THE SPEAKING VOICE "8?^ b:y GEORGE C. WILLIAMS ^'^ The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027198682 Cornell University Library PN 4162.W72 Speakirija voice 3 1924 027 198 682 THE SPEAKING VOICE A COLLECTION OF VOCAL EXERCISES — BY — GEORGE C. WILLIAMS Former President of the National Speech Arts Association, The New York State Association of Elocutionists, and present Dean of the Williams School of Expression. ITHACA, N. Y. NORTON PRINTING CO. 1919 CopyrlghMd 1919 OBOROB (.. WILUAM* AllRtghtilUMrvcd INTRODUCTION There is much discussion as to tlie relative merits of tech- nical and expressional exercises for vocal development. It is only the extremist that decrys either form of exercise; as both are essential, — the expressional generally accom- panying and always supplementing the technical. Part I of this book is devoted strictly to technical exercises, Part III to expressional exercises, while both forms are included among the Exercises of Precision in Part II. The exer- cises of one part of this book should never be used exclu- sively; but exercises from all parts of the book should be used simultaneously, Xo attempt is made herein at an exliaustive treatise of the Speaking Voice or a theoretical discussion of Vocal Problems, — such treatment must be deferred for a later volume. The author herein presents a series of practical exercises which he has foiuid, through a teaching experi- ence of many years, to be helpful and developing. This volume is planned for use in the class-room, the private studio, and by the individual as a means of self -culture. The author wishes to gratefully acknowledge permission from J. B. Lippineott Company to print excerpts from the poem by T. B. Reed entitled "Drifting". Poems by H. W. Longfellow and 0. W. Holmes are also used by permission of, and special arrangement with, Houghton Mifflin Com- pany, the authorized publishers. By special permission, several of the exercises of this volume are taken from Clara Kathleen Rogers' excellent book entitled "English Diction". Dr. Frederick Martin, director of Speech Improvement in Xew York City Schools, has also kindly granted the use of several exercises found in his "ilanual of Speech Training". 3 "What is a good Speaking Voice 1 We recognize it when we hear it; — which is exceedingly rare. But no single standard can be chosen or adopted as a pattern. A Daniel Webster voice associated with a Chauncey Depew tempera- ment would be an absurdity. The voice is a more direct manifestation of character and temperament than any other agency. If allowed a normal development it is, in its color and quality, the spokesman of the soul. In other cases it is a monument to neglect and misuse. An important question with every person, irrespective of business or calling, should be, "How can I make my voice an effective instrument for the clear and convincing inter- pretation of my thought and feelings to the world about me?" In answer to this question we would say that the voice will reach its highest state of development only through three definite lines of training : I Freedom of Action. II Precision of Action. Ill Healthy Exercise. The exercises of this book have therefore been grouped under these three general headings. I. FREEDOM OF ACTION Ninety per cent of all vocal troubles are due to muscular contraction and consequent restriction of the tone. There is no more conscious physieal effort in ordinary speech than occurs in ordinary breathing. Direct physical exertion is therefore a bar or hindrance to the naturally free voice. Once fully liberated from this restricting influence, which is sure to misdirect the energy, the vocal organs will co- ordinate and develope to their greatest strength, resonance, range and expression. In other words, vocal muscles will develope like any other muscles of the body, through simple, intelligent use, providing they are in no way hindered or restricted in their action. iStrange to say, however, through causes, which cannot be here discussed, because of the limits of this little volume, at least seventy-five per cent of all voices are suffering from some form of muscular restriction. This mis-application of energy is one of the great causes of various speech de- fects.; and an early attention to these conditions in the grade work of our public schools forms one of the best Pre- ventives for all vocal ailments. Occasionally it happens that a man or woman is fortunate enough to escape or avoid this restricting influence, and in such cases we generally have, what we are prone to ea;ll, a naturally beautiful voice, or a naturally graceful man or woman. These muscular restrictions usually occur : A. At the waist, restricting the normal and complete use of the lungs. This causes poor health and limited physical developement, as well as feeble voices, for the lungs consti- tute the motor power for the voice. B. At the throat, causing throat troubles, tonsilitis, hoarseness, restriction of tongue movement, etc. The throat is only the passage-way of the tone. All physical effort at this point may he likened to the squeezing of the hell of a horn in order to produce tone on that instrument. The more open and free the throat, the purer and stronger the tone. 'C. At the jaw, causing poor articulation, muttering, and many speech defects. EXERCISES A. FOR FREEDOM OF RESPIRATORY MUSCLES There is no need at this time for a lengthy discussion of Breathing Methods. Too much time in the past has been wasted in over-technical and hair-splitting treatment of this subject. Give the lungs all freedom for expansion. Breathe, as far as possible, "with the whole body", "using all the diameters of the chest" and making sure that the first impulse reaches to the very depth of the lungs. Avoid all effort toward "conscious breathing". Nature has pro- vided an involuntary and automatic governor and regula- tor for our breathing apparatus, which needs no adjusting. Any "conscious" interference with this governor is usually harmful. The following exercises should all be taken responsively, not rhythmically. This is importamt, as attention is thus held, definite control established and immediate develope- ment follows. I. Physical Exercises 1. Poise. With weight resting on both feet, stretch the arms sideways at shoulder level, palms downward. "Press 6 the back of the neck against the collar-button ! ' ', drawing the chin slightly in. Easily holding the position, sway for- ward from the ankles so that the weight of the body is over the balls of the feet, still keeping the heels on the floor. Now allow the arms to sink to the sides, and you will find the body in good poise. Sense the feeling of this position so that you can consciously return to it at will. In fact, the exercise should consist of "letting go" and then return- ing to this position until you find it easy and natural to do so. Avoid all stiffness or rigidity. Do not assume an exaggerated "bantam" attitude. Good poise is a fundamental requisite for health and efficiency. 2. Touching Floor. With hands a;bove the head, bend forward from the hips without bending the knees, touching the floor. Repeat eight times. Command: "Arms upward stretch! Touching floor without bending knees! Down! Up!" 3. Steamboat. With arms extended sideways at shoulder level, bend the trunk from the hips first to the right four times; then to the left four times; then alternating four times. ■Command: — ^"iSteamtooat ! Arms sideways lift! To the right bend! Stretch!" 4. Chinning Bar. With arms extended above head, palms facing backward, and clenched, slowly flex the arms, bringing in play the antagonistic muscles, while the body rises on the toes, keeping chin back and in. Command: — ^" Chinning the bar! Arms upward stretch, palms backward ! Clench hands ! Arms slowly bend, resist- ing, with heel elevation, chin in ! Up ! Down ! 5. Leg Eelevation. Lying on the back, raise the legs without bending the knees. Command: — "Floor position, lying on the back! Legs upward lift. Sink ! ' ' 6. Hopping. Place hands on the floor. Shove feet back on toes until the legs are straight and the body in a hori- zontal position. Do not sag at the hips. Keeping hands on floor, jump the feet forward and back several times. Command: — "Hands on floor place! Feet backward place! Hopping forward and back, One! Two!" H. Breathing Exercises 7. Simple Breathing. 'Stand in poise as indicated in Ex- ercise 1, making sure that all muscles of the body are free and relaxed. Take a slow, full, easy breath, allowing a free expansion of the entire chest and waist. Command : — ' ' Position ! Breathe in ! Out ! ' ' 8. Touching Floor. Standing ia good poise, with hands above the head, fully inflate the lungs, then, retaining the breath, quickly bend forward touching the floor, as in Exer- cise 2, and immediately return to erect position. Slowly exhale. Caution. Do not hold bending position with lungs inflated. After touching the floor, at once raise the trunk and easily let out the breath. Command: — "Breathing in and touching floor! Arms up ! Breath in ! Down I Up ! Breath out ! " 9. Rapping on Chest. Fill the lungs and, while holding the t^reath, rap sharply with the palms of both hands on all portions of the chest. Caution. Use this exercise only when lungs are fully inflated; never when they are even partially deflated. Command: — "Rapping on chest! Breath in! Rap! Breath out!" 10. Arms Flinging. Bend arms forward, elli^ows on shoulder level, palms downward. Take a full hreath as you fling the arms sharply sideway, and back on shoulder level and take a long step forward. Caution. Do not duck the head forward as you fling the arms. Command: — "Arms forward toend! Arms flinging side- ways with foot placing forward, right and left, breathing in! Fling! Back!" 11. Arm Circumduction. Extend arms sideways on shoulder level, pabns downward. Stretch the arms to the flnger tips as they slowly circle back, down, forward and up; taking in a full easy breath as the arms circle back- ward, exhaling as they come forward. Caution. The move- ment of the arms must accompany the breathing, — ^not the reverse. Do not allow the head to duck forward as arms go baok. It is better that the members of the class should take their individual time on this exercise. Command : — ' ' Arms sideways lift ! Arm Circumduction, breathing in and out ! Start ! Position ! ' ' 12. Arm Elevation. Arm s raised to shoulder level, palms upward. Fully inflate the lungs as you raise the arms to limit ab,ove the head and rise on the toes. Caution. Keep head erect, chin in and body in good poise throughout. Command: — "Arms sideways stretch, palms upward! Arm elevation and heel elevation with full breath! Up! Down!" 13. Knee Flexion. Same movement as No. 12. Instead of rising on toes, bend the knees to sitting position as you fill the lungs and elevate the arms. Caution. Bend knees as far as possible and keep the trunk erect from the hips. Do not incline forward. Command: — "Arms sideways stretch, palms upward! Arm elevation with knee flexion, breathing in ! Down ! Up !" 14. Diaphramatic Exercise. Place hands on sides over lower intercostals, fingers pointing forward. Exert a steady pressure with the hands against the sides while you take a slow deep breath, thus forcing the hands outward. When the lungs are filled, slowly give way to the pressure of the hands as they force the breath out. 15. Dorsal Exercise. Place hands on the hips, fingers pointing backward, the tips meeting at the lower lumibar region of the spine. Take a slow, easy, deep breath, ex- panding the dorsal and lumbar muscles so that the fingers are forced some distance apart. B. FREEDOM OF THROAT MUSCLES I. Physical Exercises for Neck and Upper Chest 16. Spreading Shoulders. With arms at side and elbows straight, roll the shoulders over and back as far as possible, while the arms rotate turning the palms forward. Caution. Do not duck the head forward during the exercise. Give the commands with co:nsiderable irregularity and broken rhythm. Command :— ' ' Spreading shoulders ! 1-2-3-4^5-6-7-8- 8-7-6-5-4-3-2-1!" 10 17. Boiling Arms at Shoulder Level. Extend arms to the side at shoulder level, palms downward, hands clenched. Quickly roll the arms up, back, down, and for- ward in response to each count. Seek response and not rhythm through the commands. Command: — "Arms sideways stretch, hands clenched! Rolling arms at shoulder level! 1-2-3-4-5-6-7-8-8-7- 6-5-4-3-2-1!" 18. Spreading Elbows. Bend arms forward, elbows at shoulder level, head erect, palms downward. With some resistance, forcibly press the hands up and back of ears. Irregular Commands: — "Arms forward bend! Spread- ing elbows at shoulder level ! 1-2-3-4—5-6-7-8-8-7-6-5- 4^3-2-1!" 19. Head Flexion. Place tips of fingers on back of neck, with elbows held back. With strong resistance and keeping chin well in, b,end the head slowly back, then up. Command: — "Neck firm! Head backward bend! Up- ward stretch ! ' ' 20. Head Rotation with Flexion. Turn head to right side ; then bend straight back from the chin, which is held well in. Repeat on left side. Caution. Do not lean head to either side during backward flexion. Command : — "Head to the right, turn ! Backward bend ! (chin in) Upward stretch ! ' ' 21. Arms Swimming. This movement is taken to three counts, and with weight on the advanced foot. 1. Bend the arms forward, elbows on shoulder level, hands back to back, fingers pointing forward. 2. Quickly extend arms 11 straight forward, palms outward. 3. With elhows straight fling arms back on shoulder level, keeping head erect. Command: — "Right foot forward place! Arms swim- ming! One! Two! Three!" II. Physical Exercises for the Tongue (To he practiced with mirror) All of these exercises should •b.e given to irregular counts 1-8-1, unless otherwise indicated. 22. Point tongue outward and upward toward nose. 23. Point tongue outward and downward. 24. Rotate tip of tongue around lips, mouth well open, beginning at right side and rotating upward. 25. Rotate tongue around lips beginning at left side. 26. Raise tip of tongue to hard palate, mouth well open. 27. Curling tip of tongue under. Place tip at 'base of lower teeth, with mouth open, and press the middle part of tongue as far forward as possible. 28. Lulling. Raise the entire tongue, as far as possible, to and against the roof of the mouth. 29. Clicking Exercise. Raise back part of tongue to soft palate, as though to make the sound of K. It is a simple mechanical movement without tone. Repeat this in differ- ent rhythms, thus beating a tattoo with the back part of tongue. 30. Groove tongue and point it outward between the lips. 31. Place the finger and thumb under the chin about an inch back from the front. Bear down against slight pres- 12 sure, not with the jaw, which remaias stationary, bjut with the hypoglossal muscle at the base of the tongue. 32. Raising and lowering the Uvula and Soft Palate. If difficulty is experienced with this exercise in the begin- ning, a quick, short, panting intake of breath may aid the movement; or thinking the yawn will expand the entire pharyngeal cavity. Be sure to lower the uvala at wiU, as well as raise it. The position should be held easily, not rigidly. III. Vocal Exercises for Freeing the Throat 33, Sit, leaning well forward; slowly draw the chin down until it rests upon the chest, slightly stiffening the muscles of the neck; again raise it. Now, Iby contrast, see what the condition of the neck muscles are when the head is perfectly surrendered to gravity, that is, given up ! "Let go" the neck. Do not draw the head down, but allow it to drop. Now slowly raise the head to upright position. Test the condition of the neck muscles, both by the general feel- ing of relaxation, and by the sense of touch. Now rise and stand at ease, or walk leisurely, retaining the same relaxed condition of the neck. Count numbers, speak conversa- tional sentences, and sing easy passages, being careful to keep the same relaxation of muscles. ~ 34. Assume the same relaxed condition of throat as in the preceding exercise, and utter the following vocal sounds with full, free, open voice. In the first column each vowel sound be given separately, somewhat sustained, with full voice, but withowt effort. The combinations of vowels in each of the other columns should be given on one breath, without pause between syllalbles, treating the same as one 13 word. The "a" used in these exercises is as in the word say . ah ah-a ah-a-ee ah^Br-ee-awe a a-ee a-ee-awe a-ee-awe-oh ee ee-awe ee-awe-oh ee-awe-oh-oo awe awe-oh awe-oh-oo ah-a-ee-awe-oh oh oh-oo a-ee-awe-oh-oo 00 ah-a-ee-awe-oh-oo oo-oh-awe-ee-a-ah IV. Vocal Exercises for Tongue 35. ' De, de 7 Do, do Dah, dah ^ 'i Je, je <( Jo, jo Jah, jah 3 Le, le ^ Lo, lo Lah, lah y Ne, ne - ';) No, no Nah, nah r Te, te To, to Tah, tah \, Che, che ;Cho, cho Chah, chah 36. Repeat the syllable "Koo" several times on the same breath, alternating the pitches of the sylla;bles be- tween two consecutive notes in the middle range of the voice; and making sure to avoid all throat contraction or effort. Now repeat this exercise several times, raising or lowering the pitch of the voice one tone on each repetition. 37. "With relaxed throat yawn the following syllables: Skah Skaw Glahgle Glawgle Klahk Klawk Gahg Gawg Lahl Lawl 38. Think the "yawn" and prolong the following vowel combination on one breath, "ee-oo-awe-ah". — - H Practice also the following Expressional Exercises in- cluded in Part III : 1 ; 4 ; 7-12 ; 25 ; 28 ; 29. C. FOR FREEDOM OF THE MUSCLES OF THE JAW ■One of the greatest hindrances to easy and effective utter- ance is a stiff and inflexible jaw. It must first bp liberated mechanically, and then be taught to move in flexible, elastic but not extravagant action, I. Physical Exercises ^^ 39. Sit leaning forward, as in preparation for throat exercise No. 33; drop the head, allowing the jaw to hang down, as if falling asleep. Repeat this until you can feel a slight sense of weight in the lower jaw, then shake the jaw by the head and by the hand, moving it vertically and laterally. The important thing is to gain such flexibility as shall insure prompt, elastic action. II. Vocal Exercises \^ 40, With the muscles of the throat and jaw in the re- laxed condition indicated in Exercise 39, utter the follow- ing sjyllables, first aloud, then silently : ee-yah ; ee-yaw ; ee-yoi. 41, Sing the syllable "fah" up and down the scale slowly. Allow the jaw to hang with perfect freedom, but do not consciously pull the jaw down as far as possible. The aim is flexibility of the jaw muscles, not a wide opening. , 42. dah daw doi l/^ fah faw foi lah law loi mah maw moi 15 nah naw noi pah. paw poi tall taw toi vah vaw voi Practice also the following Bxpressional Exercises in- cluded in Part III : 1-3 ; 7 ; 11 ; 13 ; 25 ; 26 ; 40-45. V. FLEXIBILITY, RESONANCE, ETC. Freedom means flexibility. A monotone, or a narrow range of voice is never natural. This is always the result of muscular restriction. Monotony of tone color or lack of resonance in the voice is caused in the same manner. Use any muscle in the body for an extended period in a limited capacity and it will soon lose all inclination to move except along the narrow machine-like groove in which it has been tutored. Any voice, still possessing elements of youth and vital- ity, is sure to rebound from this muscular restriction, once it is thoroughly freed; and ultimately regain its normal flexibility, power and range. If, however, it has been re- strained for a long period of time, its recovery of all its varied tone elements may be correspondingly slow. The following exercises will be found helpful in the develope- ment of definite vocal powers, which, for reasons already stated, may b;e limited or unresponsive. A. Flexibility and Range of Voice 43. Stand easily erect in good poise with throat muscles in condition indicated in Exercise 33. Beginning on the middle note of the voice, — ^usually aibout middle C on the piano, — count up and down the scale, being sure that the neck and throat muscles are kept 16 perfectly relaxed. Bo not sing tliis exercise Ijut talk it easily, distinctly and naturally. At first one may count down three and up five and back. As the throat muscles relax and the voice becomes more and more flexible, one tone after another can be added until the speaking voice embraces at least two octaves that can be used with perfect ease. It will sometimes aid to move about the room and "dangle" the arms while practicing, in order to avoid a stiff and unresponsive condition. 44. In like manner count up to seven and back on one tone. Now repeat this exercise on consecutive pitches up and down the musical scale. Never allow the slightest feel- ing of strain in the voice. Always meet such a condition by a short pause and a perfectly relaxed condition of the vocal organs in the renewal of the practice. 45. Practice Exercise 34 up and down the musical scale in like manner. Practice also the following Expressional Exercises in- cluded in Part III : 33-35 ; 39 ; 46 ; 53-55 ; 58 ; 59. B. Resonance There is neither space or need in this book for a discus- sion of the different vocal registers or the resonanee cavi- ties. It is sufficient to say that the normal voice naturally modulates through all of the voice registers and uses all of the resonance cavities. There is no easier way to secure Chest Resonance than through the free and proper use of the respiratory organs. At least one-third of all of the phonetic sounds used in ordinary speech form an absolute obstruction to the emission of the tone through the mouth. 17 As the only other passage-way is through the nose, this tone oibstruction naturally produces what is termed Head Resonance, unless throat contraction or tongue resistance forhids the same. Head resonance can often be secured through pure imi- tation, although the following exercises will be found help- ful in securing this very essential quality of tone for both speakers and singers. 46. With the aim of causing vibrations in the upper part of the nasal chamber, utter the following sustaraed humming sounds without pause, running one word into the next: "Neen, noon, nane, nun, nah." 'Sustain the feial syllable "nah", imparting to it, as much as possible, the humming "n" quality of tone. 47. Hum the letter "m", projeetiag the sound, not through the nose, but at the lips. Feel the vibration first on the lips, then try to make this trembling effect spread throughout the face. Always think of the resonance qual- ity you wish to develope in the voice. 48. Utter the following exercise in the same way up and down the scale: "Moo-een, moo-^ane, moo-ine, moo-ohn, moo-ah." Do not allow the tone to go to the front nasal 49. In like manner practice the following syllaibles: "Noo-ee, noo-^a, noo-i, noo-oh, noo-ah." Do not pause between the two syllables but, in each case place the vowel tone in the same location as the humming "n". Practice lightly up and down the scale with relaxed throat muscles. 50. In the same way practise the following sentence up and down the scale : "Neither Nina New nor Nora Nigh." 18 51. Now practise the prolonged vowel tones without the humming "n", making sure to secure the same head place- ment. Practice also the following Expressional Exercises in- cluded in Part III : 18 ; 21 ; 22 ; 24 ; 28-30 ; 47. 10 II. PRECISION OF ACTION Precision in speech means distinct utterance and Pure Diction. Poor diction is the most common criticism of the American voice; and this criticism, cannot he made with two great severity, for it is well deserved. This deplorahle condition exists chiefly because so little attention is paid to the suhject of phonics and purity of speech in the Public Schools. The student usually receives a brief, and more or less careless, course in phonics in the lower grades, and from that time forward the subject is generally forgotten by bjoth teacher and pupil. As a result the student quite naturally receives the impression that phonics is a primary subject, for small children only. He considers the further study of phonies as beneath his attention, until he enters business or social activities. Then the real importance of clear, distinct speech is brought very forcibly to his atten- tion. As a matter of fact, some form of exercise in pure diction should be continued throughout the entire public school curriculum. Pure diction will thus become a habit. Then, and then only, will the American voice suggest cul- ture and refinement, instead of the reverse. A speaker must have an exceedingly important message and a commanding presence in order to hold the attention of an audience, if that audience must make any exertion in order to understand what is being said. On the other hand, a speaker with a clear, distinct, pleasant voice is able to hold the attention by the mere charm of his voice, even when discussing matters of comparatively small importance. Precision of action should first be acquired in connection with the proper sounding of the various vowels and con- 20 sonanis. Care should toe taken to acquire a clear, distinct and firm voieiag of each of the following phonetic sounds. Try to feel the sound ; but do not allow any rigidity of the lips or voice muscles'. I. CONSONANT EXERCISES. 52. M Place the lips together, causing the sound to flow through the nose. arm, home, man, mate, me, make, mob. / A man made a mat. 9 Many more men may march. 3 Mr. March met many merry men in the meadow. ' Moore's music makes men march. J Many a man is a mere mummy. ^ Mary has an amazing manner of mixing her metaphors. 7 Melancholy music makes me miserable. 53. P Press the lips together lightly, then quickly expel the breath between them. ape, apple, open, pay, pipe, pump, poem. / Peter paid: a penny for the paper. ^ My pet pigeon is prinking its pin feathers. 3 Pick a primrose and put it on Pearl's pie-pan. V Put a piece of paper on our milk-pail. f Paul was prepared to paper the pantry. >' Patsy picked a pink apple for pretty Peggy. y Porter made Paul mix a piut of paint. 54. B Prras the lips together and produce a vibration in the throat ; then quickly expel the sound between the lips, hobby, ebb, boy, baby, bite, bib,, Iball. 21 ' A big boy bought a bat and ball. ' ' Bob was beaten and banged ab,out in the bath-house. ;: A big, black, barbed beetle crawled up my back. i Barbara was bending over the babbling, bubbling brook. t< Blackberries and barberries abound in Berkshire. ^ Bessie bought bread, butter and berries in a basket. '' Billy Bell b,rake his pipe blowing soap-bubbles. 55. W Protrude the lips as for the sound of "oo". As the breath is forced through the lips, forcibly jerk them apart. was, war, we, win, woe, wet, wood. ' We worked with a will ajid won. < Winnie wore a white water-lily in the wild woods. "b 'She was woefully wounded by William 's wicked words. Y Walter went West to woo the woman who is now his wife. C We were working by the wind-mill. i* What will the wild winds and waves work? 56. Wh The "H" is pronounced before the "W". what, when, why, whale, white, which, where. I Why weep when we win ! Q Where is our poor whip-poor-will ? ^ We whipped the waves into a white foam. V White wings are worth while when we wander where the swallows wheel. £ Which boy whistled and which one whispered? ^ What webs we weave when we whimsically wander wheresoever we will. -1 When the wee whistler was well whipped. 22 ^ 57. F Press the lower lip lightly against the upper teeth and force the breath between them. fate, four, fun, face, five, fist, fife. I Fee, fi, f 0, fum. C^ His fife and staif lay on the turf, i All foes fear our famous fighters. V Fred felt no fear while fighting the fire. j^Four fiue foxes faced five fierce foes. ^ We found the thief far off from the farm. y Fanny's speech was forceful, firm, free and fiuent. - 58. V Produce as for F, adding a vibration of the voice in the throat. wave, five, move, over, very, van, voice, visit. ( Five boys are moving the van. 1_ Phil's vest is made of velvet. "i She is a violent, vicious, vindictive little viper, tart as vinegar. V Wave upon wave of vapor poured out of a valve in our vat. i'The five fever patients are progressing favorably. f- When I move over Viola's way we will visit. 7 Vowels andi verbs verily do violence to my nerves in mak- ing verses. ^ 59. Th (soft) Place the tip of the tongue between the teeth and expel the breath. both, mouth, froth, thin, thick, thumb, thirst. A thick thatch maketh a cottage thoroughly dry. 23 -J We thought Beth was an author. Matthew threw six thick thistle sticks. Y Ethel's hirth-day oomes on Thursday the fifth. ; When vexed with anything think it over. > To think a thought is theontieally to tell a thought. 7 Edith put her thick thumb, in her mouth. : 60. Th (hard) Produce as for Th soft, adding a vibration of the voice in the throat. The mouth should be opened instantly for a following vowel. with, father, this, then, they, that ,there. ' Their mother is taller than' father. This is the feather that they wished. "•^ Even though they were there they missed their mother. S That man went with father and brother. ' They and theirs wish well thee and thine. ,t Mother makes me bathe in this bathing-suit. ' My father bequeathed! a farthing to my brother. ^ 61. T Press the tip of the tongue against the hard palate just back of the teeth. Quickly expel the breath as you nimbly draw away the tongue and open the mouth. not, meat, let, butter, top, teeth, tin. / Two and two are four, '-- The top of Tom's tent is torn. )' When I tasted the tart it was bitter. / Ten tiny, timid fairies went out on tiptoe. , Teddie tore the towel to tatters. y The tutor bought the pattern for ten tin toys. "( Little Tommy Tuttle tip-toed on top of the table. 24 ^ 62. D Produce as for T, adding a vibration of the voice in the throat. glad, bad, sad, do, day, doll, den. / To do, to dare, to die. 2 What did Ban do with the dime ? 3 Dick paid dearly for his dreadful blunder. V Daisy was determined to do her duty. •6'^They found his body in a dark, damp, dingy ditch. f, Dorothy did her duty and 'bought a bonid. y Ding-dong, dingle-dangle, dilly-dally, luddy-fuddy. 63. S (soft), Produce a soft hissing sound by slightly raising the tip of the tongue and expelling the breath through the center of the nearly closed teeth. hiss, loss, moss, see, say, sail, sister. f Sam sang a song for us on Sunday. ^ Sometimes the hisses seemed seriously sent. ^ Sister Susan sighed sentimentally under the stars. y The sled slipped successfully down the smooth slope. ■-, Mr. Smith will sell satin at the sales in September. k Seven sisters were at the dance on Saturday. 7 Several singers were soon seated at the supper table. ^64. Z Produce as for S, adding the vibration of the voice in the throat. eyes, was, buzz, dizzy, zone, zero, Zion. i Busy bees buzz in the fields. Q^ Does she seem pleased with his prize. 29 I was not amazed, for it was easy to f orsee those results. ■ Did Daisy bathe the boy's eyes? It is wise to visit zoos and museums. - The Zebra in some zones suffers in zero weather. Baby Susie wanted to seize Miss Zom's zither. 65. Sh Hold the teeth as for S ; arch the middle of the tongue and direct the breath against the front teeth while pro- truding the lips. dish, bush, sash, shoe, she, ship, sure. Be sure and push up the sash and the window shade. 'Ships throw shadows on the ocean. ^ 'She showed her wish was for social position. Y She shouted out of sheer joyousness. 6 "She cherished a wish to make a full confession to the bishop. t- The shepherd sheared the sheep. 7 After a shower of refreshing rain that washed the bushes the sunshine was propitious. 66. Ch Ch is a combination of T and Sh. Run the T into the Sh and stop abruptly. watch, march, match, cheese, chalk, chair, church. i We had such a search for the chicken. - He chooses all the chants we sing in the church. 't Much cheese is made by the Dutch. / Will you reach Charles his crutch ? •"'Charles pitched the ball to Archie. >, 'Chester watched the church sexton ring the chimes. • My chum searched with a match for the merchant's charm. 26 y ^ 67. J and iSoft G Produce as Ch, adding the vibration of the voice in the throat. age, joy, jam, jump, judge, jest, jelly. / George is generally joyous and genial. X John has been to Japan and Java. ^ The Jew jumped from the barge and joined Jonah. y Jack made a jocose rejoinder to the jolly old gentleman. j~ The Judge and the jury were justified in their judgment of the soldier. ^ Jimmie and Marjorie jumped with joy at the sight of jelly and jam. / He was jealous because Jenny gave the jewels to James. ^ 68. L Raise the tongue to the palate, the tip pressing lightly against the b,ase of the front teeth, and allow the voice to escape. doll, call, sell, lady, laugh, loss, light. ' The light in the parlor lamp was low. Q.. Many lovely lakes lie in the Emerald Isle. 1 One lives well who lives wisely. f 'She works hurriedly and awkwardly, consequently she works badly. •< Let lovely lilacs line Lee's lonely lane. 1 He was lucid and logical, lordly and loyal. y Elizabeth and Dolly lived with Lilly on Long Island. 69. R Raise the sides of the tongue and allow the voice to es- cape with plenty of vibration. car, oar, far, rat, red, right, run. 27 Reach that red rose for me. '■''• Pretty, pretty, prattling creature. '•' She rose from her rest wearily, drearily and dreamily. "/ The orator roused his hearers by rising and roaring with excitement. Our preference is for a rural rather than a royal resi- dence. '' I dread the dreaming of dreadful dreams. 7 Richard and Robert read their readers every night in our room. ^ 70. N Press the tongue against the roof of the mouth, driving the voice through the nose. on, can, fun, new, nap, name, nine. ' Never have I known such a noisy man. .- Neatness is natural to persons of native refinement. 3 Ned bought a new fish-net Monday noon. Y "Now or never," said Nelson's nephew to the new naval men. i The Norwegian minister was newly nominated. '' The news of his annihilation nearly unnerved him. y Ninety -nine noisy Indians ran down the narrow runway. t- 71. NG Holding the lips and teeth apart, press the back part of the tongue against the soft palate, and produce a continued vibration of voice through the nasal cavities as for N. song, ring, bang, wrong, wing, tongue, King. * The bells ring, "Ding dong, ding, dong". -" The clang of the fire-gong rang down the long lane. - We won the long war by fighting, working and saving. 8S i,l •s The singer sang a laughing song for the happy throng. Wrong doing is sure to bring sorrow and weeping. >-• The strong iron-monger grew anxious with waiting. 7 The jester jumped off the donkey and through the ring. ^ 72. K or Hard C Arch the rear of the tongue and quickly expel the t^reath over the obstruction thus formed. ark, make, cake, ear, key, coat, kick. / The cook baked a cake. 8^ Katy caught a cold and could not come. 5 Critical comments can work to our cost. Y The doctor cured the king of the cold he caught in the cathedral. ^ " He has a knack of cackling like a chicken. f Broken bricks, cobbles and coal crowded the track. 7 He caught his cousin in the act of kicking the cat. 73. G (hard) Produce las for K, adding the vibration of the voice in the throat. bag, egg, log, good, go, give, gun. / He gave Margaret a good gargle. % Gregory greeted the gang with great gallantry. 'h The organ-grinder was grateful for my gift. ! The gambler was gagged and dragged aboard the brig. ^'^Growling, grumibling, gruffiness, and grog are his pre- vailing sins. , There was no good ground for either gaiety or gloom. > Great greed brought ghastly results to the rogue. 29 74. T Separate the teeth and lips, arching the tongue as for "ee", and drive the voice over the obstruction thus formed. yard, year, yell, yes, you, yon, young. I Yesterday you were yelling in the yard. The yolk of the egg is yellow. 3 Yankee youths on the yachts yelled, "Ye Ho". Y Miss Young gave your yellow yarn to a yowling young- ster. -' Will you go with "William to New York? -^ The yeoman in the yard yawned wearily. 7 Every year the youngsters yearn for Yuletide. 75. H Separate the teeth and lips fully and expel the hreath. Ha ! harm, home, heel, hit, hen, hut. ' He heard the hoofs of his horse. -- Helen has a horn in her hand. '' Henry must hurry home to help his mother. ' The whole house howled 'as the Hindu hauled the hen from under his hat. *■ The hound -howled behind the house. ■^ Did you hear the horn of the hunter ? 7 He hankered after home, health and happiness. II. VOWEL EXERCISES 76. Drill Chant of Prominent Vowel Sounds 1 A (long) as in fate, make, take, date, fade, cane, save. i A (short) as in man, hat, back, ham, had, tap, cap. „< A (Italian) as in arm, father, far, alms, farm, harm, palm. 30 V A (short Italian) as in ask, pass, dance, last, fast, chant, staff. J^" A as in all, talk, water, fall, small, yawn, awe. V E (long) as in eve, meet, deed, creed, eel, deer, feed. "/ E (short) as in pet, ten, end, net, get, bet, let. \' I (long) as in tide, bide, fine, line, ice, fire, bite. '9 I (short) as in pit, ill, did, fit, sit, lid, mill. 1 1 (long) as in old, note, bone, grow, low, sold, mode. (short) as in odd, dot, got, lot, top, rot, mop. f U (long) as in use, mute, tune, duty, duke, pure, lute. '- U (short) as in up, us, tub, cut, but, fun, gun. ; V 00 as in food, moon, fool, cool, goose, boot, doom. .'5" 00 as in good, foot, wool, book, hook, took, look. „ ow, as in owl, bow, loud, thou, proud, now, how. '■ oi as in boy, oil, toy, joy, toil, voice, boil. First acquire the correct sounding of each of the above vowel sounds. Then practise them, skipping about from one sound to another. Do not always practise vowel sounds in the same order. Practke also the following Expressional Exercises in- cluded in Part III : 16 ; 17 ; 19 ; 20 ; 31 ; 32. III. LIP EXERCISES (Accent all syllables beginning with capital letters) ^ 77.- Repeat with firmness and accuracy "ee-oh-jah-oo". ^ 78 J bi, bi— boh, boh-^bah, bah fi, fi— fob, fob— fah, fah ^ 0, mi, mi — ^moh, moh — mah, mah y pi, pi — poh, poh — ^pah, pah j vi, vi — voh, voh — vah, vah 31 l^ ^ 1/ l» wi, wi — ^woh, woh — wah, wah y qwi, qwi — qwah, qwoli — qwah, qwah 79. ' Pi-bi-pi-bi-Pi-^bi-mi. Z Bi-mi-bi-mi-Bi-mi-pi. "V Mi-pi-mi-pi-Mi-pi-bi. 80. f We wbip — "We whip — Why weep ? — Why weep ? "O- Well, when— Well, when— What web?— What web? 3 With which — ^With which — ^White wings^-White wings. Y Worth while — ^Worth while — ^Whose wish? — ^Whose wish? 81. ' Pini — mim — mip — ^pip — pirn. Q_ Bim — mim — mib — ^bi'b — ^bim. "b Mip — pi'b — bim — ^mip — ^pib. y Fim — mim — mif — ^fif— fim. i Vim — mim — miv — viv — ^vim. fc Fib — hip — pif — ^fim — miv. ", Miv — vib — ^biv — vip — ^pif. ;, Wib, — 'bip — wiv — vim — ^mif. ? Whip — pib — ^whif — fim — ^miv. ' ' Wip — pib — ^whiv — vim — ^mif. " Fiv— viv— vif— fif— fiv. 82. S and Z Exercise 'Sis — sis — ^sis — ^Sis — ^sis — sis — Sis — sis — sis — ^Sis. Ziz — ziz — ziz — Ziz — ziz — ziz — Ziz — ziz — ziz — ^Ziz. .J Siz — sis— Siz — sis — Siz — sis — Siz. Y Zis — ziz — Zis — ziz — Zis — ziz — Zis. j 'iSiz — ziz — zis — ^sis — siz. 32 J IV. TIP OF TONGUE EXERCISES (Accent all syllaWes beginning with capital letters) ^ 83. ' Ta, ta— te, te— tah, tah. '^ Tha, tha— the, the— thah, thah. "b Na, na — ^ne, ne — ^nah, nah. V Da, da — de,,de — dah, dah. i~ Ja, ja— je,/^e— jah, jah. ^ Cha, eha-/ehe, c'he — chah, ehah. ' La, la — ^le, le — lah, lah. •■■^Si. (Repea^t each exercise three times.) / Ta, tha, Na, da, ja. \ Tha, na. Da, ja, cha. 'b* Na, da, Ja, cha, la. y Da, ja, Cha, la, ta. ■b Ja, cha, La, ta, da. ^ Cha, la, Ta, da, ja. 7 La, ta, Da, ja, eha. 85. (Repeat each exercise three times.) f Tid, din, nil, lir, rit. ^ Dit, til, lin, nir, rid. ■J Nil, lit, tid, dir, rin. '_Lid, dit, tin, nir, ril. * Ril, lit, tin, nid, dil. V. BACK PART OF TONGUE EXERCISES / 86. Gag, geeg, gig, gug. ^ Kak, keek, kik, kuk. 'b Qwak, qweek, kwik, q-wnk. / Kax, keex, kix, kux. Kang, keeng, king, kung. gak — kak — kag — ^gag — gak. 33 VI. COMBINATION EXERCISES 87. /Ipit— tipit. Ipitip— tipitip. Q.- Ipik — ^kipik. Ipikip — ^kipikip. '> Itik— kitik. Itikit— kitikit. V Ipitik — kitipik. , , , • 5" Ipif — ^fipif. Ipifip^pifipif. ^ Ifwif— fwif— fwif. 7 Ipifwipif, pifipwifip. %" Ifith, thithif ; , , , . "7 Ifwith, wif ; , , :i Ithis, sithis ; , , , • I ^ Ithish, shithish ; , , , . ' ^ Isish, shisis ; Olthisish, thisishith. 88. Pip, pit, pet, pack, push, piiss. • Tip, tit, tot, tight, touch, teaoh. '^ Keep, kit, kick, cup, catch, crutch. "/ Foot, feet, frump, fresh, fish. ) Church, chick, chip, chump, chess. Sip, such, skit, six, sat, sash. 89. Exercises in Articulation and Enunciation 1. Did you cross the creek in coming? 2. Take tape to tie the cape. 3. Lucy likes light literature. 4. The splendor falls on castle walls. 5. He told me that he tolled the fcell. 6. The strife ceaseth, and the good man rejoiceth. 7. "Did you say a nice house or an ice-house!" 34 8. "t)id you say you saw the spirit sigh, or the spirit's eye, or the spirit 's sigh ? ' ' "I said I. saw the spirit's eye ; not the spirit sigh, nor the spirit's sigh." 9. He spoke of it particularly, and pre-emptorialy de- clared it inexplicable. 10. "iShe uttered a shrill shriek, and shrank from the shriveled form." 11. The cell door opened as he ceased to speak. 12. I will show you a ship of state sailing in shallow seas. 13. It is the first step that costs. 14. He was over-whelmed with whirlwinds. 15. A world too wide for his shrunk shank. 16. The Japanese sunk six Russian ships. 17. Greese cackle, cattle low, crows caw, cocks crow. 18. She says she will sew a shirt. 19. Thrice the shrew threw the shoe. 20. Some shun sunshine ! Do you shun sunshine ? 21. The sea ceaseth and it sufficeth us. 22. The old, cold scold sold a school coal-scuttle. 23. I fancy the first Frenchman fenced furiously. 24. Sweet is the capture when the captive finds the cap- tor a captive, too. \ 25. To do the truth daily try to think the truth. 26. The cart caught the father farther from the hearth than Hawth expected. 27. With worthiness we welcome Willie Varden. 28. When the wee whistler was very well whipped. 35 29. Why were virtue 's warnings whimsically vetoed ? 30. Fine white wine vinegar with veal. 31. Shaw's shal>by, shameful shoes shocked shady shop- pers. 32. A giddy, giggling girl goes gaily gabbling to a gawky, grinning, graceless gaby. 33. The old Mack cow kicked down the five-barred gate. Practise also the following Expressional Exercises in- cluded in Part III : 3 ; 5 ; 13 ; 14 ; 27. 36 III. EXERCISES FOR EXPRESSION In order to secure the full benefit from the following Expressional Exercises, which should he used in conjunc- tion with the Technical Exercises, it is advisable to commit the following selections as they are used. A much greater fulness and freedom of expression will thus be obtained. 1. ' ' The wind, one morning sprang up from sleep, Saying, ' Now for a frolic ! now for a leap ! Now for a madcap galloping chase ! I '11 make a commotion in every place ! ' " 2. ' ' Oh hark ! hear ! how thin and clear. And thinner, clearer, farther going ! sweet and far, from cliff and scar, The horns of Elfland faintly blowing ! " 3. Yoho! past hedges, gates and trees; past cottages and barns, and people going home from work. Yoho ! past don- key-chaises, drawn aside into the ditch, and empty cars with rampart horses. Yoho! down the pebbly dip, and through the merry water-splash, and up at a canter to the level road again. Yoho ! Yoho ! Dickens. 4. "The funniest story I ever heard, The funniest thing that ever occurred, Was the story of Mrs. Mehitalbel Bird, Who wanted to be a Mason. ' ' 37 5. iffl% Gay Spcmhef Max Harlcaway — How did my filly behave herself, Gay Lady Gay Spanker — Gloriously, Max, gloriously! There were sixty horses in the field, all mettle to the 'bone. The start was a picture! Away we went, in a eloud-pellmell, helter-skelter — ^the fools first, as usual, using themselves up. We soon passed them — ^first your Kitty, then my BluesMn, and Craven's colt last. Then came the tug!— Kitty skimmed the walls, Blueskin flew over the fences, the colt neck-and-neck and half a mile to run. At last, the colt balked a leap and went wild. Kitty and I had it all to our- selves ; she was three lengths ahead, as we breasted the last wall, six feet if an inch, and a ditch on the other side. Now, for the first time I gave Blueskin his head' — ^ha ! ha ! Away we flew, like a thunderbolt! Over went the filly — I over the same spot, leaving Kitty in the ditch; walked the steeple, eight miles in thirty minutes, and scarcely turned a hair. , Boucicault. 6. L' Allegro Haste thee. Nymph, and bring with thee Jest and youthful Jolity, Quips and Cranks and wanton wiles, Nods and Becks and wreathed Smiles, Such as hang on Hebe 's cheek ; And love to live in dimple sleek ; .Sport that wrinkled Care derides, And Laughter holding both his sides. Come, and trip it, as you go. On the light fantastic toe. — Milton. 38 t. The Laughing Song When the green woods laugh with the voice of joy, And the dimpling stream runs laughing by ; When the air does laugh with our merry wit, And the green hill laughs with the noise of it ; When the meadows laugh with lively green. And the grasshopper laughs in the merry scene ; When Mary, and Susan, and Emily, With their sweet round mouths sing, ' ' Ha, ha, he ! " When the painted birds laugh in the shade, Where our table with cherries and nuts is spread ; ■Come live, and be merry, and join with me To sing the sweet chorus of ' ' Ha, ba, he ! " — Wm. Blake. 8. The Boys Has there any old fellow got mixed with the boys? If there has, take him out, without making a noise. Hang the almanac's cheat and the catalogue's spite ! Old Time is a liar ; we're twenty tonight. We 're twenty ! We 're twenty ! Who says we are more ? He's tipsey — ^young jackanapes! — ^show him the door! ' ' Gray temples at twenty ? ' ' — Yes ! white if we please ; Where the snow-flakes fall thickest there's nothing can freeze ! Was it snowing I spoke of ? Excuse the mistake ! Look close — you'll see not the sign of a flake ! We want some new garlands for those we have shed, And these are white roses in place of the red. 39 We've a trick, we young fellows, you may have been told, Of talking (in public) as if we were old; That boy we call "Doctor" and this we call "Judge!" It's a neat little fiction — of course it's all fudge. Yes, we 're boys — ^always playing with tongue or with pen ; And I sometimes have asked. Shall we ever be men ? Shall we always be youthful, and laughing, and gay. Till the last dear companion drops smilLag away? Then here's to our boyhood, it's gold and it's gray! The stars of its winter, and the dews of its May ! And when we have done with our life-lasting toys. Dear Father, take care of Thy Children, THE BOYS ! — Oliver W. Holmes. 9. The Good Time Coming There 's a good time coming, boys, A good time coming ; "We may not live to see the day. But earth shall glisten in the ray Of the good time coming. ■Cannon-balls may aid the truth. But thought's a weapon stronger; We '11 win our battle by its aid ; — Wait a little longer. There 's a good time coming, boys, A good time coming ; The pen shall supersede the sword, The Right, not Might, shall be the lord In the good time coming. 40 Worth, not Birth, shall rule mankind. And he acknowledged stronger ; The proper impulse has been given ; — Wait a little longer. There's a good time coming, boys, A good time coming ; Let us aid it all we can. Every woman, every man. The good time coming. Smallest helps, if rightly given, Make the impulse stronger ; — 'Twill ihe strong enough one day ; — Wait a little longer. — Charles Mackay. 10. Let Me Play the Fool Let me play the fool : With mirth and laughter let old! wrinkles come. And let my liver rather heat with wine. Than my heart cool with mortifying groans. Why should a man, whose blood is warm within. Sit like his grandsire cut in alabaster? Sleep when he wakes? and creep into the jaundice By being peevish ? I tell thee what, Antonio, — I love thee, and it is my love that speaks, — There are a sort of men, whose visages Do cream and mantle, like a standing pond ; And do a wilful stillness entertain, With purpose to be dress 'd in an opinion Of wisdom, gravity, profound conceit ; As who should say, "I am Sir Oracle, 4X And, when I ope my lips, let no dog bark ! ' ' 0, my Antonio, I do know of these. That therefore are reputed wise, For saying nothing ; when, I am very sure, If they should speak, would almost damn those ears. Which, hearing them, would call their brother fools. I '11 tell thee more of this another time : But fish not, with this melancholy bait. For this fool gudgeon, this opinion, — Come, good Lorenzo, — Fare ye well awhile ; I '11 end my exhortation after dinner. — Shakespeare. 11. What May Said to December Old December in his dotage Tottered down the hill one day, Stopped at Widow Worldly 's cottage, 'Stopped to talk to little May. May was busy in the dairy, Old December said, "Grood day." Thought she looked just like a fairy, Told her not to run away. "Prithee, dear, do you remember What I said last Christmas Day 1 ' ' But May laughed at old December, Said she 'd taken it in play : Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Said she 'd taken it in play. Ha ! Ha ! Ha ! Ha ! Ha ! Ha ! Ha ! Ha ! "Nay, I meant each word I uttered That day 'neath the mistle-toe. ' ' 43 "Do you like your parsnips buttered?" Little May asked, laughing low. "iChild, I wish that for one momenit You would try to serious be, For I 've spoken to your mother And she tells me you are free. But, my dear, you have one lover." (Here he dropped on gouty knee, Nearly knocked the milk-pail over!) ' ' Do not laugh, dear — I am he ! " Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! "Do not laugh, dear — I am he." Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Are you, really? — He! He! He! "Of my wealth you'll he partaker, I can't spend it all myself. Gold have I and many an acre — " "Please, sir, put (this on the shelf." "Child, my wishes are your mother's, iShe has told me so herself, She prefers me to all others. Think of her, you thoughtless elf. ' ' "That I will," said May, "for really I don 't care for lands or pelf. And as mother loves you dearly She may marry you herself. ' ' Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! "'She may marry you herself." Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! — M