trouble in teaching her to "blend the
registers," and she had utterly failed to acquire the art. One summer
she came back for professional services and told her troubles. During
the few weeks of her stay she followed the author's suggestions, and
was fully convinced of their correctness and efficiency. Upon
returning to her lessons, she followed, without any explanations, the
method that had been outlined for her. Her success in "blending the
registers" was a surprise to her teacher who heartily congratulated
her upon what she had accomplished during the summer.

Another case is that of a young lady who was under the author's
direction as to vocal culture from childhood. 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 head, and to recognize the head vibrations by a light
touch of the finger. When about seven years old, she took ten lessons
of a teacher on the same lines, and at fifteen years of age took
another brief course. In the meantime she had only the practice
obtained by singing with the pupils in the schools she attended.
Later, of her own volition, she sang more, and carefully applied the
principles she had been taught, with the result that her voice
compassed nearly two octaves, evenly and smoothly, with no break or
change of focus or quality, or other intimation of "register," and she
developed a speaking voice of more than ordinary quality and
resonance.

It has also been my lot to aid in the development of the voices of
many patients after a surgical operation for cleft palate. Success has
proven the correctness and efficacy of the principles set forth in
these pages.

A majority of the more than fifty authors whose works I have examined
have laid great stress on the distinction between head and chest
tones, open and closed tones, pure and impure tones, have warned
against the nasal tone, and have constantly advocated a natural tone.
That there is no essential difference between a head tone and a chest
tone has already been discussed and, it would seem, conclusively
proven. Any tone, closed or open, is pure and musical if properly
focused and delivered, 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 hearer. The cooing of the love song, the
cry of alarm for help, and the shout of the military charge require
very different qualities of voice to ex