davidaulloa/AmericanStories huggingface dataset:
Evening star., 1927-03-13
The Technique of Singing
BY MYRON w. WHITNEY
"A of American Academy of

of our breathing mechanism. As
consequence, the position of rest of
the diaphragm. which should normally
be high, is low by reason of the
weight which hangs from II. Fortu-
nately. in spite of abuse, the diaphragm
has not lost its elasticity. 1t only
demands that we shall lift the weight
which is dragging 1t down. in order
to assume its proper function-that
of sucking in and lifting out the
breath.
Assuming the lungs to be full and
the diaphragm to be in the low position
demanded by the rule for inhalation,
how shall we obey the rule for at
tack-namely, to lift the breath from
the stomach into the lungs? Why, by
lifting the stomach, to be sure, and
thus releasing the diaphragm so that
it may move upward and lift the
breath above il.
And how shall we lift the stomach?
BY sucking with the lungs.
"And how suck with the lungs? BY
expanding the chest, of course. And
this. by the way. is what Lamperti
meant by Make the attack by means
of a seeming continuation of the in
halation. Seeming continuation IS a
feeling of continuation, or q sensation
as of inhalation. Sucking up the
abdomen by creating a vacuum in the
chest through expanding the air space
therein produces a definite sense of
suction or inhalation in the lungs, and
leaning the breath against the chest
is only a continuation of this sensa-
tion of suction during the continuance
of the tone.
There you have the secret of
breath control in one word.
You may learn to recognize and pro-
duce this sensation at will in some such
manner as this: Stand. Fill the lungs
(enough. but not to capacity. Hold
your nose. close your mouth, and try
gently to take your breath. allowing
the wall of the abdomen to fall in as
you do so. You will find that the
abdomen empties and the lungs fill.
and you will feel a distinct sensation
of suction in the lungs.
Now do 1t again with your mouth
and throat open and not holding your
nose. Hold the breath a few seconds
in this way.
Repeat, but whisper a sentence
while you hold your breath. Use as
little breath as possible.
Repeat and speak instead of
whispering. Don't neglect to retain
the sensation of suction.
Repeat and sing phrase.
by lHlS llHl6 you SnOulu nave
caught the trick. If not. you have
lost the sensation of suction through
allowing the muscles of the upper alb
dominal wall to stiffen. When this
happens, suction disappears and the
ribs begin to squeeze the lungs, and
all control of the breath is gone.
ITO help you regain the sensation
of suction. give a continued stretch
while holding the breath-an honest
stretch as though you had Just
awakened. An imitation won't help
in the least. IF you do this, you will
find that the muscles of the abdominal
wall will not insist upon their mis-
taken effort to squeeze the breath out
of the lungs. You will also find that
this stretch is more required by high
notes than by low ones.
"Do not forget that the quality of
the breath. to be sought with prayer
and fasting, is not the ponderous
solidity of a brick church, but the
powerful buoyancy of a Zeppelin"
Evening star., 1927-03-13

Ile dLJdCk Oh lflB lOHt anu
+ during its continuance?
Before stating the rule, let us see
whether it is necessary to control the
breath, and also whether there is more
than one way TO do it if we discover
that it is necessary.
1.-THE smallest part of the aperture
through which the breath escapes dur.
ing the production of tone is located
at the vocal chords. These so-called
chords are two strips of cartilage con-
tanned within the larynx. The larynx
is the Adams apple and it's construc'
tion is to us matter of no impor-
tance. These chords are joined to-
gether at one end and free at the
other. When we breathe in or out
they are loose and far apart at the
free end. When we wish to speak OF
sing, they stiffen and approach each
other, narrowing the space through
which the breath must come. This
narrowed opening is too small for a
free passage of the breath, and. con
sequently, the breath must be re-
strained. Not only is the passage
made narrower for singing than it is
for breathing. but ii also has different
degrees of size as we ascend the scale.
1t is widest, and the chords are loos-
est, when we sing the lowest note. and
it is smallest with the greatest rigid
ity of the chords when we sing the
extreme high note of our range. Thus
more breath may be allowed to escape
on low notes and greater restraint
must be used in the higher parts Of the
voice. At no time may the restraint
be entirely removed, lest the voice
be forced" Forcing the voice is
blowing more breath through the
chords than the opening between them
gives place for. the result being a
great strain on the muscles which hold
the chords in position.
There are two ways in which the
breath may be restrained. 1t may be
held back at the chords themselves
by a great and fatiguing effort, or it
may be held back in the lungs. The
Italian method adopts the latter way.
in order to give the throat as little
work as may be.
THE rule for the breath in attack
and sostenuto. according to Vannuccini
pupil of Romano, who has left no
written directions), is as follows: To
attack, Lift the breath from the stom-
ach into the chest Keep the lungs
full and the stomach empty during
the continuance of the tone
"Lamperti Che elder) gives direc-
tions which are in some degree an in
terpretation of these rules. Make the
attack by a seeming continuation of
the inhalation. Keep the breath lean
ing against the chest while singing
ITO help us to an understanding of
these directions. let us consider our
habitual way of breathing, and find
out how it differs from the way in
dicated by the rules.
when man first asserted his intel
lectual independence by refusing to
continue to go on all fours, he paid
price for assuming an upright
posture. Part of this price is the
inevitable inclination of the abdomen
to sag. and to pull down with it the
diaphragm. This. of course, curtails
the activity of the muscle which ma
ture intended as the most active part
Evening star., 1927-03-13
Sounding Brass

@HE "Foggy Bottom" dance, origi-
mated by isis" Cohen and
Eleanor Patlen, local dancers,
is the 'Black Bottoms" closest
rival. The BLACK Bottom rep
resents negro attempting to release
his feet from thick mud, and the
''Foggy Bottom" represents his gyra'
tions once he is free.
The symphony orchestra will return
to the pit at Crandalrs Metropolitan
Theater next week to provide the Gus
tomary concert overture number and
musical Interpretation of the pictured
subjects. For the concert overture TO
signalize the return of the orchestra,
Conductor Breeskin has decided upon
George Gershwin's famous Rhapsody
in Blue" The full ensemble of the
Metropolitan Symphony will he en-
ployed, with the solo piano passages
played by Jack Golden. leader of the
lie Paradis Band, who will appear
through the courtesy of Meyer Davis.
American Jazz will not stay at home.
1t continues to roam to the far corners
of the earth and now has found per-
manent position in the palace Of
Sultan Moulai Youssef at Robat.
Morocco. The Moroccan ruler has
ordered an American player-piano and
a number of popular jazz rolls.
The Sultan visited Paris recently
and heard a player piano for the first
time, He declared it was "one of CIV
ilization's greatest accomplishments.
Grimes Seniff and Carl Fogle, local
clog dance experts. have originated a
new dance, called the Country Jazz,
which is combination of popular
dance steps and those of the old Irish
and country jig. The boys state that
to please an audience Of both young
and old. one must give program with
jazz and the old steps combined. They
will dance i'm the Spring Play" at
Eastern High School next month.
Marie Ockershausen. local dancer,
gave an exhibition of Americas three
most popular dances at the Washing
ton Hotel and the La Java Night Club
last night They were: The black
bottom, Chicago stomp and the
Charleston. She also presented a toe
dance number.
Evening star., 1927-03-13
YES. there really is something n

YES, there really is something new
under the sun! A Composers Club
of Washington. An organization OF
composers now resident in this city,
who have been meeting, quietly. at the
invitation of Mrs. Edward Hood Wat
son, for the purpose of getting ac-
quainted, performing manuscript COM
positions which the members have
recently written, putting these same
compositions on the 'gridiron FOR
discussion and criticism, and discuss
ing at each meeting the something
new in music" OF especial interest
to this group of music creators was
the informal talk given by Siegfr1ed
Scharbau, composer-me or the
Marine Band, who brought the delights
of Schoenbergs new book on "Harmo-
ny" to the Washington composers.
The discussion of the thirteenth
sound" which is based on the six
teenths of tone, yielding 81 tones to
the so-called octave" the theory which
the Mexican music master Julian
Carrillo says will "open new melodie
mines and add harmonic riches beyond
conjecture was the paper read by
La Sale Spier at another meeting.
The composers have tried to restrict
their meetings to the membership of
the group entirely. feeling that in this
way only could they be free to dis
cuss and constructively criticise each
others compositions.
During the season piano numbers of
r. Deane Shure. Henri Smidt Gregor
and Jerome Williams have been done;
a violin and piano transcription of a
suite for orchestra by Siegfried Schar-
bau; a piano transcription of an orches-
tral number of Edward c. Potter;
songs of Ervine j. Stenson, Edward
C. Potter, Karl Holer, William I.
Pierson; a flute and piano sonata by
La Sale Spier; violin numbers of
Anton Gloetzner and Karl Holer; songs
by Anton GIoetzner and musical read
ings by Alexander Hennemann.
Although the Washington com.
nosers have intended that their pro-
gram discussion meetings should De re-
stricted to their own membership, and
each number interpreted by the COM
poser himself, whenever possible, some
of the compositions have necessitated
the services of other interpreters, and
these meetings have brought such
musicians as Sylvia Lent, Helen Belt
and Hermann Hoffman,, violinists; A.
Cello, fiutist: Elvira Rowe, Helen How
ison and Dorothy, Sherman Pierson,
sopranos; a sextet from the Chami-
made Glee Club and Maj. Charles Fer
ry, reader, to their meetings.
This Composers Club is the out
growth of musical performance given
by the man composers of Washington,
In honor of the woman composers OF
America, at the National Press Club
just about two years ago. 1t is formed
along the lines of similar organiza-
ton in which Carl Engel was an active
member, in Boston, and which was
composed of such men as George w.
Evening star., 1927-03-13
John Charles Thomas to
Return In Concert March 81

FOLLOWING the announcement of
John Charles Thomas sailing
April ? to fill his European opera
engagement, comes the news that
he will give a. special recital at the
National Theater March 81, two days
before sailing. r. Arthur Smith is
responsible for this effort to have Mr..
Thomas appear in Washington again.
His recent great success as Rigo-
letto at the Auditorium is sure to
increase the interest already shown
i'm attendance at his previous recitals
here under Mr.. Smiths management.
Mr.. Thomas promises a program
abounding in classics and the popu-
lar songs which made him famous,
Evening star., 1927-03-13
Famous Composer Listed
In Institute Program

NEW YORK An interesting event
was tho concert yesterday at the
Institute of Musical Art, with a pro
gram consisting entirely of compost
tions by institute alumni. In few
Instances the composers presented
their own works; in the others, they
were played or sung by other alumni
Ten composers represented by com
positions that have contributed to their
high standing in the field of music
included Conrad Held. William kroll,
Karl Kraeuter. Lillian f II h s.
Katharine Swift Warburg, Nathan
Novick. Louis Greenwald. Gladys
Mayo, Winter Watts and Samuel
Gardner
Evening star., 1927-03-13
Russian Art Choir.

ONE of the most brilliant choir
ensembles Washington has ever
heard will make it's appearance at the
Palace Theater this afternoon when
the Russian Art Choir. which was one
of the sensations of the recent stage
success. "The Song of Flame" Is pre-
sented as the principal stage feature.
This All-Russian ensemble, appearing
in native costumes and consisting Of
25 native singers, has drawn piaudits
from critics of music In most of the
principal cities of the East since their
arrival in America.
Evening star., 1927-03-13

Florence Howard presented the Sec
ond part of her lecture recital, THE
Voice as an Instrument" before the
music section of the Twentieth Cen
tury Club, Mrs. Eugene Byrnes, chair
man, Tuesday morning. This lecture
dealt with the development of the
voice instrument from the time of
Caccini and Bovicelli to the present.
Mrs. Howard sang a group of three
songs. including 20 Oessati di Piagar-
mi'' tScarlattD, ''Voi, che Sapete"
(Mozart) and "Elsa's Traum," from
"Lohengrin" CWagner). Greta Lorle.
berg Won Bayer was at the plano.
Evening star., 1927-03-13

Puccini (opera, La -Boheme"l.
THY Tiny Hands Are Frozen
Mr.. Maddox
folk song) ........ Tiny. Tiny Bird
D. Russian folk song AT Fathers Door
c. Andrews (negro spirituaD,
''Walkin in de Gahden''
d. Quarles ................." Alma Mater
The student director is A. d. Otto;
the cellist, Elizabeth Chevalier: the
soloists are Leonard Stokes. baritone
and Lester Maddox, tenor: members of
the quartet include Lester Maddox,
first tenor: Howard Joyner, second ten
or; Leonard Stokes, first base; Lee
Montgomery, second bass. The accom-
panist is Lee Montgomery.
Evening star., 1927-03-13
u. of Missouri Glee Club
Program Tomorrow Night

THE following is the program of
very worthwhile music that will
be sung tomorrow night in the Hall
of the Nations. at the Washington
Hotel, by the members of the Uni.
versity of Missouri Glee Club Herbert
Wall, director, beginning at s o'clock,
and presented under the auspices of
the local branch of the university's s
alumni association:
T.
a. Palestrina d1526:o4) "Adoremus Te''
b. Allegri 1580-1652) "Miserere mel Deus
C. Ancient German choral,
''Ye Watchers and Ye Holy Ones
a. Kernochen "SmuEglers' Song
Mr.. Stokes.
III.
a. Arensky 80: The Mystic Stars
Quartet-cello obbligato.
a. Schumann ....... .. Lotus Flower
b. Brahms Song from ossian's "Fingal''
c. Brahms .......... "Suabian Folk Song
d. Gretchaninov ............ Autumn
Evening star., 1927-03-13
Navy Band Orchestra.

THE program Thursday at pm.
at the band auditorium, Marine
Barracks, Eighth and l streets
southeast, by the United States Navy
Band Orchestra, Charles Benter, lead
er, will be:
Overture. Faust" ,..... Richard Wagner
Suite in four, pictures
'Andalusia" .......... .Mlramontes
2. 4 Castle in sgsin; r,.
e. Dulcinea Dreams.
d.. Tale of the Troubadore.
Selection on Irish melodies
The Emerald Isle. Arranged by Langey
Two Peruvian numbers on original Inca mel
a. Prelude. 1.-The Death of the
b. Inca Step. -. Carlos Vaiderrama
Fantasia from the opera "Pique
valse de concert Love and Life in -.
Excerpts n from Blossom Time. Rombers
March and Procession of Bacchus Dellbes
THE Star SpanEled Banner.
Evening star., 1927-03-13
Nj MUSIGR A PHS

THE Joint recital TO be given by two
young singers of Washington this
afternoon at the Congressional Coun'
try Club will begin at 5 o'clock. follow
ing the tea hour, from tn ,. The
program. to he given by Charlotte
Hartman, contralto. and Helen Howl
son, soprano, with George Wilson as
accompanist. will be:
Scotch songs. Arranged by Kreisler
fa) Lizzie Lindsay,
tbl "Loch I4omond.
teI Piper Q, Dundee. -
French Songs
(al lie Vieux ST. Jean. .,.... Wachs
ee Les Les ro: hpSs qq p1inc,ss Cass vuilsfmos sr1n
c.A Miss Howison.
e, "..Sapphische,. Ode" Brahms
tc) "Volksledchen" ........ Schumann
rn.,,.h co Miss Hartman
az Polly Willis ,Arne
,eej' tb5ls ~tors 4sS Boy" Ewes. BrqskSs F.Ssg
Miss Howison.
The Music Study Club of Herndon
met Friday evening with Miss Helen
Crippen. The program opened with
the singing of Garry Me Back to Ole
Nirginny" by the club and the sing
ing of the Virginia State song.
America the Beautiful was sung
in chorus by the club, after which
Miss Annie Gibson played American
Airs" Dorothy Brown gave a vocal
solo and Octavia Marshall a piano
solo. Mrs. William II. Dawson and
Helen Crippen gave vocal duet.
Mrs. George Ramsey Bready gave the
history of the composers. Mildred
Mohler played THE Dance of the
Gnomes," Liszt; Esther Cooper sang
Kentucky Babe" Adam Giebel. Mrs.
Harold FitzHugh Hanes played Mar
cissus." Nevin; Mrs. Annie Robey-
Walker played Listen to the Mock.
ing Bird
Norman Esputa Daily. pianist
played two selections on the program
at the Susan B. Anthony meeting at
the Arlington Hotel Tuesday night.
He played Lieurance's song, by the
Waters of Minnetonka,' in piano
form. and Griegs "Papillon" Mrs.
Warner A. Gibbs was in charge of
the program.
Ethel HOltzclaw Gawier. soprano
entertained a group at her home in
Chevy Chase last Sunday at a musi
cal tea given in honor of the church
congregation where she Is soloist.
Elizabeth Gardner Coombs. pianist
played solo selections by Percy
Granger, Chopin, Debussy and Saint
Evening star., 1927-03-13
No. 3-Exl1aiatiOI

No. 3-ExhaiatiOn.
w YHAT is the rule for the ennis
sion of the breath. or for
AN the control of the breath at
the attack of the tone and
Evening star., 1927-08-11

while she said, There's the movie
theater where we had our first date.
Remember?" and l did again.
After awhile she said, There's our
church-remembe how I used to
make YOU go with me every Sunday!
and I said, "And there's the old not
dog stand. Let's stop and buy
couple for old-time's sake"
Well. after that we were off again.
and Joan said, There's the park!
Remember how you used to put your
arm around me in the roller coaster?
You said 1t was to keep me from
falling out" and l said, do L re-
member it? III say / remember IT:
The shortest 10-cent ride in America.
Joan said. Stop under that big tree
lust ahead, Bob
go I stopped, and she did not say
anything, and I said, Want some
thing?" -,
Joan said, Remember this place.
and l looked around and l salo.
What about it?" and she said, Don
YOU remember parking here one night
when we first knew each other?' and
said, "No," and she said. Why,
Bob, We were on our way home from
a dance and you said you had some.
thing important to tell me-" and L
said, That's funny. No, / don't re-
member. What was it l had to tell
you?"
Joan did not say anything. said
Whats the matter? Something In
your eye?" and she said, "N-n.no,
there's nothing in my eye" and l
said, "Wen. what's the matter. Joan?'
and she said, "I hope I never set eyes
on YOU again. R-r-right here is where
you p-p.proposed to me. that's what's
the matter"
Evening star., 1927-08-11
Baked Green Peppers.

Prepare six green peppers and take
a slice from the stem end of each. Re-
move all ribs and seeds and parboil in
salted water for fifteen minutes. Drain.
Cut enough sweet corn from the cob
to make two and one-half cupfuls. Add
to this one large or two medium sized
tomatoes peeled and cut up into bits.
Saute in one tablespoonful of butter.
one tablespoonful of minced onion, and
one sweet red pepper Stir this into
the corn mixture. Season this into
and pepper to taste. Fill into the
pepper cups and cover the tops with
huttered crumbs to which a little
grated cream cheese has been added
Evening star., 1927-08-11
Very Dangerous.
Creamed Shrimp in Cases.

Cut shrimp in small pieces TO make
one cupful mix with one and one-half
cupfuls of medium white sauce and
keep over the fire until the shrimps
are heated through. Add one medium
sized green pepper chopped fine and
two hard-cooked eggs cut in small
pieces. Serve in bread cases with a
sprig of parsley stuck in the top for
a garnish. To make the bread cases.
cut slices of bread two and one-half
inches thick, remove the crust, then
cut out the center of a slice, leaving
about one-half an inch wall on the
bottom and four sides. Toast the
cases a delicate brown on all sides and
in the center. Brush over the sides
and inner cavity with melted butter.
Keep hot until ready to fill.
Evening star., 1927-08-11

Berries were ripe. Yes, sir. blue
berries, blackberries and huckleberries
were ripe up in the Old Pasture. The
news had travelled far. Such news al
ways does. The Old Pasture was IA
nous for it's berries. All the bird
folk knew Of it. So, too, did all the
animal folk who are fond of berries.
So the Old Pasture had become very
popular place. It had become too
popular to suit Mrs. Coyote. At first,
she didn't understand it at all.
What is everybody coming up here
for so much?' she grumbled to Old
Man Coyote. THE first thing we
know somebody will discover our new
home. l thought the Old Pasture was
a place where people seldom came.
Old Man Coyote grinned. 1T is most
of the time" said he. but not at this
time of year. I don't know of any
place anywhere more popular at this
time of the year than is the Old Pas
t1re. / saw Buster Bear over here
early this morning"
You did" exclaimed Mrs. Coyote.
81 didn't know he ever left the Green
Forest
He doesn't very often" replied Old
Man Coyote. excepting when berries
are ripe. You just can't keep Buster
away from ripe blueberries. I'm sur
prised that haven't seen Mrs. Buster
and her babies. The youngsters must
he big enough by this time to be eat
ing berries"
well. hope they will stay away"
said Mrs. Coyote GROSSLY. We have
troubles enough as it is. If l should
see one of those little bears, I'd give
him such a scare that he would never
want to come into the Old Pasture
again. No, sir, he'd never want to
come into the Old Pasture again
Old Man Coyotes face sobered.
Snow, look here, my dear" said he,
don't you go TO making any mistakes.
] can think of lot of mistakes you
might make. but no greater mistake
than trying TO scare one of Buster
Bears cubs, If his mother happens 10
be anywhere near. You take my ad'
vice and leave those cubs alone, and
be thankful If they leave you alone.
Mrs. Coyote held her tongue. What
she thought she didn't say. She
changed the subject. But changing the
subject didn't mean changing her
mind. Down inside she was resolved
that II she found those little bears
she would give them such scare that
they never would return to the Old
Pasture.
By and by Old Man Coyote went
away Mrs. Coyote lay down on the
doorstep of Old Man Coyotes old
home. She always liked to take q
sunbath on that doorstep and that is
what she planned to do now. She
made herself comfortable and then be
gan 10 plan what she would do tC
those young cubs If she should rur
across them. The sun was warm. She
became sleepy. She closed her eyes
drowsily. In two minutes she was
fast asleep. She was asleep anC
dreaming that she was chasing great
big Buster Bear out of the Old Pas
t,Ire and that Buster was running as
If his very life depended on his speed
Evening star., 1927-08-11
Lessons in English
BY W. l.. GORDON.

Words often misused: Don't say
."The experiment was quite satisfac-
torv" to express fairly satisfactory. ;"
"OIlite" means completely or wholly.
often misspelled: Waste Ito de.
stroy): waist (of the body.
synonyms: Visibility, perceptibil-
ity. appearance, manifestation, evil
dence, conspicuousness
Word study: Use word three
times and it is yours" Let us in
crease our vocabulary by mastering
one word each day. Today's word: De-
mure; having a sedate or modest de-
meanor. "She blushed and answered
him demurely."
Evening star., 1927-08-11
DIARY OF A
NEW FATHER
BY BOB DICKSON.

Wednesday night.
This morning my mother Volun'
teered to herd the baby for the day,
while Joan and l bummed around and
visited places we used to know in the
old home town.
Joan said. Lets just drive around
the way we used to do before we were
married, Remember how we drove
and drove, and stopped for sandwiches
or ice cream once in a while, and just
talked and talkcd?'
SO we drove and drove.
loan said. There's that little tea
room. where we used to so so often,
Remember" and l did, ana alter