Chapter 3

Sec. 13. Of all the Instructions relating to _Divisions_, the most considerable seems to be That, which teaches to unite the _Beats_ and _short Shake_ with them; and that the Master point out to him, how to execute them with Exactness of Time, and the Places where they have the best Effect: But this being not so proper for one who teaches only the first Rules, and still less for him that begins to learn them, it would be better to have postponed this (as perhaps I should have done) did I not know, that there are Scholars of so quick Parts, that in a few Years become most excellent Singers, and that there is no want of Masters qualified to instruct Disciples of the most promising Genius; besides, it appeared to me an Impropriety in this Chapter on _Divisions_ (in which the _Beats_ and _Close Shake_ appear with greater Lustre than any other Grace) not to make Mention of them.

Sec. 14. Let the Scholar not be suffered to sing _Divisions_ with Unevenness of Time or Motion; and let him be corrected if he marks them with the Tongue, or with the Chin, or any other Grimace of the Head or Body.

Sec. 15. Every Master knows, that on the third and fifth Vowel, the _Divisions_ are the worst; but every one does not know, that in the best Schools the second and fourth were not permitted, when these two Vowels are pronounced close or united.

Sec. 16. There are many Defects in the _Divisions_, which it is necessary to know, in order to avoid them; for, besides that of the Nose or the Throat, and the others already mentioned, those are likewise displeasing which are neither mark'd nor gliding; for in that Case they cannot be said to sing, but howl and roar. There are some still more ridiculous, who mark them above Measure, and with Force of Voice, thinking (for Example) to make a _Division_ upon _A_, it appears as if they said _Ha_, _Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels. The worst Fault of all is singing them out of Tune.

Sec. 17. The Master should know, that though a good Voice put forth with Ease grows better, yet by too swift a Motion in _Divisions_ it becomes an indifferent one, and sometimes by the Negligence of the Master, to the Prejudice of the Scholar, it is changed into a very bad one.

Sec. 18. _Divisions_ and _Shakes_ in a _Siciliana_ are Faults, and _Glidings_ and _Draggs_ are Beauties.

Sec. 19. The sole and entire Beauty of the _Division_ consists in its being perfectly in Tune, mark'd, equal, distinct, and quick.

Sec. 20. _Divisions_ have the like Fate with the _Shakes_; both equally delight in their Place; but if not properly introduced, the too frequent Repetition of them becomes tedious if not odious.

Sec. 21. After the Scholar has made himself perfect in the _Shake_ and the _Divisions_, the Master should let him read and pronounce the Words, free from those gross and ridiculous Errors of Orthography, by which many deprive one Word of its double Consonant, and add one to another, in which it is single.[44]

Sec. 22. After having corrected the Pronunciation, let him take Care that the Words be uttered in such a Manner, without any Affectation that they be distinctly understood, and no one Syllable be lost; for if they are not distinguished, the Singer deprives the Hearer of the greatest Part of that Delight which vocal Musick conveys by Means of the Words. For, if the Words are not heard so as to be understood, there will be no great Difference between a human Voice and a Hautboy. This Defect, tho' one of the greatest, is now-a-days more than common, to the greatest Disgrace of the Professors and the Profession; and yet they ought to know, that the Words only give the Preference to a Singer above an instrumental Performer, admitting them to be of equal Judgment and Knowledge. Let the modern Master learn to make use of this Advice, for never was it more necessary than at present.

Sec. 23. Let him exercise the Scholar to be very ready in joining the Syllables to the Notes, that he may never be at a Loss in doing it.

Sec. 24. Let him forbid the Scholar to take Breath in the Middle of a Word, because the dividing it in two is an Error against Nature; which must not be followed, if we would avoid being laugh'd at. In interrupted Movements, or in long _Divisions_, it is not so rigorously required, when the one or the other cannot be sung in one Breath. Anciently such Cautions were not necessary, but for the Learners of the first Rudiments; now the Abuse, having taken its Rise in the modern Schools, gathers Strength, and is grown familiar with those who pretend to Eminence. The Master may correct this Fault, in teaching the Scholar to manage his Respiration, that he may always be provided with more Breath than is needful; and may avoid undertaking what, for want of it, he cannot go through with.

Sec. 25. Let him shew, in all sorts of Compositions, the proper Place where to take Breath, and without Fatigue; because there are Singers who give Pain to the Hearer, as if they had an Asthma taking Breath every Moment with Difficulty, as if they were breathing their last.

Sec. 26. Let the Master create some Emulation in a Scholar that is negligent, inciting him to study the Lesson of his Companion, which sometimes goes beyond Genius; because, if instead of one Lesson he hears two, and the Competition does not discountenance him, he may perhaps come to learn his Companion's Lesson first, and then his own.

Sec. 27. Let him never suffer the Scholar to hold the Musick-Paper, in Singing, before his Face, both that the Sound of the Voice may not be obstructed, and to prevent him from being bashful.

Sec. 28. Let him accustom the Scholar to sing often in presence of Persons of Distinction, whether from Birth, Quality, or Eminence in the Profession, that by gradually losing his Fear, he may acquire an Assurance, but not a Boldness. Assurance leads to a Fortune, and in a Singer becomes a Merit. On the contrary, the Fearful is most unhappy; labouring under the Difficulty of fetching Breath, the Voice is always trembling, and obliged to lose Time at every Note for fear of being choaked; He gives us Pain, in not being able to shew his Ability in publick; disgusts the Hearer, and ruins the Compositions in such a Manner, that they are not known to be what they are. A timorous Singer is unhappy, like a Prodigal, who is miserably poor.

Sec. 29. Let not the Master neglect to shew him, how great their Error is who make _Shakes_ or _Divisions_, or take Breath on the _syncopated_ or _binding_ Notes; and how much better Effect the holding out the Voice has. The Compositions, instead of losing, acquire thereby greater Beauty.[45]

Sec. 30. Let the Master instruct him in the _Forte_ and _Piano_, but so as to use him more to the first than the second, it being easier to make one sing soft than loud. Experience shews that the _Piano_ is not to be trusted to, since it is prejudicial though pleasing; and if any one has a Mind to lose his Voice, let him try it. On this Subject some are of Opinion, that there is an artificial _Piano_, that can make itself be heard as much as the _Forte_; but that is only Opinion, which is the Mother of all Errors. It is not Art which is the Cause that the _Piano_ of a good Singer is heard, but the profound Silence and Attention of the Audience. For a Proof of this, let any indifferent Singer be silent on the Stage for a Quarter of a Minute when he should sing, the Audience, curious to know the Reason of this unexpected Pause, are hush'd in such a Manner, that if in that Instant he utter one Word with a soft Voice, it would be heard even by those at the greatest Distance.

Sec. 31. Let the Master remember, that whosoever does not sing to the utmost Rigour of Time, deserves not the Esteem of the Judicious; therefore let him take Care, there be no Alteration or Diminution in it, if he pretends to teach well, and to make an excellent Scholar.

Sec. 32. Though in certain Schools, Books of Church-Musick and of _Madrigals_ lie buried in Dust, a good Master would wipe it off; for they are the most effectual Means to make a Scholar ready and sure. If Singing was not for the most part performed by Memory, as is customary in these Days, I doubt whether certain Professors could deserve the Name of Singers of the first Rank.[46]

Sec. 33. Let him encourage the Scholar if he improves; let him mortify him, without Beating, for Indolence; let him be more rigorous for Negligences; nor let the Scholar ever end a Lesson without having profited something.

Sec. 34. An Hour of Application in a Day is not sufficient, even for one of the quickest Apprehension; the Master therefore should consider how much more Time is necessary for one that has not the same Quickness, and how much he is obliged to consult the Capacity of his Scholar. From a mercenary Teacher this necessary Regard is not to be hoped for; expected by other Scholars, tired with the Fatigue, and solicited by his Necessities, he thinks the Month long; looks on his Watch, and goes away. If he be but poorly paid for his Teaching,--a God-b'wy to him.

CHAP. V.

_Of_ Recitative.

_Recitative_ is of three Kinds, and ought to be taught in three different Manners.

Sec. 2. The first, being used in Churches, should be sung as becomes the Sanctity of the Place, which does not admit those wanton Graces of a lighter Stile; but requires some _Messa di Voce_, many _Appoggiatura's_, and a noble Majesty throughout. But the Art of expressing it, is not to be learned, but from the affecting Manner of those who devoutly dedicate their Voices to the Service of God.

Sec. 3. The second is Theatrical, which being always accompanied with Action by the Singer, the Master is obliged to teach the Scholar a certain natural Imitation, which cannot be beautiful, if not expressed with that Decorum with which Princes speak, or those who know how to speak to Princes.

Sec. 4. The last, according to the Opinion of the most Judicious, touches the Heart more than the others, and is called _Recitativo di Camera_. This requires a more peculiar Skill, by reason of the Words, which being, for the most part, adapted to move the most violent Passions of the Soul, oblige the Master to give the Scholar such a lively Impression of them, that he may seem to be affected with them himself. The Scholar having finished his Studies, it will be but too[47] easily discovered if he stands in Need of this Lesson. The vast Delight, which the Judicious feel, is owing to this particular Excellence, which, without the Help of the usual Ornaments, produces all this Pleasure from itself; and, let Truth prevail, where Passion speaks, all _Shakes_, all _Divisions_ and _Graces_ ought to be silent, leaving it to the sole Force of a beautiful Expression to persuade.

Sec. 5. The Church _Recitative_ yields more Liberty to the Singer than the other two, particularly in the final Cadence; provided he makes the Advantage of it that a Singer should do, and not as a Player on the Violin.

Sec. 6. The Theatrical leaves it not in our Election to make Use of this Art, lest we offend in the Narrative, which ought to be natural, unless in a _Soliloquy_, where it may be in the Stile of Chamber-Musick.

Sec. 7. The third abstains from great part of the Solemnity of the first, and contents itself with more of the second.

Sec. 8. The Defects and unsufferable Abuses which are heard in _Recitatives_, and not known to those who commit them, are innumerable. I will take Notice of several Theatrical ones, that the Master may correct them.

Sec. 9. There are some who sing _Recitative_ on the Stage like That of the Church or Chamber; some in a perpetual Chanting, which is insufferable; some over-do it and make it a Barking; some whisper it, and some sing it confusedly; some force out the last Syllable, and some sink it; some sing it blust'ring, and some as if they were thinking of something else; some in a languishing Manner; others in a Hurry; some sing it through the Teeth, and others with Affectation; some do not pronounce the Words, and others do not express them; some sing as if laughing, and some crying; some speak it, and some hiss it; some hallow, bellow, and sing it out of Tune; and, together with their Offences against Nature, are guilty of the greatest Fault, in thinking themselves above Correction.

Sec. 10. The _modern_ Masters run over with Negligence their Instructions in all Sorts of _Recitatives_, because in these Days the Study of Expression is looked upon as unnecessary, or despised as _ancient_: And yet they must needs see every Day, that besides the indispensable Necessity of knowing how to sing them, These even teach how to act. If they will not believe it, let them observe, without flattering themselves, if among their Pupils they can show an Actor of equal Merit with _Cortona_ in the Tender;[48] of Baron _Balarini_ in the Imperious; or other famous Actors that at present appear, tho' I name them not; having determined in these Observations, not to mention any that are living, in whatsoever Degree of Perfection they be, though I esteem them as they deserve.

Sec. 11. A Master, that disregards _Recitative_, probably does not understand the Words, and then, how can he ever instruct a Scholar in Expression, which is the Soul of vocal Performance, and without which it is impossible to sing well? Poor _Gentlemen Masters_ who direct and instruct Beginners, without reflecting on the utter Destruction you bring on the Science, in undermining the principal Foundations of it! If you know not that the _Recitatives_, especially in the vulgar or known Language, require those Instructions relative to the Force of the Words, I would advise you to renounce the Name, and Office of _Masters_, to those who can maintain them; your Scholars will otherwise be made a Sacrifice to Ignorance, and not knowing how to distinguish the Lively from the Pathetick, or the Vehement from the Tender, it will be no wonder if you see them stupid on the Stage, and senseless in a Chamber. To speak my Mind freely, yours and their Faults are unpardonable; it is insufferable to be any longer tormented in the Theatres with _Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars.

Sec. 12. The reason, however, of not giving more expression to the _Recitative_, in the manner of those called _Antients_, does not always proceed from the Incapacity of the Master, or the Negligence of the Singer, but from the little Knowledge of the _modern_ Composers (we must except some of Merit) who set it in so unnatural a Taste, that it is not to be taught, acted or sung. In Justification of the Master and the Singer let Reason decide. To blame the Composer, the same Reason forbids me entering into a Matter too high for my low Understanding, and wisely bids me consider the little Insight I can boast of, barely sufficient for a Singer, or to write plain Counterpoint. But when I consider I have undertaken in these Observations, to procure diverse Advantages to vocal Performers, should I not speak of a Composition, a Subject so necessary, I should be guilty of a double Fault. My Doubts in this Perplexity are resolved by the Reflection, that _Recitatives_ have no Relation to Counterpoint. If That be so, what Professor knows not, that many theatrical _Recitatives_ would be excellent if they were not confused one with another; if they could be learned by Heart; if they were not deficient in respect of adapting the Musick to the Words; if they did not frighten those who sing them, and hear them, with unnatural Skips; if they did not offend the Ear and Rules with the worst Modulations; if they did not disgust a good Taste with a perpetual Sameness; if, with their cruel Turns and Changes of Keys, they did not pierce one to the Heart; and, finally, if the Periods were not crippled by them who know neither Point nor Comma? I am astonished that such as these do not, for their Improvement, endeavour to imitate the _Recitatives_ of those Authors, who represent in them a lively image of Nature, by Sounds which of themselves express the Sense, as much as the very Words. But to what Purpose do I show this Concern about it? Can I expect that these Reasons, with all their Evidences, will be found good, when, even in regard to Musick, Reason itself is no more in the _Mode_? Custom has great Power. She arbitrarily releases her Followers from the Observance of the true Rules, and obliges them to no other Study than that of the _Ritornello's_, and will not let them uselessly employ their precious Time in the Application to _Recitative_, which, according to her Precepts, are the work of the Pen, not of the Mind. If it be Negligence or Ignorance, I know not; but I know very well, that the Singers do not find their Account in it.

Sec. 13. Much more might still be[49] said on the Compositions of _Recitative_ in general, by reason of that tedious chanting that offends the Ear, with a thousand broken Cadences in every Opera, which Custom has established, though they are without Taste or Art. To reform them all, would be worse than the Disease; the introducing every time a final Cadence would be wrong: But if in these two Extremes a Remedy were necessary I should think, that among an hundred broken Cadences, ten of them, briefly terminated on Points that conclude a Period, would not be ill employed. The Learned, however, do not declare themselves upon it, and from their Silence I must hold myself condemned.

Sec. 14. I return to the Master, only to put him in Mind, that his Duty is to teach Musick; and if the Scholar, before he gets out of his Hands, does not sing readily and at Sight, the Innocent is injured without Remedy from the Guilty.

Sec. 15. If after these Instructions, the Master does really find himself capable of communicating to his Scholar Things of greater Moment, and what may concern his farther Progress, he ought immediately to initiate him in the Study of Church-Airs, in which he must lay aside all the theatrical effeminate Manner, and sing in a manly Stile; for which Purpose he will provide him with different natural and easy _Motets_[50] grand and genteel, mix'd with the Lively and the Pathetick, adapted to the Ability he has discovered in him, and by frequent Lessons make him become perfect in them with Readiness and Spirit. At the same time he must be careful that the Words be well pronounced, and perfectly understood; that the _Recitatives_ be expressed with Strength, and supported without Affectation; that in the Airs he be not wanting in Time, and in introducing some Graces of good Taste; and, above all, that the final Cadences of the _Motets_ be performed with Divisions distinct, swift, and in Tune. After this he will teach him that Manner, the Taste of _Cantata's_ requires, in order, by this Exercise, to discover the Difference between one Stile and another. If, after this, the Master is satisfied with his Scholar's Improvement, yet let him not think to make him sing in Publick, before he has the Opinion of such Persons, who know more of singing than of flattering; because, they not only will chuse such Compositions proper to do him Honour and Credit, but also will correct in him those Defects and Errors, which out of Oversight or Ignorance the Master had not perceived or corrected.

Sec. 16. If Masters did consider, that from our first appearing in the Face of the World, depends our acquiring Fame and Courage, they would not so blindly expose their Pupils to the Danger of falling at the first Step.

Sec. 17. But if the Master's Knowledge extends no farther than the foregoing Rules, then ought he in conscience to desist, and to recommend the Scholar to better Instructions. However, before the Scholar arrives at this, it will not be quite unnecessary to discourse with him in the following Chapters, and if his Age permits him not to understand me, those, who have the Care of him, may.

CHAP. VI.

_Observations for a Student._

Before entering on the extensive and difficult Study of the _Florid_, or _figured Song_, it is necessary to consult the Scholar's Genius; for if Inclination opposes, it is impossible to force it, and when That incites, the Scholar proceeds with Ease and Pleasure.

Sec. 2. Supposing, then, that the Scholar is earnestly desirous of becoming a Master in so agreable a Profession, and being fully instructed in these tiresome Rudiments, besides many others that may have slipt my weak Memory; after a strict Care of his Morals, he should give the rest of his Attention to the Study of singing in Perfection, that by this Means he may be so happy as to join the most noble Qualities of the Soul to the Excellencies of his Art.

Sec. 3. He that studies Singing must consider that Praise or Disgrace depends very much on his Voice which if he has a Mind to preserve he must abstain from all Manner of Disorders, and all violent Diversions.

Sec. 4. Let him be able to read perfectly, that he may not be put to Shame for so scandalous an Ignorance. Oh, how many are there, who had need to learn the Alphabet!

Sec. 5. In case the Master knows not how to correct the Faults in Pronunciation, let the Scholar endeavour to learn the best by some other Means; because the not being born[51] in _Tuscany_, will not excuse the Singer's Imperfection.

Sec. 6. Let him likewise very carefully endeavour to correct all other Faults that the Negligence of his Master may have passed over.

Sec. 7. With the Study of Musick, let him learn also at least the Grammar, to understand the Words he is to sing in Churches, and to give the proper Force to the Expression in both Languages. I believe I may be so bold to say, that divers Professors do not even understand their own Tongue, much less the _Latin_.[52]

Sec. 8. Let him continually, by himself, use his Voice to a Velocity of Motion, if he thinks to have a Command over it, and that he may not go by the Name of a pathetick Singer.

Sec. 9. Let him not omit frequently to put forth, and to stop, the Voice, that it may always be at his Command.

Sec. 10. Let him repeat his Lesson at Home, till he knows it perfectly; and with a local Memory let him retain it, to save his Master the Trouble of Teaching, and himself of studying it over again.

Sec. 11. Singing requires so strict an Application, that one must study with the Mind, when one cannot with the Voice.

Sec. 12. The unwearied Study of Youth is sure to overcome all Obstacles that oppose, though Defects were suck'd in with our Mother's Milk. This Opinion of mine is subject to strong Objections; however, Experience will defend it, provided he corrects himself in time. But if he delays it, the older he grows the more his Faults will increase.

Sec. 13. Let him hear as much as he can the most celebrated Singers, and likewise the most excellent instrumental Performers; because, from the Attention in hearing them, one reaps more Advantage than from any Instruction whatsoever.

Sec. 14. Let him endeavour to copy from Both, that he may insensibly, by the Study of others, get a good Taste. This advice, though extremely useful to a Student, is notwithstanding infinitely prejudicial to a Singer, as I shall shew in its proper Place[53].

Sec. 15. Let him often sing the most agreable Compositions of the best Authors, and accustom the Ear to that which pleases. I'd have a Student know, that by the abovementioned Imitations, and by the Idea of good Compositions, the Taste in Time becomes Art, and Art Nature.

Sec. 16. Let him learn to accompany himself, if he is ambitious of singing well. The Harpsichord is a great Incitement to Study, and by it we continually improve in our Knowledge. The evident Advantage arising to the Singer from that lovely Instrument, makes it superfluous to say more on that Head. Moreover, it often happens to one who cannot play, that without the Help of another he cannot be heard, and is thereby to his Shame obliged to deny the Commands of those whom it would be to his Advantage to obey.