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

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

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

[5] The Explanation of Sic vos non vobis, &c., for the Satisfaction of those who do not perfectly remember it.

Virgil having composed a Distich, containing the Praise of Augustus, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd. Augustus, making strict Enquiry after the Author, and Virgil's Modesty not suffering him to own the Verses, one Bathillus, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor. Virgil, somewhat scandalized at this Accident, fixed an Hemistich in these Words (Sic vos 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:

Hos ego Versiculos feci, tulit alter Honores;
Sic vos non vobis nidificatis aves.
Sic vos non vobis vellera fertis oves.
Sic vos non vobis mellificatis apes.
Sic vos non vobis fertis aratra boves.

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

So ye Birds build not your Nests
For yourselves.
So ye Sheep bear not your Wool
For yourselves.
So ye Bees make not your Honey
For yourselves.
So ye Oxen submit to the Plow
Not for yourselves.

Upon this Discovery, Bathillus became the Ridicule of Rome, and Virgil acquired a double Reputation.

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

Nocte plut totÂ, redeunt spectacula manÈ,
Divisum Imperium cum Jove CÆsar habet.

i.e. It rain'd all Night; in the Morning the publick Shews return: Jove and CÆsar divide the Rule of the World. The Compliment is, that CÆsar 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.

[6] Alla Capella, Church-Musick where the Flats and Sharps are not mark'd.

[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of these Cliffs any Line or Space may be what Note you please. Pl. I. Numb. 2.

[8] It is necessary to understand the Sol-Fa-ing, and its Rules, which shew where the two Semitones lie in each Octave, Pl. 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.

[9] His meaning is, that the French are not in the right.

[10] See § 2, and the following, in Chap. III. where the Difficulty of the Semitone Major and Minor are cleared.

[11] 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 Volubility. Falsetto is a feigned Voice, which is entirely formed in the Throat, has more Volubility than any, but of no Substance.

[12] Register; a Term taken from the different Stops of an Organ.

[13] The Pitch of Lombardy or Venice, is something more than half a Tone higher than at Rome.

[14] A Messa di Voce is the holding out and swelling a Note. Vide Pl. 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 repeated grows tiresome.

[15] See for Appoggiatura in the next Chapter.

[16] 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.

[17] Appoggiatura is a Word to which the English Language has not an Equivalent; it is a Note added by the Singer, for the arriving more gracefully to the following Note, either in rising or falling, as is shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The French express it by two different Terms, Port de Voix and Appuyer; as the English do by a Prepare and a Lead. The Word Appoggiatura is derived from Appoggiare 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 Preparation 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.

[18] Here begins the Examination of the Semitones Major and Minor, which he promised in § 15. Ch. 1. It may be of Satisfaction 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 Semitone Major changes Name, Line, and Space: A Semitone Minor changes neither. Pl. II. Numb. 1. To a Semitone Major one can go with a Rise or a Fall distinctly; to a Semitone Minor one cannot N.B. From a Tone Minor the Appoggiatura is better and easier than from a Tone Major.

[19] These are all Tones Major and Minor, and Semitones Major. Pl. II. Numb. 2.

[20] Because they are Semitones Major. Pl. II. Numb. 3.

[21] Because they are Semitones Major. Pl. II. Numb. 4.

[22] Because they are all Semitones Minor, which may be known by the abovementioned Rule, of their not changing Name, Line, nor Space. Pl. II. Numb. 5. and which makes it manifest, that a Semitone Minor cannot bear an Appoggiatura.

[23] For the same Reason, these being Semitones Minor. Pl. II. Numb. 6.

[24] Because one is a Semitone Major, and the other a Semitone Minor. Pl. III. Numb. 7.

[25] Because they are Semitones Minor. Pl. III, Numb. 8.

[26] The Tone, or Mood, 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 VersÂ: Therefore these two Examples from C to D, and from F to G, do not hold true.

[27] His Perplexity comes from a wrong Notion, in not distinguishing those two Semitones.

[28] All Intervals, rising with an Appoggiatura, arise to the Note with a sort of Beat, more or less: and the same, descending, arrive to the Note with a sort of Shake, more or less. Pl. III. Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a third Major or Minor, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12. Examples of false or deceitful Intervals. Pl. III. Numb. 13.

[29] So in all Cases where the Interval is deceitful. Pl. III. Numb. 14. With a Messa di Voce. Pl. III. Numb. 15. See for Messa di Voce, Chap. I. § 29, and its Note.

[30] In all the modern Italian Compositions the Appoggiatura's are mark'd, supposing the Singers to be ignorant where to place them. The French use them for their Lessons on the Harpsichord, &c., but seldom for the Voice.

[31] See for the several Examples of the Shakes, Pl. IV.

[32] The first Shake of a Tone, Pl. IV. Numb. 1.

[33] See for the Meaning of superior and inferior Cadences, Chap. VIII. § 1. Pl. V. Numb. 3. N.B. Prom the inferior or lower Cadences, the first, or full, Tone Shake, is not always excluded; for in a sharp Key it is always a Tone, and in a flat Key a Semitone, Pl. IV. Numb. 3.

[34] The second Shake of a Semitone Major, Pl. IV. Numb. 2.

[35] The third the short Shake. Pl. IV. Numb. 4.

[36] The fourth the rising Shake. Pl. IV. Numb. 5.

[37] The fifth the descending Shake. Pl. IV. Numb. 6.

[38] The sixth the slow Shake. Pl. IV. Numb. 7.

[39] The seventh the redoubled Shake. Pl. IV. Numb. 8.

[40] The eighth the Trillo-Mordente, or Shake with a Beat. Pl. IV. Numb. 9.

[41] Shakes are generally proper from preceding Notes descending, but not ascending, except on particular Occasions. Never too many, or too near one another; but very bad to begin with them, which is too frequently done. The using so often Beats, Shakes, and Prepares, is owing to Lessons on the Lute, Harpsichord, and other Instruments, whose Sounds discontinue, and therefore have Need of this Help.

[42] The mark'd Divisions should be something like the Staccato on the Violin, but not too much; against which a Caution will presently be given.

[43] The Gliding Notes are like several Notes in one Stroke of the Bow on the Violin.

[44] The pronouncing Eror instead of Error; or Dally instead of Daly. The not distinguishing; the double Consonants from the single, is an Error but too common at present.

[45] See for the syncopated, Ligatura, or binding Notes, Pl. IV. Numb. 10.

[46] Madrigals are Pieces in several Parts; the last in Practice were about threescore Years ago; then the Opera's began to be in Vogue, and good Musick and the Knowledge of it began to decline.

[47] Musica 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, Duetto's, &c. In the Recitative of Cantata's, our Author excelled in a singular Manner for the pathetick Expression of the Words.

[48] Cortona liv'd above forty Years ago. Balarini, in Service at the Court of Vienna, much in Favour with the Emperor Joseph, who made him a Baron.

[49] See Broken Cadences, Pl. V. Numb. 1.

----Final Cadences, Pl. V. Numb. 2.

[50] Motets, or Anthems.

[51] The Proverb is, Lingua Toscana in bocca Romana.—This regards the different Dialects, in Italy; as Neapolitan, Venetian, &c. the same, in Comparison, London to York, or Somersetshire.

[52] The Church-Musick in Italy is all in Latin, except Oratorio's, which are Entertainments in their Churches. It is therefore necessary to have some Notion of the Latin Tongue.

[53] The first Caution against imitating injudiciously the Instrumental with the Voice.

[54] The Italians have a Saying, Voce di Compositore, to denote a bad or an indifferent Voice.

[55] Cantabile, the Tender, Passionate, Pathetick; more Singing than Allegro, which is Lively, Brisk, Gay, and more in the executive Way.

[56] 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.

[57] It is supposed, the Scholar is arrived to the Capacity of knowing Harmony and Counterpoint.

[58] The general dividing of Airs described, to which the Author often refers.

[59] With due Deference to our Author, it may be feared, that the Affectation of Singing with Variety has conduced very much to the introducing a bad Taste.

[60] Continuation of the general dividing Airs in § 4. The End of this Section is a seasonable Corrective of the Rule prescribed in the foregoing fifth Section.

[61] Rivani, called Ciecolino, must have written some Treatise on Time, which is not come to us, therefore no further Account can be given of him.

[62] Pistochi was very famous above fifty Years ago, and refined the Manner of singing in Italy, 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, admired and encouraged universally, but by a dissolute Life lost it, and his Fortune. Being reduced to the utmost Misery, he entered into the Service of a Composer, as a Copyist, where he made use of the Opportunity 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 Experience 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 himself, and formed that agreeable Mixture, which he produced in Italy, where he was imitated and admired. He at last past many Years, when in an affluent Fortune, at the Court of Anspach, where he had a Stipend, and lived an agreeable easy Life; and at last retired to a Convent in Italy. It has been remark'd, that though several of his Disciples 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.

[63] Sifacio, famous beyond any, for the most singular Beauty of his Voice. His Manner of Singing was remarkably plain, consisting particularly in the Messa di Voce, the putting forth his Voice, and the Expression.

There is an Italian Saying, that an hundred 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 allotted to Volubility and Tricks, so much is the Beauty of the Voice sacrificed; for the one cannot be done without Prejudice to the other.

Sifacio got that Name from his acting the Part of Syphax the first time he appeared 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 admired, but at last was waylaid, and murthered for his Indiscretion.

[64] Buzzolini, the Name known, but no Particulars of him.

[65] Litigino, in the Service of the Emperor Joseph, and a Scholar of Pistochi.

[66] Signora Boschi was over in England in Queen Anne's Time; she sung one Season in the Opera's, returned to Venice, and left her Husband behind for several Years; he sung the Bass. She was a Mistress of Musick, but her Voice was on the Decay when she came here.

[67] Santini, afterwards Signora Lotti. She was famous above forty Years ago, and appeared at several Courts in Germany, where she was sent for; then retired to Venice, where she married Signor Lotti, Chapel-Master of St. Mark.

All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt 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 them?

[68] Those tremendous Airs are called in Italian, un Aria di Bravura; which cannot perhaps be better translated into English, than a Hectoring Song.

[69] Pierre Simone Agostini lived about threescore Years ago. Several Cantata'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 enlivened his Musick in the Movements of his Basses. Of Pierre-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 sending him a fixed Sum, with which he paid off his Score.

[70] Alessandro Stradella lived about Pier. 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. It is reported, that his favourite Instrument was the Harp, with which he sometimes 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, Stradella 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, takes Umbrage at Stradella's frequent Visits there, and forbids him going upon his Peril, which Order Stradella obeys. The Lady's Husband not having seen Stradella at his House for some Days, reproaches him with it. Stradella, 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 Stiletts 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 is mentioned; that the Murderers pursued him to Rome, and on Enquiry learned, that an Oratorio of his Composition 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.

[71] When Tosi writ this, the Composers in Vogue were Scarlatti, Bononcini, Gasparini, Mancini, &c. The last and modern Stile has pretty well spread itself all over Italy, and begins to have a great Tendency to the same beyond the Alps, as he calls it.

[72] The Moods, 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 particularise here what the Moods are, and how to be used, is impossible, for that Branch only would require a large Treatise by itself.

[73] The Airs, sung in Unison with the Instruments, were invented in the Venetian Opera's, to please the Barcaroles, who are their Watermen: and very often their Applause supports an Opera. The Roman School always distinguished itself, and required Compositions of Study and Care. How it is now at Rome is doubtful; but we do not hear that there are any Corelli's.

[74] Maestro di Capella, Master of the Chapel, the highest Title belonging to a Master of Musick. Even now the Singers in Italy give the Composers of Opera's the Title of Signior Maestro as a Mark of their Submission.

[75] Contrapunto, Counterpoint, or Note against Note, the first Rudiments of Composition.

[76] Furlana. A sort of Country Dance, or Cheshire-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 Airs and sung them in Churches. This Abuse is not new, for St. Augustine complains of it; and Palestrina prevented in his Time Musick from being banished the Churches.

[77] Tono, or Mood, and sometimes means the Key. Our Author in this Section is fond of a Pun, which cannot well be translated. Tono is sometimes writ Tuono and Tuono signifies Thunder; therefore the Ignorant answers, he knows no other Tuono but that which is preceded by Lightning.

[78] Cadences; or, principal Closes in Airs.

[79] For superior and inferior Cadences, see Pl. V. Numb. 3.

[80] Broken Cadences, see Example, Chap. V. § 13, and its Note.

[81] Cadences that fall a Fifth, with and without Words, Pl. V, Numb. 4 and 5.

[82] By the Final Cadences here mentioned, the first is 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.

[83] For the resolved and unresolved Cadences, see Pl. V. Numb. 6 and 7.

[84] See for the Examples, Pl. V. Numb. 8.

[85] See Example, Pl. VI. Numb. 1.

[86] See Example, Pl. VI. Numb. 2.

N.B. An Appoggiatura cannot be made on an unaccented Syllable.

[87] See for Examples, Pl. VI. Numb. 3.

[88] See for Examples, Pl. VI. Numb. 4.

[89] Some, after a tender and passionate Air, make a lively merry Cadence; and, after a brisk Air, end it with one that is doleful.

[90] Though this Chapter regards Singers who make it their Profession, and particularly those who sing on the Stage, yet there are many excellent Precepts interspersed, that are of Use to Lovers of Musick.

[91] Kyrie, the first Word of the Mass-Musick in the Cathedral Stile, is not so difficult to them as the Cantata's; and the Latin in the Service, being familiar to them, saves them the Trouble of attending to the Words.

[92] Thomas 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 indeed 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 applyed 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 Fellowes) care for no more; whereas, by the contrarie, 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 so long in the Church, yea though it were twentie Years, they will never study to sing better than they did the first Day of their Preferment to that Place; so that it seems, that having obtained 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 Maintenance.'

[93] In Italy, the Courts of Palma, Modena, Turin, &c. and in Germany, the Courts of Vienna, Bavaria, Hanover, Brandenbourg, Palatine, Saxony, &c.

[94] There have been such, who valued themselves for shaking a Room, breaking the Windows, and stunning the Auditors with their Voice.

[95] The renowned Abbot Steffani, so famous for his Duetto's, would never suffer such luxuriant Singers to perform any of them, unless they kept themselves within Bounds.

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

[97] The two Women, he points at, are Cuzzoni and Faustina.

[98] The Carnaval is a Festival in Italy, particularly celebrated at Venice from Christmas to Lent, when all Sorts of Diversions are permitted; and at that Time there are sometimes three different Theatres for Opera's only.

[99] Our Author has often mentioned Time; the Regard 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 goes an exactly regular Pace, the other Part retards or anticipates in a singular Manner, for the Sake of Expression, but after That returns to its Exactness, to be guided by the Bass. Experience and Taste must teach it. A mechanical Method of going on with the Bass will easily distinguish the Merit of the other Manner.

[100] A farther Animadversion against imitating Instruments with the Voice.

[101] Many Graces may be very good and proper for a Violin, that would be very improper 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 Instruments,) to copy all the Tricks practised on the several Instruments, to its greatest Detriment.

[102] Passo and Passagio. The Difference is, that a Passo is a sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. A Passagio is a Division, a Continuation, or a Succession of Notes, ascending or descending with Uniformity. See Pl. VI. Numb. 6.

[103] This alludes to the French Manner of Singing, from whence that Defect is copy'd.

[104] The Time he alludes to, is at present between thirty and forty Years ago.

[105] Compare this Section with Section 41 in this Chapter and the Note.

[106] This is a Fault more than once heard of, in Oratario's or Motetts.

[107] See Example, Pl. VI. Numb. 7.

[108] Faustina and Cuzzoni, they both having within these few Years been in England, there needs no other Remark to be made on them, but to inform Futurity, that the English Audience distinguish'd them Both and at the same time, according to their Merit, and as our Author has describ'd them.

It may be worth remarking, that Castilione, who lived above two hundred Years ago, in his Cortegiano, describes Bidon, and Marchetto Cara, two famous Singers in his Time, with the same distinguishing Qualifications.

[109] See Examples, Pl. VI. Numb. 8 and 9.