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2

T O C AIL, M-'US I CI Thefirst and most jiecessaiy Rule in Singing, is to keep the

voice steadj. • . .

II. To forin the voice, in as pleasing a Tone as is in the Powerof the Scholar.

III. i'o be exactly in Tune, as without a perfect Intonation , it is

needless to attempt singing.

IV. Tc vocalize correctly, that is, to give as open and clear asoimdto the Vowels, as fheNa^u re of the Xanguage in which the Student,,sings,will admit.

• ' /

y. To articulate perfectly each Syllable.

VI. To sing the Scale, or Gamut frequently, alloWing to eachsoxmd'one BREVE or two SEFIBREVES , which must be sung in the salneBreath,- and this must be done, in both, A MEZZA" DI VOCE ,;thatis, by swelling the Voice, beginning Pianissimo, and encreasing^radu--ally to Eorte, in the first part cjf the Time, and so diminishing graduaL-ly to the end of each Note,which will be expressed in this way.

:4

Piannssimo ^ Piano

,VII To exercise the Voice in SOtEEGGIO every Day, with the Mo.

-nosyllables Do, Ke,iiyii, f.:ci

VIII.To copy a littleMusic every pay,in order to accustomthe Eyeto divide the Time into aU'its Proportions.

IX. Never to force the Voice, in order to extend its CompafsintheVoceDT FF.TTo ti p v\'ards,but rather to Cultivate the Voce m testa

in whiit is ciTled EALSETTOi in order to join it well, and imperceptiblyto the VOCE 'DI PETTO, for fear of incurring the disat^recable Habitof singing in the Throat or through the Nose; unpardonableEaults in a Singer.

X. In the p:xercise cf Singing, never to discover any Pain or^Jiffici'lty by distortion of the Mouth, or Grimace of any kind,which

d^"5 th"™ost diff,^^^^^countenance in » Lookingglu-

^H.That Scholars ^hrMri,! • ^ i

Friends with a calm .nd ^^^^ Harpsichord and to theirf'he arful Countenance.

-A^IH.Torestor take hr*.n+v u ^ -li.

Time,, that is to say, to tav: ,the Melody are ended- J^- I only when the Periods,or members of

tenninateL tL a^^^^^^^^^o-^ions ofthe^ir, generally

cessary, as by dwellitil +J '^^^^ And this Rule is the more ne-'

the Singer loses the Ot.^ •2''^ last Note of a musicalPeriod

breakingthe ^ss^gef^o^!^^^;' ^^'^'^^ ?^ ^^^'^^ breath, withotit

irT^.%u- . .^''^'^^^^ng perceived by the Audience.^IV. That Without th#» r«^^

Passagenr of an affec^ir, rurgent necessity, ,of either a long

or divided. ^ *^^pi^ession,Words must never be broken,

XV, That a good MFv^a ^ .

always precede the ADT^nr^^ ^^^^ "^^^^^ ^oMce must

XVT . •I^IBITUM Pause^ knd CADENZA.^vi. That m pronounr^^^ ^ ^ ^ a

with the sentii^ent that , ? the Words care mustbe taken to accord

XVTT ^ 4 ^x.intelided by the Poet.AVII, That the acute, m,! j

as to render th enWiniil^r. ; si^per-acute sounds must never be.so forced

A'^r^ _^ .to shrieks.

^Vni.That in Sincin^ +u -r> ' ^ ,cept in. the case of Starr.il ^"^^ Voice must be united, ex-

' ^^lO Notes.X.1"^ Th at

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-lian LanguaV mustbe"^.''!^^^ Consonantsin the Ita-

not to make those thnt • ,enforced, and Care must betake n

^v- T ,

^^'^'^^ ^^^"1 double.To practice the qv,.u , .

which must 'gen e rail vp^^*^^^^^^ JCfeat est. Care and Attepticn,

and;finish with the l^^ve^i"'^'^^^^^^^ highest of the two Notes,

derived fromVe^rh^rj^'^^ and Embellishments of Son^s shoul A beC^haracter of the Aiir, and Passioi^ of the words.

I

Pia Seal'- of one Brove in a breath.

PFor

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Pia Pia Scale of two Semibreves in a breath.

^II ^ II . II

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Example of the Shake.

Scale for the Practice of the Shake.

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SHORT AND EASY LEJ*,«0!«.S FOR THE EXERCISE OF THE VOICE.

JLESSON for ascondi'ng and desteftdllig by the interval of a 3. with and without thejnterm^idiate note or guide

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LESS ON for the interval of the 4 J with and wlhout the intermediate sounds

th .LE S son for the . ihter-val of the ^; -with and without a guide.

^^^^^^1 igfaj {>- Lf -f— "1 fctP 1 ^If^- II

UCSSON for the

^^^^^^^^

iTblSSONforthe 7>*^

^^^^

iESSON for the Octave or

Exercise of all the intervals in the diatonic genus or Scale

Exercise in little divisions or flights in ascending and descending eight notes

m F-

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Division or volata of 8 notes ascending and desending successively in the same breath

Exercise ofthe 9. in gradual ascent and of the 8 ; descending

Exercise of the 10, in the diato^nic Scale ascending

Exercise in divisions ^here the time is broken by rests

Exercise of divisions \vithin the compass of the 6^^called by the ItaliansScavnever extend to an Octave

ezze becausethey^

Exercise of Syncopation or driving notes

llxercise in Triplets

10

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12

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