-- 19. But the teaching where the _Shake_ is convenient, besides those on[41] Cadences, and where they are improper and forbid, is a Lesson reserv'd for those who have Practice, Taste, and Knowledge.

CHAP. IV.

_On_ Divisions.

Tho' _Divisions_ have not Power sufficient to touch the Soul, but the most they can do is to raise our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Master instruct the Scholar in them, that he may be Master of them with an easy Velocity and true Intonation; for when they are well executed in their proper Place, they deserve Applause, and make a Singer more universal; that is to say, capable to sing in any Stile.

-- 2. By accustoming the Voice of a Learner to be lazy and dragging, he is rendered incapable of any considerable Progress in his Profession.

Whosoever has not the Agility of Voice, in Compositions of a quick or lively Movement, becomes odiously tiresome; and at last r.e.t.a.r.ds the Time so much, that every thing he sings appears to be out of Tune.

-- 3. _Division_, according to the general Opinion, is of two Kinds, the Mark'd, and the Gliding; which last, from its Slowness and Dragging, ought rather to be called a Pa.s.sage 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 const.i.tute the Division be all articulate in equal Proportion, and moderately distinct, that they be not too much join'd, nor too much mark'd.[42]

-- 5. The second is perform'd in such a Manner that the first Note is a Guide to all that follow, closely united, gradual, and with such Evenness of Motion, that in Singing it imitates a certain Gliding, by the Masters called a _Slur_; the Effect of which is truly agreeable when used sparingly.[43]

-- 6. The _mark'd 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 confined within such few Notes ascending or descending, that it cannot go beyond a fourth without displeasing. It seems to me to be more grateful to the Ear descending, than in the contrary Motion.

-- 8. The _Dragg_ consists in a Succession of divers Notes, artfully mixed with the _Forte_ and _Piano_. The Beauty of which I shall speak of in another Place.

-- 9. If the Master hastens insensibly the Time when the Scholar sings the _Divisions_, he will find that there is not a more effectual way to unbind the Voice, and bring it to a Volubility; being however cautious, that this imperceptible Alteration do not grow by Degrees into a vicious Habit.

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

-- 11. After the gradual _Divisions_, let him learn to hit, with the greatest Readiness, all those that are of difficult Intervals, that, being in Tune and Time, they may with Justice deserve our Attention. The Study of this Lesson demands more Time and Application than any other, not so much for the great Difficulty in attaining it, as the important Consequences that attend it; and, in Fact, a Singer loses all Fear when the most difficult _Divisions_ are become familiar to him.

-- 12. Let him not be unmindful to teach the Manner of mixing the _Piano_ with the _Forte_ in the _Divisions_; the _Glidings_ or _Slurs_ with the _Mark'd_, and to intermix the _Close Shake_; especially on the pointed Notes, provided they be not too near one another; making by this Means every Embellishment of the Art appear.

-- 13. Of all the Instructions relating to _Divisions_, the most considerable seems to be That, which teaches to unite the _Beats_ and _short Shake_ with them; and that the Master point out to him, how to execute them with Exactness of Time, and the Places where they have the best Effect: But this being not so proper for one who teaches only the first Rules, and still less for him that begins to learn them, it would be better to have postponed this (as perhaps I should have done) did I not know, that there are Scholars of so quick Parts, that in a few Years become most excellent Singers, and that there is no want of Masters qualified to instruct Disciples of the most promising Genius; besides, it appeared to me an Impropriety in this Chapter on _Divisions_ (in which the _Beats_ and _Close Shake_ appear with greater l.u.s.tre than any other Grace) not to make Mention of them.

-- 14. Let the Scholar not be suffered to sing _Divisions_ with Unevenness of Time or Motion; and let him be corrected if he marks them with the Tongue, or with the Chin, or any other Grimace of the Head or Body.

-- 15. Every Master knows, that on the third and fifth Vowel, the _Divisions_ are the worst; but every one does not know, that in the best Schools the second and fourth were not permitted, when these two Vowels are p.r.o.nounced close or united.

-- 16. There are many Defects in the _Divisions_, which it is necessary to know, in order to avoid them; for, besides that of the Nose or the Throat, and the others already mentioned, those are likewise displeasing which are neither mark'd nor gliding; for in that Case they cannot be said to sing, but howl and roar. There are some still more ridiculous, who mark them above Measure, and with Force of Voice, thinking (for Example) to make a _Division_ upon _A_, it appears as if they said _Ha_, _Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels.

The worst Fault of all is singing them out of Tune.

-- 17. The Master should know, that though a good Voice put forth with Ease grows better, yet by too swift a Motion in _Divisions_ it becomes an indifferent one, and sometimes by the Negligence of the Master, to the Prejudice of the Scholar, it is changed into a very bad one.

-- 18. _Divisions_ and _Shakes_ in a _Siciliana_ are Faults, and _Glidings_ and _Draggs_ are Beauties.

-- 19. The sole and entire Beauty of the _Division_ consists in its being perfectly in Tune, mark'd, equal, distinct, and quick.

-- 20. _Divisions_ have the like Fate with the _Shakes_; both equally delight in their Place; but if not properly introduced, the too frequent Repet.i.tion 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 and p.r.o.nounce the Words, free from those gross and ridiculous Errors of Orthography, by which many deprive one Word of its double Consonant, and add one to another, in which it is single.[44]

-- 22. After having corrected the p.r.o.nunciation, let him take Care that the Words be uttered in such a Manner, without any Affectation that they be distinctly understood, and no one Syllable be lost; for if they are not distinguished, the Singer deprives the Hearer of the greatest Part of that Delight which vocal Musick conveys by Means of the Words.

For, if the Words are not heard so as to be understood, there will be no great Difference between a human Voice and a Hautboy. This Defect, tho'

one of the greatest, is now-a-days more than common, to the greatest Disgrace of the Professors and the Profession; and yet they ought to know, that the Words only give the Preference to a Singer above an instrumental Performer, admitting them to be of equal Judgment and Knowledge. Let the modern Master learn to make use of this Advice, for never was it more necessary than at present.

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

-- 24. Let him forbid the Scholar to take Breath in the Middle of a Word, because the dividing it in two is an Error against Nature; which must not be followed, if we would avoid being laugh'd at. In interrupted Movements, or in long _Divisions_, it is not so rigorously required, when the one or the other cannot be sung in one Breath. Anciently such Cautions were not necessary, but for the Learners of the first Rudiments; now the Abuse, having taken its Rise in the modern Schools, gathers Strength, and is grown familiar with those who pretend to Eminence. The Master may correct this Fault, in teaching the Scholar to manage his Respiration, that he may always be provided with more Breath than is needful; and may avoid undertaking what, for want of it, he cannot go through with.

-- 25. Let him shew, in all sorts of Compositions, the proper Place where to take Breath, and without Fatigue; because there are Singers who give Pain to the Hearer, as if they had an Asthma taking Breath every Moment with Difficulty, as if they were breathing their last.

-- 26. Let the Master create some Emulation in a Scholar that is negligent, inciting him to study the Lesson of his Companion, which sometimes goes beyond Genius; because, if instead of one Lesson he hears two, and the Compet.i.tion does not discountenance 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 Scholar to sing often in presence of Persons of Distinction, whether from Birth, Quality, or Eminence in the Profession, that by gradually losing his Fear, he may acquire an a.s.surance, but not a Boldness. a.s.surance leads to a Fortune, and in a Singer becomes a Merit. On the contrary, the Fearful is most unhappy; labouring under the Difficulty of fetching Breath, the Voice is always trembling, and obliged to lose Time at every Note for fear of being choaked; He gives us Pain, in not being able to shew his Ability in publick; disgusts the Hearer, and ruins the Compositions in such a Manner, that they are not known to be what they are. A timorous Singer is unhappy, like a Prodigal, who is miserably poor.

-- 29. Let not the Master neglect to shew him, how great their Error is who make _Shakes_ or _Divisions_, or take Breath on the _syncopated_ or _binding_ Notes; and how much better Effect the holding out the Voice has. The Compositions, instead of losing, acquire thereby greater Beauty.[45]

-- 30. Let the Master instruct him in the _Forte_ and _Piano_, but so as to use him more to the first than the second, it being easier to make one sing soft than loud. Experience shews that the _Piano_ is not to be trusted to, since it is prejudicial though pleasing; and if any one has a Mind to lose his Voice, let him try it. On this Subject some are of Opinion, that there is an artificial _Piano_, that can make itself be heard as much as the _Forte_; but that is only Opinion, which is the Mother of all Errors. It is not Art which is the Cause that the _Piano_ of a good Singer is heard, but the profound Silence and Attention of the Audience. For a Proof of this, let any indifferent Singer be silent on the Stage for a Quarter of a Minute when he should sing, the Audience, curious to know the Reason of this unexpected Pause, are hush'd in such a Manner, that if in that Instant he utter one Word with a soft Voice, it would be heard even by those at the greatest Distance.

-- 31. Let the Master remember, that whosoever does not sing to the utmost Rigour of Time, deserves not the Esteem of the Judicious; therefore let him take Care, there be no Alteration or Diminution in it, if he pretends to teach well, and to make an excellent Scholar.

-- 32. Though in certain Schools, Books of Church-Musick and of _Madrigals_ lie buried in Dust, a good Master would wipe it off; for they are the most effectual Means to make a Scholar ready and sure. If Singing was not for the most part performed by Memory, as is customary in these Days, I doubt whether certain Professors could deserve the Name of Singers of the first Rank.[46]

-- 33. Let him encourage the Scholar if he improves; let him mortify him, without Beating, for Indolence; let him be more rigorous for Negligences; nor let the Scholar ever end a Lesson without having profited something.

-- 34. An Hour of Application in a Day is not sufficient, even for one of the quickest Apprehension; the Master therefore should consider how much more Time is necessary for one that has not the same Quickness, and how much he is obliged to consult the Capacity of his Scholar. From a mercenary Teacher this necessary Regard is not to be hoped for; expected by other Scholars, tired with the Fatigue, and solicited by his Necessities, he thinks the Month long; looks on his Watch, and goes away. If he be but poorly paid for his Teaching,--a G.o.d-b'wy to him.

CHAP. V.

_Of_ Recitative.

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

-- 2. The first, being used in Churches, should be sung as becomes the Sanct.i.ty of the Place, which does not admit those wanton Graces of a lighter Stile; but requires some _Messa di Voce_, many _Appoggiatura's_, and a n.o.ble 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 G.o.d.

-- 3. The second is Theatrical, which being always accompanied with Action by the Singer, the Master is obliged to teach the Scholar a certain natural Imitation, which cannot be beautiful, if not expressed with that Decorum with which Princes speak, or those who know how to speak to Princes.

-- 4. The last, according to the Opinion of the most Judicious, touches the Heart more than the others, and is called _Recitativo di Camera_.

This requires a more peculiar Skill, by reason of the Words, which being, for the most part, adapted to move the most violent Pa.s.sions of the Soul, oblige the Master to give the Scholar such a lively Impression of them, that he may seem to be affected with them himself. The Scholar having finished his Studies, it will be but too[47] easily discovered if he stands in Need of this Lesson. The vast Delight, which the Judicious feel, is owing to this particular Excellence, which, without the Help of the usual Ornaments, produces all this Pleasure from itself; and, let Truth prevail, where Pa.s.sion speaks, all _Shakes_, all _Divisions_ 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 Advantage of it that a Singer should do, and not as a Player on the Violin.