doubt each one has her own exercises for the practice and teaching
of breath control. For myself, I stand at the open window, for one
should always breathe pure air, and I inhale and exhale slowly, a
number of times, till I feel my lungs are thoroughly clear and filled
with fresh air. Then I frequently sing tones directly after these long
inhalations. A one-octave scale, sung slowly in one breath, or at most
in two, is an excellent exercise. You remember Lilli Lehmann's talks
about the 'long scale'? But the way in which she uses it perhaps no one
but a Lehmann could imitate. What a wonderful woman she was--and is! She
has such a remarkable physique, and can endure any amount of effort and
fatigue. Every singer who hopes to make a success in any branch of the
musical profession, should look after the physical side, and see that it
is cared for and developed.

"STUDY THE PIANO!"

"If a girl is fond of music, let her first of all study the piano, for a
knowledge of the piano and its music is really at the bottom of
everything. If I have a word of advice to mothers, it should be: 'Let
your child study the piano.' All children should have this opportunity,
whether they greatly desire it or not. The child who early begins to
study the piano, will often--almost unconsciously--follow the melody
she plays with her voice. Thus the love of song is awakened in her, and
a little later it is discovered she has a voice that is worth
cultivating. How many of our great singers began their musical studies
first at the piano.

"On the other hand, the girl with a voice, who has never worked at the
piano, is greatly handicapped from the start, when she begins her vocal
studies. As she knows nothing of the piano, everything has to be played
for her,--she can never be independent of the accompanist; she loses
half the pleasure of knowing and doing things herself."

FULL OR HALF VOICE

Asked if she used full or half voice for practice, Mme. Easton replied:

"I do not, as a rule, use full voice when at work. But this admission,
if followed, might prove injurious to the young singer. In the earlier
stages of study, one should use full voice, for half voice might result
in very faulty tone production. The advanced singer, who has passed the
experimental stage can do many things the novice may not attempt, and
this is one of them.

IN REGARD TO MEMORIZING

"Here again my particular method of work can hardly be of value to
others, a