to cause the proper vibrations of the vocal bands. All use of the
voice implies this much, but in most instances there are _associated_
nervous mechanisms and ideas that are highly important in determining
the exact volume, quality, etc., of the tone as related to expression
of ideas and feelings according to conventional usage.

The breath-stream must in all cases be so employed that there shall be
economy of energy--no waste. Waste occurs whenever air escapes to any
appreciable extent through the glottis chink, as that implies an
imperfect adjustment of the vocal bands and the expiratory current.
From this and other points of view it may be said that _he is the best
singer who gets the most perfect result with the least expenditure of
energy_.

It is of the highest importance that during every practice, and every
moment of each practice, attention be given to as perfect a result as
possible, and that the same method be invariably employed.

All questions as to methods of practising can be decided on well-known
scientific principles which harmonize with experience, and need not be
left in that loose and unsatisfactory condition when the dictum of
some individual is substituted for principles capable of actual
experimental demonstration.

CHAPTER XIII.

CHIEFLY AN APPLICATION TO VOICE PRODUCTION OF FACTS AND PRINCIPLES
PREVIOUSLY CONSIDERED.

Certain sounds may be made without the use of words or syllables, even
without the employment of vowels or consonants, but intonation proper
cannot be carried out without vowels, at least.

The exact nature of vowels and consonants will be considered in the
next chapter, but in the meantime it may be pointed out that a vowel
is a free and open sound requiring for its production a certain form
of the resonance-chambers. Neither vowels nor consonants are
absolutely pure--that is, entirely free from foreign elements, from
noise; but for all practical purposes a vowel is a pure sound, a
consonant a sound accompanied inevitably by much noise. This noise is
largely due to the difficulties of sounding consonants, the breath
breaking against the vocal organs, especially the teeth, lips, etc.,
much as the waves of the sea against a rocky beach. So far then as
musical quality is concerned, a consonant is an unmitigated nuisance.
On the other hand, none but the most elemental communication by sounds
could be carried out by the use of vowels alone. The consonants stop
the brea