THE CONGRESS OF WOMEN.

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divided between the lungs, which are in themselves expansive and contractile muscles, the trachea, the pharynx, the nasal cavities and strong muscles of the head. But remove all pressure from the throat, larynx and vocal cord. Many a naturally fine singer’s career is blighted by this habit of pressure or rigidity of the throat muscles. The remedy is in studying appropriate exercises until the correct habit is formed, which is not difficult if given individual attention. It is like resetting a dislocated bone; the moment it finds its place nature recognizes its own. The greater part of the labor is done when you have found the right adjustment of the whole organism. If the weakness is caused by indigestion, insomnia, or from whatever cause, it must be removed. In many cases the restoration of health is the most necessary part in voice production, and with our teaching is the first branch to receive attention. It is often more difficult to induce the singer to practice health exercises than to overcome the trouble after the effort is made. We have so long depended so much more upon pro­miscuous practice than upon condition and adjustment, and yet it is astonishing how rapidly one may advance with little practice when rightly directed.

Singing, more than anything else, requires concentrated attention. If we would express thought, feeling and emotion, we must think and feel. If we have a definite idea of what we want to do and how we want to do it, if we know what position of the mouth, throat and vocal organs produces a certain effect, we have only to call them into action.

To produce a good voice the whole organism needs as much attention, and I may say practice, as do the vocal organs. The whole body is a part of the musical instru­ment, and must be considered. The ability and activity of the immediate vocal appa­ratus depends upon the general strength and condition of the body as a whole, as well as upon the proper adjustment of the vocal organs with reference to acoustic law.

The first and most important fact to fix in the mind of one who would rise to his highest possibilities as a singer is that there are two important, principal points of sup­port for the voice which must never be lost sight of—the diaphragmic muscle and the throne of the pharynx.

The propelling power of the lungs is the diaphragmic muscle, which has its pos­terior attachment at the lumbar vertebrae. “ It is a thin, muscular, fibrous septum, placed obliquely at the junction of the upper third of the trunk, forming the floor of the lungs and the roof of the abdomen.”

If you acquire perfect control here, and at the same time at the throne of the pharynx, you will sing as free and as easy as a bird, in the way designed by a wise Creator.

In singing a good position is most essential. Stand upon the balls of the feet, hold the knees firm, abdomen and shouders back, the chest raised and prominent, the head bent slightly forward in a persuasive, tranquil manner, as repose, tranquillity of mind and body is absolutely necessary for the singer; make repose your first study.

The first organ involved in singing is the nose. Close the lips; take a breath through the nose. Where do you feel it first? At the bridge of the anterior and posterior nares. Back of the bridge, and back of and above the palate, is the throne of the pharynx, and this is another strong point for the singer; one of the two first important points to be considered (never to be lost sight of; never to be let go of). It is first, last and always (not only in making the head tones, but all the tones, from the highest to the lowest, must be supported here). Feel that this is the abiding place of tone. We will call it the throne of the singer, for as long as he has control here he has control of his voice, but when he has lost control of this point he has lost his kingdom as a singer. He may lose it by simply letting go of it and taking up the throat muscles instead, when they should always be left perfectly free and passive. Many a singer mourns his voice as lost, when he has merely let go of this point of support. It does not require any pressure or contraction, but simply the feeling that you direct, hold and support the tone from this point, the whole upper part of the pharynx to the very nostrils.