Richmond Palladium (Daily), Volume 34, Number 123, 11 March 1909 — Page 5

Talks on Siimgiinig III. Tone Emission and Attack. By LUISA TETRAZZINI

The Martin Sficclx Sole Commences Saturday, Mar. 13 OOPYIOCMr. 1909. BY AMERICAN PRESS ASSOClATON

b compollod to

it, but thb temptation was too

low our motto,

iC Got DARGAITJS. Wo are in a position now to givo you good, cloan Dry prlco than thoy havo been offered in Richmond for oomo timoy and loworthan

ou will ncod for the noxt six months to como.

2y, Imotvinfj that you

jc end caloy tnls great bargain least with

In yocr pocket. Sach bargains almost

!it . - 1 A V ira ueavy gray BianKeis, marlice 98c; Hoosier cash price 68c ky twilled blanket, Martin price I Hoosier cash price . . . . .$1.19 duality geese Feathers, Marprice, 85c lb.; Hoosier cash 59c Blankets, single 10-4 gray In, price 38c; Hoosier cash I ......... ...... 19c hite and gray single blankets,!. extra heavy, Martin, price 65c; ier cash price ; ., s ... . , ', ... 29c n's fast black Hose, Martin's 100 if 12c; Hoosier cash price. .7c n's extra heavy Hosiery ; MarL' price 20c; Hoosier cash price j;.'. .................. ...12c .! colored Hosiery, Martin price, p Hoosier cash price . . . .... .5c ' fine Lisle Hose,' Martin price Hoosier cash price . .. f . . .15c ; Socks, brown mixed. Martin i 12c; Hoosier cash price.. 7c i fast black Hosiery, Martin 15c, Hoosier cash price . .10c Fancy Hosiery, Martin's price Hoosier cash price .......19c !! Underwear, gray mixed . and . color, Martin price 60c; Hoos cash price ................ 35c :' ecru Vest and Pants, alt slzaxtra heavy fleeced. Martin's , 60c,. Hoosier cash price 35c Union Suits, Martin price, i; Hoosier cash price i . . . , .89c ; Sateen Skirts, Martin price, Hoosier cash price .... .89c tklrts, Martin's, price 25c; Hoos ash price ... ............. 15c ' Flannelette Gowns, Martin's i 65c; Hoosier cash price. .39c Golf Gloves, Martin's price, Hoosier cash price ........35c

jtsizgh! cf him In sample at a very low L Sec Ciena. All new.

M black Venetian - Jackets, rth $6.00, at ,r. $2.89 I lot of Misses' Jackets, worth h -AA' V n0 AA -.X iLI. S4 Am At miss this chance to get a bartin in a Kirt or uioaK. , f jes tan colored long Cloaks, all tot, velvet and braid trimmed, finetian . lined, piped seams.

o !5 tf:- Regular Price

ioiep and Vou TJill

i?lh) 11

Qivo up his buoinoGG, and wc

buy cheap and appreciate a good

Men's Golf Gloves, Martin price 50c,

Hoosier cash price 35c

Muslin Gowns; Martin price 65c; Hoos

ier cash price ................ 39c

Muslin Gown, Martin

price $1.50; .7.89c Hoosier cash price .

Muslin Drawers, Martin price 35c;

Hoosier cash price 19c

Muslin Skirts, trimmed, Martin's

price $1.50; Hoosier cash price 89c' yards Spool Silk, Martin's price 10c; ; Hoosier cash price .... ... .5c

American Beauty Corsets, . Martin's

price, $1.25; Hoosier cash price 89c

American beauty Corsets, Martin's

price $3.50 ; Hoosier cash price . . . . . . . . ... . . . . . . $2.50

Embroidery, Martin price 10c;, Hoosier cash price 5c Extra 4 fine quality embroidery, Martin's price 15c; Hoosier cash price ......... 8 1-3c Embroidery, Martin price, 25c; Hoosier cash price 18c Torchon Lace and Inserting, Martin Price, 6c; Hoosier cash price . .2c Torchon Lace and Inserting, Martin's price, 8 l-3c, Hoosier cash price.. 3c Lace Curtains, Martin price $1.25; Hoosier cash price .89c Lace Curtains, Swiss, Martin price, $1.23, Hoosier cash price 68c Linoleum, Martin's price 60c; Hoosier cash price 35c Carpet, Martin price, 35c ; Hoosier cash price ..24c 9x12 Axminster Rugs, Martin's price, $25.00; Hoosier cash price ..$19.48 Tapestry Rug, 9x12. Martin's price, $15.00; Hoosier cash price . ...$9.98

worth $12.00, at ..$5.98 Ladies' fine black cloth Coats, Venetian lined, silk braid trimmed, worth $12.00, at ..$6.56 Ladies' : fine black Cloaks, satin lined, worth $25.00, at $9.00 Extra heavy black cloth Cloaks, worth $15.00, at $6.50

DQD(LQ

strong. It was sell cheap. That

ADD ooca CaCies., TCuBs Was a ery odl9

Oeami lh)e

Ladies' fine dress Shoes in vici kid, or patent leather, worth $2.50 at $1.98 Ladies' dress Shoes, worth $1.50 at 98c Ladies' $2.00 vici kid dress shoes at .. $1-48 Ladies' $4.00 dress Shoes at ....$2.48 Children's fancy shoes, worth 65c, all kid and sizes from 2 to 6, at... 42c Children's dongola kid Shoes, worth $1.00 at 75c Bargains in Misses Shoes in sizes 11 to 2 at . .". .98c, $1.25 $1.50 All high grade shoes. Ladies' fine dongola kid dress shoes, worth $2.23, at $1.69 See the bargains in Boys' Shoes. MEN'S SPRING WORK SHOES All good high grade shoes, in reindeer, seal, box calf, and oil grain shoes that are worth from one-third to one-half more than we are going to sell them at.

Off Yy Kldl

GBy V

4he VJonderfful Power of

bought hio otocli offered to lis go

makos tho outlot for a stock,

ft!!, Men's box calf, sewed, flexible sole, worth $2.00, at $1.39 Men's heavy spring, grain, bal, sewed sole, worth $2.50 at $1.75 Men's tan russet work Shoes, worth $2.50 at'." ..$1.98 Men's good solid seal leather work Shoes, w orth $2.50, at $1.69 Men's seal leather, extra heavy sole, seamless, worth $2.50, at $1.75 Men's heavy buckle work Shoes, worth $1.50, at $1.19 Men's dress Shoes, worth $2 at $1.38 Men's fine vici kid dress shoes, in the latest toe, worth $2.50 at..... $1.98 Men's fine patent leather bluchcr cut, new toe, worth $2.50 at $1.98

Tfftem 0w

Q0Hr.'KlI2)f DW 12)0 AW A.

and bought it low ivo had to Men's extra fine dress Shoes,' worth $3.00 to $3.50. at $2.48 Men's Goodyear welt, satin calf or gun metal, worth $3.50 at $2.48 Men's unlined, cap toe, russet- shoes, worth $2.50 at $1.98 See the Odds and Ends Table for real shoe bargains. All the odd sizes will be on this table. Boys satin calf Shoes, worth $1.35, at 85c Boys' satin calf, size 13 to 2, worth $1.50, at . .98c Boys' satin calf Shoes, sizes 2Vi to 5 worth $1.75, at $1.25 Boys' vici kid and patent leather dress shoes at $1.50, $1.98 and $2.25 Spoi aoh.

ift

rr N my first talk I said a few II words, bat not half enough, oa

H the subject of breath control. jli J Rnruu iai yujH' ologlcal aspect of the throat, bead and tongue, for It la necessary to become thoroughly acquainted vrlth the mechanism -with which you are to work before you can really sing. Today I'm going to take up the subject of tone emission and the attack. A treat many singers suffer from the defect called 'throat iness" of the emission that is to say. they attack or start the note In the throat. Sooner or later this attack will ruin the most beautiful voice. As I have said before, the attack of the note must come from the apoggio, or breath prop. But to hare the attack pure and perfectly In tune you must have the throat entirely open, ror it is useless to try to sing If the throat la not sufficiently open to let the sound pass freely. Throaty tones or pinched tones are tones which are trying to force themsHves through a half closed throat blocked either by Insufficient opening of the larynx or by stoppage of the throat passage, due to the root of the tongue being forced down and back too hard or possibly to a low, soft palate. In order to have the throat perfectly open It Is necessary to have the jaw. absolutely relaxed. I have found In studying different nationalities that It Is fairly easy for the French and Spanish people to learn this relaxation of jaw and the opening of the throat, but the English speaking people generally talk with the throathalf shut and even talk through half shut teeth. Some time when you are talking rapidly suddenly put your band up to your jaw. Tou will find that It Is stiff; that the muscles beneath it (tongue muscles) are tight and bard; that the jaw seldom goes down very far In pronouncing any of the English words, whereas In singing the jaw should be absolutely relaxed, going down and back just as far as tt can with ease. - The jaw Is attached to the skull right beneath the temples In front of the ears. By i tcing your two fingers there sad dropping the jaw yon will find that a space between the skull and jaw grows ss the jaw drops. In singing this space must be as wide ss Is possible, for that Indicates that the jaw Is dropped down, giving Its aid to the opening at the back of the throat. It will help the beginner sometimes to do simple relaxing exercises, feeling the jaw drop with the fingers. It most drop down, and it Is not necessary to open the mouth wide. because the jaw Is relaxed to its utmost. However, for a beginner It Is as well to practice opening the mouth wide. being pre to lower the jaw at the back. Do this many times a dsy with out emitting any sound merely to get the feeling of what an open throat Is really like. Ton will presently begin to yawn after you have done the exer cise a couple of times. In yawning or In starting to drink a sip of water the throat Is widely open, and the sensa tion is s correct one, which the singer must study to reproduce. . I have noticed a great many actors end .actresses 1 America who speak with jaws tightly closed, or at least closed to such an extent that only the smallest emission of breath .Js possible. Such a voice production will never allow the actor to express any varying degree of emotion and will also completely eradicate any natural beauty of tone which the voice may nave. However, this Is a fault which can easily be overcome by practicing this daily relaxation of the jaw and always when singing breathing as If the jaw hung perfectly loose, or, better still, as If you had none at alL When you can see a vocalist pushing on the jaw you can be perfectly certain that the tone she is emitting at that moment is a forced note and that the whole vocal apparatus is being tor tured to create what Is probably not a pleasant noise. ' ' Any kind of mental distress will cause the jaw to stiffen and will have an immediate effect upon the voice. This is one of the reasons why a sing er must learn to control her emotions and must not subject herself to any harrowing experiences, even such as watching a sensational spectacle, be fore she Is going to sing. Fear, worry. fright, stage as well as other kind, sets the jaw. So does too great a determl nation to succeed. A singer's mind must control all of her feelings If It Is going to control her voice. She must be sble even to surmount a feeling of Illness or stage fright and to control ber vocal apparatus as well as her breath, no matter what happens. ; The singer should feel as if ber jsw were detached and falling away from her face. As one great singer expresses It: "You should have the jaw of an imbecile when emitting a tone. In fact, you shouldn't know that yon have one." Let us take the following passage from "The Marriage of Figaro by Mozart:; sa-js-te-Thls would make an excellent eser dse for the jaw. Ring only the tW els. dropping the jaw ss each one is sttacked o, eh. ah." The o. of course. is pronounced like the English o snd the 1 in vol like e. The e In che Is pronounced like the English a. Sapcte Is pronounced sahpata. Ton now have the .vowel o, ee. a, ah, a. Open the throat wide, drop the jaw and pronounce the tones on a note in the easiest part of your voice. Do net attach a note at the same time tJhst poo are totaling. That Is too soon. TsJto breath through the nose. rxAfrse. acd jElve ft an Instant to settle .icf jto attacking the sound. In this wx you wm avoid the stroke f Jtbe glPttu jrhJrb Is caused by the

sadden and CtcoUrrvAicO cmntn ex the accumulated breath. In attacking a note the breath must be directed to

the focusing point ou the palate, which lies just at the critical spot, different for every tone. In attacking a note, however, there must be no pressure oa this place, because If there Is the over tones win be unable to soar and sound wjth the tone. From the moment the note Is at-. tacked the breath must flow out with It. It Is a good Idea to feel at first as If one were pafBng out the breath. This Is particularly good for the high -totes, on which a special stress most be laid always to attack with tba breath and not to press or push with . the throat. As long ss the tone lasts the gentle but uninterrupted outpouring of the breath must continue behind It This breath pressure Insures the strength and. while holding the note to the focusing point on the pal-' ate. Insures Its pitch. In a general way It can be said that the medluss tones of the voice have their focusing IWUIl UK IBS UWWV 7WI . i the lower tones eemtng nearer to the ' teeth to be, centralised and the high notes giving the sensation of finding their focusing point to the high arch at the back of the month and irolng out, ss It were, through the crown of the bead. The resonance In the head cavities Is soon perceived by those who are beginning to sing. Sometimes In producing their first high notes young people become nervous and irritated when Inirlntr tilvh tnttmm at h wriim Kna . ing In the head and ears. After a short time, however, this sensation la no longer an Irritation, and the singer csn gsuge in a way where his tone are placed by getting a mental idea of where the resonance to each articular tone should be. Hiah notes with nlentv of head vi bration can only be obtained when the hi mm A la Ihp aiul thim naaal ravltlaai naobstructed by mucous membrane or by any of the depression which cornea from physical or mental causa. , The best way to lose such depression la to practise. Practicing the long scale, being careful to use the different registers, as described later, will almost Invariably even out the voice and clear out the head if continued long enough and will enable the singer to overcome nervous or mental depression as welL The different sensations In producing ' the tone very, according to the com parative height and depth. ' Beginning from the medium tones, the singer will feel as if esch tone of the descending scale were being song farther outside of the month, the vibration bitting the upper teeth as it goes out. whereas with the ascending scale the vibrations psss through the nasal cavities, through the cavity in the forehead and np back into the bead, until one feels as it tne tone were oemg xormea nign over the heed at the back. I want to say right here that whenever the young singer feels uncomfortable when singing be or she Is singing incorrectly. In attacking the note on the breath. particularly in the high notes. It is quite possible that st first the roke win not respond. For a Jong tip merely sn emission of breath or per- r hsps a little squeak on the high note is all that can be hoped for. If. how ever, this Is continued, eventually the head voice will be joined to the breath, and a faint note will find utiersnco which with practice will develop mntti it becomes sn essy snd brilliant tone. The reason that the tone has not ItMn KU tn inm tnriH la hnnai thm vocal apparatus cannot adjust Itself to the needs of the vocal chords or bocause they themselves bars not accustomed themselves to respond to the will of the singer snd are too stiff he pet rot m tnerr amy. a. asv avwsaa . as uiv - uva voice production. No opera singer, no concert singer, who cannot sing a psr feet scale can be said to be a tsO nlclan or to havo achieved results tn her art. Whether the voice be fas prano, mesao or contralto, each nots should be Derfect of its kind, and the note of each register should partake sufficiently of the quality of the nesg register above or below it In order net to make the transition noticeable when the voice ascends or descends the scale. This blending of the registers Is obtained by the Intelligence of the singer in mixing the different ton qualities of the registers, using as aids the various formations of the lips, month snd throst snd the ever present appogio. without i which no perfect scale can be song. ; For an early breakfast, take - bomt Mrs. Austin's pancaj$e flour. Ready la s. minute. What Himters TecH Animals! t If proof were needed of the part played by sportsmen In this education of the wild, we hare It In their curiouslimitations when confronted by dangers of another kind. No number of fatalities keeps these game birds away from the telegraph wires; no lengthening death roil warns the woodcocks and other fly by nights to avoid the fatal lantern of the lighthouse. Not an the centuries of havoc nave taught the larks to build their nests out of reach of scythe and tickle. umy tne noisier menace oi oos aa guns has brought acquired experience. In this the true sportsman has bis consolation, for If difficulty be the essence of sport then that difficulty Is likely to -Pnn Man Gasette. - Tardon ne," said the lady . on. marketing expedition, "but sre thest eggs fresh laid?" " '- "Absolutely, madam! replied tin truthful grocer promptly. Tbe farm er I purchased those eggs from won' allow his hens to lay them any other way."-l