the proper position of the
organs in relation to each other; and people are rarely made to pay
attention as children to speaking clearly and in an agreeable voice.
In the most fortunate instances the range thus practised reaches
limits on both sides, not so much those of the person's power, as
those set by his lack of skill, or practice. Limitations are put on
the voice through taking account only of the easiest and most
accustomed thing, without inquiring into the potentialities of the
organs or the demands of art.

[Illustration: Red lines denote a register is formed when as many
tones as possible are forced upon one and the same point of resonance.
(Bass and baritone.)]

[Illustration: Red lines denote a register is formed when as many
tones as possible are forced upon one and the same point of resonance.
(Soprano, contralto, and tenor.)]

Now, suppose such a peculiarity which includes, let us say, three or
four tones, is extended to six or eight, then, in the course of time,
in the worst cases, a break is produced at the outside limits. In the
most favorable cases the tones lying next beyond these limits are
conspicuously weak and without power compared with those previously
forced. This one way of singing can be used no farther; another must
be taken up, only, perhaps, to repeat farther the incorrect procedure.

Three such limits or ways of singing can be found and used. Chest,
middle, and head voice, all three form registers when exaggerated; but
they should be shaded off and melt into each other. The organs,
through the skilful training of the teacher, as well as by the
exercise of the pupil's talent and industry, must be accustomed to
taking such positions that one register leads into another
imperceptibly. In this way beauty, equality, and increased compass of
the voice will be made to enhance its usefulness.

When the three ways of singing are too widely different and too
sharply contrasted, they become separate registers. These are
everywhere accepted as a matter of course, and for years have been a
terror in the teaching of singing, that has done more than anything
else to create a dreadful bewilderment among singers and teachers. To
eradicate it is probably hopeless. Yet, these registers are nothing
more than three disconnected manners of using the vocal and resonating
apparatus.

With all the bad habits of singers, with all the complete ignorance of
cause and effect, that prevail, it is not surpri