Part 2 (1/2)

-- 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.