.

It cannot be too well borne in mind, obvious though it is, that all
speaking and singing, whatever else they be, are tone-production;
hence the first thing for every one to ascertain regarding himself is
the extent to which he can form and hold tones of good quality--in
other words, the success with which he can establish the essential
co-ordinations or harmonious actions of the breathing and laryngeal
mechanisms, and maintain them for a considerable length of time.

Many singers can produce a fairly good and powerful tone, but it is a
sort of vocal explosion rather than a tone, which will continue to do
the singer's bidding for as long as he will. The correctly produced
and sustained tone is the foundation of all that is best in
voice-production; all the rest is but a series of variations on this.
Hence the author recommends the following practice to all, whatever
else they may do or have done. It is to be a test of inspiration,
attack, economy of breath, adjustment of the vocal bands, the
resonance-chambers, etc.

1. Inhale slowly through the somewhat open mouth, filling the chest
moderately full, and at once attack so as to produce a tone of but
moderate force, but of the best quality possible.

2. Continue to hold this tone as long as the breath is easily
sufficient, taking care that the tone be on no account sustained after
there is the slightest difficulty in maintaining it of the same
quality and power as before. Steadiness and perfection in quality are
to be the chief considerations.

3. The student is advised, after a few days' practice in this manner,
to note with a watch the time during which he can hold a tone under
the restrictions above referred to, and to endeavor to increase the
holding power daily by a little. It will, of course, be necessary to
fill the chest more completely day by day.

4. It will also be well for the voice-producer to practise taking very
deep and rapid inspirations, followed by the most prolonged
expirations.

5. This method of breathing may then be put to the actual test in
intonation.

Another exercise very valuable in giving breath-control is the
following:

Produce a tone exactly as before, but every now and then, at regular
intervals at first, then at irregular ones, cut the tone off short by
suddenly arresting the breath, and, after a very short pause, continue
again in exactly the same way _without_ taking a fresh breath; and, as
in the above and all other exe