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Louis Glotte soon disappeared among the bushes, and then Jadwin led the way to where a fallen tree lay. "Tie up the horses," he ordered, and it was done. Next the tree trunk was pushed into the stream and all straddled it. By means of rude paddles cut from tree boughs they ferried themselves to the opposite shore. "Wait!

As James Morris' pistol came up the Frenchman's gun was placed on the rough table and his pistol followed. Glotte might have showed fight, but he saw that such a course would be worse than useless. He had walked into a neat trap and with his eyes wide open. "Louis Glotte," said James Morris sternly, "I want you to tell me the truth, do you hear?

"Who were the others?" After Considerable hesitation Louis Glotte named them over. Then James Morris questioned him concerning the Wanderers and learned that they had been headed by their chief, Flat Nose. The other red men he knew little about, but he said they were a dirty, irresponsible tribe, willing to do almost anything for the sake of getting provisions or rum.

It must become second nature with the singer, a physiological adjustment in answer to a psychical concept a detail, in fact one of the most important details, in that true physiology of voice-production which also takes psychical conditions into consideration. The coup de glotte, translated as "stroke of the glottis," refers to the manner in which a note should be attacked.

"They think ze pack-train carry much rum," said Glotte. "Verra mad when za found out not so." In the end he told practically all he knew, being assured that he would not be harmed if he made a full confession. Jean Bevoir and Flat Nose had led the attack, in which four of their party had been killed or wounded.

The emotional vocal effect will not be nearly so great as when the emphasis is put on "love" in which the vowel o is colored by the consonant l. This can be explained physiologically. All vowels primarily are made in the larynx by the vocal cords. The coup de glotte really is the process of vowel-making without the aid of consonants.

"No fighting now, no!" And he laughed shortly. "No, I don't reckon there will be any fighting," answered the trader. "But if it comes, I am ready for it. The Indian can't come in, but you can, if you wish." And he threw a ladder over the gate, keeping hold of the top. Not knowing what a trap he was walking into, Louis Glotte spoke to the Indian in his native tongue and then mounted the ladder.

For coup de glotte conveys the idea of shock, hence creates an erroneous impression upon the mind of the singer. It is spontaneous adjustment, and neither shock nor even attack, that creates artistic tone. "Voice and Song," by Joseph Smith, expresses very well the combined psychical and physical conditions that should prevail at this important moment.

"That must mean Jean Bevoir!" cried Dave. "This Glotte must be another of Bevoir's rascally companions." "To be sure," put in Sanderson, "And Bevoir must mean the attack that was made on the pack-train." "I think he will rejoin Bevoir by to-morrow sure," said Tony Jadwin. "And then we may learn what has become of Sam." While one or another remained on guard during the night the others slept.

This faulty action is due chiefly to faulty attack a faulty coup de glotte manifest mainly on initial vowels in an audible stroke, shock or check and in the emission of unvocalized breath. This latter is the so-called spiritus asper, because the emission of unvocalized breath which precedes phonation gives an aspirated or h sound, so that, instead of ah, we hear haa.