quietly and allows not a particle to go through the nostrils until the lungs are completely filled and inflated. The large cells are in the lower part of the lungs, and when they are inflated and the diaphragm properly used so as to direct and control this column, one can sing as long as there is a particle of air to use. For seventy years I have used this method of breathing, and I am a perfect example of the preservation of the voice now in my seventy-sixth year, and have every note I ever used and can sing with as much power and breath control as I ever could. I feel no weakness or lack of strength in any part of my tone production. I taught every pupil in this way and cured many of the tremolo habit by showing them how to breathe properly and then use this art intelligently. The art of breathing is not alone the thing to understand. There are many other points of importance to remember, but the art of breathing is the fundamental stone that has to be well grounded to secure the lasting success of the conscientious and intelligent student. Each person must feel the action of the different parts that go to make up the vocal instrument, which strengthens my assertion that each individual must have his own separate instruction as he possesses the charm of his own personality and musical temperament. Many students may have complete knowledge of how it should be done, and yet in the performance they do just the opposite, from a feeling of self-consciousness and the fear of being ridiculed in their efforts to sing. The mind must first recognize, then control, until automatic action is established and there is no danger of self-consciousness. One must learn the elements of singing--no amount of intelligence will enable a person rightly to interpret a song if he has not first learned that department thoroughly. For in order to offer an interpretation to an audience, the singer must have a complete command of the technique of his art. The singers of today are not so skillful as they were in the eighteenth century, because they are not patient enough to study the essential tone production which must be produced to make tones that are satisfying to themselves and also to the sensitive and cultivated ears of the listeners. A singer must reject any unmusical sound and, above all things, rule out any departure from the pitch. Singing out of tune is not singing at all. They can never be relied upon and are therefore unsatisfactory for any use at all. It seems simple enough to sing, yet to get the correct, pure tone one must work daily to accomplish perfection. There are many singers who attain a certain amount of distinction on the operatic stage that cannot produce a full, round, sympathetic tone. They may have powerful tones and astonish the public, yet in a short season the tones become dull or heavy or sharp, ear-splitting and their victorious career is finished and oblivion mercifully covers them. CHAPTER TWENTY-ONE TREMOLO