"In the production of tone, the muscular tissue of the vocal cords is thrown into vibration by the air blast, and not merely the membranous covering of the inner edges of the cords. For a soft tone, only a portion of the fleshy mass of the vocal cords vibrates; if this tone is gradually swelled to _fortissimo_, a constantly increasing portion of the muscular tissue is called into play. For the loudest tone, the entire mass of the vocal cords is bought into vibration. Thus the increased volume of the tone results not alone from the increase in the power of the breath blast. Each addition to the power of the expiration demands also a change in the adjustment of the vocal cords. "The contractions of the muscles inside the larynx, including the vocal cords, cannot be brought under direct voluntary control. But these contractions can be regulated by the actions of other sets of muscles, viz., those by which the larynx is connected with the skeletal framework of the head, neck, and chest. These latter muscles can all be controlled by direct volition. Each of these sets of muscles has its function in tone-production. One set pulls the larynx backward, into the position already described, against the backbone. Two other opposed sets hold the larynx firmly in this position, one set pulling upward, the other downward. Finally, and most important in their influence on the actions of the vocal cords, a fourth set of muscles comes into play. These tilt the thyroid cartilage forward or backward, and thus bring about a greater or less tension of the vocal cords, independent of the contractions of the muscles of the vocal cords themselves. In this way is regulated the amount of the fleshy mass of the vocal cords exposed to the expiratory blast. Correct tone-production results when exactly the necessary degree of strength is exerted by each one of these four sets of muscles." For each of these groups of muscles Howard devised a system of exercises and drills by which the singer is supposed to bring all the movements involved under direct voluntary control. The parts thus exercised are the tongue, the soft palate, the jaw, the fauces, and also the muscles by which the larynx is raised and lowered in the throat, and those by which the chest is raised. In teaching a pupil Howard took up each part in turn. A sufficient number of lessons was devoted to each set of muscles for the pupil (presumably) to acquire the necessary control of each group. Howard also paid much attention to the breath; he worked out the system of high-chest breathing in a really masterly fashion. But his manner of dealing with this subject did not differ from that of a great number of other teachers.