We have thus become acquainted with the mechanism of the registers of the human voice. We have also seen that it is possible to carry these up beyond their natural limits, though the process is accompanied by visible signs of straining. The practice of teachers, therefore, whose aim it is to "extend" voices upwards, and who are very proud, especially in tenors, of their "made tones," is strongly to be condemned, and is sure to have disastrous results. It is, on the other hand, equally possible to carry the registers down several tones below the places called the breaks, so that at the limits of each register there are a number of tones which may be produced by two different mechanisms. The carrying down of a register causes no fatigue, and though its volume is weak as compared with the corresponding lower register, it is surprising how soon it can, by judicious practice, be made to acquire fulness and power. In order to prevent misunderstandings, it may be well to add that the breaks as indicated in the preceding pages are intended only to show the average compass in the great majority of voices. As, for instance, there are basses who have an exceptional extension of the Lower Thick downwards, so there are, undoubtedly, tenors who have an exceptional extension of the Upper Thick upwards. It must, therefore, be the voice trainer's business very carefully to ascertain the exact limits of the registers in every single case. In choral singing, however, where individual attention is impossible, the breaks as given above may be implicitly relied upon. Not only should the registers never be carried above these points, but if the teacher is wise he will insist upon his pupils forming the habit of changing the mechanism a tone or two below. NEVER "EXTEND" LOWER REGISTERS UPWARDS, BUT STRENGTHEN THE UPPER REGISTERS, AND CARRY THEM DOWNWARDS, THUS EQUALIZING THE VOICES FROM TOP TO BOTTOM, AND ENABLING YOUR PUPILS TO SING WITHOUT STRAINING. That is the great lesson taught by the investigations described in these pages. I have seen a singer pull himself together, and with a tremendous effort shout a high A in the thick register. His neck swelled out, his face became blood-red, and altogether the "performance" was of an acrobatic rather than of an artistic nature. The general public, of course, loudly applauded, but people of taste and refinement shuddered. Such exhibitions are, unfortunately, not rare. If this little book should contribute, however remotely, to discourage them, it will not have been written in vain. APPENDIX TO THE THIRD EDITION