to know, in order to avoid them; for, besides that of the Nose or the
Throat, and the others already mentioned, those are likewise displeasing
which are neither mark'd nor gliding; for in that Case they cannot be
said to sing, but howl and roar. There are some still more ridiculous,
who mark them above Measure, and with Force of Voice, thinking (for
Example) to make a _Division_ upon _A_, it appears as if they said _Ha_,
_Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels.
The worst Fault of all is singing them out of Tune.
Sec. 17. The Master should know, that though a good Voice put forth with
Ease grows better, yet by too swift a Motion in _Divisions_ it becomes
an indifferent one, and sometimes by the Negligence of the Master, to
the Prejudice of the Scholar, it is changed into a very bad one.
Sec. 18. _Divisions_ and _Shakes_ in a _Siciliana_ are Faults, and
_Glidings_ and _Draggs_ are Beauties.
Sec. 19. The sole and entire Beauty of the _Division_ consists in its being
perfectly in Tune, mark'd, equal, distinct, and quick.
Sec. 20. _Divisions_ have the like Fate with the _Shakes_; both equally
delight in their Place; but if not properly introduced, the too frequent
Repetition of them becomes tedious if not odious.
Sec. 21. After the Scholar has made himself perfect in the _Shake_ and the
_Divisions_, the Master should let him read and pronounce the Words,
free from those gross and ridiculous Errors of Orthography, by which
many deprive one Word of its double Consonant, and add one to another,
in which it is single.[44]
Sec. 22. After having corrected the Pronunciation, let him take Care that
the Words be uttered in such a Manner, without any Affectation that
they be distinctly understood, and no one Syllable be lost; for if they
are not distinguished, the Singer deprives the Hearer of the greatest
Part of that Delight which vocal Musick conveys by Means of the Words.
For, if the Words are not heard so as to be understood, there will be no
great Difference between a human Voice and a Hautboy. This Defect, tho'
one of the greatest, is now-a-days more than common, to the greatest
Disgrace of the Professors and the Profession; and yet they ought to
know, that the Words only give the Preference to a Singer above an
instrumental Performer, admitting them to be of equal Judgment and
Knowledge. Let the modern Master learn to make use of this Advice, for
never was it more necessary than at present.
Sec. 23. Let him exercise the Scholar to be very ready in joining the
Syllables to the Notes, that he may never be at a Loss in doing it.
Sec. 24. Let him forbid the Scholar to take Breath in the Middle of a Word,
because the dividing it in two is an Error against Nature; which must
not be followed, if we would avoid being laugh'd at. In interrupted
Movements, or in long _Divisions_, it is not so rigorously required,
when the one or the other cannot be sung in one Breath. Anciently such
Cautions were not necessary, but for the Learners of the first
Rudiments; now the Abuse, having taken its Rise in the modern Schools,
gathers Strength, and is grown familiar with those who pretend to
Eminence. The Master may correct this Fault, in teaching the Scholar to
manage his Respiration, that he may always be provided with more Breath
than is needful; and may avoid undertaking what, for want of it, he
cannot go through with.
Sec. 25. Let him shew, in all sorts of Compositions, the proper Place where
to take Breath, and without Fatigue; because there are Singers who give
Pain to the Hearer, as if they had an Asthma taking Breath every Moment
with Difficulty, as if they were breathing their last.
Sec. 26. Let the Master create some Emulation in a Scholar that is
negligent, inciting him to study the Lesson of his Companion, which
sometimes goes beyond Genius; because, if instead of one Lesson he hears
two, and the Competition does not discountenance him, he may perhaps
come to learn his Companion's Lesson first, and then his own.
Sec. 27. Let him never suffer the Scholar to hold the Musick-Paper, in
Singing, before his Face, both that the Sound of the Voice may not be
obstructed, and to prevent him from being bashful.
Sec. 28. Let him accustom the Scholar to sing often in presence of Persons
of Distinction, whether from Birth, Quality, or Eminence in the
Profession, that by gradually losing his Fear, he may acquire an
Assurance, but not a Boldness. Assurance leads to a Fortune, and in a
Singer becomes a Merit. On the contrary, the Fearful is most unhappy;
labouring under the Difficulty of fetching Breath, the Voice is always
trembling, and obliged to lose Time at every Note for fear of being
choaked; He gives us Pain, in not being able to shew his Ability in
publick; disgusts the Hearer, and ruins the Compositions in such a
Manner, that they are not known to be what they are. A timorous Singer
is unhappy, like a Prodigal, who is miserably poor.
Sec. 29. Let not the Master neglect to shew him, how great their Error is
who make _Shakes_ or _Divisions_, or take Breath on the _syncopated_ or
_binding_ Notes; and how much better Effect the holding out the Voice
has. The Compositions, instead of losing, acquire thereby greater
Beauty.[45]
Sec. 30. Let the Master instruct him in the _Forte_ and _Piano_, but so as
to use him more to the first than the second, it being easier to make
one sing soft than loud. Experience shews that the _Piano_ is not to be
trusted to, since it is prejudicial though pleasing; and if any one has
a Mind to lose his Voice, let him try it. On this Subject some are of
Opinion, that there is an artificial _Piano_, that can make itself be
heard as much as the _Forte_; but that is only Opinion, which is the
Mother of all Errors. It is not Art which is the Cause that the _Piano_
of a good Singer is heard, but the profound Silence and Attention of the
Audience. For a Proof of this, let any indifferent Singer be silent on
the Stage for a Quarter of a Minute when he should sing, the Audience,
curious to know the Reason of this unexpected Pause, are hush'd in such
a Manner, that if in that Instant he utter one Word with a soft Voice,
it would be heard even by those at the greatest Distance.
Sec. 31. Let the Master remember, that whosoever does not sing to the
utmost Rigour of Time, deserves not the Esteem of the Judicious;
therefore let him take Care, there be no Alteration or Diminution in it,
if he pretends to teach well, and to make an excellent Scholar.
Sec. 32. Though in certain Schools, Books of Church-Musick and of
_Madrigals_ lie buried in Dust, a good Master would wipe it off; for
they are the most effectual Means to make a Scholar ready and sure. If
Singing was not for the most part performed by Memory, as is customary
in these Days, I doubt whether certain Professors could deserve the Name
of Singers of the first Rank.[46]
Sec. 33. Let him encourage the Scholar if he improves; let him mortify him,
without Beating, for Indolence; let him be more rigorous for
Negligences; nor let the Scholar ever end a Lesson without having
profited something.
Sec. 34. An Hour of Application in a Day is not sufficient, even for one of
the quickest Apprehension; the Master therefore should consider how much
more Time is necessary for one that has not the same Quickness, and how
much he is obliged to consult the Capacity of his Scholar. From a
mercenary Teacher this necessary Regard is not to be hoped for; expected
by other Scholars, tired with the Fatigue, and solicited by his
Necessities, he thinks the Month long; looks on his Watch, and goes
away. If he be but poorly paid for his Teaching,--a God-b'wy to him.
CHAP. V.
_Of_ Recitative.
_Recitative_ is of three Kinds, and ought to be taught in three
different Manners.
Sec. 2. The first, being used in Churches, should be sung as becomes the
Sanctity of the Place, which does not admit those wanton Graces of a
lighter Stile; but requires some _Messa di Voce_, many _Appoggiatura's_,
and a noble Majesty throughout. But the Art of expressing it, is not to
be learned, but from the affecting Manner of those who devoutly dedicate
their Voices to the Service of God.
Sec. 3. The second is Theatrical, which being always accompanied with
Action by the Singer, the Master is obliged to teach the Scholar a
certain natural Imitation, which cannot be beautiful, if not expressed
with that Decorum with which Princes speak, or those who know how to
speak to Princes.
Sec. 4. The last, according to the Opinion of the most Judicious, touches
the Heart more than the others, and is called _Recitativo di Camera_.
This requires a more peculiar Skill, by reason of the Words, which
being, for the most part, adapted to move the most violent Passions of
the Soul, oblige the Master to give the Scholar such a lively Impression
of them, that he may seem to be affected with them himself. The Scholar
having finished his Studies, it will be but too[47] easily discovered
if he stands in Need of this Lesson. The vast Delight, which the
Judicious feel, is owing to this particular Excellence, which, without
the Help of the usual Ornaments, produces all this Pleasure from itself;
and, let Truth prevail, where Passion speaks, all _Shakes_, all
_Divisions_ and _Graces_ ought to be silent, leaving it to the sole
Force of a beautiful Expression to persuade.
Sec. 5. The Church _Recitative_ yields more Liberty to the Singer than the
other two, particularly in the final Cadence; provided he makes the
Advantage of it that a Singer should do, and not as a Player on the
Violin.
Sec. 6. The Theatrical leaves it not in our Election to make Use of this
Art, lest we offend in the Narrative, which ought to be natural, unless
in a _Soliloquy_, where it may be in the Stile of Chamber-Musick.
Sec. 7. The third abstains from great part of the Solemnity of the first,
and contents itself with more of the second.
Sec. 8. The Defects and unsufferable Abuses which are heard in
_Recitatives_, and not known to those who commit them, are innumerable.
I will take Notice of several Theatrical ones, that the Master may
correct them.
Sec. 9. There are some who sing _Recitative_ on the Stage like That of the
Church or Chamber; some in a perpetual Chanting, which is insufferable;
some over-do it and make it a Barking; some whisper it, and some sing it
confusedly; some force out the last Syllable, and some sink it; some
sing it blust'ring, and some as if they were thinking of something else;
some in a languishing Manner; others in a Hurry; some sing it through
the Teeth, and others with Affectation; some do not pronounce the Words,
and others do not express them; some sing as if laughing, and some
crying; some speak it, and some hiss it; some hallow, bellow, and sing
it out of Tune; and, together with their Offences against Nature, are
guilty of the greatest Fault, in thinking themselves above Correction.
Sec. 10. The _modern_ Masters run over with Negligence their Instructions
in all Sorts of _Recitatives_, because in these Days the Study of
Expression is looked upon as unnecessary, or despised as _ancient_: And
yet they must needs see every Day, that besides the indispensable
Necessity of knowing how to sing them, These even teach how to act. If
they will not believe it, let them observe, without flattering
themselves, if among their Pupils they can show an Actor of equal Merit
with _Cortona_ in the Tender;[48] of Baron _Balarini_ in the Imperious;
or other famous Actors that at present appear, tho' I name them not;
having determined in these Observations, not to mention any that are
living, in whatsoever Degree of Perfection they be, though I esteem them
as they deserve.
Sec. 11. A Master, that disregards _Recitative_, probably does not
understand the Words, and then, how can he ever instruct a Scholar in
Expression, which is the Soul of vocal Performance, and without which it
is impossible to sing well? Poor _Gentlemen Masters_ who direct and
instruct Beginners, without reflecting on the utter Destruction you
bring on the Science, in undermining the principal Foundations of it! If
you know not that the _Recitatives_, especially in the vulgar or known
Language, require those Instructions relative to the Force of the Words,
I would advise you to renounce the Name, and Office of _Masters_, to
those who can maintain them; your Scholars will otherwise be made a
Sacrifice to Ignorance, and not knowing how to distinguish the Lively
from the Pathetick, or the Vehement from the Tender, it will be no
wonder if you see them stupid on the Stage, and senseless in a Chamber.
To speak my Mind freely, yours and their Faults are unpardonable; it is
insufferable to be any longer tormented in the Theatres with
_Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars.
Sec. 12. The reason, however, of not giving more expression to the
_Recitative_, in the manner of those called _Antients_, does not always
proceed from the Incapacity of the Master, or the Negligence of the
Singer, but from the little Knowledge of the _modern_ Composers (we must
except some of Merit) who set it in so unnatural a Taste, that it is not
to be taught, acted or sung. In Justification of the Master and the
Singer let Reason decide. To blame the Composer, the same Reason forbids
me entering into a Matter too high for my low Understanding, and wisely
bids me consider the little Insight I can boast of, barely sufficient
for a Singer, or to write plain Counterpoint. But when I consider I have
undertaken in these Observations, to procure diverse Advantages to
vocal Performers, should I not speak of a Composition, a Subject so
necessary, I should be guilty of a double Fault. My Doubts in this
Perplexity are resolved by the Reflection, that _Recitatives_ have no
Relation to Counterpoint. If That be so, what Professor knows not, that
many theatrical _Recitatives_ would be excellent if they were not
confused one with another; if they could be learned by Heart; if they
were not deficient in respect of adapting the Musick to the Words; if
they did not frighten those who sing them, and hear them, with unnatural
Skips; if they did not offend the Ear and Rules with the worst
Modulations; if they did not disgust a good Taste with a perpetual
Sameness; if, with their cruel Turns and Changes of Keys, they did not
pierce one to the Heart; and, finally, if the Periods were not crippled
by them who know neither Point nor Comma? I am astonished that such as
these do not, for their Improvement, endeavour to imitate the
_Recitatives_ of those Authors, who represent in them a lively image of
Nature, by Sounds which of themselves express the Sense, as much as the
very Words. But to what Purpose do I show this Concern about it? Can I
expect that these Reasons, with all their Evidences, will be found good,
when, even in regard to Musick, Reason itself is no more in the _Mode_?
Custom has great Power. She arbitrarily releases her Followers from the
Observance of the true Rules, and obliges them to no other Study than
that of the _Ritornello's_, and will not let them uselessly employ their
precious Time in the Application to _Recitative_, which, according to
her Precepts, are the work of the Pen, not of the Mind. If it be
Negligence or Ignorance, I know not; but I know very well, that the
Singers do not find their Account in it.
Sec. 13. Much more might still be[49] said on the Compositions of
_Recitative_ in general, by reason of that tedious chanting that offends
the Ear, with a thousand broken Cadences in every Opera, which Custom
has established, though they are without Taste or Art. To reform them
all, would be worse than the Disease; the introducing every time a final
Cadence would be wrong: But if in these two Extremes a Remedy were
necessary I should think, that among an hundred broken Cadences, ten of
them, briefly terminated on Points that conclude a Period, would not be
ill employed. The Learned, however, do not declare themselves upon it,
and from their Silence I must hold myself condemned.
Sec. 14. I return to the Master, only to put him in Mind, that his Duty is
to teach Musick; and if the Scholar, before he gets out of his Hands,
does not sing readily and at Sight, the Innocent is injured without
Remedy from the Guilty.
Sec. 15. If after these Instructions, the Master does really find himself
capable of communicating to his Scholar Things of greater Moment, and
what may concern his farther Progress, he ought immediately to initiate
him in the Study of Church-Airs, in which he must lay aside all the
theatrical effeminate Manner, and sing in a manly Stile; for which
Purpose he will provide him with different natural and easy _Motets_[50]
grand and genteel, mix'd with the Lively and the Pathetick, adapted to
the Ability he has discovered in him, and by frequent Lessons make him
become perfect in them with Readiness and Spirit. At the same time he
must be careful that the Words be well pronounced, and perfectly
understood; that the _Recitatives_ be expressed with Strength, and
supported without Affectation; that in the Airs he be not wanting in
Time, and in introducing some Graces of good Taste; and, above all,
that the final Cadences of the _Motets_ be performed with Divisions
distinct, swift, and in Tune. After this he will teach him that Manner,
the Taste of _Cantata's_ requires, in order, by this Exercise, to
discover the Difference between one Stile and another. If, after this,
the Master is satisfied with his Scholar's Improvement, yet let him not
think to make him sing in Publick, before he has the Opinion of such
Persons, who know more of singing than of flattering; because, they not
only will chuse such Compositions proper to do him Honour and Credit,
but also will correct in him those Defects and Errors, which out of
Oversight or Ignorance the Master had not perceived or corrected.
Sec. 16. If Masters did consider, that from our first appearing in the Face
of the World, depends our acquiring Fame and Courage, they would not so
blindly expose their Pupils to the Danger of falling at the first Step.
Sec. 17. But if the Master's Knowledge extends no farther than the
foregoing Rules, then ought he in conscience to desist, and to recommend
the Scholar to better Instructions. However, before the Scholar arrives
at this, it will not be quite unnecessary to discourse with him in the
following Chapters, and if his Age permits him not to understand me,
those, who have the Care of him, may.
CHAP. VI.
_Observations for a Student._
Before entering on the extensive and difficult Study of the _Florid_, or
_figured Song_, it is necessary to consult the Scholar's Genius; for if
Inclination opposes, it is impossible to force it, and when That
incites, the Scholar proceeds with Ease and Pleasure.
Sec. 2. Supposing, then, that the Scholar is earnestly desirous of becoming
a Master in so agreable a Profession, and being fully instructed in
these tiresome Rudiments, besides many others that may have slipt my
weak Memory; after a strict Care of his Morals, he should give the rest
of his Attention to the Study of singing in Perfection, that by this
Means he may be so happy as to join the most noble Qualities of the Soul
to the Excellencies of his Art.
Sec. 3. He that studies Singing must consider that Praise or Disgrace
depends very much on his Voice which if he has a Mind to preserve he
must abstain from all Manner of Disorders, and all violent Diversions.
Sec. 4. Let him be able to read perfectly, that he may not be put to Shame
for so scandalous an Ignorance. Oh, how many are there, who had need to
learn the Alphabet!
Sec. 5. In case the Master knows not how to correct the Faults in
Pronunciation, let the Scholar endeavour to learn the best by some other
Means; because the not being born[51] in _Tuscany_, will not excuse the
Singer's Imperfection.
Sec. 6. Let him likewise very carefully endeavour to correct all other
Faults that the Negligence of his Master may have passed over.
Sec. 7. With the Study of Musick, let him learn also at least the Grammar,
to understand the Words he is to sing in Churches, and to give the
proper Force to the Expression in both Languages. I believe I may be so
bold to say, that divers Professors do not even understand their own
Tongue, much less the _Latin_.[52]
Sec. 8. Let him continually, by himself, use his Voice to a Velocity of
Motion, if he thinks to have a Command over it, and that he may not go
by the Name of a pathetick Singer.
Sec. 9. Let him not omit frequently to put forth, and to stop, the Voice,
that it may always be at his Command.
Sec. 10. Let him repeat his Lesson at Home, till he knows it perfectly; and
with a local Memory let him retain it, to save his Master the Trouble of
Teaching, and himself of studying it over again.
Sec. 11. Singing requires so strict an Application, that one must study
with the Mind, when one cannot with the Voice.
Sec. 12. The unwearied Study of Youth is sure to overcome all Obstacles
that oppose, though Defects were suck'd in with our Mother's Milk. This
Opinion of mine is subject to strong Objections; however, Experience
will defend it, provided he corrects himself in time. But if he delays
it, the older he grows the more his Faults will increase.
Sec. 13. Let him hear as much as he can the most celebrated Singers, and
likewise the most excellent instrumental Performers; because, from the
Attention in hearing them, one reaps more Advantage than from any
Instruction whatsoever.
Sec. 14. Let him endeavour to copy from Both, that he may insensibly, by
the Study of others, get a good Taste. This advice, though extremely
useful to a Student, is notwithstanding infinitely prejudicial to a
Singer, as I shall shew in its proper Place[53].
Sec. 15. Let him often sing the most agreable Compositions of the best
Authors, and accustom the Ear to that which pleases. I'd have a Student
know, that by the abovementioned Imitations, and by the Idea of good
Compositions, the Taste in Time becomes Art, and Art Nature.
Sec. 16. Let him learn to accompany himself, if he is ambitious of singing
well. The Harpsichord is a great Incitement to Study, and by it we
continually improve in our Knowledge. The evident Advantage arising to
the Singer from that lovely Instrument, makes it superfluous to say
more on that Head. Moreover, it often happens to one who cannot play,
that without the Help of another he cannot be heard, and is thereby to
his Shame obliged to deny the Commands of those whom it would be to his
Advantage to obey.
Sec. 17. Till a Singer pleases himself, it is certain he cannot please
others. Therefore consider, if some Professors of no small Skill have
not this Pleasure for want of sufficient Application, what must the
Scholar do? Study,--and study again, and not be satisfied.
Sec. 18. I am almost of Opinion, that all Study and Endeavours to sing are
infallibly vain, if not accompanied with some little Knowledge of
Counterpoint. One, who knows how to compose, can account for what he
does, and he, who has not the same Light, works in the Dark, not knowing
how to sing without committing Errors. The most famous _Ancients_ know
the intrinsick Value of this Precept from the Effects. And a good
Scholar ought to imitate them, without considering whether this Lesson
be according to the _Mode_ or not For though, in these Days, one now and
then hears admirable Performances, proceeding from a natural Taste, yet
they are all done by Chance; but where that Taste is wanting, if they
are not execrable, at least they will be very bad: For Fortune not being
always at their Command, they cannot be sure to agree, neither with Time
nor Harmony. This Knowledge, although requisite, I would not however
advise a Scholar to give himself up to an intense Application, it being
certain, I should teach him the readiest way to lose his Voice, but I
exhort him only to learn the principal Rules, that he may not be quite
in the Dark.[54]
Sec. 19. To study much, and preserve a Voice in its full Beauty, are two
Things almost incompatible; there is between them such a sort of Amity,
as cannot last without being prejudicial to the one or the other.
However, if one reflects, that Perfection in a Voice is a Gift of
Nature, and in Art a painful Acquisition, it will indeed be allowed,
that this latter excels in Merit, and more deserves our Praise.
Sec. 20. Whoever studies, let him look for what is most excellent, and let
him look for it wherever it is, without troubling himself whether it be
in the Stile of fifteen or twenty Years ago, or in that of these Days;
for all Ages have their good and bad Productions. It is enough to find
out the best, and profit by them.