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Timestamp: 2019-04-20 17:16:21+00:00

Document:
_Modern_ the late and present Singers.
Bologna, _in the Year_ 1723.
express Sounds with greater Nicety and Exactness than Instruments.
Impression, which was lost in the Reading.
irresistible Charms and adds considerably to their Beauty.
familiar to _England_; and why I presume to offer it to your Protection.
_Some Account of the_ AUTHOR.
treated of in so distinct and ample a Manner by any other Author.
_Singing_ with the _Instrument_, would be of great Service to Both.
Observations for one who teaches a _Soprano_.
her Child, and became a Science.
freed from their Effeminacy, might return again to their old Oeconomy.
of Liberal Arts, she might with Justice contest the Pre-eminence.
of that Blessedness which is enjoyed in Paradise.
prompt Variation; a Difficulty which other Arts are not liable to.
Insight to the Master, the Scholar, and the Singer.
to a moderate Singer, by which he may arrive at greater Perfection.
in a more ample and correct Manner.
enough to criticize, without looking for it elsewhere.
OBSERVATIONS _for one who teaches a_ Soprano.
them for those Delicacies of the Art, which enchant the Soul.
severe Fatigue of a most tiresome Employment.
mortifying to help another to Affluence, and be in want of it himself.
whom it has been owing, should be also a Sharer in it.
"_Can you make anything of her?_"
permit me to explain myself farther.
thing to the Prejudice of the Soul.
§ 9. Let him be moderately severe, making himself fear'd, but not hated.
Stubbornness, and too great Mildness Contempt.
Beginnings, because they are generally known.
transgresses out of Omission, or out of Ignorance.
Professors, that modern Intonation is very bad.
Lesson, if he is desirous he should sing with Readiness in a short time.
Scholar to study with Pleasure.
all Remedy if once grown into a Habit.
may have all its Organization free.
Posture, and make an agreeable Appearance.
Smile, than too much Gravity.
Flutt'ring in the Manner of all those that sing in a very bad Taste.
Imitation, that sings quite after the New Mode.
Vowels too soon, he knows not how to instruct.
from _Sol-fa_-ing only, and are overlooked by the Unskilful.
not go beyond the Limits prescrib'd by Professors of good Taste.
Indulgence in this Chapter than in any other.
the two _Semitones_, that make an _Octave_.
an _Appoggiatura_, and return in the same Manner.
_Semitones_ from one _Tone_ to another.
any Note with a Flat.
let us see if it can be found out by those who ought to account for it.
from the _Minor_, and it sends the Student to consult the _Tetrachords_.
submitting myself, however, to better Judgment.
the Voice always rising till he reaches it.
imitate the Foreigners in those Things only, wherein they excel.
Difficulties with Patience to overcome them.
great Singer, let his Knowledge be ever so great.
may say there are eight Species of them.
_Shake_ all the others are derived.
in Instruments, the Fault is in the Ear.
Stuff, and the modern Abuses.
think, please more than once.
it, is guilty of more than Ignorance.
but superficially, ought not to be imitated.
Note, according to the Nature of the Composition.
first that could not leave it off at Pleasure.
reserv'd for those who have Practice, Taste, and Knowledge.
universal; that is to say, capable to sing in any Stile.
is rendered incapable of any considerable Progress in his Profession.
so much, that every thing he sings appears to be out of Tune.
ought rather to be called a Passage or Grace, than a _Division_.
that they be not too much join'd, nor too much mark'd.
grateful to the Ear descending, than in the contrary Motion.
the most difficult _Divisions_ are become familiar to him.
every Embellishment of the Art appear.
any other Grace) not to make Mention of them.
are pronounced close or united.
_Ha_, _Ha_, or _Gha_, _Gha_, _Gha_; and the same upon the other Vowels.
The worst Fault of all is singing them out of Tune.
the Prejudice of the Scholar, it is changed into a very bad one.
_Glidings_ and _Draggs_ are Beauties.
perfectly in Tune, mark'd, equal, distinct, and quick.
Repetition of them becomes tedious if not odious.
in which it is single.
Part of that Delight which vocal Musick conveys by Means of the Words.
never was it more necessary than at present.
Syllables to the Notes, that he may never be at a Loss in doing it.
with Difficulty, as if they were breathing their last.
come to learn his Companion's Lesson first, and then his own.
obstructed, and to prevent him from being bashful.
is unhappy, like a Prodigal, who is miserably poor.
it would be heard even by those at the greatest Distance.
if he pretends to teach well, and to make an excellent Scholar.
of Singers of the first Rank.
away. If he be but poorly paid for his Teaching,--a God-b'wy to him.
their Voices to the Service of God.
the Heart more than the others, and is called _Recitativo di Camera_.
Force of a beautiful Expression to persuade.
in a _Soliloquy_, where it may be in the Stile of Chamber-Musick.
and contents itself with more of the second.
_Recitatives_, and not known to those who commit them, are innumerable.
guilty of the greatest Fault, in thinking themselves above Correction.
wonder if you see them stupid on the Stage, and senseless in a Chamber.
_Recitatives_, sung in the Stile of a Choir of _Capuchin_ Friars.
when, even in regard to Musick, Reason itself is no more in the _Mode_?
Singers do not find their Account in it.
and from their Silence I must hold myself condemned.
Oversight or Ignorance the Master had not perceived or corrected.
blindly expose their Pupils to the Danger of falling at the first Step.
those, who have the Care of him, may.
incites, the Scholar proceeds with Ease and Pleasure.
to the Excellencies of his Art.
must abstain from all Manner of Disorders, and all violent Diversions.
Faults that the Negligence of his Master may have passed over.
Tongue, much less the _Latin_.
by the Name of a pathetick Singer.
that it may always be at his Command.
Teaching, and himself of studying it over again.
with the Mind, when one cannot with the Voice.
it, the older he grows the more his Faults will increase.
Singer, as I shall shew in its proper Place.
Compositions, the Taste in Time becomes Art, and Art Nature.
Scholar do? Study,--and study again, and not be satisfied.
as cannot last without being prejudicial to the one or the other.
that this latter excels in Merit, and more deserves our Praise.
out the best, and profit by them.
will get an ill Habit, past all Remedy.
from their other necessary Affairs.
that can sing the _Airs_, and teach to sing them.
grave. This Difference, to very many _Moderns_, is quite unknown.
that does not vary it for the better, is no great Master.
Productions, will at least gratify your Attention with Variety.
grounded, cannot undertake this important Task.
should prejudice the Composition, and confound the Ear.
yet how can the Art be called perfect if the Finishing is wanted.
those who are ignorant of the Contrivance of such Accompaniments.
forth_ of the Voice, is a very happy Singer.
Call, and sometimes come unsought. Study will do the business.
Mimickry has ruin'd more than one Singer.
the Variation, and the Error is discovered.
the Applause will become universal.
while I return to the Abuses and Defects in _Airs_.
they lay it aside, knowing it to be the most difficult.
seventh now dead to you, and buried in Churches, for the final Closes.
Singer; and so much the more grand, as they are remote from the Vulgar.
Hearer. But since we have opened the Ball, let us dance.
Money was received at the Church Doors?
the _Pathetick_, is very true; because we will have no Melancholy.
Syllables will suffice: It is only saying, He is an _Ancient_.
to find Fault with us?
the Weight in Gold; and dare you to criticise upon it?
Answer do you make me?----None.
Lethargy in which you remain, and which is so much to your Disadvantage.
Composers of this Stamp, that your Desire is to Sing, and not to Dance.
and which serve at most but in _Recitatives_.
the Abuses of the _modern Cadences_, or the Errors of my Opinion.
in the _Cadences_, to go a begging for Applause from the blind Ignorant?
mean while I will return with more Courage to my Opinions.
be heard, for that is its proper Place.
_Octaves_, which, tho' disguised, will still appear.
Singing is a Variety in the Repetition?
without Art, and without Judgment.
as well in the _Cadences_ as elsewhere.
a Silence of the Bass.
corrected by Study, and not by the _Mode_.
not arrive at that of an eminent one.
distinguish himself, makes but a very insignificant Figure.
received by them as their most humble Servant.
Sight, or from his not knowing how to read; and he judges right.
consider that _Mediocrity_ in a Singer means _Ignorance_.
discontented if they could not find some Means to make it the worst.
Hopes of the Favour of Princes, and of an universal Esteem.
him not be vulgar or too bold.
abandon themselves to scandalous Liberties.
Uncertainty; and, above all, the Hindrance of Study.
to the Heart, and return to the Singer.
and that the Refusal is an Offence that deserves Resentment and Revenge.
without a Recompence? A cursed Over-bearing; O sordid Avarice!
but Gain, is in the ready way to remain ignorant.
Humility, the more the Singer has of it, the more it depresses him.
upon a nearer View, I can discover Ignorance in Masquerade.
Errors are owing to him that accompanies, or to the _Orchestre_.
and if he thinks he deserves them, there is an End of him.
between a small Cabinet and a vast Theatre.
it is not Ignorance, it is something worse.
could produce the most Extravagancies.
Benefit may be receiv'd from them without any Obligation.
Faults, nor can we so easily perceive them.
he will judge better of his Talent.
possess both in a perfect Degree!
Laziness, and that none copy ill but out of Ignorance.
are none that will acknowledge her for a Teacher.
eminent if the one copy'd the other.
afraid of being stripp'd of them?
immediately loses its Beauty when _artificial_.
beautiful Imitation, it will become a despicable Copy.
cannot imitate any well but bad ones.
with eminent Performers, without Hopes of an approaching Remedy.
and (not to use a more harsh Expression) be less complaisant to Faults.
_putting forth_ of the Voice, without which all Application is vain.
the Heart, than to those of Art.
way to the very Soul.
few, a studious Application will, notwithstanding, master all Obstacles.
it as much to maintain his Reputation, as he did to acquire it.
of this Sort are only fit for Beginners.
be in great Danger of losing himself.
teach it him. He, that sings little and well, sings very well.
they owe to the Ears.
what the Singers of the first Degree then did.
obliged to study than the Women.
sacrificing the Time, in order to acquire the Title of _Modern_.
Composition, and have the best Taste.
and, as if the Scraps of the Stage were fit to offer to the Deity.
in order to make the Profession more and more ridiculous?
or envies, his gaining Applause.
not to sing in Company with such a Man, or without such a Woman.
court the _Mode_ to learn its Defects.
has learn'd his Lesson at Home.
single Person! But let us not lose Sight of the Master.
Recourse to a seeming Plainness, as if he aim'd at nothing else.
a second, and so on.
sorts, and furnish him with Rules and profitable Documents.
which I am now going to mention.
very attentive to learn this Art.
Perfection, _viz._ _Judgment_, _Invention_, _Time_, _Art_, and _Taste_.
remote from all that is vulgar and common.
Delight, and unexpectedly to charm.
with that sweet _putting forth_ of the Voice, which is so enchanting.
Inventor be the more admired.
the Words, and the Beauty of the Art.
have a better Effect than those that are mark'd.
§ 13. That They do not appear studied, in order to be the more regarded.
will make them more affecting.
_Forte_ and the _Piano_, so as to make a sort of _Chiaro Scuro_.
pleasing than those which are too numerous.
Point propos'd, that his Capacity be made more conspicuous.
Voice, in order to make their way to the Heart more easily.
pronounc'd, and much less on the third and fifth.
§ 23. That They be stol'n on the _Time_, to captivate the Soul.
Embellishments or some other agreable Accidents.
the best I can, to make myself understood.
and with putting forth of the Voice in a just _Time_ on the Bass.
descending, no less would it displease ascending.
instruct you, learn what's wanting from the _Modern_.
there are many bad Singers.
and many other Observations, will need no farther Incitement to study.
strives to gain the highest Applause.
it grows, can never die.
most Ignorant is sometimes the greatest Master.
be more capital, than if the same were committed on an Instrument.
of those who do not perfectly remember it_.
Sic vos non vobis nidificatis aves.
Sic vos non vobis vellera fertis oves.
Sic vos non vobis mellificatis apes.
i.e. These Verses I made, but another has taken the Applause of them.
_Virgil_ acquired a double Reputation.
Morning, as did not disappoint the Solemnity.
these Cliffs any Line or Space may be what Note you please. Pl. I. Numb.
 His meaning is, that the _French_ are not in the right.
the _Semitone Major_ and _Minor_ are cleared.
the Throat, has more Volubility than any, but of no Substance.
 _Register_; a Term taken from the different Stops of an Organ.
Tone higher than at _Rome_.
 A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl.
and with Reason; for the finest Grace too often repeated grows tiresome.
 See for _Appoggiatura_ in the next Chapter.
easier than from a _Tone Major_.
 These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl.
 Because they are _Semitones Major_. Pl. II. Numb. 3.
 Because they are _Semitones Major_. Pl. II. Numb. 4.
abovementioned Rule, of their not changing Name, Line, nor Space. Pl.
 For the same Reason, these being _Semitones Minor_. Pl. II. Numb.
Minor_. Pl. III. Numb. 7.
 Because they are _Semitones Minor_. Pl. III, Numb. 8.
_Minor_, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12.
Examples of false or deceitful Intervals. Pl. III. Numb. 13.
 So in all Cases where the Interval is deceitful. Pl. III. Numb. 14.
Chap. I. § 29, and its Note.
 See for the several Examples of the _Shakes_, Pl. IV.
 The first _Shake_ of a _Tone_, Pl. IV. Numb. 1.
 See for the Meaning of superior and inferior _Cadences_, Chap.
Key it is always a _Tone_, and in a flat Key a _Semitone_, Pl. IV. Numb.
 The second _Shake_ of a _Semitone Major_, Pl. IV. Numb. 2.
 The third the short _Shake_. Pl. IV. Numb. 4.
 The fourth the rising _Shake_. Pl. IV. Numb. 5.
 The fifth the descending _Shake_. Pl. IV. Numb. 6.
 The sixth the slow _Shake_. Pl. IV. Numb. 7.
 The seventh the redoubled _Shake_. Pl. IV. Numb. 8.
 The eighth the _Trillo-Mordente_, or _Shake_ with a _Beat_. Pl. IV.
whose Sounds discontinue, and therefore have Need of this Help.
is an Error but too common at present.
 See for the _syncopated_, _Ligatura_, or _binding_ Notes, Pl. IV.
good Musick and the Knowledge of it began to decline.
 See Broken Cadences, Pl. V. Numb. 1.
----Final Cadences, Pl. V. Numb. 2.
the same, in Comparison, _London_ to _York_, or _Somersetshire_.
therefore necessary to have some Notion of the _Latin_ Tongue.
bad or an indifferent Voice.
_Allegro_, which is Lively, Brisk, Gay, and more in the executive Way.
Purpose, and that the Subject and Poetry require it.
in this is acknowledged by all his Countrymen, contradicted by none.
contributed to the Introduction of the _modern_ Taste.
cannot be done without Prejudice to the other.
and murthered for his Indiscretion.
 _Buzzolini_, the Name known, but no Particulars of him.
of Musick, but her Voice was on the Decay when she came here.
they would, but where are the Singers that can sing them?
deserving so sad a Catastrophe.
Tendency to the same beyond the _Alps_, as he calls it.
with their Transpositions, and that the others are not used or known.
 _Furlana_. A sort of Country Dance, or _Cheshire_-Round.
 _Cadences_; or, principal Closes in _Airs_.
 For superior and inferior _Cadences_, see Pl. V. Numb. 3.
 Broken _Cadences_, see Example, Chap. V. § 13, and its Note.
 _Cadences_ that fall a Fifth, with and without Words, Pl. V, Numb.
the _Da Capo_, as it is always expressed in _Italian_.
 See for the Examples, Pl. V. Numb. 8.
 See Example, Pl. VI. Numb. 1.
 See Example, Pl. VI. Numb. 2.
_N.B._ An _Appoggiatura_ cannot be made on an unaccented Syllable.
 See for Examples, Pl. VI. Numb. 3.
 See for Examples, Pl. VI. Numb. 4.
_Cadence_; and, after a brisk _Air_, end it with one that is doleful.
excellent Precepts interspersed, that are of Use to Lovers of Musick.
breaking the Windows, and stunning the Auditors with their Voice.
_Nicolini_, was more chaste in his Singing.
 The two Women, he points at, are _Cuzzoni_ and _Faustina_.
but after That returns to its Exactness, to be guided by the Bass.
the Bass will easily distinguish the Merit of the other Manner.
several Instruments, to its greatest Detriment.
descending with Uniformity. See Pl. VI. Numb. 6.
 Compare this Section with Section 41 in this Chapter and the Note.
 See Example, Pl. VI. Numb. 7.
 See Examples, Pl. VI. Numb. 8 and 9.

References: § 9

§ 13

§ 23
 § 29
 V. 
 V. 
 V. 
 V. 
 V.