Of the Appoggiatura.[17]
ong all the Embellishments in the Art of Singing, there is none so easy for the Master to teach, or less difficult for the Scholar to learn, than the Appoggiatura. This, besides its Beauty, has obtained the sole Privilege of being heard often without tiring, provided it does not go beyond the Limits prescrib'd by Professors of good Taste.
§ 2. From the Time that the Appoggiatura has been invented to adorn the Art of Singing, the true Reason,[18] why it cannot be used in all Places, remains yet a Secret. After having searched for it among Singers of the first Rank in vain, I considered that Musick, as a Science, ought to have its Rules, and that all Manner of Ways should be tried to discover them. I do not flatter myself that I am arrived at it; but the Judicious will see, at least that I am come near it. However, treating of a Matter wholly produced from my Observations, I should hope for more Indulgence in this Chapter than in any other.
§ 3. From Practice, I perceive, that from C to C by B Quadro,[19] a Voice can ascend and descend gradually with the Appoggiatura, passing without any the least Obstacle thro' all the five Tones, and the two Semitones, that make an Octave.
§ 4. That from every accidental Diezis, or Sharp, that may be found in the Scale, one can gradually rise a Semitone to the nearest Note with an Appoggiatura, and return in the same Manner.[20]
§ 5. That from every Note that has a B Quadro, or Natural, one can ascend by Semitones to every one that has a B Molle, or Flat, with an Appoggiatura.[21]
§ 6. But, contrarywise, my Ear tells me, that from F, G, A, C, and D, one cannot rise gradually with an Appoggiatura by Semitones,[22] when any of these five Tones have a Sharp annex'd to them.
§ 7. That one cannot pass with an Appoggiatura gradually from a third Minor to the Bass, to a third Major, nor from the third Major to the third Minor.[23]
§ 8. That two consequent Appoggiatura's cannot pass gradually by Semitones from one Tone to another.[24]