The Perfect Voice Can Happen For Anyone!

The Perfect Voice in 30 Lessons!

These lessons have been around since the early 1900s. However, like many other wonderful contributions to humanity, it has been stifled from our basic knowledge which has robbed us of this simple truth and that is: ANYONE CAN HAVE A PERFECT VOICE!  On this website, you will find these scientifically proven Lessons on “The Perfect Voice” that will ultimately give you an entirely perfect vocal organ. It is an absolute guarantee!

Basically, after all this time, many teachers still do not know these scientific teachings that will absolutely correct every flaw that your voice currently has (including stuttering, lisping, throaty or screeching voices). In fact, THESE LESSONS will leave you with the voice that you have always dreamed of because, for the first time, you will be working with Nature’s law. However, most of the time, we fall for gimmicks and shortcuts to get the voice sounding up to par for a while but regrettably you will end up with a damaged voice.  I cannot emphasis how important it is for EVERY person to study these Lessons in order to have absolute control over their voice because the voice is something that can be used in everyday situations and even provide you with something valuable to contribute to the world!

Each Lesson comes with an Introduction that you can read, learn and become inspired by. At the end of each lesson are exercises that will fix your voice for good. It is an incredible thing when you realize that you have, within you, latent talent that you can tap into today! So, without further ado:

Welcome to your vocal journey!


The Exercises for each Lesson are only Available here:


Even so, I have provided you with the intro to each Exercise Here:

The Perfect Voice – 30 Lessons and Exercises – Copyrighted by 2017

all restrictions apply

Lesson 8 – The Perfect Voice

Physiology Of The Vocal Organ


The Tongue

From the description of the various muscles which constitute the tongue, you realize, without doubt, its great importance. As has been said, when the mouth is closed, the tongue fills the entire space within, reaching from in front of the teeth backward into the food pipe. When the mouth is opened, the tongue may be protruded, and many movements may be made, and changes of form and position be assumed by this versatile member of the body. These changes occur during eating, chewing and swallowing, but more especially during speaking and singing. The tongue is not only a most important part of the digestive apparatus and the main organ for tasting, approving or rejecting of food, but it is also a very important part of the vocal organ. We must remember that what we see of the tongue when the mouth is open, that is, the tongue tip and the surface, is only a very small part of it.

You have already learned that muscles are arranged in systems, circles or chains. Each one of a set of muscles forms a link in a chain. One line is as important as another. All of them are needed to support the chain. If one of them should break or be weakened, all of the others are thereby weakened.

In reality, the natural system of the human body is not complicated at all, but simple. It is complicated only to those who have never studied and analyzed it: but when it is once understood, it is simple and beautiful.

As with a seed that grows, the human body reaches its full development, but with this difference: that it can be still further developed by the conscious will to an extent the limit of which is unknown to us. It certainly has never been reached. If we keep alive the spirit within us, that spirit will help us to a self-development in any line that is righteous and helpful to humanity.

Abraham Lincoln is said to be the inventor of a system of developing the eyesight, by voluntarily contracting certain muscles, and by the massaging of the outer parts of the eyes. He thus preserved his own sight.

Every sense can be developed and every single part of the body as well, with this difference: that the senses are developed by a purely mental process, the body and its separate parts by a voluntary physical process. When that process is known you can reach the utmost perfection by a steady continued application of the process.

Now look at Fig. 55 (From Lesson 7).


In it you see illustrated the muscles which can raise the tongue; pull it backward, forward and downward. Imagine the muscles 4 and 6 as having contracted. What will the muscles 2 and 3 do? What will they accomplish that is of interest to us?

The only thing these muscles (the hyo-glossi and chondro-glossi muscles) can do and must do, is to pull the hyoid bone 9 upward toward the tongue. Remember that the muscles 2 and 3 contract. They therefore pull upon every one of their attachments above, forward and below. They cannot, however, pull the tongue either downward or backward, because of the muscles which hold the tongue upward and forward. Therefore, they must pull upward the part which is attached to its lower end, because that part (the hyoid bone and especially its rear horns) is free to move either upward or downward. You must understand this action clearly, because much depends upon this understanding.

The muscles which pull the hyoid bone upward are free, that is, they are nowhere bound to a fixed bone. As are the muscles from the chin and skull, which are attached to the tongue.

When a muscle is tied to a fixed bone, you have no control over it, save the contraction which is natural to all the muscles. But these hyo-glossi and chondro-glossi muscles are free. Another remarkable fact about them is that the principal nerve of the tongue centers in these muscles. We also find here branches of the auricular nerve, which guides the sense of hearing. This is another sure sign that Nature has provided these muscles, and these alone, to control the vocal organ, and to determine both the volume and quality of the voice. If these hyo-glossi and chondro-glossi muscles were not free, that is, if they were bound to a firmly fixed bone, we could never gain voluntary control of the voice. But because of the discovery that these muscles are free agents, and because of the fact that the most important vocal nerves center in these muscles, it is now possible to gain direct control over them, to train them and to make them strong.

Of course, you cannot yet see what all this leads to, for we have not touched upon either the larynx or vocal chords as yet. After all is said and done, you must voluntarily master and control only one part of the vocal apparatus. We cannot have much control over the internal machinery of the vocal organ, and as the internal parts are fixed, both as to position and volume, no training can be given that part. Furthermore, it is neither necessary nor desirable. The internal parts are like the bones of your body; you cannot add to them or change them. They are like the minerals, while the muscles are like the vegetable life, which can be nursed and cultivated to almost any extent.

The important part just now is for you to realize the great importance of these muscles which directly operate the vocal organ. When you once get this point, you will want to continue your practice. You will then feel sure of ultimately being in possession, not only of a good speaking voice, superior in all respects to the average good voice, but that you can equal and even surpass the very best orators and singers.

Think what a wonderful opportunity this opens to you. The power of a fine speaking or singing voice cannot be overestimated. When you fully realize the importance of this discovery, you, who have studied voice, perhaps for years, will understand why even the best teacher have not been able to advance you much beyond the point at which you started. And you whose voices have become worse instead of better, and you who have lost your voices entirely, can now see why that happened.

Neither you nor your teachers were conscious of the voice-controlling force. You had no control over this all-important force; besides, these muscles were weak, at least too weak to offset conflicting muscles. You used what was possible, and trying to go beyond the natural and possible, you arrived at the impossible and lost. But, not you realize your former limitations, you must also realize the almost unlimited possibilities before you.

Physiology Of The Vocal Organ

They hyo-glossi muscle, are attached to the rear horns of the hyoid bone, they therefore mainly tend to pull these horns upward. The body of the hyoid bone (the front part) is not connected with the upward pulling muscles, but it is the part into which the downward pulling muscles are fastened, as you have already learned in the lesson which describes the muscles which pull the larynx downward. Remember the muscles (the sterno-hyoid) which rise out of the breast bone and go upward to the front part of the hyoid bone. These muscles hold the front body of the hyoid bone firmly, so that they hyo-glossi and the chondro-glossi muscles cannot draw the entire hyoid bone upward, but merely its rear horns.

See illustration 37 (From Lesson V)


Examine again the hyoid bone. C represents the body, Cm represent the small horns and Cmj the long horns. Compare this with an ordinary horseshoe. Hold the front middle part of a horseshoe firmly with one hand, and the finger of the other hand pull upward on the two side extensions. You now have a fair picture of the operation of the hyoid bone. In its natural position, that is, in the state of rest, it lies horizontally in an almost level plane, but when the muscles pull the rear horns upward, it stands obliquely.

The two positions referred to above are illustrated in Fig. 59:


In singing, the hyoid bone must always assume this oblique position. Also, in public speaking this position is necessary, though perhaps not at so sharp an angle. The front part of the hyoid bone must be held at its natural level to resist the upward drawing of the front of the thyroid cartilage or Adam’s apple. The horns must rise obliquely to make room for the rear part of the thyroid cartilage, which has to be strongly pulled upward from behind.

Its front part must be held downward firmly, and this is done by the muscles which arise out of the breast bone upward and attach themselves to the front of the hyoid bone. The tilting of the thyroid cartilage upward behind, downward in front, stretches the vocal chords.

The point is: the hyo-glossi muscle is the only muscle in several chains of muscles which directly sets into action all the sections which together make up the entire vocal organ. It is the main spring or keystone on which all else depends. In the course of lessons you will be taught that in the last analysis all good sounds, tones, or articulation are preceded by the contraction of the hyo-glossi muscle. When you have learned to contract it voluntarily you will have positive proof of the superiority of this action over any other. Finally, the voluntary training which you give to this muscle will result in involuntary and automatic action and then your voice is established, needing only continued exercise to strengthen this muscle still more. When you can control the hyo-glossi your voice will be smooth and strong, and it will flow as easily as running water.

In the next lesson the larynx will be described, leading to the consideration of the vocal chords within the larynx. You will then have the complete picture of the vocal organ before you and can fully comprehend the operation of the all-important and infallible hyo-glossi muscle.

Exercises For Lesson 8

Lesson 5 – Part 1 of 2 – The Perfect Voice

Physiology Of The Vocal Organ

The body of vertebrates, of which man is the nest form, has as its basic structure the form of a double tube. These two tubes are closely connected with each other for their entire length. They are parallel to on another and stand in an upright position (vertical).


The front tube (A). Fig. 33, surrounds the so-called vegetative organs (lungs, viscera, heart, etc.); the second tube (B), behind the other, Fig 33, forms the head and spinal column, containing the brain and marrow and nervous system. This second tube distinguishes animal from vegetable life; hence, it is called the animal tube, while the first is called the vegetable tube, showing that the human body belong both to the vegetable and animal kingdoms.

The upper parts of the tubes are considerably extended and widened. The animal tube lies above the vegetable tube. The enlargement of the animal tube forms the brain part of the head. It is called the cranium (Cr.) The enlargement of the vegetable tube forms the face (F). Both together constitute the head. Below the head there is a considerable narrowing of the tubes to form the throat (c). These two tubes are called the trunk of the body (Tr.). In man, as well as in most animals, there are continuations of the trunk for the purpose of motion. These are called the extremities (legs, feet, etc.).

When we examine more closely the two tubes which form the body, we shall see that they serve different objects.

Fig. 34 is a horizontal section of the body.


The trunk is surrounded by bones (O) which are connected by means of muscles. Bones and muscles are the organs which give the body the means of motion. They also support the vegetable tube (V).

The chest – thorax- Fig. 35, consists of the spinal column, the breast bone and eleven ribs:


The head (cranium), the shell which forms the upper extremity of the trunk, consists of two main sections.

The upper section contains the brain, eyes, nose and ears; the lower constitutes the jaw (Fig. 36).


Between the jaw and the head parts proper are the palate and tongue. At the base of the tongue, and inside the jaw, is located the hyoid bone (Fig. 37).

Hyoid Bone – It has the shape of a horseshoe.


It’s main parts are the body ( c ), the large horns (Cmj) and the small horns (Cm).

All the bones of the body are surrounded by muscles which in the main are what we call the flesh. Muscles consist chiefly of substance which can be contracted. Contraction is caused by the irritation originating in the nerves. In the course of contraction muscles become shorter and thicker; on relaxation they resume their natural shape. As muscles are attached at both ends to bones they move these bones toward each other when they contract. The muscles of the trunk belong to what are called “striped muscles”. All striped muscles are voluntary muscles; in other words, we can contract any one or all of the striped muscles voluntarily through the power of the will. Because of this fact, any one of the striped muscles can be isolated and developed by itself, a fact which is best illustrated by the pianist’s fingers. Most muscles are supplied with distinct nerves. The great variety and power of muscles can be seen by an examination of Fig. 38

Most of these muscles support and move the head.


The diaphragm is shown in the shaded portion of Fig. 35. It is a broad sheet of muscles which divides the trunk or body into two parts – the upper, or chest, and the lower, or abdomen. It has the shape of a dome, of which the apex reaches far upward into the chest. It starts from the spine and in circular form follows and is attached to the ribs, thus forming a complete partition between the chest and the abdomen.

Above the diaphragm (shaded portion) and within the chest are the lungs on the right and left side; also the heart, liver, esophagus, and spleen.


The chest is completely surrounded by muscles. The ribs are connected with the spine by means of very strong, but flexible, tendons, not unlike the manner in which a door is fastened to a post by means of hinges. The ribs are fastened in front in the same way to the breastbone. These flexible connections of the ribs with the spine and breastbone make it possible to raise and lower the ribs somewhat as a bird raises and lowers its wings. The raising of the ribs enlarges the cavity of the chest and allows the lungs to expand. The muscles of the chest are employed in raising and lowering the ribs or, as it is called, in “expansion” and “contraction”.

These muscles arise out of the chest, the breastbone and shoulder blades.(Fig. 39 and 40)


The Latin name for ribs is “costales.” Hence, the muscles which connect the ribs with each other are called the intercostal muscles. The chest muscles are on the outside of the ribs, and the intercostal muscles are between the ribs, somewhat like the web feet of a duck; that is, the space between the ribs is lined, and this lining consists of muscles which separate and contract the ribs. Rheumatism of the chest is usually an inflammation of these intercostal muscles.

It was said that the two tubes which form the basis of the body curve inward and become narrow at the upper end. This narrowing process forms the throat. The spine here bends strongly inward at the middle line, and just opposite to this bend of the spine is the hyoid bone, with the body or thick part in front, just under the skin of the neck, and the long horns stretching towards the spine. Between the hyoid bone and the spine is the air tube, and behind it the food pipe. The air tube arises out of the lungs. It is called the trachea or windpipe, and its purpose is to supply the lungs with air and to set the vocal chords in vibration for the purpose of producing sound.

The tube behind this one is the esophagus or food pipe.


 It extends into the stomach. So food passes from the mouth into the food pipe and from there into the stomach.


Why Taking Candy Or Anything Else For Sore Throat or Hoarseness Cannot Help!

Lesson 1 – The Perfect Voice – Introduction

“Every person with a superior voice is a capitalist.  There is always a ready market for this talent, be it as a speaker or singer”

–  Eugene Feuchtinger

The supposition was, that if you speak or sing frequently and for a sufficient length of time for many years, the vocal organ would become strong; but this is entirely erroneous.  What would you think of a piano teacher, whose pupil has told him that the piano at home was in bad shape, that many strings were loose and several keys refused to respond to the touch, if he should say to this pupil:  “Just continue to take lessons and practice daily, the piano will improve as you go on?”

These Lessons will create your voice. Your part is to follow these instructions implicitly.

There is nothing in all infinity, whether great or small, which was not created through the “Word,” hence, there is nothing which is of greater importance than the word and the tone out of which the word is made. Our very thoughts are inseparable from language.

Poor speech habits are a serious handicap.  They impair clearness and accuracy of communication in business and social life.  A general insistence on correct speech, distinct utterance and clear tone would not only increase human usefulness and make life pleasanter, but it would also lessen disease, because it would promote better hygiene of the entire voice tract – mouth, nose throat and lungs. Not only improving the voice but avoiding most throat affections.

While, of course, our daily speech offers by far the largest field for the use of the voice, there is another field in which the voice is the most important factor; that is, the increasing field of song.  A good singer has the world at his feet.

No longer need you spend useless years in expensive study to find in the end that your voice is not large enough, or the compass too small to insure the success that was promised.  Or worse still, to be told that your long efforts have ruined your voice, that your most highly-prized possession has been lost forever.

The quality and strength of the voice is a wonderful asset to every man and woman in his or her fight for recognition, and yet the voice is universally neglected, or is unconsciously destroyed through incorrect training.

The human voice in an unexplored gold mine.  Almost every person will discover that they possess in their voice a latent talent that has been overlooked, a bank account standing to his credit against which they have drawn but few, if any, checks.

In referring to the general neglect of the voice, it must be stated that man has not been to blame; for never until now has there been a reliable, unfailing method of developing it.  The real secret of voice building was only discovered and made practical about 100 years ago. Since then, however, many systems of voice training have been tried by many teachers, but the result has always been the same—if the vocal organ was normal and possessed sufficient strength, the voice developed naturally, provided the particular system did not succeed in ruining the organ; but, if the vocal organ was originally weak, the voice failed to grow and the pupil passed from teacher to teacher, sustained by promises of future results that never were realized.


A physical organ or a piece of machinery can only do work in keeping with its condition or strength. To overtax that which is already weak, is to break it down and destroy its usefulness.  Before we can successfully follow any kind of sport or do any particular class of work, the muscles and functions of the body must possess the strength necessary for the purpose.  To make the attempt without this qualification is to fail. Teachers have been trying to make their pupils sing, trying to force them to do certain things with the vocal organ that only a thoroughly strong, supple organ could do, and never stopping to ascertain if the muscles which control that organ were strong enough to withstand the strain.

However, this is exactly what voice teachers everywhere, for hundreds of years, have done. They have subjected weak organs to strains which they could not withstand and as a consequent result the voice breaks down. However, they knew no better, and hence, they are not to blame.  They did not know how to strengthen the all-important voice muscles, so they had to do the best they could with the imperfect material which came to them.  Their business was to teach the principles of singing and not to create the voice. The student was expected to supply that.

A superior voice is not developed by forcing a weak or imperfect organ to sing scales or other exercises for months and years.  The secret of a grand voice lies in the vocal organ itself. The organ must first be made strong and flexible before it can produce the desired voice.  In a perfect vocal organ expression and singing are as natural as breathing.  The so-called prodigies, endowed with beautiful voices, required little training; they were simply born with a perfect vocal organ and the training they received merely taught them to use their voices in the particular way the public and the operatic manager thought they should be used.  VERY FEW people are born with the vocal organ fully developed in strength, yet all organs CAN be strengthened and built up, no matter how weak they may be; and no matter how strong a vocal organ is, it can be improved.  What this means to humanity it would be hard to estimate.

This method is not simply a course in singing or speaking, asking you to sing certain scales or exercises or to recite certain pieces in such and such a way, claiming, as has been done in the past, that these exercises will develop your voice.

Singers: is your voice small or large? Is there a break in the voice and on what note? Is your voice thin? Is it sweet or harsh?  Do you sing with ease or with loss of breath?

Speakers: Is your voice musical, rotund, full, or is it harsh, thin or husky? Can you articulate distinctly without effort?  Have you any special speech defects, such as stammering, stuttering, or lisping?  Do your facial muscles twitch when speaking or singing?  Any tightness about the throat while singing or speaking?

EXERCISE – Place your finger on lightly against the “Adam’s apple” and sing or speak in your usual way.  Does the “Adam’s apple” rise, fall or stand still?

With a mirror examine your tongue, speak or sing “ah,” as in father.  Does the tongue rise up near the back or fall?  Does it make a groove in the middle?  Touch your tongue near the back, just were the throat begins.  Does it feel hard or soft?

All of these questions are of the utmost importance.  They are an ABSOLUTELY sure indication of the condition of your voice organism.  Knowing these things, you will be taught the correct condition and to develop these muscles by means of special exercises which cover each point, as needed.

You can place ABSOLUTE confidence in this system – it is not an experiment.  After reading this, you will realize what a blessing such a method will become to humanity.   The next great movement of culture; for nothing refines, elevates and idealizes the human mind and character like a beautiful voice.  Its influence for good is unmeasurable.

The pleasure of possessing a fine voice is no longer restricted to the few, but is now the privilege of all.

Even if your voice is only fairly good or ALTOGETHER poor, you can still develop it, by these lessons, into a beautiful voice, but; of course, it will take more time than if your voice is already good at the start.

This method of voice building is unlike any system of voice training that has ever been used before or since its 10 year run in the early 1900’s. To that end, no time or money is wasted trying to train an imperfect organ to do things which are impossible for it to do.  Instead, this method goes straight to the root of the trouble – the physical condition of the organ itself.  One must exercise and build up the controlling muscles until they are fully capable of doing the work required of them.

Voices are ruined by forcing the vocal organ to greater exertion than it has the strength to sustain.  People speak or sing imperfectly, not because they breathe badly nor because they do not place the tone properly or articulate indistinctly, but because their vocal organ is faulty – is not prepared to do the work.

This method corrects the fault, converts the weakness into strength and produces results that will be permanent.

This method does not waste your time, exhaust your nerves and confuse your understanding.  It goes straight to the point and tells you exactly what to do and how to do it, always, of course, showing the reason for the wisdom of each action.

The instructions for the most part can be carried out quietly, privately, in your own room.  Remember, this method strengthens and develops the muscles which control the vocal cords and which determine the quality of the voice.

Every man, woman and child should study this method.  Much of our success depends upon the condition of our vocal organ, which includes the mouth, throat and lungs. Every person with a superior voice is a capitalist.  There is always a ready market for this talent, be it as a speaker or singer, at a high rate of remuneration.

If your voice is weak, uncertain, lacks power or volume, tires easily, gets husky or harsh, or if you suffer from stammering or any kind of throat trouble, it shows that there is a defect in the vocal organ or in the attached muscles.  Besides being unpleasant, this condition is really dangerous.  Unless corrected it is certain to become worse as you grow older.  This method of voice building overcomes these defects.

Ninety out of ever hundred persons could profit by the use of this method, even though they may not wish to become professional singers or speakers.  There are few positions or callings that could not be made more profitable through the addition of a better speaking or singing voice. If you have the ambition to raise yourself above the position you now occupy socially, professionally or commercially, you should learn the secret contained in this great, long suppressed discovery.

You should learn this method, use it and prepare yourself to be heard in the world.  Only those who enter public life and do things worth while, things that help humanity, are remembered and honored.  Consider the possibilities contained in a perfect voice to sway the public’s feelings and win personal fame.  Remember that you carry within your throat an instrument that, if rightly exercised, can be used to earn you an independent living and possibly a fortune.  And furthermore, you will possess the advantage of having your stock in trade (your voice) always with you and at your immediate command.  Certainly this is your opportunity to develop a talent that you can always be proud of.  Nothing is so much admired or wins for its owner such favor as does a “Perfect Voice.”

POINTS TO REMEMBER:  It is not difficult to master, but requires patience and perseverance.  Learn to practice your exercises DAILY, if only for a few moments, for that is the way to accomplish wonders.  A half hour each day is FAR better than ten hours a week spent at one time.

Don’t expect to learn it all in one lesson.  I have read this book three times before transcribing its main points to you here.

Things you will need:  A flashlight (for good viewing of the open mouth) and a mirror.

To avoid skimming over these exercises rapidly, for you cannot gain any permanent benefit in this matter, take on each lesson separately. This is how it was done a century ago.  This is how it ought to be done today.  Remember, you are entering into a great work, not only for yourself but for all of humanity as well.  Please, give it your undivided attention.  Concentrate your efforts and be determined to win.

You may find it a good method to first read a lesson straight through and then go over it slowly the second time.  It should be studied carefully until you feel that you have it mastered thoroughly.  If you are engaged in singing or speaking before the public, be careful to apply what you learn in each lesson. The results will astonish you.

To Begin Go To:

Lesson 1 – Exercises