The prostration of the vocal organs are thus brought on by injudicious
training if not the result of organic disease. This must be understood
by the competent teacher who should not be mistaken in the nature of
the organ or attempt by obstinate perseverance to convert a low voice
into a high one, or vice versa. The error is equally disastrous, the
result being utterly to destroy the voice. The teacher's vocation is
first to find the natural limits of the voice in question and then
seek to develop them into their most beautiful tone production before
attempting to develop either higher or lower tones until these have
been properly understood by both teacher and pupil. The pupil should
also at once comprehend the importance of guarding the voice from
injury and not transform or extend his gifts beyond their natural
power and capability. The voice is often seriously impaired in using
the high notes in both chest and head registers, by forcing of the
high notes, and exaggerating the timbres and, if often renewed, will
eventually destroy the best voice and the tremolo follows in
consequence and the once promising voice is lost and forever
inevitably destroyed.
CHAPTER TWENTY-TWO
MORE ABOUT THE VOICE
"There is little difference in the place we fill in life:
The important thing is how to fill it."
This maxim applies also to the art of singing. There are singers and
singers, but few become artists.
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