of the registers
set forth in the last chapter. It is not the exclusive invention nor
the basis of practice of any one person, but it may fittingly enough
be associated with the name of a woman who for over fifty years has
taught singing with so much regard for true art and for Nature's
teachings--_i.e._, for physiological as well as artistic principles.

Such a method for female voices is wholly consistent with the best
scientific teaching known to the author; it is in harmony with the
laws of vocal hygiene; it gives the singer beautiful tones, and leaves
her with improved, and not injured, vocal organs. Such an arrangement
of the registers is not marred by the rigidity of Madame Seiler's nor
the laxity of Mackenzie's, but combines flexibility with sufficiently
definite limitations.

As to just how much a teacher of singing should say to the pupil on
the subject of registers, and especially in a physiological way, must
depend on circumstances. About the wisdom of teachers of singing (and
elocution) understanding the vocal mechanism, and carefully weighing
the matter of registers from every point of view, the reader of this
book will have no doubt, by this time, the author ventures to hope.

Of course, one may object that for every tone, as it differs slightly
in quality from its neighbor in the scale, there should be a new
register--a new mechanism. Such an objection, though theoretically
sound, is of no practical weight. What students wish to know and
instructors to teach is how to attain to good singing--the kind that
gives genuinely artistic results, and leaves the throat and entire
body of the vocalist the better for his effort. The teaching of this
work in regard to the registers and other subjects is intended to
accomplish this, and not to occupy the attention of readers with vocal
or physiological refinements of no practical importance.

The author has always been of opinion that those who have investigated
and written on this subject have devoted insufficient attention to one
point--viz., the manner of using the breath. The breathing in the use
of the high falsetto, for example, is as different as are the
laryngeal processes; and this is a point of practical importance, for
the voice-user must ever consider economy in breathing. It is
expenditure in this direction that most taxes all singers, even the
best trained and the most highly endowed.

But the student, deeply impressed with the importance of the s