required tone, by the tongue and palate, fill this form, soaring through all its corners, with its vibrations. It makes whirling currents, which circulate in the elastic form surrounding it, and it must remain there till the tone is high enough, strong enough, and sustained enough[Pg 28] to satisfy the judgment of the singer as well as the ear of the listener. Should there be lacking the least element of pitch, strength, or duration, the tone is imperfect and does not meet the requirement.

Learning and teaching to hear is the first task of both pupil and teacher. One is impossible without the other. It is the most difficult as well as the most grateful task, and it is the only way to reach perfection.

Even if the pupil unconsciously should produce a flawless tone, it is the teacher's duty to acquaint him clearly with the causes of it. It is not enough to sing well; one must also know how one does it. The teacher must tell the pupil constantly, making him describe clearly his sensations in singing, and understand fully the physiological factors that coöperate to produce them.

The sensations in singing must coincide with mine as here described, if they are to[Pg 29] be considered as correct; for mine are based logically on physiological causes and correspond precisely with the operation of these causes. Moreover, all my pupils tell me—often, to be sure, not till many months have passed—how exact my explanations are; how accurately, on the strength of them, they have learned to feel the physiological processes. They have learned, slowly, to be sure, to become conscious of their errors and false impressions; for it is very difficult to ascertain such mistakes and false adjustments of the organs. False sensations in singing and disregarded or false ideas of physiological