[51] The Proverb is, Lingua Toscana in bocca Romana.—This regards the different Dialects, in Italy; as Neapolitan, Venetian, &c. the same, in Comparison, London to York, or Somersetshire.
[52] The Church-Musick in Italy is all in Latin, except Oratorio's, which are Entertainments in their Churches. It is therefore necessary to have some Notion of the Latin Tongue.
[53] The first Caution against imitating injudiciously the Instrumental with the Voice.
[54] The Italians have a Saying, Voce di Compositore, to denote a bad or an indifferent Voice.
[55] Cantabile, the Tender, Passionate, Pathetick; more Singing than Allegro, which is Lively, Brisk, Gay, and more in the executive Way.
[56] Suppose the first Part expressed Anger, and the second relented, and was to express Pity or Compassion, he must be angry again in the Da Capo. This often happens, and is very ridiculous if not done to a real Purpose, and that the Subject and Poetry require it.
[57] It is supposed, the Scholar is arrived to the Capacity of knowing Harmony and Counterpoint.
[58] The general dividing of Airs described, to which the Author often refers.
[59] With due Deference to our Author, it may be feared, that the Affectation of Singing with Variety has conduced very much to the introducing a bad Taste.
[60] Continuation of the general dividing Airs in § 4. The End of this Section is a seasonable Corrective of the Rule prescribed in the foregoing fifth Section.