toward the nose,--and firmly held there, permits no interruption for
an instant to the vowel sound.

How often have I heard the _ha-ha-ha-haa_, etc.,--a wretched tumbling
down of different tones, instead of a smooth decoration of the
cantilena. Singers generally disregard it, because no one can do it
any more, and yet even to-day it is of the greatest importance. (See
_Tristan und Isolde_.)

The situation is quite the same in regard to the appoggiatura. In
this the resonance is made nasal and the flexibility of the
larynx,--which, without changing the resonance, moves quickly up and
down--accomplishes the task alone. Here, too, it can almost be
imagined that the _thought_ alone is enough, for the connection
of the two tones cannot be too close. But this must be practised, and
done _consciously_.

[Music illustration: Adelaide, by Beethoven

A-bend-lueft-chen im zar-ten Lau-be flue-stern]

[Transcriber's Note: Corrected "L'au-be" in original to "Lau-be"]

SECTION XXXIV

TRILL

There still remains the trill, which is best practised in the
beginning as follows:--

[Music illustration]

The breath is led very far back against the head cavities by the
_[=a]_, the larynx kept as stiff as possible and placed high. Both
tones are connected as closely, as heavily as possible, upward
nasally, downward _on_ the larynx, for which the _y_, again, is
admirably suited. They must be attacked as high as possible, and very
strongly. The trill exercise must be practised almost as a scream.
The upper note must always be strongly _accented_. The exercise is
practised with an even strength, without decrescendo to the end; the
breath streams out more and more strongly, uninterruptedly to the
finish.

Trill exercises must be performed with great energy, on the whole
compass of the voice. They form an exception to the rule in so far
that in them more is given to the throat to do--always, however, under
the control of the chest--than in other exercises. That relates,
however, to the muscles.

The breath vibrates _above_ the larynx, but does not stick in it,
consequently this is not dangerous.

The exercise is practised first on two half, then on two whole, tones
of the same key (as given above), advancing by semitones, twice a day
on the entire compass of the voice. It is exhausting because it
requires great energy; but for the same reason it gives strength.
Practise it first as slowly and vigorously as the strength o