throat to his lungs as easily and quickly and instinctively as
the pianist passes his fingers from the treble to the base notes
on the keyboard.

The test of any theory is--How has it worked in practice? The
method of voice production here recommended has given the writer
advantages that it would be difficult to overestimate. Lungs
naturally weak grew to three times their former size and
strength; his voice increased in depth, richness and resonance;
though constantly speaking in large churches for years, he has
never known what hoarseness, sore throat or huskiness is.

A method that to him has been worth untold gold may not be
without advantage to his readers.

[Side note: Resonance]

We must, however, have more than speech; we must have musical
speech. This is acquired by resonance and inflection.

To send a stream of air from the lungs and vocalise it on its
outward passage is not enough; by this you produce only a tiny,
impoverished voice that conveys no force and awakens no emotion.
There is something wanting; that something is--Resonance. It
supplies richness and effectiveness to the stream of sound.

[Side note: An illustration]

The difference between speech stripped of resonance and
accompanied with it is best illustrated by a simple experiment.