Part 9 (1/2)

Sic vos non vobis vellera fertis oves.

Sic vos non vobis mellificatis apes.

Sic vos non vobis fertis aratra boves._

i.e. These Verses I made, but another has taken the Applause of them.

_So ye Birds build not your Nests For yourselves.

So ye Sheep bear not your Wool For yourselves.

So ye Bees make not your Honey For yourselves.

So ye Oxen submit to the Plow Not for yourselves_.

Upon this Discovery, _Bathillus_ became the Ridicule of _Rome_, and _Virgil_ acquired a double Reputation.

The Distich, which _Bathillus_ claim'd for his, was this:

_Nocte plut tota, redeunt spectacula mane, Divisum Imperium c.u.m Jove Caesar habet._

i.e. It rain'd all Night; in the Morning the publick Shews return: _Jove_ and _Caesar_ divide the Rule of the World. The Compliment is, that _Caesar_ designing to exhibit Sports to the People, though the preceding Night was rainy and unpromising, yet such Weather returned with the Morning, as did not disappoint the Solemnity.

[6] _Alla Capella_, Church-Musick where the Flats and Sharps are not mark'd.

[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of these Cliffs any Line or s.p.a.ce may be what Note you please. Pl. I. Numb.

2.

[8] It is necessary to understand the _Sol-Fa_-ing, and its Rules, which shew where the two Semitones lie in each Octave, Pl. I. Numb. 3. Where Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That is _Fa_; if more Flats, the last. If one Sharp, That is _Mi_; if more Sharps, the last.

[9] His meaning is, that the _French_ are not in the right.

[10] See -- 2, and the following, in Chap. III. where the Difficulty of the _Semitone Major_ and _Minor_ are cleared.

[11] _Voce di Petto_ is a full Voice, which comes from the Breast by Strength, and is the most sonorous and expressive. _Voce di Testa_ comes more from the Throat, than from the Breast, and is capable of more Volubility. _Falsetto_ is a feigned Voice, which is entirely formed in the Throat, has more Volubility than any, but of no Substance.

[12] _Register_; a Term taken from the different Stops of an Organ.

[13] The Pitch of _Lombardy_ or _Venice_, is something more than half a Tone higher than at _Rome_.

[14] A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl.

I. Numb. 4. This being a Term of Art, it is necessary to use it, as well as _Piano_ for soft, and _Forte_ for loud. _N.B._ Our Author recommends here to use any Grace sparingly, which he does in several other Places, and with Reason; for the finest Grace too often repeated grows tiresome.

[15] See for _Appoggiatura_ in the next Chapter.

[16] This Chapter contains some Enquiries into Matters of Curiosity, and demands a little Attention. The Reader therefore is desired to postpone it to the last.

[17] _Appoggiatura_ is a Word to which the _English_ Language has not an Equivalent; it is a Note added by the Singer, for the arriving more gracefully to the following Note, either in rising or falling, as is shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The _French_ express it by two different Terms, _Port de Voix_ and _Appuyer_; as the _English_ do by a _Prepare_ and a _Lead_. The Word _Appoggiatura_ is derived from _Appoggiare_ to lean on. In this Sense, you lean on the first to arrive at the Note intended, rising or falling; and you dwell longer on the Preparation, than the Note for which the Preparation is made, and according to the Value of the Note. The same in a Preparation to a Shake, or a Beat from the Note below. No _Appoggiatura_ can be made at the Beginning of a Piece; there must be a Note preceding, from whence it leads.

[18] Here begins the Examination of the _Semitones Major and Minor_, which he promised in -- 15. Ch. 1. It may be of Satisfaction to the Studious, to set this Matter at once in a true Light; by which our Author's Doubts will be cleared, and his Reasoning the easier understood. A _Semitone Major_ changes Name, Line, and s.p.a.ce: _A Semitone_ Minor changes neither. Pl. II. Numb. 1. To a _Semitone Major_ one can go with a Rise or _a_ Fall distinctly; to a _Semitone Minor_ one cannot _N.B._ From a _Tone Minor_ the _Appoggiatura_ is better and easier than from a _Tone Major_.

[19] These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl.

II. Numb. 2.

[20] Because they are _Semitones Major_. Pl. II. Numb. 3.