tion can then be corrected by the application of the controlling force. Adjustments require the simultaneous action of the intellect, to create a well-defined mental picture of the desired tone, and the power-producing part of the vocal organs. Each twig-like

PLATE No. 8

Original exercise for the practice of the adjustment

formation of the bronchial tubes with its surrounding air cells offers a possibility of shading the pitch of vocal tones. This is constantly proved by the unusual sounds often resorted to in clearing obstructed bronchia. An example is the smoker's cough. These organs should be intelligently exercised until they become automatic in their action.

The pupil may then practice the exercise given in Plate No. 8, beginning it staccato, and then the tones should be carried from one pitch to another, legato.

For this the vibrations of a tone are sus

tained until another adjustment is selected by which a different-sized air column is used and consequently a different effect on the vocal cords causes different vibrations. After the adjustments have been well secured on full tones the pupil should exercise for the half-tone adjustments on

such exercise as that given in Plate No. 20. It is sometimes advisable to wait until the pupil has acquired suppleness and a keen ear, which are necessary to make the half-tone adjustments perfect.

The natural voice is usually lost by taking an adjustment for a given tone and then pushing up from the same adjustment for a higher tone. Great care should be used at first to make sure that the natural action is restored. The vocal exercises should be done at first by exhausting the lungs, or with catch breaths, as in the breathing exercises.

The typical compass of the human voice is twenty-one tones divided into three groups or registers of seven tones each.

The student who has retained his natural voice may practice the exercises for the adjustment on an extensive range, perhaps two octaves or more, but those who have

defective lungs must have patience and devote some time to rebuilding their lungs by systematic breathing exercises.

All vocal exercises should be first practiced on open sounds, such as AH, A, E, I, O, U, and the object in mind should not be the extensiveness of the volume but rather the right action of the organs, to get at some easy results and pleasing effects.

QUESTIONS FOR TOPICAL REVIEW

What is the first requirement in the use of tubes and projectiles?

Have we more than one way of making the adjustment in the production of vocal tones?

What are the different ways of making the adjustment?

What are the physical effects of a throat adjustment?

How should the vocal exercises be sung at first in order to get the natural adjustment?

How are the different tone shades obtained?

How many of the attributes of the voice should now be in the tones?

What is meant by the qualification "legato"?

Demonstrate how two tones of different pitches are sung legato.

Explain the physical action by which a desired pitch is obtained.

What are the results of a constant training in the natural adjustment through the intellect?

What are the sounds on which vocal exercises should be made at first?

What is the typical compass of the human voice?

On what range of tones may a student who has retained his natural voice practice for voice adjustment?

What is the pupil with a short range to do?

What should be the main object in the student's mind while doing vocal exercises?