Chapter III: Part 3

The _Cadences_, that terminate the _Airs_, are of two Sorts. The Composers call the one _Superior_, and the other _Inferior_. To make myself better understood by a Scholar, I mean, if a _Cadence_ were in _C_ natural, the Notes of the first would be _La, Sol, Fa;_ and those of the second _Fa, Mi, Fa_. In _Airs_ for a single Voice, or in _Recitatives_, a Singer may chuse which of these _Closes_ or _Cadences_ pleases him best; but if in Concert with other Voices, or accompanied with Instruments, he must not change the Superior for the Inferior, nor this with the other.[79]

Sec. 2. It would be superfluous to speak of the broken _Cadences_, they being become familiar even to those who are not Professors of Musick, and which serve at most but in _Recitatives_.[80]

Sec. 3. As for those _Cadences_ that fall a fifth, they were never composed in the old Stile for a _Soprano_, in an _Air_ for a single Voice, or with Instruments, unless the Imitation of some Words had obliged the Composer thereto. Yet these, having no other Merit, but of being the easiest of all, as well for the Composer as for the Singer, are at present the most prevailing.[81]

Sec. 4. In the Chapter on _Airs_, I have exhorted the Student to avoid that Torrent of _Passages_ and _Divisions_, so much in the _Mode_, and did engage myself also, to give my weak Sentiments on the _Cadences_ that are now current; and I am now ready: But, however, with the usual Protestation of submitting them, with all my other Opinions, to the Tribunal of the Judicious, and those of Taste, from whence there is no Appeal; that they, as sovereign Judges of the Profession, may condemn the Abuses of the _modern Cadences_, or the Errors of my Opinion.

Sec. 5. Every _Air_ has (at least) three _Cadences_, that are all three final. Generally speaking, the Study of the Singers of the present Times consists in terminating the _Cadence_ of the first Part with an overflowing of _Passages_ and _Divisions_ at Pleasure, and the _Orchestre_ waits; in that of the second[82] the Dose is encreased, and the _Orchestre_ grows tired; but on the last _Cadence_, the Throat is set a going, like a Weather-cock in a Whirlwind, and the _Orchestre_ yawns. But why must the World be thus continually deafened with so many _Divisions_? I must (with your leave, _Gentlemen Moderns_) say in Favour of the Profession, that good Taste does not consist in a continual Velocity of the Voice, which goes thus rambling on, without a Guide, and without Foundation; but rather, in the _Cantabile_, in the putting forth the Voice agreeably, in _Appoggiatura's_, in Art, and in the true Notion of Graces, going from one Note to another with singular and unexpected Surprizes, and stealing the Time exactly on the true _Motion_ of the Bass. These are the principal and indispensible Qualities which are most essential to the singing well, and which no musical Ear can find in your capricious _Cadences_. I must still add, that very _anciently_ the Stile of the Singers was insupportable, (as I have been informed by the Master who taught me to _Sol-fa_) by reason of the Number of _Passages_ and _Divisions_ in their _Cadences_, that never were at an end, as they are now; and that they were always the same, just as they are now. They became at last so odious, that, as a Nusance to the Sense of Hearing, they were banished without so much as attempting their Correction. Thus will it also happen to These, at the first Example given by a Singer whose Credit is established, and who will not be seduced by a vain popular Applause. This Reformation the succeeding Professors of Eminence prescribed to themselves as a Law, which perhaps would not have been abolished, were they in a Condition to be heard; but the Opulency of some, Loss of the Voice, Age and Death of others, has deprived the Living from hearing what was truly worthy our Admiration in Singing. Now the Singers laugh at the Reformers, and their Reformation of the _Passages_ in the _Cadences_; and on the contrary, having recalled them from their Banishment, and brought them on the Stage, with some little _Caricatura_ to boot, they impose them on the Ignorant for rare Inventions, and gain themselves immense Sums; it giving them no Concern that they have been abhorr'd and detested for fifty or sixty Years, or for an hundred Ages. But who can blame them? However, if Reason should make this Demand of them, with what unjust Pretence can you usurp the Name of _Moderns_, if you sing in a most _Ancient_ Stile? Perhaps, you think that these overflowings of your Throat are what procure you Riches and Praises? Undeceive yourselves, and thank the great Number of Theatres, the Scarcity of excellent Performers, and the Stupidity of your Auditors. What could they answer? I know not. But let us call them to a stricter Account.

Sec. 6. _Gentlemen Moderns_, can you possibly deny, but that you laugh among yourselves, when you have Recourse to your long-strung _Passages_ in the _Cadences_, to go a begging for Applause from the blind Ignorant? You call this Trick by the Name of an _Alms_, begging for Charity as it were for those _E Viva's_, which, you very well know, you do not deserve from Justice. And in return you laugh at your Admirers, tho' they have not Hands, Feet, nor Voice enough to applaud you. Is this Justice? Is this Gratitude?----Oh! if they ever should find you out! My beloved Singers, tho' the Abuses of your _Cadences_ are of use to you, they are much more prejudicial to the Profession, and are the greatest Faults you can commit; because at the same time you know yourselves to be in the Wrong. For your own Sakes undeceive the World, and employ the rare Talent you are endowed with on Things that are worthy of you. In the mean while I will return with more Courage to my Opinions.

Sec. 7. I should be very desirous to[83] know, on what Foundation certain _Moderns_ of Reputation, and great Name, do on the superior _Cadences_ always make the _Shake_ on the third in _Alt_ to the final Note; since the _Shake_ (which ought to be resolved) cannot be so in this Case, by reason of that very third, which being the sixth of the Bass hinders it, and the _Cadence_ remains without a Resolution. If they should go so far as to imagine, that the best Rules depended on the _Mode_, I should notwithstanding think, they might sometimes appeal to the Ear, to know if That was satisfied with a _Shake_ beaten with the seventh and the sixth on a Bass which makes the _Cadence_; and I am sure it would answer. No. From the Rules of the _Ancients_ we learn, that the _Shake_ is to be prepared on the sixth of the Bass, that after it the fifth may be heard, for that is its proper Place.

Sec. 8. Some others of the same Rank make their _Cadences_ in the Manner of the Basses, which is, in falling a fifth, with a Passage of Swift Notes descending gradually, supposing that by this Means they cover the _Octaves_, which, tho' disguised, will still appear.

Sec. 9. I hold it also for certain, that no Professor of the first Rank, in any _Cadence_ whatsoever, can be allowed to make _Shakes_, or _Divisions_, on the last Syllables but one of these Words,--_Confondero_--_Amero_, &c. for they are Ornaments that do not suit on those Syllables which are short, but do well on the Antecedent.[84]

Sec. 10. Very many of the second Class end the inferior _Cadences_ in the _French_ Manner without a _Shake_[85], either for want of Ability to make one, or from its being easy to copy them, or from their Desire of finding out something that may in Appearance support the name of _Modern_. But in Fact they are mistaken; for the _French_ do not leave out the _Shake_ on the inferior _Cadences_, except in the _Pathetick Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude it every where, tho' in the _Allegro_ the _Shake_ is absolutely necessary. I know, that a good Singer may with Reason abstain from the _Shake_ in the _Cantabile_; however, it should be rarely; for if one of those _Cadences_ be tolerable without that pleasing Grace, it is absolutely impossible not to be tired at length, with a Number one after another that die suddenly.

Sec. 11. I find that all the _Moderns_ (let them be Friends or Foes to the _Shake_) in the inferior _Cadences_ beforementioned go with an _Appoggiatura_ to the final Note, on the penultimate Syllable of a Word; and this likewise is a Defect, it appearing to me, that on such Occasions the _Appoggiatura_ is not pleasing but on the last Syllable, after the Manner of the _Ancients_, or of those who know how to sing.[86]

Sec.12. If, in the inferior _Cadences_, the best Singers of these Days think they are not in the wrong in making you hear the final Note before the Bass[87], they deceive themselves grossly; for it is a very great Error, hurts the Ear, and is against the Rules; and becomes doubly so, going (as they do) to the same Note with an _Appoggiatura_, the which either ascending or descending, if not after the Bass[88], is always very bad.

Sec. 13. And is it not worst of all, to torment the Hearers with a thousand _Cadences_ all in the same Manner? From whence proceeds this Sterility, since every Professor knows, that the surest way of gaining Esteem in Singing is a Variety in the Repetition?

Sec. 14. If among all the _Cadences_ in the _Airs_, the last allows a moderate Liberty to the Singer, to distinguish the end of them, the Abuse of it is insufferable. But it grows abomable, when the Singer persists with his tiresome Warbling, nauseating the Judicious, who suffer the more, because they know that the Composers leave generally in every _final Cadence_ some Note, sufficient to make a discreet Embellishment; without seeking for it out of Time, without Taste, without Art, and without Judgment.[89]

Sec. 15. I am still more surprised when I reflect, that the _modern_ Stile, after having exposed all the _Cadences_ of the theatrical _Airs_ to the Martyrdom of a perpetual Motion, will likewise have the Cruelty to condemn to the same Punishment not Those in the _Cantata's_ only, but also the _Cadences_ of their _Recitatives_. Do these Singers pretend, by their not distinguishing the Chamber-Musick from the immoderate _Gargling_ of the Stage, to expect the vulgar _E Viva's_ in the Cabinet of Princes?

Sec. 16. Let a sensible Student avoid this Example, and with this Example the Abuses, the Defects, and every other Thing that is mean and common, as well in the _Cadences_ as elsewhere.

Sec. 17. If, the inventing particular _Cadences_ without injuring the Time, has been one of the worthy Employments of the _Ancients_ (so call'd) let a Student revive the Use of it; endeavouring to imitate them in their Skill of somewhat anticipating the Time; and remember, that Those, who understand the Art of Gracing, do not wait to admire the Beauty of it in a Silence of the Bass.

Sec. 18. Many and many other Errors are heard in the _Cadences_ that were _Antique_, and which are now become _Modern_; they were ridiculous then, and are so now; therefore considering, that to change the Stile is not always to improve it, I may fairly conclude, that what is bad is to be corrected by Study, and not by the _Mode_.

Sec. 19. Now let us for a while leave at Rest the Opinions of the aforesaid Ancients, and the supposed _Moderns_, to take notice what Improvement the Scholar has made, since he is desirous of being heard. Well then, let him attend, before we part with him, to Instructions of more Weight, that he may at least deserve the Name of a good Singer, though he may not arrive at that of an eminent one.

CHAP. IX.

_Observations for a Singer._[90]

Behold the Singer now appearing in Publick, from the Effects of his Application to the Study of the foregoing Lessons. But to what Purpose does he appear? Whoever, in the great Theatre of the World, does not distinguish himself, makes but a very insignificant Figure.

Sec. 2. From the cold Indifference perceived in many Singers, one would believe that the Science of Musick implored their Favour, to be received by them as their most humble Servant.

Sec. 3. If too many did not persuade themselves that they had studied sufficiently, there would not be such a Scarcity of the Best, nor such a Swarm of the Worst. These, because they can sing by Heart three or four _Kyrie's_[91], think they are arrived at the _Non plus ultra_; but if you give them a _Cantata_ to sing, that is even easy, and fairly written, they, instead of complying as they ought, will tell you with an impudent Face, that Persons of their Degree are not obliged to sing in the vulgar Tongue at Sight. And who can forbear laughing? For a Musician knowing that the Words, let them be either _Latin_ or _Italian_, do not change the Form of the Notes, must immediately conclude, that this pert Answer of the great Man proceeds from his not being able to sing at Sight, or from his not knowing how to read; and he judges right.

Sec. 4. There are an infinite Number[92] of others, who wish and sigh for the Moment that eases them from the painful Fatigue of their first Studies, hoping to have a Chance to make one in the Crowd of the second Rate; and stumbling by good Luck on something that gives them Bread, they immediately make a Legg to Musick and its Study, not caring whether the World knows they are, or are not among the Living. These do not consider that _Mediocrity_ in a Singer means _Ignorance_.

Sec. 5. There are also several who study nothing but the Defects, and are endow'd with a marvelous Aptness to learn them all, having so happy a Memory as never to forget them. Their Genius is so inclined to the Bad, that if by Gift of Nature they had the best of Voices, they would be discontented if they could not find some Means to make it the worst.

Sec. 6. One of a better Spirit will endeavour to keep better Company. He will be sensible of the Necessity of farther Discoveries, of farther Instructions, and even of another Master, of whom, besides the Art of Singing, he would be glad to learn how to behave himself with good Breeding. This, added to the Merit acquired by his Singing, may give him Hopes of the Favour of Princes, and of an universal Esteem.

Sec. 7. If he aims at the Character of a young Man of Wit and Judgment, let him not be vulgar or too bold.

Sec. 8. Let him shun low and disreputable Company, but, above all, such as abandon themselves to scandalous Liberties.

Sec. 9. That Professor ought not to be frequented, though excellent in this Art, whose behaviour is vulgar and discreditable, and who cares not, provided he makes his Fortune, whether it be at the Expence of his Reputation.

Sec. 10. The best School is the Nobility, from whom every thing that is genteel is to be learned; but when a Musician finds that his Company is not proper, let him retire without repining, and his Modesty will be to his Commendation.

Sec. 11. If he should not meet with a Gratification from the Great, let him never complain; for it is better to get but little, than to lose a great deal, and that is not seldom the Case. The best he can do, is to be assiduous in serving them, that at least he may hope for the Pleasure of seeing them for once grateful, or be convinced for ever of their being ungrateful.

Sec. 12. My long and repeated Travels have given me an Opportunity of being acquainted with most of the Courts of _Europe_, and Examples, more than my Words, should persuade every able Singer to see them also; but without yielding up his Liberty to their Allurements: For Chains, though of Gold, are still Chains; and they are not all of that precious Metal: Besides, the several Inconveniencies of Disgrace, Mortifications, Uncertainty; and, above all, the Hindrance of Study.

Sec. 13.[93] The golden Age of Musick would be already at an End, if the Swans did not make their Nests on some Theatres in _Italy_, or on the royal Banks of the _Thames_. O dear _London_!----On the other Streams, they sing no more as they used to do their sweet Notes at their expiring; but rather sadly lament the Expiration of those august and adorable Princes, by whom they were tenderly belov'd and esteemed. This is the usual Vicissitude of Things in this World; and we daily see, that whatever is sublunary must of Necessity decline. Let us leave the Tears to the Heart, and return to the Singer.

Sec. 14. A discreet Person will never use such affected Expressions as, _I cannot sing To-day;--I've got a deadly Cold;_ and, in making his Excuse, falls a Coughing. I can truly say, that I have never in my Life heard a Singer own the Truth, and say, _I'm very well to-day_: They reserve the unseasonable Confession to the next Day, when they make no Difficulty to say, _In all my Days my Voice was never in better Order than it was Yesterday_. I own, on certain Conjunctures, the Pretext is not only suitable, but even necessary; for, to speak the Truth, the indiscreet Parsimony of some, who would hear Musick for Thanks only, goes so far, that they think a Master is immediately obliged to obey them _gratis_, and that the Refusal is an Offence that deserves Resentment and Revenge. But if it is a Law human and divine, that every Body should live by their honest Labour, what barbarous Custom obliges a Musician to serve without a Recompence? A cursed Over-bearing; O sordid Avarice!

Sec. 15. A Singer, that knows the World, distinguishes between the different Manners of Commanding; he knows how to refuse without disobliging, and how to obey with a good Grace; not being ignorant, that one, who has his Interest most at Heart, sometimes finds his Account in serving without a Gratification.

Sec. 16. One who sings with a Desire of gaining Honour and Credit, cannot sing ill, and in time will sing better; and one, who thinks on nothing but Gain, is in the ready way to remain ignorant.

Sec. 17. Who would ever think (if Experience did not shew it) that a Virtue of the highest Estimation should prejudice a Singer? And yet, whilst Presumption and Arrogance triumph (I'm shock'd to think on't) amiable Humility, the more the Singer has of it, the more it depresses him.

Sec. 18. At first Sight, Arrogance has the Appearance of Ability; but, upon a nearer View, I can discover Ignorance in Masquerade.

Sec. 19. This Arrogance serves them sometimes, as a politick Artifice to hide their own Failings: For Example, certain Singers would not be unconcern'd, under the Shame of not being able to sing a few Barrs at Sight, if with Shrugs, scornful Glances, and malicious shaking of their Heads, they did not give the Auditors to understand that those gross Errors are owing to him that accompanies, or to the _Orchestre_.

Sec. 20. To humble such Arrogance, may it never meet with that Incense which it expects.

Sec. 21. Who could sing better than the Arogant, if they were not ashamed to study?

Sec. 22. It is a Folly in a Singer to grow vain at the first Applauses, without reflecting whether they are given by Chance, or out of Flattery; and if he thinks he deserves them, there is an End of him.

Sec. 23. He should regulate his Voice according to the Place where he sings; for it would be the greatest Absurdity, not to make a Difference between a small Cabinet and a vast Theatre.[94]

Sec. 24. He is still more to be blam'd, who, when singing in two, three, or four Parts, does so raise his Voice as to drown his Companions; for if it is not Ignorance, it is something worse.

Sec. 25. All Compositions for more than one Voice ought to be sung strictly as they are written; nor do they require any other Art but a noble Simplicity. I remember to have heard once a famous _Duetto_ torn into Atoms by two renown'd Singers, in Emulation; the one proposing, and the other by Turns answering, that at last it[95] ended in a Contest, who could produce the most Extravagancies.

Sec. 26. The Correction of Friends, that have Knowledge, instructs very much; but still greater Advantage may be gain'd from the ill-natur'd Criticks; for, the more intent they are to discover Defects, the greater Benefit may be receiv'd from them without any Obligation.

Sec. 27. It is certain, that the Errors corrected by our Enemies are better cur'd, than those corrected by ourselves; for we are apt to indulge our Faults, nor can we so easily perceive them.

Sec. 28. He that sings with Applause in one Place only, let him not have too good an Opinion of himself; let him often change Climates, and then he will judge better of his Talent.

Sec. 29. To please universally, Reason will tell you, that you must always sing well; but if Reason does not inform you, Interest will persuade you to conform to the Taste of that Nation (provided it be not too deprav'd) which pays you.

Sec. 30. If he that sings well provokes Envy, by singing better he will get the Victory over it.

Sec. 31. I do not know if a perfect Singer can at the same time be a perfect Actor; for the Mind being at once divided by two different Operations, he will probably incline more to one than the other; It being, however, much more difficult to sing well than to act well, the Merit of the first is beyond the second. What a Felicity would it be, to possess both in a perfect Degree![96]

Sec. 32. Having said, a Singer should not copy, I repeat it now with this Reason; that to copy is the part of a Scholar, that of a Master is to invent.

Sec. 33. Let it be remembered by the Singer, that copying comes from Laziness, and that none copy ill but out of Ignorance.

Sec. 34. Where Knowledge with Study makes one a good Singer, Ignorance with one single Copy makes a thousand bad ones; however, among these there are none that will acknowledge her for a Teacher.

Sec. 35. If many of the female Singers (for whom I have due Respect) would be pleased to consider, that by copying a good one, they are become very bad ones, they would not appear so ridiculous on the Stage for their Affectation in presuming to sing the _Airs_ of the Person they copy, with the same Graces. In this great Error, (if it does not proceed from their Masters) they seem to be governed by Instinct, like the inferior Creatures, rather than by Reason; for That would shew them, that we may arrive at Applause by different ways, and past Examples, as well as one at this present make us sensible, that two Women would not be equally eminent if the one copy'd the other.[97]

Sec. 36. If the Complaisance, which is due to the fair Sex, does not excuse the Abuse of copying when it proves prejudicial to the Profession, what ought one then to say of those Men, who, instead of inventing, not only copy others of their own Sex, but also Women. Foolish and shameful!----Supposing an Impossibility, _viz._ that a Singer has arrived at copying in such a Manner as not to be distinguished from the Original, should he attribute to himself a Merit which does not belong to him, and dress himself out in the Habits of another without being afraid of being stripp'd of them?

Sec. 37. He, that rightly knows how to copy in Musick, takes nothing but the Design; because that Ornament, which we admire when _natural_, immediately loses its Beauty when _artificial_.

Sec.38. The most admired Graces of a Professor ought only to be imitated, and not copied; on Condition also, that it does not bear not even so much as a Shadow of Resemblance of the Original; otherwise, instead of a beautiful Imitation, it will become a despicable Copy.

Sec. 39. I cannot decide, which of the two deserves most to be despised, one who cannot imitate a good Singer without _Caricatura's_, or He that cannot imitate any well but bad ones.

Sec. 40. If many Singers knew, that a bad Imitation is a contagious Evil, to which one who studies is not liable, the World would not be reduc'd to the Misfortune of seeing in a _Carnaval_ but one Theatre provided with eminent Performers, without Hopes of[98] an approaching Remedy. Let them take it for their Pains. Let the World learn to applaud Merit; and (not to use a more harsh Expression) be less complaisant to Faults.

Sec. 41. Whoever does not know how to steal the Time in Singing, knows not how to Compose, nor to Accompany himself, and is destitute of the best Taste and greatest Knowledge.[99]

Sec. 42. The stealing of Time, in the _Pathetick_, is an honourable Theft in one that sings better than others, provided he makes a Restitution with Ingenuity.

Sec. 43. An Exercise, no less necessary than this, is That of agreeably _putting forth_ of the Voice, without which all Application is vain. Whosoever pretends to obtain it, must hearken more to the Dictates of the Heart, than to those of Art.

Sec. 44. Oh! how great a Master is the Heart! Confess it, my beloved Singers, and gratefully own, that you would not have arrived at the highest Rank of the Profession if you had not been its Scholars; own, that in a few Lessons from it, you learned the most beautiful Expressions, the most refin'd Taste, the most noble Action, and the most exquisite Graces: Own, (though it be hardly credible) that the Heart corrects the Defects of Nature, since it softens a Voice that's harsh, betters an indifferent one, and perfects a good one: Own, when the Heart sings you cannot dissemble, nor has Truth a greater Power of persuading: And, lastly, do you convince the World, (what is not in my Power to do) that from the Heart alone you have learn'd that _Je ne scai quoy_, that pleasing Charm, that so subtily passes from Vein to Vein, and makes its way to the very Soul.

Sec. 45. Though the way to the Heart is long and rugged, and known but to few, a studious Application will, notwithstanding, master all Obstacles.

Sec. 46. The best Singer in the World continues to study, and persists in it as much to maintain his Reputation, as he did to acquire it.

Sec. 47. To arrive at that glorious End, every body knows that there is no other Means than Study; but That does not suffice; it is also necessary to know in what Manner, and with whose Assistance, we must pursue our Studies.

Sec. 48.[100] There are now-a-days as many Masters as there are Professors of Musick in any Kind; every one of them teaches, I don't mean the first Rudiments only, (That would be an Affront to them;) I am now speaking of those who take upon them the part of a Legislator in the most finished part in Singing; and should we then wonder that the good Taste is near lost, and that the Profession is going to Ruin? So mischievous a Pretension prevails not only among those, who can barely be said to sing, but among the meanest instrumental Performers; who, though they never sung, nor know how to sing, pretend not only to teach, but to perfect, and find some that are weak enough to be imposed on. But, what is more, the instrumental Performers of some Ability imagine that the beautiful Graces and Flourishes, with their nimble Fingers, will have the same Effect when executed with the Voice; but it will not do[101]. I should be the first to condemn the magisterial Liberty I take, were it meant to give Offence to such Singers and instrumental Performers of Worth, who know how to sing, perform, and instruct; but my Correction aims no farther than to the Petulancy of those that have no Capacity, with these few Words, _Age quod agis_; which (for those who do not understand _Latin_) is as much as to say,-----Do You mind your _Sol-fa_; and You, your Instrument.

Sec. 49. If sometimes it does happen, that an indifferent Master should make an excellent Disciple, it is then incontestable, that the Gift of Nature in the Student is superior to the Sufficiency of the Instructor: and it is not to be wonder'd at, for, if from time to time, even great Masters were not outdone, most of the finest Arts would have sunk before now.

Sec. 50. It may seem to many, that every perfect Singer must also be a perfect Instructor, but it is not so; for his Qualifications (though ever so great) are insufficient, if he cannot communicate his Sentiments with Ease, and in a Method adapted to the Ability of the Scholar; if he has not some Notion of Composition, and a manner of instructing, which may seem rather an Entertainment than a Lesson; with the happy Talent to shew the Ability of the Singer to Advantage, and conceal his Imperfections; which are the principal and most necessary Instructions.

Sec. 51. A Master, that is possessed of the abovementioned Qualifications, is capable of Teaching; with them he will raise a Desire to study; will correct Errors with a Reason; and by Examples incite a Taste to imitate him.

Sec. 52. He knows, that a Deficiency of Ornaments displeases as much as the too great Abundance of them; that a Singer makes one languid and dull with too little, and cloys one with too much; but, of the two, he will dislike the former most, though it gives less Offence, the latter being easier to be amended.

Sec. 53. He will have no Manner of Esteem for those who have no other Graces than gradual _Divisions_[102]; and will tell you, Embellishments of this Sort are only fit for Beginners.

Sec. 54. He will have as little Esteem for those who think to make their Auditors faint away, with their Transition from the sharp Third to the Flat.

Sec. 55. He'll tell you, that a Singer is lazy, who on the Stage, from Night to Night, teaches the Audience all his Songs; who, by hearing them always without the least Variation, have no Difficulty to learn them by Heart.

Sec. 56. He will be affrighted at the Rashness of one that launches out, with little Practice, and less Study; lest venturing too far, he should be in great Danger of losing himself.

Sec. 57. He will not praise one that presumes to sing two Parts in three of an Opera, promising himself never to be tiresome, as if that divine Privilege of always pleasing were allowed him here below. Such a one does not know the first Principle of musical Politicks; but Time will teach it him. He, that sings little and well, sings very well.

Sec. 58. He will laugh at those who imagine to satisfy the Publick with the Magnificence of their Habits, without reflecting, that Merit and Ignorance are equally aggrandized by Pomp. The Singers, that have nothing but the outward Appearance, pay that Debt to the Eyes, which they owe to the Ears.

Sec. 59. He will nauseate the new-invented Stile of those who provoke the innocent Notes with coarse Startings of the Voice. A disagreeable Defect; however, being brought from[103] beyond the _Alps_, it passes for a _modern_ Rarity.

Sec. 60. He will be astonished at this bewitched Age, in which so many are paid so well for singing ill. The _Moderns_ would not be pleas'd to be put in Mind, that, twenty Years ago, indifferent Singers had but mean Parts allotted them, even in the second-rate Theatres; whereas at present, those, who are taught like Parrots, heap up Treasures beyond what the Singers of the first Degree then did.[104]

Sec. 61. He will condemn the Ignorance of the Men most, they being more obliged to study than the Women.

Sec. 62. He will not bear with one who imitates the Women, even in sacrificing the Time, in order to acquire the Title of _Modern_.

Sec. 63. He will marvel at that[105] Singer, who, having a good Knowledge of Time, yet does not make use of it, for want of having apply'd himself to the Study of Composition, or to accompany himself. His Mistake makes him think that, to be eminent, it suffices to sing at Sight; and does not perceive that the greatest Difficulty, and the whole Beauty of the Profession consists in what he is ignorant of; he wants that Art which teaches to anticipate the Time, knowing where to lose it again; and, which is still more charming, to know how to lose it, in order to recover it again; which are the Advantages of such as understand Composition, and have the best Taste.

Sec. 64. He will be displeased at the Presumption of a Singer who gets the Words of the most wanton _Airs_ of the Theatre rendered into _Latin_, that he may sing them with Applause in the[106] Church; as if there were no Manner of Difference between the Stile of the one and the other; and, as if the Scraps of the Stage were fit to offer to the Deity.

Sec. 65. What will he not say of him who has found out the prodigious Art of Singing like a _Cricket_? Who could have ever imagin'd, before the Introduction of the _Mode_, that ten or a dozen Quavers in a Row could be trundled along one after the other, with a Sort of _Tremor_, of the Voice, which for some time past has gone under the name of _Mordente Fresco_?[107]

Sec. 66. He will have a still greater Detestation for the Invention of Laughing in Singing, or that screaming like a Hen when she is laying her Egg. Will there not be some other little Animal worth their Imitation, in order to make the Profession more and more ridiculous?

Sec. 67. He will disapprove the malicious Custom of a Singer in Repute, who talks and laughs on the Stage with his Companions, to induce the Publick to believe that such a Singer, who appears the first time on the Stage, does not deserve his Attention; when in reality he is afraid of, or envies, his gaining Applause.

Sec. 68. He cannot endure the Vanity of that Singer, who, full of himself from the little he has learned, is so taken with his own Performance, that he seems falling into an Extasy; pretending to impose Silence and create Wonder, as if his first Note said to the Audience, _Hear and Die_: But they, unwilling to die, chuse not to hear him, talk loud, and perhaps not much to his Advantage. At his second Air the Noise encreases, and still encreasing, he looks upon it as a manifest Injury done him; and, instead of correcting his conceited Pride by Study, he curses the deprav'd Taste of that Nation that does not esteem him, menacing never to return again; and thus the vain Wretch comforts himself.

Sec. 69. He will laugh at one who will not act unless he has the Choice of the Drama, and a Composer to his liking; with this additional Condition, not to sing in Company with such a Man, or without such a Woman.

Sec. 70. With the like Derision, he will observe some others, who with an Humility worse than Pride, go from one Box to another, gathering Praises from the most illustrious Persons, under a Pretence of a most profound Obsequiousness, and become in every Representation more and more familiar. Humility and Modesty are most beautiful Virtues; but if they are not accompanied with a little Decorum, they have some Resemblance to Hypocrisy.

Sec. 71. He will have no great Opinion of one, who is not satisfied with his Part, and never learns it; of one, who never sings in an Opera without thrusting in one _Air_ which he always carries in his Pocket; of one, who bribes the Composer to give him an _Air_ that was intended for another; of one, who takes Pains about Trifles, and neglects Things of Importance; of one, who, by procuring undeserved Recommendations, makes himself and his Patron ridiculous; of one, who does not sustain his Voice, out of Aversion to the _Pathetick_; of one, who gallops to follow the _Mode_; and of all the bad Singers, who, not knowing what's good, court the _Mode_ to learn its Defects.

Sec. 72. To sum up all, he will call none a Singer of Merit, but him who is correct; and who executes with a Variety of Graces of his own, which his Skill inspires him with unpremeditately; knowing, that a Professor of Eminence cannot, if he would, continually repeat an _Air_ with the self-same _Passages_ and _Graces_. He who sings premeditately, shews he has learn'd his Lesson at Home.

Sec. 73. After having corrected several other Abuses and Defects, to the Advantage of the Singer, he will return with stronger Reasons to persuade him to have Recourse to the fundamental Rules, which will teach him to proceed on the Bass from one Interval to another, with sure Steps, and without Danger of erring. If then the Singer should say, Sir, you trouble yourself in vain; for the bare Knowledge of the Errors is not sufficient; I have need of other Help than Words, and I know not where to find it, since it seems that there is at present such a Scarcity of good Examples in _Italy_: Then, shrugging his Shoulders, he will answer him, rather with Sighs than Words; that he must endeavour to learn of the best Singers that there are; particularly by observing two of the fair Sex,[108] of a Merit superior to all Praise; who with equal Force, in a different Stile, help to keep up the tottering Profession from immediately falling into Ruin. The one is inimitable for a privileg'd Gift of Singing, and for enchanting the World with a prodigious Felicity in executing, and with a singular Brilliant (I know not whether from Nature or Art) which pleases to Excess. The delightful, soothing _Cantabile_ of the other, joined with the Sweetness of a fine Voice, a perfect Intonation, Strictness of Time, and the rarest Productions of a Genius, are Qualifications as particular and uncommon, as they are difficult to be imitated. The _Pathetick_ of the one, and the _Allegro_ of the other, are the Qualities the most to be admired respectively in each of them. What a beautiful Mixture would it be, if the Excellence of these two angelick Creatures could be united in one single Person! But let us not lose Sight of the Master.

Sec. 74. He will also convince the Scholar, that the Artifice of a Professor is never more pleasing, than when he deceives the Audience with agreeable Surprizes; for which reason he will advise him to have Recourse to a seeming Plainness, as if he aim'd at nothing else.

Sec. 75. But when the Audience is in no farther Expectation, and (as I may say) grows indolent, he will direct him to rouse them that Instant with a _Grace_.

Sec. 76. When they are again awake, he will direct him to return to his feigned Simplicity, though it will no more be in his power to delude those that hear him, for with an impatient Curiosity they already expect a second, and so on.

Sec. 77. He will give him ample Instructions concerning _Graces_ of all sorts, and furnish him with Rules and profitable Documents.

Sec. 78. Here should I inveigh (though I could not enough) against the Treachery of my Memory, that has not preserved, as it ought, all those peculiar Excellencies which a great Man did once communicate to me, concerning _Passages_ and _Graces_; and to my great Sorrow, and perhaps to the Loss of others, it will not serve me to publish any more than these few poor Remains, the Impressions of which are still left, and which I am now going to mention.

CHAP. X.

_Of_ Passages _or_ Graces.

_Passages_ or _Graces_ being the principal Ornaments in Singing, and the most favourite Delight of the Judicious, it is proper that the Singer be very attentive to learn this Art.

Sec. 2. Therefore, let him know, that there are five principal Qualifications, which being united, will bring him to admirable Perfection, _viz._ _Judgment_, _Invention_, _Time_, _Art_, and _Taste_.

Sec. 3. There are likewise five subaltern Embellishments _viz._ the _Appoggiatura_, the _Shake_, the _putting forth of the Voice_, the _Gliding_, and _Dragging_.

_The principal Qualifications teach,_

Sec. 4. That the _Passages_ and _Graces_ cannot be form'd but from a profound _Judgment_.

Sec. 5. That they are produced by a singular and beautiful _Invention_, remote from all that is vulgar and common.

Sec. 6. That, being govern'd by the rigorous, but necessary, Precepts of _Time_, they never transgress its regulated Measure, without losing their own Merit.

Sec. 7. That, being guided by the most refined _Art_ on the Bass, they may There (and no where else) find their Center; there to sport with Delight, and unexpectedly to charm.

Sec. 8. That, it is owing to an exquisite _Taste_, that they are executed with that sweet _putting forth_ of the Voice, which is so enchanting.

_From the accessory Qualities is learned,_

Sec. 9. That the _Graces_ or _Passages_ be easy in appearance, thereby to give universal Delight.

Sec. 10. That in effect They be difficult that thereby the Art of the Inventor be the more admired.

Sec. 11. That They be performed with an equal regard to the Expression of the Words, and the Beauty of the Art.

Sec. 12. That They be _gliding_ or _dragging_ in the _Pathetick_, for They have a better Effect than those that are mark'd.

Sec. 13. That They do not appear studied, in order to be the more regarded.

Sec. 14. That They be softened with the _Piano_ in the _Pathetick_, which will make them more affecting.

Sec. 15. That in the _Allegro_ They be sometimes accompanied with the _Forte_ and the _Piano_, so as to make a sort of _Chiaro Scuro_.

Sec. 16. That They be confin'd to a _Group_ of a few Notes, which are more pleasing than those which are too numerous.

Sec. 17. That in a slow _Time_, there may be a greater Number of them (if the Bass allows it) with an Obligation upon the Singer to keep to the Point propos'd, that his Capacity be made more conspicuous.

Sec. 18. That They be properly introduc'd, for in a wrong Place They disgust.

Sec. 19. That They come not too close together, in order to keep them distinct.

Sec. 20. That They should proceed rather from the Heart than from the Voice, in order to make their way to the Heart more easily.

Sec. 21. That They be not made on the second or fourth Vowel, when closely pronounc'd, and much less on the third and fifth.

Sec. 22. That They be not copied, if you would not have them appear defective.

Sec. 23. That They be stol'n on the _Time_, to captivate the Soul.

Sec. 24. That They never be repeated in the same place, particularly in _Pathetick Airs_, for there they are the most taken Notice of by the Judicious.

Sec. 25. And, above all, let them be improv'd; by no means let them lose in the Repetition.

Sec. 26. Many Professors are of Opinion, that in _Graces_ there is no room for the marked _Divisions_, unless mix'd with some of the aforesaid Embellishments or some other agreable Accidents.

Sec. 27. But it is now time that we speak of the _Dragging_, that, if the _Pathetick_ should once return again into the World, a Singer might be able to understand it. The Explanation would be easier understood by Notes of Musick than by Words, if the Printer was not under great Difficulty to print a few Notes; notwithstanding which, I'll endeavour, the best I can, to make myself understood.

Sec. 28. When on an even and regular Movement of a Bass, which proceeds slowly, a Singer begins with a high Note, dragging it gently down to a low one, with the _Forte_ and _Piano_, almost gradually, with Inequality of Motion, that is to say, stopping a little more on some Notes in the Middle, than on those that begin or end the _Strascino_ or _Dragg_.[109] Every good musician takes it for granted, that in the Art of Singing there is no Invention superior, or Execution more apt to touch the Heart than this, provided however it be done with Judgment, and with putting forth of the Voice in a just _Time_ on the Bass. Whosoever has most Notes at Command, has the greater Advantage; because this pleasing Ornament is so much the more to be admired, by how much the greater the Fall is. Perform'd by an excellent _Soprano_, that makes use of it but seldom, it becomes a Prodigy; but as much as it pleases descending, no less would it displease ascending.

Sec. 29. Mind this, O my beloved Singers! For it is to You only, who are inclined to study, that I have addressed myself. This was the Doctrine of the School of those Professors, whom, by way of Reproach, some mistaken Persons call _Ancients_. Observe carefully its Rules, examine strictly its Precepts, and, if not blinded by Prejudice, you will see that this School ought to sing in Tune, to put forth the Voice, to make the Words understood, to express, to use proper Gesture, to perform in _Time_, to vary on its Movement, to compose, and to study the _Pathetick_, in which alone Taste and Judgment triumph. Confront this School with yours, and if its Precepts should not be sufficient to instruct you, learn what's wanting from the _Modern_.

Sec. 30. But if these my Exhortations, proceeding from my Zeal, have no Weight with you, as the Advice of Inferiors is seldom regarded, allow at least, that whoever has the Faculty of Thinking, may once in sixty Years think right. And if you think, that I have been too partial to the Times past, then would I persuade you, (if you have not a shaking Hand) to weigh in a just Ballance your most renowned Singers; who you take to be _Moderns_ (but are not so, except in their _Cadences_;) and having undeceived yourselves, you will perceive in them, that instead of Affectations, Abuses, and Errors, They sing according to those powerful Lessons that give Delight to the Soul, and whose Perfections have made Impressions on me, and which I shall always remember with the greatest Pleasure. Do but consult them, as I have done, and they will truly and freely tell you, That They sell their Jewels where they are understood; That the Singers of Eminence are not of the _Mode_, and that at present there are many bad Singers.

Sec. 31. True it is, that there are some, tho' few, very good Singers, who, when the Vehemence of their youthful fire is abated, will by their Examples do Justice to their delightful Profession, in keeping up the Splendor of it, and will leave to Posterity a lasting and glorious Fame of their Performances. I point them out to you, that, if you find yourselves in an Error, you may not want the Means to correct it, nor an Oracle to apply to whenever you have occasion. From whence I have good Grounds to hope, that the true Taste in Singing will last to the End of the World.

Sec. 32. Whoever comprehends what has been demonstrated to him, in these and many other Observations, will need no farther Incitement to study. Stirred up by his own Desire, he will fly to his beloved Instrument, from which, by continued Application, he will find he has no Reason to sit down satisfied with what he has learn'd before. He will make new Discoveries, inventing new Graces, from whence after comparing them well together, he will chuse the best, and will make use of them as long as he thinks them so; but, going on in refining, he will find others more deserving his Esteem. To conclude, from these he will proceed on to an almost infinite Number of _Graces_, by the means whereof his Mind will be so opened, that the most hidden Treasures of the Art, and most remote from his Imagination, will voluntarily present themselves; so that, unless Pride blinds him, or Study becomes tiresome to him, or his Memory fails him, he will increase his Store of Embellishments in a Stile which will be entirely his own: The principal Aim of one that strives to gain the highest Applause.

Sec. 33. Finally, O ye young Singers, hearken to me for your Profit and Advantage. The Abuses, the Defects, and the Errors divulged by me in these Observations, (which in Justice ought not to be charg'd on the _Modern_ Stile) were once almost all Faults I myself was guilty of; and in the Flower of my Youth, when I thought myself to be a great Man, it was not easy for me to discover them. But, in a more mature Age, the slow Undeceit comes too late. I know I have sung ill, and would I have not writ worse! but since I have suffered by my Ignorance, let it at least serve for a Warning to amend those who wish to sing well. He that studies, let him imitate the ingenious Bee, that sucks its Honey from the most grateful Flowers. From those called _Ancients_, and those supposed _Moderns_, (as I have said) much may be learn'd; it is enough to find out the Flower, and know how to distill, and draw the Essence from it.

Sec. 34. The most cordial, and not less profitable Advice, I can give you, is the following:

Sec. 35. Remember what has been wisely observed, that Mediocrity of Merit can but for a short time eclipse the true Sublime, which, how old soever it grows, can never die.

Sec. 36. Abhor the Example of those who hate Correction; for like Lightning to those who walk in the Dark, tho' it frightens them, it gives them Light.

Sec. 37. Learn from the Errors of others: O great Lesson! it costs little, and instructs much. Of every one something is to be learned, and the most Ignorant is sometimes the greatest Master.

_FINIS_.

PLATES

Pl. I

Chap. 1.st

Pl. II

Chap. 2d.

Pl. III

Pl. IV

Chap. 3d.

Chap 4th

Chap. 5th

Chap 8th

La Sol Fa

Inferior Cadence

Fa me Fa]

Nš. 4. Nš. 5.

nel fondo]

-ro am[ve]-ro]

FOOTNOTES:

[1] When Arts and Sciences were retrieving from the Barbarism in which they were buried, Musick chiefly took its Rise in _Flanders_, and the Composers of Musick of that Nation were dispersed all over _Europe_, to the Improvement of others. In _Italy_ there arose from that School, among several others, _P. Alis. Palestrina_, a Genius so extraordinary, that he is looked upon as the _Raphael_ among the Musicians. He lived in Pope _Leo_ the Tenth's Time; and no Musick, that we know of, is performed at the Pope's Chapel, to this Day, but of his Composition, except the famous _Miserere_ of _Allegri_, who liv'd a little time after _Palestrina_.

[2] Our Author seems to be a little too partial in Favour of the Singer, all momentary Productions being the same; though it must be allowed, that by reason of the Expression of the Words, any Error in Singing will be more capital, than if the same were committed on an Instrument.

[3] The Author directs this for the Instruction of a _Soprano_, or a treble Voice, because Youth possesses that Voice mostly, and that is the Age when they should begin to study Musick. It may not be amiss to mention, that the _Soprano_ is most apt to perform the Things required by your Author, and that every different Scale of Voice has something peculiarly relative to its Kind as its own Property; for a _Soprano_ has generally most Volubility, and becomes it best; and also equally the Pathetick. The _Contr'Alto_ more of the Pathetick than the Volubility; the _Tenor_ less of the Pathetick, but more of the Volubility than the _Contr'Alto_, though not so much as the _Soprano_. The _Bass_, in general more pompous than any, but should not be so boisterous as now too often practised.

[4] By this section, and mostly throughout the Work, one sees, the Author calculated this Treatise chiefly for the Advantage of Professors of Musick; but, notwithstanding, it appears in several Places, that his Intention is, that all Lovers of Musick should also be the better for it.