Warren sheaf. [volume] (Warren, Marshall County, Minn.) 1880-current, 1906-01-04
work for five minutes and rest for a
quarter of an hour

WORK tor tive minutes and rest for a
quarter Of an hour.
Without a. doubt the first thing to
be considered in she study of singing
is breathing, which is the foundation
OF everything. Long, deep breaths
should be taken, not from the chest,
but from the diaphragm. Some peo-
pie are taught to breath from the
chest, but l am convinced that this is
bad, for the chest is thus overworked
and the diaphragm does not do enough
work. Miss Clara Smart, of Boston,
taught me during the early part of my
career to sing with my mouth closed
DO not for moment think that my
throat is closed as well as my mouth,
or that my tongue does not lie fiat
down. On the contrary, my throat is
as wide open as n can be, and when l
gradually open my lips after singing
two or three bars with my mouth
closed. you can hear the volume of
sound which comes forth is not
"closed.' There is certainly danger
with this method-the sound has a
tendency to sometimes become nasal:
but, as said before, the pupil must
never hesitate to exercise her intelli.
gence. She should listen to herself
and the moment she hears nasal
sound she should check it.
All my scales I learned in this way.
practicing them and breathing exer-
cises at regular intervals. This is how
the voice is placed and nothing can be
done in the way of singing until one
arrives at this stage. A great deal too
much attention is paid, too, think, to
the sore throat. A gentleman of my
acquaintance, whose hobby was sing.
ing, studied the throat in every con-
ceivable attitude. He cultivated the
acquaintance of singers and no sooner
had he heard them sing than he de-
sired to see their throats. He waq
always dreading ''sore throat" and !
am convinced that by constantly think.
ing of the subject, he actually got it,
A singer must take care Of his throat.
naturally, but think it is folly to cod,
die it, and l must say that 1 prefer
to think like my teacher-"I have no
throat, it is my head that SINGS"
AS to expression and meditation OF
the voice, it seems to- me that as far
as possible this should be left to the
singer herself. She ought to be able
to understand what the composer
wants and endeavor to do it. At first
the pupil must have the beauties point
ed out, but by degrees she will sec
them herself.
There is a great difference between
the concert platform and the operatio
stage, and, of course, no comparison,
The former is difficult, but the latter
Is ten times more so. Unless the voice
is strong, it will be useless to attempt
1t. Nor need say that it requires a
much stronger constitution for operate
singing, for an evenings operate work
Is very trying. Dramatic ability and
temperament, too, are necessary for
success. ss.@"
A singers first thought has to be to
keep in health and free from colds. In
order to do this, pleasure has often to
give way to art. Many would be as.
tonished at the mCnotonous life I lead.
II am singing in the afternoon or
evening, I am resting in the morning.
Diet, too, is q consideration. Moth
Ing indigestible can be eaten and it
is well-known fact that one has to
wait several hours after a heavy meal
before singing. Personally. much as
should like it, can never indulge in
violent exercise. | take long walk
often, but at the first signs to weari-
ness must give up the recreation and
return to a restful attitude. Violent
exercising is bad for singer in this
way.
NINE. ALICE EsTY.