One should never attempt to locate the tone in any particular resonant chamber by saying, “Now I will practise for head resonance, or now I will practise for chest resonance.” I have known such attempts to result in much injury to the voice. If the direction of the tone is kept steadily toward the globe of light in front of the nares, while at the same time imagining this globe to move in a forward and downward curve, and if, in addition, the transient molds of resonance are perfectly formed, each interval of the scale will be resounded in its proper resonant chamber. The high notes will be resounded in the front part of the nares, then as the voice descends in pitch it will be resounded farther back in the nares, until the note is so low that the posterior part only can resound it; finally, as the pitch continues to grow lower, the nares cannot resound it at all. At this point the pharynx takes it up until the pitch becomes so low that the trachea, being larger than the pharynx, produces the resonance which is heard in the chest only. After the proper direction has been established, viz., toward the globe of light in front of the anterior portion of the nares, it should never be changed, for this direction keeps the nares, pharynx, and trachea open and free, so that each pitch of the voice will be resounded in that portion of the resonant chambers which by its size is suited to its pitch. What I have thus far said of the resonant chambers in the nares, pharynx, and trachea applies to the fundamental tone; but while the fundamental tone is resounding in the trachea, pharynx, or nares posteri, smaller portions of the nares and transient resonant chambers may be resounding the overtones, so that many resonant chambers may be resounding at the same time, thereby giving the richest possible quality to the tones of voice. =_EXERCISES FOR SECURING FREEDOM AND PROPER DIRECTION OF TONE AND FOR ESTABLISHING RIGHT HABITS IN THE USE OF THE VOICE._= NARES RESONANCE. EXERCISE I.—While the lips are closed, give a nares tone represented by the letter _m_; then opening the mouth, without changing in any degree the character of the tone and not allowing any breath or voice to pass through the mouth, prolong the tone, holding before the mind the ideal concept for direction of tone previously described. The lips should be again closed just before the tone ceases. Repeat this on different intervals of the scale, ranging from a comparatively high pitch to a comparatively low one.