Part 18

The Tone, or Mood, you are in, will determine which is a Tone Major or Minor; for if you change the Mood or Tone, that which was the Tone Major may become the Tone Minor, and so Vice Versâ: Therefore these two Examples from C to D, and from F to G, do not hold true.

His Perplexity comes from a wrong Notion, in not distinguishing those two Semitones.

All Intervals, rising with an Appoggiatura, arise to the Note with a sort of Beat, more or less: and the same, descending, arrive to the Note with a sort of Shake, more or less. Pl. III. Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a third Major or Minor, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12. Examples of false or deceitful Intervals. Pl. III. Numb. 13.

So in all Cases where the Interval is deceitful. Pl. III. Numb. 14. With a Messa di Voce. Pl. III. Numb. 15. See for Messa di Voce, Chap. I. § 29, and its Note.

In all the modern Italian Compositions the Appoggiatura's are mark'd, supposing the Singers to be ignorant where to place them. The French use them for their Lessons on the Harpsichord, &c., but seldom for the Voice.

See for the several Examples of the Shakes, Pl. IV.

The first Shake of a Tone, Pl. IV. Numb. 1.

See for the Meaning of superior and inferior Cadences, Chap. VIII. § 1. Pl. V. Numb. 3. N.B. Prom the inferior or lower Cadences, the first, or full, Tone Shake, is not always excluded; for in a sharp Key it is always a Tone, and in a flat Key a Semitone, Pl. IV. Numb. 3.

The second Shake of a Semitone Major, Pl. IV. Numb. 2.

The third the short Shake. Pl. IV. Numb. 4.

The fourth the rising Shake. Pl. IV. Numb. 5.

The fifth the descending Shake. Pl. IV. Numb. 6.

The sixth the slow Shake. Pl. IV. Numb. 7.

The seventh the redoubled Shake. Pl. IV. Numb. 8.

The eighth the Trillo-Mordente, or Shake with a Beat. Pl. IV. Numb. 9.

Shakes are generally proper from preceding Notes descending, but not ascending, except on particular Occasions. Never too many, or too near one another; but very bad to begin with them, which is too frequently done. The using so often Beats, Shakes, and Prepares, is owing to Lessons on the Lute, Harpsichord, and other Instruments, whose Sounds discontinue, and therefore have Need of this Help.

The mark'd Divisions should be something like the Staccato on the Violin, but not too much; against which a Caution will presently be given.

The Gliding Notes are like several Notes in one Stroke of the Bow on the Violin.

The pronouncing Eror instead of Error; or Dally instead of Daly. The not distinguishing; the double Consonants from the single, is an Error but too common at present.

See for the syncopated, Ligatura, or binding Notes, Pl. IV. Numb. 10.

Madrigals are Pieces in several Parts; the last in Practice were about threescore Years ago; then the Opera's began to be in Vogue, and good Musick and the Knowledge of it began to decline.

Musica di Camera. Chamber, or private, Musick; where the Multitude is not courted for Applause, but only the true Judges; and consists chiefly in Cantata's, Duetto's, &c. In the Recitative of Cantata's, our Author excelled in a singular Manner for the pathetick Expression of the Words.

Cortona liv'd above forty Years ago. Balarini, in Service at the Court of Vienna, much in Favour with the Emperor Joseph, who made him a Baron.

See Broken Cadences, Pl. V. Numb. 1.

----Final Cadences, Pl. V. Numb. 2.

Motets, or Anthems.

The Proverb is, Lingua Toscana in bocca Romana.--This regards the different Dialects, in Italy; as Neapolitan, Venetian, &c. the same, in Comparison, London to York, or Somersetshire.

The Church-Musick in Italy is all in Latin, except Oratorio's, which are Entertainments in their Churches. It is therefore necessary to have some Notion of the Latin Tongue.