mes also those of the first chest register. Men speak
an octave lower than women, and use mostly the upper half of the chest
register. In public speaking, as well as on the stage, the second
chest register is used by men, and sometimes also the lowest tones of
the voice. The second falsetto and head registers are used only by
little children."

It will be remembered that Madame Seiler's "second chest" corresponds
to the upper chest tones of some writers, and that "falsetto" is
equivalent to "middle," as generally employed.

Ordinary speech is economical, and a range of very few tones, usually
not more than two to four intervals of the scale, suffices, but on the
stage, and by some of our best public speakers, twice this range may
be exceeded. In nature, the cat, under the excitement of a heated
interview with a fellow-vocalist, may pass through an entire octave.

SUMMARY.

The shape of the resonance-chambers varies in the formation of vowels
and consonants, which may be classified accordingly, or according to
their pitch.

Practical implications for singing and speaking, the learning of
foreign languages, the study of dialects, etc.

The importance of special attention to those words containing the
low-pitched and dark vowels, especially when low in the scale, and
when sung _piano_.

Overtones, and their bearing on the quality of the voice.

The carrying power of the voice, determined by the method of its
production, is more important than its volume.

The value of practice with the use of a mirror, and of the formation
of the sounds in practice with a distinctness in excess of the actual
needs of the listener. Ease is essential to art.

CHAPTER XVII.

THE HEARING APPARATUS AND HEARING IN MUSIC.

So important are the ingoing sensory messages (impulses) that
originate in the ear, as a guide not only in the appreciation of
musical sounds but in those movements on which all musical execution,
all vocal effects, whether of song or speech, depend, that we think
the reader will welcome a chapter on the ear, even though it be no
part of the vocal apparatus proper.

The essential mechanism used by Nature to give us the sensation of
sound consists of (1) a complicated form of nerve-ending; (2) an
auditory nerve leading from, and a continuation, in a certain sense,
of, the latter; (3) nerve tracts and hearing centres in the brain. The
whole constitutes a very complicated mechanism, but the principles on