every tone has
clearly approved itself to the ear, not only of the teacher, but also
of the pupil, as _perfect_.

It takes a long time to reach the full consciousness of a tone. After
it has passed the lips it must be diffused outside, before it can
come to the consciousness of the listener as well as to that of the
singer himself. So practise _singing_ slowly and _hearing_ slowly.

SECTION XXXII

THE GREAT SCALE

This is the most necessary exercise for all kinds of voices. It was
taught to my mother; she taught it to all her pupils and to us. But
_I_ am probably the only one of them all who practises it faithfully!
I do not trust the others. As a pupil one must practise it twice a
day, as a professional singer at least once.

[Music illustration]

The breath must be well prepared, the expiration still better, for the
duration of these five and four long tones is greater than would be
supposed. The first tone must be attacked not too _piano_, and sung
only so strongly as is necessary to reach the next one easily without
further crescendo, while the propagation form for the next tone is
produced, and the breath wisely husbanded till the end of the phrase.

The first of each of the phrases ends nasally in the middle range, the
second toward the forehead and the cavities of the head. The lowest
tone must already be prepared to favor the resonance of the head
cavities, by thinking of _[=a]_, consequently placing the larynx high
and maintaining the resonating organs in a _very_ supple and elastic
state. In the middle range, _ah_ is mingled particularly with _oo_,
that the nose may be reached; further, the auxiliary vowel _e_ is
added to it, which guides the tone to the head cavities. In descending
the attack must be more concentrated, as the tone is slowly directed
toward the nose on _oo_ or _o_, to the end of the figure.

When _oo_, _a_, and _e_ are auxiliary vowels, they need not be plainly
pronounced. (They form an exception in the diphthongs, "Trauuum,"
"Leiiid," "Lauuune," "Feuyer," etc.) As auxiliary vowels they are only
means to an end, a bridge, a connection from one thing to another.
They can be taken anywhere with any other sound; and thence it may be
seen how elastic the organs can be when they are skilfully managed.

The chief object of the great scale is to secure the pliant, sustained
use of the breath, precision in the preparation of the propagation
form, the proper mixture of the vowels whi