he same way, and developed by the same training.=

=2. That breathing is, for the singer, only an amplification of the
correct daily habit.=

=3. That "registers" are a myth.=

=4. That "head tones, chest tones, closed tones, open tones," etc., as
confined to special parts of the range of the voice, are distracting
distinctions arising from false education.=

=5. That resonance determines the quality and carrying power of every
tone, and is therefore the most important element in the study and
training of the voice.=

=6. That the obstacles to good speaking and singing are psychologic
rather than physiologic.=

=7. That, in the nature of things, the right way is always an easy
way.=

CHAPTER I

THE VOCAL INSTRUMENT

Since the vocal organism first became an object of systematic study,
discussion has been constant as to whether the human vocal instrument
is a stringed instrument, a reed instrument, or a whistle. Discussion
of the question seems futile, for practically it is all of these and
more. The human vocal organs form an instrument, _sui generis_, which
cannot be compared with any other one thing. Not only is it far more
complex than any other instrument, being capable, as it is, of
imitating nearly every instrument in the catalogue and almost every
sound in nature, but it is incomparably more beautiful, an instrument
so universally superior to any made by man that comparisons and
definitions fail.

ELEMENTS

The human vocal instrument has the three elements common to all
musical instruments,--a motor, a vibrator, and a resonator; to which
is added--what all other instruments lack--an articulator.

1. The respiratory muscles and lungs for a =motor=.

2. The vocal cords for a =vibrator=.

3. The throat, mouth, and the nasal and head cavities for a =resonator=.

4. The tongue, lips, teeth, and palate for an =articulator=.

These elements appear in as great a variety of size and proportion as
do the variations of individual humanity, and each element is,
moreover, variable according to the will or feeling of the individual.
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 admiration. The modification and interaction
of these various parts produced by the emotions of the singer or
speaker give qualities of tone expressive of the feelings, as of pain
or pleasure, grief or joy, coura