Savannah courier. (Savannah, Tenn.) 1885-1979, 1886-06-03

the pupil will be able to practice alone
without running the risk of going
astray. No songs or pieces should be
attempted too soon. Exercises and vo-
calizes on alb according to the French
or Italian pronunciation, and some
times on other vowels, as the case may
be, should be studied for ct least one
year, before melodies with words are
allowed; the formation of the voice, a
GOOD emission of Sound, evenness and
smooth of. execution, can not be OBJ.
tanned otherwise. Some voices are
more flexible than others, and this gift
of nature should be carefully cult
waited, for an easy and brilliant exc
cution is one of the great attractions
of the vocal art Florid and elaborate
music, however, ought only to be at
tempted (save for the sake of practice)
by persons who have attained great
finish and perfection in the Ftoriture
style, which, however great the natur-
al gift, requires much study.
When songs or pieces are taken
into practice, pronunciation or articu-
lation must be special study, for it is
most important that words, whatever
may be the language, should be thor
oughly understood by the hearers.
Last but not least. come the phrasing
and expression, which are of para
mount Importance in singing, and
must be properly applied, or Other
wise may have quite the contrary eff
feet to that intended. The proper
pronunciation and rendering of the
words play great part in conveying
the feeling or sentiment of musical
composition, and that is why articula-
ton is so important. Moreover, this
requirement greatly helps in carrying
the sound further, and frequently
gives the impression of a larger
volume of voice than is really pos
sessed by the performer 1t is a good
plan to sing in front of looking
glass, in order to 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, as the need occurs,
by an experienced and conscientious
teacher, who has thorough knowl-
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, should
not be carried too high, as such strain
ing frequently causes serious mischief
and great care should be taken to unite
the chest with the medium register, and
the latter with the headnotes, so that
equality throughout the compass of the
voice be obtained. All this may seem
very complicated to the uninitiated,
but the study of singing. like that OF
any other art, is most interesting, and,
to those who are well gifted. it is not
so arduous as these long explanations
of mine might make it appear.
Before l conclude l should recon-
mend that young people be taught how
to play on the pianoforte some years
before they attempt to sing, and moi
give up that instrument because they
are studying singing. as is frequently
the case. 1t is mistake to think thai
playing on the pianoforte, when done
in moderation, say one, or even two
hours day, Injuries the voice. The
pianoforte is so useful, not only in it.
self, but also for the sake of accom-
panying, that those who use it freely
find it very convenient. 1t is to bt
feared that most young people who
drop their playing for the sake of sing
ing, do so more from laziness thar
really in the interest of their voice
Moreover, the voice fails sooner Of
later, whereas the facility and talen
acquired for playing lasts, and is ,
source of much pleasure and usefulness
to ones self and to others.
Hoping, my dear friend, that thes'
suggestions may meet your views ant
give you some help, | remain, your
very sincerely,
CHRISTINE NILSSON.
= Youths Companion.