the merest fraction of a semitone, and the third by a
slightly greater interval. When this note is played it is in one sense
not out of tune. Yet its pitch is untrue, and it shades off into a
slightly flat note. In the case of many instruments, notably the flute,
the clarinet, and the French horn, unskilled performers often play notes
of this character. But in these instruments the composite character of
the note is vastly more complex than in the piano. A very keen ear is
required to appreciate fully the nature of this untrueness to the pitch.
But this is exactly the kind of ear the singer must possess, and it can
be acquired only by the experience of attentive listening.

The voice is especially liable to produce tones untrue to the pitch.
Stiff-throated singers almost invariably exhibit this faulty tendency.
An excessive tension of the throat hampers the vocal cords in their
adjustments, and the result is an impure tone. This is more often the
cause of an artist singing out of tune than a deficiency of the sense of
hearing. Many singers "sharp" or "flat" habitually, and are unable to
overcome the habit, even though well aware of it. Only a voice entirely
free from stiffness can produce tones of absolute correctness and
perfect intonation. Du Maurier hit upon a very apt description of pure
intonation when he said that Trilby always sang "right into the middle
of the note." As an impurity of intonation is almost always an
indication of throat tension, vocal teachers should be keenly sensitive
to this type of faulty tone.

Tone quality is a subject of surpassing interest to the musician.
Whatever may be thought the true purpose of music, there can be no
question as to one demand made on each individual instrument,--it must
produce tones of sensuous beauty. A composer may delight in dissonances;
but no instrument of the orchestra may produce harsh or discordant
tones. Of beauty of tone the ear is the sole judge; naturally so, for
the only appeal of the individual tone is to the ear. Melody, rhythm,
and harmony may appeal to the intellect, but the quality of each
component tone is judged only by the ear.

Each instrument has its own characteristic tone quality. The student of
singing should become familiar with the sounds of the different
orchestral instruments. Attention to this is extremely valuable in the
training of the ear.

Beauty of tone was seen to be the truest and best indication of the
correct vocal action.