It is evident from what has been said that it is by no means a matter of indifference how the words of a song are translated into another language. Compositions easily sung naturally lose by translation, for it is generally left entirely to chance whether the appropriate vowels fall upon the right tones. A teacher must take great care, especially in beginning instruction, to give his pupils compositions adapted to singing. All the exercises and solfeggi should be expressly arranged for the purpose, and also so arranged that the pupil shall have steadily increasing difficulties to encounter, in order that the vocal _technique_ may be fully illustrated. Along with these exercises and solfeggi, arias should be practised, particularly at the beginning. The older Italian compositions are the best adapted to vocal culture, because they were made with special reference to the qualities of the voice. Arias are preferable to songs, because they usually require more flexibility of voice, and therefore assist the _technique_. In arias the music is more prominent than in ballads, and the sentiment more marked and consequently more easily apprehended. The same words are commonly more often repeated, and must, of course, be sung differently, and thus the pupil is brought acquainted at once with the different external aids to a fine execution. EXTERNAL AIDS TO A FINE EXECUTION A teacher must see to it at first with the utmost attention that all the tones according to their pitch are struck with purity, and this can be done only by his repeating them over and over again to his pupil, because, as we have already remarked, our pianos, according to the present method of tuning, are never sufficiently pure to form a singing tone. When the learner has once become familiarized to the fine sound of pure tones, he will hear and distinguish them, and learn to strike them correctly with our pianos. How important to a fine timbre of the tones the right direction of the breath is and its control, as well as the best mode of securing these points, we have already described at some length. The old Italian masters had established distinct rules by which the breath was to be renewed. These were: 1. Before the beginning of a phrase. 2. Before trills and passages (_fiorituri_). 3. After tied notes. 4. Before syncopes, and especially accented notes. 5. Between two notes of the same pitch and the same value, in slow phrases. 6. After a short (_staccato_) note. 7. At all pauses and resting-points. 8. Before a note, which, by being accented, was to be especially distinguished in the middle of musical passages, usually before the highest note of a musical phrase, in order to give the music a light, graceful character.