as to grate them together, emitting a half-vocalized, constantly interrupted sound.

10. Elementary Vowel Sounds. (See §§ 3, 4.)

a. Practice the sound of oo in coo, but much less than aw in jaw,

oh in woe, and ah in father.

b. It is best to practice aw between about f and b, oo quality of aw for a note or two above this; then oh

; an on

the highest (speaking) notes; ah is best for the lowest notes. Tenors and sopranos should practice most between f and b (as above), bassos and contraltos between d and g. Avoid practicing too high.

RATE.

Practice oo, but especially oh, aw, and later, ah.

I.Effusively. Walking slowly, with arms akimbo, sound, as long as possible, but not after you lack in breath, a soft, low oo.

II. Expulsively. Utter, by contracting the abdomen, with moderate force, repeated sounds (a second or two long) of o-h! a-w! etc.

III. Explosively. Utter, by contracting the abdomen, short, sharp, ringing tones, oh! ah! etc.

When rightly given, a match held in front of the mouth will not be blown out by the breath.

In this way cough, yawn, sob and laugh out the sounds.

MODE.

Inhaling through nostrils as in breathing exercises, expelling breath by contracting the abdomen, and allowing none to escape before vocalizing it, repeat over slowly— I. woo, woo, etc.

After a few repetitions, lowering the chin and bringing it forward slightly, and retaining the oo quality of the tone, pass on to woe; thus: woo, woo, woe, woe, etc.

After a few repetitions drop the w, yet keep the vowel where it was with the w before it; thus: woe, woe, oh, oh, etc.

Practice oh, on a comparatively high key, for five or ten minutes.

When aw can be made properly, as indicated below, bringing forward the chin, lowering the chin and pitch, and retaining the oh quality of the tone, pass to aw, aw, etc., and from aw, drawing the chin back and down a little, to ah, ah, etc.

II. Keeping the tongue as flat as possible behind, with its tip against the lower front gums, push forward the lower jaw, open mouth wide, draw in the breath as if about to yawn, and with the mouth in this position utter from abdomen, at a medium pitch, for five or ten minutes, haw, haw, etc., aw, aw, etc.

Aspirate slightly, and drop h when sure that the sound is made from the abdomen.

After a few days pass from haw, aw, down the scale to hah, ah, and up the scale to ho, oh, as indicated in the last exercise. c. To keep the mouth open, place part of a match-stick between upper and lower teeth, one to one and a half inches long for aw, shorter for oh, longer for ah.

It will take the beginner many weeks to learn to make these sounds properly, and he must always continue to practice them.

11. Elementary Consonant Sounds. (See § 6.) Contracting abdomen with each utterance, and taking care not to pronounce the name of the consonant, and not to sound the vowel following it, repeat the vocal sounds indicated by the sub-vocals and breathing sounds by the aspirates:

EXERCISES FOR ADVANCED SCHOLARS.

12. Moving the jaws vigorously, repeat oo-oi-ai-ou, oo-oi-ai-ou, etc.

a. In uncultivated voices, the muscular effort of articulating the consonants closes the back of mouth and the throat, thus keeping the vowel sounds down. In stammering and stuttering, the chief trouble is the same; i.e. the articulation, so to speak, swallows the vowel. So practice words containing consonants and open or long vowels, keeping vowel sounds as near the lips and the throat as wide open as possible, with the lower jaw forward and the throat in the position of wailing. If the exercise tires the muscles on the outside of the throat, no matter.

b. Repeat the words in § 11, using, at first, a separate action of the diaphragm with each consonant, and dwelling upon each very distinctly, thus: b-o-b, d-au-d.

Also,

*Also, kng in k(i)ng.
+ Practice much on low tones.
Do not practice these unless you lisp.

nine

mouthing

A cultivated voice out of practice can be prepared for public speaking by a two days' repetition of the above exercises.

c. Moving the lips and diaphragm vigorously, repeat with ē and short vowels

Wee-weck-wick-wack-wock, or quee-queck-quick

quack-quock.

Learn to use the open vowels with consonants, and the short vowels will usually take care of themselves.

d. Practice difficult combinations of consonants with and without vowels. (See § 6: IV.)

Add also t or d and st to the first three columns of the following:

13. Pitch and Time. (§§ 35-96.)

Practice with different degrees of loudness and kinds of stress, with long and short slides in slow and fast time, the following inflections, and also the examples under a, b, c, d, h, i, and §§ 39–42.

In the following the small preliminary note, in connection with each inflection, represents a slight slide of the voice that occasionally, especially in connection with terminal or median stress (§ 15), precedes the real inflection. This makes the voice in the downward inflection, for instance, move thus, rather than. This preliminary movement of the voice is not represented in the marks used in this book, except in the case of the upward circumflex ~, in which, because it is exceptionally important, it is marked lest it should be overlooked.

It's a glòrious, a splèndid project! It's abominable,

Indéed, is it só? Did he say só, and to you?

Oh, you meant no hârm,— ôh, nô, yôu are pûre.

e. Practice the scale both up and down with a long median swell on each note. This exercise, especially with

oo, will also cultivate pure quality.

f. Sound alternately a high then a low ah, aw, or oh. Develop low tones by practicing a low g, d, or b consonant element, or low whispered u in up; high tones by using them. Never practice too high.

g. Base or contralto voices should gain perfect command of musical notes between mid e and g. Tenors and sopranos between mid g and b.

h. Read the following, beginning low, and gradually ascending the scale on each syllable, and ending with the rising inflection :

Do you mean to tell me that you could have thought that I could go all around town and tell everybody that I happened to meet that I could believe such a mean story about you as that?

i. Read the same, beginning high, and gradually descending to a falling inflection. Also,

gradually,

rising,

high,

lower,

lower,

low,

Of death and of life;

Through the veil and the bár

Of things that seem and áre;

Even to the steps of the remotest thrône,
Down!

down!

down!

Practice exercises in §§ 149-151; § 97; § 92: a, b, c.

14. Force. (§§ 99-115.)

Practice explosively, expulsively and effusively,―i. e. with different degrees of abruptness and smoothness, both loud and softthe exercises in §§ 10-12.

a. Also, with different degrees of loudness, then with abrupt explosive and expulsive force, at medium or low pitch

FORWARD, FORWARD, FORWARD, etc.

Read extracts in §§ 107, 110, 111, 114, 118, 149: b, d, and §§ 211, 213.

b. For smooth force, make at medium pitch, long, swelling sounds of oo (§ 13: e), beginning and ending soft, with the middle loud.