but sing it very slowly and deliberately, bearing in mind the production of the high notes.
As you begin to get all these notes firm and round, you may take these same exercises in D, D♭, and E♭, but be very careful not to force the upper notes.
Exercise 5 is one where the question of the breath and its proper management becomes of vital importance. The reader will observe the notes are bound together, and the student's attention should be turned towards passing from one note to the other, without any appreciable difference in the quality—I do not say pitch—of the tone. Having inspired in the manner already explained, the singer will sound the Do with a pure, sympathetic, not harsh or forced sound; and by pressing down the breath, will lift the voice on to the Re. When he has succeeded with the step of a second, he can go on to the step of a third, fourth, &c. The care must be to utilize the breath, always supporting the tone with the breath. If the sound wavers, then there is something wrong with the breath. You are either singing with too little, or are forcing the breath.
And so on.
