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Treatise ofQood Taste
in

the <iArt of<iMusick

 Da Capo Press Music Reprint Series

General Editor: Frederick Freedman

Vassar College
Treatise ofQood Taste
in

the <^Art of^Musick

by
J^rancesco Geminiani

New Introduction by Robert Donington

The University of Iowa

DA CAPO PRESS • NEW YORK • 1969

 A Da Capo Press Reprint Edition

This Da Capo Press edition of Geminiani's

A Treatise of Good Taste in the A rt of Musick
is an unabridged republication of the first

edition published in London ca. 1749. It has

been reproduced from a copy owned by the
Library of Congress.

Library of Congress Catalog Card Number 68-16233

Da Capo Press
Copyright ® 1969 by
A Division of Plenum Publishing Corporation
227 West 17th Street
New York, N. Y. 10011
All rights reserved

Printed in the United States of America

 FOREWORD

'he short but interesting treatise reissued here in facsimile forms the second part of
Geminiani's writings on the subject of "good taste," of which the first part is his Rules

for Playing in a True Taste on the Violin, German Flute, Violoncello and Harpsichord
(London: n.d. [?1745}; but frontispiece dated at bottom center: An. 1738). It is to this

earlier work that Geminiani refers in his Preface to A Treatise of Good Taste in the Art of
Musick as "the last Work that I made public," adding that "the present Work is wholly
unlike both in Style and Manner," yet "so much the more useful." Geminiani may be pay-
ing himself rather a back-handed compliment here; but useful this little work certainly is

and we are even more inclined to think so when we find that, after praising Arcangelo
Corelli's La Follia variations as a model in the same kind, Geminiani adds "I have had the
Pleasure of discoursing with him myself upon this Subject" (p. [1]).

But what is "good taste" as discoursed upon by Corelli and Geminiani and described
in books and prefaces by others of their contemporaries? "Good taste" was almost a tech-

nical term of the period. It was used not merely for a refined and cultured attitude toward
music in general; it was used for a refined and cultured ability to invent more or less impro-
vised ornamentation for melodies often notated in plain outline, but requiring such orna-
mentation in order to be given a complete performance.

The title page of A Treatise of Good Taste in the Art of Musick is dated 1749 and
this date is corroborated by the statement, on page [4], which begins "When I came first to

London, which was Thirty-four Years ago. . .

." Geminiani first came to London in 1714
and if we allow for the time required for publication, the internal reference to his arrival
in London tallies with the date printed on the title page.

The license to print, however, is dated July 29, 1739, and this date, also, is corrobo-
rated by internal evidence, for it is stated to have been granted "in the thirteenth Year of
our [George II} Reign." It seems, therefore, that a work which could be considered to fall

under this license must have been composed by Geminiani more than ten years before
1749. And to complicate matters even further, there is a frontispiece to A Treatise of

Good Taste which is dated 1742.

It is not likely that we shall ever be able to date the material substance of this work
within ten years or so. For this reason it is also not likely that we shall ever know whether
this material originated at about the same time as the material of Geminiani's more famous
The Art of Playing on the Violin (London: 1751)' or decidedly earlier. But at least we
1 The date and provenance of Geminiani's Art of Playing on the Violin (London: 1751) are given not less
variously than incorrectly in the current editions of Grove's Dictionary , Moser's Musik Lexikon, MGG, The
International Cyclopedia of Music and Musicians, The British Union-Catalogue of Early Music, Larousse, Baker's,

the Fasquelle Encyclopedie de la musique, Collins Music Encyclopedia, Sartori's Dizionario Ricordi, Riemann, the
Ricordi Enciclopedia della musica, and The Encyclopaedia Britannica. This list, though long, makes no pretensions
to completeness.

The correct date, 1751, for the first edition was established with the greatest thoroughness by David D.
Boyden in the preface to his facsimile edition (London: Oxford University Press, [1952]). It is a comment on the
slowness with which good scholarship overtakes estabhshed error that the current editions of all the works of
reference listed above date from two to fourteen years after the appearance of Boyden's definitive investigation.
It is to be hoped that future editors may take note of this.
See also Boyden's two subsequent articles: "Geminiani and the first Violin Tutor," Acta Musicologica
XXXI/3-4 (July-December 1959), 161-70; and "A Postscript to 'Geminiani and the first Violin Tutor,'"
Acta Musicologica XXXll/1 (January-March I960), 40-7. See also David D. Boyden, The History of Violin
Playing from its Origins to 1761 . . . (London: Oxford University Press, 1965), 358-9.
 [vi]

can be quite certain that it did not originate later; this is interesting since the two books
have much in common.
With the exception of very shght and presumably unintentional deviations in spell-
ing, punctuation, and which begins at the top of page [2} and
capitalization, the passage
runs to the end of the complete paragraph on page [4} of A Treatise of Good Taste is
first

identical with the passage which begins in the middle of page [6] and ends in the middle of
page [8} of The Art of Playing on the Violin. There is also a close similarity (but not an
identity) between most parts of the table of ornaments which follows the Preface in A
Treatise of Good Taste (called "Examples of The Element \_sic\ of playing and singing in
a good Taste") and the tables of ornaments included as "Essemp. XVIII" and "Essemp.
XIX" on page 26 of The Art of Playing on the Violin. But there are no further resem-
blances between the two works.
The tables of ornaments in both books are useful, but should be approached with one
reservation. Many of the ornaments included are not standard ornaments of the period, but
virtuoso ornaments as used and taught by the great violinists, such as Giuseppe Tartini,
and Leopold Mozart, who followed Tartini. There can be no reservation, however, about
the usefulness of the passage that begins with the second complete paragraph on page [4]
of A Treatise of Good Taste.
This extremely valuable passage, which does not appear in The Art of Playing on
the Violin, consists of three paragraphs under the heading: "Explanation of the Acciacca-
ture for the Harpsichord!' followed, on the next page, by "Examples of the Acciaca-
It is

ture [izV] as Passages {i.e., ornamental variants} of Melody, Appogiature [jzV] and Tacto
{sic: in the text spelled Tatto] for the Harpsichord. . .
."
This is the heading of a precious
page and a half of written-out realization demonstrating, in musical notation, the use of
what, in effect, are two distinct kinds of acciaccaturas. The notation is similar to that used by
Francesco Gasparini in his valuable L'Armonico Pratico al Cimbalo.^
It is convenient to classify these two kinds of acciaccatura as the simultaneous acciac-
catura and the passing acciaccatura. Both kinds consist of notes foreign to the harmony,
' no
sooner struck than released; but the simultaneous acciaccatura is same time as
struck at the
the chord, which is not arpeggiated more than that slight amount which good harpsichord
touch gives to all full chords, while the passing acciaccatura is struck as a passing note
during the more prolonged arpeggiation of the chord. Both forms of the ornament are of
the highest utility to the harpsichordist, especially in filling out the sonority and in enrich-
ing the harmony when accompanying recitatives.

Geminiani now provides music to which the reader can play the fascinating game of
adding ornamentation according to the signs and the rules. In spite of Geminiani's
promising beginning, the reader will have to turn to other sources for fuller information
on these rules.*
Most of the Baroque composers, including many better ones than Geminiani
best
himself, make heavy demands upon the performer's fertile collaboration. Ornamentation,
"good taste" in Geminiani's sense, is not a mere diversion, but a necessary art for singers
and instrumentalists who want to give the full effect of the many Baroque arias (especially
in their da capo repeats) and slow movements which need to have their figuration com-
pleted, in various degrees, by performer's embellishments.
Geminiani, who was often a moderately good composer, enjoyed among his contem-
poraries a well-deserved and high reputation as a performer and teacher, in direct line from
the great Corelli. This short but valuable example of his teaching, reissued by Da Capo
Press, will be widely welcomed.

School of Music Robert Donington

The University of Iowa
1967

^Francesco Gasparini, L'Armonico Pratico al Cimbalo (Venice: 1708); tr. Frank S. Stillings, ed. David L.

Burrows (New Haven: Yale School of Music, 1963), Ch. IX, 78-84.
For an explanation of this classification see Robert Donington, The Interpretation
'
of Early Music (London:
Faber and Faber,1963; New York: St. Martin's Press, 1964. 2nd ed., London: Faber and Faber, 1965; New York:
St. Martin's Press, 1966), 157ff.
Chs. VII— XXV, and Bibliography.
*
For other sources consult Donington, op. cit.,
 A
TREATISE
or

LONDON MDCCXLTX
 PREFACE.
TW O
Compofers of Mufick have appear'd in the World, who in their different
Kinds of Melody, have rais'd my Admiration ; namely David Rizzio and
Gio. Baptifta Lulli ; of thefe which flands highefl: in Reputation, or deferves
to ftand higheft, is none of my Bufinefs to pronounce But when I confider, that
:

Rizzio was foremoft in point of Time, that till then Melody was intirely rude and barba-
rous, and that he found Means at once to civilize and infpire it with all the native Gallantry
oftheSCOTISH Nation, I am inclinable to give him the Preference.

But Melody, tho' pleafing to All, feldom communicates the higheft Degree of Plea*
fure ; and it was owing to this Refledion, that I lately have undertaken to improve the
Melody of Rizzio into Harmony, by converting fome of his Airs into two, three, and four
Parts; and by making fuch Additions and Accompanyments to others as fhould give them
all the Variety and Fullnefs required in a Concert.

How far I have fucceeded in this Attempt, thofe who are moft converfant in the Art,
are the fitteft to judge But how difficult it was to fucceed in it. No-body can judge better
:

than myfelf (not to deftroy the Simplicity and Beauty, I found required fome Difcretion)
But to add new Parts on the fame Principles, and to create Harmony without violating the
Intention of the Melody, required an equal Mixture of Imagination and Judgment.

The Subjed of the laft Work that I made was four favourite Airs, all of them
public,
"EngUJhy Scotch or Irijh<, which I diverfify'd with a great Variety of Movements, as well with
Regard to the Melody as Harmony and Modulation, which not only thofe who afpire to the
Art of compofing, but fuch as would be good Performers on the Violin, Violoncello, Flute
and Harpfichord, ought to be thoroughly acquainted with.

The Ingenious will difcover, at the View, that the prefent Work is wholly unlike
firft

both in Style and Manner But then I hope thv.'y will difcover alfo, that for the fame Rea-
:

fon, it is likely to be fo much the more ufeful j and fo much the more entertaining in the
Performance.

I do not pretend to be the Inventor of either : other Compofers of the higheft Clafs
have been Adventurers in the fame Voyage ; and none with more Succefs than the celebra-
ted Conliiy as may be feen in his fifth Compofition upon the Aria della Follia di Spagnia,

I have had the Pleafure of difcourftng with him myfelf upon this Subjed, and heard him
acknowledge the Satisfadion he took in compofing it, and the Value he fet upon it.

The Impoffibility that has always been thought to attend this Undertaking: The
Imputation of Negligence it may feem on former Profeffors
to caft : and the Envy that
generally attends every new Difcovcry in the Arts and Sciences, have hitherto dcferr'd my
publifliing thefe Rules of Singing and Playing in a good Tafte. But at laft preferring the
Benefit of the Public to all Manner of other Confiderations, I have determined no longer to
conceal an Article of fuch Importance, which will be even beneficial to fome grumbling Pro-
feflbrs, as well as to true Lovers of Musick.

An
 [ ^ ]

An INTRODUCTION to a good Tafte in Musick.

WHAT thought for fome Years pafl

is commonly
to deftroy the true
and playing, has been
call'd
Melody, and the Inten-
good Tade in Tinging

tion of their Compofers. It is fuppofed by many that a real good Tafte cannot pofll-
bly be acquired by any Rules of Art ; it being a peculiar Gift of Nature, indulged only
to thofe who have naturally a good Ear And as moft flatter themfelvcs to have
. :

this Perfedion, hence it happens that he who lings or plays, thinks of nothing fo much as
to make continually fome favourite Paflages or Graces, believing that by this Means he
fhall be thought to be a good Performer,
not perceiving that playing in good Tafte
doth not conflft of frequent Paflages, but in exprefllng with Strength and Delicacy the
Intention of the Compofer. This Exprcfllon is what every one fhould endeavour to acquire,
and be eaflly obtained by any Perfon, who is not too fond of his own Opinion, and
it may
doth not obftinately reflft the Force of true Evidence. I would not however have it fup-

pofed that I deny the powerful Efleds of a good Ear ; as I have found in feveral Inftances
how great its Force is ; I only afl!ert that certain Rules of Art are necefl!ary for a moderate
Genius, and may improve and perfed a good one. To the End therefore that thofe who
are Lovers of Muflck may with more Eafe and Certainty arrive at Perfedion, I recommend
the Study and Pradice of the following Ornaments of Expreflion, which are fourteen in
Number ;
namely,
A plain Shake ( ) 2d ^ A Turnd Shake ( ^ )
3** A fupcrior Apogiatura { Y )
An inferior Apogiatura ( > ) Holding the Note
5^*^ ( - )
6^^ Staccato
( | )
7^ Swel-
ling the Sound ( / )
8^^ Diminifliing the Sound
( )
9*^£ v Piano (p.) 10* Forte (

11^^ th. Anticipation > ) Separation ( ^ )

' 12^^
( // )
clofe Shake 13^^ A Beat 14* A
) From the following Explanation we may comprehend the Nature of each Element
in particular.

f Firjlj ) Of the Plain Shake.

The plain Shake is proper for quick Movements ; and it may be made upon any Note,
cbfeivingafter it to pafs immediately to the enfuing Note.

(Second^) Of the Turned Shake.

The turn'd Shake being made quick and long is fit to cxprefs Gaiety ; but if you make
it fliort, and continue the Length of the Note plain and fofr, it may then exprefs fome of
more tender Pafllons.
(Thirdy) Of the Superior Apogiatura.
The Superior Apogiatura is fuppofed to exprefs Love, Affedion, Pleafure, It fhould
be made pretty long, giving more than half the Length or Time of the Note it belongs
it

to, obferving to fwell the Sound by Degrees, and towards the End to force the Bow a
little: If it be made fliort, it will lofe much of the aforefaid Qualities j but will always have
a pleaflng Efled:, and it may be added to any Note you will.

(
Fourth^ ) Of the Inferior Apogiatura.
The Apogiatura has the fame Qualities with the preceding, except that it is much
Inferior
more confin'd, as it can only be made when the Melody rifes the Interval of a fecond or
third, obferving to make a Beat on the following Note.

( Fifth ) Cf Holding a Note. )

It is necefiary to ufc this often ; for were we to make Beats and Shakes continually with-
out fometimes fuffering the pure Note to be heard, the Melody would be too much diverfify'd.
Sixth
 [ 3 ]

(Sixth ) Of the Staccato.

This exprefles Reft, taking Breath, or changing a Word ; and for this Reafon Singers fhould
be careful to take Breath in a Place where it may not interrupt the Scnfe.

(^th and ^th ) Of Swelling and Falling the Sound.

Thefe two Elements may be ufed after each other; they produce great Beauty and Variety
in the Melody, and employ'd alternately, they are proper for any Expreffion or Meafure.

( gth and loth J Of Piano and Forte.

They are both extremely neceflary to exprcfs the Intention of the Melody ; and as all
good MuHck fhould be compofed in Imitation of a Difcourfe, thefe two Ornaments are de-
figned to produce the fame Effects that an Orator does by railing and falling his Voice.

f Eleventh ) Of Anticipation.
Anticipation was invented, with a View to vary the Melody, without altering its Intention:
When it is made with a Beat or a Shake, and fwelling the Sound, it will have a greater EfTecl,
efpecially if you obferve to make ufe of it when the Melody rifes or defcends the Interval of
a Second.
(Twelfth J Of the Separation.
The Separation is and takes place moft
only defigned to give a Variety to the Melody,
properly when the Note rifes a fecond or third ; as alfo when it defcends a fecond, and then
it will not be amifs to add a Beat, and to fwell the Note, and then make the Apogiatura to

the following Note. By this Tendernefs is exprefs'd.

( Thirteenth J Of the Beat.

This is proper to exprefs Example, if it be performed with
fcveral Paflions ; as for

Strength, and continued long, it exprefles Fury, Anger, Refolution, ^c. Ifitbeplay*d
lefs ftrong and fhorter, it exprefles Mirth, Satisfadion, &*c. But if you play it quite foft,
and fwell the Note, it may then denote Horror, Fear, Grief, Lamentation, &c. By making
it ftiort and fwelling the Note gently, it may exprefs Afledtion and Pleafure.

(Fourteenth) Of the Clofe Shake.

This cannot poflibly be defcribed by Notes as in former Examples. To perform it, you
muft prefs the Finger ftrongly upon the String of the Inflrument, and move the Wrift in
and out flowly and equally, when it is long continued fwelling the Sound by Degrees,
drawing the Bow nearer to the Bridge, and ending it very ftrong it may exprefs Majefty,
Dignity, ^c. But making it fliorter, lower and fofter, it may denote Afflidlion, Fear, ^c,
and when it is made on fhort Notes, it only contributes to make their Sound more agrea-
ble \ and for this Reafon it fliould be made ufe of as often as poflible.

Men of purblind Undcrftandings, and half Ideas may perhaps ask, is it poflible to give
Meaning and Expreflion to Wood and Wire ; or to beftow upon them the Power of raiSng
and foothing the Paflions of rational Beings ? But whenever I hear fuch a Qiieftion put, whe-
ther for the Sake of InformationjOr to convey Ridicule, I lliall mak no Difficulty to anfwer
in theaffimative, and without fearching over-deeply into the Ciufe, fhall think it fufficient
to appeal to the Effed. Even in common Speech a Difference of Tone gives the fame Word
a different Meaning. And with regard to mufical Performance^ Experience has fhcwn that
the
 [4]
the Imagination of the Hearer is in general fo much at the Difpofal of the Mafter that by the
Help of Movements, Intervals and Modulation he may almoft ftamp what Im-
Variations,
prefljon on the Mind he pleafcs.
Thefe extraordinary Emotions are indeed moft eafily excited when accompany'd widi
Words ; and I would befides advife, as well the Compofer as the Performer, who is ambiti-
ous to infpire his Audience to be tirft infpired himfelf, which he cannot fail to be if hechufes
a Work of Genius, if he makes himfelf thoroughly acquainted with all its Beauties ; and
if while his Imagination is warm and glowing he pours the fame exalted Spirit into his own
Performance.
Explanation of the Acciaccature for the Harpftchord,
The Acciaccatura is a Compofition of fuch Chords as are diflonantwith Refped to the
fundamental Laws of Harmony ; and yet when difpofed in their proper Place produce that
very Effe(fl which it might beexpeded they would dcftroy.
No Performer therefore fhould flatter himfelf that he is able to accompany well till he is
Mafterof this delicate and admirable Secret which has been in ufe above a hundred Years :
and of which a great many Examples may be found in the Book which I have composed for
that Inftrument.
The Example which however fomething in it peculiar, as it ferves to (pecify
follows, has
a Signature called Tatto^ which has a very great and Angular Effed in Harmony, and which
is performed by touching the Key lightly, and quitting it with fuch a Spring as if it was
Fire.
Thus have colleded and explained all the Ingredients of a good Talle, and nothing re-
I

mains but to caution the Performer againft concluding, that a mere mechanical Application
of them, will anfwer the great Purpofe of eftablifliing a Charader among the Judicious in
all Arts and Sciences, fomething mull be left to the good Senfe of the Profeflbr ; for as the

Soul informs the Body, fo every Rule and every Principle mufl: be enforc'd by the Knowledge
and Skill of him who puts it in Practice.

Laflly^ as the chief End I have in view, is to contribute as far as my Abilities will permit,
to the Perfedion of an Art that I love, and to refcue the Charader of Mufician from the Dif-
grace and Contempt which the Follies of ignorant Pretenders have brought upon it, I hope
no acknowledg'd Mafter Countenance to the Mifconftrudion which thofe Pre-
will lend his
tenders may think their Interefi^ to pafs upon it.
To fay All in few Words, the Road to Emulation is both open and wide ; the moft ef-
fedual Method to triumph over an Author is to excel him ; and he manifefts his AfFedion
to a Science moft who contributes moft to its Advancement.
When I came firft to hondon^ which was Thirty-four Years ago, I found Muftck in fo
thriving a State, that I had all the Reafon imaginable to fuppofc the Growth would be fuita-
ble to the Excellency of the Soil.
But I have lived to be moft miferably difappointed ; for tho' it cannot be faid that there
was any want of Encouragement, that Encouragement was ill beftow'd.
The Hand was more confidered than the Head ; the Performance than the Compofition ;
and hence it followed, that inftead of labouring to cultivate a Tafte, which feem'd to be all
that was wanting, the Publick was content to nourifh Inftpidity.
Architecture, on the contrary, at that Time was in a very deplorable State, and yet in
the fame Interval, it has rifen to its Meridian under the Protedion of a moft noble and intel-
ligent LORD; and under a Patronage yet more illuftrious and fublime, I have ftrong
Reafons to flatter myfelf of feeing MU S I CK do tht fame.
 Georgh E
.j/2a// r^//2^ ^^e/i>^: JV/zere/Zj; Francis Geminiani, V"^-

l^^ a^^iS^T^AAi^/i^^A^re^; ^^S^^ t^EAaz^^^^ll/e^lrc^ . Jli Aetna

O'/i/A^PWM^; oTti^a/ii^^Ae tJa/^A Francis Gemimani AA/ A^)ceca/^c^cf,AA/?/tu

KJaA?^7f^rA,yv?^ ^Ae ^er/^t E^ourZ/'im 2/ea?\y, Ae C{r???^tii^e{A^€r7U i^^S^a^

/<? ye^(r?^/z^o?^ aA?'i^i^e tAe Uam/' eA^2er

, c^/z^ ^A^ .^^^ c^r o/ny oM^r 2/^£rA^/m£-
2/67//€//ZA/ ?2/Aa^<?e^i/e^; ^ 1^^7^1077^ C^'i/y, z^'eM4A tiA^/^ /Asi//^t/^zi£^ any AS^tAs/ A4£re^^

M^^Acf/z*/e/2^ ^^//'tT^ra/ifh??. <y^6^ t/oA/ Trancis Getnmiani, Aa/ kA^^cA^, A^oceca^

A?7y o^mA^^^^fTU, i/m^^r M^^^a/z^ ona^K/etiAf, A-a^Aa^^^A{z^A^^^^^^Aa^A^^y,
/z/cAAa^/2Mr C<7/iArary A^^re^^<iIA^/'/^^?yA/' ^^.^t/^^At^e^ AA?nm^i47Me^
omA^^ cy^^Ae AAj/zr?n>J 6i£^t.y/A/zJ^?^ A2^a^tAe7i^ aTi^A A^'T^yia/iy
^
tJ^zi^/te/!:/ a^re AtA^ AA^ffu^, Ma6 tA/e ^'eoA^nce Tziay Ae ?^/2^Ae?*eiA A7 ^m^r
A^Aak^re^ Ae^/^eln {AecAay/'e^A. ^^i^z^n a/ cur A^rurt^ al^ Xenfington /Aie 2S^^ay^
^/^ July; //.Jj?. An^de A^//Ae/z/A^Qi^ c^^cT^t^e^U .

J^/jJ ^^^d^/y^ ^777yA/2^AlA^'^

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