In a singer highly endowed by nature and perfected by long training based on the soundest principles, the action of the muscles of the larynx may reach a degree of perfection only to be compared with that of the eye and ear.
Consideration of the coup de glotte, the attack, or adjustment of mechanisms to produce tone that begins correctly; breathing, with open mouth, with effectiveness and economy of energy; singing for children, in choirs, etc., have been discussed.
Practical exercises should be related to the principles underlying them. Musical and æsthetic principles are always to be associated with a sound technique. The artistic and technical or physiological conscience should be associated.
CHAPTER IX.
THE RESONANCE-CHAMBERS.
When it is borne in mind that the vocal bands have little or nothing to do with the quality of tones, the importance of those parts of the vocal apparatus which determine quality, and the error of speaking of the larynx as if it alone were the sole vocal organ, become apparent.
It may be strictly said that the vocal bands serve the purpose of making the resonance mechanism available. What one hears may be said to be vibrations of this resonance apparatus, and not, strictly, those of the vocal bands, though this expression would also be correct, but would not indicate the final link in the series of vibrations.
The tone caused by the vibration of two such small bands as the vocal cords must, in the nature of the case, be very feeble. It becomes important for the reader to convince himself of the importance of resonance in sounding bodies and musical instruments.