r's heart answering that of his beloved. "As the crude tone
issues from the larynx, the mouth, tongue and soft palate, moulding
themselves by the most delicately adaptive movements into every
conceivable variety of shape, clothe the raw bones of sound with body
and living richness of tone. Each of the various resonance-chambers
reechoes its corresponding tone, so that a single well-delivered note
is, in reality, a full choir of harmonious sounds."

Voice being, like instrumental tone, a commixture of fundamental and
overtones, and the manner in which the composite conformation of
collective waves strikes the ear being largely determined by the
cavities of resonance, the control of these is of great importance to
the singer. This control should, by thorough training, be brought to
such a degree of efficiency that it becomes subconscious and automatic,
so that the resonance-cavities shape themselves instantly to the note
that is being produced within the larynx and, vibrating in sympathy with
it, sound the overtones. The reciprocal principle of elective affinity
between fundamental and overtone, between the shape assumed by the
larynx for pitch and the shape assumed by the resonance-cavities for
quality, is illustrated by the exciting influence of a sounding
instrument upon a silent one tuned to the same pitch which, although not
touched by human hand, sounds in sympathy with the one that is being
played on. Even a jar standing upon a mantel-shelf, a globe on a lamp,
a glass on a table, or some other object in the room, may vibrate and
rattle when a certain note is struck on the pianoforte. This is the
result of sympathetic vibration. Thus, although vocal tone originates
within the larynx, it sets the resonance-cavities into sympathetic
vibration, and these produce the harmonics that give the fundamental
tone its timbre; the resonance-cavities being to the vocal cords or
lips what the body or resonance-box of the violin and the sounding-board
of the pianoforte are to their strings, the tube of a cornet or horn to
the lips, the body of the clarinet to its reed--the resonating factor
which determines the overtones and through these the timbre.

Excepting the chest and trachea the resonance-cavities of the voice are
located above the larynx. To the chest as a resonator the low tones of
the voice owe much of their great volume. Indeed, the chest is such a
superb and powerful resonating box that, if it resonated also for
the