hand and the thumb over the pupil's scapula and clavicle bones, effect a sufficient depression of the thorax to cause the desired action from the superior branch of the bronchial tubes for the production of an open and true-pitch tone from the high register. This demonstration is ideal when the low tone, which has been sustained, is changed into a harmonic at the appearance of the high tone. The pupil is then instructed as to how he can obtain the same physiological results by himself, depressing inwardly in the throat and lungs and at the same time permitting the collapse of the bony frame, as in a deep yawn, as he makes the mental picture of the tone and permits the concerted effects to take place in the head. The next important step is to make him realize that the inward depressing action and the collapse of the bony frame must be continuous and identical while scaling up or down.

The ill-trained and the beginners are inclined to mistake the effects for the

cause.

If the action of the power is right, the volume increases fast, even though the tones are very weak at first.

A condition is frequently met which is the opposite of the one just considered. In families where, for several generations perhaps, the clothes have been worn tight at the waist, the habit of breathing wholly from the upper part of the chest has caused the air cells and the bronchial tubes of the inferior branch to degenerate. This condition is soon improved by freeing the waist, massaging the lower part of the chest, and adopting the habit of breathing through the action of the diaphragm. The same mental and physical efforts which were used in the restoration of the superior register are resorted to, but the action is inverted.

Very soon some tones with the sounds AH, A, OO, O can be produced through the action of the diaphragm, which is the power-producing muscle of the inferior register. Exercise C, Plate 11, may be helpful to such pupils.

It

The habit of wearing the clothes tight at the waist may have an effect different from that of the one just considered. sometimes causes the inferior register to be forced down without losing its function. In such a case it is usually the middle register which is put out of action.

The same result may be the outcome of intentionally using low tones only. The treatment of this condition is similar to that of the preceding one, but it should be applied to the region of the intercostals, which are the power-producing muscles of the middle register. The claviculars are the power-producing muscles of the superior register.

The registers newly returned to usefulness should be constantly exercised through usual breathing and by vocalizing the exercises given in this volume, or any other vocalisms suited to the development and limbering of the voice.

By attention to his own feelings the pupil should note that the power-producing muscles and the internal muscular elastic tissue, in which the controlling force is incorporated, are counteracting in their principles.* The greater the tension of the internal tissues by efforts to keep the lung cavity opened, the heavier becomes the action of the power. They act automatically for the supply of air columns appropriate for the production of the power, softness, or whatever tone peculiarity the performer

*Manuel Garcia tried to illustrate this apparent incongruity of the vocal organs by telling his pupils that "the strangest thing about the voice is that when you think it is out it is in, and when you think it is in it is out."

may have in mind. This occurs through reflex action, or the action of the subconscious. It is sometimes illustrated in interjections uttered at the sensation of pain.

Sometimes a cold will aid in locating the registers of the voice. At first a cold is generally limited to one of the registers, but it usually passes from one register to another. We often hear people say that they can speak above or below their cold. This means that they use another register for the time being, since the cold is located in the tissues which compose the register from which they usually speak or sing.

The typical human lung is of a development necessary for the production of three groups of seven tones each, somewhat in the order suggested in the illustration of Plate No. 9. As all mechanical devices are but imitations of natural things, we