2. This exercise is the same as No. 1 with the time on each sound increased. Repeat the vowels on the musical note sustained, in three different pitches.

Select a medium pitch and allow the voice to slide down to its lowest note. Each slide must begin on the same pitch. It should run smoothly and must have the same amount of force at all points.

Begin at the pitch determined as above, allowing the voice to slide upward for several notes, observing the same general rules as in the downward slides. Do not allow the voice to become thin or strained at the end.

3. Take a medium pitch, begin at a point and gradually increase in force to the middle, then diminish to the end. This should be a musical note throughout. Any musical instrument will give the correct movement.

Begin at the same pitch as above, exercising care to strike the sound very gently, and allow the voice to slide downward, observing the swell as the voice proceeds.

Beginning on the same pitch, cause the voice to slide upward, observing the general rules as in the downward slide. 4. Strike the vowel forcibly, not abruptly, but with a rounded touch, allowing the voice to diminish gradually to the end. This is a musical note throughout.

Strike the vowel forcibly and gradually slide downward, diminishing in volume to the end.

Strike the vowel full and on the same pitch as above, run the upward slide, decreasing the force to the end.

5. This exercise is the reverse of the preceding as to the application of force, but is the same in movement.

6. These sounds, instead of being well rounded, are exploded. They are struck abruptly, and may be represented by the capital D. They may be made on the musical tone and on various pitches, and may also be inflected. They should receive only a limited amount of practice, otherwise the vocal organs may be injured.

7. This is exercise 1, varied. The difficulty will be to give each sound the correct movement.

8. This represents the tremolo, which is produced by rapid successions of force. Instead of the organs being held firmly and the volume sustained throughout, weakness or emotion causes a succession of breaks. Keep the mouth open and repeat o as rapidly as possible without moving the lips. When the number per second is sufficient, the tremolo will be the result.

Run the upward and downward slides combined with tremolo.

9. This is a combination of exercises. Care should be taken to represent the various movements with exactness. 10. Varieties of movement and degrees of force are here represented.

11. In this exercise degrees of force are shown on the musical tones. It may be given on various pitches.

12. Take a medium pitch, first sound musical; second, rising from pitch selected; third, longer rise; fourth, rises from one note lower; fifth, rises from two notes lower; sixth, longer slide from two notes below pitch selected. In the second part these movements are reversed.

Directions for Chart, Part II, page 25.

X. This exercise (which is the same as X, on Part I) may be repeated.

A.

The first two divisions show forms of stress with gradations.

The last five symbols in the third division represent the acute upward inflection.

B. The first two divisions represent varieties of stress. with combinations.

The last five symbols in the third division represent the upward inflection obscure.

C, D, E.-These exercises represent varieties of slides

and combinations of slides with musical notes and differences of pitch.

F. This exercise requires accuracy of ear. Select three pitches (better Do, Me, Sol). Repeat each vowel with proper pitch and inflection. The pitches selected should be adhered to throughout. Follow the dotted lines.

G. This exercise is the same as the preceding, with the addition of degrees of force. Proper pitch, force, and inflection must be observed.

H, I. These represent a few of the endless varieties of slides and circumflexes. With care these varieties may be accurately represented.

NOTE.-The skillful teacher will vary these examples in many ways by means of the blackboard. He should be able to illustrate any of these exercises. It is well, frequently, to imitate a fault of the pupil, as he can then judge of it from a new standpoint-that of a hearer.

The teacher may use the chart in drill, thus allowing the student to take the instruction through the eye, or he may repeat the sounds and require the pupil to reproduce them. Both methods should be employed.

VOCAL PRACTICE

The primary sound of the larynx is short a or approximates this sound. All other vowel sounds are modifications of this. The vocal chords vibrate as the strings of any other instrument and give forth a sound. The primary sound of the larynx is the same or nearly so with all the vowels. This stream of sound receives certain modifications and moldings which form it into the various vocal elements.

To give these varieties with accuracy there must be nice adjustment of the organs, that the sounds may be made with clearness and precision. Each vowel requires a peculiar and a definite position of the organs. If this is

disregarded, the distinctions are not clear, and one sound. may resemble another.

Let the student sound short a, and without closing the mouth allow it to slowly merge into long a. The stream of sound may remain unbroken, but varied so as to form the different vowels by changing the mouth position and allowing one to merge into the other.

The beauty and the shading of the voice lie in the vowel sounds. While the consonants are necessary for the formation of words, and while for clearness their correct utterance must be observed, yet the shadings and harmonies of speech are in the vowel elements.

In music the vowels are especially prominent, because they are largely the language of emotion, while the consonants are only sufficiently marked for clearness. So in speech, where the emotions are dominant the vowels become more prominent.

DIRECTIONS

In pronouncing the vowels the general movement of the mouth should be up and down, and not from side to side. The throat should be open and flexible. Do not allow the muscles of the throat, internal or external, to become rigid. Do not open the mouth in toward the throat, but down and out. There is a vast difference between activity and rigidity.

The general directions to be observed in forming the vowels are as follows: a should be uttered with the jaw thrown down and out, lips rounded rather than square. e takes the same position in a modified form. Avoid setting the jaw for this sound. In i the mouth is well open, the jaw down and out. The lips will take care of themselves. In sounding o, project the lips and open the mouth well, following very much the shape of the letter. Let the lips move flexibly, not rigidly. For u very much