required,
we recommend: (1) That all practices be only _piano_, or, at most,
_moderato_, for some time; (2) that they be of very brief duration at
any one period, so as to avoid fatigue; (3) that they be well within
the range of the singer. The same principles apply to speakers who
have broken down, whether owing to bad methods or to over-use of the
voice. It is most important that strength and facility be gradually
gained, and that weariness, not to say fatigue, be strictly avoided.
If the general health be good, time, patience, and the utmost care in
the application of the above principles, under the direction of an
enlightened teacher, will in a large proportion of cases restore the
voice for efficient use in at least moderate efforts. Of course, much
depends on the age, general health, intelligence, etc., of the
subject.

On the question of the extent to which a singer's range can be safely
increased, the greatest difference of opinion exists, and very extreme
views have been held. On the one hand are those who almost ridicule
the idea of "making" tones, and on the other, those who maintain that
the range of all young singers can be increased by proper training.

As a matter of fact, there are many singers before the public to-day
whose range, either upward or downward, has been increased by many
tones, in some cases almost an octave, and these singers are
successful artists and sound vocalists; while others have sought to
add but two or three tones to their range, and in vain. This is quite
intelligible. As a rule, those of the former class have fallen into
the hands of very good teachers, while yet young, have had excellent
health and well-formed vocal organs, and been patient and attentive
students. The acquisition has been gradual, and never forced. We have
before said that if a pupil felt his throat the worse for a lesson in
vocal culture, there was something wrong: either the method was
incorrect in itself, or the practice was continued too long or carried
out too vigorously. Of course, it is always assumed that the vocal
organs are in a normal condition, and the student's health good not
only generally but on the day of the practice.

It is in every case for the student himself to determine, from his own
feelings, whether the attempt to reach a certain tone produces
straining, and for the teacher to judge whether this be so, from the
appearance of the face of the pupil, the character of the tone, etc.
On