Читать книгу Observations on the Florid Song; Or, Sentiments on the Ancient and Modern Singers - Pier Francesco Tosi - Страница 6

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Of the Appoggiatura.[17]

ong all the Embellishments in the Art of Singing, there is none so easy for the Master to teach, or less difficult for the Scholar to learn, than the Appoggiatura. This, besides its Beauty, has obtained the sole Privilege of being heard often without tiring, provided it does not go beyond the Limits prescrib'd by Professors of good Taste.

§ 2. From the Time that the Appoggiatura has been invented to adorn the Art of Singing, the true Reason,[18] why it cannot be used in all Places, remains yet a Secret. After having searched for it among Singers of the first Rank in vain, I considered that Musick, as a Science, ought to have its Rules, and that all Manner of Ways should be tried to discover them. I do not flatter myself that I am arrived at it; but the Judicious will see, at least that I am come near it. However, treating of a Matter wholly produced from my Observations, I should hope for more Indulgence in this Chapter than in any other.

§ 3. From Practice, I perceive, that from C to C by B Quadro,[19] a Voice can ascend and descend gradually with the Appoggiatura, passing without any the least Obstacle thro' all the five Tones, and the two Semitones, that make an Octave.

§ 4. That from every accidental Diezis, or Sharp, that may be found in the Scale, one can gradually rise a Semitone to the nearest Note with an Appoggiatura, and return in the same Manner.[20]

§ 5. That from every Note that has a B Quadro, or Natural, one can ascend by Semitones to every one that has a B Molle, or Flat, with an Appoggiatura.[21]

§ 6. But, contrarywise, my Ear tells me, that from F, G, A, C, and D, one cannot rise gradually with an Appoggiatura by Semitones,[22] when any of these five Tones have a Sharp annex'd to them.

§ 7. That one cannot pass with an Appoggiatura gradually from a third Minor to the Bass, to a third Major, nor from the third Major to the third Minor.[23]

§ 8. That two consequent Appoggiatura's cannot pass gradually by Semitones from one Tone to another.[24]

§ 9. That one cannot rise by Semitone, with an Appoggiatura, from any Note with a Flat.[25]

§ 10. And, finally, where the Appoggiatura cannot ascend, it cannot descend.

§ 11. Practice giving us no Insight into the Reason of all these Rules, let us see if it can be found out by those who ought to account for it.

§ 12. Theory teaches us, that the abovementioned Octave consisting of twelve unequal Semitones, it is necessary to distinguish the Major from the Minor, and it sends the Student to consult the Tetrachords. The most conspicuous Authors, that treat of them, are not all of the same Opinion: For we find some who maintain, that from C to D, as well as from F to G, the Semitones are equal; and mean while we are left in Suspense.[26]

§ 13. The Ear, however, which is the supreme Umpire in this Art, does in the Appoggiatura so nicely discern the Quality of the Semitones, that it sufficiently distinguishes the Semitone Major. Therefore going so agreeably from Mi to Fa (that is) from B Quadro to C, or from E to F, one ought to conclude That to be a Semitone Major, as it undeniably is. But whence does it proceed, that from this very Fa, (that is from F or C) I cannot rise to the next Sharp, which is also a Semitone? It is Minor, says the Ear. Therefore I take it for granted, that the Reason why the Appoggiatura has not a full Liberty, is, that it cannot pass gradually to a Semitone Minor; submitting myself, however, to better Judgment.[27]

§ 14. The Appoggiatura may likewise pass from one distant Note to another, provided the Skip or Interval be not deceitful; for, in that Case, whoever does not hit it sure, will show they know not how to sing.[28]

§ 15. Since, as I have said, it is not possible for a Singer to rise gradually with an Appoggiatura to a Semitone Minor, Nature will teach him to rise a Tone, that from thence he may descend with an Appoggiatura to that Semitone; or if he has a Mind to come to it without the Appoggiatura, to raise the Voice with a Messa di Voce, the Voice always rising till he reaches it.[29]

§ 16. If the Scholar be well instructed in this, the Appoggiatura's will become so familiar to him by continual Practice, that by the Time he is come out of his first Lessons, he will laugh at those Composers that mark them, with a Design either to be thought Modern, or to shew that they understand the Art of Singing better than the Singers. If they have this Superiority over them, why do they not write down even the Graces, which are more difficult, and more essential than the Appoggiatura's? But if they mark them that they may acquire the glorious Name of a Virtuoso alla Moda, or a Composer in the new Stile, they ought at least to know, that the Addition of one Note costs little Trouble, and less Study. Poor Italy! pray tell me; do not the Singers now-a-days know where the Appoggiatura's are to be made, unless they are pointed at with a Finger? In my Time their own Knowledge shewed it them. Eternal Shame to him who first introduced these foreign Puerilities into our Nation, renowned for teaching others the greater part of the polite Arts; particularly, that of Singing! Oh, how great a Weak ness in those that follow the Example! Oh, injurious Insult to your Modern Singers, who submit to Instructions fit for Children! Let us imitate the Foreigners in those Things only, wherein they excel.[30]