| Observations on the Florid Song, Or, Sentiments on the Ancient and Modern Singers Contributor(s): Tosi, Pier Francesco (Author) |
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ISBN: 0217187161 ISBN-13: 9780217187169 Publisher: Rarebooksclub.com OUR PRICE: $9.96 Product Type: Paperback - Other Formats Published: July 2012 * Not available - Not in print at this time * |
| Additional Information |
| BISAC Categories: - Music - History |
| Dewey: 783.043 |
| Physical Information: 0.04" H x 7.44" W x 9.69" (0.12 lbs) 20 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1743 edition. Excerpt: ...and become paralytick in studying and finding out in the Scores, the Harmony, the Fugues, their Reverses, the Double Counterpoint, the Multiplication of Subjects, to contract them closer, to make Canons, and such other dry Stuff, that are no more in Mode, and (what is worses) are of little Esteem, and less Profit. What say you now to this, Master Critick? Have you comprehended me?--Yes, Sir. Well, what Answer do you make me? None. 34. Really, I. am astonished, O beloved Singers, at the profound Lethargy in which you remain, and which is so much to your Disadvantage. 'Tis You that ought to awaken, for now is the Time, and tell the Composers of this Stamp, that your Desire is to Sing, and not to Dance. CHAP. VIII. Of Cadences. jHE Cadences, that terminate the Airs, are of two Sorts. The Composers call the one Superior, and the other Inferior. To make myself better understood by a Scholar, I mean, if a Cadence were in C natural, the Notes of the first would be La, Sol, Fa; and those of the second Fa, Mi, Fa. In Airs for a single Voice, or in Recitatives, a Singer may chuse which of these Closes or Cadences pleases him best; but if in Concert Cadences; or, principal Closes in Airs. 1. For superior and inferior Cadences, see PI. V. Numb. 3. with other Voices, or accompanied with Instruments, he must not change the Superior for the Inferior, nor this with the other. 2. It would be superfluous to speak of the broken Cadences, they being become familiar even to those who are not Professors of Musick, and which serve at most but in Recitatives. 3. As for those Cadences that fall a fifth, they were never composed in the old Stile for a Soprano, in an Air for a single Voice, or with Instruments, unless the Imitation of some Words... |