nt a successive change
in the length of the vocal bands of a small fraction, possibly not
more than 1/17000 of an inch--something unapproachable in nicety in
the use of any other instrument. Even if we make large deductions from
the above, the performances of those who have reached the highest
laryngeal control must remain marvellous, all the more when it is
remembered that this control over the larynx, to be efficient for
musical purposes, must be accompanied by a corresponding mastery of
the art of breathing. Is it necessary to point out that such wonderful
development and control can only be attained after years of steady
work by the best methods?

At one period in the life of the individual changes of such importance
take place in the entire nature, physical, mental, and moral, that he
becomes almost a new being. This epoch is known as the period of
puberty or adolescence, and may be considered that of the gravest
moment during one's whole life; for then, for better or worse, great
changes inevitably occur. It is incomparably the period of greatest
development, and, unfortunately, there may also spring into being,
with striking suddenness, physical and psychic traits which cause the
greatest anxiety. In any case, the thoughtful must then regard the
youth or maiden with feelings of the deepest interest, if not anxiety;
and in the case of the voice-user, especially the singer, this period
may come laden with the destinies of the future.

The vocal organs, especially in males, undergo very marked changes in
relative proportions and actual growth. So marked is this that the
boy soprano may actually become a barytone, or, unfortunately, no
longer have a singing voice at all.

[Illustration: FIG. 40 (Gruenwald). If this be compared with the next
illustration (FIG. 41), some of the differences between the larynx of
the male and that of the female may be noted. The vocal bands in FIG.
40, being those of a male, are heavier and wider. They are more
covered by the epiglottis than in the other case--that of a female
(FIG. 41). The false vocal bands are well seen in both cases, and by
their redness (dark in the figures) contrast with the whiteness of the
true vocal bands. In both illustrations the bands are in the
inspiration position.]

[Illustration: FIG. 41 (Gruenwald). Laryngoscopic picture of the female
larynx--to be contrasted with that of a male, shown in FIG. 40.]

[Illustration: FIG. 42 (Gruenwald). In this case,