ANDREAS DIPPELANDREAS DIPPELOf the Metropolitan Grand Opera and General Manager of the Chicago Grand Opera, who through his tireless and skillful service is meeting with great success in the establishing of permanent Grand Opera in the larger cities west of New York, is an enthusiastic supporter of the Grand Opera in the vernacular, giving the many excellent American singers an opportunity to make their début in this country and in their own language. Mr. Dippel predicts the time is not far distant when New York will establish the home of the National Grand Opera.
Of the Metropolitan Grand Opera and General Manager of the Chicago Grand Opera, who through his tireless and skillful service is meeting with great success in the establishing of permanent Grand Opera in the larger cities west of New York, is an enthusiastic supporter of the Grand Opera in the vernacular, giving the many excellent American singers an opportunity to make their début in this country and in their own language. Mr. Dippel predicts the time is not far distant when New York will establish the home of the National Grand Opera.
THE MUSICIAN who refuses to make certain concessions to the public gives proof of courage, but not of wisdom. One cannot expect to go before an audience and sing over their heads, and by so doing educate them up to one's own standard of music.
You must reach down from your lofty ideals and meet the public on its own ground.
For example, in creating a love for the grand opera (which the people, especially of the west, up to a few years ago have had no chance of hearing), you must proceed gradually, carefully and with tact.
Teachers of voice culture should organize grand opera study clubs, give concerts, using selections from the popular grand opera—I mean by popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These operas contain airs that are attractive, and can be followed by the masses.
It would not be long before the grand opera would share honors with the now flourishing musical comedy in the affections of the music-loving public, and the term "grand opera" would not sound to them like a "bugaboo."
In Brooklyn one afternoon I passed a number of boys coming from school, and was astonished to hear them whistling "Tannhauser." While this would be quite natural in Europe it is rather unusual here, where the popular song has the upper hand with the young folks. I made inquiries and found that a phonograph had been installed in the school and that every morning the pupils listened to selections from the grand operas. My already good opinion of the value of the phonograph was strengthened, as I fully realize what effect hearing good music in the public schools would have on the coming generation.
In order to fully appreciate a difficult composition one must have made a study of music, same as a doctor, in order to appreciate a lecture on some intricate subject about his profession, must have made a study of that profession.
The painter sees in a great painting the beauties of execution that entirely escape the eyes of the uninitiated; yet the musician will go before an audience of whom two-thirds have probably never studied music at all, and expect them to appreciate the classical music, and because they do not, he would brand them as unappreciative, absurd; he expects the impossible.
The average audience does not care for the name of a composition as long as the music appeals to them, and this is generally a matter of how it is interpreted.
The power of a beautiful interpretation does not make itself felt in singing classics alone. Many persons harbor the notion that interpretation relates to the work of the dead masters only. This is not true. The simplest song needs interpretation, as well as the oratorio or opera and the difference between good and bad artists is largely a matter of interpretation. A simple song that emanates from the heart and soul, will have a reciprocal effect on others and will outlive all sermons in the memory.
The average audience goes to the concert, not to be educated, but to be entertained. Entertain them, interest them, win them and they will come again.
After you have endeared yourself to them, you can begin to sing more pretentious music, and before they realize it, they are listening to and enjoying the works of the great masters.
I have seen a vast audience go to hear Patti sing "Home, Sweet Home," and while listening they became acquainted with other songs, that by hearing again and again, have helped to educate them to appreciate the better music.
I love the "oratorios" and "grand operas" particularly. They are part of my life. But I do not expect all with whom I come in contact to feel the same.
I have seen more people asleep at a piano recital than I have at church, and I did not blame them, when some amateur would be wrestling with a twenty-page selection of which he had not the slightest conception, with the exception of being able to read the notes and find them on the instrument.
Let us not become so blinded that we can see only one way—our way.
In educating the masses let us not begin by driving them away with compositions which they cannot understand.
Art has no fatherland, and all that is beautiful should be prized by us, no matter how simple or what clime or region produced it.
When you hear someone dwelling on the fact that Mansfield did not ask his audience what play they wanted, neither did Patti ask them what she should sing, the argument is ridiculous. Bear this in mind: The audience did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti and see Mansfield, and what they rendered was only incidental to the fact that they were Patti and Mansfield, people in whom the public was interested. But while they were listening to these artists they became acquainted with the better works.
So leave it to the "finished artist" to produce the great works. You are an amateur and have your little share to do in educating the masses. Don't begin by giving a difficult program. Sing something simple, that you are perfectly familiar with, and don't be afraid of the new compositions. It is surprising that even old singers fear a new song. Select something with pretty melody and rhythm and you are perfectly safe.
Always be on the lookout for something you can identify with yourself, just as the artists all have some favorite song.
GET OUT in the fresh air at least once a day, summer and winter.
If you are in good health,walkin preference to riding.
Get plenty of sleep. It is better than all other tonics.
If you are "out of sorts," try a little "new thought," or "mental science." It may be all you need.
Sponge your neck, chest and back with cold water every morning.
Girls, accustom yourselves to wearing your waists minus collars.
Boys, wear your collars loose. The artists all do.
Never bundle your neck in winter. A light covering will do.
Eat what agrees with you, and avoid going on diets, if possible.
If you desire to gain weight or put on more flesh, you must eat plenty of nourishing food at least three times a day, drink plenty of pure fresh water, good rich milk, ale, malt extracts, and everything that agrees with you.
Should you desire to reduce your weight, eat sparingly—a shredded wheat biscuit, some dry toast with a cup of coffee in the morning. At noon eat one or more oranges, and nothing else. For dinner take only one kind of meat or fish, a vegetable, a fruit, a salad, some dried toast, with a cup of black coffee or tea. Use no potatoes, butter or cream.
There is no special diet for singers. It is only necessary to keep in good health, take plenty of exercise, and eat and drink only those things which agree with you.
Pose your speaking voice low, as it not only benefits the voice, but it denotes refinement.
Robusto tenors are high baritones with the head tones developed.
Saddle riding, walking, physical culture, fencing, dancing, elocution, the study of any instrument will all be of some value in helping you to become an artist.
Use your brains more than your throat.
Don't be impatient because things do not come your way at once. Rome was not built in one day.
Let your study of music cultivate within you a sympathy and love for all that is artistic.
Do not be unjustly prejudiced against good music because you do not understand it. Hear that class of music more, and it will overcome your prejudice.
Acquaint yourself with the old masters and works before you take up the novelties.
Keep young in mind and thought, and the body will not grow old.
Think for yourself andthink.
Don't worry, for worry is born largely of misdirected ambition.
When someone is singing, do not shrug your shoulders and assume a pained expression, so as to impress those who may be sitting near you that you are a great critic.
Have you ever thought what a desolate place this world would be without music?
Never neglect an opportunity to hear a great singer. If your means are limited, subdue your pride, for it is far better to sit in the gallery and be able to hear ten "artist concerts" than to sit in the orchestra and be able to hear only one.
Be willing to sacrifice much for your music.
Associate as much as possible with people whoknow moreabout music than you do. Read everything you can find on the subject. You will findsometruth in all of it.
When you attend a concert look forward for the best only—don't be a pessimist, be an optimist, and you will derive much more benefit. Don't criticize audibly when someone is singing.An artist never does.
Before going to hear an artist sing, acquaint yourself as much as possible with the program.
While under one instructor, do not run around to other studios to have your voice tried. It is undignified, and reflects on your teacher, as well as upon yourself.
Become a sight reader by reading at sight.
You can break yourself from clearing your throat by not clearing it. You will be surprised to find it was only a habit.
Punctuality at the studio is essential. Ten minutes early for your lesson is better than two minutes late.
If there is anything about your lesson that you do not understand, ask questions. You are paying for information.
Practice systematically if you expect to make a success.
Beginners should practice only fifteen minutes at a time.
The scales are the backbone of music study.
Remember your consonants are of as great value as your vowels.
In singing, you must use both your nose and mouth for breathing.
Always stand up when practicing your exercises.
Memorize all your songs.
When asked to sing, sing songs with which you are perfectly familiar.
Stand on both feet and let your chest, not your stomach lead.
If you expect to sing well, leave the tight collar, the tight corset and the tight shoes at home.
It is better to stand too near the footlights than too far back.
If you are not an expert at handling a train on the stage, don't wear one.
While waiting for the introduction to be played, don't count the footlights or the stars, but look out beyond the audience, rather in with your eyes and nose.
When holding music, never hold it high enough to cover your face from the audience.
Singtoyour audience, notatit.
Try and look pleasant, even if you don't feel that way. The audience can't help it.
Never fail to give a smile or word of encouragement to other beginners who may be on the same program with you.
It is certainly appalling to know how many good singers have bad stage manners.
A man must never put either one or both hands in his trouser pockets, nor stand with his feet spread far apart while singing. Both of these faults denote improper training.
If you are ever so warm, use your handkerchief only before or after you leave the stage.
Correct dress is essential.
For a man, for informal entertainments, black suit, black shoes, white shirt, collar and cuffs, with either a black or white tie. For concert, only evening dress is appropriate.
For girls, the nicest thing to wear is a gown; if you do not wear one, try to have your waist and skirt correspond in shade. The so-called shirtwaist effect, which is produced by waist and skirt of different colors, is not effective on the stage.
Wear hose and slippers of the same color if possible.
Amateurs when on the stage frequently rearrange a tie or smooth back a stray curl, etc.; this is but a form of nervousness and looks bad. Finish your toilet at home.
For ease and grace take dancing lessons.
The graduate from dancing and dramatic schools never appear ill at ease before company.
IT IS not so muchwhat, buthowyou practice. The average beginner takes up his practice in an aimless sort of way. Every action should have some result in view. After taking your lesson, if you find you are not positive as to the proper course to be pursued at home, you must ask your teacher the questions necessary to put you on the right path. You should have all your work laid out for you and go about it in a systematic manner. Only in this way can you hope to achieve any degree of success.
A beginner should not practice much more than five minutes at a time on each construction, neither would much less than that be sufficient to accustom that set of muscles to that one construction. Never practice your limit tones at either end of your range as much as you do your middle register. What I mean by middle register is low enough to produce chest and high enough to produce head tones. If you can produce a fine middle register, the high tones will naturally follow in time. Melba says, "On days when my high tones do not come easily in practice, I do not sing them." Do not show or cover your teeth because you have seen some singers do so; individual construction differs.
Pronounce your words naturally and distinctly, never forgetting the consonants at the end of the words. Don't think because you are singing from a Marchesi book that you are studying her method. You are getting the method of the teacher with whom you are studying. There are but two ways of singing—"right" and "wrong"—and it makes little difference from what instruction book you are taking your lesson, they are all good and all constructed on the same principles. The main thing is knowingwhatyou are trying to do.
Many pupils who are poor readers worry through several exercise books, and at the end of that time have only memorized the notes and made no progress whatever on the main point—tone.
The pupil should learn to use the ear, mind and memory, and a great deal of time would be gained in tone placing which should be taken up before using an exercise book. If you are not a sight reader, take up this study at once, preferably in class work, as it is absolutely necessary that you should be able to read music at sight.
Antiquated and complicated systems of sight reading are responsible for many poor readers. We need more eartrainingand ability tothink. Avoid the use of the do-re-me syllables unless you are already proficient in that system. Practice with the pitch names, A, B, C, D, and with the scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the tones of the scale, otherwise the syllable "la" or any other syllable will do.
If you have an "off day," when all the work seems to go wrong, don't practice. Mechanical work is of no value whatever in singing. Even the artists have their "off days," but don't allow these days to become too frequent.
The best position for practice is to stand naturally, clasp your hands in front or let them hang carelessly and naturally at your sides. Clasping your hands behind your back or resting them on your hips, are both bad positions for singing.
When you practice do not simply kill fifteen minutes' time. Mere practice makes a mechanical gymnast, while study produces a musician.
In taking up your exercises use the instrument as little as possible. For illustration we will take the arpeggio.
Play the arpeggio until you are perfectly familiar with the construction, thensingit oncewiththe piano, then play only the chord or keynote and sing the arpeggiowithoutthe piano; continue in this way in all the keys within your range, getting your pitch from the chord or keynote; this manner of practice is of the greatest value, as you can stand in a natural singing position and as you do not have to give part of your thought to the music or instrument, you pay more attention to the pitch and tone, so that when you come to arias with recitativeswithoutaccompaniment, you will not have as much difficulty staying on pitch as those who invariably depend on the support of the instrument.
In songs you should pursue the same course, play the most difficult passages, "memorize them" before you attempt to sing them; in this way you do not unnecessarily tire the voice. Memorize all your songs; it is only after you get away from the reading that you are capable of doing your best work. Always practice before a mirror and you will not be so liable to acquire facial contortions and would soon overcome the very bad habit of lifting the shoulders when you "see yourself as others see you."
Pupils frequently ask why it is so much easier to sing an exercise on "ah" than to sing a sentence. In the "ah" you only have one vowel, while in the sentence there are both vowels and consonants. By diligent practice you will soon find that the tone helps the word, and the words help the tone.
Another complaint frequently heard in the studio is this: "I sang this exercise perfectly at home, and can't see why I am unable to sing it now." How many times did you sing this exercise perfectly at home. Don't consider an exercise learned until you can sing it ten times in successionwithout an error.
Lillie Lehmann says: "I expended ten years in perfecting the trill which every voice must master," and yet some pupils become discouraged because they can not master the art of singing in a few months!
Many singers complain of a contraction (hardness under the chin). This is frequently found where they have been taught to place the tip of the tongue against the back of the lower teeth to keep the tongue down. Leave the tongue limp and speak your vowels and consonants perfect and distinct, and the tongue will take care of itself.
Those who are working to produce low tones will find that in the morning, immediately after rising, the lower tones respond most readily and may help you to find a way of increasing the lower range.
Don't neglect the scales. Many years ago Madame Patti, while on a concert tour, was awakened from her early morning sleep by the sound of a piano in a room close to hers. It was slow scale practicing and was maddening to the singer. She rang the bell, and demanded that the practice be at once discontinued. What was her astonishment to learn that the player was not some beginner as she had supposed, but the great artist, Hans Von Bulow.
Why is the so-called Italian method supposed to be the correct method of singing? Partly because the Italian "a" (as you would pronounce "ä") is the most natural sound that can be sung, and as the "ä" is the sound used in two-thirds of the words in the song you sing, it plays an important part in singing.
Very few beginners realize that it is not only the words "law," "raw," "saw," "tall," "hall," etc., that contain the Italian "ä," but also the words "light," "bright," "might."
In the word "night," the beginner usually dwells on the "ee," making it "na-eet," while itshould bepronounced "naw-eet," dwelling on the "ä."
The Italian vowels cover the sound, tone color and pronunciation of the Latin, English, Italian and German, with the exception of the German "o" and "ü."
With the French it is quite different. The sound and production stands by itself. A French singer does not so readily sing the other languages, neither does an American in the same length of time master the French as well as the other languages. The French insist onperfect diction, and one of our grand opera singers who delights the New York opera goers by her singing of "Faust," "Carmen," etc., in the French, would not be tolerated at the opera in Paris on account of her diction.
As the French is the diplomatic language of the world, it would be well to take up this language first. Then study your Italian for your singing and you will find the Spanish, Latin and German can be easily mastered.
Study only those songs which have merit. "After the Ball" was composed within the past twenty years, and over 3,000,000 copies have been sold, yet this song is both dead and buried, while the "Earl King," by Schubert, composed in 1798, is today found upon practically all the programs of our noted singers.
When taking up a new song read the words over carefully and get an idea what you are going to sing about before you try to sing it. Never breathe in the middle of a word, or break a sentence by taking a breath.
THE FOUNDATION upon which you have to build your voice is thebreath, and like all other foundations, it must be properly laid, or the structure will be a failure. It is imperative that you have absolute and perfectcontrolof the breath. An athlete once said to me, "If breath is the foundation of good singing, I certainly should make a fine singer, as I have the largest chest expansion and can hold my breath the longest time of anyone in the college." The truth is, a small girl, weighing ninety-six pounds, who had less than one-fifth of his chest expansion, had twice the volume of sound-carrying power in tone, and could sustain a tone three times as long as he.
To practice breathing is not practicing singing, and the teacher who keeps a pupil indefinitely on "breathing lessons" is either "killing time" or is not a proficient instructor of voice culture.
It should be taken for granted that all healthy persons breathe properly.
It is not the breathing, but the power of control, which is of vital importance. It may be that after taking "breathing lessons" for a period of six months that you will still be far from able to control the breathon the tone. It is the way you practice, rather than the length of time which brings proficient results.
You will find by referring to the chapter on "Practical Exercises" that I demonstrate the matter thoroughly.
A good tone should haveresonance, or what we call "vibration," but not "tremolo." Many young singers confuse these two. Undoubtedly it is just as bad to sing with a straight, cold, unmusical tone as it is to produce an exaggerated "vibrato" or "tremolo."
If you are unable to make the distinction between these two, do not fail to consult someone who can do so, that you may not enter the pitfalls, which it takes months to overcome.
You cannot realizehow little breathis necessaryon the tone; we sing with a great amount ofpressure, but withvery little breath. Have you ever taken a covered head tone without scarcely taking any breath, and found that you could sustain it for a practically unlimited period?
I found one of my pupils who had elsewhere taken a course inbreathing, in taking a tone, would push her breath out so hard that you heard morebreaththantone. In singing a tone or short sentence, her chest would collapse and she would become, as she termed it, "All out of breath." She would give me all kinds of wonderful breath demonstrations, but could not connect thebreathandtone.
I requested her to speak in a natural way the sentence, "This is a very beautiful day." I asked her if she could hear a lot of escaping breath? She answered, "No." I then asked her to place one hand across the ribs and one across the chest and center her thoughts directly at these two points to see if she could ascertain what was taking place there, while once again in a natural speaking voice she repeated the sentence. She did so, and found she wasnot"out of breath," and that her chest didnotcollapse and she did not feel any discomfort. I then asked her to repeat the sentence on the medium tone "E" above middle "C," then on "F," then on "G," directing her each time to think she was merelyspeakingthe sentence, and then for the first time in her life she was able to understandcontrol of breath. During the next lesson we were able to begin "tone placing" without the least trouble in connecting the breath and tone.Try it yourself.
All kinds of athletics, breathing lessons or exercises in moderation are beneficial, but they are not voice culture. As your breath plays a most important part intone placing, the breath and tone should start together, hand in hand, from the very beginning. In the following chapter I shall give some practical exercises that will give thebreathandtonea chance to become acquainted with each other.
STAND erect, but not in a strained position. Place the palm of your hands over your ribs, pointing the fingers forward. (See Figure 1.)
Exhaleby blowing slowly through the closed lips, very much as though you were blowing on embers to make them burn. In doing this, you will find that your finger tips will almost meet in front. (See Figure 2.)
Keep your hands in the same position andinhalethrough the nose. You will notice a large space in front between your hands. (See Figure 3.)
Keeping your hands in the same position, repeat this exercise five times; then drop your arms to your sides, relax and rest a few moments, repeating this exercise several times until it comes easy.
THE BREATHfive images of the rib-cage doing breath exercises.
THE BREATH
Go before an open window every morning, place your hands as in figure 4, inhale through the nose, (don't raise the shoulders) see that the expansion is as great under the left hand as under the right hand (as in figure 5) while holding the breath count 5 (aloud) then exhale while holding the hands in same position, repeat this exercise 5 times in succession. A positive cure for all forms of nervousness.]
Be sure wheninhalingyou do not use enough muscular exertion to take enough breath to cause lifting of the shoulders, which is decidedly wrong.
Place your hands as in the first position, exhale, then inhale and, while you keep the ribs extended against your hands, which is done by holding the breath and by muscular tension, speak the sentence, "This is a beautiful day," then exhale, inhale again, holding the breath while you repeat the sentence. Repeat this several times, then drop your arms to the sides and rest.
It is better at the beginning to taketoo littlebreath than to taketoo much. Most beginners take too much breath, which makes it impossible to control it. Until you understand control of the breath, it is better to only take enough to extend your ribs against your hand as far as they will gowithout discomfort.
Don't let anyone tell you that "diaphragmatic," "intercostal" or "abdominal" breathingaloneis the only safe course; perfect breathing is acombinationof these and more.
By practicing the above exercises you will find in a short time all the organs that nature intended to be used for breathing will be in play.
The reason the beginner is instructed to place the hands on the ribs is to work from thecentralpoint, and as the student progresses, by continuation of the exercises it will be found that the costal, intercostal, dorsal, diaphragmatic and abdominal muscles are all doing their share.
Place your hands as in the first position.Exhale—inhale.Sustain the syllable "saw" on an easy medium tone. As you attack the tone do not let the ribs collapse, but as you sustain it, let the ribs very slowly collapse under the palm of your hands. Try to resist so as to not let too much breath escape. Don't let your chest collapse any more than is absolutely necessary. The lower the tones you sing thelessresistance you need, while the higher tones you sing themoreresistance you need. In order to sustain a high tone,draw inslightly under the ribs, leaving the chest extended. Singing the tone, now takes the place of theexhalingexercise.
musical notation, saw ...saw ...saw ...
The word "saw," besides giving you the vowel "ä," also gives you the correct sound of the Italian "ah" and what the "ah" should be in singing.
The average beginner sings too much on the tone color of "a" as inhat, which, as you ascend the scale, would finally land the tone in the region of the back of your neck.
In learning to sing the "ah" or Italian "ä," always use words like "saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone.
THE VOWELS
a e i o u
Example—
musical notation
In ascending the scale, you should cover the tone. To cover the tone simply put a little more "o" in your "ah," so that by the time you are up near your high limit tone you should almost be singing "so," "lo," "dough." This enables you to find your head tone. It will not be "low" or "dough" but a good "ah." If you donot gradually curve the "ah" into an "o"toward your high tones, you will find them turning into the "a" as in hat.
In producing head tones there are two valuable exercises I would suggest.
THE VOWELSimages of faces while pronouncing the vowels.
THE VOWELS
Drop your jaw as in singing "saw"; leave the jaw dropped singing "saw," but curving your lips into an "o." You will find an "oh" with fine head resonance and an open relaxed throat.
Example—
musical notation, ä o ä o ä o ä o ä o ä o ä o ä o ä o
Sing this exercise in all the keys within your range.
Some find their head tones first by humming through the nose, while to some this suggestion would be of no value.
If you have a break or any trouble going from your high to low tones, practice the exercise from the high tone down instead of from the low tone up.
Example—
musical notation
If you have trouble rolling your "r's", which is absolutely necessary, practice the following words in two syllables, not, however, dropping the tone.
Example—
Afteryou have mastered the rolled "r" through the above exercises, pronounce them in one syllable as they should be.
Next, take up your consonants before the vowel
musical notationBaw, bay, bee, bo, booBaw, bay, bee, bo, booBaw, bay, bee, bo, booDaw, day, dee, do, dooDaw, day, dee, do, dooDaw, day, dee, do, dooFaw, fay, etc.Faw, fay, etc.Faw, fay, etc.Gaw, gay, etc.Gaw, gay, etc.Gaw, gay, etc.Haw, hay, etc.Haw, hay, etc.Haw, hay, etc.J, k, l, m, n, p, q, r, s, t, v, w, y, z.
until you have covered all the consonants.
Then your final consonants, as in "late," "date," "light," "bright."
In the word "date," make your "d" and your "a" distinct andon the tone, but as you pronounce your "t," which must also be distinct, drop the tone so as not to leave an "after-tone." This must be done in all words except those ending with "m" and "n."
Next build sentences from words which seem most difficult to you and sing the entire sentence on one sustained tone.
Example—
musical notation repeating Now the day is over. Now the day is over.Now the day is over. Now the day is over. Now the day is over.
Now the day is over. Now the day is over. Now the day is over.
In a song where some particular phrase or sentence seems difficult to you, sing the entire phrase or sentence on one sustained tone, pronouncing the words distinctly until you have gone down several tonesbelowand several tonesabovethe pitch in which it is written, singing it over and over on the one sustained tone in all the keys of your range. I cannot tell you of the benefit you will derive from mastering a difficult phrase or sentence in this manner.
For the hardness and muscular contraction under the chin, which has undoubtedly been brought about by "methods" advocating the placing of the tip of the tongue against the back of the lower teeth, put your thumb well up under your chin and see that there is no contraction (hardness). Leave your tongue perfectly limp, and hum first through the nose, gradually turning the humming into an "äo," "äo," "äo," then to "oä," "oä," "oä," sustaining the tone and keeping the thumb pushed well up under the chin to feel that there is no contraction. By using this exercise you will be able to overcome this common fault in a very short time, but you must go at it systematically.
In singing songs pronounce your words perfectly and distinctly, letting the palate, glottis and larynx take care of themselves. If your method of singing is good,nothingcan injure your voice.
As this book voices the sentiment of some of the most brilliant lights in the profession, and contains facts based on years of actual experience, it is not egotistical for me to say that its careful, thoughtful and conscientious perusal will give to the student of voice culture assistance that will be ofinestimable valuein reaching his goal.
Start with ease and naturalness and the chances are excellent for your pathway to be illumned withsuccess.
THE AUTHOR.