not made use of too often, it cannot displease even envy itself.

The eighth species is the trillo-mordente, or the shake with a beat, which is a pleasing grace in singing, and is taught by nature rather than art. This is produced with more velocity than the others, and is no sooner born than it dies. The singer who mixes it from time to time, in passages and divisions, produces a fine effect. He who understands his profession, rarely fails of using it after the appogiatura; and he who despises it is guilty of more than ignorance.

Of all these shakes, the two first are most necessary, and require most application of the master. It is customary, indeed, to sing without shakes; but the example of those who study only superficially ought not to be imitated. The shake, to be beautiful, requires to be prepared; though, on some occasions, time or taste will not permit it: but on final cadences, it is always necessary-now on the tone, and now on the semi-tone above its note, according to the nature of the composition. The defects of the shake are many. The long holding out shake formerly triumphed, and very improperly, as divisions now do; but when the art grew refined, it was left to the trumpets, or to those singers who waited for the eruption of a bravo or encore from

the populace. That shake which is often heard, be it ever so fine, cannot please: that which is beat with an uneven motion disgusts; that like the quivering of a goat, makes one laugh; and that in the throat is worse; that which is produced by a tone and its third is disagreeable; the slow is tiresome; and that which is out of time is intolerable.

The necessity of the shake obliges the master to keep the scholar applied to it upon all the vowels and on all the notes he possesses; not only on minims or long notes, but likewise on crotchets, where in process of time he may learn the close shake and beat, and the manner of forming them with quickness in the midst of the volubility of graces and divisions. After the free use of the shake, let the master observe if the scholar have the same facility in disusing it; for he would not be the first that could not leave it off at pleasure. But teaching where the shake is convenient, besides those on cadences, and where they are improper and forbidden, is a lesson reserved for those who have practice taste, and knowledge.-So far Tosi.

The manner of waving or vibrating on a single tone with the voice, in a similar manner as is done on the violin, particularly on a semibreve, minim, or final note, has often a good effect; but great care must be taken to do it dexterously and with taste, devoid of any flutter or trembling.

DIVISIONS, OR PASSAGES.

These are ornaments left for the most part to the invention and taste of the singer, who introduces them for the sake of displaying his art and execution. They may either be gradual or remote, gliding or staccatoed. In gradual divisions the notes lie near, in others at a distance. When the divisions are marked in staccato, both the lively and swift are executed in the manner of running with the feet, by a light motion of the voice, taken off on each note; by which means every note is preserved moderately distinct, neither too much joined nor too much separated. If the notes are too much marked, and struck with too great a force and jerking of the voice, the division, instead of being an ornament, will resemble the agitation of laughing: if it be not marked at all, the notes will be confused and huddled together as in a bad shake. In the gliding division, on the other hand, which is always more gradual and slow than the former, the notes flow more smoothly and in closer union.

The pupil would do well to practise the marked divisions carefully, free from any jerking of the chin; and proceed, as in the case of the shake, first slowly, then quicker by degrees, taking care not to mark them unequally unless so directed by the

score.

It will also be proper to begin with the most simple, and advance gradually to those more complicated and difficult.

THE CADENZA.

It

THIS is an ornament which is thrown in by the singer at the close of an air, and is precisely similar to the division, though often more protracted. is the most difficult to execute well of all other parts of singing, and ought never to be attempted by beginners, nor those who have not a complete mastery of their art. If the cadenza be carried too far, we lose sight, in all probability, both of the original theme and expression, and have our feelings interrupted to wonder at the extravagant flight of voice which the singer is taking in defiance of taste and good keeping. Mr. Bacon judiciously remarks, that the best rule is to take for a theme one of the most striking passages, and one which best conveys the prevailing sentiment, and to paraphrase or expand its beauties by new and analogous combinations, either from fancy or from portions of the air. Indeed, it is the entire object of the cadenza to impress the auditor anew, or affect him more intensely; to manifest the science and imagination of the performer, and to display any parts of his voice or of his execution that the song may not have enabled him adequately to demonstrate,—giving him an opportunity, as it were,

of expressing extempore the prevailing sentiments of the composition according to the feelings it has awakened during the singing.

"Let the master," says Tosi, "accustom the scholar to sing often in the 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 fortune, and in a singer becomes a merit. On the contrary, the fearful singer 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 gives us pain in not being able to show his ability in public; disgusts the hearer, and ruins the compositions in such a manner that they are not known to be what they are. A timorous singer is unhappy, like a prodigal who is miserably poor."

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The following directions by Corri are well worth attention.-"When requested to sing, comply with modest grace, and do not wait for entreaty. Banish from your thoughts all idea of what may be the opinion of your auditors on your singing, your figure, &c. Fix your whole attention on the subject of the music, and your manner of performance. If near the instrument, do not hold the piano-forte