West Virginia argus. [volume] (Kingwood, W. Va.) 1877-1946, 1886-05-28

the pupil will be able TO practice alone
without running the risk of goiu.
aNtray. No songs or pieces should hc
attempted too soon Exercises and vo-
calizc> ON 0h according To the Frcnch
or Italian pronunciation. and some
times ON other VowclS. aS the case may
oe, should bc studied for at lca>, one
year before melodies with word, are
allowed, the formation of the voice. "a
good emission of sound, cveuncSS and
smooth of execution, can not bc ob-
tanned otherwise Some voices are
more flexible than others. and TIM, Gift
Of nature should be carefully culu-
waited, for an easy and brilliant cNc-
cution IS one of the great attractions
of the vocal art Florid and elaborate
music, however ought only tu bc at
tempted (Savc for the sake of pracucc)
10y persons who have attained great
finish and perfection i'm the Fior6Urc
style, which, however great the natur-
al gift, requires much study.
When songs or pieces are taken
INTO practice. pronunciation or articu-
lation must bc a special study, for 10 il
most important that words. whatever
may bc the language, should bc thor
Last. but not least, come the phra,lng
and expression, which are of para
mount importance i'm singing. and
must be properly applied, or o,hcr-
wise may have quito the contrary ef-
feet to that intended The proper
pronunciation and rendering of the
words play great part in conveying
the feeling or sentiment of musical
pn 4 tl 1.
ton is SO important Moreover. this
requirement greatly helps in carrying
the sound further, and frequently
gives the impression of larger
volume of voice than is really pos
scssed by the performer. 1t is good
plan TO sing i'm front of a looking
glass, IN order 10 study the proper
position of the mouth, TO avoid con-
tortionS, and TO cultivate an agreeable
expression of the face.
All these, and many other hints. can
only be suggested, "a the need occurs.
by am experienced and conscientious
teacher, who has thorough knowI-
edge of the formation of the voice and
ITS different registers. and will guard
against these being strained beyond
their proper limit. The chest-notes.
particularly in Young people, shoulG
not hc carried too high, "a. such strain
mg frequently causes serious mischief:
and great care should be taken TO unite
the chest with the medium register. and
the latter with the hcadnotcs. so that
equality throughout the compass, of the
voice be obtained All this may seem
very complicated TO the uninitiatcd.
but the study of singing like that of
any other art is most interesting. and.
to those who arc well gifted. il is not
so arduous as these long explanations
OF mine might make IL appear
Before | Concmdc ! should recon-
mend that young people be taught how
to play ON the pianofotc some years
before they attempt To sing and not
give up that instrument because they
are studying singing, rs is frequently
the case. IL is mistake 60 think that
playing ON the pianofortc. when dono
nm moderation, say one, or even two
hours day, Injuries the voice The
pianoiortc is so useful, not only i'm it,
self, but also for the sake of accom-
panying. that those who use H. freely
find il very convenient IL i. TO be
feared that most young people who
drop their playing for the sake of sing
ing. do SO more from lazincss than
really i'm the interest OF their voice.
Moreover, the voice fails sooner or
later, whereas the facility and talent
acquired for playing lasts. and is a
source OF much pleasure and usefulness
TO one IS self and 10 others
Hoping, my dear friend. that these
suggestions may meet your views and
give YOU some help, I remain your,
very sincerely,
CHRISTINE NILSSON.
IOUih' COmD0ujOH