BREATHING
On the important subject of breathing she says: "No one can sing without preparing for it mentally and physically. It is not enough to sing well, one must know how one does it. I practice many breathing exercises without using tone. Breath becomes voice through effort of will and by use of vocal organs. When singing emit the smallest quantity of breath. Vocal chords are breath regulators; relieve them of all overwork.
"At the start a young voice should be taught to begin in the middle and work both ways—that is, up and down. A tone should never be forced. Begin piano, make a long crescendo and return to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror, that one may see what one is doing. Practice about one hour daily. Better that amount each day than ten hours one day and none the next. The test will be; do you feel rested and ready for work each morning? If not you have done too much the day before."
REGISTERS
In regard to registers Madame Lehmann has this to say: "In the formation of the voice no registers should exist or be created. As long as the word is kept in use, registers will not disappear."
PHYSIOLOGY
In spite of the fact there are many drawings and plates illustrating the various organs of head and throat which are used in singing, Madame Lehmann says:
"The singer is often worried about questions of physiology, whereas she need—must—know little about it.
THE NASAL QUALITY
"The singer must have some nasal quality, otherwise the voice sounds colorless and expressionless. We must sing toward the nose: (not necessarily through the nose).