Favorite Songs and Hymns For School and Home, page: 0328

450 Of The World's Best Songs And Hymns, With Lyrics & Sheet music for voice & piano.

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$60                                           /"/JfL/AiJi JVJU/O .CL/./
Singers, good and bad, are often troubled with an apparent stoppage in the throat, and this inconvenience seems to be at its worst just at that moment when they wish to sing. To displace or to cure this stop­page, they begin hacking and coughing (" clearing the throat" as it it called,) which proceeding, however, only makes bad worse for the time being, and finally grows into a habit, till at last such people cannot ven­ture to open their mouths without first subjecting the throat to a series of these irritating " hacks." A good master will soon cure this complaint by refusing to
continue the lesson whenever the pupil gives way to the bad habit. It is in many cases simply a nervous trick, and if the singer will accustom himself to swal­low instead of coughing, whenever he feels the sensa­tion of which we are speaking, he will soon be rid of it. If it result in any case from real weakness of the throat, it may be beneficial to gargle three or four times a day with moderately-strong salt and water, es­pecially before singing. This does not harm the voice, and by bracing and strengthening the muscles of the throat renders them more obedient to the singer's will.
SEE THE SUN'S FIRST GLEAM.
German.
THE body should not be kept in a perfectly upright position when singing. The best position is with its chief weight upon the right leg and foot, the head gently leaning forward, the arms and, indeed, the whole carriage disposed in a manner that would indicate to the audience a sort of desire on your part to persuade them and bring them over to your feelings and senti­ments. When the right leg begins to tire with the weight of the body, the left can take its turn. A sit­ting position is a very Dad one in which to practice.
Singing should always be done in a standing position. Instead of sitting at the pianoforte, and accompanying an exercise or " solfeggio," it is far better to sound the first note of each passage therein, and master the same without any accompaniment. The advantages of this mode of practising must be obvious; but one of the most important is, that the attention is not divided be­tween piano and voice, while it leaves the singer free to give all his attention and care to the production of the notes which he is endeavoring to sing artistically.
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