ch aid in placing the organs
in the right position for the tone, to be changed for every different
tone, although imperceptibly; further, the intelligent use of the
resonance of the palate and head cavities, especially the latter,
whose tones, soaring above everything else, form the connection with
the nasal quality for the whole scale.

The scale must be practised without too strenuous exertion, but not
without power, gradually extending over the entire compass of the
voice; and that is, if it is to be perfect, over a compass of two
octaves. These two octaves will have been covered, when, advancing the
starting-point by semitones, the scale has been carried up through an
entire octave. So much every voice can finally accomplish, even if the
high notes must be very feeble.

The great scale, properly elaborated in practice, accomplishes
wonders: it equalizes the voice, makes it flexible and noble, gives
strength to all weak places, operates to repair all faults and breaks
that exist, and controls the voice to the very heart. Nothing escapes
it.

By it ability as well as inability is brought to light--something that
is extremely unpleasant to those without ability. In my opinion it is
the ideal exercise, but the most difficult one I know. By devoting
forty minutes to it every day, a consciousness of certainty and
strength will be gained that ten hours a day of any other exercise
cannot give.

This should be the chief test in all conservatories. If I were at the
head of one, the pupils should be allowed for the first three years to
sing at the examinations only _difficult_ exercises, like this great
scale, before they should be allowed to think of singing a song or an
aria, which I regard only as cloaks for incompetency.

For teaching me this scale--this guardian angel of the voice--I cannot
be thankful enough to my mother. In earlier years I used to like to
express myself freely about it. There was a time when I imagined that
it strained me. My mother often ended her warnings at my neglect of it
with the words, "You will be very sorry for it!" And I was very sorry
for it. At one time, when I was about to be subjected to great
exertions, and did not practise it every day, but thought it was
enough to sing coloratura fireworks, I soon became aware that my
transition tones would no longer endure the strain, began easily to
waver, or threatened even to become too flat. The realization of it
was terrible! It cost me man