Observations on the Florid Song Part 4

_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 Repet.i.tion, the Invention cannot be blam'd by Lovers of Musick; though in respect of the Words it is sometimes an Impropriety.[56]

-- 2. By the _Ancients_ beforementioned, _Airs_ were sung in three different 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 _Moderns_, is quite unknown.

-- 3. A Singer is under the greatest Obligation to the Study of the _Airs_; for by them he gains or loses his Reputation. To the acquiring this valuable, Art, a few verbal Lessons cannot suffice; nor would it be of any great Profit to the Scholar, to have a great Number of _Airs_, in which a Thousand of the most exquisite Pa.s.sages of different Sorts were written down: For they would not serve for all Purposes, and there would always be wanting that Spirit which accompanies extempore Performances, and is preferable to all servile Imitations. All (I think) that can be said, is to recommend to him an attentive Observation of the Art, with which the best Singers regulate themselves to the Ba.s.s, whereby he will become acquainted with their Perfections, and improve by them. In order to make his Observations 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 Graces, confin'd to the most exact Time of the Movement of the Ba.s.s, he made thereby a great Progress.[57]

-- 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 nothing but the simplest Ornaments, of a good Taste and few, that the Composition may remain simple, plain, and pure; in the second they expect, that to this Purity some artful Graces[58] be added, by which the Judicious may hear, that the Ability of the Singer 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 accustom himself to repeat them always differently, 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 Connoisseurs but for once, whereas the other, if he does not surprise by the Rareness of his Productions, will at least gratify your Attention with Variety.[59]

-- 6. The most celebrated among the _Ancients_ piqued themselves in varying every Night their Songs in the Opera's, not only the _Pathetick_, but also the _Allegro_. The Student, who is not well grounded, cannot undertake this important Task.

-- 7. Without varying the _Airs_, the Knowledge of the Singers could never be discovered; but from the Nature and Quality of the Variations, it will be easily discerned in two of the greatest Singers which is the best.

-- 8. Returning from this Digression to the abovementioned, repeating the first Part of the _Air_ with Variation, the Scholar will therein find 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 Advantage to one who is not ready at _extempore_ Embellishments; but they should not allow, that a Superfluity of them should prejudice the Composition, and confound the Ear.[60]

-- 9. Let a Scholar provide himself with a Variety of Graces and Embellishments, and then let him make use of them with Judgment; for if he observes, he will find that the most celebrated Singers never make a Parade 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 Bankrupts.

-- 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 omitted, yet how can the Art be called perfect if the Finishing is wanted.

-- 11. In _Airs_ accompanied only a Ba.s.s, the Application of him who studies Graces is only subject to Time, and to the Ba.s.s; but in those, that are accompanied with more Instruments, the Singer must be also attentive to their Movement, in order to avoid the Errors committed by those who are ignorant of the Contrivance of such Accompaniments.

-- 12. To prevent several false Steps in singing the _Airs_, I would strongly inculcate to a Student, first, never to give over practising in private, till he is secure of committing no Error in Publick; and next, that at the first Rehearsal the _Airs_ be sung without 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 varying for the better, he will by Degrees become a great Singer.

-- 13. The most necessary 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 Talents, with an agreeable _putting forth_ of the Voice, is a very happy Singer.

-- 14. Let him, who studies under the Disadvantage of an ungrateful Genius, remember for his Comfort, that singing in Tune, Expression, _Messa di Voce_, the _Appoggiatura's_, _Shakes_, _Divisions_, and accompanying himself, are the princ.i.p.al 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 Embellishments must be called in to their aid, which seldom refuse the Call, and sometimes come unsought. Study will do the business.

-- 15. Let him avoid all those Abuses which have overspread and established themselves in the _Airs_, if he will preserve Musick in its Chast.i.ty.

-- 16. Not only a Scholar, but every Singer ought to forbear _Caricatura's_, 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 Mimicking 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 Spight. Examples shew us but too plainly the great Injury they are apt to do, and that it well deserves Reproof; for Mimickry has ruin'd more than one Singer.

-- 17. I cannot sufficiently recommend to a Student the exact keeping 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 hastening 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 Pa.s.sages and Divisions.

-- 19. 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 applauded female Singer, who had better Luck than Skill, and whose Errors were excused in regard to her s.e.x.----Softly, softly with your Criticism, says one; this, if you do not know it, is called Singing after the _Mode_----Singing after the _Mode_?----I say, you are mistaken. The stopping in the _Airs_ at every second and fourth, and on all the sevenths and sixths of the Ba.s.s, was a bad Practice of the ancient Masters, disapproved fifty Years ago by _Rivani_, called _Ciecolino_,[61] who with invincible Reasons shewed the proper Places for Embellishments, without begging Pauses. This Percept was approved by several eminent Persons, among whom was Signer _Pistochi_,[62] the most famous of our, and all preceding Times, who has made himself immortal, by shewing the way of introducing Graces without transgressing against Time. This Example alone, which is worth a Thousand (O my rever'd _Moderns_!) should be sufficient to undeceive you. But if this does not satisfy you, I will add, that _Sifacio_[63] with his mellifluous Voice embrac'd this Rule; that _Buzzolini_[64] of incomparable Judgment highly esteemed it: After them _Luigino_[65] with his soft and amorous Stile followed their Steps; likewise _Signora Boschi_[66] who, to the Glory of her s.e.x, has made it appear, that Women, who study, may instruct even Men of some Note. That _Signora Lotti_,[67] 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 convince 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 into 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 Discernment, and that there are Numbers of the others, who blindly applaud every thing that has an Appearance of Novelty. But whose fault is this? An Audience that applauds what is blameable, 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 waiting 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 abovementioned Precept will always be of Advantage 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 merit that of the Judicious, and the Applause will become universal.

-- 20. Besides the Errors in keeping Time, there are other Reasons, why a Student should not imitate the _modern_ Gentlemen in singing _Airs_, since it plainly appears that all their Application now is to divide and subdivide in such a Manner, that it is impossible to understand 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[68]; but the Singers of the present Time are not of that Mind, but rather, as if they were not satisfied with transforming them all with a horrible Metamorphosis 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 during the Course of the _Air_. In the following Chapter, on the tormented and tortured Cadences, we shall shortly see the good Taste of the _Mode_; in the mean while I return to the Abuses and Defects in _Airs_.

-- 21. I cannot positively tell, who that _Modern_ Composer, or that ungrateful Singer was, that had the Heart to banish the delightful, soothing, _Pathetick_ from _Airs_, as if no longer worthy of their Commands, after having done them so long and pleasing Service. Whoever he was, it is certain, 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 deprived of these Charms, without knowing the Reason why? Oh! I understand you: I ought not to ask the Masters, but the Audience, those capricious Protectors of the _Mode_, that cannot endure this; and herein lies my Mistake. Alas! the _Mode_ and the Mult.i.tude flow like Torrents, which, when at their Height, having spent their Violence, quickly disappear. The Mischief is in the Spring itself; the Fault is in the Singers. They praise the _Pathetick_, 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, knowing it to be the most difficult.

-- 22. In former times divers _Airs_ were heard in the Theatre in this delightful Manner, preceded and accompanied with harmonious and well-modulated Instruments, that ravished the Senses of those who comprehended the Contrivance and the Melody; and if sung by one of those five or six eminent Persons abovementioned, it was then impossible for a human Soul, not to melt into Tenderness and Tears from the violent Motion of the Affections. Oh! powerful Proof to confound 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 continual singing of the _Moderns_ in the _Allegro_ Stile, though when in Perfection That deserves Admiration, yet touches very slightly one that hath a delicate Ear. The Taste of the _Ancients_ was a Mixture of the _Lively_ and the _Cantabile_ the Variety of which could not fail giving Delight; but the _Moderns_ are so pre-possessed with Taste in _Mode_, that, rather than comply with the former, they are contented to lose the greatest Part of its Beauty. The Study of the _Pathetick_ was the Darling of the former; and Application to the most difficult Divisions is the only Drift of the latter. _Those_ perform'd with more Judgment; and _These_ execute with greater Boldness. But since I have presum'd to compare the most celebrated Singers in both Stiles, pardon me if I conclude with saying, that the _Moderns_ are arrived at the highest Degree of Perfection 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 these times have in some Particulars refined the preceding Taste, with some Productions worthy to be imitated; and as an evident Mark of Esteem, 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 Perfection.

-- 24. It may also possibly be, that the extravagant Ideas in the present Compositions, have deprived the abovementioned Singers of the Opportunity of shewing their Ability in the _Cantabile_; in as much as the _Airs_ at present in vogue go Whip and Spur with such violent Motions, as take away their Breath, far from giving them an Opportunity of shewing the Exquisiteness of their Taste. But, good G.o.d! 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 always exclude from their Compositions, 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 running Post, why not reserve it for those that require Repose, or at least for a compa.s.sionate one, which is to a.s.sist 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 _modern_ 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 _Airs_, as Confederates, that have not the _Sharp_ third. Can any thing be more absurd? _Gentlemen Composers_, (I do not speak to the eminent, but with all due Respect) Musick in my Time has chang'd its Stile three times: The first which pleased on the Stage, and in the Chamber, was that of _Pier. Simone_[69], and of _Stradella_[70]; the second is of the best that now living[71]; and I leave others to judge whether they are _Modern_. But of your Stile, which is not quite established 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 reform it. Wou'd you know how? By banishing the Abuses, and recalling the first, second, and third _Mood_[72], to relieve the fifth, sixth, and eighth, which are quite jaded. 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 _Unisons_[73], the Invention of Ignorance, to hide from the Vulgar the Insufficiency and Inability of many Men and Women Singers: They will recover 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 _Soprano's_ and _Contr'Alto's_ will no more sing the _Airs_ in the Manner of the Ba.s.s, 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, and that the _Mode_ pleases, and that I grow too bold. And may I not reply, that the Abuse is greater, that the Invention 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 prejudicial? Have we not more than once heard that the Quality of the Compositions has been capable, with a few Songs, of establishing the Reputation of a middling Singer, and destroying 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 Musick 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 Circ.u.mstance of seeing her own Tragedy? Ye pompous Fabricks of the Theatres! We should look upon you with Horror, being raised from the Ruins of Harmony: You are the Origin of the Abuses, and of the Errors: From You is derived the _modern_ Stile and the Mult.i.tude of Ballad-makers: You are the only Occasion of the Scarcity of judicious and well-grounded Professors, who justly deserve the t.i.tle of Chapel-Master[74]; since the poor Counterpoint[75] 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 succoured by those few, that still gloriously sustain its dearest Precepts) Musick, after having lost the Name of Science, and a Companion of Philosophy, will run the Risque of being reputed unworthy to enter into the sacred Temples, from the Scandal given there, by their Jiggs, Minuets, and Furlana's[76]; 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 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 _Counterpoint_? he answered immediately from the Instrument, (_i.e._, 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 abruptly) with what musty Questions are you going to disturb my Brains? One may easily perceive from what School you come. The _Moderns_, if you do not know it, acknowledge no other _Tone_ but one[77]; 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 displease 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; otherwise you will find, that you will be condemned by your own Words, that Ignorance hates all that is excellent. The polite Arts have advanced continually 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 therefore, 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 them ourselves, are the malign Reflections of those who see us exalted. Let Envy burst. You see, that the general Esteem which we have acquired, gives it for us; and if a Musician is not of our Tribe, he will find no Patron or Admirer. But since we are now speaking in Confidence and with Sincerity, who can sing or compose well, without our Approbation? Let them have ever so much Merit (you know it) we do not want Means to ruin him; even a few Syllables 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 Emulation 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 Ba.s.ses, in such Manner,----(mark me well, and learn) that if in an _Orchestre_ there were an hundred Violins, we are capable 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 _a 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 obscure 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 Fools to grow pale, and become paralytick in studying and finding out in the Scores, the Harmony, the _Fugues_, their _Reverses_, the _Double Counterpoint_, 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 worse) are of little Esteem, and less Profit. What say you now to this, _Master Critick_? Have you comprehended me?----Yes, Sir. Well, what Answer do you make me?----None.

-- 34. Really, I am astonished, O beloved Singers, at the profound Lethargy in which you remain, and which is so much to your Disadvantage.

'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.

CHAP. VIII.

_Of_ Cadences.[78]

The _Cadences_, that terminate the _Airs_, are of two Sorts. The Composers call the one _Superior_, and the other _Inferior_. To make myself better 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 _Fa, 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 with other Voices, or accompanied with Instruments, he must not change the Superior for the Inferior, nor this with the other.[79]

-- 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 _Recitatives_.[80]

-- 3. As for those _Cadences_ that fall a fifth, they were never composed in the old Stile for a _Soprano_, 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.[81]

-- 4. In the Chapter on _Airs_, I have exhorted the Student to avoid that Torrent of _Pa.s.sages_ and _Divisions_, so much in the _Mode_, and did engage myself also, to give my weak Sentiments on the _Cadences_ that are now current; and I am now ready: But, however, with the usual Protestation 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 Profession, 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. Generally speaking, the Study of the Singers of the present Times consists in terminating the _Cadence_ of the first Part with an overflowing of _Pa.s.sages_ and _Divisions_ at Pleasure, and the _Orchestre_ waits; in that of the second[82] the Dose is encreased, and the _Orchestre_ grows tired; but on the last _Cadence_, the Throat is set a going, like a Weather-c.o.c.k 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 Profession, that good Taste does not consist in a continual Velocity of the Voice, which goes thus rambling on, without a Guide, and without Foundation; but rather, in the _Cantabile_, in the putting forth the Voice agreeably, in _Appoggiatura's_, in Art, and in the true Notion of Graces, going from one Note to another with singular and unexpected Surprizes, and stealing the Time exactly on the true _Motion_ of the Ba.s.s. These are the princ.i.p.al 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, (as I have been informed by the Master who taught me to _Sol-fa_) by reason of the Number of _Pa.s.sages_ 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 attempting their Correction. Thus will it also happen to These, at the first Example given by a Singer whose Credit is established, and who will not be seduced 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 _Pa.s.sages_ in the _Cadences_; and on the contrary, having recalled them from their Banishment, and brought them on the Stage, with some little _Caricatura_ 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 abhorr'd 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 unjust Pretence can you usurp the Name of _Moderns_, if you sing in a most _Ancient_ 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 Scarcity 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 among yourselves, when you have Recourse to your long-strung _Pa.s.sages_ 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' they have not Hands, Feet, nor Voice enough to applaud you. Is this Justice? Is this Grat.i.tude?----Oh! if they ever should find you out! My beloved Singers, tho' the Abuses of your _Cadences_ are of use to you, they are much more prejudicial to the Profession, 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 undeceive 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[83] 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 of that very third, which being the sixth of the Ba.s.s hinders it, and the _Cadence_ remains without a Resolution. If they should go so far as to imagine, that the best Rules depended on the _Mode_, I should notwithstanding think, they might sometimes appeal to the Ear, to know if That was satisfied with a _Shake_ beaten with the seventh and the sixth on a Ba.s.s 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 Ba.s.s, 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 Ba.s.ses, which is, in falling a fifth, with a Pa.s.sage of Swift Notes descending gradually, supposing that by this Means they cover the _Octaves_, which, tho' disguised, will still appear.