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34. The Nasal Quality.-There is a great difference between the entire absence of nasal resonance and that quality which shows it to excess. Its absence cuts off and destroys the legitimate sounds of m and n, corrupting the entire speech. This is caused by a closing of the nasal passages by a physical defect. The second fault is accounted for, by a constant use of the m and n sounds where

they do not belong. This last may be used very judiciously in impersonations requiring it, but it should be vigilantly guarded against at other times, as a vulgarism. A certain resonance, suggested by these sounds, for proper tone-centring, is to be cultivated, however.

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35. For Tone-Centring and True Resonance. The following may be chanted slowly, giving time-quantity to l, m, n, rough r, ng, and the long vowels; use medium pitch and light effusive pure tone:

"Tell me not in mournful numbers,
Life is but an empty dream!
For the soul is dead that slumbers,

And things are not what they seem." Chant from middle C to F and return, using one line for each letter of the scale. Also repeat, using the scale from middle C to C above, and descend; also from G to C above and C below or middle C.

36. The Aspirate Pure Tone.-The following may be practiced three times in a loud whisper; the fourth time it may be slightly vocalized. This differs from the aspirate quality. "Ha! could they see these bags of ducats, and that precious pile of ingots and those bars of gold, their eyes, methinks, would water!"

37. Time.-This is an important element to be considered in the ex

pression of thought, whether by words or by actions. It is impossible to maintain slow movement in utterance without some knowledge of those sounds most closely allied to an expression of magnitude and

In the

importance. Therefore, short sounds may not receive long time. primitive formation and adaptation of words to nature's voice-indicators, we notice that long sounds occur where they are appropriately placed; as, l, m, n, r, ng, ā, ē, ī, ō, u. Being sounds which may be prolonged, they usually occur in appropriately important words. For example, in lin "full" and in "fill," there is in each a thought of increase or enlargement. In "roll" and in "ale" the sounds admit of time and great continuation, appropriate to the majority of its

use.

Short time sounds are also felicitous in adapting themselves to the requirements of expression. Press the lips closely together, and then open suddenly on the word "burst." The word is fully suited to express force suddenly let loose. "Pop" will do equally well to express the sudden opening of a grain of corn on a hot stove-lid. Words composed of short sounds, however, are sometimes very important ones in a sentence, but their importance must be made apparent by other methods, and not by prolonging them.

38. Rule for Time.-Objects of import call for slow time.. Unimportant subjects call for quick time. Therefore, all descriptions of grandeur, large objects, grand and heroic deeds, should be given in slow time. Quick time admits of quick grouping, but the proportional length of long and short sounds should still be observed.

39. Example of Quick Time."My-little-boat flew-fast." "It -snows,' cries the schoolboy. 'Hurrah!' While-swift-as-the-wing of-a-swallow-he's out."

40. Example of Great Importance, with the Haste of Great Earnestness.-Expulsive breath: "The lifeboat! Man the life-boat!" The long i and o in "life-boat" give the word time according to its significance.

41. Lung-Function and Structure,

with Special Breathing-Exercises.— The more sound, capacious, and active the chest-functions, as evidenced by deep respiration, the greater will be the vital capacity, and the greater the chances of recovery when ill. To secure this, the neuro-muscles of respiration should be trained to larger action. This may be done by practicing the exercises here given. To those already somewhat troubled with pulmonary weakness they are invaluable. They bring the head, neck, shoulders, and thorax into such positional relations, that the lungexpansion is facilitated and the entire chest enlarged and strengthened.

42. Exercise for Chest-Expansion.—— Take fundamental position, as illustrated by wall test. Place forearms in a perpendicular position, by flexing elbows, hands, palms forward, slightly closed, with knuckles in front of shoulder-tips. Take a full breath and hold it, while striving to touch elbows in front, and while bringing them to first position. Do this with slow, steady movement and then emit the breath in a soft, prolonged manner; then in an explosive manner. Repeat three times.

43. Chest-Extension.-Place the ' forearms in a horizontal position forward at right angles with the body and upper arm; hands with palms up, slightly closed. Inhale deeply and hold the breath, while carrying the hands straight forward, and turning them over, energizing them to finger-tips. By carrying the chin in, increase the distance between it and finger-tips, by opposition of movement. Bring to first position with steady energy and exhale suddenly with explosive force. Repeat.

These exercises, as well as all others that are given for chest- culture, lose their beneficial effects if taken with any waist - restriction whatever. The air should be pure and sunny if possible.

44. Side Control.-Let a deep in

halation expand first abdomen, then sides, while fingers are interlaced. behind. Keep the sides firmly out while counting ten at each breath.

45. To Exercise a Weak Lung.Place the hand of the strong lung under arm-pit, fingers forward; place the finger-tips of the other hand on top of head. Bend over strong side and inhale, carefully at first, not crowding the Inhale three times. As the lung strengthens, breathe deeper, with an increased number of inhalations. When both lungs are small or weak, reverse this exercise.

weak lung.

46. Upper Chest Culture.-- Flex arms direct at sides until finger-tips rest on shoulders. Push elbows far up, inhaling; lower them while exhaling. Repeat, but not to a point of weariness. Drop arms at sides.

47. To Correct Shoulder Drooping.-Extend arms at sides on a level with shoulders. Carry finger-tips to top of head. Inhale, and hold the breath while pushing the hands straight up until palms meet, and descend again, finger-tips to head. Exhale, and let arms drop at sides. Repeat.

48. Upper Intercostal Muscles.Raise arms direct from sides, palms up; energize fully; fill lungs and hold, while the entire arm from shoulder moves in a circle twice. Alternate and repeat, exhale slowly and drop arms.

49. Dorsal Muscles.-Extend arms in front, palms down, level with shoulders. Inhale; hold while making circles upward and outward, twice. Drop hands and exhale.

ning after each little breath at one, until ten is counted.

51. Lung-Ventilation.-Place finger-tips on chest and exhale until the lungs are apparently exhausted of air; allow the elbows to fall forward, and the chest to sink in. Inhale slowly until the lungs are fully inflated. Repeat. This should be done where there is pure, sunny air.

52. To Increase Depth of Chest by Sternum Raising.-Press hands firmly just below the waist-line. Contract abdominal muscles and hold them while the chest raises. Strive to keep the chest out as you exhale. Repeat, without relaxing the abdominal muscles. The shoulders should be perfectly immovable, and the poise decidedly forward.

53. To Enlarge Intercostal Space.Blow through a very small tube, as a pipe-stem, holding it to the mouth at first eight seconds, and so on to twenty seconds, or until the entire breath is exhausted. Keep the chest and the shoulders quiet, and let the diaphragm do the work.

54. To Strengthen Anterior Walls of Chest.-Fold arms so high that each hand grasps the opposite shoulder. Take several deep breaths, holding each one a few seconds before exhaling.

55. To Promote Lung-Growth.Have weight on forward foot well balanced. Place palms of hands, fingers forward, under arm-pits. Hollow the back, striving to throw chest forward. Take several slow, deep respirations.

56. Compulsory Breathing.-This should be practiced by everyone daily. The lungs, without some

50. To Keep Breath-Supply.-To conscious supervision in in breathknow how to do this is very impor- ing, contract inactive and indotant to all good speakers and singers lent habits. The more active when executing long and exhaustive the mind and the more capable passages. Take a normal breath, of deep concentration, the quieter count one; draw a little air into the the breathing becomes. The respilungs very quickly, count two; a little ratory muscles soon learn to increase more, count three; and so on, begin- their voluntary action, if trained by

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tity will in most cases produce breathlessness. The walk on a cold day should begin at a moderate gait. After the lungs have become somewhat accustomed to the cold air, the step may be quickened and deeper inhalations taken. All chest-expansion is the result of increased size of the lungs. This increased size is attained by repeatedly filling out ordinarily inactive air-cells. Brisk walking greatly facilitates this, thus working upon the chest from within outward.

[To be continued.]

Open Throat: What It Is and How Produced.
BY CHARLES BANNATYNE.

LL writers on voice-production agree in saying that good tone necessitates keeping the tone forward in the mouth (forward resonance), and a supple open throat. The syllable koo is recommended for practice, in order to gain these two important fundamental requirements. The writer maintains that supple open throat should be acquired before any attempt at vocal production is allowed.

Let us first consider the points which go to the definition of open throat in its truest sense. Open throat necessitates: (1) A low position of the larynx; (2) depression of the epiglottis; (3) flattening and hollowing of the tongue; (4) elevation of the soft-palate, and consequent arching of the faucial pillars. How, then, is open throat to be acquired? Many well-known vocal teachers struggle in vain, both in their writings and in their teachings, to explain the acquirement of it. Some advocate the use of a teaspoon to keep the tongue down, others advocate practice with the aid of a looking-glass. The writer also advises

students of singing to practice with a looking-glass, but certain actions. must be taught first. Reader, have

you ever yawned ? If you have yawned, and watched the position of your throat and tongue, you have seen the true position of these parts for good vocal production. What does a yawn consist of? It consists of (1) a gradual dropping of the lower jaw; (2) a short, deep inspiration; (3) a long sighing expiration. The first two parts of it are of the greatest importance to singers. Take your hand-looking-glass, and watch the tongue and back of the throat while performing the "yawning movement," keeping the free fingers. of the other hand on Adam's apple. What occurs? The larynx (Adam's apple) sinks, the tongue flattens, and becomes hollowed in the centre, the soft-palate rises, and the faucial pillars also rise into an arch during the first two movements and return again to their respective normal positions during the final or third movement. We easily see from the above explanations that what we might call the "yawning movement" is of the very greatest

ness.

After having practiced koo with a whistling intonation for some time, give it its true pronunciation, at the same time mentally performing the yawning movement, and holding down the breath, and you will produce true vocal tone. Naturally, the palate and the fauces elevate and tighten during the production of many sounds and syllables, but if the larynx be sufficiently below the mouth, and the root of the tongue well hollowed and depressed, the throat still remains very open toward the lower part, although the upper part toward the uvula be contracted, only a little more energy is required to keep the tone forward in the mouth. As an example of the power that can be acquired by the "yawning movement," the writer begs to state that, with the tongue protruded to the utmost limit, he can still hollow its root, and keep his larynx low, and his fauces wide open, his fauces and soft-palate being meanwhile highly elevated, and can even then produce good tone. This is contrary to the opinions of some writers, who maintain that "when the tongue is drawn back the larynx is forced down, rising when the tongue is brought forward" (Mandl). A few minutes spent before a looking-glass practicing the "yawning movement," and afterward trying it with the tongue protruded, will soon convince any singer that the protrusion of that organ does not influence the rising and the falling of the larynx as much as many writers would have us believe.

importance as a primary study, for completely eradicates the throatiby its help that greatest desideratum, open throat, is obtained. After having practiced that movement for some time, and so strengthened the muscles on which it depends, an attempt should be made to perform it without inspiration, the mouth being opened wide enough to admit the breadth of the two fore-fingers. After having mastered it in that fashion, try to produce it with the mouth closed, allowing your physical feelings to guide you. Till it has been so mastered and made a voluntary act, no attempt should be made to produce tone. Having mastered it, proceed to acquire shock of the glottis-i.e., the opening and the closing of the vocal chink, by alternately breathing and singing the syllable koo. Breathing opens the glottis, and singing a tone closes it; these are established facts. Koo assists "forward resonance," but until the "yawning movement" is completely under the control of the will, even koo can be sung throatily. How is this? Simply because the larynx rises, and the whole throat tightens, you will say. You are correct so far, but there are other important factors concerned in the production of throaty tone. In addition to "screwing up the throat," and spasmodically contracting the whole larynx, stiffness of the epiglottis plays an important part. The writer can produce throaty tone while singing ah, with the softpalate elevated, and the faucial pillars very wide. The explanation is, as proved by the laryngoscope, that the epiglottis, instead of keeping its normal vertical position, and becoming depressed, rises a little, and assumes a slightly horizontal position, so narrowing the upper opening of the voice-box, and shutting in part of the sound. The "yawning movement" cures this tendency on the part of the epiglottis, and afterward koo, with a slightly whistling sound,

To keep the tongue flat many teachers advise the use of a teaspoon, but this only produces, by a roundabout method, the position of the tongue and vocal apparatus acquired easily in five minutes by the "yawning movement." The teaspoon causes retching and vomiting if used.

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