are then only four good notes--those from
_mi_ to _la_, upon which the voice should be exercised. By uniting the
registers, an artificial, homogeneous voice may be created, whose tones
are produced without compression and without difficulty. This being
done, it is evident that every note of the voice must successively
indicate the three registers--that is, it must be rendered in the chest,
medium and head voices.

There is also a method of diminishing the voice. As the tone is in
proportion to the volume of air in the lungs, it may be weakened by
contracting the epiglottis or by suppressing the respiration.

_Rules for Intensity of Sound._

1. The strength of the voice is in an inverse ratio to the respiration.
The more we are moved, the less loudly we speak; the less the emotion,
the stronger the voice. In emotion, the heart seems to mount to the
larynx, and the voice is stifled. A soft tone should always be an
affecting tone, and consist only of a breath. Force is always opposed to
power. It is an error to suppose that the voice must be increased as the
heart is laid bare. The lowest tones are the best understood. If we
would make a low voice audible, let us speak as softly as we can.

Go to the sea-shore when the tempest rages. The roar of the waves as
they break against the vessel's side, the muttering thunders, the
furious wind-gusts render the strongest voice impotent. Go upon a
battle-field when drums beat and trumpets sound. In the midst of this
uproar, these discordant cries, this tumult of opposing armies, the
leader's commands, though uttered in the loudest tones, can scarce be
heard; but a low whistle will be distinctly audible. The voice is
intense in serenity and calm, but in passion it is weak.

Let those who would bring forward subtle arguments against this law,
remember that logic is often in default when applied to artistic facts.

A concert is given in a contracted space, with an orchestra and a
double-bass. The double-bass is very weak. Logic would suggest two
double-basses in order to produce a stronger tone. Quite the contrary.
Two double-basses give only a semitone, which half a double-bass renders
of itself. So much for logic in this case.

The greatest joy is in sorrow, for here there is the greatest love.
Other joys are only on the surface. We suffer and we weep because we
love. Of what avail are tears? The essential thing is to love. Tears are
the accessories; they will come in ti