he Opinions of the ancient Historians, on the Origin of Musick, are various. Pliny believes that Amphion was the Inventor of it; the Grecians maintain, that it was Dionysius; Polybius ascribes it to the Arcadians; Suidas and Boetius give the Glory entirely to Pythagoras; asserting, that from the Sound of three Hammers of different Weights at a Smith's Forge, he found out the Diatonick; after which Timotheus, the Milesian, added the Chromatick, and Olympicus, or Olympus, the Enharmonick Scale. However, we read in holy Writ, that Jubal, of the Race of Cain, fuit Pater Canentium Citharâ & Organo, the Father of all such as handle the Harp and Organ; Instruments, in all Probability consisting of several harmonious Sounds; from whence one may infer, Musick to have had its Birth very soon after the World.
§ 2. To secure her from erring, she called to her Assistance many Precepts of the Mathematicks; and from the Demonstrations of her Beauties, by Means of Lines, Numbers, and Proportions, she was adopted her Child, and became a Science.
§ 3. It may reasonably be supposed that, during the Course of several thousand Years, Musick has always been the Delight of Mankind; since the excessive Pleasure, the Lacedemonians received from it, induced that Republick to exile the abovementioned Milesian, that the Spartans, freed from their Effeminacy, might return again to their old Oeconomy.
§ 4. But, I believe, she never appeared with so much Majesty as in the last Centuries, in the great Genius of Palestrina, whom she left as an immortal Example to Posterity. And, in Truth, Musick, with the Sweetness of his Harmony, arrived at so high a Pitch (begging Pardon of the eminent Masters of our Days), that if she was ranked only in the Number of Liberal Arts, she might with Justice contest the Pre-eminence[1].
§ 5. A strong Argument offers itself to me, from that wonderful Impression, that in so distinguished a Manner is made upon our Souls by Musick, beyond all other Arts; which leads us to believe that it is part of that Blessedness which is enjoyed in Paradise.
§ 6. Having premised these Advantages, the Merit of the Singer should likewise be distinguished, by reason of the particular Difficulties that attend him: Let a Singer have a Fund of Knowledge sufficient to perform readily any of the most difficult Compositions; let him have, besides, an excellent Voice, and know how to use it artfully; he will not, for all that, deserve a Character of Distinction, if he is wanting in a prompt Variation; a Difficulty which other Arts are not liable to.
§ 7. Finally, I say, that Poets[2], Painters, Sculptors, and even Composers of Musick, before they expose their Works to the Publick, have all the Time requisite to mend and polish them; but the Singer that commits an Error has no Remedy; for the Fault is committed, and past Correction.
§ 8. We may then guess at but cannot describe, how great the Application must be of one who is obliged not to err, in unpremeditated Productions; and to manage a Voice, always in Motion, conformable to the Rules of an Art that is so difficult. I confess ingeniously, that every time I reflect on the Insufficiency of many Masters, and the infinite Abuses they introduce, which render the Application and Study of their Scholars ineffectual, I cannot but wonder, that among so many Professors of the first Rank, who have written so amply on Musick in almost all its Branches, there has never been one, at least that I have heard of, who has undertaken to explain in the Art of Singing, any thing more than the first Elements, known to all, concealing the most necessary Rules for Singing well. It is no Excuse to say, that the Composers intent on Composition, the Performers on Instruments intent on their Performance, should not meddle with what concerns the Singer; for I know some very capable to undeceive those who may think so. The incomparable Zarlino, in the third part of his Harmonick Institution, chap. 46, just began to inveigh against those, who in his time sung with some Defects, but he stopped; and I am apt to believe had he gone farther, his Documents, though grown musty in two Centuries, might be of Service to the refined Taste of this our present time. But a more just Reproof is due to the Negligence of many celebrated Singers, who, having a superior Knowledge, can the less justify their Silence, even under the Title of Modesty, which ceases to be a Virtue, when it deprives the Publick of an Advantage. Moved therefore, not by a vain Ambition, but by the Hopes of being of Service to several Professors, I have determined, not without Reluctance, to be the first to expose to the Eye of the World these my few Observations; my only End being (if I succeed) to give farther Insight to the Master, the Scholar, and the Singer.
§ 9. I will in the first Place, endeavour to shew the Duty of a Master, how to instruct a Beginner well; secondly, what is required of the Scholar; and, lastly, with more mature Reflections, to point out the way to a moderate Singer, by which he may arrive at greater Perfection. Perhaps my Enterprize may be term'd rash, but if the Effects should not answer my Intentions, I shall at least incite some other to treat of it in a more ample and correct Manner.
§ 10. If any should say, I might be dispensed with for not publishing Things already known to every Professor, he might perhaps deceive himself; for among these Observations there are many, which as I have never heard them made by anybody else, I shall look upon as my own; and such probably they are, from their not being generally known. Let them therefore take their Chance, for the Approbation of those that have Judgment and Taste.
§ 11. It would be needless to say, that verbal Instructions can be of no Use to Singers, any farther than to prevent 'em from falling into Errors, and that it is Practice only can set them right. However, from the Success of these, I shall be encouraged to go on to make new Discoveries for the Advantage of the Profession, or (asham'd, but not surpriz'd) I will bear it patiently, if Masters with their Names to their Criticism should kindly publish my Ignorance, that I may be undeceiv'd, and thank them.
§ 12. But though it is my Design to Demonstrate a great Number of Abuses and Defects of the Moderns to be met with in the Republick of Musick, in order that they may be corrected (if they can); I would not have those, who for want of Genius, or through Negligence in their Study, could not, or would not improve themselves, imagine that out of Malice I have painted all their Imperfections to the Life; for I solemnly protest, that though from my too great Zeal I attack their Errors without Ceremony, I have a Respect for their Persons; having learned from a Spanish Proverb, that Calumny recoils back on the Author. But Christianity says something more. I speak in general; but if sometimes I am more particular, let it be known, that I copy from no other Original than myself, where there has been, and still is Matter enough to criticize, without looking for it elsewhere.
Observations for one who teaches a Soprano.[3]
he Faults in Singing insinuate themselves so easily into the Minds of young Beginners, and there are such Difficulties in correcting them, when grown into an Habit that it were to be wish'd, the ablest Singers would undertake the Task of Teaching, they best knowing how to conduct the Scholar from the first Elements to Perfection. But there being none, (if I mistake not) but who abhor the Thoughts of it, we must reserve them for those Delicacies of the Art, which enchant the Soul.
§ 2. Therefore the first Rudiments necessarily fall to a Master of a lower Rank, till the Scholar can sing his part at Sight; whom one would at least wish to be an honest Man, diligent and experienced, without the Defects of singing through the Nose, or in the Throat, and that he have a Command of Voice, some Glimpse of a good Taste, able to make himself understood with Ease, a perfect Intonation, and a Patience to endure the severe Fatigue of a most tiresome Employment.
§ 3. Let a Master thus qualified before he begins his Instructions, read the four Verses of Virgil, Sic vos non vobis, &c.[5] for they seem to be made[4] on Purpose for him, and after having considered them well, let him consult his Resolution; because (to speak plainly) it is mortifying to help another to Affluence, and be in want of it himself. If the Singer should make his Fortune, it is but just the Master, to whom it has been owing, should be also a Sharer in it.
§ 4. But above all, let him hear with a disinterested Ear, whether the Person desirous to learn hath a Voice, and a Disposition; that he may not be obliged to give a strict Account to God, of the Parent's Money ill spent, and the Injury done to the Child, by the irreparable Loss of Time, which might have been more profitably employed in some other Profession. I do not speak at random. The ancient Masters made a Distinction between the Rich, that learn'd Musick as an Accomplishment, and the Poor, who studied it for a Livelihood. The first they instructed out of Interest, and the latter out of Charity, if they discovered a singular Talent. Very few modern Masters refuse Scholars; and, provided they are paid, little do they care if their greediness ruins the Profession.
§ 5. Gentlemen Masters! Italy hears no more such exquisite Voices as in Times past, particularly among the Women, and to the Shame of the Guilty I'll tell the Reason: The Ignorance of the Parents does not let them perceive the Badness of the Voice of their Children, as their Necessity makes them believe, that to sing and grow rich is one and the same Thing, and to learn Musick, it is enough to have a pretty Face: "Can you make anything of her?"
§ 6. You may, perhaps, teach them with their Voice——Modesty will not permit me to explain myself farther.
§ 7. The Master must want Humanity, if he advises a Scholar to do any thing to the Prejudice of the Soul.
§ 8. From the first Lesson to the last, let the Master remember, that he is answerable for any Omission in his Instructions, and for the Errors he did not correct.
§ 9. Let him be moderately severe, making himself fear'd, but not hated. I know, it is not easy to find the Mean between Severity and Mildness, but I know also, that both Extremes are bad: Too great Severity creates Stubbornness, and too great Mildness Contempt.
§ 10. I shall not speak of the Knowledge of the Notes, of their Value, of Time, of Pauses, of the Accidents, nor of other such trivial Beginnings, because they are generally known.
§ 11. Besides the C Cliff, let the Scholar be instructed in all the other Cliffs, and in all their Situations, that he may not be liable to what often happens to some Singers, who, in Compositions Alla Capella,[6] know not how to distinguish the Mi from the Fa, without the Help of the Organ, for want of the Knowledge of the G Cliff; from whence such Discordancies arise in divine Service, that it is a Shame for those who grow old in their Ignorance. I must be so sincere to declare, that whoever does not give such essential Instructions, transgresses out of Omission, or out of Ignorance.[7]
§ 12. Next let him learn to read those in B Molle, especially in those[8] Compositions that have four Flats at the Cliff, and which on the sixth of the Bass require for the most part an accidental Flat, that the Scholar may find in them the Mi, which is not so easy to one who has studied but little, and thinks that all the Notes with a Flat are called Fa: for if that were true, it would be superfluous that the Notes should be six, when five of them have the same Denomination. The French use seven, and, by that additional Name, save their scholars the Trouble of learning the Mutations ascending or descending; but we Italians have but Ut, Re, Mi, Fa, Sol, La; Notes which equally suffice throughout all the Keys, to one who knows how to read them.[9]
§ 13. Let the Master do his utmost, to make the Scholar hit and sound the Notes perfectly in Tune in Sol-Fa-ing. One, who has not a good Ear, should not undertake either to instruct, or to sing; it being intolerable to hear a Voice perpetually rise and fall discordantly. Let the Instructor reflect on it; for one that sings out of Tune loses all his other Perfections. I can truly say, that, except in some few Professors, that modern Intonation is very bad.
§ 14. In the Sol-Fa-ing, let him endeavour to gain by Degrees the high Notes, that by the Help of this Exercise he may acquire as much Compass of the Voice as possible. Let him take care, however, that the higher the Notes, the more it is necessary to touch them with Softness, to avoid Screaming.
§ 15. He ought to make him hit the Semitones according to the true Rules. Every one knows not that there is a Semitone Major and Minor,[10] because the Difference cannot be known by an Organ or Harpsichord, if the Keys of the Instrument are not split. A Tone, that gradually passes to another, is divided into nine almost imperceptible Intervals, which are called Comma's, five of which constitute the Semitone Major, and four the Minor. Some are of Opinion, that there are no more than seven, and that the greatest Number of the one half constitutes the first, and the less the second; but this does not satisfy my weak Understanding, for the Ear would find no Difficulty to distinguish the seventh part of a Tone; whereas it meets with a very great one to distinguish the ninth. If one were continually to sing only to those abovemention'd Instruments, this Knowledge might be unnecessary; but since the time that Composers introduced the Custom of crowding the Opera's with a vast Number of Songs accompanied with Bow Instruments, it becomes so necessary, that if a Soprano was to sing D sharp, like E flat, a nice Ear will find he is out of Tune, because this last rises. Whoever is not satisfied in this, let him read those Authors who treat of it, and let him consult the best Performers on the Violin. In the middle parts, however, it is not so easy to distinguish the Difference; tho' I am of Opinion, that every thing that is divisible, is to be distinguished. Of these two Semitones, I'll speak more amply in the Chapter of the Appoggiatura, that the one may not be confounded with the other.
§ 16. Let him teach the Scholar to hit the Intonation of any Interval in the Scale perfectly and readily, and keep him strictly to this important Lesson, if he is desirous he should sing with Readiness in a short time.
§ 17. If the Master does not understand Composition, let him provide himself with good Examples of Sol-Fa-ing in divers Stiles, which insensibly lead from the most easy to the more difficult, according as he finds the Scholar improves; with this Caution, that however difficult, they may be always natural and agreeable, to induce the Scholar to study with Pleasure.
§ 18. Let the Master attend with great Care to the Voice of the Scholar, which, whether it be di Petto, or di Testa, should always come forth neat and clear, without passing thro' the Nose, or being choaked in the Throat; which are two the most horrible Defects in a Singer, and past all Remedy if once grown into a Habit[11].
§ 19. The little Experience of some that teach to Sol-fa, obliges the Scholar to hold out the Semibreves with Force on the highest Notes; the Consequence of which is, that the Glands of the Throat become daily more and more inflamed, and if the Scholar loses not his Health, he loses the treble Voice.
§ 20. Many Masters put their Scholars to sing the Contr'Alto, not knowing how to help them to the Falsetto, or to avoid the Trouble of finding it.
§ 21. A diligent Master, knowing that a Soprano, without the Falsetto, is constrained to sing within the narrow Compass of a few Notes, ought not only to endeavour to help him to it, but also to leave no Means untried, so to unite the feigned and the natural Voice, that they may not be distinguished; for if they do not perfectly unite, the Voice will be of divers[12]CDSopranodi Pettoiea