Part 16

§ 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

Pl. II

Chap. 2d.

Pl. III

Pl. IV

Chap. 3d.

Chap 4th

Chap. 5th

Chap 8th

La Sol Fa

Inferior Cadence

Fa me Fa]

Nº. 4. Nº. 5.

nel fondo]

FOOTNOTES:

When Arts and Sciences were retrieving from the Barbarism in which they were buried, Musick chiefly took its Rise in Flanders, and the Composers of Musick of that Nation were dispersed all over Europe, to the Improvement of others. In Italy there arose from that School, among several others, P. Alis. Palestrina, a Genius so extraordinary, that he is looked upon as the Raphael among the Musicians. He lived in Pope Leo the Tenth's Time; and no Musick, that we know of, is performed at the Pope's Chapel, to this Day, but of his Composition, except the famous Miserere of Allegri, who liv'd a little time after Palestrina.

Our Author seems to be a little too partial in Favour of the Singer, all momentary Productions being the same; though it must be allowed, that by reason of the Expression of the Words, any Error in Singing will be more capital, than if the same were committed on an Instrument.

The Author directs this for the Instruction of a Soprano, or a treble Voice, because Youth possesses that Voice mostly, and that is the Age when they should begin to study Musick. It may not be amiss to mention, that the Soprano is most apt to perform the Things required by your Author, and that every different Scale of Voice has something peculiarly relative to its Kind as its own Property; for a Soprano has generally most Volubility, and becomes it best; and also equally the Pathetick. The Contr'Alto more of the Pathetick than the Volubility; the Tenor less of the Pathetick, but more of the Volubility than the Contr'Alto, though not so much as the Soprano. The Bass, in general more pompous than any, but should not be so boisterous as now too often practised.

By this section, and mostly throughout the Work, one sees, the Author calculated this Treatise chiefly for the Advantage of Professors of Musick; but, notwithstanding, it appears in several Places, that his Intention is, that all Lovers of Musick should also be the better for it.

The Explanation of Sic vos non vobis, &c., for the Satisfaction of those who do not perfectly remember it.