lesson.

Certainly it is often necessary for the teacher to sing, but only to illustrate or correct, or to teach a song. In the last, if the teacher will remain silent while the class repeat the line sung to them, and will proceed in the same way until the whole is memorized by the class, not only will time be economized, but the tone can be kept as soft as is desired and individual shouters checked. Once more it must be insisted that soft, very soft singing only, can be allowed. And this applies to the entire compass used. Children of the ages mentioned can, as has already been shown, break from the thin to the thick voice at any pitch, it only requiring a little extra push for the upper tones.

Finally, as an excellent test to settle if the tone is soft enough to ensure the use of the thin register beyond doubt, require the class to sing so that no particular voice can be distinguished from the others, which will make the tone as that of one voice, and perhaps lead you to doubt if all are singing, until convinced by the movement of their mouths. The tone will seem pretty light and thin, but will be sweet as the trill of a bird.

To Distinguish Registers.

The difficulty which may be experienced in attempting to distinguish between the two registers must not be disregarded. If the voices of children were never entrusted to any save professional voice-teachers, a very few hints upon their management would perhaps suffice, for the ear of the teacher of voice and singing is presumably trained in the differentiation in tone-quality occasioned by changes in the action of the vocal mechanism. When, however, we reflect that of the thousands of teachers in our public schools very few, indeed, have ever heard of voice-registers, and much less been accustomed to note distinctions in tone-timbre between them, the need of a detailed plan of procedure is seen.

It is safe to assert that anyone with a musical ear can with a little patience learn to distinguish one register from another. There is no vocal transition so marked as the change from thick to thin register in the child-voice, unless it be the change from the chest to the head or falsetto in the man’s voice. Suppose we take a class of say twelve from the fourth year averaging nine years of age. Give them the pitch of C.

Require them to sing up the scale loudly. As they reach the upper tone

stop them and ask them to sing that, and the two tones above very softly. The change in tone will be quite apparent. The tone used in ascending the scale of C, singing loudly, will be reedy, thick and harsh—the thick register. The tone upon

singing very softly, will be flute-like, thin and clear—the thin register. Again, let them sing E first line with full strength of voice and then the octave lightly, or have them sing G second line, first softly and then loudly, or, again, let them ascend the scale of E singing as light a tone as possible, and then descend singing as loud as they can. In each case the change from thick to thin voice, or vice versa, will be illustrated; and in singing the scale of E as suggested, the break of voice a little higher or lower in individual cases will be noticed. It is quite possible that some members of the class may use the thick voice on each tone of the descending scale beginning with the highest.

Care must always be taken that in singing softly the mouth be well opened. The tendency will be to close it when required to sing lightly, but the tone, then, will be nothing but a humming noise. It may as well be said here that a great deal of future trouble and labor may be avoided, if, from the first, pupils are taught to keep the mouth fairly well opened, and the lips sufficiently apart to permit the free emission of tone. Let the lower jaw have a loose hinge, so to speak. It is well enough to point out also that when the lower jaw drops, the tongue goes down with it, and should remain extended along the floor of the mouth with the tip against the teeth while vowel-sounds are sung.

There are many other ways than those already suggested, in which the distinction between the registers may be shown. Let the whole class sing

softly, and then the next lower tone or tones loudly. The thick quality will be heard easily enough. Or from the room select a pupil, one of the class who has, in the phraseology of the schoolroom, a good voice, to sing the scale of D ascending and descending. If the pupil be not timid, and the kind referred to are not usually, and if loud singing has been customary, the tone will be coarse and reedy throughout. Now let another pupil who has what is called a light voice, and who daily sits modestly in the shade of his boisterous brother, sing the same scale. The tone in all likelihood will be pure and flutey, at least upon the higher notes.

Take the scale of E now and have each pupil in the room sing it alone. There may certainly be some who cannot sing the scale, and if the daily singing has been harsh, the number may be large, but postponing the consideration of these so-called monotones and directing the attention wholly to the quality or timbre of tone used by the different pupils, it may be observed that some use the thick voice only, some use the thin voice, others break from the thick voice into the thin at one pitch as they ascend, and from the thin to thick voice at a lower pitch as they descend; and if required to sing again, may perhaps pass from one voice to the other at different pitches. Others again may exhibit a blending of the two voices at certain pitches. In fact, unless the degree of power is suddenly changed, a break from the thick tone upon one note to the thin tone upon the next note or vice versa seldom occurs.

The same illustrative tests may be applied to children of any grade, or of any age up to the period when the voice changes, only the break will occur lower with older pupils. Suppose, now, the teacher has obtained a tolerably clear idea of the differences between the registers; she should then arouse a perception of tone-quality in her pupils. Let the beauty of soft, light tone as contrasted with loud, harsh tone be once clearly demonstrated to a class, and the interest and best efforts of every girl or boy who has the germ of music within them will be enlisted. Those who grumble because they may not sing out good and loud may be disregarded, and with a clear conscience. The future will most likely reveal such incipient lovers of noisy music as pounders of drums and blowers of brass.

Select now a number of the class who upon trial have been found to have light, clear voices and who are not prone to shout. Let them sing

and then slowly descend the scale of E or F, singing each tone softly, and those below C