One has thus the sensation as if the whole body took part in this formation of sound, and as if the lower tones of the chest register were drawn from the lowest part of the lungs. In producing the second series of the chest register, the sensation is as if the tones came from the upper part of the chest, midway between the pit of the stomach and the larynx. With regard to the tones of the first series of the falsetto, the feeling is as if they had their origin in the throat. In the tones of the second series of the falsetto, we feel as if the throat had nothing to do with them--as if they were formed above, in the mouth. With the head tones, one has the feeling that they come from the forehead. It is these _physical sensations_ that have given occasion to many erroneous conjectures in regard to the formation of tones, but we are satisfied that they have no direct relation to the generation of sound, and appear so only through the nerves active in the process. By directing the attention of one's pupils to these different sensations, it is very easy to make them acquainted with the different registers of the voice--always a very necessary proceeding in the first training of a voice, although it seems to be so only in the case of such voices as have been previously misdirected. The culture of the female voice is best begun with the two series of the falsetto register and the second of the chest register; the tones of these three middle registers must be pretty well cultivated before the lowest chest tones and the head voice are begun to be formed. The voice in this way best attains to an equal fulness. It is self-evident also that the teaching should be such that the transitions of the registers should be not at all or scarcely perceptible, consequently that all the tones should sound proportionally strong and full. In the soprano voice the falsetto, and in the contralto voice the chest register, have more fulness and grace, and thus we may distinguish to which kind of voice a voice belongs, for the compass of the voice is not always confined within certain limits. There are contraltos that can sing the high head tones with ease, and sopranos that can sing the low chest tones with equal facility--a fact which has often given occasion to an incorrect treatment of a voice. So also with the male voice. A bass voice sings the lower series of the chest register with more ease and sweetness and with more obscure timbre. A tenor voice sings the second series of the chest register in a clearer timbre.