e natural Inclination that the Beginners have to keep
the Voice in Motion, and the Trouble in holding it out, he will get a
habit, and not be able to fix it, and will become subject to a
Flutt'ring in the Manner of all those that sing in a very bad Taste.

Sec. 29. In the same Lessons, let him teach the Art to put forth the Voice,
which consists in letting it swell by Degrees from the softest _Piano_
to the loudest _Forte_, and from thence with the same Art return from
the _Forte_ to the _Piano_. A beautiful _Messa di Voce_,[14] from a
Singer that uses it sparingly, and only on the open Vowels, can never
fail of having an exquisite Effect. Very few of the present Singers find
it to their Taste, either from the Instability of their Voice, or in
order to avoid all Manner of Resemblance of the _odious Ancients_. It
is, however, a manifest Injury they do to the Nightingale, who was the
Origin of it, and the only thing which the Voice can well imitate. But
perhaps they have found some other of the feathered Kind worthy their
Imitation, that sings quite after the New Mode.

Sec. 30. Let the Master never be tired in making the Scholar _Sol-Fa_, as
long as he finds it necessary; for if he should let him sing upon the
Vowels too soon, he knows not how to instruct.

Sec. 31. Next, let him study on the three open Vowels, particularly on the
first, but not always upon the same, as is practised now-a-days; in
order, that from this frequent Exercise he may not confound one with the
other, and that from hence he may the easier come to the use of the
Words.

Sec. 32. The Scholar having now made some remarkable Progress, the
Instructor may acquaint him with the first Embellishments of the Art,
which are the _Appoggiatura's_[15] (to be spoke of next) and apply them
to the Vowels.

Sec. 33. Let him learn the Manner to glide with the Vowels, and to drag the
Voice gently from the high to the lower Notes, which, thro'
Qualifications necessary for singing well, cannot possibly be learn'd
from _Sol-fa_-ing only, and are overlooked by the Unskilful.

Sec. 34. But if he should let him sing the Words, and apply the
_Appoggiatura_ to the Vowels before he is perfect in _Sol-fa_-ing, he
ruins the Scholar.

CHAP. II.[16]

_Of the_ Appoggiatura.[17]

Among 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