of the
vocal organs is shown by the hoarseness which follows their use, and the
huskiness of the singing-tone. The voices of nearly all during the
mutation period show more volume of tone on the lower tones and
evidences of strain at the higher tones.

It is a good plan to put girls who show throat-weakness, characteristic
of their age, upon that part which requires only a medium range of
tones, and to repress all inclination to force and push the voice. The
desire which girls often express to sing the upper soprano need not
affect the teacher to any great extent. A multitude of strong and
constantly-shifting ambitions are thronging through their minds. Some
wish to sing the highest part because it seems to them to be the most
prominent part; some wish to sing it because they can do so with the
least mental effort, and so on. These whims and wishes must be treated
tactfully, but if the teacher is sure that a certain course is right,
there is no alternative but to carry it out, with as little friction as
may be. Large voices, that is, voices that proceed from large resonance
cavities, are often badly strained at this period of life by too loud
and too high singing. It must not for a moment be forgotten that the age
is a critical one for vocal effort, and a strain that the adult woman's
voice will endure with apparent impunity may produce lasting evil
effects on the voice of a girl of from fourteen to sixteen years of age.

If the requirements of the music are such that pitches above F, the
fifth line G clef, must be occasionally sung, let the voices upon the
part sing lightly. If some of the girls are put upon the lower of three
parts, do not let them use the chest-voice, which is just beginning to
develop, otherwise than lightly also.

The boy's voice may change from the soprano to a light bass of eight or
twelve tones in compass in a few months, or the change may extend over
two or three years; that is, two or three years may elapse after the
first distinct break before there is any certainty of vocal action in
the newly-acquired compass. When the voice changes rapidly, all singing
should be stopped. Really, in such cases, boys cannot sing even if they
attempt to do so.

They are so hoarse, and the pitch alternates so unexpectedly between an
"unearthly treble and a preternatural bass" that a boy can usually sing
only in monotone, if, with courage proof against the ridicule occasioned
by his uncontrollable vocal an