Antiquated and complicated systems of sight reading are responsible for many poor readers. We need more ear =training= and ability to =think=. Avoid the use of the do-re-me syllables unless you are already proficient in that system. Practice with the pitch names, A, B, C, D, and with the scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the tones of the scale, otherwise the syllable "la" or any other syllable will do. If you have an "off day," when all the work seems to go wrong, don't practice. Mechanical work is of no value whatever in singing. Even the artists have their "off days," but don't allow these days to become too frequent. The best position for practice is to stand naturally, clasp your hands in front or let them hang carelessly and naturally at your sides. Clasping your hands behind your back or resting them on your hips, are both bad positions for singing. When you practice do not simply kill fifteen minutes' time. Mere practice makes a mechanical gymnast, while study produces a musician. In taking up your exercises use the instrument as little as possible. For illustration we will take the arpeggio. Play the arpeggio until you are perfectly familiar with the construction, then =sing= it once =with= the piano, then play only the chord or keynote and sing the arpeggio =without= the piano; continue in this way in all the keys within your range, getting your pitch from the chord or keynote; this manner of practice is of the greatest value, as you can stand in a natural singing position and as you do not have to give part of your thought to the music or instrument, you pay more attention to the pitch and tone, so that when you come to arias with recitatives =without= accompaniment, you will not have as much difficulty staying on pitch as those who invariably depend on the support of the instrument. In songs you should pursue the same course, play the most difficult passages, "memorize them" before you attempt to sing them; in this way you do not unnecessarily tire the voice. Memorize all your songs; it is only after you get away from the reading that you are capable of doing your best work. Always practice before a mirror and you will not be so liable to acquire facial contortions and would soon overcome the very bad habit of lifting the shoulders when you "see yourself as others see you." Pupils frequently ask why it is so much easier to sing an exercise on "ah" than to sing a sentence. In the "ah" you only have one vowel, while in the sentence there are both vowels and consonants. By diligent practice you will soon find that the tone helps the word, and the words help the tone. Another complaint frequently heard in the studio is this: "I sang this exercise perfectly at home, and can't see why I am unable to sing it now." How many times did you sing this exercise perfectly at home. Don't consider an exercise learned until you can sing it ten times in succession =without an error=.