And this is done, not only in case of a doubling of one consonant, but
whenever two consonants come together to close the syllable; for
instance, win-ter, dring-en, kling-en, bind-en; in these the nasal
sound plays a specially important part.

The tediousness of singing without proper separation of the syllables
is not appreciated till it has been learned how to divide the
consonants. The nasal close of itself brings a new color into the
singing, which must be taken into account; and moreover, the word is
much more clearly intelligible, especially in large auditoriums, where
an appreciable length of time is needed for it to reach the listener.
By the nasal close, also, an uninterrupted connection is assured
between the consonant and the tone, even if the latter has to cease,
apparently, for an instant.

I teach all my pupils thus. But since most of them consider it
something unheard of to be forced to pronounce in this way, they very
rarely bring it to the artistic perfection which alone can make it
effective. Except from Betz, I have never heard it from any one. After
me no one will teach it any more. I shall probably be the last one. A
pity!

SECTION XXXI

PRACTICAL EXERCISES

The practical study of singing is best begun with single sustained
tones, and with preparation on the sound of _ah_ alone, mingled with
_o_ and _oo_. A position as if one were about to yawn helps the tongue
to lie in the right place.

In order not to weary young voices too much, it is best to begin in
the middle range, going upward first, by semitones, and then, starting
again with the same tone, going downward. All other exercises begin in
the lower range and go upward.

The pupil must first be able to make a single tone good, and judge it
correctly, before he should be allowed to proceed to a second. Later,
single syllables or words can be used as exercises for this.

The position of the mouth and tongue must be watched in the mirror.
The vowel _ah_ must be mingled with _o_ and _oo_, and care must be
taken that the breath is forced strongly against the chest, and felt
attacking here and on the palate at the same time. Begin _piano_, make
a long _crescendo_, and gradually return and end on a well-controlled
_piano_. My feeling at the attack is as shown in the plate.

At the same instant that I force the breath against the chest, I place
the tone _under_ its highest point on the palate, and let the
overtones soar above the