[22] Because they are all Semitones Minor, which may be known by the abovementioned Rule, of their not changing Name, Line, nor Space. [Pl. II.] Numb. 5. and which makes it manifest, that a Semitone Minor cannot bear an Appoggiatura.
[23] For the same Reason, these being Semitones Minor. Pl. II. Numb. 6.
[24] Because one is a Semitone Major, and the other a Semitone Minor. [Pl. III.] Numb. 7.
[25] Because they are Semitones Minor. Pl. III, Numb. 8.
[26] The Tone, or Mood, you are in, will determine which is a Tone Major or Minor; for if you change the Mood or Tone, that which was the Tone Major may become the Tone Minor, and so Vice Versâ: Therefore these two Examples from C to D, and from F to G, do not hold true.
[27] His Perplexity comes from a wrong Notion, in not distinguishing those two Semitones.
[28] All Intervals, rising with an Appoggiatura, arise to the Note with a sort of Beat, more or less: and the same, descending, arrive to the Note with a sort of Shake, more or less. [Pl. III.] Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a third Major or Minor, [Pl. III.] Numb 11. But gradually very well. [Pl. III.] Numb. 12. Examples of false or deceitful Intervals. [Pl. III.] Numb. 13.
[29] So in all Cases where the Interval is deceitful. [Pl. III.] Numb. 14. With a Messa di Voce. [Pl. III.] Numb. 15. See for Messa di Voce, Chap. I. § 29, and its Note.
[30] In all the modern Italian Compositions the Appoggiatura's are mark'd, supposing the Singers to be ignorant where to place them. The French use them for their Lessons on the Harpsichord, &c., but seldom for the Voice.