Chapter 2

Sec. 17. If the Master does not understand Composition, let him provide himself with good Examples of _Sol-Fa_-ing in divers Stiles, which insensibly lead from the most easy to the more difficult, according as he finds the Scholar improves; with this Caution, that however difficult, they may be always natural and agreeable, to induce the Scholar to study with Pleasure.

Sec. 18. Let the Master attend with great Care to the Voice of the Scholar, which, whether it be _di Petto_, or _di Testa_, should always come forth neat and clear, without passing thro' the Nose, or being choaked in the Throat; which are two the most horrible Defects in a Singer, and past all Remedy if once grown into a Habit[11].

Sec. 19. The little Experience of some that teach to _Sol-fa_, obliges the Scholar to hold out the _Semibreves_ with Force on the highest Notes; the Consequence of which is, that the Glands of the Throat become daily more and more inflamed, and if the Scholar loses not his Health, he loses the treble Voice.

Sec. 20. Many Masters put their Scholars to sing the _Contr'Alto_, not knowing how to help them to the _Falsetto_, or to avoid the Trouble of finding it.

Sec. 21. A diligent Master, knowing that a _Soprano_, without the _Falsetto_, is constrained to sing within the narrow Compass of a few Notes, ought not only to endeavour to help him to it, but also to leave no Means untried, so to unite the feigned and the natural Voice, that they may not be distinguished; for if they do not perfectly unite, the Voice will be of divers[12] Registers, and must consequently lose its Beauty. The Extent of the full natural Voice terminates generally upon the fourth Space, which is _C_; or on the fifth Line, which is _D_; and there the feigned Voice becomes of Use, as well in going up to the high Notes, as returning to the natural Voice; the Difficulty consists in uniting them. Let the Master therefore consider of what Moment the Correction of this Defect is, which ruins the Scholar if he overlooks it. Among the Women, one hears sometimes a _Soprano_ entirely _di Petto_, but among the Male Sex it would be a great Rarity, should they preserve it after having past the age of Puberty. Whoever would be curious to discover the feigned Voice of one who has the Art to disguise it, let him take Notice, that the Artist sounds the Vowel _i_, or _e_, with more Strength and less Fatigue than the Vowel _a_, on the high Notes.

Sec. 22. The _Voce di Testa_ has a great Volubility, more of the high than the lower Notes, and has a quick Shake, but subject to be lost for want of Strength.

Sec. 23. Let the Scholar be obliged to pronounce the Vowels distinctly, that they may be heard for such as they are. Some Singers think to pronounce the first, and you hear the second; if the Fault is not the Master's, it is of those Singers, who are scarce got out of their first Lessons; they study to sing with Affectation, as if ashamed to open their Mouths; others, on the contrary, stretching theirs too much, confound these two Vowels with the fourth, making it impossible to comprehend whether they have said _Balla_ or _Bella_, _Sesso_ or _Sasso_, _Mare_ or _More_.

Sec. 24. He should always make the Scholar sing standing, that the Voice may have all its Organization free.

Sec. 25. Let him take care, whilst he sings, that he get a graceful Posture, and make an agreeable Appearance.

Sec. 26. Let him rigorously correct all Grimaces and Tricks of the Head, of the Body, and particularly of the Mouth; which ought to be composed in a Manner (if the Sense of the Words permit it) rather inclined to a Smile, than too much Gravity.

Sec. 27. Let him always use the Scholar to the Pitch of _Lombardy_, and not that of _Rome_;[13] not only to make him acquire and preserve the high Notes, but also that he may not find it troublesome when he meets with Instruments that are tun'd high; the Pain of reaching them not only affecting the Hearer, but the Singer. Let the Master be mindful of this; for as Age advances, so the Voice declines; and, in Progress of Time, he will either sing a _Contr'Alto_, or pretending still, out of a foolish Vanity, to the Name of a _Soprano_, he will be obliged to make Application to every Composer, that the Notes may not exceed the fourth Space (_viz._, _C_) nor the Voice hold out on them. If all those, who teach the first Rudiments, knew how to make use of this Rule, and to unite the feigned to the natural Voice, there would not be now so great a scarcity of _Soprano's_.

Sec. 28. Let him learn to hold out the Notes without a Shrillness like a Trumpet, or trembling; and if at the Beginning he made him hold out every Note the length of two Bars, the Improvement would be the greater; otherwise from the natural Inclination that the Beginners have to keep the Voice in Motion, and the Trouble in holding it out, he will get a habit, and not be able to fix it, and will become subject to a Flutt'ring in the Manner of all those that sing in a very bad Taste.

Sec. 29. In the same Lessons, let him teach the Art to put forth the Voice, which consists in letting it swell by Degrees from the softest _Piano_ to the loudest _Forte_, and from thence with the same Art return from the _Forte_ to the _Piano_. A beautiful _Messa di Voce_,[14] from a Singer that uses it sparingly, and only on the open Vowels, can never fail of having an exquisite Effect. Very few of the present Singers find it to their Taste, either from the Instability of their Voice, or in order to avoid all Manner of Resemblance of the _odious Ancients_. It is, however, a manifest Injury they do to the Nightingale, who was the Origin of it, and the only thing which the Voice can well imitate. But perhaps they have found some other of the feathered Kind worthy their Imitation, that sings quite after the New Mode.

Sec. 30. Let the Master never be tired in making the Scholar _Sol-Fa_, as long as he finds it necessary; for if he should let him sing upon the Vowels too soon, he knows not how to instruct.

Sec. 31. Next, let him study on the three open Vowels, particularly on the first, but not always upon the same, as is practised now-a-days; in order, that from this frequent Exercise he may not confound one with the other, and that from hence he may the easier come to the use of the Words.

Sec. 32. The Scholar having now made some remarkable Progress, the Instructor may acquaint him with the first Embellishments of the Art, which are the _Appoggiatura's_[15] (to be spoke of next) and apply them to the Vowels.

Sec. 33. Let him learn the Manner to glide with the Vowels, and to drag the Voice gently from the high to the lower Notes, which, thro' Qualifications necessary for singing well, cannot possibly be learn'd from _Sol-fa_-ing only, and are overlooked by the Unskilful.

Sec. 34. But if he should let him sing the Words, and apply the _Appoggiatura_ to the Vowels before he is perfect in _Sol-fa_-ing, he ruins the Scholar.

CHAP. II.[16]

_Of the_ Appoggiatura.[17]

Among all the Embellishments in the Art of Singing, there is none so easy for the Master to teach, or less difficult for the Scholar to learn, than the _Appoggiatura_. This, besides its Beauty, has obtained the sole Privilege of being heard often without tiring, provided it does not go beyond the Limits prescrib'd by Professors of good Taste.

Sec. 2. From the Time that the _Appoggiatura_ has been invented to adorn the Art of Singing, the true Reason,[18] why it cannot be used in all Places, remains yet a Secret. After having searched for it among Singers of the first Rank in vain, I considered that Musick, as a Science, ought to have its Rules, and that all Manner of Ways should be tried to discover them. I do not flatter myself that I am arrived at it; but the Judicious will see, at least that I am come near it. However, treating of a Matter wholly produced from my Observations, I should hope for more Indulgence in this Chapter than in any other.

Sec. 3. From Practice, I perceive, that from _C_ to _C_ by _B Quadro_,[19] a Voice can ascend and descend gradually with the _Appoggiatura_, passing without any the least Obstacle thro' all the five _Tones_, and the two _Semitones_, that make an _Octave_.

Sec. 4. That from every accidental _Diezis_, or Sharp, that may be found in the Scale, one can gradually rise a _Semitone_ to the nearest Note with an _Appoggiatura_, and return in the same Manner.[20]

Sec. 5. That from every Note that has a _B Quadro_, or Natural, one can ascend by _Semitones_ to every one that has a _B Molle_, or Flat, with an _Appoggiatura_.[21]

Sec. 6. But, contrarywise, my Ear tells me, that from _F_, _G_, _A_, _C_, and _D_, one cannot rise gradually with an _Appoggiatura_ by _Semitones_,[22] when any of these five _Tones_ have a Sharp annex'd to them.

Sec. 7. That one cannot pass with an _Appoggiatura_ gradually from a third _Minor_ to the Bass, to a third _Major_, nor from the third _Major_ to the third _Minor_.[23]

Sec. 8. That two consequent _Appoggiatura's_ cannot pass gradually by _Semitones_ from one _Tone_ to another.[24]

Sec. 9. That one cannot rise by _Semitone_, with an _Appoggiatura_, from any Note with a Flat.[25]

Sec. 10. And, finally, where the _Appoggiatura_ cannot ascend, it cannot descend.

Sec. 11. Practice giving us no Insight into the Reason of all these Rules, let us see if it can be found out by those who ought to account for it.

Sec. 12. Theory teaches us, that the abovementioned _Octave_ consisting of twelve unequal _Semitones_, it is necessary to distinguish the _Major_ from the _Minor_, and it sends the Student to consult the _Tetrachords_. The most conspicuous Authors, that treat of them, are not all of the same Opinion: For we find some who maintain, that from _C_ to _D_, as well as from _F_ to _G_, the _Semitones_ are equal; and mean while we are left in Suspense.[26]

Sec. 13. The Ear, however, which is the supreme Umpire in this Art, does in the _Appoggiatura_ so nicely discern the Quality of the _Semitones_, that it sufficiently distinguishes the _Semitone Major_. Therefore going so agreeably from _Mi_ to _Fa_ (that is) from _B Quadro_ to _C_, or from _E_ to _F_, one ought to conclude That to be a _Semitone Major_, as it undeniably is. But whence does it proceed, that from this very _Fa_, (that is from _F_ or _C_) I cannot rise to the next Sharp, which is also a _Semitone_? It is _Minor_, says the Ear. Therefore I take it for granted, that the Reason why the _Appoggiatura_ has not a full Liberty, is, that it cannot pass gradually to a _Semitone Minor_; submitting myself, however, to better Judgment.[27]

Sec. 14. The _Appoggiatura_ may likewise pass from one distant Note to another, provided the Skip or Interval be not deceitful; for, in that Case, whoever does not hit it sure, will show they know not how to sing.[28]

Sec. 15. Since, as I have said, it is not possible for a Singer to rise gradually with an _Appoggiatura_ to a _Semitone Minor_, Nature will teach him to rise a Tone, that from thence he may descend with an _Appoggiatura to that Semitone_; _or if he has a Mind to_ come to it without the _Appoggiatura_, to raise the Voice with a _Messa di Voce_, the Voice always rising till he reaches it.[29]

Sec. 16. If the Scholar be well instructed in this, the _Appoggiatura's_ will become so familiar to him by continual Practice, that by the Time he is come out of his first Lessons, he will laugh at those Composers that mark them, with a Design either to be thought Modern, or to shew that they understand the Art of Singing better than the Singers. If they have this Superiority over them, why do they not write down even the Graces, which are more difficult, and more essential than the _Appoggiatura's_? But if they mark them that they may acquire the glorious Name of a _Virtuoso alla Moda_, or a Composer in the new Stile, they ought at least to know, that the Addition of one Note costs little Trouble, and less Study. Poor _Italy_! pray tell me; do not the Singers now-a-days know where the _Appoggiatura's_ are to be made, unless they are pointed at with a Finger? In my Time their own Knowledge shewed it them. Eternal Shame to him who first introduced these foreign Puerilities into our Nation, renowned for teaching others the greater part of the polite Arts; particularly, that of Singing! Oh, how great a Weakness in those that follow the Example! Oh, injurious Insult to your Modern Singers, who submit to Instructions fit for Children! Let us imitate the Foreigners in those Things only, wherein they excel.[30]

CHAP. III.

_Of the Shake._

We meet with two most powerful Obstacles informing the _Shake_. The first embarrasses the Master; for, to this Hour there is no infallible Rule found to teach it: And the second affects the Scholar, because Nature imparts the _Shake_ but to few. The Impatience of the Master joins with the Despair of the Learner, so that they decline farther Trouble about it. But in this the Master is blameable, in not doing his Duty, by leaving the Scholar in Ignorance. One must strive against Difficulties with Patience to overcome them.

Sec. 2. Whether the _Shake_ be necessary in Singing, ask the Professors of the first Rank, who know better than any others how often they have been indebted to it; for, upon any Absence of Mind, they would have betrayed to the Publick the Sterility of their Art, without the prompt Assistance of the _Shake_.

Sec. 3. Whoever has a fine _Shake_, tho' wanting in every other Grace, always enjoys the Advantage of conducting himself without giving Distaste to the End or Cadence, where for the most part it is very essential; and who wants it, or has it imperfectly, will never be a great Singer, let his Knowledge be ever so great.

Sec. 4. The _Shake_ then, being of such Consequence, let the Master, by the Means of verbal Instructions, and Examples vocal and instrumental, strive that the Scholar may attain one that is equal, distinctly mark'd, easy, and moderately quick, which are its most beautiful Qualifications.

Sec. 5. In case the Master should not know how many sorts of _Shakes_ there are, I shall acquaint him, that the Ingenuity of the Professors hath found so many Ways, distinguishing them with different Names, that one may say there are eight Species of them.[31]

Sec. 6. The first is the _Shake Major_, from the violent Motion of two neighbouring Sounds at the Distance of a _Tone_, one of which may be called Principal, because it keeps with greater Force the Place of the Note which requires it; the other, notwithstanding it possesses in its Motion the superior Sound appears no other than an Auxiliary. From this _Shake_ all the others are derived.[32]

Sec. 7. The second is the _Shake Minor_, consisting of a Sound, and its neighbouring _Semitone Major_; and where the one or the other of these, two _Shakes_ are proper, the Compositions will easily shew. From the inferior or lower Cadences, the first, or full _Tone Shake_ is for ever excluded.[33] If the Difference of these two _Shakes_ is not easily discovered in the Singer, whenever it is with a _Semitone_, one may attribute the Cause to the want of Force of the Auxiliary to make itself heard distinctly; besides, this _Shake_ being more difficult to be beat than the other, every body does not know how to make it, as it should be, and Negligence becomes a Habit. If this _Shake_ is not distinguished in Instruments, the Fault is in the Ear.[34]

Sec. 8. The third is the _Mezzo-trillo_, or the short _Shake_, which is likewise known from its Name. One, who is Master of the first and second, with the Art of beating it a little closer, will easily learn it; ending it as soon as heard, and adding a little Brilliant. For this Reason, this _Shake_ pleases more in brisk and lively Airs than in the _Pathetick_.[35]

Sec. 9. The fourth is the rising _Shake_, which is done by making the Voice ascend imperceptibly, shaking from Comma to Comma without discovering the Rise.[36]

Sec. 10. The fifth is the descending _Shake_, which is done by making the Voice decline insensibly from Comma to Comma, shaking in such Manner that the Descent be not distinguished. These two _Shakes_, ever since true[37] Taste has prevailed, are no more in Vogue, and ought rather to be forgot than learn'd. A nice Ear equally abhorrs the ancient dry Stuff, and the modern Abuses.

Sec. 11. The sixth is the slow _Shake_, whose Quality is also denoted by its Name. He, who does not study this, in my Opinion ought not therefore to lose the Name of a good Singer; for it being only an affected Waving, that at last unites with the first and second _Shake_, it cannot, I think, please more than once.[38]

Sec. 12. The seventh is the redoubled _Shake_, which is learned by mixing a few Notes between the _Major_ or _Minor Shake_, which Interposition suffices to make several _Shakes_ of one. This is beautiful, when those few Notes, so intermixed, are sung with Force. If then it be gently formed on the high Notes of an excellent Voice,[39] perfect in this rare Quality, and not made use of too often, it cannot displease even Envy itself.

Sec. 13. The eighth is the _Trillo-Mordente_, or the _Shake_ with a _Beat_, which is a pleasing Grace in Singing, and is taught rather by Nature than by Art. This is produced with more Velocity than the others, and is no sooner born but dies. That Singer has a great Advantage, who from time to time mixes it in Passages or Divisions (of which I shall take Notice in the proper Chapter). He, who understands his Profession, rarely fails of using it after the _Appoggiatura_; and he, who despises it, is guilty of more than Ignorance.[40]

Sec. 14. Of all these _Shakes_, the two first are most necessary, and require most the Application of the Master. I know too well that it is customary to sing without _Shakes_; but the Example, of those who study but superficially, ought not to be imitated.

Sec. 15. The _Shake_, to be beautiful, requires to be prepared, though, on some Occasions, Time or Taste will not permit it. But on final Cadences, it is always necessary, now on the Tone, now on the _Semitone_ above its Note, according to the Nature of the Composition.

Sec. 16. The Defects of the _Shake_ are many. The long holding-out _Shake_ triumph'd formerly, and very improperly, as now the Divisions do; but when the Art grew refined, it was left to the Trumpets, or to those Singers that waited for the Eruption of an _E Viva_! or _Bravo_! from the Populace. That _Shake_ which is too often heard, be it ever so fine, cannot please. That which is beat with an uneven Motion disgusts; that like the Quivering of a Goat makes one laugh; and that in the Throat is the worst: That which is produced by a Tone and its third, is disagreeable; the Slow is tiresome; and that which is out of Tune is hideous.

Sec. 17. The Necessity of the _Shake_ obliges the Master to keep the Scholar applied to it upon all the Vowels, and on all the Notes he possesses; not only on Minims or long Notes, but likewise on Crotchets, where in Process of Time he may learn the _Close Shake_, the _Beat_, and the Forming them with Quickness in the Midst of the Volubility of Graces and Divisions.

Sec. 18. After the free Use of the _Shake_, let the Master observe if the Scholar has the same Facility in disusing it; for he would not be the first that could not leave it off at Pleasure.

Sec. 19. But the teaching where the _Shake_ is convenient, besides those on[41] Cadences, and where they are improper and forbid, is a Lesson reserv'd for those who have Practice, Taste, and Knowledge.

CHAP. IV.

_On_ Divisions.

Tho' _Divisions_ have not Power sufficient to touch the Soul, but the most they can do is to raise our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Master instruct the Scholar in them, that he may be Master of them with an easy Velocity and true Intonation; for when they are well executed in their proper Place, they deserve Applause, and make a Singer more universal; that is to say, capable to sing in any Stile.

Sec. 2. By accustoming the Voice of a Learner to be lazy and dragging, he is rendered incapable of any considerable Progress in his Profession. Whosoever has not the Agility of Voice, in Compositions of a quick or lively Movement, becomes odiously tiresome; and at last retards the Time so much, that every thing he sings appears to be out of Tune.

Sec. 3. _Division_, according to the general Opinion, is of two Kinds, the Mark'd, and the Gliding; which last, from its Slowness and Dragging, ought rather to be called a Passage or Grace, than a _Division_.

Sec. 4. In regard to the first, the Master ought to teach the Scholar that light Motion of the Voice, in which the Notes that constitute the Division be all articulate in equal Proportion, and moderately distinct, that they be not too much join'd, nor too much mark'd.[42]

Sec. 5. The second is perform'd in such a Manner that the first Note is a Guide to all that follow, closely united, gradual, and with such Evenness of Motion, that in Singing it imitates a certain Gliding, by the Masters called a _Slur_; the Effect of which is truly agreeable when used sparingly.[43]

Sec. 6. The _mark'd Divisions_, being more frequently used than the others, require more Practice.

Sec. 7. The Use of the _Slur_ is pretty much limited in Singing, and is confined within such few Notes ascending or descending, that it cannot go beyond a fourth without displeasing. It seems to me to be more grateful to the Ear descending, than in the contrary Motion.

Sec. 8. The _Dragg_ consists in a Succession of divers Notes, artfully mixed with the _Forte_ and _Piano_. The Beauty of which I shall speak of in another Place.

Sec. 9. If the Master hastens insensibly the Time when the Scholar sings the _Divisions_, he will find that there is not a more effectual way to unbind the Voice, and bring it to a Volubility; being however cautious, that this imperceptible Alteration do not grow by Degrees into a vicious Habit.

Sec. 10. Let him teach to hit the _Divisions_ with the same Agility in ascending gradually, as in descending; for though this seems to be an Instruction fit only for a Beginner, yet we do not find every Singer able to perform it.

Sec. 11. After the gradual _Divisions_, let him learn to hit, with the greatest Readiness, all those that are of difficult Intervals, that, being in Tune and Time, they may with Justice deserve our Attention. The Study of this Lesson demands more Time and Application than any other, not so much for the great Difficulty in attaining it, as the important Consequences that attend it; and, in Fact, a Singer loses all Fear when the most difficult _Divisions_ are become familiar to him.

Sec. 12. Let him not be unmindful to teach the Manner of mixing the _Piano_ with the _Forte_ in the _Divisions_; the _Glidings_ or _Slurs_ with the _Mark'd_, and to intermix the _Close Shake_; especially on the pointed Notes, provided they be not too near one another; making by this Means every Embellishment of the Art appear.