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Cornell University Library 
 MT 821.G98 1884 
 
 Gymnastics of the voice :a system of cor 
 
 3 1924 022 418 374 
 
Cornell University 
 Library 
 
 The original of tliis bool< is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022418374 
 
DIAGRAM SHOWING THE FOOD AND AIR TRACKS. 
 
GYMNASTICS OF THE VOICE. 
 
 System of Correct Bresthihg 
 
 SINGING AND SPEAKING. 
 
 BASED UPON PHYSIOLOGICAL LAWS. 
 
 A Practical Guide in the Training and Use of the Sing- 
 ing AND Speaking Voice. 
 
 DESIGNED for SCHOOLS and for SELP-INSTEUOTION. 
 
 OSKAR GUTTMANN, 
 
 Professor of Esthetic Physical Culture, Oratory, Dramatic Reading 
 
 AND Acting; Author of "^Esthetic Physical Culture," 
 
 "Talent and School," etc. 
 
 IXjXj-WSTSa.A.'XEXl. 
 
 SECOND EDITION — REVISED AND ENLARGED. 
 
 ALBANY, N. Y.: 
 
 EnG-AR S, WERNER, 
 
 The Voice Press, 
 1884. 
 
Copyright by 
 EDGAR S. WERNER, 
 
 Cogjrright by 
 EDGAR S. WERNER, 
 
 1884, 
 
 [All rights reserved.] 
 
PREFACE 
 
 TO THE 
 
 SECOND AMERICAN EDITION. 
 
 The rapid sale of the first English edition 
 of my " Gymnastics of the Voice," and the 
 speedy necessity of a second edition, lead me 
 to hope that the book will have as prosperous 
 a career here in my adopted country as in my 
 native land. To do all in my power for this 
 end, I have, in accordance with the desire of 
 my publisher, undertaken a complete change in 
 the arrangement of the text, — the substance of 
 which, however, remains entirely unchanged, — 
 for the purpose of making it more intelligible 
 to the general public and better adapted for 
 use in schools. Furthermore, I have added 
 many new and important exercises — never 
 before in print, and used by m,e only, in a thirty 
 years' practice of teaching, — together with 
 several fresh illustrations, while some of the 
 old cuts have been replaced by better ones. 
 
vi Preface to Second American Edition. 
 
 I venture to hope that the form in which I 
 now present it to the pubHc, prepared, as it has 
 been, with the greatest care, will go some little 
 way to meet the requirements of the modern 
 system of education in this country. 
 
 I cannot close without noticing the fact, that 
 my system of breathing, and all pertaining 
 thereto, has recently been adopted by other 
 authors, who have not made mention, with one 
 solitary word, of the source from which they 
 drew. Several, however, — among them the 
 author of the excellent book, "The Old Italian 
 School of Singing," — -'have made use of my 
 ideas and have further developed them, pub- 
 licly acknowledging all they owed to my 
 book, and its share in inciting them to further 
 researches. While fully conscious of the honor 
 done me by the adoption of my ideas, I may 
 yet be pardoned for desiring the credit of them, 
 as some return for the labor and thought their 
 elaboration has cost me. 
 
 OSKAR GUTTMANN, 
 
 1884. 436 East i,iih St., New York. 
 
PREFACE 
 
 FIRST AMERICAN EDITION. 
 
 Twenty-three years have elapsed since the publication 
 in Germany of my " Gymnastics of the Voice," which met 
 with so much favor that a fourth edition has already 
 appeared. At that time, I stood alone in the field, but 
 many others have since taken up the subject. I have not 
 been able, however, to discover a real system, not even 
 in the United States, where I have passed sixteen of my 
 forty-two years of study, acting and general experience as 
 a teacher of oratory and the dramatic art. 
 
 At the request of many of my friends, I now venture 
 to present, in the language of my adopted country, the 
 system which has been followed by such favorable results 
 
 in my native land. 
 
 The Author. 
 New York, 1882. 
 
FROM THE 
 
 PREFACE 
 
 FOURTH GERMAN EDITION. 
 
 When I made the attempt, twenty-three years ago, to 
 write " Gymnastics of the Voice," I was almost alone in 
 this field. So far as I know, no one had published a 
 method of vocal gymnastics for speakers and singers, based 
 upon physiological laws. Some of my colleagues greeted 
 my book with an ironical smile ; others were unable to 
 see the necessity of such a work, while only a few admitted . 
 its practicability. The press, however, judged differently. 
 From all sides favorable criticisms were pronounced ; 
 " Gymnastics of the Voice " was declared to be, beyond 
 all doubt, a most helpful book for oral expression in 
 speech and in song, and it received greater praise than 
 the author had even dared to expect. 
 
 Since that time others have had a great deal to do with 
 the human voice. All sorts of books, by laymen and scien- 
 tists, have appeared. Especially in the last ten years has 
 this kind of literature grown to large proportions, contain- 
 ing much of value with much that is superficial and even 
 positively erroneous and harmful. It would seem, on first 
 thought, that all these new treatises would have superseded 
 and driven out of the market a book which was first pub- 
 
Preface to Fourth German Edition. ix 
 
 lished nearly a quarter of a century ago. Yet, during this 
 period, "Gymnastics of the Voice' has passed through 
 three editions; and so soon after the issue of the third 
 edition, a fourth is demanded. This is certainly the best 
 proof that in this book are treated topics which are want- 
 ing in other books, or which are passed over superficially, 
 but which are of the greatest importance to the speaker and 
 singer. 
 
 And this is the fact. . Among the many books on the 
 human voice which have since appeared, there is none 
 that can show such a system of breathing in song and 
 speech as that given in " Gymnastics of the Voice^" This 
 distinguishing and iridispensable feature was at once re- 
 cognized and commended by the press, which declared 
 such a method absolutely essential for the cultivation of 
 voice and speech. 
 
 In regard to the new edition, the author can say that, 
 ■vfithout in the least injuring the pith, the book has been 
 thoroughly revised and entirely re-written. Many addi- 
 tions and explanations have been made, they being the 
 results of daily teaching and riper experience, as well as of 
 recent scientific progress. Through the kind liberality of 
 the publisher, illustrations are for the first time added, 
 which will increase still more the practical usefulness and 
 value of the book. 
 
 " Gymnastics of the Voice," in its new, enlarged and 
 improved form, will serve, then, as my salutation from 
 over the ocean to all of my friends, and all those who 
 know of my efforts, and who, by their friendly sympathy 
 and interest, encourage me to press on in this field of 
 labor. 
 
 ' The Author. 
 
 New York, 1882. 
 
LIST AND EXPLANATION 
 
 OF 
 
 ILLUSTRATIONS. 
 
 Diagram showing the food and air tracks Frontispiece. 
 
 Figure. Page, 
 
 I. Base position 23 
 
 II-III. Head and neck exercises 24-25 
 
 I V-VII. Trunk exercises 26-28 
 
 VIII-XII. Arm exercises 30-34 
 
 XIII. The form of the abdominal wall, freed from all 
 
 its insertions and stretched out flat, and the 
 position of the muscular fibres of the ab- 
 dominal muscles 38 
 
 XIV. Diagrammatic section of the body. The dia- 
 
 phragm m inspiration and expiration 41 
 
 XV. An anterior view of the thorax 42 
 
 XVI. A posterior view of the thorax 43 
 
 XVII. View of parts seen when the mouth is widely 
 
 opened 45 
 
 XVIII. Representation of section through head and 
 
 neck 47 
 
 XIX. A connected view of the hyoid-bone, thyroid 
 
 body, larynx, windpipe and lungs 49 
 
 XX. Image of the larynx and surrounding parts, seen 
 
 from above 50 
 
 XXI. View of the interior of the larynx, the posterior 
 
 half being cut away 53 
 
 XXII. The glottis in action 58 
 
 XXIII. Section of the head, showing the oral cavity 
 
 and tongue in producing A' .j I06 
 
xii List and Explanation of Illustrations. 
 
 Figure. Page. 
 
 XXIV. Section of the head showing E (as in he) 107 
 
 XXV. Section of the head showing O" (as in cool') .. 108 
 
 XXVI. Section of the head showing T, Z) 117 
 
 XXVII. Section of the head showing TA (in tAin and 
 
 thine) 118 
 
 XXVIII. Section of the head showing Z (in aaure, sh in 
 
 push). J I20 
 
 XXIX. Section of the head showing iV" 123 
 
 XXX. Section of the head showing A", G' 124 
 
 XXXI. Section of the head showing /(T; C" 125 
 
 XXXII. Position of the larynx in chest-tones 183 
 
 XXXIII. Position of the larynx in falsetto tones 183 
 
 Respiratory gymnastics 143—149 
 
 Figures I-XII are taken from my book, ".Esthetic Physical Culture." Figures 
 XVII- XXI are taken from Dr. Louis Elsberg's Tfi£ Throat and its Functions (by 
 permission of the author). Figures XXIII-XXXI are taken from Dr. Ernst 
 BrUcke's Grundziige der Physiologie und Systematik der Sprachlaute ; Vienna; 
 Gerold's Sohn, 1855; ad edition, 1876. Figures XXXII-XXXIII are taken from 
 Dr. Stoerk's Sprache UTid Gesang; Vienna, 1881. 
 
CONTENTS 
 
 Page. 
 
 Preface to the Second American Edition v 
 
 Preface to the First American Edition vii 
 
 From the Preface to the Fourth German Edition viii 
 
 PART FIRST. 
 
 THE ANATOMY OF THE RESPIRATORY AND VOCAL 
 
 ORGANS. 
 Introduction 3 
 
 CHAPTER I. 
 
 Voice and Speech. 
 
 General description and definitions il 
 
 CHAPTER II. 
 The Muscles. 
 
 Section I. — The muscles in general 17 
 
 Section 2. — Directions for practice 21 
 
 Section 3. — Exercises for the muscles of respiration and of tlie 
 
 neck 23 
 
 I. 
 Head and Neck Exercises 24 
 
 1. Turning head to right and left. 24 
 
 2. Bowing of the head forward, backward, 
 
 or to right and left ^4 
 
 3. The head circle 25 
 
xiv Contents. 
 
 Section 3. — (Continued. 
 
 II. 
 
 Page. 
 
 Trunk Exercises 26 
 
 1. Shoulders up and down 26 
 
 2. Shoulders backward and forward 26 
 
 3. Shoulder circle 26 
 
 4. Turning of the trunk (torso) 27 
 
 5. Inclination of the torso forward, back- 
 
 ward, and to right and left .... 27 
 
 6. The torso circle 29 
 
 7. Elevating the torso 29 
 
 III. 
 Arm Exercises 30 
 
 ((z) JVith Outstretched Amis, 
 
 1. Lifting and moving arms forward, down- 
 
 ward and sideway 30 
 
 2. The arm circle 31 
 
 3 . Turning and revolving the arms 31 
 
 4. Balancing and oblique movements 32 
 
 (b) With the Aid of the Shoulder and Elbow- 
 Joints. 
 
 1. Attraction and repulsion 32 
 
 2. Elbows back 33 
 
 3. Movements of the arms behind the back- 33 
 
 4. Stick circling backward and forward. 34 
 
 CHAPTER III. 
 Divisions of the Muscles. 
 
 Section i. — The abdominal muscles 37 
 
 Section 2. — The diaphragm 40 
 
Contents. xv 
 
 Page. 
 CHAPTER IV. 
 
 Organs of Respiration. 
 
 Section I. — The chest (thorax) 42 
 
 Section 2. — The oral cavity. 44 
 
 Section 3. — The nasal cavity (nasal fossae) 45 
 
 Section 4. — The pharynx 48 
 
 Section 5. — The larynx (voice box) 48 
 
 Section 6. — The trachea (windpipe) 52 
 
 Section 7. — ^The air-receivers (lungs) 52 
 
 PART SECOND. 
 
 THE ACTIVITY OF THE VOCAL ORGANS. 
 
 CHAPTER I. 
 
 Production of the Voice. 
 
 Section l . — General remarks 57 
 
 1. The direct attack 60 
 
 2. The indirect attack 60 
 
 3. The spiritus lenis and the spiritus asper 60 
 
 4. Whispering '. 62 
 
 5. The force of the voice 63 
 
 6. The influence of the air-pressure 64 
 
 7. The timbre 66 
 
 Exercise for the rising and sinking of the 
 
 larynx 66 
 
 8. The compass 68 
 
 9. The mutation of voice 69 
 
 10. Registers of the voice 70 
 
 Section 2. — ^The chest-register 71 
 
 Section 3.— The falsetto register 72 
 
xvi Contents. 
 
 Page. 
 CHAPTER II. 
 
 Production of the Voice in Singing and Speaking. 
 
 Section I. — The qualities of tone 74 
 
 1. Metal 75 
 
 ^. Clearness 75 
 
 3. Strength 76 
 
 4. Evenness 76 
 
 5. Power of duration -. 76 
 
 Section 2. — Position of the body 77 
 
 Section 3. — Position of the lips and organs in the oral cavity ... 78 
 
 Section 4. — Importance of a movable tongue 81 
 
 Section 5. — Correct use of the tongue 82 
 
 Exercises for the tongue 83 
 
 Exercise for the soft-palate 87 
 
 Exercise for the lips 87 
 
 Exercise for the lower jaw 88 
 
 Section 6. — How to prevent unnatural straining of the muscles . 90 
 
 Section 7- — Tones produced by incorrect use of the organs 90 
 
 Section 8. — How to prevent nasal tone- 92 
 
 Section 9. — Depression of the larynx 93 
 
 Section 10. — The conditions necessary for a beautiful tone 94 
 
 CHAPTER III. 
 
 Preservation and Strengthening of the Vocal Or- 
 gans 96 
 
Conte:^ts. xvii 
 
 PART THIRD. 
 
 CORRECT PRONUNCIATION OF LETTERS AND COR- 
 RECTION OF DEFECTS. 
 CHAPTER I. 
 The Vowels and the Consonants. Page. 
 General observations 103 
 
 CHAPTER II. 
 The Vowels. 
 
 Section i. — Tlie pure vowels 104 
 
 Section 2. — The nasal vowels in 
 
 Section 3. — The diphthongs 113 
 
 CHAPTER III. 
 The Consonants. 
 
 Section I. — The labial sounds 115 
 
 Section 2. — The dental sounds 116 
 
 Exercise to remove lisping 118 
 
 Section 3. — The lingual sounds 120 
 
 Exercise for acquiring the pure R 121 
 
 Section 4. — The nasal sounds 123 
 
 Section 5. — The palatal sounds 123 
 
 CHAPTER IV. 
 Correction of Defects. 
 Section i. — Connection of a final consonant with the initial vowel 
 
 of the following word 127 
 
 Section 2. — Imperfect vowelattack 127 
 
 Section 3. — Adding wrong consonants and swallowing syllables. 128 
 
 Section 4. — Intoning between words 128 
 
 Section 5. — Wrong use of the lower jaw 129 
 
 Section 6. — Exercise for the correct use of the lower jaw 131 
 
 Section 7. — How the wrong use of the lower jaw may be recog-' 
 
 nized 132 
 
 A 
 
xviii Contents. 
 
 PART FOURTH. 
 
 RESPIRATION. 
 CHAPTER I. 
 Instinctive Rkspiratiox. Page. 
 
 Section i. — Voluntary and involuntary breathing 135 
 
 Section 2. — Three main modes of taking breath 137 
 
 1. Abdominal or diaphragmatic breathing 137 
 
 2. Shoulder or collar-bone breathing 137 
 
 3. Side or rib-breathing 137 
 
 CHAPTER II. 
 Artistic Resimr.\tu>n (in Song and Speech). 
 
 Section i. — Strengthening the lungs 142 
 
 Respiratory Gymnastics . 
 
 Exercises for breathing without interruption. 143 
 Exercises for breathing with interruption.. 146 
 Exercises for breathing by increasing length 
 of each successive respiration, and by alter- 
 nating the different modes of taking breath. 147 
 
 Exercise for closing the glottis at will 148 
 
 Section 2. — Beginning of speech or song 1 50 
 
 Section 3. — State of readiness 150 
 
 Section 4. — Closure of the glottis 150 
 
 Section 5. — Inspiration and expiration to be done as slowly as 
 
 possible, and uniformly 151 
 
 Section 6. — Even during any unusual activity of the lungs, as 
 in moments of excitement or passion, it is quite 
 
 necessary to breathe as slowly as possible 151 
 
 Section 7. — Abdominal or diaphragmatic breathing,' — Rib or 
 
 side-breathing 152 
 
 Secfion 8. — The necessity of consciousness of the diaphragm 
 
 and the abdominal muscles 155 
 
Contents. xix 
 
 Section 8. — Continued. Page. 
 
 Exercises to acquire consciousness of diaphragmatic 
 
 action 1 55-157 
 
 Section 9. — The diaphragm and abdominal muscles usually act 
 
 combined 157 
 
 Section 10. — Correct application of the diaphragm and the ab- 
 dominal muscles 161 
 
 Section 11. — Peculiar phenomena during the application of the 
 
 diaphragm and abdominal muscles 1 62 
 
 Section 12. — Inspiration to be performed noiselessly, and visible 
 
 only to such a degree as is absolutely necessary- 163 
 
 Exercise for inaudible inspiration 165 
 
 Section 13. — Cases in which breathing is audible (yawning, sigh- 
 ing, panting,sniffing, hawking, aspirating, snoring, 
 sobbing, coughing, sneezing, laughter, weeping) . 168 
 
 Section 14. — The air not to be aspirated during phonation 1 73 
 
 Exercises for the singer -. 173 
 
 Exercises for the speaker 174 
 
 Section 15. — Path traversed by the somiding air-column 176 
 
 Section 16. — Position and attack 180 
 
 Section 1 7. — How to increase the compass of the voice 184 
 
 Section 18. — Inspiration to be performed completely and at the 
 
 right time , 186 
 
 Section 19. — Breathing after an impassioned phrase 195 
 
 Section 20. — Breathing while the body is in any position 196 
 
 Section 21. — Not more air to be exhaled than is absolutely 
 
 essential 197 
 
 Section 22. — Breathing through the nostrils 199 
 
 Section 23. — Time and duration of the exercises 200 
 
 Section 24. — What to do if, through carelessness, the lungs are 
 
 emptied too soon 203 
 
 Section 25. — Wearing apparel in regard to breathing 204 
 
 Section 26. — Expression 206 
 
PART FIRST. 
 
 THE ANATOMY OF THE RESPIRATORY 
 AND VOCAL ORGANS. 
 
INTRODUCTION. 
 
 It has often been our lot to meet highly talented 
 persons with the most healthy and powerful organs 
 of speech, who, as soon as they attempted to use 
 them artistically, not only made, a very disagreeable 
 impression upon us, but frequently even forced us 
 to leave the place in which they were speaking. 
 On departing, we would exclaim with regret : — 
 " It's too bad that they do not know how to employ 
 the means given them by nature — what great re- 
 sults they could accomplish ! " 
 
 Then they did not understand how to use their 
 organs? Is singing, is speech, then, an art? Are 
 there laws and rules which must be obeyed and fol- 
 lowed in order to make our speech pleasing and 
 effective ? 
 
 Yes ! song and speech, with proper breathing, 
 are an art. There are laws and rules according to 
 which our vocal organs must work. But how shall 
 speech and song be made beautiful, pleasing and 
 effective ; how shall the difficult art of breathing be 
 
4 Introduction. 
 
 acquired, when the majority of persons not only 
 have no knowledge of these rules, but even cannot 
 name the organs engaged in breathing, speaking, or 
 singing ! They say : "I have breathed from birth. 
 The Creator has given me good lungs, therefore I 
 can speak." And the more they scream the better 
 they think they have spoken ! 
 
 The mere possession of organs, however, is not 
 of itself sufficient for the purposes of speech and 
 song. We must know how to use them ; and the 
 better we can do this, producing the greatest effects 
 with the least expenditure of force, the higher is our 
 culture, the more favorably do we impress the hearer, 
 and the greater are the results obtained. This is 
 proven by those persons of ordinary, yes, feeble 
 organs, who, by the right training and employment 
 of them, not only cause the screamers to be forgot- 
 ten, but accomplish results that astonish the ignorant, 
 who judge only according to the degree of physical 
 power. AH people cannot have figures like an 
 Apollo ; cannot possess a voice as resonant as a 
 bell and as powerful as a lion's roar, yet they can be 
 asked to cultivate and rightly use their organs. The 
 assertion, that the art of acting and of oratory re- 
 quires no rules ; that, indeed, it will not submit to 
 any, but that the inspiration of the moment must do 
 
Introduction. 5 
 
 everything, is made continually by certain dramatic 
 novices. They learn their parts by heart — a 
 thorough understanding and mental assimilation of 
 the matter is out of the question, — and play them 
 just as it happens to go. Then, if by some chance, 
 owing, perhaps, to their excellent talents, they do 
 display some energy or force, they believe they have 
 proof of the correctness and infallibility of their 
 principle : — " Genius acts upon the instant and needs 
 no preparation." If a person, in addition to excep- 
 tional natural abilities, possesses also a thorough 
 education, he is almost sure to attribute his success 
 not to the training, but to the fine gifts he has re- 
 ceived at the hands of nature, so little inclined are 
 people to consider culture essential. 
 
 It is to be regretted that so little is done for the 
 proper training of the vocal organs, and that the art 
 of correct breathing is almost unknown. Even dis- 
 tinguished artists, known as such far and wide, are 
 suffering under the bane of totally wrong or at least 
 defective breathing. While the soldier does not 
 begin to use arms until he has perfect control of his 
 body and limbs, and has mastered their various 
 movements ; while the painter is not allowed to paint 
 a large picture before he has learned to draw its 
 parts; while, musical students have to practice for 
 
6 Introduction. 
 
 weeks and months the most simple exercises, — 
 the orator, declaimer, actor, and often the singer, 
 will appear in public without any, or with only a 
 very superficial knowledge of the right use of the 
 vocal organs, and proceed at mere hap-hazard. 
 
 One may often hear a speaker say : " I don't 
 know how it happens that having spoken half an 
 hour, I am dry in the throat, I have pain in the 
 chest, the larynx, etc. !" We hear a singer inquire 
 timidly: "What must I do to avoid getting out of 
 breath in certain difficult passages?" We often 
 hear that a speaker or singer feels apprehension be- 
 fore the execution of this or that piece and says : 
 ^ " Would it were over!" And when we go to the 
 bottom of the matter we always find that such per- 
 sons have never had any proper training of their 
 organs ; and are, as a consequence, unable to per- 
 form their part with the necessary calmness, and also 
 lack the necessary strength and power of endurance. 
 The remark is not seldom made, even by profes- 
 sionals : "What is the use of method? Let every- 
 body breathe and speak as nature permits ; in dra- 
 matic art the soul-inspiration will furnish the means, 
 anything else is secondary !" Who would deny that 
 talent and inspiration are the soul of dramatic art? 
 Who would claim that there can be any art, for which 
 
Introduction. 7 
 
 the inner, heart-felt inspiration is not the first re- 
 quirement? Has there ever been any great painter, 
 sculptor, musician, composer, poet, etc., without 
 this soul-afflatus? But, on the other side, it is a 
 most legitimate claim, that in no art more than in 
 dramatic art is it necessary to bring the soul-inspira- 
 tion into harmony with the external organs by which 
 it has to become manifest. 
 
 While other artists mainly use only special parts 
 of their organism (the musician his hands or lungs, 
 the dancer his legs, etc.), the dramatic actor can 
 only excel by a harmonious use of all his organs. 
 While the painter may have an imperfect or even 
 infirm body, and still be a great artist by virtue of 
 mental gifts and a good eye, the dramatic actor 
 must possess the most perfect control of all his 
 organs, physical and mental. The truth of this claim 
 becomes particularly evident, when we see dramatic 
 actors, such as have attained to a certain distinction 
 in their art, suffering from special defects, as bad gait 
 or attitude, indistinct articulation or faulty breath- 
 ing, — defects which painfully disturb the total effect, 
 while a less gifted, but more perfectly trained dra- 
 matic actor, makes . a most pleasant and agreeable 
 impression. 
 
 This refutes the assertion, that nothing but genius, 
 
8 Introduction. 
 
 soul-inspiration, is required for the dramatic art, and 
 that everything else is of secondary importance. 
 
 If we turn from the votaries of dramatic art to 
 other classes of public speakers, and observe minis- 
 ters, members of legislative assemblies, lawyers, 
 academic professors, — although we certainly can- 
 not accuse them of defective mental training, still 
 the same ignorance in regard to vocal art and ora- 
 tory becomes apparent, with rare exceptions. 
 
 Especially is it a matter of deep regret, that this 
 defect shows itself so frequently in a class of public 
 speakers with such a high vocation, but who so rarely 
 are fully competent to fulfil it. I mean the defect 
 of all knowledge of vocal art in most members of 
 the ministry. In this profession it has been hereto- 
 fore thought that nothing was required but mental 
 and spiritual training and a voice, without putting 
 any special claims on the latter point ; for there are 
 ministers who have so inferior physical means in 
 that respect, that they cannot be heard or under- 
 stood in a hall of ordinary dimensions. What is 
 the result of it? The pulpit is the principal place 
 where all can hear public speaking on subjects of 
 momentous interest. Not every one can or will 
 visit the theatre, but everybody can go to church ; 
 this is, therefore, the place where a true, perfect 
 
Introduction. 9 
 
 vocal art should show itself and exercise its cul- 
 tivating influence on the people. The remark often 
 heard in this respect, that a pulpit speaker ought 
 only to care for what he says, not how he says it, 
 cannot be made any longer. How can a perfect 
 sermon be brought to a true appreciation without a 
 perfect delivery? Let less stress, therefore, be put 
 on the sinful state of man and more stress on the 
 sinful neglect of a true aesthetic form and culture, 
 and let there be given a good example in this re- 
 spect by an artistic training and cultivation, of 
 nature's gifts ; for only in this way can the true 
 moral sense in the people be fed and cultivated. 
 Let the people be attracted and accustomed to go 
 to church by the perfection of pulpit oratory. Let 
 the noble thoughts be clothed in a noble form ! 
 
 But, while we have expressed regret at the defects 
 which are noticeable in pulpit speakers, we must 
 also say, with congratulation, that the satisfaction is 
 great, when now and then we meet a pulpit speaker 
 with whom the external form of delivery shows as 
 much perfection as the inner substance of his dis- 
 course, who will render the Word of God in that 
 purity and nobility, as our imagination longs for, 
 whose discourse does not furnish an involuntary 
 
lo Introduction. 
 
 picture of human infirmity. Such, only, have fully 
 realized the importance of their office. 
 
 In regard to acquiring perfection in the dramatic 
 art in general, as well as for a logical and aesthetic 
 training in declamation, I refer to the writings of 
 Lessing, Goethe, Schiller, and others. My object 
 in this work has only been to write a gymnastic of 
 the voice for speakers and singers; that is, a guide 
 based on physiological laws for the development and 
 correct use of the physical organs, combined with a 
 system of correct and practical breathing ; and as 
 language is intimately connected with this subject, I 
 have something to say thereupon, but only so far as 
 regards the production of the different vowel and 
 consonantal sounds. 
 
CHAPTER I. 
 
 VOICE AND SPEECH. 
 
 GENERAL DESCRIPTION AND DEFINITIONS. 
 
 Human language consists of sounds (tones), or 
 fnodifications of the sounds, of noises combined with 
 sounds, and of noises without any sound (tone). 
 
 The soimds are the human voice ; the modifica- 
 tions of the sounds are the vowels ; the noises com- 
 bined with sounds (tones) are the sounding conso- 
 nants ; and the noises without any sound are the voice- 
 less consonants. (Particulars given in Part III.) 
 
 Human language, therefore, originates from, un- 
 articulated sounds (tones), which, with help of cer- 
 tain organs, are changed in articulated sounds 
 (words), or by a longer duration in singing tones. 
 
 Speech is the medium by which the mind of man 
 Communicates with the outer world. It is not our 
 object to speak of this mode of communication, or 
 of the mental processes required therefor, but of the 
 bodily, material means, the organs, which man has 
 received from God, at the hands of nature, for the 
 
Missing Page 
 
Missing Page 
 
14 Gymnastics of the Voice. 
 
 be continued for quite a length of time. A sound 
 in song, suddenly interrupted immediately after its 
 beginning, no longer retains the character of a sound 
 sung, but evideritly that of one spoken. 
 
 The chief obstacle in the way of singers and ora- 
 tors, despite their good vocal organs, is ignorance of 
 the correct use of the respiratory organs. Correct 
 breathing, however, is the basis of speech as well as 
 of song; for the voice, as much as speech, can origin- 
 ate only in and by the air expelled from the lungs. 
 
 Singing and speaking are, on the whole, only a 
 branch of respiration, whose main function in life is 
 the oxygenation of the blood and the production of 
 animal h^ at. The inspired air, which, after perform- 
 ing this function, is expelled, has, nevertheless, been 
 useful before mixing with the atmospheric air by 
 acting as the motive power for the vocal cords, and 
 by becoming a tone, the result of having been, in its 
 return, set into a new vibratory movement. 
 
 The voice, then, is, as we have said, produced by 
 the air contained in the lungs passing through the 
 larynx, thereby inducing sounding vibrations of the 
 vocal cords. If the voice is to be formed into words, 
 we need, besides the respiratory organs and the 
 larynx, those organs which are situated above the 
 larynx, and to which the pharyngeal cavity, the nasal 
 
Voice and Speech. 15 
 
 and oral cavities, including the tongue, palate, teeth 
 and lips, belong. 
 
 Only by the right application of these organs can 
 pure tones and correct formation of words be pro- 
 duced. The slightest misuse, the smallest deviation 
 from the right path, is the cause of such strange 
 sounds, such peculiar word-formations, as we fre- 
 quently hear, and in which palatal, nasal and gut- 
 tural tones predominate. 
 
 The reader can infer the importance of breathing 
 in song and in speech from these few introductory 
 remarks, which may be summed up in this sentence : 
 The air which streams from the lungs is the primary 
 cause of all vocal plienomena, and the larynx is the 
 generator of the voice. 
 
 The organs which we require for respiration are 
 the following : 
 
 First. The chest (thorax) with the muscles of 
 respiration. 
 
 Secondly. The air-passages through which at- 
 mospheric air is drawn into the air-receivers (lungs), 
 and which are composed of the oral and nasal cav- 
 ities, the pharynx, the larynx, the trachea (wind- 
 pipe) and bronchi. 
 
 Thirdly. The lungs (air-receivers). 
 
 All movements of the human body are brought 
 
1 6 Gymnastics of the Voice. 
 
 about by the action of the muscles which are at- 
 tached to movable apparatuses, and are made to 
 operate through the medium of the nerves. 
 
 Without the proper co-operation of the muscles, it is 
 impossible to accomplish anything. 
 
 Thoughts originate in the brain, the brain acts 
 upon the nerves, the nerves act upon the muscles, 
 and the muscles upon the bones ; and only after this 
 process are we able to undertake an act. 
 
 It, therefore, becomes necessary, above all, to un- 
 derstand the constitution of the muscles in general, 
 as well as their preservation and development, and 
 especially the inner character and working of those 
 which pertain to our subject. 
 
 So much for voice and speech in general. Let 
 us enter into details. 
 
CHAPTER IJ. 
 
 THE MUSCLES. 
 
 SECTION 1. 
 
 The Muscles in General. 
 
 The muscles consist of muscular tissue (flesh), 
 which po'ssesses the property of contracting and ex- 
 panding. 
 
 The contraction of a muscle is followed after a 
 time, either voluntarily or through exhaustion, by 
 an abatement of contraction, a state of rest, during 
 which a change of material (nutrition) can be carried 
 on better ; whilst, during contraction, a greater con- 
 sumption of blood and of the nerve-power occurs. 
 
 By frequently recurring,, gradually increasing ac- 
 tivity of the muscles, and by partaking of the neces- 
 sary meat diet, these can be made to increase con- 
 siderably in power and size; whereas a surplus of 
 fat and inactivity will cause them to become flabby 
 and powerless. 
 
 What wonderful strength and versatility is achieved 
 by man through habituating (correctly exercising) 
 
 2 
 
1 8 Gymnastics of the Voice. 
 
 the muscles to certain functions, the exercise being, 
 of course, gradually increased and interrupted by 
 the necessary repose, is attested by all those whose 
 chief occupation consists in the use of the muscles, 
 such as gymnasts, athletes, dancers, pianists, etc. 
 
 As in the contraction of a muscle a larger amount 
 of blood is required, so in its relaxation a greater 
 blood-formation occurs ; it is perfectly natural that 
 a muscle in constant change (in contraction and re- 
 laxation, i. e., activity and rest) is strengthened much 
 more, and tires itself much less, than one whose ac- 
 tivity is either constantly or for a long time ^one- 
 sided. 
 
 It is owing to this that continued standing is more 
 fatiguing than continued walking. 
 
 When a muscle is either too much strained, or 
 kept in motion too long, lameness frequently follows. 
 
 Only continued exercise of the muscles, alternat- 
 ing with the required rest, will eventually succeed in 
 enabling them to make those movements which the 
 human will dictates. At the commencement of 
 these exercises one is seldom able to do this, and 
 can hardly, while exercising certain muscles for cer- 
 tain purposes, prevent other muscles, which are not 
 requisite for those functions, from co-operating. 
 
 Observe any person who is beginning to learn 
 
The Muscles. 19 
 
 gymnastics, dancing, fencing, or piano-playing, and 
 you will find our assertion confirmed. 
 
 It is in the highest degree amusing to watch a 
 young, imaginative, talented and impassioned person 
 when reciting for the first time. Not only the re- 
 quired, but all the muscles move in a spasmodic and 
 ugly way, and the face generally expresses, if not 
 exactly the contrary, yet only partly, the disposition 
 of the mind. * 
 
 We note the misapplication of the muscles most 
 generally in cases where the human voice is used in 
 either singing or speaking, and this is the frequent 
 cause of defective speaking and singing. 
 
 Many may be astonished, even provoked, because 
 they must hear so much about the muscles, — they 
 who want to become neither athletes nor dancers, 
 but simply singers or orators. This, however, can- 
 not be helped. Nature is so obstinate that she de- 
 mands a correct musctilar movement as well from 
 the singer and the orator as from the athlete and 
 dancer (of which we shall learn more further on) ; 
 nature makes no exception of them ; but that our 
 reader or scholar may be disposed to follow the 
 further description of the muscles with pleasure, it 
 will be well for him to bear in mind what we said in 
 Chapter I, viz. : " Thoughts originate in the 
 
20 Gymnastics of the Voice. 
 
 brain, the brain acts upon the nerves, the nerves act 
 upon the muscles, and the muscles upon the bones ; 
 and only after this process are we able to undertake 
 an act." 
 
 Here, again, we come upon something which will 
 be still more distasteful to the class of persons we 
 have referred to, viz. : That their brains and nerves 
 must also be employed whilst singing and speaking. 
 Perhaps, in the end, this curiouS' writer will require 
 that the brain and nerves should also be educated ! 
 Of course ; for the first task is to educate our brain 
 through mental exercises, because only a brain edu- 
 cated and imaginative, well exercised in thinking,, 
 and that, too, in quick and decisive thinking, will be 
 able to act upon the nerves and muscles. Only after 
 continued practice shall we be able to bring into 
 operation such muscles as should be employed. 
 
 To strengthen the muscles, and with them the 
 entire body, and make them obedient to our will, 
 we must practice systematically. Gymnastics are, 
 of all bodily exercises, the best qualified for this 
 purpose, because very nearly all the movements of 
 the human body are embraced in them ; but we 
 must observe very closely the following rules, if we 
 do not want to receive more harm than good through 
 these exercises. 
 
Directions for Practice. 21 
 
 SECTION 2 
 
 Directions for Practice. 
 
 1 . The most suitable time for practice is shortly before 
 breakfast, dinner or supper. The best time is in the 
 morning before breakfast. After exercise, a pause of 
 half, or at least a quarter of an hour must ensue before 
 eating, as digestion cannot be well carried on in an ex- 
 cited state of the rhuscles. No exercise must be taken 
 upon a full stomach. 
 
 2. Success results only from perseverance. If (he 
 desired end is to be reached, practice must be carried on 
 with great regularity. 
 
 3. Before beginning, all oppressive clothing must be 
 removed ; neck, chest and abdomen must be free from 
 pressure. Women must remove every sort of corset. 
 
 4. If, during practice, a decided rush of blood to the 
 head is remarked, or a quickened pulsation of the heart 
 with rapid breathing, the exercise must be carried on very 
 circumspectly and moderately, with long pauses ; that is, 
 between every two exercises there must be a normal action 
 of the lungs. 
 
 5. During exercise, the breath must not be held in. On 
 the contrary, draw the air slowly, and in deep draughts, 
 into the lungs, and expel it just as slowly, not forgetting 
 to contract the abdominal muscles. 
 
 A right action of the lungs is indispensable for the preservation of 
 man, since upon this depend the soundness of the lungs, the proper 
 circulation of the blood, and the health of the whole body. 
 
 The pauses between the exercises are, therefore, used for deep 
 breathing, which is practiced by inhaling the air slowly, and in as 
 great quantities as possible, and expelling it just as slowly. 
 
 Diseases of all sorts result, in great measure, from defective breath- 
 ing, as very many, and hysterical persons in particular, breathe only 
 with the upper half of the lungs, thus injuring the lower half through 
 lack of expansion. This frequently leads to consumption in yonSi, 
 and to asthma in old age. 
 
22 Gymnastics of the Voice. 
 
 6. The movements must be slow, but decided and 
 energetic. 
 
 It is well in exercising to observe a certain measure, with counts 
 either loud or silent, which may cease as perfection is acquired by 
 practice. 
 
 In the beginning make an exercise iive to eight times ; after a few 
 days, ten to fifteen times ; after three or four weeks, twenty to thirty 
 times. Never repeat an exercise oftener. 
 
 Above all, guard against entire fatigue of the muscles. As soon as 
 an undue sense of weariness comes on, the exercise must be stopped 
 or deferred until it is over. Be content with small results at first. 
 Strength and ease will come with practice. 
 
 That disagreeable tension of the muscles which ensues at first, need 
 not cause alarm in regard to the health, and induce one to abandon 
 gymnastic practice Injury results only from senseless over-excita- 
 tion of the muscles. A gradual progress in exercise should be ob- 
 served; a safe and steady passage from easy to difficult things. 
 
 7. Exercise must be carried on in pure air. If within 
 doors, the place should be thoroughly ventilated by open- 
 ing doors and windows before the practice begins. It 
 must not be prosecuted in jerks and starts. Women 
 should be exceedingly Careful in this regard. 
 
 The double organs (arms, shoulders and hips) should 
 be exercised right and left alternately. 
 
 Particular attention should be given to the perfecting 
 of the respiratory muscles fchest and abdominal), and 
 one should be particularly cautious not to over-exert them. 
 Always allow a certain lapse of time for rest before begin- 
 ning to exercise anew, and bear in mind that only a slow 
 and gradual exercise, continued for a long time, and inter- 
 rupted only by the proper rest, will enable us to. achieve 
 our aim. 
 
Exercises for the Muscles. 
 
 23 
 
 SECTION 3 
 
 Exercises for the Muscles of Respiration and of 
 THE Neck. 
 
 The person exercising must stand perfectly erect, with 
 straightened knees, the heels close together, the toes turned 
 slightly outward so that the feet shall form the sides of a 
 right angle, the chest thrown outward (not excessively), 
 the shoulders thrown back, and the hands hanging loosely 
 
 Fjg. I. 
 
 at the side or set akimbo. From this position he 
 should begin all -his exercises. We call it the Base 
 Position (Fig. I). 
 
24 Gymnastics of the Voice. 
 
 I. 
 
 HEAD AND NECK EXERCISES. 
 
 I. Turning the Head to the Right and Left (6, 8, lo times).* 
 
 The head is turned slowly to the right without lower- 
 ing it, as far as the muscles of the neck allow (Fig. 
 II). Remaining some time in this position greatly 
 
 strengthens the muscles of the throat and neck. The 
 same practice is then observed by turning the head to 
 the left, while the body remains in its base position, and the 
 shoulder-muscles are mdtionless. 
 
 The object of this practice is to give freedom to the muscles of the 
 neck. This is very necessary, for in gesture it constantly occurs, 
 notably in persons of high rank, that a slight turn of the head to one 
 side or the other, without the least movement of the body, is of great 
 significance. When, through inflexibility of the muscles of the neck, 
 arising from want of exercise, the whole body turns with it, as we 
 often observe in persons without gymnastic training, or when singers 
 cannot turn their heads during singing without causing the tone to 
 cease suddenly, — the effect is bad. 
 
 2. Bowing of the Head Forward, Backward, or to the Eight 
 and Left (6, 8, lo). 
 
 The head is bowed in a fourfold way, the trunk 
 remaining erect, without stretching the neck-muscles too 
 powerfully. 
 
 * The figures in parentheses after each exercise indicate the number of times the 
 exercise is to be repeated ; the first number to govern the pupil in the beginning of 
 his practice, the second number after two weeks, the third number after eight -weeks. 
 The last number is then retained. 
 
Exercises for the Muscles. 25 
 
 The backward inclination of the neck, especially in 
 women, should be slight (Fig. III). 
 
 Fig. III. 
 
 From this fourfold exercise of the head proceeds one 
 exercise : — 
 
 3. The Head Circle (10, 20, 30). 
 
 The four head movements are united by a circular line 
 (Fig. Ill, a — b), and also make a funnel-shaped movement 
 without the head passing to its normal position. From 
 the forward inclination of the head we pass to the left 
 side, to the back, to the right side, and again to the for- 
 ward movement, repeating the whole exercise in reversed 
 order ; the upper part of the body remaining in its base 
 position, and the uninterrupted circular form slightly indi- 
 cated. 
 
 A strong, muscular neck is not a feminine trait, surely ; but women 
 often greatly strengthen the muscles of the head and neck by gym- 
 nastic exercises. While the neck has to sustain the not inconsider- 
 able -wfeight of the head, an oblique carriage of the head may be e^ily 
 brought on if the neck, from weakness or relaxation of its muscles, 
 cannot p^form the required service. In case of this oblique carriage 
 of the head, mothers and teachers have sometimes used collars set 
 with bristles so arranged that the bristles at once cause a disagree- 
 able sensation if the neck inclines to one side. Tissot tells of the 
 superior of a convent who corrected this habit by instituting a sort 
 of game in which a ball or some other slippery object was carried on 
 the head, the pupil who let it fall paying a forfeit. 
 
 A lady pupil came to the author of this work, — a singer who, after 
 two years' study with another teacher, could not sing a note without 
 turning her head considerably toward the right shoulder, which, while 
 giving her an awkward appearance, also greatly injured the tone. He 
 adopted the following method: As soon as she began to sing he had 
 her turn her head to the left shoulder, not allowing her to sing a note 
 
26 Gymnastics of the Voice. 
 
 in any other position. After some months when he saw that the in- 
 clination to the right shoulder had wholly disappeared, he let her 
 hold her head erect. Now in singing there was a conflict between 
 the right and left muscles, but the effort to obey neither much facili- 
 tated the erect position of the head, and the oblique leaning was 
 wholly cured. 
 
 II. 
 
 TRUNK EXERCISES. 
 
 I. Shoulders Up and Down (30, 40, 50). 
 
 Raise both shoulders as high and as forcibly as possi- 
 ble, then allow them slowly to return to their original 
 
 Fig IV. 
 
 position. A too sudden lowering in frequent exercising 
 would jar the head (Fig. IV). 
 
 Begin the exercise with both shoulders, then alternate, 
 retaining strictly the base position, except in regard to the 
 arms, which, without bending the elbows or keeping them 
 too stiff, will be drawn along by the shoulders. 
 
 ft 
 
 2. Shoulders Backward and Forward (^, 12, 20). 
 
 Draw the shoulders backward and forward singly, and 
 afterward both together. From the combination of these 
 movements we have exercise 
 
 3. Shoulder Circle (8, 12, 20). 
 
 Move the shoulders upward, backward, downward, for- 
 ward and again upward, without interruption, not in jerks, 
 but so as to describe a circle ; then the same in reverse 
 order, that is, upward, forward, downward, backward, etc. 
 
Exercises for the Muscles. 27 
 
 In all these exercises we must be very careful that only 
 the muscles which are to be exercised be active, and that 
 alj the others are perfectly at rest. 
 
 4. Turning of the Trunk (10, 20, 30, to and fro). 
 
 In this exercise the trunk is turned on its axis, alter- 
 nately to the right and to the left, without moving the 
 hips, the vertical position being always retained, the legs 
 kept firmly in the base position, and the arms set akimbo 
 (Fig. V). 
 
 Fig. V. 
 
 5. Inclination of the Torso Forward, Backward (10, 20, 30), 
 and Right and Left (20, 30, 40). 
 
 With the legs in the base position and the arms set 
 akimbo, the trunk, kept straight from the hips to the crown 
 of the head, is bent slowly forward until it forms a right 
 angle with the legs, and then is brought slowly back to the 
 base position ; without stopping it is in like manner bent 
 backward as far as possible, returning again to the base 
 
28 
 
 Gymnastics of the Voice. 
 
 position. This exercise must be performed at first slowly, 
 then more quickly, and at last with a certain stress, as 
 though the upper part of the body were about to be thrown 
 to the ground and were suddenly ierked back to the base 
 
 Fig. VI. 
 
 position, and then beyond (Fig. VI). In the same way 
 the trunk should be bent to the right (Fig. VII, a) and left 
 (Fig. VII, b"), but without the already-mentioned stress. 
 
 Fig. VII. 
 
Exercises for the Muscles. 29 
 
 The sideward movement, and still more so the backward 
 movement, can be executed only to a limited extent. 
 From the combination of these movements we have 
 
 6. The Torso Cirde (8, i6, 30). 
 
 In this exercise the trunk, perfectly straight, moves 
 round on the hips without changing front. (Fig. VII. 
 The arrows indicate the direction of the movement a, b, c, 
 from right to left, and then vice versa.) This exercise will 
 be best executed with the arms set akimbo. The back 
 and the abdominal muscles are by these movements 
 especially developed, and this is absolutely necessary for 
 singing and speaking, as well as for every very exerting 
 position. This exercise, too, must finally be performed 
 with ■Particular stress 
 
 7. Elevating the Torso (4., 8, 12). 
 
 The pupil should lay himself flat on the floor, on his 
 back, with his arms folded over his chest or laid along 
 his sides, and must then, without changing the position 
 of the legs or separating the feet, raise himself slowly 
 without a throw to a sitting posture, and, after a couple 
 of seconds, let the body sink again to the floor. Many 
 will at first find it impossible to perform this exercise, 
 especially persons with weak abdominal muscles. These 
 should place a pillow under the head, or place the toes 
 under some firm object. After a while they will be able 
 to dispense with these aids. 
 
 This exercise has" for its object the strengthening of the abdominal 
 muscles, which, as I have already said, is necessary not only for our 
 health, but also for oratory and song. 
 
30 
 
 Gymnastics of the Voice. 
 
 III. 
 
 ARM EXERCISES, 
 (a) With outstretched arms, i. e., by simple 
 
 MOVEMENTS OF THE SHOULDER-JOINTS. 
 
 I . Lifting and Moving the Arms Forward up. Downward 
 back and Sideway iip (lo, 20, 30). 
 
 Having placed the body in the base position, move the 
 outstretched arms slowly forward (Fig. VIII, a, ^), raising 
 them to the sides of the head until they touch the ears and 
 stand perpendicularly (Fig. VIII, d), and then let them swing 
 back gently to the base position and beyond (Fig. VIII, e). 
 Both these movements should at first be performed slowly, 
 but gradually quicker and quicker until we obtain the full 
 swing. The raising of the arms sideway is performed 
 first with the back of the hand, and then the palm turned 
 
 > 
 
 Fig. VIII. 
 
 upward, the arms being raised until they touch the sides 
 of the head, and then made to return to the base position. 
 Here, too, we pass over gradually to complete swinging of 
 the arm. After having attained perfect control over the 
 shoulder-joints, we proceed to 
 
Arm Exercises. 
 
 2. Ar7n Circle (8, 12, 20). 
 
 31 
 
 The pupil should endeavor, with outstretched arms, to 
 describe a broad circle from the front backward, and vice 
 versa, in the following way : Having raised the arms as in the 
 preceding exercise, he should continue to move them round 
 backward until they return to the base position. The move- 
 ment should be slow at first, then quicker and quicker up to 
 a full swing. The curve described wilj, at the beginning, 
 be rather an ellipse than a circle, but after long practice 
 it will be possible to approach very nearly to a circular 
 motion. The shoulder-muscles, as well as all those en- 
 circling the thorax, are by this means put into a free and 
 general activity. The effect will be an increased flexibility 
 of the shoulder-joints, and a strengthening of the respira- 
 tory muscles, which also involves the widening of the 
 thorax. 
 
 3. Turning and Revolving the Arms (30, 40, 50). 
 
 Raise the outstretched arms laterally to the level of the 
 shoulders, the back of the hand upward (Fig. IX, V), then 
 
 Fig. IX. 
 
 turn the palm upward (Fig. IX, a), and continue reversing 
 in this way, the wrists b'eing kept as stiff as possible. 
 Then make the same exercise with clenched hands. This 
 exercise can be best performed by imagining yourself in 
 the act of driving a gimlet into a post. 
 
32 Gymnastics of the Voice. 
 
 4. Balancing and Oblique Movements {^, 12, 16). 
 
 The pupil should raise the outstretched arms forward to 
 the level of the shoulders, the palms turned toward each 
 oiher ; then move them round backward horizontally, 
 with a stress, as though he wished to bring the upper sur- 
 faces of his hands together behind his back, which is 
 impossible to accomplish entirely ; and, finally move 
 them forward witl^ the same stress, etc. Movement to be 
 slow at first, then quicker and quicker up to a full swing. 
 
 (b) With the aid of the; shoulder and elbow- 
 joints. 
 
 I. Attraction and Repulsion (10, 20, 30); 
 
 The pupil should bring the lower arms with clenched 
 fists from the base position up till the fists nearly touch the 
 shoulders (FIl'. X) ; then, with a violent throw, make the 
 arms return to the base position. 
 
 This exercise should be executed downward (10, 20, 
 30), upward {/^, 8, 12, lag. H), forward, {10, 20, 30, Fig. XI), 
 backward (6, 10, 16, to a certain extent. Fig. XI), and 
 
 sideward (Fig. X). The upper arms remain in the base 
 position in the downward movement ; in all other cases 
 
Arm Exercises. 33 
 
 Fig. XI. 
 
 they follow the movement of the lower arms. We should 
 observe in regard to the feet, that the weight of the body 
 should fall more on the toes than on the heels, so as to 
 make the shock to the brain as shght as possible. 
 
 2. Elbows Back (8, 12, 16). 
 
 Place both arms akimbo, and move the elbows back as 
 far as possible. The back must be held perfectly erect. 
 The particular stress of this movement is in the thrusting 
 back of the elbows, which must be made to correspond 
 with each inspiration. 
 
 3. Movements of the Arms Behind the Back (8, 12, 16). 
 
 Fold the hands on the back, near the region of the 
 loins, so that the palms face each other; now endeavor 
 to extend the arms without loosening the hands, and raise 
 them thus extended upward as far as possible (Fig. XII). 
 Lower them and continue in this way, first slowly, then 
 with increased rapidity. The spine must not be curved 
 during this exercise. 
 
 In these movements the shoulders are powerfully and firmly drawn 
 back and down, and the front walls of the thorax mechanically 
 extended, which is conducive to breathing. 
 
34 Gymnastics of the Yoice. 
 
 4. Stick Circling Backward and Forward (d^, 12,16). 
 
 Let the pupil grasp near the ends, the backs of his hands 
 upward, a rounded stick, one inch in thickness, and which 
 reaches from the floor at least as high as his shoulder. 
 Begin with holding the stick across the front of the body, 
 passing it over the head and behind him as low as possible 
 without bending the arms, and then back again. While 
 passing backward take a deep inhalation and hold the 
 stick behind the back as long as the breath can be held ; 
 in going forward a strong expiration takes place. The 
 principal effect is on the shoulders, arm extensors, spinal 
 and aladominal muscles. 
 
 This exercise is difficult to do at first, but after practice grows 
 much easier. 
 
 What is said here of the muscles in general pertains 
 particularly to the muscles of the larynx. These must be 
 exercised with the utmost care, and in a slowly and gradu- 
 ally increasing manner (as we shall see further on), un- 
 less we wish a total incapability of action to ensue. 
 
CHAPTER III. 
 
 DIVISIONS OF THE MUSCLES. 
 
 The muscles are divided into voluntary and in- 
 -voluntary . 
 
 To the latter belong the diaphragm, the heart and 
 the intestines. 
 
 To the voluntary belong all the remaining 
 muscles. 
 
 We must distinguish («) muscles of the head, (^) 
 muscles of the trunk, (<;) muscles of the upper 
 limbs and (a?) muscles of the lower limbs. 
 
 After having treated of muscles in general, we 
 have only to observe particularly the muscles of the 
 trunk, since our method of tone-formation, as far as 
 breathing is concerned, is based chiefly upon the 
 correct activity of the abdominal muscles and the 
 diaphragm. 
 
 Of the m.uscles of the trunk we only require to 
 observe more closely the chest and abdominal mus- 
 cles, as well as the diaphragm. 
 
 The muscles of the chest serve in breathing to 
 move the chest, as also at times the arms, and to 
 
36 Gymnastics of the Voice. 
 
 lower the shoulders. They lie upon the front sur- 
 face of the thorax' (without covering the middle), 
 toward and at the sides, and fill out the spaces be- 
 tween the ribs. 
 
 The abdominal muscles serve particularly (for our 
 purpose) for expiration. Besides this they shield 
 the intestines, promote the bending of the body, 
 and help to contract the abdominal cavity. 
 
 ' ' The ribs are attached to the spine so as to be freely movable upon, 
 it; but when left to themselves thejf take a position vifhich is inclined 
 obliquely downward and forward. Two sets of muscles, called in- 
 tercostals, pass between the successive pairs of ribs on each side. 
 The outer set, called external intercostah, run from the rib above 
 obliquely downward and forward to the rib below. The other set, in- 
 ternal intercostah, cross these in direction, passing from the rib above, 
 downward and backward, to the rib below. The action of these mus- 
 cles is somewhat puzzling at first, but is readily understood if the fact 
 that when a muscle contracts', it tends to make the distance between its 
 two ends as short as possible, be borne in mind. Consequently the 
 external intercostals must raise, and the internal intercostals must 
 depress, the bony ribs."* 
 
 The other muscles of the chest, which connect" 
 the ribs with parts of the spine above them, and 
 with the shoulders, require no special description. 
 The function of all these muScles is merely either to 
 raise single groups of ribs, or to raise them and at 
 the same time force them outward so as to consider- 
 ably expand the chest. 
 
 * Huxley's "Lessons in Elementary Physiology," 
 
The Abdominal Muscles. 37 
 
 SECTION 1. 
 
 The Abdominal Muscles. 
 
 The abdominal muscles are, like all voluntarily- 
 movable muscles, thicker in the middle than at 
 either end, where they terminate in shorter or longer 
 tendons, by which they are fastened to the bones or 
 to other tendons. They lie in layers one upon 
 another, form the fore and side covering of the ab- 
 dominal cavity, and are always found in pairs. This 
 is because the single muscle does not extend the 
 whole width of the abdomen, but only to the middle 
 where it ends with its tendon on the musculus rectus, 
 in the middle of the latter and in or on the linea 
 alba (by which the mtisculus rectus is equally 
 
 divided). A similar formation is found on the 
 
 ft 
 other side, so that the two muscles are connected 
 
 by their tendons and practically form one. These 
 
 muscles are called, — 
 
 1. Musculus rectus abdominis. 
 
 2. Musculus transversus abdominis. 
 
 3. Musculus obliquus descendens. (The external 
 oblique.) 
 
 4. Musculus obliquus ascendens. (The internal 
 oblique.) 
 
 Imagine the entire wall of the abdomen freed from 
 
18 
 
 Gymnastics of the Voice. 
 
 all its insertions, and strotclied out flat, and it will 
 show about the following form and position of its 
 
 muscular fibres (Fig. XIII). 
 
 In a perpendicular line from a to b, miisculus 
 rectus abdoininis ; transversely from c to d, miisculus 
 transversiis abdoininis ; obliquely from c to f, miis- 
 culus obliquus dcsccudcus ; obliquely from g to h, 
 miisculus obliquus ascciidcns. 
 
 The action of the muscle oblique dcsccudcus, and 
 that of the ascciidetis, if acting separately, are dis- 
 similar. The dcscendcns, marked c, /, c, /, when 
 alone active, or specially so, presses the contents of 
 the abdomen upward, the ascciidcns, o- h <r h 
 more downward. Owing to this the first-mentioned 
 
The Abdominal Muscles. 39 
 
 oblique descendens is active particularly in singing 
 and speaking. 
 
 If, however, the descendens and ascendens of both 
 sides co-operate, i. e., all four act uniformly and 
 simultaneously, then the combined action in all 
 parts of the abdomen, especially at the sides, will be 
 a contraction of the abdominal cavity from the front 
 backward. 
 
 The musculi transversi abdominis, marked c, 
 d, contract the abdominal cavity in a horizontal 
 direction. The shortening of the fibres causes the 
 side walls of the abdorhen to become flattened, and 
 the middle wall to be drawn nearer to the vertebral 
 column. Their fibres can all contract simultaneously, 
 or one division can be especially active ; in every 
 case, however, both sides operate simultaneously. 
 The upper fibres, which are attached to the ribs, 
 can only then contract powerfully when the ribs are 
 fixed. 
 
 The musculi recti abdominis, those marked a, b, 
 draw the sternum down, contracting the abdominal 
 cavity in a vertical direction. These muscles are 
 comparatively the least active, being very narrow, 
 whilst the musculi transversi abdominis, which are 
 spread over the entire abdomen, are the most active. 
 
 The co-operation of all the muscles causes con- 
 
40 Gymnastics of the Voice. 
 
 traction in all parts of the abdominal cavity; and 
 through this contraction, as before stated, expira- 
 tion is brought about and strengthened. 
 
 SECTION 2. 
 
 The Diaphragm. 
 
 The diaphragm is a flat and sinewy muscle. It is 
 attached to the interior surface of the lower ribs, 
 and also to the vertebral column. It forms a wall 
 between the thoracic and the abdominal cavity. The 
 part of the muscle extending toward the chest-cavity 
 is arched. In the act of inspiration it contracts, 
 i. e., it flattens itself, and by this means increases the 
 chest-cavity ; but that an empty space should not 
 result in consequence, we must, by means of the 
 larynx and trachea, inhale fresh air into the lungs. 
 Through relaxation, i. e., by the re-arching of the 
 diaphragm, the lower part of the chest-cavity is 
 made smaller; and, in this way, the air from the"" 
 lungs is expelled (Fig. XIV). 
 
 The diaphragm, although considered an involun- 
 tary organ, can, owing to the diverse nature of its 
 nervous fibres, be made voluntary to a certain 
 extent ; and it is this which enables us to sing and 
 speak, as far as inspiration and expiration are con- 
 cerned. 
 
The Diaphragm. 
 
 41 
 
 Fig. XIV. 
 
 DIAGRAMMATIC SECTION OF THE BODY. 
 
 Af the diaphragm in inspiratioi^ ; B, the diaphragm in expiration. Tr, trachea; 
 St, sternum (breastbone) ; D, diaphragm (midriff) ; A 6, Abdomen. The shading 
 roughly indicates the stationary air. 
 
 We shall see further on how much depends upon 
 our ability to cause the diaphragm to perform cer- 
 tain movements, upon the power of controlling its 
 action. 
 
CHAPTER IV. 
 
 ORGANS OF RESPIRATION. 
 
 SECTION 1. 
 
 The Chest (Thorax). 
 
 Thk bony frame of the chest is composed of the 
 following parts; The upper tioilvc (cervical or 
 
 Fig. XV. 
 
 AN ANTKICIOR \-i!-:W Ol" THE THORAX. 
 
 I -12, the ribs ; a, the breastbone ; l, the cla\-icle. 
 
 dorsal) vertebrre, the ribs (twelve on either side, Fig. 
 XV, I — 12), the stcrntiin (a bone in the anterior and 
 
The C 11 est. 
 
 43 
 
 the median line of the chest), beginning at the base 
 of the neck and reaching to the so-called " pit of the 
 stomach" (Fig. XV, <r) and the clavicle (Fig. 
 XV, b,b). 
 
 Most of the ribs are connected with the sternum 
 by cartilages. 
 
 The cavity (of the chest) formed in this wa}' con- 
 tains the licart and the /i/ii>^s, and is divided from 
 the abdominal cavity b)' a large muscle, the dia- 
 phragm, as has been described. 
 
 Fig. XVI. 
 
 A I'llSTERIOR VIEW Ol' THE THORAX. 
 
 a, a, the dors.al \ertu-hra; ; /', /'. the rihs ; i^, himb.ir vertehrie : /, slioulder-hlndes. 
 
 By means of muscles and tendons, which surround 
 the bony walls of the chest, these latter possess the 
 
44 Gymnastics of the Voice. 
 
 capacity to expand, and consequently to increase 
 the thoracic cavity. Upon the degree of this power 
 of expansion depends the size of the lungs, as they, 
 being attached to the chest-walls by enclosing mem- 
 branes (called pleurae), can only expand in propor- 
 tion to the increase of the thoracic cavity. 
 
 The functions of the chest, in respect to respira- 
 tion, will be fully explained in Part IV. 
 
 SECTIO^f 2. 
 
 The Oral Cavity (Fig. XVII). 
 
 By the term " oral cavity " we understand the 
 free space enclosed by the tongue, palate (soft-palate 
 and uvula), and lips. It forms lAie entrance to the 
 stomach and to the lungs, and contains the muscle 
 most important to speech, the iongue, which is 
 attached to the floor of the oral cavity. 
 
 The roof of the oral cavity is called the " palate," 
 which consists of two portions, the anterior being 
 named the bony or hard-palate, the posterior (from 
 the centre of which depends the uvula'), the soft- 
 palate. The hard-palate also composes the floor of 
 the nasal cavity. The sides of the oral cavity are 
 formed by the jaw-bones and the teeth. The ton- 
 sils are placed at the sides of the soft-palate. The 
 
The Oral Cavity. 
 
 45 
 
 opening (fauces), which lies between the soft-palate 
 and the back part of the tongue, is of great import- 
 ance during singing and speaking, as we shall see 
 further on. 
 
 Pharynx. 
 Tongue. 
 
 \ 
 
 UTiXV 
 
 Fig. XVII. 
 
 VIEW OF PARTS SEEN WHF.N THE MOUTH IS WIDELY OPENED. 
 
 SECTION 8 
 
 The Nasal Cavity— Nasal Fossa; (Fig. XVIII). 
 
 The part of the human body wherein nature has 
 placed the olfactory nerves (nerves of smell), is called 
 the " nose." VVe distinguish the outer from the inner 
 nose. Our attention is here called only to the inner 
 nose, the nasal cavity. This is lined with mucous 
 
46 Gymnastics of the Voice. 
 
 membrane (within which the nerves of smell are dis- 
 tributed), and is intended not only for the sense of 
 smell, but also quite especially for respiration. It is 
 divided by a cartilaginous, vertical partition into two 
 parts ; its floor is, as already stated, formed by the 
 hard-palate. The external orifices are called " nos- 
 trils ;" the internal ones are the nares (cJioance). The 
 latter communicate with the pharynx, an-d by means 
 of this with the oral cavity, the larynx and the 
 windpipe. 
 
 Fig. XVIII. — REPRESENTATION OF SECTION THROUGH HEAD AND NECK. 
 A, the nasO'pkaryjix ; B, the oro-pharynx ; C, the laryngo-pharynx ; 4 is the 
 superior and 5 the inferior turbinated process of the ethmoid bone ; 6, the turbinated 
 bone : 7, the hard and 8 the soft-palate : 9, the uvula ; 10, anterior palatine arch ; 
 II, lower jaw-bone : 12, tonsil; 13', orifice of the eustachian tube ; 14, Rosenmueller's" 
 fossa: 15, tongue; 16, hyoid-borie; 17, posterior palatine arch; 18, vallecula; .19, 
 epiglottis ; 20, thyroid cartilage ; 21, ventricular fold : 22, vocal cord ; 23, arytenoid 
 cartilage ; 24, cuneiform cartilage ; 25, cricoid cartilage ; 26, anterior muscle ; 27, 
 supra-ary tenoid cartilage ; 28, lateral muscle ; 29, thyroid body ; 30, windpipe ; 31, 
 foodpipe. 
 
 The air- capacity of the nasal fossae exerts a great 
 influence upon singing and speaking; less in expira- 
 tion than in inspiration. 
 
Fig. XVIII. 
 
48 Gymnastics of the Voice. 
 
 SECTION 4. 
 
 The Pharynx (Fig. XVIII, A, B, C). 
 By the term " pharynx " we understand that part 
 of the ahmentary canal which is placed behind the 
 nose, mouth and larynx. Above it is connected 
 with the nose through the two large apertures called 
 posterior iiares ; below it is continuous with the 
 oesophagus, and attached to the larynx. It is divisi- 
 ble into three portions, the middle of which is called 
 oro-pharynx (Fig. XVIII, B), the upper portion, 
 naso-pharynx (Fig. XVIII, A), and the lower por- 
 tion laryngo-pharynx (Fig. XVIII, C). 
 
 SECTION 3. 
 
 The Larynx (Voice Box ; Figs.. XIX, XX, XXI). 
 
 The larynx is a hollow body composed of carti- 
 lages which are united by ligaments. The cartilages 
 consist of the shield or thyroid cartilage, the ring or 
 cricoid cartilage, the two pyramid or arytenoid car- 
 tilages, the epiglottis (the cover of the larynx), and 
 of four more which, however, are not of so great 
 importance. 
 
 It is lined with mucous membrane, surrounded 
 by muscles, and its function is to admit the air to 
 the lungs, but more particularly to produce the 
 voice. It forms tlie upper part of the windpipe 
 
The Pharynx — The Larynx. 49 
 
 (Fig. XIX), is connected with it below, and is situated 
 at the upper and fore part of the neck, beneath the 
 
 Fig. XTX. — For explanation, see page 50. 
 
50 GVMNASTTCS OF THE VOICE. 
 
 root of the tongue, with which it is connected by 
 
 a 8 i8 
 Fig. XX 
 
 IMAGE OF THE LARYNX AND SURROUNDING PARTS, TWICE THE ACTUAL SIZE. 
 
 I, base of the tongue ; 2, epiglottic frsenam, or middle glosso-epiglottic ligament ; 
 3, vallecula ; 4, epiglottis ; 5, cushion of the epiglottis ; 6, lateral glosso-epiglottic 
 ligament ; 7, anterior, and 8, posterior commissure of the larynx ; 9, rima glottidis , 
 10, vocal cord 11, ventricular fold ; 12, ventricle ; 13, posterior vocal process ; 14, 
 arytenoid cartilage; 15, supra-arytenoid cartilage; 16, cuneiform cartilage: 17, 
 ary-epiglottic fold; 18, posterior laryngeal wall, entrance to the cesophagus ; 19, 
 pyriform sinus; 20, hyold fold of mucous membrane. 
 
 [Explanation to Fig. XIX, page 49,] 
 
 CONNECTED \'IEW OF THE HYOID-BONE, THYROID BODY. 
 WITH ITS RAMIFICATIONS, AND LIANGS. 
 
 LARYNX", WINDVirE 
 
 I is the epiglottis, 2 the hynid or toncrne-bonc : i, 4. 5 ^"d 6 show the larynx ; 4 
 is the thyroid cartilage ; 5, 5 are the superior horns of the thyroid cartilage, and 3, 3 
 the thyro-hyold ligament ; 6 is the cricoid cartilage, 9 the bifurcation ; at 8, 8, 8 arc 
 seen tracheal cartilaginous rings; 7 shows the thyroid body, 10 the left bronchus and 
 II the right bronchus. A, A show in outline the two lobes of the left lung into 
 which the bronchial tubes a, a arc seen to enter. The three lobes of the right lung 
 are indicated by j5, B, B, with the corresponding bronchial tubes I', b, b. In the 
 upper lobe of the right lung is indiciited in outline the manner in which the bronchial 
 tubes subdivide into smaller and smaller tubes which finally terminate in air-passages 
 and air-cells of the primary lobules. 
 
The Pharynx — The Larynx. 51 
 
 means of the hyoid-bone (lingual bone). Right 
 through the centre of the larynx two highly elastic 
 cords extend from the shield cartilage, anteriorly, 
 to the two pyramid cartilages posteriorly. They 
 are called the vocal cords. On the one side they 
 are firmly attached to the laryngeal wall, and the 
 opposite sharp edge projects into the interior of the 
 larynx. They meet at an acute angle at the depres- 
 sion between the two wings of the shield cartilage, 
 but diverge from there backward, and leave an 
 interval for the passage of air. This interval or free 
 space, the glottis, or riina glottidis (chink of the 
 glottis), is either an equilateral triingle, or, as in very 
 deep inspirations, an almost perfect oval (Fig. XX). 
 
 By the air forced from the lungs, the vocal cords 
 can be put into sounding vibrations, whereby voice 
 is produced. 
 
 Under the shield cartilage is the ring cartilage, 
 which connects the larynx with the trachea (wind- 
 pipe). Over the rima glottidis we find the epiglottis, 
 a protecting cover, projecting from before and below 
 in an oblique direction backward and upward over 
 the larynx. It is a pear-shaped, flat cartilage, which 
 shuts down upon and closes the glottis when food 
 and drink are to pass into the stomach, so that they 
 must glide' over the cover (Figs. XIX, XX, XXI). 
 
52 Gymnastics of the Voice. 
 
 Most changes of voice arise from narrowing and 
 widening, and from lengthening and shortening, of 
 the glottis, as well as from contraction and relaxa- 
 tion of the vocal cords. 
 
 SECTION 6. 
 
 Trachea (Windpipe, Fig. XIX). 
 
 The trachea is a cartilaginous tube, which can, 
 like the rest of the air-passages, expand, contract 
 and shorten by means of elastic fibres. It measures 
 from three and one-half to four and one-half inches 
 in length. Its superior end is connected with the 
 larynx ; thence it descends vertically into the chest, 
 and divides in the region of the third dorsal vertebra 
 into two canals, the bronchi (the left and the right 
 bronchus), one of which leads into the right, the 
 other into the left lung. The interior of the trachea 
 also is lined by mucous membrane. 
 
 section 7. 
 The Air-Receivers (Lungs, Fig. XIX). 
 
 The lungs occupy the greatest part of the thoracic 
 cavity. They are divided into the right and left 
 lung, connected above by the bronchi, branches of 
 the windpipe, and between which the heart and the 
 
Trachea — The Ah<-Receivers. 53 
 
 largest artery (aorta) are situated. Each lung has 
 a broad, concave base, by which it rests upon the 
 diaphragm, and a rounded apex, which stands behind 
 the first rib. 
 
 Each lung is divided by deep fissures, the right 
 into three, the left into two lobes, and these again 
 into numerous small lobules. 
 
 Fig. XXI. 
 
 VIEW OF THE INTERIOR OF THE LARVNX, THE POSTERIOR HALF BEING CUT AWAV. 
 
 I, I, the greater horns of the hyoid-bone, cut across: 2, thyroid cartilages: 3, 
 cricoid cartilages ; 4, first ring of the trachea : 5, the thyro-hyoid membrane : 6, 
 upper portion of the epiglottis ; 7, cushion of the epiglottis : 8, ventricular fold, 
 showing above it the wedge-shaped spnce of the upper laryngeal cavity ; 9, left 
 vocal cord : a, dj c showing the different [jur'.ions of the interior muscle. 
 
54 Gymnastics of the Voice. 
 
 The activity of the lungs consists in zwspiration 
 and ^;irpiration. In the former the chest expands ; 
 in the latter it contracts. 
 
 The lungs do not represent a simple hollow space, 
 like common bellows, but a very comphcated tubular 
 system. The substance of the lungs consists, especi- 
 ally at their periphery, almost entirely of very minute 
 lobules, each of which possesses a narrow outlet 
 (duct). These ducts combine to form gradually 
 larger and larger canals, until, finally, the two before- 
 mentioned canals, the bronchi, are formed, which 
 in their turn form, by their union, the trachea 
 (windpipe). 
 
 In inspiration the air passes through the glottis, 
 trachea and bronchi to the air-cells of the lungs, 
 whereby these are forced to expand. 
 
 The expansion of the lungs depends upon the 
 size or expansibility of the thorax. It is, therefore, 
 necessary to strive, by appropriate exercises, to 
 make the chest capable of expansion. 
 
 The main function of the lungs is the removal of 
 carbonic acid from the blood, and the introduction 
 of oxygen. 
 
PART SECOND. 
 
 THE ACTIVITY OF THE VOCAL ORGANS. 
 
CHAPTER I. 
 
 PRODUCTION OF THE VOICE. 
 
 SECTION 1. 
 
 General Remarks. 
 
 We have learned from the introductory remarks 
 that the voice is produced by the air contained in 
 the lungs passing through the larynx, and thereby 
 inducing sounding vibrations of the vocal cords. 
 
 The sound, then, is not produced in the oral cavity 
 by any certain position of its organs ; it exists the 
 moment the air escapes from the glottis, although it 
 certainly gains or loses by the position of the organs 
 of the oral cavity and by the pharynx. It gains in 
 euphony by a correct, natural position of the tongue, 
 bf the soft-palate, i. e., by more passive than active 
 position of these parts ; and loses when these parts, 
 acting in a wrong way, spoil the sound. 
 
 We know that the vocal cords, during respiration, 
 diverge widely ; that thereby an orifice, the glottis, 
 of the shape of an equilateral triangle, or, in very 
 deep respirations, of an oval, is left between them 
 (Fig. XXII, i). But to be put into sounding vibra- 
 
58 
 
 Gymnastics of the Voice. 
 
 tions, the previously diverging vocal cords must be 
 brought into complete (Fig. XXII, 4) or partial con- 
 tact (Fig. XXII, 6). 
 
 T. 
 
 Fig. XXII. 
 
 GLOTTIS IN ACTION, 
 
 I, Inspiration. 4, Low chest 
 
 h 
 
 2, Expiration. 
 3i Spiritus asper 
 
 > tones. 
 
 5, High chest) 
 
 6, Low falsetto ^ 
 
 7, High falsetto 
 
 > tones. 
 
Production of the Voice. 59 
 
 The previously large triangular or oval glottis con- 
 tracts to a narrow chink, and the current of air is 
 thereby for a time either entirely interrupted by per- 
 fect closure, or decreases in rapidity by incomplete 
 closure, an impediment being formed to the expira- 
 tion. Through this hindrance above, by the con- 
 tinuous pressure of the true expiratory muscles (the 
 abdominal muscles), a great tension of the air con- 
 tained in the lungs arises, and with that greater force 
 of the air-current previously passing freely through 
 the trachea, but now restrained by a narrow exit, it 
 thereby becoming possible to bring the vocal cords 
 into a vibratory and sounding motion. 
 
 The vocal cords having approached so closely 
 that by their vibrations (alternate opening and 
 closing of the respiratory canal, that is, continual 
 interruptions of the air-current are produced) the 
 air-current is brought into strong, sounding vibra- 
 tions, and we receive the most beautiful sounds that 
 can arise only from a union of the vibrations of the 
 vocal cords and those of the air-current. 
 
 This approach of the vocal cords occurs in differ- 
 ent ways. There are, accordingly, various modes 
 of beginning the tone (" attack ") : the " direct 
 attack " and the " indirect attack." 
 
6o Gymnastics of the Voice. 
 
 I. The Direct Attack. 
 In the " direct attack " the vocal cords come into 
 contact throughout their entire length, from the front 
 backward, so that the lower part of the larynx is 
 completely separated from the upper, and the 
 approach of the vocal cords is rapid and decided ; 
 at the same time the vocal cords become shortened, 
 and must, therefore, with the immediately following 
 intonation, alter their degree of tension, their shape, 
 length and thickness, according to the sound which 
 is to be produced, and must separate somewhat. A 
 tone thus produced will be marked and separated 
 from other tones. 
 
 2. The Indirect Attack, 
 In the " indirect attack," on the contrary, the 
 glottis is not completely closed by the approach of 
 the vocal cords. Here their length, tension, shape, 
 etc., are at once such as are required for the produc- 
 tion of the desired tone, and, consequently, the vibra- 
 tions begin immediately after the approach of the 
 vocal cords without any change in the length or 
 tension, as is necessary in the " direct attack." 
 
 3; The Spiritus Lenis and the Spiritus Asper. 
 Philologists have long ago subdivided this " in- 
 direct attack," and distinguish the soft — the so-called 
 
Production of the Voice. 6r 
 
 spiritus lenis — and the aspirated (commencing with 
 an h) — the spiritus asper. 
 
 In the " direct attack '' the vocal cords come 
 together rapidly, and completely close the glottis. 
 In the spiritus lenis they approach just as rapidly, 
 but do not come into contact. In the spiritus asper 
 the approach is very slow and hesitating, as though 
 there were a power which endeavored to retard their 
 progress (Fig. XXII, 3). Whereas the " direct 
 attack " is distinguished from the " indirect " by the 
 closure of the glottis, the subdivisions of the " in- 
 direct " are distinguished not by the closure, but by 
 the rapidity of the approach of the vocal cords. In 
 the " direct attack " there is, moreover, a momentary 
 interruption of the column of air, but not in the 
 " indirect." 
 
 A perfectly normally formed tone of the human 
 larynx is one by whose production the entire expira- 
 tory air, passing at once through the glottis, is 
 brought into permanent vibrations. We distinguish 
 here the normally formed from the aspirated tone, 
 which is impaired by wild air (that is, air not 
 brought into permanent vibration), in which, there- 
 fore, the conditions of tone-formation are not perfect 
 or not unimpaired. In chest-Xox\&?, the glottis is 
 momentarily closed at the beginning of the tone and 
 
62 Gymnastics of the Voice. 
 
 at the termination of each vibration. The vocal 
 cords vibrate in their entire width and length. In 
 falsetto tones the glottis remains open, and the 
 vocal cords vibrate only at their edges. 
 
 We can, therefore, assume that there are four 
 chief ways of expiration which are distinguished by 
 a gradually increasing approach, to each other, of the 
 vocal cords : 
 
 1 . Inaudible expiration — entirely open glottis. 
 
 2 . A itdible expiration — contracted glottis ; the 
 noise of the letter h, spiritus asper. 
 
 3. The " indirect attack'' — the vocal cords are so 
 near each other that the exhaling air sounds, spiritus 
 lenis ; and 
 
 4. The " direct attack " — completely closed glottis, 
 which only opens when the tone commences to be 
 produced. 
 
 4. Whispering. 
 The second kind of expiration, the noise h, is used 
 for the so-called whispering voice. But whispering 
 must not be confounded with low speaking. The 
 lowest speaking may still be full of sound, and should, 
 for that reason, not be called whispering. It is not 
 low sound, but the total lack of sound, that charac- 
 terizes the latter. It is called whisper-vo\c& because. 
 
Production of the Voice. 63 
 
 with the exception of the loud sound, it has all the 
 essential marks of voice. Here, also, we find a 
 "direct attack" and two " indirect attacks," as we 
 have just become acquainted with them, and only 
 the loud sound is missing. If, on account of a 
 disease in the mucous membrane covering the vocal 
 cords, the latter are in such a condition as to be una- 
 ble to approach each other, then not only sounds of 
 the whispering voice, but even the laryngeal noises, 
 become impossible, or can be clearly heard only by a 
 great strain and force of the exhaled current of air. It 
 is, therefore, entirely wrong to explain the origin of 
 the noise h in the manner in which it has been gen- 
 erally explained ; viz., that the air, escaping from 
 the larynx, bounds against the pharynx, or any part 
 of the oral cavity, and that there a noise is produced. 
 Not in the oral cavity, nor in the pharynx, but in 
 the larynx is the noise Ii produced. Through air 
 that is exhaled only, can a sound be formed. Air 
 that is inhaled, at the utmost produces a noise. 
 
 5. The Force of the Voice. 
 The force of the voice is dependent on the condi- 
 tion of the organs of respiration — the chest, the 
 lungs, the larynx, etc., — but its metal depends on 
 the condition of the mucous membrane that covers 
 
64 Gymnastics of the Voice. 
 
 the larynx as well as all air-passages. The ability 
 of contraction and vibration of the vocal cords, as 
 well as the higher or lower position of the larynx, 
 and the shortening or lengthening of the glottis, 
 decide the height or the depth of the voice. The 
 fewer the vibrations of the sounding body in a cer- 
 tain period of time, the deeper, the more vibrations, 
 the higher will the sound be. The deepest audible 
 tone has sixteen vibrations, the highest thirty-eight 
 thousand vibrations in a second. 
 
 6. The Influence of the Air-pressure. 
 
 As to the influence of the air-pressure upon the 
 quality of the loud voice, it is certain that by a stronger 
 pressure of air the sound of the voice will become 
 stronger, but it will also become higher. 
 
 If, by a stronger pressure of air against the vocal 
 cords, you wish to prevent the heightening of the 
 sound, a consequent remission in the contraction of 
 the vocal cords is necessary; if, on the contrary, the 
 strength of the sound is to be weakened without 
 suffering a change in its height, then, with the de- 
 creasing of the pressure of air, the contraction of 
 the vocal cords must increase. We find an example 
 in the " crescendo " and " decrescendo." 
 
 A metallic piano can be produced only when the 
 
PRODUCTIOlSf OF THE VOICE. 65 
 
 muscles of the vocal cords work with greater energy, 
 while the pressure of air from beneath becomes 
 weaker through the diminished contraction of the 
 abdominal muscles. 
 
 The peculiarity of so many singers in producing 
 the higher notes of the chest-register by a greater 
 expenditure of breath and a pressure of the muscles 
 of the neck, is entirely wrong. It is a law in nature 
 that the larynx rises by heightening and falls by the 
 deepening of the sound, but there should be no 
 pressure on the muscles of the neck, for thereby the 
 natural function of the larynx is hindered. 
 
 A too great expenditure of breath, or concussion 
 of the vocal cords, will be followed by screaming 
 tones, and not only that, but the vocal cords will in 
 time lose their elasticity, and with this their ability 
 of vibrating. This is the cause of the ruin of so 
 tnany voices. 
 
 Now, is the tone produced by the vocal cords in 
 the larynx sufficient for speaking and singing ? 
 Certainly not. 
 
 The tone produced in the larynx could not be 
 used for music without the resonator. This is com- 
 posed of the cavities above the larynx, viz., the 
 pharynx, the oral and nasal cavities. Through 
 S 
 
66 Gymnastics of the Voice. 
 
 these the sound produced in the larynx by the vocal 
 cords receives a greater variety in tone-quality, more 
 fulness, roundness, and in general its beauty. 
 
 7. The Timbre. 
 
 The peculiar, variable character which everything 
 that is spoken or sung, every tone-register, every 
 tone, apart from its intensity, can assume as soon as 
 the sound produced in the larynx has entered into 
 the pharynx, Garcia (the inventor of the laryngo- 
 scope) calls timbre (the real tone-quality). 
 
 This timbre of the human voice allows (according 
 to Garcia) of several modifications, — guttural, nasal, 
 round, hollow and disrftal ; but these may be reduced 
 to two main timbres — the light and the dark. 
 
 If the mouth is opened wide, and if, on account of 
 the high position of the larynx, the opening of the 
 pharynx is but small, the LIGHT timbre is produced ; 
 if the mouth is opened little, and if, on accou7it of the 
 low position of the larynx, the tvidth of> the pharynx 
 is great, the DARK timbre is produced. (More on 
 this in Part IV.) 
 
 Exercise. 
 
 RISING AND SINKING OF THE LARYNX. 
 
 Speak the /«ri? vowels E, A, A', O, O', 0"as described 
 in Part III, " General Observations," without any exer- 
 tion of the outer muscles of the larynx. You will find that 
 
Production of the Voice. 67 
 
 in beginning with E and ending with O" the larynx grad- 
 ually sinks J on the other hand, in beginning with O" and 
 ending with E the larynx gradually rises (see E and O" 
 in the description of these vowels, Part III). 
 
 This is the process of nature, and you cannot hinder it except by 
 force^ in which case you will produce squeezed tones. When you 
 have spoken the pure vowels often in the way above-mentioned, you 
 will get the consciousness and the ability to carry out these movements 
 at will, without speaking the pure vowels. 
 
 An excellent exercise for promoting the ability to 
 carry downward the larynx, is to practice the sing- 
 ing of the chest-tones with the mouth closed, as this 
 can be effected easily only with depressed larynx 
 and raised palate. If we raise or press upon the 
 larynx, we shall have nothing but squeezed tones. 
 
 By means of the light timbre the chest-tones 
 receive their lustre. It is particularly adapted to 
 the expression of delicate and joyful feelings, but by 
 too great a strain the voice sounds screaking. The 
 dark timbre gives to the chest-tone the rounded 
 fulness and might. It is particularly adapted to the 
 expression of the solemn, of pain and sorrow. If 
 exaggerated, the tone is smothered, and becomes 
 hollow and rough. 
 
 According to Garcia, the efifect of the timbre 
 can also be distinctly felt in the falsetto tones, 
 although in a less striking degree than in the chest- 
 register. 
 
68 Gymnastics of the Voice. 
 
 We have been often asked : " What is your opinion ? Shall I prac- 
 tice only the dark or only the light timbre? My teacher always 
 said that I should practice the first." 
 
 What shall we answer to this question ? And let it not be believed 
 that this teacher is the only one who thinks so ; numerous examples 
 prove the contrary. Here and there we still find people who are of 
 the opinion that we can cultivate a nice voice existing alone, and not 
 dependent upon the feelings of man. This is certainly possible, and 
 to our sorrow we must too often listen to such a voice ; but such 
 tones will not be able to reproduce man's feelings. If this is to be 
 the case, the voice must be cultivated in such a way as to be capable 
 of producing every shade of sound. As already stated, the two prin- 
 cipal timbres are light and dark, and each of these, by correct cultiva- 
 tion of the voice, allows as many shades as man is able to produce. 
 
 In singing or speaking only feelings are expressed, be they feelings 
 of pain or ofjoy. Sounds without feeling are, consequently, not sing- 
 ing. Many modern singers do not sing feelings, but sounds ; and it is 
 impossible that it should be otherwise. Feelings can appear in the 
 sound only when the voice is used in a perfectly correct manner, and 
 when the voice is free from all mannerism. Where this is not the 
 case we hear sounds which, by means of all sorts of expedients, as, 
 for instance, lower, louder, slower or quicker singing, are to be 
 shaded differently, but always we hear the same shade of tone and 
 lack of all feeling. Consequently, in art the human voice cannot 
 be said to exist without feeling, and this does not express itself in 
 the light or the dark, but in both timbres. 
 
 In old age the vocal organs lose in elasticity, 
 whereby the organs of respiration become wider, 
 and, consequently, the voice loses its metal. 
 
 8. Tlie Compass. 
 
 The human voice has a compass of about two, 
 two and one-half, to (as the celebrated Catalani) 
 three octaves, and is divided into different kinds, 
 called soprano, alto, tenor and bass ; or soprano, 
 mezzo-soprano, alto, tenor, baritone and bass. 
 
 This diversity in the human voice is caused by the 
 construction of the vocal organs, i. e., by longer or 
 
Production of the Voice. 69 
 
 shorter vocal cords, smaller or larger size of the 
 larynx, and even by the elasticity of the air-passages 
 and the force of their resonant walls. 
 
 The vocal cords of children and of women are 
 shorter (consequently the glottis also, and, therefore, 
 their voice is higher and finer) than those of men. 
 
 9. The Mutation of Voice. 
 
 The period oi mutation (J,, e., the development of 
 the boy to youth and the girl to womanhood) has 
 great influence upon the voice, and should not be 
 neglected by parents and teachers. It is indicated 
 by the voice becoming hoarse and rough, and fre- 
 quently producing double sounds (more to be noticed 
 in the male than in the female sex), and, if the voice 
 is to develop naturally and to advantage, the vpcal 
 organs should be spared. We do not mean to say 
 (what so many affirm to be absolutely necessary) 
 that during the period of mutation all exercises in 
 singing are to cease. This is necessary only when 
 the voice is entirely hoarse. On the contrary, even 
 in this period, exercises for the voice are very ad- 
 vantageous for the development of the vocal cords. 
 It should be well understood that the« exercises must 
 be easy, very moderate, in no way forced, and not 
 long continued. 
 
70 Gymnastics of the Voice. 
 
 lo. Registers of the Voice. 
 
 Man can produce different kinds of tone, accord- 
 ing to the way lie allows the air to pass from his 
 lungs, by more or less stretched vocal cords. 
 
 A tone can be produced twice from the same 
 vocal cord by strong breath and weak stretch, and 
 by weak breath and strong stretch ; in this way the 
 several registers of the human voice originate. 
 
 Every compass of voice in individuals of moder- 
 ately good voice is composed of two to three rows 
 or registers of tones, partly following or lying over 
 each other, which allow various sounds to be heard, 
 and which are caused by various vibrating mechan- 
 isms of the vocal cords. By a register of tones 
 we understand a continuous longer or shorter row 
 (scale) of tones, which are produced by an instru- 
 ment by one and the same vibrating mechanism, 
 whereby the general timbre of the tones may not 
 be changed. As soon as a noticeable difference in 
 the color of the t6ne (timbre) takes place, then the 
 tone always belongs to a register different from that 
 of the first tone. 
 
 Notwithstanding all seeming differences of opinion 
 upon the registers of the human voice, experience 
 clearly shows that there are principally two registers 
 of voice in the male vocal organs — chest and fal- 
 
Production of the Voice. 71 
 
 setto register. In the female organ three registers 
 may be clearly distinguished : — a low, a middle and 
 a high one, of which the hearing can noticeably dis- 
 tinguish the low from the middle one. 
 
 SECTION 2 
 
 Chest-Register (Fig. XXII, 4 and 5, and Fig. XXXII). 
 
 In every singer, whose voice has not been cul- 
 tivated in a wrong way, we hear that he can strike 
 the general row of his natural tones, from the lowest 
 up to a certain height, with a full breath ; these are 
 the tones that a man uses in general speaking and 
 declaiming, but which women use only under cer- 
 tain circumstances. They are correctly called chest- 
 tones because by the man, at least, they are formed 
 not only with full chest, i. e., with full, well-used 
 breath, and are allowed to swell strongly, but because 
 they resound in the full extent of the chest, and 
 thereby reach their fulness and size. The hearer 
 has the feeling of the full, the natural, the healthy, 
 the strong. In the woman, however, these tones of 
 the low register make the impression of something 
 foreign to the female nature, and here they are the 
 expression of a state of emotions which we are apt 
 to find in a man, but not in a woman. 
 
72 Gymnastics of the Voice. 
 
 SECTION 3. 
 
 Falsetto Register (Fig. XXII, 6 and 7, and Fig. 
 XXXIII). 
 
 If a singer tries to reach higher notes with his 
 vocal organ than he is able to do with his chest- 
 mechanism, we not only find a certain change in the 
 mechanism of the tone, but also a noticeable change 
 of the timbre ; we feel that not all that was set into 
 vibration by the chest-tones is vibrating now, and 
 the tones produced do not make the impression of 
 the full, the natural, the marked, the strong, upon 
 us, but remind us rather of something abnormally 
 weak or feminine. In woman this register, which 
 does not here deserve the name o{ falsetto, but should 
 be called middle register, is altogether different. 
 The falsetto or middle register is the chief one of 
 woman ; it sounds better, fuller and nicer than a 
 man's falsetto, and it is more consistent with the 
 feminine disposition and character than her chest- 
 register, which sounds better in a man. While a 
 man usually sings, speaks and declaims in the chest- 
 register, most women, single as well as married, use 
 their middle register. 
 
 The falsetto register does not commence only at 
 the end of the chest-register; it can even commence 
 
Production of the Voice. 73 
 
 in the middle, and in women still lower; and for this 
 reason a certain number of tones can be sung in 
 both registers. 
 
 The entire number of tones which can be pro- 
 duced in a larynx, therefore, consists of three 
 divisions, viz. : 
 
 1 . Tones which can be produced by the chest-voice 
 only. 
 
 2. Tones which are possible in the falsetto voice 
 only ; and 
 
 3. Tones %vhich can be produced by both the chest 
 and falsetto voice. 
 
 The tones under (i) are the lowest, those under 
 (2) the highest, and those under (3) embrace a 
 middle register depending for its larger or smaller 
 size upon the individual to whom it belongs. 
 
 The cultivation of those tones which can be pro- 
 duced by both chest and falsetto voices, requires 
 great study, and in their correct use {i. e., already 
 to take the falsetto tone where the chest-tone might 
 still be taken, and vice versa still to remain two or 
 three tones in falsetto, where the chest-tone might 
 already be taken) frequently lies the wonderful 
 sympathy, the irresistible attraction of the speech 
 and song of so many speakers and singers. 
 
CHAPTER II. 
 
 PRODUCTION OF THE VOICE IN SINGING 
 AND SPEAKING. 
 
 SECTION 1. 
 
 The Qualities of Tone. 
 
 As already stated, the tone originates in the glottis 
 by means of air expelled from the lungs through the 
 larynx. 
 
 The qualities a tone must have to give entire 
 satisfaction are: 
 
 1. Metallic. 
 
 2. Clear {of the right height^). 
 
 3 . Strong and full. 
 
 4. Firm, not trembling, and - 
 
 5. Durable. 
 
 Let us look more closely at the premises which 
 cause these qualities. 
 
 A strong, healthy chest and good respiratory and 
 vocal organs must be named as the first condition 
 for the production of a tone ; without these a good 
 tone is impossible, although it is not thereby said 
 
Production of the Voice. 75 
 
 that these qualities alone will cause a good sound to 
 be produced. 
 
 The quality of the mucous membrane covering the 
 vocal cords, as well, as the power of vibration of the 
 vocal cords themselves, the width of the fauces and 
 the oral cavity, the amount of air the nose is able 
 to hold, as well as the pharynx, the thickness of the 
 soft-palate with the uvula and of the tonsils, greatly 
 influence the tone. All of these may be influenced 
 to advantage. The sooner this is done, the more 
 advantageous it will be. 
 
 We know that the tone produced in the larynx 
 only reaches its variety in timbre, its fulness, its 
 roundness, and altogether its beauty, in the res- 
 onator. We add thereto, but only by correct use of 
 the resonator. 
 
 "Can the resonator be used incorrectly?" I have been often 
 asked. Certainly ! The resonators of artificial instruments cannot 
 be used incorrectly, for they cannot be changed ; but the resonator of ' 
 the human vocal organs is capable of great changes — changes vchich 
 are caused on one hand by speech, on the other hand by incorrect)' 
 use of the organs at and in the resonator to which lips, teeth, tongue, 
 soft-palate and tonsils belong. 
 
 In order to use these organs correctly, it is necessary that ViS: should 
 attain a complete mastery over them by means of gymnastics, and 
 know how they should be used. In this mastery great results can be 
 obtained if we have the will to attain them. > 
 
 The Metal and Clearness. 
 
 The metal and clearness of a tone depend upon 
 the condition of the mucous membrane covering the 
 
76 Gymnastics of the Voice. 
 
 vocal cords, and the slightest change in this (dryer, 
 mois'ter, thicker, harder than necessary) has a dis- 
 advantageous influence upon the metal of the tone. 
 
 The Strength. 
 
 The strength of the tone may be increased if the 
 chest and lungs are widened by means of deep 
 breathing and gymnastic exercises. (See Part IV.) 
 As these exercises also strengthen the organs of 
 respiration, the evenness of the tone is also in- 
 fluenced, as this depends upon the evenness with 
 which the air is expelled from the lungs. 
 
 The Evenness. 
 
 The evenness of the tone depends upon correct 
 breathing, and will be treated under " Breathing." 
 
 The Power of Duration. 
 
 The power of duration of a tone depends upon 
 the strength of the muscles of the larynx, and can be 
 attained only if these parts are nourished by animal 
 food and by a gradual heightening in singing, but 
 never without allowing the necessary rest to follow. 
 
 This is the case not only with the singer, but also 
 with the orator, as we shall see further on. 
 
Production of the Voice. -jj 
 
 How the voice gains in height and depth will be 
 shown in Part IV. 
 
 Before the muscles of the vocal organs have 
 attained the necessary strength, the voice will always 
 more or less vary from the correct pitch, as well as 
 tremble. This may also be in case of poor musical 
 hearing and of poor method of teaching. Strengthen- 
 ing of the voice, cultivation of the hearing, and correct 
 method of teaching are the chief conditions for the 
 prevention of singing out of tune. 
 
 Tonsils that are too large must be made smaller 
 by means of caustic or tincture of iodine. 
 
 What the condition of the organs of respiration 
 should be has already been told in the discussion 
 upon the lungs, the windpipe, the larynx and the 
 muscles, and will be treated further in Part IV. 
 Here we must only speak of the production of the 
 tone and of the position of the necessary organs. 
 
 SECTION 2. 
 
 Position of the Body. 
 
 When the body is in a quiet position during the 
 production of the tone, the following directions are 
 to be observed : 
 
 The body should not be distorted in any of its 
 
78 Gymnastics of the Voice. 
 
 parts. It must stand straight, with protruded chest, 
 the shoulders back. The chin should not be held 
 high or low, but should have a horizontal position. 
 
 The neck must set free and unforced upon the 
 shoulders, and not, as we frequently see, i^^^t£/^^« them. 
 The shoulders should not accompany the tone or 
 word with rising and falling in order to give it a 
 particular expression. It is understood that shrug- 
 ging of the shoulders, as well as some few cases in 
 which the shoulders may move, are excepted. To 
 the latter, among others, belongs the representation 
 of fright, whereby the neck, and, consequently, the 
 head fall between the shoulders, etc. 
 
 The aims should not be pressed against the sides 
 of the body, but should hang light and unforced (in 
 which case the pushing back of the elbows, an often 
 noticeable mistake of women, will be prevented), 
 and when they are moved it must be done without 
 any excessive straining of the muscles. 
 
 SECTION s. 
 
 Position of the Lips and Organs in the Oral 
 Cavity. 
 
 . The organs in the oral cavity and the lips must 
 be placed according to rule: — The jaws separate a 
 
PRODuctiON "of the Voice. 79 
 
 little, the lips are slightly drawn back from the teeth 
 (in a as m father, a as m fate) as in a friendly smile, 
 whereby the tips of the teeth become visible, but 
 ■without allowing any strain to appear, ,or that one 
 lip is drawn back more than the other. But in e 
 (in eve), o (in old), 00 (in ooze), the lips should be 
 held as is described in Part III ; but they should 
 not, as we often find in noted singers, be pushed too 
 far forward, whereby they get the appearance of a 
 carp's mouth ; nor may they close on one side of 
 the mouth and open wider on the other, thereby 
 forcing the tone to pass unclearly and poorly from 
 the side of the mouth. 
 
 We often find other riiannerisms of holding the 
 lips, and for that reason we mention them : One is 
 the so-called pointing of the mouth, whereby the 
 opening through which the tone has to pass be- 
 comes so small that a clear, full tone is impossi- 
 ble ; and the other is the holding and pressing of 
 the under lip upon the teeth, while the upper lip 
 is pulled from the teeth 
 
 The mannerism of opening the mouth wide during 
 production of high tones and of reducing it to its 
 minimum opening in production of deep tones, is 
 entirely incorrect. The width of the jaws and open- 
 ing of the mouth (during production of tone) is 
 
8o Gymnastics of the Voice. 
 
 normal when we can put the thumb between the 
 teeth. The singer should always attempt to reach 
 the normal opening, although this opening under- 
 goes various modifications by the formation of 
 different vowels. 
 
 I cannot understand why singing teachers are not stricter about the 
 position of the mouth and of the organs of the oral cavity, as a pure, 
 clear tone is impossible with incorrect position of these organs. 
 
 I once had a pupil who (having had a few years' musical education 
 in Paris) sang with the most disadvantageous and ugliest position of 
 the mouth ; it required the greatest strictness on my part, and the 
 most continual diligence on the part of the pupil to change these in- 
 correct positions of the lips, for they had become her second nature. 
 
 Singing teachers cannot, therefore, be told too often : before all, be 
 particular about the correct position of the mouth as well as of the 
 organs of the oral cavity. 
 
 The soft-palate must be raised as much as possi- 
 ble, the tonsils (altogether'the side walls of the soft- 
 palate) should not be pressed together. 
 
 The knowledge how _ to hold the palate is of the greatest import- 
 ance to singers and speakers. The disagreeable singing of so many 
 comes from their not having learned how to lead and break the waves 
 of tone correctly by means of the soft-palate. This is an art the at- 
 tainment of which requires a long period of time, but the singer must 
 obtain possession of it, for he who cannot regulate his palate, will 
 never learn how to sing. 
 
 The fauces must be as wide as possible and 
 should not be decreased in width by the tonsils. 
 
Production of the Voice. 8i 
 
 SECTION 4. 
 
 Tmportance of a Movable Tongue. 
 
 In the production of tone unconnected with speech 
 (^singing the vowel ak, see Part III), the tongue must 
 lie horizontally in the mouth, the tip touching the 
 lower row of teeth, but without rising over it. In 
 the middle of the tongue a small depression is 
 formed, similar to the form of a cylinder cut through 
 lengthwise. Not under any circumstance should it 
 extend into the oral cavity in the shape of an 
 arch, which happens more or less in forming the 
 other vowels (see Part III, "The Vowels"), nor 
 should it contract spasmodically at its root, nor press 
 downward upon the larynx whereby the oral cavity 
 becomes smaller, and the resonance of the tone is 
 injured. If a word is connected with a sound, the 
 different vowels demand their several rights (see 
 Part III), but we should always strive to bring the 
 tongue into the position required by the rules for 
 the formation of tone. It is only necessary to re- 
 move the tip of the tongue from the lower teeth in 
 the formation of the different dental and palatal con- 
 sonants (see Part III, "The Consonants"). Its en- 
 tire activity consists in the mobility of its tip and 
 6 
 
82 Gymnastics of the Voice. 
 
 the raising of its back, but never in spasmodic con- 
 traction backward, downward nor toward the soft- 
 palate ; and exactly this occurs in the incorrect use 
 of the tongue. 
 
 Chiefly necessary for easy speech, there- 
 fore, IS A movable tongue, and for good sing- 
 ing A QUIET TONGUE. 
 
 As soon as the tongue is contracted spasmodically in any direc- 
 tion, a squeezed, disagreeable, unclear sound is produced, which 
 most people regard as characteristic of the voice of the individual who 
 uses it, but which, if formed by the same organs according to rule, 
 may become a beautiful tone. No one need, therefore, believe that 
 these squeezed, disagreeable sounds are natural qualities not to be 
 got rid of; they are only the result of a poor method, and we will 
 undertake (let it be well understood if the person has the necessary 
 diligence) to free any one's voice from this nightmare. 
 
 Laryngeal, nasal, and palatal tones occur as fre- 
 quently in speaking as in singing, but they are more 
 noticeable in the latter. 
 
 A palate-tone .speaker or singer need, therefore, 
 not console himself with the idea that it is his fate 
 to be obliged to use these sounds, but should accuse 
 himself as the murderer of his voice. 
 
 section b. 
 
 Correct Use of the Tongue. 
 
 The correct use of the tongue is very difficult to 
 attain, and only by means of gymnastic exercises 
 for the tongue, such as are given below, will the 
 
Exercises for the Tongue. 83 
 
 scholar be able to make it movable, so that instead 
 ot being in his way it will aid him. 
 
 It is not to be believed how little most speakers (singers, only, partly 
 excepted) understand how to use their tongue correctly. With most 
 it is nothing but a helpless lump of meat which is in the way of every 
 tone and word, and I have often met colleagues who were not able to 
 move their tongue independently. I have even heard some say : 
 " My tongue is in my way." This sounds as if in shooting a soldier 
 should say: "My gun hinders me, I wish I could shoot without it." 
 Some will smile at this saying, and yet I have often heard it and 
 understand it very well. The tongue really hinders by incorrect use 
 (before it has been mastered by means of exercises), and clear singing 
 and quick, flowing speech are impossible without correct action of the 
 tongue. 
 
 Most peculiarities and singularities in pronunciation have been 
 altered by means of correct use of the tongue; and still we find 
 numerous artists who, if we wish to prove to them that their poor 
 singing is caused by the spasmodic contortions of their tongue, laugh 
 in our face. 
 
 These exercises are to be practiced not with the 
 tongue alone, but also with the soft-palate, lower jaw 
 and lips. 
 
 EXERCISES FOB THE TONeUE, SOFT-FALATE, LIPS AND 
 LOWER JAW. 
 
 Tongue Exercises (before a looking-glass). 
 
 Exercise I. 
 Open the mouth wide, but not too wide (this is meant 
 for all exercises); let the tongue rest quietly without any 
 pressure flat on the bottom of the oral cavity, the point 
 touching but not pressing the front teeth ; breathe Hghtly 
 in and out through the mouth (four, six times), not allow- 
 ing the tongue to move in the very least. 
 
 Exercise II. 
 
 Protrude the tongue as far as possible without any 
 pressure and independent of the muscles of the larynx ; 
 
84 Gymnastics of the Voice. 
 
 keep it out four seconds, then draw it back as far as pos- 
 sible. Keep it back four seconds without closing the 
 mouth. Begin slowly (six times), growing faster by 
 degrees (ten, fifteen times in succession). Protrude the 
 tongue during expiration, draw it back during a deep 
 inspiration through the mouth, the nostrils held closed by 
 thumb and fore finger. 
 
 This exercise is to be repeated frequently while he who practices 
 should try to become conscious of the muscles by means of which 
 this is accomplished (for the knowledge of the muscles to be used at 
 all times is the chief requirement). He will find that in drawing 
 back the tongue its root will contract and thereby push down the 
 larynx ; while in protruding the tongue, its root will come forward and 
 the larynx will be drawn up. With this exercise let him combine the 
 raising of the soft-palate, for while (during the production of a tone) 
 the tongue should not form an arch which protrudes into the oral 
 cavity, the soft-palate should not be drawn too far downward, in order 
 to fulfil the first condition of a full, clear tone, viz. ; wide fauces and 
 wide oral cavity. 
 
 Exercise III. 
 
 Open the mouth wide, move the tip of the pointed 
 tongue to the corners of the mouth alternately to the right 
 and left (six times), having the direct intention to strike the 
 corners (for purposeless work is only a mechanical action 
 and will not lead to success) ; then growing faster by 
 degrees (ten, fifteen times in succession). Do not hold 
 the breath during this exercise, but breatJie quietly and 
 regularly through the mouth. 
 
 Exercise IV. 
 
 Open the mouth wide, touch with the tip of the sharply- 
 pointed tongue the middle of the upper and of the lower 
 lip alternately; begin slowly, with the direct intention of 
 letting only the outermost tip, not the entire front part of the 
 tongue, touch the middle of the lips (six times), then grow- 
 ing faster (ten, fifteen times). 
 
 Exercise V. 
 
 Open the mouth wide, place the tip of the ])ointed 
 tongue into one corner of the mouth, proceed with 
 
Exercises for the' Tongue. 85 
 
 sharply-pointed tongue in dotting fashion along the upper 
 hp to the other- corner ; then on the under lip to the 
 starting point ; repeat the same movement backward ta 
 the starting point. 
 
 Exercise VI. 
 
 Open the mouth wide, touch with the tip of the very 
 sharply-pointed tongue the roots of the upper middle 
 incisors, as if to make a dot there, and then, touching the 
 palate in such dotting fashion with the tip of the tongue, 
 proceed back as far as possible ; then go forward again, 
 always breathing through the mouth (inspiration while the 
 tongue goes back, expiration while it goes forward, six 
 times), both ways. 
 
 Exercise VII. 
 
 Touch, in the same manner, the bottom of the oral 
 cavity, backward and forward. 
 
 Exercise VIII. 
 
 Open the mouth wide, touch with the tip of the sharply- 
 pointed tongue the middle of the upper lip, then of the 
 lower lip and, without pausing, the right and left corners 
 of the mouth (ten, twelve times), slowly at first, growing 
 faster by degrees, alternating thus : upper middle, lower 
 middle, right corner, left corner, upper middle, lower mid- 
 dle, left corner, right corner, always with the sharply- 
 pointed tongue. 
 
 Exercise IX. 
 
 Open the mouth wide, touch with the tip of the sharply- 
 pointed tongue the middle of the right side of the upper 
 lip, then that of the left side of the upper lip ; first slowly 
 (six times), then faster (six times), without any movement 
 of the lower jaw. 
 
 Exercise X. 
 
 Repeat the same exercise with the lower lip, without 
 movement of the lower jaw. 
 
86 Gymnastics of the Voice. 
 
 Exercise XI. 
 
 Combine these two exercises in the following manner : 
 Begin at the upper right side, proceed to the lower left, 
 thence to the upper left and then to the lower right, so 
 that this figure, ><| would be produced ; at first slowly 
 (six times), then faster (six times). 
 
 Exercise XII. 
 
 Open the mouth wide ; proceed with the tip of the 
 sharply-pointed tongue from the right to the left, brushing 
 the upper lip and passing along the lower lip back to the 
 right without interruption (six times), slowly ; then (six 
 times), growing faster by degrees ; repeat from the left to 
 the right in the same manner. 
 
 Exercise XIII. 
 
 Repeat the same exercise along the inner side of the 
 lips. During this exercise touch the lips sharply with the 
 tip of the tongue. Do not open the mouth too wide here. 
 
 Exercise XIV. 
 
 Repeat the- same exercise along the outer side of the 
 lips. 
 
 Let it be borne in mind that the purpose of these exer- 
 cises is to sharpen the tongue, and that they must be 
 faithfully performed. 
 
 Exercise XV. 
 
 Protrude the root of the lowered tongue without allow- 
 ing its tip to pass beyond the . front teeth (ten, twelve 
 times). 
 
 Exercise XVI. 
 
 Sing a tone \aK), holding it as long as possible, without 
 allowing it to lose its clear character, and at the same 
 time try to make a circling movement with the tip of the 
 tongue ; and later, when this exercise has been fully 
 
The Soft- Palate — The Lips. 87 
 
 mastered, try to make a horizontal movement with the 
 tip of the tongue fi om one side of the mouth to the other, 
 first slowly and then gradually increasing in rapidity. 
 
 To hold down the tongue by means of a stick or the handle of a 
 tooth-brush, I do not consider at all beneficial. He who does not learn 
 to move the muscles of the tongue independently, will not derive any 
 aid by forcibly holding down the tongue, or the aid will only last as 
 long as the forcible pressure continues. The only radical cure for 
 the incorrect activity of the muscles of the tongue lies in its perfect 
 control, and this control can only be obtained by means of the exercises 
 prescribed. 
 
 He who, during the activity of the muscles of the 
 larynx, is able thus to move the tongue, will also be 
 able to keep it in an inactive state. 
 
 Thk Soft-Palate. 
 
 Exercise XVII. 
 
 The exercise for the soft-palate consists in opening the 
 mouth wide, and attempting to raise the soft-palate with- 
 out singing. Here also it would be serviceable if the 
 raising of the palate occurred during deep inspiration 
 through the mouth, the nostrils being closed. 
 
 The Lips. 
 
 Exercise XVIII. 
 
 The exercise for the lips is the following : Attempt to 
 move them singly ; for instance, draw the under lip 
 downward without allowing the upper lip to move, and 
 vice versa. Produce a tone, hold it a while, and make 
 the same movements of the lips. He who has mastered 
 the muscles of the lips singly, can let them rest when they 
 are not to act. 
 
88 Gymnastics of the Voice. 
 
 The Lower Jaw. 
 Exercise XIX. 
 
 Sing and hold a tone, moving the lower jaw (without 
 any pressure upon the larynx) horizontally to right and 
 left, and then describe a slightly circling movement. The 
 object of tills is to free the muscles used in chewing. 
 
 Great diligence is needed to attain the ability of 
 moving the lower jaw correctly, and we consider it 
 very necessary to call attention to a mannerism, 
 which we shall do in Part III, under " Correction of 
 Defects." In passing, we will remark that a certain 
 stiffness or incorrect use of the lower jaw is the con- 
 sequence of the habit of setting other unnecessary 
 muscles into activity in the use of the larynx and 
 the tongue. 
 
 I have met speakers and singers whom I really pitied. The veins 
 of their neck svfelled to the thickness of a small finger; the neck 
 itself attained an unusual size, their face became red as fire and their 
 eyes, whose whites had become reddish, protruded from their sockets. 
 And all this on account of incorrect activity of their muscles, ignorance 
 of the correct method of breathing and ill-treatment of their vocal 
 and articulating organs. The consequences thereof were a quick, 
 noticeable tiredness, even after slight tasks, and finally a total disa- 
 bility of the vocal organs. And it is curious that these people look 
 for the cause in everything else but in this mistake. 
 
 A particular peculiarity of people who speak and 
 sing in this manner, is the compression of the upper 
 chest by the shoulders and arms, and a permanent 
 shaking of the head, as well as the lifting of the 
 chin by spasmodic action of the muscles of the neck. 
 
The Lower Jaw. 89 
 
 I have known singers who thought they could not sing a high tone 
 without crossing the arms upon their chest, as if imploring, and 
 thus, instead of freeing the chest of all pressure, pressed it together. 
 
 A false activity of the muscles occurs oftener, both in speaking and 
 singing, than we think. A young man, who, after twelve years of 
 troublesome practice in art, had not, with all diligence, passed the 
 beginning ; whose organs, though good, were almost spoiled by wrong 
 use, determined to become my pupil. After three months' activity, 
 having f(eed him from the nightmare that lay upon his organs as well 
 as upon his heart, he was satisfied with the total change that had 
 come over his being. He confessed to me that he had formerly not 
 been ajsle to appear upon the stage without straining all his muscles 
 in the most unnatural manner; and when reproached for not being 
 able to walk, stand, or move, he had sorrowfully asked himself, 
 " What shall I do ? " Despairing, he began to think that nature had 
 neglected him, and that he must waste his life — and he was a good- 
 looking young man, .blessed with all other advantages. When he 
 had become entirely changed, the regret for the twelve years he had 
 wasted mastered him and he wept. I could only comfort him by 
 holding before him the fine prospect for his future career. I could 
 name dozens of similar instances, but will only make the following 
 remarks : 
 
 We are too apt to regard every peculiarity of an 
 organ (caused by incorrect use) as something pecu- 
 liarly given by nature to. that organ only, and we 
 can be assured that (not counting a certain timbre 
 peculiar to each voice) such an organ would sound 
 altogether different, and would hardly be recogniza- 
 ble if, in the production of the tone, the activity of 
 the muscles were a correct one. Many persons, by 
 a slight but noticeable speaking through the nose, 
 by a mannerism of always speaking high or low, 
 strong or weak, pointed or screaming, through the 
 teeth, or otherwise forced, attain a certain individual 
 coloring which is lost as soon as the organs are used 
 correctly. 
 
go Gymnastics of the Voice. 
 
 When a person is inclined to use the larynx incor- 
 rectly, or generally to act with incorrect muscular 
 activity, then, as a general thing, all the muscles are 
 strained unnaturally, and thus hinder the free devel- 
 opment of the organs. 
 
 SECTION 6. 
 
 How TO Prevent Unnatural Straining of the 
 Muscles. 
 
 An unnatural straining of the muscles can only 
 be overcome by the pupil, while speaking and sing- 
 ing in a certain tempo, making certain movements 
 with his arms in a diffefent tempo, and also by slightly 
 turning the head to the right and left while the tone 
 continues, and by generally preventing the limbs 
 from assuming a stiff attitude. 
 
 SECTION 7. 
 
 Tones Produced by Incorrect Use of the Organs. 
 
 Fo7ir tone-colors in particular are produced by 
 incorrect position of the organs : — 
 I . Palatal tones. 
 3. Nasal tones. 
 
 3 . Guttural tones. 
 
 4. Dental tones. 
 
To Prevent Straining of Muscles. 91 
 
 The theory of the palatal and nasal tones is the 
 following : In both kinds of sound the position of 
 the larynx, the lingual bone and soft-palate changes 
 in comparison with their position without these kinds 
 of sound. In the palatal tone their position is higher, 
 in the nasal sound it is deeper.. In both cases the 
 middle of the tongue is pressed upward toward the 
 palate, and the more one or the other of these 
 sounds is expressed, the more is this done. In the 
 palatal tone the current of air is too much impeded 
 by the contracted soft-palate and the spasmodically- 
 arched tongue, whereby the space above the larynx 
 becomes too small. If the larynx is forcibly pressed 
 downward, and the pharynx contracted, the so-called 
 throat or guttural tone is produced. 
 
 If the soft-palate is allowed to hang loosely or is 
 not held firmly against the posterior wall of the 
 throat (as the formation of every pure tone requires), 
 so that the vibrations of the air-column are directly 
 communicated to the air in the posterior nasal 
 . cavity, there results what is known as the nasal tone. 
 
 It is, therefore, a mistake to suppose that the nasal tone can result 
 only through the escape of too much air through the nasal passages. 
 The nasal tone may be produced even when the nose is kept closed, 
 so that it can only proceed from the vibration of the air in the pos- 
 terior nasal cavity. How the palatal tone may be got rid of will be 
 shown in Part IV. 
 
92 Gymnastics of the Voice. 
 
 When the jaws are not separated sufficiently the 
 result is the dental tone. 
 
 It is, of course, plain that there ought to be no gaps in the teeth, 
 and that in case there are any, recourse must be had to artifici^ 
 teeth. 
 
 SECTION 8. 
 
 How TO Prevent Nasal Tone. 
 
 To prevent the tone in song or speech from having 
 
 a nasal character, the following exercise should be 
 
 resorted to: 
 
 Exercise XX. 
 
 Bring the organs into the proper position for the pro- 
 duction of a tone (as has been described) ; then sing or 
 speak while keeping the nose shut, and see that, in spite 
 of this, the tone does not become nasal. 
 
 This exercise is excellent, for, the nose being shut, 
 the palate must in consequence be elevated and the 
 tongue be kept perfectly immovable, if the tone is 
 not to become nasal. 
 
 The larynx, being movably seated on the likewise 
 movable and extensible trachea and connected with 
 the loosely suspended hyoid-bone, must always be 
 drawn more or less downward and be held fixed by 
 the force of the muscles, if any definite tone is to be 
 produced in it, for the more or less greatly increased 
 air-pressure tends to press the larynx upward and 
 to alter the number of vibrations of the tone. 
 
Depression of the Larynx. 93 
 
 i section 9. 
 Depression of the Larynx. 
 
 The depression of the larynx should not be the 
 same for every gradation of tone (as many teachers 
 of singing demand of their pupils), but its position 
 should vary with tlu formation of the different vowels, 
 each of which requires it to be in a special position. 
 
 Having described the correct use of the resonator 
 and its internal and external organs, we must state 
 that the fundamental principle with regard to tone- 
 formation, as far as the resonator and its' organs are 
 concerned, is that the air poured from the lungs 
 must not be allowed to be affected either by the 
 tongue, the palate, or the tonsils, or by forcibly 
 raising or depressing the larynx, and should be 
 made to pass over the flatly or, better still, concavely 
 held tongue, and escape between the jaws held m 
 exactly the right position. The manner will be 
 explained under the head of " Breathing." 
 
 Let the tones (the sound-waves) issue from the 
 lungs without any pressure of the vocal organs, and 
 they will always reflect our sensations. If the con- 
 trary is the case, we have tones compressed, not 
 susceptible of modulation,, and whose unnatural 
 formation cannot, for a moment, be concealed. 
 
94 Gymnastics of the Voice. 
 
 I cannot refrain from making a general observation here. I have 
 often heard those of my pupils, whom I have enabled to get rid of palatal 
 tones, and whose voice has received an easier and freer develop- 
 ment generally, make the strange remark that it was no longer an 
 exertion for them to sing or to speak. So little idea have such persons 
 of the effect of a method, that they imagine that, when they adopt a 
 given method, the exercise of it will be accompanied with a certain 
 amount of extra exertion. 
 
 The organs ■ having been placed in exactly the 
 right position, the air must be allowed to pass out 
 very gently from the lungs. Most singers and speak- 
 ers are particularly apt to fail in this ; for, to emit 
 the air properly from the lungs, requires special 
 skill, — a skill which, unfortunately, we seldom find 
 in artists. 
 
 " There are six conditions which singers and speak- 
 ers have to fulfil, if they desire to bring forth correct 
 ■and beautiful tones, or to achieve success in their art: 
 
 SECTION lo. 
 
 The Conditions Necessary for a Beautiful Tone. 
 
 1. The air must pour out slowly. 
 
 2. It must not be violently ejected, but should, so 
 to say, be spun out. 
 
 3. It must impinge against the roots of the upper 
 incisors, at the hard-palate (see Part IV). 
 
 4. The inspiration must be inaudible. 
 
 5. No more air must be permitted to escape than 
 
Conditions for a Beautiful Tone. 95 
 
 is absolutely required for the tone ; and, conse- 
 quently, 
 
 6. The tone must not have an aspirated character. 
 
 As the fulfilment of these conditions is intimately 
 connected with the whole question of correct 
 breathing, a more detailed explanation will be found 
 under that head, where some other points connected 
 with tone-formation are also discussed. // is vot 
 proposed here to lay down a complete method of sing- 
 ing, but to set forth the correct method of tone-forma- 
 tion for singers and speakers. 
 
CHAPTER III. 
 
 PRESERVATION AND STRENGTHENING 
 OF THE VOCAL ORGANS. 
 
 Whoever desires to preserve his voice (whether 
 the singing or speaking voice) must closely observe 
 the following rules. It is to be regretted that cir- 
 cumstances do not always permit of their observance, 
 yet their neglect through any avoidable cause can 
 never be justified. Such neglect has often to be 
 atoned for with a long indisposition, if not with the 
 loss of the voice. 
 
 1. In the first place, the air we inhale must not 
 be too cold and too raw ; inflammation of the mu- 
 cous membrane of the larynx, and especially of the 
 vocal cords (hoarseness), is the usual consequence. 
 
 2. The air must be pure and not vitiated with 
 smoke (especially tobacco smoke), dust, or noxious 
 gases. Frequently recurring catarrhs of the larynx 
 cause a thickening of the mucous membrane of the 
 vocal cords, and an unmetallic, harsh voice is the 
 natural consequence. 
 
 3. After prolonged singing, exerting discourse, or 
 
To Strengthen Vocal Organs. 97 
 
 after the inhalation of warm air, the larynx should 
 never be exposed internally or externally to cold air ; 
 an inflammation of the mucous membrane, however 
 slight, is generally the result. 
 
 It is easy to guard against either of these kinds 
 of exposure ; but this is generally not done, through 
 want of precaution and through a false shame. It 
 has been shown that most persons fail, not so much 
 on account of the weakness of their organs, as be- 
 cause they have the insane b'elief that they are able 
 to stand everything; that they must accustom the 
 larynx to exposure, to cold air and the wind, after 
 severe exertion and the inhalation of warm air. 
 
 Those, who are so careless, will have to stand the 
 consequences ; but we advise those who are more 
 careful, and we lay it down as a positive rule for 
 them, to protect the neck in such cases, externally, 
 with some covering, and to prevent the entry of cold 
 air into the larynx, by keeping the mouth closed and 
 breathing through the nose, or by keeping a silk 
 handkerchief before the mouth. 
 
 There is still something to be said in regard to 
 male dramatic actors, which is of great importance 
 in respect to health. In consequence of the coif- 
 fures and wigs of every kind, with which they have 
 7 
 
98 Gymnastics of the Voice. 
 
 to burden the head, sometimes for hours at a time, 
 they are apt to become extremely heated. Now, in 
 winter, when such a headgear is removed, and the 
 actor goes forth into the open air, with nothing on 
 the head but a modern hat (the most insufficient 
 portion of our attire), it is impossible to avoid catch- 
 ing cold. A very good protection against this con- 
 sists in an embroidered hood of fine wool or silk, 
 covering the head and neck and leaving only the 
 face exposed. Over this, he can put on his useless 
 hat. This covering should not be put off until he 
 reaches his room, the temperature of which should 
 be uniform with that of the hall which he has quitted. 
 
 4. Our food also Ijas great influence on our organs 
 of speaking and singing. All very sharp and ex- 
 citing condiments and drinks should be avoided (as 
 pepper, mustard, spirits, acids, etc.). But, above 
 all, it is necessary after any severe exertion of the 
 larynx, to abstain from very cold drinks. The 
 chewing of tobacco is also very pernicious. 
 
 5. Extreme care should be taken to avoid any too 
 severe or too prolonged exertion of the larynx, in 
 shouting, as well as in speaking or singing, generally. 
 
 It will, perhaps, be objected that, in this way, it would be impossi- 
 ble to attempt anything with one's voice, or to undertake a long r61e. 
 This is not the case, however. A long part, even if it be of twenty 
 pages, does not produce as much exertion as all the accumulated talk 
 
To Strengthen Vocal Organs. 99 
 
 and gossip that go on among the actors within the dressing-rooms 
 and behind the scenes. We have known actors to have become more 
 fatigued by loud and excited talk before the beginning of the per- 
 formance than their entire role would have caused them. Such per- 
 sons are sure to get their vocal cords and muscles into poor condition. 
 We have often heard artists exclaim, in the course of a perform- 
 ance : "I am altogether out of trim to-day; my whole part is going 
 to be spoiled; and I thought I was in such excellent condition." 
 They seemed to be unaware that they had themselves caused the 
 trouble. 
 
 6. The neck should be strengthened with cold 
 ablutions (begun in the warm season), and must not 
 be too closely covered. 
 
 It is strange how people treat such fine and delicate organs as the 
 vocal apparatus. While a watch (which, in case it is broken, can 
 readily be repaired) is handled with the utmost care, and while every- 
 thing is avoided that may in anyway possibly injure it, they imagine 
 that their vocal organs can stand almost anything, organs which, 
 when once injured, can never be restored, or, at best, but partially. 
 They indulge, indiscriminately, in almost everything that can act in- 
 juriously upon them. They stay up half the night, and sometimes all 
 night, smoking, or shut up in a room where others are smoking, and 
 the next morning they complain of hoarseness, roughness of the 
 throat, in other words, of irritation of the larynx. Instead of feeling 
 guilty, however, about these bad consequences, they wrongly assign 
 for them some insignificant cause, and they point to the perform- 
 ances of artists, who have habitually exposed their organs to tliese 
 deleterious influences, as an evidence that such habits may be in- 
 dulged in with impunity. It is true we have seen dramatic celebrities 
 who have abused their finely endowed organs, and have abused 
 them long (in proportion to the extent of their resources) ; still 
 their achievements, as a whole, have always clearly manifested 
 that their organs had not been spared, that they would have 
 been able to achieve much more, have stood much higher in their 
 vocation, if they had acted otherwise. We have seen most of them 
 compelled to retire prematurely from the field of their activity, 
 because their powers were ruined, or even hurried to an early grave. 
 If there have been now and then artists who could afford to trifle with 
 their vocal organs, this must be no argument that should justify us 
 in attempting the same. If a man "happens to make a crazy leap from 
 a tower without breaking his limbs, does that show .that we could do 
 it with like impunity, nay, that we ought to attempt it? Let every 
 one answer this question for himself. 
 
PART THIRD. 
 
 CORRECT PRONUNCIATION OF LETTERS 
 AND CORRECTION OF DEFECTS. 
 
CHAPTER I. 
 
 THE VOWELS AND THE CONSONANTS. 
 
 General Observations. 
 
 The signs, which we employ to designate the 
 single sounds of speech, are called letters. The 
 letters collectively constitute the alphabet, the 
 arrangement of which is different in different lan- 
 guages. 
 
 The letters are divided into vowels and consonants. 
 
 The pure vowels are : 
 
 E (as in he), A (as in hay). A' (as in ah), 
 O (as in- or), O (as in oJi), 0" (as in cool). 
 
 The consonants are divided into sounding and 
 voiceless consonants. 
 
 The sounding- consonants are L, M, N, R, the nasal 
 N {ng, nk in sing, sink), V, Z (in zone), Z (in azure), 
 V (in j/e), W (in woe), Th (in then), B, D, G (in 
 give). 
 
 The voiceless consonants are K and its equivalents 
 C (hard) and Q; F, P, T, S (in sit) and its equiva- 
 lent C (soft, in cider) ; Th (in thiii), Sh and H. 
 
 Ch, J and X are compound consonants. 
 
CHAPTER II. 
 
 THE VOWELS. 
 
 SECTIo^f 1 
 
 Pure Vowels. 
 
 The vowels are the fundamental sounds of all 
 speech, and are uttered almost instinctively,"for they 
 are produced \>y the simple flow of the air from the. 
 lungs (which air has been formed into sound in the 
 larynx), and the lengthening, shortening and narrow- 
 ing of the resonator [i. e., the pharynx, and the oral 
 and nasal cavities). 
 
 According to Dr. Ernst Brlicke, of Vienna, the 
 three vowel sounds of E (as in he), A' (as in ah), 
 and 0" (as in cool), are the fundamental sounds on 
 which the system of vowels rests ; the other vowels 
 being only intermediate sounds resulting from these 
 three. 
 
 Of these three vowels A' is produced without any^ 
 change in the resonator ; 0" by lengthening it and 
 narrowing its exterior end ; and E by shortening 
 and narrowing it. 
 
The Vowels. 105 
 
 Or, with respect to the length of the resonator, we 
 may say it is greatest with 0" , and least with E, and 
 intermediate with A' . 
 
 These three fundamental vowels are, accordingly, 
 to be formed in the following ways : 
 
 Let us begin with A' . 
 
 Separate the jaws so far as to admit the thumb 
 between the teeth ; keep the lips perfectly still, 
 without pressing them against the teeth or thrusting 
 them out, but in such a way as to leave the extrem- 
 ities of the front teeth slightly visible ; then perform 
 a sounding expiration. 
 
 The tongue should lie perfectly flat and inactive, 
 at the bottom of the oral cavity; or, better still, it 
 may be made to assume a longitudinally concave 
 position. A' is the only vowel in the production of 
 which the hyoid-bone preserves the same position, 
 as when the organs are inactive; the larynx, how- 
 ever, is carried upward, somewhat, so that the sound- 
 ing air-column, issuing from it, shall strike more 
 forcibly against the roots of the upper incisors than 
 against any other part (Fig. XXIII). 
 
 The transition from A' to E is effected by the 
 elevation of the larynx and hyoid-bone, without 
 their relative positions being altered; from A' to 0" 
 by the larynx being drawn downward as far as pos- 
 
io6 
 
 Gymnastics of the Voice. 
 
 sible away from the hyoid-bone, which is carried for- 
 ward somewhat. 
 
 Fig. XXIII. 
 
 The description of the single parts of Fig XXIII, which ^re the same in all the 
 figures from XXIII to XXXI, is as follows : i is the boundary between the hard 
 and the soft-palate ; 2 is the uvula touching the posterior wall of the pharynx dur- 
 ing the production of pure vowels ^nd consonants, hanging down only in production 
 of nasal sounds ; 3 is the naso-pharynx, 4 the oro-pharynx, 5 the epiglottis, 6 the 
 hyoid-(lingual) bone, 7 the right true vocal cord (the line above being the /(Use vocal 
 cord), 8 the thyroid (shield) cartilage, 9 the right arytenoid (pyramid) cartilage. 
 
 The production oi E (as in he) requires the greatest 
 narrowing of the oral passage, and the greatest 
 shortening of the resonator. The first is effected 
 in this way : the middle portion of the tongue is 
 brought on both sides in contact with the palate, 
 while its tip is made to press against the lower in- 
 cisors (without, however, projecting beyond them), 
 and its body being placed so as to present a longi- 
 tudinal cavity through which the air passes. The 
 second V!, effected by carrying the larynx upward as far 
 as possible, while the resonator at the opposite end 
 
The Vowels. 107 
 
 is shortened by drawing the corners of the mouth 
 back in the direction of the ears (Fig. XXIV). 
 
 Fig. XXIV. 
 
 It may be as well to remark in this place, that the positions which 
 the mouth and other organs have to assume in the production of the 
 vowels, should never in any way be strained, nor the muscles held 
 in the least degree in an unnatural state of tension ; the position of 
 the lips especially, despite their flexibility, must never be such as to 
 become unseemly, so as, for example, to give to the face the expression 
 of a grin (which is apt to be the case in the production of E). 
 
 In the production of 0" (as in coot), the larynx 
 occupies the most depressed position. The reson- 
 ator is consequently the longest, and is narrowed at 
 its exterior end. The lips are thrust forward in such 
 a way as to leave only a small, nearly circular open- 
 ing between them. The tip of the tongue, which 
 with E was pressed against the lower incisors, is 
 drawn back a little from the teeth and held on a 
 level with the edges of the lower incisors, while 
 the back of the tongue is slightly arched (Fig. 
 XXV). 
 
io8 Gymnastics of the Voice. 
 
 Fig. XXV. 
 
 The essential conditions of A', E and O' may 
 thus be briefly stated together : 
 
 A\ 
 
 Mouth most widely opened ; oral passage in no 
 way narrowed either in the middle or at the end ; 
 tongue kept still, and larynx carried upward a little, 
 so that the sounding air-column issuing from it shall 
 strike with most force against the roots of the upper 
 incisors. 
 
 E. 
 
 Mouth widest; tongue very much arched, with 
 its tip pressing against the inner surface of the lower 
 incisors ; larynx carried farthest upward. 
 
 C". 
 Lowest position of the larynx ; back of the tongue 
 slightly arched ; lips thrust forward so as to form a 
 narrow, nearly circular opening. 
 
The Vowels. 109 
 
 As has already been said, A', E and 0' are the 
 fundamental vowel sounds; and the other vowels 
 are merely intermediate sounds. The changes which 
 take place in the resonator, in passing from A' to E 
 and producing the intermediate vowel sounds, A (as 
 in an) and A (as in mate) are as follows : 
 
 The resonator is gradually shortened and, likewise, 
 narrowed ; thfet is to say, the lower jaw is brought 
 closer and closer to the upper, the corners of the 
 mouth are drawn away more and more, and the 
 tongue presses more and more toward the palate, 
 until at E — where its tip presses against the lower 
 incisors — it becomes most arched. 
 
 In passing from A' to O" , and producing the inter- 
 mediate vowel sounds (as in or) and O . the reso- 
 nator is gradually lengthened, and its exterior end, 
 the mouth, narrowed. 
 
 , In passing from A' to O , the only change that 
 takes place is that the lips are pushed out a little 
 and made to form a round-ed opening, while the 
 larynx is carried downward somewhat. 
 
 To verify the foregoing assertion, that it is mainly 
 the position of the lips that determines the sound of 
 O , let the pupil pronounce, in the way given above, 
 the vowel A' ; let the jaws, tongue and larynx retain 
 their position, and set the lips only for the production 
 
no Gymnastics of the Voice. 
 
 of O ; now try to pronounce A' once more ; it will 
 be impossible. The sound oi A' , although the tongue 
 and larynx have retained their position, has been 
 changed into O , by the rounding and thrusting for- 
 ward of the lips ; all that is necessary, besides, to 
 the perfect formation of O , is a slight depression of 
 the larynx. Now pronounce O first, and then set 
 the lips for the formation of A' ; it wifl be no longer 
 possible to produce a clear O , though there still will 
 be no clear sound of A' in consequence of the larynx 
 being slightly too much depressed, yet the poor O 
 will have disappeared. 
 
 In order to fully appreciate the nature of these 
 changes, let the pupil pronounce, alternately, C and ^' 
 (speaking or singing) from six to ten times in succes- 
 sion, commencing the vowel with "indirect attack," 
 OA' oaoaoaoa, and he will soon perceive that the 
 position of the lips only is changed, while the larynx 
 scarcely moves. It is, indeed, possible to produce 
 an O without pushing out the lips ; that is to say, 
 without lengthening the open end of the resonator, 
 but this can only be done by a further depression 
 of the larynx; i. e., by lengthening the resonator at 
 the opposite end, and even then we shall not produce 
 the pure sound of O . 
 
The Nasal Vowels. hi 
 
 SECTION 2. 
 
 The Nal:al Vowels. 
 
 In the production of the pure vowel sounds, the 
 soft-palate is held against the posterior wall of the 
 throat, so as to divide the throat into halves, the 
 upper being in connection with the nasal'cavity, and 
 the lower- with the oral cavity and the larynx. When 
 this takes place, the air cannot escape through the 
 nose. The old theory,, that in the production of the 
 pure vowels, the air escapes both through the mouth 
 and nose, has been very ably controverted by Brticke. 
 In the formation of the nasal vowels, the soft-palate 
 hangs loosely, and the air emitted from the lungs 
 escapes through the nose, as well as through the 
 mouth. 
 
 In the French language the nasal vowel sounds 
 are extremely frequent {sang, singulier, ombre, enfin, 
 enlever, etc.). 
 
 In the English language there are no nasal vowel 
 sounds ; but when a vowel is followed by the con- 
 sonants ng or nk, forming a part of the same syllable 
 (as in sing, tongue, banli), then the vowel becomes, to 
 a certain extent, a nasal or semi-nasal vowel, which 
 differs from the French nasal sounds in that in its 
 production the air does not escape both through the 
 
112 Gymnastics of the Voice. 
 
 nose and mouth (as in sang, etc.), but only through 
 the nose, the oral cavity after the formation of the 
 vowel being closed by the tongue. 
 
 Kempelen makes the following observations in 
 regard to the pronunciation of ng : " In the French 
 nasal sounds (sang, singulier, etc.) the nasal and 
 oral cavities are both open, so that the sounding air- 
 column, which, with all the other letters, passes 
 through only one of the two passages, divides into, 
 two streams ; accordingly, the part passing through 
 the nose must necessarily be weaker than in the case 
 of every other nasal sound, in which the entire 
 sounding column passes through the nose. But the 
 reason why the French nasal tone appears to such a 
 degree to sound through the nose, much more so 
 than is the case with all other nasal tones, will soon 
 become very evident if we regard such tone from a 
 different stand-point, according to which it is nothing 
 more than a vowel sound in which the nose is also 
 open. If I wish to pronounce the French en, I pro- 
 duce an A' (in ah) with the nose left open ; this 
 gives the perfect en. And so it is with all other 
 vowels, as with on in bont6, ain in ainsi, etc. Now 
 with all (pure) vowels the nose must remain closed. 
 If it is not, the vowel becomes at once impure, and 
 the ear which hears the nasal sound where it is out 
 
The Diphthongs. 113 
 
 of place, becomes so offended that one is induced to 
 think I hat he hears nothing but the nasal sound, 
 and that produced with the greatest exertion." 
 
 SECTION 3. 
 
 The Diphthongs. 
 
 If we begin uttering a simple vowel and then 
 change the position of the mouth to that of another 
 vowel, keeping up the sound while this movement 
 takes place, and no longer, there results a new sound 
 which we term a diphthong (as ou, oi, etc.). 
 
 In order to acquire the ability to produce the vow- 
 els pure, and strictly in accordance with physiologi- 
 cal laws, particular care should be taken with A' {ah), 
 the fundamental vowel par excellence-. If we form 
 this vowel incorrectly, it will be very difficult to 
 form the others correctly ; that is, the slightest mis- 
 piacement of the vocal organs in the production of 
 A' (as when the larynx is too much elevated or 
 depressed, the tongue raised, etc.) will be repeated 
 in the formation of the other vowels. When the 
 pupil can produce a perfect A\ he then has the 
 ability to correctly form ajl the other vowels. 
 
 8 
 
CHAPTER III. 
 
 THE CONSONANTS. 
 
 The characteristic feature of the vowels is that 
 their sound can be continued as long as the voice 
 lasts, the sounding air-column being variously modi- 
 fied, but never interrupted in the resonator. With 
 the consonants just the reverse is the case. They are 
 •formed by impeding or interrupting the stream of 
 air, or by narrowing the oral passage. 
 
 The consonants are divided, according to the 
 positions of the vocal organs that are mainly in- 
 strumental in their formation, into, — 
 
 1 . Labial Sounds. 
 
 2. Dental Sounds. 
 
 3. Lingual Sounds. 
 
 4. Nasal Sounds. 
 
 5. Palatal Sounds. 
 
Labial Sounds. 115 
 
 SECTION 1. 
 
 Labial Sounds. 
 
 F {ph), V, «', p, b, m. 
 
 F 
 is produced by bringing the upper incisoirs against 
 the lower lip, raising the upper lip somewhat ; and, 
 while this position is maintained, causing the air to 
 pass out, but not as a sounding expiration. 
 
 The teeth should by no means be pressed against 
 the lower lip, nor should they be placed too far 
 forward or back, and the lower lip should not be 
 stretched or pushed out too far. In the formation 
 of this consonant, the upper lip is passive. 
 
 V 
 is produced by placing the mouth in the same posi- 
 tion as for fy but causing the effluent air to sound, 
 instead of blowing it out, as in f. 
 
 I W (as in woe^ 
 
 is formed by rounding the lips, as in articulating 00 
 (in ooze), but slightly compressing them and hold- 
 ing them closer to the teeth ; a brief vocal murmur 
 is formed by the breath. 
 
ii6 Gymnastics of the Voice. 
 
 P 
 is formed by closing the lips tightly, separating the 
 nasal from the oral cavity, by means of the soft- 
 palate, and emitting the air compressed within the 
 oral cavity, by suddenly opening the lips. 
 
 B. 
 The only difference between b and p is that with 
 h a vocal sound is already heard when the mouth 
 opens, while with j) the sound begins only after the 
 mouth has been opened. We may, in fact, say that 
 with b the lips are opened by the voice, and with p 
 simply by the air. With / the lips must be closed 
 tightly, but not so with b. 
 
 M 
 is formed by placing the mouth in the position re- 
 quired for b, and performing a sounding expiration 
 through the nose. 
 
 SECTION 2. 
 
 Dental Sounds. 
 
 T, d, Ih (in thin), th (in thine), a (in azure), sh (in push), s and c (in 
 sin, cider), % (in zone). 
 
 T 
 is formed by placing the lateral edges of the tongue 
 against the upper molars and pressing its tip against 
 
Dental Sounds. • 117 
 
 the roots of the upper incisors, and, having in this 
 way closed the oral passage, by forcibly expelling 
 the air, as with/ (Fig. XXVI). 
 
 D 
 differs from t in the same way that b does from p ; 
 that is to say, d is formed with the sounding breath, 
 and t with a voiceless breath. 
 
 Z (\n zone) 
 is formed by placing the mouth in the position re- 
 quired for t (but with this difference, that the tip of 
 the tongue is not pressed against the roots of the 
 upper teeth), and then performing a sounding expira- 
 tion in which the air is made to pass out very gently 
 between the upper teeth and the tongue, which is 
 kept in a horizontal position. While in the forma- 
 tion of t the tongue is kept slightly convex, it must 
 be kept nearly concave wit^ z, that is to say, the 
 
1 1 8 . Gymnastics of the Voice. 
 
 tongue, especially the anterior half, should form a 
 sort of gutter, through which the stream of air gently 
 passes. 
 
 Th. 
 When, instead of the tongue being placed in the^'- 
 position, its tip is held so low as to touch the edges 
 of the upper incisors or to protrude between the 
 teeth, there results a sound which the English call 
 th, but which with other nations is called a lisp 
 (Fig. XXVII). 
 
 Fig. XXVII. 
 
 The distinction between th in thin and th in thine 
 is, that with the first we simply expel the air, while 
 the second is formed with a sounding expiration. 
 The position of the tongue is the same for both. 
 
 Exercise to Remove Lisping. 
 
 Those who are troubled with the defect of lisping ^o\Ad. 
 draw in the tongue, and the tip, which is bent back, should 
 be somewhat raised. It is better, in exercising, to raise 
 the tip of the tongue too much at the outset, rather than 
 
Dental Sounds. 119 
 
 too little ; the stiffness thereby occasioned will disappear 
 with the continuance of the exercises. 
 
 A good exercise is to take words beginning with z and 
 utter them in the following manner : Take, for instance, 
 the word zone ; first pronounce the z with a sounding ex- 
 piration ; keep up this buzzing tone for a time, and then 
 add on the one. Exercise in this way all the words begin- 
 ning with z. Having become accustomed to pronouncing 
 the z without thrusting forward and out the tongue, it will 
 be easy to pronounce all the dental letters correctly. 
 
 Whoever forms the consonants according to the 
 strictly physiological rules here laid down, will not 
 find it necessary, in order to learn to pronounce this 
 or that sound, to take pebbles into the mouth, as is 
 said to have been done by Demosthenes, who, of 
 course, knew nothing of the science of the physi- 
 ology of the vocal sounds such as exists at the 
 present day. 
 
 We must repeat what has been said in Part II, 
 in speaking of the position of the tongue, that the 
 surest and quickest way of getting rid of any curable 
 defect is to obtain a complete control of the muscle 
 through whose false activity the defect has been 
 occasioned. 
 
 S and C. 
 
 The sharp sound of .? and c (in sin, cider) is pro- 
 duced by keeping the tongue in the same position as 
 with z, but not causing the escaping air to produce 
 
I20 GYMNASTICS OK THE VOICE. 
 
 a vocal sound. The tongue must be drawn in more 
 than with z. 
 
 Z (as in azure) 
 is formed by a partially vocal sound modified by 
 gently raising the whole forepart of the tongue 
 toward the roof of the mouth, and allowing the 
 breath to escape between it and the teeth (Fig. 
 XXVIII). 
 
 Sh (as va. pusfi) 
 is formed in the same way, but by means of " aspira- 
 tion," not " vocality," in the emission of the breath. 
 
 SECTION s. 
 
 Lingual Sounds. 
 
 L 
 is produced by placing the mouth in the position 
 required for d, but leaving an opening on both sides, 
 
Lingual Sounds. 121 
 
 in the 'region of the molars, through which a sound- 
 ing breath is emitted. 
 
 R 
 is produced by vibrating the tip of the tongue, 
 wliich is held flat in the mouth, with the tip some- 
 what elevated. 
 
 There are two kinds of;' — the lingual or pure r, 
 and the uvular or impure r (see "Oral Cavity" in 
 Part I) ; with the first the vibrating part is the tip 
 of the tongue, the uvula remaining passive ; with 
 the second, it is the uvula, the tongue remaining 
 passive. 
 
 A method for acquiring the ability to pronounce the pure r cor- 
 rectly, which was proposed by Talma, tjie celebrated actor and 
 professor, at the EcoU de Declamation, has proved very successful 
 with my pupils through many years of experience, and 1, therefore, 
 reproduce it here. It is thus given by Fournier ; 
 
 Exercise for Acquiring the Pure R. 
 
 Take for the exercise the y/ox6.travail, giving it the French 
 pronunciation; write tdavail, substitutmg a d for the r. 
 Then let the pupil, who should try to completely banish 
 the idea of the letter r, pronounce the t and d several times, 
 unconnected, adding each time the concluding portion of 
 the word, thus : t d-avail. He will imperceptibly interpose 
 a short e (as in met^ between the / and d, and divide this 
 new word into three syllables, ie-davail. When this exer- 
 cise has been repeated several times, the pupil should utter 
 the same word closely connected, but slowly, tedavail. 
 Let it be pronounced gradually faster and faster ; by the 
 rapid articulation the interposed e will be dropped, and 
 there will remain tdavail. The pupil should then continue 
 
122 Gymnastics of the Voice. 
 
 to pronounce this word as rapidly as jjossible, closely con- 
 necting the sound of t with that of d, and laying special 
 stress on the first letter. He will, already, by this new 
 step in the exercise, unconsciously convey to the listener 
 the impression of the letter r, which sound appears to 
 result/rom the rapid combination of t and d. The r will 
 be insensibly articulated, and the letter d will disappear, 
 permitting the newly-formed sound to be more decided.. 
 By means of this exercise, the pronunciation of r will be 
 acquired in the natural way. 
 
 What the American writers say on r, we read in 
 " Orthophony," by James E. Murdoch and William 
 Russell, edition of 1877: 
 
 " R (as in raf), differs from the r (as \xvfar) in having a harder and 
 clearer sound, executed by a forcible but brief vibration of the tip of 
 the tongue against the first projecting ridge of the interior gum, im- 
 mediately over the upper teetli ; while the latter has a soft, murmur- 
 ing sound, caused by a slight vibration of the whole forepart of the 
 tongue, directed toward the middle part of the roof of the mouth. 
 
 "The common errors of careless usage substitute the soft for the 
 hard r, and omit ' the soft »■ entirely ; thus, fah for far. Another 
 class of errors consists in rolling, or unduly prolonging, the sound 
 of the hard r, and substituting the hard for the soft sound. 
 
 " The greater prolongation of sound, which takes place in the aver- 
 age of singing notes, or in impassioned recitation, renders a slight 
 comparative roll of the hard r unavoidable, at the beginning of a 
 word. But it is a gross error of taste to prolong this sound, in the 
 style of foreign accent, as in French and Italian pronunciation, or to 
 substitute the rough sound of the hard r for the delicate murmur of 
 the soft?-." 
 
 An English gentleman used to say : " Our r is 
 something between ah and nothing." 
 
Nasal Sounds — Palatal SounCs. 123 
 
 SECTION 4. 
 
 Nasal Sounds. 
 
 N (Fig. XXIX) 
 is produced by taking the position required for d, 
 and making a sounding expiration through the nose. 
 
 Fig XXIX. 
 
 Ng 
 is produced by a sounding expiration through the 
 nose, with the oral cavity shut off from the pharynx, 
 by raising the back part of the tongue. 
 
 SECTION 3. 
 
 Palatal Sounds. 
 
 JCanig, and their equivalent c hard (as in cake\ ; ^hard (as in give) ; 
 V {zsirxye). 
 
 K. 
 The sound of k is produced by closing the oral 
 passage by means of the middle or posterior portion 
 
124 Gymnastics of the Voice. 
 
 of the tongue and the middle or posterior portion 
 of the palate, by forcing the air against this barrier, 
 and then forcibly expelling it by suddenly withdraw- 
 ing the obstruction. 
 
 Q 
 
 is formed like k. It occurs only in the combination 
 qu, which is pronounced like kw {gueen, quarter, 
 etc.). 
 
 G (in give) ' 
 is produced by taking the position required for k, 
 but making a sounding expiration; g, therefore, 
 bears the same relation to k zs, b to p, or as d to t. 
 There are two k's and two g's, the oral passage 
 being in the one case closed more anteriorly than in 
 the other. The one is heard in kept, kitchen, and in 
 
 Fig. XXX. 
 
 get, give gate, etc. (Fig. XXX) ; the other in cough, 
 cool, 2Xidi ghost, gall, garden, etc. (Fig. XXXI). 
 
Palatal Sounds. 
 
 125 
 
 Fig XXXI 
 
 Y (in je) 
 is formed from g- (in give) by not completely closing 
 the oral cavity, the position of the tongue being such 
 as to permit the air to escape through a small 
 channel. 
 
 H 
 
 is' produced by so contracting the glottis as to make 
 the emission of the air audible (spiritus asper), (Fig. 
 XXII, 3). It may rightly be said that this noise, h, 
 originates in the glottis, and is not, as was until re- 
 cently held, produced by the air emitted from the 
 lungs striking against the walls of the throat, or of 
 the oral cavity. 
 
 Ch (as in church), J. 
 Ch is a compound of t and sh. 
 y is a compound of d and z (in azure). 
 
126 Gymnastics of the Voice. 
 
 X 
 
 is equivalent to ks or gs ; the first combination is 
 heard in axe, and the second in example. 
 
 Having become acquainted with the correct forma- 
 tion of the letters, we have still to consider the ques- 
 tion of the transition of the organs, from one posi- 
 tion to another, in articulating different sounds. 
 When a sentence contains a number of words, whose 
 articulation requires great changes in the position 
 of the organs, there will be a certain harshness, a 
 want of smoothness, in the delivery. On the con- 
 trary, where the transitions are slight, the utterance 
 is smooth and easy. A fine ear will avoid all harsh- 
 ness in the utterance of a sentence, but without its 
 meaning being thereby, in the least, affected. 
 
CHAPTER IV. 
 CORRECTION OF DEFECTS. 
 
 SECTION 1. 
 
 Connecting a Final Consonant with the Initial 
 Vowel of the Following Word. 
 
 This not only occasions great indistinctness in the 
 delivery, for instance, instead of " I woke up early," 
 " I wo-ku-pearly ;" but often gives a different sig- 
 nification to the sentence, for instance, " Can you 
 remember that rain?" "Can you remember tha- 
 train;" "First-rate," "Fir-strait," etc. 
 
 section 2. 
 Imperfect Vowel Attack. 
 
 It is generally the habit in uttering the initial vowel 
 of a word, not to separate the lips beforehand, which 
 is absolutely necessary if correct utterance is desired. 
 The consequence is the prefixing of all kinds of 
 sounds in the nature of initial consonants, which 
 disfigure the speech. We sometimes hear, for ex- 
 ample, nambition for ambition, nenemy for enemy, etc. 
 
 It is always necessary, in beginning a sentence with 
 
128 Gymnastics of the Voice. 
 
 a vowel sound, to open the mouth slightly before- 
 hand,' and to remove the tongue from the palate, 
 with which it lies in contact when the mouth is kept 
 closed in a state of repose. We must likewise be 
 careful to give the distinct pronunciation to a final 
 consonant before an initial vowel. 
 
 SECTION 3. 
 
 Adding Wrong Consonants and Swallowing 
 
 Syllables. 
 
 Words are frequently disfigured by inserting or 
 adding consonantal sounds ; for example, lawr, 
 idear, drawring. A not unfrequent habit is the 
 swallowing of parts of words ; for instance, particlar 
 (particular) , gography (geography) , lectric (electric), 
 fah for far, etc. 
 
 SECTION 4. 
 
 Intoning between Words. 
 An unpleasant habit, which is unfortunately very 
 frequent, must be noticed here. It is the peculiarity 
 of introducing unnecessary sounds between the 
 words, as : " Have you seen that . . a . . representa- 
 tion?" This is as when the notes struck on a mu- 
 sical instrument continue to sound beyond the proper 
 time. 
 
Intoning Between Words. 129 
 
 These sounds facilitate the passing over from one 
 word to another, which generally accounts for the 
 habit. Sometimes, however, this defective way of 
 speaking is the result of inability to think fast. In 
 any case, we should seek to get rid of it. 
 
 section b. 
 
 Wrong Use of the Lower Jaw. 
 
 Imperfect speech, however, is not merely due to 
 the defective pronunciation of the sounds, but is 
 also, in a great measure, the consequence of keep- 
 ing the lower jaw too far forward (the lower incisors 
 projecting beyond the line of the upper) or of moving 
 it to one side. 
 
 This is a grave defect, and no pains should be 
 spared to avoid it. 
 
 The lower incisors must be kept in their natural 
 position, a little back of the line of the upper. (Those 
 cases in which nature has placed the lower jaw too 
 far forward do not concern us here.) In impassioned 
 and loud speaking, great skill is needed to resist the 
 inclination to push out the jaw too far. It is easy 
 to recognize the nature of this defect. Take a sen- 
 tence and pronounce it with due regard to the 
 position of the lower incisors, taking care in moving 
 
 9 
 
I30 Gymnastics of the' Voice. 
 
 them up and down to keep them always behind the 
 line of the upper ; the pronunciation will be most 
 distinct, provided, of course, that the vocal organs 
 are correctly applied. Then pronounce the same 
 sentence with the lower jaw too far forward, if only 
 in the least degree, and the vowels will become 
 surprisingly indistinct. The inclination to thrust 
 forward the lower jaw is greatest with O' and O' ; 
 and to add to this defect, the lips are thrust forward 
 too far, so that in consequence of the empty space 
 between them and the teeth, the consonants also 
 become indistinct. 
 
 In pronouncing, for example, such a syllable as 
 vote, one is generally inclined, after setting the Jips 
 for V, to thrust them out too violently and too far, in 
 order to get them into the position for o. The transi- 
 tion; however, from the z'-position to the i?-position 
 is not an easy one. The lips cannot be brought out 
 from the T;-position quick enough, and there is, in 
 consequence, an unpleasant noise, which occasions 
 indistinctness ; apart from which the projecting lips 
 produce the impression of a fish-month. Or else 
 one pronounces the v with the lips already in the 
 £i-position, and indistinctness is likewise the result. 
 
 It will be well, therefore, to observe the following: 
 the correct formation of the vowel 0\ as well as of 
 
Wrong Use of the Lower Jaw. 131 
 
 O" , requires, it is true, a thrusting- forward of the 
 lips, as the resonator is thereby lengthened ; but we 
 ought to possess the ability to produce this lengthen- 
 ing without depending too much on the lips. This 
 will, however, be possible only if we lengthen the 
 resonator at the other end, by carrying the larynx 
 far downward, which should be done without press- 
 ing upon the organ. . By doing this we shall be 
 enabled to combine all the labial consonants with 0' 
 and O" with correctness and distinctness. In this 
 way alone is it possible to carry on an easy, rapid 
 and lively conversation, without anything of what is 
 said being lost. 
 
 A person can produce the vowel sounds O and 
 O" without thrusting forward the lips at all, by carry- 
 ing downward the larynx far enough, but this is in 
 no way necessary ; the lips may be thrust forward, 
 but only slightly, so that no unnecessary sounds 
 shall slip in. 
 
 SECTION 6. 
 
 Exercise for the Correct Use of the Lower Jaw. 
 
 ,The following exercise will give one the ability to 
 keep the lower jaw in the proper position : 
 
 Draw back the corners of the mouth as far as possible 
 without giving the face the appearance of a grin; then take 
 
132 Gymnastics of the Voice. 
 
 a long sentence and repeat it (keeping the corners of the 
 mouth well drawn back) at first very slowly and softly, and 
 then in a more and more ra.pid, impassioned and vehe- 
 ment manner. Having done this for a sufficient time, 
 repeat the same sentence in all these various ways without 
 drawing back the corners of the mouth, and taking care 
 not to thrust out the lower jaw and the lips. By draw- 
 ing back the corners of the mouth the speaker will be 
 compelled to keep the lower jaw in the right position, or 
 else he must be forcibly thrusting it forward. Finally, 
 speak the sentence with the lips in the right position. 
 
 SECTION 7. 
 
 How THE Wrong Use of the Lower Jaw May be 
 Recognized. 
 
 If anyone desires to know whether he has this 
 defect or not, he may employ the following test : 
 
 Let him take a narrow, flat stick of ivory or other ma- 
 terial, four or five inches long (as the handle of a tooth- 
 brush), and press it in a vertical position against the mid- 
 dle of the chin, so that its upper extremity is kept tight 
 against the inner surface of the upper incisors, and let 
 him, while keeping the stick firmly in this position, sing 
 various tones. If the defect is present, he will be sur- 
 prised to see how much force will be required to keep 
 the stick quite vertical, that is, to keep the chin, or, in 
 other words, the lower jaw from pushing outward. This 
 operation may serve as an exercise for acquiring the 
 ability to use the lower jaw correctly. 
 
PART FOURTH. 
 
 RESPIRATION. 
 
CHAPTER I. 
 
 INSTINCTIVE RESPIRATION. 
 
 SECTION 1. 
 
 Voluntary and Involuntary Breathing. 
 
 To comprehend a system or method of breathing 
 correctly in singing and speaking, it is necessary to 
 know how man really does breathe. 
 
 Breathing takes place involuntarily and to a cer- 
 tain extent voluntarily. 
 
 Involuntary respiration is divided into two parts : 
 inspiration and expiration ; voluntary respiration into 
 three : inspiration, holding the breath, and expiration. 
 This second mode (threefold respiration) is what 
 really characterizes artistic respiration. 
 
 In inspiration the chest is expanded ; in expira- 
 tion, the expanded parts return to their original 
 state. The expansion of the chest, during inspira- 
 tion, takes place in two ways : one by the movement 
 of the ribs upward and outward, together with the 
 sternum (breastbone) and clavicle (collar-bone), the 
 other by the contraction of the ordinarily arched 
 
136 Gymnastics of the Voice. 
 
 diaphragm, — the fleshy partition between the cavi- 
 ties of the chest and abdomen. We have described 
 the diaphragm, under the " Organs of Respiration," 
 and of its importance in phonetic expiration we shall 
 shortly have more to say. We can, therefore, breathe 
 at will either with the ribs or the diaphragm ; and 
 hence we have c/ies(-hrea.thing and abdominal 
 breathing. 
 
 Neither of these movements entirely excludes the 
 other ; they are rather both present at the same time, 
 but usually one predominates. 
 
 In deep, abdominal respiration, the entire trunk 
 bends backward; the abdomen protrudes through 
 the agency of the diaphragm, the lower ribs expand 
 and are pushed forward, the upper ones backward. 
 
 In ir/z^j^-breathing we distinguish two kinds : If 
 the upper ribs are especially drawn up, we have the 
 so-called shoulder or collar-bone breathing, in which 
 the shoulders, and principally the shoulder-blades, 
 are very perceptibly raised ; the collar-bones and 
 the ribs naturally accompany them directly upward ; 
 the walls of the abdomen at such times press the 
 intestines together and backward ; the abdomen, 
 especially the epigastrium, recedes. The whole 
 trunk becomes elongated ; hence the lungs, and 
 especially their tips, are lengthened and expanded. 
 
Voluntary and Involuntary Breathing. 137 
 
 If, however, the lower ribs are especially drawn 
 outward, so-called rib or J2a5?-breathing resuks, by 
 which the chest, above all, increases in breadth. 
 The whole trunk bends more or less forward ; the 
 abdomen recedes so that its fore arch, especially the 
 region of the stomach, is drawn flat and even inward. 
 
 SECTION 2. 
 
 Three Main Modes of Taking Breath. 
 
 We have, then, three main kinds of respiratory 
 movements : — 
 
 1. Abdominal or diaphragmatic breathing. 
 
 2 . Shoulder or collar-bone breathing, and 
 
 3. Side or rib-breathing. 
 
 In abdominal or diaphragmatic respiration thgre 
 is complete expansion of the lungs. In the two 
 other modes of respiration this expansion is incom- 
 plete or partial ; since in the one (collar-bone breath- 
 ing) the upper, in the other (rib-breathing) the 
 middle region is affected. 
 
 Since the appearance of the first edition of this work, in which for 
 the first time, in a popular scientific treatise, diaphragmatic breathing 
 was taught and designated as the only true method of breathing, the 
 author has heard a great deal of talk about the diaphragm. Wherever 
 tone-formation was discussed the subject of diaphragmatic breathing 
 has been brought up. The writer, however, has had very frequently 
 to hear complaints from pupils, who had gone through a long course 
 of instruction at the hands of singing teachers, that while their 
 teachers had insisted upon their breathing with the diaphragm, the 
 way to do this had not been taught them. Many of them have even 
 
138 Gymnastics of the Voice. 
 
 declared that when they did breathe in the way in which they had 
 been instructed, the least quantity of air was introduced into the 
 lungs. From this it is evident that both teachers and pupils have 
 had a wrong conception of the nature of diaphragmatic or abdominal 
 breathing, and have practiced it falsely, having mistaken for it the 
 simple and feeble contraction of thediaphragm which takes place in 
 sleep as well as in a state of perfect repose, and which almost of itself 
 alone (butnot altogether alone) keeps up the respiration at such times. 
 They have made the mistake of supposing that this purely diaphrag- 
 matic breathing was meant. But tlus is altogether an error. Of the 
 two kinds of respiratory movements termed diaphragmatic and rib- 
 breathing, neither, it is firmly settled, excludes the other entirely; 
 they are, on the contrary, always associated, but usually in such a way 
 that one or the other predominates. During the activity of the dia- 
 phragm, in sleep or in perfect repose, the lower seven or eight ribs 
 remain almost inactive; but in a -state of wakefulness and bodily 
 exertion there is the full abdominal respiration ; that is to say, the 
 full activity of the diaphragm combined with rib or side-breathing to 
 a certain extent ; this latter consisting in the raising upward and out- 
 ward of the lower seven or eight ribs to one-half or three-fourths of 
 the utmost possible limit. The raising of the lower seven or eight 
 ribs is an essential condition of the full activity of the diaphragm, of 
 which they form the frame, inasmuch' as its fibres are attached to the 
 ribs and can contract effectually only when these are forced upward 
 and outward and held firm in that position. There can be no such 
 thing, therefore, as perfect diaphragmatic or abdominal respiration 
 unless this condition is present. It is in the correct diaphragmatic 
 respiration, and not by the exclusive activity of the diaphragm, that 
 the greatest quantity of air is admitted into the lungs. We may, 
 indeed, cause the principal respiratory movements to take place each 
 by itself alone, thus producing a forced action, but in this case an un- 
 satisfactory result is obtained. As long as we allow nature to act 
 unhindered, a forced action cannot take place. It is in the combination 
 of the respiratory movements that the free action of nature appears, 
 and according to the muscles mainly involved we designate each kind 
 of respiratory movement. 
 
 ' Shoulder-breathing is found mostly in women ; 
 side and especially abdominal breathing among men. 
 Without entering upon the old dispute of phy- 
 siologists, as to whether women naturally breathe 
 clavicularly, or whether the disadvantageous manner 
 of dressing is the cause, we here contend that women 
 should make the same respiratory movenients in the 
 
Voluntary and Involuntary Breathing. 139 
 
 art of song and speech as men. (See Chapter II, 
 Secion 7.) 
 
 While, then, inspiration takes place by means of 
 the muscles of inspiration, and so becomes an active 
 process, expiration takes place during ordinary res- 
 piration, Jess by means of the muscles than through 
 the return of the previously expanded parts to their 
 original state, resulting from their elasticity, — usually 
 a purely passive, process. 
 
 This is, however, the case only in so far as expi- 
 ration promotes animal life ; i. e., as long as it is 
 involuntary ; as soon as it becomes voluntary, and 
 is used to remove foreign substances that impede 
 respiration, or is made the agency of voice and 
 speech, then several groups of muscles are brought 
 into activity, because the simple expiratory pressure 
 is too weak to accomplish the desired end, and ex- 
 piration, too, becomes an active process. 
 
 The activity of the muscles which now steps in, 
 has two duties to perform : first, to support and 
 strengthen expiration ; secondly, to retard and 
 check it. 
 
 The Jlrst is dorie by the abdominal muscles which 
 draw down the ribs, compress the abdomen, and so, 
 while pressing the intestines and the diaphragm up- 
 ward, narrow the cavity of the chest from below also. 
 
140 Gymnastics of the Voice. 
 
 The second is accomplished mainly by the dia- 
 phragm, whose chief function is to regulate the 
 voluntary retardation, to counteract the pressure of 
 the intestines when forced upward by the abdominal 
 muscles. (See Chapter II, Section 9.) 
 
 In inspiration the glottis widens, in expiration it 
 contracts, in order to make the expirations slower. 
 This is the case with all the air-passages, because 
 they are elastic. 
 
 In strong, quick inspiration the larynx sinks 
 slightly ; in expiration it resumes its original position. 
 It is in our power to use either one of the 
 groups of the respiratery muscles. If, however, we 
 permanently prevent an expansion of the lower ribs 
 by a too great narrowing of the waist, the natural 
 consequence will be that these parts will finally lose 
 entirely the ability to expand, and, therefore, the 
 diaphragm will be unable to take any part in phonetic 
 expiration. 
 
 After having learned how man breathes instinc- 
 tively, we shall now show how it is necessary to 
 breathe in singing and speaking. 
 
CHAPTER II. 
 
 ARTISTIC RESPIRATION (IN SONG AND 
 SPEECH).* 
 
 What the singer and speaker must chiefly be in- 
 tent upon, is to spare the respiratory organs. This, 
 however, can be effected only by regular, slow, in- 
 audible and correct breathing. In a state of repose 
 these conditions may be easily fulfilled ; but with 
 every considerable exertion we perceive that the 
 respiratory organs work faster, that the blood flows 
 quicker through the veins, and it appears impossi- 
 ble to breathe slower at such moments. In reality 
 it would never be possible to wholly prevent the 
 quickening of the respiration ; still a great deal can 
 and must be done to preserve the organs by a sys- 
 tem, by a correct method, and by their constant 
 exercise. 
 
 To make the lungs capable of unusual exertion, it 
 is first necessary- to exercise them carefully and 
 slowly, with the necessary pauses, and thus to 
 
 * For the convenience of the student, this entire subject is divided into twenty- 
 six distinct parts. 
 
142 Gymnastics of the Voice. 
 
 strengthen them. Mosi people believe that it is 
 sufficient to have lungs in order to be able to speak 
 continuously and with a strong voice! 
 
 SECTION 1. 
 
 Strengthening the Lungs. 
 
 The exercises of the muscles of respiration have 
 been described in treating of the muscles. The 
 following marks explain the set of exercises we 
 have prepared, for the enlargement of the lungs 
 and for increasing their elasticity. These exercises 
 consist simply in respiration, beginning with the 
 inspiration of a small quantity of air, the quantity 
 being gradually increased until it becomes as great 
 as the lungs can possibly hold. Let a line be drawn 
 obliquely upward from left to right (/) representing 
 the inspiration ; another line drawn obliquely down- 
 ward from left to right (\) representing the expira- 
 tion. When two such lines incline against each 
 other, so as to form an angle (,/\), it indicates that 
 expiration follows inspiration without a pause. 
 When the lines do not come to a junction (/ \) 
 the space between them indicates a pause. A figure 
 inserted in the space (/^\) indicates the retention 
 of the breath for so many seconds ; thus, in this in- 
 
Strengthening the Lungs. 143 
 
 stance, there is an interval of three seconds during 
 which not a particle of air must be permitted to pass 
 from or enter the lungs. We have selected musical 
 notation lines for these diagrams, so as to clearly 
 represent the progression in the increasing respira- 
 tion. 
 
 RESPIRATORY GYMNASTICS. 
 
 First Series. 
 Exercises for Breathing without Interruption. 
 
 These exercises should not be performed as mere 
 muscle-movements, but should always be accom- 
 panied by breathing. It is true that we can perform 
 them without breathing by mere contraction and re- 
 laxation of the diaphragm or other muscles. This, 
 however, is a forced action of the muscles, and WQuld 
 result in no benefit. 
 
 In the following exercises the duration of the 
 respiration is to be increased, as indicated in the 
 diagrams, without pauses. The inspiration should 
 take place through the nose, and the expiration 
 
144 Gymnastics of the Voice. 
 
 through the mouth. The inspiration and expiration 
 should be of equal length. 
 
 Exercise I. 
 Rhythmical movement of the diaphragm, gentle, 
 as in sleep. 
 
 Exercise II. 
 Raising of the lowermost ribs ; movement of 
 diaphragm twice as great as in Exercise I. 
 
 Exercise III. 
 Raising of the lower seven or eight ribs, together 
 with the lower portion of the sternum, to half of the 
 utmost extent possible; movement of diaphragm 
 three times as great as in Exercise I. 
 
Respiratory Gymnastics. 145 
 
 Exercise IV. 
 
 Complete activity of all the muscles used in in- 
 spiration, without the clavicles (shoulder-blades). 
 
 The pupil should spend most time on Exercise 
 IV, and perform it in the following manner : 
 
 After the lungs are completely filled, retain the air in 
 them two or three seconds, and then emit it slowly through 
 a very thin blowing-tube. Repeat this exercise six times 
 in succession three times a day, and do not proceed to 
 the " Second Series " until after the elapse of two weeks, 
 while the time for holding the breath grows gradually 
 longer, thus : five seconds for four days, ten seconds for 
 eight daysj twenty seconds for sixteen days, thirty-five 
 seconds for thirty days ; then practice on thirty-five seconds 
 for six weeks, and not until after two or three months 
 make any attempt to hold the breath io\ forty -five to sixty 
 seconds, and this latter number only if it can be done 
 with ease ; under no circumstances is force to be applied. 
 
 10 
 
146 Gymnastics of the Voice. 
 
 Second Series. 
 Exercises for Breathing with Interruption. 
 In the following exercises the duration of the 
 respiration is to be increased, as indicated in the 
 diagrams, witH pauses. 
 
 Exercise V. 
 
 Exercise VI. 
 
 Exercise I'll. 
 
Respiratory Gymnastics. 147 
 
 Third Series. 
 
 Exercises for Breathing by Increasing the Length of 
 each Successive Respiration, and by Alternating 
 the Different Modes of Taking Breath. 
 
 Exercise VIII. 
 
 Perform Exercise VIII four times every day, six times 
 in succession, but only after the requisite facility in th,e 
 preceding exercises has been attained. 
 
 Exercise IX. 
 
 Perform Exercises VI and VII alternately with each of 
 the three modes of respiration, abdominal, side and shoulder- 
 breathing, — in order to develop the lungs uniformly. 
 
 With careful exercise it will, after a short time, be 
 apparent that the lungs are capable of inhaling a 
 greater quantity of air than before, and that one is 
 enabled to retain thie breath with ease, which is of 
 incalculable utility. 
 
 I have seen people who were unable to retain the inspired air even 
 for a second ; who had such short breath that they considered them- 
 selves invalids, although they were in perfect health ; who did not 
 even know what position the organs of the mouth assume when the 
 breath is retained. By means of careful, persevering, and not too 
 fatiguing exercise, under proper direction, their breath (as they have 
 expressed it) became longer, that is, they were enabled, after going 
 through these gymnastics with their respiratory organs, to take in a 
 much greater quantity of air into the lungs than they could before, 
 and naturally to emit so much more. 
 
148 Gymnastics of the Voice. 
 
 For those who are unable to retain their breath, 
 the following directions will be of service : 
 
 In order to be able to retain the breath, we must 
 close the glottis ; under ordinary conditions — that 
 is, when there is a natural cause — this takes place 
 spontaneously, as, for example, in the application of 
 abdominal pressure* The action of abdominal 
 pressure is induced by the need of protecting the 
 abdominal organs in any unusual exertion of the 
 body, as in bending, lifting, etc., and is brought 
 about by closing the glottis after the lungs have 
 been filled with air and exercising a downward 
 pressure with the diaphragm and abdominal muscles. 
 Merely thinking of abdominal pressure gives one 
 the ability to close the glottis at pleasure. 
 
 Another means of arriving at the conscious- 
 ness of the muscular movements required for the 
 closing of the glottis is the following : 
 
 Exercise X. 
 
 Closing the Glottis at Will. 
 
 Pronounce the vowel A' with " direct attack " (as has 
 been taught in the beginning of Part II, ten, fifteen times 
 in succession), but in such a way as to keep the glottis 
 closed before every A for a few seconds before pronounc- 
 ing the vowel. By this means we can obtain a full con- 
 
 * The combined activity of the abdominal muscles and the diaphragm I caJI 
 abdmninal pressure. 
 
Respiratory Gymnastics. 149 
 
 sciousness of the muscles of the vocal cords, and acquire 
 the ability to use them, that is, the power of closing the 
 glottis at will. 
 
 The closing of the glottis does not suffice by itself, 
 however, for the retention of the breath. One must 
 also possess the ability to keep the ribs (raised out- 
 ward by the external intercostals, and the contracted 
 — drawn downward — diaphragm) fixed in their posi- 
 tion ; for, with the sinking of the ribs and the return 
 movement of the diaphragm upward, the air is forci- 
 bly expelled from the lungs. In fact, it is necessary 
 to be able, without the closing of the glottis, to re- 
 tain the breath by merely keeping the ribs fixed in 
 the position of inspiration and the diaphragm pressed 
 downward. 
 
 More exercises than I have here given would be useless. They 
 vrould lead the pupil into mechanical movements of the muscles, pre- 
 vent all independence on his part, and finally make a mere machine 
 of him. If the pupil has talent, then the exercises already given 
 fully suffice for fundamental practice ; if he has no aptitude, then a 
 tenfold number would not avail him. 
 
 It may as well be remarked here, that certain 
 gymnastics of the lungs, as well of the other organs, 
 must be performed daily just so long as the artist 
 desires to practice his art with success ; for just a? 
 the dancer through long inactivity loses the elasticity 
 of his limbs, so the singer or the speaker fares with 
 his lungs. 
 
150 Gymnastics of the Voice. 
 
 SECTION 2. 
 
 Beginning of Speech or Song. 
 
 The orator or singer must not begin a single sen- 
 tence, not even the smallest, before having suffi- 
 ciently filled his lungs. But it must not be under- 
 stood that the lungs are to be so completely filled 
 that not another atom of air could be contained in 
 them, but only seven-eighths filled ; for keeping the 
 lungs completely filled increases the difficulty of 
 holding the breath ; and, therefore, also of singing 
 and speaking. 
 
 SECTION 3. 
 
 State of Readiness. 
 
 This condition, lungs sufficiently well filled, we 
 call " the state of readiness." 
 
 The sensation of having the lungs filled must not 
 be absent during singing or speaking, until a pause 
 is reached. 
 
 I 
 
 SECTION 4. 
 
 Closurp of the Glottis. 
 
 After an inspiration, the glottis should be closed 
 for a moment, i. e., the breath held back before one 
 commences to speak or sing. But if we begin at 
 
Slow Respiration. 151 
 
 the same instant that the last atom of air has entered 
 the lungs, too much air will naturally pour out at 
 the first words, thus rendering them unmetallic and 
 aspirate. 
 
 SECTION 8. 
 
 Inspiration and Expiration to be Done as Slowly 
 AS Possible, and Uniformly. 
 
 This condition must be fulfilled whenever the con- 
 struction of the sentence will permit. Slow breath- 
 ing will be mainly brought about by right use of the 
 diaphragm and the abdominal muscles, and keeping 
 the ribs raised. (More on this subject in Sections 
 7 and 9.) 
 
 section 6. 
 
 Even During any Unusual Activity of the Lungs, 
 AS in Moments of Excitement or Passion, it is 
 Quite Necessary to Breathe as Slowly as Pos- 
 sible. 
 
 It must not be considered impossible to attain 
 this ; the activity of the human organs depends un- 
 doubtedly, to a certain degree, upon our ^ill, and 
 though this is less the case with the lungs than 
 with the other organs, it is still here also possible to 
 arrive at really wonderful results by regular exer- 
 cises, interrupted only by necessary rest. 
 
152 Gymnastics of the Voice. 
 
 SECTION 7. 
 
 Abdominal or Diaphragmatic Breathing. — Rib or 
 Side-Breathing. 
 
 We have shown in treating of the respiratory 
 rnovements, that man can execute inspirations and 
 expirations in three different modes, namely, by 
 shoulder, side or abdominal respiration. We must 
 here urge that singers and orators should make habit- 
 ual use only of the tzvo latter modes of respiration 
 (side, and especially abdominal respiration), and 
 shoulder-respiration only when the temporary position 
 of the body does not permit of the other two. 
 
 The upper part of the thorax is, at the same time, 
 also active in a certain way ; when expanded for 
 inspiration, it remains, more or less, in 'this condition 
 during speaking and singing, so as not to impede 
 inspiration and expiration, which would be the case 
 if the upper ribs should constantly rise and fall. 
 
 If we permit the inspired air to escape from the 
 lungs otily by means of the upper part of the thoracic 
 wall (shoulder-breathing), as is general!)- the case 
 with women, the following phenomena will result: 
 
 1 . The tone will not be quite clear and metallic. 
 
 2. It zvill not be full. 
 
 3 . It will not be firm or strong. 
 
Diaphragmatic Breathing. 153 
 
 4. // zvill not be sufficiently prolonged. 
 
 5 . The air will not pass from the lungs slowly and 
 uniformly enough ; but, on the contrary, in puffs ; and 
 
 6. The plastic lines of the body will be disticrbed 
 by heaving of the bosom and shaking of the shoulders, 
 not to mention the increased exertion required. 
 
 The tone produced in such a way will, likewise, 
 always be somewhat heavy, for the movement of the 
 upper chest-muscles causes an involuntary partici- 
 pation of the muscles of the neck and larynx, and 
 thereby disturbs these muscles, so that the tone not 
 unfrequently becomes compressed and trembling 
 and loses its clearness, and especially its fulness, 
 because, the upper part of the air-passages being 
 pressed together, the resonance of the sound is, in 
 consequence, diminished. But by mainly using the 
 lower part of the chest (side and especially abdom- 
 inal respiration) all these phenomena are absent. 
 
 The following comparison may serve to prove that 
 this method is the correct one : 
 
 Imagine a tube, whbse walls can be compressed 
 at will, filled with water. We can press the water in 
 it upward in two ways : either we compress the walls 
 of the tube, or we drive the water upward by means 
 of z. piston, which we apply to the lower end. In 
 the former case (that is, by compression of the walls). 
 
154 Gymnastics of the Voice. 
 
 the stream becomes trembling, irregular, frequently- 
 interrupted ; in the latter case (that is, pressure by 
 means of a piston), the stream becomes strong, uni- 
 form, uninterrupted, as we can see in any engine- 
 hose, which is correctly handled. 
 
 It is the same with man and his lungs. The back, 
 front and the sides of the chest are the walls of the 
 tube ; the diaphragm, lower ribs and abdominal mus- 
 cles are the piston. 
 
 Herein lies the proof of our theory of the dia- 
 phragmatic or abdominal respiration. 
 
 To dispel any doubt as to the possibility of mastering this mode of 
 respiration, I take the following important example from the world 
 of art : — • ^ 
 
 Wilhelmine Scliroder-Devrient, the greates dramatic singer, at- 
 tained a wonderful degree of perfection in respiratory control 
 (through unremitting practice, as she herseli informed me). She 
 sang the most difficult passages without the slightest movement of 
 the upper portion of the chest, and it was she who gave the incite- 
 ment to the preparation of this work, when, twenty-six years ago, I 
 had the good fortune of attracting the notice of that remarkable lady, 
 an artist who at the age of fifty-two stood unrivaled among dramatic 
 singers. 
 
 It is true, all I learned irom her was that I breathed in a wrong 
 manner ; and on my arguing that I breathed with the full action of 
 the chest, I was answered : ** It is with the abdomen that you must 
 breathe, with the abdomen." This was all the explanation I re- 
 ceived. And just as the student in Goethe's 7vz!«/ exclaims : 
 
 " I feel as stupid from all you've said, 
 As if a mill-wheel whirled in my head ! " 
 
 SO it was with me from that moment. 
 
 After the lapse of three years (passed in sleepless nights, and in 
 laboriously seeking for the solution of this riddle by means of study 
 and experiment) appeared the first German edition of the present 
 work. 
 
Diaphragmatic Breathing. 155 
 
 Therefore, in order to avoid the occurrence of the 
 above-mentioned phenomena, it is necessary to 
 empty the lungs, not by causing the sternum and 
 the upper ribs to sink to their normal position ; but, 
 while the sternum and the upper part of the chest 
 generally are held raised upward and outward, by 
 the combined action of the diaphragm and the 
 abdominal muscles (abdominal respiration). 
 
 Although women make the respiratory movement 
 more with the upper part of the chest, still they 
 must, by exercises and a correct method, learn to 
 use the lower ribs, the diaphragm and the abdom- 
 ihal muscles. 
 
 SECTION 8. 
 
 The Necessity of Consciousness of the Diaphragm 
 AND the Abdominal Muscles. 
 
 As I have been met countless times by the question " How am I 
 to breathe by means of the diaphragm, when I have not the conscious- 
 ness of the diaphragm, and do not in the least know by what means 
 the diaphragm and the abdominal muscles are set into motion ? " I do 
 rrot deem it at all superfluous to set down a special paragraph on this 
 subject. 
 
 Exercise I. (For Consciousness of Diaphragm.)'^ 
 
 Lie down on the back, the head somewhat elevated ; 
 put the lungs into the " state of readiness " (see Section 
 
 * In my first American edition I left out this exercise because I was constantly 
 told, "be brief, be brief to suit the American taste." Now, however, having been 
 reproached by Americans, who know my German " Gymnastics of the Voice," for 
 having left out so many matters, I add, among other things, this section, which occurs 
 n the very first German edition of this work. 
 
156 Gymnastics of the Voice. 
 
 3) ; for the better recognition of the matter lay the liand 
 on the abdomen, and now, without allowing the upper 
 portion of tli.e chest tosinh,emit the air slowly from the lungs, 
 and it will be perceived by the slowly falling hand that 
 the abdomen shrinks ; that is to say, the diaphragm relaxes 
 from the contraction by which it pushed the abdomen 
 outward ; and thus, pressing on the lungs, drives the air in 
 them up and out. 
 
 Inhale air again immediately and the hand will rise ; 
 that is to say, the abdomen will be pushed out, as before. 
 Til is is the result of the action of the diaphragm ; and by 
 continued practice, interrupted by the necessary pauses, 
 the consciousness of directing the diaphragm at will, will 
 slowly be attained ; for, although the diaphragm is an 
 involuntary muscle, yet it can be, as we have learned in 
 Part I, partially controlled by our will. 
 
 Now practice the exercise in an erect position ; and, 
 while singing a tone, it will soon be perceived that (with- 
 out action of the abdominal muscles) the sounding expira- 
 tion brings about but a faint result. Now let the abdom- 
 inal muscles assist ; contract them slowly, that is to say, 
 press the abdomen inward while exhaling (and this can be 
 done only by means of the abdominal muscles) ; exert a 
 counter-pressure with the diaphragm which slowly sub- 
 sides in proportion to the degree of pressure of the ab- 
 dominal muscles, and it will be found that the effect is 
 much stronger. (More in Section 9.) 
 
 Another means of attaining consciousness of the 
 action of the diaphragm in a short time, is to closely 
 observe the manner of expiration while coughing. 
 Coughing consists of a deep inspiration followed by 
 one or more successive powerful expiratory impulses. 
 Every expiratory impulse is preceded by a move- 
 ment (contraction) of two groups of muscles : one 
 of the abdominal muscles, working from without in- 
 
Consciousness of Diaphragm. 157 
 
 ward; the other, of the diaphragm, working from 
 within outward. After the contraction of these 
 muscle-groups (the glottis remaining tightly closed) 
 has attained a certain degree of tension, the dia- 
 phragm suddenly ceases its contraction, and the 
 compressed air in the lungs is driven noisily through 
 the forcibly opened glottis by the still greater con- 
 traction of the abdominal muscles. This process is 
 usually involuntary, but may be rendered completely 
 voluntary. The noise (cough) is various. Accord- 
 ing to its cause it will be strong, moderately strong, 
 or weak ; and we find the contraction of the above 
 muscles varying in the same degree. 
 
 Exercise II. 
 
 The pupil should practice the different degrees from weak 
 to strong cough, whereby he will arrive at a consciousness 
 of the diaphragm and its action, also of the abdominal 
 muscles and their action, as will be described in the next 
 section. 
 
 SECTION 9. 
 
 The Diaphragm and Abdominal Muscles Usually 
 Act Combined. 
 
 After inspiration, that is, when the diaphragm has, 
 by its contraction, pressed the intestines downward, 
 thereby pushing the abdomen forward and extend- 
 ing the abdominal muscles, — then begins a slow 
 
158 Gymnastics of the Voice. 
 
 contraction of the abdominal muscles for the pur- 
 pose of expiration, whereby the intestines are pushed 
 upward. The diaphragm, by remaining in a state 
 of contraction, exerts, meanwhile, a counter-pressure. 
 
 Upon the gradually increased contraction of the 
 abdominal muscles (that is, the increased pressure 
 of the abdominal muscles upon the abdominal vis- 
 cera upward), follows a gradual relaxation of the 
 contraction of the diaphragm, whereby a uniform 
 pressure is exerted upon the lungs, and in conse- 
 quence of which the air passes through the glottis 
 in the same uniform way. This can be continued 
 until a new inspiration becomes necessary ; in which 
 case, then (either slowly or with lightning rapidity, 
 according to necessity) the previous state of both 
 g;roups of muscles is reproduced by the freshly in- 
 spired air, only to recommence their antagonistic 
 activity. 
 
 The stronger the upward pressure of the abdom- 
 inal muscles on the intestines and the slighter, 
 relatively, the resistance offered by the diaphragm, 
 the more rapidly the air will escape from the lungs. 
 On the other hand, the feebler the pressure of the 
 abdominal muscles and the slower the resistance of 
 the diaphragm relaxes, the less rapidly will the air 
 escape from the lungs. 
 
Diaphragm and Abdominal Muscles. 159 
 
 The stronger the antagonistic action of tlie abdom- 
 inal muscles and the diaphragm, the greater is the 
 pressure on the air in the lungs, and the louder and 
 more powerful the tone. 
 
 If the antagonistic action of both these groups of 
 muscles is in equilibrium, a cessation of expiration 
 takes place. This is the case with the stutterer 
 where the diaphragm sometimes falls into a state of 
 spasmodic contraction which cannot be overcome 
 by the abdominal muscles. 
 
 This function of the diaphragm, to retard the 
 escape of air, is supported by the ability of the vocal 
 cords to approach at will, whereby the glottis is so 
 diminished in size, that an impediment is offered to 
 the escape of air. 
 
 This antagonism of the two muscle-groups, the 
 diaphragm against the abdominal muscles, admits 
 of countless modifications, according to their respec- 
 tive degrees of contraction, and is of the utmost 
 importance. Without this arrangement, without this 
 ability to quicken or retard the expiration at will, it 
 would not be in the power of man to modulate the 
 voice, or to speak successive words in one breath. 
 
 The chest would collapse so rapidly, and the 
 current of air escape so fast, that only one or two 
 
i6o Gymnastics of the Voice. 
 
 sounds of equal strength could be uttered in quick 
 succession. The expression of feeling, mainly due 
 to the various modifications of the expiration, would 
 be impossible. 
 
 This air-current, set in motion in the most diverse 
 ways, weak or strong, interrupted or continuous, is 
 the power by which are produced all sounds and 
 noises that form the elements of voice in the larynx 
 and pharynx, and in the nasal and oral cavities. 
 
 From the foregoing we perceive that the action 
 of the abdominal muscles directly promotes the 
 phonetic expiration ; whilst that of the diaphragm 
 operates indirectly, checking and regulating the up- 
 ward pressure of the abdominal muscles. 
 
 That the diaphragm may act in the above-men- 
 tioned way, it is necessary that the lower ribs, which 
 form its frame, should remain in the position they oc- 
 cupied at the end o{ the inspiration (raised outward) 
 as long as possible ; because a quick relaxation of 
 these ribs hinders the contraction of the diaphragm, 
 without which the downward pressure against the 
 intestines is impossible, or at best very limited. 
 
Diaphragmatic Breathing. i6i 
 
 SECTION lO. 
 
 Correct Application of the Diaphragm and the 
 Abdominal Muscles. 
 
 ' It must be particularly noticed that we should 
 work less with the muscles which pass vertically over 
 the stomach (musctdi recti), than with those which 
 cover the sides (musculi transversi and external 
 oblique and internal oblique). 
 
 A painful pressure upon the stomach is expe- 
 rienced when the musculi recti work much more than 
 the musculi transversi and external and internal 
 oblique ; they should work ler.s. We must have 
 such a control over the diaphragm and the abdomi- 
 nal muscles that the air can be emitted at will in any 
 quantity. 
 
 If we are asked to state more particularly when it 
 is best to apply side-breathing and when abdominal 
 breathing, we should say : every tone-formation for 
 lively and quick speech in light conversation and 
 in song, is best attained by side-breathing, with the 
 abdominal muscles strongly drawn in and held firm, 
 but every tone-formation for sustained and weighty 
 speech, for heroic song, can- succeed only when pro- 
 duced by full abdominal respiration. 
 1 1 
 
1 62 Gymnastics of the Voice. 
 
 SECTIO^f 11. 
 
 Peculiar Phenomena During the Application of 
 THE Diaphragm and Abdominal Muscles. 
 
 Every one, who has learned this method of breath- 
 ing, will, by exact observation of ' the rules and 
 with a firm determination, be able to carry them 
 out. Before long, however, it will strain him so 
 much that he will begin to doubt whether he ever 
 will be in a position to make this method second 
 nature. But the scholar must not allow himself to 
 be discouraged ; for this strain results from three 
 causes : 
 
 1 . From being unaccustomed to make a more than 
 ordinary use of these muscles.* 
 
 2. From their over-exertion, as the scholar, having 
 become convinced of the efficacy of this method, 
 tries to arrive as quickly as possible at the desired 
 end. 
 
 3. From the occasional wrong application of the 
 abdominal muscles ; for the scholar, at first, will 
 press upon the stomach more or less, since he uses 
 the musculi recti too much and allows the lower ribs 
 to sink, instead of keeping them firmly raised. 
 
 * We have already learned in treating of the muscles, that it is only by the force of 
 habit that they can be brought to work with more than ordinary activity. 
 
Diaphragmatic Breathing. 163 
 
 These three causes can be removed only by long 
 continued, careful, correct practice, interrupted by 
 the necessary pauses. 
 
 It must not be supposed that the mere knowledge 
 of a method is sufficient for its application; for the 
 application of a rule, practice, time and great per- 
 severance are necessary. 
 
 SECTION vs.. 
 
 Inspiration to be Performed Noiselessly, and Visi- 
 ble ONLY TO such a Degree as is Absolutely 
 Necessary. 
 
 Loud breathing is not only unbecoming, but also 
 destructive of the organs, especially the vocal cords. 
 This can be explained by the following: We 
 have already learned that in inspiration the glottis 
 expands, while the larynx slightly sinks, and during 
 expiration it contracts, while the larynx not only 
 regains its former position, but rises still higher. 
 This is so by nature, and, if we acted accordingly, 
 many mistakes would be avoided. But there are 
 many who in inspiration compress the glottis as 
 much as it contracts in expiration, by falsely using 
 the muscles of the larynx, thereby hindering the 
 descent of the larynx ; this causes the disagreeable 
 
1 64 Gymnastics of the Voice. 
 
 sound of the air brought into friction against the 
 walls of the glottis (the vocal cords). 
 
 This constantly recurring, forcible crowding 
 through of the air produces dryness of the mucous 
 membrane, even inflammation, which greatly 
 hinders the formation of sound and not unfrequently 
 leads to the total ruin of the vocal cords. 
 
 It is necessary, therefore, to pay particular atten- 
 tion that no incorrect muscular activity be developed, 
 that the glottis, instead of being compressed, be 
 widely opened, and the larynx be permitted to sink 
 naturally. This will result if the air be inhaled only 
 by means of the muscles of inspiration, the glottis 
 regarded merely as a passage, and the vocal cords 
 not used for muscles of inspiration. In this respect 
 it is with the glottis as with the nose, when we 
 breathe through the latter. • 
 
 Audible inspiration has also anothe-- cause. Most 
 singers and speakers possess the fault of discharg- 
 ing the air from the lungs entirely before inhaling 
 fresh air. When the latter is done, it is impossible 
 (except, perhaps, in the case of the most perfect 
 orators and singers) to avoid making the inspiration 
 audible and disturbing. 
 
 To make inspiration inaudible, it is necessary that 
 the aperture, through which the air is inhaled, be as 
 
Inaudible Inspiration. 165 
 
 large as possible, that the larynx, and with it the 
 root of the tongue, be drawn downward as far as 
 possible, and the soft-palate' raised. 
 
 Through long practice this process can be exe- 
 cuted with astonishing rapidity, as is absolutely 
 necessary in quick singing and speaking. The 
 ability to regulate the diaphragm at will,' is also 
 necessary, because just as soon as the larynx sinks, 
 the diaphragm contracts, and the abdomen is made 
 to protrude. If we observe these rules, it is almost 
 impossible to inspire audibly. 
 
 The exercise, which the pupil will have to make 
 in order to understand the foregoing and to be able 
 to practice it by himself,' will be as follows : 
 
 Exercise for Inaudible Inspiration. 
 Fill the lungs with air, then strike any particular tone, 
 and prolong it, singing until all the air in the lungs has 
 been exhausted. Now take a fresh, quick inspiration in- 
 audibly, and go on at once with the same tone, and re- 
 peat this several times, until a consciousness of the mus- 
 cles involved in the operation is arrived at. The position 
 assumed by the organs will soon become familiar. It will 
 be perceived that the soft-palate has been quickly drawn 
 upward, and that the root of the tongue and the larynx 
 have been drawn downward, and that the diaphragm has 
 contracted. These movements all take place spontane- 
 ously ; the pupil has only to become conscious of them 
 and to perfect them. 
 
 Inaudible inspiration is a thing so important that 
 too great pains cannot be taken with its practice ; 
 
1 66 Gymnastics of the Voice. 
 
 and, with sufficient industry, what the pupil has 
 deemed unattainable, will finally become seconcr 
 nature. 
 
 Through the inability to inspire inaudibly, the finest artistic 
 achievements have fallen short of the attainable effect, and the 
 greatest artists have lacked the highest degree of perfection. Two 
 of our most famous artistic celebrities vi'ere afflicted with the defect 
 of audible inspiration, which they preserved to the last. And strange 
 to say, even in these cases the world has held fate responsible for the 
 defect. People say, " What an artist would this man be if that 
 defect were only absent ! " which is like saying, " If this man hadn't 
 a hump ! " We cannot get rid of a hump, but we can of audible 
 breathing. In such cases, therefore, we ought not to bestow pity, 
 but to express condemnation. It is the duty of the actor and the 
 orator to learn how to use the vocal organs, and no one has a right 
 to plead natural defects ;• for, if they reedly exist, then such a person 
 has no business to appear before the public. 
 
 The failure to comply with what the foregoing 
 pages have taught, .produces results more or less 
 unpleasant to the hearer ; the non-fulfilment of what 
 is urged in the present section acts like a shaft which 
 rebounds back to tl;ie breast of the archer ; for, be- 
 sides the torment occasioned to the listener, the ruin 
 of the vocal cords of the artist is the inevitable re- 
 sult, and cases in which this does not occur must be 
 looked upon as rare exceptions. 
 
 In the heading of this section we have said that 
 inspiration should be noticeable only as far as is 
 absolutely necessary. This necessity presents itself 
 to the concert singer less frequently than to the dra- 
 matic singer or speaker. The concert singer must 
 mainly strive for the production only of the most 
 
Emotional Breathing. 167 
 
 perfect tone-formation (which, as we have seen, is 
 'attained chiefly by diaphragmatic and rib or side- 
 breathing) ; whereas the dramatic actor must bring 
 before the spectator's eyes, people in the most dif- 
 ferent states of emotion. 
 
 The outburst of emotion, however, whether 
 powerful or weak, requires in nature a swelling of 
 the breast (the seat of emotion), which becomes 
 outwardly visible through the lungs filling themselves 
 with air. This swelling of the breast should also be 
 visible in dramatic acting ; but let the scholar be 
 careful not to attempt to accomplish this by raising 
 the shoulders. This would be a movement which we 
 have already expressly condemned. There should 
 be an outward and forward movement of the breast, 
 and the shoulders should be drawn slightly back, 
 but not upward. The ordinary conversational tone 
 in speech and song is produced by simple dia- 
 phragmatic breathing (without visible motion of the 
 breast) ; but every inward excitement, even when 
 only very slight,- is manifested at once by the activity 
 of the breast, which becomes more marked as the 
 excitement is greater. 
 
1 68 Gymnastics of the Voice. 
 
 SBCTION 13. 
 
 Cases in which the Breathing is Audible. 
 
 There are cases in which audible breathing is not 
 only permissible, but becomes a necessity. If, for 
 instance, an oppressed chest seeks relief by a deep 
 sigh, this is done with a loud and slow evacuation 
 of the lungs. A person, after much walking or 
 running, after extraordinary muscular exertion, will 
 breathe audibly. A sudden fright checks breath- 
 ing ; the renewed escape of air will be audible. A 
 painful, loud, prolonged Oh ! Ah ! Yea ! Nay I will 
 immediately after its formation change into perfect 
 aspiration, and so close. We may also remark that 
 the dramatic performer and orator requires much 
 ■mo7'e air than he would believe for such exclama- 
 tions, if he desires to prevent their being weak and 
 without effect. 
 
 This fault is noticeable in all those who try to 
 finish these exclamations with the small quantity of 
 air which may have been left in the lungs, and who 
 do not know that for such short exclamations, as 
 well as for all others, the lungs must always previ- 
 ously be put into a " state of readiness." 
 
 Let us now consider several variations of breath- 
 
Cases in Which Breathing is Audible. 169 
 
 ing, in which audible inspiration and expiration are 
 necessary. 
 
 They are the following: 
 
 1 . Yawning. 
 
 2. Sighing. 
 
 3. Panting. 
 
 4. Sniffing. 
 
 5. Hawking. 
 
 6. Aspirating. 
 
 7. Snoring. 
 
 8. Sobbing. 
 
 9. Coughing. 
 
 10. Sneezing. 
 
 1 1 . Loud laughter. 
 
 12. Weeping. 
 
 Through external causes, these variations appear 
 of their own accord ; in art, however, where all out- 
 ward causes are absent, and imagination must sup- 
 ply their place, such changes are very difficult of 
 production. Hence the unnatural laughter and 
 weeping of beginners on the stage, and even of 
 actors who have been on the stage for many years. 
 It is, therefore, absolutely necessary to learn the 
 physiological process required in these modifications 
 of breathing. 
 
I/O Gymnastics of the Voice. 
 
 1 . Yawning consists in a deep and long inspira- 
 tion, followed sometimes by a short, often by a long, 
 loud expiration. The mouth, as well as the glottis, 
 must be opened widely. 
 
 2. Sighing is a slow, deep, and often intermissive 
 inspiration, taking place usually through the mouth, 
 frequently, also, through the nose, followed by a long, 
 slow, at times trembling, and audible expiration. 
 
 3. Panting is a short, violent inspiration and ex- 
 piration. 
 
 4. 5«2^«^ consists in short and rapidly succeeding 
 inspirations through the nose, while the mouth is 
 kept closed by the tightly compressed lips. . 
 
 5. Hawking results when we drive air quickly and 
 powerfully through the glottis, partly with open, 
 partly with closed mouth. It is produced by slow 
 expiration ; oftener, however, by jerks. 
 
 6. Aspirating is a hollow, monotonous and gentle 
 expiration through the mouth, either slow or coming 
 in short puffs. 
 
 7. Snoring results from a vibration of the soft- 
 palate in inspiration and expiration through the 
 mouth. It can also be produced by breathing 
 through the nose, the mouth remaining closed, but 
 not as easily, and certainly not as loud, as the other 
 
Cases in Which Breathing is Audible. 171 
 
 way. It is less a modification of breathing than an 
 attendant noise. 
 
 8. Sobbing consists in a cramped contraction of 
 the diaphragm which shakes the whole body and 
 allows itself to be heard at varying intervals through 
 one or more quickly following noises. The noise 
 itself is produced in the glottis by inspiration, which 
 takes place quickly. 
 
 9. Coughing is the result of one deep inspiration 
 followed by one or more impulsive expirations in , 
 succession, as has been fully stated in Sec- 
 tion 8. This process is usually involuntary ; it can, 
 however, be brought about quite voluntarily. 
 
 10. Sneezing co'o.'iv&Xs, in a quick, deep inspiration, 
 followed, usually, by a very powerful expiration 
 sounding like the combination ts. This expiration 
 represents the actual sneeze. Directly before this 
 expiration the nasal cavities are closed by the con- 
 tact of the soft-palate with the posterior wall of the 
 throat, and they are opened again with the expira- 
 tion. The muscles of the face are drawn together 
 in the region of the nose and eyes more or less ac- 
 cording to circumstances, and resume their original 
 position with the expiration. 
 
 1 1 . Loud laughter and weeping are the most diffi- 
 cult to produce without external causes, and it 
 
172 Gymnastics of the Voice. 
 
 requires long practice to attain a certain degree of 
 perfection. Most actors laugh and cry unnaturally 
 on the stage ; that is to say their laugh does not 
 originate as it does in nature. Laughing consists 
 in sounding expirations, which, broken off short, 
 succeed one another quickly or in slower tempo ; 
 it always, however, originates in a shaking of the 
 diaphragm, which must be more marked as the 
 laugh is more violent. We justly say, " My sides 
 shook with laughter." The sides can be made to 
 shake, however, only by means of the diaphragm. 
 Therefore, we call an unnatural laugh, which is not 
 brought about by shaking the diaphragm, a laryn- 
 geal laugh; since it is produced principally by a 
 continued monotonous opening and closing of the 
 glottis. 
 
 In laughing, expiration goes on with quickly suc- 
 ceeding narrowing and widening of the glottis ; 
 at every narrowing there ensues a jerky noise 
 which derives that quahty from the action of the 
 diaphragm. If we desire suddenly to stop violent 
 laughter, we have only to close the glottis, i. e., to 
 hold back the breath; but if the desire to laug.h is 
 too violent, and the closed glottis can no longer 
 restrain expiration, there invariably results a sudden 
 expulsion of the air which will drive the lips apart 
 
The Air not to be Aspirated. 173 
 
 and thus cause a loud noise. Commonly speaking, 
 we call this " bursting out." 
 
 12. Weeping consists in inspiration and expira- 
 tion; the first takes place quickly and deeply, the 
 second slowly and in jerks with narrowed glottis. 
 The expiration is the real weeping, and is frequently 
 interrupted by fresh inspirations. Yet the inspira- 
 tion can be slow and deep and the expiration quick, 
 according to circumstances. 
 
 SECTION 14. 
 
 The Atr not to be Aspirated during Pronation. 
 
 In the formation of a sound (in the beginning as 
 well as in its duration) no wild air — that is, air not 
 brought into permanent vibration, — should be au- 
 dible. Herein many singers, and actors especially, 
 fail. The remedy for it will be found in the follow- 
 ing exercises : 
 
 Exercises for the Singer. 
 
 The pupil, after bringing the lungs to the " state of 
 readiness," should produce a tone with the vowel A' firm 
 and decided, with the full closure of the glottis ("direct 
 attack," see beginning of Part II) ; but piano, and with- 
 out any pressure upon the vocal cords. The tone, at 
 first short, should be frequently repeated and somewhat 
 prolonged each time, special care being taken that it 
 shoula not begin with an h, and that there should be no 
 aspiration during its continuance. 
 
174 Gymnastics of the Voice. 
 
 Having gone through this exercise for a time, he should 
 now attempt to sing the scale within an octave, but no 
 longer, as before, giving each tone separately, but, on the 
 contrary, seeking to combine the tones ("indirect 
 attack"), and still without aspirating. Not being per- 
 mitted to exhale more air than is necessary, he will be 
 under the necessity of keeping the vocal cords in the 
 proper tension, and, in a general way, of increasing the 
 activity of the muscles, by which an aspirated tone will 
 be less possible. These exercises should all be performed 
 piano, and only when the pupil has acquired a pretty full 
 control of the vocal cords, should there be any attempt 
 to pass over to crescendo. 
 
 Exercises for the Speaker. 
 
 Pronounce a short sentence (a line) in one tone ; begin 
 with the lungs quite full, and after each syllable take as 
 miich breath (quick and inaudible) as was required for the 
 preceding syllable, sd that the lungs shall always be in a 
 " state of readiness." The replenishing of the lungs, in 
 this quiet and slow manner, after each syllable, is intended 
 to bring abdominal breathing fully to our consciousness, 
 and to make the necessary muscular movements our 
 second nature. Each syllable being pronounced with 
 full lungs and with careful avoidance of aspiration, the 
 tone will gradually become sonorous, and in this way the 
 pupil will most readily accustom his ear to recognize 
 metallic quality and clearness in tones. When the pupil 
 has for a time pronounced the sentence in this manner, 
 he should start afresh with a slight change, reproducing 
 now half the sentence without taking breath, but pro- 
 nouncing the syllables as he did before, when he took 
 breath after each, so that the syllables shall all be uttered 
 singly and in the same tone. When this has been done 
 for a time, he should proceed a step farther, uttering the 
 whole sentence in one breath, but still continuing to 
 syllabicate ; and, finally, he should utter the whole sen- 
 tence in one breath, not syllabically but rhetorically, al- 
 ways being careful not to aspirate. 
 
The Air not to be Aspirated 175 
 
 The pupil should, in addition, make the following 
 exercise : utter the whole sentence in the manner of the 
 chromatic scale; that is, begin with a high tone and 
 descend a half tone with each syllable ; and having 
 reached the end of the sentence, repeat it in like manner 
 but with each syllable ascending a half tone, his whole 
 attention being directed toward maintaining the correct 
 position, of the vocal cords, as has been described in 
 treating of chest-tones ; that is to say, he ought always to 
 have that sensation in the larynx which he has when utter- 
 ing a vowel sound {A', for example) with the spiritus lenis 
 and not with the spiritus asper (kah). By this exercise 
 the voice will be fitted for every modulation. 
 
 The pupil should perform these exercises within the 
 compass possessed by his voice. If, for example, this 
 embraces ten tones, he should first utter the whole sen- 
 tence with all its variations in the lowest tone without any 
 pressure either of the inner (intrinsic) or of the outer 
 (extrinsic) muscles of the larynx ; he should then do the 
 same thing with the next tone, then with the third, and 
 so on until he reaches the limit of his compass. 
 
 The scholar should here be particularly warned 
 against the attempt to give the tone too great 
 strength and fulness in vocal exercises. If he 
 does this he either presses upon the larynx or 
 squeezes the vocal cords together ; and the tone be- 
 comes raw, hoarse and full of mannerisms. With- 
 out the least pressure he should form the tone very 
 softly, strengthening it gradually ; for only long and 
 careful practice, not forced expulsion of air, can add 
 strength and fulness to the tone. 
 
176 Gymnastics of the Voice. 
 
 section is. 
 
 Path Traversed by the Sounding Air-Column. 
 
 The air, which has been expelled from the lungs 
 through the glottis and set into sounding motion by 
 the vocal cords, acquires — on account of the mani- 
 fold reflection which it constantly undergoes on the 
 way from the epiglottis along the walls of the 
 pharynx and the oral cavity, according to physical 
 laws — the same curves and the same dimensions 
 which this canal shows in itself; its direction, there- 
 fore, is decided by the position of the walls, between 
 which it takes its course. Apart from the natural 
 walls of this canal the form of the sound-waves de- 
 pends also on the position of tlie larynx (higher or 
 lower), on that of the root of the tongue as well as of 
 the tongue generally, and also on the position of the 
 soft-palate ; and they are thereby induced to strike 
 with greater intensity in some places than in others. 
 
 Let us take, for example, three such points and 
 mark them in our explanation : a, b, c ; a is the 
 point where the posterior nasal orifices (posterior 
 nares) are situated ; that is, the pharyngo-nasal 
 cavity ; b is the soft-palate, and c the hard-palate 
 at the roots of the upper incisors. 
 
 As the timbre (that is the real quality of a tone) 
 
Path of the Sounding Air-Column. 177 
 
 of the sounding air-column depends more or less 
 upon the condition of the walls (harder or softer, 
 drier or moister) upon which it impinges, each one 
 of these points, a, b, c, might cause another timbre, 
 because each offers in part at least a different kind 
 of wall. 
 
 If the column of sound strikes with greater in- 
 tensity on point a (the pharyngo-nasal cavity), we 
 obtain the so-called nasal tone. 
 
 If the column of sound strikes with particular in- 
 tensity upon b (the soft-palate), the sound is full 
 but dull, and is permissible only where a dull color- 
 ing of the tone is absolutely necessary. (See "Tim- 
 bre," page 66.) 
 
 But in cases where the palatal tone is to be got- 
 ten rid of, the point b is of the utmost importance, 
 as a confirmed palatal-tone singer can only rid him- 
 self of the palatal tone by directing the sounding 
 air-column upon this point. 
 
 If, through the position of the larynx and situa- 
 tion of the tongue, the canal is so formed that the 
 sound-column strikes with more intensity on point c 
 (the hard-palate at the roots of the upper incisors), 
 the sound will be clear and possess the qualities of 
 the best tone to be derived from these vocal organs, 
 
 \2 
 
178 Gymnastics of the Voice. 
 
 Here, therefore (to express it popularly), will be the 
 right " touch." 
 
 The singer, as well as the orator, requires much 
 study to be able to guide the sound-column just to 
 this point. He can readily determine whether or not 
 he has directed the sotmd-column to tins point by 
 observing if at this spot a slight sensation, not un- 
 like a cool breath, is produced. 
 
 This manipulation must not be considered very 
 difficult. The Creator has given us such vocal 
 organs that in their normal condition, that is, if we 
 do not misuse the organs, the air-column always 
 strikes with greatef intensity against the roots of the 
 upper incisors than it does against any other point 
 without any exertion on our part; and only under 
 falsely developed conditions or through a passion 
 for achieving something extraordinary, do we change 
 the position of the organs and induce a false 
 " touch " and, consequently, an incorrect sound. 
 
 If we correctly pronounce the vowel A' , we have 
 already the proper tone, for this is nothing else 
 than the correct sound of the vowel A' ; as, in fact, 
 correct tone-formation depends solely on the right 
 formation of the vowels. 
 
 Only when we can form a clear, correct A' (as in 
 far') are we able to pronounce with ease, and with- 
 
Path of the Sounding Air-Column. 179 
 
 ■out depriving the sound of its purity and fulness, 
 every other vowel with the same clearness, although 
 the position of the tongue and larynx is different 
 from that in ^' ; for the slight changes in the posi- 
 tion of some of the organs, which are necessary in 
 song in the case of certain vowels, are easily learned 
 with a little attention. For instance, that with A 
 (hay) and E (he) the larynx must be lozver, and the 
 root of the tongue be pushed somewhat forward 
 and downward, so that the sounds produced with 
 these vowels are not too thin and pointed. 
 
 The purity and the accuracy of ^', are the princi- 
 pal requisites for' speech and song. If we are not 
 able to form a pure A' , it is impossible to acquire a 
 correct tone ; without a correct formation of sound, 
 ho.wever, there can be no correct song. We may, 
 therefore, justly say that, as a correct A' is the foun- 
 dation of all vowels, the correct formation of sound 
 is the foundation of song. 
 
 The hard-palate consists, as its name implies, of 
 a hard, the soft-palate, of a soft mass. The "touch" 
 of the air-column on the third point, c, will, there- 
 fore, lend to the sound more metal and hardness; 
 that on the second point, b, more tenderness. 
 
 The moving the " point of touch " forward or 
 backward, is left to the judgment of the singer or 
 
rSo Gymnastics of the Voice. 
 
 speaker who has, in fact must have, the power to 
 determine the course of the air-column, so that it 
 shall strike with greater intensity on this or that 
 spot. The nearer the " point of touch " is brought 
 from c backward to ^ by a sinking of the larynx, 
 the softer, but also the more obscure, does the tone 
 become ; and the farther forward it moves from b to 
 c, by raising the larynx, the sharper and clearer do 
 we find the tone. 
 
 If the " point of touch " goes beyond c, the tone 
 becomes shrill and completely a dental tone. 
 
 , SECTION 16. 
 
 Position and Attack. 
 
 We have substituted these terms as the nearest to expressing the 
 German Ansatz and Einsatz. 
 
 Until recently, opinions varied greatly concerning 
 the signification of the words position (preparatory 
 grouping of the muscles of the larynx for the pro- 
 duction of a tone) and attack (the beginning of the 
 tone). Lately, however. Dr. Carl Stoerk, of Vienna, 
 has furnished new and interesting information, at 
 least in regard to position. In a pamphlet entitled 
 " Speaking and Singing," published in Vienna, 1881, 
 he treats this subject in so excellent a manner, that 
 it would be futile for us to try to present it in a more 
 
Position and Attack. i8i 
 
 interesting way. We will, therefore, let Professor 
 Stoerk speak in his own words : 
 
 " Whenever conversation turns on phonetics, singing 
 teachers or pupils, the word position is always heard men- 
 tioned. This word is often mere empty sound ; its signi- 
 fication appears lost in obscurity. Students, as well as 
 teachers, fondly fancy to possess a peculiar, particular 
 position. As often as a pupil changes his master he says : 
 ' I have now got a n&vf position.' Position and attack seem 
 closely allied conceptions, and yet each is quite diiferent 
 from the other. By position we understand a peculiar 
 grouping of the muscles of the larynx in the throat, in 
 order to give the larynx a certain position in which it can 
 produce the desired phonetic result. A singer has a, posi- 
 tion and so has a speaker. The whisper of an actor is 
 quite different from that of an ordinary person. Just so 
 an actor, who has spoken loudly for a number of hours, 
 must have a different /^«Z&« from that of one not required 
 to perform such a task. If a person sees a heavy load 
 approaching him, he must, in order to keep it off or force 
 it back, cause a certain group of muscles to enter into 
 action with a certain amount of power ; that is to say, he 
 puts himself on guard. This we know from experience. 
 We know from practice which group of muscles to put into 
 action, and with what degree of energy in any given case. 
 These explanations may be applied to the larynx in regard 
 to the so-ca\\eA. position. That is to say, the larynx, with 
 its muscles, must so place itself that it rests in the correct 
 position for a certain manifestation of power. There is a 
 good and a hdA position. The good is that in which Only 
 those muscles necessary for the intended tone-production 
 are employed. 
 
1 82 Gymnastics of the Voice. 
 
 " We know that the larynx descends for deep tones and 
 •ascends for high ones. A certain degree of position has 
 then been conferred on man by nature. Strange to say, 
 there are singing teachers who allege that they have made 
 the larynxes of their pupils quite independent of phona- 
 tion for ascending and descending. How- does the nor- 
 mal position look ? For the position of the deep and chest- 
 notes, where the object is to have the greatest possible 
 number of muscles act and to effect a rounding of the 
 larynx, not a square stretching of frame, let it be so 
 placed that, if possible, it be exactly held in that position 
 in which it ordinarily lies. The correct grouping and 
 holding of all these muscles, which must have a firm ten- 
 sion, constitute a correct position. 
 
 " There is still another thing necessary, however. When, 
 for instance, a person grows fatigued in one set of mus- 
 cles — let us say the inner muscles of the larynx, — this 
 deficiency must be covered by the action of other muscles. 
 If it be conceived that every movement of a muscle is 
 not the result of the contraction of one muscle alone, but 
 of the combined contraction of several groups of muscles, 
 then it will be understood how phonation is brought about 
 by the action of a number of muscles. All these muscles 
 must act simultaneously, and when one of them grows 
 tired another must be all the more tensely drawn. 
 
 " If we look with the laryngoscope into the larynx 
 while it is set for ^.^M^-notes, as Fig. XXXII shows, then 
 the larynx must be broadly stretched, the false vocal cords 
 more tense than the true, the soft-palate drawn up so that 
 only a part of the air is carried into the nose, and the 
 muscles of the throat lie close to the sides ; this is the 
 correct position for a normal chest-voice. At the moment 
 of exhaustion, the muscles, which reach to the tongue 
 
Position and Attack. 
 
 183 
 
 Fig. XXXII. 
 
 POSITION OF THE LARYNX IN CHEST- 
 
 FiG. XXXIII. 
 
 POSITION OF THE LARYNX IN FALSETTO 
 TONES. 
 
 for the support of the larynx, rise, and at the instant 
 when the correct tension is produced, the arches advance 
 a little. There are persons, however, who always have 
 this tension ; that is to say, they sing with a wrong 
 
 " In falsetto singing the arrangement is, of course, an 
 entirely different one. The frame of the larynx is here 
 more oval (Fig. XXXIII). The muscles, from the larynx 
 to the sternum, must be ijiore tense, as also those imbed- 
 ded in the arches ; a free space must be left toward the 
 central line, as in falsetto voice the correct position is tO'' 
 have the soft-palate quite drawn up, the larynx elevated 
 and the resonator shortened. Were the palate not closed 
 the tone would not be carried to a distance. I'o prevent 
 this, the soft-palate rises and the arches approach each 
 other. If this does not happen there is a wrong action 
 of the organs ; the position is incorrect. Through the 
 soft-palate not being drawn up, a nasal tone would be 
 produced. 
 
 " In normal singers, fatigue is often the effect of wrong 
 position. An overtired singer will give forth a pinched 
 
1 84 Gymnastics of the Voice. 
 
 tone. Normally, the space, which I have designated as a 
 canal from the larynx to the lips, is open. When the 
 singer grows tired, however, he narrows this space by 
 elevation of the tongue and sinking of the epiglottis, 
 whereby sufficient room for free exit of the air is no longer 
 given ; the air is, so to say, pressed together. 
 
 " This state of affairs, which in normal singers ensues 
 only when they are fatigued, is with others quite a com- 
 mon thing. Such persons have a y/xong position ." 
 
 In regard to attack, Prof. Stoerk tells us nothing 
 new, — nothing that we have not already learned in 
 this book, or will yet learn in Section XXI, that is : 
 The note must sound forth instantaneously at the 
 correct pitch and without any previous aspiration ; 
 hence not as spiritus asper (h), but as spiritus lenis. 
 (See beginning of Part II.) No more pressure 
 of the muscles must be applied than the desired 
 tone requires, be it in piano, forte, or inezza voce. 
 This the singer must learn to do, and then we say he 
 has a correct attack. This can be acquired only by 
 a good ear, which will contribute greatly to its per- 
 fect development. 
 
 SECTION 17. 
 
 How TO Increase the Compass of the Voice. 
 
 A belief still prevails among pupils and teachers — 
 especially among piano teachers who, without any 
 
How TO Increase the Compass. 185 
 
 knowledge of the human voice, but simply because 
 they can perform on the piano, pretend also to be 
 able to give instruction in vocal music — that it is 
 possible to alter the compass of. the voice at will, 
 to make it ascend or descend in the scale, 
 according to one's desire. This belief is the ruin of 
 many a voice which, with proper training, might 
 have achieved fine results. 
 
 Nature has provided every human being with vocal 
 organs ; but the structure of these organs varies in 
 different persons ; the vocal cords being longer or 
 shorter, the larynx larger or smaller, the air-passages 
 more or less elastic, and the resounding walls of the 
 passages stronger or weaker. 
 
 If it is sought to increase somewhat the compass 
 of the voice, especially to iritrease the upward range, 
 then the only way to do this is for the pupil to make 
 the sum of the tones which he can readily produce and 
 can properly designate as the compass of his voice, 
 the exclusive subject of his study ; to cultivate these 
 tones alone, with a correct method. Only in this 
 way will the vocal cords gradually acquire increased 
 elasticity, extensibility and power of vibration, — quali- 
 ties which are the essential condition of the forma- 
 tion of high tones. 
 
 If the teacher fails to examine closely the natural 
 
1 86 Gymnastics of the Voice. 
 
 compass of the voice, but, on the contrary, en- 
 deavors from the start, without any previous exer- 
 cise of the tones that can be readily produced, to 
 forcibly increase the compass in its upward range, 
 then the ruin of the voice is certain. No forcing is 
 permissible in the exercises ; and it is an error to 
 suppose that anything can be gained by hurry- 
 ing on the instruction. The vocal organs can only 
 by slow degrees be brought to produce the desired 
 results. 
 
 If the voice has been thoroughly trained within its natural compass, 
 the pupil wil. perceive with surprise and delight that its compass has 
 actually been increased, without anything special having been done 
 toward this object, and that the acquired tones, few though they be, 
 can be produced just as easily as the old ones. 
 
 The tones thus freshly won should be incorporated 
 in the regular exercises^ special care being taken in 
 exercising them, and they should be made uniform 
 with the rest. 
 
 SECTION 18. 
 
 Inspiration to be Performed Completely and at 
 THE Right Time. 
 
 It is possible to expel all the air from bellows, but 
 the lungs, which we can compare to bellows in regard 
 to inspiration and expiration, differ from these in so 
 far that no full expiration can ever take place. The 
 
Inspiration at the Right Time. 187 
 
 art of singing and even speaking requires that much 
 less air be drawn from the lungs than they can give. 
 
 In an organ or other similar instrument the stock 
 of air must never be entirely exhausted in playing ; 
 in like manner, during continued activity of our 
 vocal organs, we must retain a certain amount of 
 air, so that we may at any time produce any required 
 degree of respiratory pressure. Toward the extreme 
 end of an expiration the strength of the air-current 
 diminishes considerably ; by waiting until this occurs, 
 the lack of breath requires an inspiration, which, 
 being longer than the desired duration, produces 
 perhaps, an inappropriate pause in singing or 
 speaking. 
 
 As we do not, like the organ instruments, possess 
 several bellows for filling our lungs of which one 
 maintains -the air-current during the inactivity of the 
 others, it is necessary to refill the lungs with air at 
 every favorable moment of rest, before they have 
 been completely emptied. 
 
 The want of several bellows is supplied in the 
 human vocal organs by their ability (unlike every 
 artificial instrument) to produce great effects with 
 the smallest quantity of air. 
 
 Many believe that perfection in rhetoric consists 
 in speaking as long as possible, without renewing the 
 
1 88 Gymnastics of the Voice. 
 
 air in the lungs, or, as it is generally called, speak- 
 ing with one breath. This remark applies also to 
 singing. They, therefore, take great pride in over- 
 looking all commas, or, frequently, also other marks 
 of punctuation, and in speaking two or three lines 
 of the most diverse thoughts, or singing several dif- 
 ferent passages, without inspiring once, as they boast- 
 ingly say. 
 
 This is entirely false. Long breath is undoubt- 
 edly of great importance, but only in passages in 
 which inspiration cannot take place without inter- 
 rupting the thought ; in calm speech, which requires 
 little consumption of air, it is also permitted to 
 inspire less ; that means less frequently. In all im- 
 passioned or emphatic speech and song, however, it 
 is the first rule to inspire as often as the thought per- 
 mits. This is an absolute necessity, for violent speech 
 requires much more air than calm speech. 
 
 But apart from this, it is necessary for the simple 
 reason that with constantly renewed breath the 
 thought becomes more clearly defined, for expres- 
 sion depends not only upon the words, but also upon 
 the coloring of the tone, and the singer or speaker 
 would never succeed in making very perceptible 
 distinctions with one inspiration. By repeated 
 inspiration, the lungs being always, even after the 
 
Inspiration at the Right Time. 189 
 
 slightest thought, put into the " state of readiness,"^ 
 the sound will be powerful, clear and metallic ; 
 whereas the strongest man, with fully developed 
 lungs, by speaking much with one inspiration, will 
 express only the first part of the sentence clearly 
 and purely, while the latter part will be lacking in 
 metal, purity and strength. 
 
 If, for instance, we express the following thoughts : • 
 " Oh, this woman ! What did I say ? Have you 
 seen her?" — and we speak this, as is frequently 
 done, with one inspiration, we shall clearly perceive 
 that the beginning of the last thought, " Have you, 
 etc.," is less clear and pure, and the end consider- 
 ably weaker and less metallic than the commence- 
 ment, " Oh, this woman ! " 
 
 If, however, we say, " Oh, this woman ! " (short 
 inspiration) " What did T say ? " (short inspiration, 
 so that the lungs always return to the " state of 
 readiness ") and then, " Have you seen her ? " the last 
 sentence will have the same coloring, the same 
 power, the same metal, as the first. 
 
 It will be readily understood, from what we "have 
 said, that these inspirations must be neither audible 
 nor visible. 
 
 We must also remember that it is not only neces- 
 sary to inspire frequently, but to inhale sufficient air 
 
190 Gymnastics of the Voice. 
 
 with each inspiration. This is of great importance. 
 If, by one inspiration, we do not bring sufficient 
 air into the lungs, we shall have less in the next, 
 still less in the following, etc. ; and, in consequence, 
 we shall be compelled to take a long, rapid inspira- 
 tion (requiring much more time than the thought 
 permits, sometimes even in the midst of a sentence) 
 and make our breathing audible and unpleasant. 
 
 To prevent this, every inspiration, the shortest as 
 well as the longest, must supply the lungs with as 
 much air as the speaker has consumed in the pre- 
 ceding sentence ; or, as this would be difficult to 
 determine, to spqak more plainly: the lungs, after 
 every sentence, even if this consists of but two words, 
 must be brought to the " state of readiness," as has 
 been said in Section 3. 
 
 Particular attention should be paid to the strict 
 observance of this last rule, for the non-observance 
 or superficial application of the same is the cause of 
 so many imperfections in rhetoric and in song, in 
 regard to breathing. 
 
 The singer or speaker should, immediately after 
 finishing a phrase, be it long or short (slowly in a 
 long pause, rapidly in a short one), inaudibly bring 
 the lungs to the " state of readiness ; " and, if utter- 
 ance is resumed after a few seconds, he should retain 
 
Inspiration at the Right Time. 191 
 
 the air until then ; but if a somewhat longer pause 
 (not, however, permitting a positive rest) occurs, he 
 should keep the' lungs fully supplied by drawing 
 short, inaudible inspirations with expanded chest, 
 by means of the diaphragm (the feeblest inspiration 
 will suffice if made frequently). 
 
 In this way, he will be enabled to breathe withdut 
 permitting the air contained in the lungs to escape 
 entirely, as is done in a full expiration. If he now 
 begins a new sentence, after having kept the air- 
 Veceivers constantly filled, he avoids the unbecoming, 
 visible and audible " preparation " by which, as it 
 must be performed rapidly, head, shoulders and 
 chest are moved in an unsightly manner. 
 
 We have spoken of a slow and a rapid inspiration. 
 Special attention must be called to this rapid in- 
 spiration which we term the " short " one, and which 
 is of the utmost importance in song and speech. We 
 may attain in this such a point of perfection that 
 after every comma, even if this is repeated after 
 every two or three words, it may with the greatest 
 advantage be applied in rapid speech. It naturally 
 requires much practice, but we can and must succeed. 
 
 Without the ability to make at will this " short " 
 inspiration, which must always be inaudible, it is 
 simply impossible to take part in a lively dialogue, 
 
192 Gymnastics of the Voice. 
 
 as by taking a deeper and slower inspiration, an 
 involuntary pause (if ever so small) would check the 
 flow of speech, and lessen considerably the vivacity 
 of the dialogue. This rapid inspiration must, there- 
 fore, be practiced carefully, and must by no means 
 be audible or visible. 
 
 Much time will usually elapse before the speaker 
 acquires the ability to refill the lungs immediately 
 after having completed a sentence, for his thoughts 
 arc generally still occupied with the just-completed 
 sentence, and he forgets to inspire immediately. 
 
 Only by continued practice will this become second 
 nature, and it will be impossible for hiin to speak 
 without this short, rapid inspiration. 
 
 Many, who have understood the necessity of 
 frequent inspiration, make, however, the following 
 mistake : As soon as they have completed a sentence, 
 they close the mouth tightly, compress the lips, and 
 then inspire through the nose; in consequence of 
 this there results a noise like that of audible sniffing. 
 This is just as incorrect as the audible inspira- 
 tion through the contracted glottis. 
 
 We remarked at the beginning of this section, that 
 a long breath is of great importance in passages 
 where taking breath would disturb the expression 
 
Inspiration at the Right Time. 193 
 
 of the thought. We shall explain this more fully by 
 means of ■ a few examples. 
 
 There are moments in which a deeply-excited per- 
 son is too much affected to contain himself suf ■ 
 ficiently to follow the slow succession of words ; he 
 gives vent to his feelings in mute actions, then 
 gestures, postures, glances precede the words as the 
 lightning does the thunder. 
 
 There are cases, however, in which a person, car- 
 ried away by excitement, suddenly recalls all the 
 required expressions. Words rush to his lips as 
 quickly as thoughts originate in his mind ; both 
 arise instantaneously, and follow each other without 
 an interval. 
 
 The utterance of the actor or orator should, in 
 this case, be compressed, produced hastily, as if 
 with one outburst, but he miist avoid giving the 
 public the impression of exertion, by being sud- 
 denly forced to draw a long breath. Drawing a 
 long breath always is a means of rest, which, done 
 at an improper point, subdues the fire of the 
 moment and destroys its effect. If, for instance, 
 the actor representing Shakespeare's Shylock, in 
 Act III, Scene i, where he addresses Salarino, say- 
 ing, — "Hath not a Jew eyes? Hath not a Jew 
 hands, organs, dimensions, senses, affections, pas- 
 13 
 
194 Gymnastics of the Voice. 
 
 sions? " should wish to take breath after each 
 comma, or even only once, the extraordinary 
 gradation of passion contained in these words 
 would be utterly destroyed. In this and similar 
 cases it is absolutely necessary to command a long, 
 powerful and effective breath, if we wish to give full 
 expression to the thought and produce the greatest 
 possible effect. 
 
 Passion does not always yield to the rules of 
 grammar ; it does not always stop where grammar 
 requires; it has usually no regard for periods, 
 commas, etc. ; it omits or transfers them according 
 to the irregularity of its outbursts. 
 
 To be fully able to represent this artistically, 
 a complete mastery of the respiratory organs is 
 absolutely necessary. Only then, as far as regards 
 strength and power in expenditure of air, will the 
 orator be able to produce an effect like to that of the 
 roaring whirlwind, or the soft, gentle breathing of 
 the zephyr.* 
 
 When Shylock, continuing, says : "Fed with the 
 same food, hurt with the same weapons, subject to the 
 same diseases, healed by the same means, uuarmed 
 and cooled by the same winter and summer, as a 
 
 * Artists like Salvini and Rossi, whom the author lately saw and admired, are ex- 
 amples of this Imagery. 
 
Breathing after an Impassioned Phrase. 195 
 
 Christian is ; " in this case the actor should make a 
 short, rapid inspiration after every comma (with the 
 exception of the last before "as a Christian"). 
 
 For only by means of these short and. rapid in- 
 spirations can these lines be spoken fluently and 
 with the requisite fervor and rapidity. Long in- 
 spirations in this case would destroy the wonderful 
 rhetorical construction which Shakespeare has 
 arranged. 
 
 It naturally requires, a long time to become such 
 an adept in the practice of this short and rapid 
 inspiration as to make its application appear second 
 nature. The short, quick inspiration is accomplished 
 by side-breathing ; the slow inspiration by abdominal 
 breathing. 
 
 When the lungs have become somewhat strained by singing, the 
 best way to refresh them is to make a few successive respirations 
 faster than usual. 
 
 SECTION 19. 
 
 Breathing after an Impassioned Phrase. 
 
 Most speakers and singers, on coming to the end 
 of an impassioned passage in like impassioned man- 
 ner, fill their lungs again visibly and audibly. This 
 is altogether wrong. 
 
 There may, indeed, be situations where to make 
 a quick and audible inspiration is not only permissi- 
 
196 Gymnastics of the Voice. 
 
 ble, but necessary (as, for example, in the expres- 
 sion of anger or rage, or in a comic position), but in 
 general the rule must be observed to make slow and 
 deep inspirations. 
 
 SECTIOK 20. 
 Breathing while the Body is in any Position. 
 
 When a person has finished an impassioned locu- 
 tion, and the body has for a moment assumed an 
 expectant or defiant attitude, he, as a general thing, 
 retains the brealth while that posture lasts (of course, 
 only if the duration be short). But in art it is dif- 
 ferent. While it should seem as though the breath, 
 like every member of the frame, up to the muscles of 
 the face, were perfectly still, the actor should fill the 
 lungs well, slowly, inaudibly and invisibly (employ- 
 ing that method of respiration best conforming to 
 the momentary position of his frame), in order to 
 have the lungs in a " state of readiness" for his next 
 utterance, so that he should appear to have enough 
 air in the lungs for any expiratory movement. 
 
 In those cases in which the body has assumed a 
 decided, fixed posture, and it is sought to retain it 
 for a time in this position as firm and immovable as 
 possible, and where a long and deep inspiration, a 
 prolonged retention of the breath and a complete 
 
Exhale no more Air tSan Necessary. 197 
 
 expiration are necessary, then the position of the 
 body wiil determine the mode of respiration to be 
 resorted to — whether abdominal, shoulder or side- 
 breatking, or a combination of these movements. For 
 the attitude of the frame, previous to respiration, 
 will permit certain portions of the lungs to expand 
 more freely than others ; that is to say, to become 
 more easily filled with air, so that the mode of res- 
 piration is thereby determined to a greater or less 
 extent. 
 
 SECTION 21. 
 
 Not more Air to be Exhaled than is Absolutely 
 
 Essential. 
 
 It is astonishing with how little air man may pro- 
 duce sounds, and that the sounds, produced with 
 little air (if the vocal cords are in normal condition), 
 are the finest in piano or in forte, because too much 
 air imparts to the tone a hoarseness, frequently a 
 screeching sound, and both these qualities destroy 
 the tone. 
 
 If the rule, to produce a great effect with little air, 
 must be generally observed, it is especially necessary 
 where the utterande is rapid and forcible ; here it is 
 necessary to speak, as it were, with diminished con- 
 sumption of breath, that is, here we must scrupu- 
 
198 Gymnastics of the Voice. 
 
 lously observe the principle to expire only as much 
 air as is absolutely necessary. 
 
 It is especially important to confine ourselves to a 
 small consumption of air, if we wish to change from 
 a chest to a falsetto tone (be it in singing or 
 speaking). 
 
 In such cases, that the transition may not be 
 unpleasantly audible, we use but a small quantity of 
 air ; in fact it is in this way only that the transition 
 can be made aesthetically. 
 
 The slow emission of air from the lungs, for 
 phonetic purposes, is effected by permitting the 
 feeling of expansion, produced in the lower chest 
 and in the abdominal muscles by a full inspiration, 
 to gradually subside ; that is to say, by keeping the 
 upper chest immovable, by allowing the contracted 
 lower external intercostals (see page 36), which 
 raise the ribs, to slowly relax, also allowing the con- 
 tracted diaphragm to gradually relax ; and by the 
 slow contraction — which begins simultaneously — 
 of the lower internal intercostals (see page 36), 
 which draw the ribs down, and of the abdominal 
 muscles, especially the musculi transversi (see Fig. 
 XIII, c, d), which draw back the abdomen. In 
 addition to the foregoing, the emission of inspired 
 air is made slow by diminishing the opening of the 
 
Breathing Through the Nostrils. 199 
 
 glottis, as much as possible, but without pressing 
 the vocal cords together. On the other hand, by 
 the rapid sinking of the ribs, the quick yielding 
 of the diaphragm, the immediate relaxation of the 
 vocal cords and the sudden widening of the glottis, 
 the air is at once expelled from the lungs, as we 
 have learned in Section 7. 
 
 SECTION 22. 
 Breathing Through the Nostrils. 
 
 Breathing through the nostrils is very essential, 
 because not only is this less noticeable than breath- 
 ing through the mouth (with which we inhale usu- 
 ally less air than by means of the nostrils), but it 
 has also the advantage of not drying the mucous 
 membrane of the oral cavity, the entrance to the 
 throat, the throat itself and the vocal cords, as the 
 frequent inspiration through the mouth is apt to do. 
 And the moisture of these parts is one of the most 
 important qualities required in originating a tone. 
 
 Every singer or speaker should, therefore, breathe 
 as far as possible through the nose, and should make 
 use of every opportunity that presents itself for do- 
 ing so. But where is there such an opportunity? 
 Wherever he has two or three seconds' time, which is 
 quite ample for a fuir inspiration. 
 
200 Gymnastics of the Voice. 
 
 But in inspiring through the nose, we should not 
 move the muscles as though we wished to smell ; 
 this checks the air which is to be inhaled, and be- 
 comes unpleasantly audible. Inspiration should be 
 performed solely with the inspiratory muscles (the 
 diaphragm and the external intercostals) , the nostrils 
 to be used only as openings for the passage of the 
 air. We should also be careful not to compress the 
 lips, while inspiring through the nostrils. Compress- 
 mg the lips tightly reduces the opening of the nostrils, 
 whereby inspiration is rendered infinitely more diffi- 
 cult, and a noise is produced as in audible smelling. 
 
 With regard to the health, breathing through the nostrils is also of 
 the greatest importance. Those who are especially interested in this, 
 should read Cathn's "Shut Your Month." 
 
 SECTION 23. 
 
 Time and Duration of the Exercises. 
 
 I propose the following method of exercise, which many years' ex- 
 perience with my pupils has shown to be attended with excellent 
 results : 
 
 Having risen in the morning and refreshed the 
 body, or at least the neck and the bust, with a cold 
 ablution (or taken a bath in summer), the pupil 
 should dress, not too heavily or too tightly, and per- 
 form a quarter of an hour's bodily exercise, as has 
 been described in Part I, with the proper intervals 
 
Time and Duration of the Exercises. 201 
 
 of rest. After that, wait a quarter of an hour ; then 
 take breakfast, and half or three-quarters of an hour 
 after it begin the exercises with the vocal organs. 
 The exercise (whether singing or speaking) should 
 never be performed continuously for more than ten 
 minutes ; allow a pause of five minutes and begin 
 anew. When, through several weeks' exercise, the 
 -muscles have been brought up to a certain point of 
 endurance, the time should be extended to a quarter 
 of an hour, the interval of rest remaining five min- 
 utes. In the first four weeks the total duration of the 
 daily exercise must not exceed an hour in the fore- 
 noon and an hour in the afternoon. After four weeks 
 another half hour may be added, and at the end ot 
 eight weeks the exercises may be made as long as 
 one's powers will readily allow ; the moment, how- 
 ever, that any unpleasant sensation begins to mani- 
 fest itself, the exercise should be suspended. 
 
 In regard to the method of the exercises, it is 
 merely necessary to observe here that they should 
 be performed, if possible, at regular hours of the 
 day ; that one should begin with the less difficult, 
 and gradually proceed to those which are more 
 exerting; for it is only through their gradually 
 increased activity, combined with the constantly 
 recurring intervals of rest, that the muscles can be 
 
202 Gymnastics of the Voice. 
 
 effectually strengthened, as we have seen when treat- 
 ing of these organs. After a meal, the singer or 
 actor should not begin until the main work of diges- 
 tion has been accomplished; that is, after two or 
 two and one-half hours. ' 
 
 The following extract from Angelini Buontempis' "History of 
 Music," bears witness to the extreme care which the Italian singing 
 schools, founded by Pope Sylvester at the beginning of the fourth 
 century and carefully fostered by the church, bestowed on the per- 
 fecting of their pupils : 
 
 "The pupils of the Roman school were obliged to practice difficult 
 intonations for one hour daily in order to attain facility of execution ; 
 another hour was employed in the practice of trills ; another hour for 
 rapid passages ; another hour in the study of literature, and still 
 another hour in the improvement of taste and expression — all in the 
 presence of the master, who took care that the pupils sang before a 
 looking-glass, in order that they might learn to avoid every sort of 
 grinrace or wrong movement of the muscles, such as wrinkling the 
 forehead, winking the eyes, or distorting the mouth. All this was 
 the occupation of thetmoming only. In the afternoon a half-hour 
 was devoted to the theory of sound ; another half-hour to simple 
 counterpoint ; one hour to the study of the rules of com230sition, 
 which the master gave them, and their application on paper ; another 
 hour to literature, and the rest of the day was given to playing on the 
 piano, to the construction of a psalm, a motet, or any other sort of 
 work in accordance with the pupil's taste and talent. These were 
 the usual exercises on days when the scholars were not permitted to 
 leave the school. On the other hand, however, when they had per- 
 mission to go out, they frequently went to the Porta Angelica, near 
 Mount Marius, there to sing against the echo, for the purpose of 
 learning, by the answer, their own errors. At other times they were 
 employed to sing at public performances in the churches of Rome, 
 or they went thither for the purpose of hearing the many masters 
 who flourished under the papal government (1624-1644) in order to 
 work at home, after these models. " 
 
 In all that has been stated, we believe to have 
 fully explained the system of inspiration and ex- 
 piration, and by a close and scrupulous observance 
 of the rules laid down, the orator and the singer will 
 meet with certain success. As, however, a strict 
 
Remedy if Lungs Emptied too Soon. 203 
 
 compliance with all the details is not always persisted 
 in, at least at the outset, and as, after all, there might 
 arise some perplexity in regard to inspiration, we 
 have deemed it necessary to provide for such a 
 contingency, by a few special instructions, which, 
 however, are to be applied only in cases of such 
 perplexity. 
 
 SECTION 24. 
 
 What to do if, through Carelessness, the Lungs 
 ARE Emptied too Soon. 
 
 If, in spite of all due care, it should happen, that, 
 as is generally said, the breath gives out, and we 
 are compelled to inspire before the last two or three 
 words of the sentence, and by this spoil every 
 thought and destroy every effect (as, unfortunately, 
 so frequently happens), there is but one remedy ; it is 
 the following: 
 
 In our system of inspiration, the activity of the 
 abdominal muscles is of the utmost importance, and 
 in such an emergency it is these alone that can save 
 us from the disagreeable division of a sentence and 
 the complete spoihng of the effect. 
 
 In case that the supply of air gives out, and we 
 are unable to draw any more air from the lungs by 
 the action of the ribs, we must bring the abdominal 
 
204 Gymnastics of the Voice. 
 
 muscles into greater activity ; and, by pressure upon 
 the abdominal organs which, forced upward, exercise 
 a pressure upon the lungs, enable ourselves to force 
 as much air from the lungs, as we still require for 
 the remaining words. 
 
 It is wonderful how this manipulation, which is 
 the only correct one, helps us over every obstacle ; 
 we must, however, not abuse it, but apply it only on 
 the most urgent occasions ; otherwise we must 
 strictly conform to the prescribed rules. 
 
 SECTION 23. 
 
 Wearing Apparel in Regard to Breathing. 
 
 Singers and speakers should always see that their 
 attire allows the necessary play to the organs of 
 respiration. With concert singers, declaimers and 
 public speakers this is at all times practicable ; but 
 it is not always so in the case of dramatic performers. 
 Among the various kinds of costumes which they 
 have to put on, there are some the cut of which is 
 not favorable to free respiration, inasmuch as they 
 compress one or the other of the groups of respi- 
 ratory muscles 
 
 The actor can easily avoid this by making himself 
 acquainted in time with his costume and causing any 
 
Apparel in Regard to Breathing. 205 
 
 necessary alterations to be made. Many a fine 
 effect has been lost to the dramatic artist by his 
 having become aware too late that his attire greatly 
 compressed his respiratory organs. 
 
 Such considerations, however, will weigh lightly 
 with our ladies, whose figures resemble a wasp rather 
 than a human being, and with our beaux, who are 
 so thoroughly of opinion, that " the smaller the 
 waist, the greater the work of art ; " and we, there- 
 fore, advise the former, as long as they persist in 
 lacing, to see to it that not all the groups of respira- 
 tory muscles are thereby affected. 
 
 Whoever desires a healthy development of the lungs, 
 ■must be careful to relieve the respiratory organs from 
 all pressure. 
 
 We have now reached the end of our "System of 
 Correct Breathing in Singing and Speaking." 
 
 I may incur the reproach that my rules lead to pedantry and stiff- 
 ness. " Who," it may be asked, "will or who can follow these rules 
 with such strictness ? They are too complicated ! " 
 
 To this my answer is : No rule, however simple, will ever attain 
 the desired result, unless we practice it with the greatest perseverance, 
 with the utmost patience ; until it has become second nature, until it 
 can no longer be noticed, because warm, fresh life has taken the place 
 of the cold, lifeless rule. 
 
2o6 Gymnastics of the Voice. 
 
 SECTION 26. 
 
 Expression. 
 
 A general remark concerning expression may still 
 be in place here at the end. 
 
 We should always seek to preserve a certain nobility 
 of expression. In our ordinary life the muscles of 
 the face are contracted by pain in a way unpleasant 
 to the sight. In crying the glottis closes and emits 
 short, broken and disagreeable sounds. But it is a 
 different thing in art. Here we must strive to throw 
 an aesthetic veil over every emotion, whether of pain 
 or of pleasure. In the representation of the deepest 
 ernotion, originating in the recesses of the heart and 
 reflected in the features and voice, we should never 
 allow the look, the tone or the words to go beyond 
 the limits of the fine and the exalted ; we should 
 have such a command over our respiratory and vocal 
 organs that, while the glottis emits the most pro- 
 found tones of pain or of pleasure, these should never 
 be ignoble, unpleasant or ugly, except indeed, it be 
 the intention to produce a characteristic or comic 
 effect. 
 
 If this principle were strictly observed, that is, 
 were the artist to apply himself more assiduously to 
 securing a full command of the muscles, we should 
 
Expression. 207 
 
 then not see what so often happens, especially with 
 ladies, the features greatly distorted in the repre- 
 sentation of emotion. In fact, many persons, in 
 their ordinary conversation, change their naturally 
 not ignoble features to their disadvantage ; and it is 
 rightly said of them that " they are handsomest 
 when they are silent." 
 
PUBLISHER'S ANNOUNCEMENT. 
 
 Rfany persons begin their professional career by publishing "treatises," "meth- 
 ods, " " systems " — mere theories which the authors themselves have not tested, 
 and which are e\t\\er plagiarisms, or, if original, possess little or no merit ; some- 
 times these publications are even injurious because they are the result of ignor- 
 ance and false principles. 
 
 OsKAR GuTTMANN, in Contradistinction to the many writers who flood and 
 afflict the public, did not take up the pen until he had something of value to com- 
 municate, — something which had been subjected to the crucial test of practical 
 EXPERIENCE. But he had no prototype, no author from whom he could draw. 
 He was alone. He was the discoverer, the inventor, the pioneer, the formula- 
 ter. It is well that he was forced to go to nature, to drink at the fountain-head, 
 for in so doing he produced a work founded upon the natural, scientific princi- 
 ples governing vocal anatomy, physiology and hygiene ; the production, man- 
 agement and cultivation of the singing and speaking "voice. 
 
 Twenty-five years ago was issued the first German edition of Gymnastics of 
 THE Voice, which at once became a standard authority, — a position it holds 
 until this day, notwithstanding the many volumes that have appeared and which 
 are — forgotten ! It has been the source from which many subsequent writers 
 have taken ideas and exercises, generally without credit and also without properly 
 and intelligently reproducing them. 
 
 The repeated editions in Europe, and the necessity of another American edi- 
 tion so soon after the issue of the first, is proof positive of its merit and durabil- 
 ity. It is a book that has come to stay ! 
 
 The text for the new edition has been thoroughly revised from beginning to 
 end. Many pages of new matter have been added, including numerous exer- 
 cises for practice which have never before been in print, and which are the 
 results of the author's life-long study and experience ; and the whole work has been 
 put into a form adapted to use as a text-book in colleges and schools, and as a 
 self-instructor by any person. 
 
 POINTS OF SUPERIORITY : 
 
 (i.) It is founded on natural, scientific laws. (2.) It is safe. (3.) It is plain 
 and practical. (4.) It has been thoroughly tested. (5.) It has produced satis- 
 factory results. (6. ) It is recognized as an authority in America and in Europe. 
 (7.) It has been translated into a number of languages. (8.) It is used as atext- 
 book in Harvard University, in other schools, and by many private teachers. (9.) 
 It is complete and comprehensive, yet concise. (10.) It is original in design, con- 
 venient in arrangement, and unequalled in excellence. (11.) It is finely printed 
 and bound and fully illustrated. (12.) It is sold at a low price. 
 
 Inasmuch as this is a standar.d work, what was written about former editions 
 applies now ; we, therefore, reproduce our Announcement to the first edition. 
 
publisher's announcement to the first american 
 e'dition. 
 
 Much is written in these days about breathing. This is certainly very gratifying as showing 
 an awakening to a vital matter hitherto slighted. In the discussion, however, it should not be 
 forgotten that Oskar Guttmann was the first to publish in popular language a system of breath- 
 ing based upon physiological and hygienic laws, and which also is the only correct one for ar- 
 tistic purposes. We emphasize this fact because certain writers (especially Englishmen) are 
 now promulgating ideas, as if original with them, which were embodied in " Gymnastics of the 
 Voice " nearly a quarter of a century ago. While prior to this allusions to respiration were 
 made in a few physiological and medical works (particularly Dr. Neumann's), yet there ivas no 
 book on breathing practically available for the speaker and singer. 
 
 " Gymnastics of the Voice " was, then, the pioneer in teaching artistic respiration. Helm- 
 holtz warmly welcomed it and in a lecture at the Heidelberg University recommended it to 
 the stcdents. Dr. Paul Niemeyer, in his book, " The Lungs," says : " For a more elaborate 
 handling of this subject {respiratory action for vocal purposes) I refer the reader to Oskar 
 Guttmann's excellent and right practical book, ■■ Gymnastics of the Voice.' " 
 
 The reviews following to our Announcement, are only a few of the favorable criticisms which 
 have been pronounced upon '* Gymnastics of the Voice." What was written twenty-three 
 years ago, holds good to-day ,»and the international reputation and repeated editions prove con- 
 clusively that this is a standard work which has stood the test of practical experience and of 
 recent scientific advancement. By its teachings men and women have won distinction and 
 prolonged their career in the pulpit, on the stage and on the rostrum. By its teach ings/r/W^^r 
 individuals^ as well as public personages, may learn the proper use of their respiratory and 
 vocal organs, whereby the ordinary talk of daily social and business life can be made more 
 pleasing and less fatiguing. In view hereof the publisher would recommend " Gymnastics of 
 the Voice " not alone to the actor, the preacher, the lawyer, the public reader, the lecturer, the 
 singer, the speech-sufferer, but to ^WT-^y^^rjow. There is no greater mark of culture than a 
 well-trained voice ; there is no surer way to ward off pulmonary and throat disease than well 
 developed and rightly used organs of respiration, voice and articulation. Among all the at- 
 tainments that modern civilization requires, there is none more important and more useful than 
 this. That it has been shamefully neglected, is a sorry comment upon our boasted enlighten- 
 ment, but furnishes no excuse for its further disregard. 
 
 In now announcing the completion of the book and offering it to the American public, we 
 add and fully endorse the opinion of Herr J, J. Weber, the great German publisher, who issues 
 the work simultaneously in Germany. Herr Weber addressed the following to Herr Gutt- 
 mann : 
 
 '* My Esteemed Pro/essor : 
 
 "■ I have received the manuscript for the fourth edition of your ' Gymnastics of the Voice.' I 
 must express my genuine satisfaction at the addition of illustrations, and sincerely thank you 
 for the great pains taken in the revision. Our book, in its new form, will be again, what it has 
 been in the past — the best in this department. 
 
 '* Leipzig, Germany. J. J. Weber." 
 
 Price $1.25, postpaid. Liberal reduction by the dozen. 
 AGEISTTS WANTED. 
 
 Address the Publisher, 
 
 EDGAR S. WERNER, 
 Editor of The Voick, Albany, N. Y. 
 
WHAT THE PRESS SAYS. 
 
 [From the A7'gonaiit^ San Francisco.] 
 
 Embodies the experiences of- nearly thirty years as a vocal trainer. 
 [From the Herald, Utica, N. Y.] 
 
 This work has run through numerous editions in German, and has thus demonstrated its 
 value and usefulness. It explains the anatomy of the respiratory and vocal organs, and there- 
 after gives full directions for the proper use of the voice and for artistic respiration, the whole 
 being amply illustrated. So many people have squeaky, or husky, or otherwise anpleasant 
 voices, that it must be a desirable thing to learn how to manage the voice in conversation even 
 more than in singing. This is one of the things which Gultmann's buok is designed to leach, 
 and which renders it especially pi-actical and desirable. 
 
 [From the Christian Register^ Boston."] 
 This work is founded upon a thorough anatomical analysis of the organs of speech. The 
 suggestions given are based upon careful study and observation. 
 
 [From the School Journal^ New York.) 
 The leading feature of this book is right breathing. Some, who have not given special at- 
 tention to this subject, may feel inclmed to ridicule the idea of the necessity of understanding 
 and developing proper respiration, arguing that it isan involuntary, natural function, which will 
 take care of itself. . We cannot, however, doubt or deny the evil consequences of wrong breath- - 
 ing, — The author teaches the practical development and use of the organs of song and speech 
 and gives the means to prevent "clerical sore throat" — generally caused by a wrong mode, 
 of breathing, — and pulmonary consumption, which not seldom results therefrom. Kespira- 
 tion has never before been treated in so thorough, scientific 'and practical a manner. The 
 bck is of great value to singers, elocutionists, actors, public readers, lawyers, clergymen, legis- 
 lators, and others who use their voices in public, 
 
 [From the Bclleiristisches Journal .^ New York.] 
 When a scientific, professional work, designed for a speicial C'lass, reaches a fourth edition 
 and is translated into various languages, irrefutable evidence is given that it must be a publi- 
 cation of more than ordinary merit, that it meets a w int, and that it has created an epoch in 
 its sphere. This distinction belongs to ''Gymnastics of the Voice," the production of a 
 teacher and author living in our midst. Although the first edition appeared in Germany nearly 
 a quarter of a century ago, it still is recognized there as the most suitable, useful and practical 
 popular-scientific book. It is not a treatise brought forth in the seclusion of the study, but a 
 system of voice-culture wrested from nature, the outcome of long and deep research and of 
 years of professional activity by the author, himself an ornament to the German operatic and 
 dramatic stage. 1 n our time and in our land, where success in the professions, in politics^' and 
 in society depends so much upon proper oral intercourse, the importance of fluent, pleasing 
 speech can hardly be overestimated. An agreeable, resonant voice, with the knowledge and 
 ability to rightly use it, is the key to many a man's success. This may be acquired by faith- 
 fully following the directions given in "■ Gymnastics of the Voice." 
 
 [From the Boston Glode.'} 
 
 The principles given are made very intelligible through the sound knowledge of the author 
 and his capacity to impart it. 'I'he work is eminently practical, and is the best possible guide 
 toward using and preserving the voice. It would be well for amateur singers to study this 
 book before placing themselves under the care of a teacher, as the self-knowledge attained by 
 it will enable them to judge if they are being taught by correct methods, and to learn more 
 surely and rapidly if such be the case. The publication is valuable and should be widelycir- 
 culated. 
 
 [From the Burlington Haivkeye.'X 
 
 The author gives rules for correct breathing, for speakers and singers, conveying his mean" 
 ing in language so simple that all may understand. All that the book contains may be ac- 
 quire \ bv any diligent student without a teacher. That many fine voices are ruined by ignor- 
 ance of the proper mode of using them, is evident to ail who have given the subject any atten- 
 tion ; but how to avoid this calamity has occasioned much anxious inquiry that will find rea- 
 sonable answer in this book. 
 
 [From the Staats-Zeitung, New York, the leading German-American paper.] 
 Oskar Guttmann, already known to our readers as the author of " ^Esthetic Physical Cul- 
 ture," has for years labored with brilliant results in the domain of vocal culture— musical, 
 dramatic and elocutionary — as is proved by a fourth edition of his " Gymnastics of the 
 Voice," which first appeared in Germany in i860. At that time it was a pioneer book, but it 
 has now become, thnmgh repeated editions, enlarged and iinprfivefd by extended experience 
 and scientific progress, truly a stafiiiard ivork. '1 he addition of appropriate illustrations in- 
 
creases its value, making it a popular-scientific treatise, as well as a practical instructor in the 
 use of the vocal organs. The fourth part, which treats of the art of breathing, is what critical 
 opinion pronounced at the first, the heart of the book. Never before has any professional writer 
 treated the respiratory function in speaking and smging with such ability and thoroughness, 
 combined with practical directions for overcoming faults and acquiring skill. The numerous 
 small treatises which have appeared from time to time, especially in English literature, since 
 the first publication of "' Gymnastics of the Voice," were prompted more or less by this work, 
 while sume of them cannot deny that it w:is the source from which they derived most if not all 
 of their ideas. 
 
 The story of the origin of the book is of peculiar interest. In the year 1856, the author, 
 after sixteen years of work as an actor, was threatened with loss of voice, owing to a wrong 
 use of it. Medical aid, as well as protracted rest of his organ, proved unavailing. Already he 
 had concluded to abandon the stage, when he received from a celebrated lady the impulse to 
 those studies which were destined not only to help him. but to become most important to the 
 more rational use of the voice in general. Let us hear how the author himself tells the story. 
 In that part of his bonk where he designates '' Abdominal or Diaphragmatic Breathing" as 
 the fundamental condition for the correct use of the voice, he says : 
 
 '' To dispel any doubt as to the possibility of mastering this mode of respiration, I take the 
 following important example from the world of art : 
 
 '■ Wilhelmine Schroder-Devrient, the greatest dramatic singer, attained a wonderful degree 
 of perfection wit i regard to this faculty (through unremitting practice, asshe herself mformed 
 me). She sang the most difficult passages without the slightest movement of the upper por- 
 tion of the chest, and it was she who gave the incitement to the preparation of this work, when, 
 twenty-six years ago. 1 had the good fortune of attracting the notice of that remarkable lady, 
 an a rtist who, at the age of fifty-two, stood unrivaled among dramatic singers, 
 
 " It is true, all I learned from her was that I breathed in a wrong manner and on my argu- 
 ing that I breathed with the full action of the chest. 1 was answered : ' It is with the abdomen 
 that you must breathe, with the abdomen.' This was all the explanation I received. And 
 just as the student in Goethe's Faust exclaims : 
 
 ' I feel as stupid from all you've said. 
 As if a mill-wheel whirled in my head !' 
 
 so it was with me from that moment. 
 
 ^ After the lapse of three years (passed in sleepless nights, and in laboriously seeking for the 
 solution of this riddle, by means of study and experiment), appeared the first German edition 
 of thfe present work." 
 
 REVIEWS OF THE FIRST GERMAN EDITION. 
 [Heidelberg Gazette^ 
 
 Although many a teacher of song and of speech has achieved great results in imparting his 
 art to his pupils, yet this has been accomplished more through the natural gifts and peculiar 
 tact and personality of the teacher than through any conscious, coinprehersive, systematic 
 method. The rules employed were the product of individual empiricism, and were devised 
 and applied without any regard to physiological principles. Oratory was studied in its entirety 
 without fully understandmg its essential constituent parts, and how each part should be culti- 
 vated and brought to harmonize with the other. This course produced now and then an ora- 
 tor more through chance than through the use of positive scientific knowledge, while many 
 pupils, with excellent physical and mental endowments, labored in vain and not seldom w ;re 
 harmed by false teaching. 
 
 Realizing the chaos and erroneous doctrines existing among those who teach the vocal art - 
 in song and in speech, Herr Guttmann has sought to dispel the darkness and to bring order out 
 of confusion by publishing " Gymnastics of the Voice," which presents, as its title indicates, 
 " a system of correct breathing in singing and speaking based ttpon physiological lazvs^^ being 
 " a self-instructor in the training and use of the singing and speaking voice." 
 
 The leading feature of the book is right breathing. Some, who have not given special at- 
 tention to this subject, may feel inclined to ridicule the idea of the necessity of understanding 
 and developing i^roper respiration, arguing that it is an involuntary, natural function, which 
 will take care of itself. But this opinion is entirely changed after reading " Gymnastics of the 
 Voice." Its author presents the matter so clearly and incontrovertibly that we can no longer 
 doubt or deny the evil consequences of wrong breaching ; indeed, we ourselves can, on second 
 thought, recall instances thereof, in ordinary intercourse, in the pulpit and on the stage and 
 rostrum. The proof is too convincing to require further argument. 
 
 The book gives, in plain and popular langtiage, a complete method for the voice. 
 
 Without entering into an extended review, we refer to the contents, which show the main 
 topics treated and the plan pursued. However, we will again state that, according to our 
 judgment, the system of breathing is the distinguishing characteristic ivhich places the booie 
 far above any other similar publication. 
 
There may be a doubt in the minds of some as to the possibility and practicability of carry- 
 ing out the author's rules, and especially of instructing one's self. We admit that self-instruc- 
 tion is by no means an easy task, but from personal experience we confidently assert that, 
 with ordinary application and perseverance, a person can comprehend and apply the rules. 
 After practicing them awhile he will be delighted at his improvement, and will perceive that 
 he can accomplish results with half the physical exertion he previously used ; and. instead of 
 straining and exhausting his respiratory and vocal organs, speech and song will be a pleasing 
 and invigorating exercise, 
 
 Herr Guttmann's book cannot be too highly recommended. To recapitulate, in conclusion, 
 it contains the first system of correct breathing ever published. The author teaches the prac- 
 tical development and use of the organs of song and speech, and gives the means tu prevent 
 " clerical sore throat " — generally caused by a wrong mode of breathing, — and pulmonary 
 consumption, which not seMom results therefrom. Surely, respiration has nc7'er be/ore been 
 treated in so thorough, scientific and practical a manner. 'I'he book is of great value to sing- 
 ers, elocutionists, actors, lecturers, public readers, lawyers, clergymen, legislators, and others 
 who use their voices in public. 
 
 LManheimy£?«r«rt;/.] 
 
 The author's method for the cultivation of the speaking voice is the same as for the singing 
 voice. He considers purity and beauty of tone in speech asirarortant as, indeed more so than 
 in song ; for song belongs to art exclusively, while speech is inseparably joined to every phase 
 of social and professional intercourse. Upon this basis is the book written, affording a sure 
 means for the attainment of perfect oratory, and for preserving and strengthening the organs 
 therein employed. 
 
 He who cannot express his thoughts well orally, no matter what may be his other attainments 
 and talents, is thereby crippled in his enjoyment and in his usefulness. Many ladies, moving 
 in cultured circles, have reason often to feel ashamed because they are unable to use their 
 mother-tongue properly, fluently, gracefully and effectively. If impure, strained speech has 
 so great disadvantages in private life, how must it injure public speakers ! As one of the evil 
 consequences of a false use of the respiratory and vocal organs, we have an affection commonly 
 known as '"' clergymen's sore throat." The different kinds of wrong muscular activity, and 
 the remedies therefor, Herr Guttmann has treated in his book ably and clearly. We know 
 actors and singers who, as a result of awronguseof their organs, could not perform their 
 roles without great exertion and becoming hoarse ; they were even on the point of retiring 
 from their profession, when, fortunately, they practiced the Guttmann method and were fully 
 restored, simply because they were led to observe nature's laws. 
 
 [Carlsruhe Gazette^ 
 Herr Guttmann can fully substantia,te his claim as a teacher, for, with Demosthenic patience 
 and perseverance, he has overcome all the obstacles of a weak voice and defects of pronuncia- 
 tion, so that his own speech, now so full, resonant and expressionful, is a brilliant illustration 
 of the efficacy of his method. Here we have no experimenting with untried theories, but pos- 
 itive knowledge resting upon long experience and scientific data. 
 
 [Hamburgh Ne'ws^ 
 After long years of study the author has succeeded in building an infallible system for the 
 training of the organs of song and speech. We cannot do otherwise than warmly recommend 
 the book, not alone to dramatic and musical artists, but to all who speak or sing in public. 
 We go still further and assert that it should be in the hands of every one who is engaged in 
 the education of youth. 
 
 [Berlin School Journal. '\ 
 
 In handling Part III., which treats of the correct pronunciation of letters, the author has 
 displayed a thoroughness which we have never seen before in any text-book. The distinction 
 between the various vowel and consonantal sounds is drawn with great exactness and clear- 
 ness ; the positions which the organs should take in the formation of these sounds are so de- 
 scribed and illustrated that the pupil receives a clear comprehension ^nd distinct mental image 
 of them, and, with faithful practice, soon acquires certainty and facility in their production. 
 The pupil's attention is directed to matters of which he probably has never thought, but which 
 the teacher knows to be indispensable for the acquisition of perfect utteranc'e. 
 
WHAT TEACHERS AND STUDENTS SAY. 
 
 [Frcm Prof. J. E. Frobisher, Director of ihe College of Oratory and Acting, New York.] 
 
 Never before in my reading upon such a subject as the practice of breathing have I met with 
 
 rn comprehensive and, let me add. so seemingly exhaustive a treatise. Catlin's '• Shut your 
 
 Mouth " IS the nearest approach^ perhaps. Catlin's is on the idea of keeping the mouth shut^ 
 
 while Guttniann's is diversely — how lo pj>cn it. 
 
 [From Isaac L. Rice, Esq., Counsel/or at Law, New York.] 
 Please accept thanks for your admirable little volume, " Gymnastics of the Voice." I read 
 it through with considerable interest, and can only compliment you on the plain; logical and 
 scientific manner in which you treat your subject. Correct breathing is not only essential to 
 the speaker and singer, but it is a method of hygiene of importance to the community at large. 
 The fact that your book has reached a fourth edition in Germany speaks higher for it than any 
 testimonial can speak. 
 
 [From R. McCay, Principal of Public Schools and Teacher of Elocution, Fairbury, 111.] 
 Having read carefully the whole of '' Gymnastics of the Voice," and having re-read parts of 
 it several times. I gladly testify to Its merits. It presents much that I have not found else- 
 where, and successfully refutes some that I have found elsewhere. In a library containing^ 
 nearly all that has been written upon elocution for a number of years, I place it among the 
 very best. 
 
 [From Miss Ella MacPherson. Teacher of Elocution in High School, Trenton, N. J.] 
 I find it an admirable book which I can heartily recommend. 
 
 [From Miss Kate S. Hamlin, Teacher of Elocution, Troy, (N. Y.) Female Seminary.] 
 1 consider it of practical value to all interested in voice-cultivation. The book is full of sound 
 common-sense, 
 
 [From Mrs. Emma De Prosse, Teacher of Vocal Music and of Esthetic Culture and Dra- 
 matic An, Chicago.] 
 
 " Gymnastics of the Voice " is, beyond doubt, the most explicit, definite and comprehensive 
 of any work published. It is built on a scientific basis, is elaborately worked out in detail, and 
 includes many topics often overlooked, but of vital importance. My special use for the work 
 is in teaching vocal music. My clasps in the seminary use it as a text-book. No student of 
 oral expression, either in song or in speech, can afford to be without it. 
 
 [From Miss Susan A. Dodge, Teacher of Elocution at the Providence (R. J.) Conservatory 
 
 of Music] 
 
 Very cordially I attest to the excellence of " Gymnastics of the Voice." It is concise and 
 comprehensive, and its great worth lies in the practical use every teacher or user of the voice 
 can make of it. 
 
 [From S. O. Spencer, Director of Music at Drew Indies' Seminary, Carmel, N. Y.] 
 I consider Guttmann's '' Gymnastics of the Voice " a work of reai practical value both to 
 the singer and speaker. The chapter containing the exercises for correct production of the 
 voice is alone worth many times the price of the book. Part F'ourth on " Respiration " con- 
 tains all the information and exercises any intelligent student can desire upon that subject. 
 
 [From Edmund J. Myer, Teacher of Voice-Production and the Art of Singing, New York.] 
 The chapter on " Artistic Respiration," and the treatment of the vowel and consonantae 
 sounds alone should give it a place amongst books on the voice. In my opinion, however the 
 strength of the book lies in Part 1 1., which treats of "" The Activity of the Vocal Organs." Vh_ 
 remarks here in reference to the re.'^onator, its correct use, etc., ani lo the action of the artlcu 
 lating organs, are of the greatest importance. During the past two or three years, in all my 
 articles on the voice, and in my book, " Truths of Importance to Vocalists," I have endeavored 
 to lay special stress upon these points, in the hope that it might be the means of drawing out 
 the opinions of othtrs ■ yet, with the exception of Guttmann's book, 1 have seen but little on 
 these all-important points. This is especially true in reference to correct articulate action, and 
 , the control of the air-current above the larynx. Part II. of " Gymnastics" should make the 
 hoQ\L great amongst books on the voice. 
 
 [From Frank A. Bryant, Specialist for Vocal Defects, Minneapolis, Minn.] 
 I have many popular and voluminous works on vocal culture, but none bear evidence of 
 greater use both by teacher and pupil than Prof. Guttmann's book. Indeed, in the depart- 
 ment of my work pertaining to the correction of speech-defects and mannerisms, as well as for 
 pupils who desire a more advanced cultivation of the speaking or singing voice, I have found 
 its pages of especial aid. 1 consider its treatment of the fundamental principles of tone-forma- 
 tion and voice-production scientifically correct and einiiiently practical. It is a book that 
 should not only be a reference book for every voice-trainer, but one that sho',:Id be in the hands 
 of every teacher and clergyman in the land. 
 
[From Richard Lewis, Professor of Oratory at Toronto, Canada.*] 
 I am delighted with it. It will be of the highest value to me as an instructor, as it sup- 
 plies ine with so many useful and thoroughly practical suggestions and exercises in my work. 
 I have read many works on the subject, but Oskar Guttmann's is the most suggestive and prac- 
 tical 1 have yet met with. 
 
 £From John G. Parkhurst, Teacher of Vocal Culture, Musical Conductor, etc., Albany, N. Y.] 
 ^^ Gymnastics of the Voice " should be in the hands of every vocal student. 
 
 [From Mrs. M. Stevens Hart, Teacher of Elocution, Washington, D. C] 
 I regard '* Gymnastics of the Voice " as the most practical treatise on breathing I have 
 
 ever met, and shall urge my pupils to study and digest its contents. 
 
 [From J. W. Rusk, Principal of the Rusk School of Elocution, Cleveland, Ohio.] 
 I have critically examined '^ Gymnastics of the Voice," bv Oskar Guttmann, and find it 
 one of the best works on the subject I have ever read. Everything in it is thoroughly practi- 
 <;al. Every one interested in the culture of the voice should have a copy. 
 
 [From Leo Kofler, Teacher of the Art of Singing, Author of ''The Old Italian School of 
 Singing," etc.. New York."] 
 I know of but one writer who has given his full attention to this important subject. I refer 
 to Oskar Guttmann, who, to my knowledge, 7S the first and only one of the vocal profession 
 ■who has advanced as yet in print a theoretical and practical system of exhalation. * * * * 
 ■Guttmann's merit is indisputable, and 1 thankfully acknowledge that from him and his book, 
 *•■ Gymnastics of the Voice," I have received the impulse, as well as a great many valuable 
 -suggestions, for my system of the practice of exhaling or muscle-relaxation in singing. 
 
 [From J. N. Brown, Professor of Elocution, Trenton, N. J.] 
 I have read " Gymnastics of the Voice" with great pleasure and profit. Experience has 
 proved it the only logical and natural method. 
 
 [From Charles A. White, Teacher of Vocal Music, Troy, N. Y.] 
 This book should be in the hands of every public speaker and singer. 
 
 [From Mrs. Fanny G. Villard, New York.] 
 PuoF. Oskar Guttmann : Dear Sir : — 1 am most happy to express the very great gratifica- 
 tion 1 feel at your successful treatment of my little daughter. In the face of unusual difficul- 
 ties, you have taught her to control her stuttering, so that I am confident that no one need 
 despair of a favorable result if allowed the benefit of your teaching. 
 
 [F'rom Julius Oppenheimer, New York.] 
 Prof. Oskar Guttmann : Dear Sir : — After three years have elapsed since your successful 
 undertaking in curing me of my defective voice, I take occasion to again express my sincerest 
 thanks to you, and at the same time informing you of the thorough change I have undergone. 
 At the age of i8 I was in that unhappy state of being afflicted with a voice like a child, and 
 many a time was unable to utter any words at all, and through these annojj^ing faults I 
 have for a long time felt very miserable, being unable to enjoy social or business life. Before 
 1 came to you 1 had consulted many well-known doctors and was willing to submit to any opera- 
 tion in order to be relieved of these troublesome faults, but no doctor nor any medicine could 
 cure them, there being no organic faults, but simply a defect in my voice. I cannot sufficiently 
 -describe to you the feelings which arise in me, whenever I think of the immense difference 
 when I first came io you and when I left you. The cure which you have effected within a 
 wonderfully short period, has been so thorough and effective in all its details that I have never 
 sx any time fallen back into my old fault, nor did I ever during or after jrour treatment experience 
 the least pains of any kind. Allow me to add that since I have attained my "'new voice " I 
 have changed very much. I am now able to take part in social as well as business life to its 
 full extent, which I should never have been able to do with my old imperfect voice. I, there- 
 fore again express my sincerest thanks to you, cannot do otherwise but to pay the highest 
 -compliment to your well-founded method of curing neglected and defective voice and speech. 
 
 [From W. T. Ross, Teacher of Elocution, San Francisco.] 
 I have read and re-read " Gymnastics of the Voice " with interest and profit. I consider it 
 the best work of the kind published. The teacher of elocution will find in it a valuable assis- 
 tant, and the student an indispensable guide. No one interested in the culture and preserva- 
 tion of the voice can afford to be without a copy. 
 
 [From JohnA. Simpson, Directorof Music at Institution for the Blind, Raleigh, N. C] 
 
 I have found '* Gymnastics of the Voice " to be a very valuable work, — such a work as I 
 ■was greatly in need of for years, but could never find. Mr. Guttmann deserves all praise for 
 teaching so clearly the right method of breathing, and for insisting so strongly upon the impor- 
 tance to the singer of a thoroughly sound and vigorous physique. 
 
.ESTHETIC 
 
 PHYSICAL CULTURE. 
 
 A SELF-INSTRUCTOR FOR ALL CULTURED CIR- 
 CLES, AND ESPECIALLY FOR ORATORI- 
 CAL AND DRAMATIC ARTISTS. 
 
 By oskar guttmann. 
 
 There is no similar work in English. It is of great practical value to public 
 speakers and singers, actors, elocutionists, and to all who desire aesthetic physi- 
 cal development, whether of voice, gesture or physique. The author, without 
 knowing of Delsarte, has devised a system easily understood and applied^ which 
 embodies the principles of the Delsarte Philosophy, simplified and made avail- 
 able, Delsarteans will find this book more serviceable than any other printed 
 7?iaiter obtainable. 
 
 Our literature possesses no work of this kind. Its special value is the strictly scientific bas!® 
 on which the author rests. The book is to be considered in a twofold manner, — from the gen- 
 eral standpoint of a person of culture, and from the particular standpoint of a professional 
 artist. The author proceeds from the right principle, namely, that every actor must first be a 
 man of culture. In this respect, the scope of the book is a m^terpiece. Prof. Guttmann's 
 keen powers of observation, to which we had occasion to refer in reviewing his " Gymnastics of 
 the Voice," are more strikingly manifested in " ^Esthetic Physical Culture." and we urgently 
 advise young persons of both sexes^who are anxious to improve themselves, to closely follow 
 the teachings of both these books. 
 
 FROM LEO KOFLER, TEACHER OF THE ART OF SINGING, NEW YORK. 
 [In his " The Old Italian School of Singing."! 
 
 We have arrived now at the last expedient of a singer's good style in singing ; 
 namely, the external demeanor of the body and the facial expression. This sub- 
 ject ought to engage a singer's very careful attention and study. This was, 
 hitherto, no easy matter. There was, to my knowledge, no work in existence 
 that treated this subject fully- and systematically from the singer's standpoint. It 
 is true that in a number of books pertaining to the vocal and dramatic art, this 
 subject has been ventilated ; but nowhere has it received the attention it de- 
 serves, except at the hands of Oskar Guttmann, in his excellent work, " Esthetic 
 Physical Culture." He treats this subject in his own practical and philosophical 
 way, and I warmly commend his book to the faithful perusal of every student of" 
 vocal and dramatic art. 
 
 FROM J. E. FROBISHER, DIRECTOR OF COLLEGE OF ORATORY AND 
 ACTING, NEW YORK. 
 
 1 have read " ^sthetic Physical Culture " with delight. And I must say that while it is so 
 compact in bulk it is truly the most comprehensive work I have as yet seen upon the subject. 
 It is so suggestive in its style, touching upon every desired point, leaving nothing, apparently, 
 unsaid, and in fact covering the entire field of aesthetic movements. Similar ideas I have tried 
 to inculcate all my life, but perhaps in not so extended and formal a method. It is a work 
 that ought to be studied and practiced by every clergyman, lawyer, actor, and elocutionist in 
 the land. For myself I shall try to put it into the hands of my pupils as a most excellent 
 guide and monitor in their work. , 
 
 Copiously illiifitratcd; handsomely printed and l>ound ; price $3, postpaid. 
 
 Address the Publisher, 
 
 EDGAR S. WERNER, Albany N. Y. 
 
SECOWn El>ITIO]V---E]VI.AR«EI>. 
 
 Delsarte System of Oratory, 
 
 By I'Abbe Delaumosne and Angellque Arnaud (pupils of Delsaric), 
 
 WITH AN ESSAY ON 
 
 "The Attributes of Reason," by Frangois Delsarte. 
 
 i^Tlie only authentic.published production from his pen.) 
 
 Indispensable to every person avIio wishes lo give ex- 
 pression to his ivorli, vvliatever that worit may 
 be,— Acting, Oratory, Painting, Sculpture, 
 etc., etc. 
 
 PUBLISHER S ANNOUNCEMENT. 
 
 Another edition of this the only English book attempting to give an exposition 
 of the Delsarte Philosophy and Art of Expression has become necessary. In 
 issuing the second edition, we have added the treatise of Mme. Arnaud who, like 
 M. Delaumosne, was intimate with Delsarte for many years, and who possesses 
 many of his papers and has treasured up many of his sayings. In certain respects, 
 these authors know more of Delsarte, personally and professionally, than any 
 other living persons. They are French, ,and thus were able to commune with 
 their master in his own and tlieir own mother tongue — an advantage that can 
 hardly be overestimated. Their treatises are the only printed expositions of the 
 Delsarte System, in any language. 
 
 We have also added " The Attributes of Reason," which, although an unfin- 
 ished essay, furnishes a better specimen, perhaps, than hitherto available of Del- 
 sarte's acuteness, depth, and originality as a thinker. It was his last composi- 
 tion, and is translated directly from his own manuscript now owned by Rev. Wmi 
 R. Alger, himself a devoted disciple and able exponent of Delsartism. 
 
 The book contains over 300 pages; is copiously illustra- 
 ted with charts, figures and diagrams^ and is printed and 
 bound in fine style. 
 
 Price $2, postpaid. Not for sale at boolistores. 
 
 Send direct to the Publisher, 
 
 EDGAR S. WERNER, 
 Editor of THE VOICE, Albany, N. Y. 
 ||@" Descriptive circular sent on application. 
 
Players of a Century, 
 
 By H. P. PHELPS. 
 A BOOK FOR ENTERTAINMENT AND FOR REFERENCE, 
 
 No Critic, no Actor, no Lover of tine Drama can afford to 
 do "Without a copy. 
 
 We don't doubt that, with a single exception (Ireland's Record of the New York Stage, 
 now out of print), it is tlie fullest and the bent dramatic history yet published in 
 America, besides being tUe latest. — Springfield Republica7i. 
 
 Since the publication of Dunlap's History of the American Stage, no similar work of equal 
 merit has appeared. — Washington, Herald and National Intelligencer. 
 
 1'he players are people about whom everybody knows something and desires to know 
 more. This volume will satisfy that want in regard to several hundred of the most prominent 
 in the profession, from Hallam. down to Maggie Mitchell and John McCuUough. It is 
 wilbout 'A riviail in the market. — Albany Evening Journal. 
 
 Worthy a place in every library, for never before has anything so complete in its line been 
 ■offered the public. — Albany Argtis. 
 
 Contains a great deal that is new, abounds in anecdote and is altogether a most spicy a::d 
 agreeable volume, — Alban.v Press. 
 
 :£»rice S^S, I»ostpaid.. 
 
 EDG-AR S. WERNER, 
 
 Editor of The Voice, ALBANY, N,Y. 
 
 PRICE 25 CENTS. 
 
 THE THROAT AND ITS FUNCTIONS 
 
 ijsr 
 
 SvalloviDg, Sreathing and the Production of the Voice. 
 
 By LOUIS ELSBERG, A. M., M. D., of New York. 
 
 Twenty-five illustrations, most of which were prepared expressly for this 
 vork, at large expense. 
 
 Teachers vlU find this a Most Excellent Text-hook for 
 
 ELOCUTIONARY. SINGING AND SCHOOL PUPILS; 
 
 Sent Post-paid on Receipt of Price. 
 Address the publisher, 
 
 EDO-AB S. WERNER, 
 
A BOOK FOR EVERY VOCAL STUDENT. 
 
 THE OLD ITALIAN 
 
 SCHOOL OF SINGING. 
 
 By LEO KOFLER, 
 
 TEACHER OF THE ART OF SINGING AND CHOIR MASTER 
 
 OF ST. PA UL'S CHAPEL, TRINITY PARISH, 
 
 NEW YORK. 
 
 [From the American Art Journal^ 
 It is a well-known fact that the vocal profession presents a medley of various theories in 
 -liuer contradiction of each other, and to endeavor to bring system and order out of this chaos 
 is a Herculean task. Mr. Kofler's book gives abundant evidence that he possesses the necessary 
 ■qualifications for such an undertaking. It is at once apparent that he has studied all existing 
 systems of voice culture, and, moreover, he has sifted the immense amount of material with 
 a. sharp eye, and thus he is able to present to his readers the vocal method which he has made 
 his own with a clearness that shows at once that he is not only a hard student and a deep 
 thinker, but that he possesses in no ordinary degree the power of imparting his knowledge to 
 others in the most interesting and practical way. 
 
 Cloth, $1.25, post-paid. Address the Publisher, 
 
 EDGAR S. WERNER. Albany.N.Y. 
 
 ELOCUTIONARY LEAFLETS. 
 
 Set No. I, Compiled by Agnes R. Davison. 
 
 CONTENTS: 
 [The figures in parentheses indicate the number of leaves in each selection.] 
 \o Victis. W. W. Story (i). The City Visitor. John G. Whittier (2). 
 
 Che Spanish Duel (4), The Bugle Song. Tennyson (i). 
 
 iwait the Issue. Thomas Carlyle (i). The Studies of Life. W. R. Alger (i). 
 
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 Chops, The Dwarf. Dickens (3). Willie Baird. Robert Buchanan (4). 
 
 Adelaide Returns from the Country. Carlotta The Telltale (i). 
 
 Perry (2). Memory's Pictures. Alice Cary (i). 
 
 Death of the Owd Squire. Baltimore Elocu- Lanty Leary. Samuel Lover (i). 
 tionist (2). " The Revenge." Tennyson (2). 
 
 Come Under My Plaidie. Hector MacNeal (i). How We Kept The Day. Will Carleton (3). 
 The Chkrity Dinner. Litchfield Mosely (4). Shadows (i). 
 
 Herve Riel. Robert Browning (3). The Charge of the Heavy Brigade. Tenny- 
 
 Aux Italiens. Bulwer Lytton (2). son (2). 
 
 The Wind and the Moon. Geo. Macdonald (i). Quotations for Memorizing (2). 
 Tammy's Prize (3). 
 
 Per Sei^ 60 cents (containing the Leaflets bound, and duplicate leaves). 
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 Selections Sold Separately at One Cent a Lea/, 
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PRACTICAL ELOCUTION." 
 
 For Use in Colleges and Schools, and by Private 
 
 Students. 
 
 By J. W. SHOEMAKER, A. M. 
 
 Cloth, $1.25, post-paid. 
 
 Address, EDGAR S. WERNER, Albany, N. Y. 
 
 "The THROAT and the VOICE." 
 
 By J. SOLIS COHEN, M. D, Philadelphia. 
 CONTENTS. 
 
 General Construction of the Throat, Care of the Throat, Acute Sore Throats, Diphtheria* 
 Croup, Acute Laryngitis, Chronic Sore Throats, Enlarged Tonsils, Chronic Laryngitis, 
 Foreign Bodies in the Throat and Windpipe, Morbid Growths in the Throat and Windpipci 
 Paralysis of the Throat, Spasm of the I'hroat, Neuralgia of the Throat, Naso-Pharyngeal 
 Catarrh, The Voice, Acoustics of Voice, Varieties of Voice. The Vocal Organ, Voice Cul- 
 ture, Improper Use of the Voice, Vocal Gymnastics, Defects of the Voice, Care of the Voice. 
 
 Cloth 50 cents ; paper 30 cents, prepaid. Address, 
 
 EDGAR S. WERNER, Albany, N. Y. 
 
 For 25 cents 
 
 Will be sent two pamphlets containing essays by the following musicians: 
 
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 J. C. Fillmore, Milwaukee, Wis. *■ Song Eloquence v. Chaos; H. S. Perkins, Chicago, 111. 
 The Half-Truths of Vocal Culture ; F, W. Root, Chicago, III. Is the Patronage of Music 
 Compatible with Republican Government ? S. G. Pratt, Chicago, 111. Music in Public Schools; 
 N. Coe Stewart, Cleveland, O. The Tonic Sol-Fa System ; Theo. F. Seward, Orange, N. 
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 HABITUAL 
 
 MOUTH--BREATHING. 
 
 ITS CAUSES, EFFECTS AND TREATMENT. 
 
 Ev CLINTOK WAGNER, M.D, 
 
 PROFESSOR OF DISEASES OF THE THRO A T AND NOSE, 
 
 NEW YORK POST-GRADUATE MEDICAL SCHOOL. 
 
 ORIOI]VAI. ILLirSTRATIOSifS. 
 
 Price 25 Cents, postpaid. Address the publisher, 
 
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 Albany, H". Y. 
 
 THE GREATEST -WORK ON ELOCUTION. 
 
 :FijTj:]vni=Ti?>Ei's 
 
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 ELOOTJTIOl^ 
 
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 Or the Physiology and Culture of Voice and Speech, and the Expression of the Emotions 
 "by Language, Countenance and Gesture. To which is added, a special lecture on the 
 causes and cure of impediments of speech. Being the substance of the introductory course 
 of lectures annually delivered by Charles John Plumptre, lecturer on public reading and 
 speaking at King's College, London. Dedicated, by permission, to H. R. H. the Prince of 
 Wales. New and greatly enlarged illustrated edition. 1881, 481 pages, octavo, cloth, with 
 • portrait of author. 
 
 By special arrangements with the publishers (Messrs. Tr&bner &: Co.), we can supply this 
 most valuable book for 
 
 $4, POST-PAID (Regular Price, $6). 
 
 Address, EDGAR S. "WERNER, Albany, N. Y. 
 
 Truths of Importance to Vocalists, 
 
 By EDMUND J. MYER. 
 SOME OF THE TOPICS TREATED: 
 
 "Vocal Methods," " The Forcing Process," "Vocal Acoustics," "The Production of 
 the Voice," " The JVIale Voice," " The Second Series of the Chest-Register," " The I'emale 
 Voice," " The Head-Register." 
 
 Cloth, 50 cents, postpaid. Address, 
 
 EDGAR S. WERNER, Albany, N. Y. 
 
€^t ioirt 
 
 An International Review of the SPEAK- 
 ING and SINGING VOICE. 
 
 The Only Journal in the World making the Cure of 
 Vocal Defects a Specialty. 
 
 It aims to rive practical instruction in the USE, IMPROVEMENT and 
 RESTORATION of the voice, in READING, SPEAKING and SINGING. 
 
 Its value is testified to by scores of speech-sufferers and by leading MUSI- 
 CIANS, EDUCATORS, CLERGYMEN and PHYSICIANS in difrerent 
 parts of the English-speaking world. 
 
 Its contributors include LEADING SPECIALISTS of the VOICE, in 
 America and in Europe. 
 
 IS 
 
 Indispensable to every Singer and Elocutionist ; 
 
 A means of communicating necessary professional knowledge to every 
 Physician and School Teacher ; 
 
 Of great value to every Public Speaker ; 
 . A guide to Parents in directing and improving the speech of their Chil- 
 dren; 
 
 The press exponent of the human voice in its manifold phases ; to treat 
 of its uses and capabilities; give direction to its cultivation and man- 
 agement, whether in singing, preaching, lecturing, reading, or con- 
 versing; point out the way to remedy its bad habits or defects and 
 restore it to healthful action, organic and functional; 
 
 A journal which discusses pulpit and secular oratory ; the methods of 
 teaching reading and declamation in schools; the various systems of 
 cultivating the voice for singing; elocution ; the art of conversation; 
 and, in fact, everything pertaining to t!ic speaking and singing voice. 
 
 Published Monthly at $1 a year, IN ADVANCE; single copy, 10 cts. 
 Address, EDGAR S. M^ERNER, 
 
 Efitor and Proprietor, AlMy, N. Y. 
 
CHLORAMINE PASTILLES. 
 
 Tor the Cure of Hoarseness, Sore Thioat, Bronchitis, Cough, and 
 Other Derangements of the Breathing Tubes and Lungs. 
 
 1 hese are absolutely the most pleasant and efficacious Pastilles yet introduced 
 tor the relief of the various disorders of the respiratory organs, induced by the 
 changeableness of the climate. 
 
 As the name implies, the principal ingredient of these Pastilles is Muriate of 
 Animonia, which is itself a valuable remedy for the cure of many bronchial 
 affections, and is here associated with other medicines, having a powerful 
 calmative influence over the mucous membrane of the respiratory tubes, thereby 
 adding effectiveness to the Pastilles and extending their range of usefulness. 
 
 Influenza, Hoarseness, Soreness of Throat, 
 
 Or any irritation of the throat arising from cold, will almost invariably be 
 relieved by the use of a few of the Tablets. 
 
 For clearing and strengthening the voice, they will be found very serviceable. 
 
 Directions.— Allow one of the Tablets at a time, to dissolve slowly in the 
 mouth, taking from eight to twelve during twenty-four hours. 
 
 The Spencer Chloramine Pastilles were largely prescribed by physicians, a 
 few years since, in Philadelphia and vicinity, the speedy relief from their use 
 giving them a greater popularity, wherever known, than any lozenge prepared 
 for Coughs, Colds, Inflammatiou of the mucous membranls, etc., etc. 
 
 Doctors and patients have united in commendation of their effect. In our 
 judgment, the combination is an improvement upon the ingredients in Jackson's 
 Ammonia Lozenges. The formula was devised, we understand, by Mr. Lenher, 
 an Operative Chemist, held in high esteem in this city, for many years ; cer- 
 tainly, he has united most judiciously Chloride of Ammonium and Chloride of 
 Potassium, Extracts of Dulcamara and Hyoscyamus, as calmative anodynes, 
 the pectoral Balsams, Tolu and Peru, with Senega, Squills and a minimum of 
 Ipecac. In fact, we think more highly of it, than any prescription known to 
 us, our long experience making us familiar with the composition of all this 
 class of remedies. 
 
 We have no hesitation in endorsing it unreservedly, as likely to 
 prove of more immediate benefit than any of the popular cough 
 remedies, being free from any of the many objections attending the 
 use of Syrups and Lozenges, that so often derange the digestive 
 organs, nauseate and destroy the appetite, the eifect in these cases 
 being due, usually, to an excess of morphia, tartar emetic, or both, 
 doing harm rather than good. 
 
 Owing to Mr. Spencer relinquishing the drug business, and the death of Mr. 
 Lenher, we were induced to purchase the formula and right to manufacture, 
 our appliances and experience enabling us to prepare these Pastilles, so as to 
 prove more permanent, than when manufactured by former proprietors. 
 
 Price, 25 cents per Bottle, on receipt of which, we will forward 
 by mail. 
 
 JOHN WYETH & BROTHER, 
 
 PHILADELPHIA. Manufacturing Chemists. 
 
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