resonance chambers prepared for
it by the raising and lowering of the soft palate, and those in the
cavities of the head. Here it forms whirling currents of tone; these
now must circulate uninterrupted for as long as possible and fill all
the accessible resonating surfaces, which must be maintained in an
elastic state. This is necessary to bring the tone to its perfect
purity. Not till these currents have been sufficiently used up and
passed through the "bell," or cup-shaped resonating cavity, of the
mouth and lips, may it be allowed to stream from the mouth unimpeded.
Yet the _sensation_ must be as if the breath were constantly escaping
from the mouth.

To observe and keep under control these many functions, singly or in
conjunction, forms the ceaseless delight of the never failing fountain
of song study.

Thus, in shaping the passage for the breath, the larynx, tongue, and
palate, which can be placed at will, are employed. The vocal cords,
which can best be imagined as inner lips, we have under control
neither as beginners nor as artists. _We do not feel them._ We first
become conscious of them through the controlling apparatus of the
breath, which teaches us to _spare_ them, by emitting breath through
them in the least possible quantity and of even pressure, whereby a
steady tone can be produced. I even maintain that all is won, when--as
Victor Maurel says--we regard them directly as the breath regulators,
and relieve them of all overwork through the controlling apparatus of
the chest-muscle tension.

Through the form prepared by the larynx, tongue, and palate, we can
direct the breath, previously under control and regulation, toward the
particular resonating surfaces on the palate, or in the cavities of
the head, which are suitable to each tone. This rule remains the same
for all voices.

As soon as the breath leaves the larynx, it is divided. (Previously,
in inhalation, a similar thing happens; but this does not concern us
immediately, and I prefer to direct the singer's chief attention to
the second occurrence.) One part may press toward the palate, the
other toward the cavities of the head. The division of the breath
occurs regularly, from the deepest bass to the highest tenor or
soprano, step for step, vibration for vibration, without regard to sex
or individuality. Only the differing size or strength of the vocal
organs through which the breath flows, the breathing apparatus, or the
skill with which they