to the
respiratory apparatus or to the larynx.

A _vibrato_ is the milder form of the evil, and is encouraged, we
regret to say, by some teachers, while the _tremolo_ is due to an
extreme unsteadiness, and, so far as we are aware, is universally
condemned. It is about the worst fault any singer can have. It is
evident in some cases only when the vocalist sings _piano_, but mostly
in vigorous singing, and often arises from straining, disregard of
registers, etc. It may be due to the singer trying to control too
large a supply of air, or from bringing a blast to bear on the vocal
bands too strong for them. In every case there is lack of adjustment
between the vocal bands and the respiratory organs. The remedy must be
adapted to the case, but usually the singer must for a time give up
the use of the voice in _forte_ singing altogether, and gradually
again learn to control his vocal mechanism.

Associated sometimes with this fault is another, which, indeed, often
gives rise to the former--viz., "pumping," or attempting to vocalize
after the breath power is exhausted. One should always have enough air
in reserve to sing at least two tones more than what is required.

It will be observed that good singing and speaking are always
physiological--_i.e._, they depend on the observance of well-known
physiological principles; we wish we could add, principles clearly
recognized by singers and teachers generally. It is to those who do
that we would recommend the student of the vocal art to go at the
outset of his career, otherwise much time may be lost and possibly
much injury done. We distinguish, of course, between the teacher who
recognizes physiological principles only practically and the one who
does so consciously. The former may be an excellent and safe teacher,
though, we think, not so good, other things being equal, as one of the
latter type,--as yet somewhat rare.

At an earlier period we referred to the important matter of
classifying the voice. It often happens that one who is a tenor is
trained as a barytone, or a contralto as a soprano, and the reverse,
only to discover later that a mistake has been made. If it could
become the custom to have vocal consultations among teachers, as
medical ones among doctors, the author is convinced it would be well.
Often a patient is sent a long distance to consult a medical man, and
to return to his own physician for treatment based on the diagnosis
made. In these instances the d