f the
throat allows, then faster and faster, till one day the trill
unexpectedly appears. With some energy and industry good results
should be reached in from six to eight weeks, and the larynx should
take on the habit of performing its function by itself. This function
gradually becomes a habit, so that it seems as if only _one_ tone were
attacked and held, and as if the second tone simply vibrated with it.
As a matter of fact, the larynx will have been so practised in the
minute upward and downward motion, that the singer is aware only of
the vibrations of the breath that lie _above_ it, while he remains
mindful all the time only of the pitch of the upper note.

One has the feeling then as of singing or holding only the _lower_
tone (which must be placed very high), while the upper one vibrates
with it simply through the habitude of the accentuation. The union of
the two then comes to the singer's consciousness as if he were
singing the lower note somewhat too high, halfway toward the upper
one. This is only an aural delusion, produced by the high vibrations.
But the trill, when fully mastered, should always be begun, as in the
exercise, on the _upper_ note.

Every voice must master the trill, after a period, longer or shorter,
of proper practice. Stiff, strong voices master it sooner than small,
weak ones. I expended certainly ten years upon improving it, because
as a young girl I had so very little strength, although my voice was
very flexible in executing all sorts of rapid passages.

To be able to use it anywhere, of course, requires a long time and
much practice. For this reason it is a good plan to practise it on
syllables with different vowels, such as can all be supported on
_[=a]_, and on words, as soon as the understanding needed for this is
in some degree assured.

If the larynx has acquired the habit properly, the trill can be
carried on into a _piano_ and _pianissimo_ and prolonged almost
without end with _crescendi_ and _decrescendi_, as the old Italians
used to do, and as _all Germans_ do who have learned anything.

SECTION XXXV

HOW TO HOLD ONE'S SELF WHEN PRACTISING

In practising the singer should always stand, if possible, before a
large mirror, in order to be able to watch himself closely. He should
stand upright, quietly but not stiffly, and avoid everything that
looks like restlessness. The hands should hang quietly, or rest
lightly on something, without taking part in the interp