ow out the "unconscious" one's light, or at least make it flicker
badly. Of any self-help, when there is ignorance of all the
fundamentals, there can be no question. Any help is grasped at. Then
appears the so-called (but false) "individuality," under whose mask so
much that is bad presents itself to art and before the public.

This is not remarkable, in view of the complexity of the phenomena of
song. Few teachers concern themselves with the fundamental studies;
they often do not sing at all themselves, or they sing quite wrongly;
and consequently can neither describe the vocal sensations nor test
them in others. Theory alone is of no value whatever. With old singers
the case is often quite the contrary--so both seize whatever help they
can lay hold of. The breath, that vibrates against the soft palate,
when it is raised, or behind it in the cavities of the head, produces
whirling currents through its continuous streaming forth and its
twofold division. These currents can circulate only in unbroken
completeness of form. The longer their form remains unimpaired, and
the more economically the continuous breath pressure is maintained,
the less breath do these currents need, the less is emitted unused
from the mouth.

If an elastic form is found in the mouth in which the currents can
circulate untouched by any pressure or undue contraction or expansion
of it, the breath becomes practically unlimited. That is the simple
solution of the paradox that without deep breathing one may often have
much breath, and, after elaborate preparations, often none at all;
because the chief attention is generally directed to inhalation,
instead of to the elastic forming of the organs for the breath, sound
currents, and tone. The one thing needed is the knowledge of the
causes, and the necessary skill in preparing the form, avoiding all
pressure that could injure it, whether originating in the larynx,
tongue, or palate, or in the organs that furnish the breath pressure.

The singer's endeavors, consequently, must be directed to keeping the
breath as long as possible sounding and vibrating not only forward but
back in the mouth, since the resonance of the tone is spread upon and
above the entire palate, extends from the front teeth to the wall of
the throat. He must concern himself with preparing for the vibrations,
pliantly and with mobility, a powerful, elastic, almost floating
envelope, which must be filled entirely, with the help of a co