or the _French_ do not leave
out the _Shake_ on the inferior _Cadences_, except in the _Pathetick
Airs_; and our _Italians_, who are used to over-do the _Mode_, exclude
it every where, tho' in the _Allegro_ the _Shake_ is absolutely
necessary. I know, that a good Singer may with Reason abstain from the
_Shake_ in the _Cantabile_; however, it should be rarely; for if one of
those _Cadences_ be tolerable without that pleasing Grace, it is
absolutely impossible not to be tired at length, with a Number one after
another that die suddenly.

Sec. 11. I find that all the _Moderns_ (let them be Friends or Foes to the
_Shake_) in the inferior _Cadences_ beforementioned go with an
_Appoggiatura_ to the final Note, on the penultimate Syllable of a Word;
and this likewise is a Defect, it appearing to me, that on such
Occasions the _Appoggiatura_ is not pleasing but on the last Syllable,
after the Manner of the _Ancients_, or of those who know how to
sing.[86]

Sec.12. If, in the inferior _Cadences_, the best Singers of these Days
think they are not in the wrong in making you hear the final Note before
the Bass[87], they deceive themselves grossly; for it is a very great
Error, hurts the Ear, and is against the Rules; and becomes doubly so,
going (as they do) to the same Note with an _Appoggiatura_, the which
either ascending or descending, if not after the Bass[88], is always
very bad.

Sec. 13. And is it not worst of all, to torment the Hearers with a thousand
_Cadences_ all in the same Manner? From whence proceeds this Sterility,
since every Professor knows, that the surest way of gaining Esteem in
Singing is a Variety in the Repetition?

Sec. 14. If among all the _Cadences_ in the _Airs_, the last allows a
moderate Liberty to the Singer, to distinguish the end of them, the
Abuse of it is insufferable. But it grows abomable, when the Singer
persists with his tiresome Warbling, nauseating the Judicious, who
suffer the more, because they know that the Composers leave generally in
every _final Cadence_ some Note, sufficient to make a discreet
Embellishment; without seeking for it out of Time, without Taste,
without Art, and without Judgment.[89]

Sec. 15. I am still more surprised when I reflect, that the _modern_ Stile,
after having exposed all the _Cadences_ of the theatrical _Airs_ to the
Martyrdom of a perpetual Motion, will likewise have the Cruelty to
condemn to the same Punishment not Those in the _Cantata's_ only, but