nalogies with fatigue, etc.--When should singing be
begun?--Singing with others--Choral singing 97

CHAPTER VIII.

FURTHER CONSIDERATION OF BREATHING, LARYNGEAL ADJUSTMENT, ETC.

Various kinds of breathing, as "abdominal," "clavicular," etc.,
discussed--Control of the whole of the breathing mechanism
urged--Correct breathing as a habit--Breathing in the most vigorous
speaking and singing--Different views expressed by a diagram--Economy
of energy in art--Reserve energy in breathing--"Pumping"--_Coup de
glotte_--"Attack"--Breath-adjustment--Quality of sound the prime
consideration in tone-production--Tremolo and other faults--Tests of
good breathing--Mouth-breathing--Exercises--Singing of a single
tone--Its relation to scale-singing--Summary and review 118

CHAPTER IX.

THE RESONANCE-CHAMBERS.

Vocal bands and resonance-chambers compared--Improvised mechanism to
illustrate resonance--Musical instruments as resonance-bodies--A vowel
in relation to the resonance-chambers--Description of the
resonance-chambers--How the quality of tones may be made to vary--New
views as to the sounding-chambers--Summary 140

CHAPTER X.

THE REGISTERS OF THE SINGING VOICE.

A controverted subject--Definitions of a register--Qualifications for
dealing with this subject--Madame Seiler--Tabular statement of her
views--Garcia's and Behnke's divisions of registers--Sir Morell
Mackenzie's views in detail--The author's earlier investigations--Madame
Marchesi's views and practice 151

CHAPTER XI.

FURTHER CONSIDERATION OF THE REGISTERS OF THE SINGING VOICE.

Auto-laryngoscopy and photography of the larynx--Dogmatism and
science--Confusion and controversy--The break--Ignoring
registers--Modification of tones, or "covering"--Points of agreement
between different writers on the subject--The falsetto for
males--Madame Seiler's special qualifications--Behnke's and
Mackenzie's views--The author's conclusions--Rule for the extension of
a register--Why certain artists deteriorate while others do
not---Males and females compared as to registers--The division of the
registers for female voices recommended by the author--Teacher and
pupil as regards registers--Objection to registers answered--The
manner of using the breath and registers--How to distinguish
registers--The teacher's part--Hearing singers of eminence is
recommended--Madame Melba--Guiding sensations--Summary 161

CHAPTER XII.

FUNDAMENTAL PRINCIPLES UNDERLYING VOICE-PRODUCTION.