ng,
we need to breathe deeply, and to breathe in a right way. Manifestly the
act of breathing consists of two parts--(1) the drawing in, and (2) the
letting out of the breath. When we speak of modes of breathing, however,
we refer to the drawing in of the breath. There are three ways of doing
this. First, by lowering the diaphragm, and thus compelling the lungs to
enlarge and fill the vacant space created. Second, by extending the ribs
sideways, causing the lungs to expand laterally. Third, by drawing up
the collar-bone and shoulder blades, causing the upper part of the lungs
to expand. The third method is bad; the ideal breathing is a combination
of the first and second. Upon this athletes as well as singers are
agreed. This is the breathing which we practise unconsciously in sleep,
or in taking a long sniff at a flower. The musical results of bad
breathing are flattening and a hurrying of the time; hence the
importance of the matter. Practice may well begin with a few minutes
devoted to breathing exercises. Let the boys inhale a long breath
through the nose; hold it for a time, and then slowly exhale. Again let
them slowly inhale, hold, and exhale quickly, allowing the sides of the
chest to collapse. Again, let them, while holding the breath, press it
from the lower to the middle, and to the upper part of the chest, and
_vice versa_. During this exercise the body should be in the position of
"stand at ease." The spirometer, a useful but rather expensive little
instrument, measures accurately lung capacity. These breathing exercises
may be followed by practice in holding a single tone for a period just
short of exhaustion.

[Illustration: Decoration]

CHAPTER III.

THE ART OF MANAGING CHOIR BOYS.

To some choirmasters the management of their boys is a perfectly easy
matter; to others it is a constant source of trouble. Everything depends
upon knack. Max O'Rell has some wise maxims on the subject which it may
be well to quote. "Face the boys," he says, "or you will be nowhere.
Always be lively. Never show your temper: to let the boys see that they
can ruffle you is to give them a victory. Allow no chatting. Never
over-praise clever boys; never snub dull ones. Never expect any thanks.
If a boy laughs at a mistake made by another boy, ask him for the answer
immediately, and he will be dumb. If you do not love boys, never become
a choir [school] master."

Discipline is preserved by giving the boys seats in th