Shall the young singer practice with half or full voice seems a matter
depending on one's individual attainments. De Luca uses full power
during practice, while Raisa sings softly, or with medium, tone, during
study hours, except occasionally when she wishes to try out certain
effects. Martinelli states he always practices with full voice, as with
half voice he would not derive the needed benefit. Mme. Easton admits
she does not, as a rule, use full voice when at work; but adds, this
admission might prove injurious to the young singer, for half voice
might result in faulty tone production. Anna Case says when at work on
a song in her music room, she sings it with the same power as she would
before an audience. She has not two ways of doing it, one for a small
room and another for a large one. Mr. Duval advises the young pupil to
sing tones as loudly and deeply as possible. Singing pianissimo is
another fallacy for a young voice. This is one of the most difficult
accomplishments, and should be reserved for a later period. Oscar
Saenger: "The tone should be free, round and full, but not loud."