too prevalent. The voice, however, can only be strengthened by
legitimate means; otherwise it can easily be ruined. One can breathe
through the nose, but never attack or sing through it.

The "white voice" (voce bianca) is a head voice without deep support and
consequently without color; hence its appellation. One can learn to
avoid it by practicing with the mouth closed and by taking care to
breathe through the nose, which forces the respiration to descend to the
abdomen.

The "throaty" voice comes from singing with the throat insufficiently
opened, so that the breath does not pass easily through the nose and
head cavities and, again, from not attacking the tone deeply enough.

To cure oneself of this throaty quality attack your notes from the
abdomen, the mouth well open, standing in front of a mirror. The force
of the respiration will keep the tongue depressed and the throat will
remain free.

As for the fault of nasality, it is, as I have said, the most difficult
to get rid of. Sometimes one never does lose it. The only remedy is what
I have previously indicated--to attack from the abdomen, with the
throat open, and carry the voice over the soft palate, for if the voice
is placed in the nose it indicates that one is singing too far forward,
which is against the rules of song. If the student has a tendency to
sing in this way it is well to practice in vowel sounds only
(ah-eh-ee-la-lay-lee, etc.) in order to be cured of this serious fault.

After all, however, those who have practiced the art of right breathing
need have none of the defects mentioned above.

The "bleat" or goat voice, a particular fault of French singers,
proceeds from the habit of forcing the voice, which, when it is of small
volume, cannot stand the consequent fatigue of the larynx. Many singers
with voices suitable only for light opera are constantly trying to
branch out into big dramatic arias. Such performances are assuredly
distressing to hear and are certainly disastrous for the voices
concerned. It is no wonder that these people are often ill, for one
cannot make such efforts without injuring the health. I realize that
they often do it to please their directors and to be obliging in an
emergency, but when they are down and out others will easily replace
them and they are heard from no more.

To keep the voice fresh for the longest possible time one should not
only never overstep his vocal "means," but should limit his output as he
doe