," she began, with an arch smile, as she caressed the little
creature beside her.

BREATHING

"The very first thing for the singer to consider is breath control;
always the breathing--the breathing. She thinks of it morning, noon and
night. Even before rising in the morning, she has it on her mind, and
may do a few little stunts while still reclining. Then, before beginning
her vocal technic in the morning, she goes through a series of breathing
exercises. Just what they are is unnecessary to indicate, as each
teacher may have his own, or the singer has learned for herself what
forms are most beneficial.

VOCAL TECHNIC

"The pianist before the public, or the player who hopes to master the
instrument in the future, never thinks of omitting the daily task of
scales and exercises; he knows that his chances for success would soon
be impaired, even ruined, if he should neglect this important and
necessary branch of study.

"It is exactly the same thing with the singer. She cannot afford to do
without scales and exercises. If she should, the public would soon find
it out. She must be in constant practice in order to produce her tones
with smoothness and purity; she must also think whether she is producing
them with ease. There should never be any strain, no evidence of effort.
Voice production must always seem to be the easiest thing in the world.
No audience likes to see painful effort in a singer's face or throat.

VOCAL PRACTICE

"The young singer should always practice with a mirror--do not forget
that; she must look pleasant under all circumstances. No one cares to
look at a singer who makes faces and grimaces, or scowls when she sings.
This applies to any one, young or older. Singing must always seem easy,
pleasant, graceful, attractive, winning. This must be the mental
concept, and, acted upon, the singer will thus win her audience. I do
not mean that one should cultivate a grin when singing; that would be
going to the other extreme.

"Let the singer also use a watch when she practices, in order not to
overdo. I approve of a good deal of technical study, taken in small
doses of ten to fifteen minutes at a time. I myself do about two hours
or more, though not all technic; but I make these pauses for rest, so
that I am not fatigued. After all, while we must have technic, there is
so much more to singing than its technic. Technic is indeed a means to
an end, more in the art of song than in almost any other