ale vested choir has,
however, created a demand for it, and it may be met as indicated, by
keeping boys upon the head voice during mutation or so much of the time
as is safe, and afterward, when the age of adolescence is past, even if
some prefer to sing bass or tenor, the number of those available for the
alto parts will be sufficient to meet all requirements.

CHAPTER IX.

GENERAL REMARKS.

In the preceding chapters, dealing as they do with special subjects or
subdivisions of the main topic, the effort has been to point out and to
suggest some ways in which good vocal habits may be taught, and simple
and effective vocal training carried on with whatever materials there
may be at hand in the shape of books, charts, blackboards, staves, etc.
The leading idea is the correct use of the voice; the particular song or
exercise which maybe sung is of no special importance; the way in which
it is sung is everything.

The benefits of teaching music _reading_ in the schools are a matter of
daily comment. Is it, then, likely that the good resulting from the
formation of correct habits in the use of the voice will fail of
recognition? Not so. For the effect of good vocal training in school
music would be so general and so beneficent that even unfriendly critics
might be silenced.

The first effect upon singing when the thick tone is forbidden and the
attempt made to substitute the use of the voice in the thin or head
register may be disappointing. It will seem to take away all life and
vigor from the singing. Teachers who enjoy _hearty_ singing will get
nervous; they will doubt the value of the innovation. In those grades
where children range in age from twelve to fourteen years, the apparent
loss in vocal power will disconcert the pupils even. Never mind; the
_use_ of the thin register will demonstrate its excellences, and it
will, if slowly yet surely, increase in brilliance and telling quality
of tone.

Again, the compass downward needs to be more restricted at first than
after the children have become habituated to its use. As long as there
is any marked tendency to break into the chest-voice at certain pitches,
the compass should be kept above them; as the tendency weakens, the
voice may with due caution be carried to the lower tones, in higher
grades be it understood. The tone should grow softer as the voice
descends when the lower notes will sound mellow and sweet. At first they
may be quite breathy, but as