usic illustration]

where, consequently, the tones must be mixed. Pure head tones, that
is, falsetto, are never demanded higher than this. I regard it,
however, as absolutely necessary for the artist to give consideration
to his falsetto, that he may include it among his known resources.
Neither a bass nor a baritone should neglect to give it the proper
attention, and both should learn to use it as one of their most
important auxiliary forces.

With what mastery did Betz make use of it; how noble and beautiful his
voice sounded in all its ranges; of what even strength it was, and how
infallibly fresh! And let no one believe that Nature gave it to him
thus. As a beginner in Berlin he was quite unsatisfactory. He had the
alternative given him either to study with great industry or to seek
another engagement, for his successor had already been selected. Betz
chose to devote himself zealously to study; he began also to play the
'cello; he learned to _hear_, and finally raised himself to be one of
our first singers, in many roles never to be forgotten. Betz knew,
like myself, many things that to-day are neither taught nor learned.

SECTION XIX

EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS

The whole secret of both consists in the proper raising and lowering
of the soft palate, and the pillars of the fauces connected with it.
This divides into two resonating divisions the breath coming from the
source of supply, and forced against the chest, whereby it is put
under control, as it escapes vocalized from the larynx. It consists
also in the singer's natural adaptability and skill, in so placing the
palate and resonance of the head cavities, or keeping them in
readiness for every tone, as the pitch, strength, and duration of the
individual tones or series of connected tones, with their propagation
form, shall demand.

SECTION XX

THE TREMOLO

Big voices, produced by large, strong organs, through which the breath
can flow in a broad, powerful stream, are easily disposed to suffer
from the tremolo, because the outflow of the breath against the vocal
cords occurs too _immediately_. The breath is sent directly out from
the lungs and the body, instead of being driven by the abdominal
pressure forward against the chest and the controlling apparatus. Not
till this has been done, should it be admitted, in the smallest
amounts, and under control to the vocal cords. It does not pause, but
streams throug