§ 2. By accustoming the Voice of a Learner to be lazy and dragging, he is rendered incapable of any considerable Progress in his Profession. Whosoever has not the Agility of Voice, in Compositions of a quick or lively Movement, becomes odiously tiresome; and at last retards the Time so much, that every thing he sings appears to be out of Tune.
§ 3. Division, according to the general Opinion, is of two Kinds, the Mark'd, and the Gliding; which last, from its Slowness and Dragging, ought rather to be called a Passage or Grace, than a Division.
§ 4. In regard to the first, the Master ought to teach the Scholar that light Motion of the Voice, in which the Notes that constitute the Division be all articulate in equal Proportion, and moderately distinct, that they be not too much join'd, nor too much mark'd.[42]
§ 5. The second is perform'd in such a Manner that the first Note is a Guide to all that follow, closely united, gradual, and with such Evenness of Motion, that in Singing it imitates a certain Gliding, by the Masters called a Slur; the Effect of which is truly agreeable when used sparingly.[43]
§ 6. The mark'd Divisions, being more frequently used than the others, require more Practice.
§ 7. The Use of the Slur is pretty much limited in Singing, and is confined within such few Notes ascending or descending, that it cannot go beyond a fourth without displeasing. It seems to me to be more grateful to the Ear descending, than in the contrary Motion.
§ 8. The Dragg consists in a Succession of divers Notes, artfully mixed with the Forte and Piano. The Beauty of which I shall speak of in another Place.
§ 9. If the Master hastens insensibly the Time when the Scholar sings the Divisions, he will find that there is not a more effectual way to unbind the Voice, and bring it to a Volubility; being however cautious, that this imperceptible Alteration do not grow by Degrees into a vicious Habit.
§ 10. Let him teach to hit the Divisions with the same Agility in ascending gradually, as in descending; for though this seems to be an Instruction fit only for a Beginner, yet we do not find every Singer able to perform it.
§ 11. After the gradual Divisions, let him learn to hit, with the greatest Readiness, all those that are of difficult Intervals, that, being in Tune and Time, they may with Justice deserve our Attention. The Study of this Lesson demands more Time and Application than any other, not so much for the great Difficulty in attaining it, as the important Consequences that attend it; and, in Fact, a Singer loses all Fear when the most difficult Divisions are become familiar to him.