Could any point be located at which the student would be unable to imitate the teacher's voice? This could certainly not be in the early stages of the course. Any one can imitate a very bad throaty or nasal tone. This being done, the imitation of a slightly less faulty tone would also present no difficulty. A second improvement in the master's model tone would again be readily imitated, and so on, with each succeeding correction of the faults of production. When the last trace of faulty production in the student's voice had been eliminated, he would be singing perfect tones. It is utterly impossible to define a point in this progress at which the pupil would be unable to imitate the teacher's voice. If a bad fault of production can be imitated, so can a comparatively slight fault. Further, if the pupil can correct his pronounced faulty production by imitating a tone not quite so faulty, so can he improve upon this tone by imitating a still better model of production. This process of gradual improvement by imitation must be capable of continuation until the last fault is eliminated. No limit can be set to the ability of the voice to improve its manner of tone-production by imitation. It must therefore be concluded that the perfect vocal action can be acquired by imitation. In practical Voice Culture, learning to sing by imitation means simply the cultivation of the sense of hearing and the guidance of the voice by the ear. In other words, those vocal theorists who insist upon ear training commit themselves to the theory of imitative Voice Culture. What necessity is there of mechanical management of the vocal organs if the voice is to be guided by the ear? Even if mechanical management of the voice were possible it would be entirely superfluous. The voice needs no other guidance than the singer's sense of hearing. Here another striking question is encountered: Why should the vocal organs be thought to be unable to adjust themselves for the tone quality demanded by the ear any more than for the pitch? No vocal theorist has ever thought to formulate rules for securing the tension of the vocal cords necessary for the desired pitch. This is always left to instinctive processes. No one would ever undertake to question the voice's ability to sing by imitation a note of any particular pitch. What valid reason can be given for denying the corresponding ability regarding tone quality? Only one answer can be made to this question. The whole matter of mechanical vocal management rests on pure assumption. No scientific proof has ever been sought for the belief that the voice requires mechanical management. This necessity is always assumed, but the assumption is utterly illogical. The vocal organs adjust themselves for the imitation of tone quality by exactly the same psychological processes as for the imitation of pitch. Neither pitch nor tone quality can be regulated in any other way than by the guidance of the ear.