§ 10. Let him repeat his Lesson at Home, till he knows it perfectly; and with a local Memory let him retain it, to save his Master the Trouble of Teaching, and himself of studying it over again.
§ 11. Singing requires so strict an Application, that one must study with the Mind, when one cannot with the Voice.
§ 12. The unwearied Study of Youth is sure to overcome all Obstacles that oppose, though Defects were suck'd in with our Mother's Milk. This Opinion of mine is subject to strong Objections; however, Experience will defend it, provided he corrects himself in time. But if he delays it, the older he grows the more his Faults will increase.
§ 13. Let him hear as much as he can the most celebrated Singers, and likewise the most excellent instrumental Performers; because, from the Attention in hearing them, one reaps more Advantage than from any Instruction whatsoever.
§ 14. Let him endeavour to copy from Both, that he may insensibly, by the Study of others, get a good Taste. This advice, though extremely useful to a Student, is notwithstanding infinitely prejudicial to a Singer, as I shall shew in its proper Place[53].
§ 15. Let him often sing the most agreable Compositions of the best Authors, and accustom the Ear to that which pleases. I'd have a Student know, that by the abovementioned Imitations, and by the Idea of good Compositions, the Taste in Time becomes Art, and Art Nature.
§ 16. Let him learn to accompany himself, if he is ambitious of singing well. The Harpsichord is a great Incitement to Study, and by it we continually improve in our Knowledge. The evident Advantage arising to the Singer from that lovely Instrument, makes it superfluous to say more on that Head. Moreover, it often happens to one who cannot play, that without the Help of another he cannot be heard, and is thereby to his Shame obliged to deny the Commands of those whom it would be to his Advantage to obey.
§ 17. Till a Singer pleases himself, it is certain he cannot please others. Therefore consider, if some Professors of no small Skill have not this Pleasure for want of sufficient Application, what must the Scholar do? Study,—and study again, and not be satisfied.
§ 18. I am almost of Opinion, that all Study and Endeavours to sing are infallibly vain, if not accompanied with some little Knowledge of Counterpoint. One, who knows how to compose, can account for what he does, and he, who has not the same Light, works in the Dark, not knowing how to sing without committing Errors. The most famous Ancients know the intrinsick Value of this Precept from the Effects. And a good Scholar ought to imitate them, without considering whether this Lesson be according to the Mode or not For though, in these Days, one now and then hears admirable Performances, proceeding from a natural Taste, yet they are all done by Chance; but where that Taste is wanting, if they are not execrable, at least they will be very bad: For Fortune not being always at their Command, they cannot be sure to agree, neither with Time nor Harmony. This Knowledge, although requisite, I would not however advise a Scholar to give himself up to an intense Application, it being certain, I should teach him the readiest way to lose his Voice, but I exhort him only to learn the principal Rules, that he may not be quite in the Dark.[54]
§ 19. To study much, and preserve a Voice in its full Beauty, are two Things almost incompatible; there is between them such a sort of Amity, as cannot last without being prejudicial to the one or the other. However, if one reflects, that Perfection in a Voice is a Gift of Nature, and in Art a painful Acquisition, it will indeed be allowed, that this latter excels in Merit, and more deserves our Praise.