ant to every singer endowed with the right idea of
forceful and dramatic delivery. The vast majority of the successful
pupils of "breath-control" teachers abandon, very early in their
careers, the tiresome attempt to hold back the breath. These singers
yield, probably unconsciously, to the instinctive impulse to sing freely
and without constraint.

But in the ranks of the minor concert and church singers are many who
try conscientiously to obey the instructions of the "breath-control"
teachers. Singers of this type can always be recognized by a curious
impression of hesitancy, or even timidity, conveyed by their tones. They
seem afraid to deliver their phrases with vigor and energy; they do not
"let their voices out." Frequently their voices are of excellent
quality, and their singing is polished and refined. But these singers
never give to the listener that sense of satisfaction which is felt on
hearing a fine voice freely and generously delivered.

As for the particular fallacy contained in the theory of ventricular
breath-control, that must be reserved for a later chapter. Suffice it to
say here that this theory disregards the two basic mechanical principles
of tone-production,--Pascal's law, and the law of the conservation of
energy. The application of this latter physical law to the operations of
the vocal organs is considered in Chapter VI of Part III.

CHAPTER III

THE FALLACIES OF FORWARD EMISSION, CHEST RESONANCE, AND NASAL RESONANCE

Sir Morell Mackenzie's analysis of the acoustic principle supposedly
involved in "forward emission" has already been quoted. That this
analysis involves a complete misunderstanding of the laws of acoustics
need hardly be said. When stated in precise terms, the fallacy of the
"forward emission" theory is evident:

"On issuing from the vocal cords the tone is directed in a curved path,
around the back of the tongue. There the tone is straightened out, and
made to impinge on the roof of the mouth at a precisely defined point.
From this point the tone is reflected, not directly back, as it should
be, since the angles of incidence and reflection must be equal. Instead
of this, the tone is reflected forward, out of the mouth, necessarily
again taking a curved path, to avoid striking the front teeth."
Naturally, no muscular action has ever been defined for causing the
tone to perform this remarkable feat.

The "forward emission" theory assumes the existence of a current of