4. No wise trainer ever allows his charges to go on a racing track and at once run a hundred yards at the highest possible speed. Such a course would be against all sound knowledge and all the best experience. Hence the question of _piano_ and _forte_ practice answers itself; the singer should never begin any exercise _forte_, but either _piano_ or _moderato_--as to which depends on the individual. Some persons can only after long study produce really good tones _piano_; such if not most persons should, of course, begin practising with moderate force. Certainly, the voice-user should, in order to gain volume, gradually increase the vigor of his practice, but exactly how to do this, and to what extent daily, are questions in which the advice of a sensible and experienced teacher is of great value, though the principle on which that opinion should be founded is clear enough. 5. The questions as to the total amount of time to be devoted to practice in a single day, and as to whether practice should be continued day after day for weeks and months without interruption, must be decided by the condition of the student, and not by any arbitrary opinion. Some individuals and some racers have a capacity for steady work not possessed by others, and happy are they; but there are others who go on by spurts, and such natures are often capable of reaching lofty artistic heights, if they be wisely managed. They need much the same sort of care as a very fleet but uncertain race-horse, and they are often a source of disgust to themselves and of worry to their teachers; but they in some cases get far beyond what the more steady ones can attain to, while others are so unsteady without being talented that they are a trial, and a trial only, to all concerned. Such people should, even when clever, not be encouraged in their vagaries, but brought gradually and tactfully under a stricter discipline. 6. "Hasten slowly" applies to all musical practice, that of the voice included, and there never was a time in the history of the world, unfortunately, when people believed in it less. The author would especially warn the student against attempting to force progress by violent or unduly long-continued practices, for if the vocal apparatus be strained, it may remain impaired for months or even for life. "Little and often" is a good maxim for vocal practice, all the more as the discontinuation, for the time, of voice-production need not imply that the mind must cease to act. An artist is not formed by vocalization alone, but by processes of education that are many and complicated, into which we might be tempted to enter did they not lie beyond the range of the present work.