contemptible to myself, but tiresome to the public? The danger to which my poor music is exposed is still more imminent, when I reflect upon the great number of different schools for song that exist in Italy. The theatres are filled with performers who have learned music from some poor provincial professor. This mode of singing violin concertos and variations without end, tends to destroy not only the talent of the singer, but also to vitiate the taste of the public. Every singer will make a point of imitating Velluti, without calculating upon the relative compass of his voice. We shall see no more simple cantilenas. They would appear cold and tasteless. Every thing is about to undergo a change, even to the nature of the voice. Once accustomed to embellish, to overload the cantilena with high-wrought ornaments, and so stifle the works of the composer, they will soon discover that they have lost the habit of sustaining the voice and expanding the tones, and consequently the power of executing largo movements. I must therefore lose no time in changing the system I have followed hitherto. I am not myself ignorant of singing: all the world allows me a talent this way. My embellishments shall be in good taste; for I shall at once be able to discover where my singers are strong and where defective, and I will write nothing for them but what they

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can execute. My mind is made up. I will not leave them room for a single appogiatura. These ornaments, this method of charming the ear, shall form an integral part of my song, and shall be all written down in my score."

Such ought to be the practice of all composers; and no young singer ought ever to attempt a grace that is not set down for him, or which is not pointed out for him by a judicious master. The violation of this rule may procure a momentary applause from a mixed audience; but it will never ensure a lasting reputation, nor lead to establish first-rate excellence in simple execution. We shall now proceed to the method of teaching the principal graces employed in singing.

THE GLIDE, OR STRASCINO.

This ornament is little known and seldom used by our English singers, though it is introduced with fine effect by the Italians. It consists in gliding with the voice, so as to draw two distinct notes together, blending them so smoothly, equally, and gently, that not the least break or separation may be perceived. We may compare it to the soft, but rapid movements of the bow of the violin, passing in a smooth, indistinct, and undefined manner from one string to another; or rather the soft murmur of flowing water, or one drop of dew falling into

another. The glide, therefore, excludes all beats, shakes, and turns. The ascending is much more. difficult to execute than the descending glide; and to blend them equally, and without any break or harshness, they should be practised alternately-first two notes in immediate succession, and then at more distant intervals. The singer may occasionally avail himself of this elegant grace in passing more easily and smoothly to a third, or any other interval. English singers object to it, as too effeminate.

The unequal glide sometimes called dragging, is performed by hanging, as it were, upon some notes descending, and hastening the others, so as to preserve the time of the whole bar, varying the effect by passing from the forte to the piano alternately. The stealing of time, says Tosi, is an honourable theft in one that sings better than others, provided he make an ingenious restitution; but whoever knows not how to steal the time in singing, is destitute of good taste and scientific knowledge.

THE APPOGIATURA.

We have to borrow this term from the Italians, as there is no English word which will express its meaning. It is performed much in the same manner as the strascino: the principal difference being, that the glide is equal and applicable to notes at

any distance; the appogiatura is unequal, and applicable only to a note in immediate succession, and that, either ascending or descending. It is unequal, because the voice is made to lean the least imaginable when the emphasis is made on the plain note, the graced note being marked small, as a light graceful step for the singer to the note succeeding, in order to connect and smooth the abruptness of the intervals. The rule is, to give the grace note more than half the time of the plain note which follows. When the grace note is accented, it ought to have three-fourths of the time, and the plain note one-fourth. When the appogiatura is not marked by the composer, it requires some judgment where to introduce it properly; and it requires care to make it perfectly smooth: in pathetic passages, leisurely and tenderly-in lively pieces, hastily and closely, in order to add velocity to the air. The least jerk, or harsh tone in the voice, would spoil this ornament; though, to please the vulgar, this is sometimes adopted as a substitute for spirit and animation. There is no qualification, indeed, which sooner or more strongly indicates fine taste and feeling, than the delicacy and elasticity of voice with which this ornament is performed.

The appogiatura may now and then, but not too frequently, be introduced by an aspiration,

which is a mere breathing or gentle sigh thrown in for the sake of pathos or expression. This, however, must always be naturally easy, not over strong, otherwise it would betray the appearance of art and affectation. The untaught singer may be recognised by the abuse of this, as well as of what is called the anticipation or groping for each succeeding note, as if the singer were stumbling about in the dark, and feeling his way like a blind person. Of all the graces, the appogiatura is the least tedious; and, as Tosi says, may be heard the oftenest without tiring: yet it may be too often introduced, as some singers append it to every other note.

THE SLUR.

This grace is, to immediately successive notes, the same as the glide is to those which are distant by intervals; or it may be described as a brilliant progression of tied notes ascending or descending, flowing from the throat as lightly and smoothly as the glide, but more swiftly and smartly. Suppose it to be formed of a glide from a third or any other interval, by a supply or insertion of intermediate notes,-first make the glide, then convert it into a slur; and by practising in this way, you will acquire it neatly. Tosi observes, that the slur cannot go beyond a