Thomas County cat. [volume] (Colby, Kan.) 1885-1891, 1886-05-20

practice alone. At first it is better 20
be content with the lesson. as wrong
practicing is worse than none. Les
sons, therefore, should be taken fire.
quently in commencement. if rapid inn
provcmcnt is desired: and by degrees
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 ah according to the French
or Italian prOnunciat IN, and some
times on other vowels, as the case may
be, should be studied for at 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. Fiorid 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 Fioriture
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 phraslng
and expression, which are of para
mount Importance in singing, and
must be properly applied, or o,her-
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 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,
teacher, who has a thorough knowl-
edge of the formation of the voice and
its different registers, and will guard
against these being strained beyond
th"ir 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 he 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 ..riuous rs these long explanations
Of inc might make it appear.
Before l conclude / should recon-
mend that young people be taught how
to play on the pianoforte some years
before they attempt to sing, and not
give up that instrument because they
are studying singing. az is frequently
the case. 1t is a mistake to think that
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 be
feared that most young people who
drop their playing for the sake of sing
ing. do SO more from laziness than
really in the interest of their voice
Moreover, the voice fails sooner OF
later. whereas the facility and talent
acquired for playing lasts. and is a
source of much pleasure and usefulness
to ones self and to others.
Hoping, my dear friend. that these
suggestions may meet your views and
give you some help, remain, yours
very sincerely,
CHRISTINE NILSSON.