ts connected with her
art. Oscar Saenger says: "One should practice in fifteen-minute periods,
and rest at least ten minutes between. Sing only two hours a day, one in
the morning and one in afternoon."

WHAT VOWELS TO USE

There seems a divergence of opinion as to what vowels are most
beneficial in technical practice and study. Galli-Curci says: "In my own
study I use them all, though some are more valuable than others. The Ah
is the most difficult of all. The O is good; E needs great care. I have
found the best way is to use mixed vowels, one melting into the other.
The tone can be started with each vowel in turn, then mingled with the
rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which
melts into O and later changes to U, as the tone dies away. Bispham has
the student use various vowel syllables, as: Lah, Mah, May, and Mi. With
Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes.
Duval requires students to use the vowel Ah, for exercises and scales,
finding the others are not needed, especially excluding E and U as
injurious. Griffith uses each vowel in turn, preceded by all the
consonants of the alphabet, one after another.

HALF OR FULL VOICE?

Shall the young singer practice with half or full voice seems a matter
depending on one's individual attainments. De Luca uses full power
during practice, while Raisa sings softly, or with medium, tone, during
study hours, except occasionally when she wishes to try out certain
effects. Martinelli states he always practices with full voice, as with
half voice he would not derive the needed benefit. Mme. Easton admits
she does not, as a rule, use full voice when at work; but adds, this
admission might prove injurious to the young singer, for half voice
might result in faulty tone production. Anna Case says when at work on
a song in her music room, she sings it with the same power as she would
before an audience. She has not two ways of doing it, one for a small
room and another for a large one. Mr. Duval advises the young pupil to
sing tones as loudly and deeply as possible. Singing pianissimo is
another fallacy for a young voice. This is one of the most difficult
accomplishments, and should be reserved for a later period. Oscar
Saenger: "The tone should be free, round and full, but not loud."

HEARING YOURSELF

Does the singer really hear himself is a question which has been put to
nearly every artist. Many answered in a c