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Of the Shake.

e meet with two most powerful Obstacles informing the Shake. The first embarrasses the Master; for, to this Hour there is no infallible Rule found to teach it: And the second affects the Scholar, because Nature imparts the Shake but to few. The Impatience of the Master joins with the Despair of the Learner, so that they decline farther Trouble about it. But in this the Master is blameable, in not doing his Duty, by leaving the Scholar in Ignorance. One must strive against Difficulties with Patience to overcome them.

§ 2. Whether the Shake be necessary in Singing, ask the Professors of the first Rank, who know better than any others how often they have been indebted to it; for, upon any Absence of Mind, they would have betrayed to the Publick the Sterility of their Art, without the prompt Assistance of the Shake.

§ 3. Whoever has a fine Shake, tho' wanting in every other Grace, always enjoys the Advantage of conducting himself without giving Distaste to the End or Cadence, where for the most part it is very essential; and who wants it, or has it imperfectly, will never be a great Singer, let his Knowledge be ever so great.

§ 4. The Shake then, being of such Consequence, let the Master, by the Means of verbal Instructions, and Examples vocal and instrumental, strive that the Scholar may attain one that is equal, distinctly mark'd, easy, and moderately quick, which are its most beautiful Qualifications.

§ 5. In case the Master should not know how many sorts of Shakes there are, I shall acquaint him, that the Ingenuity of the Professors hath found so many Ways, distinguishing them with different Names, that one may say there are eight Species of them.[31]

§ 6. The first is the Shake Major, from the violent Motion of two neighbouring Sounds at the Distance of a Tone, one of which may be called Principal, because it keeps with greater Force the Place of the Note which requires it; the other, notwithstanding it possesses in its Motion the superior Sound appears no other than an Auxiliary. From this Shake all the others are derived.[32]

§ 7. The second is the Shake Minor, consisting of a Sound, and its neighbouring Semitone Major; and where the one or the other of these, two Shakes are proper, the Compositions will easily shew. From the inferior or lower Cadences, the first, or full Tone Shake is for ever excluded.[33] If the Difference of these two Shakes is not easily discovered in the Singer, whenever it is with a Semitone, one may attribute the Cause to the want of Force of the Auxiliary to make itself heard distinctly; besides, this Shake being more difficult to be beat than the other, every body does not know how to make it, as it should be, and Negligence becomes a Habit. If this Shake is not distinguished in Instruments, the Fault is in the Ear.[34]

§ 8. The third is the Mezzo-trillo, or the short Shake, which is likewise known from its Name. One, who is Master of the first and second, with the Art of beating it a little closer, will easily learn it; ending it as soon as heard, and adding a little Brilliant. For this Reason, this Shake pleases more in brisk and lively Airs than in the Pathetick.[35]

§ 9. The fourth is the rising Shake, which is done by making the Voice ascend imperceptibly, shaking from Comma to Comma without discovering the Rise.[36]

§ 10. The fifth is the descending Shake, which is done by making the Voice decline insensibly from Comma to Comma, shaking in such Manner that the Descent be not distinguished. These two Shakes, ever since true[37] Taste has prevailed, are no more in Vogue, and ought rather to be forgot than learn'd. A nice Ear equally abhorrs the ancient dry Stuff, and the modern Abuses.

§ 11. The sixth is the slow Shake, whose Quality is also denoted by its Name. He, who does not study this, in my Opinion ought not therefore to lose the Name of a good Singer; for it being only an affected Waving, that at last unites with the first and second Shake, it cannot, I think, please more than once.[38]

§ 12. The seventh is the redoubled Shake, which is learned by mixing a few Notes between the Major or Minor Shake, which Interposition suffices to make several Shakes of one. This is beautiful, when those few Notes, so intermixed, are sung with Force. If then it be gently formed on the high Notes of an excellent Voice,[39] perfect in this rare Quality, and not made use of too often, it cannot displease even Envy itself.

§ 13. The eighth is the Trillo-Mordente, or the Shake with a Beat, which is a pleasing Grace in Singing, and is taught rather by Nature than by Art. This is produced with more Velocity than the others, and is no sooner born but dies. That Singer has a great Advantage, who from time to time mixes it in Passages or Divisions (of which I shall take Notice in the proper Chapter). He, who understands his Profession, rarely fails of using it after the Appoggiatura; and he, who despises it, is guilty of more than Ignorance.[40]

§ 14. Of all these Shakes, the two first are most necessary, and require most the Application of the Master. I know too well that it is customary to sing without Shakes; but the Example, of those who study but superficially, ought not to be imitated.

§ 15. The Shake, to be beautiful, requires to be prepared, though, on some Occasions, Time or Taste will not permit it. But on final Cadences, it is always necessary, now on the Tone, now on the Semitone above its Note, according to the Nature of the Composition.

§ 16. The Defects of the Shake are many. The long holding-out Shake triumph'd formerly, and very improperly, as now the Divisions do; but when the Art grew refined, it was left to the Trumpets, or to those Singers that waited for the Eruption of an E Viva! or Bravo! from the Populace. That Shake which is too often heard, be it ever so fine, cannot please. That which is beat with an uneven Motion disgusts; that like the Quivering of a Goat makes one laugh; and that in the Throat is the worst: That which is produced by a Tone and its third, is disagreeable; the Slow is tiresome; and that which is out of Tune is hideous.

§ 17. The Necessity of the Shake obliges the Master to keep the Scholar applied to it upon all the Vowels, and on all the Notes he possesses; not only on Minims or long Notes, but likewise on Crotchets, where in Process of Time he may learn the Close Shake, the Beat, and the Forming them with Quickness in the Midst of the Volubility of Graces and Divisions.

§ 18. After the free Use of the Shake, let the Master observe if the Scholar has the same Facility in disusing it; for he would not be the first that could not leave it off at Pleasure.

§ 19. But the teaching where the Shake is convenient, besides those on[41] Cadences, and where they are improper and forbid, is a Lesson reserv'd for those who have Practice, Taste, and Knowledge.