The first lesson for all pupils would be practically a chat on the singer's aims and on the instrument at his disposal: he would explain in clear language the different parts of the instrument, and show that the lungs had to be properly filled; then in the first attempt at emission a steady gentle stream was to be sent out, while one guarded against the natural tendency to empty the lungs quickly. At the larynx the air in passing through the little lips of the glottis received pitch, which varied according to the rapidity with which these opened and allowed puffs of air to pass through; then in passing through the passage from the larynx to the front of the mouth they received timbre and vowel-tone, which varied according to the shape of the pharynx and the height of the soft palate. The tone was then to be directed to the front of the mouth, and here the consonants were made, but these latter were not to interfere with the flow of sound or cause any jerkiness. When a phrase was commenced the tone was to flow on evenly, smoothly, steadily, with greater or less sustaining power as desired, until the end was reached. He would further explain something of the theory of registers, and the causes of various kinds of tones, good and bad. Finally, before telling the pupil to make his first tones, he would impress on him this: "If you do not understand anything perfectly, ask me at once, and I will endeavour to clear up the point and show you how to get over the difficulty. And remember that we must have the knowledge to guide the emission of the voice with our brains. When the tone has once been emitted it is too late to correct a fault. We must be aware beforehand exactly what we are going to do. We must know what is right and how to do it. That is the secret." After this preliminary explanation the first step invariably consisted in the emission of a steady tone, deep breathing being insisted on for the purpose. At the first sign of unsteadiness in the tone the pupil was directed to stop and begin again. In the intervals of rest the physiology of the voice was clearly and carefully explained, and the proper position of the various parts of the body and throat, and the management of the vocal cords necessary for the emission of resonant tone, were the first laws laid down. When once the pupil could sing a scale slowly and steadily, the way was open to the practice of exercises; and very often in the case of a voice of promise these exercises constituted the whole course of study for a considerable period.