ds_.
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]

Sec. 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]

Sec. 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]

Sec. 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]

Sec. 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 poin