ess in the blood supply, with a prominence of
the small blood-vessels resulting in a corresponding redness. The
same thing happens, in fact, as in inflammation of the eyes or the
nose, both of which are more open to observation. Bearing this in mind
one can readily understand why in such a condition, which is often
approached if not actually present in the case of "a cold," the voice
becomes so changed. Such vocal bands are clumsy in movement, as the
arms or any other part would be if thus swollen. The plain remedy is
rest, cessation of function--no speaking, much less attempts at
singing. Like the nose the larynx, and especially the vocal bands, may
be catarrhal, and such a condition may call for medical treatment
before the speaker or singer can do the most effective vocal work.

While the _false vocal bands_ have little or nothing to do with
phonation directly, they do serve a good purpose as protectors to the
more exalted true vocal bands. When coughing, swallowing, vomiting,
holding the breath tightly, etc., these folds of mucous membrane close
over the true bands, often completely, and thus shut up for the moment
the whole of that space between the bands known as the glottis, or
glottic chink, to which reference was made in a previous chapter as
the space through which the air finally gains access to the lungs.

The true vocal cords (which, because of having some breadth and being
rather flat, are better termed vocal bands) are composed largely of
_elastic tissue_. The reader may be familiar with this structure,
which is often to be found in the portions of the neck of the ox that
the butcher sells as soup beef. It is yellow in color, and stretching
it has furnished many a boy with amusement. It is so unmanageable when
raw that when it falls to the dog he usually bolts it, the case being
otherwise hopeless. Such elastic tissue is, however, the very material
for the construction of vocal bands, as they require to be firm yet
elastic.

[Illustration: FIG. 25 (Spalteholz). A view of the larynx from behind.
Several of the muscles are well shown, of which the two indicated
above are of the most importance. The arytenoideus proprius tends to
bring the cartilages from which it is named, and therefore the vocal
bands, toward each other; while the posterior crico-thyroid, from its
attachments and line of pull, tends to separate these and lengthen the
vocal bands.]

[Illustration: FIG. 26 (Spalteholz). Showing structure