draw in the front walls of the abdomen or the intercostal
muscles during singing must put a kind of pneumatic pressure upon the
breath stream, which is sure to constrict the throat. Therefore, in my
own singing, I note the opposite effect. That is, there is rather a
sensation of expansion instead of contraction during the process of
expiration. This soon becomes very comfortable, relieves the throat of
strain, relieves the tones of breathiness or all idea of forcing. There
is none of the ugly heaving of the chest or shoulders; the body is in
repose, and the singer has a firm grip upon the tone in the right way.
The muscles of the front wall of the abdomen and the muscles between the
lower ribs become very strong and equal to any strain, while the throat
is free.

In the emission of the actual tone itself I would advise the sensation
of inhaling at first. The beginner should blow out the tone. Usually
instead of having a lovely floating character, with the impression of
control, the tone starts with being forced, and it always remains so.
The singer oversings and has nothing in reserve. When I am singing I
feel as though the farther away from the throat, the deeper down I can
control the breath stream, the better and freer the tone becomes.
Furthermore, I can sing the long, difficult Wagnerian roles, with their
tremendous demands upon the vocal organs, without the least sensation of
fatigue. Some singers, after such performances, are "all in." No wonder
they lose their voices when they should be in their prime.

For me the most difficult vowel is "ah." The throat then is most open
and the breath stream most difficult to control properly. Therefore I
make it a habit to begin my practice with "oo, oh, ah, ay, ee" in
succession. I never start with sustained tones. This would give my
throat time to stiffen. I employ quick, soft scales, always remembering
the basic principle of breath control I have mentioned, and always as
though inhaling. This is an example of what I mean. To avoid shrillness
on the upper tone I take the highest note with oo and descend with oo.

[Illustration: musical notation: Ex. 1]

The same thought applied to an arpeggio would be:

[Illustration: musical notation: Ex. 2]

These I take within comfortable limits of my voice, always remembering
that the least strain is a backward step. These exercises are taken
through all possible keys. There can never be too much practice of a
scale or arpeggio ex