Observations on the Florid Song Part 7

-- 3. There are likewise five subaltern Embellishments _viz._ the _Appoggiatura_, the _Shake_, the _putting forth of the Voice_, the _Gliding_, and _Dragging_.

_The princ.i.p.al Qualifications teach,_

-- 4. That the _Pa.s.sages_ and _Graces_ cannot be form'd but from a profound _Judgment_.

-- 5. That they are produced by a singular and beautiful _Invention_, remote from all that is vulgar and common.

-- 6. That, being govern'd by the rigorous, but necessary, Precepts of _Time_, they never transgress its regulated Measure, without losing their own Merit.

-- 7. That, being guided by the most refined _Art_ on the Ba.s.s, they may There (and no where else) find their Center; there to sport with Delight, and unexpectedly to charm.

-- 8. That, it is owing to an exquisite _Taste_, that they are executed with that sweet _putting forth_ of the Voice, which is so enchanting.

_From the accessory Qualities is learned,_

-- 9. That the _Graces_ or _Pa.s.sages_ be easy in appearance, thereby to give universal Delight.

-- 10. That in effect They be difficult that thereby the Art of the Inventor be the more admired.

-- 11. That They be performed with an equal regard to the Expression of the Words, and the Beauty of the Art.

-- 12. That They be _gliding_ or _dragging_ in the _Pathetick_, for They have a better Effect than those that are mark'd.

-- 13. That They do not appear studied, in order to be the more regarded.

-- 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 numerous.

-- 17. That in a slow _Time_, there may be a greater Number of them (if the Ba.s.s allows it) with an Obligation upon the Singer to keep to the Point propos'd, that his Capacity be made more conspicuous.

-- 18. That They be properly introduc'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.

-- 21. That They be not made on the second or fourth Vowel, when closely p.r.o.nounc'd, and much less on the third and fifth.

-- 22. That They be not copied, if you would not have them appear defective.

-- 23. That They be stol'n on the _Time_, to captivate the Soul.

-- 24. That They never be repeated in the same place, particularly in _Pathetick Airs_, for there they are the most taken Notice of by the Judicious.

-- 25. And, above all, let them be improv'd; by no means let them lose in the Repet.i.tion.

-- 26. Many Professors are of Opinion, that in _Graces_ there is no room for the marked _Divisions_, unless mix'd with some of the aforesaid Embellishments or some other agreable Accidents.

-- 27. But it is now time that we speak of the _Dragging_, that, if the _Pathetick_ should once return again into 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; notwithstanding which, I'll endeavour, the best I can, to make myself understood.

-- 28. When on an even and regular Movement of a Ba.s.s, which proceeds slowly, a Singer begins with a high Note, dragging it gently down to a low one, with the _Forte_ and _Piano_, almost gradually, with Inequality 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_.[109] 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, provided however it be done with Judgment, and with putting forth of the Voice in a just _Time_ on the Ba.s.s.

Whosoever has most Notes at Command, has the greater Advantage; because this pleasing Ornament is so much the more to be admired, by how much the greater the Fall is. Perform'd by an excellent _Soprano_, 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 addressed myself. This was the Doctrine of the School of those Professors, whom, by way of Reproach, some mistaken Persons call _Ancients_. 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 alone 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 Exhortations, proceeding from my Zeal, have no Weight with you, as the 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 most renowned Singers; who you take to be _Moderns_ (but are not so, except in their _Cadences_;) and having undeceived yourselves, you will perceive in them, that instead of Affectations, Abuses, and Errors, They sing according to those powerful Lessons that give Delight to the Soul, and whose Perfections have made Impressions on me, and which I shall always 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 Error, you may not want the Means to correct it, nor an Oracle to apply to whenever you 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 Application, he will find he has no Reason to sit down satisfied with what he has learn'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 Treasures of the Art, and most remote from his Imagination, will voluntarily 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 princ.i.p.al 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 divulged 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 Ignorance, 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 its Honey from the most grateful Flowers. From those called _Ancients_, 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.

-- 34. The most cordial, and not less profitable Advice, I can give you, is the following:

-- 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 Lightning to those who walk in the Dark, tho' it frightens them, it gives them Light.

-- 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 greatest Master.

_FINIS_.

PLATES

Pl. I

Chap. 1.st

[Ill.u.s.tration: -- 11 Page 17 N. 1]

[Ill.u.s.tration: Page 17 N. 2]

[Ill.u.s.tration: -- 12 Page 18 N. 3 Exachords Transposed a Fifth lower]

[Ill.u.s.tration: -- 29 Page 28 N. 4 Messa di Voce]

Pl. II

Chap. 2d.