used here technically, not arbitrarily. Overtones are not confined to the
voice, but are those constituent parts of any tone which are produced by
the vibrating segments into which any vibrating cord will divide itself.

Any cord, or string, stretched between two given points, when struck will
vibrate throughout its entire length in waves of a certain length and with
a certain degree of rapidity, according to the tension of the string. This
vibration of the entire length of cord gives forth the tone heard as the
fundamental pitch or tone. Besides this fundamental or primary vibration,
the movement divides itself into segments, or sections, of the entire
length. These sections also have vibrations of their own which are of
shorter length and more rapid motion. The note given off by these
subdivisions is, of course, on a higher pitch than that produced by the
fundamental vibration of the cord; hence, they are higher tones, or
overtones. It will be remembered that pitch depends upon the rapidity of
the sound waves or vibrations. This subdivision of the vibrations is
incalculably multiplied, so that it may be said to be impossible to
determine the number of overtones accompanying the fundamental tone. What
the ear hears is the fundamental pitch only; the overtones harmonize with
the primary or fundamental tone, and enrich it. Since this is a law of
vibration, it is unscientific to speak of giving an overtone, for all
tones contain overtones. Where these overtones are interfered with by any
imperfection in the instrument the result is a harsh or imperfect sound.

In relation to the voice it should now be clearly understood that since it
is the overtones which enrich or give a harmonious sound to any tone, and
since all tones (low as well as high) have overtones as constituent parts
of their being, therefore the whole range of the resonant cavities of the
voice should, for the production of pure tone, be open to all degrees of
pitch, in order that the overtones may find their appropriate