PART I.
WHAT TO AVOID.
It will most likely surprise my readers that I should begin this article by telling them when not to practise. I think this a very essential point, although not often spoken of by teachers.
I heard, a short time ago, of a young lady desirous of having singing lessons, whose instructor said it would be best for her to practise three times a day for ten minutes. The girl, being engaged in teaching most of the day, found it difficult to manage her time, but contrived, by having the first ten minutes before breakfast, to fit in the three intervals. No wonder her throat got bad and her health suffered!
If, among my readers, there should be one similarly occupied, believe me, it is not wise to take lessons during the term, as talking for so long a time is sufficient exercise for the throat and chest. Wait till the holidays, and then begin.
If you tire the vocal chords and the surrounding parts, you weaken instead of strengthening them, and injure the purity of tone.
We will suppose you have had your first lesson, say, of forty-five minutes; and on reaching home feel inclined to practise, to impress on your mind your teacher’s corrections. Yet you must not do so; as you have already sung enough. By all means, look over the music you have used and mark anything you may be likely to forget; also start a note-book, and make memoranda of the hints received from time to time.
Say that your lesson takes place in the morning; probably in the afternoon you will be able to take a quarter of an hour in which to practise. In this way, you will have done far more good than if you sat straightway down to the piano when you were excited and heated after your first lesson, when you might have been tempted to try over your songs, to settle which to take the next time, and have gone from one thing to another, till, to your great surprise, it is lunch time, and, it may chance, instead of your usual good appetite you have none. An artistic temperament is often very excitable, and if this is your case you will perceive how much you would have taken out of yourself in that one morning.
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.