pany, and as it were echo, it in a higher key, the whole being blended into one sensation to the ear. Then, again, it is well known that every resonance cavity has what may be called an "elective affinity" for one particular note, to the vibrations of which it responds sympathetically, like a lover's heart answering that of his beloved. As the crude note issues from the larynx, the mouth, tongue, and soft palate mold themselves by the most delicately adapted movements into every conceivable variety of shape, clothing the raw bones of sound with body and living richness of tone. Each of the various resonance chambers re-echoes its corresponding tone, so that a single well-delivered note is in reality a full choir of harmonious sounds.
It has further been proved that each vowel has its own special pitch, and hence it can not be sounded in perfection on any other. The different vowels, in fact, are produced by modifications in the length and shape of the cavity of the mouth, and the note of each one of them is that to which such a resonance chamber naturally responds. It follows from this that, in order to get the best effect from the vocal instrument, there should be the most perfect possible adaptation of the various vowels to the notes on which they are to be sung. Sounds like o and ou (oo) are best rendered in the lower notes of the voice; a and i (ee) in the upper. It is difficult, indeed almost impossible, to sing the latter vowels on deep notes. The marriage of music to immortal verse can not be perfect unless the various affinities of the vowel sounds are carefully respected by the composer.
From what has been said it will, I think, be evident that no one, however happily gifted in point of voice, can use his endowment to the best advantage without careful training. Every note requires for its artistic production, not only a particular adjustment of the larynx, but a special arrangement of the resonators and suitable management of the breath, all the complicated movements involved in these various proceedings having to be performed automatically and with the most exact precision, and the whole being combined into one instantaneous act. M. Jourdain's master was not such a fool as he is made to appear, when he insisted on the mechanism of utterance being clearly understood. When this has been acquired, the singer is still only like a child that has learned to stand; walking, running, and dancing, in other words the junction of the separate notes into the "linked sweetness" of an air, the graces and ornaments of vocalization, and the secret of sympathetic expression have yet to be acquired. There is an unfortunate tendency at the present day to be satisfied with a very inadequate amount of training, and I can not help thinking that this is partly due to an imperfect appreciation of its necessity. Years are ungrudgingly given to acquiring a mas-
