Still another fault in voice production is the tremolo. It is the over-ambitious singer, the singer who forces a small, light organ to do heavy work, who develops the tremolo.
The tremolo is a sure sign that the vocal chords have been stretched beyond their natural limits, and there is only one thing can cure this. That is absolute rest for some time and then beginning the study of the voice, first singing with the mouth closed and relying entirely on very gentle breath pressure for the production of the sound.
The pupil suffering from tremolo or even very strong vibrato must have courage to stop at once and to forego having a big voice. After all, the most beautiful voices in the world are not necessarily the biggest voices, and certainly the tremolo is about the worst fault a singer can have. But that, like almost any other vocal defect, can be cured by persistent effort of the right kind.
In singing in public as well as when practicing the singer must stand so that the body will be perfectly and firmly poised. One should always stand in such a position as to be able to inhale comfortably and control a large breath, to allow the throat absolute freedom, with the head sufficiently raised to let the inflowing air penetrate all the resonance cavities.
The great thing to avoid is stiffness or discomfort of any kind in the pose. At the same time one must have a gracious air, and while feeling perfectly solidly poised on the feet, must make the impression of a certain lightness and freedom from all bodily restraint.
I have not meant in these short articles to give you anything but a very general idea of the salient points of the art of singing. After all, each one must do the real work herself.
The road is full of discouragements and hardships, but there is always something new and interesting to learn, and to achieve success, whether for the public or merely for the home circle, is worth all the trouble one can take. And so I wish you all success.