CHAPTER VI. PITCH AND SYMPATHETIC VIBRATION 89 CHAPTER VII. REGISTERS OF THE VOICE 103 CHAPTER VIII. SUBDIVISIONS OF THE VOICE 117 CHAPTER IX. THE STROKE OF THE GLOTTIS 132 CHAPTER X. HYGIENE OF THE VOICE 147 CHAPTER XI. MORE VOCAL HYGIENE 169 CHAPTER XII. NODES AND THEIR CURE 182 [Illustration: FIG. 1. THE THROAT AND ADJOINING STRUCTURES 1, Larynx. 2, Epiglottis. 3, Lower Pharynx. 4, Lips. 5, Teeth. 6, Tongue. 7, Mouth (Oral Cavity). 8, Uvula and Soft Palate. 9, Hard Palate. 10, Upper Pharynx. 11, Nasal Cavities. 12, Nose. A, Arytenoid Cartilage. C, Cricoid Cartilage. T, Thyroid Cartilage. W, Windpipe. X, Adam's Apple.] CHAPTER I A RATIONAL VOCAL METHOD Song, so far as voice-production is concerned, is the result of physiological action, and as voice-production is the basis of all song, it follows that a singing method, to be correct, must be based on the correct physiological use of the vocal organs. The physiology of voice-production lies, therefore, at the very foundation of artistic singing. The proper physiological basis for a singing method having been laid, something else, something highly important, remains to be superimposed. Voice is physical. But everything that colors voice, charging it with emotion, giving it its peculiar quality and making it different from other voices, is largely, although not wholly, the result of a psychical control--a control not exercised mysteriously from without, like Svengali's over Trilby, but by the singer himself from within. Every singer is his own mesmerist, or he has mistaken his vocation. For while voice is a physical manifestation, its "atmosphere," its emotional thrill and charm, is a psychical one--the result of the individual's thought and feeling, acting unconsciously or, better still, subconsciously, on that physical thing, the voice.