§ 5. Let a Student therefore accustom himself to repeat them always differently, for, if I mistake not, one that abounds in Invention, though a moderate Singer, deserves much more Esteem, than a better who is barren of it; for this last pleases the Connoisseurs but for once, whereas the other, if he does not surprise by the Rareness of his Productions, will at least gratify your Attention with Variety.[59]
§ 6. The most celebrated among the Ancients piqued themselves in varying every Night their Songs in the Opera's, not only the Pathetick, but also the Allegro. The Student, who is not well grounded, cannot undertake this important Task.
§ 7. Without varying the Airs, the Knowledge of the Singers could never be discovered; but from the Nature and Quality of the Variations, it will be easily discerned in two of the greatest Singers which is the best.
§ 8. Returning from this Digression to the abovementioned, repeating the first Part of the Air with Variation, the Scholar will therein find out the Rules for Gracing, and introducing Beauties of his own Invention: These will teach him, that Time, Taste, and Skill, are sometimes of but small Advantage to one who is not ready at extempore Embellishments; but they should not allow, that a Superfluity of them should prejudice the Composition, and confound the Ear.[60]
§ 9. Let a Scholar provide himself with a Variety of Graces and Embellishments, and then let him make use of them with Judgment; for if he observes, he will find that the most celebrated Singers never make a Parade of their Talent in a few Songs; well knowing, that if Singers expose to the Publick all they have in their Shops, they are near becoming Bankrupts.
§ 10. In the Study of Airs, as I have before said, one cannot take Pains enough; for, though certain Things of small Effect may be omitted, yet how can the Art be called perfect if the Finishing is wanted.
§ 11. In Airs accompanied only a Bass, the Application of him who studies Graces is only subject to Time, and to the Bass; but in those, that are accompanied with more Instruments, the Singer must be also attentive to their Movement, in order to avoid the Errors committed by those who are ignorant of the Contrivance of such Accompaniments.
§ 12. To prevent several false Steps in singing the Airs, I would strongly inculcate to a Student, first, never to give over practising in private, till he is secure of committing no Error in Publick; and next, that at the first Rehearsal the Airs be sung without any other Ornaments than those which are very natural; but with a strict Attention, to examine at the same time in his Mind, where the artificial ones may be brought in with Propriety in the second; and so from one Rehearsal to another, always varying for the better, he will by Degrees become a great Singer.
§ 13. The most necessary Study for singing Airs in Perfection, and what is more difficult than any other, is to seek for what is easy and natural, as well as of beautiful Inventions. One who has the good Fortune to unite such two rare Talents, with an agreeable putting forth of the Voice, is a very happy Singer.
§ 14. Let him, who studies under the Disadvantage of an ungrateful Genius, remember for his Comfort, that singing in Tune, Expression, Messa di Voce, the Appoggiatura's, Shakes, Divisions, and accompanying himself, are the principal Qualifications; and no such insuperable Difficulties, but what may be overcome. I know, they are not sufficient to enable one to sing in Perfection; and that it would be Weakness to content one's self with only singing tolerably well; but Embellishments must be called in to their aid, which seldom refuse the Call, and sometimes come unsought. Study will do the business.