g as soon as there are indications
that the effort is in the slightest degree painful. Generally I find
this prohibition to be only necessary for notes above [Illustration:
middle f] Should a vacancy occur in the senior choir (if the boy shows
signs of his voice developing to either tenor or bass) I get him passed
from the junior to the senior choir, warning him, however, to be very
careful of his high notes, and never to force them. My general
experience leads me to the conclusion that it is a most arbitrary and
unnecessary rule to lay down that every boy should rest at this time. In
some cases it is necessary, no doubt, but my opinion is, after twenty
years' practical experience, that in a large number of cases it is
cruel, and about as much use with regard to the after-development of the
voice as it would be to prohibit speaking. Speaking practically--not
scientifically--I hold that the vocal organ is beneficially exercised
when singing is allowed in moderation, and within the restricted limits
which every choirmaster ought to know how to apply. I have experienced
boys who have never rested developing good voices, as well as those who
have rested. But I have no experience of boys who have never rested
developing bad voices, though I have of those who did rest. I have three
boys in one family in my mind now, one of whom had a good alto, the
other two good soprano voices. The alto and one soprano never rested,
and developed respectively a good tenor and bass. The other rested
(through removal to another town), and developed a very indifferent
bass."

In spite of this weighty and well-argued statement, my own opinion is
that the preponderance of evidence is in favour of rest. It is certainly
a new physiological doctrine for a short period of rest to injure or
prevent the development of any organ. In short, I cannot see how there
can be any disadvantage in a few months' rest, while from the other
point of view there can be no musical advantage in the use of an
unmusical instrument. As soon as the man's voice shows signs of
settlement its practice should gently begin.

[Illustration: Decoration]

CHAPTER II.

MANAGEMENT OF THE BREATH.

Breathing in singing is a matter of the utmost importance. The breath is
the motive power, the primary force, to which the larynx and the
resonance chamber are but secondary. In speech we can manage with short
breathing and half-filled lungs, but in sustaining the sounds of so