setto register. In the female organ three registers may be clearly distinguished:- a low, a middle and a high one, of which the hearing can noticeably distinguish the low from the middle one.

SECTION 2.

Chest-Register (Fig. XXII, 4 and 5, and Fig. XXXII).

In every singer, whose voice has not been cultivated in a wrong way, we hear that he can strike the general row of his natural tones, from the lowest up to a certain height, with a full breath; these are the tones that a man uses in general speaking and declaiming, but which women use only under certain circumstances. They are correctly called chesttones because by the man, at least, they are formed not only with full chest, i. e., with full, well-used breath, and are allowed to swell strongly, but because they resound in the full extent of the chest, and thereby reach their fulness and size, The hearer has the feeling of the full, the natural, the healthy, the strong. In the woman, however, these tones of the low register make the impression of something foreign to the female nature, and here they are the expression of a state of emotions which we are apt to find in a man, but not in a woman.

SECTION 3.

FALSETTO REGISTER (FIG. XXII, 6 AND 7, AND FIG. XXXIII).

If a singer tries to reach higher notes with his vocal organ than he is able to do with his chestmechanism, we not only find a certain change in the mechanism of the tone, but also a noticeable change of the timbre; we feel that not all that was set into vibration by the chest-tones is vibrating now, and the tones produced do not make the impression of the full, the natural, the marked, the strong, upon us, but remind us rather of something abnormally weak or feminine. In woman this register, which does not here deserve the name of falsetto, but should be called middle register, is altogether different. The falsetto or middle register is the chief one of woman; it sounds better, fu'ler and nicer than a man's falsetto, and it is more consistent with the feminine disposition and character than her chestregister, which sounds better in a man. While a man usually sings, speaks and declaims in the chestregister, most women, single as well as married, use their middle register.

The falsetto register does not commence only at the end of the chest-register; it can even commence

in the middle, and in women still lower; and for this reason a certain number of tones can be sung in both registers.

The entire number of tones which can be produced in a larynx, therefore, consists of three divisions, viz.:

I. Tones which can be produced by the chest-voice only.

2. Tones which are possible in the falsetto voice only; and

3. Tones which can be produced by both the chest and falsetto voice.

The tones under (1) are the lowest, those under (2) the highest, and those under (3) embrace a middle register depending for its larger or smaller size upon the individual to whom it belongs.

The cultivation of those tones which can be produced by both chest and falsetto voices, requires great study, and in their correct use (i. e., already to take the falsetto tone where the chest-tone might still be taken, and vice versa still to remain two or three tones in falsetto, where the chest-tone might already be taken) frequently lies the wonderful sympathy, the irresistible attraction of the speech and song of so many speakers and singers.

CHAPTER II.

PRODUCTION OF THE VOICE IN SINGING

AND SPEAKING.

SECTION 1.

THE QUALITIES OF TONE.

As already stated, the tone originates in the glottis by means of air expelled from the lungs through the larynx.

The qualities a tone must have to give entire satisfaction are:

1. Metallic.

2. Clear (of the right height).

3. Strong and full.

4. Firm, not trembling, and

5. Durable.

Let us look more closely at the premises which cause these qualities.

A strong, healthy chest and good respiratory and vocal organs must be named as the first condition for the production of a tone; without these a good tone is impossible, although it is not thereby said

that these qualities alone will cause a good sound to be produced.

The quality of the mucous membrane covering the vocal cords, as well as the power of vibration of the vocal cords themselves, the width of the fauces and the oral cavity, the amount of air the nose is able to hold, as well as the pharynx, the thickness of the soft-palate with the uvula and of the tonsils, greatly influence the tone. All of these may be influenced to advantage. The sooner this is done, the more advantageous it will be.

We know that the tone produced in the larynx only reaches its variety in timbre, its fulness, its roundness, and altogether its beauty, in the resonator. We add thereto, but only by correct use of the resonator.

"Can the resonator be used incorrectly?" I have been often asked. Certainly! The resonators of artificial instruments cannot be used incorrectly, for they cannot be changed; but the resonator of the human vocal organs is capable of great changes - changes which are caused on one hand by speech, on the other hand by incorrect use of the organs at and in the resonator to which lips, teeth, tongue, soft-palate and tonsils belong.

In order to use these organs correctly, it is necessary that we should attain a complete mastery over them by means of gymnastics, and know how they should be used. In this mastery great results can be obtained if we have the will to attain them.

The Metal and Clearness.

The metal and clearness of a tone depend upon the condition of the mucous membrane covering the