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132 with us; but it is our opinion that in choral performance at least, the tone rather than the words should be sacrificed if one or the other has to give way, and the choral conductor is therefore advised to study the use of the consonants most carefully, and to find out how to make use of every means of securing well enunciated words from his body of singers.

The next point to be noted is the importance of what vocal teachers refer to as the "movable lower jaw," this, of course, implying absolute (but controlled) relaxation of all muscles used in singing. Without relaxation of this sort, the tone is very likely to be badly placed, the sound seeming to come from the throat, and the whole effect being that of tone squeezed out or forced out instead of tone flowing or floating out, as described in a previous paragraph. This difficulty is, of course, most obvious in singing the higher tones; and one remedy within the reach of the choral conductor is to test all voices carefully and not to allow anyone to sing a part that is obviously too high. But in addition to this general treatment of the matter, it will often be possible for the director to urge upon his chorus the necessity of relaxation in producing tone, thus reminding those who tighten up unconsciously that they are not singing properly, and conveying to those who are ignorant of the matter at least a hint regarding a better use of their voices.

A vocal register has been defined as "a series of tones produced by the same mechanism." This means that in beginning with the lowest tone of the voice and ascending the scale, one comes to a point where before going on to the next scale-tone, a readjustment of the vocal organs is necessary, this change in the action of the larynx and vocal cords being felt by the singer and heard by the