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OBSERVATIONS
ON THE
Florid Song;
OR,
SENTIMENTS
ON THE
_Ancient_ and _Modern_ SINGERS,
Written in _Italian_
By PIER. FRANCESCO TOSI,
Of the _Phil-Harmonic_ Academy
at _Bologna_.
Translated into _English_
By Mr. _GALLIARD_.
Useful for all PERFORMERS, _Instrumental_
as well as _Vocal_.
To which are added
EXPLANATORY ANNOTATIONS,
and Examples in MUSICK.
_Ornari Res ipsa negat, contenta doceri._
_LONDON_:
Printed for J. WILCOX, at _Virgil's_ Head, in
the _Strand_. 1743.
_Note_, By the _Ancient_, our Author
means those who liv'd about thirty
or forty Years ago; and by the
_Modern_ the late and present Singers.
N.B. _The Original was printed at_
Bologna, _in the Year_ 1723.
_Reprinted from the Second Edition by_
WILLIAM REEVES Bookseller Ltd.,
1a Norbury Crescent, London, S.W. 16
1967
Made in England
[Illustration]
TO ALL
Lovers of MUSICK.
LADIES and GENTLEMEN,
Persons of Eminence, Rank, Quality, and a distinguishing Taste in any
particular Art or Science, are always in View of Authors who want a
Patron for that Art or Science, which they endeavour to recommend and
promote. No wonder therefore, I should have fix'd my Mind on You, to
patronize the following Treatise.
If there are Charms in Musick in general, all the reasonable World
agrees, that the _Vocal_ has the Pre-eminence, both from _Nature_ and
_Art_ above the Instrumental: From _Nature_ because without doubt it was
the first; from _Art_, because thereby the Voice may be brought to
express Sounds with greater Nicety and Exactness than Instruments.
The Charms of the human Voice, even in Speaking, are very powerful. It
is well known, that in _Oratory_ a just _Modulation_ of it is of the
highest Consequence. The Care Antiquity took to bring it to Perfection,
is a sufficient Demonstration of the Opinion they had of its Power; and
every body, who has a discerning Faculty, may have experienced that
sometimes a Discourse, by the Power of the _Orator's_ Voice, has made an
Impression, which was lost in the Reading.
But, above all, the soft and pleasing Voice of the _fair Sex_ has
irresistible Charms and adds considerably to their Beauty.
If the Voice then has such singular Prerogatives, one must naturally
wish its Perfection in musical Performances, and be inclined to forward
any thing that may be conducive to that end. This is the reason why I
have been more easily prevail'd upon to engage in this Work, in order to
make a famous _Italian Master_, who treats so well on this Subject,
familiar to _England_; and why I presume to offer it to your Protection.
The Part, I bear in it, is not enough to claim any Merit; but my
endeavouring to offer to your Perusal what may be entertaining, and of
Service, intitles me humbly to recommend myself to your Favour: Who am,
LADIES _and_ GENTLEMEN,
_Your most devoted,
And most obedient
Humble Servant_,
J. E. GALLIARD.
[Illustration]
A
Prefatory Discourse
GIVING
_Some Account of the_ AUTHOR.
_Pier._ _Francesco Tosi_, the Author of the following Treatise, was an
_Italian_, and a Singer of great Esteem and Reputation. He spent the
most part of his Life in travelling, and by that Means heard the most
eminent Singers in _Europe_, from whence, by the Help of his nice
Taste, he made the following Observations. Among his many Excursions,
his Curiosity was raised to visit _England_, where he resided for some
time in the Reigns of King _James_ the Second, King _William_, King
_George_ the First, and the Beginning of his present Majesty's: He dy'd
soon after, having lived to above Fourscore. He had a great deal of Wit
and Vivacity, which he retained to his latter Days. His manner of
Singing was full of Expression and Passion; chiefly in the Stile of
Chamber-Musick. The best Performers in his Time thought themselves happy
when they could have an Opportunity to hear him. After he had lost his
Voice, he apply'd himself more particularly to Composition; of which he
has given Proof in his _Cantata's_, which are of an exquisite Taste,
especially in the _Recitatives_, where he excels in the _Pathetick_ and
_Expression_ beyond any other. He was a zealous Well-wisher to all who
distinguished themselves in Musick; but rigorous to those who abused and
degraded the Profession. He was very much esteemed by Persons of Rank
among whom the late Earl of _Peterborough_ was one, having often met him
in his Travels beyond Sea; and he was well received by his Lordship
when in _England_, to Whom he dedicated this Treatise. This alone would
be a sufficient Indication of his Merit, his being taken Notice of by a
Person of that Quality, and distinguishing Taste. The Emperor _Joseph_
gave him an honourable Employment _Arch-Duchess_ a Church-Retirement in
some part of _Italy_, and the late _Flanders_, where he died. As for his
_Observations_ and _Sentiments_ on Singing, they must speak for
themselves; and the Translation of them, it is hoped, will be acceptable
to Lovers of Musick, because this particular Branch has never been
treated of in so distinct and ample a Manner by any other Author.
Besides, it has been thought by Persons of Judgment, that it would be of
Service to make the Sentiments of our Author more universally known,
when a false Taste in Musick is so prevailing; and, that these Censures,
as they are passed by an _Italian_ upon his own Countrymen, cannot but
be looked upon as impartial. It is incontestable, that the Neglect of
true Study, the sacrificing the Beauty of the Voice to a Number of
ill-regulated Volubilities, the neglecting the Pronunciation and
Expression of the Words, besides many other Things taken Notice of in
this Treatise, are all _bad_. The Studious will find, that our Author's
Remarks will be of Advantage, not only to Vocal Performers, but likewise
to the Instrumental, where Taste and a Manner are required; and shew,
that a little less _Fiddling_ with the _Voice_, and a little more
_Singing_ with the _Instrument_, would be of great Service to Both.
Whosoever reads this Treatise with Application, cannot fail of
Improvement by it. It is hoped, that the Translation will be indulged,
if, notwithstanding all possible Care, it should be defective in the
Purity of the _English_ Language! it being almost impossible
(considering the Stile of our Author, which is a little more figurative
than the present Taste of the _English_ allows in their Writings,) not
to retain something of the Idiom of the Original; but where the Sense of
the Matter is made plain, the Stile may not be thought so material, in
Writings of this Kind.
THE
AUTHOR'S Dedication
TO HIS
Excellency the Earl of
PETERBOROUGH, General
of the Marines
of _Great-Britain_.
MY LORD,
I Should be afraid of leaving the World under the Imputation of
Ingratitude, should I any longer defer publishing the very many
Favours, which _Your Lordship_ so generously has bestow'd on me in
_Italy_, in _Germany_, in _Flanders_, in _England_; and principally at
your delightful Seat at _Parson's-Green_, where _Your Lordship_ having
been pleased to do me the Honour of imparting to me your Thoughts with
Freedom, I have often had the Opportunity of admiring your extensive
Knowledge, which almost made me overlook the Beauty and Elegance of the
Place. The famous _Tulip-Tree_, in your Garden there is not so
surprising a Rarity, as the uncommon Penetration of your Judgment, which
has sometimes (I may say) foretold Events, which have afterwards come
to pass. But what Return can I make for so great Obligations, when the
mentioning of them is doing myself an Honour, and the very
Acknowledgment has the Appearance of _Vanity_? It is better therefore to
treasure them up in my Heart, and remain respectfully silent; only
making an humble Request to _Your Lordship_ that you will condescend
favourably to accept this mean Offering of my OBSERVATIONS; which I am
induc'd to make, from the common Duty which lies upon every Professor to
preserve Musick in its Perfection; and upon Me in particular, for having
been the first, or among the first, of those who discovered the noble
Genius of your potent and generous Nation for it. However, I should not
have presum'd to dedicate them to a Hero adorn'd with such glorious
Actions, if _Singing_ was not a Delight of the Soul, or if any one had a
Soul more sensible of its Charms. On which account, I think, I have a
just Pretence to declare myself, with profound Obsequiousness,
YOUR LORDSHIP'S
_Most humble_,
_Most devoted and_
_Most oblig'd Servant_,
Pier. Francesco Tosi.
THE
CONTENTS.
The Introduction.
CHAP. I.
Observations for one who teaches a _Soprano_.
CHAP II.
Of the _Appoggiatura_.
CHAP. III.
Of the _Shake_.
CHAP. IV.
On _Divisions_.
CHAP. V.
Of _Recitative_.
CHAP. VI.
Observations for a _Student_.
CHAP. VII.
Of _Airs_.
CHAP. VIII.
Of _Cadences_.
CHAP. IX.
Observations for a _Singer_.
CHAP. X.
Of _Passages_ or _Graces_.
Footnotes.
THE
INTRODUCTION.
The Opinions of the ancient Historians, on the Origin of Musick, are
various. _Pliny_ believes that _Amphion_ was the Inventor of it; the
_Grecians_ maintain, that it was _Dionysius_; _Polybius_ ascribes it to
the _Arcadians_; _Suidas_ and _Boetius_ give the Glory entirely to
_Pythagoras_; asserting, that from the Sound of three Hammers of
different Weights at a Smith's Forge, he found out the Diatonick; after
which _Timotheus_, the _Milesian_, added the Chromatick, and
_Olympicus_, or _Olympus_, the Enharmonick Scale. However, we read in
holy Writ, that _Jubal_, of the Race of _Cain, fuit Pater Canentium
Cithara & Organo_, the Father of all such as handle the Harp and Organ;
Instruments, in all Probability consisting of several harmonious Sounds;
from whence one may infer, Musick to have had its Birth very soon after
the World.
Sec. 2. To secure her from erring, she called to her Assistance many
Precepts of the Mathematicks; and from the Demonstrations of her
Beauties, by Means of Lines, Numbers, and Proportions, she was adopted
her Child, and became a Science.
Sec. 3. It may reasonably be supposed that, during the Course of several
thousand Years, Musick has always been the Delight of Mankind; since the
excessive Pleasure, the _Lacedemonians_ received from it, induced that
Republick to exile the abovementioned _Milesian_, that the _Spartans_,
freed from their Effeminacy, might return again to their old Oeconomy.
Sec. 4. But, I believe, she never appeared with so much Majesty as in the
last Centuries, in the great Genius of _Palestrina_, whom she left as an
immortal Example to Posterity. And, in Truth, Musick, with the Sweetness
of _his_ Harmony, arrived at so high a Pitch (begging Pardon of the
eminent Masters of our Days), that if she was ranked only in the Number
of Liberal Arts, she might with Justice contest the Pre-eminence[1].
Sec. 5. A strong Argument offers itself to me, from that wonderful
Impression, that in so distinguished a Manner is made upon our Souls by
Musick, beyond all other Arts; which leads us to believe that it is part
of that Blessedness which is enjoyed in Paradise.
Sec. 6. Having premised these Advantages, the Merit of the Singer should
likewise be distinguished, by reason of the particular Difficulties that
attend him: Let a Singer have a Fund of Knowledge sufficient to perform
readily any of the most difficult Compositions; let him have, besides,
an excellent Voice, and know how to use it artfully; he will not, for
all that, deserve a Character of Distinction, if he is wanting in a
prompt Variation; a Difficulty which other Arts are not liable to.
Sec. 7. Finally, I say, that Poets[2], Painters, Sculptors, and even
Composers of Musick, before they expose their Works to the Publick, have
all the Time requisite to mend and polish them; but the Singer that
commits an Error has no Remedy; for the Fault is committed, and past
Correction.
Sec. 8. We may then guess at but cannot describe, how great the Application
must be of one who is obliged not to err, in unpremeditated Productions;
and to manage a Voice, always in Motion, conformable to the Rules of an
Art that is so difficult. I confess ingeniously, that every time I
reflect on the Insufficiency of many Masters, and the infinite Abuses
they introduce, which render the Application and Study of their Scholars
ineffectual, I cannot but wonder, that among so many Professors of the
first Rank, who have written so amply on Musick in almost all its
Branches, there has never been one, at least that I have heard of, who
has undertaken to explain in the Art of Singing, any thing more than the
first Elements, known to all, concealing the most necessary Rules for
Singing well. It is no Excuse to say, that the Composers intent on
Composition, the Performers on Instruments intent on their Performance,
should not meddle with what concerns the Singer; for I know some very
capable to undeceive those who may think so. The incomparable _Zarlino_,
in the third part of his Harmonick Institution, chap. 46, just began to
inveigh against those, who in his time sung with some Defects, but he
stopped; and I am apt to believe had he gone farther, his Documents,
though grown musty in two Centuries, might be of Service to the refined
Taste of this our present time. But a more just Reproof is due to the
Negligence of many celebrated Singers, who, having a superior Knowledge,
can the less justify their Silence, even under the Title of Modesty,
which ceases to be a Virtue, when it deprives the Publick of an
Advantage. Moved therefore, not by a vain Ambition, but by the Hopes of
being of Service to several Professors, I have determined, not without
Reluctance, to be the first to expose to the Eye of the World these my
few Observations; my only End being (if I succeed) to give farther
Insight to the Master, the Scholar, and the Singer.
Sec. 9. I will in the first Place, endeavour to shew the Duty of a Master,
how to instruct a Beginner well; secondly, what is required of the
Scholar; and, lastly, with more mature Reflections, to point out the way
to a moderate Singer, by which he may arrive at greater Perfection.
Perhaps my Enterprize may be term'd rash, but if the Effects should not
answer my Intentions, I shall at least incite some other to treat of it
in a more ample and correct Manner.
Sec. 10. If any should say, I might be dispensed with for not publishing
Things already known to every Professor, he might perhaps deceive
himself; for among these Observations there are many, which as I have
never heard them made by anybody else, I shall look upon as my own; and
such probably they are, from their not being generally known. Let them
therefore take their Chance, for the Approbation of those that have
Judgment and Taste.
Sec. 11. It would be needless to say, that verbal Instructions can be of no
Use to Singers, any farther than to prevent 'em from falling into
Errors, and that it is Practice only can set them right. However, from
the Success of these, I shall be encouraged to go on to make new
Discoveries for the Advantage of the Profession, or (asham'd, but not
surpriz'd) I will bear it patiently, if Masters with their Names to
their Criticism should kindly publish my Ignorance, that I may be
undeceiv'd, and thank them.
Sec. 12. But though it is my Design to Demonstrate a great Number of
Abuses and Defects of the Moderns to be met with in the Republick of
Musick, in order that they may be corrected (if they can); I would not
have those, who for want of Genius, or through Negligence in their
Study, could not, or would not improve themselves, imagine that out of
Malice I have painted all their Imperfections to the Life; for I
solemnly protest, that though from my too great Zeal I attack their
Errors without Ceremony, I have a Respect for their Persons; having
learned from a _Spanish_ Proverb, that Calumny recoils back on the
Author. But Christianity says something more. I speak in general; but if
sometimes I am more particular, let it be known, that I copy from no
other Original than myself, where there has been, and still is Matter
enough to criticize, without looking for it elsewhere.
CHAP. I.
OBSERVATIONS _for one who teaches a_ Soprano.[3]
The Faults in Singing insinuate themselves so easily into the Minds of
young Beginners, and there are such Difficulties in correcting them,
when grown into an Habit that it were to be wish'd, the ablest Singers
would undertake the Task of Teaching, they best knowing how to conduct
the Scholar from the first Elements to Perfection. But there being none,
(if I mistake not) but who abhor the Thoughts of it, we must reserve
them for those Delicacies of the Art, which enchant the Soul.
Sec. 2. Therefore the first Rudiments necessarily fall to a Master of a
lower Rank, till the Scholar can sing his part at Sight; whom one would
at least wish to be an honest Man, diligent and experienced, without the
Defects of singing through the Nose, or in the Throat, and that he have
a Command of Voice, some Glimpse of a good Taste, able to make himself
understood with Ease, a perfect Intonation, and a Patience to endure the
severe Fatigue of a most tiresome Employment.
Sec. 3. Let a Master thus qualified before he begins his Instructions, read
the four Verses of _Virgil_, _Sic vos non vobis_, &c.[5] for they seem
to be made[4] on Purpose for him, and after having considered them
well, let him consult his Resolution; because (to speak plainly) it is
mortifying to help another to Affluence, and be in want of it himself.
If the Singer should make his Fortune, it is but just the Master, to
whom it has been owing, should be also a Sharer in it.
Sec. 4. But above all, let him hear with a disinterested Ear, whether the
Person desirous to learn hath a Voice, and a Disposition; that he may
not be obliged to give a strict Account to God, of the Parent's Money
ill spent, and the Injury done to the Child, by the irreparable Loss of
Time, which might have been more profitably employed in some other
Profession. I do not speak at random. The ancient Masters made a
Distinction between the Rich, that learn'd Musick as an Accomplishment,
and the Poor, who studied it for a Livelihood. The first they instructed
out of Interest, and the latter out of Charity, if they discovered a
singular Talent. Very few modern Masters refuse Scholars; and, provided
they are paid, little do they care if their greediness ruins the
Profession.
Sec. 5. Gentlemen Masters! _Italy_ hears no more such exquisite Voices as
in Times past, particularly among the Women, and to the Shame of the
Guilty I'll tell the Reason: The Ignorance of the Parents does not let
them perceive the Badness of the Voice of their Children, as their
Necessity makes them believe, that to sing and grow rich is one and the
same Thing, and to learn Musick, it is enough to have a pretty Face:
"_Can you make anything of her?_"
Sec. 6. You may, perhaps, teach them with their Voice----Modesty will not
permit me to explain myself farther.
Sec. 7. The Master must want Humanity, if he advises a Scholar to do any
thing to the Prejudice of the Soul.
Sec. 8. From the first Lesson to the last, let the Master remember, that he
is answerable for any Omission in his Instructions, and for the Errors
he did not correct.
Sec. 9. Let him be moderately severe, making himself fear'd, but not hated.
I know, it is not easy to find the Mean between Severity and Mildness,
but I know also, that both Extremes are bad: Too great Severity creates
Stubbornness, and too great Mildness Contempt.
Sec. 10. I shall not speak of the Knowledge of the Notes, of their Value,
of Time, of Pauses, of the Accidents, nor of other such trivial
Beginnings, because they are generally known.
Sec. 11. Besides the _C_ Cliff, let the Scholar be instructed in all the
other Cliffs, and in all their Situations, that he may not be liable to
what often happens to some Singers, who, in Compositions _Alla
Capella_,[6] know not how to distinguish the _Mi_ from the _Fa_, without
the Help of the Organ, for want of the Knowledge of the _G_ Cliff; from
whence such Discordancies arise in divine Service, that it is a Shame
for those who grow old in their Ignorance. I must be so sincere to
declare, that whoever does not give such essential Instructions,
transgresses out of Omission, or out of Ignorance.[7]
Sec. 12. Next let him learn to read those in _B Molle_, especially in
those[8] Compositions that have four Flats at the Cliff, and which on
the sixth of the Bass require for the most part an accidental Flat, that
the Scholar may find in them the _Mi_, which is not so easy to one who
has studied but little, and thinks that all the Notes with a Flat are
called _Fa_: for if that were true, it would be superfluous that the
Notes should be six, when five of them have the same Denomination. The
_French_ use seven, and, by that additional Name, save their scholars
the Trouble of learning the Mutations ascending or descending; but we
_Italians_ have but _Ut_, _Re_, _Mi_, _Fa_, _Sol_, _La_; Notes which
equally suffice throughout all the Keys, to one who knows how to read
them.[9]
Sec. 13. Let the Master do his utmost, to make the Scholar hit and sound
the Notes perfectly in Tune in _Sol-Fa_-ing. One, who has not a good
Ear, should not undertake either to instruct, or to sing; it being
intolerable to hear a Voice perpetually rise and fall discordantly. Let
the Instructor reflect on it; for one that sings out of Tune loses all
his other Perfections. I can truly say, that, except in some few
Professors, that modern Intonation is very bad.
Sec. 14. In the _Sol-Fa_-ing, let him endeavour to gain by Degrees the high
Notes, that by the Help of this Exercise he may acquire as much Compass
of the Voice as possible. Let him take care, however, that the higher
the Notes, the more it is necessary to touch them with Softness, to
avoid Screaming.
Sec. 15. He ought to make him hit the Semitones according to the true
Rules. Every one knows not that there is a Semitone Major and
Minor,[10] because the Difference cannot be known by an Organ or
Harpsichord, if the Keys of the Instrument are not split. A Tone, that
gradually passes to another, is divided into nine almost imperceptible
Intervals, which are called Comma's, five of which constitute the
Semitone Major, and four the Minor. Some are of Opinion, that there are
no more than seven, and that the greatest Number of the one half
constitutes the first, and the less the second; but this does not
satisfy my weak Understanding, for the Ear would find no Difficulty to
distinguish the seventh part of a Tone; whereas it meets with a very
great one to distinguish the ninth. If one were continually to sing only
to those abovemention'd Instruments, this Knowledge might be
unnecessary; but since the time that Composers introduced the Custom of
crowding the Opera's with a vast Number of Songs accompanied with Bow
Instruments, it becomes so necessary, that if a _Soprano_ was to sing
_D_ sharp, like _E_ flat, a nice Ear will find he is out of Tune,
because this last rises. Whoever is not satisfied in this, let him read
those Authors who treat of it, and let him consult the best Performers
on the Violin. In the middle parts, however, it is not so easy to
distinguish the Difference; tho' I am of Opinion, that every thing that
is divisible, is to be distinguished. Of these two Semitones, I'll speak
more amply in the Chapter of the _Appoggiatura_, that the one may not be
confounded with the other.
Sec. 16. Let him teach the Scholar to hit the Intonation of any Interval in
the Scale perfectly and readily, and keep him strictly to this important
Lesson, if he is desirous he should sing with Readiness in a short time.
Sec. 17. If the Master does not understand Composition, let him provide
himself with good Examples of _Sol-Fa_-ing in divers Stiles, which
insensibly lead from the most easy to the more difficult, according as
he finds the Scholar improves; with this Caution, that however
difficult, they may be always natural and agreeable, to induce the
Scholar to study with Pleasure.
Sec. 18. Let the Master attend with great Care to the Voice of the Scholar,
which, whether it be _di Petto_, or _di Testa_, should always come forth
neat and clear, without passing thro' the Nose, or being choaked in the
Throat; which are two the most horrible Defects in a Singer, and past
all Remedy if once grown into a Habit[11].
Sec. 19. The little Experience of some that teach to _Sol-fa_, obliges the
Scholar to hold out the _Semibreves_ with Force on the highest Notes;
the Consequence of which is, that the Glands of the Throat become daily
more and more inflamed, and if the Scholar loses not his Health, he
loses the treble Voice.
Sec. 20. Many Masters put their Scholars to sing the _Contr'Alto_, not
knowing how to help them to the _Falsetto_, or to avoid the Trouble of
finding it.
Sec. 21. A diligent Master, knowing that a _Soprano_, without the
_Falsetto_, is constrained to sing within the narrow Compass of a few
Notes, ought not only to endeavour to help him to it, but also to leave
no Means untried, so to unite the feigned and the natural Voice, that
they may not be distinguished; for if they do not perfectly unite, the
Voice will be of divers[12] Registers, and must consequently lose its
Beauty. The Extent of the full natural Voice terminates generally upon
the fourth Space, which is _C_; or on the fifth Line, which is _D_; and
there the feigned Voice becomes of Use, as well in going up to the high
Notes, as returning to the natural Voice; the Difficulty consists in
uniting them. Let the Master therefore consider of what Moment the
Correction of this Defect is, which ruins the Scholar if he overlooks
it. Among the Women, one hears sometimes a _Soprano_ entirely _di
Petto_, but among the Male Sex it would be a great Rarity, should they
preserve it after having past the age of Puberty. Whoever would be
curious to discover the feigned Voice of one who has the Art to disguise
it, let him take Notice, that the Artist sounds the Vowel _i_, or _e_,
with more Strength and less Fatigue than the Vowel _a_, on the high
Notes.
Sec. 22. The _Voce di Testa_ has a great Volubility, more of the high than
the lower Notes, and has a quick Shake, but subject to be lost for want
of Strength.
Sec. 23. Let the Scholar be obliged to pronounce the Vowels distinctly,
that they may be heard for such as they are. Some Singers think to
pronounce the first, and you hear the second; if the Fault is not the
Master's, it is of those Singers, who are scarce got out of their first
Lessons; they study to sing with Affectation, as if ashamed to open
their Mouths; others, on the contrary, stretching theirs too much,
confound these two Vowels with the fourth, making it impossible to
comprehend whether they have said _Balla_ or _Bella_, _Sesso_ or
_Sasso_, _Mare_ or _More_.
Sec. 24. He should always make the Scholar sing standing, that the Voice
may have all its Organization free.
Sec. 25. Let him take care, whilst he sings, that he get a graceful
Posture, and make an agreeable Appearance.
Sec. 26. Let him rigorously correct all Grimaces and Tricks of the Head, of
the Body, and particularly of the Mouth; which ought to be composed in
a Manner (if the Sense of the Words permit it) rather inclined to a
Smile, than too much Gravity.
Sec. 27. Let him always use the Scholar to the Pitch of _Lombardy_, and not
that of _Rome_;[13] not only to make him acquire and preserve the high
Notes, but also that he may not find it troublesome when he meets with
Instruments that are tun'd high; the Pain of reaching them not only
affecting the Hearer, but the Singer. Let the Master be mindful of this;
for as Age advances, so the Voice declines; and, in Progress of Time, he
will either sing a _Contr'Alto_, or pretending still, out of a foolish
Vanity, to the Name of a _Soprano_, he will be obliged to make
Application to every Composer, that the Notes may not exceed the fourth
Space (_viz._, _C_) nor the Voice hold out on them. If all those, who
teach the first Rudiments, knew how to make use of this Rule, and to
unite the feigned to the natural Voice, there would not be now so great
a scarcity of _Soprano's_.
Sec. 28. Let him learn to hold out the Notes without a Shrillness like a
Trumpet, or trembling; and if at the Beginning he made him hold out
every Note the length of two Bars, the Improvement would be the greater;
otherwise from the natural Inclination that the Beginners have to keep
the Voice in Motion, and the Trouble in holding it out, he will get a
habit, and not be able to fix it, and will become subject to a
Flutt'ring in the Manner of all those that sing in a very bad Taste.
Sec. 29. In the same Lessons, let him teach the Art to put forth the Voice,
which consists in letting it swell by Degrees from the softest _Piano_
to the loudest _Forte_, and from thence with the same Art return from
the _Forte_ to the _Piano_. A beautiful _Messa di Voce_,[14] from a
Singer that uses it sparingly, and only on the open Vowels, can never
fail of having an exquisite Effect. Very few of the present Singers find
it to their Taste, either from the Instability of their Voice, or in
order to avoid all Manner of Resemblance of the _odious Ancients_. It
is, however, a manifest Injury they do to the Nightingale, who was the
Origin of it, and the only thing which the Voice can well imitate. But
perhaps they have found some other of the feathered Kind worthy their
Imitation, that sings quite after the New Mode.
Sec. 30. Let the Master never be tired in making the Scholar _Sol-Fa_, as
long as he finds it necessary; for if he should let him sing upon the
Vowels too soon, he knows not how to instruct.
Sec. 31. Next, let him study on the three open Vowels, particularly on the
first, but not always upon the same, as is practised now-a-days; in
order, that from this frequent Exercise he may not confound one with the
other, and that from hence he may the easier come to the use of the
Words.
Sec. 32. The Scholar having now made some remarkable Progress, the
Instructor may acquaint him with the first Embellishments of the Art,
which are the _Appoggiatura's_[15] (to be spoke of next) and apply them
to the Vowels.
Sec. 33. Let him learn the Manner to glide with the Vowels, and to drag the
Voice gently from the high to the lower Notes, which, thro'
Qualifications necessary for singing well, cannot possibly be learn'd
from _Sol-fa_-ing only, and are overlooked by the Unskilful.
Sec. 34. But if he should let him sing the Words, and apply the
_Appoggiatura_ to the Vowels before he is perfect in _Sol-fa_-ing, he
ruins the Scholar.
CHAP. II.[16]
_Of the_ Appoggiatura.[17]
Among all the Embellishments in the Art of Singing, there is none so
easy for the Master to teach, or less difficult for the Scholar to
learn, than the _Appoggiatura_. This, besides its Beauty, has obtained
the sole Privilege of being heard often without tiring, provided it does
not go beyond the Limits prescrib'd by Professors of good Taste.
Sec. 2. From the Time that the _Appoggiatura_ has been invented to adorn
the Art of Singing, the true Reason,[18] why it cannot be used in all
Places, remains yet a Secret. After having searched for it among Singers
of the first Rank in vain, I considered that Musick, as a Science, ought
to have its Rules, and that all Manner of Ways should be tried to
discover them. I do not flatter myself that I am arrived at it; but the
Judicious will see, at least that I am come near it. However, treating
of a Matter wholly produced from my Observations, I should hope for more
Indulgence in this Chapter than in any other.
Sec. 3. From Practice, I perceive, that from _C_ to _C_ by _B Quadro_,[19]
a Voice can ascend and descend gradually with the _Appoggiatura_,
passing without any the least Obstacle thro' all the five _Tones_, and
the two _Semitones_, that make an _Octave_.
Sec. 4. That from every accidental _Diezis_, or Sharp, that may be found in
the Scale, one can gradually rise a _Semitone_ to the nearest Note with
an _Appoggiatura_, and return in the same Manner.[20]
Sec. 5. That from every Note that has a _B Quadro_, or Natural, one can
ascend by _Semitones_ to every one that has a _B Molle_, or Flat, with
an _Appoggiatura_.[21]
Sec. 6. But, contrarywise, my Ear tells me, that from _F_, _G_, _A_, _C_,
and _D_, one cannot rise gradually with an _Appoggiatura_ by
_Semitones_,[22] when any of these five _Tones_ have a Sharp annex'd to
them.
Sec. 7. That one cannot pass with an _Appoggiatura_ gradually from a third
_Minor_ to the Bass, to a third _Major_, nor from the third _Major_ to
the third _Minor_.[23]
Sec. 8. That two consequent _Appoggiatura's_ cannot pass gradually by
_Semitones_ from one _Tone_ to another.[24]
Sec. 9. That one cannot rise by _Semitone_, with an _Appoggiatura_, from
any Note with a Flat.[25]
Sec. 10. And, finally, where the _Appoggiatura_ cannot ascend, it cannot
descend.
Sec. 11. Practice giving us no Insight into the Reason of all these Rules,
let us see if it can be found out by those who ought to account for it.
Sec. 12. Theory teaches us, that the abovementioned _Octave_ consisting of
twelve unequal _Semitones_, it is necessary to distinguish the _Major_
from the _Minor_, and it sends the Student to consult the _Tetrachords_.
The most conspicuous Authors, that treat of them, are not all of the
same Opinion: For we find some who maintain, that from _C_ to _D_, as
well as from _F_ to _G_, the _Semitones_ are equal; and mean while we
are left in Suspense.[26]
Sec. 13. The Ear, however, which is the supreme Umpire in this Art, does in
the _Appoggiatura_ so nicely discern the Quality of the _Semitones_,
that it sufficiently distinguishes the _Semitone Major_. Therefore
going so agreeably from _Mi_ to _Fa_ (that is) from _B Quadro_ to _C_,
or from _E_ to _F_, one ought to conclude That to be a _Semitone Major_,
as it undeniably is. But whence does it proceed, that from this very
_Fa_, (that is from _F_ or _C_) I cannot rise to the next Sharp, which
is also a _Semitone_? It is _Minor_, says the Ear. Therefore I take it
for granted, that the Reason why the _Appoggiatura_ has not a full
Liberty, is, that it cannot pass gradually to a _Semitone Minor_;
submitting myself, however, to better Judgment.[27]
Sec. 14. The _Appoggiatura_ may likewise pass from one distant Note to
another, provided the Skip or Interval be not deceitful; for, in that
Case, whoever does not hit it sure, will show they know not how to
sing.[28]
Sec. 15. Since, as I have said, it is not possible for a Singer to rise
gradually with an _Appoggiatura_ to a _Semitone Minor_, Nature will
teach him to rise a Tone, that from thence he may descend with an
_Appoggiatura to that Semitone_; _or if he has a Mind to_ come to it
without the _Appoggiatura_, to raise the Voice with a _Messa di Voce_,
the Voice always rising till he reaches it.[29]
Sec. 16. If the Scholar be well instructed in this, the _Appoggiatura's_
will become so familiar to him by continual Practice, that by the Time
he is come out of his first Lessons, he will laugh at those Composers
that mark them, with a Design either to be thought Modern, or to shew
that they understand the Art of Singing better than the Singers. If they
have this Superiority over them, why do they not write down even the
Graces, which are more difficult, and more essential than the
_Appoggiatura's_? But if they mark them that they may acquire the
glorious Name of a _Virtuoso alla Moda_, or a Composer in the new Stile,
they ought at least to know, that the Addition of one Note costs little
Trouble, and less Study. Poor _Italy_! pray tell me; do not the Singers
now-a-days know where the _Appoggiatura's_ are to be made, unless they
are pointed at with a Finger? In my Time their own Knowledge shewed it
them. Eternal Shame to him who first introduced these foreign
Puerilities into our Nation, renowned for teaching others the greater
part of the polite Arts; particularly, that of Singing! Oh, how great a
Weakness in those that follow the Example! Oh, injurious Insult to your
Modern Singers, who submit to Instructions fit for Children! Let us
imitate the Foreigners in those Things only, wherein they excel.[30]
CHAP. III.
_Of the Shake._
We meet with two most powerful Obstacles informing the _Shake_. The
first embarrasses the Master; for, to this Hour there is no infallible
Rule found to teach it: And the second affects the Scholar, because
Nature imparts the _Shake_ but to few. The Impatience of the Master
joins with the Despair of the Learner, so that they decline farther
Trouble about it. But in this the Master is blameable, in not doing his
Duty, by leaving the Scholar in Ignorance. One must strive against
Difficulties with Patience to overcome them.
Sec. 2. Whether the _Shake_ be necessary in Singing, ask the Professors of
the first Rank, who know better than any others how often they have been
indebted to it; for, upon any Absence of Mind, they would have betrayed
to the Publick the Sterility of their Art, without the prompt Assistance
of the _Shake_.
Sec. 3. Whoever has a fine _Shake_, tho' wanting in every other Grace,
always enjoys the Advantage of conducting himself without giving
Distaste to the End or Cadence, where for the most part it is very
essential; and who wants it, or has it imperfectly, will never be a
great Singer, let his Knowledge be ever so great.
Sec. 4. The _Shake_ then, being of such Consequence, let the Master, by the
Means of verbal Instructions, and Examples vocal and instrumental,
strive that the Scholar may attain one that is equal, distinctly mark'd,
easy, and moderately quick, which are its most beautiful
Qualifications.
Sec. 5. In case the Master should not know how many sorts of _Shakes_ there
are, I shall acquaint him, that the Ingenuity of the Professors hath
found so many Ways, distinguishing them with different Names, that one
may say there are eight Species of them.[31]
Sec. 6. The first is the _Shake Major_, from the violent Motion of two
neighbouring Sounds at the Distance of a _Tone_, one of which may be
called Principal, because it keeps with greater Force the Place of the
Note which requires it; the other, notwithstanding it possesses in its
Motion the superior Sound appears no other than an Auxiliary. From this
_Shake_ all the others are derived.[32]
Sec. 7. The second is the _Shake Minor_, consisting of a Sound, and its
neighbouring _Semitone Major_; and where the one or the other of these,
two _Shakes_ are proper, the Compositions will easily shew. From the
inferior or lower Cadences, the first, or full _Tone Shake_ is for ever
excluded.[33] If the Difference of these two _Shakes_ is not easily
discovered in the Singer, whenever it is with a _Semitone_, one may
attribute the Cause to the want of Force of the Auxiliary to make itself
heard distinctly; besides, this _Shake_ being more difficult to be beat
than the other, every body does not know how to make it, as it should
be, and Negligence becomes a Habit. If this _Shake_ is not distinguished
in Instruments, the Fault is in the Ear.[34]
Sec. 8. The third is the _Mezzo-trillo_, or the short _Shake_, which is
likewise known from its Name. One, who is Master of the first and
second, with the Art of beating it a little closer, will easily learn
it; ending it as soon as heard, and adding a little Brilliant. For this
Reason, this _Shake_ pleases more in brisk and lively Airs than in the
_Pathetick_.[35]
Sec. 9. The fourth is the rising _Shake_, which is done by making the Voice
ascend imperceptibly, shaking from Comma to Comma without discovering
the Rise.[36]
Sec. 10. The fifth is the descending _Shake_, which is done by making the
Voice decline insensibly from Comma to Comma, shaking in such Manner
that the Descent be not distinguished. These two _Shakes_, ever since
true[37] Taste has prevailed, are no more in Vogue, and ought rather to
be forgot than learn'd. A nice Ear equally abhorrs the ancient dry
Stuff, and the modern Abuses.
Sec. 11. The sixth is the slow _Shake_, whose Quality is also denoted by
its Name. He, who does not study this, in my Opinion ought not therefore
to lose the Name of a good Singer; for it being only an affected Waving,
that at last unites with the first and second _Shake_, it cannot, I
think, please more than once.[38]
Sec. 12. The seventh is the redoubled _Shake_, which is learned by mixing a
few Notes between the _Major_ or _Minor Shake_, which Interposition
suffices to make several _Shakes_ of one. This is beautiful, when those
few Notes, so intermixed, are sung with Force. If then it be gently
formed on the high Notes of an excellent Voice,[39] perfect in this
rare Quality, and not made use of too often, it cannot displease even
Envy itself.
Sec. 13. The eighth is the _Trillo-Mordente_, or the _Shake_ with a _Beat_,
which is a pleasing Grace in Singing, and is taught rather by Nature
than by Art. This is produced with more Velocity than the others, and is
no sooner born but dies. That Singer has a great Advantage, who from
time to time mixes it in Passages or Divisions (of which I shall take
Notice in the proper Chapter). He, who understands his Profession,
rarely fails of using it after the _Appoggiatura_; and he, who despises
it, is guilty of more than Ignorance.[40]
Sec. 14. Of all these _Shakes_, the two first are most necessary, and
require most the Application of the Master. I know too well that it is
customary to sing without _Shakes_; but the Example, of those who study
but superficially, ought not to be imitated.
Sec. 15. The _Shake_, to be beautiful, requires to be prepared, though, on
some Occasions, Time or Taste will not permit it. But on final Cadences,
it is always necessary, now on the Tone, now on the _Semitone_ above its
Note, according to the Nature of the Composition.
Sec. 16. The Defects of the _Shake_ are many. The long holding-out _Shake_
triumph'd formerly, and very improperly, as now the Divisions do; but
when the Art grew refined, it was left to the Trumpets, or to those
Singers that waited for the Eruption of an _E Viva_! or _Bravo_! from
the Populace. That _Shake_ which is too often heard, be it ever so fine,
cannot please. That which is beat with an uneven Motion disgusts; that
like the Quivering of a Goat makes one laugh; and that in the Throat is
the worst: That which is produced by a Tone and its third, is
disagreeable; the Slow is tiresome; and that which is out of Tune is
hideous.
Sec. 17. The Necessity of the _Shake_ obliges the Master to keep the
Scholar applied to it upon all the Vowels, and on all the Notes he
possesses; not only on Minims or long Notes, but likewise on Crotchets,
where in Process of Time he may learn the _Close Shake_, the _Beat_, and
the Forming them with Quickness in the Midst of the Volubility of Graces
and Divisions.
Sec. 18. After the free Use of the _Shake_, let the Master observe if the
Scholar has the same Facility in disusing it; for he would not be the
first that could not leave it off at Pleasure.
Sec. 19. But the teaching where the _Shake_ is convenient, besides those
on[41] Cadences, and where they are improper and forbid, is a Lesson
reserv'd for those who have Practice, Taste, and Knowledge.
CHAP. IV.
_On_ Divisions.
Tho' _Divisions_ have not Power sufficient to touch the Soul, but the
most they can do is to raise our Admiration of the Singer for the happy
Flexibility of his Voice; it is, however, of very great Moment, that the
Master instruct the Scholar in them, that he may be Master of them with
an easy Velocity and true Intonation; for when they are well executed in
their proper Place, they deserve Applause, and make a Singer more
universal; that is to say, capable to sing in any Stile.
Sec. 2. By accustoming the Voice of a Learner to be lazy and dragging, he
is rendered incapable of any considerable Progress in his Profession.
Whosoever has not the Agility of Voice, in Compositions of a quick or
lively Movement, becomes odiously tiresome; and at last retards the Time
so much, that every thing he sings appears to be out of Tune.
Sec. 3. _Division_, according to the general Opinion, is of two Kinds, the
Mark'd, and the Gliding; which last, from its Slowness and Dragging,
ought rather to be called a Passage or Grace, than a _Division_.
Sec. 4. In regard to the first, the Master ought to teach the Scholar that
light Motion of the Voice, in which the Notes that constitute the
Division be all articulate in equal Proportion, and moderately distinct,
that they be not too much join'd, nor too much mark'd.[42]
Sec. 5. The second is perform'd in such a Manner that the first Note is a
Guide to all that follow, closely united, gradual, and with such
Evenness of Motion, that in Singing it imitates a certain Gliding, by
the Masters called a _Slur_; the Effect of which is truly agreeable when
used sparingly.[43]
Sec. 6. The _mark'd Divisions_, being more frequently used than the others,
require more Practice.
Sec. 7. The Use of the _Slur_ is pretty much limited in Singing, and is
confined within such few Notes ascending or descending, that it cannot
go beyond a fourth without displeasing. It seems to me to be more
grateful to the Ear descending, than in the contrary Motion.
Sec. 8. The _Dragg_ consists in a Succession of divers Notes, artfully
mixed with the _Forte_ and _Piano_. The Beauty of which I shall speak of
in another Place.
Sec. 9. If the Master hastens insensibly the Time when the Scholar sings
the _Divisions_, he will find that there is not a more effectual way to
unbind the Voice, and bring it to a Volubility; being however cautious,
that this imperceptible Alteration do not grow by Degrees into a vicious
Habit.
Sec. 10. Let him teach to hit the _Divisions_ with the same Agility in
ascending gradually, as in descending; for though this seems to be an
Instruction fit only for a Beginner, yet we do not find every Singer
able to perform it.
Sec. 11. After the gradual _Divisions_, let him learn to hit, with the
greatest Readiness, all those that are of difficult Intervals, that,
being in Tune and Time, they may with Justice deserve our Attention. The
Study of this Lesson demands more Time and Application than any other,
not so much for the great Difficulty in attaining it, as the important
Consequences that attend it; and, in Fact, a Singer loses all Fear when
the most difficult _Divisions_ are become familiar to him.
Sec. 12. Let him not be unmindful to teach the Manner of mixing the _Piano_
with the _Forte_ in the _Divisions_; the _Glidings_ or _Slurs_ with the
_Mark'd_, and to intermix the _Close Shake_; especially on the pointed
Notes, provided they be not too near one another; making by this Means
every Embellishment of the Art appear.
Sec. 13. Of all the Instructions relating to _Divisions_, the most
considerable seems to be That, which teaches to unite the _Beats_ and
_short Shake_ with them; and that the Master point out to him, how to
execute them with Exactness of Time, and the Places where they have the
best Effect: But this being not so proper for one who teaches only the
first Rules, and still less for him that begins to learn them, it would
be better to have postponed this (as perhaps I should have done) did I
not know, that there are Scholars of so quick Parts, that in a few
Years become most excellent Singers, and that there is no want of
Masters qualified to instruct Disciples of the most promising Genius;
besides, it appeared to me an Impropriety in this Chapter on _Divisions_
(in which the _Beats_ and _Close Shake_ appear with greater Lustre than
any other Grace) not to make Mention of them.
Sec. 14. Let the Scholar not be suffered to sing _Divisions_ with
Unevenness of Time or Motion; and let him be corrected if he marks them
with the Tongue, or with the Chin, or any other Grimace of the Head or
Body.
Sec. 15. Every Master knows, that on the third and fifth Vowel, the
_Divisions_ are the worst; but every one does not know, that in the best
Schools the second and fourth were not permitted, when these two Vowels
are pronounced close or united.