,,resonance  ,,in  ,,singing ,,and      
,,speaking   ,,by  ,,thomas             
,,fillebrown1 ,m4,d41 ,d4,m4,d4         
,,twenty-,,one ,,years ,,professor ,,of 
,,operative ,,dentistry ,,and ,,oral    
,,surgery ,,in ,,harvard ,,university2  
,,member ,,of ,,the ,,american ,,medical
 ,,association1 ,,the ,,academy ,,of    
,,dental ,,science1 ,,the ,,new         
,,england ,,otological ,,and            
,,laryngological ,,association1 ,,etc42 
,,lecturer ,,on ,,voice ,,development4  
,,third ,,edition  ,illustration3 ,,the 
,,music ,,students ,,library   ,,boston 
,,oliver ,,ditson ,,company  ,,new      
,,york ,,chas4 ,h4 ,,ditson  ,,co4      
,,chicago ,,lyon  ,,healy  ,copyright1  
,,mcmxi ,,by ,,oliver ,,ditson ,,company
  ,international ,copyright secured     
,transcriber's ,note3 ,text in bold is  
surrounded by 4 ,text in italics is     
surrounded by 4     ,,to ,,the ,,memory 
,,of  ,,william ,,haskell ,,stockbridge 
,,pupil ,,of ,,vannuccini ,,and ,,my    
,,first ,,instructor ,,in ,,voice       

,,culture1 ,,this ,,volume ,,is         
,,affectionately ,,dedicated            
,,preface   ,efforts to develop my own  
voice1 and the voices of my patients    
after operations for cleft palate1 aided
 by anatomical study1 resulted in a plan
 for the focusing and development of the
 human voice quite different from any   
other yet published1 or1 so far as ,i   
know1 yet proposed4 ,this plan has      
proved so successful in my later life   
that ,i feel emboldened to offer it for 
the consideration of speakers and       
singers4  ,while twenty-five years ago  
few of the principles here described    
were acknowledged or even recognized1   
within the last decade almost all have  
been advocated separately by different  
teachers or writers4 ,at the present    
time1 therefore1 originality consists   
only in the classification of the       
principles into a systematic1           
progressive whole1 and in arranging a   
simpler and more practical method of    
applying them1 thus making the desired  

results much more quickly attainable4   
,it is attempted in this volume only to 
describe the value of each element in   
the production of the perfect tone and  
to demonstrate the principles which1 if 
properly and faithfully applied1 will   
develop the best that is possible in    
each individual voice and prepare the   
pupil to enter upon the more advanced   
arts of speaking and singing4  ,in #aijc
 ,i prepared a series of papers on ,the 
,art of ,vocalism1 which were published 
in ,the tude in ,may1 ,june1 and ,july  
of that year4 ,these articles are       
incorporated in this work4 ,in          
connection with different organs and    
conditions1 important principles are    
stated and restated4 ,this repetition is
 thought desirable in order that the    
fundamentals may be kept prominently    
before the mind and impressed upon the  
attention4  ,i believe that a careful   
study of this volume will prove of      
essential service to teachers and       
advanced pupils of singing and oratory1 

especially to young teachers just       
entering upon their duties4 ,its method 
will be found adapted to the instruction
 of pupils of all grades1 from the      
kindergarten to the ,conservatory of    
,music and the ,school of ,oratory4  ,i 
shall be gratified if this outcome of   
years of experience1 constant study1 and
 tested methods shall prove helpful to  
those who seek mastery of the art of    
beautiful speaking and singing4         
,illustration3 signature ,thomas        
,fillebrown     ,,contents              
,,preface                               
vii        ,,introduction               
#a     ,i4 ,,the ,,vocal ,,instrument   
#f    ,,ii4 ,,the ,,speaking ,,voice    
,,and ,,pronunciation                #af
   ,,iii4 ,,breath ,,control            
#bc    ,,iv4 ,,breathing ,,exercises    
#cc     ,v4 ,,registers                 
#ch    ,,vi4 ,,resonance ,,in ,,general 
#dc   ,,vii4 ,,head ,,and ,,nasal       
,,resonance                             
#ea  ,,viii4 ,,placing ,,the ,,voice    

#ef    ,,ix4 ,,throat ,,stiffness       
#gd     ,x4 ,,some ,,general            
,,considerations                        
#gg    ,,xi4 ,,the ,,psychology ,,of    
,,vocal ,,culture                       
#hb        ,,books ,,consulted          
#hf        ,,index                      
#hi     ,,resonance  ,,in  ,,singing    
,,and ,,speaking     ,,introduction     
,when a youth it was my lot to be       
surrounded by examples of faulty        
vocalism1 such as prevailed in a country
 town1 and to be subjected to the errors
 then in vogue1 having at the same time 
small opportunity for training in the   
application of principles1 even as then 
imperfectly taught4 ,at middle life ,i  
had given up all attempt at singing and 
had difficulty in speaking so as to be  
heard at any considerable distance or   
for any considerable length of time4    
,professional obligations to my         
patients1 however1 compelled me later to
 take up the subject of vocal           
physiology4 ,this ,i did1 guided by the 

ideas current on the subject4  ,about   
#ahhj ,i became satisfied that many of  
the current ideas were incorrect1 and   
determined to start anew1 and to note in
 detail the action of each organ used in
 vocalization and articulation4 ,to this
 end ,i sought vocal instruction and    
advice1 which1 modified by my own       
observations1 have produced the most    
gratifying results4  ,up to that time it
 had been held that the nasal cavities  
must be cut off from the mouth by the   
closing of the soft palate against the  
back of the throat2 that the passage of 
ever so little of the sound above the   
palate would give a nasal twang1 and    
that the sound was reinforced and       
developed only in the cavities of the   
throat and mouth4 ,my practice in ,oral 
,surgery1 coupled with my own vocal     
studies exposed this fallacy and        
revealed to me the true value of nasal  
resonance4  ,the late ,mme4 ,rudersdorff
 had begun to recognize the effect of   
nasal resonance1 but she left no        

published record of her conclusions4 ,it
 does not appear that she or her        
contemporaries realized the true value  
of the nasal and head cavities as       
reinforcing agents in the production of 
tone1 or appreciated their influence    
upon its quality and power4  ,there are 
perhaps few subjects on which a greater 
variety of opinion exists than on that  
of voice culture1 and few upon which so 
many volumes have been written4 ,few    
points are uncontested1 and exactly     
opposite statements are made in regard  
to each4  ,formerly great stress was    
laid upon the distinction between head  
tones and chest tones1 closed tones and 
open tones4 ,the whole musical world was
 in bondage to registers of the voice1  
and the one great task confronting the  
singer and vocal teacher was to blend   
the registers1 a feat still baffling the
 efforts of many instructors4  ,many    
teachers and singers have now reached   
what they consider a demonstrated       
conclusion that registers are not a     

natural feature of the voice2 yet a     
large contingent still adhere to the    
doctrine of register1 depending for     
their justification upon the unreliable 
evidence furnished by the laryngoscope1 
not realizing that there will be found  
in the little lens as many different    
conditions as the observers have eyes to
 see4 ,garcia himself1 the inventor of  
the laryngoscope1 soon modified his     
first claims as to its value in vocal   
culture4  ,on this point we have the    
testimony of his biographer1 ,m4,s4     
,mc,kinley3  ,as far as ,garcia was     
concerned1 the laryngoscope ceased to be
 of any special use as soon as his first
 investigations were concluded4 ,by his 
examination of the glottis he had the   
satisfaction of proving that all his    
theories with regard to the emission of 
the voice were absolutely correct4      
,beyond that he did not see that        
anything further was to be gained except
 to satisfy the curiosity of those who  
might be interested in seeing for       

themselves the forms and changes which  
the inside of the larynx assumed during 
singing and speaking4  ,of similar      
purport is the word of the eminent      
baritone1 ,sir ,charles ,santley1 who1  
in his ,art of ,singing1 says3  ,manuel 
,garcia is held up as the pioneer of    
scientific teaching of singing4 ,he     
was--but he taught singing1 not surgery6
 ,i was a pupil of his in #aheh and a   
friend of his while he lived2#a and in  
all the conversations ,i had with him ,i
 never heard him say a word about larynx
 or pharynx1 glottis or any other organ 
used in the production and emission of  
the voice4 ,he was perfectly acquainted 
with their functions1 but he used his   
knowledge for his own direction1 not to 
parade it before his pupils4  ,footnote 
#a3 ,garcia died ,july #a1 #aijf1 at the
 age of #aja4  ,the eminent ,london     
surgeon and voice specialist1 ,dr4      
,morell ,mackenzie1 says of the         
laryngoscope1 ,it can scarcely be said  
to have thrown any new light on the     

mechanism of the voice2 and ,dr4 ,lennox
 ,browne confesses that1 ,valuable as   
has been the laryngoscope in a          
physiological1 as undoubtedly it is in a
 medical sense1 it has been the means of
 making all theories of voice production
 too dependent on the vocal cords1 and  
thus the importance of the other parts  
of the vocal apparatus has been         
overlooked4  ,not only in regard to     
registers but in regard to resonance1   
focus1 articulation1 and the offices and
 uses of the various vocal organs1      
similar antagonistic opinions exist4    
,out of this chaos must some time come a
 demonstrable system4  ,a generation ago
 the art of breathing was beginning to  
be more an object of study1 but the true
 value of correct lateral abdominal     
breathing was by no means generally     
admitted or appreciated4 ,it was still  
taught that the larynx 7voice-box7      
should bob up and down like a           
jack-in-a-box with each change of pitch1
 and that female breathing must be      

performed with a pumping action of the  
chest and the elevation and depression  
of the collar bone4  ,fortunately1      
teachers and singers recognized a good  
tone when they heard it1 and many taught
 much better than they knew1 so that the
 public did not have to wait for the    
development of accurate knowledge of the
 subject before hearing excellent       
singing and speaking4 ,yet many singers 
had their voices ruined in the training1
 and their success as vocalists made    
impossible2 while others1 a little less 
unfortunate1 were still handicapped     
through life by the injury done by      
mistaken methods in early years4 ,jenny 
,lind's perfect vocal organs were quite 
disabled at twelve years of age by wrong
 methods1 and they recovered only after 
a protracted season of rest4 ,as a      
consequence her beautiful voice began to
 fail long before her splendid physique1
 and long before her years demanded4    
,singers taught in nature's way should  
be able to sing so long as strength     

lasts1 and1 like ,adelaide ,phillips1   
,carl ,formes1 and ,sims ,reeves1 sing  
their sweetest songs in the declining   
years of life4 ,martel1 at seventy years
 of age1 had a full1 rich voice4 ,he    
focused all his tones alike1 and        
employed deep abdominal breathing4  ,the
 whole matter of voice training has been
 clouded by controversy4 ,the strident  
advocates of various systems1 each of   
them the only true method1 have in their
 disputes overcast the subject with much
 that is irrelevant1 thus obscuring its 
essential simplicity4  ,the scientific  
teachers1 at one extreme1 have paid too 
exclusive attention to the mechanics of 
the voice4 ,the empiricists have gone to
 the other extreme in leaving out of    
account fundamental facts in acoustics1 
physiology1 and psychology4  ,the truth 
is that no purely human function1       
especially one so subtle as singing1 can
 be developed mechanically2 nor1 on the 
other hand1 can the mere ipse dixit of  
any teacher satisfy the demands of the  

modern spirit4   ,,principles           
,,advocated  ,the positions here        
advocated1 because they seem both       
rational and simple1 are3  #a4 ,that the
 singing and speaking tones are         
identical1 produced by the same organs  
in the same way1 and developed by the   
same training4  #b4 ,that breathing is1 
for the singer1 only an amplification of
 the correct daily habit4  #c4 ,that    
registers are a myth4  #d4 ,that head   
tones1 chest tones1 closed tones1 open  
tones1 etc41 as confined to special     
parts of the range of the voice1 are    
distracting distinctions arising from   
false education4  #e4 ,that resonance   
determines the quality and carrying     
power of every tone1 and is therefore   
the most important element in the study 
and training of the voice4  #f4 ,that   
the obstacles to good speaking and      
singing are psychologic rather than     
physiologic4  #g4 ,that1 in the nature  
of things1 the right way is always an   
easy way4     ,,chapter ,i  ,,the       

,,vocal ,,instrument   ,since the vocal 
organism first became an object of      
systematic study1 discussion has been   
constant as to whether the human vocal  
instrument is a stringed instrument1 a  
reed instrument1 or a whistle4          
,discussion of the question seems       
futile1 for practically it is all of    
these and more4 ,the human vocal organs 
form an instrument1 sui generis1 which  
cannot be compared with any other one   
thing4 ,not only is it far more complex 
than any other instrument1 being        
capable1 as it is1 of imitating nearly  
every instrument in the catalogue and   
almost every sound in nature1 but it is 
incomparably more beautiful1 an         
instrument so universally superior to   
any made by man that comparisons and    
definitions fail4   ,,elements  ,the    
human vocal instrument has the three    
elements common to all musical          
instruments1--a motor1 a vibrator1 and a
 resonator2 to which is added--what all 
other instruments lack--an articulator4 

#a4 ,the respiratory muscles and lungs  
for a motor4  #b4 ,the vocal cords for a
 vibrator4  #c4 ,the throat1 mouth1 and 
the nasal and head cavities for a       
resonator4  #d4 ,the tongue1 lips1      
teeth1 and palate for an articulator4   
,these elements appear in as great a    
variety of size and proportion as do the
 variations of individual humanity1 and 
each element is1 moreover1 variable     
according to the will or feeling of the 
individual4 ,this susceptibility to     
change constitutes a modifying power    
which gives a variety in tone quality   
possible to no other instrument and     
makes it our wonder and admiration4 ,the
 modification and interaction of these  
various parts produced by the emotions  
of the singer or speaker give qualities 
of tone expressive of the feelings1 as  
of pain or pleasure1 grief or joy1      
courage or fear4  ,illustration3        
,,figure #a4--,section of the head and  
throat locating the organs of speech and
 song1 including the upper resonators4  

,the important maxillary sinus cannot   
well be shown4 ,it is found within the  
maxillary bone 7cheek bone74 ,the inner 
end of the line marked ,nasal cavity    
locates it4   ,,timbre  ,the minute     
differences in these physical           
conditions1 coupled with the subtler    
differences in the psychical elements of
 the personality1 account for that      
distinctive physiognomy of the voice    
called timbre1 which is only another    
name for individuality as exhibited in  
each person4 ,the same general elements 
enter into the composition of all       
voices1 from the basso profundo to the  
high soprano4  ,that the reader may     
better understand the proportion and    
relations of the different parts of the 
vocal apparatus1 a sectional drawing of 
the head is here produced1 showing the  
natural position of the vocal organs at 
rest4 ,as the drawing represents but a  
vertical section of the head the reader 
should note that the sinuses1 like the  
eyes and nostrils1 lie in pairs to the  

right and left of the centre of the     
face4 ,the location of the maxillary    
sinuses within the maxillary or cheek   
bones cannot be shown in this drawing4  
,the dark shading represents the        
cavities of the throat1 nose1 and head4 
,the relations of the parts are shown   
more accurately than is possible in any 
diagram4 ,it will be noticed that the   
vibrations from the larynx would pass   
directly behind the soft palate into the
 nasal chamber1 and very directly into  
the mouth4 ,the nasal roof is formed by 
two bones situated between the eyes2 the
 sphenoid or wedge-bone1 which is       
connected with all other bones of the   
head1 and the ethmoid or sieve-like     
bone4 ,the structure of these two bones1
 especially of the ethmoid1 consists of 
very thin plates or lamin1 forming a    
mass of air cavities which communicate  
by small openings with the nasal cavity 
below4 ,thus1 the vibrations in the nose
 are transmitted to the air spaces      
above1 and the effective qualities of   

the head vibrations are added to the    
tone4   ,,the ,,larynx  ,the larynx or  
voice-box contains the vocal cords4     
,just above the vocal cords on each side
 is a large1 deep cavity1 called the    
ventricle4 ,these cavities reinforce the
 primary vibrations set up by the cords 
and serve to increase their intensity as
 they are projected from the larynx4    
,the larynx is the vibrating organ of   
the voice4 ,it is situated at the base  
of the tongue and is so closely         
connected with it by attachment to the  
hyoid bone1 to which the tongue is also 
attached1 that it is capable of only    
slight movement independent of that     
organ2 consequently it must move with   
the tongue in articulation4 ,the        
interior muscles of the larynx vary the 
position of its walls1 thus regulating  
the proximity and tension of the vocal  
cords4 ,the male larynx is the larger   
and shows the ,adam's apple4 ,in both   
sexes the larynx of the low voice1 alto 
or bass1 is larger than that of the high

 voice1 soprano or tenor4 ,the larynx   
and tongue should not rise with the     
pitch of the voice1 but drop naturally  
with the lower jaw as the mouth opens in
 ascending the scale4 ,the proper       
position of the tongue will insure a    
proper position for the larynx4 ,the    
less attention the larynx receives the  
better4   ,,the ,,vocal ,,cords  ,the   
vocal cords are neither cords nor bands1
 but instead are thick portions of      
membrane extending across the inner     
surface of the larynx4 ,on account of   
familiarity the name vocal cords will   
still be used4 ,they are fairly well    
represented by the lips of the cornet   
player when placed on the mouthpiece of 
the instrument4 ,the pitch of the tone  
is fixed by the tension of the vocal    
cords and the width and length of the   
opening between them4 ,their tension and
 proximity are self-adjusted to produce 
the proper pitch without any conscious  
volition of the singer4 ,they can have  
no special training1 needing only to be 

left alone4 ,the work of the vocal      
cords1 though essentially important1 is1
 when naturally performed1 light and    
consequently not exhausting4 ,if the    
larynx and all of its supporting muscles
 are relaxed as they are in free and    
easy breathing1 then when the air passes
 out through the larynx1 the vocal cords
 will automatically assume a tension    
sufficient to vocalize the breath and   
give the note the proper pitch4 ,the    
normal action of the cords will never   
cause hoarseness or discomfort4 ,the    
sound should seem to be formed1 not in  
the throat1--thus involving the vocal   
cords1--but in the resonance chambers4  
,,the ,,epiglottis  ,the epiglottis is  
the valve which closes over the upper   
opening of the larynx4 ,it not only     
closes the mouth of the larynx when food
 is swallowed1 but aids materially in   
converting into tone the vibrations set 
up by the vocal cords4   ,,the ,,pharynx
  ,the pharynx extends from the larynx  
to the nasal cavity4 ,the size of the   

opening into the nasal chamber is       
controlled by the soft palate and is    
frequently entirely closed4 ,the size of
 the pharynx is varied by the           
contraction and relaxation of the       
circular muscles in its tissue2 when    
swallowing its walls are in contact4    
,the pharynx acts as does the expanding 
tube of brass instruments4 ,it increases
 the force and depth of the tone waves4 
,the wider the pharynx is opened1       
without constraint1 the fuller the      
resonance and the better the tone4      
,,the ,,under ,,jaw  ,the under jaw     
furnishes attachment for the muscles of 
the tongue and hyoid or tongue bone4 ,it
 also controls1 owing to the connections
 of the larynx with the hyoid bone1 the 
muscles that fix the position of the    
larynx4  ,the pterygoid muscles1 which  
move the under jaw forward and backward1
 do not connect with the larynx1 so     
their action does not compress that     
organ or in any way impede the action of
 the vocal apparatus4 ,a relaxed under  

jaw allows freer action of the vocal    
cords and ampler resonance4 ,the under  
jaw should drop little by little as the 
voice ascends the scale1 thus opening   
the mouth slightly wider with each rise 
in the pitch of the tone4 ,in ascending 
the scale it is well to open the throat 
a little wider as you ascend4 ,the      
delivery will be much easier1 and the   
tone produced will be much better4 ,at  
the highest pitch of the voice the mouth
 should open to its full width4 ,at the 
same time care must be taken not to draw
 the corners of the mouth back1 as in   
smiling1 because this lessens the       
resonance of the tone and gives it a    
flat sound4  ,the under jaw must have   
considerable latitude of motion in      
pronunciation1 but by all means avoid   
chewing of the words and cutting off    
words by closing the jaw instead of     
finishing them by the use of the proper 
articulating organs1 which are the      
tongue and lips4   ,,the ,,soft ,,palate
  ,writers on the voice have almost     

universally claimed that the principal  
office of the soft palate is to shut off
 the nasal and head cavities from the   
throat1 and to force the column of      
vibrations out through the mouth1 thus  
allowing none1 or at most a very small  
part1 to pass into the nasal passages4  
,this contention implies that the       
vibrations are imparted to the upper    
cavities1 if at all1 through the walls  
of the palate itself1 and not through an
 opening behind the palate4 ,this is    
entirely at variance with the facts as  
verified by my own experience and       
observation and the observation of      
others who are expert specialists4 ,the 
true office of the soft palate is to    
modify the opening into the nose and    
thus attune the resonant cavities to the
 pitch and timbre of the note given by  
the vocal cords and pharynx4 ,to develop
 the vowel sounds1 the soft palate      
should be drawn forward1 allowing a free
 passage into the nose2 it should be    
closed only to form the consonants which

 require a forcible expulsion of breath 
from the mouth4  ,the uvula1 the        
pendulous tip of the soft palate1 serves
 as a valve to more accurately adjust   
the opening behind the soft palate to   
the pitch of the voice4 ,in producing a 
low tone the soft palate is relaxed and 
hangs low down and far forward4 ,as the 
voice ascends the scale the tension of  
the soft palate is increased and it is  
elevated and the uvula shortened1 thus  
decreasing the opening behind the       
palate1 but never closing it4 ,in fact  
the larger the opening that can be      
maintained1 the broader and better the  
tone4 ,the author was himself unable    
fully to appreciate this until he had   
become able to sense the position of the
 soft palate during vocalization4       
,,the ,,hard ,,palate ,,and ,,teeth     
,the hard palate and upper teeth form in
 part the walls of the mouth4 ,as they  
are solid fixtures1 nothing can be done 
in the way of training4 ,they furnish a 
point of impingement in articulation1   

and play their part in sympathetic      
resonance4  ,the bones which form the   
roof of the mouth serve also for the    
floor of the nasal cavity4  ,the under  
teeth also serve as walls of resistance 
to support the tongue during the        
performance of its functions4   ,,the   
,,nasal ,,and ,,head ,,cavities  ,the   
nasal and head cavities are resonating  
chambers incapable of special training1 
but their form1 size1 and the use made  
of them have a wonderful effect upon the
 resonance of the voice4 ,if the        
vibrations are strong here1 all other   
parts will vibrate in harmonious action4
  ,when responding to the perfectly     
focused tone the thin walls of the      
cavities and the contained air vibrate  
with surprising force1 often for the    
moment blinding the singer when sounding
 a note intensely4  ,having in my       
surgical work demonstrated the existence
 of a hitherto unrecognized connecting  
passage or canal between the air        
cavities of the face and those of the   

forehead1#b the play of resonance in the
 cavities above the nostrils is more    
easily understood4 ,the function of the 
cavities known as the frontal sinuses   
7see ,fig4 #a7 has long been a mystery1 
but now that their direct connection    
with the lower cavities is proven1 and  
the great significance of resonance is  
also beginning to be recognized1 the    
mystery disappears4 ,the same may be    
said of the other sinuses--ethmoidal1   
sphenoidal1 and maxillary1 and their    
interconnection4  ,footnote #b3 ,dr4    
,fillebrown's paper1 ,a ,study of the   
,relation of the ,frontal ,sinus to the 
,antrum1 was read before the ,american  
,dental ,association1 at ,saratoga1     
,august #e1 #ahie4 ,his investigation   
showed that the funnel-shaped passage   
known as the infundibulum extends from  
the frontal sinus directly into the     
antrum or maxillary sinus4 ,this was    
afterwards confirmed by ,dr4 ,w4,h4     
,cryer and others4   ,,influence ,,of   
,,the ,,resonance ,,cavities ,,on ,,the 

,,pitch ,,of ,,the ,,tone  ,in          
instruments changes in the length and   
form of the resonance chambers affect   
the pitch as well as the quality of the 
tone4 ,this is demonstrated in the      
trombone1 ,french horn1 and other wind  
instruments4 ,the lengthening of the    
tube of the trombone lowers the pitch of
 the tone1 and the projection of the    
hand of the performer into the bell of  
the ,french horn has the effect of      
raising the pitch of the sound4 ,if the 
variation in length or form is only     
slight1 the result is sharp or flat1 and
 the instrument is out of tune4 ,in the 
human instrument all the organs act     
together as a unit2 so the fact that the
 cavities alone may affect the pitch is 
practically of no great significance4   
,,the ,,tongue  ,the tongue and the lips
 are the articulating organs1 and the   
former has an important part to play in 
altering through its movements the shape
 of the mouth cavity4  ,the tip of the  
tongue should habitually rest against   

the under front teeth4 ,the tip of the  
tongue1 however1 must frequently touch  
the roof of the mouth near the upper    
front teeth1 as when pronouncing the    
consonants c1 d1 g or j1 l1 n1 s1 and t4
 ,the back part of the tongue must rise 
a little to close against the soft      
palate when pronouncing g hard1 and k1  
and hard c1 q1 and x4 ,the soft palate  
comes down so far to meet the tongue    
that the elevation of the latter need be
 but very slight4  ,when speaking1 the  
demand is not so imperative1 but when   
singing1 the body of the tongue should  
lie as flat as possible1 so as to       
enlarge the mouth1 especially when      
giving the vowel sounds4  ,if the tongue
 is sometimes disposed to be unruly1 it 
is the result of rigidity or misplaced  
effort in the surrounding parts4 ,this  
tendency will only be aggravated by     
artificial restraint of any kind4 ,the  
true way is to dismiss tongue           
consciousness1 let go1 and a normal     
flexibility will easily manifest itself4

   ,,the ,,lips  ,the lips1 equally with
 the tongue1 are organs of articulation4
 ,the upper lip is the principal factor 
of the two2 the under lip seems to      
follow the lead of the upper4 ,the lips 
need much training1 and it can readily  
be given them4 ,while practising to     
educate the lips1 both lips should be   
projected forward and upward1 at the    
same time pronouncing the word too4     
,bring the edge of the upper lip as high
 toward the nose as possible in         
practice4 ,this will bring the corners  
of the mouth forward and lift the lips  
clear and free from the teeth1 and thus 
add one more resonance cavity4 ,this    
position of the lips also gives freedom 
for pronunciation4 ,the upper lip plays 
the most active part in the shaping of  
the vowels4 ,it should never be drawn   
against the teeth when producing vowel  
tones2 indeed1 there should be often a  
little space between the upper lip and  
the teeth1 so that the vibrations of the
 sound-waves can have free play4   ,,the

 ,,nostrils  ,the nostrils should be    
dilated as much as possible1 as a free1 
wide1 open nose gives a free1           
well-rounded tone1 while a contracted   
nostril induces the nasal tone so much  
dreaded4 ,a proper training of the      
facial muscles makes this dilation      
possible4 ,lifting the upper lip and    
projecting it forward aids the action to
 a great degree4  ,there is a strong    
tendency to unity of action between the 
nostrils and the lips and the soft      
palate4 ,the soft palate moves downward 
and forward when the upper lip protrudes
 and the nostrils dilate1 and moves     
backward and upward when the nostrils   
are contracted and the upper lip allowed
 to rest upon the teeth4  ,as a rule the
 best singers have full1 round1 wide1   
open nostrils1 either given by nature or
 acquired by practice4   ,,the ,,face   
,not only must the lips and nose be     
trained1 but the muscles of the face    
also4 ,these muscles are capable1 if    
educated1 of doing important service4   

,the artist on the operatic stage or the
 speaker on the platform1 without facial
 expression begotten of muscular        
activity1 may lessen by half his power  
over an audience4 ,to train the facial  
muscles is a complicated task4 ,to do   
this1 stand before a mirror and make all
 the faces ever thought of by a         
schoolboy to amuse his schoolmates4     
,raise each corner of the lip1 wrinkle  
the nose1 quilt the forehead1 grin1     
laugh4 ,the grimaces will not enter into
 a performance1 but their effect upon it
 will be markedly beneficial4           
,,chapter ,,ii  ,,the ,,speaking ,,voice
 ,,and ,,pronunciation   ,a generation  
ago the speaking voice was even less    
understood than the singing voice4 ,that
 the two were intimately connected was  
but half surmised4 ,only an occasional  
person recognized what is now generally 
conceded1 that a good way to improve the
 speaking voice is to cultivate the     
singing voice4  ,in #ahhg ,i published a
 paper in the ,independent ,practitioner

 defining the singing voice and the     
speaking voice as identical1 and        
contending that the training for each   
should be the same so far as tone       
formation is involved1 a conclusion at  
which ,i had arrived several years      
before4 ,subsequent experience has only 
served to confirm this opinion4  ,the   
past has produced many good speakers1   
among them ,henry ,clay1 ,daniel        
,webster1 ,edwin ,booth1 ,wm4 ,charles  
,macready1 and ,edward ,everett4 ,of the
 last ,oliver ,wendell ,holmes wrote3   
,it is with delight that one who        
remembers ,edward ,everett in his robes 
of rhetorical splendor1 recalls his full
 blown1 high colored1 double flowered   
periods2 the rich1 resonant1 grave1     
far-reaching music of his speech1 with  
just enough of the nasal vibration to   
give the vocal sounding-board its proper
 value in the harmonies of utterance4   
,these examples of correct vocalization1
 however1 were exceptions to the general
 rule2 they happened to speak well1 but 

the physiologic action of the vocal     
organs which produced such results in   
those individual cases was not          
understood1 and hence the pupil         
ambitious to imitate them and develop   
the best of which his voice was capable 
had no rule by which to proceed4 ,few   
could speak with ease1 still fewer could
 be heard by a large assembly1 and sore 
throats seemed to be the rule4          
,,difference ,,between ,,singing ,,and  
,,speaking  ,in singing the flow of tone
 is unbroken between the words1 but in  
speaking it is interrupted4 ,in singing 
tone is sustained and changed from one  
pitch to another by definite intervals  
over a wide compass that includes notes 
not attempted in speech4 ,in speaking   
tone is unsustained1 not defined in     
pitch1 is limited to a narrow compass1  
and the length of the tones is not      
governed by the measure of music4       
,notwithstanding these differences1     
singing and speaking tones are produced 
by the vocal organs in the same way1 are

 focused precisely alike1 have the same 
resonance1 and are delivered in the same
 manner4 ,it has been said that speech  
differs from song as walking from       
dancing4 ,speech may be called the      
prose1 and song the poetry of           
vocalization4  ,during the past decade  
the knowledge of the speaking voice has 
been greatly broadened1 and the art of  
cultivating tone has made progress4 ,the
 identity of the singing and speaking   
voice is becoming more fully recognized1
 and methods are being used to develop  
the latter similar to those in use for  
the training of the former4 ,as ,dr4    
,morell ,mackenzie says3 ,singing is a  
help to good speaking1 as the greater   
includes the less4  ,the recognition of 
this truth cannot fail to be a great aid
 to the progress of singing in the      
public schools1 since every enlargement 
of exercises common to both speaking and
 singing helps to solidarity and esprit 
de corps in teaching and in learning4   
,an accurate sense of pitch1 melody1    

harmony1 and rhythm is necessary to the 
singer1 but the orator may1 by          
cultivation1 develop a speaking voice of
 musical quality without being able to  
distinguish ,old ,hundred from ,the     
,last ,rose of ,summer4                 
,,pronunciation  ,it is a matter of     
common observation that ,american       
singers1 although they may be           
painstaking in their ,french and        
,german1 are indifferent1 even to       
carelessness1 in the clear and finished 
enunciation of their native tongue4 ,mr4
 ,w4,j4 ,henderson1 in his recent work1 
,the ,art of the ,singer1 says3 ,the    
typical ,american singer cannot sing his
 own language so that an audience can   
understand him2 nine-tenths of the songs
 we hear are songs without words4       
,happily this condition is gradually    
yielding to a better one1 stimulated in 
part by the examples of visiting singers
 and actors4 ,in story-telling songs and
 in oratorio1 slovenly delivery is      
reprehensible1 but when the words of a  

song are the lyric flight of a true     
poet1 a careless utterance becomes      
intolerable4  ,beauty of tone is not    
everything2 the singing of mere sounds1 
however lovely1 is but a tickling of the
 ear4 ,the shortcoming of the ,italian  
school of singing1 as of composition1   
has been too exclusive devotion to      
sensuous beauty of tone as an end in    
itself4 ,the singer must never forget   
that his mission is to vitalize text    
with tone4 ,the songs of ,schubert1     
,schumann1 ,franz1 ,brahms1 ,grieg1     
,strauss1 and ,wolf1 as well as the     
,wagnerian drama1 are significant in    
their inseparable union of text and     
music4 ,the singer is therefore an      
interpreter1 not of music alone1 but of 
text made potent by music4              
,pronunciation1 moreover1 concerns not  
only the listener1 but the singer and   
speaker1 for pure tone and pure         
pronunciation cannot be divorced1 one   
cannot exist without the other4 ,in his 
interesting work1 ,the ,singing of the  

,future1 ,mr4 ,ffrangcon-,davies insists
 that1 the quickest way to fine tone is 
through fine pronunciation4  ,we cannot 
think except in words1 nor voice our    
thought without speech4 ,vocal utterance
 is thought articulate4 ,therefore1     
instead of prolonged attention to tone  
itself1 training should be concentrated 
upon the uttered word4 ,the student     
should aim to sing a word rather than a 
tone4 ,correct pronunciation and        
beautiful tone are so interdependent as 
to be inseparable4  ,the singer and     
speaker require all sounds in their     
purity4 ,to seek to develop the voice   
along the narrow limits of any single   
vowel or syllable1 as for instance the  
syllable ah1 is harmful4 ,not only is   
this vowel sound1 as ,lilli ,lehmann    
says1 the most difficult1 but the proper
 pronunciation of all words within the  
whole range of the voice is thereby     
impeded4 ,diction and tone work should  
therefore go hand in hand4 ,the way in  
which vowel melts into vowel and        

consonants float into their places      
largely determines the character of the 
tone itself4 ,without finished          
pronunciation speech and song of        
emotional power are impossible4 ,gounod1
 the composer1 says1 ,pronunciation     
creates eloquence4 ,mr4                 
,forbes-,robertson1 the ,english master 
of dramatic diction1 speaking for his   
own profession says3 ,the trouble with  
contemporary stage elocution springs    
from the actor's very desire to act     
well4 ,in his effort to be natural he   
mumbles his words as too many people do 
in everyday life4 ,much of this can be  
corrected by constantly bearing in mind 
the true value of vowels1 the percussive
 value of consonants1 and the importance
 of keeping up the voice until the last 
word is spoken4 ,there must be1 so to   
speak1 plenty of wind in the bellows4   
,the great thing is to have the sound   
come from the front of the mouth4444    
,the actor must learn to breathe deeply 
from the diaphragm and to take his      

breath at the proper time4 ,too often   
the last word is not held up1 and that  
is very often the important word4444    
,schools for acting are valuable1 444   
but1 after all1 the actors1 like other  
folk1 must be taught how to speak as    
children in the home1 at school1 and in 
society4  ,in pronunciation the words   
should seem to be formed by the upper   
lip and to come out through it4 ,by this
 method it will be found easy to        
pronounce distinctly4 ,the words will   
thus be formed outside the mouth and be 
readily heard1 as is a person talking in
 front of1 instead of behind1 a screen4 
,a single1 intelligent trial will be    
sufficient to show the correctness of   
the statement4 ,thinking of the upper   
lip as the fashioner of the words makes 
speaking easy and singing a delight4    
,to smile while talking gives to the    
words a flat1 silly sound1 hence the    
corners of the mouth should be kept well
 forward4   ,,the ,,singer',s ,,scale   
,,of ,,vowel ,,sounds  ,illustration3   

#a  nee #b  nit #c  net #d  nay #e  nair
 #f  nat #g  nigh #h  ,nah #g' not #f'  
naw #e' ner #d' nut #c' no #b' nook #a' 
noo4  ,it may fasten this in mind to    
remember that at one end of the vowel   
scale is--me1 at the other--you4  ,the  
teeth and lips are most closed at the   
extremes of this scale1 and gradually   
open toward ah1 with which vowel they   
are widest apart4  ,in the series #a-h  
the tongue is highest in the centre for 
ee and gradually descends until it lies 
flat in the mouth for ah4  ,the upper   
pharynx is most closed in #a1 most open 
in #h1 and closes more and more in the  
descending series #g'-a'4  ,the lower   
pharynx gradually opens in the          
descending series #g'-a'4  ,the         
researches of ,helmholtz1 ,koenig1      
,willis1 ,wheatstone1 ,appunn1 ,bell1   
and others have shown that each vowel   
sound has its own characteristic pitch4 
,the ,scale of ,vowel ,sounds given     
above corresponds closely to the order  
of resonance pitch from the highest ee  

to the lowest oo4 ,in the natural       
resonance of the vowels ee is highest in
 the head1 ah is midway in the scale1   
and oo is lowest in resonance4   ,,lip  
,,position  ,figure #b shows the best   
position of the lips to give the sound  
of ee4 ,hold the under jaw without      
stiffness and as far from the upper     
teeth as is consistent with delivery of 
the pure sound of this vowel4  ,figure  
#c shows the best position of the lips  
to produce the vowel oo4  ,figure #d    
shows the position of the lips for the  
vowel sound of long o4 ,the opening of  
the lips should be made as round as is  
the letter o4 ,when preparing the lips  
to give the sound of o1 the inclination 
is strong to drop the lower jaw2 in     
practice1 to develop action of the lips1
 the under jaw would better be held     
quite immovable4 ,it will be found      
possible to produce all of the vowel    
sounds without any change except in the 
form of the opening of the lips4 ,the   
vowel sound of i is an exception2 for as

 a compound of ah and ee1 the extremes  
of the vowel scale1 it requires two     
distinct positions for its utterance    
with a movement of transition between2  
it is not1 therefore1 a good vowel for  
initial practice4  ,illustration3       
,,figure #b4  ,illustration3 ,,figure   
#c4  ,illustration3 ,,figure #d4        
,illustration3 ,,figure #e4  ,figure #e 
shows that the sound aw is produced from
 o by raising the edge of the upper lip 
outward and upward1 and flattening the  
raised portion laterally4  ,figure #f   
shows the position for producing ah4 ,it
 differs from the position assumed for  
aw in that the opening of the lips is   
larger1 the upper lip is raised higher1 
the flat portion is wider1 and the under
 lip is a little relaxed4 ,the form of  
the opening to produce aw is oval2 the  
form for ah is more nearly square4      
,illustration3 ,,figure #f4             
,illustration3 ,,figure #g4  ,figure #g 
shows the under jaw relaxed1 as it      
should be in practice1 to enlarge the   

throat and give roundness and largeness 
to the tone4 ,the use of the word hung  
will accomplish this end4  ,the vowel   
sounds illustrated above are embodied in
 a series of vocal exercises to be found
 in ,chapter ,,viii on ,placing the     
,voice4     ,,chapter ,,iii  ,,breath   
,,control   ,it has been said that      
breathing is singing4 ,this statement is
 equally applicable to speaking4 ,while 
the aphorism is not literally true1 it  
is true that without properly controlled
 breathing the best singing or speaking 
tone cannot be produced1 for tone is but
 vocalized breath2 hence in the         
cultivation of the voice1 breathing is  
the first function to receive attention4
  ,for singer or speaker1 the correct   
use of the breathing apparatus          
determines the question of success or   
failure2 for without mastery of the     
motive power all else is unavailing4    
,for a voice user1 therefore1 the first 
requisite is a well-developed chest1 the
 second1 complete control of it4  ,it   

must not be supposed that a singer's    
breathing is something strange or       
complex1 for it is nothing more than an 
amplification of normal1 healthy        
breathing4 ,in contrast1 however1 to the
 undisciplined casual breathing of the  
general public1 the singer is a         
professional breather4   ,,the ,,muscles
 ,,of ,,respiration  ,there are two sets
 of respiratory muscles1 one for        
inspiration and another for             
expiration1--twenty-two or more in all4 
,the principal muscles of inspiration   
are the diaphragm and the intercostal   
muscles that elevate the ribs4 ,the     
chief muscles of expiration are the four
 sets of abdominal muscles and the      
intercostal muscles that depress the    
ribs4 ,the diaphragm is not a muscle of 
expiration4   ,,the ,,diaphragm  ,the   
diaphragm is in form like an inverted   
bowl 7,fig4 #h74 ,it forms the floor of 
the thorax 7chest7 and the roof of the  
abdomen4 ,it is attached by a strong    
tendon to the spinal column behind1 and 

to the walls of the thorax at its lowest
 part1 which is below the ribs4 ,in     
front its attachment is to the cartilage
 at the pit of the stomach4 ,it also    
connects with the transverse abdominal  
muscle4 ,the diaphragm being convex1 in 
inspiration the contraction of its      
fibres flattens it downward and presses 
down the organs in the abdomen1 thus    
increasing the depth of the thorax4     
,expiration depends wholly on other     
muscles4  ,illustration3 ,,figure #h4   
,the muscles so far mentioned are all   
that need conscious education2 the      
others will act with them voluntarily1  
automatically4 ,the abdominal muscles   
relax during inspiration and the        
diaphragm relaxes during expiration1    
thus rendering the forces nearly equal1 
though the strength is in favor of the  
expiratory muscles4 ,this is what is    
needed1 for the breath while speaking or
 singing must go out under much greater 
tension than is necessary for           
inhalation4 ,inspiration should be as   

free as possible from obstruction when  
singing or speaking4 ,expiration must be
 under controlled pressure4   ,,the     
,,lungs  ,the lungs are spongy bodies   
which have no activity of their own     
beyond a little elasticity4 ,they are   
controlled by the muscles of            
respiration4  ,figure #h shows the      
organs of the body in their natural     
positions4 ,the diaphragm is relaxed and
 curved upward1 as in expiration4       
,during inspiration the diaphragm is    
drawn down until it lies nearly flat4   
,,inspiration  ,the intercostal muscles 
raise the ribs4 ,the diaphragm is drawn 
down by contraction1 thus adding to the 
enlargement of the chest by increasing  
its depth4 ,the abdominal muscles relax 
and allow the stomach1 liver1 and other 
organs in the abdomen to move downward  
to make room for the depressed          
diaphragm4 ,this causes a vacuum in the 
chest4 ,the lungs expand to fill this   
vacuum and the air rushes in to fill the
 expanding lungs4   ,,expiration  ,the  

intercostal1 and a part of the          
abdominal1 muscles depress the ribs and 
lessen the chest cavity anteriorly and  
laterally4 ,the abdominal muscles       
compress the abdomen and force up the   
diaphragm which is now relaxed1 thus    
lessening the depth of the thorax4 ,this
 pressure forces the air from the lungs 
and prepares them for another           
inspiration4   ,,correct ,,method  ,that
 the lateral-abdominal--more accurately 
chest-abdominal--breathing is correct   
and natural for both male1 and female1  
and that the shoulders should remain as 
fixed as were ,demosthenes' under the   
points of the swords hung over them1 is 
now so generally admitted as to need no 
argument here4 ,if any one has still a  
doubt on the subject let him observe a  
sleeping infant4 ,it affords a perfect  
example of lateral-abdominal breathing1 
and no one can have a suspicion of sex  
from any difference in this function4   
,among the lower animals sex shows no   
difference in breathing at any age4 ,all

 the peculiarities of female breathing  
are the results of habits acquired in   
after life4  ,chest and shoulder heaving
 are vicious and evidence impeded       
breathing4 ,the singer who1 forgetting  
the lower thorax1 breathes with the     
upper only is sure to fail4 ,therefore  
breathe from the lower part of the      
trunk1 using the whole muscular system  
cordinately--from below upward4 ,in     
other words breathe deeply1 and control 
deeply1 but with the whole body--from   
below1 not with the upper chest only1 or
 with lateral expansion only1 or        
abdominal expansion only4  ,every       
teacher and pupil should remember that  
singing and speaking require wind and   
muscle1 hence the breathing power must  
be fully developed4 ,weak breathing and 
failure to properly focus the voice are 
the most frequent causes of singing off 
the key4 ,they are much more common and 
mischievous than lack of ear4  ,dr4 ,may
 tested the breathing of #he persons1   
most of them ,indians1 and found that   

#gi out of the #he used abdominal       
breathing4 ,the chest breathers were    
from classes civilized and more or less 
cultured4  ,nature has provided that for
 quiet breathing when at rest the air   
shall pass through the nose4 ,but when a
 person is taking active exercise1 and  
consequently demands more air1 he       
naturally and of necessity opens the    
mouth so as to breathe more fully4      
,while speaking or singing the air is   
necessarily taken in through the mouth4 
,,breath ,,control  ,firmness of tone   
depends upon steadiness of breath       
pressure4 ,steadiness of tone depends   
upon a control of the breath which      
allows a minimum volume of air to pass  
out under sufficient tension to produce 
vocalization4  ,the tension and flow of 
breath can be gradually lessened until  
the tone vanishes and not even a whisper
 remains4  ,power and largeness of tone 
depend first upon the right use of the  
resonant cavities1 and second upon the  
volume of breath used under proper      

control4  ,in producing high tones the  
breath is delivered in less amount than 
for the low tones1 but under greater    
tension4 ,absolute control of the breath
 is necessary to produce the best       
results of which a voice is capable4    
,full control of the breath insures     
success to a good voice2 without it the 
best voice is doomed to failure4  ,when 
muscular action is fully mastered1 and  
the proper method of breathing          
understood and established1 the muscles 
of inspiration and expiration will act  
one against the other1 so that the act  
of breathing may be suspended at any    
moment1 whether the lungs are full1 or  
partly full1 or empty4 ,this is muscular
 control of the breath4 ,correct        
breathing is health giving and strength 
giving2 it promotes nutrition1 lessens  
the amount of adipose tissue1 and       
reinforces every physical requisite     
essential to speaking and singing4   ,a 
,,cure ,,for ,,nervousness  ,it cannot  
be too widely advertised that the surest

 remedy for that torture of singers and 
speakers1 nervousness1 is the great     
tranquillizer1--quiet1 deep breathing1  
deeply controlled4 ,the breath of       
nervousness is quick1 irregular1 and    
shallow1 therefore1 take a few1 slow1   
deliberate1 deep1 and rhythmic          
inhalations of pure air through the     
nostrils1 and the panting gasp of       
agitation will vanish4 ,as a help toward
 deepening the breath and overcoming the
 spasmodic1 clavicular habit1 inhale    
quietly and slowly through the nose1 or 
slowly sip the air through the nearly   
closed lips as if you were sipping the  
inmost breath of life itself4           
,,necessity ,,of ,,breathing ,,exercises
  ,to acquire control of breathing1     
proper exercises must be intelligently  
and persistently followed4 ,in mankind1 
nature seems to have been diverted from 
her normal course so that we seldom find
 an individual who breathes correctly   
without education in the matter4 ,what  
we have said on breathing is based on   

the premise that respiration involves   
cordinate action of the body from       
collar-bone to the base of the abdomen2 
that is1 expanding and contracting the  
chest and abdomen simultaneously4 ,this 
is called lateral-abdominal breathing2  
as the chest is the thoracic cavity1    
abdomino-thoracic has been suggested as 
brief and more strictly scientific4     
,work on any other lines fails to       
develop the full power and quality of   
the voice4 ,weak breathing is a prime   
cause of throaty tones4 ,in such cases  
an effort is made to increase the tone  
by pinching the larynx4 ,but this       
compresses the vocal cords1 increases   
the resistance to the passage of the    
breath1 and brings rigidities that      
prevent proper resonance4 ,the true way 
is to increase the wind supply1 as does 
the organist4   ,,correct ,,breathing   
,,illustrated  ,the following figures   
show the outline of correct breathing4  
,the inner abdominal line shows the     
limit of expiration2 the outer line     

shows the limit of full inspiration4    
,figure #i shows the limit of full      
expiration and inspiration of the male1 
side view4  ,figure #aj shows the       
lateral expansion of the ribs in both   
expiration and inspiration1 front view  
of the male4  ,the expansion cannot be  
great at this part of the chest1 as the 
side is so short a distance from the    
backbone to which the ribs are attached4
 ,the movement of the ribs in front is  
much greater1 as ,fig4 #i shows4        
,figure #aa shows the front expansion   
and contraction in the breathing of the 
female1 side view4  ,figure #ab shows   
the lateral expansion of the chest in   
the female1 front view4  ,these diagrams
 are made from photographs1 and thus    
true to life4 ,it will be noticed that  
there is no difference in the breathing 
outline between these subjects4 ,the    
female subject1 though a good singer1   
had had no training in breathing4 ,she  
previously insisted that she used only  
the chest breathing1 and did not use the

 abdominal muscles1 but actual test     
revealed the condition to be that shown 
in ,figure #aa and convinced her that   
she was mistaken4  ,illustration3       
,,figure #i4  ,illustration3 ,,figure   
#aj4  ,illustration3 ,,figure #aa4      
,illustration3 ,,figure #ab4  ,it is not
 unlikely that many other singers who   
now think they are using only the high  
chest respiration would1 if subjected to
 the same test1 find themselves         
similarly mistaken4  ,the contraction   
incident to forced expiration is much   
more tense than the enlargement of      
forced inspiration4 ,when singing or    
speaking1 forced inspiration is not     
used4 ,experience shows that the change 
in size of the body during speaking or  
singing is usually small4 ,occasionally1
 long passages in music demand that the 
expulsive power of the breathing        
apparatus be used to its limit4         
,,economy ,,of ,,breath  ,the quantity  
of air taken in with a single           
inspiration is1 in quiet breathing1     

according to ,prof4 ,mills1#c from      
twenty to thirty cubic inches1 but this 
may be increased in the deepest         
inspiration to about one hundred cubic  
inches4 ,in forcible expiration about   
one hundred cubic inches may be         
expelled1 but even then the residual air
 that cannot be expelled is about one   
hundred cubic inches4  ,footnote #c3    
,dr4 ,wesley ,mills1 ,voice ,production1
 #aijf4  ,it is not1 however1 the       
quantity of breath inhaled that is      
significant1 it is the amount           
controlled4 ,get1 therefore1 all the    
breath necessary1 and keep it1 but      
without undue effort and without        
rigidity4  ,to test the amount of breath
 used in prolonged vocalization1 a      
person skilled in the art of breathing1 
after an ordinary inspiration1 closed   
his lips1 stopped his nostrils1 and     
began to vocalize4 ,he found that the   
mouth with distended cheeks held        
sufficient breath to continue a         
substantial tone for twenty-three       

seconds4  ,while these experiments show 
that very little amount or force of     
breath is needed to produce effective   
tones1 the impression must exist in the 
mind of the performer that there is a   
free flow of breath through the larynx2 
otherwise the tone will seem restricted 
and will be weak4 ,the forced holding   
back of the breath begets a restraint   
that has a bad effect on the singer's   
delivery4 ,while the breath must be     
controlled1 there is such a thing as an 
exaggerated breath control that makes   
free delivery of the voice impossible4  
,it is quite possible to overcrowd the  
lungs with air4 ,do not1 therefore1 make
 the mistake of always taking the       
largest possible breath4 ,reserve this  
for the climaxes1 and inhale according  
to the requirements of the phrase and   
its dynamics4 ,the constant taking of   
too much breath is a common mistake1 but
 trying to sing too long on one breath  
is another4   ,,the ,,initial ,,use ,,of
 ,,breath ,,force  ,the breath force    

when properly employed seems to be      
expended in starting the vibrations in  
the larynx2 the vibrations are then     
transmitted to the air in the resonance 
cavities1 and there the perfected tone  
sets the outer air in motion1 through   
which the tone vibrations are conveyed  
to the ear of the listener4   ,,reserve 
,,breath ,,power  ,the correctly trained
 singer or speaker will never allow the 
breath power to be exhausted4 ,some     
breath should be taken in at every      
convenient interval between the words1  
according to the punctuation1 but never 
between syllables of a word2 this is    
correct phrasing4 ,in this way the lungs
 are kept nearly full1 and breathing is 
at its best4  ,the chief cause of breath
 exhaustion is wasted breath4 ,this     
waste comes from exhaling more breath   
7more motive power7 than the tone       
requires1 and breath that does not      
become tone is wasted4 ,this fault is   
largely induced by lack of proper       
resonance adjustment4  ,the singer      

should always feel able to sing another 
note or to speak another word4 ,to sing 
or speak thirty or forty counts with one
 breath is useful practice but poor     
performance4 ,occasionally1 long runs in
 singing may compel an exception4       
,half-empty lungs lower the pitch of the
 tone1 lessen the resonance1 and weaken 
the voice1 rendering the last note of   
the song and the last word of the       
sentence inaudible4 ,the breathing must 
not be forced1 but enough air must be   
furnished to produce the proper full    
vibrations4   ,,breath ,,mastery  ,what 
then does perfect control of the breath 
mean8  #a4 ,ability to fill the lungs to
 their capacity either quickly or       
slowly4  #b4 ,ability to breathe out as 
quickly or slowly as the occasion       
demands4  #c4 ,ability to suspend       
inspiration1 with the throat open1      
whether the lungs are full or not1 and  
to resume the process at will without   
having lost any of the already inspired 
air4  #d4 ,ability to exhale under the  

same restrictions4  ,the above four     
points are common to speaking and       
singing1 but singing involves further3  
#e4 ,ability to sing and sustain the    
voice on an ordinary breath4  #f4       
,ability to quietly breathe as often as 
text and phrase permit4  #g4 ,ability to
 breathe so that the fullest inspiration
 brings no fatigue4  #h4 ,ability to so 
economize the breath that the reserve is
 never exhausted4  #i4 ,the ability to  
breathe so naturally1 so unobtrusively1 
that neither breath nor lack of breath  
is ever suggested to the listener--this 
is the very perfection of the art4      
,,chapter ,,iv  ,,breathing ,,exercises 
,enough has been said in the preceding  
chapter to make clear the necessity of  
breath control1 and to show what        
constitutes this control for the        
singer--the professional breather4  ,if 
the singer's breathing is nothing but an
 amplification of normal1 healthy       
breathing1 why dwell upon it1 why not   
let it develop of itself8               

,unfortunately1 many teachers have taken
 this attitude1 overlooking the fact    
that1 although life is dependent on     
normal1 healthy breathing1 such         
breathing is1 in civilized communities1 
not the rule but the exception1 simply  
because normal living is rare2 the      
artificiality of modern life forbids it4
 ,the high pressure under which most    
people live induces mental tension      
together with the consequent nervous and
 muscular tension4 ,we are1 without     
being conscious of it1 so habituated to 
unnatural tension that automatic        
breathing is shallow and irregular      
instead of being deep and rhythmic4     
,the task1 therefore1 is to reclaim a   
neglected birthright--natural           
breathing--to make it habitual and      
amplify it4   ,,preliminary             
,,suggestions  #a4 ,breathing exercises 
to be invigorating and purifying demand 
plenty of fresh air4  #b4 ,at first do  
not practise longer than ten minutes at 
a time1 three times a day4  #c4         

,gradually lengthen the time without    
overdoing4 ,when tired stop4  #d4 ,the  
best time is before dressing in the     
morning1 with the window open4 ,the     
worst time is directly after a meal4    
#e4 ,maintain throughout an easy1       
flexible poise4  #f4 ,breathe as deeply 
as possible without abdominal           
distention4 ,the greatest expansion     
should be felt at the lower end of the  
breast-bone4  #g4 ,breathe as broadly as
 possible1 expanding the sides without  
tension4  #h4 ,breathe as high as       
possible without shoulder movement or   
stiffness4  #i4 ,use not the high breath
 alone1 or the mid-breath1 or the low   
breath1 but use the complete breath4    
#aj4 ,breathe rhythmically by counting  
mentally4  #aa4 ,breathe thoughtfully   
rather than mechanically4  #ab4 ,do not 
crowd the lungs or lay stress on the    
mere quantity of air you can inhale4    
,the intake of breath is1 for the       
singer1 secondary to its control1       
economy1 and application in song4       

,increase of lung capacity will duly    
appear4  #ac4 ,when not singing1        
speaking or practising an exercise that 
demands it1 keep your mouth shut4       
,,attitude  ,dress the neck and body    
loosely1 so as to give the throat and   
trunk perfect freedom4 ,place the hands 
on the hips1 so as to free the chest    
from the weight of the arms4 ,stand     
erect1 evenly upon the balls of the     
feet2 the body straight1 but not        
strained4 ,raise the back of the head   
slightly without bending the neck4 ,this
 action will straighten the spine1 place
 the chest forward1 and bring the       
abdomen backward into its proper        
relation4  ,the great majority of people
 are shallow breathers1 chest breathers1
 who when told to take a deep breath do 
not know what is meant4 ,it is therefore
 necessary for them first to learn what 
a deep breath is1 and then how to take  
it4   ,exercise ,i  ,,for ,,those ,,who 
,,do ,,not ,,know ,,what ,a ,,deep      
,,breath ,,is  ,before rising in the    

morning1 remove your pillow and while   
flat on your back place one hand lightly
 on the abdomen1 the other on the lower 
ribs4 ,relax the whole body1 giving up  
your whole weight to the bed4 ,inhale   
through the nostrils slowly1 evenly1 and
 deeply1 while mentally counting one1   
two1 three1 four1 etc4 ,as you inhale1  
notice 7a7 the gradual expansion of the 
abdomen1 7b7 the side expansion of the  
lower ribs1 7c7 the rise and inflation  
of the chest1 without raising the       
shoulders4 ,hold the breath while       
mentally counting four 7four seconds71  
then suddenly let the breath go1 and    
notice the collapse of the abdomen and  
lower chest4 ,remember the inspiration  
must be slow and deep1 the expiration   
sudden and complete4 ,practise this     
preliminary exercise for not more than  
ten minutes each morning for a week4    
,the second week hold the breath six    
seconds1 instead of four1 and gradually 
increase the time1 without overdoing4   
,while1 for a novice1 the exercises may 

be taken at first in bed1 this is but a 
preliminary to their practise standing  
in easy poise as directed in the        
preceding section4   ,exercise ,,ii     
,,slow ,,inhalation ,,with ,,sudden     
,,expulsion  ,inhale as in ,i2 hold the 
breath four counts 7seconds7 or more2   
then expel the air vigorously in one    
breath through the wide open mouth4 ,the
 beginner is often helped in acquiring a
 deep breath by slowly sipping breath4  
,therefore as a variant to ,exercise    
,,ii practise3   ,exercise ,,iii        
,,sipping ,,the ,,breath1 ,,with ,,quick
 ,,exhalation  ,through the smallest    
possible opening of the lips1 while     
mentally counting1 inhale very slowly   
and steadily2 hold two to four counts1  
then expel the air all at once through  
the wide open mouth4   ,exercise ,,iv   
,,for ,,rib ,,expansion  ,to more       
completely arouse dormant muscles that  
should play an important part in        
breathing1 place the hands against the  
sides1 thumbs well back1 take1 through  

the nostrils or the slightly parted     
lips1 six short catch-breaths1 moving   
the ribs out at the side with each      
catch-breath4 ,hold the breath two      
counts1 and exhale through the mouth    
with six short expiratory puffs1 drawing
 the ribs in at the side with each puff4
   ,exercise ,v  ,,slow ,,inhalation    
,,with ,,slow ,,expiration  ,inhale as  
in ,i1 while mentally counting one1 two1
 three1 four1 etc41 until the inhalation
 seems complete4 ,hold the breath four  
or more counts2 then exhale through the 
nostrils slowly and evenly while        
mentally counting to the number reached 
in the inspiration4 ,with practice the  
number of counts will gradually         
increase4 ,do not1 however1 force the   
increase4 ,the muscles that control     
inspiration are powerful2 do not1       
therefore1 make the mistake of seeking  
to control expiration by contraction of 
the glottis4 ,practise these exercises  
with an open throat and depend on the   
breathing muscles for control of the    

outgoing air4 ,remember that singing is 
control of breath in exit4   ,exercise  
,,vi  ,,rapid ,,inspiration ,,with      
,,slow ,,expiration  ,inhale through the
 nostrils quickly1 deeply1 and          
forcefully 7one count72 hold two counts2
 exhale through the nostrils evenly1    
steadily1 and as slowly as possible     
while mentally counting one1 two1 three1
 four1 etc4 ,with practice gradually    
increase the number of counts for the   
exhalation4   ,exercise ,,vii           
,,farinelli',s ,,great ,,exercise  ,the 
,cavalier1 ,don ,carlo ,broschi1 better 
known as ,farinelli 7#agje-aghb71 the   
world's greatest singer in bravura and  
coloratura1 was a pupil of ,porpora and 
,bernacchi4 ,there was no branch of the 
art which he did not carry to the       
highest perfection1 and the successes of
 his youth did not prevent him from     
continuing his study1 or1 when his name 
was famous1 from acquiring by much      
perseverance another style and a        
superior method4 ,his breath control was

 considered so marvelous in that day of 
great singers1 it is said1 that the art 
of taking and keeping the breath so     
softly and easily that no one could     
perceive it began and died with him4 ,he
 is said to have spent several hours    
daily in practising the following       
exercise3  ,as in ,exercise ,,iii1 sip  
the breath slowly and steadily through  
the smallest possible opening of the    
lips2 hold it a few counts1 then exhale 
very slowly and steadily through the    
smallest possible opening of the lips4  
,farinelli's exercise is not for        
beginners4   ,exercise ,,viii  ,,the    
,,cleansing ,,breath  ,for ventilating  
and sweeping the lungs1 for quick       
refreshment after fatigue1 and for use  
always at the close of your exercises1  
inhale through the nostrils slowly a    
complete breath2 hold two to four       
counts1 purse the lips tightly and expel
 through them a small puff of air1 hold 
two counts1 puff one1 hold two counts1  
puff one1 and so on until the exhalation

 is complete4 ,a few trials should      
convince you that this simple exercise  
is of great value4   ,,half-,,breath    
,in both singing and speaking1 the      
sustained delivery of long phrases or   
sentences sometimes makes unusual       
demands on the breath supply4 ,it is a  
law of good singing that every phrase   
should end with the breath unexhausted4 
,when the flow of text and music forbid 
the taking of a full breath1            
half-breaths must be quietly taken at   
convenient points4 ,instead of letting  
the whole reservoir of motive power     
exhaust itself and then completely      
refill it1 we should1 by taking these   
half-breaths1 maintain a reserve4 ,a    
notable advocate of the use of the      
half-breath in singing is that past     
mistress of sustained and smooth        
delivery1 ,marcella ,sembrich4          
,,chapter ,v  ,,registers   ,the subject
 of registers has always been the bte   
noire of vocalists1 a source of         
controversy and confusion4 ,the term    

register1 as commonly used1 means a     
series of tones of a characteristic     
clang or quality1 produced by the same  
mechanism4 ,the term break is generally 
used to indicate the point at which a   
new register with sudden change appears4
  ,the advocates of registers lay stress
 either on the changes in laryngeal     
action1 or the changes in tone quality4 
,before the days of the laryngoscope1   
registers were treated simply as        
different qualities of tone1            
characterizing a certain portion of the 
voice's compass4  ,those who encourage  
the cultivation of register             
consciousness claim to do so for the    
sake of the differences in tone-color   
which they associate with the different 
registers4 ,the purpose of the following
 chapters is to show that the quality or
 color of a tone is altogether a matter 
of resonance1 and not a question of     
laryngeal action4  ,moreover1 the       
mechanism of the larynx is not voluntary
 in its action1 but automatic1 and even 

if a singer knew how the vocal cords    
should act it would not help him in the 
least to govern their action4 ,the fact 
is that the results of laryngoscopic    
study of the vocal cords have been      
disappointing and contradictory and     
investigators have failed to define what
 correct laryngeal action is4 ,there are
 those who even deny that the vocal     
cords govern the pitch of the voice4    
,in her thoughtful ,philosophy of       
,singing1 ,clara ,kathleen ,rogers1     
while upholding registers1 says that    
considered physiologically the different
 registers of the voice should be       
regarded by the singer as only so many  
modifications in the quality of tone1   
which modifications are inherent in the 
voice itself4 ,she then adds            
significantly3 ,these modifications are 
not brought about by conscious          
adjustments of the parts employed1 as   
any interference with the parts will    
produce that obstacle to quality we call
 a 'break4'  ,one of the greatest of    

modern singers1 ,mme4 ,lilli ,lehmann1  
in her interesting work1 ,how to ,sing1 
says3 ,do registers exist by nature8    
,no4 ,it may be said that they are      
created through long years of speaking  
in the vocal range that is easiest to   
the person1 or in one adopted by        
imitation4 ,she speaks of three ranges  
of the voice1 or1 rather1 three sections
 of the vocal range1 as chest1 middle1  
and head1 saying1 ,all three form       
registers when exaggerated4 ,after      
speaking of the hopeless confusion that 
results from clinging to the            
appellations of chest1 middle1 and head 
register1 confounding voice with        
register1 she concludes3  ,as long as   
the word 'register' is kept in use the  
registers will not disappear1 and yet   
the register question must be swept     
away1 to give place to another class of 
ideas1 sounder views on the part of     
teachers1 and a truer conception on the 
part of singers and pupils4  ,the trend 
of recent thought on this subject is    

further shown in ,ffrangcon-,davies'    
important work1 ,the ,singing of the    
,future1 where1 having in mind the      
useless torture to which thousands of   
students have been subjected1 he        
characterizes breaks and registers as   
paraphernalia supplied by credulity to  
charlatanism2 and adds3 ,how many a poor
 pupil has become a practical monomaniac
 on the subject of that break in my     
voice between ,d and ,d sharp6  ,my own 
studies convince me that there is but   
one register1 or1 rather1 no such thing 
as register1 save as it applies to the  
compass of the voice2 and that chest1   
middle1 head1 and all other registers   
are creations of false education4       
,training based upon the theory of many 
registers results in an artificial and  
unnatural division of the voice4   ,,the
 ,,voice ,,and ,,instruments ,,compared 
,the organ of the voice has long been   
considered the analogue of every other  
instrument except in regard to          
registers4 ,investigation indicates that

 it is analogous in this respect also4  
,compare the voice instrument with the  
pianoforte1 violin1 and organ and the   
similarity will plainly appear4 ,the    
artificial instruments undergo no change
 when making a tone of higher or lower  
pitch other than the attuning of the    
vibrator to the pitch desired4 ,all     
other parts remain the same4 ,so when   
the voice is correctly focused and      
delivered1 the only change incident to  
altered pitch is that made in the       
vibrator so as to give the proper number
 of vibrations for the pitch required4  
,if the scale is sung down1 using the   
same vowel sound for the whole scale1   
the comparison will be appreciated2 the 
pupil will not be conscious of any      
change in the vocal organ or experience 
any difficulty in descending the scale4 
,faithful advocates of the theory of    
many registers say3 ,whenever in doubt  
about the production of a tone1 sing    
down to it from some tone above it1     
never upward from a tone below1 for they

 find that singing down blends the      
registers4 ,this we believe is because  
in singing down muscular and nerve      
tension is gradually relaxed and        
consequently there is no register change
 in the voice4  ,a study of the church  
organ will1 ,i think1 make this matter  
clear4 ,the organ has many so-called    
registers1 as the vox humana1 flute1    
oboe1 etc4 ,these differ in the         
character of tone produced1 because of  
the size and shape of the different sets
 of pipes and the material1 wood or     
metal1 of which they are made4 ,but each
 similarly constructed set of pipes     
forms only one register1 and the pitch  
of the set varies from low to high      
without any abrupt change in quality4   
,all the tones are produced by the same 
methods and means1 the bellows1 the     
vibrator1 and the pipe4 ,in length and  
diameter1 the pipe is proper to the tone
 produced3 a short pipe of small        
diameter for the high tones1 and a long1
 wide pipe for the bass tones4  ,the    

short vibrations of the high tones are  
perceived by the ear as affecting the   
air only1 while the tones of the lowest 
bass pipes shake the solid foundations  
as well as the superstructure4 ,so with 
the human voice4 ,the coarser tissues   
cannot answer to the short vibrations of
 the upper tones1 because they cannot   
move so quickly1 while they can1 and do1
 respond to the vibrations of the low   
tones4 ,this may cause some difference  
in degree1 but not in kind4 ,with all   
tones focused alike1 the low tones of   
the human organ may be regarded as head 
tones plus the vibrations of the coarser
 tissues4  ,it has been said of         
registers that they are acoustic        
illusions which disappear in the        
perfectly trained voice4 ,as soon as the
 singer has learned to use his voice    
normally all these defective changes    
disappear4   ,,two ,,cases  ,the        
following incident illustrates the fact 
that registers are an artificial        
creation3 ,a young lady who had been a  

patient of the author since her         
childhood studied elocution in a        
metropolitan city1 and to improve her   
voice took vocal music lessons of a     
teacher of more than local repute4 ,he  
found no end of trouble in teaching her 
to blend the registers1 and she had     
utterly failed to acquire the art4 ,one 
summer she came back for professional   
services and told her troubles4 ,during 
the few weeks of her stay she followed  
the author's suggestions1 and was fully 
convinced of their correctness and      
efficiency4 ,upon returning to her      
lessons1 she followed1 without any      
explanations1 the method that had been  
outlined for her4 ,her success in       
blending the registers was a surprise to
 her teacher who heartily congratulated 
her upon what she had accomplished      
during the summer4  ,another case is    
that of a young lady who was under the  
author's direction as to vocal culture  
from childhood4 ,as early as four years 
of age she was taught by the use of a   

few exercises to focus the voice in the 
nose and head1 and to recognize the head
 vibrations by a light touch of the     
finger4 ,when about seven years old1 she
 took ten lessons of a teacher on the   
same lines1 and at fifteen years of age 
took another brief course4 ,in the      
meantime she had only the practice      
obtained by singing with the pupils in  
the schools she attended4 ,later1 of her
 own volition1 she sang more1 and       
carefully applied the principles she had
 been taught1 with the result that her  
voice compassed nearly two octaves1     
evenly and smoothly1 with no break or   
change of focus or quality1 or other    
intimation of register1 and she         
developed a speaking voice of more than 
ordinary quality and resonance4  ,it has
 also been my lot to aid in the         
development of the voices of many       
patients after a surgical operation for 
cleft palate4 ,success has proven the   
correctness and efficacy of the         
principles set forth in these pages4  ,a

 majority of the more than fifty authors
 whose works ,i have examined have laid 
great stress on the distinction between 
head and chest tones1 open and closed   
tones1 pure and impure tones1 have      
warned against the nasal tone1 and have 
constantly advocated a natural tone4    
,that there is no essential difference  
between a head tone and a chest tone has
 already been discussed and1 it would   
seem1 conclusively proven4 ,any tone1   
closed or open1 is pure and musical if  
properly focused and delivered1 and the 
singer is at liberty to use either upon 
any note of the scale if it will serve  
better to express the sentiment he      
wishes to convey to the hearer4 ,the    
cooing of the love song1 the cry of     
alarm for help1 and the shout of the    
military charge require very different  
qualities of voice to express the       
feelings1 yet each may be musical and   
will be so if properly delivered4       
,,chapter ,,vi  ,,resonance ,,in        
,,general   ,the intimate relationship  

existing between voice culture and the  
science of acoustics was formerly       
slightly perceived4 ,the teaching of    
singing1 as an art1 then rested         
altogether on an empirical basis1 and   
the acoustics of singing had not        
received the attention of scientists4   
,with the publication in #ahfc of       
,helmholtz's great work#d a new era     
began1 although singer and scientist yet
 continue to look upon each other with  
suspicion4 ,teachers of the voice1      
casting about for a scientific basis for
 their work1 were greatly impressed with
 ,helmholtz's revelations in regard to  
vocal resonance--the fact that tones are
 modified in quality as well as         
increased in power by the resonance of  
the air in the cavities of pharynx and  
head4  ,footnote #d3 ,die ,lehre von den
 ,tonempfindungen als physiologische    
,grundlage fr die ,theorie der ,musik4  
7,the ,sensations of ,tone as a         
,physiological ,basis for the ,theory of
 ,music47  ,writing in #ahhf1 ,edmund   

,j4 ,meyer speaks of the importance of a
 study of the influence of the different
 resonance cavities as the voice is     
colored by one or the other1 and the    
tuning each to each and each to all2    
yet1 he adds1 the subject is seldom     
heard of outside of books4  ,the basic  
importance of resonance in the use of   
the voice is still too little           
recognized1 though obvious enough in the
 construction of musical instruments4   
,with the exception of a few instruments
 of percussion1 all musical instruments 
possess three elements1--a motor1 a     
vibrator1 and a resonator4 ,the violin  
has the moving bow for a motor1 the     
strings for a vibrator1 and the hollow  
body for a resonator4 ,the ,french horn 
has the lungs of the performer for a    
motor1 the lips for a vibrator1 and the 
gradually enlarging tube1 terminating in
 the flaring bell1 for a resonator4 ,in 
the pianoforte the hammer-stroke1 the   
strings1 and the sounding-board perform 
the corresponding offices4 ,though      

improvements in other parts of the piano
 have done much to increase the volume  
of the tone1 yet in the radical change  
of form1 size1 and other physical       
qualities of the sounding-board consists
 the evolution of the modern pianoforte 
from the primitive clavichord4  ,in all 
these instruments the quality and power 
of the tone depend upon the presence of 
these three elements1--the perfection of
 their construction1 their proper       
relation as to size and position1 and   
the perfect adaptation of each part4 ,a 
split sounding-board spoils the         
pianoforte1 the indented bell destroys  
the sweet tone of the ,french horn1 and 
a cracked fiddle is the synonym for     
pandemonium itself4  ,the quality and   
power of resonance is well illustrated  
by a tuning-fork1 which1 if set in      
vibration1 can1 unaided1 scarcely be    
heard by the person holding it4 ,but if 
rested on a table1 or a plate of glass1 
or1 better still1 on the bridge of a    
violin1 its tones may be distinctly     

heard throughout a large hall4  ,the    
vibrating violin string when detached   
from the body of this instrument1       
although attuned to pitch1 gives        
absolutely no musical sound2 the lips of
 the player placed on the mouthpiece    
detached from the tube and bell of the  
brass instrument produce only a         
splutter2 and a pianoforte without a    
sounding-board is nil4 ,the air column  
in the tube of the ,french horn1 and the
 sounding-board of the pianoforte       
develop the vibrations caused by the    
lips and strings into musical tones     
pleasing to the ear4 ,the tuning-fork   
alone can scarcely be heard1 while the  
induced vibrations it sets up through   
properly adjusted resonance may be      
audible far away4  ,the vocal cords     
alone cannot make music any more than   
can the lips of the cornet player apart 
from his instrument4 ,the tone produced 
by the vibrations alone of the two very 
small vocal bands must1 in the nature of
 things1 be very feeble4                

,ninety-and-nine persons if asked the   
question1 what produces tone in the     
human-voice1 would reply1 the vibrations
 of the vocal cords1 and stop there1 as 
if that were all2 whereas the answer is 
very incomplete--not even half an       
answer4  ,a great deal of the irrational
 and injurious teaching of singing that 
prevails everywhere1 and of the         
controversy that befogs the subject1 is 
due to the widely prevalent notion that 
the little vocal cords are the principal
 cause of tone1 whereas they are in     
themselves insignificant as sound       
producers4  ,it is the vibrations of the
 air in the resonance chambers of the   
human instrument1 together with the     
induced vibrations of the instrument    
itself1 which give tone its sonority1   
its reach1 its color1 and emotional     
power4  ,that this is not an empirical  
statement but a scientific fact1 a few  
simple experiments will demonstrate4    
,tone1 in the musical sense1 is the     
result of rapid periodic vibration4 ,the

 pitch of tone depends upon the number  
of vibrations in a given period2 the    
loudness of tone depends upon the       
amplitude of the vibrations2 the quality
 of tone depends upon the form of the   
vibrations2 and the form of the         
vibrations depends upon the resonator4  
,the fact that pure white light is a    
compound of all the tints of the rainbow
 into which it may be resolved by the   
prism is well known1 but the analogous  
fact that a pure musical tone is a      
compound of tones of different rates of 
vibration1 tones of different pitch1 is 
not so much a matter of common          
knowledge1 and not so obvious4          
,analysis shows that a musical tone     
consists of a fundamental note and a    
series of overtones4#e ,the ear is quite
 capable of recognizing many of these   
overtones and may be trained to do so4  
,the most obvious can be readily        
separated from a fundamental by a simple
 experiment4  ,footnote #e3 ,for fuller 
exposition see ,tyndall on ,sound1 or   

the section devoted to ,acoustics in any
 text-book on ,physics4  ,the overtones 
arrange themselves in a definite order1 
as follows3 7#a7 the fundamental or     
prime tone2 7#b7 an overtone one octave 
above the fundamental2 7#c7 an overtone 
a fifth above ,no4 #b2 7#d7 an overtone 
a fourth above ,no4 #c 7two octaves     
above the fundamental72 7#e7 an overtone
 a major third above ,no4 #d2 7#f7 an   
overtone a minor third above ,no4 #e4   
,there are others in still higher range 
but those indicated are easily          
demonstrated on the piano4 ,for ,c they 
would be as follows3   ,music           
illustration  ,experiment ,i  ,step to  
your piano1 noiselessly press and hold  
down the key of ,no4 #b1 then strike the
 fundamental ,no4 #a1 with force and    
immediately release it4 ,as a result    
,no4 #b will sound clearly1 and if your 
ears are keen you will at the same time 
hear ,no4 #f4 ,in succession hold down  
the keys of #c1 #d1 #e1 and #f1 while   
you strike and release the fundamental  

,no4 #a4 ,if your piano is in tune you  
will probably hear ,no4 #f when holding 
the key of any other note of the series4
  ,in a musical tone of rich quality the
 overtones just indicated are present in
 their fulness1 while tone that is weak 
and thin is made so by the absence or   
weakness of the overtones4 ,i have      
stated that the quality of a tone       
depends on the form of its vibrations1  
and that the form of its vibrations is  
determined by the character of the      
resonator4 ,we can now amplify this by  
saying that while the relative presence 
or absence of overtones determines the  
clang or color of a tone1 their presence
 or absence is determined by the        
character of the resonance4  ,an        
,english writer records that he was once
 in the garden at the back of a house   
while a gentleman was singing in the    
drawing-room4 ,the tone-quality was     
good1 and the pitch so unusually high he
 hastened to learn who sang tenor high  
,c so beautifully4 ,on entering the     

room1 instead of the tenor he had       
supposed1 he found the singer was a     
baritone1 and the note sung was only    
middle ,c4 ,the fundamental tone had not
 reached him in the garden but the first
 overtone1 an octave above it1 had4     
,concrete illustrations will make the   
subject still clearer4   ,experiment    
,,ii  ,if an ordinary tuning-fork when  
vibrating is held in the hand its       
intrinsic tone is too weak to carry far4
 ,rest the handle of the vibrating fork 
on a bare table or the panel of the     
door1 and the sound is greatly          
augmented4 ,the vibrations of the fork  
have by contact induced similar         
vibrations in the wooden table or panel 
which reinforce the primary tone4       
,experiment ,,iii  ,place the handle of 
the vibrating tuning-fork on a small    
upturned empty box1 or1 better still1 in
 contact with the body of a violin1 and 
the sound will be stronger than in the  
previous experiment1 because to the     
vibrations of the wood are added the    

vibrations of the air enclosed in the   
box or the violin4 ,to the resonance of 
the wood has been added the sympathetic 
resonance of the confined air4          
,experiment ,,iv  ,hold the vibrating   
fork over the mouth of an empty         
fruit-jar and there will probably be    
little or no reinforcement2 but gently  
pour in water1 thereby shortening the   
air column within the jar1 and the sound
 of the fork will be gradually          
intensified until at a certain point it 
becomes quite loud4 ,if you pour in     
still more water the sound will         
gradually become feebler4 ,this shows   
that for every tone an air column of a  
certain size most powerfully reinforces 
that tone4   ,experiment ,v  ,as a      
sequence to the last experiment1 take   
two fruit-jars of the same size1 and1   
having learned to what point to fill    
them for the greatest resonance1 fill   
one jar 7after warming it7 to the       
required point with hot water1 the other
 with cold water1 and you will find that

 the resonance of the heated1 therefore 
expanded1 air is much less than the     
denser air of the cold jar4 ,this shows 
that the degree of density of the air   
affects its resonance4   ,experiment    
,,vi  ,to demonstrate the resonance of  
the oral cavity1 apart from the voice1  
hold a vibrating tuning-fork before the 
open mouth4 ,vary the shape and size of 
the cavity until the sound of the fork  
suddenly increases in volume1 showing   
that the right adjustment for resonance 
has been made4 ,this intensification of 
the sound is due to the vibration of the
 air in the mouth cavity1 together with 
the sympathetic vibration of the        
surrounding walls4   ,experiment ,,vii  
,as an illustration of sympathetic      
resonance without contact1 sing forcibly
 a tone that is within easy range1 and  
at the same time silently hold down the 
corresponding key of the piano4 ,on     
ceasing to sing you will hear the tone  
sounding in the piano4 ,this may be     
further illustrated by playing on the   

open string of one violin while another1
 tuned to the same pitch1 rests         
untouched near by4 ,through sympathetic 
resonance the corresponding string of   
the second violin will vibrate and sound
 its note4 ,the louder the first violin 
is played the louder will be the        
sympathetic tone of the second4  ,the   
deep pedal-tones of a church organ often
 induce sympathetic resonance that may  
be felt beneath the feet of the         
listener4 ,one writer1 a singer1 speaks 
of living in the same house with two    
deaf-mutes4 ,he lodged on the first     
floor1 they on the third4 ,one day1     
meeting at luncheon1 one of the         
deaf-mutes told the singer that he had  
begun practice earlier that morning than
 usual4 ,surprised1 the writer asked how
 he knew4 ,the deaf-mute replied that   
they always knew when he was singing    
because they felt the floor of their    
room vibrate4  ,if tone vibrations can  
be transmitted so readily throughout a  
house1 it is not difficult to understand

 how easily the vibrations of bone and  
tissue can be transmitted until the     
whole framework of the body responds in 
perceptible vibration4  ,it is said that
 ,pascal at the age of twelve wrote a   
dissertation on acoustics suggested by  
his childish discovery that when a metal
 dish was struck by a knife the         
resulting sound could be stopped by     
touching the vibrating dish with a      
finger4  ,with this in mind it is not   
difficult to understand how compression 
of the human instrument by the pressure 
of tight clothing without1 or by false  
muscular tension within1 must interfere 
with its free vibration and so rob the  
produced tone of just so much of        
perfection4  ,from these experiments we 
can understand that1 while the tones of 
the voice are initiated by or at the    
vocal cords1 the volume and character of
 the tones are dependent upon           
resonance1--the vibration of the air in 
the various resonance chambers of the   
body1 together with the sympathetic     

vibration of the walls of these chambers
 and the bony framework that supports   
them4  ,in respect to resonance1 as in  
other respects1 the human voice is far  
superior to all other instruments1 for  
their resonators are fixed and          
unchanging1 while the human resonator is
 flexible1--in ,helmholtz's words admits
 of much variety of form1 so that many  
more qualities of tone can be thus      
produced than on any instrument of      
artificial construction4  ,we are now   
prepared to realize the error of the    
common notion that loudness of tone is  
due entirely to increase of breath      
pressure on the vocal cords4 ,simple    
experiments with the tuning-fork have   
shown that while the volume of sound it 
gives forth is due in part to the       
amplitude of its vibrations1 its        
loudness is chiefly due to the character
 of the resonance provided for it4  ,the
 larger the resonance chamber the       
greater is its reinforcing capacity4    
,the largest air chamber in the body is 

the chest1 which serves not only as a   
wind-chest1 but as a resonance chamber4 
,the necessity for chest expansion1     
therefore1 is not1 as generally         
supposed1 merely for air1 but to        
increase its size as a resonance        
chamber4  ,in view of the laws of tone1 
how great is the common error of        
speaking of the larynx as if it alone   
were the vocal organ1 when the principal
 vibrations are above the vocal cords in
 the chambers of resonance6  ,since the 
musical value1 the beauty of tone1 as   
well as its volume1 comes only from     
right use of the resonator1 our         
principal business must be the acquiring
 control of the vibratory air current   
above the larynx4 ,the acquirement of   
this control involves the proper        
focusing or placing of the tone1 with   
the free uncramped use of all the vocal 
organs2 power will then take care of    
itself4     ,,chapter ,,vii  ,,head     
,,and ,,nasal ,,resonance   ,of the four
 component factors in the production of 

speech and song1 the first1 the motor1  
has been considered in ,chapter ,,iii1  
and the second1 the vibrator1 in        
,chapter ,i4  ,in one respect there is  
marked contrast between these two       
factors4 ,until right habits are so     
thoroughly formed that the singer's     
breathing is automatically controlled1  
conscious effort is necessary1 while the
 action of the vibrator1 the vocal      
cords1 is involuntary1 not subject to   
conscious control4  ,the subtle         
adjustments of the delicate mechanism of
 the larynx belong to the realm of      
reflex action--to a spontaneous activity
 that1 left unhindered1 does its part in
 perfect nicety4  ,the vocal cords must1
 in their action1 be free from the      
disturbance of uncontrolled breath      
action below them1 or the hindrance due 
to misdirected effort above them4 ,to   
direct consciousness to the vocal cords 
is to cramp them and prevent that free  
vibration and that perfect relaxation of
 the throat without which pure tone and 

true pitch are impossible4  ,as a       
surgeon ,i well know the value of       
thorough anatomical knowledge1 but from 
the singer's standpoint ,i cannot too   
strongly emphasize the unwisdom of      
directing the attention of sensitively  
organized pupils to their vocal         
mechanism by means of the laryngoscope4 
,this instrument belongs to the         
physician1 not to the singer4  ,the     
importance of the third factor1 the     
resonator1 has been considered in       
,chapter ,v1 on ,resonance1 but the     
fourth element in voice production1     
articulation1 is so cordinated to       
resonance that the significance and     
primacy of the latter are too often     
overlooked4  ,placing or focusing the   
voice ,i have found to be chiefly a     
matter of control and use of the        
resonator1 consisting of chest1 pharynx1
 mouth1 and the nasal and head cavities4
  ,a tone lacking in resonance is       
ineffective1--devoid of carrying        
power1--is diffuse and unfocused2 while 

a resonant tone1 no matter how soft     
dynamically1 has carrying power and is  
focused in its vibration4  ,now voice   
placing depends primarily on correct    
vowel placing1 which in turn depends on 
proper adjustment of the resonators1    
which again depends chiefly on the      
positions and motions of the organs of  
articulation4 ,the interdependence of   
tone quality and pronunciation is       
therefore obvious4  ,constant emphasis  
must be laid upon the fact that focusing
 a tone is a matter of resonance1 and   
that perhaps the most important element 
in this is nasal resonance4 ,in this    
country1 particularly1 teachers have1 in
 their desire to overcome the too common
 nasal twang1 mistakenly sought to shut 
out the nasal chamber from all          
participation in speech and song4       
,there are those who1 partly recognizing
 the importance of head resonance1 would
 secure it while ignoring nasal         
resonance4 ,it is impossible to secure  
head resonance in this fashion1 for it  

is only through free nasal resonance    
that the cordinate resonance in the air 
sinuses above the nasal cavity and      
connected with it can be established4   
,the fear of nasal twang and failure to 
distinguish between it and true nasal   
resonance has been the stumbling block4 
,they are very different1--one is to be 
shunned1 the other to be cultivated4    
,the first is an obvious blemish1 the   
second is an important essential of good
 singing4  ,nasal tones are caused by a 
raised or stiffened tongue1 a sagging   
soft palate1 a stiffened jaw1 or by     
other rigidities that prevent free tone 
emission and which at the same          
time--note this--prevent true nasal     
resonance4  ,as tone1 or vocalized      
breath1 issues from the larynx1 it is   
divided into two streams or currents by 
the pendent veil of the soft palate4    
,one stream flows directly into the     
mouth1 where it produces oral resonance2
 the other stream passes through the    
nasopharynx into the hollow chambers of 

the face and head1 inducing nasal and   
head resonance4  ,it is commonly        
supposed that tone passing in whole or  
in part through the nasal cavities must 
be nasal in quality2 whereas a tone of  
objectionable nasal quality can be sung 
equally well with the nostrils either   
closed or open4  ,browne and ,behnke    
state the matter thus3 ,however tight   
the closure of the soft palate may be1  
it is never sufficient to prevent the   
air in the nasal cavities being thrown  
into co-vibrations with that in the     
mouth4 ,these co-vibrations are1 in     
fact1 necessary for a certain amount of 
the brilliancy of the voice1 and if they
 are prevented by a stoppage of the     
posterior openings of the nasal         
passages1 the voice will sound dull and 
muffled4 ,this is of course due1 to an  
absence of nasal resonance1 and must on 
no account be described as nasal twang4 
,it is1 indeed1 the very opposite of it4
  ,nasal tone quality and nasal         
resonance must not be confounded4 ,a    

nasal tone is constricted1 while a tone 
with nasal resonance is free4 ,again1 a 
tone may be unmarred by the nasal       
quality1 yet if it lacks nasal resonance
 it lacks vibrancy1 carrying power4     
,nasal tones are produced1 not because  
the vibrations pass through the nasal   
passage1 but because they are obstructed
 in their passage through them4 ,a nasal
 tone is always a cramped tone1 due to  
impediment1 tension1 or muscular        
contraction1 particularly in the        
nasopharynx4  ,the congestion and       
consequent thickening of the mucous     
membrane lining the cavities of the nose
 and head1 resulting from a cold1 make  
the tone muffled and weak1 owing to the 
inability of the parts to respond to the
 vibrations and add to the tone normal  
nasal resonance4  ,the elder ,booth     
7,junius ,brutus71 about #ahch1 suffered
 from a broken nose which defaced his   
handsome visage and spoiled his splendid
 voice4 ,his disability was so great    
that afterward he seldom played4 ,that  

the cause of this impairment of ,booth's
 voice was due to the contraction and   
more or less complete obstruction of the
 nasal passages is too evident to call  
for comment4  ,many singers have sweet  
but characterless voices that lack the  
fulness1 power1 and ring they might have
 because they fail to avail themselves  
of the augmenting power of the resonance
 cavities4 ,the singer must learn to    
habitually use all of the resonance     
cavities and use them simultaneously4   
,lilli ,lehmann1 in ,how to ,sing1 says 
that1 although the nasal sound can be   
exaggerated1--which rarely happens1--it 
can be much neglected1--something that  
very often happens4 ,the context makes  
clear that what in the ,english         
translation of the great singer's book  
is called nasal sound is exactly what we
 term nasal resonance4  ,after charging 
the monotonous quality or lack of color 
in the voice of a famous opera star to  
lack of nasal resonance1 ,madame        
,lehmann speaks of the consummate art of

 ,marcella ,sembrich who in recent years
 appears to have devoted very special   
study to nasal resonance1 whereby her   
voice1 especially in the middle         
register1 has gained greatly in warmth4 
,she says further that nasal resonance  
cannot be studied enough4 ,it ought     
always to be employed4 ,how often1 she  
says1 have ,i heard young singers say1  
',i no longer have the power to respond 
to the demands made upon me1' whereas   
the trouble lies only in the            
insufficient use of the resonance of the
 head cavities4  ,from the foregoing1   
the conclusion follows that the head    
vibrations are not only an essential    
element1 but that nasal resonance is a  
most important element in imparting to  
tone its brilliance and carrying power4 
,without thought of the mechanism of how
 nasal resonance is produced1 the singer
 has control over it by direct influence
 of the will4 ,the tones1 low as well as
 high1 should seem to start in the nose 
and head1 and the vibrations of the     

perfect tone can be plainly felt upon   
any part of the nose and head4 ,without 
the head vibrations no tone can be      
perfect1 for nothing else will          
compensate for the lack of these4 ,vocal
 organs used as here described will     
suffer no fatigue from reasonable use2  
hoarseness will be to them a thing      
unknown1 and minister's sore throat an  
unheard of complaint4 ,not only is      
faulty voice production a source of     
great discomfort1 but it is the cause of
 many diseases of the chest1 throat1 and
 head4  ,the gentle practice in easy    
range of the exercises given in the     
chapter following1 will do much to      
restore a normal condition4             
,,chapter ,,viii  ,,placing ,,the       
,,voice   ,what is called placing the   
voice or tone production or focusing the
 voice is1 as already stated in the     
previous chapter1 chiefly a matter of   
resonance--of control of the resonator4 
,now vocalization is largely            
vowelization1 and vocal tones are a     

complex of sound and resonance4 ,the    
character of a vowel is given it by the 
shape of the vowel chamber2 and the     
shaping of the vowel chamber depends    
upon delicate adjustment of the movable 
parts1--jaw1 lips1 cheeks1 tongue1 veil 
of the palate1 and pharynx4 ,while this 
adjustment is made through more or less 
conscious muscular action1 the parts    
must never be forced into position2     
local effort to this end will invariably
 defeat itself4 ,the important          
consideration in all voice movements is 
a flexible1 natural action of all the   
parts1 and all the voice movements are  
so closely allied1 so sympathetically   
related1 that if one movement is        
constrained the others cannot be free4  
,it is a happy fact that the right way  
is the easiest way1 and a fundamental   
truth that right effort is the result of
 right thought4 ,from these axiomatic   
principles we deduce the very first rule
 for the singer and speaker1--,,think   
the right tone1 mentally picture it2    

then concentrate upon the picture1 not  
upon the mechanism4   ,,when ,,is ,,the 
,,vocal ,,action ,,correct8  ,there are 
two sound criterions for judging the    
correctness of vocal action1--first1 the
 ease of the action1 its naturalness1   
its flexibility4 ,as ,mills concisely   
states it3 ,he sings or speaks best who 
attains the end with the least          
expenditure of energy4 ,second1 the     
beauty of the result4 ,harsh1 unlovely  
tones are a sure indication of misplaced
 effort1 of tension somewhere1 of wrong 
action4 ,on the other hand the nearer   
the tones approach to perfection the    
closer does the organism come to correct
 action4 ,beauty of tone1 then1 is the  
truest indication of proper vocal       
action4  ,judgment as to the relative   
beauty of a tone depends on the training
 of the ear4 ,pupils should habitually  
listen to their own voices1 for between 
the hearing and feeling of the voice a  
knowledge of progress can be obtained4  
,the function of the ear in governing   

voice production is thus stated by      
,prof4 ,mills3 ,the nervous impulses    
that pass from the ear to the brain are 
the most important guides in determining
 the necessary movements4 ,mr4          
,ffrangcon-,davies maintains that1 ,the 
training of the ear is one-half of the  
training of the voice4 ,the student     
should improve every opportunity to hear
 the best singers and speakers1 for both
 consciously and unconsciously we learn 
much by imitation4 ,good examples are   
often our best teachers4  ,keeping well 
in mind the principles stated above1 we 
are now ready to begin their application
 in placing the voice--that is1 in      
setting it free--not by learning some   
strange and difficult action1 but by    
cultivating normal action4   ,,exercises
 ,,for ,,practice  ,the following       
exercises are designed for the primary  
development of a correct tone and for   
the test of the perfection of every tone
 at every stage of development4 ,they   
are based upon the assumption that all  

tones of the voice should be focused and
 delivered precisely alike4 ,their use  
should constitute a part of the daily   
practice of the singer or speaker4  ,i  
give but few exercises for each point to
 be gained4 ,intelligent teachers and   
pupils will add an infinite variety to  
suit each case1 but the exercises given 
appear to me to be the best for initial 
practice4 ,it is important that each    
exercise in its order shall be          
thoroughly mastered before taking up the
 next4 ,only in this way can rapid      
progress be made1 for it is not the     
multiplicity of exercises1 but the      
thoughtful application of principles in 
the few1 that leads to results4  ,the   
sound of hng will always place the voice
 in proper focus by developing the      
resonance of the nose and head4 ,the    
thin bones of the nose will first       
respond to the sound and after practice 
the vibrations can be felt on any part  
of the head and even more distinctly on 
the low than on the high tones4 ,to     

attain this1 repeat the sound hung times
 without number1 prolonging the ng sound
 at least four counts4 ,to insure the   
proper course of the vowel sounds       
through the nasal passages1 follow hung 
with the vowel ee1 as this vowel is more
 easily focused than any other2 then    
with oo1 oh1 aw and ah4  ,ah is by far  
the most difficult sound to focus and   
should never be used for initial        
practice4 ,much valuable time has been  
lost by the custom of using this sound  
at first4 ,it should come last4  ,the h 
is chosen to introduce the vowel sound  
because in the preparation to produce   
the sound of the letter h the epiglottis
 is wide open and the vocal cords       
entirely relaxed1 and because less      
change of the tongue is required when   
the vowel sound follows4   ,preliminary 
,exercise  ,practise this softly on any 
pitch easy for the voice4  ,music       
illustration3 ,hung-ee4 ,hung-oo4       
,hung-oh4 ,hung-aw4 ,hung-ah4 ,hung-ee  
etc4  ,begin the tone quietly on an easy

 pitch and continue it softly to the    
end4 ,later1 after these exercises are  
mastered on one pitch1 use every note   
within the easy compass of the voice4   
,leave stridency of tone to the locust4 
,it is no part of a perfect tone4 ,it   
never appeared in the voices of the most
 famous singers4 ,those who allowed     
themselves to use it passed off the     
stage early in life4 ,much better       
results will be obtained by practising  
without any accompaniment4 ,the sound of
 the piano or other instrument distracts
 the pupil1 prevents both pupil and     
teacher from hearing the voice1 and     
hinders progress4   ,,important         
,,directions  ,the manner in which      
,exercise ,i and those that follow is   
practised is of the utmost importance4  
,therefore carefully note and apply the 
following3  #a4 ,fully pronounce the    
word hung 7u as in stung7 at once1 and  
prolong the tone1 not on the vowel sound
 but on the ng sound4 ,this establishes 
the proper head and nasal resonance at  

the very beginning of the exercise4  #b4
 ,in passing from ng to ee be very      
careful not to change the initial focus 
or lose the sensation of nasal and head 
resonance4 ,do not therefore move the   
lips or the chin4 ,the only change at   
this point is the slight movement of the
 tongue required to pronounce ee1 which 
must be a pure vowel without a trace of 
the preceding g4  #c4 ,in passing from  
ee to oo1 from oo to oh1 and so on1 do  
so with the least possible movement of  
lips and chin4 ,the initial sensation of
 nasal and head resonance must not be   
lost4  #d4 ,each vowel sound must be    
distinct in enunciation and pure in     
quality4 ,avoid blurring one with the   
other4 ,give each its true              
individuality4  #e4 ,as jewels of       
different hue hung on a string1 so must 
this exercise be the stringing of vowels
 on a continuous stream of sound4       
,exercise ,i  ,,to ,,establish ,,nasal  
,,and ,,head ,,resonance  ,this is an   
exercise for focusing or placing the    

voice and developing the vibrations of  
the nasal and head cavities1 the most   
essential parts of the resonant         
apparatus4 ,if the nostrils are kept    
fully open1 no nasal twang will be      
heard4 ,the strength of the tone will   
correspond to the force of the          
vibrations of the nose and head1 which  
can be plainly felt by resting the      
finger lightly upon the side of the     
nose4 ,the vibrations may eventually be 
plainly felt on the top and back of the 
head4  ,attack1 that is1 begin the tone1
 softly and on no account force it in   
the least4 ,pronounce the full word at  
once1 prolong the ng four counts as     
indicated1 and sing the five vowel      
sounds on a continuous1 unbroken tone4  
,articulate entirely with the lips and  
without moving the under jaw4 ,in this1 
as in the following exercises1 keep the 
under jaw relaxed and open the mouth so 
as to separate the teeth as wide apart  
as is consistent with the action of the 
lips4 ,see also the illustrations of    

proper lip position given at the close  
of ,chapter ,,ii4  ,practice this       
exercise on any pitch easy for the      
voice4  ,music illustration3            
,hung-ee-oo-oh-aw-ah etc4  ,repeat this 
many times until the nose and head      
vibrations are fully recognized and     
established4 ,after mastery of this     
exercise is acquired1 any words ending  
in ng may be repeated4 ,the word noon   
sung quietly on each note of the voice  
with the final consonant prolonged will 
be found helpful4   ,,exercises ,,for   
,,speakers  ,when the placing of the    
voice is accomplished on the one tone   
7,exercise ,i71 the speaker can go on   
with practice in reading and reciting1  
allowing the voice to change its pitch  
at its will1 only being careful that all
 the tones are alike in quality4  ,a    
profitable exercise for speakers is to  
pronounce any word or syllable ending   
with ng1 as ming1 bing1 sing1 ring1     
ting1 and follow it with some familiar  
lines in a monotone1 being sure that the

 tone is the same and produces the same 
vibrations in the nose and head4  ,in   
the case of a person already a public   
speaker1 this new rgime may not         
immediately manifest itself in          
performance1 but gradually the right    
principles will assume control1 and     
speaking be done with ease and          
effectiveness4 ,continual daily practice
 of exercises should be kept up4  ,if a 
speaker has a musical ear and some      
musical knowledge1 he will derive great 
benefit by following out the practice of
 the exercises for singers4 ,in no way  
can the voice for speaking be improved  
so rapidly or decisively as by musical  
training4   ,exercise ,,ii  ,,to        
,,establish ,,head ,,and ,,nasal        
,,resonance  ,as in ,exercise ,i1 sing  
softly1 seeking purity of vowel sounds  
and quality of tone4 ,fully pronounce   
hung at once1 prolonging the ng four    
counts as indicated4 ,pass from one     
vowel to the next with the least        
possible change in the position of the  

lips and chin4 ,the stream of sound is  
to be unbroken1 the tone focus          
unchanged1 and the sensation of         
resonance in the upper chambers         
continuous4  ,music illustration3       
,hung-ee-oo-oh-aw-ah etc4  ,music       
illustration3 ,hung-ee-oo-oh-aw-ah etc4 
,exercise ,,iii  ,,upper ,,resonance    
,,continued  ,follow the directions for 
,exercise ,i4 ,sing quietly in a pitch  
that is easy for the voice1 and modulate
 up or down by half steps4  ,music      
illustration3 ,hung-ee-oo-oh-aw-ah etc4 
,exercise ,,iv  ,,upper ,,resonance     
,,continued  ,the last exercise carried 
the voice an interval of a third2 this  
carries the voice an interval of a      
fifth4 ,follow carefully the directions 
of ,exercise ,i4 ,be sure to pronounce  
hung at once1 prolonging the tone not on
 the vowel but on the ng4 ,sing softly4 
,vary the pitch to suit the voice4      
,music illustration3                    
,hung-ee-oo-oh-aw-ah etc4   ,exercise ,v
  ,,upper ,,resonance ,,continued  ,the 

last exercise carried the voice an      
interval of a fifth1 this one has a     
range of a sixth1 while ,exercise ,,vi  
has a range of an octave4 ,carefully    
follow the ,important ,directions on    
page #fj4  ,sing softly in a pitch that 
is easy for the voice4  ,music          
illustration3 ,hung-ee-oo-oh-aw-ah etc4 
,music illustration3                    
,hung-ee-oo-oh-aw-ah etc4   ,exercise   
,,vi  ,,to ,,enlarge ,,the ,,throat     
,,and ,,thus ,,magnify ,,the ,,tone     
,pronounce the word hung at once1       
opening the mouth well4 ,prolonging the 
ng sound as indicated will insure the   
proper focus4  ,sing the five vowel     
sounds throughout the scale as          
indicated4 ,at first practise only on   
scales that are in easy range4  ,music  
illustration3  #a4 ,hung-ee #b4 ,hung-oo
 #c4 ,hung-oh #d4 ,hung-aw #e4 ,hung-ah 
etc4   ,v,ia  ,music illustration3  #a4 
,hung-ee #b4 ,hung-oo #c4 ,hung-oh #d4  
,hung-aw #e4 ,hung-ah  etc4   ,exercise 
,,vii  ,,for ,,production ,,of ,,the    

,,vowel ,,sounds ,,in ,,proper ,,focus  
,produce the hung at once1 and add the  
vowel4 ,be sure that the vowel sound    
follows the same course as the ng sound 
which precedes it1 and produces the same
 sensation in the nose4  ,the vowels are
 arranged in the order chosen because ee
 is the most easily focused while ah is 
by far the most difficult to focus1 and 
hence the worst possible sound for      
initial practice4 ,think of the tone as 
being made in the nose and head4  ,let  
there be no break or stopping of the    
tone when passing from the ng sound to  
the vowel4 ,simply change the tone into 
the vowel desired by the proper change  
in the articulating organs4  ,sing the  
five vowel sounds connectedly1 being    
sure that each vowel is correctly placed
 before passing to the next4 ,the proper
 use of the lips will aid greatly in    
focusing the vowels4 ,start with the    
scale that is in comfortable range4     
,music illustration3                    
,hung-ee-oo-oh-aw-ah etc4  ,music       

illustration3 ,hung-ee-oo-oh-aw-ah etc4 
,exercise ,,viii  ,,to ,,enlarge ,,the  
,,throat ,,and ,,focus ,,the ,,vowels   
,open the mouth well and be sure that   
the vowel sounds are delivered as in the
 previous exercises2 this will insure   
largeness with proper resonance4  ,when 
practising this exercise1 be careful1 as
 with the others1 that each vowel sound 
in its order is correctly given before  
passing to the next4 ,only in this way  
can rapid progress be made4  ,the words 
bing1 sing1 ting1 fling1 swing are      
excellent to use for further practice4  
,music illustration3  #a4 ,hung-ee #b4  
,hung-oo #c4 ,hung-oh #d4 ,hung-aw #e4  
,hung-ah  etc4  ,music illustration3    
#a4 ,hung-ee #b4 ,hung-oo #c4 ,hung-oh  
#d4 ,hung-aw #e4 ,hung-ah  etc4         
,exercise ,,ix  ,,quick ,,changing      
,,notes ,,without ,,changing ,,resonance
  ,the important point in this flexible 
exercise is to keep the vowel-color1 the
 focus or resonance1 unchanged          
throughout the phrase4 ,begin quietly1  

give the ng freedom and the upper       
resonance will adjust itself4 ,this     
phrase is longer than in previous       
exercises2 be sure then that you still  
have breath at the end--breath enough to
 sing further4 ,sing quietly4 ,pitch the
 exercise to suit the voice4  ,music    
illustration3  #a4 ,hung-ee #b4 ,hung-oo
 #c4 ,hung-oh #d4 ,hung-aw #e4 ,hung-ah 
etc4   ,exercise ,x  ,,for ,,agility    
,sing each vowel sound separately before
 passing to the next4 ,be sure to start 
each vowel sound in purity and maintain 
it without change4 ,pitch the exercise  
to suit the voice4  ,music illustration3
  #a4 ,ee #b4 ,oo #c4 ,oh #d4 ,aw #e4   
,ah  etc4  ,for variants on the above   
use as initial consonants b1 p1 m1 f1 v1
 d1 k1 n1 t1 and l4   ,exercise ,,xi    
,,to ,,develop ,,the ,,use ,,of ,,the   
,,lips ,,and ,,under ,,jaw  ,when       
practising this exercise protrude the   
lips and raise them toward the nose as  
far as possible2 also make an effort to 
enlarge and widen the nostrils4 ,this   

exercise may be practised more quickly  
than the preceding1 but never at the    
expense of clearness of vowel           
distinction4 ,carry the exercise higher 
or lower1 and in different keys1 to suit
 individual voices4 ,with a slight      
initial accent sing each two-measure    
section smoothly as one phrase4 ,avoid  
accenting each separate vowel sound4 ,to
 do so would produce a series of jerks4 
,music illustration3 ,ee-oo-oh-aw-ah    
etc4  ,after practising the above as    
written modify it as follows3   #a4     
,bee-boo-boh-baw-bah4  #b4              
,pee-poo-poh-paw-pah4  #c4              
,mee-moo-moh-maw-mah4  #d4              
,fee-foo-foh-faw-fah4  #e4              
,vee-voo-voh-vaw-vah4  #f4              
,dee-doo-doh-daw-dah4  #g4              
,kee-koo-koh-kaw-kah4  #h4              
,nee-noo-noh-naw-nah4  #i4              
,tee-too-toh-taw-tah4 #aj4              
,lee-loo-loh-law-lah4   ,exercise ,,xii 
,,for ,,facility ,,and ,,quick ,,vowel  
,,change  ,be careful not to blur the   

vowel sounds2 each must be distinct and 
pure1 and the change from one to the    
next must be made with a minimum of     
effort and without disturbing the focus 
of the tone4  ,music illustration3      
,ee-oo-oh-aw-ah etc4  ,the divisions 7a 
and b7 of each of the above four        
variants may be regarded as distinct    
exercises or not4 ,for further practice 
use as initial consonants any or all of 
the following3 b1 p1 m1 f1 v1 d1 k1 n1  
t1 and l4   ,exercise ,,xiii            
,,ascending ,,and ,,descending ,,scale  
,as in the previous exercises practise  
quietly with unvarying focus and aim to 
finish the phrase with breath           
unexhausted4 ,pitch the exercise to suit
 the voice4  ,music illustration3       
,hung-ee ,hung-oo ,hung-oh ,hung-aw     
,hung-ah  etc4   ,exercise ,,xiv  ,,the 
,,long ,,scale  ,sing this scale        
exercise in medium range1 without       
blurring either the vowel sounds or the 
notes4  ,music illustration3  #a4       
,hung-ee #b4 ,hung-oo #c4 ,hung-oh #d4  

,hung-aw #e4 ,hung-ah  etc4  ,music     
illustration3  #a4 ,hung-ee #b4 ,hung-oo
 #c4 ,hung-oh #d4 ,hung-aw #e4 ,hung-ah 
etc4  ,the exercises thus far given have
 employed the five vowel sounds found   
most helpful in gaining a free          
resonance4 ,these should now be         
supplemented by the use of all the vowel
 sounds4 ,it is obvious that unless the 
singer is at home with every vowel and  
on any pitch in his vocal range perfect 
pronunciation is impossible4 ,in        
,chapter ,,ii a ,scale of ,vowel ,sounds
 is given4 ,for convenience it is       
repeated here3  ,illustration3  #a  nee 
#b  nit #c  net #d  nay #e  nair #f  nat
 #g  nigh #h  ,nah #g' not #f' naw #e'  
ner #d' nut #c' no #b' nook #a' noo4    
,having so far mastered the previous    
exercises as to establish a free head   
and nasal resonance1 take the ,scale of 
,vowel ,sounds and apply it to the now  
familiar exercises4  ,next1 as suggested
 in ,exercise ,x1 use as initial        
consonants in connection with the ,vowel

 ,scale the consonants b1 p1 m1 f1 v1 d1
 k1 n1 t and l4  ,keep before you the   
formula that articulation should seem to
 be done entirely with and through the  
upper lip2 i4e41 the thought should be  
that the words are projected through the
 upper lip4  ,when by practise of the   
exercises given the voice has been      
focused and resonance established       
without any instrument1 scale exercises 
and simple vocalises may be taken up    
with or without the piano4  ,in         
practising scales start each a semitone 
higher until the easy limit of the voice
 is reached1 and no farther4 ,gain will 
be more rapid by working to deliver the 
tones within the voice's normal compass4
 ,then when occasional effort is made   
the organs will be found ready to       
deliver the highest pitch of which the  
voice is capable4  ,when sufficient     
progress has been made in mastering the 
execution of scales and easy vocalises1 
the pupil will be ready to begin the    
study of songs4 ,if one foregoes the    

singing of songs during the few weeks   
occupied with primary lessons1 results  
are obtained much more quickly4  ,while 
practising exercises or songs the less  
the pianoforte is used1 except to       
compare the pitch1 the better4 ,such    
practice increases the confidence of the
 performer4 ,the instrument prevents the
 singer's listening to the tone he is   
producing and judging of its            
effectiveness4  ,pupils with high or    
very low voices may continue their      
practice higher or lower as the voice is
 soprano1 or bass1 or contralto1 but    
much practice on the extremes of the    
voice is unadvisable4 ,if pure tones are
 produced in the medium range of the    
voice the highest or lowest tones will  
be found ready when called for4         
,therefore practise the extremes of the 
voice only enough to know the limits of 
the voice and to be assured the tones   
are there4  ,when the singer can perform
 the preceding simple exercises and know
 that the tones are all focused1 or     

placed and delivered1 precisely alike1  
he is ready to practise any scale1 down 
or up1 and to execute any musical       
exercise or song for which he is        
intellectually fitted4     ,,chapter    
,,ix  ,,throat ,,stiffness   ,what is   
the most frequent obstacle to good      
singing1 the difficulty with which pupil
 and teacher most contend8 ,throat      
stiffness4 ,what more than anything else
 mars the singing of those we hear in   
drawing-rooms1 churches1 and the concert
 room8 ,throat stiffness4  ,this is the 
vice that prevents true intonation1 robs
 the voice of its expressiveness1 limits
 its range1 lessens its flexibility1    
diminishes its volume1 and makes true   
resonance impossible4  ,this great      
interferer not only lessens the beauty  
of any voice1 but directly affects the  
organ itself4 ,the muscles of the larynx
 are small and delicate1 and the        
adjustments they make in singing are    
exceedingly fine4 ,when1 however1 the   
voice user stiffens his throat1 these   

delicate muscles in their spontaneous   
effort to make the proper adjustments   
are compelled to contract with more than
 their normal strength4 ,every increase 
in throat stiffness demands a           
corresponding increase in muscle effort1
 an overexertion that persisted in must 
result in injury to the organ itself4   
,such misuse of the voice is bound to   
show injurious results4 ,every throat   
specialist knows this1 and an untold    
multitude of those who1 beginning with  
promise1 have had to give up singing as 
a career1 learn it too late4  ,singers  
are so accustomed to the sound of their 
own voices as to be usually quite       
unconscious of their own throat         
stiffness1 though they may recognize it 
in their neighbor4  ,unfortunately      
throat stiffness by its very nature     
tends to aggravate itself1 to constantly
 increase while the voice becomes less  
and less responsive to the singer's     
demands4  ,there are a number of        
contributing causes to throat stiffness1

 but the principal cause is throat      
consciousness and misplaced effort1 due 
largely to current misconceptions       
regarding the voice4 ,a common notion is
 that we sing with the throat1 whereas  
we sing through it4 ,akin to this error 
is the notion1 as common as it is       
fallacious1 that force of tone1 carrying
 power1 originates in the larynx1       
whereas the initial tone due to the     
vibration of the vocal cords is in      
itself comparatively feeble4 ,as shown  
at length in ,chapters ,,vi and ,,vii1  
volume of tone1 its color and carrying  
power1 is acoustically and vocally a    
matter of resonance4  ,many there are   
who sing by dint of sheer force and     
ignorance1 but their careers are        
necessarily short4 ,the too common      
vulgar striving for power rather than   
for beauty or purity of tone induces    
unnatural effort and strain that both   
directly and sympathetically affect the 
throat with stiffness4  ,unnatural      
effort in breathing1 over-effort in     

breath control1 as well as singing      
without adequate breath1 all induce     
tension that is reflected at once in the
 sensitive throat4  ,impatience of      
results1 ,american hurry1 beget         
unnatural effort and tension4 ,unclasp  
the fingers of a rigid civilization from
 off your throat4 ,the student of the   
violin or the piano soon learns that    
only by a long and patient preparation  
can he fit himself to entertain even his
 admiring friends4 ,the embryo singer1  
on the contrary1 expects with far less  
expenditure of time and effort to appear
 in public4  ,the human voice is a      
direct expression of the man himself2 it
 registers spontaneously his mental and 
emotional states1 even when he would    
wish them hidden4 ,mental conditions    
tinged with impatience1 with fear1 or   
with anything that begets tension of any
 sort are reflected instantly in the    
voice1 robbing it of its better         
qualities and inducing stiffness in the 
throat4  ,reduced to its lowest terms   

voice culture to-day is a struggle with 
throat stiffness4  ,the causes indicate 
the remedy4 ,foremost1 then1 is dropping
 all throat consciousness1 all thought  
of the throat1 all drawing of attention 
to it4 ,the larynx must be left         
uncramped1 unhindered to do its work in 
free unconsciousness1 which it will do  
if not disturbed by tension in its      
neighborhood1 or by misdirected thought4
  ,the stream of consciousness must in  
singing be directed to the breathing    
which is below the throat1 and to       
resonance and pronunciation which are   
above it4 ,these functions are more or  
less consciously controlled until at    
last mastery makes their action         
automatic4  ,i would once more emphasize
 the fact that the free use of all the  
resonance chambers1 and the recognition 
of the great function of resonance1 will
 do more than anything else to set the  
voice free and emancipate the singer    
from all interfering rigidity4          
,,chapter ,x  ,,some ,,general          

,,considerations   ,,the ,,natural      
,,voice  ,pupils are constantly urged to
 sing and speak naturally1 because the  
natural tone is correct4 ,this is       
exceedingly indefinite4 ,it is natural  
for a child to imitate the first sound  
it hears1 whether it be correct or      
incorrect4 ,in either case the child    
imitates it1 and for that child it      
becomes the natural tone4 ,the child    
reared in the wilderness1 beyond the    
hearing of a human voice1 will imitate  
the notes of the whip-poor-will1 the    
chatter of the monkey1 and the hoot of  
the owl1 and for him they are natural   
tones4  ,to be natural is the hardest   
lesson to learn and it is only the      
result of imitation or prolonged        
discipline4 ,untrained naturalness is   
the perfection of awkwardness4 ,the     
involuntary functions of organic life   
are the only ones naturally performed   
correctly4 ,nature's method of          
breathing1 circulation1 and digestion   
can be depended upon until disarranged  

by subsequent conditions1 but unless    
proper vocalization is established by   
imitation and discipline this function  
is sure to be corrupted by false        
examples4   ,,age ,,to ,,begin  ,after  
the child begins to talk1 the sooner his
 vocal education begins the better4     
,even at that early age he can be made  
to understand the merits of head        
vibrations and by simple exercises      
produce them1 and once taught will never
 forget them4 ,vocalizing1 like every   
other art1 is most easily learned by    
imitation1 and the advantage of the     
early years1 when that faculty is most  
active1 should not be lost4 ,in olden   
times the importance of this was fully  
realized4 ,more than three centuries    
ago1 old ,roger ,ascham wrote3 ,all     
languages1 both learned and mother      
tongues1 are begotten and gotten solely 
by imitation4 ,for as ye used to hear so
 ye learn to speak4 ,if ye hear no      
other1 ye speak not yourself2 and of    
whom ye only hear1 of them ye only      

learn4 ,nineteen centuries ago          
,quintillian wrote3 ,before all let the 
nurses speak properly4 ,the boy will    
hear them first and will try to shape   
his words by imitating them4  ,if the   
right way of using the voice is early   
taught it will be a guard against the   
contraction of bad habits which can only
 be corrected later with infinite       
trouble4 ,it certainly would be unwise  
to put a young child under continued    
training2 but even in the kindergarten  
the right method of voice production can
 and should be taught4 ,teachers of     
kindergarten and primary schools should 
be familiar with the principles of voice
 training and be able to start the      
pupils at once on the right road4   ,,in
 ,,public ,,schools  ,the sooner this   
branch of education is made a part of   
the curriculum of our common schools1   
the sooner shall we produce a race of   
good speakers and singers4  ,if1 during 
the pupil's school life1 proper         
attention is paid to these primary      

principles and to correct articulation1 
a large majority of students will       
graduate from our common schools        
prepared to advance in the art of       
elocution or of singing without being   
obliged first to unlearn a vast amount  
of error and to correct a long list of  
bad habits4  ,if each day in the public 
schools a few minutes only are devoted  
to the subject by a teacher who         
understands it and who will call the    
attention of the pupils to the proper   
applications of the principles in their 
daily recitations1 it will be found     
amply sufficient to develop and         
establish a good speaking and singing   
voice4   ,,artistry  ,if artistry is to 
be attained1 every organ must be        
individually well trained4 ,yet1 during 
performance1 no one part should be given
 undue prominence4 ,the voice should be 
the product of all the organs equally   
well developed4 ,continued practice will
 enable the performer to correlate the  
whole--blend the strength of all in one4

  ,it goes without saying that no one in
 singing or speaking should appear to be
 governed by a method4 ,during the early
 stages of education1 pupils should be  
amenable to rules and methods1 but they 
must not expect to be acceptable        
performers until able to forget their   
lessons and simply and unconsciously    
make use of all the advantages of their 
training4 ,even when the education is   
finished1 and the prima donna has made  
her successful debut1 continued daily   
repetition of primary exercises is      
necessary to maintain excellence and    
insure the progress that every performer
 desires4 ,our best singers to-day are  
as diligent students of the technique of
 the voice as are the tyros struggling  
with the first elements4   ,,life',s    
,,periods  ,human life is divided into  
three periods3 first1 that of effort to 
get an education2 second1 of effort to  
maintain it2 and third1 of effort to    
resist the natural decline which comes  
with advancing years4 ,the singer and   

speaker must drill to develop the voice1
 must drill to keep it in condition1 and
 must drill to resist the encroachments 
of senility4 ,eternal vigilance is the  
price of vocal success4   ,,application 
,,of ,,essentials  ,the application of  
the principles here discussed will show 
that a musical voice is not the product 
of mysterious systems1 but a matter of  
scientific certainty4 ,the essentials   
are good breathing1 good focusing1 good 
resonance1 and good articulation4 ,these
 four elements are so interdependent    
that one cannot be perfected without the
 other4 ,with these attained1 the       
intellect1 the sentiment1 and the       
emotion of the performer will culminate 
in artistic excellence4   ,,repose ,,as 
,a ,,preparation ,,for ,,vocal          
,,exercise  ,the nervousness or fear    
which manifests itself in constraint and
 rigidity of the muscles and sometimes  
in stage fright is a serious hindrance  
to progress4 ,the effectual offset to   
this painful condition is repose4  ,the 

art of inducing a condition of repose   
can be readily acquired by any one who  
will carefully and faithfully do as     
follows3 ,place yourself in an easy     
lying or lounging position in a quiet   
place1 with fresh air4 ,physical repose 
prepares for and invites mental repose4 
,now allow the mind to work care free at
 its own sweet will without any attempt 
to control it4 ,close the eyes and      
breathe slowly1 gently1 and deeply1 with
 steady rhythm4 ,in two or three minutes
 a sensation of quiet restful repose    
will be experienced1 which may be       
continued for several minutes or may    
even lead to a natural sound sleep4     
,this result may not be attained at the 
first or the second trial1 but a few    
repetitions of the exercise will insure 
success in almost every case4 ,after the
 art is attained in this formal way1    
ability to induce the same repose when  
sitting upright1 or while standing1 will
 be quickly developed4  ,this repose is 
the fitting preparation for a lesson or 

a performance and may be induced during 
the progress of either1 to allay any    
trepidation incident to the situation4  
,a mastery of this simple art will make 
progress in the work of voice           
development much more rapid1 and make   
attainable a degree of discipline that  
is impossible without it4 ,it will prove
 for the beginner a sure prevention of  
stage fright and a great relief to the  
most chronic sufferer from this malady4 
,,the ,,vibrato  ,the vibrato is a      
rhythmic pulsation of the voice4 ,it    
often appears in untrained voices2 in   
others it appears during the process of 
cultivation4 ,some have thought it the  
perfection of sympathetic quality2      
others esteem it a fault4  ,the vibrato 
is caused by an undulating variation of 
pitch or power1 often both4 ,the voice  
does not hold steadily and strictly to  
the pitch1 and according to the amount  
of the variation a corresponding        
vibrato1 or tremolo1 is produced4  ,the 
action of stringed instruments          

illustrates this statement4 ,the finger 
of the violinist vibrates on the string 
by rocking rapidly back and forth and   
the vibrato is the result4  ,the same is
 true of the human instrument4 ,by      
variation of the tension1 the vocal     
apparatus sends forth several tones in  
alternation1 of a slightly different    
pitch1 which together produce the       
effect4  ,three sources are ascribed for
 the vibrato2 one is a rapid1 spasmodic 
vibration of the diaphragm1 causing     
variation of breath pressure2 another is
 the alternate tension and relaxation of
 the larynx and vocal cords2 a third is 
that commonest of faults--throat        
stiffness4 ,either cause is possible1   
and variation in the pitch or intensity 
of the tone is the result4 ,sufficient  
investigations have not been made to    
make the matter certain1 but tremolo1   
trembling of the vocal organs1 and      
muscular stiffness1 or unnatural        
tension1 seem to go together4  ,it is   
quite possible in the early stages of   

culture so to train the voice as to use 
the vibrato or not at will1 but if not  
early controlled this1 like other bad   
habits1 gains the mastery4 ,excessive   
vibrato has spoiled many good voices4   
,it is not a fundamental quality of the 
voice4 ,a little vibrato may            
occasionally be desirable when properly 
and skilfully used2 more than this is to
 be shunned as a dangerous vice4        
,,chapter ,,xi  ,,the ,,psychology ,,of 
,,vocal ,,culture   ,mental conception  
precedes execution4 ,the picture must   
exist in the artist's mind before it can
 be drawn on the canvas4 ,the architect 
must mentally see the majestic cathedral
 in all its details before he can draw  
the plans from which it can be built4   
,in the field of physical activity no   
movement is made until the mind has gone
 before and prepared the way4 ,a        
person's ability to do is in a great    
degree measured by his determination to 
do1 but sitting in a rocking-chair and  
thinking will never make an athlete4    

,mental action is necessary1 but only   
through trained muscular action can the 
mental action materialize in a finished 
performance4  ,so too the mind must     
anticipate the action of the vocal      
organs1 but the organs themselves must  
be led to interpret the mental concept  
until such action becomes spontaneous4  
,action in turn quickens the mental     
process1 and the mental picture becomes 
more vivid4  ,note with emphasis that   
the mental concept precedes the action  
and governs it4 ,therefore1 instead of  
producing tone by local effort1 by      
conscious muscular action of any sort1  
correctly think the tone1 correctly     
shape and color it mentally4 ,every     
vocal tone is a mental concept made     
audible4 ,the beginner and the confirmed
 bungler alike fail in this prime       
essential--they do not make this mental 
picture of tone before singing it4      
,kindred to this is deficiency in       
hearing1 in discriminating between good 
tone color and poor4 ,the student must  

constantly compare his tone as it is    
sung with the picture in his mind4      
,training the voice is therefore largely
 a training of mind and ear1 a          
developing of nicety in discrimination4 
,singing is mental rather than physical1
 psychologic rather than physiologic4   
,think therefore of the effect desired  
rather than of the process4  ,in        
considering the details of voice        
production analytically we are apt to   
forget that man1 notwithstanding his    
complexity1 is a unit and acts as a     
unit4 ,back of all and underlying man's 
varied activity is the psychical4 ,in   
the advanced stages of the art of speech
 and song this psychical element is of  
pre-eminent importance4  ,the speaker   
who essays to give expression to his own
 thoughts must have his ideas sharply   
defined and aflame in order to so utter 
them that they will arouse his hearers  
to enthusiasm4 ,the speaker or singer   
who would successfully interpret the    
thoughts of others must first make those

 thoughts his very own4 ,when this is   
attained1 then the voice1 action1 and   
the whole spirit of the performer1      
responding to the theme1 will beget a   
like responsiveness in his audience4    
,,the ,,singer ,,behind ,,the ,,voice   
,books upon books have been written on  
voice training1 and will continue to be 
written4 ,the preceding pages have been 
devoted to the fundamental subject of   
tone production1 but it is time to      
suggest that back of the voice and the  
song is the singer himself with his     
complex personality4 ,back of the       
personality is the soul itself1 forever 
seeking utterance through its mask of   
personality4 ,all genuine impulse to    
sing is from the soul in its need for   
expression4 ,through expression comes   
growth in soul consciousness and desire 
for greater and greater self-expression4
  ,singing is far more than wind and    
muscle1 for1 as ,ffrangcon-,davies puts 
it1 ,the whole spiritual system1 spirit1
 mind1 sense1 soul1 together with the   

whole muscular system from feet to head1
 will be in the wise man's singing1 and 
the whole man will be in the tone4  ,of 
all the expressions of the human spirit 
in art form1 the sublimated speech we   
call song is the most direct4 ,every    
other art requires some material medium 
for its transmission1 and in music1     
subtlest of all the arts1 instruments   
are needed1 except in singing only4     
,,freedom  ,in song the singer himself  
is the instrument of free and direct    
expression4 ,freedom of expression1     
complete utterance1 is prevented only by
 the singer himself4 ,no one hinders    
him1 no one stands in the way but       
himself4 ,the business of the teacher is
 to set free that which is latent4 ,his 
high calling is by wise guidance to help
 the singer to get out of his own way1  
to cease standing in front of himself4  
,technical training is not all in all4  
,simple recognition of the existence of 
our powers is needed even more4 ,freedom
 comes through the recognition and      

appropriation of inherent power2        
recognition comes first1 the            
appropriation then follows simply4 ,the 
novice does not know his natural power1 
his birthright1 and must be helped to   
find it1 chiefly1 however1 by helping   
himself1 by cognizing and re-cognizing  
it4  ,no student of the most human of   
all arts--singing--need give up if he   
has burning within him the song impulse1
 the hunger to sing4 ,this inner impulse
 is by its strength an evidence of the  
power to sing2 the very hunger is a     
promise and a prophecy4   ,,deterrents  
,the deterrents to beautiful singing are
 physical in appearance1 but these are  
outer signs of mental or emotional      
disturbance4 ,normal poise1 which is    
strength1 smilingly expresses itself in 
curves1 in tones of beauty4  ,mental    
discord results in angularity1 rigidity1
 harshness4  ,impatience produces       
feverishness that makes vocal poise     
impossible2 and impatience induces the  
modern vice of forcing the tone4 ,growth

 is a factor for which hurried forcing  
methods make no allowance4  ,excess of  
emotion with its loss of balance affects
 the breathing and play of the voice4   
,exertion1 trying effort1 instead of    
easy1 happy activity induces hampering  
rigidities4  ,intensity1                
over-concentration1 or rather false     
concentration1 emotional tension1       
involves strain1 and strain is always   
wrong4  ,over-conscientiousness1 with   
its fussiness about petty detail1 and   
insistence on non-essentials1 is a      
deterrent from which the robust are     
free4 ,over-attention to the mechanics  
of voice production is a kindred        
deterrent4 ,both deterrents prevent that
 prime characteristic of                
expression--spontaneity4  ,anxiety is a 
great contractor of muscle1 a great     
stiffener4 ,anxiety always forgets the  
power within1 and falsely says to the   
song-hunger1 ,you shall never be        
satisfied4  ,self-repression is a great 
deterrent that afflicts the more        

sensitive1 particularly those of        
puritanic inheritance4 ,it is a         
devitalizer and a direct negative to    
expression1 which is vital1 is life4    
,all of these deterrents are negative   
and may be overcome by fuller           
recognition of the inner power that by  
its very nature must perpetually seek   
positive expression4   ,,conclusion  ,in
 conclusion1 the student can perpetually
 find encouragement in a number of happy
 facts4  ,man is endowed by nature1     
except in rare instances1 with a perfect
 vocal apparatus4 ,when abnormal        
conditions are found they are usually in
 the adult voice1 and are due solely to 
misuse4 ,in other words defects are not 
inherent but acquired and can be        
removed4  ,by nature the human voice is 
beautiful1 for the tendency of nature is
 always in the direction of beauty4     
,whatever is unlovely in singing1 as in 
all else1 is unnatural4 ,true method is 
therefore never artificial in its       
action1 but simple1 because the natural 

is always simple4  ,finally1 no1 not    
finally1 but firstly and secondly and   
thirdly and perpetually1 every student  
of singing and every teacher of it must 
constantly bear in mind the happy law3  
,,the ,,right ,,way ,,is ,,always ,,an  
,,easy ,,way     ,,books ,,consulted    
,,title                                 
,,author                   ,,published  
,an ,essay on the ,history and ,theory  
of ,music1 and of the ,qualities and    
,capacity of the ,human ,voice          
,isaac ,nathan             ,london1     
#ahbc4  ,elements of ,vocal ,science    
,richard ,mackenzie ,bacon  ,london1    
#ahbd4  ,orthophony2 or the ,cultivation
 of the ,voice in ,elocution            
,william ,russell          ,boston1     
#ahei4  ,vocal ,physiology              
,charles ,alex4 ,guilmette  ,new ,york1 
#ahfj4  ,die ,lehre von den             
,tonempfindungen als physiologische     
,grundlage fr die theorie der ,musik    
,h4,l4,f4 ,helmholtz         ,brunswick1
 #ahfc4  ,the ,sensations of ,tone as a 

,physiological ,basis for the ,theory of
 ,music             ,h4,l4,f4 ,helmholtz
  7,translation of above7               
7,translated by ,a4,j4                  
,ellis7                   ,london1      
#ahge4  ,sound                          
,john ,tyndall             ,london1     
#ahfg4  ,principles of ,elocution and   
,voice ,culture                   ,benj4
 ,w4 ,atwell          ,providence1      
#ahfh4  ,the ,voice1 ,its ,artistic     
,production1 ,development and           
,preservation                ,george ,j4
 ,lee            ,london1 #ahgj4  ,the  
,cultivation of the ,speaking ,voice    
,john ,pyke ,hullah         ,oxford1    
#ahgj4  ,voice ,building                
,horace ,r4 ,streeter       ,boston1    
#ahga4  ,principles of ,elocution and   
,voice ,culture                         
,benjamin ,atwell          ,boston1     
#ahgb4  ,hints for ,pronunciation in    
,singing                                
,georgiana ,weldon         ,london1     
#ahgb4  ,the ,voice in ,singing         

,emma ,seiler                           
,philadelphia1 #ahgb  ,the ,voice as an 
,instrument      ,ange ,a4 ,pattou      
,new ,york1 #ahgh4  ,the ,vocal ,process
               ,john ,howard            
,new ,york1 #ahgh4  ,speech in ,song    
,alexander ,j4 ,ellis       ,london1    
#ahgh4  ,voice and ,vocalization        
,wm4 ,p4 ,robert            ,london1    
#ahgi4  ,the ,human ,voice and          
,connected ,parts                       
,joseph ,montgomery ,farrar ,london1    
#ahha4  ,the ,mechanism of the ,human   
,voice                     ,emil ,behnke
              ,london1 #ahhb4           
,gymnastics of the ,voice         ,oskar
 ,guttmann           ,albany1 #ahhb4    
,the ,art of ,voice ,production with    
,special ,reference to the ,methods of  
,correct ,breathing               ,ange 
,a4 ,pattou           ,new ,york1 #ahhb4
  ,the ,old ,italian ,school of ,singing
                         ,leo ,kofler   
,albany1 #ahhb4  ,the ,secrets of the   
,voice in ,singing                      

,emilio ,belari            ,new ,york1  
#ahhc4  ,deep ,breathing                
,sophia ,a4 ,ciccolina      ,new ,york1 
#ahhc4  ,artistic ,voice in ,speech and 
,song                        ,charles   
,lunn             ,london1 #ahhd4       
,voice1 ,song and ,speech               
,lennox ,browne and ,emil               
,behnke                   ,london1      
#ahhd4  ,modern ,singing ,methods1      
,their ,use and ,abuse             ,john
 ,franklin ,botume     ,boston1 #ahhe4  
,the ,diaphragm and ,its ,functions     
,j4,m4,w4 ,kitchen           ,albany1   
#ahhe4  ,the ,voice from a ,practical   
,standpoint                      ,edmund
 ,j4 ,meyer          ,new ,york1 #ahhf4 
,the ,hygiene of the ,vocal ,organs     
,morrell ,mackenzie1 ,m4,d4  ,london1   
#ahhf4  ,how to ,sing                   
,wm4 ,henry ,daniell        ,new ,york1 
#ahhg4  ,the ,art of ,breathing as the  
,basis for ,tone ,production   ,leo     
,kofler               ,new ,york1 #ahhg4
  ,the ,voice4 ,how to ,train ,it       

,edward ,barrett ,warman    ,boston1    
#ahij4  ,scientific ,voice4 ,artistic   
,singing and ,effective ,singing        
,thomas ,chater            ,london1     
#ahij4  ,voice ,figures                 
,mrs4 ,margaret ,watts                  
,hughes                   ,london1      
#ahia4  ,the ,human ,voice2 ,its        
,cultivation                     ,w4,h4 
,griffiths           ,london1 #ahib4    
,the ,philosophy of ,singing            
,clara ,kathleen ,rogers    ,new ,york1 
#ahic4  ,the ,what and ,how of ,vocal   
,culture                   ,f4 ,rowena  
,medini         ,new ,york1 #ahic4      
,exercises in ,vocal ,technique    ,john
 ,franklin ,botume     ,boston1 #ahid4  
,text-,book on the ,natural ,use of the 
,voice                ,george ,e4 ,thorp
 and                                    
,william ,nicholl          ,london1     
#ahie4  ,respiration for ,advanced      
,singers                         ,john  
,franklin ,botume     ,boston1 #ahig4   
,voice ,building and ,tone ,placing     

,henry ,holbrook ,curtis1               
,m4,d4                     ,new ,york1  
#ahif4  ,twenty ,lessons on the         
,development of the ,voice              
,george ,e4 ,thorp          ,london1    
#ahif4  ,voxometric ,revelation 7,the   
,problem ,surrounding the ,production of
 the ,human ,voice ,finally ,discovered7
                     ,alfred ,augustus  
,north    ,london1 #ahif4  ,the ,art of 
,singing              ,wm4 ,shakespeare 
,london and                             
,boston1 #ahih4  ,the ,rightly-,produced
 ,voice                                 
,edward ,davidson ,palmer   ,london1    
#ahih4  ,how to ,train ,children's      
,voices                          ,t4    
,maskell ,hardy         ,london1 #ahii4 
,how to ,sing 7,meine ,gesangskunst7    
,lilli ,lehmann            ,new ,york1  
#aijb4  ,scientific ,tone ,production   
,mary ,ingles ,james        ,boston1    
#aijc4  ,english ,diction for ,singers  
and ,speakers                    ,louis 
,arthur ,russell     ,boston1 #aije4    

,the ,training of ,boys' ,voices        
,clarke ,ellsworth ,johnson ,boston1    
#aijf4  ,voice ,production in ,singing  
and ,speaking                    ,wesley
 ,mills1 ,m4,d4       ,philadelphia1    
#aijf4  ,the ,art of the ,singer        
,w4,j4 ,henderson           ,new ,york1 
#aijf4  ,the ,commonplaces of ,vocal    
,art                       ,louis       
,arthur ,russell     ,boston1 #aijg4    
,the ,singing of the ,future            
,david ,ffrangcon-,davies   ,london1    
#aijh4  ,the ,art of ,singing and ,vocal
 ,declamation               ,sir        
,charles ,santley      ,london1 #aijh4  
,,index   ,,abdominal ,,breathing1      
employed by ,martel1 #d1 #bf2   lateral1
 #c4   7,see also ,chest-abdominal      
breathing and    ,lateral abdominal     
breathing47  ,,acoustics1 #dc2          
experiments in1 #df-dh2   ,pascal on1   
#di4  ,,actor1 enunciation of the1 #ai2 
importance of deep breathing for1 #ai4  
,,adam',s ,,apple1 the male larynx1 #i4 
,,age to begin study of voice1 #gg4     

,,ah-sound1 narrow limits of1 #ah2   how
 produced1 #bb2   ,lilli ,lehmann on1   
#ai2   place of1 in practice1 #eg4      
,,air ,,cavities 7see ,sinuses74        
,,anxiety1 a deterrent to beautiful     
singing1 #he4  ,,application ,,of       
,,essentials1 #gi4  ,,appunn1 on pitch  
of vowel sounds1 #bj4  ,,articulation1  
differing opinions concerning1 #c2      
relation of1 to resonance1 #ea2         
through upper lip1 #gb4   7,see also    
,pronunciation47  ,,articulator1 #f4    
,,artistry1 #gi4  ,,ascham1 ,,roger1 on 
voice culture through imitation1 #gg4   
,,aw-sound1 lip position for1 #bb2   in 
exercises1 #ei1 etc4   ,,beauty ,,of    
,,tone1 a criterion of correct vocal    
action1 #ef4  ,,bell1 on pitch of vowel 
sounds1 #bj4  ,,booth1 ,,edwin1 as a    
good speaker1 #af4  ,,booth1 ,,junius   
,,brutus1 impairment of his voice1 #ec4 
,,breath ,,control1 #bc-cb2   importance
 of1 in both speaking and singing1 #bc2 
muscles of respiration in1 #bc2   the   
diaphragm in1 #bc2   muscles in1 #bd2   

the lungs in1 #be2   inspiration1 #be2  
expiration1 #be2   correct method of1   
#be2   a cure for nervousness1 #bg2     
necessity of exercises1 #bg2   economy a
 factor in1 #cj2   exaggerated1 #cj2    
initial use of1 #ca2   exercises for1   
#cc-cg2   of ,farinelli1 #cg4  ,,breath 
,,force1 initial use of1 #ca2   reserve1
 #ca2   wasted1 #ca4  ,,breath          
,,mastery1 meaning of1 #cb4             
,,breathing1 art of1 #c2   an           
amplification of the daily habit1 #e2   
defined as singing1 #bc2   correct1 #be1
 #bh2   not differing in sex1 #bf2      
vicious habits of1 #bf2   controlling   
deeply1 #bf2   tests of1 #bf2   nose    
versus mouth1 #bf2   regularity of1 #bf2
   in obtaining power and largeness of  
tone1 #bg2   for high tones1 #bg2       
relation of1 to nervousness1 #bg2       
rhythmic1 #bg2   necessity of exercises1
 #bg2   illustrations of1 #bh1 #bi2     
exercises in1 #cc-cg2   economy in1 #cj2
   tests in1 by ,professor ,mills1 #cj2 
exaggerated control of1 #cj2            

exhaustion1 #ca2   initial force in1    
#ca2   reserve power in1 #ca2   mastery 
of1 #cb4   7,see also ,abdominal        
breathing47  ,,broschi1 ,,don ,,carlo1  
breath control of1 #cf4  ,,browne1 ,,dr4
 ,,lennox1 on the laryngoscope1 #c4     
,,browne and ,,behnke1 on nasal         
resonance1 #ec4   ,,chest1 expansion of 
and resonance1 #di4  ,,chest-,,abdominal
 ,,breathing1 #be2   illustrated in     
sleeping child1 #be2   tests in1 #bf2   
illustrated1 #bh1 #bi4  ,,chest ,,tones1
 former emphasis given to1 #b2   wrongly
 termed1 #e4  ,,clay1 ,,henry1 as a good
 speaker1 #af4  ,,closed ,,tones1 former
 emphasis given to1 #b2   wrongly       
termed1 #e4  ,,cryer1 ,,dr4 ,w4,h41 on  
the frontal sinus1 #ab4  ,,culture ,,of 
,,the ,,voice 7see ,voice culture74     
,,deep ,,breathing1 importance of1 for  
the actor1 #ai4   7,see also            
,breathing47  ,,deterrents ,,to         
,,beautiful ,,singing1 #hd1 #he4        
,,diaphragm1 in breathing1 #ai2   not a 
muscle of expiration1 #bc2   described1 

#bc1 #bd2   in inspiration1 #bd2   in   
expiration1 #bd2   illustrated1 #bd1    
#bi4  ,,difference ,,between ,,singing  
,,and ,,speaking1 #ag4   ,,ear1 function
 of1 in tone production1 #eg2   training
 of1 #eg4  ,,ee-sound1 lip position for1
 #bj2   in exercises1 #eg1 #ei1 etc4    
,,effort1 ,,tense1 a deterrent to       
beautiful singing1 #hd4  ,,emotion1     
effect on tone quality1 #g2   excess of1
 a deterrent to beautiful singing1 #hd4 
,,empiricists1 where they have failed1  
#d4  ,,epiglottis1 #aj4  ,,essentials1  
application of1 #gi4  ,,ethmoid ,,bone1 
#h4  ,,ethmoidal ,,sinuses1 illustrated1
 #g2   function of1 #ab4  ,,everett1    
,,edward1 as a good speaker1 #af4       
,,exercises1 ,,breathing3   necessity   
of1 #bg1 #cc2   preliminary suggestions1
 #cc1 #cd2   attitude in taking1 #cd2   
,i1 to show what a deep breath is1 #cd2 
,,ii1 slow inhalation with sudden       
expulsion1 #ce2   ,,iii1 sipping the    
breath1 with quick exhalation1 #ce2     
,,iv1 for rib expansion1 #ce2   ,v1 slow

 inhalation with slow expiration1 #cf2  
,,vi1 rapid inspiration with slow       
expiration1 #cf2   ,,vii1 ,farinelli's  
great exercise1 #cf2   ,,viii1 the      
cleansing breath1 #cg2   half breath1   
#cg4  ,,exercises1 ,,vocal3   ,i1 to    
establish nasal and head resonance1     
#eh-fa2   for speakers1 #fj1 #fa2       
,,ii1 to establish head and nasal       
resonance1 #fa2   ,,iii1 ,,iv1 ,v1 upper
 resonance1 #fb-fd2   ,,vi1 to enlarge  
the throat and thus magnify the tone1   
#fd2   ,,vii1 for production of the     
vowel sounds in proper focus1 #fe2      
,,viii1 to enlarge the throat and focus 
the vowels1 #ff2   ,,ix1 quick changing 
notes without changing resonance1 #fg2  
,x1 for agility1 #fg1 #fh2   ,,xi1 to   
develop the use of the lips and under   
jaw1 #fh1 #fi2   ,,xii1 for facility and
 quick vowel change1 #fi1 #gj2   ,,xiii1
 ascending and descending scale1 #ga2   
,,xiv1 the long scale1 #ga2             
additional1 #gb1 #gc2   repose as a     
preparation for1 #hj4  ,,expiration1    

muscles of1 #bc1 #bd2   under controlled
 pressure1 #bd2   described1 #be2   the 
lungs in1 #be2   illustrated1 #bh1 #bi4 
,,face1 training muscles of1 #ae4       
,,farinelli1 breath control of1 #cf4    
,,ffrangcon-,,davies1 on pronunciation1 
#ah2   on registers1 #ci2   on function 
of ear in voice training1 #eg2          
definition of singing of1 #hc4          
,,focusing ,,the ,,voice 7see ,voice    
placing74  ,,forbes-,,robertson1 on     
diction1 #ai4  ,,formes1 ,,carl1 voice  
of1 in declining years1 #d4  ,,freedom  
,,in ,,singing1 #hd4  ,,frontal         
,,sinuses1 function of1 #ab2            
illustration of1 #g4   ,,garcia1        
,,manuel1 inventor of laryngoscope1 #b2 
use of laryngoscope1 #b2   ,sir ,charles
 ,stanley on1 #c4  ,,gounod1 on         
pronunciation1 #ai4   ,,half-,,breath1  
,sembrich and1 #cg4  ,,hard ,,palate1   
function of1 #ab4  ,,harshness1 an      
indication of tension1 #ef4  ,,head     
,,cavities1 a resonator for the voice1  
#f2   effect of1 on resonance1 #ab4     

,,head ,,tones1 in previous years1 #b2  
wrongly termed1 #e4  ,,helmholtz1 on    
pitch of vowel sounds1 #bj2   on        
acoustics1 #dc1 #di4  ,,henderson1      
,w4,j41 on pronunciation1 #ah4  ,,high  
,,tones1 breath control necessary for1  
#bg4  ,,holmes1 ,,oliver ,,wendell1 on  
,edward ,everett's voice1 #af4  ,,hyoid 
,,bone1 #h1 #aj4   ,i-sound1 described1 
#ba4  ,,impatience1 a deterrent to      
beautiful singing1 #hd4  ,,inspiration1 
muscles of1 #bc1 #bd2   process of1     
described1 #be2   illustrated1 #bh1 #bi4
   7,see also ,breath control and       
,breathing47  ,,instrument1 ,,musical1  
elements of1 #dc1 #dd4  ,,intensity1    
,,involving ,,strain1 a deterrent to    
beautiful singing1 #hd4   ,,kindergarten
 ,,teachers1 instruction by1 #gh4       
,,koenig1 on pitch of vowel sounds1 #bj4
   ,,laryngoscope1 and registers1 #b2   
,garcia the inventor of1 #b2            
usefulness of1 #b2   limitations of1 #c2
   disappointing results of1 #ch2   not 
an instrument for the singer1 #ea4      

,,larynx1 moving1 #c2   viewed through  
the laryngoscope1 #c2   illustrated1 #g2
   description of1 #h1 #i2   relation of
 size of1 to pitch1 #i2   automatic     
action of1 #ch2   not alone the vocal   
organ1 #ej2   reflex action of1 #ea2    
force of tone does not originate in1    
#ge2   must be left uncramped1 #ge4     
,,lateral ,,abdominal ,,breathing1 #c1  
#be1 #bh4  ,,lehmann1 ,,madame ,,lilli1 
on use of ,ah1 #ai2   on registers1 #ci2
   on nasal resonance1 #ed4  ,,life',s  
,,periods1 #gi4  ,,lind1 ,,jenny1       
effects of wrong methods on1 #d4        
,,lips1 in articulation1 #ad2   position
 of1 #bj-bb2   illustrated1 #ba1 #bb4   
,,lungs1 a motor for the voice1 #f2     
illustrated1 #bd2   described1 #be2     
overcrowding1 #ca4   ,,mackenzie1 ,,dr4 
,,morell1 on the laryngoscope1 #c2   on 
singing and speaking1 #ag4  ,,macready1 
,,wm4 ,,charles1 as a good speaker1 #af4
  ,,martel1 voice of1 at seventy1 #d4   
,,maxillary ,,sinuses1 #g1 #h1 #ab4     
,,may1 ,,dr41 breathing tests made by1  

#bf4  ,,mckinley1 ,m4,s41 on ,garcia and
 the laryngoscope1 #b4  ,,mental        
,,discord1 a deterrent to beautiful     
singing1 #hd4  ,,meyer1 ,,edmund ,j41 on
 resonance1 #dc4  ,,mills1 ,,dr4        
,,wesley1 on breath measure1 #cj2   on  
ease of vocal action1 #ef2   on the     
function of the ear in tone production1 
#eg4  ,,motor ,,of ,,the ,,vocal        
,,instrument1 #f4  ,,mouth1 theory of   
its function1 #a2   a resonator for the 
voice1 #f4  ,,muscles ,,of              
,,respiration1 #bc4  ,,music ,,teachers1
 scientific1 #d2   empirical1 #d4       
,,nasal ,,cavities1 as reinforcing      
agents in tone production1 #b2   a      
resonator for the voice1 #f2            
illustrated1 #g2   formation of1 #h2    
vibrations in1 #h2   effect on          
resonance1 #ab2   ,edward ,everett's use
 of1 #af2   as a resonator1 #eb1 #ec2   
obstruction of1 in ,booth1 #ec4  ,,nasal
 ,,resonance1 erroneous theories        
concerning1 #a1 #b2   ,madame           
,rudersdorff recognized effect of1 #b2  

involved in head resonance1 #eb2        
versus nasal tone quality1 #ec2   ,lilli
 ,lehmann on1 #ed2   ,sembrich's study  
of1 #ed2   importance of1 #ed4          
,,natural ,,voice1 what is meant by1    
#gg4  ,,nervousness1 a cure for1 #bg1   
#hj4  ,,nostrils1 relation of1 to tone  
quality1 #ad4   ,o-sound1 lip position  
for1 #bj2   illustrated1 #ba2   in      
exercises1 #ei1 etc4  ,,oo-sound1 lip   
position for1 #bj1 #ba2   in exercises1 
#ei1 etc4  ,,open ,,tones1 #b1 #e4      
,,oral ,,surgery1 #b4  ,,oratorio1      
faulty diction in1 #ah4                 
,,over-,,conscientiousness1 a deterrent 
to beautiful singing1 #hd4  ,,overtones1
 #de1 #df4   ,,personality1 effect on   
the voice1 #hc4  ,,pharynx1 function of1
 #aj4  ,,phillips1 ,,adelaide1 voice of1
 in declining years1 #d4  ,,pitch ,,of  
,,tone1 influence of resonance cavities 
on1 #ab1 #ac4  ,,placing ,,the ,,voice  
7see ,tone production74  ,,power ,,of   
,,tone1 dependent on resonant cavities  
and breath control1 #bg4  ,,principles  

,,advocated1 #e4  ,,pronunciation1      
indifference of ,american singers to1   
#ag2   ,w4,j4 ,henderson on1 #ah2       
change of attitude toward1 #ah2         
importance of1 to singer1 #ah2          
relation of1 to tone1 #ah2              
,ffrangcon-,davies on1 #ah2   sing words
 rather than tones1 #ah2   ,lilli       
,lehmann on1 #ai2   emotional power     
impossible without1 #ai2   ,gounod on1  
#ai2   ,forbes-,robertson on1 #ai2      
upper lip in1 #ai2   effect of smile on1
 #ai4  ,,psychology ,,of ,,vocal        
,,culture1 #hb-he4  ,,pterygoid         
,,muscles1 and the under jaw1 #aj4      
,,public ,,schools1 voice training in1  
#gh4   ,,reeves1 ,,sims1 voice of1 #d4  
,,registers1 #ch-db2   blending the1 #b1
 #da2   not a natural feature of the    
voice1 #b2   fallacy of theory of1 #b2  
a myth1 #e2   the bte noire of          
vocalists1 #ch2   defined1 #ch2   ,clara
 ,kathleen ,rogers on1 #ch2   ,lilli    
,lehmann on1 #ci2   ,ffrangcon-,davies  
on1 #ci2   of the organ1 #dj2   of voice

 and instruments compared1 #dj1 #da2    
an artificial creation1 #da1 #db4       
,,repose1 ,,as ,a ,,preparation ,,for   
,,vocal ,,exercises1 #hj2   how to      
induce1 #hj4  ,,resonance1 differing    
opinions concerning1 #c2   principle of1
 #e2   nasal and head cavities in1 #ab2 
influence of resonance cavities on      
pitch1 #ab2   pitch of vowels in1 #bj2  
and power1 #bg2   and breath force1 #ca2
   in general1 #dc-ej2   development of 
science of1 #dc2   quality and power of1
 #dd2   significance of1 #de2           
experiments to demonstrate1 #df-ej2     
induced1 #dg2   sympathetic1 #dg1 #dh2  
density of air and1 #dg2   volume and   
character of tones dependent on1 #di2   
head and nasal1 #ea-ee2   relation of   
articulation to1 #ea2   focusing tone a 
matter of1 #eb2   effect of its absence1
 #ed2   exercises to establish1 #eh-gb4 
,,resonator ,,of ,,the ,,voice1 #f4     
,,respiration 7see ,breath control and  
,breathing74  ,,respiratory ,,muscles1 a
 motor for the voice1 #f2   described1  

#bc1 #bh2   action of1 #be2             
illustrated1 #bd1 #bi4  ,,rogers1       
,,clara ,,kathleen1 on registers1 #ch4  
,,rudersdorff1 ,,madame1 and nasal      
resonance1 #b4   ,,santley1 ,,sir       
,,charles1 on ,garcia and the           
laryngoscope1 #c4  ,,scale ,,of ,,vowel 
,,sounds1 #bj1 #gb4                     
,,self-,,repression1 a deterrent to     
beautiful singing1 #hd4  ,,sembrich1    
,,marcella1 and the half-breath1 #cg2   
use of nasal resonance1 #ed4  ,,singing1
 subtlety of1 #d2   obstacles to1 #e1   
#gd1 #hd2   versus speaking1 #e1 #ag2   
mission of singer1 #ah2   defined as    
breathing1 #bc2   age to begin1 #gg2    
in public schools1 #gh2   by method1    
#gi2   vibrato in1 #hj2   psychology of1
 #hb-he2   sublimated speech1 #hc2      
defined by ,ffrangcon-,davies1 #hc2     
freedom in1 #hd2   deterrents to1 #hd4  
,,sinuses1 illustrated1 #g2   pairs of1 
#h2   function of1 #ab4  ,,smile1       
,,effect ,,of1 on pronunciation1 #ai4   
,,soft ,,palate1 office of1 #aa1 #eb4   

,,speaking1 obstacles to1 #e2   tones   
of1 identical with singing tones1 #e2   
difference from singing1 #ag2           
expression in1 #hc4  ,,speaking ,,voice1
 misunderstood1 #af2   connection with  
singing voice1 #af2   how cultivated1   
#af2   identity with singing voice1 #ag2
   and pronunciation1 #ah1 #ai4         
,,sphenoid ,,bone1 #h4  ,,sphenoidal    
,,sinuses1 illustrated1 #g2   pairs of1 
#h2   function of1 #ab4  ,,stage        
,,elocution1 criticism of               
,forbes-,robertson on1 #ai4   ,,teeth1  
function of1 in use of voice1 #ab4      
,,throat1 theory of sound in1 #a2   a   
resonator1 #f2   illustrated1 #g2       
relation to voice1 #h4   7,see ,larynx  
and ,pharynx47  ,,throat ,,stiffness1   
most frequent obstacle to good singing1 
#gd2   effect on larynx1 #gd2           
difficulty in recognizing one's own1    
#gd2   throat consciousness a common    
cause of1 #gd2   induced by lack of     
breath mastery1 #ge2   ,american hurry  
begets1 #ge2   voice culture a struggle 

with1 #ge2   remedies for1 #ge1 #gf4    
,,timbre ,,of ,,voice1 defined and      
explained1 #g1 #h4  ,,tone1 defined1    
#de2   analyzed #de2   experiments to   
determine composition and resonance of1 
#df-ej2   focusing of1 #eb2   vocal1 a  
mental concept1 #hb2   whole man in1    
#hc4  ,,tone ,,production1 largely a    
matter of resonance1 #ef2   effect of   
right thought on1 #ef2   judged by      
naturalness and beauty of result1 #ef2  
function of the ear in governing1 #eg2  
cultivating normal1 #eg2   exercises to 
aid in1 #eh-gc2   effect of throat      
stiffness on1 #gd2   natural1 #gg2   age
 to begin study of1 #gg4  ,,tone        
,,quality1 variety in1 #f2   effect of  
emotion upon1 #g1 #ge1 #hd2   relation  
of pronunciation to1 #ah2   how to      
secure purity of1 #ah1 #ai2             
experiments to determine1 #df-ej2   and 
resonance1 #e1 #dd1 #de1 #di1 #ej2      
cause of nasal1 #eb-ed2   beauty or     
harshness of1 a criterion of judgment1  
#ef1 #eg2   effect of throat stiffness  

on1 #gd-gf2   dependent on mind and ear1
 #hb2   related to personality of       
singer1 #hc2   natural and unnatural1   
#he4  ,,tongue1 as an articulator1 #f2  
illustrated1 #g2   connection with      
larynx1 #i2   position of1 in speaking  
and singing1 #ac2   tongue              
consciousness1 #ad4   ,,under ,,jaw1    
#aj2   in ascending the scale1 #aj4     
,,upper ,,lip1 in pronunciation1 #ai2   
in practising1 #fh2   in articulation1  
#gb4  ,,uvula1 office of1 #aa4          
,,ventricle ,,in ,,the ,,larynx1 #h4    
,,vibrato1 #hj1 #ha4  ,,vibrator1 of the
 voice1 #f2   of instruments1 #dc4      
,,vitalizing ,,text ,,with ,,tone1 the  
singer's mission1 #ah4  ,,vocal ,,cords1
 vibrator for the voice1 #f2   in the   
larynx1 #h2   described1 #i2   not the  
principal cause of tone1 #dd1 #de1 #di2 
necessity of free action of1 #ea4       
,,vocal ,,instrument1 discussion of1    
#f-ae2   beauty and complexity of1 #f2  
three elements of1 #f1 #g2              
illustrated1 #g2   relation of parts of1

 #h2   larynx1 #h1 #i2   vocal cords1   
#i2   epiglottis1 #aj2   pharynx1 #aj2  
under jaw1 #aj2   soft palate1 #aa2     
hard palate and teeth1 #ab2   nasal and 
head cavities1 #ab2   tongue1 #ac2      
lips1 #ad2   nostrils1 #ad2   face1 #ae2
   defects in1 #he4  ,,vocal ,,tone1 an 
audible mental concept1 #hb4  ,,voice   
,,culture1 opinions concerning1 #b2     
wrong methods of a generation ago1 #c1  
#d2   cannot be developed mechanically1 
#d2   principles advocated1 #e2   the   
right way the easy way1 #e2   resonance 
an important factor of1 #e1 #dc1 #de1   
#ej1 #eb1 #ed2   should begin in        
childhood1 #gg2   learned by imitation1 
#gg2   ,roger ,ascham on1 #gg1 #gh2   in
 public schools1 #gh2   artistry in1    
#gh1 #gi2   three periods of1 #gi2      
application of essentials of1 #gi2      
repose as a preparation for1 #hj2   the 
vibrato in1 #hj2   psychology of1       
#hb-he2   personality in1 #hc2   freedom
 in1 #hd2   deterrents in1 #hd1 #he4    
,,voice ,,placing1 #ea1 #eb1 #ef-gc4    

,,voice ,,timbre1 defined1 #g1 #h4      
,,vowel ,,sounds1 #aa1 #ah1 #ai2        
singer's scale of1 #bj1 #gb2   each has 
its own pitch1 #bj2   lip position for1 
#bj-bb2   placing of1 #eb2   exercises  
for practice1 #eh-gc4   ,,webster1      
,,daniel1 as a good speaker1 #af4       
,,wheatstone1 on pitch of vowel sounds1 
#bj4  ,,willis1 on pitch of vowel       
sounds1 #bj4     ,,the ,,music          
,,students ,,library   ,illustration3   
,,the ,,music ,,students ,,library  ,a  
series of ,educational ,text-books      
suited to the requirements of the       
average student and covering every      
essential branch of musical instruction4
  ,note3--,unless otherwise specified1  
books are bound in cloth4  ,,piano      
,burrowes' ,piano ,primer4 ,frederic    
,field ,bullard1 ,editor4 ,an enlarged  
edition with pronouncing dictionary4    
,paper                 #ge ,a  ,ears1   
,brain and ,fingers4 ,howard ,wells4    
#a #be ,a  ,half ,hour ,lessons in      
,music4 ,mrs4 ,hermann ,kotzschmar4     

,class work for beginners4 ,practical   
for teachers and mothers4 ,illus4       
#a #be ,a  ,interpretation of ,piano    
music4 ,mary ,venable4 ,studies in the  
meaning of printed signs used in music1 
and their bearing on the interpretation 
of standard works4                      
#b #jj ,a  ,natural ,laws in ,piano     
,technic4 ,mary ,wood ,chase4 ,presents 
the essential laws of a sound piano     
technic4                                
#a #ej ,a  ,piano ,teaching3 ,its       
,principles and ,problems4 ,clarence ,g4
 ,hamilton1 ,a4,m4 ,a practical book1   
written by a practical man to meet      
practical needs4                        
#a #ej ,a  ,,organ  ,primer of ,organ   
,registration4 ,gordon ,balch ,nevin4   
,numerous illustrations and a           
,dictionary of ,organ ,stops4           
#a #ej ,a  ,,violin  ,how to ,master the
 ,violin4 ,pavel ,l4 ,bytovetzski4 ,a   
practical guide for students and        
teachers4                    #a #be ,a  
,how to ,study ,kreutzer4 ,benjamin     

,cutter4 ,what every violin teacher     
discusses and illustrates in the lesson 
room4                                   
#a #be ,a  ,,voice  ,,abc of ,music4    
,auguste ,mathieu ,panseron4 7,ed4 by   
,n4,c4 ,page47 ,a standard primer of    
vocalization4                  #a #ej ,a
    do4                                 
,paper                 #ij ,a           
,commonplaces of ,vocal ,art4 ,louis    
,arthur ,russell4 ,the plain truths of  
vocal art presented in simple           
untechnical language4                   
#a #be ,a  ,english ,diction for        
,singers and ,speakers4 ,louis ,arthur  
,russell4 ,for all who pretend to       
refined or artistic use of the ,english 
language4                        #a #be 
,a  ,french ,diction for ,singers and   
,speakers4 ,william ,harkness ,arnold4  
,the elements of ,french pronunciation  
are reduced to a few fundamental        
principles1 readily mastered4           
#a #be ,a  ,head ,voice and ,other      
,problems4 ,d4,a4 ,clippinger4          

#a #be ,a  ,,practical ,,talks ,,on     
,,singing  ,resonance in ,singing and   
,speaking4 ,thomas ,fillebrown1 ,m4,d4  
,an exposition of fundamentals1 with    
breathing and vocal exercises and       
illustrations4           #a #ej ,a      
,training of ,boys' ,voices4 ,claude    
,ellsworth ,johnson4 ,a practical guide 
to the correct placing of boys' voices4 
#a #be ,a  ,twelve ,lessons in the      
,fundamentals of ,voice ,production4    
,arthur ,l4 ,manchester4 ,presents      
clearly the fundamentals illustrated by 
exercises4              #a #be ,a  ,,ear
 ,,training1 ,,harmony ,,and            
,,counterpoint  ,ear ,training for      
,teacher and ,pupil4 ,c4,a4 ,alchin4    
,designed to teach the pupil to think in
 tones1 and so to sing1 name1 write1 and
 play what he hears4                    
#a #ej ,a  ,intervals1 ,chords1 and ,ear
 ,training4 ,jean ,parkman ,brown4      
,exercises and examples in rudimentary  
harmony and ear training for use in     
conjunction with piano study4           

#a #be ,a  ,harmony4 ,sir ,john         
,stainer1 ,mus4 ,doc4 ,new edition of a 
standard text-book which presents the   
principles of harmony with conciseness  
and lucidity4                           
#a #ej ,a    do4                        
,paper                 #ij ,a  ,harmony 
,simplified4 ,francis ,l4 ,york4 ,a     
practical text-book presenting in a     
concise manner the fundamental          
principles of harmony1 with             
non-essentials omitted4                 
#a #ej ,a  ,manual of ,harmony4 ,ernst  
,friedrich ,richter4 ,trans4 by         
,j4,c4,d4 ,parker4 ,a practical guide to
 the study of harmony4                  
#b #jj ,a  ,harmonic ,analysis4         
,benjamin ,cutter4 ,teaches one to      
analyze the harmonic structure of both  
classic and modern music4               
#a #ej ,a  ,counterpoint4 ,sir ,j4      
,frederick ,bridge4 ,this book has      
freshness and plainness combined with   
thoroughness1 and must commend itself to
 young students and teachers4           

#a #be ,a    do4                        
,paper                 #ij ,a           
,counterpoint ,simplified4 ,francis ,l4 
,york4 ,a concise text-book of formal   
counterpoint4 7,sequel to author's      
,harmony ,simplified74                  
#a #ej ,a  ,guide to ,musical           
,composition4 ,h4 ,wohlfahrt4 ,tr4 by   
,j4,s4 ,dwight4 ,on the invention of    
melodies1 their transformation1         
development and suitable accompaniment4 
#a #be ,a  ,,form1 ,,instrumentation    
,,and ,,acoustics  ,instrumentation4    
,ebenezer ,prout1 ,mus4 ,doc4 ,a        
valuable guide and assistant to students
 who wish to gain a knowledge of the    
proper blending of orchestral           
instruments1 their compass1             
capabilities1 etc4                      
#a #ej ,a    do4                        
,paper                 #ij ,a  ,lessons 
in ,music ,form4 ,percy ,goetschius1    
,mus4 ,doc4 ,a manual of analysis of all
 the structural factors and designs     
employed in musical composition4        

#a #ej ,a  ,musical ,forms4 ,ernest     
,pauer4 ,the students of musical form1  
and especially those who study          
composition1 will find this a very      
valuable and thorough work4             
#a #ge ,a    do4                        
,paper                 #ij ,a  ,sound   
and ,its ,relation to ,music4 ,clarence 
,g4 ,hamilton1 ,a4,m4 ,a handbook of    
acoustics as relating to music4 ,based  
on the latest discoveries and           
experiments4                            
#a #ej ,a  ,,conducting1 ,,history1     
,,music ,,appreciation ,,and            
,,definitions  ,essentials in           
,conducting4 ,karl ,w4 ,gehrkens1 ,a4,m4
 ,on personal requirements1 technic of  
the baton1 interpretation1 rehearsing1  
program making1 etc4                #a  
#ge ,a  ,outlines of ,music ,history4   
,clarence ,g4 ,hamilton1 ,a4,m4 ,a      
compact1 clearcut work for class use and
 the general reader4 ,fully illustrated4
                              #b #be ,a 
,music ,appreciation4 ,clarence ,g4     

,hamilton1 ,a4,m4 ,based on methods of  
literary criticism1 this unique         
text-book is for those who wish to      
listen to music with quickened hearing  
and real understanding4 ,with #bd       
portraits1 #bh diagrams and over #bjj   
music cuts4                             
#b #ej ,a  ,music ,club ,programs ,from 
all ,nations4 ,arthur ,elson4 ,outlines 
the various schools from all nations    
with a rich series of programs and over 
one hundred portraits4                  
#b #jj ,a  ,some ,essentials in ,musical
 ,definitions4 ,m4,f4 ,mac,connell4     
,covers the needed information on all   
points connected with musical theory1   
and therefore of special value to piano1
 singing1 violin1 and organ students4   
#a #be ,a     ,illustration  ,,the      
,,musicians ,,library   ,this notable   
series has been planned to embrace all  
the masterpieces of song and piano      
literature2 to gather into superbly made
 volumes of uniform size and binding the
 best work of the best composers1 edited

 by men of authority4 ,each volume is   
independent1 complete in itself1 and    
sold by itself4  ,paper1 ,cloth ,back1  
per ,volume  #b #ej ,a ,cloth1 ,gilt1   
per ,volume4          #c #ej ,a  ,,piano
 ,,volumes  ,bach ,piano ,album  ,vol4  
,i4 ,shorter ,compositions4 ,edited by  
,dr4 ,ebenezer ,prout4  ,bach ,piano    
,album  ,vol4 ,,ii4 ,larger             
,compositions4 ,edited by ,dr4 ,ebenezer
 ,prout4  ,beethoven ,piano             
,compositions  ,vols4 ,i and ,,ii4      
,edited by ,eugen ,d',albert4  ,brahms1 
,johannes  ,selected ,piano             
,compositions4 ,edited by ,rafael       
,joseffy4  ,chopin1 ,frederic  ,forty   
,piano ,compositions4 ,edited by ,james 
,huneker4  ,chopin1 ,frederic  ,the     
,greater ,chopin4 ,edited by ,james     
,huneker4  ,grieg1 ,edvard  ,larger     
,piano ,compositions4 ,edited by ,bertha
 ,feiring ,tapper4  ,grieg1 ,edvard     
,piano ,lyrics and ,shorter             
,compositions4 ,edited by ,bertha       
,feiring ,tapper4  ,haydn1 ,franz ,josef

  ,twenty ,piano ,compositions4 ,edited 
by ,xaver ,scharwenka4  ,liszt1 ,franz  
,twenty ,original ,piano ,compositions4 
,edited by ,august ,spanuth4  ,liszt1   
,franz  ,twenty ,piano ,transcriptions4 
,edited by ,august ,spanuth4  ,liszt1   
,franz  ,ten ,hungarian ,rhapsodies4    
,edited by ,august ,spanuth and ,john   
,orth4  ,mendelssohn1 ,felix  ,thirty   
,piano ,compositions4 ,edited by ,percy 
,goetschius1 ,mus4 ,doc4 ,with a        
,preface by ,daniel ,gregory ,mason4    
,mozart1 ,wolfgang ,amadeus  ,twenty    
,piano ,compositions4 ,edited by ,carl  
,reinecke4  ,schubert1 ,franz  ,selected
 ,piano ,compositions4 ,edited by ,a4   
,spanuth4  ,schumann1 ,robert  ,fifty   
,piano ,compositions4 ,edited by ,naver 
,scharwenka4  ,wagner1 ,richard         
,selections from the ,music ,dramas4    
,edited by ,otto ,singer4         99    
99       99       99       99           
,anthology of ,french ,piano ,music     
,vol4 ,i4 ,early ,composers4 ,vol4 ,,ii4
 ,modern ,composers4 ,edited by ,isidor 

,philipp4  ,anthology of ,german ,piano 
,music  ,vol4 ,i4 ,early ,composers4    
,vol4 ,,ii4 ,modern ,composers4 ,edited 
by ,moritz ,moszkowski4  ,early ,italian
 ,piano ,music  ,edited by ,m4          
,esposito4  ,modern ,russian ,piano     
,music  ,vols4 ,i and ,,ii4 ,edited by  
,constantin von ,sternberg4             
,twenty-four ,negro ,melodies4          
,transcribed for ,piano by ,s4          
,coleridge-,taylor4  ,,song ,,volumes   
,brahms1 ,johannes  ,forty ,songs4 ,high
 ,voice4 ,low ,voice4 ,edited by ,james 
,huneker4  ,franz1 ,robert  ,fifty      
,songs4 ,high ,voice4 ,low ,voice4      
,edited by ,william ,foster ,apthorp4   
,grieg1 ,edvard  ,fifty ,songs4 ,high   
,voice4 ,low ,voice4 ,edited by ,henry  
,t4 ,finck4  ,handel1 ,george ,frideric 
,vol4 ,i4 ,songs and ,airs4 ,high       
,voice4 ,vol4 ,,ii4 ,songs and ,airs4   
,low ,voice4 ,edited by ,dr4 ,ebenezer  
,prout4  ,jensen1 ,adolf  ,forty ,songs4
 ,high ,voice4 ,low ,voice4 ,edited by  
,william ,foster ,apthorp4  ,liszt1     

,franz  ,thirty ,songs4 ,high ,voice4   
,low ,voice4 ,edited by ,carl           
,armbruster4  ,schubert1 ,franz  ,fifty 
,songs4 ,high ,voice4 ,low ,voice4      
,edited by ,henry ,t4 ,finck4           
,schumann1 ,robert  ,fifty ,songs4 ,high
 ,voice4 ,low ,voice4 ,edited by ,w4,j4 
,henderson4  ,strauss1 ,richard  ,forty 
,songs4 ,high ,voice4 ,low ,voice4      
,edited by ,james ,huneker4             
,tchaikovsky1 ,p4,i4  ,forty ,songs4    
,high ,voice4 ,low ,voice4 ,edited by   
,james ,huneker4  ,wagner1 ,richard     
,lyrics for ,soprano4 ,edited by ,carl  
,armbruster4  ,wagner1 ,richard  ,lyrics
 for ,tenor4 ,edited by ,carl           
,armbruster4  ,wagner1 ,richard  ,lyrics
 for ,baritone and ,bass4 ,edited by    
,carl ,armbruster4  ,wolf1 ,hugo  ,fifty
 ,songs4 ,high ,voice4 ,low ,voice4     
,edited by ,ernest ,newman4  ,fifty     
,mastersongs  ,high ,voice4 ,low ,voice4
 ,edited by ,henry ,t4 ,finck4  ,fifty  
,shakspere ,songs  ,high ,voice4 ,low   
,voice4 ,edited by ,charles ,vincent1   

,mus4 ,doc4  ,modern ,french ,songs     
,high ,voice4 ,low ,voice4 ,vol4 ,i4    
,bemberg to ,franck4 ,vol4 ,,ii4        
,georges to ,widor4 ,edited by ,philip  
,hale4  ,one ,hundred ,english          
,folk-songs  ,medium ,voice4 ,edited by 
,cecil ,j4 ,sharp4  ,one ,hundred       
,folk-,songs of all ,nations4  ,medium  
,voice4 ,edited by ,granville ,bantock4 
,one ,hundred ,songs by ,ten ,masters   
,high ,voice4 ,low ,voice4 ,edited by   
,henry ,t4 ,finck4 ,vol4 ,i4 ,schubert1 
,schumann1 ,franz1 ,rubinstein and      
,jensen4 ,vol4 ,,ii4 ,brahms1           
,tchaikovsky1 ,grieg1 ,wolf and         
,strauss4  ,one ,hundred ,songs of      
,england  ,high ,voice4 ,low ,voice4    
,edited by ,granville ,bantock4         
,seventy ,scottish ,songs  ,high ,voice4
 ,low ,voice4 ,edited by ,helen         
,hopekirk4  ,sixty ,folk-songs of       
,france  ,medium ,voice4 ,edited by     
,julien ,tiersot4  ,sixty ,irish ,songs 
,high ,voice4 ,low ,voice4 ,edited by   
,william ,arms ,fisher4  ,sixty         

,patriotic ,songs of ,all ,nations      
,medium ,voice4 ,edited by ,granville   
,bantock4  ,songs by ,thirty ,americans 
,high ,voice4 ,low ,voice4 ,edited by   
,rupert ,hughes4  ,songs ,from the      
,operas for ,soprano  ,edited by ,h4,e4 
,krehbiel4  ,songs ,from the ,operas for
 ,mezzo ,soprano  ,edited by ,h4,e4     
,krehbiel4  ,songs ,from the ,operas for
 ,alto  ,edited by ,h4,e4 ,krehbiel4    
,songs ,from the ,operas for ,tenor     
,edited by ,h4,e4 ,krehbiel4  ,songs    
,from the ,operas for ,baritone and     
,bass  ,edited by ,h4,e4 ,krehbiel4     
,other volumes are in preparation4      
,booklets1 giving full particulars1 with
 portraits of ,editors1 and contents of 
volumes published1 ,,free on request4