In a recent book on public speaking, the statement is made that it is all well enough, if it so happens, for a speaker to have a pleasing voice, but it is not essential. This, though true in a sense, is misleading, and much teaching of this sort would be unfortunate for young speakers. It would seem quite unnecessary to say that beauty of voice is not in itself a primary object in vocal training for public peaking. The object is to make voices effective. In the effective use of any other instrument, we apply the utmost skill for the perfect adjustment or coordination of all the means of control. We do this forthe attainment of power, for the conserving of energy, for the insuring of endurance and ease of operation. This is the end in the training of the voice. It is to avoid friction. It is to prevent nervous strain, muscular distortion, and failing power, and to secure easy response to the will of the speaker. The point not wholly understood or heeded is that, as a rule, the unpleasing voice is an indication of ill adjustment and friction. It denotes a mechanism wearing on itself--it means a voice that will weaken or fail before its time--a voice that needs repair.