If the student does not feel ease, certainty, and inevitableness in result, he has not made a good attack. If he cannot sustain the tone for a few seconds, he should conclude that his method of using his breath is wasteful. In time a tone should be easily held for at least ten seconds. The purpose of the second exercise is to give still more fully breath-control, and to lead the voice-user to realize how important is breathing for intonation. The student may ask: "Why not begin, as is often done, by the singing of scales?" Really useful scales are too complex; they imply the use of a series of tones formed according to the principles insisted upon above. The first thing is to get one perfect tone--to use the vocal mechanism under simple conditions; and _that tone should be chosen which the voice-user can produce of best quality and with greatest ease, with least expenditure of energy_. It should never be selected from the extremes of the subject's range. From the favorite or best tone he should work down and up the scale. After this the scale comes easy, and all actual singing is scale singing--the use of intervals--and all speaking the same thing; so that, from every point of view, this exercise should be the first in intonation, and the student will do well not to leave it till the conditions above prescribed can be fully met. Some singers have continued such exercises throughout a long artistic career. It is to be understood always that the exercises, etc., recommended in this work are intended for all voice-users, whether they are singers or speakers. It is easy for a speaker to pass from such prolonged tones to the shorter ones required in speaking, but after such exercises he can do so with a feeling of ease, mastery of himself, improved ear, and purity of speech not otherwise attainable. The author would also insist, in the most emphatic manner, on the great importance of making all such exercises musical. Every tone should be the best then possible to the voice-user, and power must on no account be aimed at for some time. Thus are developed and go hand in hand, as they always should, a sound technique with the artistic conscience and perceptions. SUMMARY AND REVIEW. _The Principles of Physics, etc., Involved._ Sound (tone) is a mental result having its origin in certain changes in the ear and the brain, owing to vibrations of the air. Tones have _pitch_, depending on the number of vibrations in a second, _volume_ (power), depending on the size of the waves or vibrations, and _quality_ (_timbre_), determined by the shape of the waves. Pitch is determined by the vocal bands, volume by the same, in great part, and quality by the shape of the resonance-chambers above the vocal bands. The resonance-chambers influence volume also. A tone is augmented by resonance.