e the Preference to a Singer above an
instrumental Performer, admitting them to be of equal Judgment and
Knowledge. Let the modern Master learn to make use of this Advice, for
never was it more necessary than at present.

Sec. 23. Let him exercise the Scholar to be very ready in joining the
Syllables to the Notes, that he may never be at a Loss in doing it.

Sec. 24. Let him forbid the Scholar to take Breath in the Middle of a Word,
because the dividing it in two is an Error against Nature; which must
not be followed, if we would avoid being laugh'd at. In interrupted
Movements, or in long _Divisions_, it is not so rigorously required,
when the one or the other cannot be sung in one Breath. Anciently such
Cautions were not necessary, but for the Learners of the first
Rudiments; now the Abuse, having taken its Rise in the modern Schools,
gathers Strength, and is grown familiar with those who pretend to
Eminence. The Master may correct this Fault, in teaching the Scholar to
manage his Respiration, that he may always be provided with more Breath
than is needful; and may avoid undertaking what, for want of it, he
cannot go through with.

Sec. 25. Let him shew, in all sorts of Compositions, the proper Place where
to take Breath, and without Fatigue; because there are Singers who give
Pain to the Hearer, as if they had an Asthma taking Breath every Moment
with Difficulty, as if they were breathing their last.

Sec. 26. Let the Master create some Emulation in a Scholar that is
negligent, inciting him to study the Lesson of his Companion, which
sometimes goes beyond Genius; because, if instead of one Lesson he hears
two, and the Competition does not discountenance him, he may perhaps
come to learn his Companion's Lesson first, and then his own.

Sec. 27. Let him never suffer the Scholar to hold the Musick-Paper, in
Singing, before his Face, both that the Sound of the Voice may not be
obstructed, and to prevent him from being bashful.

Sec. 28. Let him accustom the Scholar to sing often in presence of Persons
of Distinction, whether from Birth, Quality, or Eminence in the
Profession, that by gradually losing his Fear, he may acquire an
Assurance, but not a Boldness. Assurance leads to a Fortune, and in a
Singer becomes a Merit. On the contrary, the Fearful is most unhappy;
labouring under the Difficulty of fetching Breath, the Voice is always
trembling, and obliged to lose Time at every Note for fear of being
choaked; He g