedts, the greater Be- nefit may be receiv’d from them with- out any Obligation. §27. Itis certain, that the Errors corrected by our Enemies are better cured, than thofe corrected by ourfelves; for we are apt to indulge our Faults, nor can we fo eafily perceive them. § 28. He that fings with Applaufe in one Place only, let him not have too goodan Opinion of himfelf; let him often” change Climates, and then he will judge better of his Talent. § 29. To pleafe univerfally, Reafon will tell you, that you mutt always fing well; but if Reafon does not inform you, Intereft will perfuade you to conform to the Tafte of that Nation (provided it be not too deprav’d which pays you. : § 30(152 ] ory over It § 31. Ldonctknow ifa perfect Sing- ercan at the inme time be a perfect Actcr; for the Mind being at once divized by two different Operations, ut prebebly: incline more to one af ee ether: It being, however, i “ult to fing well than Dow sil the Merit cf the Arft is yond the fecond. Wohaet a Felicit werubiit be, to poilefs both in a per- Hea wing fluid, a Singer fhouid opy, Ir repeat it now with ms at to cepy is the partcf { ofa Meter j is to invent. g much in 5 WeTE EXCEL a Httle of the[153 ] § 33. Letit be remembered by the Singer, that copying comes from La- zinefs, and that none copy ill but out of Ignorance. § 34. Where Knowledge with Stu- dy makes one a good Singer, Igno- rance with one fingie Copy makes a thoufand bad anes ; however, among thefe there are none that willacknow- ledge her for a Veacher. §35. If many of the female Sing- ers (tor whom IT have due Refpect) would be pleafed to confider, that by copying a good one, they are Lecome very bad ones, they would not appear fo ridiculous .on the Stage for their Affectation in prefuming to fing the Airs of the Perfon they copy, with the fame Graces, In this great Error, (if it does not proceed from their Maf- ters) they feem to be govern’d by In- ftingt, like the inferior Creatures, ra- ther than by Reafon ; for That would fhew them, that we may arrive at Ap- plaule by different ways, and paft Ex- amples, as well as one at this pre- fenttent, * make us fenfible, that two Women wruld not he equally emi- ness if the one copy 'd the other. omplaifance, which Sex, cces not excule ing when it proves efion, what ef tho Men, nee: iting, not only irown Sex, but allo 1 df hale, mieful oe podibllity, o/s. that ved et copying in fuch not to be cath inguithed acl, fhould he attribute erit which does not be- imfelf out in sother without being itripp’ 4 ofthe t ? ha 7s how nothing but that Omar nent, hire when etural, im- o Women, he pointsat, are medi-[155 ] mediately lofes its Beauty when arti- ficial. § 38. The moft admired Graces of a Profeflor ought only to be imitated, and not copied ; on Condition alfo, that it doesnot bear not even fo much as a Shadow of a Refemblance of the Original; otherwiie, inftead ofa beauti- ful Imitation, it will become a defpi- cable Copy. § 39. I cannot decide, which of the two deferves moft to be defpifed, one who cannot imitate a good Singer without Caricatura’s, or He that cannot imitate any well but bad ones. § 40. If many Singers knew, that a bad Imitation is a contagious Evil, to which one who {tudies is not liable, the World would not be reduc’d to the Misfortune of feeing in a Carnaval but one Theatre provided with emi- nent Performers, without Hopes of § 40. The Carnaval is a Feftival in Lak, particularly celebrated at J’enice from Chriptmess to Lent, when all Sorts cf Diverfions are per- mitted ; and at that Time there are fometimes three different Tleatres for Opera’s only. an[ 156 J proaching Remedy. Let them or their Pains, Let the World ‘olaud Nierit; and (not to more har:h Expretiion) be lefs nt to Faults. 8 4h Whoever dezs not know how ithe Time in Secing, Knows not rto “Accompany te ef the beft odze, as fio . 3 €21 + t < of Time, in the neura le Theft in r then others, pro- he muses a Recitation with In- tioned Time; and how in this[357 ] $43. An Exercife, no fefs necefla ry than this, is That of agreably putting forth of the Voice, wichout which ali Application is vain. Whofoever pre- tends to obtain it, muft hearken more to the Didates of the Heart, than to thole of Art. § 44. Oh! how great a Matter is the Heart! Confefs it, my beloved Singers, and gratefully own, that you would not have arr Rank of the Profeftion iv you 1 had not been its Scholars; own, thet ina at at the hk gheat thut few Leffons from it, you learned the mott beautiful Expreffions, the mot rein’d Tatte, the moit noble Action, and the moft exquifite Graces: Own, (though it be hardly credible) that the Heart correéts the Defits of Nature, . fince it foftens a Voice that’s harih, betters an indifferent one. and perf cts a good one: Own, when the Phare fings you cannot dillemble, nor has Truth a greater Power of perfuad ng : And, laftly, do you convince theWol 4, (what is not in my Power to de) that from the Hei rt alon? you have learn’ 3, 1 oO that( 158 J that Fe ne fai quoy, that pleafing Charm, that fo fubtily paffes from Vein to Vein, and makes its way to the very Soul. " § 45. Thoughthe way to the Heart is long and rugged, and known but to few, a ftudious Application will, notwithftanding, mafter all Obftacles. § 46. The beft Singer in the World continues to ftudy, and perfifts in it as much to maintain his Reputation, as he did to acquire it. § 47. To arrive at that glorious End, every body knows that there is no other Means than Study ; but That does not fuffice ; it is alfo neceffary to know in what Manner,and with whofe Affiftance, we mutt purfue our Studies, § 48. There are now-a-days as ma- ny Matters as there are Profeffors of Mufick in any Kind; every one of them teaches, I don’t mean the firft Rudiments only, (That would be an Affront to them ;) Tam now fpeak- ing of thofe who take upon them the pert of a Legiflator in the moft finifh- ed part in Singing; and fhould we then[ 3159 J then wonder that the good Tafte is. near loft, and that the Profeflion is going to Ruin? So mifchievousa Pre- tenfion prevails not only. among thofe, who can. barely be faid to fing, but among the meaneft inftrumental Per--_ formers; who, though they never fung, nor know how to fing, pretend not only to teach, but to perfect, and find fome that are weak enough to be im- pofed on, But, what is more, the in- ftrumental Performers of fome Abili- ty imagine that the beautiful Graces and Flourifhes, with their nimble Fin- gers, will have the fame Effect when executed with the Voice; but it will notdo *. I fhouldbe the firft to con- § 48. A farther Animadverfion againtt imi- tating Inftruments with the Voice. * Many Graces may be very good and proper fora Violin, that would be very improper for a Hautboy ; and fo with every Species of Inftru- ments that have fomething peculiar, It is a very great Error (tco much in Practice) for the Voice, (which fhould ferve asa Standard tobe | imitated by Inftruments,) to copy all the Tricks practifed on the feveral Inftruments, to its great~ ef Detriment. - 02 dern,[ 160 ] demn the magifterial Liberty I take, were it meant to give Offence to fuch Singers and inftrumental Performers of Worth, who know how to fing, perform, and inftrnét; but my Cor- rection aims no farther than to the Petulancy of thofe that have no Capa- city, with thefe few Words, ge quod agis, which (for thofe who do not underftand Letin) is as much as to fay, —-Do You mind your So/-fa ; and You, your Inftrument. § 49. If fometimes it does happen, that an indifferent Mafter fhould make an excellent Difciple, it is then inconteftable, that the Gift of Nature in the Student is fuperior to the Sufft- ciency of the Inflrudter ; and it is not to be wonder’d at, for, if from time to time, even great Mafters were not out-done, moft of the fineft Arts would have funk before now. § 50. Itmay feem to many, that every perfect Singer muft allo bea perfeG Infiructor, but it is not fo; for his Qualifications (though ever fo. great) are infuficient, if he cannot com=f r6r J communicate his Sentiments with Eafe, and in a Method adapted to the Ability of the Scholar ; if he has not fome-Notion of Compofition, and a manner of infrudting, which may feem rather an Entertainment than a Leffon ;-with the happy Talent te fhew the Ability of the Singer to Ad- vantage, and conceal his Imperfec- ‘tions; which are the principal and ° moft neceflary Infirudions, § 51. A Matter, that is pofleffed of the above-mentioned Qualifications, is capable of Teaching ; with them he will raife a Defire to ftudy ; will cor- rect Errors with Reafon ; and by Ex- - amples incite a Tafte to imitate him, § 52, He knows, thata Deficiency of Ornaments difpleaies 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: diflike the former moft, though it gives. , lefs Offence, the latter being eafier- to. be amended. 03 § 53.[ 162] § 53. He will have no Manner of Efteem for thof who have no other Graces than gradual Divisions * 5 and will tel vou, Embe llithments of this Sort are only At for Beginners. . Hewill have as little Efteem for thote who think to meke their Aue Citors fein a with their Tranfi- ter 2 fron a Th ird to the Flat. that a Singer eae) from e Audience , hese ing thein it Variation, ! e affrighted at the that launches cut, n lithe Praétice, and le’s Study; le% venturing teo far. he fhouid be in great Danger or loting himtelf. The Difference 1 Grace or Fight, not umb. 5. A Paffugio is ion, or a Succeffion of wi ‘efcencing with Unifor- ity. bee PE VI, Numb, 6. 1 § 57. a we Sn 8{ 163 } § 57. He will not praife one that prefumes to fing two Partsin three of an Opera, promifing himfelf never to be tirefome, as if that divine Privilege of always pleafing were allowed him here below. Such a one does not know the firft Principle of mufical Politicks; but Time will teach it him. He, that fings little and well, fings very well. § 58. He will laugh at thofe who imagine to fatisfy the Publick with the Magnificence of their Habits, with- out reflecting, that Merit and Igno- rance 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. § 59. He will nanfeate the new- invented Stile of thofe who provoke the innocent Notes with coarfe Start- ings of the Voice. A difagreable Defe&t ; however, being brought from § 59. This alludes to the French Manner of Singing, from whence that Defect is copy’d. beyond[ 164 ] beyond the Afps, it pafles for a modern ‘Rarity. § 60. He will be aftonifhed at this bewitched Age, in which fo many are paid fo well for finging ill, The Moderns would not be pleas’d to be put in Mind, that, twenty Years ago, indiferent Singers had but mean Parts allotted them, even in the fecond- rate Theatres; wherzas at prefent, thofe, who are taught like Parrots, heap up Treafures beyond what the Singers of the firft Degree then did. § 61. He will condemn the Igro- rance of the Men moft, they being mote obliged to Rudy than the Wo- men. 7: § 62. He will not bear with one: who imitates the Women, even in fa- crificing the Time, in order to acquire the vitle of Modern. § 63. He will marvel at that Sing: §€0. The Time he alludesto, is at, prefent™ between thirty and forty Years ago, § 63. Compare this Setion with Section 41. inthis Chapter and the Note. er,[ 165 J er, who, having a good Knowledge of Time, yet does not make ufe of it, for want of having apply’d him- felfto the Study of Compofition, or to accompany himfelf. His Miftake makes him think, that, to be eminent, it fuffices to fing at Sight; and does not perceive that the greateft Difficul- ty, and the whole Beauty of the Pro- “fetfion confifts in what he is ignorant of ; he wants that Art which teaches. to anticipate the Time, knowing where to lofe it again; and, which is fill more charming, to know how to lofe it, in order to recover it again; which are the Advantages of fuch as underftand Compofition, and have the beft Tafte. § 64. He will be difpleafed at the Prefumiption of a Singer who gets the Words of the moft wanton Airs of the Theatre rendered into Latin, that he may fing them with Applaufe in the § 64. This is a Fault more than once heard of, in Oratorio’s or Motetts, Chuich ;{ 166 j Church ; as if there were no Manner. of Difererce between the Stile of the one and the other; and, as if the Scraps of the Stage were fit to offer to the Deity. §65. What will he not fay of him who has found out the prodigious Art of Singing like a Cricke: ? Who could have ever imagin’d, before the In- troduction of the Afod:, that ten or a dezen Quavers in a Row could be trundled along one after another, with a Sort of remsr of the Voice, which for fome time paft has gone under the Name cf Mordente Frejic ? § 66. He will have a ftill greater Deteftation for the Invention of Laugh- ing in Singing, or that fereaming like a Hen when fhe is laying her Egg, Will there not be fome other little Animal worth their Imitation, in or- der tomake the Profeffion more and more ridiculous ? §€7. He will difapprove the ma- licious Cuftom of a Singer in Repute, te 65. See Example, Pl. VI. Numb. 7. who[ 167 ] who talks and laughs on the Stage with his Companions, to induce the ‘Publick to believe that fuch a Singer, who appears the firft time oa the ‘Stage, does not deferve his Attention ; when in reality he is afraid of, or en- vies, his gaining Applaufe. § 68. He cannot endure the Vanity of that Singer, who, full of himfelf from the little he has learned, is fo taken with his own Performance, that he feems falling into an Extafy ; pretending to impofe Silence and cre- ate Wonder, as if his firft Note faid tothe Audience, Hear and Die: But they, unwilling to die, chufe not to hear him, talk loud, and perhaps not ‘much to his Advantage. At his fe- cond Air the Noife encreafes, and ftill encreafing, he looks upon it as a ma- nifeft Injury done him ; and, inftead of correcting his conceited Pride by Stu- -dy, he curfes the deprav’d Tafte of ‘that Nation that does not efteem him, menacing never to return again; and thus the vain Wretch comforts him~- felf, a § 69.[ 168 ] §69. He will laugh at one who will not act unlefs he has the Choice of the Drama, and a Compofer to his lik- ing; with this additional Condition, not to fing in Company with fuch a Maen, or without fuch a Woman. § 70. With the like Derifion, he will obferve fome others, who with an Humility worfe than Pride, go from one Box to another, gathering Praifes from the moitt illuftrious Per- fons, under a Pretence of a moft pro- found Obfequioufnefs, and become in every Reprefentation more and more famuiar. Humility and Modefly are mott beautiful Virtues; but if they are not accompanied with a little De- corum, they have tome Refemblance to Hypocrify. § 71. He willhave no great Opinion of one, who is not fatisfied with his Part, and never learns it ; of one, who never fingsin an Opera without thruft- ing in one Air which he always car- ries in his Pocket ; of one, who bribes the Compofer to give him an Air that was intended for another; of one, who