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Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924032172458 
 
THE VOICE , 
 
 HOW TO TRAIN IT— HOW TO CARE FOR IT 
 
E. B. "WARMAN'S "WORKS. 
 
 Practical Orthoepy and Critique . Cloth, J2.00 
 
 " " " Half Mor. 2.50 
 
 " " " Full Mor. 3.00 
 
 Warman on the Voice 2,oq 
 
 How to Read, Recite, and Impersonate . i.oo 
 
 Physical Training 1. 00 
 
 Worcester and Webster School Charts . 8.00 
 Warman's Series Worcester's School Dic- 
 tionary Half Mor. 1.00 
 
 Gestures and Attitudes (Delsarte Phi- 
 losophy) 3.00 
 
 IN PRESS. 
 
 Critical Analysis of Poe's " Raven." 
 What to Read, Recite, and Impersonate. 
 

The Voice 
 
 HOW TO TRAIN IT- HOW TO CARE FOR IT 
 
 FOR MINISTERS, LECTURERS, READERS, ACTORS, 
 SINGERS, TEACHERS, AND PUBLIC SPEAKERS 
 
 BY 
 
 E. B. WARM AN A.M. 
 
 author of principles of pronunciation in worcester*s dictionary ; how to read, 
 
 recite, and impersonate; physical training, or the care of the body; 
 
 practical orthoepy and critique; critical analysis of 
 
 "poe's raven" 
 
 Mitt IlIuBtrattons 
 By MARIAN MORGAN REYNOLDS 
 
 BOSTON 
 LEE AND SHEPARD 
 
 K 
 
Copyright, 1889, 
 By Lee and Shepard. 
 
PREFACE. 
 
 TT is our endeavor to set forth such teachings as will 
 strengthen weak lungs ; inculcate ideas of correct 
 breathing and management of the breath; remove and 
 prevent throat, lung, and bronchial trouble; also re- 
 move and prevent swollen tonsils and elongated uvula, 
 without resorting to the surgeon's knife; strengthen 
 the pillars of the soft palate, thereby removing what 
 is known as "dropping of the palate;" strengthen and 
 invigorate the vocal organs, that they may be used 
 daily, for consecutive hours, without incurring the 
 slightest injury, or causing weariness or hoarseness; 
 and enable one to manage the breath in the produc- 
 tion of tone, thus giving the maximum of power with 
 the minimum of strength. 
 
 These pages are intended to be of practical benefit 
 to ministers, lecturers, actors, readers, singers, teachers; 
 in fact, to all who use the voice, whether publicly or 
 otherwise. 
 
vi Preface 
 
 Every man should be worthy of his calling; and no 
 less important is it that he should prepare for the 
 proper performance of its duties. 
 
 This volume deals only with the control of the 
 voice, while its companions, " Gestures and Attitudes," 
 and " Principles of Reading," serve as guides to the 
 other requisites of the public speaker ; namely, control 
 of the body, and control of the thought. That each, 
 in its turn, may serve its purpose, is the desire of 
 
 THE AUTHOR. 
 Chicago, III., 1889. 
 
CONTENTS. 
 
 fart I. 
 
 PAGE 
 
 The Use and Abuse of the Vocal Organs 17 
 
 The Doctor 18 
 
 The Minister 19 
 
 The Lawyer 21 
 
 The Actor 22 
 
 The Singer 22 
 
 The Lecturer 23 
 
 The Reader 24 
 
 The Teacher 25 
 
 Healthfulness 26 
 
 Nostrums ■ 27 
 
 Ventilation 3° 
 
 Modulation of the Voice 3' 
 
 Sustaining Tones 32 
 
 ^art II. 
 
 The Anatomy, Hygiene, and Physiology of the Vocal Organs ... 41 
 
 The Nasal Passage 4' 
 
 The Mouth Passage 41 
 
 The Tongue 46 
 
 The Hard Palate 46 
 
 The Soft Palate 46 
 
 The Uvula 46 
 
viii Contents 
 
 PAGE 
 
 The Pharynx i . . . 54 
 
 The Epiglottis . eg 
 
 The Larynx r-i 
 
 The Vocal Chords 57 
 
 Throat Contraction 64 
 
 The Teacher 64 
 
 The Food Passage 67 
 
 The Air Passage 67 
 
 The Eustachian Tube 68 
 
 Diaphragmatic vs. Clavicular Breathing 70 
 
 Part III. 
 
 Incorrect vs. Correct Position 88, 89 
 
 Test of Correct Position no 
 
 Breathing go 
 
 Position gi 
 
 Two Methods of securing a Correct Position 93, 95 
 
 Active Chest and Diaphragm Action 07 
 
 Abdominal Breathing qg 
 
 Costal Breathing 100 
 
 Dorsal Breathing 102 
 
 Abdominal, Costal, and Dorsal Breathing 104 
 
 Diaphragm Freedom 106 
 
 Diaphragm Control 107 
 
 The Principle of Diaphragm Control 108 
 
 Diaphragm Freedom in Voice Production 109 
 
 Diaphragm Control in Voice Production /. . no 
 
 Supporting the Tone 113, 115 
 
 Focussing. — Flexibility 116 
 
 Clearness and Flexibility 117 
 
 Sustaining Tones 1 18 
 
 Vowel Sounds 119 
 
Contents ix 
 
 PAGE 
 
 Purity of Tone. — Tossing i2o 
 
 Purity of Tone. — Blending 121 
 
 Clearing (?) the Throat 122 
 
 Purity of Tone 123, 124 
 
 Focalizing 125, 126 
 
 Broadening the Tone 128 
 
 Flexibility of the Lips 130 
 
 Suppleness of the Lower Jaw 130 
 
 Breadth of Tone 132 
 
 Volume of Voice 133 
 
 Flexibility of the Vocal Organs 134 
 
 Elasticity of the Vocal Chords 134 
 
 Low Orotund 135 
 
 Volume and Loudness Combined 136 
 
 Smoothness of Low Notes 137 
 
 Low Orotund and Clear Nasal Tone 138 
 
 Volume, Loudness, and Clear Nasal Tone 139 
 
 Smoothness and Clear Nasal Tone 140 
 
 Transition of Tone 141 
 
 Flexibility of the Vocal Chords 142 
 
 Flexibility of the Vocal Organs 143 
 
 Tremolo Tones 144 
 
 Medium Tones 146 
 
 Sustaining Low Tones 148 
 
 Medium Tones for Calling or Shouting 149, 150 
 
 Head Tones 151 
 
 Explosives 152, 153 
 
 Explosives and Sustained Force 154 
 
 Blending and Continuity 156-159 
 
 Blending vs. Clipping 160-162 
 
 Bell Tones, Distant Voices, and Echoes 163 
 
 Monotone 164 
 
 Finale 166 
 
" Oh, how our organ can speak wHh its many and wonderful voices, — 
 Play on the soft lute of love, blow the loud trumpet of war. 
 Sing with the high sesquialter, or, drawing its full diapason. 
 Shake all the air with the grand storm of its pedals and stops l" 
 
ILLUSTRATIONS. 
 
 PAGE 
 
 Anatomy of the Vocal Organs 15 
 
 The Vocal Organs Specified 40 
 
 Front View of the Soft Palate and Surroundings ... 47 
 
 View of the Vocal Chords by Laryngoscope 58 
 
 Position of the Vocal Chords : Inhalation and Exhala- 
 tion 59 
 
 Position of the Vocal Chords : Low Tones 59 
 
 ,, „ „ „ High Tones 59 
 
 The Diaphragm 69 
 
 Diaphragm Action : Front View 73 
 
 „ » 75 
 
 „ 77 
 
 Side View 79 
 
 » » 8i 
 
 Modern Re-formed Venus de Milo. . 83 
 
 Incorrect Position 88 
 
 Correct Position 89 
 
 Securing a Correct Position 93 
 
 » j» u )) ■ • • 95 
 
 Action of Chest, Diaphragm, and Waist Muscles .... 97 
 
 Abdominal Breathing 99 
 
xii Illustrations 
 
 PAGE 
 
 Costal Breathing loi 
 
 Dorsal Breathing 103 
 
 Abdominal, Costal, and Dorsal Breathing 105 
 
 Sustaining Tone: Chair 113 
 
 „ „ Book 115 
 
 Enlarging the Pharynx 127 
 
 Depressing the Tongue 129 
 
part fim* 
 
 THE USE AND THE ABUSE OF THE 
 VOCAL ORGANS. 
 
Fig. I. 
 
 Fig. I represents some of the important structures and organs that 
 are in close relation with the diaphragm, or that co-operate with it in pro- 
 ducing song and speech. The heavy curved line drawn across the lower 
 part of the chest represents the position of the upper curvature of the 
 diaphragm. Below it are shown the lobes of the liver, the stomach, and 
 part of the intestines. Above the diaphragm, a little to the left of the 
 median line, the heart is represented. The lungs are seen filling the chest 
 and communicating with the trachea, which in turn leads into the larynx, 
 or vocal box, and then the air-tract leads on through the pharynx, mouth, 
 and nasal cavities, the last three being the principal resounding cavities 
 for the voice. The whole, with the diaphragm as the foundational floor- 
 ing, the ribs as the framework, and the accessory muscles, which are not 
 shown, forms the vocal and speech mechanism. 
 
The Voice. 
 
 THE USE AND ABUSE OF THE VOCAL ORGANS. 
 " Speech is the temple in which the soul is enshrined." 
 
 ' I ""HERE is a certain mechanical dexterity to be acquired 
 before the beautiful conceptions we possess can be 
 communicated to others. This mechanism is an essential 
 part of all the fine arts. 
 
 The golden key to every excellence is practice ; and 
 this can be purchased only by labor — unremitting labor — 
 and perseverance. It is absolutely necessary to be ac- 
 quainted with the power, variety, and extent of the instru- 
 ment through which we convey thoughts to others. 
 
 " God's greatest gift to man is speech, and it is too solemn 
 a thing to treat lightly. It grows out from life, out of its 
 agonies and ecstasies, its wants and its weariness." 
 
 It is said, " By their fruits ye shall know them," and it 
 may also truly be said. By' the voice ye shall know them. 
 Not only is this true in the every-day walks of life, but it 
 
1 8 Thb Voice 
 
 is especially true in the higher walks, — among those who 
 appear before us in the pulpit, on the rostrum, and on the 
 stage. 
 
 By the eye of an audience are we first measured ; then the 
 ear passes judgment. It is true, attitude and bearing have 
 much to do with the effective rendering of any vocal pro- 
 duction, and no one can be said to be a thorough artist who 
 has not become acquainted with the principles of dramatic 
 expression. 
 
 " Cleanliness is next to godliness ; " and this is as essen- 
 tial concerning the tone of voice as it is in regard to the 
 body. In this enlightened day we would as soon think of 
 tolerating a speaker with a sluggish, slovenly tone, as we 
 would were he to appear before us with his clothing dis- 
 ordered and his hair unkempt; the one is as repulsive to 
 the ear as is the other to the eye. 
 
 The functions of the human voice are many. The public 
 man, whether preacher, lecturer, reader, actor, doctor, 
 lawyer, or whosoever or wheresoever he may be, should 
 understand the wonderful power of the human voice. 
 
 THE DOCTOR. 
 
 The doctor needs it? Certainly. When he enters the 
 sick-room, his face all radiant, his great manly heart sym- 
 pathetic, his voice (as a natural consequence) full of sweet- 
 
The Minister 19 
 
 ness and purity, he does more to alleviate the suffering of 
 his patient than can all the drugs that he may leave. But, 
 on the other hand, when a doctor enters the room with 
 clouded brow, himself a victim of dyspepsia and a bad 
 liver (because he is a bad liver), looking on the dark side 
 of everything, his heart all warped, and his voice (also as 
 a natural consequence) snapping, snarling, growling, he too 
 does more for his patient than all the drugs of the universe 
 can counteract. Some may consider that this has nothing 
 to do with the voice, but it is wholly due to the manner 
 of the man. .That 's the point. This cultured voice is sure 
 to be reflex in its action; for culture permeates the whole 
 man. . 
 
 Some persons enter a room like a gleam of sunshine, 
 others like a thunder-cloud; so some voices attract, others 
 repel. 
 
 THE MINISTER. 
 
 The minister too frequently says, " If I possess the Holy 
 Ghost, I need pay no attention to the cultivation of the 
 voice." 
 
 We will not stop to speak of the many requirements of 
 him who occupies so responsible a position, but will consider 
 briefly that of the voice. The Bible-reading, hymn-reading, 
 the delivery of the sermon, and even the prayer has its 
 
20 The Voice 
 
 influence on the hearer in just that degree in which he is 
 impressed by the vocal utterances. The Bible stories are 
 famihar to almost all in the congregation, but they become 
 the more intensely interesting as the speaker makes them 
 so. Many a good sermon, intellectually speaking, has been 
 wholly marred by a poor delivery. 
 
 As we say in our lecture on " Bible-reading and Pulpit 
 Eloquence," every word possesses three forms of life; that 
 is, its ey-e-life, its ear-life, and its soul-life. The eye-life is 
 its orthography, the ear-life is its orthoepy, but the soul-life 
 is its significance or expression. The words of the minister 
 must be so voiced as to convey the latter fully and forcibly ; 
 that is, they must be soul-felt. 
 
 The voice is a God-given gift. It is a power which God 
 has given to be used to His glory; and the minister can no 
 more neglect its use and cultivation than he can properly 
 neglect any other gift from His hand. The human voice 
 has been made to reach the heart, and to stir it up by its 
 thrilling vibrations. We might as well despise the ear for 
 its office of carrying the sound, as to undervalue the manner 
 in which those sounds are made. It is true " the clergy 
 bear the messages of God in earthen vessels, but that is 
 no reason why they should display their mere earthiness." 
 While volumes might be written on the duties of the 
 minister in his public office, we have only hinted at the 
 
The Laivyer 2 1 
 
 necessity of voice cultivation, trusting that in this case, as 
 in many others, " a word to the wise is sufficient.'' As a 
 concluding thought to the minister, let it be borne in mind 
 that the truths of the gospel, above all others, should be 
 correctly voiced ; remembering ever that truth, even truth, 
 when repulsively arrayed, will repel rather than attract the 
 hungry soul. 
 
 THE LAWYER. 
 
 The lawyer says, " If the judge and jury hear me and 
 T<now what I am talking about, that is all I need to under- 
 stand of the voice." 
 
 How little he is impressed with the fact that the voice is 
 the vehicle for the conveyance of his thought, and that it is 
 not so much what is said as how it is said. 
 
 Many a juror has considered a man's argument weak, 
 because his voice and manner were against him ; while, on 
 the other hand, a lawyer, understanding the power of the 
 human voice, has completely won the hearts of the jurors 
 by appealing to their sympathies. 
 
 There are scores of instances where lawyers, having aspired 
 to political renown, and having entered the carnpaign as out- 
 of-door speakers, have become physical wrecks in conse- 
 quence of an improper use of the voice. 
 
2 2 The Voice 
 
 THE ACTOR. 
 
 The actor also raises his objection, not only in regard to 
 the voice, but to the preparation for many qualifications for 
 the stage. You can always hear the stereotyped reply : 
 " Just throw yourself right on the stage, and you will take 
 to acting as a duck takes to water." The duck is in its 
 natural element in the water, but there are very few men 
 and women, comparatively speaking, in their natural ele- 
 ment on the stage. The stage is to-day groaning under 
 the heavy burden of actors, or would-be actors, who have 
 been "thrown" upon it. It is true it is the best place to 
 learn stage-business, but what knowledge can there be 
 gained of the great medium of thought and feeling, — the 
 human voice? There is no doubt that the actor has an 
 abundance of practice, but of what use is it if it is not 
 correct practice? 
 
 THE SINGER. 
 
 A singer may understand all the technicalities of music, 
 and yet know little or nothing of the vocal organism. 
 
 There is no excuse for throatiness, hoarseness, weariness, 
 nasality, swollen tonsils, elongated uvula, unruly tongue, 
 excessive saliva, dryness of the throat, and the thousand 
 and one ills to which a singer's flesh is heir. 
 
The Lecturer 23 
 
 It may not be necessary for an organist to be able 
 to name and place every part of the instrument upon 
 which he performs; neither will such knowledge give 
 him the requisite skill to play upon the instrument. Of 
 the mechanism of the vocal organs, however, a singer 
 should have a thorough knowledge, though he need not 
 be familiar with the technical terms. There should be a 
 thorough knowledge of pitch, quality, and force. The 
 voice should be under perfect control throughout the 
 entire range. As with the reader, this control will be the 
 result of mechanical work ; and then, when the mechanism 
 shall have been put aside, there will be no false notes, no 
 feeling for a tone, no doubt in the mind of the singer, 
 but a perfect and harmonious result. 
 
 THE LECTURER. 
 
 It is an indisputable fact that it is not what we say; but 
 how we say it, that is effective. Many a worthy lecture 
 falls short of its mission because the lecturer has spent 
 his entire force upon the matter presented, and neglected 
 the manner of its presentation. 
 
 We should never lose sight of the fact that whatever 
 ^/tracts detrimentally to the speaker will if^tract in the 
 same ratio from that which is spoken ; hence the lecturer 
 
24 The Voice 
 
 should fully understand the little instrument upon which 
 he plays. 
 
 Delsarte teaches us that " the whole secret of captivate 
 ing an audience by the charms of the voice consists of a 
 practical knowledge of the laws of sound, inflection, respi- 
 ration, and silence." He further states that " the orator 
 who is ignorant of the laws of sound and inflection re- 
 sembles the debutant who places the trumpet to his lips 
 for the first time. We know the ear-torturing tones he 
 evolves." 
 
 The lecturer should so familiarize himself with the vocal 
 organism that there should not be the slightest effort to 
 produce any vocal or other effect that he may desire. 
 
 THE READER. 
 
 No public reader needs to be informed of the value of 
 a thorough acquaintance with the vocal organs. He 
 should have perfect control of the voice in its entire 
 range. While the eye may resign itself to behold a bad 
 gesture, the ear does not forgive a false note or a false 
 inflection. 
 
 Delsarte makes the statement that " the ear is the most 
 deHcate, the most exacting of all our senses. The eye is 
 far more tolerant. It is through the voice we please an 
 
The Teacher 25 
 
 audience. If we have the ear of an auditor, we easily win 
 his mind and heart. The voice is a mysterious hand 
 which touches, envelops, and caresses the heart.'' 
 
 The reader should have his voice under such control in 
 private practice that he will have no need to control it 
 publicly. It should then respond to every impulse of 
 thought and feeling. He should be no more conscious of 
 the tone he is producing than of his gestures and atti- 
 tudes ; that is, he should not make any of them, they 
 should make themselves. Such results, however, are not 
 accomplished without previous study ; but the study — 
 only as it becomes a part of the reader — will not be 
 made manifest by any mechanism. 
 
 The reader should be able to surrender his body and 
 voice to his subject ; then, when he thinks the character, 
 he will be the character, and the voice will always be in 
 harmony therewith. 
 
 THE TEACHER. 
 
 A teacher's voice is liable to become monotonous, owing 
 to the nature of her work. When a teacher's heart is in 
 her daily duties it is at once discernible in its effect upon 
 the vocal organism, for "the heart giveth grace unto every 
 art." 
 
26 The Voice 
 
 The teacher who Hves upon a mental plane exclusively, 
 will possess a quality of voice not the most desirable, — a 
 cold or mental quality. Such a one should cultivate the 
 moral quality of voice ; that is, the heart or emotional ele- 
 ment, — a tone too often foreign to the school-room. 
 
 In avoiding the mental tone, care should be taken to 
 prevent the other extreme, — that is, the vital tone, — as 
 it possesses the antagonizing element. Seek, therefore, that 
 happy medium whereby pupils are persuaded, though they 
 scarcely know how or why, being unable to solve the 
 mysteries of that psychological influence that surrounds 
 and possesses them. 
 
 HEALTHFULNESS. 
 
 Not the l^ast to be considered in this study of the voice 
 is the matter of health. This applies not only to those 
 whom we have mentioned as especially needing it, but to 
 all who use the voice. It is an acknowledged fact, and 
 one in which our leading physicians concur, that ignorance 
 of the right use of the lungs and larynx causes more cases 
 of bronchitis and pulmonary consumption among students, 
 teachers, vocalists, clergymen, and other public speakers, 
 than all other causes combined. The difficulty arises, not 
 in using the voice too much, but in not using it correctly. 
 Under a skilful teacher there is no danger of the most 
 
Nostrums 2 7 
 
 delicate and sensitive throat being injured, but, on the 
 contrary, all of the vocal organs will be strengthened, and 
 weak lungs will become strong and healthful in their 
 action. Let it be borne in mind that we emphasize the 
 word "skilful." 
 
 Many voices are seriously injured, many ruined, through 
 the ignorance of persons undertaking to teach vocal train- 
 ing, while they themselves know little or nothing of the 
 mechanism of the voice or of its capabilities. 
 
 It will always be found that " a little showing is worth 
 volumes of written work ; " but there are thousands that 
 can be reached by the pen, who cannot avail themselves 
 of the advantages to be gained by coming in contact with 
 the teacher. 
 
 NOSTRUMS. 
 
 Nostrums for the voice should be avoided, or at least 
 discriminately used. They may at first appear to improve 
 the voice, but they will ultimately and permanently injure 
 it. Troches, cough-drops, and expectorants of all kinds 
 should be very sparingly used, as by their too frequent 
 use the tone of the mucous membrane becomes perverted, 
 and serious results follow. 
 
 Keep the throat, especially the pharyngeal cavity, as 
 
28 The Voice 
 
 clear and as clean as possible, as its lining requires the 
 same care in the matter of cleanliness as does the lining 
 of a flute. 
 
 Gargle the throat, night and morning, with salt and 
 water, and you will want no nostrums of any kind, but 
 will be able to baffle any throat disease. It is not always 
 convenient to get fresh water just before retiring and early 
 in the morning; hence we would suggest that a pint or 
 quart bottle of the mixture be kept on hand. How 
 strong? To your liking. We would also advise you to 
 hum some tune, with a good strong voice, while you are 
 gargling; and you will thus give the vocal organs an ex- 
 cellent exercise. Take the voice through its entire com- 
 pass while the water is in the mouth, -^ now high, now low ; 
 now soft, now loud. 
 
 Avoid tight collars and tight neckties, as they induce 
 headache, and fulness of blood in the head, vertigo, dizzi- 
 ness, apoplexy, and, sometimes, paralysis. 
 
 If the throat is very dry, pure hoarhound candy dis- 
 solved in the mouth will be found not only mild in its 
 action but efficacious. 
 
 If you have far to walk to the church or lecture-room 
 or theatre, a hoarhound drop, placed in the mouth and 
 allowed to dissolve slowly, will prevent dryness or irrita- 
 tion, as it coats the mucous membrane of the pharynx. 
 
Nostrums 29 
 
 and protects it from the cold or dust, as the case may 
 be. 
 
 By all means, avoid coughing. The use of the hoar- 
 hound candy, by allaying the inflammation and coating 
 the mucous membrane, may be sufficient. If not, seek the 
 aid of a physician, for there is nothing more irritating to a 
 cough than to cough. 
 
 Constant coughing is precisely like scratching a wound ; 
 so long as it is done the wound will not heal. 
 
 When tempted to cough, draw a long breath and hold 
 it until it warms and soothes every cell, and much benefit 
 will soon result from the process. 
 
 The nitrogen which is thus retained acts as an anodyne 
 to the irritated mucous membrane, allaying the desire 
 to cough, and giving the throat and lungs a chance to 
 heal. 
 
 In case of hoarseness, resulting from cold, manifesting 
 itself a short time before speaking or singing, a little 
 crumb of muriate of ammonia placed in the mouth will 
 give instant relief. Five cents' worth of this (block form) 
 should last a public speaker for years, if not for a life- 
 time. It is not intended that he should make a meal of 
 it. Like many other things, an overdose is not good for 
 the stomach. It is an excellent thing when properly taken ; 
 but it should be used in the manner designated, — that is, 
 
30 The Voice 
 
 only an occasional nibble. We can have too much even of 
 a good thing. The very best thing to use, not only in case 
 of colds, but to prevent them, is care, mixed with judg- 
 ment, and taken ad libitum. 
 
 VENTILATION. 
 
 Ventilation is of special importance, not only as it 
 affects the speaker's health, but as regards the subject 
 now under consideration, — the voice. It is a well known 
 fact that sound is audible in a greater or less degree, 
 according to the density or resistance of the aerial fluid. 
 When that fluid is thin, the sound of the voice is dimin- 
 ished; whereas, if that fluid be wholly removed, as in an 
 empty receiver, no sound whatever will result. 
 
 This explains one of the causes why the voice is more 
 easily heard in a room when it is empty than when it is 
 full ; another cause is that the clothing of the audience (as 
 in the case of carpets and upholstered goods) has a ten- 
 dency to deaden the sound. 
 
 Churches and all public halls should be thoroughly 
 ventilated, not only previous to their use,, but during their 
 use ; the internal heat rarefies the air, thereby forming an 
 obstruction to the voice. We speak of a room " crowded 
 almost to suffocation." This is due not wholly to the 
 
Modulation of the Voice 31 
 
 number of people, but also to the amount of oxygen con- 
 sumed in other ways. It has been proved that every 
 burning gas-jet consumes as much oxygen as sixteen per- 
 sons. Surely it behooves us to look well to the ventila- 
 tion, not only for the care of the voice, but also as 
 regards the health. 
 
 MODULATION OF THE VOICE. 
 
 The modulation of the voice is an essential element to 
 be considered. Every one has a certain pitch of voice in 
 which he is most easy to himself and most agreeable to 
 others. It is only in a certain pitch that the voice can 
 command the greatest variety of tones, so as to utter 
 them with energy and ease. This may be called the nat- 
 ural pitch. • This is the pitch in which we converse, and this 
 must be the basis of every improvement we acquire from 
 art or exercise ; for such is the force of exercise upon the 
 organs of speech, as well as upon every other organ of the 
 human body, that constant practice will strengthen the 
 voice in any key in which we use it, though this happen 
 not to be the most natural and easy at first. This is 
 abundantly proved by the strong vociferations which the 
 itinerants in the street acquire after a few years' practice. 
 Whatever key they happen to pitch upon at first is gen- 
 
2,2 The Voice 
 
 erally preserved ; and the voice in that note becomes 
 wonderfully strong and sonorous. 
 
 As constant exercise is of such importance to strengthen 
 the voice, care should be taken that we exercise it in that 
 tone in which it has naturally the greatest power and vari- 
 ety. This is the middle tone, — the tone we habitually 
 make use of when we converse with, or speak to, persons 
 at a moderate distance. 
 
 The situation of the public speaker is a situation of art; 
 he not only wishes to be heard, but to be heard with en- 
 ergy and ease. For this purpose his voice must be pow- 
 erful in that key which is easiest to him, — in that into 
 which he will most naturally fall, and which he will cer- 
 tainly have the most frequent occasion to use ; and this is 
 the middle tone. 
 
 It is absolutely necessary to obviate a very common 
 mistake with respect to the voice, which may lead to an 
 incurable error; that is, the confounding of high and low 
 with loud and soft. 
 
 SUSTAINING TONES. 
 
 Because we to-day are called upon to speak to a thou- 
 sand where yesterday we addressed a few hundred, it is 
 not necessary that the pitch be raised, in order to reach 
 
Sustaining Tones 33 
 
 the multitude. Experience is the best teacher. The author 
 has had occasion to use his voice, out of doors, day after 
 day to assemblages of five thousand and more, frequently 
 with the wind " dead ahead," or blowing across his path, 
 and he has never failed in being heard by those standing 
 the most remote from him. This did not require any 
 extra effort, and consequently did not result in hoarseness 
 or weariness, but invigorated the entire system of the 
 vocal organs to such a degree that the beneficial results 
 were actually astonishing, and when evening came the 
 voice was full, resonant, clear, and under perfect control. 
 
 An old gentleman, being present every year for four 
 years in succession at these out-door meetings, came upon 
 the platform one afternoon and said : " I have listened to 
 out-door speaking since I was a boy, but I never knew 
 words to carry such a distance with so little apparent 
 effort. I stand near you, and I think you cannot be 
 heard more than a hundred feet away. I go to that point, 
 and then double and treble the distance, and more ; even 
 then I catch every syllable, — not only the vowels, but also 
 the final consonants. So I have concluded there must be 
 a secret about it; and as I am a man of more than three- 
 score and ten, you will not hesitate to divulge it to me?" 
 
 We assured him of our willingness to impart the knowl- 
 edge, but endeavored to impress him with the thought 
 
34 The Voice 
 
 that knowing and doing were two distinct featuies, and 
 that the doing was made perfect by sufficient and careful 
 practice. 
 
 Yes, there is a secret; that is, there are essential points 
 that lie hidden from the general speaker. This so-called 
 secret is threefold : First, the voice must be located or 
 focused against the hard palate, and kept there through 
 the entire clause ; second, the tone must be sustained by 
 the correct use of the diaphragm muscles, thereby manag- 
 ing the diaphragm (as by no other means can we manage 
 the breath) ; third, the words must not be cut or clipped, 
 but well filled, and every element must have its due quan- 
 tity and quality. 
 
 This is the sum and substance of our reply; but for the 
 consideration of the student we will enter more closely 
 into the details of the work. The vowels are full and 
 open, and will naturally carry quite a distance ; but distinct- 
 ness is wholly due to the consonants, as they form the joint, 
 or articulation, between the vowels. Special care must be 
 given to the final consonants ; that is, the voice should 
 be thrown beyond the shut position, without opening the 
 position. Ninety-nine people in a hundred do not send 
 forth their final consonants, but swallow them. 
 
 Belonging to the third essential element, concerning the 
 words, the great secret is to magnify the words in propor- 
 
Sustaining Tones 35 
 
 tion to the distance they are to cover, but to remember 
 that the secret is prolongation and continuity oF sound, 
 not the raising of the voice and making undue effort. 
 
 " Let us suppose," says Delsarte, " a hall with tapestries, 
 a church draped in black. 
 
 " Logic says sing or speak more loudly. But this must 
 be guarded against, lest the voice become lost in the 
 draperies. 
 
 " The voice should scarce reach these too heavy or too 
 sonorous partitions, but, leaving the lips softly, it should 
 pulsate through the audience, and go no farther. 
 
 " An audience is asleep. Logic demands more warmth, 
 more fire. Not at all. Keep silent, and the sleepers will 
 awaken." 
 
 A strong plank in the platform of the Delsarte Philoso- 
 phy of Expression is, "A true artist never shows effort." 
 This is true in every calling, and especially in the use of 
 the 'Voice. The great difficulty to be overcome in out- 
 door speaking is the tendency to rasp or tear the throat. 
 
 Rasping is caused by too much throat effort; that is, 
 too much contraction of the throat for the volume of 
 voice that is sent through it. The throat should be used 
 as a hollow tube through which the voice passes. We 
 must not set the throat, but think the tone we want, and 
 then Nature will do her work in regulating the size of 
 
2,6 The Voice 
 
 the tube. There should always be a reserve of power, no 
 matter how much effort is put forth. Look at the eagle 
 when he is poising. It requires greater effort for him to 
 poise than to fly; yet the effort is not visible, and he thus 
 gives to us a fane example of reserve power. 
 
 As an illustration of sustaining tones, we have the words 
 " boat-a-hoy." No matter how much force is placed upon 
 them, they would be heard no great distance unless they 
 were prolonged, especially the vowels o and oi. Even 
 then, as they are generally called, these words would not 
 be recognized at any great distance, were it not that they 
 are so familiar to all. 
 
 In addressing large audiences, we would say, speak to 
 those sitting in the last row of seats, in such a manner as 
 not to make it unpleasant for those sitting near. Be more 
 particular in regard to the quality of the voice than to the 
 quantity. Be distinct, but not pedantic. In the most im- 
 passioned discourse the same rule holds good, and the 
 orator in his flights of eloquence gets what is termed " a 
 swing to his sentences." The most important part in the 
 execution thereof is what we have termed continuity, not 
 only in the flow of the words, but especially in that of 
 the voice. 
 
 Above all, avoid monotony of tone. Choose the middle 
 key, or, as we have said, your best tone for ease and 
 
Sustaining Tones 37 
 
 strength; then play above and below it. Occasionally 
 raise the pitch ; but the main caution is to avoid begin- 
 ning high, and continuing in that key, especially when 
 by so doing a strain is brought to bear on the vocal 
 organs. The following lines have been frequently given 
 as a criterion for public speakers : — 
 
 " Be self-possessed 
 When most impressed. 
 Begin low, 
 Proceed slow; 
 Rise higher, 
 Take fire." 
 
laart ^econD* 
 
 THE ANATOMY, HYGIENE, AND PHYSIOLOGY 
 OF THE VOCAL ORGANS. 
 
W9 
 
 40 
 
 TAe Voice 
 
 Fig. 2. 
 
 1. Nasal Passage. 
 
 2. Mouth Passage. 
 
 3. Tongue. 
 
 4. Hard Palate. 
 
 5. Soft Palate. 
 
 6. Uvula. 
 
 7. Pharynx. 
 
 8. Epiglottis. 
 
 13. Eustachian Tube. 
 
 9. Larynx. 
 
 10. Vocal Chords. 
 
 11. Food Passage. 
 
 12. Air Passage. 
 
The Nasal and Mouth Passages 41 
 
 THE ANATOMY, HYGIENE, AND PHYSIOLOGY OF THE 
 VOCAL ORGANS. 
 
 TN speaking of the anatomy, hygiene, and physiology of 
 
 these organs as related to the production of voice, 
 
 technical terms will as much as possible be avoided, and 
 
 in their stead we will use only such as are familiar to all. 
 
 Every part in Nature serves two or more purposes. 
 The nasal cavity serves for an air and voice passage ; the 
 mouth cavity, for a food and voice passage, and not for 
 breathing. 
 
 The soft palate acts as a valve, whose primary function 
 is to allow breathing during mastication of food ; its second- 
 ary function is to control the passage of air in the emission 
 of sound. 
 
 The vocal chords serve two purposes, — first, they pro- 
 tect the lungs from small particles of food; second, they 
 produce sound. 
 
 THE NASAL PASSAGE. — THE MOUTH PASSAGE 
 
 The nasal passage is of about the same size as the mouth 
 passage ; although many persons, judging entirely from the 
 size of the apertures leading to each, imagine the nasal 
 passage to be much the smaller. 
 
42 The Voice 
 
 The primary function of the nostrils is breathing, and 
 Nature has so lined the nasal passages with little sieves as 
 to prevent particles of impurity from passing to the throat 
 and lungs. Poisons, when taken from the air through the 
 lips, can be detected only when they are strong enough to 
 be tasted ; if taken through the nostrils. Nature provides an 
 alarm in the sense of smell, and the particles thus inhaled 
 are thrown out by sneezing. 
 
 After using the voice for any extended effort, the lungs, 
 bronchial tubes, and throat are very warm and sensitive ; 
 if cold air reaches them while they are in that condition, 
 serious results, such as congestion, irritation, etc., may fol- 
 low; hence great care should be taken that the breath 
 passes first through the nostrils, where it will be sufficiently 
 heated to pass to the lungs without injury. 
 
 Many persons muffle the outside of the throat with the 
 greatest caution, and leave the inside wholly unprotected 
 or exposed, by keeping the mouth open and taking the 
 breath through it; and the next day they wonder how it 
 is possible to have such a cold when taking such extra- 
 ordinary care. The outside of the throat needs no more 
 protection in winter than in summer. The back of the 
 neck is more sensitive to cold than any other part of the 
 body; and should be well protected in cold weather, 
 especially from draughts. 
 
The Nasal and Mouth Passages 43 
 
 Another source of trouble is the different styles of 
 dressing the throat, — sometimes very high, again very 
 low; soinetimes with heavy wraps, then again with 
 light wraps. While it does not need the protection, it 
 resents the removal of it after it has become accustomed 
 to it. Occasionally, especially in singing, it may be 
 necessary to take breath through the lips; but let it be 
 sipped very quietly, not sucked in, as that dries the throat 
 and \% otherwise very trying; but by thus sipping it no 
 bad results will be experienced. " The nose is the normal 
 air-route for all ordinary occasions in breathing, and the 
 mouth should be brought into use only during extraordi- 
 nary occasions." A cold in the head can be completely 
 broken up by closing the lips and persistently forcing 
 every breath through the nostrils. 
 
 The dog is the only animal that naturally breathes through 
 the mouth ; and this is done as an auxiliary to perspiration, 
 as Nature has intended the tongue of the dog, with its un- 
 numbered pores, to act in the same capacity as does the 
 skin with us. 
 
 The Reds keep the mouth shut, whereas the Whites are 
 much more careless. The teeth require moisture to keep 
 their surfaces in good condition. When the mouth is open 
 the mucous membrane of the throat has a tendency to be- 
 come dry ; the teeth lose their needed supply of moisture, 
 
44 The Voice 
 
 and thence come discoloration, toothache, decay, looseness, 
 and eventual loss of teeth. The Indian warrior sleeps, hunts, 
 and even smiles, with his mouth shut. Mr. George Catlin, 
 in his history of the North American Indians, says he never 
 met one that breathed through the mouth, nor one that 
 was deaf, unless born so. The habit of breathing naturally 
 through the npse would therefore appear to preserve a 
 healthy state of the air-passage (Eustachian tube) from the 
 back of the throat to the middle ear on each side. 
 
 We would like to say to thousands of men, women, and 
 children, Shut yotir mouth ! We would send forth this cau- 
 tion, not as an impudent demand, but as good hygienic advice. 
 
 Catarrh, which is usually a chronic cold in the head, 
 can be greatly relieved, sometimes cured, always prevented, 
 by breathing at all times through the nostrils. If you 
 take a cold, — though you have no right to take anything 
 that does not belong to you, — it will have its immediate 
 effect upon the voice ; and greater caution than ever is 
 then to be observed in the matter of breathing. Under 
 no consideration should you breathe through the mouth. 
 No : no cold, however severe, will completely obstruct the 
 nasal passages if you will it shall not; but you must add 
 works to faith. Force the air through the nostrils, and do 
 not allow them to become fully obstructed. Just as soon 
 as you begin to snufifle and find yourself giving expres- 
 
The Nasal and Mouth Passages 45 
 
 sion to the usual saying, " I believe I 'm taking cold," 
 take a brisk walk, and keep the mouth shut, no matter if 
 your breathing is so labored as to be heard half a block 
 away. " Charity begins at home." Better cause others a 
 little discomfort for a few moments by your sonorous 
 breathing, than suffer a life-time with catarrh and its train 
 of consequent miseries. 
 
 Oh, you have the catarrh now, and wonder if it is too 
 late ! No : never too late to battle with disease, though 
 sometimes too late to conquer. As this volume is devoted 
 strictly to voice and breathing, we do not consider it out 
 of place to prescribe a remedy for those who are unfor- 
 tunate enough to suffer from that terrible malady and 
 deadly foe to pure voice production. We will give two 
 recipes, as we have known both to be efficacious: — 
 
 First: salt (sea-salt preferred) dissolved in tepid water, 
 and taken through the nostrils. 
 
 Second : one ounce of borax dissolved in one quart of 
 rain-water, and taken through the nostrils. 
 
 Caution : never snuff any liquid through the nostrils, as 
 it is liable to enter the Eustachian tube and result in deaf- 
 ness, thus purchasing release from catarrh at the expense 
 of the hearing. Use a douche, but not at a height to 
 cause too much force. Then, in order to prevent the 
 liquid from entering the tube spoken of, hum a nasal 
 
46 The Voice 
 
 element {m or li) while you are using the douche. The 
 humming of the nasal element will close the tube. For 
 the last recipe a Chicago doctor charges the modest sum 
 of $2'^. This is cheap enough if it cures, and we have 
 known it to do so. Have the water tepid when used. 
 Our motto is, " Freely ye have received, freely give." 
 
 THE TONGUE. 
 
 The tongue is used principally (vocally speaking) in 
 enunciation and articulation, and, as we well know, is 
 often a very unruly member, but it must be placed under 
 perfect control before being able to produce the best 
 vocal results. At least seventy-five per cent of all defects 
 in speech arise from the incorrect or insufficient use of 
 the point of the tongue; and while the point must be 
 trained for accuracy, the back of the tongue, also, must 
 be under perfect control, so that it may be lowered at 
 will. This can be done only by proper vocal gymnastics, 
 such as will be found under our vocal exercises. 
 
 THE HARD PALATE. — THE SOFT PALATE. — THE 
 UVULA. 
 
 The hard palate is, as its name signifies, hard or inflexible. 
 It ends where the line indicates (Fig. 2), and said ending 
 
The Soft Palate 
 
 47 
 
 Fig. 3- 
 
 1. Hard Palate. 
 
 2. Soft Palate. 
 
 3. Uvula. 
 
 4. 4. Tonsils. 
 
 5, S- Anterior Pillars. 
 
 6, 6. Posterior Pillars. 
 7- Pharyngeal Cavity. 
 8. Tongue. 
 
48 The Voice 
 
 can be readily distinguished by the pressure of the finger 
 from the upper teeth, backward, in the roof of the mouth, 
 until it touches the beginning of the soft palate, which is of 
 about the same length as the hard palate, though flexible. 
 
 The soft palate (as will be seen by referring to the cut of 
 the same, Fig. 3) is supported by two sets of pillars, known 
 as the anterior and posterior. Dropping between them, 
 and pendent from the centre of the soft palate, is the 
 uvula (No. 6, Fig. 2), represented by No. 3 in the 
 diagram giving a front view, such as is seen when looking 
 in the mouth (see Fig. 3). This shows the uvula and pillars 
 in their natural position. The soft palate may be so raised 
 and contracted that the uvula will almost, if not entirely, 
 disappear. 
 
 The uvula is often erroneously called the palate, and 
 the elongated uvula is often spoken of as " the dropping 
 of the soft palate." When the posterior pillars are so 
 weak that they cannot do their work, the uvula becomes 
 elongated and swollen, and is always in the way. When 
 the uvula is long enough to lie against the back of the 
 tongue, it causes coughing and hacking, or what is known 
 as '■ clergyman's sore throat," though this is not always 
 the cause of this disturbance. 
 
 Between the anterior and the posterior pillars lie the 
 tonsils, — another source of annoyance to vocalists. These 
 
The Soft Palate 49 
 
 tonsils sometimes become so enlarged that a free passage 
 of air is impossible. In such cases physicians resort to 
 the knife, and the tonsils are removed and the uvula 
 clipped. When this is properly done temporary relief will 
 follow; but oftener the voice is ruined forever. How 
 fnuch better, by vocal exercises especially adapted to the 
 work, to strengthen the pillars of the soft palate so that 
 they can do their work properly, and thus put them in a 
 healthful condition ! The surgeon's knife does not remove 
 the cause, either in the case of the elongated uvula or of 
 the swollen tonsils ; and the same cause will produce a 
 like result. 
 
 Nothing short of proper vocal treatment will entirely 
 and permanently remove the trouble. Just as any weak 
 member of the body may be strengthened by judicious 
 exercise, so all these may be likewise strengthened. 
 
 The position of the posterior pillars of the soft palate 
 also affects the tones of the voice. If one has a high, 
 light voice, the pillars approximate closely; and the dis- 
 tance between the pillars must be widened if the tone is 
 to be lowered and broadened. The pillars must have suf- 
 ficient vitality to lift the soft palate, so that it will form 
 no obstruction to the tone in singing or reading. 
 
 During mastication the soft palate drops down on the 
 tongue so as to shut off the passage of air through the 
 
50 The Voice 
 
 lips, and thus prevents the particles of food from slipping 
 down the air passage. 
 
 By the soft palate, acting as a valve, nasal and pure 
 tones are regulated. What are commonly called nasal 
 tones are, in reality, catarrhal tones; that is, the nostrils 
 are so closed that the nasal elements {in, n, ng) cannot 
 pass through them. A person with a severe cold does 
 not talk through his nose, but in reality without its use, 
 as, the nasal passages being Closed, he substitutes the cor- 
 responding consonants, b for m, d for «, g for ng. 
 
 Good morning, Mr. Smith (clear tone). 
 Good bordig, Bister Sbith (catarrhal tone). 
 Lines to Mary Jane (clear tone). 
 Lides to Bary Jade (catarrhal tone). 
 
 It will be seen that the clear tones include the nasal 
 elements, while the catarrhal tones exclude them. 
 
 Nasality is sending through the nostrils tones or words 
 that do not contain nasal elements. The cause of this 
 defect is the dropping of the soft palate, owing to the 
 weakness of the posterior pillars. 
 
 To prove whether nasality exists, the following simple 
 experiment will suffice. Take any sentence in which m, 
 11, or ng does not occur (for example, " I have a desire 
 to test this ") ; clasp the nostrils with the thumb and fin- 
 
The Soft Palate 51 
 
 ger (completely closing the nostrils) ; then, if you can 
 speak the words with perfect clearness, you may rest as- 
 sured there is no nasality; but if, on the other hand, you 
 find some of the words trying to press their way through 
 the nostrils, thereby causing the tones to be impure, you 
 may be equally confident that nasality exists. The soft 
 palate should have such vocal training as will give the 
 necessary life to its supports; that is, to the posterior and 
 anterior pillars. Where the aid of the teacher cannot be 
 had, it will be found that the following exercise will be of 
 great benefit in the removal of nasality. Practise wholly 
 upon sentences in which the nasal elements {in, n, and 
 ng) do not occur, holding the nostrils, as before stated, 
 and talking the sentence at a distant object — yes, at the 
 object — in such a way as to require the opening of the 
 throat. 
 
 Care should be taken to increase the force rather than 
 raise the pitch. You will readily recognize the lifting of 
 the soft palate by speaking the vowel i ; more especially 
 by first speaking a and e, which do not require so much 
 of the lifting, nor so open a position of the throat, as 
 does the vowel i. Look at some object farthest from you 
 in the room ; then say a, then e ; then open your mouth well 
 and get ready to say i, but do not say it till you have 
 recognized the lifting of the soft palate. 
 
52 The Voice 
 
 The nasal tone having been spoken of, as to its cause 
 and cure, we will speak briefly of other tones. 
 
 The guttural tone is produced by the base of the tongue 
 coming in too close proximity with the back of the phar- 
 ynx. Our vocal exercises of thinking the gape and giving 
 broad a (awe) will remove this difficulty. 
 
 The metallic tone is caused by the too close proximity of 
 the pillars of the soft palate. To remedy this difficulty 
 take such exercises as we have given for the broadening 
 of the pillars of the soft palate : think a gape and give 
 awe ; also oo — awe, and all exercises of broad a. 
 
 The orotund tone is one of the most desirable, and requires 
 a full expansion of the pharyngeal cavity. Send the 
 words and tones well forward, but open the throat and 
 allow them to reverberate. The exercises taken to remove 
 guttural and metallic tones will produce the mechanism 
 necessary for orotund tones. 
 
 Huskiness is caused by the escape of too much breath. 
 Read what we have said in regard to the management 
 of the breath. 
 
 Straining of the voice is caused by too much tension 
 of the vocal chords, and too much force. Many things 
 are benefited by straining, but the voice is not one of 
 them. 
 
 There must be the relaxation of the vocal organs, good 
 
The Soft Palate 53 
 
 position, and management of the breath, of which we have 
 spoken elsewhere. 
 
 The voice is originated by vibrations of the vocal chords, 
 and it is affected by the cavities through which it passes. 
 The quality of the voice depends chiefly upon the posi- 
 tions of the organs farther forward than the vocal chords. 
 Our vocal exercises are intended as vocal and breathing 
 gymnastics, which will give perfect control of the vocal 
 organs. 
 
 Many speakers are troubled with dryness of the throat 
 and mouth, and resort to liquids to remove the trouble. 
 Again, we must remove the cause in order to remove the 
 effect. This dryness arises either from nervousness (which 
 causes the ducts of the salivary glanjds to become closed), 
 or by taking the breath with too much force through the 
 lips. To remove the first, get your self-possession ; to re- 
 move' the second, breathe more through your nostrils, or, 
 as we have said, sip your breath instead of sucking it. 
 With many persons, this nervousness of which we speak 
 produces an excessive amount of saliva in the mouth ; in 
 which case observe the first caution, — that is, in regard 
 to self-possession. The throat is too warm even to admit 
 of cold water when using the voice. 
 
54 The Voice 
 
 THE PHARYNX. 
 
 The pharynx, or pharyngeal cavity, is of the utmost 
 importance in the production of tone, as it is the seat of 
 resonance. Resonance is the reinforcement of sound by 
 cavities. Against the hard palate, just back of the upper 
 gum, is what is' known as the " reception-room of the 
 voice." Tones sent to this reception-room must be allowed 
 to go back to the pharyngeal cavity, there be reinforced, 
 and then go forward again, passing through the lips. The 
 more complete the opening of the pharyngeal cavity, the 
 better for the purity of the tone and the volume. 
 
 Many suppose it is only necessary, in using the voice, 
 to get the mouth open. This is a grave mistake, as open- 
 ing the mouth does not necessarily open the throat; and 
 unless the throat is open there can be no resonance, no 
 reverberation. Notice the throat of a bird when it is sing- 
 ing, — how it swells or fills the pharyngeal cavity. This is 
 the indication of an open pharynx. The same thing 
 should take place in the human throat. The outward 
 proof is, not at the lips, but just below the chin, as indi- 
 cated by the dotted line in the diagram (see page 40). It 
 is not, then, wholly in opening the mouth, as the mouth 
 may be opened so wide as to narroiv the pharynx. 
 
 The mucous membrane of the pharynx is exceedingly 
 
The Pharynx 55 
 
 sensitive, and is congenial soil to disease; hence another 
 reason for taking the breath through the nostrils. Diph- 
 theria and all contagious diseases of the throat are carried 
 in this way to the pharynx, and lodged on this delicate 
 membrane, soon developing into the worst forms of throat 
 disease. The lining is to the throat what the skin is to 
 the body, and should therefore be kept in a perfectly 
 healthful condition. 
 
 We also find that the pharynx is materially affected, 
 temporarily, by articles of diet, such as cheese, cold milk, 
 acids, etc. These thicken and otherwise affect the mucous 
 membrane for the time, and should always be avoided just 
 before using the voice. 
 
 Tobacco, also, in any form, has a deleterious effect upon 
 all the vocal organs. 
 
 Acids may serve to cut the phlegm, if there is any, but 
 will draw or pucker the mucous membrane of the phar- 
 ynx; and all acids, by their astringent qualities, must 
 prove, pro tern., detrimental to the voice. 
 
 Caution should also be observed in regard to eating a 
 hearty meal just previous to any prolonged use of the 
 voice ; for so great is the sympathy between the stomach 
 and the throat, that whatever affects the former is sure to 
 affect the latter. Not only that, but a full stomach is also 
 detrimental as regards management of the breath. 
 
56 The Voice 
 
 " An overloaded stomach, or one containing indigestible, 
 fermenting food, produces gases which distend the organ, 
 and is an effectual obstacle to the action of the diaphragm. 
 Every singer and speaker knows this fact practically, though 
 he may never have thought of the matter scientifically. 
 
 "The diaphragm cannot fully contract when the stomach 
 is distended. Besides, the attention of the nervous system 
 is taken up with the active process of digestion, and it 
 cannot have so much energy to spare to work properly 
 the vocal and respiratory apparatus. If food must be 
 taken immediately before the diaphragm is to be put to 
 hard work, it should be an easily absorbable and diges- 
 tible liquid." 
 
 THE EPIGLOTTIS. 
 
 The epiglottis is fastened to the tongue, and is held in 
 place by it as it drops upon the trachea, or air passage. 
 This is the position of the epiglottis when the throat is 
 closed as in swallowing. It has been generally supposed 
 that its only office is to prevent solids and liquids from 
 passing into the trachea, or air passage ; but recent ex- 
 periments have proved that animals experience no diffi- 
 culty in swallowing after the epiglottis has been entirely 
 cut away. 
 
 Its effect upon the voice is the same as that produced 
 
The Larynx and the Vocal Chords 57 
 
 upon the tone of an organ by a valve attached to the 
 organ pipe. When not using the voice, it is erect; but 
 the moment singing is commenced, it constantly changes. 
 
 As the larynx is often called the glottis, the lid of the 
 larynx is called the epiglottis ; the vocal chords, the lips 
 of the glottis ; the opening, the chink of the glottis ; the 
 force of the air upon the chords, the stroke of the glottis. 
 
 THE LARYNX. —THE VOCAL CHORDS. . 
 
 The larynx is composed of cartilages, and is situated at 
 the top of the trachea, or air-passage (No. 12, Fig. 2), and 
 fastened to it by the cricoid bone, in shape like a horse- 
 shoe, the open part toward the back. The hyoid bone 
 (commonly called Adam's apple) acts as a shield, extend- 
 ing half-way around, and protecting, the larynx. 
 
 Inside the larynx are the lips of the glottis, or vocal 
 chords, of which there are two sets ; namely, the superior 
 and the inferior, so named from their position: the supe- 
 rior being above and nearest the opening, and directly 
 opposite each other; the inferior beneath, and also oppo- 
 site each other. 
 
 The vocal chords are not merely attached at the ends 
 (as the name might seem to indicate), but are fastened 
 all along, the sides. 
 
58 
 
 The Voice 
 
 " Ledges," or " shelves," will perhaps give a clearer idea 
 of the position than the word " chords," and we would sug- 
 gest the iise thereof, inasmuch as terms often mislead. Foi 
 the same reason it is better to use the names " true " and 
 " false," as applied to the two sets of chords ; that is, the 
 superior and inferior. In a healthy state of the chords 
 the superior, or false, oneS| do not vibrate, and are sup- 
 
 FiG. 4. 
 A View of the Vocal Chords by means of the Laryngoscope. 
 
 posed to have nothing to do in producing tone; but it 
 has been recently claimed by laryngoscopists that when 
 the true chords are so diseased as to be useless, the false 
 chords partially perform their work. 
 
 Between the true and the false chords are cavities, or 
 ventricles. While the false chords have nothing to do 
 with the production of tone by vibration, they are useful 
 
The Larynx and the Vocal Chords 
 
 59 
 
 in the formation of the ventricle, and tlius, no doubt, 
 have some special bearing on the voice. 
 
 Position of the Vocal Chords. 
 
 Fig 5. 
 Inhalation and Exhalation. 
 
 Fig. 6. 
 Vocalizins: — Low Tones. 
 
 Fig. 7. 
 Vocalizinof — High Tones. 
 
 As the air passes over the chords, they are set in mo- 
 tion ; and although there are but two, they may be made 
 to produce an almost incredible number of tones, from 
 
6o The Voice 
 
 the lowest base to the highest falsetto ; sometimes vibrat- 
 ing their entire length and width, at other times only a 
 part of their inner edges. 
 
 Thus these two chords, by being variously adjusted (by 
 Nature), give to us the tones produced by the many chords 
 upon the piano and other musical instruments. In a piano 
 we have the long, thick string for the bass, and the short, 
 thin one for the high notes, — a short string always vibrat- 
 ing more rapidly than a long one. 
 
 Pitch is determined by the rate of the vibration ; quality, 
 by the shape of the vibration ; loudness, by the extent or 
 amplitude of the vibration. No one can make a loud tone 
 with the mouth closed, or nearly so. The vocal chords 
 should not be adjusted by thinking of a certain position 
 you wish to take, but by thinking of the tone, when the 
 chords will adjust themselves, leaving all the muscles flex- 
 ible and under perfect control. 
 
 If you wish to lift some heavy object, do you stop to 
 consider what particular muscles are required for the act? 
 Certainly not. Possibly you could not tell if you wished 
 to. The only question is whether you have sufficient 
 strength in the muscles needed to do the work. If you 
 have, they will respond to the needs, and the work will 
 be accomplished. There is apt to be too much effort in 
 making low tones, trying to push the larynx down by a 
 
The Larynx and the Vocal Chords 6i 
 
 movement of the chin. In high tones it raises itself, and 
 no effort seems necessary. If Nature attends to it in high 
 tones, why not in low ones as well? 
 
 In all vocalization there must be perfect independence 
 of parts ; and until one can lower the larynx for a low 
 note without a desire to help it, or take a high note with- 
 out feeling obliged to throw the head up, there is but 
 little of the true artist developed. W'c repeat, that we 
 may the more impress, the Delsartean maxim : " A true 
 artist shows no effort." Vocal exercises should be such 
 as will secure this independence of which we have spoken, 
 and take all thought from the larynx. Nature gives a 
 certain compass, but it requires a master to enable us to 
 get that compass accurately and easily. 
 
 Some fail to get their lowest notes, from a habit of con- 
 tracting the larynx. Take the lowest note you have been 
 in the habit of giving, then think just one lower ; make 
 no effort whatever with the larynx, and you will observe 
 that the chords relax ; then strike your note, and the 
 result will be a purer tone in consequence of the relaxa- 
 tion of the chords and the less constrained position of the 
 throat. Work from that note and in that manner, being 
 sure there is no more effort made at any time than with 
 the first note. In this way the habit of contraction and 
 the too great tensity of the vocal chords may be over- 
 
62 The Voice 
 
 come. The relaxation comes, not from any adjustment of 
 the chords, but from thought. While we are thinking the 
 tone, the chords adjust themselves; but, on the other hand, 
 thinking to adjust them for a low note increases rather than 
 decreases their tension. The chords, or lips of the glottis, 
 are like the lips of the mouth, in the matter of adjustment; 
 there must be activity, yet flexibility. When the breath 
 is simply blown through them, they contract but do not 
 vibrate ; but when voice is produced, the contraction is 
 greater, and the vibration is greater or less according to 
 the pitch. 
 
 Sometimes there is but a slight vibratory movement, or 
 rattling, of the chords when one is talking. This comes 
 from a lack of vitality, caused either by inflammation or 
 from straining the chords, which is often followed by 
 over-relaxation. If this relaxation, or rattling, is caused 
 by weakness, place some heavy article on the palms of 
 the hands (an Unabridged Dictionary or large Bible), and 
 standing erect, with the forearms at right angles with the 
 upper arms, you will perceive that the effort required to 
 hold the object will give support to the tone, as it in- 
 creases the tension of the vocal chords, gives an active 
 chest, strengthens the muscles of the abdomen, and thus 
 supports the tone. (See Fig. 25.) 
 
 We would suggest that these exercises be practised with 
 
The Larynx and the Vocal Chords 63 
 
 medium tones, and thereby be secured greater tension of 
 the chords. 
 
 It should be remembered that the first duty of the 
 vocal chords is that of opening and closing the glottis, 
 — the portal of the lungs. Shut the vocal chords as soon 
 as the air is inhaled, and then lock it in the lungs; when 
 this is done, and sound is to be emitted, allow only so 
 much of an opening as is actually necessary; for if there 
 is too little tension of the vocal ligaments, too much air 
 is wasted. The wider the crevice, the more freely can 
 the wind blow through ; but the sound will vary in pro- 
 portion to the size of the opening. 
 
 It is one thing to train the organs by producing good 
 tones ; it is quite another to produce good tpnes by train- 
 ing the organs. 
 
 For full, round tones, practise vowels that will admit of 
 rounding and protruding the lips. Keeping the lips flat, 
 when they should be rounded, will very greatly change 
 the quality of the voice. In proportion as the lips pro- 
 trude in producing low tones, the larynx sinks and the 
 chords relax. 
 
 To reach the higher tones, draw the lips to or toward 
 a smiling position. 
 
64 The Voice 
 
 THROAT CONTRACTION. 
 
 The minister uses his voice once a week, sometimes 
 oftener, and in a few years he finds it is worn out. What 
 is the reason? Simply contraction of the pharynx. The 
 opening is too small for the force sent through it, and a 
 straining and rasping are kept up until Nature rebels, and 
 the effort can be continued no longer. 
 
 A little careful practice, such as is given in our voice 
 exercises, will bring about the desired results. The throat 
 will open readily in, response to the thought; a free use 
 of the lips will be acquired, and the tones will locate 
 themselves forward. 
 
 THE TEACHER. 
 
 A teacher's voice is used somewhat differently from that 
 of a minister, but with very much the same results. Not 
 needing the same force, the throat is not strained so much, 
 but is otherwise injured by the voice being kept in one 
 groove or channel' for consecutive hours of labor; the 
 chords sometimes becoming paralyzed from lack of proper 
 and varied exercise in their use. For this we would sug- 
 gest a more careful modulation of the voice. Avoid mo- 
 notony in the use of the voice in the school-room, as well 
 
The Teacher 65 
 
 as in every other place. Teachers should be especially 
 .careful (in cold weather) to breathe through the nostrils 
 after passing the whole day in the warm, close school-room, 
 and using the voice so continuously. It is better to avoid 
 all conversation during the walk home, as very few can 
 talk during a walk of even one block without inhaling 
 some air through the lips. By practice you can 'accustom 
 yourselves to closing the lips the instant the breath is 
 needed. 
 
 One of the best breathing exercises a teacher can take 
 is going upstairs, about three flights, with the mouth 
 shut, and keeping it shut, until the quickened breathing 
 is once more normal. Talking or laughing should be 
 avoided until that normal condition of the lungs is at- 
 tained. By observing this caution, the stairs, which often 
 seem a curse to the teacher, will prove a blessing. The 
 clothing should be easy about the waist, so as to allow 
 and encourage deep breathing, in place of clavicular (upper 
 chest) breathing. 
 
 " In every voice there are three registers or classes of 
 tones, — chest, medium, and head tones. In singing, the 
 first and last are subdivided into lower and upper chest, 
 lower ahd upper head tones. A change in the register 
 always means a change in the larynx. While many 
 teachers say nothing about registers, all have the same 
 
66 The Voice 
 
 aim ; namely, so to smooth the voice that as you pass from 
 one to another, the change will not be perceptible. The 
 following represents a voice with bad registers : — 
 
 " It is very noticeable when the change is made from 
 one to the other. The work must be done very carefully 
 and systematically; not attempting to cut off the corners 
 all at once by practising on the tones where the break 
 occurs, but working from above and below until the 
 result obtained is more like this : — 
 
 " Then let it be strengthened, built up. This is what 
 is known in singing as the Italian method. 
 
 "It might be illustrated thus: O O O O' "^^^ 
 first represents the voice reduced to pure sweet tones; 
 the second, the same with power added ; then the third, 
 and so on, until the greatest power of which it is capable 
 has been attained. 
 
 "The great mistake made by singers is not knowing 
 when they have reached the limit ; and many who possess 
 voices of only \^ power are trying to use one of ^ J 
 power. 
 
The Food and Air Passages 67 
 
 " In the reading as well as in the singing voice, one 
 should be able to go from chest to medium or to head 
 tones without any apparent effort or without a break. 
 While a medium tone is generally the pleasantest for ordi- 
 nary conversation, the others should be ready to respond 
 instantly if needed." ^ 
 
 THE FOOD PASSAGE. —THE AIR PASSAGE. 
 
 Below the larynx lies the trachea, or air passage, and 
 back of that the oesophagus, or food passage. This food 
 passage is composed of cartilages, normally closed, which 
 open only one at a time. It is separated from the air 
 passage by a light, thin membrane. Below this the 
 trachea, or air passage, branches off and forms the bron- 
 chial tubes, which are also exceedingly sensitive parts of 
 the vocal apparatus. 
 
 Without dwelling upon the causes of bronchitis, etc. 
 (for they are to a great extent those already mentioned 
 as affecting the other organs), we will say that all bron- 
 chial difficulties can be relieved and prevented by careful 
 and persistent vocal gymnastics, such as will put all tones 
 well forward, and leave the throat an open, unobstructed 
 passage-way; and above all follow our directions under 
 
 1 Prof. W. L. Tomlins, Chicago. 
 
68 The Voice v 
 
 Voice Exercises, for keeping an active chest, and thus pre- 
 vent the effort and consequent exhaustion that are brought 
 to bear upon the bronchial tubes and the lungs. v 
 
 THE EUSTACHIAN TUBE. 
 
 This tube /derives its name from the discoverer, a learned 
 Italian physician by the name of Eustachius, who died at 
 Rome, 1574. 
 
 It is a slender pipe, affording a passage for the air from 
 a cavity in the ear to the back part of the mouth. It ex- 
 tends from the inner side of the tympanum, and opens at 
 the back of the nostrils. 
 
 It is exceedingly delicate and sensitive; hence great 
 caution should be observed in snuffing liquids for the cure 
 of catarrh. Many cases of deafness have arisen in conse- 
 quence of the misuse of various liquids for this purpose. 
 (See page 45.) 
 
The Diaphragm 
 
 69 
 
 Fig. 8. 
 
 Fig. 8 represents the irregular dome shape of the diaphragm as it is in 
 the body during its relaxed state; the digitations of the anterior border 
 are those which correspond with digitations of the transverse abdominal 
 muscle. The crura running down upon the anterior surface of the 
 vertebral column, and the aortic and oesophageal openings are also 
 indicated. 
 
 Note. — We are indebted to Mr. Edgar S. Werner, of New York, for 
 Figs. 8-14 inclusive. These are from his well-known publication, "The 
 Diaphragm," by J. M. W. Kitchen, M.D. 
 
yo The Voice 
 
 DIAPHRAGMATIC vs. CLAVICULAR BREATHING. 
 
 We are now brought to the consideration of the founda- 
 tion of all voice work; that is, proper breathing and con- 
 trol of the breath. By control of the breath we mean 
 control of the diaphragm, as this is the only way to 
 secure it. 
 
 This has been the subject of much contention. We 
 have taught and practised the diaphragmatic breathing for 
 years, and can testify to its ease and power. The superi- 
 ority of diaphragmatic breathing, as compared with the 
 clavicular, is thus set forth: — 
 
 First, the system which will enable us to take the great- 
 est amount of air into our lungs with the least effort must 
 be declared the best. Of all methods of breathing, the 
 clavicular, or high, breathing furnishes the smallest amount 
 of air with the greatest effort. 
 
 Second, the diaphragm is the principal factor in respira- 
 tion, and hence the natural conclusion is that abdominal 
 breathing is only following the dictates of Nature. 
 
 Third, " it is impossible to bring out the full abilities 
 of the phonating and articulating mechanism, unless the 
 whole of the air-propelling and controlling apparatus is 
 harmoniously used; and of this apparatus the diaphragm 
 
Diaphragmatic vs. Clavicular Breathing 71 
 
 is the most important part. The clavicular type is partic- 
 ularly well shown in women who have constricted waists." ^ 
 
 The gentleman above quoted, in speaking of a lady 
 who had received lessons from those who were reputed 
 to be the very best vocal instructors on both sides of the 
 ocean, said of her breathing, " It was almost wholly cla- 
 vicular in its type. What a commentary on the best 
 instructors ! " Most warmly, most cordially, do we take 
 Dr. Kitchen by the hand for saying that " the corset is 
 the worst enemy of the diaphragm." In our teachings 
 and lectures we have ceased to call it a corset, but speak 
 of it in more truthful terms as a curse it. 
 
 We desire to add a word in reference to abdominal 
 breathing. The term is misleading. We would suggest 
 the use of the woM " diaphragmatic " or " diaphragm " 
 breathing. Serious results have followed in the practice 
 of abdominal breathing, as it is generally understood. The 
 abdomen does not breathe, the chest does not breathe ; yet 
 we have abdominal breathing and chest breathing. 
 
 Correct abdominal breathing is a healthful and invigo- 
 rating exercise; for in the contraction of the diaphragm, 
 it presses upon the stomach and liver, which lie directly 
 underneath. This movement upon the stomach is a pro- 
 moter of good digestion. The term " abdominal breath- 
 
 1 Dr. Kitchen. 
 
72 The Voice 
 
 ing " derives its name from this forward movement of the 
 abdomen. 
 
 " When the diaphragm is in use, the action is called 
 diaphragmatic breathing, and sometimes, though incor- 
 rectly, abdominal breathing. When the lower ribs are 
 brought into play, the act is known as costal, or rib, 
 breathing. 
 
 " If the upper ribs take part, the movement is called cla- 
 vicular breathing; so called because of the motion being 
 prominent under the clavicular, or collar, bones. Some- 
 times dorsal breathing is mentioned. This is when the 
 dorsal part of the vertebral column is somewhat straight- 
 ened, in which position the ribs have a better chance to 
 act their full capacity."-' 
 
 When we use the term " diaphragmatic breathing," we 
 include abdominal, costal, and dorsal; that is, front, side, 
 and back. The diaphragm is a muscle extending through 
 the body, fastened all around, much higher in the front 
 than in the back, separating the lungs and heart above 
 from the stomach and liver underneath. The diaphragm 
 forms a floor to the lungs and a roof to the abdomen. 
 We would liken it, in appearance' and action, to a drum- 
 head, — when loose and uncontrolled, giving very uncertain 
 tones; when drawn tense and controlled, giving a solidity 
 
 1 Dr. Kitchen. 
 
Diaphragmatic vs. Clavicular Breathing 'jt, 
 
 Fig. 9. 
 
 Fig. 9 represents an outline of a lateral section of the upper part of 
 the trunk. The extreme superior eurvature of the diaphragm is repre- 
 sented by the irregularly convex heavy line crossing the body below the 
 armpits. The dotted line represents the anterior and antero-lateral 
 margins of the diaphragm, following the border of the costal cartilages. 
 The position given is that of the diaphragm during its relaxed state. 
 
74 The Voice 
 
 which can be obtained in no other way. The abdominal, 
 costal, and dorsal muscles (which we will call waist muscles) 
 act as do the strings around a drum ; that is, they are 
 tightened by muscular action (not by corset strings) to 
 cause tensity of the diaphragm, as the strings around the 
 drum are tightened to cause tensity of the drum-head. 
 
 Every part of the lungs should be filled. To do this 
 there must be expansion at the waist to allow the dia- 
 phragm to pass down, and thus make room for the inflated 
 air-cells. If the clothing is sufficiently loose, it is compara- 
 tively easy to acquire this deep breathing; but it is quite 
 another thing to control the breath after getting it there. 
 
 To control the breath, draw around you an imaginary 
 elastic belt, and, while you inhale, you should endeavor 
 to expand the waist, and thus fill the belt; but when yon 
 exhale, do not let go of the waist muscles, because in so 
 doing you give too much freedom to the diaphragm ; but 
 try to keep the belt filled, by a steady but not too rigid 
 pressure outward. By thus controlling the diaphragrh, you 
 control the expenditure of breath. 
 
 This matter of breathing is of such importance, that we 
 will ask the reader to bear with us a moment, while we 
 endeavor to remove any obstacle that may have presented 
 itself on the subject of diaphragmatic breathing. We ap- 
 prehend one special difficulty, and will meet it here in 
 these pages. 
 
Diaphragmatic vs. Clavicular Breathing 75 
 
 Fig. 10. 
 
 Fig. 10 represents the lateral recession of the chest walls, and the ele- 
 vation or passive arching of the domes of the diaphragm during forced 
 expiration. The pencilled outlines represent the chest and diaphragm 
 during respiratory relaxation ; the inked lines, the same parts during 
 forced expiration, the domes of the diaphragm being pressed upward by 
 the abdominal organs, which are displaced by the contraction of the 
 abdominal muscles. It will be noted that the antero-lateral border in- 
 dicated by the starred line descends, and the chest walls recede, during 
 this action in the parts. 
 
76 The Voice 
 
 If the diaphragm contracts (or passes down) during in- 
 halation, and the abdomen is pressed forward ; and if the 
 diaphragm relaxes (or rises) during exhalation, and the 
 abdominal muscles also relax, — is it not contrary to nature, 
 and consequently hurtful, to contract the muscles of the 
 abdomen in the expenditure of tone? No ; the harm 
 arises (not physically, but vocally) from allowing too great 
 freedom to the diaphragm. This undue pressure forces 
 the air out of the lungs, and thus renders it incapable of 
 being controlled. The slower the abdominal muscles re- 
 duce their tension, the slower will the air escape from the 
 lungs. In ordinary, or even excessive breathing, when 
 tone is not produced, there is not so much need of reg- 
 ulating the diaphragm; but when voice is required, the 
 diaphragm must (by previous practice) be unconsciously 
 controlled. 
 
 Now to the point. If in ordinary breathing we do not 
 need the control, but in voice production we do, then it is 
 only reasonable to assert that we must seize upon the means 
 for that control. This can be accomplished in only one 
 way ; that is, we must control the diaphragm by controlling 
 the waist muscles. We are not going contrary to nature 
 when we exert an effort at the waist, but we are aiding it. 
 The diaphragm still passes up (or relaxes) during exhala- 
 tion ; but it does not move so rapidly as it is regulated by 
 
Diaphragmatic vs. Clavicular Breathing 77 
 
 Fig. II. 
 
 Fig. II represents in outline the lateral cut of the upper part of the 
 trunk. The pencilled lines represent the trunk, the superior curvature of 
 the diaphragm, and the antero-lateral borders of the organ during respira- 
 tory rest and diaphragmatic relaxation. The thin dark lines show the 
 change of shape made in the lateral walls of the chest during a full respira- 
 tory effort, the diaphragm contracting. It will be remembered that at the 
 lateral curvature of the ribs the border of the diaphragm is raised and 
 the chest walls are protruded laterally outward during a decided inspira- 
 tion. This change of position is indicated by the starred lines. It will 
 be also noted that the diaphragm, in thus making a decided contraction, 
 flattens out somewhat. The domes on either side of the median line de- 
 scend ; but the middle of the curvature, especially near the situation of 
 the ensiform cartilage, and the extreme lateral borders, are somewhat 
 elevated above the position of relaxation. 
 
78 The Voice 
 
 the waist muscles. There should be a conflict going on 
 between the diaphragm and the waist muscles, and the 
 waist muscles must win the victory; hence the outward 
 pressure, the hardening of the waist, the tension of the 
 waist muscles, the filling of the belt, are all terms ex- 
 pressive of the one essential action of the controlling of 
 the diaphragm. If the tone is to be one of long duration, 
 then the movement of the muscles outward should be 
 steady; but in case of an explosive tone the movement 
 should be quick and decided. 
 
 The three sets of muscles of which we spoke — the 
 abdominal, or front ; the costal, or side ; and the dorsal, or 
 back — perform each its function, by J«>2>2g- the diaphragm 
 as it passes down, and controlling it, so that the breath is 
 not pushed out at once, but is economized that it may be 
 used as needed. 
 
 The chest should be lifted muscularly from off the lungs, 
 and held there at all times, so that there will be no move- 
 ment of the upper chest either when inhahng or exhaling. 
 This should become habitual, and not simply at times of 
 deep inhalation or special effort. To do this requires an 
 active chest. By the term " active " in this connection, 
 we mean that the chest should be raised and fixed, as if 
 ready at any moment to receive a blow thereon. This 
 will obviate the tendency, so common among singers and 
 
Diaphragmatic vs. Clavicular Breathing 79 
 
 Fig. 13. 
 
 Fiff. T2 represents an outline of an antero-posterior section of the trunk. 
 The heavy, somewhat diagonally placed curved line represents tlie upper 
 antero-posterior curvature of the diaphragm in the median line. The, 
 dotted line represents the lateral borders or origin of the organ. This is 
 also the position of the diaphragm during relaxation. 
 
8o The Voice 
 
 speakers, of allowing the abdomen to protrude and the 
 chest to sink. Not only will an ungainly position be mas- 
 tered, but there will be less of the labored breathing. 
 
 Some of our best singers neglect this most important 
 part of voice culture; and the result is that from any 
 part of the concert-room you not only see but hear them 
 breathe. " There is a certain mechanical expertness which 
 must precede all art;" and bear in mind that " the highest 
 art is to conceal art." 
 
 You should learn to master your breath instead of 
 allowing it to master you. When yod have gained this 
 mastery of the breath and of the vocal organs by purely 
 mechanical exercises, note the result. You think a tone ; 
 all organs respond, and it goes forth perfect. No feeling 
 for it after you hear it. No change of location, but the 
 throat opens, with nothing to obstruct its passage. It goes 
 forth as yOu will it, easily and naturally. But how is it with 
 the uncultured voice? The tone is started; it does not 
 suit. Immediately the mould is changed, — perhaps more 
 than once before it is right. , The mouth is the mould ; the 
 voice is the material. As such, it should not be poured 
 forth until the mould is ready; for every change in the 
 mould has its corresponding change in the result. Imagine 
 a founder waiting until the heated mass is poured into 
 the mould before he adjusts it as he wants it. 
 
Fig. 13. 
 
 Fig. 13 represents the natural and best manner of breathing. It is a 
 combined act of all the respiratory mechanism. The pencilled outline 
 represents the antero-posterior outline of the female trunk during respira- 
 tory relaxation. The heavy pencilled outline of the diaphragm represent.s 
 the average height of the curved domes of the organ ; and the dotted pen- 
 cilled line, the lateral border of the organ during the same respiratory 
 stage. The inked outline represents the change of shape in the uncon- 
 stricted female trunk during ah ordinary physiological inspiration. The 
 average change of shape and position of tlie diaphragm during contraction 
 is shown by the inked continuous line. Its border and the elevation in it 
 that occurs during diaphragmatic contraction is shown by the starred 
 line. This is the correct method of breathing when the best vncal and 
 speech efforts are desired. 
 
82 The Voice 
 
 Perhaps at times the tone strikes too far back, and 
 breaks; or, after locating it properly, there is not breath 
 enough to sustainjt. These are but few of the many things 
 which happen to one who has not obtained perfect control 
 over the organs. 
 
 Delsarte believed in and taught diaphragmatic breathing. 
 He claimed that " the chest is a passive agent ; it should 
 furnish nothing but breath. The mouth and larynx alone 
 are entitled to act." " Sound," he claimed, " is based upon 
 three agents; namely, — 
 
 " The projective agent, or the lungs. 
 
 " The vibrative agent, or the larynx. 
 
 " The reverberative agent, or the mouth. 
 
 " The lungs constantly contain a quantity of air, which is 
 the source of life, and with which we cannot dispense with- 
 out inconvenience to the health and to the voice. The quan- 
 tity of air requisite for the renewing of the blood, and which 
 is called the breath of life, amounts to a third of what the 
 lungs are capable of receiving. In order to sing or speak, 
 therefore, it must be increased by two thirds, and it is .this 
 borrowed breath only which should be given out in singing 
 or speaking. When the lungs are thus filled with air, the 
 sound is produced by escapement. From this it receives 
 greater force ; and its production, far from being a fatigue, 
 becomes a relief Inspiration should always be followed 
 
Fig. 14 represents an anteroposterior outline of the trunk of a modern 
 re-formed Vtn\x& de Milo, superimposed over the outline of that famous 
 pattern of female shape as she was created. The modern outline is 
 copied from the average shape of the corsets now manufactured for, and 
 worn by, the women of New York, a.d. i88g. This cut shows the change 
 of shape that occurs, in the upper part of the chest, in trained clavicular 
 inspiration. The natural position of the diaphragm is represented in 
 pencilled lines, and its inefficient action in the re-shaped trunk is shown 
 in the inked lines. This represents the false method of breathing, too 
 common among female voice-users, and sometimes practised by males. 
 
84 The Voice 
 
 by a suspensive silence ; otherwise the lungs, agitated by 
 the act of inspiration, perform the expiration badly." 
 
 There are many persons, not excepting teachers of voice 
 culture, who argue against the necessity, or even the prac- 
 ticability of the knowledge of the instrument upon which 
 they play. They claim that it invites attention to the mech- 
 anism, and thereby detracts from the result. 
 
 It is true there will be a period during which one will 
 consciously apply the principles; but by the habitual ap- 
 plication the outgrowth will be spontaneous, — that is, an 
 unconscious application. 
 
 There is a freedom that arises from ignorance, but we 
 prefer the freedom that arises from knowledge. 
 
 " The truth shall make you free." We cannot refrain 
 from once more quoting so good an authority as Dr. 
 Kitchen, in speaking of the objection so often raised 
 by teachers, who claim that there is no ijeed of any 
 pupil understanding any of the mechanism of the vocal 
 organs. 
 
 " A workman should know every part of the tool he is 
 using, so as to know when it works well or otherwise, and 
 whether he is using it to the best advantage, or is injuring 
 it; but when he is executing an artistic piece of workman- 
 ship, his attention should be directed to the effect sought 
 from the work in hand, and not to the construction and 
 
Diaphragmatic vs. Clavicular Breathing 85 
 
 working of his tool." This will give the knowledge that 
 makes one free. 
 
 We wish it were in our power to offer some strong in- 
 centive for a more thorough study of the human voice. 
 
 Mr. James E. Murdoch, the veteran actor and reader, 
 recently said : " There are hundreds of able writers to one 
 able to give forth beautiful tones in speech. The disciplined 
 speaker becomes familiar with the tones, expressing every 
 kind of passion or feeling, independent of the words; and 
 this power gives confidence, ease, and that conscious strength 
 and reserve power that commands confidence and respect, 
 and carries conviction to the heart. 
 
 " The cunning of logic and the elegance of rhetoric can- 
 not vie with the tones of the voice in moving the human 
 mind and heart. The powers of the voice have played a 
 prominent part in determining the destinies of nations; 
 and the undying tones of the great orators, speaking in the 
 cause of civil and religious liberty, are still echoing through 
 the ages." 
 
 The pen does much in regard to influencing the world, 
 but a pleasant, cultured voice, uttering the same truths, will 
 stir many a nature to its very depths. The larynx is a 
 wonderful instrument, more wonderful than any ever made 
 by man. Its accompaniments — the lips, palate, and jaw — 
 should be under perfect control. 
 
86 The Voice 
 
 Richard Wagner says : " The oldest, purest, and most 
 beautiful musical instrument — the instrument to which alone 
 our music owes its existence — is the human voice." 
 
 The physiologist may understand every name and posi- 
 tion of the vocal apparatus (as an organ-builder of an 
 organ), yet he may not be able to bring anything but dis- 
 cord therefrom. 
 
 A teacher of voice culture should be thoroughly familiar 
 with the entire vocal apparatus, and to none other than an 
 artist in this branch should the human voice be intrusted 
 for its development and culture. 
 
part Ci^ttD. 
 
 BREATHING AND VOCAL EXERCISES FOR THE 
 
 CULTURE AND DEVELOPMENT OF 
 
 THE HUMAN VOICE. 
 
Fig. 15. 
 
 An Incorrect Position. 
 
 The incorrect position shows the hips and abdomen too far forward, 
 the chest too passive, and the weight of the body on the heels. 
 
Fig. 1 6. 
 A Correct Position. 
 
 The correct position shows the weight of the body cast toward the 
 ball of the foot, the knees and the abdomen drawn back, and the chest 
 active. 
 
9° The Voice 
 
 TEST OF CORRECT POSITION. 
 
 ' I ^HE position is perfect if, when standing erect, you can 
 rise from your heels without swaying your body for- 
 ward from the ankles or bending it at the waist. 
 
 Take a profile view of yourself before a full-length mir- 
 ror, and you will detect the slightest swaying when you 
 attempt to rise. 
 
 If a stick were placed perpendicularly by the side of 
 your body when you are standing in a correct position, it 
 would indicate a direct line from the ear to the ankle, 
 passing through the shoulder, elbow, hip, and knee. 
 
 You will also perceive that the stick, used as in Figures 
 15 and 16, forcibly illustrates incorrect vs. correct position. 
 
 BREATHING. 
 
 Bear in mind that diaphragmatic breathing includes the 
 abdominal, costal, and dorsal ; hence we will term them ab- 
 dominal breathing, costal breathing, dorsal breathing. 
 
 In all of these breathing exercises there should be no 
 movement of the body except that caused by the action 
 of the diaphragm and the waist muscles. Keep the upper 
 
Position 9 1 
 
 chest raised and fixed ; that is, put it there by a mnsailar 
 movement (not by inhalation), as if to receive a blow on 
 the chest. 
 
 When you have fully inflated the lungs (without raising 
 the chest) hold the breath a moment, and you will find 
 that the waist muscles and the diaphragm remain station- 
 ary, but as soon as the breath is expelled they relax. 
 
 Slowly count three mentally, while inhaling, while hold- 
 ing, and while exhaling. 
 
 With this thorough understanding, we will prpceed with 
 the breathing exercises, under their respective heads. 
 
 POSITION. 
 
 Stand erect; incline the body forward rather than back- 
 ward. Do not bend the body, but incline it from the ankle. 
 You must control the body before you can control the 
 breath, which is the material of the voice. Remove and 
 avoid all rigidity. Keep an active chest (raised and fixed). 
 Draw back the knees, hips,' and abdomen. Throw the 
 weight of the body toward the ball of the foot; so much 
 so that you are still resting upon the heels, but bearing your 
 weight so lightly thereon that you would not hurt a child's 
 fingers were they placed underneath. 
 
The Voice 
 
 EXPLANATION FIG. 17. 
 
 Stand against the wall, touching the heels, limbs, hips, shoulders, and 
 head. Draw in the chin toward the. chest. When against the wall, you 
 will be in a very uncomfortable position, as you are not in a correct posi- 
 tion. Free yourself entirely from the wall, by swaying forward (not bend- 
 ing), moving only at the ankle-joints, keeping the heels against the wall. 
 
Fig. 17. 
 
94 The Voice 
 
 EXPLANATION FIG. i8. 
 
 Place the thumbs on the hip-joints, and the fingers in the hollow of the 
 hips. Bend forward at the waist till the dress passes back far enough lo 
 see the toe of each shoe. Now stand as erect as you can without allow- 
 ing the hips or abdomen to move too far forward. You will find your 
 position uncomfortable, and that you are standing heavily upon the heels. 
 As in Fig. 15, sway your entire body forward from the ankle-joint. 
 
Fig. I 8. 
 
96 The Voice 
 
 EXPLANATION FIG. 19. 
 
 The chest should be made active by muscular movement, not by an 
 inhalation. It should be kept there. 
 
 When the chest is active, the abdominal wall is slightly relaxed, and 
 the waist muscles easily controlled. When the chest is passive, the 
 abdominal wall expands. If one alloiws the hips and abdomen to pro- 
 trude, it not only interferes with the breathing but gives an ungainly 
 position. (See Fig. 15.) 
 
Breathing 
 
 97 
 
 Active chest. 
 Passive chest. 
 
 Diaphragm relaxed (exhalation). 
 Diaphragm contracted (inhalation). 
 
 Abdominal wall expanded. 
 Abdominal wall relaxed. 
 
 Fig. 19. 
 
98 
 
 The Voice 
 
 ABDOMINAL BREATHING. 
 
 Fig. 20. 
 
 Takfe position. Press the fingers as indicated on the diagram for 
 abdominal breathing. Take a deep inhalation slowly through the nostrils. 
 The instant you begin to take breath, that instant you should feel a per- 
 ceptible forward movement against your fingers. 
 
 Exercise i. 
 
 Inhale (l, 2, 3). 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3). 
 
 Hold (I, 2, 3). 
 Hold (i, 2, 3). 
 Hold (I, 2, 3). 
 
 Exhale (l, 2, 3). 
 Exhale (i, 2, 3). 
 Exhale (i, 2, 3). 
 
Fig. 20. 
 
 The position of tVie hands and the action of the' muscles for abdom- 
 inal breathinsr. 
 
lOO 
 
 The Voice 
 
 COSTAL BREATHING. 
 
 Fig. 21. 
 
 Take position. Place the back of the fingers against the lower ribs as 
 indicated on the diagram for costal breathing. Take a deep inhalation 
 slowly through the nostrils. The instant you begin to take breath, that 
 instant you should feel a perceptible sidewise movement against your 
 fingers. 
 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3). 
 Inhale (i, 2,3). 
 
 Exercise 2. 
 
 Hold (I, z, 3). 
 Hold (1,2,3). 
 Hold (i, 2, 3). 
 
 Exhale (i, 2, 3). 
 Exhale (i, 2, 3). 
 Exhale (i, 2, 3). 
 
Fig. 21. 
 
 The position of tlie liands and the action of the muscles for costal 
 flreatliinar. 
 
I02 
 
 The Voice 
 
 DORSAL BREATHING. 
 
 Fig. 22. 
 
 Take position. Press the tliumbs as indicated on the diagram for 
 dorsal breathing. Take a deep inhalation slowly through the nostrils. 
 The instant you begin to take breath, that instant you should feel a per- 
 ceptible outward movement against your thumbs. 
 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3). 
 
 Exercise 3. 
 
 Hold (1,2, 3). 
 Hold (I, 2, 3). 
 Hold (I, 2, 3). 
 
 Exhale (l, 2, 3). 
 Exhale (i, 2, 3). 
 Exhale (i, 2, 3). 
 
Fig. 22. 
 
 The position of the hands and the action of the muscle.s for dorsal 
 breathing 
 
I04 
 
 The Voice 
 
 ABDOMINAL, COSTAL, AND DORSAL BREATHING. 
 
 Fig. 23. 
 
 Place the hands as if to span the waist, as indicated by the diagram for 
 abdominal, costal, and dorsal breathing. Take a deep inhalation slowly 
 through the nostrils. The instant you begin to take breath, that in- 
 stant you should feel a perceptible outward movement of the entire 
 waist. ' 
 
 Inhale (l, 2, 3). 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3). 
 
 Exercise 4. 
 
 Hold (1,2,3). 
 Hold (i, 2, 3). 
 Hold (I, 2, 3). 
 
 Exhale (i, 2, 3). 
 Exhale (l, 2, 3). 
 Exhale (i, 2, 3J. 
 
Fig. 23. 
 
 The position of the hands and the combined action of the muscles 
 for abdominal, costal, and dorsal breathing. 
 
io6 
 
 The Voice 
 
 DIAPHRAGM FREEDOM. 
 
 ABDOMINAL BREATHING. — SIGH. 
 
 Place the fingers again in the position for abdominal 
 breathing. Take a deep inhalation through the nostrils 
 until there is a full outward expansion against the fingers. 
 Hold the muscles perfectly quiet for a moment ; then 
 expel the air very quickly through the mouth, keeping 
 the chest immovable. It will be found that the abdomi- 
 nal muscles recede very quickly when the breath is thus 
 expelled. 
 
 Exercise 5 
 
 Inhale (l, 2, 3). 
 Inhale (i, 2, 3). 
 Inhale (i, 2, 3), 
 
 hold (i, 2, 3). 
 Hold (I, 2, 3). 
 Hold (I, 2, 3). 
 
 Exhale (quickly). 
 Exhale (quickly). 
 Exhale (quickly). 
 
Diaphragm Control 107 
 
 DIAPHRAGM CONTROL. 
 
 ABDOMINAL, COSTAL, AND DORSAL BREATHING. — BLOW. 
 
 Place the fingers again in the position for abdominal, costal, 
 and dorsal breathing. Take a deep inhalation through the 
 nostrils, until there is a full outward expansion against 
 the thumbs and fingers. Hold the muscles perfectly quiet 
 for a moment. It is now necessary to economize the ex- 
 penditure of breath ; hence it will not do to relax the 
 waist muscles and thereby give freedom to the diaphragm. 
 Draw around you an imaginary elastic belt, and endeavor 
 to keep the belt tense during the blowing. You may 
 endeavor to increase the waist circumference while you 
 are blowing, and the result will be a controlling of the 
 diaphragm, resulting in a control of the breath. Try to 
 blow out an imaginary candle or lamp, some twenty feet 
 distant. Do not expel the breath by one quick impulse, 
 but round your lips, have the aperture small, and then 
 blow as long and as strong as you can, trying to burst 
 the imaginary belt gradually, but not allowing the upper 
 chest to move. 
 
 Exercise 6. 
 
 Inhale (i, 2, 3). Hold. Blow (steadily). 
 Inhale (r, 2, 3). Hold. Blow (steadily). 
 Inhale (l, 2, 3). Hold. Blow (steadily). 
 
io8 The Voice 
 
 THE PRINCIPLE OF DIAPHRAGM CONTROL. 
 
 SIGHING VS. BLOWING. 
 
 In sighing and in blowing, the diaphragm moves just 
 the same in direction, but not in degree. The waist 
 muscles are passive, and recede in the sighing, but are 
 active (or at least tense), and expand in the blowing. In 
 sighing, the diaphragm says to the waist muscles, " I am 
 going to relax and pass upward, and I want you to follow 
 me." The waist muscles say, " We are willing to do 39, 
 for no strength is required of us in sighing." 
 
 In blowing, the diaphragm again says to the waist muscles, 
 " Follow me." The waist muscles rebel, and a conflict 
 ensues; but the waist muscles win the victory, at least 
 enough so to effect a compromise. 
 
 They say to the diaphragm, " You go your way, and we 
 will go ours. We will not interfere with your upward 
 tendency, but we will regulate your movement. We were 
 your serva7tt in sighing; we will be your master in blowing." 
 
 When the diaphragm and the waist muscles go in the 
 same direction, it is an example of parallelism (weakness), 
 but when the waist muscles expand while the diaphragm 
 passes up, it is an example of opposition (strength). 
 
Diaphragm Freedom in Voice Production 109 
 
 DIAPHRAGM FREEDOM IN VOICE PRODUCTION. 
 
 ABDOMINAL BREATHING. — VOCALIZE THE SIGH. 
 
 Place the fingers again in the position for abdominal 
 breathing, and take a deep inhalation through the nostrils, 
 until there is an outward expansion against the fingers. 
 Hold the waist muscles perfectly quiet for a moment; 
 then expel the air slowly through the lips. At the same 
 time vocalize the sigh as you exhale the breath; that is, 
 give the Italian A {Ah), but sigh it, allowing the waist 
 muscles to recede slowly. It will be observed that this 
 tone (by the relaxation of the muscles) lacks support. 
 You need not choose any particular note, merely have it 
 audible. 
 
 Exercise 7. 
 
 Inhale (i, 2, 3). Hold (i, 2, 3). Vocalize the exhalation, Ah . 
 
 Inhale (r, 2, 3). Hold (l, 2, 3). Vocalize the exhalation, Ah . 
 
 Inhale (i, 2, 3). Hold (i, 2, 3). Vocalize the exhalation, Ah . 
 
no The Voice 
 
 DIAPHRAGM CONTROL IN VOICE PRODUCTION. 
 
 ABDOMINAL, COSTAL, AND DORSAL BREATHING. — SUSTAIN 
 THE ITALIAN A (AH). 
 
 Place th^ fingers again in the position for abdominal, 
 costal, and dorsal breathing. Take a deep inhalation 
 through the nostrils, until there is an outward expansion 
 against the thumbs and fingers. Hold the waist muscles 
 perfectly quiet for a moment. It is now necessary to 
 economize the expenditure of breath, as in the blowing; 
 ■ hence you should again draw around you the imaginary 
 elastic belt, and keep it filled, or endeavor to expand it, 
 while you sustain Italian A {All). 
 
 When you have inhaled, open the mouth and set the 
 position for Ah. Hold the waist muscles and diaphragm 
 quiet for a moment after the inhalation. 
 
 Look at a point farthest distant from you in the room ; 
 inhale and hold the waist muscles quiet; open the mouth 
 for the position of Ak (immediately the soft palate will 
 rise, and the vocal chords, the portal to the lungs, will 
 close) ; aim the tone at that distant point and keep it there, 
 supporting it by the slowly outward expansion or tension 
 of the waist muscles. 
 
Diaphragm Control in Voice Production 1 1 1 
 
 N. B. — We are very well aware how difficult It is to give 
 vocal lessons through the medium of the pen, but we have 
 endeavored to obviate that difficulty by giving explicit 
 directions, and accompanying the various exercises with 
 musical notations. 
 
 Exercise 8. 
 
 rte^ 
 
 Inhale. Open the mouth for Ah. 
 Sustain it. Ah . 
 
 Inhale. Open the mouth for Ah. 
 Sustain it. Ah . 
 
 Inhale. Open the mouth for Ah. 
 Sustain it. Ah . 
 
 Aim it. Vocalize it. 
 
 Aim it. Vocalize it. 
 
 Aim it. Vocalize it. 
 
112 'Ike I'oue 
 
 EXPLANATION FIG. 24. 
 
 Sit as far back in tlie chair as you can without touching _)/^k>' back to 
 the (T^azr back. Make your chest active, and keep the abdominal muscles 
 free. Clasp your hands on each side of the bottom of the chair, as shown 
 in Fig. 24, ready to pull vigorously, without allowing the chest to sink. 
 Sit erect, especially while you pull. Take a deep inhalation. Give 
 Italian A (A/i) in a pleasant tone. 
 
 When you have given about half the tone you desire, pull vigorously, 
 and retain a steady pulling. You will at once observe quite a change in 
 the support of the tone. The pulling can be done to advantage through- 
 out the entire tone. 
 
Fig. 24. 
 Supporting the Tone. -Tension of the Diaphragm. - Active Chest. 
 
1 1 4 The Voice 
 
 EXPLANATION OF FIG. 25. 
 
 Have a large book, or object, placed on your hands while giving a tone, 
 and it will be found to require an effort to sustain it. The effort to sus- 
 tain the object will also sustain the tone, by causing the diaphragm to 
 become more tense. 
 

 Fig. 25. 
 Supporting the Tone. — Tension of the Diaphragm. — Active Chest. 
 
1 1 6 The Voice 
 
 BRINGING THE TONE FORWARD. — FLEXIBILITY. 
 
 ABDOMINAL, COSTAL, AND DORSAL BREATHING. — TOSS "HO." 
 
 Fill the imaginary belt by a deep inhalation ; hold the 
 waist muscles quiet for a moment, while placing the mouth 
 and vocal organs in a position for the word Ho ; round the 
 lips ; look at a distant point and aim the word Ho at that 
 point, but instead of sustaining it (as was done with 
 Ah), toss it five times. There should be an outward and 
 forward movement of the abdominal muscles with each 
 explosive sound. These should all be given in one breath, 
 and tossed gently; always holding the waist muscles quiet 
 till you are ready to vocalize. Under no consideration 
 should yon allow the waist muscles to recede when you begin 
 the tone. 
 
 Exercise 9. 
 
 ;^! 
 
 Inhale. Toss (in one breath) Ho ' — Ho — Ho — Ho — Ho. 
 
Clearness and Flexibility 1 1 7 
 
 CLEARNESS AND FLEXIBILITY. 
 
 ABDOMINAL BREATHING. TOSS THE VOWELS A, E, I, O, U. 
 
 Fill the imaginary belt with a deep inhalation ; hold 
 the waist muscles quiet till you think a perfect A ; that is, 
 get a perfect position of the vocal organs for A ; then 
 look at the distant point and aim the sound at that point ; 
 toss it five times. With this, as with the remaining vowels, 
 there should be an outward and forward expansion of the 
 waist muscles with each explosive impulse. Each of the 
 vowels should be given the required number of times with 
 one breath. 
 
 Exercise 10. 
 
 g| 
 
 Inhale. Toss (lightly and dearly) A — A — A — A — A. 
 
 Inhale. Toss (lightly and clearly) E — E — E — E — E. 
 
 Inhale. Toss (lightly and clearly) f—7 — I — I — I. 
 
 Inhale. Toss (lightly and clearly) 0—0— 0—6—0. 
 
 Inhale. Toss (lightly and clearly) U— U— U— U— U. 
 
1 1 8 The Voice 
 
 CLEARNESS, AND SUSTAINED TONES. 
 
 Toss Ho and A-E-I-O-U three times, and sustain 
 the third tossing of each. 
 
 Fill the imaginary belt by a deep inhalation through 
 the nostrils. Let the opening of the mouth and checking 
 of the diaphragm be simultaneous. Toss each of the 
 vowels (as per exercise) three times each, giving a quick 
 impulse to the first two, but prolonging and sustaining the 
 third one of each as long as the tone can be kept steady 
 and clear. 
 
 Exercise ii. 
 
 Inhale. Toss Ho — Ho— Ho '> oo. 
 
 Inhale. Toss A— A— A > e. 
 
 InhalQ. Toss E — E — E ZZZZZ^Z^Z^ZZZ^Z^ZZ^ 
 
 Inhale. Toss I— I— Ah > g. 
 
 Inhale. Toss O — O — O > oo. 
 
 Inhale. Toss U — U — Yob ^^^I^^^Z^^^ZZZZZZZ^Z 
 
Remarks on Sustaining Vowel Soicnds 119 
 
 REMARKS ON SUSTAINING VOWEL SOUNDS. 
 
 • 
 Some vowels are simple ; some vowels are glides (gen- 
 erally called compounds). By a glide, we mean the name 
 sound of a vowel gliding toward some other vowel, but 
 not completing it; that is, A glides toward E, but does not 
 make the full sound of E, or else it would be A E (as 
 much E as A), but it is Ae. It begins with its name 
 sound, and vanishes toward E, and the vocal organs must 
 change or glide in just that same ratio. A glides toward 
 E, but E is straight; that is, the vocal organs do not change 
 one particle from the beginning to the end of the sound 
 of E. i x's, the gliding of Italian A (A/i) toward E; hence, 
 to sustain /, you must sustain the main component part 
 of /, which is Italian A {Alt). 
 
 O begins with its name sound, and glides toward 00 
 {ooze) ; hence, to sustain it, you must sustain the name 
 sound, or first position, before it glides. 
 
 U is composed of consonant y and 00 (ooze'). In sus- 
 taining this vowel (long 71), it will be necessary to pass 
 directly over the consonant and su.stain the vowel part. 
 
 We have made a diagram of the vowels to be sustained, 
 showing the initial sound and the glide. (See Exercises 
 II and 16.) 
 
I20 
 
 The Voice 
 
 PURITY OF TONE. 
 
 TOSS THE VOWELS. 
 
 Toss the vowels A-E-I-O-U three times each, in the 
 order given. Toss them gently, but clearly, carving each 
 one as neatly as possible. 
 
 Exercise 12. 
 
 Toss A —E— I—O —U. 
 Toss A — E — i—6—U. 
 los.sA — E — I — U—17. 
 
Purity of Tone 
 
 121 
 
 PURITY OF TONE. 
 
 BLEND THE VOWELS. 
 
 With the same gentle force on the beginning of A, swell it, 
 let it vanish toward E, then gently blend with E, I, O, U. 
 
 There should be no break between the vowels in the 
 blending exercise, but each one should be taken up clearly, 
 with a slight swell, and then vanish to the other. 
 
 Exercise 13, 
 
 w 
 
 Inhale. ^XexvA A — E — J — O — U. 
 Inhale. Blend A — E — l—O—U. 
 Inhale. l^Xt^A A — E — I —O—U. 
 
12 2 Tlie Voice 
 
 CLEARING (?) THE THROAT. 
 
 There is a tendency with vocalists to clear ( ?) the 
 throat by a slight cough, usually termed hacking. This 
 is quite often the result of habit, but the continuance ©f 
 the habit will result seriously. 
 
 When the desire comes to hack, avoid it by moistening 
 the throat by the deglutition of saliva; then take Ex- 
 ercise 14. 
 
 This will be found very beneficial previous to any pro- 
 longed use of the voice. In giving the word Ha, it should 
 be done easily, so as not to cause rough, audible breath- 
 ing, nor trilling of the uvula, but, instead, a quiet, smooth 
 exhalation. Do not take the breath through the lips. 
 Exhale, each time, as long as you can do so easily. 
 
 Exercise 14. 
 
 To be given only with breath. N. B. Close the lips after each 
 exhalation. 
 
 Inhale. Open the mouth for Ha. Emit breath .slowly. 
 
 Inhale. Open the mouth for Ha. Emit breath slowly. 
 
 Inhale. Open the mouth for Ha. Emit breath slowly. 
 
 Inhale. Open the mouth for Ha. Emit breath slowly. 
 
 Inhale. Open the mouth for Ha. Emit breath slowly. 
 
 Inhale. Open the mouth for Ha. Emit breath slowly. 
 
Purity of Tone 123 
 
 PURITY OF TONE. 
 
 S— E— U AND WAVE. 
 
 Give the sound of 5 very gently, blending it into the 
 sound of E, thereby forming the word Sec. Slowly 
 round the lips, and pass from the word See to the sound 
 of U, making it as smooth as possible. Give these three 
 sounds with one continuous stream of breath and voice, 
 not allowing a break to occur between the elements. Then 
 let the lips form the word Woo, which should be given sev- 
 eral times with light impulses, but without a break in the 
 tone. Send the Woo entirely through the rgom by slight 
 waves of sound. 
 
 Exercise ij. 
 
 Inhale. S — E—U—Woo, Woo, Woo, Woo, Woo, Woo. 
 Inhale. S—E—U—Woo, Woo, Woo, Woo, Woo, Woo. 
 Inhale. S — E — U— Woo, Woo, Woo, Woo, Woo, Woo. 
 
124 
 
 The Voice 
 
 PURITY OF TONE. 
 
 PREFACING " 60 " TO THE VOWELS. 
 
 Take the sound of 00 on just the same pitch and with 
 just the same quality of voice with which the last exercise 
 was ended. Preface 00 to each of the vowels in the order 
 given, taking care to blend it with the vowel, not allowing 
 it to end abruptly. Begin each vowel very easily, swell 
 it gradually, then hold it steadily till the vanish. When 
 a vowel sound has an initial sound gliding toward another, 
 hold the initial sound so long as you desire to retain 
 the tone. 
 
 Exercise 16. 
 
 Inhale. 
 Inhale. 
 Inhale; 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 
 00.— A 
 00 — E 
 00 — Ah. ; 
 00 — Ah : 
 00 — Ah : 
 00 — Awe . 
 00 — Awe : 
 
 00 — ; 
 
 ::>« ^A {ate). 
 = E {eve). 
 ZH = A {arm). 
 
 ->e =I{ice). 
 
 ~2>oo = OU {our). 
 ZI —A {all). 
 
 Z>e = 01 {oil). 
 Z>oo — O {old). 
 
 (See page 113. Remarks on Sustaining, etc.) 
 
Focalizing 
 
 125 
 
 FOCALIZING. 
 
 E (eve). A (ate). — A (at). — A (ARM) . — A (ALL). 
 
 do (ooze). 
 
 ■0 (old).— 
 
 Place the point of the tongue against the lower front 
 teeth, draw back the corners of the mouth, and give E as 
 in the word eve. Open the mouth a trifle wider, and give 
 A as in the word ate ; a little wider for A as in the word 
 at ; still wider, a smiling position, for A as in the word 
 arm ; drop the lower jaw, draw in the corners of the 
 mouth, and give A as in the word awe ; round the lips, and 
 have the aperture small, and give O as in the word old ; 
 keep the lips rounded, make the aperture smaller, and give 
 00 as in the word ooze. Do not close the lips from the 
 first to the last vowel sound. Think a perfect position for 
 each vowel, and see that the position does not change one 
 particle while giving the tones, except in case of the glides ; 
 that is, A as in ate, and O as in old. You should be able 
 to give them so perfectly that you can feel the vibration 
 of each element, as designated, on the diagram (Fig. 26). 
 Each tone should be light, clear, and of but few seconds' 
 duration. 
 
 Exercise 17. 
 
 First four, 5th 6th ?th 
 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 Inhale. 
 
 \m 
 
 «- 
 
 
 
 r-' 
 
 
 77 
 
 
 
 S^ 
 
 -* 
 
 
 3 
 
 
 
 
 4 
 
 
 
 
 ^ 
 
 
 - 
 
 
 
 
 00 
 
 
 
 
126 The Voice 
 
 REMARKS ON FOCALIZING. 
 
 It is often argued that the new school, ever on the 
 alert for any progressive move, does not sanction the fo- 
 calizing of a tone against the hard palate, " as the theory 
 is old ; " but, instead, it should be aimed at the bridge of 
 the nose, or, as the Delsarteans would say, the dominant 
 centre. Delsarte taught that the normal point for this 
 guidance of reverberation was in the palatine arch. The 
 theory of aiming the tone against the hard palate is no 
 older than the one of aiming it at the bridge of the nose, 
 but it is a much safer one to follow in the absence of the 
 living teacher. The latter method has proved detrimental 
 to many a pure voice, making it nasal, in the attempt to 
 strike the bridge of the nose, as it very naturally takes 
 the route leading to the nose. 
 
 We may say again, and even more emphatically than 
 before, aim every tone forward, and just as far forward as 
 possible, and the vibrations and reverberations will be 
 governed by the element on which the tone is sustained, 
 and the pitch and quality of that tone. 
 
Focalizing 
 
 127 
 
 Illustration of Exercise 17. 
 
 E — {eve). 
 
 A — {ale). 
 
 A — {at). 
 
 0—{old). 
 
 00— {ooze). 
 
 Fig. 26. 
 
128 The Voice 
 
 OPENING THE PHARYNX. 
 
 BROADENING THE TONE. 
 
 Think a gape and give the sound of Awe. 
 
 Open the mouth slowly when you inhale, and as you 
 feel the breath passing back in the throat, open the pharynx 
 as though you were trying to swallow the base of the 
 tonj^ue. Come just as near gaping as you cfin without 
 being obliged to gape, then with the out-going breath give 
 the sound of broad A {Awe'). Let it roll out rather \a.7X\Y, 
 so that the vocal chords will be very much relaxed. Be 
 sure to take the breath through the lips for this exercise, 
 as that is the natural method when yawning. This exer- 
 cise will lower the base of the tongue, raise the soft pilate, 
 enlarge the pharyngeal cavity, and produce what the late 
 Professor Monroe used to call " the pear-shape of the 
 throat." 
 
 Exercise i8. 
 
 Inhale (tlirough the lips). Depress the tongue. Gw^Awe- 
 Inhale (through the lips). Depress the tongue. Q,\^e.Awe- 
 Inhale (through the lips). Depress the tongue. Give Awe- 
 
opening the Pharynx 
 
 129 
 
 Illustration for Exercise 18. 
 The Gaping Exercise. — Producing the Pear-shape. 
 
 Fig. 27. 
 
The Voice 
 
 FLEXIBILITY OF THE LIPS. — SUPPLENESS OF THE 
 LOWER JAW. 
 
 E— AWE— OO. 
 
 Give E — Awe — 00 in regular succession, three times 
 in each direction, as per exercise ; then in any order as 
 desired, and as rapidly as desired. 
 
 To accomplish the object for which this exercise is 
 designed, it is necessary to speak the vowel sounds with 
 exaggerated movement of lips and jaw. It is immaterial 
 whether the vowels are uttered audibly or not, when taking 
 them for self-practice ; but for class-work we would suggest 
 that the exercise be a vigorous vocal one. To train the 
 eye of the class as well as the ear, the teacher should point 
 to an imaginary triangle directly in front of him (after 
 locating each vowel in its respective position), and vary 
 the pointing as he may choose; that is, giving E — Awe — 
 00, or 00 — Awe — E, or E — E — E, Awe — Awe — 
 Awe, 00 — 00 — Awe, etc. In the last case they will ex- 
 pect 00 given three times, as was E and Awe. Have the 
 members of the class sit as fast as they make a mistake ; 
 this, of course, is to teach them to be on the alert. 
 
 Exercise 19. 
 
 Take any tone desired, or the exercise may be inaudible. 
 
 E —Awe— 00. E— Awe— 00. E—Awe—OO. 
 Awe — OO — E. Awe — 00— E. Awe— 00 — E. 
 00 — E — Awe. 00— E — Awe. 00 — E — Awe. 
 
Flexibility of the Lips 
 
 131 
 
 Awe 
 
 Fig. 28 
 
 E draws back the corners of the mouth. 
 Awe drops the lower jaw. 
 00 rounds the lips. 
 
132 The Voice 
 
 BREADTH OF TONE. 
 
 00 — AWE (pyramid). 
 
 Place the lips in position for 00 ; start the tone very 
 gently, being sure to avoid throatiness, which may be 
 done by focalizing the tone at the lips so that the vibra- 
 tions are felt there. When you are certain that the tone 
 is forward, let the sound of 00 gradually swell into the 
 sound of Awe ; then, without change of pitch, but with 
 increase of volume, let the sound of Awe be broadened, 
 until you have reached the full volume of tone on that 
 pitch. Place an imaginary pyramid in front of you, whose 
 apex reaches the ceiling in the centre and whose base rests 
 on the floor. Glide the 00 gently up to the Awe; be 
 sure there is no break between them, but blend them ; 
 then glide the Awe slowly and steadily from the apex to 
 the base of the pyramid, passing it down on the outside, 
 so as to render the effect vocally the same as we desire 
 to impress mentally, — that is, the broadening of the tone. 
 Allow the throat to adjust itself as is done to produce the 
 breadth of tone in giving the Awe following the gape 
 
 exercise. 
 
 Exercise 20. 
 
 e: 
 
 -s>- 
 
 Inhale. 00 — Awe. 
 
 Inhale. OO — Awe. 
 
 Inhale, 00 — Awe. 
 
Volume of Voice 133 
 
 VOLUME OF VOICE. 
 00 — 5 (circle). 
 
 Place the lips in position for 00 ; use the same pre- 
 cautions in reference to throatiness as in the preceding exer- 
 cise. When certain that the 00 is pure, swell it gradually, 
 without changing the pitch, until it blends with ; then 
 increase the volume, allowing the throat to adjust itself as 
 required for the full volume of the sound. 
 
 Place before you an imaginary tube, quite large; begin 
 the O very easily, placing it in the centre of the opening 
 of the tube; then gradually swell the O until you can 
 fill all sides of the tube, while at the same time you are 
 endeavoring to force the air through the tube. 
 
 Note. — These imaginary figures will produce real results. Our 
 object is to take the attention from the throat by these mechanical 
 effects, having them serve the purpose of being reflex in their action. 
 The imaginary pyramid in the room will produce the pyramidal form 
 in the mouth and throat ; and the tube and circle in the room will 
 produce the tubular and circular form in the throat. 
 
 Exercise 21 
 
 
 
 /•^• 
 
 
 
 pj. ^ 
 
 
 
 
 
 
 
 
 Inhal 
 
 e. 
 
 00- 
 
 -0. 
 
 Inhale. 
 
 00 — 0. 
 
 Inhal 
 
 e- 
 
 00- 
 
 -0. 
 
1 34 The Voice 
 
 FLEXIBILITY OF THE VOCAL ORGANS. — ELASTICITY 
 OF THE VOCAL CHORDS. 
 
 wo — wo — wo. 
 
 Round the lips, and give the sound of Wo three times, 
 on the note suggested in Exercise 22. Descend the scale 
 in regular order, repeating the word three times on each 
 note. Continue this until you have reached your lowest 
 note. This should be done with one breath, and with the" 
 ease with which you would sing the musical scale. In going 
 from note to note, do not allow any abruptness, but cause 
 the tone to blend as much as possible. 
 
 Be sure that you form a definite O on the lips, no matter 
 how low the tone. Do not let it become Wu, Wu, Wu. 
 Economize your breath on the higher tones, as you will 
 need it for the lower ones. Keep the lips round and flex- 
 ible throughout the entire exercise. ^. 
 
 Exercise 22. 
 
 (Begin with) » 
 
 Inhale. Give Wo, Wo, Wo. 
 
 Inhale. Give Wo, JVo, Wo. 
 
 Inhale. Give Wo, Wo, Wo. 
 
 Inhale. Give Wo, Wo, Wo. 
 
 Descend to your lowest note. 
 
Low Orotund 
 
 135 
 
 LOW OROTUND. 
 
 BO (solid). 
 
 Think a low note, and give the word Bo, rounding and 
 protruding the lips, having the aperture at the lips quite 
 small. 
 
 A low, full orotund may thus be produced. Place the 
 tone forward, as nearly on the lips as possible, then allow 
 the throat to expand, and the tone will reverberate to the 
 pharyngeal cavity. 
 
 
 Exercise 23. 
 
 
 
 /•s- 
 
 
 
 \fi)- 
 
 
 
 \~^ 
 
 
 
 
 
 Inhale. 
 Inhale. 
 Inhale. 
 
 Give Bo (p 
 Give Bo (p 
 Give Bo (p 
 
 rolonged) 
 rolonged) 
 rolonged) 
 
136 
 
 The Voice 
 
 VOLUME AND LOUDNESS COMBINED. 
 
 BO (volume). ^ 
 
 Think a high note, and give the word Bo, rounding the 
 lips, and having the aperture much larger than in the pre- 
 ceding exercise. The tone should now be aimed at the 
 teeth instead of the lips. Allow the pharyngeal cavity to 
 expand fully for the necessary reverberations. 
 
 Exercise 24. 
 
 w 
 
 Inhale. Give Bo (prolonged). 
 
 Inhale. Give Bo (prolonged). 
 
 Inhale. Give Bo (prolonged). 
 
Smoothness of Low Notes 
 
 ■6/ 
 
 SMOOTHNESS OF LOW NOTES. 
 
 BO (floating). 
 
 Think a low note, and give the word Bo, rounding and 
 protruding the lips, having the aperture quite small. Place 
 the tone as gently as possible on the lips, not allowing any 
 explosive force between the B and the o. Give the tone as 
 though you desired to float it to quite a distance, yet retain- 
 ing the smoothness. 
 
 Exercise 25. 
 
 Inhale. Give Bo (prolonged). 
 
 Inhale. Give Bo (prolonged). 
 
 Inhale. Give Bo (prolonged). 
 
138 
 
 The Voice 
 
 LOW OROTUND AND CLEAR NASAL TONE. 
 
 GOLDEN (solid). 
 
 Think a low note, and give the word Golden on that note, 
 rounding and protruding the Hps on the o. Prolong the 
 o and gradually blend it into /, passing directly to dn, 
 without a break in the tone. When placing the point of 
 the tongue up for d, it should not be removed till after 
 giving the n ; thus avoiding the sound of den or dun, and 
 giving dn instead. Retain the same pitch on the second 
 syllable as on the first, though the latter tone will be purely 
 nasal. Endeavor to fill a large room with a volume of 
 sound when giving the vowel d. 
 
 Exercise 26. 
 
 w 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
Volume — Loiidness — Clear Nasal Tone 1 39 
 
 VOLUME. — LOUDNESS. — CLEAR NASAL TONE. 
 
 GOLDEN (volume). 
 
 Think a high note, and give the word Golden on that 
 note, rounding and protruding the lips on the o ; prolong' 
 the o, gradually blending it into /; pass directly to dn, 
 without a break in the tone, and without giving the sound 
 of den or dim. Retain the same pitch on the second syl- 
 lable as on the first, though the latter tone will be purely 
 nasal. Endeavor to fill a large room with the volume of 
 sound on the vowel o. 
 
 Exercise 27. 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
 Inhale. Give Go (prolonged) / — d7i (prolonged). 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
140 Tlie Voice 
 
 SMOOTHNESS AND CLEAR NASAL TONES. 
 
 GOLDEN (floating). 
 
 Think a low note, and give the word Golden on that note, 
 -rounding and protruding the hps on the o ; prolong the 
 0, and gradually blend it into /, passing directly to dn 
 (not den nor dun"). Retain the same tone on the second 
 syllable as on the first, though the latter tone will be purely 
 nasal. Give the tone as though you endeavored to float it 
 to quite a distance, yet retaining the smoothness. 
 
 Exercise 28. 
 
 w 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
 Inhale. Give Go (prolonged) / — dn (prolonged). 
 
Transition of Tone 141 
 
 TRANSITION OF TONE. 
 
 GOLDEN — BO. 
 
 Give the word Golden as marked in Exercise 29. Slightly 
 prolong Go, blend it with /, add and prolong dn, on the 
 same pitch; then drop down to the tone designated in 
 Exercise 29, and give the word Bo, rounding and protruding 
 the lips, and giving the last tone solidity and as full an 
 orotund as possible on that note. 
 
 I 
 
 Exercise 29. 
 
 m 
 
 Inhale. Give Go (prolonged) / — dn (prolonged) — Bo (prolonged, 
 
 very low). 
 Inhale. Give Go (prolonged) / — dn (prolonged) — Bo (prolonged, 
 
 very low). 
 Inhale. Give Go (prolonged) / — dn (prolonged) — Bo (prolonged, 
 
 very low). 
 
142 
 
 The Voice 
 
 TRANSITION OF TONE. — FLEXIBILITY OF THE VOCAL 
 
 CHORUS. 
 
 GOLDEN (lips and PHARYNX). 
 
 Give the word Golden as per tone assigned to it in 
 Exercise 30. Place the tone as far forward as possible, 
 protruding the lips when giving the vowel o ; prolong it 
 but slightly, then allow the lips to relax, and repeat the 
 word (quickly) three times on the same pitch, descending, 
 regularly, the notes of the musical scale. Give the word 
 three times on each note. For this exercise, avoid moving 
 the lips after the first speaking of the word, and allow the 
 pharyngeal cavity to expand 'as nature demands ; and do 
 not adjust the chords, but let nature also do that. You 
 will find the chords quite flexible for the low notes. 
 
 . Exercise 30. 
 
 m 
 
 =fe 
 
 Inhale. Give (quickly) Golden, Golden,' Golden, Golden. 
 
 Inliale. Give (quickly) Golden, Golden, Golden, Golden. 
 
 Inhale. Give (quickly) Golden, Golden, Golden, Golden. 
 
 Inhale. Give (quickly) Golden, Golden, Golden, Golden. 
 
 Descend regularly to your lowest note. 
 
Transition of Tone 143 
 
 TRANSITION OF TONE. — FLEXIBILITY OF THE VOCAL 
 
 ORGANS. 
 
 LUL, LUL LU, LUL, LU (TEETH, HARD PALATE, PHARYNX). 
 
 Begin with the tone designated in Exercise 31, and give 
 Lul, etc., twice on that tone, then twice on the second one 
 given, and twice on the third. Practise on this exercise 
 until the point of the tongue is very quick and accurate in 
 its work. The first tone will be purely dental, the vibrations 
 being distinctly felt at the teeth ; the second will partake 
 of an entirely different quality, being focalized against the 
 hard palate; while the vibrations of the third will be felt, 
 chiefly, in the pharynx. The larynx will depress itself for 
 each tone ; hence there is no need to " set the larynx," for 
 nature will do that. 
 
 Exercise 31. 
 
 e: 
 
 Inhale. Give (very quickly) Lul, lul lu, lul, lu. 
 Inhale. Give (very quickly) Lul, lul lu, lul, lu. 
 Inhale. Give (very quickly) Lul, lul lu, lul, lu. 
 
144 
 
 The Voice 
 
 TREMOLO TONES. 
 
 COLD. 
 
 Take a very high note, and give the word Cold on that 
 note. Break the one 6 into many Uttle ^'s. Do not hold 
 the chords too rigidly, but allow them to adjust them- 
 selves. The trembling of the hand has often been found 
 to be a mechanical aid toward securing the desired effect 
 in the voice. 
 
 Take the word Cold on the three tones given below. 
 
 Exercise 32. 
 
 zfesz 
 
 -\rsr- 
 
 Inhale. Give Cold (tremolo). 
 Inhale. Give Cold (tremolo). 
 Inhale. Give Co/^ (tremolo). 
 
Tremolo Tones 145 
 
 Note. — The reader, as well as the singer, will find it to his advan- 
 tage to take such passages, in which the word occurs, as will appeal to 
 the three elements of his nature ; that is, the mental, moral, and vital. 
 We will quote three examples for the reader, in each of which the 
 quality of the voice will materially change, especially on the word 
 expressing the thought of cold, though it may not be the word cold. 
 
 Example. 
 
 Mental quality : " Cold ! Cold ! I feel her icy hands, 
 Her icy hands." 
 
 Moral quality : " In she plunged boldly, 
 No matter how coldly 
 The rough river ran." 
 
 Vital quality : " Making the blood of the listener cold." 
 
146 The Voice 
 
 MEDIUM TONES. — "AH." — PITCH vs. DISTANCE, NAR- 
 ROWNESS vs. BREADTH. 
 
 MUSICAL SCALE (PYRAMID.) 
 
 Begin Italian A \_aK\ on a low note, and sing the scale. 
 In the majority of voices it will be found that before 
 reaching the last note of the octave, the tone becomes 
 narrow, light, and lacks force, often breaking. This is un- 
 necessary, and may be avoided. The higher tones may 
 be strengthened and broadened by following the suggestions 
 herewith given. 
 
 Instead of thinking pitch., think distance, and an increase 
 in distance, not only in length but in width ; that is, place 
 before you an imaginary pyramid, lying on the floor, the 
 apex toward you but some little distance from you. 
 
 Begin your first low note at the apex of the pyramid, 
 giving Italian A [ah]. Sing up the scale without a break. 
 If you have thoroughly fixed in your mind (and in the 
 room) the imaginary pyramid, you will readily perceive 
 that each succeeding note will cover more space in length 
 and width ; and your last one will, instead of being the 
 narroivest, be the broadest of all, and you will be able to 
 sustain it with great power. Yes ; this took your entire 
 thought from your throat! That is just what we desired. 
 
Mcduim Tones 
 
 147 
 
 Let us note the result. The large pyramid in the room 
 produced a miniature counterpart in your mouth and 
 throat. Try it again, and you will observe that the small 
 pyramid has its apex apparently above the larynx ; and 
 every note you sing increases the size of the pyramid up 
 through the pharynx, until the base of the pyramid rests 
 with one end against the soft palate, and the other against 
 .the tongue. 
 
 Exercise 33. 
 
 (Begin with) 
 
 Inhale. Give 
 
 i. 
 
 X 
 
 i^ 
 
 :t. 
 
 tu 
 
 X 
 
 i. 
 
 St. 
 
 s- 
 
 s- 
 
 ». 
 
 S^. 
 
 &< 
 
 fe- 
 
148 
 
 The Voice 
 
 SUSTAINING LOW TONES. —"AH." 
 
 REVERSED PYRAMID. 
 
 When you have successfully accomplished the sustaining 
 and broadening of the high tones, reverse the order of 
 exercises by reversing the pyramid, thus sustaining the low 
 tones. 
 
 When you have finished sustaining your highest tones, 
 take a deep inhalation, and strike the same note in pitch, 
 but with gentler force, again giving Ah. Descend the scale 
 very slowly (on the reversed pyramid, whose base is now 
 nearer you), almost lazily, as you give the lower tones. 
 
 Does the pyramid in the mouth become reversed? Cer- 
 tainly. The apex is now against the hard palate, and the 
 base reaches the pharnyx. 
 
 Exercise 34. 
 
 (Begin with) 
 
 m. 
 
 Inhale. Give 
 
Medium Tones for Calling 1 49 
 
 MEDIUM TONES FOR CALLING OR SHOUTING. 
 
 MAXIMUM OF POWER WITH MINIMUM OF STRENGTH. 
 
 Give the word Bo, on your lowest medium tone. Again 
 place the pyramid before you, with the apex toward you ; 
 but place the base of the pyramid at a grea^distance from 
 you. Increase the force as you increase the diatgnce. En- 
 deavor to cover more and more space in length and width 
 with each tone. Take an inhalation between each tone, 
 and feel that you are calling, instead of singing, the word 
 Bo. You should aim the 6 each time at the upper front 
 teeth, and hold it there, increasing the opening of the mouth 
 and throat with each successive tone, as the loudness 
 depends upon the amplitude or extent of the vibrations. 
 Cease calling any tone that causes rasping of the 'throat. 
 Be content to have the voice carry to the second and third 
 distant point, until you increase the power to additional 
 points with the same ease. The tones should be located 
 quickly and accurately against the upper front teeth. 
 
 Exercise 35. 
 
 (Begin with) * 
 
 Inhale. Bo, Bo, Bo. Bo, Bo, Bo. 
 
15° 
 
 The Voice 
 
 MEDIUM TONES FOR CALLING. 
 
 BOAT AHOY ! 
 
 Look at some point farthest distant from you in the 
 room, and aim the words at that point. Sustain the o 
 on Boat, give the A oi Ahoy quickly, and sustain the diph- 
 thong oy. It is the initial sound of the diphthong («) that 
 should be sustained, preceded by li, making it Hq ; then, as 
 you end it, it will glide toward e, forming the sound of Hoy. 
 
 Aim the next tone at a point farthei'- distant, ^ — say, out 
 of the window, at some object, — and sustain each part 
 as before. Call the one farthest distant as pleasantly as 
 possible, as though actually calling, with a certain degree 
 of merriment, to a friend. 
 
 Exercise 36. 
 
 
 -f- 
 
 -#- 
 
 -^'- 
 
 "^ 
 
 >V- 
 
 — I 
 
 — b" — 
 
 H 
 
 - A 
 
 =<^- 
 
 
 
 
 -m~\ 
 
 
 
 
 
 
 y 
 
 Inhale. 
 
 Inhale. 
 
 Inhale._ 
 
 Inhale. 
 
 Inhale. 
 
 Boat a- hoy . 
 
 Call Bo (prolonged) t — a (quickly) ^^ (prolonged, vanishing 
 
 toward -£). 
 Call 5(7 (prolonged)/ — a (quickly) /a (prolonged, vanishing 
 
 toward e). 
 Call Bo (prolonged) t — a (quickly) ha (prolonged, vanishing 
 
 toward e). 
 Call Bo (prolonged) t — a (quickly) ha (prolonged, vanishing 
 
 toward e). 
 Call Bo (prolonged) t—a (quickly) ha (prolonged, vanishing 
 
 toward e). 
 
Head Tones 
 
 151 
 
 HEAD TONES. 
 
 When the chords become too much relaxed by over use 
 or wrong use, they need rest, to allow Nature to do her 
 work ; she may be greatly aided by counteracting the re- 
 laxed condition, if the proper means are employed. 
 
 The head tones serve this purpose, as it tightens the 
 chords. To produce a clear head tone, hum m on a high 
 key, then add to it the Italian a {ah), thus producing the 
 word Ma. 
 
 When once the tone has been located, take the word Bo, 
 as an exercise, and run the musical scale, or as many notes 
 as possible, by beginning on your lowest head-tone ; as with 
 the medium tones, increase the power by increasing the 
 cavity. Avoid frowning when giving the high tones. You 
 should keep a head-tone directed to the teeth, the same 
 as the mediums; and by so doing you can force a tone with 
 all the power possible, without breaking it. 
 
 Echoes may easily be formed, if you are particular in 
 locating these medium and head tones ; keeping a steady 
 current of air, and not moving the lips in speaking the 
 words. 
 
152 
 
 Ihe Voice 
 
 EXPLOSIVES. 
 
 A — E — I — O — U. 
 
 Note. — To avoid rasping, set a perfect position for each vowel, 
 and strike it accurately, using but little breath. Endeavor to hold 
 back the breath, but send forth the tone. Aim the vowel at a distant 
 point, and send it there by bursting the imaginary belt quickly. One 
 great secret of power, in all explosive tones, is to aim them against 
 the hard palate, and have the throat sufficiently opened. 
 
 Exercise 37. 
 
 Inhale. Hold. Set the mould for ^. Give (explosively) ^ — A — A. 
 Inhale. Hold. Set the mould for E. Give (explosively) E — E — E. 
 Inhale. Hold. Set the mould tor /. Give (explosively) / — / — /. 
 Inhale. Hold. Set the mould for O. Give Xexplosively) O— O— O. 
 Inhale. Hold. Set the mould for U. Give (explosively) U — U — U. 
 Give, once each, explosively, A — E — / — O — U. 
 
Explosives 153 
 
 EXPLOSIVES. 
 
 HO — HOLD — HALT — JUMP — BACK — BLAZE. 
 
 Give each word with explosive force. Keep the position* 
 for each final consonant closed. Send all the force beyond 
 the shut position, and open the throat sufficiently for each 
 word. Aim the word at a distant point, and force the 
 column of air against the hard palate. Burst the belt 
 quickly. Give each vowel, full but short, except the a in 
 Blaze, which should be held for sustained power. 
 
 Inhale. Hold. Set the mould for Ho. Give (explosively) Ho, Ho, Ho. 
 Inhale. Hold. Set the mould for //tf/(/. Give (explosively) //0/4 ■^-''^^«'; 
 
 Hold. 
 Inhale. Hold. Set the mould for i/a//. Give (explosively) A^«//, //"a//, 
 
 Halt. 
 Inhale. Hold. Set the mould for Jump. Give (explosively) Jump, 
 
 Jump, Juttip. 
 Inhale. Hold. Set the mould for Back. Give (explosively) Back, Back, 
 
 Back. 
 Inhale. Hold. Set the mould for Blaze. Give (explosively) Blaze, 
 
 Blaze, Blaze. 
 
154 The Voice 
 
 EXPLOSIVES AND SUSTAINED FORCE. 
 
 In the following sentences the words that are put in Italics 
 are to be given as explosives, while the others are sustained. 
 
 The whole sentence, in each case of sustained force, 
 should be a chain of as many unbroken links as there are 
 syllables. The emphatic words are represented by the 
 larger links, and simply require the swelling of the tone 
 to express them. We will place a bar, or dividing hne, 
 between the sentences, showing where each sustained force 
 or chain ends. 
 
 We will draw a circle around the words which require 
 the greatest force (not explosive, but sustained), and these 
 should have increased volume. Sometimes this circle will 
 occur around but one syllable of a word, which is generally 
 the accented syllable. Wherever the circle is seen, place 
 the main power of that syllable or word (be it a vowel or 
 a consonant, though it is generally a vowel) against the 
 hard palate, and as you cause it to swell in volume, allow 
 the throat to expand fully, thus opening the pharynx for 
 full reverberation. 
 
 Look at some point quite distant from you, aim your 
 explosive words there, and give them with explosive force, 
 and also aim the sentence to be sustained, and keep it 
 sustained. 
 
Explosives and Sustained Force 155 
 
 If you work as you should, step by step, on the vocal 
 exercises, until you reach those of explosives and sus- 
 tained power, you will be able to give these very strong 
 examples with surprising ease, and without rasping or oth- 
 erwise injuring the throat. These exercises, if correctly 
 taken, are actually fascinating, as they are a tonic to the 
 system from which can come no reaction. 
 
 Exercise 39. 
 Explosive and Sustained. 
 
 Jump ! I (^f ar J (outj Q30yj (mt^) Cthe) Wave) 
 
 I yMiw/lf orQ I J fire. 
 
 (&^Cfor^(^heXguns) 
 
 ^Oj(^eaJ(^(Cas)(tile!) 
 Arm A Arm A 
 
 It Jfis I) — ( it I is Othe I can )(non'sYopening)(^an) 
 
 RouseVye])(Romans M J (kx)us^(y£)(sjavesj^ 
 
156 The Voice 
 
 BLENDING AND CONTINUITY. 
 
 ALWAY AND ALWAY. 
 
 We use the above words, Alway atid alway, as key words 
 for the practice of blending and for the continuity of the 
 tone. They can be practised upon any key, and thus pref- 
 aced to any reading (simply as a means to an end) to secure 
 contimdty and sustained power on heavy passages and con- 
 tinuity and flexibility on lighter passages. Commence with 
 a high medium tone, full force and sustained. Swell each 
 syllable, and blend it with the succeeding one. Reduce 
 the tone and the words, gradually, from the full medium, 
 sustained, to a pure conversational tone, though still sus- 
 tained. Herein lies the beauty of utterance in the light 
 narrative. There should still be the same blending of 
 words and continuity of tone : then, and then only, will 
 we get the real charm of reading, and the soul-felt expres- 
 sions poured forth in a ^continuous stream, not spattered 
 or bfoken, only as the thoughts are broken for the neces- 
 sary modulations. 
 
 How beautifully this is illustrated in the few lines we 
 quote from " The Face against the Pane " ! 
 
 It will be observed that the metrical accent preserves 
 
Blending and Contmuity 157 
 
 the beauty of the poetry, and places it, with the melody 
 and rhythm, just where the poet would place it in his 
 scansion. 
 
 " She will never watch again, 
 Never watch and weep at night; 
 For those pretty, saintly eyes 
 Look beyond the stormy skies. 
 And they see the Beacon Light." 
 
 Exercise 40. 
 
 Al ) (way) land H al JUvayJ 
 
 Medium tone (full force) : Alway and alway. 
 
 Medium tone (less force) : Alway and alway. 
 
 Medium tone (still less force) : Alway and alway. 
 
 Upper chest tone ; Alway and alway. 
 
 Medium chest tone : Alway and alway. 
 
 Lower chest tone : Alway and alway. 
 
 Very low tone : Alway and alway. 
 
 Aspirate tone : Alway and alway. 
 
 Whisper : Alway and alway. 
 
 Conversational tone (light orotund) -. Alway and alway. 
 
158 The Voice 
 
 PRACTICAL APPLICATION OF BLENDING AND 
 CONTINUITY. 
 
 Exercise 41. 
 
 As an unbroken chain between the bars. 
 
 Medium (full force) : | Hear me, ye walls, that echoed to the tread of 
 either Brutus. | 
 
 Medium (less force): | Hear me, ye walls, that echoed to the tread of 
 
 either Brutus. | 
 Medium (still less force) : | Hear me, ye walls, that echoed to the tread 
 
 of either Brutus. | 
 
 Upper chest tone : | The deep-toned thunder rolled along the vaulted 
 
 sky. I 
 Lower chest tone : | Oh the long and dreary winter ! | 
 Very low tone : | Oh the cold and cruel winter ! | 
 
 Aspirate. 
 
 Macbeth. | Didst thou not hear a noise ? | 
 
 Lady Macbeth. | I heard the owl scream | and the crickets cry. 
 
 Did not you speak ? j 
 Macbeth. When ? 
 Lady Macbeth. Now. 
 Macbeth. As I descended ? 
 Lady Macbeth. Ay. 
 
 Macbeth. | Hark ! | Who lies i' the second chamber? ] 
 Lady Macbeth. Donalbain. 
 
Application of Blending and Continicity 159 
 
 Whisper. 
 
 I I see the head of the enemy's column rising over the height. | Our 
 only safety is in the screen of this hedge. | Keep close to it ; ) be 
 silent ; | and stoop as you run. | For the boats ! 1 Forward ! ) 
 
 Conversational Tone (bright and joyous). 
 
 I Give us, I oh, give us, the man who sings at his work ! | He will 
 do more in the same time, | he will do it better, | he will persevere 
 longer. | One is scarcely sensible of fatigue whilst he marches to 
 music. I The very stars are said to make harmony as they revolve 
 in their spheres. | Wondrous is the strength of cheerfulness, | alto- 
 gether past calculation its powers of endurance. | Efforts, | to be per- 
 manently useful, I must be uniformly joyous, | a spirit all sunshine, | 
 graceful from very gladness, | beautiful because bright. | 
 
 I Insects, generally, must lead a jovial life. | Think what it must be 
 to lodge in a lily. | Imagine a palace of ivory and pearl, | with pillars 
 of silver and capitals of gold, | and exhaling such a perfume as never 
 arose from human censer. | 
 
 I Fancy, again, the fun of tucking one's self up for the night in the 
 folds of a rose, | rocked to sleep by the gentle sighs of summer air, | 
 nothing to do when you awake | but to wash yourself in a dew-drop, j 
 and fall to eating your bedclothes. | 
 
i6o The Voice 
 
 BLENDING vs. CLIPPING. 
 
 Elsewhere we speak of keeping the position of final 
 consonants closed, in order to avoid the explosive sound 
 caused by the opening of the positions. 
 
 By observing this caution, much of the beauty and charm 
 of reading, of which we have spoken, may be gained. In 
 reading the following lines from " The Charge of the Light 
 Brigade," there is a tendency to give the t's and d's explo 
 sively, especially the final d in each line. 
 
 " Oh the wild charge they made ! 
 Honor the charge they made ! 
 Honor the Light Brigade ! " 
 
 The beauty is thus marred, as this explosiveness not 
 only jars upon a sensitive ear and good judgment, but 
 smacks of pedantry. Take, for instance, the explosive 
 force following the t in the word Light. What is the result? 
 A rhetorical pause should follow the word Light. But a 
 rhetorical pause, above all others, should be filled with 
 thought; that is, the mind of the speaker acts upon the mind 
 of the hearer during that pause, and his mental magnetic 
 current should not be interrupted ; but if the explosive- 
 ness follows the t, the current is immediately broken. The 
 vowel preceding the t should be full and projected into 
 
Blending vs. Clipping i6i 
 
 the / position, closing the point of the tongue accurately, 
 and throwing the entire word the distance desired, without 
 letting go of the t. 
 
 Would that we could sufficiently voice the necessity of 
 this apparent trifle in the matter of speaking, reading, and 
 singing ! Thousands of times we have demonstrated to 
 classes the power of thus giving /, t, and k, and b, d, and g. 
 
 In order to acquire accuracy in closing the lips for p 
 and b, closing the point of the tongue for t and d, and 
 closing the back of the tongue for /^ and g (Go), we pre- 
 scribe the following exercise : — ■ 
 
 Exercise 42. 
 
 Give decisively, but pleasantly. The character > represents the puff 
 of breath or voice. 
 
 ip^It — Ik\ 
 
 Ip — n — IkWo\.Ip> It> Ik > 
 
 Ip—It — Ik) 
 
 Ib — Id—Ig\ 
 
 lb — Id— Ig K not Ib> Id> Ig> 
 
 Ib — Id — Ig) 
 
 Ip—Ippi — Pi — P (noiP>). 
 It — Itti— Ti— r (not r>). 
 Ik — Ikki— Ki — A' (not K >). 
 lb — Ibbi — Bi — B (not B >). 
 Id— Iddi — Di — D (not D >). 
 Ig — Iggi — Gi — G (not G ». 
 
1 62 The Voice 
 
 PRACTICAL APPLICATIONS OF EXERCISE 42. 
 
 Exercise 43. 
 
 " And Concord roused, no longer tame, 
 Forgot her old baptismal name." 
 
 The value of holding the t on the word Forgot, and then 
 breathing into the pause the very spirit of the selection, 
 cannot be realized without having it vocally exemplified. 
 
 "For, borne on the night wind of the past. 
 Through all our history to the last." 
 
 There should not be a break in the first line of the above 
 couplet. In the second, a break in the chain is made at 
 the close of history. There need be no explosive sound 
 on the last word of each line. When / and t come to- 
 gether at the close of a word, then and then only is it 
 absolutely necessary to give the breath sound to t [crept, 
 slept, wept, etc.). 
 
 " Oh the wild charge they made ! 
 Honor the charge they made ! 
 Honor the Light Brigade ! " 
 
 Hold all the final d's, and /'s shut, especially, as we 
 said elsewhere, the t in the word Light. 
 
 Do not break the tone after the word Honor ; in fact, 
 do not allow a break to occur throughout the first and 
 second lines. Neither should you pass hurriedly from the 
 word Honor, as the heroism is expressed in the continuity 
 of the r. 
 
Bell Tones — Distant Voices — Echoes 163 
 
 BELL TONES. — DISTANT VOICES. — ECHOES. 
 
 These may all be learned from a good teacher in one 
 hour, when the voice is otherwise under control. The un- 
 derlying principles are set forth in these pages (see Head 
 Tones, p. 151); but the author does not deem it wise to 
 go into the details of these special features. 
 
 These exercises, above all others, need the living teacher 
 to give a vocal exemplification. 
 
164 The Voice 
 
 MONOTONE. 
 
 While monotony is not generally desirable, it may be 
 found to be of much service. An occasional practice of 
 monotone, on various pitches, will largely aid in the strength 
 of the vocal organs for each particular pitch. It will serve 
 also as a guide in steadiness of tone, thereby removing 
 the abruptness so often occurring. 
 
 Place the tone well forward against the hard palate, 
 opening the throat, and causing the tone to reverberate 
 to the pharynx. Keep the lips as easy and flexible as 
 possible. No matter how low the tone, do not depress the 
 chin, thinking thereby to depress the larynx. Nature will 
 do her work, but she must have her own way, which will 
 be to depress the larynx for the lower tones, — opening the 
 pharynx instead of contracting it. Each line in the fol- 
 lowing exercises should be given with one continuous stream 
 of voice, unless otherwise designated by the upright bar. 
 
Monotone 165 
 
 Exercise 44. 
 
 Each line a monotone. 
 
 Upper chest tone: " | Holy, ] Holy, | 
 
 Lower chest tone: " | Holy, Lord God Almighty. | 
 
 Medium tone : " | There was silence, | and I heard a voice saying, | 
 
 Low chest tone: | Shall mortal man be more just than God ? | 
 
 Very low tone : | Shall a man be more pure than his Maker ? " | 
 
 Upper chest tone : " | Come to thy God in time ; " ] 
 
 Light conversational tone : | Thus saith the ocean chime. | 
 
 Low chest tone : " | Storm, whirlwind, billows past, | 
 
 Very low tone: | Come to thy God at last." | 
 
 The first and last words should be very full, and the tone low. 
 
 I Call the watch ! | 
 I Call the watch I ) 
 
 To be given with medium tone, light and elastic. 
 
 1 Ho ! the starboard watch ! A-hoy ! | 
 J Ho ! the starboard watch ! A-hoy ! | 
 
 To be given with chest tone, low and steady. 
 
 I Ho ! the larboard watch ! A-hoy ! j 
 I Ho ! the larboard watch ! A-hoy ! | 
 
1 66 The Voice 
 
 FINALE. 
 
 It should be borne in mind that Part Third of this vol- 
 ume is intended as a gymnastic exercise of the vocal 
 organs. Though special stress is laid upon the mechanism 
 of each exercise, it is intended that the conscious applica- 
 tion thereof will be short-lived. A child may use a chair 
 as a support when it is learning to walk, but he is ' not 
 supposed to go through life clinging to a chair. 
 
 The abdominal muscles will soon become abominable 
 muscles if you are obliged always to be conscious of their 
 action. The skilful organist understands every key and 
 every stop of the instrument upon which he plays ; but he, 
 like all others, must have his share of the necessary drudg- 
 ery in the learning, ere he reaches perfection. 
 
 There may have been a time when his fingers were all 
 thumbs ; but through /steady, patient toil in the mechanism 
 of his work, his fingers glide so gently over the keys, 
 touching here and there as if by chance, yet producing 
 such harmony that it reminds us of the bird on the wing, 
 in its rhythmical moVement above the water, dipping now 
 and then to get a response from the very touch of the tip 
 of the wing, — now light and delicate, again with a splash ; 
 yet there is harmonious action in every move and touch. 
 
Finale 167 
 
 Be not discouraged. Do a little each day, but do that 
 little well. Because you are born with vocal organs you 
 cannot expect to procure the best results without much 
 labor and practice. The eaglet, in the nest, would not 
 know the value of its wings were it not for the mother-bird, 
 who " must be cruel only to be kind." She crowds it out 
 of the nest far up the cliff, to teach it to fly; and spread- 
 ing her wings, she drops underneath, and catches it. Again 
 and again she removes its support, but as often repeats 
 the catching, and finally she takes it back to its nest. It 
 has had its first lesson, but even that lesson will do it no 
 good if it remains in the nest. So must you, my pupil, 
 begin at the A B C oi all you undertake, and learn to 
 strike out for yourself, if you wish to become a master. 
 Then there will come a time when the results will be pro- 
 duced without conscious effort. You may have high aspi- 
 rations, but you must begin with low preparations. 
 
 " Heaven is not reached by a single bound. 
 We build the ladder by which we rise 
 From the lowly earth to the vaulted skies, 
 And we mount to its summit, round by round." 
 
 Be patient, persevering, and hopeful, and your labor will 
 not be in vain. Fifteen minutes of judicious practice daily 
 is better than an hour at hap-hazard. It is the constant, 
 steady dropping that wears away the stone. 
 
1 68 The Voice 
 
 These pages contain the gleanings of years of labor in 
 the rich, ripe field of experience. If out of the harvest 
 the reader secures the many measures of helpfulness herein 
 contained, the writer will feel amply repaid for having placed 
 his labor in a form to be utilized by many whom it may 
 never be his pleasure to meet. 
 
. <■'