s the expenses of his purse.

There is only one way to cure a bleaty voice, and that is to cultivate
an absolute rest; then, on taking up singing again, to use the "closed
mouth" method until the time the strength of respiration shall be such
that one can open his mouth and let the restored voice take its course.

A few words on practicing with closed mouth may here be appropriate.
This method of study is really all that is necessary to place certain
voices, but is bad for others. It all depends on the formation of the
mouth and throat. For example, a singer troubled with the fault of
closing the throat too much should never work with the mouth closed.
When one can do it safely, however, it is a most excellent resource for
preparatory exercises in respiration. Since, as I have already
explained, breathing through the nose with closed mouth throws back the
respiration to the abdomen, it is best to do the exercise seated in a
comfortable, natural position.

Vocal work with closed mouth is also a powerful auxiliary to vocal
agility. Many great artists perform their daily vocal exercises with the
mouth shut, and I can personally testify to the excellency of this
practice. It most certainly strengthens the breathing powers and at the
same time rests the voice. But one should know how to do it properly. I
know of many badly fatigued voices that have been restored to their
normal condition in this way.

Singers, of all musicians, have the reputation of displaying the least
regard for time. In operatic work, however, with an orchestra to follow
or be followed, it is especially essential to observe a sane respect for
the proper tempo. Otherwise one is liable to get into immediate trouble
with the conductor. Of course I do not mean that one should sing in a
mechanical way and give nothing of one's own personality. This would
naturally rob the music of all charm. There are many singers who cannot
or will not count the time properly. There are those who sing without
method, who do not fit their breathing, which is really the regulator of
vocal performance, to the right periods, and who consequently are never
in time. They make all kinds of rallentandos where they are not
necessary, to gain time to recover the breath that they have not taken
when they should. It is not enough to give the notes their full value.
The rests, above all, should be carefully observed in order to have
sufficient opportunity to get a good breath and prep