Auto-laryngoscopy and photography of the larynx--Dogmatism and science--Confusion and controversy--The break--Ignoring registers--Modification of tones, or "covering"--Points of agreement between different writers on the subject--The falsetto for males--Madame Seiler's special qualifications--Behnke's and Mackenzie's views--The author's conclusions--Rule for the extension of a register--Why certain artists deteriorate while others do not---Males and females compared as to registers--The division of the registers for female voices recommended by the author--Teacher and pupil as regards registers--Objection to registers answered--The manner of using the breath and registers--How to distinguish registers--The teacher's part--Hearing singers of eminence is recommended--Madame Melba--Guiding sensations--Summary 161 CHAPTER XII. FUNDAMENTAL PRINCIPLES UNDERLYING VOICE-PRODUCTION. Artistic expression only through movements--Emotions and technique--Relation of ideas to movements--Memories and movements--Guiding sensations essential for movements--The principles underlying all movements the same--Associated reflexes and habits--How habits are formed--inhibitions and their importance--Early practices only before the teacher--Careful practice with concentration of energy the best--Queries as to practice--Fatigue a warning--Practice in the early hours of the day, and short of fatigue--Quality to be aimed at rather than quantity--The total amount of time to be devoted to practice--"Hasten slowly;" "Little and often"--The treatment of the voice ruined by wrong methods--Summary 179 CHAPTER XIII. CHIEFLY AN APPLICATION TO VOICE-PRODUCTION OF FACTS AND PRINCIPLES PREVIOUSLY CONSIDERED. Vowels, consonants, noise--Consonants and pauses--Voice-production and vowels--Certain vowel sounds common to most languages--Why German and English are relatively unmusical--The needs of the musical artist--The mechanism required for the production of a vowel sound--Reconsideration of the resonance-chambers--The larynx to be steadied but not held rigidly immovable--The principal modifiers of the shape of the mouth-cavity--Breath to be taken through the mouth--The lips--Tongue and lip practice before a mirror--Importance of the connection between the ear and the mouth parts, etc--"Open mouth"--The mouth in singing a descending scale--Undue opening of the mouth--Proper method of opening the mouth--Causes of compression and the consequences 195 CHAPTER XIV. SOME SPECIFIC APPLICATIONS OF PRINCIPLES IN TONE-PRODUCTION.