rious
hindrance to progress. The effectual offset to this painful condition
is repose.

The art of inducing a condition of repose can be readily acquired by
any one who will carefully and faithfully do as follows: Place
yourself in an easy lying or lounging position in a quiet place, with
fresh air. Physical repose prepares for and invites mental repose. Now
allow the mind to work care free at its own sweet will without any
attempt to control it. Close the eyes and _breathe slowly, gently, and
deeply, with steady rhythm_. In two or three minutes a sensation of
quiet restful repose will be experienced, which may be continued for
several minutes or may even lead to a natural sound sleep.

This result may not be attained at the first or the second trial, but
a few repetitions of the exercise will insure success in almost every
case. After the art is attained in this formal way, ability to induce
the same repose when sitting upright, or while standing, will be
quickly developed.

This repose is the fitting preparation for a lesson or a performance
and may be induced during the progress of either, to allay any
trepidation incident to the situation. A mastery of this simple art
will make progress in the work of voice development much more rapid,
and make attainable a degree of discipline that is impossible without
it. It will prove for the beginner a sure prevention of stage fright
and a great relief to the most chronic sufferer from this malady.

THE VIBRATO

The _vibrato_ is a rhythmic pulsation of the voice. It often appears
in untrained voices; in others it appears during the process of
cultivation. Some have thought it the perfection of sympathetic
quality; others esteem it a fault.

The vibrato is caused by an undulating variation of pitch or power,
often both. The voice does not hold steadily and strictly to the
pitch, and according to the amount of the variation a corresponding
vibrato, or tremolo, is produced.

The action of stringed instruments illustrates this statement. The
finger of the violinist vibrates on the string by rocking rapidly back
and forth and the vibrato is the result.

The same is true of the human instrument. By variation of the tension,
the vocal apparatus sends forth several tones in alternation, of a
slightly different pitch, which together produce the effect.

Three sources are ascribed for the vibrato; one is a rapid, spasmodic
vibration of the diaphragm, causing variation of br