res 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]

Sec. 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]

Sec. 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]

Sec. 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]

Sec. 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.

Sec. 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]

Sec. 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