Should you be out of health, do not practise; you may sing a little, going through one song or two (no more) will cheer you; but do not try exercises, for your voice will not be in its usual state, consequently you will be likely to force it. Again, if it ever happens that you are cross, or vexed, do not choose that time either. Do not sing your exercises after a long walk, or after a hearty meal, nor after bending for any length of time over needlework, writing, or any occupations causing stooping. On many of these occasions you could practise the pianoforte; singers should well study their accompaniments. All these “don’ts” are especially addressed to the zealous student, whose very enthusiasm may do much harm. The dilatory one may say, “If I am to practise at none of these times, when, then, shall I do so?” There are plenty of opportunities still, but it depends greatly on home duties how the time should be apportioned. We will imagine the first thing after breakfast some domestic task calls your attention. When you are at liberty, go then to your piano (this should be scrupulously kept in tune), but first spend five minutes in practising breathing—of which I shall speak later on—then sing for five minutes sustained notes, _without crescendo_, the “mezza di voce” < > being a finishing study which must not be attempted till the voice is fully under control; then give five to slow scale passages, and five more to simple distances of thirds, or what particular exercise your teacher may have given. Before the mid-day meal you may be able to give a few minutes again to sustained notes; but mind, only use your middle ones. These should have the chief attention for quite a month or more before either the upper or lower ones are tried. Another interval can well be given some time after noon; and in the evening practise your songs—as at that time you might annoy other persons with your exercises. They are not calculated to cheer the heart of the listener, especially when imperfectly done, as they will be at first. PART II. CHIEFLY ON RESPIRATION. We will now turn our attention to the different ways of breathing. In throat or collar-bone breathing (the wrong method) the region of the upper ribs is most strongly distended; the collar-bone, part of the breast-bone, the shoulders, the spine, and in laboured breathing even the head, take part in this mode. It is fatiguing and injurious, yet it is very general, both in speaking and singing; and in time it would make the voice weak and tremulous. There is little doubt it produces a tendency to sore throat. Some authorities even say that imperfect respiration is one of the causes of consumption, and that practising deep breathing in the proper manner is a preventive. Most likely if you were told to inhale deeply, you would open your mouth and try to expand the chest from above. This is quite wrong; it is styled collar-bone breathing.