ed at the teacher's discretion to suit the range of the
voice and are to be used with the different vowels.

[Illustration: I, musical notation]

[Illustration: II, musical notation]

[Illustration: III, musical notation]

[Illustration: IV, musical notation]

[Illustration: V, musical notation]

[Illustration: VI, musical notation]

[Illustration: VII, musical notation]

[Illustration: VIII, musical notation]

[Illustration: IX, musical notation]

[Illustration: X, musical notation]

The concert singer of the present day must have linguistic attainments
far greater than those in demand some years ago. She is required to sing
in English, French, German, Italian and some singers are now attempting
the interpretation of songs in Slavic and other tongues. Not only do we
have to consider arias and passages from the great oratorios and operas
as a part of the present-day repertoire, but the song of the "Lied" type
has come to have a valuable significance in all concert work. Many songs
intended for the chamber and the salon are now included in programs of
concerts and recitals given in our largest auditoriums. Only a very few
numbers are in themselves songs written for the concert hall. Most of
the numbers now sung at song concerts are really transplanted from
either the stage or the chamber. This makes the position of the concert
singer an extremely difficult one. Without the dramatic accessories of
the opera house or the intimacy of the home circle, she is expected to
achieve results varying from the cry of the Valkyries, in _Die Walkuere_,
to the frail fragrance of Franz' _Es hat die Rose sich beklagt_. I do
not wonder that Mme. Schumann-Heink and others have declared that there
is nothing more difficult or exhausting than concert singing. The
enormous fees paid to great concert singers are not surprising when we
consider how very few must be the people who can ever hope to attain
great heights in this work.

[Illustration: REINALD WERRENRATH.

(C) Mishkin.]

REINALD WERRENRATH

BIOGRAPHICAL

Reinald Werrenrath was born in Brooklyn, N. Y., August 7, 1883. His
father, George Werrenrath, was a distinguished singer, and his mother
(nee Aretta Camp) is the daughter of Henry Camp, who was for many years
musical director of Plymouth Church during the ministry there of Henry
Ward Beecher. George Werrenrath was a Dane, with an unusually rich tenor
voice, trained by the best teachers of his time i