The turn of a trill is usually indicated by means of small notes, as in the above example, but it has to be added by the player even when there is no such indication, provided the next following note is accented (Ex. 114a). If, however, the trill is followed by an unaccented note (Ex. 1146) it should be played incomplete-that is, without a turn-but with an additional principal note at the end, in order to avoid leaving off on the upper auxiliary note, for all trills, whether direct or inverted, complete or incomplete, must end on the principal note.

The number of notes which go to form a trill will depend on the length of the written note; and speaking broadly, it may be said that the more rapid the trill the better, provided the notes are perfectly distinct. In the case of a trill on a long note the exact number of notes is immaterial, the trill is continued throughout the length of the note, and the turn is played at the same rate as the notes of the trill. But when the trill is on a short note it becomes necessary to define more exactly the number of notes of which it is composed, in order that the effect may be complete and satisfactory.

For the purpose of reckoning the number of notes, the whole trill is divided into beats, each beat consisting of a couple of notes, one principal and one auxiliary. The turn itself is considered as the last beat, but if the trill is direct an extra principal note will have to be introduced immediately before the turn and in consequence of this the last beat but one will consist of three notes, and will be a triplet. If there is no turn the extra principal note which is then added to the end of the trill causes the last beat of all to contain three notes, and the triplet thus falls at the end of the trill. According to this system of measurement, bar a in the next example is a complete trill of four beats. and bar b one of two

When the written note is long enough to allow of a trill of more than two beats, the exact number of notes will depend upon two things: first, the manner in which the turn (if any) is written; and, second, the character of the accompaniment. In very many instances of a trill on a short note, the turn, instead of being indicated by two small notes, as in our examples hitherto, is written in notes of full size and occupying their proper place in the rhythm of the bar; when this is the case, they govern the rate of movement of the whole trill, because both trill and turn should always be played at the same speed. A trill written as in the following example would therefore be played as a trill of four beats, because the two demisemiquavers which form the turn require that the trill should consist of demisemiquavers also, and the division of the whole dotted quaver into demisemiquavers will give us three beats-two of two notes each, and one (the usual triplet which precedes the turn) of three, the turn itself counting as fourth beat. (116.) Written.

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Played.

When there is no turn, or when the turn is written in small notes (which leaves the question of speed to the discretion of the performer), the number of notes must depend on the number of the notes by which the trill may be accompanied. For instance, supposing a trill to be accompanied by a group of four notes, it should consist of either two, four or eight beats, according to the duration of the note or the tempo of the whole movement (Ex. 117), while a trill accompanied by three notes would consist of either three or six beats (Ex. 118), and so on (117) ALLEgro.

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ALLEGRETTO.

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MODERATO.

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Athough the rules just given will apply to most instances of accompanied trills, it will sometimes happen that a trill accompanied by four notes cannot well be played like either of those in Ex. 117, on account of the tempo being too quick to allow of the distinct rendering of four beats, and yet too slow for two beats to appear sufficient. In such a case the trill of three beats is to be used, although against four notes of accompaniment, and the whole seven notes of the trill have to be re-arranged, being divided into two halves, with three notes in the first half and four (which must therefore be slightly quickened) in the second (Ex. 119). This arrangement is certainly different from all others, as the accent falls first on the principal and then on the auxiliary note; but when played at the proper tempo, the second accent (which of course need not be very pronunced) is not perceptible, and the effect of the whole is far more satisfactory than the slow trill of two beats, or the indistinct, because too rapid, trill of four beats. (119.) MOZART. Sonata in C. Allegro.

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or eight beats, while a trill on a dotted note in either triple or compound common time will be best rendered by three beats.

The rule for the trill on a dotted note, a position which it frequently occupies, is the same as that which governs a turn similarly placed; the last note of the trill falls on the dot. The most frequent use of a trill in this position occurs in the works of Bach and Handel, where it usually forms part of a cadence with the final note anticipated. When the prin cipal note of the trill is situated below the short note which follows it, a turn is required (Ex. 121a); but when the trill is on the note above the short note the turn is not necessary, and it is sufficient to end the trill with a principal note falling in the place of the dot (Ex. 1216). BACH. Fugue No. 1, Vol. I.

(121) BACH. Suites Anglaises, No. 2.

(124.) BACH. Fugue No 15, Vol. 2.

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The rules relating to the distance of the lower auxiliary from the principal note of a trill follow in all respects those which govern the lower auxiliary note of the turn.

In old music the trill is often expressed by a zigzag line, or by the signo, instead of the usual sign.

(125) HANDEL. Air in B.

The same sign is also found sometimes with a small curved line or hook at one or both ends, thus w,w, w, or w. The meaning of these marks is as follows: The hook at the beginning of the sign signifies a variation in the commencement of the trill; if the hook comes up from below (w) the trill begins with the lower auxiliary note (Ex. 126a); if it is drawn downwards from above (w) the trill begins on the upper auxiliary note, but passes down to the lower auxiliary note before making the regular alternation of principal note and - auxiliary (Ex. 1266).

INGING is an art, and one of the most difficult of the arts to master; and any one who attempts to learn it must be prepared to give the same devotion to it as is demanded by the sister arts of painting and sculpture.

Remember that the human voice is the most delicate of all instruments, susceptible to more and more varied influence than any other. The singer has to combine in himself the instrument and the performer; and while all the artistic and intellectual qualities necessary for the instrumentalist are required by him, he is compelled beyond that to realize that he is a living instrument, and to exercise over himself all the care-and indeed far more than all-that players exercise over their most cherished "weapons." He has not only to learn how to sing, but how to be and to remain fit for singing. He, more than any other musical artist, will find that he is affected by moral as well as physical and intellectual cuases, and he must face this fact boldly. HABITS, DIET, ETC.

Practice early rising, and, if possible, take a short walk before breakfast.

Strict cleanliness is of the greatest importance.

If a mustache is worn, let it be kept within bounds, and not allowed to fall over the mouth, where it would affect the

tone of the voice. Do not cut it straight along the lip, but train it right and left, allowing it to grow naturally and uncut. The advantages of the mustache are two: it acts to a certain extent as a respirator, and protects the mouth and throat as the eyelash does the eye, and it helps to conceal any slight distortion of the mouth in singing.

Clean the teeth the first thing in the morning, and the last thing at night. Use a moderately hard brush, better too soft than too hard, with cold water, or, better still, just lukewarm. Avoid all "dentifrices " and advertised nastinesses in the way of powders and "fragrant" washes. If you find, in spite of your care, that your teeth become discolored, the cause is probably that your stomach is out of order. In that case go straight to a doctor, for the consequence of such derangement is that "tartar" is formed on the teeth, and this grows, and pushes back the gums, altering the form of the cavity of the mouth, and so affecting the tone of the voice.

Be as much as you can in the open air. Take moderate walking exercise, but of course do not tire yourself before singing or practicing. For male singers, rowing, riding and football, racquet or tennis, and above all an hour or two weekly in a gymnasium, are excellent things; while for ladies, walking, riding, lawn tennis, "la grace," and calisthenics are equally useful. If you live in a town, always walk in preference to taking a conveyance, when time and weather permit it. Never breathe through your mouth in walking, especially at night or on coming out into the open air after singing. Keep the lips closed, and inhale the air through the nostrils.

Nothing can be said in favor of our climate for singing, In going out of hot rooms into the open air much pains should be exercised to keep the chest and throat covered up with an overcoat or cloak-however warm the weather may be. In very severe winter weather the singer will derive much comfort by wearing a flannel chest-protector. Sitting about in gardens, and on lawns, in the evenings on even the warmest days is not a safe indulgence for the student who is in earnest in the pursuit of his art.

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One caution is necessary as to "wrapping up," however. Do not over-do it. The constant use of a "comforter ders the throat delicate and susceptible. All you have to fear is damp, not cold, in the atmosphere. A comforter, closely wound round the throat, promotes prespiration, and the risk of chill in removing it is greater than in not wearing it at all. Common sense must guide every one. It is impossible to made a rule for all.

As to diet: avoid everything that is at all indigestible. Live well, and take plenty of varied nourishment. The singer's system must be well nourished. Chocolate and coffee are better than tea; the latter is too astringent, and affects the nerves too much if taken in abundance. Sugar, in moderation, should always be used with those beverages, and they should never be taken very hot. Bread is better than toast, but avoid hot or very new bread. Eggs and butter are good. Meat should be plainly cooked and not too well done. Pork tries the digestion too severely to be a desirable food for a singer, and the same may be said of veal. Fish is good for the singer, and he should, if possible, let it form a part of his daily menu. 'Creams and pastry are simply poison, and cheese should only be taken in great moderation. Fruit is an excellent thing if judiciously used. But here, again, hard and fast rules are impossible, because constitutions vary. Only remember the old proverb, "We must eat to live, and not live to eat."

Never practice or sing on an empty stomach, or soon after a meal either of these habits will unfairly tax your digestive organs, and in so doing damage your voice. After a meal,

all the energy of the body is required for the stomach; in a healthy person the extremities will generally be cold after a full meal, and the reason is that the digestive organs are using all the heat and blood that the body can give for their special work. Nature thus points to a rest of every other organ at that time, and you must not fight against Nature by attempting any such severe physical strain as the practice of the voice demands.

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All acids and astringents are bad for a healthy throat and stomach. Vinegar, highly flavored sauces, almonds and raisins, nuts of every kind should be avoided. Some of these are useful as remedies in relaxed throat, or congestion of the throat no doubt, but I am speaking simply of what is desirable for a person in a state of health. In cases of cold, hoarseness, or indisposition of any kind, my prescription is, Don't doctor yourself, but (as Abernethy said)' Take advice.'" Be very careful and abstemious in the use of spirits. Brandy is decidedly injurious; it heats and inflames the throat, and tends to constipate the bowels. Gin or whisky is the most wholesome spirit, but take as little as possible of either. If you drink beer or ale, take draught and not bottled, and always in great moderation. All effervescing liquors are objectionable; therefore eschew champagne. The fluids called port and sherry are cruel foes to singing. The best drink for singers is claret, or any light wine, French, German, or Italian. Fluids are apt to produce congestion or mucus in the throat and glands of the mouth, and that of course interferes with the free action of the muscles in singing.

As a general rule it may be laid down that smoking is a bad

habit for the singer, male or female (for there are females who are proud of being able to smoke cigarettes nowadays!).、

A cigarette is certainly a safeguard against taking cold in coming out of a hot room into the open air, especially after singing; but strong cigars or strong tobacco in pipes are to be avoided, because of their effect on the nerves.

Avoid late hours. You require, not only a certain amount of sleep, but to take that sleep before the body and mind are at all overtaxed. From many causes, it is well known, the human frame is always at its lowest from about 2 A. M. till 5 A. M., and the neater you approach those hours in going to bed, the less able you are to derive all the benefit which you require from sleep. Twelve o'clock is late enough for any

one.

The sensualist can never become an artistic singer. Sensuality dulls the purity of thought which marks all true art, deadens the intellect which art requires, and injures the physical powers, without which all a singer's study may be suddenly rendered useless to him.

THE STUDY OF PRONUNCIATION AND "WORDS" IN SINGING.

A few words as to nervousness. You will often hear persons boast that they are not the least nervous in public; and, perhaps, will feel inclined to envy them. Get rid of any such notion at once. If by "nervous" is meant "frightened," that is another thing altogether; and it is perfectly true that there are hundreds of persons who are not in the least afraid of appearing in public, nor affected by timidity when so appearing. But fear is only one form of nervousness.

Do not

be ashamed to admit that you are nervous, if it be so. Nerves are a cruel master, but a splendid servant; instead of letting them overcome you, force them to do your bidding; and instead of nervousness" meaning 'fear," you will find that it means courage and power to do your best.

Study correctness of pronunciation and propriety of emphasis quite apart from singing. Remember that in speaking or singing in a large space and to a number of persons, every sound must have not only additional force, but additional volume. And that comes to mean that every vowel-sound in the words sung must be intensified, and every consonant be delivered with more accuracy than is necessary in ordinary speaking. If you were to pronounce the syllable "die" (for instance), in singing, exactly as you do in speaking, you would produce on the notes or note to which that word belonged a thinness of tone which would be very ugly, and probably would not "carry" far. And the same with any vowel-sound -even Ah," or "Oh,"-which, though not producing a thin tone, would certainly produce a coarse one, if sung exactly as spoken in ordinary conversation.

The reason of the need of this slight change is as follows: Every vowel-sound, like every musical sound (for vowelsounds are nothing less than musical sounds) is composed of two sounds. Combined with the prominent and chief sound which first attracts the ear is a second, which, though not prominent, lends point and force to the other. Thus our English vowel-sound A” is really Éh-é ; “E” is E-é ; “I” is Ah-é; "O" O-do, or even Aw-00; “U” is Ée-do. Of