in case No. 1, and nothing to impede
it as in case No. 2. Production as in case No. 3 causes the tone to
travel much farther than production as in cases Nos. I and 2, and it is
this way of striking a tone which is known under the name of "Coup de
Glotte" or "Shock of the Glottis."

"But it is not a shock of the glottis at all," says Mr. Lunn, on
page 68 of the book quoted before. "It is an audible result arising
from the false cords [pocket ligaments] releasing condensed air
imprisoned below them, which air in its release explodes." I beg
leave to observe that condensed imprisoned air thus released could
produce a puff, but not a musical tone. The matter is, moreover,
capable of being demonstrated to the eye. The process takes place
as described above, and I am ready at any moment to show that the
pocket ligaments _never_ meet in singing. There can, therefore, be
no possibility of condensed air being imprisoned below them, and we
need not enter into any further argument on the subject.

[Illustration: PLATE XIII.

LARYNGOSCOPIC IMAGE. BREATHING.

T. TONGUE.

L. LID.

V. V. VOCAL LIGAMENTS.

W. W. CARTILAGES OF WRISBERG.

S. S. CARTILAGES OF SANTORINI.

]

[Illustration: PLATE XIV.

LARYNGOSCOPIC IMAGE. UPPER THICK.

T. T. TONGUE.

L. LID.

P. P. POCKET LIGAMENTS.

V. V. VOCAL LIGAMENTS.

W. W. CARTILAGES OF WRISBERG.

S. S. CARTILAGES OF SANTORINI.
]

[Illustration: PLATE XV.

LARYNGOSCOPIC IMAGE. UPPER THIN.

T. T. TONGUE.

L. LID.

P. P. POCKET LIGAMENTS.

V. V. VOCAL LIGAMENTS.

W. W. CARTILAGES OF WRISBERG.

S. S. CARTILAGES OF SANTORINI.
]

[Illustration: PLATE XVI.

LARYNGOSCOPIC IMAGE. SMALL.

T. T. TONGUE.

L. LID.

P. P. POCKET LIGAMENTS.

V. V. VOCAL LIGAMENTS.

W. W. CARTILAGES OF WRISBERG.

S. S. CARTILAGES OF SANTORINI.
]

We now proceed to study the Registers of the human voice. A very Babel
of confusion exists on this important subject, and we are not only
perplexed by a multiplicity of terms, but also by the various and often
contradictory meanings attached to them. Thus people talk of chest,
medium, mixed, throat, falsetto, and head registers, and these terms
being utterly unscientific--_i.e._, being based upon sensations and
fancies instead of physiological facts--no one can give a clear and
satisfactory definition of any one of them. To bring order into such
chaos is an almost hopeless undert