rrect understanding will quickly obviate this.

BREATH CONTROL

"Breath control is indeed a vital need, but it should not be made a
bugbear to be greatly feared. The young student imagines he must inflate
the lungs almost to bursting, in order that he may take a breath long
enough to sing a phrase. Then, as soon as he opens his lips, he allows
half the air he has taken in to escape, before he has uttered a sound.
With such a beginning he can only gasp a few notes of the phrase. Or he
distends the muscles at the waist to the fullest extent and fancies this
is the secret of deep breathing. In short, most students make the
breathing and breath control a very difficult matter indeed, when it is,
or should be an act most easy and natural. They do not need the large
quantity of breath they imagine they do; for a much smaller amount will
suffice to do the work. I tell them, 'Inhale simply and naturally, as
though you inhaled the fragrance of a flower. And when you open your
lips after this full natural breath, do not let the breath escape; the
vocal chords will make the tone, if you understand how to make a perfect
start. If the action is correct, the vocal chords will meet; they will
not be held apart nor will they crowd each other. Allow the diaphragm
and respiratory muscles to do their work, never forcing them; then you
will soon learn what breath control in singing means. Remember again,
not a particle of breath should be allowed to escape. Every other part
of the apparatus must be permitted to do its work, otherwise there will
be interference somewhere.'

CAUSATION

"Everything pertaining to the study of vocal technic and the art of
singing may be summed up in the one word--Causation. A cause underlies
every effect. If you do not secure the quality of tone you desire, there
must be a reason for it. You evidently do not understand the cause which
will produce the effect. That is the reason why singers possessing
really beautiful voices produce uneven effects and variable results.
They may sing a phrase quite perfectly at one moment. A short time after
they may repeat the same phrase in quite a different way and not at all
perfectly. One night they will sing very beautifully; the next night you
might hardly recognize the voice, so changed would be its quality. This
would not be the case if they understood causation. A student, rightly
taught, should know the cause for everything he does, how he does thus
and so and