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OBSERVATIONS

O N T H E

Florid Song;

SENTIMENTS

O N T H E

Ancient and Modem Simgers,

Written in Italian

By Pier. Francesco Tosi,

Of the Phil-Harmonic Academy

at Bologna.

Translated into EngUth

By Mr. G A L L I A R D.

Useful for all Performers, Insttumeth
tal as well as VocaL

To which are added,

Explanatory Annotations,

and Examples in Musick.
Ornari Res ipsa negate contenta doceri.

LONDON:
Printed for J. Wilcox, at VirgU*s Heaid, in

the Strand. 1743.

- .• :

■ * .- .

•v^

"I c-

MT<f^

Note, By the Ancient y our Author
means those who liv'd about thirty
or forty Years ago; and by the
Modern the late and present Sing-
ers.

N.B. The Original was printed at
Bologna, tn the Year 1723.

Beprinted from the Second Edition by

William Beeves, 8S, Charing Cross Boady

London f W.C., in the year 1905,

Q <; r

TO ALL

Lovers of MUSICK.

Ladies and Gentlemen,

lERSONS of Eminence, Rank,
Quality, and a distinguish-
ing Taste in any particular
Art or Science, are always in
View of Authors who want a Pa-
tron for that Art or Science, which
they endeavour to recommend and

iv To all Lovers

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 Arty 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 suf-

of Mustek, V

ficient 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 Ota-
tor'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 prevailed upon to engage
in this Work, in order to make a

vi To all Lover Si &c.

famous Italian Master^ who treats so
well on this Subject, familiar to
England; and why I presiune to offer
it to your Protection.

The Part, I bear in it, is not enough
to claim any Merit ; but my endeavour-
ing 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.

Prefatory Discourse

GIVING

Some Account of the Author.

\I E R. Francesco Tost, 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

viii Prefatory Discourse

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 Begin-
ning 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 Perform-
ers in his Time thought themselves
happy when they could have an

concerning the Author. ix

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
Cantatds, 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 Lord-

K Prefatory Discourse

ship when in Englandy 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 distin-
guishing Taste. The Emperor Joseph
gave him an honourable Employment
Arch-Duchess a Church-Retirement in
in some part of Italy, and the late
FlanderSy where he died. As for his
Observations and Sentiments on Sing-
ing, 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

concerning the Author, xi

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 pre-
vailing; and, that these Censures, as
they are pasjed 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 Studi-
ous will find, that bur Author's

xii Prefatory Discourse

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 Instrti-
mentt would be of great Service to
Both. Whosoever reads this Treatise
with Application, cannot fail of Im-
provement by it. It is hoped, that the
Translation will be indulged, if, not-
withstanding 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

concerning the Author. xiii

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, Ge-
neral of the Marines
of GreaUBritain,

My Lord,

Should be afraid of leaving
the World under the Im-
putation of Ingratitude^

Dedication. xt

should I any longer defer publish-
ing the very many Favours, which
Your Lordship so generously has
bestow'd on me in Italy, in Ger-
many, in Flanders, in England;
and principally at your delight*
ful 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 ad-
miring your extensive Knowledge,
which almost made me overlook the
Beauty and Elegance of the Place.
The famous Tulip-Tree, in your Gar-
den there is not so surprising a Rarity,
as the uncommon Penetration of your
Judgment, which has sometimes (I may
say) foretold Events, idiich hate after-

xvi Dedication.

wards come to pass. But what Re-
turn can I make for so great Obliga-
tions, 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 re-
main respectfully silent; only making
an humble Request to Your Lordship
that you will condescend favourably
to accept this mean Offering of my OB-
SERVATIONS; 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 dis-
covered the noble Genius of your
potent and generous Nation for it.

Dedication. xvii

However, I should not have presum'd
to dedicate them to a Hero adom'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 devotedy and

Most obli^d Servant^
Pier. Francesco Tosi.

(xviii)

THE

CONTENTS

HE Introduction. - Pag. i

CHAP. I.

Observations for one who

teaches a Soprano. - - - p. lo

CHAP. n.
Of the Appoggiatura, - - - p. 31

CHAP. III.
Of the Shake. P-4i

CHAP. IV.
On Divisions, P-S*

CONTENTS.

CHAP. V.
Of Recitative. p. 66

CHAP. VI.
Observations for a Student. - p. 79

CHAP. VII.
Of Airs. p. 91

CHAP. VIII.
Of Cadences, ------p. 126

CHAP. IX.
Observations for a Singer. - p. 140

CHAP. X.
Of Passages or Graces. - - - p. 174

THE

INTRODUCTION.

|HE Opinions of the ancient
Historians, on the Origin of
Musick, are various. Pliny
believes that Amphton was
the Inventor of it; the Grecians main-
tain, 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 Tim-
otheus^ the Milesiany added the

2 OBSERVATIONS ON

Chromatick, and Olympicus, or Olym-
fuSy the Enharmonick Scale. How-
ever, we read in holy Writ, that ]u-
baU of the Race of Cain, fuit Pater
Canentium Citkard & Organo^ the
Father of all such as handle the Harp
and Organ; Instruments, in all Pro-
bability consisting of several harmo-
nious Sounds; from whence one may
infer, Musick to have had its Birth ve-
ry soon after the World.

% 2. To secure her from erring,
she called to her Assistance many
Precepts of the Mathematicks ; and
from the Demonstrations of her Beau-
ties, by Means of Lines, Numbers,
and Proportions, she was adopted her
Child, and became a Science.

§ 3. It may reasonably be sup-
posed, that, during the Course of seve-
ral thousand Years, Musick has al-
ways been the Delight of Mankind;
since the excessive Pleasure, the Lace-
demonians received from it, induced
that Republick to exile the above-
mentioned Milesian, that the Spar-
tanSf freed from their Effeminacy,

THE FLORID SONG 3

might return again to their old Oeco-
nomy.

§ 4. But, I believe, she never ap-
peared with so much Majesty as in the
last Centuries, in the great Genius
of Palesirinay 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 emi-
nent Masters of our Days) that if
she was ranked only in the Number
of Liberal Arts, she might with Jus-
tice contest the Pre-eminence.

§ 4. When Arts and Sciences were re-
trieving 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. Alts, Palest nna, a Genius so ex-
traordinary, that he is looked upon as the
Baphael 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 AUegri^ who
liv*d ^ little time after Pdlestrina*

4 OBSERVATIONS ON

§ 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.

§ 6. Having premised these Ad-
vantages, 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 per-
form 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 Distinc-
tion, if he is wanting in a prompt
Variation; a Difficulty which other
Arts are not liable to.

§ 7. Finally, I say, that Poets,

§ 7. Our Author seems to be a little too
partial in Favour of the Singer, all moment-
ary Productions being the same; though it

THE FLORID SONG 5

Painters, Sculptors, and even Com-
posers of Musick, before they ex-
pose their Works to the Publick, have
all the Time requisite to mend and po-
lish them; but the Singer that com-
mits an Error has no Remedy; for
the Fault is committed, and past Cor-
rection.

§ 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 Applica-
tion and Study of their Scholars inef-
fectual, I cannot but wonder, that
among so many Professors of the first
Rank, who have written so amply on

must be allowed, that by reason of the Ex-
pression of the Words, any Error in Singing
will be more capital, than if the same were
committed on an Instrument.

6 OBSERVATIONS 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 ne-
cessary Rules for Singing well. It is
no Excuse to say, that the Composers
intent on Composition, the Performers
on Instruments intent on their Per-
formance, should not meddle with
what concerns the Singer; for I know
some very capable to undeceive those
who may think so. The incompara-
ble 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 Centu-
ries, might be of Service to the refin-
ed Taste of this our present time.
But a more just Reproof is due to the
Negligence of many celebrated Sing-
ers, who, having a superior Knowledge,
can the less justify their Silence, even

THE FLORID SONG 7

under the Title of Modesty, which
ceases to be a Virtue, when it deprives
the Publick of an Advantage. Mov-
ed therefore, not by a vain Ambition,
but by the Hopes of being of Service
to several Professors, I have determin-
ed, 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.

§ 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 an-
swer my Intentions, I shall at least in-
cite some other to treat of it in a more
ample and correct Manner.

§ 10. If any should say, I might
be dispensed with for not publishing

8 OBSERVATIONS ON

Things already known to every Pro-
fessor, he might perhaps deceive him-
self; for among these Observations
there are many, which as I have ne-
ver heard them made by anybody
else, I shall look upon as my own;
and such probably they are, from
their not being generally kiiown.
Let them therefore take their Chance,
for the Approbation of those that have
Judgment and Taste.

§ II. 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 Ad-
vantage of the Profession, or (asham'd,
but not surpriz'd) I will bear it pati-
ently, if Masters with their Names to
their Criticism should kindly publish
my Ignorance, that I may be unde-
ceived, and thank them.

§ 12. But though it is my De-
sign to Demonstrate a great Number

THE FLORID SONG 9

of Abuses and Defects of the Modems
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 Ma-
lice I have painted all their Imperfec-
tions to the Life; for I solemnly
protest, that though from my too
great Zeal I attack their Errors with-
out Ceremony, I have a Respect for
their Persons; having learned from a
Spanish Proverb, that Calumny re-
coils back on the Author. But Chris-
tianity 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, with-
out looking for it elsewhere.

10 OBSERVATIONS ON

CHAP. I.

Observations for one wko teaches

a Soprano.*

HE Faults in Singing insi-
nuate themselves so easily
into the Minds of young
Beginners, and there are

• The Author directs this for the Instruc-
tion 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

THE FLORID SONG ii

such Difficulties in correcting them,
when grown into an Habit that it
were to be wish'd, the ablest
Singers would undertzike 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 Delica-
cies of the Art, which enchant the
Soul.

§ 2. Therefore the first Rudi-
ments 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, with-
out the Defects of singing through
the Nose, or in the Throat, and that

of the Pathetick than the Volubility; the
Tenor less of the Pathetick, but more of the
Volubility than the Contr\ilto, 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.

12 OBSERVATIONS ON

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.

§ 3. Let a Master thus qualified
before he begins his Instructions, read
the four Verses of Virgily Sic vos non
vobis, &c* for they seem to be made

§ 3. By this section, and mostly through-
out the Work, one sees, the Author cal-
culated this Treatise chiefly for the Advan-
tage of Professors of Musick; but, notwith-
standing, it appears in several Places, that
his Intention is, that all Lovers of Musick
should also be the better for it.

• The Explanation of Sic vos non vobis,
etc. for the Satisfaction of those who do not
perfectly remember it.

Virgil having composed a Distich, contain-
ing the Praise of Augustus, and a Compli-
ment on his good Fortune, fix'd it on the
Palace Gate, without any Name subscrib'd.
August^iSf making strict Enquiry after the
Author, and Virgil's Modesty not suffering
him to own the Verses, one Bathyllus, a Poet
of a mean Reputation, owned himself the
Author, and received Honour and Reward
from the Emperor. Virgil, somewhat scan-

THE FLORID SONG 13

on Purpose for him, and after hav-
ing considered them well, let him

dalised at this Accident, fixed an Hemistich
in these Words (Sic vo$ non vobis) four times
repeated under the other, where he had
placed the former Verses. The Emperor
was as diligent to have these Hemistichs
filled up, but no-body appearing to do it, at
length Virgil supplied them thus :

Ho$ ego Versiculos feci, tulit alter
Honored;
Sic vos non vohis nidificatis aves.
Sis vos non vohis vellera fertis ores.
Sic vos non vohis mellificatis apes.
Sic vos non vohis fertis aratra hoves,

i,e. These Verses I made, but another has
taken the Applause of them.

So ye Birds huild not your Nests

For yourselves.
So ye Sheep hear not your Wool

For yourselves,
80 ye Bees make not your Honey

For yourselves.
So ye Oxen suhmit to the Plow

Not for yourselves.

Upon this Discovery, BathUlus became the
Ridicule of Borne, and Virgil acquii^ a
double Reputation.

14 OBSERVATIONS ON

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

§ 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 Ac-
count to God, of the Parent's Money
ill spent, and the Injury done to the
Child, by the irreparable Loss of Time,

The Distich, which Bathillus claim'd for
his, was this :

Node plut totd, redeunt spectacula manh,
Divisum Impeiium cum Jove Caesar hahet,

i, e. It rain'd all Night; in the Morning
the publick Shews return : Jove and Ccesar
divide the Rule of the World. The Compli-
ment is, that Ccesar designing to exhibit
Sports to the People, though the preceding
Night was rainy and unpromising, yet such
Weather returned with the Morning, as did
not disappoint the Solemnity.

THE FLORID SONG 15

which might have been more profita-
bly employed in some other Profession.
I do not speak at random. The
ancient Masters made a Distinction
between the Rich, that Icarn'd Mu-
sick as an Accomplishment, and the
Poor, who studied it for a Livelihood.
The first they instructed out of Inte-
rest, and the latter out of Charity,
if they discovered a singular Talent.
Very few modem Masters refuse Scho-
lars; and, provided they are paid,
little do they care if their Greediness
ruins the Profession

§ 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 ril tell the Reason: The Ig-
norance 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?**

i6 OBSERVATIONS ON

§ 6. You may, perhaps, teach them

with their Voice Modesty will

not permit me to explain myself far-
ther.

§ 7. The Master must want Huma-
nity, if he advises a Scholar to do any
thing to the Prejudice of the Soul.

§ 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.

§ 9. Let him be moderately se-
vere, making himself fear'd, but not
hated. I know, it is not easy to find
the Mean between Severity and Mild-
ness, but I know also, that both
Extremes are bad : Too great Seve-
rity creates Stubbornness, and too great
Mildness Contempt.

§ 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 gene-
rally known.

THE FLORID SONG i;

§ II. 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 Alia Capella*, know
not how to distinguish the Mi from
the Fa, without the Help of the Or-
gan, for want of the Knowledge of
the G Cliff; from whence such Dis-
cordancies arise in divine Service, that
it is a Shame for those who grow old
in their Ignorance. I must be so sin-
cere to declare, that whoever does not
give such essential Instructions, trans-
gresses out of Omission, or out of Ig-
norance.

§ 12. Next let him learn to read
those in B Molle, especially in those

Sect. 11. Seven Cliffs necessary to be
known. PI. 1. Numb. 1. By the Help of
these Cliffs any Line or Space may be what
Note you please. PI. I. Numb. 2.

* Alia CapeUa, Church-Musick, where the
Flats and Sharps are not mark'd.

§ 12. It is necessary to understand the
Sol-Fa-ing, and its Rules, which shew where

1 8 OBSERVATIONS ON

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 Scho-
lar 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 Denomi-
nation. The French use seven, and,
by that additional Ncime, save their
scholars the Trouble of learning the
Mutations ascending or descending;
but we Italians have but C//, Re, Mi,
Fa, Sol, La; Notes which equally
suffice throughout all the Keys, to
one who knows how to read them*.

the two Semitones lie m each Octave, PI. I.
Numb. 3. Where Flats or Sharps are marked
at the Cliff, the Rule is, if one Flat, That is
Fa\ if more Flats, the last. If one Sharp,
That is Mi; if more Sharps, the last.

* His meaning is, that the French are not
in the right.

THE FLORID SONG 19

§ 13. Let the Master do his ut-
most, 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 intole-
rable to hear a Voice perpetually rise
and fall discordantly. Let the In-
structor reflect on it ; for one that sings
out of Tune loses all his other Per-
fections. I can truly say, that,, ex-
cept in some few Professors, that mo-
dem Intonation is very bad.

§ 14. In the Sol F^-ing, let him en-
deavour to gain by Degrees the high
Notes, that by the Help of this Ex-
ercise he may acquire as much Com-
pass 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.

§ 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* be^

20 OBSERVATIONS ON

cause the DifiFcrence cannot be known
by an Organ or Harpsichord, if the
Keys of the Instrument are not split
A Tone, that gradually passes to ano-
ther, is divided into nine almost im-
perceptible Intervals, which are called
Comma's, &ve 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 di-
stinguish the ninth. If one were
continually to sing only to those above-
mention'd Instruments, this Know-
ledge might be unnecessary; but since
the time that Composers introduced
the Custom of crowding the Opera's

• See § 2. aftd the following, in Chap. III.
where the DifiBiculty of the Semitone Major
and Minor are cleared^

THE FLORID SONG 21

with a vast Number of Songs ac-
companied with Bow Instruments, it
becomes so necessary, that if a So-
frano was to sing D sharp, like E
fiat, a nice Ear will find he is out
of Tune, because this last rises. Who-
ever is not satisfied in this, let him
read those Authors who treat of it,
and let him consult the best Perform-
ers 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, Til speak more
amply in the Chapter of the Appoggia-
turay that the one may not be con-
founded with the other.

§ 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 impor-
tant Lesson, if he is desirous he should
sing with Readiness in a short time.

§ 17. If the Master does not un-
derstand Composition, let him pro-
vide himself with good Examples of

22 OBSERVATIONS ON

Sol-Fa-ing in divers Stiles, which in-
sensibly lead from the most easy to the
more difficult, . according as he finds
the Scholar improves; with this Cau-
tion, that however difficult, they may
be always natural and agreeable, to m-
duce the Scholar to study with Plea-
sure.

§ 1 8. Let the Master attend with
great Care to the Voice of the Scholar,
which, whether it be di PettOy or di
TestUy should always come forth neat
and clear, without passing thro' the
Nose, or being choaked in the Throat;
which are two the most horrible De-
fects in a Singer, and past all Remedy
if once grown into a Habit.

§ 19. The little Experience of some
that teach to Sol-fa^ obliges the Scho-

§ 18. Voce di Petto is a full Voice, which
comes from the Breast by Strength, and is
the most sonorous and expressive. Voce di
Testa comes more from the Throat, than
from the Breast, and is capable of more Volu-
bility. Falsetto is a feigned Voice, which is
entirely formed in the Throat, has more
Volubility than any, but of no Substance.

THE FLORID SONG 23

lar to hold out the Semibreves with
Force on the highest Notes; the Con-
sequence 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 tre-
ble Voice.

§ 20. Many Masters put their Scho-
lars to sing the ContfAlto^ not know-
ing how to help them to the Falset-
to^ or to avoid the Trouble of finding
it.

§ 21. A diligent Master, knowing
that a Soprano^ without the Falsetto,
is constrained to sing within the nar-
row Compass of a few Notes, ought
not only to endeavour to help him
to it, but also to leave no Means un-
tried, so to unite the feigned and the
natural Voice, thai they may not be
distinguished; for if they do not per-
fectly unite, the Voice will be of di-
vers* Registers, and must consequently
lose its Beauty. The Extent of the

§ 21. * Register; a Term taken from
the different Stops of an Organ.

24 OBSERVATIONS ON

ftfll natural Voice terminates general-
ly 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 na-
tural Voice; the Difficulty consists in
uniting them. Let the Master there-
fore consider of what Moment the
Correction of this Defect is, which
ruins the Scholar if he overlooks it.
Among the Women, one hears some-
times 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 Puber-
ty. 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 Vow-
el i, or ^, with more Strength and less
Fatigue then the Vowel a, on the
high Notes.

§ 22. The Voce di Testa has a great
Volubility, more of the high than the
lower Notes, and has a quick Shake,

THE FLORID SONG 25

but subject to be lost for want of
Strength.

§ 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 pro-
nounce the first, and you hear the
second; if the Fault is not the Mas-
ter'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 Bulla or Bella, Sesso
or SassOy Mare or Mote,

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

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

§ 26. Let him rigorously correct all
Grimaces and Tricks of the Head, of
the Body, and particularly of the

26 OBSERVATIONS ON

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.

§ 27. Let him always use the Scho-
lar to the Pitch of Lombardy, and not
that of Ronu; not only to make him
acquire and preserve the high Notes,
but also that he may not &nd it
troublesome when he meets with In-
struments that are tun'd high; the
Pain of reaching them not only affect-
ing 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 ei-
ther sing a Conti'AltOy or pretending
still, out of a foolish Vanity, to the
Name of a Soprano^ he will be obliged
to make Application to every Compo-
ser, 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

§ 27. The Pitch of Lomhardy or Venice,
is something more than half a Tone higher
than at Borne,

THE FLORID SONG 27

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.

§ 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 great-
er; otherwise from the natural Incli-
nation 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.

§ 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 FortCy and from thence with
the same Art return from the Forte
to the Piano. A beautiful Messa di

28 OBSERVATIONS ON

Voce* from a Singer that uses it
sparingly, and only on the open Vow-
els, can never fail of having an ex-
quisite Effect. Very few of the pre-
sent Singers find it to their Taste,
cither from the Instability of their
Voice, or in order to avoid all Man-
ner 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 wor-
thy their Imitation, that sings quite
after the New Mode.

§ 30. Let the Master never be tired
in making the Scholar Sol-fa, as long
as he finds it necessary; for if he

§ 29. * A Messa di Voce is the holding
out and swelling a Note. Vide PI. I. Numb.
4. This being a Term of Art, it is necessary
to use it, as well as Piano for soft, and Forte
for loud. N,B, Our Author recommends
here to use any Grace sparingly, which he
does in several other Places, and with
Reason ; for the finest Grace too often re-
peated grows tiresome.

THE FLORID SONG 29

should let him sing upon the Vowels
too soon, he knows not how to instruct.
§ 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 Exer-
cise he may not confound one with
the other, and that from hence he

may the easier come to the use of
the Words.

§ 32. The Scholar having now
made some remarkable Progress, the
Instructor may acquaint him with the
first Embellishments of the Art,
which are the Appoggiaturds* (to be
spoke of next) and apply them to the
Vowels.

§ 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' Qualifica-
tions necessary for singing well, cannot
possibly be leam'd from Sol-fa-'mg on-

§ 32. See for Appoggiatura in the next
Chapter.

30 OBSERVATIONS ON

ty, and are overlooked by the Unskil-
ful.

8 34- But if he should let him sing
the Words, and apply the Apfioggia-
tura to the Vowels before he is per-
fect in Sol-fa-ing, he ruins the Scho-
lar.

THE FLORID SONG 31

CHAP. II.*
Of the Appoggiaturat.

IMONG all the Embellish-
Ij^l ments in the Art of Sing-
ing, there is none so easy
for the Master to teach, or
less difficult for the Scholar to learn,

* This Chapter contains some Enquiries
into Matters of Curiosity, and demands a
little Attention. The Reader therefore is
desired to postpone it to the last.

t Appoggiatura is a Word to which the
English Language has not an Equivalent ; it
is a Note added by the Singer, for the arriv-
ing more gracefully to the following Note,
either in rising or falling, as is shewn by the
Examples in Notes of Musick, PI. II. Numb.
2. The French express it by two different
Terms, Port de Voix and Appuyer; as the

32 OBSERVATIONS ON

than the Appoggiatura, This, besides
its Beauty, has obtained the sole Privi-
lege of being heard often without
tiring, provided it does not go beyond
the Limits prescribed by Professors of
good Taste.

§ 2. From the Time that the Ap-
poggiatura has been invented to adorn
the Art of Singing, the true Reason,

English do by a Prepare and a Lead, The
Word Appoggiatura is derived from Appog-
giarCy to lean on. In this Sense, you lean
on the first to arrive at the Note intended,
rising or falling ; and you dwell longer on the
Preparation, than the Note for which the
Preparation is made, and according to the
Value of the Note. The same in a Prepara-
tion to a Shake, or a Beat from the Note
below. No Appoggiatura can be made at
the Beginning of a Piece; there must be a
Note preceding, from whence it leads.

§ 2. Here begins the Examination of the
Semitones Major and Minor, which he pro-
mised in § 15. Ch. 1. It may be of Satis-
faction to the Studious, to set this Matter
at once in a true Light; by which our
Author's Doubts will be cleared, and his
Reasoning the easier understood. A Semi-
tone Major changes Name, Line, and Space :
A Semitone Minor changes neither. PL

THE FLORID SONG 33

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 than. I
do not flatter myself that I am arrived
at it; but the Judicious will see, at
least that I am come near it How-
ever, treating of a Matter wholly
produced from my Observaticois, I
should hope for more Indulgence in
this Chapter than in any other.

§ 3. From Practice, I perceive^
that from C t<yC hy B Quadra, a Voice
can ascend and descend gradually with
the Afpoggiatura, passing without
any the least Obstacle thro' all the

II. Numl». 1^ To a Semitone Major one can
go with a Rise or a Fall distinctly; to a
Semitone Minor on^ cannot. V. B. From a
Tone Minor the Appoggiatura is better an4
easier than from ft Tone Major.

§ 3. These are all Tones }iajor and Minor,
and Semitones Major. PI. 11. Numb. 3.

34 OBSERVATIONS ON

five Tones, and the two Semitones,
that make an Octave.

§ 4. That from every accidental
Diezis, or Sharp, that may be found in
tne Scale, one can gradually rise a Se-
mitone to the nearest Note with an
Afpoggiatura, and return in the same
Manner.

I 5. That from every Note that has
a B Qtuidro, or Natural, one can as-
cend by Semitones to every one that
has a B Molle, or Flat, with an Ap-
foggiatura.

§ 6. But, contrarywise^ my Ear tells
me, that from F, G, A, C, and D,
one cannot rise gradually with an Ap-
foggiatura by Semitones, when any of

§ 4. Because they are Semitones Major.
PL n. Numb. 3.

S 6. Because they are Semitones Major.
PI. II. Numb. 4.

§ 6. Because they are all Semitones
Minor, wJiicIi may be known by the above-
mentioned Rule, of their not changing
Name, line, nor Space. PI. II. Numb. 6.
and which makes it manifest, that a Semi-
tone If inor. cannot bear an Appoggiatura.

THE FLORID SONG 35

these five Tones have a Sharp annex'd
to thenL

§ 7. That one cannot pass with an
Appoggtatura gradually from a third
Minor to the Bass, to a third Major^
nor from the third Major to the
third Minor.

§ 8. That two consequent Appog-
giaturds cannot pass gradually by 5^-
mitones from one Tone to another.

§ 9. That one cannot rise by Semi-
toney with an Appoggiaiura^ from
any Note with a Flat

§ 10. And, finally, where the Appog-
giatura cannot ascend, it cannot de-
scend.

% II. 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

§ 7. For the same Reason, these being
Semitones Minor, PI. II. Numb. 6.

§ 8. Because one is a Simitone Major, and
the other a Semitone Minor, PI. III. Numb.
7.

§ 9. Because they are Semitones Minor.
PI, III. Numb, 8,

36 OBSERVATIONS ON

§ 12. Theory teaches us» that the
above-mentioned Octave consisting
of twelve unequal Semitones^ it is
necessary to distinguish the Major
from the Minor, and it sends the Stu-
dent 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 27, as well
as from F to G, the Semitones are
equal; and mean while we are left
in Suspense.

§ 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

§ 12. The Tanet or Moody you are in, will
determine which is a Tone Major or Minor;
for if you change the Mood or Tone, that
which was the Tone Major may become the
Tone Minor, and so Vice Versd: Therefore
these two Examples from C to D, and from
F to 6^, do not hold true.

§ 13. His Perplexity comes from a wrong
Notion, in not distinguishing those two
Semiionea,

THE FLORID SONG 37

Semitone Major. Therefore going so
agreeably from Mi to Fa (that is) from
B Quadro to C, or from E tp F, one
ought to conclude That to be a Semi-
tone 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 al-
so a Semi/one? It is Minor, says the
Ear. Therefore I take it for granted,
that the Reason why the Appoggiaiu-
ra has not a full Liberty, is, that it
cannot pass gradually to a Semitone
Minor; submitting myself, however,
to better Judgment

§ 14. The Appoggiatura may like-
wise pass from one distant Note to
another, provided the Skip or Interval
be not deceitful; for, in that Case^

§ 14. All Intervals, rising with an Ap-
poggiatura, arise to the Note with a sort of
Beat, more or less; and the same, descend-
ing, arrive to the Note with a sort of Shake,
more or less, PI. III. Numb. 9, 10. One
cannot agreeably ascend or descend the In-
terval of a third Major or Minor. PI. III.
Numb. 11. But gradually very well. PI. III.
Numb. 12. Examples of false or deceitful
Intervals. PI. III. Numb. 13.

38 OBSERVATIONS ON

whoever does not hit it sure, will show
they know not how to sing.

§ 1 5. Since, as I have said, it is not
possible for a Singer to rise gradually
with an Affoggiatura to a Semitone
Utnor^ Nature will teach him to rise
a Tone, that from thence he may de-
scend 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 Uessa di
Voce, the Voice always rising till he
reaches it.

§ 16. If the Scholar be well in-
structed 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

§ 15. 60 in all Cases where the Interval
is deceitful. PI. III. Numb. 14. With a
Me$ia di Voce, PI. III. Numb. 15. See for
Messa di Voce, Chap. I. § 29, and its Note.

§ 16. In all the modem Italian Composi-
tions the Appoggiatura* i are mark'd, sup-
posing the Singers to be ignorant where to
place them. The French use them for their
Lessons on the Harpsichord, &c. but seldom
for the Voioe.

THE FLORID SONG 39

mark them, with a Design either
to be thought Modem, or to shew
that they understand the Art of Sing-
ing 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 Appog"
giaturds? But if they mark them
that they may acquire the glorious
Name of a Virtuoso alia Moda^ or
a Composer in the new Stile, they
ought at least to know, that the Ad-
dition of one Note costs little Trou-
ble, and less Study. Poor Italy I
pray tell me; do not the Singers now-
a-days know where the Affoggiatu*
fds are to be made, unless they
are pointed at with a Finger ? In
my Time their own Knowledge shew-
ed it them. Eternal Shame to him
who &rst introduced these foreign Pu-
erilities into our Nation, renowned
for teaching others the greater part
of the polite Arts; particularly, that
of Singing ! Oh, how great a Weak-

40 OBSERVATIONS ON

ntss in those that follow the Exam-
ple I Oh, injurious Insult to your Mo-
dem Singers, who sutnnit to Instnic-
tioDS fit for Children I Let us imitate
the Foreigners in those Things only,
wherein they excel.

THE FLORID SONG 41

CHAP. III.

Of the Shake.

E meet with two most pow-
erful Obstacles in forming
the Shake. The first em-
barrasses the Master; for,
to this Hour there is no infallible Rule
found to teach it : And the second
aifects 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 blame-
able, in not doing his Duty, by leav-
ing the Scholar in Ignorance. One
must strive against Difficulties with
Patience to overcome them.

42 OBSERVATIONS ON

§ 2. Whether the Shake be neces-
sary 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 Ab-
sence of Mind, they would have be-
trayed to the Publick the Sterility of
their Art, without the prompt As-
sistance of the Shake.

% 3. Whoever has a fine Shake,
tho* wanting in every other Grace,
always enjoys the Advantage of con-
ducting himself without giving Dis-
taste to the End or Cadence, where for
the most part it is very essential ; and
who wants it, or has it imperfect-
ly, will never be a great Singer, let
his Knowledge be ever so great.

§ 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.

THE FLORID SONG 43

§ 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
fotmd so many Ways, distinguishing
them with different Names, that one
may say there are eight Species of
them.

§ 6. The &rst is the Shake Ma-
joTt from the violent Motion of two
neighbouring Sounds at the Distance
of a Tone, one of which may be call-
ed Principal, because it keeps with
greater Force the Place of the Note
which requires it; the other, not-
withstanding it possesses in its Motion
the superior Sound appears no other
than an Auxiliary. From this Shake
all the others are derived.

S 7. The second is the Shake Mi-

§ 6. See for the several Examples of the
Shakes, PL IV.

§ 6. The first 8hah$ of a Tone, PI. IV.
Niunb. 1.

§ 7. The second Shake of a Semitone
Major, PL IV. Numb. 2.

44 OBSERVATIONS ON

noTi consisting of a Sound, and its
neighbouring Semitone Major; and
where the one or the other of these
two Shakes are proper, the Compo-
sitions will easily shew. From the
inferior or lower Cadences, the first,
or full Tone Shake is for ever ex-
cluded* 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 Aux-
iliary 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
stinguished in Instruments, the Fault
a Habit. If this Shake is not di-
is in the Ear.

* See for the Meaning of superior and in-
ferior Cadences, Chap. VUI. § 1. PL V.
Numb. 3. jV. B. From the inferior or low-
er Cadences, the first, or full Tone Shake, is
not always excluded : for in a sharp Key it
is alwajTS a Tone, and in a flat Key a Semi-
tone. PI. IV. Numb. 8.

THE FLORID SONG 45

§ 8. The third is the MeBBO-tril-
lOy or the short SAake, which is like-
wise known from its Name. One,
who is Master of the first and se-
cond, with the Art of beating it a
little closer, will easily learn it; end-
ing 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 Patketick.

% 9. The fourth is the rising SAaie,
which is done by making the Voice
ascend imperceptibly, shaking from
Comma to Comma without discover-
ing the Rise.

§ 10. The fifth is the descending
SAake, which is done by making the
Voice decline insensibly from Com-
ma to Comma, shaking in such Man-
ner, that the Descent be not distin-
guished. These two Shakes^ ever

S 8. The third the short Shake, PI. IT.
Numb. 4.

§ 9. The fourth the rising Shake, PI. IV.
Numb. 6.

§ 10. The fifth the descending Shake, PI.
IV. Numb. 6,

46 OBSERVATIONS ON

since true Taste has prevailed, are no
more in Vogue, and ought rather to be
forgot than leam'd. A nice Ear equal-
ly abhorrs the ancient dry Stuff, and
the modem Abuses.

§ II. 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 there-
fore to lose the Name of a good
Singer; for it being only an affected
Waving, that at last unites with the
think, please more than once
first and second Shake, it cannot, I

§ 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

§ 11. The sixth the slow Shake, PI. lY.
Numb. 7.

§ 12. The seventh the redouble Shake,
PI IV. Numb, 8,

THE FLORID SONG 47

Voice, perfect in this rare Quality,
and not made use of too often, it
cannot displease even Envy itself.

8 13. The eighth is the Trillo-
Mordentey 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 bom but dies. That Singer
has a great Advantage, who from time
to time mixes it in Passages or Di-
visions, (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

§ 14. Of all these Shakes, the two
first are most necessary, and require
most the Application of the Mas-
ter. I know too well that it is custo-
mary to sing without Shakes; but
the Example, of those who study but
superfically, ought not to be imitated.

§ 13. The eighth the TriUo Mordente, or
Shahe with a Beat^ PL IV, Numb, 9,

48 OBSERVATIONS ON

S 15. The SAaie, to be beautiful,
requires to be prepared, though, on
some Occasions, Time or Taste will
not permit it But on final Caden-
ces, it is always necessary, now on the
Tone, now on the Semitone above its
Note, according to the Nature of the
Composition.

§ 16. The Defects of the SAaJte
are m^y. The long holding-out
Shake tritmiph'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 £ 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.

§ 17. The Necessity of the Shake

THE FLORID SONG 49

obliges the Master to keep the Schd-
lar applied to it upon all the Vowds,
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 Form-
ing them with Quickness in the Midst
of the Volubility of Graces and Divi-
sions.

S 18. After the free Use of the
Shake^ let the Master observe if the
Scholar has the same Facility in dis-
using it; for he would not be the first
that could not leave it off at Plea-
sure.

S ig. But the teaching where the
Shake is convenient, besides those on

§ 19. Shakes are generally proper from
preceding Notes descending, but not ascend-
ing, except on particular Occasions. Never
too many, or too near one another ; but yery
bad to begin with them, which is too fre-
quently done. The using so often Beats,
Shakes, and Prepares, is owing to Lessons on
the Lute, Harpsichord, and other Instru-
ments, whose Sounds discontinue, and there-
fore have Need of this Help.

V> OPSSRYATtONS ON

CsikDcesi and wliere tbey are impro*
per and forbid, is a Lesson reserved
for those who have Practice, Taste,
9»d Knowledge

THE FLORID SONG 5i

CHAP. IV.
On Divisions.

IHO* 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, capa-
ble to sing in any Stile.

§ 2. By accusto^li^g the Vgice of
a Learner to be lazy and dragging, he

52 OBSERVATIONS ON

is rendered incapable of any consider-
able Progress in his Profession. Who-
soever has not the Agility of Voice, in
Compositions of a quick or lively
Movement, becomes odiously tire-
some; and at last retards the Time
so much, that every thing he sings
appears to be out of Tune.

§ 3. Division, according to the ge-
neral 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.

§ 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.

§ 4. The marked Divisions should be
something like the Staccato on the Violin,
but not too much; against which a Caution
,will presently be given.

THE FLORID SONG 53

§ 5. The second is performed in
such a Manner that the first Note is
a Guide to all that follow, closely
united, gradual, and with such Even-
ness of Motion, that in Singing it
imitates a certain Gliding, by the Mas-
ters called a Slur; the Effect of
which is truly agreeable when used
sparingly.

§ 6. The marked Divisions^ being
more frequently used than the others,
require more Practice.

§ 7. The Use of the Slur is pretty
much limited in Singing, and is confin-
ed 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.

§ 8. The Dragg consists in a Suc-
cession of divers Notes, artfully mix-
ed with the Forte and Piano. The
Beauty of which I shall speak of in
another Place.

§ 6. The Gliging Noies are like ceveral
^ot^s in one Stfoke of the Bow on the Violin,

j4 OBSERVATIONS ON

S 9. tf the Master hastens insen^
sibly 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 Volubi-
lity; being however cautious, that
this imperceptible Alteration do not
grow by Degrees into a vicious Ha-
bit.

§ 10. Let him teach to hit the
Divisions with the same Agility in
ascending gradually, as in descend-
ing; for though this seems to be an
Instruction fit only for a Beginno",
yet we do not find every Singer able
to perform it.

§ II. After the gradual Divisions,
let him learn to hit, with the greatest
Readiness, all those that are of diffi-
cult Intervals, that, being in Tune
and Time, they may with Justice de-
serve our Attention. The Study of
this Lesson demands more Time and
Application than any other, not so
much for the great Difficulty in attain-
ing it, as the important Consequences
tb^t attend it; and, in Fact, a Sing-

er los^ all Fear when the most diffi-
cult Divisions are become familiitt to
him.

§12. Let him not be unmindful
to teach the Manner of mixing the
Piano with the Fortt in the Divisi-
ons; the Glidings or Slurs with the
Marked, and to intermix the Close
Shake; especially on the pointed
Notes, provided they be noi tbo
near one another; making by this
Means every Embellishment of the
Art appear.

§ 13. Of ail the Instructions relat-
ing to Divisions, the most consid^-
able 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 Pla-
ces where they have the best Effect:
But this being not so proper for
one who teaches only the &rst Rules,
and still less for him that begins to
learn them, it would be better to
have postponed this (as perhaps I
^9uld iiave done) did I |iot kxid#,

56 OBSERVATIONS ON

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 pro-
mising Genius; besides, it appeared
to me an Impropriety in this Chapter
on Divisions (in which the Bea/s and
Close Shake appear with greater
Lustre than any other Grace) not to

make Mention of them.

S 14. Let the Scholar not be suf-
fered to sing Divisions with Uneven-
ness 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.

% 15. Every Master knows, that on
the third and fifth Vowel, the Divi-
sions 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.

% 16. There are many Defects in
the Divisions, which it is necessary

THE FLORID SONG $7

to know, in order to avoid them;
for, besides that of the Nose or the
Throat, and the others already men-
tioned, 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 Voices thinking (for Exam-
ple) to make a Division upon A, it
appears as if they said Ha, Ha, Ha,
or GAa, GAa, Gha; and the same
upon the other Vowels. The worst
Fault of all is singing them out of
Tune.

% 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 be-
comes an indiCFerent one^ and some-
times by the Negligence of the Mas-
ter, to the Prejudice of the Scholar,
it is changed into a very bad one.

% 18. Divisions and Shakes in a
Siciliana are Faults, and Glidings and
Dta^gs are Qeautjes,

J? V.

58 OBSERVATIONS OH

% 19. The sole and entire Beauty
of the Division consists in its being
perfectly in Tune, mark'd, equal, di-
stinct, and quick.

$ 20. Divisions have the like Fate
with the Shakes; both equally de-
lieht in their Place; but if not pro-
perly introduced, the too frequent
Repetition of them becomes tedious,
if not odious.

§ 21. After the Scholar has made
himself perfect in the Shake and the
Divisions^ the Master should let him
read aind pronounce the Words, free
from those gross and ridiculous Er-
rors of Orthography, by which many
deprive one Word of its double Con-
sonant, and add one to another, in
which it is single.

§ 22. After having corrected the
Pronunciation, let him take Care that
the Words be uttered in such a Man-
ner, without any Affectation, that

§ 21. The pronouncing Etot instead of
Error; or Dolly instead of Daly. The not
distinguishing the double Consonants from
the single, i^ an Error but too common at
present.

THE FLORID SONG

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 in-
strumental Performer, admitting them
to be of equal Judgment and Know-
ledge. Let the modem Master learn
to make use of this Advice, for ne-
ver was it more necessary than at
present

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

6o OBSERVATIONS ON

i 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 inter-
rupted Movements, or in long Divi-
sions, 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 i;i the modem 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.

§ 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

THE FLORID SONG 6i

Pain to the Hearer, as if they had an
Asthma taking Breath every Mo-
ment with Difficulty, as if they
were breathing their last.

§ 26. Let the Master create some.
Emulation in a Scholar that is negli-
gent, inciting him to study the Lesson
of his Companion, whidi sometimes
goes beyond Genius; because, if in-
stead of one Lesson he hears two, and
the Competition does not discounte-
nance him, he may perhaps come to
learn his Companion's Lesson first,
and then his own.

§ 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.

§ 28. Let him accustom the Scho-
lar to sing often in presence of Per-
sons of Distinction, whether from
Birth, Quality, or Eminence in the
Profession, that by gradually losing
his Fear, he may acquire an Assu-
rance^ but not a Boldness. Assurance

63 OBSERVATIONS ON

leads to a Fortune, and in a Singer be-
comes a Merit. On the contrary,
the Fearful is most unhappy; labour-
ing under the Difficulty of fetching
Breath, the Voice is always trem-
bling, 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 Compo*
sitions 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.

S 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 bind-
ing Notes; and how much better Ef-
fect the holding out the Voice has.
The Compositions, instead of losing,
acquire thereby greater Beauty.

§ 30. Let the Master instruct him
in the Forte and Piano, but so as to

§ 29. See for the syncopated^ Ligatum,
or binding Notes, PI. IV. Numb. 10.

rm FLORID SONG 63

use him more to the first than the se^
condi it being easier to make one sing
soft than loud. Experience shews
tb^t the Piano is not to be trusted to,
sin<» it is prejudicial though plea-
sing; and if any one has a Min4
to lose his Voice, let him try it
On this Subject some are of Opinio©,
that there is an artificial Piano, that
can make itself be heard as much as
the Forte; but that is only Opinicm,
which is the Mother of all ^nox% It
is not Art which is the Cause that the
Piano of a good Singer is heard, but
the profound Sil«ce and Attention
of the Audience. For a Proof of
this, let any indifferent Singer be si-
lent on the Stage for a Quarter of a
Minute when he should sing, the
Audience, curious to know the Reason
of this unexpected Pauses are hush'd
i9 such a , Maimer, that if in that
Instant he utter one Word with a
soft Voice, it would be heard even by
those at the greatest Distance.

8 31. Let the Ma^tq; r^piiemt)^,
that whosoever does not sing to the

64 OBSERVATIONS ON

utmost Rigour of Time, deserves not
the Esteem of the Judicious ; there-
fore let him take Care, there be no
Alteration or Diminution in it, if he
pietends to teach well, and to make
an excellent Scholar.

§ 32. Though in certain Schools,
Books of Church-Musick and of Ma-
drigals lie buried in Dust, a good
Master would wipe it o£F; 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 Pro-
fessors could deserve the Name of
Singers of the first Rank.

§ 33. Let him encourage the Scho-
lar if he improves; let him mortify
him, without Beating, for Indolence;
let him be more rigorous for Negli-
gences; nor let the Scholar ever

§ 32. McidrigaU are Pieces in several
Parts ; the last in Practice were about three-
score Years ago; then the Opera's began to
be in Vogue, and good Musick and the
Knowledge of it began to decline.

THE FLORID SONG 65

end a Les3on without having profit-
ed something.

§ 34. An Hour of Application in
a Day is not sufficient, even for
one of the quickest Apprehension;
the Master therefore should consi-
der how much more Time is ne-
cessary 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 Fa-
tigue, and solicited by bis Necessities,
he thinks the Month long; looks on
his Watch, and goes away. If he
be but poorly paid for his Teach-
ing, — a God-b'wy to him.

66 OBSERVATIONS ON

CHAP. V.
Of Recitative.

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

§ 2. The first, being used in Church-
es, 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 Vo-
ce, 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.

§ 3. The second is Theatrical,
which being always accompanied

THE FLORID SONG 67

with Action by the Singer, the Mas-
ter is obliged to teach the Scholar a
certain natural Imitation^ which can-
not be beautiful, if not expressed with
that Decorum with which Princes
speak, or those who know how to
speak to Princes.

S 4. The last, according to the O-
pinion 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 afiFected with
them himself. The Scholar having
finished his Studies, it will be but too

§ 4, Muiiea di Camera, Chamber, or
private, Musick ; where the Multitude is not
courted for Applause, but only the true
Judges; and consists chiefly in Cantata^ s^
Duttto' s^ Slo. In the Recitative of Cantata^ s^
our Author excelled in a singular Manner
for the pathetick Expression of the Words,

68 OBSERVATIONS ON

easily discovered if he stands in Need
of ibis Lesson. The vast Delight,
which the Judicious feel, is owing to
this particular Excellence, which,
without the Help of the usual Orna-
ments, produces all this Pleasure from
itself; and, let Truth prevail, where
Passion speaks, all Shakes^ all Divi-
sions and Graces ought to be silent,
leaving it to the sole Force of a
beautiful Expression to persuade.

§ 5. The Church Recitative yields
more Liberty to the Singer than the
other two, particularly in the final
Cadence; provided he makes the Ad-
vantage of it that a Singer should
do, and not as a Player on the Vi-
olin.

S 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.

§ 7. The third abstains from great
part of the Solemnity of the first, and

THE FLORID SONG 69

contents itself with more of the se-
cond.

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

§ 9. There are some who sing Re-
citative on the Stage like That of the
Church or Chamber; some in a per-
petual Chanting, which is insuffer-
able; 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 cry-
ing; some speak it, and some hiss it;
some hallow, bellow, and sing it out

70 OBSERVATIONS ON

of Tune; and, together with their
Offences against Nature, are guilty of
the greatest Fault, in thinking them-
selves above Correction.

§ lo. The modern Masters run
over with Negligence their Instructi-
ons in all Sorts of Recitatives, be-
cause in these Days the Study of Ex-
pression is looked upon as unnecessary,
or despised as ancient : And yet they
must needs see every Day, that be-
sides the indispensible Necessity of
knowing how to sing them, These
even teach how to act If they will
not believe it, let them observe, with-
out flattering themselves, if among
their Pupils they can shew an Actor
of equal Merit with Cortona in the
Tender;* 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-

§ 10. Cortona liv'd above forty Years
ago. Balarini, in Service at the Court of
Vienna, much in Favour with the Emperor
Joseph, who made lum a Baron.

THE FLORID SONG 71

any that are living, in whatsoever
Degree of Perfection they be, though
I esteem them as they deserve.

§ II. A Master, Uiat disregards Re-
citative^ probably does not understand
the Words, and then, how can he
ever instruct a Scholar in Expression,
which is the Soul of vocal Perform-
ance, and without which it is impos-
sible to sing well? Poor Gentlemen
Masters^ who direct and instruct Be-
ginners, 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
MasterSy 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

^2 OBSERVATIONS ON

on the Stage, and senseless in a Cham-
ber. To speak my Mind freely,
yours and their Faults are unpar-
donable; it is insu£Ferable to be any
longer tormented in the Theatres
with ReciiativeSi sung in the Stile
of a Choir of Capuchin Friars.

§ 12. The reason, however, of not
giving more expression to the Recita-
tivty 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 mo-
dern Composers, (we must except
some of Merit) who set it in so unnatu-
ral a Taste, that it is not to be taught,
acted or sung. In Justification of the
Master and the Singer let Reason de-
cide. To blame the Composer, the
same Reason forbids me entering into
a Matter too high for my low Un-
derstanding, and wisely bids me con-
sider 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

THE FLORID SONG 73

Observations, to procure diverse Ad-
vantages 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 Re-
flection, that Recitatives have no Re-
lation to Counterpoint If That be so,
what Professor knows not, that many
theatrical Recitatives would be ex-
cellent if they were not confused one
with another; if they could be learn-
ed by Heart; if they were not de-
ficient in respect of adapting the Mu-
sick 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 cru-
el 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,

74 OBSERVATIONS ON

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 shew this
Concern about it? Can I expect that
these Reasons, with all their Eviden-
ces, 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 use-
lessly employ their precious Time in
the Application to RecitaUve, 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 Ac-
count in it.

§ 13. Much more might still be

§ 13. See Broken Cadences, PI. V. Numb.
1.

Final Cadences, PI. V. Numb. 2.

THE FLORID SONG ;s

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 eve-
ry time a final Cadence would be
wrong: But if in these two Extremes
a Remedy were necessary I should
think, that among an hundred bro-
ken Cadences, ten of them, briefly ter-
minated 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 condemn-
ed.

§ 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 In-
nocent is injured without Remedy
from the Guilty.

;6 OBSERVATIONS ON

§ 15. If after these Instructions, the
Master does really find himself capa-
ble 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*, grand and genteel,
mix'd with the Lively and the Pathe-
tick, 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

*§ 15. MoizUy or Anthems.

THE FLORID SONG 77

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
Cantatcis 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 Com-
positions 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 cor-
rected.

§ 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.

;8 OBSERVATIONS ON

g I/. But if the Master's Know-
ledge extends no farther than the fore-
going Rules, then ought he in con*
science to desist, and to recommend
the Scholar to better Instructions.
However, before the Scholar arrives
at this, it will not be quite unneces-
sary 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.

THE FLORID SONG 79

CHAP. VI.

Observations for a Student,

|EFORE entering on the ex-
tensive and difficult Study
of the Floridy or figured
Songy it is necessary to con-
sult the Scholar's Genius; for if In-
clination opposes, it is impossible to
force it, and when That incites, the
Scholar proceeds with Ease and Plea-
sure.

§ 2. Supposing, then, that the Scho-
lar 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

8o OBSERVATIONS ON

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.

§ 3. He that studies Singing must
consider that Praise or Disgrace de-
pends 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.

§ 4. Let him be able to read per-
fectly, 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 !

§ 5. In case the Master knows not
how to correct the Faults in Pro-
nunciation, let the Scholar endeavotir
to learn the best by some other
Means; because the not being bom

S 5. The Proverb is, ^Lingua Toscana in
hocca Bomana.— This regards the different
Dialects in Italy; as Neapolitan, Venetian,
&c, the same, in Comparison, London to
York, or Somersetshire,

THE FLORID SONG 8i

in Tuscany^ will not excuse the Sing-
er's Imperfection.

§ 6. Let him likewise very care-
fully endeavour to correct 4II other
Faults that the Negligence of his
Master may have passed over.

§ 7. With the Study of Musick,
let him learn also at least the Gram-
mar, 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,

§ 8. Let him continually, by him-
self, use his Voice to a Velocity of
Motion, if he thinks to have a Com-
mand over it, and that he may not
go by the Name of a pathetick
Singer.

§ 9. Let him not omit frequently
to put forth, and to stop, the Voice,

§ 7. The Church-Musick in Italy is all in
Latirty except Oratorio^s, which are Enter^
tainments in their Churches. It is therefore
necessary to have some Notion of the Latin
Tongue.

8? OBSERVATIONS ON

that it may always be at his Com-
mand.

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

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

§ 12. The unwearied Study of
Youth is sure to overcome all Ob-
stacles that oppose^ though Defects
were suck'd in with our Mother's
Milk. This Opinion of mine is sub-
ject 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.

S 13. Let him hear as much as he
can the most celebrated Singers, and
likewise the most excellent instrumen-
tal Performers; because, from the
Attention in hearing them, one reaps

THE FLORID SONG 83

more Advantage than from any In-
struction whatsoever.

§ 14. Let him endeavour to copy
from Both, that he may insensibly,
by the Study of others, get a good
Taste. This advice, though extreme-
ly useful to a Student, is notwith-
standing infinitely prejudicial to a
Singer, as I shall shew in its proper
Place.

§ 15. Let him often sing the most
agreable Compositions of the best Au-
thors, and accustom the Ear to that
which pleases. Td have a Student
know^ that by the abovementioned
Imitations, and by the Idea of good
Compositions, the Taste in Time be-
comes Art, and Art Nature.

§ 16. Let him learn to accompany
himself, if he is ambitious of singing
well. The Harpsichord is a great In-
citement to Study, and by it we con-
tinually improve in our Knowledge.
The evident Advantage arising to the

§ 14. The first Caution against imitating
injudiciously the Instrumental with the
Voice.

1 •

84 OBSERVATIONS ON

Singer from that lovely Instrument,
makes it superfluous to say more on
that Head. Moreover, it often hap-
pens to one who cannot play, that
without the Help of another he can-
not be heard, and is thereby to his
Shame obliged to deny the Com-
mands of those whom it would be
to his Advantage to obey.

§ 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 Plea-
sure for want of sufficient Application,
what must the Scholar do? Study,
— and study again, and not be satis-
fied.

§ 18. I am almost of Opinion, that
all Study and Endeavours to sing are
infallibly vain, if not accompanied
with some little Knowledge of Coun-
terpoint. One, who knows how to
compose, can account for what he

§ 18. The Italians have a Saying, Voce
di Compositore^ to denote a bad or an in-
different Voice

THE PLORID SONG 85

does» and he, who has not the same
Light, works in the Dark, not know-
ing 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 Les-
son be according to the Mode or not
For though, in these Days, one now
and then hears admirable Perfor-
mances, 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 Know-
ledge although requisite, I would not
however advise a Scholar to give him-
self 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 princi-

86 OBSERYATIOhS ON

pal Rules, that he may not be quite
in the Dark.

I 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 prejudi-
cial to the one or the other. How-
ever, 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 ex-
cels in Merit, and more deserves our
Praise.

§ 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 twen-
ty 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.

5 21. To my irreparable Misfor-

S 21. CantdbUe, th6 Tenderi Passionatei

THE FLORID SONG 87

tune, I am old; but were I young,
I would imitate as much as possibly I
rould the Cantabile of those who are
branded with the opprobrious Name
of Ancients; and the Allegro of those
who enjoy the delightful Appellation
of Moderns. Though my Wish is
vain as to myself, it will be of Use to
a prudent Scholar, who is desirous to
be expert in both Manners, which is
the only way to arrive at Perfection;
but if one was to chuse^ I should
freely, without Fear of being tax'd
with Partiality, advise him to attach
himself to the Taste of the first.

§ 22. Each Manner of Singing
hath a different Degree of Eminence;
the Nervous and Strong is distin-
guished from the Puerile and Weak, as
is the Noble from the Vulgar.

§ 23. A Student must not hope for
Applause^ if he has not an utter Ab-
horrence of Ignorance.

Pathetick; more Singing than AUegrOj
which is Lively, Brisk, Gay, and more in
the executive Way.

88 OBSERVATIONS ON

§ 24. Whoever does not aspire to
the first Rank, begins already to give
up the second, and by little and little
will rest contented with the lowest.

§ 25. If, out of a particular Indul-
gence to the sex, so many female Sing-
ers have the Graces set down in Wri-
ting, one that studies to become a
good Singer should not follow the
Example; whoever accustoms him-
self to have Things put in his Mouth,
will have no Invention, and becomes
a Slave to his Memory.

§ 26. If the Scholar should have
any Defects, of the Nose, the Throat,
or of the Ear, let him never sing
but when the Master is by, or some-
body that understands the Profession,
in order to correct him, otherwise he
will get an ill Habit, past all Re-
medy.

§ 27. When he studies his Lesson
at Home, let him sometimes sing be-
fore a Looking-glass, not to be ena-
moured with his own Person, but to
^Ypid those convulsive Motions of th^

THE FLORID SONG 89

Body, or of the Face (for so I call the
Grimaces of an affected Singer) which,
when once they have took Footing,
never leave him.

§ 28. The best Time for Study is
with the rising of the Sun; but those,
who are obliged to study, must em-
ploy all their Time which can be spar-
ed from their other necessary Af-
fairs.

§ 29. After a long Exercise, and
the Attainment of a true Intonation,
of a Messa di Voce^ of Shakes^ of
Divisions, and Recitative well ex-
pressed, if the Scholar perceives that
his Master cannot teach him all the
Perfection of Execution required in
the more refined Art of singing the
Airs, or if he cannot always be by
his Side, then will he begin to be
sensible of the Need he has of that
Study, in which the best Singer in
the World is still a Learner, and
must be his own Master. Supposing
this Reflection just, I advise him
for his first Insight, to read the

90 OBSERVATIONS ON

following Chapter, in order there-
by to reap greater Advantage from
tnose that can sing the Airs, and
teach to sing them.

THE FLORID SONG QJ

CHAP. VI I.

Of Airs.

IF whoever introduced the
Custom of repeating the
first Part of the Air, (which
is called Da Capo) did it
out of a Motive to show the Capacity
of the Singer, in varying the Repe-
tition, the Invention cannot be blam'd
by Lovers of Musick; though in re-
spect of the Words it is sometimes an
Impropriety.

§ 1. Suppose the first Part expressed
Anger, and the second relented, and was to
express Pity or Compassion, he must be
angry again in the Da Capo. This often
happens, and is very ridiculous if not done to
a real Purpose, and that the Subject and
Poetry require it.

92 OBSERVATIONS ON

S 2. By the Ancients beforemen-
tioned, Airs were sung in three dif-
ferent Manners; for the Theatre, the
Stile was lively and various; for the
Chamber, delicate and finish*d; and
for the Church, moving and grave.
This Difference, to very many Mo-
dernSi is quite unknown.

I 3. A Singer is under the greatest
Obligation to the Study of the Airs;
for by them he gains or loses his Re-
putation. To the acquiring this valu-
able Art, a few verbal Lessons cannot
suffice; nor would it be of any great
Profit to the Scholar, to have a great
Number of AirSy in which a Thou-
sand of the most exquisite Passages of
different Sorts were written down :
For they would not serve for all Pur-
poses, and there would always be
wanting that Spirit which accompa-
nies extempore Performances, and is
preferable to all servile Imitations. All
(I think) that can be said, is to re-

§ 8. It is supposed, the Scholar 18 arrived
to the Capacity of knowing Harmony and
Counterpoint,

*t— ..

THE FLORID SONG 93

commend to him an attentive Obser-
vation of the Art, with which the best
Singers regulate themselves to the
Bass, wherry he will become acquaint-
ed with their Perfections, and improve
by them. In order to make his Ob-
servations with the greater Exactness,
let him follow the Example of a
Friend of mine, who never went to
an Opera without a Copy of all the
Songs, and, observing the finest Gra-
ces, confin'd to the most exact Time
of the Movement of the Bass, he made
thereby a great Progress.

§ 4. Among the Things worthy of
Consideration, the first to be taken
Notice of, is the Manner in which all
Airs divided into three Parts are to be
sung. In the first they require no-
thing but the simplest Ornaments, of
a good Taste and few, that the Com-
position may remain simple^ plain,
and pure; in the second they expect,
that to this Purity some artful Gra-

§ 4. The general dividing of Airs de-
scribed^ to which the Author often refers.

94 OBSERVATIONS ON

ces be added, by which the Judicious
may hear, that the Ability of the Sing-
er is greater; and, in repeating the
Air, he that does not vary it for the
better, is no great Master.

§ 5. Let a Student therefore accus-
tom himself to repeat them always
diflFerently, for, if I mistake not, one
that abounds in Invention, though a
moderate Singer, deserves much more
Esteem, than a better who is barren
of it ; for this last pleases the Connois-
seurs but for once, whereas the other,
if he does not surprise by the Rare-
ness of his Productions, will at least
gratify your Attention with Variety.

§ 6. The most celebrated among
the Ancients piqued themselves in va-
rying every Night their Songs in the
Opera's, not only the Pathetick, but
also the Allegro. The Student, who
is not well grounded, cannot under-
take this important Task.

§ 5. With due Deference to our Author,
it may be feared, that the Affectation of
Singing with Variety has conduced very
mu9h to the introducing a bad Taste.

THE FLORID SONG 95

S 7. Without varying the Aits, the
Knowledge of the Singers could ne-
ver be discovered; but from the Na-
ture and Quality of the Variations, it
will be easily discerned in two of the
greatest Singers which is the best

S 8. Returning from this Digression
to the above-mentioned repeating the
first Part of the Air with Variation,
the Scholar will therein &nd out the
Rules for Gracing, and introducing
Beauties of his own Invention : These
will teach him, that Time^ Taste, and
Skill, are sometimes of but small Ad-
vantage to one who is not ready at
extempore Embellishments; but they
should not allow, that a Superfluity
of them should prejudice the Com-
position, and confound the Ear.

S g. Let a Scholar provide himself
with a Variety of Graces and Embel-
lishments, and then let him make use
of them with Judgment; for if he

S 8. Continuation of the general dividing
A%T$ in § 4. The End of this Section is a
seasonable Corrective of the Rule prescribed
in the foregoing fifth Section.

96 OBSERVATIONS ON

observes, he will find that the most
celebrated Singers never make a Pa-
rade of their Talent in a few Songs;
well knowing, that if Singers expose
to the Publick all they have in their
Shops, they are near becoming Bank-
rupts.

§ 10. In the Study of Airs, as I
have before said, one cannot take
Pains enough; for, though certain
Things of small Effect may be omit-
ted, yet how can the Art be called
perfect if the Finishing is wanted ?

§ II. In Airs accompanied only
with a Bass, the Application of him
who studies Graces is only subject to
Time, and to the Bass; but in those,
that are accompanied with more In-
struments, the Singer must be also
attentive to their Movement, in order
to avoid the Errors committed by
those who are ignorant of the Con-
trivance of such Accompaniments.

§ 12. To prevent several false Steps
in singing the Airs, I would strong-
ly inculcate to a Student, first, never
to give over practising in private, till

THE FLORID SONG 97

he is secure of committing no Error
in Publick; and next, that at the
first Rehearsal the Airs be sung with-
out any other Ornaments than those
which are very natural; but with a
strict Attention, to examine at the
same time in his Mind, where the
artificial ones may be brought in with
Propriety in the second; and so from
one Rehearsal to another, always va-
rying for the better, he will by De-
grees become a great Singer.

§ 1 3. The most necesscury Study for
singing Airs in Perfection, and what
is more difficult than any other, is
to seek for what is easy and natural,
as well as of beautiful Inventions.
One who has the good Fortune to
unite such two rare Tal«its, with an
agreeable putting forth of the Voice,
is a very happy Singer.

§ 14. Let him, who studies under
the Disadvantage of an ungrateful Ge-
nius, remember for his Comfort, that
singing in Tune, Expression, Messa
di Voce, the Appoggiaturds, Shakes,
Divisions y and accompanying himself,

98 OBSERVATIONS ON

are the principal Qualifications; and
no such insuperable Difficulties, but
what may be overcome. I know, they
are not sufficient to enable one to sing
in Perfection; and that it would be
Weakness to content one's self with
only singing tolerably well; but Em-
bellishments must be called in to
their aid, which seldom refuse the
Call, and sometimes come unsought.
Study will do the business.

S 15. Let him avoid all those Abu-
ses which have overspread and esta-
blished themselves in the AirSt if he
will preserve Musick in its Chastity.

§ 16. Not only a Scholar, but every
Singer ought to forbear Caricatures,
or mimicking others, from the very
bad Consequences that attend them.
To make others laugh, hardly gains
any one Esteem, but certainly gives
Offence; for no-body likes to appear
ridiculous or ignorant. This Mimick-
ing arises for the most part from a
concealed Ambition to shew their
own Merit, at another's Expence;
not without a Mixture of Envy and

THE FLORID SONG 99

Spight. Examples shew us but too
plainly the great Injury they are apt
to do, and that it well deserves Re-
proof; for Mimickry has ruin'd more
than one Singer.

§ 17. I cannot sufl&ciently recom-
mend to a Student the exact keep-
ing of Time; and if I repeat the
same in more than one place, there
is more than one Occasion that moves
me to it; because, even among the
Professors of the first Rank there are
few, but what are almost insensibly
deceived into an Irregularity, or has-
tening of Time, and often of both;
which though in the Beginning is
hardly perceptible, yet in the Progress
of the Air becomes more and more
so, and at the last the Variation, and
the Error is discovered.

§ 18. If I do not advise a Student
to imitate several of the Moderns in
their Manner of singing Airs^ it is
from their Neglect of keeping Time,
which ought to be inviolable, and
not sacrificed to their beloved Passages
i^nd Divisions.

100 OBSERVATIONS ON

§ ig. The Presumption of some
Singers is not to be borne with, who
expect that an whole Orchestre should
stop in the midst of a well-regulated
Movement, to wait for their ill-
grounded Caprices, learned by Heart,
carried from one Theatre to another,
and perhaps stolen from some ap-
plauded female Singer, who had bet-
ter Luck than Skill, and whose Er-
rors were excused in regard to her
Sex. Softly, softly with your Cri-
ticism, says one; this, if you do not
know it, is called Singing after the

Mode Singing after the Mode?

1 say, you are mistaken. The

stopping in the Airs at every second
and fourth, and on all the sevenths
and sixths of the Bass, was a bad
Practice of the ancient Masters, dis-
approved fifty Years ago by Rivani,
called Ciecolino*, who with invinci-
ble Reasons shewed the proper Pla-

* § 19. Bivani, called Ciecolino, must
have written some Treatise on Time, which
is not come to us, therefore no further Ac-
count can be given of him«

THE FLORID SONG lOi

ces for Embellishments, without
begging Pauses. This Percept was ap-
proved by several eminent Persons,
among whom was Signor Pisto-
chi*, the most famous of our, and

* TiBtochi was very famous above fifty
Years ago, and refined the Manner of sing-
ing in Itcdyy which was then a little crude.
His Merit in this is acknowledged by all his
Countrymen, contradicted by none.
Briefly, what is recounted of him, is, that
when he first appeared to the World, and a
Youth, he had a very fine treble Voice, ad-
mired and encouraged universally, but by a
dissolute Life lost it, and his Fortune. Be-
ing reduced to the utmost Misery, he enter-
ed into the Service of a Composer, as a
Copyist, where he made use of the Oppor-
tunity of learning the Rules of Composition,
and became a good Proficient. After some
Years, he recovered a little Glimpse of
Voice, which by Time and Practice turned
into a fine Contr^Alto* Having Experi-
ence on his Side, he took Care of it, and as
Encouragement came again, he took the
Opportunity of 'travelling all Europe over,
where hearing the different Manners and
Tastes, he appropriated them to hims^f,
and formed that agreeable Mixture, which
he produced in lt<dyy where he was imitated
and admired. He at last past many Years,
when in an affluent Fortune, at the Court of

102 OBSERVATIONS Ohf

all preceding Times, who has made
himself immortal, by shewing the
way of introducing Graces without
transgressing against Time. This Ex-
ample alone, which is worth a Thou-
sand, (O my rever'd Moderns/) should
be sufficient to undeceive you. But if
this does not satisfy you, I will add,
that Si facto * with his mellifluous

Anspach, where he had a Stipend, and lived
an agreeable easy Life; and at last retired
to a Convent in ltaly7 It has been re-
marked, that though several of his Disci-
ples shewed the Improvement they had from
him, yet others made an ill use of it, having
not a little contributed to the Introduction
of the modern Taste.

* SifaciOy famous beyond any, for the
most singular Beauty of his Voice. His
Manner of Singing was remarkably plain,
consisting particularly in the Messa di Foee,
the putting forth his Voice, and the Ex-
pression.

There is an Italian Saying, that an hun-
dred Perfections are required in an excellent
Singer, and he that hath a fine Voice has
ninety-nine of them.

It is also certain, that as much as is allot-
ted to Volubility and Trii^ks, so much is the
Beauty of the Voice sacrificed; for the one
cannot be done without Prejudice to the
other.

THE FLORID SONG 103

Voice embrac'd this Rule; that Busso-
lini* of incomparable Judgment high-
ly esteemed it : After them Luiginof
with his soft and amorous Stile follow-
ed their Steps; likewise Signora Bos-
chit, who, to the Glory of her Sex,
has made it appear, that Women, who
study, may instruct even Men of
some Note. That Signora Lotti || ,

Sifacio got that Name from his acting
the Part of Syphax the first time he appear-
ed on the Stage. He was in England when
famous, and belonged to King James the
Second's Chapel. After which he returned
to Italy, continuing to be very much ad-
mired, but at last was waylaid, and mur-
thered for his Indiscretion.

* Buzzolinif the Name known, but no Par-
ticulars of him.

t Luigino, in the Service of the Emperor
Joseph, and a Scholar of Pistochi.

I Signora Boschi was over in England in
Queen Anne^s Time ; she sung one Season in
the Ox>era's, returned to Venice, and left
her Husband behind for several Years; he
sung the Bass. She was a Mistress of Mu-
sick, but her Voice was on the Decay wh^i
she came here.

II Santini, afterwards Signora Lotti. She
was famous above forty Years ago, and ap-
peared at several Courts in Germany, where

104 OBSERVATIONS ON

strictly keeping to the same Rules,
with a penetrating Sweetness of Voice,
gained the Hearts of all her Hearers.
If Persons of this Rank, and others
at present celebrated all over Europe,
whom I forbear to name; if all these
have not Authority enough to con-
vince you, that you have no Right to
alter the Time by making Pauses,
consider at least, that by this Error
in respect of Time, you often fall in-
to a greater, which is, that the Voice
remains unaccompanied, and deprived
of . Harmony ; and thereby becomes
flat and tiresome to the best Judges.
You will perhaps say in Excuse,
that few Auditors have this Discern-

she was sent for; then retired to T>Htce,
where she married Signor Lotti, Chapel-
Master of St. Mark.

All these Singers, though they had a Tal-
ent particular to themselves, they could,
however, sing in several sorts of Stile; on
the contrary, one finds few, but what at-
tempt nothing that is out of their Way. A
modern Singer of the good Stile, being
asked, whether such and such Compositions
would not please at present in Italy? No
doubt, said he, they would, but where are
the Singers that can sing themP

THE FLORID SONG 105

ment, and that there are Numbers of
the others, who blindly applaud every
thing that has an Appearance of No-
velty. But whose fault is this? An
Audience that applauds what is blame-
able, cannot justify your Faults by
their Ignorance; it is your Part to set
them right, and, laying aside your
ill-grounded Practice, you should own,
that the Liberties you take are against
Reason, and an Insult upon all those
instrumental Performers that are wait-
ing for you, who are upon a Level
with you, and ought to be subservient
only to the Time. In short, I would
have you reflect, that the abovemen-
tioned Precept will always be of Ad-
vantage to you; for though under the
neglecting of it, you have a Chance
to gain Applause of the Ignorant only ;
by observing it, you will justly me-
rit that of the Judicious, and the Ap-
plause will become universal.

§ 20. Besides the Errors in keeping
Time, there are other Reasons, why
a Student should not imitate the mo-
dern Gentlemen in singing Airs, since

io6 OBSERVATIONS ON

it plainly appears that ail their Appli-
cation now is to divide and subdivide
in such a Manner, that it is impossible
to imderstand either Words, Thoughts,
or Modulation, or to distinguish one
Air from another, they singing them
all so much alike, that, in hearing of

one, you hear a Thousand. And

must the Mode triumph? It was
thought, not many Years since, that
in an Opera, one rumbling Air, full
of Divisions was sufficient for the most
gurgling Singer to spend his Fire*;
but the Singers of the present Time
are not of that Mind, but rather, as
if they were not satisfied with trans-
forming them all with a horrible Me-
tamorphosis into so many Divisions,
they, like Racers, run full Speed,
with redoubled Violence to their final
Cadences, to make Reparation for the
Time they think they have lost du-

§ 20. Those tremendous Airs are called
in Itcdianf un Ariu di Bravura; which can-
not perhaps be better translated into
English, than a Eeetoring Song.

rnn florid sonc id;

ring the Course of the Air, In the
following Chapter, on the tormented
and tortured Cadences, we shall short-
ly see the good Taste of the Mode;
in the mean while I return to the A-
buses and Defects in Airs.

§ 21. I cannot positively tell, who
that Modern Composer, or that un-
grateful Singer was, that had the Heart
to banish the delightful, soothing,
Pathetick from Airs^ as if no longer
worthy of their Commands, after hav-
ing done them so long and pleasing
Service. Whoever he was, it is cer-
tain, he has deprived the Profession of
its most valuable Excellence. Ask all
the Musicians in general, what their
Thoughts are of the Pathetick, they
all agree in the same Opinion, (a thing
that seldom happens) and answer, that
the Pathetick is what is most delicious
to the Ear, what most sweetly affects
the Soul, and is the strongest Basis
of Harmony. And must we be de-
prived of these Charms, without know-
ing the Reason why ? Oh ! I under-
stand you: I ought not to ask the

io8 OBSERVATIONS ON

Masters, but the Audience, those ca-
pricious Protectors of the Mode, that
cannot endure this; and herein lies
my Mistake. Alas! the Mode and
the Multitude flow like Torrents,
which, when at their Height, having
spent their Violence, quickly disap-
pear. The Mischief is in the Spring
itself; the Fault is in the Singers.
They praise the Patheticky yet sing
the Allegro. He must want common
Sense that does not see through them.
They know the first to be the most
Excellent, but they lay it aside, know-
ing it to be the most difficult.

§ 22. In former times divers Airs
were heard in the Theatre in this de-
lightful Manner, preceded and accom-
panied with harmonious and well-mo-
dulated Instruments, that ravished the
Senses of those who comprehended
the Contrivance and the Melody; and
if sung by one of those five or six emi-
nent Persons abovementioned, it was
then impossible for a human Soul, not
to melt into Tenderness and Tears
from the violent Motion of the AfFec-

THE FLORID SONG 109

tions. Oh! powerful Proof to con-
found the idoliz'd Mode! Are there in
these Times any, who are moved with

Tenderness, or Sorrow? No, (say

all the Auditors) no; for, the conti-
nual singing of the Moderns in the Al-
legro Stile, though when in Perfec-
tion That deserves Admiration, yet
touches very slightly one that hath a
delicate Ear. The Taste of the An-
cients was a Mixture of the Lively and
the CantabiUy the Variety of which
could not fail giving Delight; but the
Moderns are so pre-possessed with
Taste in Mode, that, rather than com-
ply with the former, they are content-
ed to lose the greatest Part of its
Beauty. The Study of the Patheiick
was the Darling of the former; and
Application to the most difficult Divi-
sions is the only Drift of the latter.
Those performed with more Judgment ;
and These execute with greater Bold-
ness. But since I have presumed to
compare the most celebrated Singers
in both Stiles, pardon me if I conclude
with saying, that the Moderns are ar-

no OBSERVATIONS ON

rived at the highest Degree of Perfecti-
on in singing to the Ear; and that the
Ancients are inimitable in singing to
the Heart.

§ 23. However, it ought not to be
denied, but that the best Singers of
tnese times have in some Particulars
refined the preceding Taste, with
some Productions worthy to be imita-
ted; and as an evident Mark of £-
steem, we must publicly own, that
if they were but a little more Friends
to the Pathetick and the Expressive^
and a little less to the Divisions^ they
might boast of having brought the
Art to the highest Degree of Perfec-
tion.

§ 24. It may also possibly be, that
the extravagant Ideas in the present
Compositions, have deprived the a-
bovementioned Singers of the Oppor-
tunity of shewing their Ability in the
Cantabtle\ in as much as the Airs at
present in vogue go Whip and Spur
with such violent Motions, as take a-
way their Breath, far from giving

THE FLORID SONG iii

them an Opportunity of shewing the
Exquisiteness of their Taste. But,
good God ! since there are so many
modern Composers, among whom are
some of Genius equal, and perhaps
greater than the best Ancients^ for
what Reason or Motive do they al-
ways exclude from their Compositi-
ons, the so-much-longed-for Adagio?
Can its gentle Nature ever be guilty
of a Crime? If it cannot gallop with
the Airs that are always nmning Post,
why not reserve it for those that re-
quire Repose, or at least for a com-
passionate one, which is to assist an
unfortunate Hero, when he is to shed

Tears, or die on the Stage? No,

Sir, No; the grand Mode demands
that he be quick, and ready to burst
himself in his Lamentations, and
weep with Liveliness. But what can
one say ? The Resentment of the mo-
dern Taste is not appeased with the
Sacrifice of the Pathetick and the
Adagio only, two inseparable Friends,
but goes so far, as to prescribe those
AifSj, as Confederates, that have not

112 OBSERVATIONS ON

the Sharp third. Can any thing be
more absurd? Gentlemen Composer s^
(r do not speak to the eminent, but
with aill due Respect) Musick in my
Time has changed its Stile three times :
The first which pleased on the Stage,
and in the Chamber, waS that of
Pier, Simone*, and of Stradellaf; the

S 24. • Pierre Simone Agostini lived
about threescore Years ago. Seireral Can-
tata's of his Composition are extant, some
of them very difficult, not from the Number
of Divisions in the vocal Part, but from the
Expression, and the surprising Incidents,
and also the Execution of the Basses. He
seems to be the first that put Basses with so
much Vivacity; for Charissimi before him
composed with more Simplicity, tho' he is
reckoned to be one of the first, who enliven-
ed his Musick in the Movements of his
Basses. Of Fieire-Simone nothing more is
known but that he loved his Bottle, and
when he had run up a Bill in some favourite
Place, he composed a Cantata, and sent it
to a certain Cardinal, who never failed send-
ing him a fixed Sum, with which he paid off
his Score.

t AUssandro StradeUa lived about Pter.
Simone' s Time, or very little after. He was
a most excellent Composer, superior in all
Respects to the foregoing, and endowed
with distinguishing personal Qualifications.

THE F 10 RID SONG 113
second is of the best that are now

It k reported, that his favourite Instru-
ment was the Harp, with which he some-
times accompanied his Voice, which was
agreeable. To hear such a Composer play
on the Harp, must have been what we can
have no Notion of, by what we now hear.
He ended his Life fatally, for he was
murthered. The Fact is thus related.
Being at Genoa, a Place where the Ladies
are allowed to live with more Freedom than
in any other Part of Italy, StradeUa had the
honour of being admitted into a noble
Family, the Lady whereof was a great Lover
of Musick. Her Brother, a wrong-headed
Man, takos Umbrage at StradeUa* $ fre-
quent Visits there, and forbids him going
upon his Peril, which Order Stradella obeys.
The Lady's Husband not having seen Stra^
deUa at his House for some Days, reproach-
es him with it. StradeUa, for his Excuse,
tells him his Brother-in-Law's Order, which
the Nobleman is angry with, and charges
him to continue his Visits as formerly; he
had been there scarce three or four Times,
but one Evening going Home, attended by
a Servant and a Lanthorn, four Ruffians
rushed out, the Lady's Brother one among
them, and with StUetts or Daggers stabb'd
him, and left him dead upon the Place.
The people of Genoa all in a Rage fought for
the Murtherer, who was forced to fly, his
Quality not being able to protect him. In
another Account of him, this Particularity

1 14 OBSERVATIONS ON

living*; and I leave others to judge
whether they are Modern. But of
your Stile, which is not quite establish-
ed yet in Italy, and which has yet
gained no Credit at all beyond the
Alps, those that come after us will
soon give their Opinion; for Modes
last not long. But if the Profession is
to continue, and end with the World,
either you yourselves will see your
Mistake, or your Successors will re-

is mentioned; that the Murderers pursued
him to Borne, and on Enquiry learned, that
an Oratorio of his Ck>mpoBition was to be
performed that Evening ; they went with an
Intent to execute their Design, but were so
moved with his Composition, that they
rather chose to tell him his Danger, advised
him to depart, and be upon his Guard. But,
being pursued by others, he lost his Life.
His Fate has been lamented by every Body,
especially by those who knew his Merit, and
none have thought him deserving so sad a
Catastrophe.

* When Tosi writ this, the Composers in
Vogue were Scarlatti, Bononcini, Goiparini,
MancvM, ftc. The last and modem Stile
has pretty well spread itself all over Italy,
and begins to have a great Tendency to the
same beyond the Alp9, as he calls it.

THE FLORID SONG 115

form it. Wou'd you know how?
By banishing the Abuses; and recall-
ing the first, second, and third Mood*^
to relieve the fifth, sixth, and eighth,
which are quite jadad. They will
revive the fourth and seventh now
dead to you, and buried in Churches,
for the final Closes. To oblige the
Taste of the Singers and the Hearers,
the Allegro will now and then be
mixed with the Pathetick, The Airs
will not always be drowned with the
Indiscretion of the Instruments, that
hide the artful Delicacy of the Piano^
and the soft Voices, nay, even all
Voices which will not bawl : They
will no longer bear being teased with

• The MoodSj here spoken of, our Author
has not well explained. The Foundation he
goes upon are the eight Church Moods,
But his Meaning and Complaint is, that
commonly the Compositions are in C, or in A,
with their Transpositions, and that the
others are not used or known. But to par-
ticularise here what the Moods are, and how
to be used, is impossible, for that Branch
only would require a large Treatise by itielf .

n6 OBSERVATIONS ON

Unisons*, the Invention of Ignorance,
to hide from the Vulgar the Insuffi-
ciency and Inability of many Men
and Women Singers: They will reco-
ver the instrumental Harmony now
lost : They will compose more for the
Voice than the Instruments: The part
for the Voice will no more have the
Mortification to resign its Place to the
Violins : The Sofrands and Contr^Al-
to^s will no more sing the Airs in the
Manner of the Bass, in Spight of a
thousand Octaves : And, finally, their
Airs will be more affecting, and less
alike; more studied, and less painful
to the Singer; and so much the more
grand, as they are remote from the
Vulgar. But, methinks, I hear it said,
that the theatrical Licence is great,

• The AirSy sung in Unison with the In-
struments, were invented in the Venetian
Opera's, to please the Barcaroles, who are
their Watermen ; and very often their Ap-
plause supports an Opera. The Roman
School always distinguished itself, and re-
quired Compositions of Study and Care.
How it is now at Borne is doubtful ; but we
do not hear that there are any CoreUi's,

THE FLORID SONG 117

and that the Mode pleases, and that I
grow too bold. And may I not reply,
that the Abuse is greater, that the In-
vention is pernicious, and that my
Opinion is not singular. Am I the
only Professor who knows that the
best Compositions are the Cause of
singing well, and the worst very pre-
judicial? Have we not more than
once heard that the Quality of the
Compositions has been capable, with
a few Songs, of establishing the Re-
putation of a middling Singer, and de-
stroying That of one who had acquired
one by Merit? That Musick, which
is composed by one of Judgment and
Taste, instructs the Scholar, perfects
the Skilful, and delights the Hearer.
But since we have opened the Ball,
let us dance.

§ 25. He that first introduced Mu-
sick on the Stage, probably thought
to lead her to a Triumph, and raise
her to a Throne. But who would
ever have imagined, that in the short
Course of a few Years, she should be
reduced to the fatal Circumstance of

ii8 OBSERVATIONS ON

seeing her own Tragedy? Ye pom-
pous Fabricks of the Theatres! We
should look upon you with Horror,
being raised from the Ruins of Har-
mony : You are the Origin of the
Abuses, and of the Errors : From You
is derived the modern Stile and the
Multitude of Ballad-makers : You are
the only Occasion of the Scarcity of
judicious and well-grounded Profes-
sors, who justly deserve the Title of
Chapel-Master*; since the poor Coun-
terpoint t has been condemned, in this
corrupted Age, to beg for a Piece of
Bread in Churches, whilst the Ignorance
of many exults on the Stage, the most
part of the Composers have been
prompted from Avarice, or Indigence,
to abandon in such Manner the true
Study, that one may foresee (if not

§ 25. • Maestro di Capella, Master of the
Chapel, the highest Title belonging to a
Master of Musick. Even now the Singers
in Italy gjive the Composers of Opera's the
Title of Signior Maestro as a Mark of their
Submission.

t Contrapunto, Counterpoint, or Note
against Note, the first Rudiments of Com-
position.

THE FLORID SONG iig

succoured by those few, that still glo-
riously sustain its dearest Precepts)
Musick» after having lost the Name
of Science, and a Companion of Phi-:
losophy, will run l3ie Risque of being
reputed unworthy to enter into the
sacred Temples, from the Scandal gi-
ven there, by their Jiggs, Minuets,
and Furlana's*; and, in fact, where
the Taste is so deprav'd, what would
make the Difference between the
Church-Musick, and the Theatrical,
if Money was received at the Church
Doors?

§ 26. I know that the World
honours with just Applause some,
tho' few Masters, intelligent in both

* Furlana, A sort of Country Dance, or
C^es^tre-Round .

It is reported, that the Church-Musick in
Italy, far from keeping that Majesty it
ought, is vastly abused the other way; and
some Singers have had the Impudence to
have other Words put to favourite Opera
AiT8 and sung them in Churches. This
Abuse is not new, for St. Augustine com-
plains of it ; and Palestrina prevented in his
Time Musick from being banished the
Churches.

1 20 OBSERVA TIONS ON

Stiles, to whom I direct the Students,
in order to their singing well; and if
I confine the Masters to so small a
Number, I do beg Pardon of those
who should be comprehended therein;
hoping easily to obtain it, because an
involuntary Error does not offend, and
an eminent Person knows no other
Envy but virtuous Emulation. As
for the Ignorant, who for the most
part are not used to indulge any, but
rather despise and hate every thing
they do not comprehend, they will
be the Persons from whom I am to
expect no Quarter.

§ 27. To my Misfortune, I asked
one of this sort, from whom he had
learned the Counterfoint? he answer-
ed immediately from the Instrument,
(i.^., the Harpsichord) — ^Very well.
I asked farther, in what Tone have
you composed the Introduction of

your Opera? ^What Tone! what

Tone! (breaking in upon me abrupt-
ly) with what musty Questions are
you going to disturb my Brains ? One
may easily perceive from what School

THE FLORID SONG 121

you come. The Moderns, if you do
not know it, acknowledge no other
Tone but one*; they laugh, with
Reason, at the silly Opinion of those
who imagine there are two, as well as
at those who maintain, that their being
divided into Authentick and Plagal,
they become Eight, (and more if there
were need) and prudently leave it to
everybody's Pleasure to compose as
they like best The World in your
Time was asleep, and let it not dis-
please you, if our merry and brisk
Manner has awakened it with a Gayety
so pleasing to the Heart, that it incites
one to dance. I would have you
likewise be lively before you die, and,
abandoning your uncouth Ideas, make
it appear, that old Age can be pleased
with the Productions of Youth; other-

§ 27. * Tono, or Mood, and sometimes
means the Key. Our Author in this Sec-
tion is fond of a Pun, which cannot well be
translated. Tono is sometimes writ Tuono
and Tuono signifies Thunder; therefore the
Ignorant answei*s, he knows no other Tuono
but that which is preceded by Lightning.

122 OBSERVATIONS ON

wise you will find, that you will be
condemned by your own Words, that
Ignorance hates all that is excellent
The polite Arts have advanced conti-
nually in Refinement, and if the rest
were to give me the Lie, Musick
would defend me Sword in Hand;
for she cannot arrive at a higher Pitch.
Awake therefor^ and, if you are not
quite out of your Senses, hearken to
me; and you will acknowledge that
I speak candidly to you; and for a

Proof be it known to you —

§ 28. That our delicious Stile has
been invented to hide with the fine
Name of Modern the too difficult
Rules of the Counterpoint^ cannot be
denied.

§ 29. That there is an inviolable
Rule amongst us, to banish for ever
the Pathetick, is very true; because
we will have no Melancholy.

§ 30. But, that we should be told
by the old Bashaws, that we strive
who can produce most extravagant
Absurdities never heard before, and
that we brag to be the Inventors of

THE FLORID SONG 123

them ourselves, axe the malign Re-
flections of those who see us exalted.
Let Envy burst. You see, that the
general Esteem which we have ac-
quired, gives it for us; and if a Mu-
sician is not of our Tribe, he will
And no Patron or Admirer. But since
we are now speaking in Confidence
and with Sincerity, who can sing or
compose well, without our Approba-
tion? Let them have ever so much
Merit (you know it) we do not want
Means to ruin him; even a few Syl-
lables will suffice : It is only saying,
He is an Ancient.

§ 31. Tell me, I beseech you,
who, without us, could have brought
Musick to the Height of Happiness,
with no greater Difficulty than taking
from the Airs that tiresome Emula-
tion of the first and second Violin, and
of the Tenor? Is there any that ever
durst usurp the Glory of it? We, we
are those, who by our Ingenuity have
raised her to this Degree of Sublimity,
in taking also from her that noisy
murmuring of the fundamental Basses,

124 OBSERVATIONS ON

in such Manner, (mark me well,

and learn) that if in an Orchestre there
were an hundred Violins, we are ca-
pable of composing in such a Manner,
that all and every one shall play the
very Air which the Voice sings. What
say you to that? Can you have the
Face to find Fault with us ?

§ 32. Our most lovely Method,
that obliges none of us to the painful
Study of the Rules; which does not
disquiet the Mind with the Anxiety
of Speculation, nor delude us with
the Study of reducing them into
Practice; that does not prejudice the
Health; that enchants the Ear i la
Mode; that finds those who love it,
who prize it, and who pay for it the
Weight in Gold; and dare you to
criticise upon it ?

§ 33. What shall we say of the ob-
scure and tedious Compositions of
those whom you celebrate as the Top
of the Universe, tho* your Opinion
goes for nothing? Don't you perceive
that those old-fashioned Crabbednesses
are disgustful? We should be great

THE FLORID SONG 125

Fools to grow pale, and become para-
lytick in studying and finding out in
the Scores, the Harmony, the Fugues^
their Reverses^ the Double Counter-
foint, the Multiplication of Subjects,
to contract them closer, to make
Canons^ and such other dry Stuff,
that are no more in Mode^ and (what
is worses) are of little Esteem, and
less Profit. What say you now to
this, Master Critick? Have you com-
prehended me? Yes, Sir. Well,

what Answer do you make me?

None.

§ 34. Really, I. am astonished, O
beloved Singers, at the profound Le-
thargy in which you remain, and
which is so much to your Disadvan-
tage. *Tis You that ought to awaken,
for now is the Time^ and tell the
Composers of this Stamp, that your
Desire is to Sing, and not to Dance

126 OBSERVATIONS ON

CHAP. VIII.

Of Cadences*

I HE Cadences, that termi-
nate the Airs, are of two
Sorts. The Composers call
the one Superior, and the
other Inferior. To make myself bet-
ter 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 Fay
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

Cadences; or, principal Closes in Airs.
§ 1. For superior and inferior Cadences,
see PL V. Numb. 8.

THE FLORID SONG 12;

with other Voices, or accompanied
with Instruments, he must not change
the Superior for the Inferior, nor this
with the other.

§ 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 Reci-
tatives,

S 3. As for those Cadences that fall
a fifth, they were never composed in
the old Stile for a Sopano^ 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.

§ 4. In the Chapter on Airs, I have
exhorted the Student to avoid that
Torrent of Passages and Divisions,

§ 2. Broken Cadences, see Example,
Chap. V. § 13, and its Note.

§ 3. Cadences that fall a Fifth, with and
without Words, PL V. Numb. 4 and 6.

128 OBSERVATIONS ON

so much in the Mode, and did en-
gage myself also, to give my weak
Sentiments on the Cadences tfiat are
now current; and I am now ready:
But, however, with the usual Protes-
tation 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 Pro-
fession, may condemn the Abuses of
the modern Cadences^ or the Errors of
my Opinion.

§ 5. Every Air has (at least) three
Cadences^ that are all three final. Ge-
nerally 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 Or-
chestre waits; in that of the second

§ 6. By the Final Cadences here men-
tioned, the first ifi at the End of the first
Part of the Air; the Second at the End of
the second Part; and the Third at the end
of the first Part when repeated again, or at
the Da Capo, as it is always expressed in
Italian,

THE FLORID SONG 129

the Dose is encreased, and the Or-
chestre 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 Pro-
fession, that good Taste does not con-
sist in a continual Velocity of the
Voice, which goes thus rambling on,
without a Guide, and without Foun-
dation; but rather, in the Caniabile,
in the putting forth the Voice ag^ree-
ably, in Affo^giaturdsy in Art, and
in the true Notion of Graces, going
from one Note to another with sin-
gular 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,

130 OBSERVATION'S ON

(as I have been informed by the Mas-
ter 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 attempt-
ing their Correction. Thus will it al-
so happen to These, at the first Ex-
ample given by a Singer whose Credit
is established, and who will not be se-
duced 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

THE FLORID SONG 131

on the contrary, having recalled them
from their Banishment, and brought
them on the Stage, with some little
Cancatura 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 abhorred 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 un-
just Pretence can you usurp the Name
of Moderns^ if you sing in a most An-
cient 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 Scar-
city 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

§ 6. Gentlemen Moderns^ can you
possibly deny, but that you laugh a-
mong yourselves, when you have Re-
course to your long-strung Passages

132 OBSERVATIONS ON

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* tiey
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 belov-
ed Singers, tho* the Abuses of your
Cadences are of use to you, they are
much more prejudicial to the Profes-
sion, 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 unde-
ceive 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.

§ 7. I should be very desirous to

§ 7. For the resolved and unresolyed
Cadences, see PI. V. Numb. 6 and 7.

THE FLORID SONG 133

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 olF
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 ima-
gine, that the best Rules depended on
the Mode, I should notwithstanding
think, they might sometimes appeal
to the Ear, to know if That was sa-
tisfied 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.

§ 8. Some others of the same Rank
make their Cadences in the Manner of
the Basses, which is, in falling a fifth,

134 OBSERVATIONS ON

with a Passage of swift Notes descend-
ing gradually, supposing that by this
Means they cover the Octaves, which,
tho* disguised, will still appear.

§ 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,
— Confonderb — AmerS, &c. for they
are Ornaments that do not suit on
those Syllables which are short, but
do well on the Antecedent.

I 10. Very many of the second
Class end the inferior Cadences in the
French Manner without a Shake^,
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 in-
ferior Cadences, except in the Pathe-

§ 9. See for the Examples, PI. V. Numb.
MO, • See ExamDle, PJ. VI, Numb. I.

THE FLORID SONG 135

/ick Airs; and our Italians, who arc
used to over-do the Mode, exclude it
every where, tho' in the Allegro the
Shake is absolutely necessary. I know,
tiiat a good Singer may with Reason
abstain from the Shake in the Canta-
bile; however, it should be rarely; for
if one of those Cadences be tolerable
without that pleasing Grace, it is ab-
solutely impossible not to be tired at
length, with a Number one after an-
other that die suddenly.

§ II. I find that all the Moderns
(let them be Friends or Foes to the
Shake) in the inferior Cadences before-
mentioned 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 Sylla-
ble, after the Manner of the Ancients,
or of those who know how to sing.

».

§ 11. See Example. PI. VI. Numb. 2.
3^.B. An Appoggiatura cannot be made
on an unaccented Syllable.

136 OBSERVATIONS ON

§ 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
Basst, they deceive themselves grossly ;
for it is a very great Error, hurts the
Ear, and is against the Rules ; and be-
comes doubly so, going (as they do) to
the same Note with an Affoggiatura,
the which either ascending or descend-
ing, if not after the Bass*, is always
very bad.

§ 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 Sing-
ing is a Variety in the Repetition ?

§ 14. If among all the Cadences
in the Airs, the last allows a mode-
rate Liberty to the Singer, to distin-
guish the end of them, the Abuse of
it is insufferable. But it grows abo-

§ 12. t See for Examples, PI. VI. Numb.
a and * Nnmb. 4.

THE FLORID SONG 137

minable, when the Singer persists with
bis tiresome WarbUng, nauseating the
Judicious, who suffer the more, be-
cause they know that the Compo-
sers leave generally in every final Ca-
dence some Note, sufficient to make
a discreet Embellishment; without
seeking for it out of Time, without
Taste, without Art, and without
Judgment.*

§ 15. I am still more surprised
when I reflect, that the modern Stile,
after having exposed all the Cadences
of the theatrical Aits to the Martyr-
dom of a perpetual Motion, will
likewise have the Cruelty to condemn
to the same Punishment not Those in
the CantatcCs only, but also the Ca-
dences of their Recitatives, Do these
Singers pretend, by their not di-
stinguishing the Chamber-Musick from
the immoderate Gargling of the Stage,
to expect the vulgar E Yivcis in the
Cabinet of Princes?

S 14. * Some, after a tender and pa*-
Bionate 4tr, make a lively merry Cadence;
and, after a brisk Air, end it with one that
is doleful.

138 OBSERVATIONS ON

§ 16. Let a sensible Student avoid
this Example, and with this Example
the Abuses, the Defects, and every
other Thing that is mean and com-
mon, as well in the Cadences as else-
where.

§ 17. If, the inventing particular
Cadences without injuring the Time,
has been one of the worthy Employ-
ments of the Ancients (so call'd) let
a Student revive the Use of it; endea-
vouring to imitate them in their Skill
of somewhat anticipating the Time;
and remember, that Those, who un-
derstand the Art of Gracing, do not
wait to admire the Beauty of it in a
Silence of the Bass.

§ 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 consider-
ing, that to change the Stile is not al-
ways to improve it, I may fairly con-
clude, that what is bad is to be cor-
rected by Study, and not by the
Mode,

THE FLORID SONG 139

§ 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
ine Scholar has made, since he is de-
sirous 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.

140 OBSERVATIONS ON

CHAP. IX.

Observations for a Singer *.

BEHOLD the Singer now ap-
pearing in Publick, from
the Effects of his Applica-
tion to the Study of the
foregoing Lessons. But to what Pur-
pose does he appear ? Whoever, in the
great Theatre of the World, does not
distinguish himself, makes but a very
insignificant Figure.

§ 2. Frc»n the cold Indifference
perceived in many Singers, one would
believe that the Science of Musick im-

* Though this Chapter regards Singers
who mak« it their ProfeBsion, and particu-
lar!; those whi) eing on the Stage, fot there
are tnan; excellent Precepts interspersed,
that are of Use to Lovers of Musick.

THE FLORID SONG 141

plored their Favour, to be received by
them as their most humble Servant

§ 3. If too many did not persuade
themselves that they had studied suf-
ficiently, 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 Ky^
rie*s*f think they are arrived at the
Non plus ultra; but if you give them
a Cantata to sing, that is cycti easy,
and fairly written, they, instead of
complying as they ought, will tell you
with an impudent Face, that Per-
sons 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 pro-

§ 3. Kyrie, the first Word of the Mass-
Musick in the Cathedral Stile, is not so diffi-
cult to them as the Cantata^ »; and the Latin
in the Service, being familiar to them, saves
them the Trouble ^ attending to the Woidft.

142 OBSERVATIONS ON

ceeds from his not being able to sing
at Sight, or from his not knowing how
to read ; and he judges right.

§ 4. There are an infinite Number

§ 4. Thomoi Morley, (who lived above an
hundred Years ago) in the third Part of his
Treatise, pag. 179, speaking of Motetts or
Anthems, complains thus : — * But I see not
' what Passions or Motions it can stir up,
' being as most Men doe commonlie Sing, —

* leaving out the Ditty — as it were a Musick
' made onely for Instruments, which will in-
^deed shew the Nature of the Musick, but
' never carry the Spirit and (as it were)

* that lively Soule which the Ditty giveth ;
' but of this enough. And to return to the

* expressing of the Ditty, the Matter is now
' come to that State, that though a Song be
' never so wel made, and never so aptly ap-
' plyed to the Words, yet shall you hardly

* find Singers to expresse it as it ought to
' be ; for most of our Church-men, (so they

* crie louder in the Quire then their Fel-

* lowes) care for no more ; whereas, by the

* oontrarie, they ought to study how to vowel

* and sing clean, expressing their Words

* with Devotion and Passion, whereby to
'draw the Hearer as it were in Chaines of
' Gold by the Eares to the Consideration of

* holy Things. But this, for the most part,
'you shall find amongst them, that let

* them continue never ^o long in the Church,

THE FLORID SONG 143

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 some-
thing that gives them Bread, they im-
mediately make a Legg to Musick
and its Study, not caring whether the
World knows they are, or are not a-
mong the Living. These do not con-
sider that Mediocrity in a Singer means
Ignorance.

§ 5. There are also several who stu-
dy nothing but the Defects, and are
endowed with a marvelous Aptness to
learn them all, having so happy a Me-
mory as never to forget them. Their
Genius is so inclined to the Bad, that

' yea though it were twentie Years, they will

* n«ver study to sing better than they did
' the first Day of their Preferment to that

* Place ; so that it seems, that having ob-
' tained the Living which they sought for,

* they have little or no Care at all, either of
' their own Credit, or well discharging of
that Dutie whereby they have their Mainte-
' nance.'

144 OBSERVATIONS ON

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.

I 6. One of a better Spirit will en-
deavour to keep better Company. He
will be sensible of the Necessity of far-
ther Discoveries, of farther Instructi-
ons, 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.

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

§ 8. Let him shun low and disre-
putable Company, but, above all, such
as abandon themselves to scandalous
Liberties.

§ Qi That Professor ought not to be
frequented, though excellent in this
Art, whose Behaviour is vulgar and
discreditable, and who cares not, pro-

!■»

THE FLORID SONG 145

vided he makes his Fortune, whether
it be at the Expence of his Reputa-
tion.

§ 10. The best School is the Nobi-
lity, 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.

§ II. If he should liot 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.

§ 12. My long and repeated Tra-
vels have given me an Opportunity
of being acquainted with most of the
Courts of Europe, and Examples,
more than my Words, should per-
suade every able Singer to see them al-
so; but without yielding up his Liber-

146 OBSERVATIONS ON

ty to their Allurements : For Chains,
though of Gold, arc still Chains; and
they are not all of that precious
Metal : Besides, the several Incon-
veniencies of Disgrace, Mortifications,
Uncertainty; and, above all, the Hin-
drance of Study.

§ 13. The golden Age of Musick
would be already at an End, if the
Swans did not make their Nests on
some Theatres in I/aly, 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 Vi-
cissitude of Things in this World;
and we daily see, that whatever is
sublunary must of Necess,ity decline.

§ 13. In licXyy the Courts of Talma,
ModenOj Turin, Ac. and in Oermany, the
Courts of Vienna, Bavaria, Hanover,
Brt''\denhourg, Palatine, Saaaony, Ac.

THE FLORID SONG 147

Let us leave the Tears to the Heart,
and return to the Singer.

§ 14. A discreet Person will never
use such affected Expressions as, /
cannot sing To-day; — Tve got a
deadly Cold; and, in making his Ex-
cuse, falls a Coughing. I can truly
say, that I have never in my Life heard
a Singer own the Truth, and say, Vm
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 Con-
junctures, the Pretext is not only suit-
able, 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 gratisy 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 La-
bour, what barbarous Custom obliges

148 OBSERVATIONS ON

a Musician to serve without a Recom-
pence? A cursed Over-bearing; O
sordid Avarice !

§ 15. A Singer, that knows the
World, distinguishes between the dif-
ferent Manners of Commanding; he
knows how to refuse without dis-
obliging, 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.

§ 16. One, who sings with a Desire
of gaining Honour and Credit, can-
not sing ill, and in time will sing bet-
ter; and one, who thinks on nothing
but Gain, is in the ready way to re-
main ignorant.

§ 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, (Fm shock'd to think on't)
amiable Humility, the more the Sing-
er has of it, the more it depresses him.

§ 18. At first Sight, Arrogance has

THE FLORID SONG 149

the Appearance of Ability; but, upon
a nearer View, I can discover Igno-
rance in Masquerade.

§ 19. This Arrogance serves them
sometimes, as a politick Artifice to
hide their own Failings : For Example,
certain Singers would not be uncon-
cerned, 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 giwt the Auditors to un-
derstand, that those gross Errors arc
owing to him that accompanies, or
to the Ofchestre,

§ 20. To humble such Arrogance,
may it never meet with that Incense
which it exf)ects.

§ 21. Who could sing better than
the Arogant, if they were not asham-
ed to study ?

% 22. It is a Folly in a Singer to
grow vain at the first Applauses, with-
out reflecting whether they arc given
by Chance, or out of Flattery; and
if he thinks he deserves them, there is
an End of him.

I50 OBSERVATIONS ON

§ 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.

S 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.

§ 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 no-
ble 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

§ 23. There have been such^ who valued
themselves for shaking a Room, breaking the
Windows, and stunning the Auditors with
their Voice.

§ 25. The renowned Abbot Steffaniy so fa-
mous for his Duetto'Sy would never suffer
such luxuriant Singers to perform any of
them, unless they kept themselves within
Bounds.

THE FLORID SONG 151

last it ended in a Contest, who could
produce the most Extravagancies.

§ 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 Be-
nefit may be receiv'd from them with-
out any Obligation.

§ 27. It is certain, that the Errors cor-
rected by our Enemies are better cured,
than those corrected by ourselves;
for we are apt to indulge our Faults,
nor can we so easily perceive them.

§ 28. He that sings with Aplause
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.

§ 29. To please universally, Reason
will tell you, that you must alway 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.

152 OBSERVATIONS ON

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

§ 31. I do not know if a perfect
Singer can at the same time be a per-
fect 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 per-
fect Degree!

§ 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.

§ 31. Nicolini, who came the first time in-
to England about the Year 1708, had both
Qualities, mx)re than any that have come
since. He acted to Perfection, and did not
sing much inferior. His Variations in the
Air8 were excellent; but in his Cadences he
had a little of the antiquated Tricks. Valen-
tiniy (who was here at the same Time) a
Scholar of Fistochi, though not so powerful
in Voice or Action as Nicolini, was more
chaste in his Singing.

THE FLORID SONG 153

§ 33. Let it be remembered by the
Singer, that copying comes from La-
ziness, and that none copy ill but out
of Ignorance.

§ 34. Where Knowledge with Stu-
dy makes one a good Singer, Igno-
rance with one single Copy makes a
thousand bad ones; however, among
these there are none that will acknow-
ledge her for a Teacher.

§ 35. If many of the female Sing-
ers (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 Mas-
ters) they seem to be governed by In-
stinct, like the inferior Creatures, ra-
ther than by Reason; for That would
shew them, that we may arrive at Ap-
plause by different ways, and past Ex-
amples, as well as one at this pre-

154 OBSERVATIONS ON

sent* make us sensible, that two
Women would not be equally emi-
nent if the one copy'd the other.

S 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, vis. 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 be-
long to him, and dress himself out in
the Habits of another without being
afraid of being stripped of them ?

§ 37. He, that rightly knows how
to copy in Musick, takes nothing but
the Design; because that Ornament,
which we admire when natural^ im-

§ 35. * The two Wom«n, he points at,
are Cuzzoni and fauMna.

THE FLORID SONG IS5
mediately loses its Beauty when artu

8 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 a Resemblance of the
Original ; otherwise, instead of a beau-
tiful Imitation, it will -become a despi-
cable Copy.

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

§ 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 emi-
nent Performers, without Hopes of

§ 40. The Carnaval \% a Festival in lialy,
particularly oelebrated at Venice from
Chnstmas to Lent, when all Sorte of Direr^
sions are permitted ; and at that Time there
are sometimes three different Theatres for
Opera's only.

156 OBSERVATIONS ON

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.

§ 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.

§ 42. The stealing of Time, in the
P at he tick y is an honourable Theft in
one that sings better than others, pro-
vided he makes a Restitution with In-
genuity.

§ 41. Our Author has often mentioned
Time ; the Reg.ard to it, the Strictness of it,
and how much it is neglected and unobserv'd.
In this Place speaking of stealing the Time,
it regards particularly the Vocal, or the
Performance on a single Instrument in the
Pathetick and Tender; when the Bass goee
an exactly regular Pace, the other Part re-
tards or anticipates in a singular Manner,
for the Sake of Expression, but after That
returns to its Exactness, to be guided by the
Bsfis. Experience and Taste must teach it.
A mechanical Method of going on with the
Bass will easily distinguish the Merit of the
other Manner.

THE FLORID SONG 157

§ 43. An Exercise, no less necessa-
ry than this, is That of agreably put-
ting 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.

§ 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
re&n*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

i<8 OBSERVATIONS ON

leam'd that Je ne sfai quoy, that pleas-
ing Charm, that so subtily passes from
Vein to Vein, and makes its way to
the very Soul.

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

§ 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

§ 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
Assist:mce, we must pursue our Studies.

§ 48. There are now-a-days as ma-
ny 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 speak-
ing of those who take upon them the
part of a Legislator in the most finish-
ed part in Singing; and should we

THE FLORID SONG 159

then wonder that the good Taste is
near lost, and that the Profession is
going to Ruin ? So mischievous a Pre-
tension prevails not only among those,
who can barely be said to sing, but
among the meanest instrumental Per-
formers; 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 im-
posed on. But, what is more, the in-
strumental Performers of some Abili-
ty imagine that the beautiful Graces
and Flourishes, with their nimble Fin-
gers, will have the same Effect when
executed with the Voice; but it will
not do* I should be the first to con-

S 48. A farther Animadversion againtt
imitating Instruments with the Voice.

* Many Graces may be very good and
proper for a Violin, that would be very im-
proper for a Hautboy; and so with every
Species of Instruments that have something
peculiar. It is a very great Error (too much
in Practice) for the Voice, (which should
serve as a Standard to be imitated by Instru-
ments,) to copy all the Tricks practised on
the several Instruments, to its greatest
Detriment,

i6o OBSERVATIONS ON

demn 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 Cor-
rection aims no farther than to the
Petulancy of those that have no Capa-
city, 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

§ 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 Suffi-
ciency of the Instructor: and it is not
to be wonder'd at, for, if from time
to time, even great Masters were not
out-done, most of the finest Arts
would have sunk before now.

§ 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

THE FLORID SONG i6i

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 Ad-
vantage, and conceal his Imperfec-
tions; which are the principal and
most necessary Instructions.

§ 51. A Master, that is possessed of
the above-mentioned Qualifications, is
capable of Teaching; with them he
will raise a Desire to study; will cor-
rect Errors with a Reason ; and by Ex-
amples incite a Taste to imitate him.

§ 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

i62 OBSERVATIONS ON

§ 53. He will have no Maimer of
Esteem for those who have no other
Graces than gradual Divisions* \ and
will tell you, Embellishments of this
Sort are only fit for Beginners.

§ 54. He will have as little Esteem
for those who think to make their Au-
ditors faint away, with their Transi-
tion from the sharp Third to the Flat.

§ 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 Difl&culty to learn them by
Heart.

§ 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.

§ 63. Fa$8o and FoMagio, The Differ-
ence is, that a Fclsbo is a sudden Grace or
Flight, not uniform. See PL VI. Numb. 6.
A Fassagio is a Division, a Continuation, or
a Succession of Notes, ascending or descend-
ing with Unif6rmity. See PI VI. Numb, 6,

THE FLORID SONG 163

§ 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 Privil^e
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.

§ 58. He will laugh at those who
imagine to satisfy the Publick with the
Magnificence of their Habits, with-
out reflecting, that Merit and Igno-
rance 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.

§ 59. He will nauseate the new-
invented Stile of those who provoke
the innocent Notes with coarse Start-
ings of the Voice A disagreable
Defect; however, being brought from

§ 59. This alludes to the French Manner
of Singing, from whence that Defect is
copy'd.

i64 OBSERVATIONS ON

beyond the Alps, it passes for a modern

Rarity-

§ 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.

§ 61. He will condemn the Igno-
rance of the Men most, they being
more obliged to study than the Wo-
men.

§ 62. He will not bear with one
who imitates the Women, even in sa-
crificing the Time, in order to acquire
the Title of Modern.

§ 63. He will marvel at that Sing-

§ 60. The Time he alludes to, is at pres-
ent between thirty and forty Years ago.

S 63. Compare this Section with Section
41 in this Chapter and the Note,

THE FLORID SONG 165

er, who, having a good Knowledge
of Time, yet does not make use of
it, for want of having apply'd him-
self 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 Difficul-
ty, and the whole Beauty of the Pro-
fession 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.

§ 64. He will be displeased at the
Presumption of a Singer who gets the
Words of the most wanton Airs oi the
Theatre rendered into Latin, that he
may sing them with Applause in the

§ 64. This is a Fault more than onoe
heard of, in Oratorio^ 9 or Motetts.

i66 OBSERVATIONS ON

Church; as if there were no Manner
of DiflFerence between the Stile of the
one and the other; and, as if the
Scraps of the Stage were fit to offer to
the Deity.

§ 65. What will he not say of him
who has found out the prodigious Art
of Singing like a Cricket? Who could
have ever imagined, before the In-
troduction 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 Mordenie Fresco?

% 66. He will have a still greater De-
testation for the Invention of Laugh-
ing 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 or-
der to make the Profession more and
more ridiculous?

§ 67. He will disapprove the ma-
licious Custom of a Singer in Repute,

S 65. See Example, PL VI. Numb. 7.

THE FLORID SONG 167

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 en-
vies, his gaining Applause.

§ 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 cre-
ate 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 se-
cond Air the Noise encreases, and still
encreasing, he looks upon it as a ma-
nifest Injury done him; and, instead of
correcting his conceited Pride by Stu-
dy, 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 him-
self.

i68 OBSERVATIONS ON

§ 6g. He will laugh at one who will
not act unless he has the Choice of the
Drama, and a Composer to his lik-
ing; with this additional Condition,
not to sing in Company with such a
Man, or without such a Woman.

S 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 Per-
sons, under a Pretence of a most pro-
found 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 De-
corum, they have some Resemblance
to Hypocrisy.

§ 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 thrust-
ing in one Air which he always car-
ries in his Pocket; of one, who bribes
the Composer to give him an Air that
was intended for another; of one,

THE FLORID SONG 169

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 A-
version to the Pathetick; of one, who
gallops to follow the Mode; and of
all the bad Singers, who, not know-
ing what's good, court the Mode to
learn its Defects.

§ 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 un-
premeditately ; knowing, that a Pro-
fessor of Eminence cannot, if he
would, continually repeat an Air
with the self -same Passages and Gra-
ces. He who sings premeditately,
shews he has leam'd his Lesson at
Home.

§ 73. After having corrected several
other Abuses and Defects, to the Ad-
vantage of the Singer, he will return
with stronger Reasons to persuade
him to have Recourse to the funda-

1^0 OBSERVATIONS ON

mental Rules, which will teach him
to proceed on the Bass from one In-
terval to another, with ^sure Steps, and
without Danger of erring. If then
the Singer should say, Sir, you trou-
ble yourself in vain; for the bare
Knowledge of the Errors is not suffi-
cient; I have need of other Help than
Words, and I know not where to find
it, since it seems that there is at pre-
sent such a Scarcity of good Exam-
ples in Italy: Then, shrugging his
Shoulders, he will answer him, ra-
ther 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,* of

§ 73. * Fau9tina and Cuzzoni, they both
having within these few Years been in Eng'
land, there needs no other Remark to be
made on them, but to inform Futurity, that
the English Audience distinguished them
Both and at the same time, according to
their Merit, and as our Author has desorib'd
them.

It may be worth remarking, that Cofttli-
one, who lived above two hundred Years ago,
in his Cortegiano, describes Bidon, and Mar"

THE FLORID SONG 17X

a Merit superior to all Praise; who
with equal Force, in a different Stile,
help to keep up the tottering Professi-
on from immediately falling into Ru-
in. The one is inimitable for a privi-
leged Gift of Singing, and for enchant-
ing the World with a prodigious Fe-
licity in executing, and with a singu-
lar Brilliant, (I know not whether
from Nature or Art) which pleases to
Excess. The delightful soothing Can-
tabile 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 un-
common, as they are difficult to be
imitated. The Patketick of the one,
and the Allegro of the other, are the
Qualities the most to be admired re-
spectively in each of them. What a
beautiful Mixture would it be, if the
Excellence of these two angelick Crea-
tures could be united in one single

chetto Cara, two famous Singers in his Time,
with the same distiagnishing Qnalificataims.

172 OBSERVATIONS ON

Person ! But let us not lose Sight of
the Master.

§ 74. He will also convince the
Scholar, that the Artifice of a Pro-
fessor 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.

§ 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.

§ 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 impatienc
Curiosity they already expect a se*
cond, and so on.

§ 7y, He will give him ample In-
structions concerning Graces of all
sorts, and furnish him with Rules and
profitable Documents.

THE FLORID SONG 173

i 78. Here should I inveigh (though
I could not enough) against the Trea-
chery 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 men-
tion.

174 OBSERVATIONS ON

CHAP. X.
Of Passages or Graces.

\ASSAGES or Graces being
the principal Ornaments in
Singing, and the most fa-
vourite Delight of the Ju-
dicious, it is proper that the Singer be
very attentive to learn this Art.

§ 2. Therefore, let him know, that
there are five principal Qualifications,
which being united, will bring him
to admirable Perfection, vis. Judg-
ment, Invention^ Time, Art, and
Taste,

§ 3. There are likewise five subal-
tern Embellishments viz. the Ap-
poggiatura, the Shake, the putting
forth of the Voice, the Gliding, and
Dragging,

THE FLORID SONG 175

The principal Qualifications teach,

% 4. That the Passages and Graces
cannot be f orm'd but from a profound
Judgment

§ 5. That they are produced by a
singular and beautiful Invention, re-
mote from all that is vulgar and com-
mon.

S 6. That, being govem'd by the
ngorous, but necessary, Precepts of
Time, they never transgress its r^fu-
lated Measure, without losing their
own Merit

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

I 8. That, it is owing to an exqui-
site Taste, that they are executed with
that sweet putting forth of the Voice,
which is so enchanting.
From the accessary Qualities is learrid,

§ 9. That the Graces or Passages be
easy in appearance, thereby to give
universal Delight,

176 OBSERVATIONS ON

§ lo. That in effect They be difficult
that thereby the Art of the Inventor
be the more admired.

§ II. That They be performed
with an equal regard to the Expres-
sion of the Words, and the Beauty
of the Art.

§ 12. That They be gliding or
dragging in the Pathetickt for They
have a better Effect than those that
are mark'd.

§ 13. That They do not appear stu-
died, in order to be the more regard-
ed.

§ 14. That They be softened with
the Piano in the Pathetick^ which
will make them more affecting.

§ 15. That in the Allegro They be
sometimes accompanied with the Forte
and the Piano, so as to make a sort of
Chiaro Scuro.

§ 16. That They be confin'd to a
Group of a few Notes, which are more
pleasing than those which are too nu-
merous.

§ 17. That in a slow Time, there
may be a greater Number of them

THE FLORID SONG i77

(if the Bass allows it) with an Obli-
gation upon the Singer to keep to the
Point propos'd, that his Capacity be
made more conspicuous.

§ 1 8. That They be properly in-
troduc'd, for in a wrong Place They
disgust

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

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

§ 31. That They be not made on
the second or fourth Vowel, when
closely pronounced, and much less on
the third and fifth.

I 33. That They be not copied, if
you would not have them appear de-
fective.

I 33. That They be stoPn on the
Time, to captivate the Soul.

S 24 That They never be repeated
in the same place, particularly in Pa-

thetick AirSy for there they are the

1/8 OBSERVATIONS ON

most taken Notice of by the Judicious.

§ 25. And, above all, let them be
improved; by no means let them lose
in the Repetition.

S 26. Many Professors are of Opi-
nion, that in Graces there is no room
for the marked Divisions^ unless mix'd
with some of the aforesaid Embel-
lishments, or some other ag^eable
Accidents.

S 27. But it is now time that we
speak of the Dragging, that, if the
Pathetick should once return again in-
to 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; notwithstand-
ing which, FU endeavour, the best I
can, to make myself understood.

S 28. When on an even and regu-
lar Movement of a Bass, which pro-
ceeds slowly, a Singer begins with a
high Note, dragging it gently down
to a low one, with the Forte and Pi-
anOj almost gradually, with Inequa-

THE FLORID SONG 179

lity 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^i 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, pro-
vided however it be done with Judg-
ment, and with putting forth of the
Voice in a just Time on the Bass.
Whosoever has most Notes at Com-
mand, has the greater Advantage;
because this pleasing Ornament is so
much the more to be admired, by
how much the greater the Fall is.
Performed by an excellent Sopranoy
that makes use of it but seldom, it
becomes a Prodigy; but as much as
it pleases descending, no less would it
displease ascending.

§ 29. Mind this, O my beloved
Singers ! For it is to You only, who
are inclined to study, that I have ad-
dressed myself. This was the Doc-
trine of the School of those Profes-

§28. 'See Examples, PI. VI. Numb, 8
and 9. >

i8o OBSERVATIONS ON

sors, whom, by way of Reproach,
sorae mistaken Persons call Ancienls.
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 a-
lone 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.

§ 30. But if these my Exhortati-
ons, proceeding from my Zeal, have
no Weight with you, as die 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 moi^t

THE FLORID SONG i8i

renowned Singers; who you take to
be Moderns) but arc not so, except in
their Cadences;) and having unde-
ceived yourselves, you will perceive
in them, that instead of Affectations,
Abuses, and Errors, They sing ac-
cording to those powerful Lessons
that give Delight to the Soul, and
whose Perfections have made Impres-
sions on me, and which I shall al-
ways 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.

§ 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

1 82 OBSERVATIONS ON

Error, you may not want the Means
to correct it, nor an Oracle to apply
to whenever ycu have occasion. From
whence I have good Grounds to hope,
that the true Taste in Singing will last
to the End of the World.

§ 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 Applica-
tion, he will And he has no Reason to
sit down satisfied with what he has
leam'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 Trea-
sures of the Art, and most remote

THE FLORID SONG 183

from his Imagination, will voluntari-
ly 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.

§ 33. Finally, O ye young Singers,
hearken to me for your Profit and
Advantage. The Abuses, the Defects,
and the Errors divulg'd 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 Igno-
rance, 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

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its Honey from the most grateful
Flowers. From those called Anaents,
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 .

S 34. The most cordial, and -not

less profitable Advice. I can give you.

is the following :

I 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.

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

§ 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 great-
est Ma»ter.

FINIS.

Jjr^ .17142 1743«

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DATE DUE

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STANFORD UNIVERSITY LIBRARIES
STANFORD, CAUFORNIA 94305-6004

fE6 2 6 1998

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