There are forms in which vocal sounds move, well defined and capable of material representation, which are not fully expressed by the shape of the teacher's mouth, nor are they thus expressed by impressions taken by the aid of the camera. Regarding the latter, it is necessary to note that photographic representations of vocal sounds are the result of the combined action of the voice of the œsophagus and of that of the trachea, of material and immaterial factors. Just in how far the latter are capable of being thus represented must, as yet, remain a matter of conjecture. An attempt at reconciling photographic representations of vocal sounds with the oscillations of the vocal cords is, at most, a one-sided proceeding. To arrive at any correct conclusion at all, it would be necessary to take the vibrations of the "vocal lip" and the frænum into equal consideration. Regarding our capacity for improving the natural physical and psychical capabilities of the musical instrument of the voice, that depends upon the manner in which we play upon it. As it yields to the slightest pressure of the air, either for good or for evil, we must, above all things, learn how to guide the tip of our tongue in touching its aërial strings or keys, which are far more sensitive than those of any instrument ever produced by the hand of man. It takes years to attain a mastery over the simplest musical instrument; yet it is often expected that the instrument of the voice should yield to the most careless efforts made in the most wilful and indiscriminate manner. The _thought_ of a sound, after _producing_ an impression, _guides_ the tongue in _releasing_ such impression. Unless the tongue touches or moves towards the exact spot which will effect such release, the expression or the sound will not be forthcoming. That the impression, as well as its release, should be properly made, it is necessary to _think_ of the sound which is to be produced, in the most precise and correct manner. I cannot sufficiently impress upon the reader's mind the importance this simple lesson conveys. If he will shape his manner of vocal utterance, especially his mode of singing, in conformity therewith, he will be able to improve his voice to a far greater extent than he would by following any or all of the realistic methods now in vogue. This _thinking_ of the correct sound must be carried on for the _next_ syllable during the _production_ of the previous one; and care must be taken not to think of more than one syllable at one and the same time. Unless this is done, no pure sound will ever be produced, the impression made by thinking of a second or third syllable overlapping that for the next following; thus producing a muddle and a discord. Rhythm being the basis for all perfect vocal utterance, a rhythmic impression must be made in order to obtain a rhythmic expression. This cannot be done when the former is not preserved in its entire purity until it is released.