it is so placed
that it gets the benefit of the resonance spaces in the head. If the
tone is produced properly, so that it has the singing quality
necessary in all right commands, quantity of tone will come of itself.

This singing quality has nothing to do with music; it may be attained
by a man who can hardly distinguish a bar of music from a bar of soap.
It depends upon three principles, which are very simple in themselves
but can not be applied without careful practise. The first covers
proper use of the breath. Air must be drawn into the lungs by
expanding the diaphragm and abdomen, a process best seen in the
natural breathing of a man who is lying on his back with all muscles
relaxed. Filling the upper part of the lungs by raising the chest puts
the work on the comparatively small muscles between the ribs; but
filling the base of the lungs by pulling downward brings into play the
diaphragm, the largest muscle in the body. The sensation which
accompanies proper deep control of the breath is as if the tone were
not pushed out of the mouth, but drawn in and upwards. It is partly
described by the phrases of singing teachers, "drawn tone" and
"singing on the breath."

The diaphragm must not only relieve the muscles between the ribs, but,
still more important, the small muscles of the throat. The second
great principle of voice production is that the throat must be
perfectly relaxed. Any tension there interferes with the free
vibration which is essential for strong and resonant tone. This
relaxation is most easily gained by drawing the chin in slightly,
loosening the muscles under it. The base of the tongue can be relaxed
by rolling the letter "R," even to the extent of making two syllables
of such words as "gr-rand." Talking with the teeth closed loosely will
also help to ease incorrect, tension about the throat. If the throat
is properly relaxed, there will be no sensation in it during the
production of the voice. Any sensation between the diaphragm and the
resonance chambers of the head is a sign of wrong and harmful tension.

The use of these resonance chambers is required by the third
principle--that the tone must be reinforced by resonance in all the
hollow spaces of the head. These are found in the nose, above the
palate and even above the eyes. They have the same effect as the
sounding board of a musical instrument, in giving quality to the tone.
The best way to put this principle into practice is to learn th