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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
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GENERAL