Probably in many male voices there are the distinctions of register Madame Seiler alludes to--_i.e._, first chest and second chest, or some change analogous to the middle of females; but, from one cause and another, this seems to readily disappear. Whether it would not be worth maintaining is a question that the author suggests as at least worth consideration. Certain it is that, speaking generally, there is no change in males equally pronounced with the passage from the lowest to the next higher (chest to middle) register in females. What, then, are the views that the author believes so well grounded, in regard to the registers, that they may be made, in all confidence, the basis of teaching? Without hesitation, he recommends that arrangement of the registers set forth in the last chapter. It is not the exclusive invention nor the basis of practice of any one person, but it may fittingly enough be associated with the name of a woman who for over fifty years has taught singing with so much regard for true art and for Nature's teachings--_i.e._, for physiological as well as artistic principles. Such a method for female voices is wholly consistent with the best scientific teaching known to the author; it is in harmony with the laws of vocal hygiene; it gives the singer beautiful tones, and leaves her with improved, and not injured, vocal organs. Such an arrangement of the registers is not marred by the rigidity of Madame Seiler's nor the laxity of Mackenzie's, but combines flexibility with sufficiently definite limitations. As to just how much a teacher of singing should say to the pupil on the subject of registers, and especially in a physiological way, must depend on circumstances. About the wisdom of teachers of singing (and elocution) understanding the vocal mechanism, and carefully weighing the matter of registers from every point of view, the reader of this book will have no doubt, by this time, the author ventures to hope. Of course, one may object that for every tone, as it differs slightly in quality from its neighbor in the scale, there should be a new register--a new mechanism. Such an objection, though theoretically sound, is of no practical weight. What students wish to know and instructors to teach is how to attain to good singing--the kind that gives genuinely artistic results, and leaves the throat and entire body of the vocalist the better for his effort. The teaching of this work in regard to the registers and other subjects is intended to accomplish this, and not to occupy the attention of readers with vocal or physiological refinements of no practical importance.