"romanza." The unfortunate, misdirected singer, who must aim at effect,
lays out so much force on single tones, or even on whole lines, and
that, too, in the best register of his voice (the other registers do not
permit this), that the succeeding tones are forced to retire powerless
into the throat; and the beautiful, fresh, youthful tenor or bass voice
concludes with exhausted groaning and mere speaking tones. The "romanza"
is now at an end, and certainly "Boldness, Spirit, and Power" have
worked in union. The task is executed the better, because a rude
accompaniment has probably sustained the singer in a most striking
manner, and has completed the total effect.

By such management, to which I must emphatically add the continual
holding of the tones, even in the _forte_, voices are expected "to come
out," to be developed, inspired, and made beautiful. What healthy ear
can endure such enormities in tone formation, such tortures in singing?
These, then, are the modern contributions for the embellishment of art!
A curse on these evil spirits! If my feeble pen shall assist in bringing
such singing-teachers to their senses, and shall help to save only a
few of our fine voices, I shall consider my mission fulfilled, and the
aim of this book, so far as it concerns singing, accomplished.

* * * * *

I have heretofore combated many prejudices, both in earnest and in
sport, successfully and unsuccessfully; but one I find very
obstinate,--it has pursued me incessantly for years. A piano-player,
with a rigid, strained, and vicious touch, proceeding from the arm, may
play a great deal, but his playing is thoroughly vulgar and without
beauty. He feels this himself, and the playing of my pupils pleases him
better. He wishes me to change his style to their better manner; but he