The Richmond palladium and sun-telegram., 1909-03-11

sudden and C.lcol1r5iled emfssRn I
the accumulated breath. In attacking
u note the breath must be directed to
the focusing point on the palate. which
lies just at the critical spot. different
for every tone. In attacking . note.
however, there must be NO pressure on
this place, because II there is the over.
tones win be unable TO soar and sound
with the tone.
From the moment the note . at.
tackled the breath must fow out with
Ii. 1t Is a good idea to feel at flrst N
II one were pumne out the breath.
This IL particularly good for the high
notes. ON which q special stress must
be laid always to attack with tAo
breath and not to press or push with
the throat. As long as the tone lasts
the gentle bat uninterrupted outpour-
ing OF the breath must continue BE-
hind II. This breath pressure insures
the strength aud, while holding the
note to the focusing point on the PAL
ate. insures its pitch In q general
way It can be said that the mediu0
tones Of the voice have their focusing
point In the middle part Of the palate.
the lower tones coming nearer 70 the
teeth to be centralized and the high
notes giving the sensation Of dndinG
their focusing point In the high arch
at the back Of the mouth and going
out. ~ 1t were. through the crown of
the head.
The resonance In the bead eavitass =
soon perceived BY those who are b.
ginning to sing. Sometimes In produc.
ing their first high notes young people
become nervous and irritated when
singing high tones at the curioas bun-
ing In the head and ears. After Q
short time, however. this sensation n
no longer an irritation. and the singer
can gauge In Q way where his tones
are placed BY getting mental idea of
where the resonance to each articular
tone should be.
High notes with plenty Of head VI
bration can only be obtained when tie
head 10 clear and the nasal cavities un-
obstructed BY mucous membFane or BY
any OF the depression which comes
from physical or mental cause. The
best way to lose such depression u to
practice. Practicing the long scale.
being careful to use the different reg
listers. as described later. will almost
Invariably even out the voice and clear
ont the head II continued long enough
and will enable the singer to overcome
nervous or mental depression as well.
The different sensations In producing
the tone vary. according to the COM
parative height and depth. Beginning
from the medium tones, the singer VIII
feel ~ IL each tone Of the descending
scale were being sung farther outside
Of the mouth. the vibration hitting thu
upper teeth as It goes out. whereas
with the ascending scale the vibrationa
| pass through the nasal cavities
through the cavity In the forehead and
up back into the head. until one feels
as II the tone were being formed high
| over the head at the back.
I want to say right here that when.
| ever the young singer feels uncom-
Portable when singing he or she Il
| singing incorrectly.
In attacking the note on the breath,
| particularly In the high notes. It II
quite possible that at drst the voice
will not respond. For . long ttoG
merely an emission Of breath o. Per.
hays a little squeak on the high note
| II all that can be hoped for. II. how
ever, this r. continued. eventually thu
head voice viii be Joined to the brceth
and q faint note viii nnd uttefancl
which with practice will develop unti
1t becomes an easy and brilliant tonaL
The reason that the tone has mol
been able to come forth Ia because thu
vocal apparatus cannot adjust itself b
the needs Of the vocal chords OF q
cause they themselves have not accue
toned themselves to respond to tn
will Of the singer and are too sttR h
perform their duty.
The scale II the greatest te0t 4
voice production. No opera ginger. ~
concert singer, who cannot sing pos
feet scale can be said to be . tecs
nician or to have achieved results b
her art Whether the voice be -
prano, meauo q eontralto. each 10el
should be perfect Of its Kind. and thl
note Of each register shouid partan
sumciently Of the quality Of the ne1'
register above or below It In order No
to make the transition noticeable whel
the voice ascends or deocends th
scale. This blending Of the register
II obtained BY the intelligence Of tn
singer In mixing the different ton
qualities OF the registers. using n AID
the various formations Of the lipa
mouth and throat and the ever prssen
appogio. without which no pes1ee
. ocale can be sung.
. For an early breakfast take hom
Mrs. Austin's pancale -four. Ready {
|: minute.
What Hssssters Teach Animale.
II II nrnof were needed Of the nnS