C$7 LIBRARY OF CONGRESS III 027 249 328 5 § IT Q SYSTEM VOCAL GYMNASTICS, A KEY TO THE PHONETICON, COMPRISING A VARIETY OF ELEMENTARY EXERCISES FOR DEVELOPING THE VOICE AND IMPROVING THE ARTICULATION. ANDREW COMSTOCK, M.D., THE PRINCIPAL OF THE VOCAL GYMNASIUM, AND THE AUTHOR OF A UNIVERSAL ALPHABET, A SYSTEM OF ELOCUTION, THE PHONETICON, THE PHONETIC READER, THE PHONETIC SPEAKER, A TREAIISE ON PHONOLOGY, AN IMPROVED EDITION OF THE EPITOME HISTORLE SACR.E, TYITH AN INTERLINEAR TRANSLATION, ETC. ETC. 4*t>6 PHILADELPHIA: PUBLISHED BY THE AUTHOR, Xo. 102 AHCH STREET. 1854. f^ C 51 Entered, according to the Act of Congress, in the year 1854, by ANDREW COMSTOCK, M.D. in the clerk's office of the District Court of the Eastern District of Pennsylvania. J. FAGAN, STEREOTTPER. C. SHERMAN, PRINTER. (2) INTRODUCTION. AN is designed for action. Na- ture has so constituted him, that both body and mind require daily exercise to develop their powers, and maintain them in a vigorous and healthy condition. The truth of this remark is manifest from constant observation and experience : those who lead active, bustling lives, conjoined with temperance and prudence, com- monly possess robust frames, and healthy constitutions ; while the sedentary and the indolent are enervated and sickly. We find the same results from the exercise of the mental faculties. He whose mind is constantly employed in the acquisition of knowledge, usually retains his mental faculties unimpaired to the last. But not so with the man of ease and indolence. After the meridian of life, the powers of his mind, with those of the body, become weaker and weaker; and he finally leaves the world as he entered it, — a child. The health and strength of the body, therefore, mainly depend on the number of muscles that are frequently called into action, and the degree of rational exercise through which they pass. Now there are few, if any, whose daily avocations are so varied as to bring into requisition all the muscles of the body ; hence, the necessity of gymnastic exercises. (3) 4 INTRODUCTION. The term gymnastics, in its widest sense, signifies all bodily exercises ; in a more limited sense, " exercises systematically adapted to develop the physical powers, and preserve them in perfection, which constitutes the art of gymnastics, properly so called/' These exercises, when commenced in youth, develop the muscles, give agility to the limbs, and promote the various functions of the animal system : in this way they impart strength and consistency to the body, and lay the foundation of lasting health ; and even when commenced in manhood, they invigorate the frame, and brace it against the infirmities of age. By the frequent and energetic exercise of the muscles, they are brought completely under the control of volition, which is a powerful auxiliary to every variety of action. Hence, gymnastics are not only useful because they exert a healthful influence upon the body; but because they lay a good foundation for the easy acquisition of every mechanic art. From what has been said of gymnastics in general, it may readily be conceived that very important advantages may be derived from vocal gymnastics. Yocal gymnastics give the pupil complete command of the muscles of articulation, extend the compass of the voice, and render it smooth, powerful, and melodious. They not only call forth all the energies of the vocal organs, correct stam- mering, lisping, &c, but they invigorate the lungs, and, con- sequently, fortify them against the invasion of disease. All the blood, in the course of its circulation, passes through the lungs, where it undergoes a change, not only essential to health, but also to life. Whenever their function, therefore, is interrupted by debility, or disease, the blood is deteriorated, and the whole system suffers ; in fact, the very citadel of life is sapped, and nothing but a restoration of these organs to their natural condition will effect a return of INTRODUCTION. , 5 general health. Indeed, the lungs are of so much importance in the animal economy, that the complete suspension of their office is followed by speedy dissolution. Hence, such healthful measures should be adopted as are calculated to invigorate the pulmonary apparatus, and enable it to maintain its integrity. One of the most hopeful expe- dients for this purpose, is a well-regulated and persevering course of vocal gymnastics. Were we to exercise our voices a few minutes every day, according to just principles, the number of deaths from pul- monary affections, especially consumption, I have no doubt, would be greatly diminished. While vocal gymnastics give a keenness to appetite, they are a powerful means of promoting digestion. A young cler- gyman entered my Vocal Gymnasium, for the purpose of im- proving his elocution as well as his health. He labored under dyspepsia, which was attended with loss of appetite, general debility, languor, and dejection of spirits. But in twelve days after he commenced the exercises, there was a radical change in his mental and physical condition : he had become very cheerful ; and, to use his own words, his appetite was ravenous. Nor is this a solitary case — numerous others might be cited with the like happy result. My pupils have frequently told me that they always feel invigorated by the exercises. A gentleman who was formerly a pupil of mine, and who had been in the practice of resort- ing to a common gymnasium for the benefit of his health, assured me that he derived more advantage from his vocal than from his athletic exercises. Let the individuals, there- fore, who visit those gymnasia, designed only for the exercise of the limbs, not neglect the equally important gymnastics of the pulmonary organs. The value of vocal gymnastics cannot be duly appreciated by those who have not experienced, or witnessed their bene- ficial results. But, the author feels confident, the time is not 1* b . INTRODUCTION. distant when these exercises will be considered by all intelli- gent persons an essential part of primary instruction. THE VOICE. Voice is sound produced by agitating the breath on its pas- sage from the lungs. The attributes of the voice are general and special. The general attributes are pitch and force, and are common to all voices. The special attributes are those peculiarities which render one voice more agreeable, or disa- greeable, than another, as sweetness, harshness, &c. The acuteness and gravity of the voice depend on the contractions and dilatations of the vocal tube. The degree of loudness of the voice is in proportion to the expulsive effort, and to the resistance which the breath meets on its passage through the glottis. When air is expelled from the lungs, and not suffi- cient resistance given to its egress to produce what is generally understood by the term voice, an asperated, or whispered sound is the result. From voice articulated by the motions of the lips, tongue, and other parts of the mouth, is produced oral language. Hence oral language is not inaptly termed articu- lated voice. This work comprises a brief explanation of the various modifications of the voice in reading and speaking, and a great variety of Exercises in Vocal Gymnastics. Some of these Exercises are taken from the author's " System of Elo- cution;" but most of them are here published for the first time. The Exercises are given in the Phonetic Alphabet, be- cause this alphabet has a letter appropriated to every articulate sound, and because it is more convenient than the Roman Alphabet. The vertical bars and the tone-marks will enable the teacher to understand the author's method of practising the Exercises. ANDREW COMSTOCK, No. 102 Arch St., Philadelphia, Oct. 24, 1854. A SYSTEM VOCAL GYMNASTICS. OCAL GYMNASTICS is the science of developing the voice and improving the articulation, as well as the art of training the organs by which this voice and articulation are produced. Vocal Gymnastics comprises ex- ercises in Articulation, Pitch, Force, and Time. Articulation is the act of forming, with the organs of speech, the elements of vocal language. These ele- ments may be formed separately, as in the utterance of the letters of the alphabet, as well as conjunctively, as in the pronunciation of words. By the utterance of the letters of the alphabet is not meant the pronunciation of the mere names of the letters, but the formation of the various sounds which they represent. Note. — Numerous Exercises in Articulation are given in another part of this work. Pitch is the degree of the elevation of sounds. Hence it regards their acuteness and gravity. It comprises Inflection, Melody, and Modulation. (7) 8 VOCAL GYMNASTICS. Inflections, in elocution, are notes* of speech — notes that, in regard to pitch, undergo a continual change during the time of their pronunciation. A note of song is continued in one range of pitch from its commence- ment to its termination ; but a note of speech is varied in pitch during its prolongation. If you prolong the letter a in one range of pitch, thus, you will have an example of a note of song. If you utter it interrogatively and affirmatively, thus, you will have two varieties of the notes of speech : the voice, in the interrogation, moving from any certain pitch to one more acute ; in the affirmation, from any certain pitch to one more grave. There are four varieties of the notes of speech ; namely, 1. Rising inflection ', 3. Rising circumflex v , 2. Falling inflection x , 4. Falling circumflex *. The following diagrams, which are also given on the Chart entitled The Phoneticon, will serve to illustrate this subject more clearly : — Diagram 1. 1 1 a * Notes, in elocution, as well as in music, are simple sounds, whether made by the organs of speech, or by an instrument. The graphic characters which are used to represent these sounds are also called notes. VOCAL GYMNASTICS. 9 The heavy horizontal line in Diagram 1, represents a note of song. The teacher should give an example of a note of song by singing the letter a, or some other vowel, which the pupil should repeat. Diagram 2. a' a* a' a* a y a A a" a* The characters on the middle line of Diagram 2, represent notes of speech; those in the first division of the diagram, represent drawling notes ; * those in the second, a rising and a falling inflection, pronounced with sufficient force to make them proper notes of speech ; those in the third, represent a rising and a falling cir- cumflex ; those in the fourth, also represent a rising and a falling circumflex, but they extend through a wider range of pitch than those in the third. The teacher should give examples of each of these notes by pro- nouncing the letter a, or some other vowel, and the pupil should repeat them. The following sentences furnish examples of the various inflections : — The peo'ple whom we at first despised' as rebvels, but whom w T e now acknowledge as en'emies, are abet'ted against* usv. This great affection to believe', Which all confess*, but few perceive", If old asser'tions can't prevail', Be pleased to hear a mod'ern tata. * Drawling notes and proper notes of speech are alike in pitch ; but they are different in force and time. 10 VOCAL GYMNASTICS. On Lin'den, when the sun was low, All bloodless lay the untrod'den snowv, And dark as wimter was the flow Of I'ser roll'ing rapndly. and, to enrage' thee more', Thy* king*, and lord*. Diagram 3. -f- The notes in Diagram 3 represent rising and falling inflections through various intervals of pitch. In the first double column, on the left, the two notes on the first line represent a rising and a falling inflection in the lowest pitch of the natural voice ; * the two notes on the fourth line represent a rising and a falling inflection in the highest pitch of the natural voice, and the notes on the second and third line represent rising and falling inflections in a pitch intermediate between that repre- sented by the notes on the first line and that represented by the notes on the fourth. The notes on the fifth line represent a rising and a falling inflection in the unna- tural or falsetto voice.* The notes in the lower part of * The natural voice is that in which people in general speak — it commences with the lowest note of the voice, and extends through a VOCAL GYMNASTICS. 11 the diagram, to the right of those already described, represent rising and falling inflections through various intervals of pitch, and with various degrees of force — each rising inflection commencing, and each falling in- flection terminating, in the lowest pitch of the natural voice. The open notes represent rising and falling inflections in the upper range of the natural voice.* To show that a rising inflection cannot be pronounced with as much force as its corresponding falling inflection, the rising inflections in the diagram are made lighter than their corresponding falling inflections. And to show that notes, whether with a rising or a falling inflection, when uttered beyond a certain degree of loudness, can not be pronounced with an equal degree of loudness in every range of pitch, the graphic notes in the two columns on the left, are made different in size : for example, the loudest notes are not made either in the highest, or in the lowest pitch of the natural voice, but in the intermediate range, represented in the diagram by number 3. Melody, in elocution, is the series of simple sounds, which constitutes a vocal sentence. These sounds must be so arranged in pitch that they not only produce a pleasing effect upon the ear, but accord with the sense. The term melody is also applied to the series of graphic notes by which the vocal notes are represented. In speech, every note of a melody has a rising, a fall- range of about two octaves of the musical scale, -while the unnatural, or falsetto voice, is shrill, and above the natural voice. Some persons always speak in this voice, unpleasant as it is. The falsetto voice may readily be changed to a barytone, by appropriate vocal exercises. * These notes, on The Phoneticon, are painted red. 12 VOCAL GYMNASTICS. ing, or a circumflex inflection ; in song, the notes have no inflection, because, as has been already said, each note is continued in one range of pitch from its com- mencement to its termination. A melody may be written on four horizontal, parallel lines. These lines are called the staff of speech, in con- tradistinction to the staff of music, which consists of five horizontal, parallel lines, and the intermediate spaces. The heavy line in the staff of speech, which is the second one from the bottom, indicates the hey, or general pitch of the voice, in any certain melody. It is called the pitch-note line. In giving the notation * of a melody, it is not always necessary to represent every note ; in general, it is suffi- cient, for practical purposes, to represent only the accented syllables and the more important of the mono- syllables. The series of graphic notes by which the radical pitch and inflections of the accented syllables are represented, is denominated, in the author's " System of Elocution," an emphasis melody. The following me- lodies are on the Phoneticon : — Diagram 4 @ 1 Friends', Ko'mans, countrymen, Remans, coun'trymen, and lowers, In cloudless knowledge, pur'ity, and bliss*. * Notation is the graphic representation of a melody; in other words, the expression of a melody by •written characters. VOCAL GYMNASTICS. 13 Diagram 5. 9 h|h- -*- Exulting, tremvbling, ranging, fainting, tow»er shine*, glad x , ter v rible. The words tower, shine, glad, and terrible, occur in the following sentence : — Ye are the things that tow x er — that shine\ — whose smile Makes glad" — whose frown is terrible. Diagram 6. A A A & A 4 • 1 With/ you/ and' quit' my Su/sanV side'? Diagram 7. With/ you , ! the, hapless, husband, cried,. The above are examples of interrogative melodies. In the second example, the clause, the hapless husband cried, is not a part of the interrogation ; it is paren- thetical, and, therefore, should be read a degree below the pitch-note, which degree is represented by the lowest line in Diagram T. Those who do not understand the principles of elocu- tion, are apt to read this clause at the top of the inflec- tion of the interrogative or emphatic syllable, thus : — 14 VOCAL GYMNASTICS. Diagram 8. With' you / ! the' hapless hus'band cried'. This reading of the clause, the hapless husband cried, is, of course, incorrect. The author has heard others read every word of this clause below the pitch-note, with the exception of the last word, cried, which they put in the interrogative form, thus : — With/ you/ ! the, hap,less, husband, cried'. This reading is also incorrect — the proper reading is represented by Diagram 7. Diagrams 7 and 8 are united on the Phoneticon, so as to form but one Diagram. Diagram 9 is not given on the Phoneticon. Modulation is the process of changing the key, or of passing from one key to another. This change is sometimes made to a proximate key ; at other times a bold and abrupt transition to a remote key is necessary to produce the desired effect. Modulation is generally attended with a change of force, or time ; and, not un- frequently, with a change of both. There is not a more important requisite in elocution — nothing which contributes more to the pleasure of an audience — nothing which gives stronger proof that an orator is master of his art, than a well- regulated and expressive modulation. Modulation, however, should never be resorted to for the sake of mere variety — it should always be VOCAL GYMNASTICS. 15 subservient to the sense ; for it is the province of modulation to mark changes of sentiment, changes in the train of thought, and paren- thetical classes. Under ordinary circumstances, the various modula- tions of the voice, in reading and speaking, may be represented by a staff of four lines. That this staff may not be confounded with the staff of melody, it is made of lines composed of dots, and called the staff of modulation. The lines of this staff, like those of the staff of melody, are counted from below upward. The second line is called the pitch-note line of the staff of modulation. The following diagram represents a series of modulations : — Diagram 10.* Z * a e 1 d This diagram shows the modulations of the voice in the correct reading of the following extract from " Os- sian's Address to the Sun:" — (a) 2 The moon herself is lost in heaven ; (b) 3 but thou art forever the same, (c) 4 rejoicing in the bright- ness of thy course. | (d) 1 When the world is dark with tempests, | (e) 2 when thunder rolls, and lightning flies, | (/) 3 thou lookest in thy beauty from the clouds, | (g) 4 and laughest at the storm. | (h) 2 But, to Ossian, thou lookest in vain. * This diagram is not on the Phoneticon. 16 VOCAL GYMNASTICS. Staff a, in Diagram 10, is designed for the first sec- tion in the above extract ; staff b, for the second sec- tion, and so on. The transition from c to d is abrupt ; also that from g to h. In the reading lessons in the author's " System of Elocution," the modulations of the voice are indicated by small numerals prefixed to the words where the transition should take place. The numerals are, 1, 2, 3, 4, and represent, respectively, the first, second, third and fourth line of the staff of modulation. This is also shown in the preceding extract from " Ossian's Address to the Sun." Force, in elocution, as well as in music, is the degree of the loudness of sounds. It is also the degree of exertion with which sounds are made. A lax division of force is into loud and soft : those sounds are called loud, which are made with greater effort than the ordi- nary tones of conversation ; and those are called soft which are made with less effort. Some use the terms high and low as synonymous with loud and soft. But this is an improper application of these words. High and low regard the acuteness and gravity of sounds only, not their force : a sound may be high and soft, as well as high and loud — a sound may also be low and loud, as well as low and soft. For convenience, force may be divided into nine de- grees. These degrees are represented by Diagram 11. Diagram 11. 1. 2. 3. 4. 5. 6. 7. 8. 9. *-+-*■ ■*-?- ■ O ' ^ i — ^- "yl A y 'A y ' & V&y The notes in the first division should be pronounced as soft as possible ; those in the second, a little louder ; those in the third, louder still ; and so on to the end — those in the ninth division should be pronounced as loud as possible. VOCAL GYMNASTICS. 17 Force, applied to a syllable, is denominated stress. . There are three varieties of stress represented on the Phoneticon — Radical, Median, and Final. Diagram 12. Radical stress is the application of force at the be- ginning of a note or syllable. Median stress is the application of force at the middle of a note or syllable. Final stress is the application of force at the end of a note or syllable. Iterated stress on a note or syllable is denominated tremor. The teacher should give an example of each variety of stress by pronouncing, with the rising and with the falling inflection, the letter a, or some other vowel, which the pupil should repeat. Time is the measure of sounds in regard to their duration. It comprises quantity and movement. Quantity is the time of a note or syllable. Movement is the degree of rapidity with which a sen- tence is pronounced. The rate of movement should be such as the sentiment demands : solemn discourse requires a slow movement ; simple narrative, a medium rate of utterance; animated description, as well as all lan- guage expressive of any sudden passion, as joy, anger, &c, a move- ment more or less rapid, according to the intensity of emotion. There are no diagrams on the Phoneticon to illustrate time. For farther information on this subject, the reader is referred to the author's " System of Elocution," or to his " Phonetic Speaker." 2* 18 VOCAL GYMNASTICS. Accent is the stress of voice on certain syllables, which renders them more prominent than the others; as in ad'vent, admit', al'phahet, antecedent. Monosyllables, in combination, in certain situations, are accented ; as, in the sentence, "How fleet 1 is a glance' of the mind}?" Accent is said to be acute, grave, or circumflex, ac- cording as the syllable accented is pronounced with the rising, the falling, or the circumflex inflection. But inflection is not an attribute of accent, because it be- longs to every unaccented syllable as well as to those that are accented. Moreover, accent exists in song, in which there is no inflection. The Tone-Marks. The tone-marks in this work were first published in the author's " System of Elocution," in 1841. They differ from the common accent-marks : they not only represent accent, but inflection, and melody. The in- flections which they represent are four rising ( / / ' '), four falling ( * » v x ), four rising circumflex ( , v ¥ v ), and four falling circumflex ( A A A a ) inflections. The appli- cation of some of the tone-marks is shown on page 9 and 10 ; also in the Exercises in Vocal Gymnastics, which commence on page 27. Oe the Alphabet, and the Elementary Sounds of the English Language. An alphabet is a series of characters, called letters, used to represent the elementary sounds of a language. VOCAL GYMNASTICS. 19 An alphabet, to be perfect, should have a letter appro- priated to every elementary sound. The number of letters in the English language is twenty-six ; but the number of elementary sounds is thirty-eight. The English alphabet, therefore, is by no means perfect ; not only because it does not contain as many letters as it has elementary sounds, but because different letters are employed to represent the same sound. The same sound is not only represented by different letters, but by va- rious combinations of letters ! and most of these combi- nations of letters represent different sounds ! Indeed, the thirty-eight elementary sounds of the English lan- guage are represented (rather misrepresented), according to our present system of orthography, in about three hundred and fifty different ways ! which may be con- sidered equivalent to as many different letters ! ! This complexity renders the orthography and pronunciation of the English language extremely difficult of acquisition. Every difficulty, however, would immediately vanish by adopting a perfect alphabet, an alphabet having a letter for every elementary sound. This, indeed, is the only philosophical way of representing the sounds of any language. On the following page the reader will find such an alphabet. The elementary sounds, as well as the letters by which they are represented, are divided into three classes — voivels, subvoivels, and aspirates. The vowels are pure vocal sounds ; their number is fifteen. The subvowels have a vocality, but inferior to that of the vowels ; their number is fourteen. The aspirates are mere whispers, and consequently have not that kind of sound which is called vocality ; they are nine in number. A PHONETIC ALPHABET FOR THE ENGLISH LANGUAGE. BY ANDREW COMSTOCK, M.D. In this Table there is a letter for each of the 38 elementary sounds of the English Language; and, for the sake of brevity, there are 6 compound letters, each to be used, in particular instances, to represent two elementary sounds. There are also tone-marks, to represent accent, inflection, and intonation. THE 315 SIMPLE LETTERS. 15 Vowels. 14 Subvowels. 9 Aspirates. E e ale B b 5ow P p pit A a arm D d day T t tin O all G g 9^1 K k kite A a an V v vile F f /ame X x eve A b then thin £ 8 end Z z zone S s sin I i tie J j azure C c sAade I I in L 1 Zight H h Aut Q Q o LJ xi old lose on tube R r M m N n roll Q q wh&t met not song Tone-marks to repre- sent Accent, Inflec- tion, and Intona- tion. U u un W w wo / ' ' ' ' % * X U u 1 f«ii Y y yoke cp out THE 6 COMPOUND LETTERS. a a oil D cj yob ■C t etch o air S §r| tugs X x o&Tcs vocal gymnastics. 21 The Vowels. The vowels are divided into Monothongs, Diphthongs, and Triphthongs. The Monothongs consist of one kind of sound, and consequently are simple elements. They are as follows : A, O, A, I, C, I, 0, II, U. " The Diphthongs consist of two kinds of sound, which coalesce so intimately that they appear like one uniform sound. They are as follows : E, I, K, IJ. The diphthong E, as well as I, has a characteristic sound for its radical, and the monothong I for its vanish. These diphthongs, under certain circumstances (for instance, when they are carried through a wide range of pitch, as in interrogation with surprise), are converted into triphthongs, the third constituent being the mono- thong I. The diphthong "8" has a characteristic sound for its radical, and the subvowel W 'for its vanish. The diphthong IJ has the monothong I for its radical, and the subvowel W for its vanish. The Triphthongs consist of three kinds of sound, which coalesce so intimately that they appear like one uniform sound. They are as follows : Q, O. The first constituent of Q, as well as that of O, is a sound characteristic of this element ; and the diphthong "8" constitutes the second and third constituent of these triphthongs. The following scheme is an analysis of the diphthongs and triphthongs. The reader will observe that, with 22 VOCAL GYMNASTICS. one exception, the letters which are employed to repre- sent the diphthongs and triphthongs are used under the head, Constituents, to represent their radicals only. iphthong. Constituents. Triphthongs. Constituents. E E —I E* E — I — I I I —I I* I —I — I K K — W Q — K — W U I —TV |iii|b| T 1*1*. II E' e* | a' a* | o' o* | a' a* ] x' x* \ z' s* | i' i* | r p | co' ©* | H' s» | o' o* | l t/ u* | u' u* | u' u* | cp' op* | a' a* | o' e*.|| B' b* | d' d* | g' g* | v v* | b' b* | z' z* | j' j* | 1» 1* | r r* | m' m* | n'n*|r}' q*|w w»|y y*]cj' cj*|g-' g-*. || P'p»|f t»|k'k»|f'f|ft»a*.|s'B'|co»|li'b|q'q»|6'6|x*x».| B' p*|d' t»|g' k*|v f*|b' 0*|z' s*|j' c*|c]' c*|g-' x*. EXERCISE II. E' a' o ; a* | x' e* \ i' i* | co' 8' o* | u' u' u* | cp | gp| a*. [| Be' ba' bo' ba* | bx' be* | bi' hv \ bco' b«' bo* |bu' bu'' bu*| bq) v |ba* | bo*. || Dc da' do' da* | dx' de* | di' di* | dco' ds' do* | du' du' du* | dcp*|dcx* | do*. || Ge' ga' go' ga*| gx' g£* | gi' gi*|gco' g& go*|gu' gu' gu*| gc[*|go*|ga*. || Ve' va' vo' va*| vx' ve* | vi* vi* |vq' vis' vo*|vu' vu' vm| V([)*|VCI*| vo*. || 32 VOCAL GYMNASTICS. Ac ba' bo' ba*|bx' b£* \bi' bi*|bco' bs' bo*|bu' bu' bu* bcp* | ba^ | bo*. || Zc za' zo' za*|zx' z£*| zi' zi* |zco ; zx' zo*|zu' zu' zu* z. II Lc la' lo' la*| lx' k* | li' h* | lco' Is' lo* | Ik' lu' lu* V | la* I la\ || Re' ra' ro' ra*l rx' r£* | y'v ri* \ycd j yw ro*|ru' ru' ru* r'cp» | r^ I ra*. || Me'ma'mo' ma*j mx'm£* | mi'mi* | raw ms' mo*|mu' mu' mu ( mcp*|ma*jma*. || Ne' na' no' na*|nx' n£*|ni' ni*|no' ns' no*|nu' nu' nu* nq<* | na* | no*. || PJe' qa' no' r)a*|rjx' r)£*|i)i' j)v\ qco' qs' rjo x | qu' qu' qu* q(p»| gqv| q 8V || We' wa' wo' wa> | wx' we* | wi' wi* | wco' w*J' wo* | wu' wu' wu x wcp I wa*| wa*. || Ye' ya' yo' ya*|yx' y£*|yi' yiv|yo* y*' yo*|yii' yu' yu* jv I y^ x I y»*- II De'c]a' a> cja*|cjx' cJ£*|cji' cjr \ c|co' cjs' cjo*| c)ij' cju' c)u* 3 g-o' g*a*| §-x' g-£*| g"i' §r| £«' £*K' g"o*| gru' g"u' srm sr.V I £ ax I £° x - II Pe' pa' po' pa*|px' p£*|pi' pi*|pw p«' po*|pu' pu' pu* pep* | pa* | po*. || Te' ta' to' ta*| tx' t£* | ti' tx* |tco' ts' to*|tu' tu' tu* tcp* | ta* | to*. || VOCAL GYMNASTICS 33 Ke' ka' ko' ka^kx' ke^lki' ki kcp | kcr Fe' fa' fo' ftp | fcr 0e' 8a' %o> Sep | Scr Se' sa' so' scp | sci^ Ce' ca' co' ccp | ca 1 He' ha' ho' hcp x | her Qe' qa' qo' qcp | qcr ko*. || fa*|fx' fe*| fi' fr IV. || »&»|to'&e»|ai' &r a*. || sa^| si' se x | si' si x so-. || ca x | ex' ce x | ci' cr C8 X . || ha x |hx' he x |hi' hi' ho*. II kco' kb' ko*|ku' ku' ku v fco' fs' fo* |fu' fu' fir | SCO' Sb' SO v |siJ' SU' SIT COD' Cb r/ CC^JCJU' CU' CIP hca' hb' ho\lhu' hu' hu x | qca' qb' qo* | qu' qu' qu x | qa x |qx' q£ x |qi' qr qo\ || •Ce' 6a' 60' ca v |cx' 6£ v |ci' 6r|6co' 6s' 6o x |6l t/ cu' cu CCp I co- I ctv. || Xe' xa' xo' xa v |xx' x£ x |xi' xr|xco' xs' xo v |xu' xu' xir xcp I xcr | xo v . || EXERCISE III. Be'pe ba'pa bo'po ba^pa | bx'px be^pe | bi'pi brpi | bco'pco bb'pb bo^po | bu'pu bu'pu bu x pu | beppep | ba x pa | bo x po. || Be-pe' ba-pa' bo-po' ba-pa x | bx-px' bc-pe^ | bi-pi' bi-pr| bco-pco' bb-pb' bo-po^bu-pL T/ bu-pu' bu-pu x |bcppcp| bci-pcp | bo-po*. || De'te da'ta do'to da*ta | dx'tx ck^te | di'ti di»ti | dco'tco db'tb do^to | du'tu du'tu dirtu | deptep | da'ta I do*to. II 34 VOCAL GYMNASTICS. De-te' da-ta' do-to' da-ta x | dx-tx' dc-t£ x | di-ti' di-tr do-to' db'-tb T/ do-to x | du-tij' du-tu' du-tu x | dcp-tcp da-tcp | do-to x . || Ge'ke ga'ka go'ko ga x ka | gx'kx g£ x ks | gi'ki grki gco'kco gb'kb go x ko | gu'ku gu'ku guvku | gq, x kcp gcrkci | go^ko. || Ge-ke' ga-ka' go-ko' ga-ka x |gx-kx' ge-ke x | gi-ki' gi-kr go-kco' gb-kb' go-ko v | gu-ku' gu-ku' gu-ku x |gq>kq) x gci-kcr | go-go*. || Ve'fe va'fa vo'fo va x fa | vx'fx V8 x fg | vi'fi vrft vo'fco vb'fb vo'fo | vu'fu vu'fu vuvfu | vcpfq) va x fa | vo x fo. || Ve-fe' va-fa' vo-fo' va-fa x | vx-fx' V£-fV | vi-fi' vi-fr VQ-fcD' Vb-fb' VO-fb x | Vtt-flJ' VU-fll' VU-fl? | VCp-fcp x VCT-foP I VO-fo x . || Ae'Se Oa'Sa bo'$o ba^a | bx'Sx bs^8 | bi'$i| bv§i bo'dco bb'Sb bo v $o | bu'Qu bu'Su bu x Su| bcpScp ba^a | ba^o. || Ae-&e' ba-Sa' bo-So' ba-$a x | bx-Sx' bs-$e x bi-di' bi-Sr | bo-W bv-Sx' bo-&o x | bu-$u< bu-$u' bu-3u x | bq.-Scp | bci-Qcr | bo-Sa x . || Ze'se za'sa zo'so za x sa | zx'sx ze x ss | zi'si zrsi zo3'S(d zb'Sb zo x so I zu'su zu'su zu x su | zcpscp zq x sci | zo\so. || Ze-se' za-sa' zo-so' za-sa x | zx-sx' zc-ss x | zi-si' zi-si x ZO-S03' Zb-Sb' ZO-SO x | ZLJ-SLI' ZU-SU' ZU-SIP | Zq>SC[; x ZQ-SQ V I Z8-S8 X . || Je'ce ja'ca jo'co ja x ca | jx'cx je v ce | ji'ci jrci jco'cco jb'cb jo x co I jju'cu ju'cu ju x cu I jcpccp jgpcq | jo x ca. || VOCAL GYMNASTICS. 35 Je-ce' ja-ca' jo-co' ja-ca v | jx-cx' je-es v | ji-ci' ji-ci x jco-cco' j^-c^' jo-co x | ju-cw ju-cu' ju-cu 1 | jcp-ccp ja-ca- | jo-co*. || De'£e cja'6a cjq'£q c|a*6a | cjx'6x cJ8*6e | cji'6i cjrfo c]o'£cd cjh'6h cjo x 6o | cju'^u c)u'6u cjip6u | cjcp^cp cja^a | tjo v 6o. || De-te' cja-6a' cJg-£q' c]a-6a v | cjx-6x' cje-cV cji-6i' cji-ci* | cjco-c'co' c]h-c^' cJo-cV | cju-6ir cju-6u' cju-cir | cjq>6q~ x | cja-6a* | cjo-£o x . || ge'xe ^a'xa g-Q'xo g-avxa | g-x'xx £e\xs | g-i'xi grxi g-Q'XCO g-H'X^ g^XO | g'LI'XLJ g"U'XU g"U x XU | g"(p x XCp s^a\xa | %q x xq. || ge-xe' g-a-xa' g-Q-xo' g-a-xa*| sfx-xx' §-£-xe^| g-i-xi' %i-xv gfCO-XCO' gftf-XK' g-o-xo* | §r LI-XU' gu-xu' gu-xu x | gcp-xq> v ga-xa* | go-xo*. || EXERCISE IV. Be'pe-pe ba'pa-pa bo'po-po ba x pa-pa | bx'px-px b£ x p£-pe | bi'pi-pi brpi-pi | bco'pco-pco b«'ptf-px bo^po-po | bu'pu-pu bu'pu-pu bu x pu-pu | bc^ x pcp-pcp | ba x pa-pa | bo x po-po. || Be-pe'pe ba-pa'pa bo-po'po ba-pa^pa | bx-px'px be-pe^pc | bi-pi'pi bi-prpi | bo-pwpco btf-pxtcp | dcrtci-toi | do v ro-to. || De-te'te da-ta'ta do-do'to da-ta x ta | dx-tx'tx dfj-te^te | di-ti'ti di-tiHi |dco-tQ'tw dtf-tH'tx do-to x to | du-tu'tu du-tivtu du-tiptu | dcp-tcptcp | da-tarta | da-ta^ta. || De-te-te' da-ta-ta' do-to-to' da-ta-ta x | dx-tx-tx' de-te-te* | di-ti-ti' di-ti-tr | dc3-tc3-tco' d^-tK-tK' do-to-to x | du-tu-tu' du-tu-tu' du-tu-tu v | dq>tq)-t

sq>scp I ZQ-SQ-SGX X | Z8-S8-S8\ || Je'ce-ce ja'ca-ca jo'co-co ja v ca-ca | jx'cx-cx J8 N C8-C8 | ji'ci-ci ji v ci-ci | jo'cco-co j^'ck-ck jo x co-co| jii'cu-cu ju'cu-cu jircu-cu I jq? x cc£-ccp I jgtcq-cq | jVcs-ce. || Je-ce'ce ja-ca'ca jo-co'co ja-ca x ca | jx-cx'cx J8-C8^ce j ji-ci'ci ji-crci| jo-cco'cco jtf-cx'cx jo-co*co| ju-cu'cu JU-CU'CU JU-CU^CU | j(p-CCpcCp I JQ-CGTCQ | J8-C8*C8. || Je-ce-ce' ja-ca-ca' jo-co-co 7 ja-ca-ca x |jx-cx-cx' J8-C8-c*8 v | ji-ci-ci' ji-ci-cr | jco-cco-cco' jh-cx-cs' jo-co-co* | ju-cu-ci;' ju-cu-cu' ju-cu-cu* | jq>cq>-cq: A | jq-cq-cq x | J8-C8-C8 X . || 4 38 VOCAL GYMNASTICS. JDe'6e-6e c]a'6a-6a c]q'6q-6q cja N 6a-6a j c|x'6x-£x ^£'6g-6s | cji'ci-fo c|r£i-6i | cjcd'Cco-6gd c]^'6x-6h c]o v 6o-6o | c]u'6u-6ij (Ju'6u-6u cjir£u-6u | cjcp£(£-6q)| cJ6p6gi-6gx | (Jo^o-6o. || De-6e'6e c]a-6a'6a cjo-6o'6o cja-6a*6a | c]x-6x'6x cje-£e^£ | cji-6i'£i c]i-6rci | c]occ3'6gd c]h-6h'6k (Jo-£cp6o | ^m-6xj'6u ^u-6u'6u cju-6ir£u | cjcp-6q) x 6cp| cjcx-6cx x 6a | ^o-6a x C8. || JDe-6e-ce' c]a-6a-6a' (Jo-6o-6o' cja-6a-6a* | c]x-6x-6x' cjg-6s-£s x | c)i-6i-£i' cji-6i-6i x | cjco-6o-6co' c]k-6k-6x' c]o-6o-6o x | ^u-tu-tw eju-£u-6u' c]u-6u-£u* | cjq>6cp-6q) v | cJCT-6a-6cr | cJ8-6a-68\ || Gj-e'xe-xe g-a'-xa-xa g-o'xo-xo g-a v xa-xa | g-x'xx-xx ^8 X X8-X8 | §"i'xi-xi gTXI-XI | g-GD'XCQ-XQ g-^'XX-XK g"o x xo-xo I g-u'xu-xij ^u'xu-xu g"irxu-xu I g-cpxcp-xep I g-QVXCI-XQ I g-8^X8-X8. || Gje-xe'xe g-a-xa'xa g-o-xo'xo g-a-xa\xa | ^x-xx'xx gs-xsvxs I g-i-xi'xi gi-xrxi | gco-xco'xo ^n-x^'xs g*o-xo x xo | gu-xu'xu g-u-xu'xu ^u-xu^xu I g*cp-xcpx(p I g-Q-XGXXQ I g-8-X8 v X8. || Gj-e-xe-xe' g-a-xa-xa' %g-xq-xq' g-a-xa-xa* | sfx-xx-xx' §-s-xe-xs v | gi-xi-xi' g-i-xi-xr | g-o-xco-xa' g-^-x^-x*?' g-o-xo-xo^ | g-u-xu-xu' g-u-xu-xu' gu-xu-xu*| g-cp-xq)-x(p| %a-xa-xw | ^8-xa-x8 x . || EXERCISE V. Ble' bla' bio' bla* | blx' ble* | bli' blr | blco' bis' blo x blu' bin' blip | blcp* | bla* | blot. || Die' dla' dlo' dla* | dk' die* | dli' dh* | dl©' dl*' dlo^ dlw din' dlu* | dlcp | dla* | dla\ || VOCAL GYMNASTICS. 39 Gle' gla' glo' gla* | glx' gk* | gli' gli* \ glo' gib' glo* g\u> glu' glu* | glcf* | gla* | glo*. || Vie' via' vlo' via* | vh' vie* | vli' vh* | vlo' vlb' vlo* vlu' vliv vlu* | vlcf* | via* | vlo*. || Ale' Ma' Mo' Ma*|Mx bis* | Mi' Mi* | Mw Mb' Mo* Mu' Mu' Mu* | M(p* | Ma* | Mo*. || Zle' zla' zlo' zla* | zlx' zk* | zli' zh* | zlco' zlb' zlo* zlu' zlu' zlu* | zlq)* | zla* | zlo*. || Jle' jla' jlo' jla* | jlx' jk* | jii' jh* | jlco jib' jlo* jlu' jliv jlu* | jl(f* | jla* | jlo*. || Pie' pla' plo' pla* | plx' pie* | pli' pli* | plo' plb' plo* plu' plu' plu* | plq* | pla* | plo*. || Tie' tla' tlo' tla* | tlx' tk* | tli' th* | tlo' tte' tlo* tlu' tlu' tlu* | tlq* | tla* | tlo*. || Kle' kk' klo' kla*|klx' kk*|kli' kh*|klco' klb' klo* kk-' kliv klu* | kk[* | kla* | klo*. |i Fie' flk' flo' fla* | fix' fle* | fli' fli* | Agd' fib' flo* flu' flu' flu* | flq* | fla* | flo*. || 01e' &k' dlo' 31a* | Six' dl £ *|mi' aii*|Slco' Bib- 31o* Ww Ski' Qlu* | mc[* | 91a* | £lo*. || Sle' sk' slo' sla* | six' sk* | sli' sh* | slco' sib' slo* slu' ski' slu* | slcf* | sla* slo*. || Cle' ck' clo' cla* | clx' ck* | cli' ch* | clco' clb' clo* clu' clu' clu* | clq;* | cla* | clo*. || EXERCISE YI. Ble'ple bk'pk blo'plo bla*pla | blx'plx bk*ple | bli'pli bh*ph | blco'plco blb'plb blo*plo | blu'plu blu'plu blu*plu | blcf*plcp | bla*pla | plo*plo. || 40 VOCAL GYMNASTICS. Ble-ple' bla-pla' blo-plcy bla-pla* | blx-pk' bls-ple* | bli-pli' bh-plr | blo-plco' bin-pis' blo-plo* | blu-plw blu-plu' blu-plu* | blcp-plq)* | bla-pla* | blo-plo*. || Dle'tle dla'tla dlo'tlo dla*tla | dlx'tlx dle*tle | dli'tli dlrth | dlco'tlo dlx'tlx dlo*tlo | dlu'tlu dlu'tlu dlu*tlu | dlcp*tlcp | dla*tla | dlo*tlo. || Dle-tle' dla-tla' dlo-tlo' dla-tla* | dlx-tlx' dle-tk' | dli-tli' dli-th* | dlo-tlw dlx-tlx' dlo-tlo* | dlu-tlu' dlu-tlu' dlu-tlu* | dlcp-tlcp* | dla-tla* | dlo-tlo*. || Gle'kle gla'kla glo'klo gla*kla | glx'klx gls*klc | gli'kli gh*kh | glco'klco glx'klx glo*klo | glu'klu gluklu glu*klu | glcp*kl(p | gla*kla | glo*klo. || Gle-kle' gla-kla' glo-klo' gla-kla* | glx-klx' gle-kle* | gli-kli' gli-kli* | glco-klco' glx-klx' glo-klo* | glu-klu' glu-klu' glu-klu* | glcp-klcp* | gla-kla* | glo-klo*. || Vle'fle vla'fla vlo'flo vla*fla | vlx'flx Vl8*flg | vli'fli vlrfli | vlco'flco vls'flx vlo*flo | vlu'flu vlu'flu vlu*flu [ vlcp*flcp | vla*fla | vlo*flo. II Vle-fle' vla-fla' vlo-flo' vla-fla* | vlx-flx' vle-fls* | vli-fli' vh-ili* I vlco-flo' vlx-flx' vlo-flo* | vlu-flu' vlu-flu' vlu-flu* I vlcp-flcp* I vla-fla* | vlo-flo*. || Ale'Sle bla'Ma blo'Slo bla*$la | blx'Slx ble*Sle | bli'&li bh*&h | blo'Qlco blx'Slx blo*$lo | blu'Slu blu'Slu blu*&lu I blcp*Mcp I bla*Sla | blo*Slo. || Ale-die' bla-Bla' blo-&o' $la-$la* | blx-Slx' ble-Sle* | bli-Oli' bh-ah*|blco-&lco' blx-dlx' blo-dlo*|b]ij-aiu' blu-Slu' blu-dlu* | blcp-Slcp* | bla-Qla* | blo-dlo*. || e'sle zla'sla zlo'slo zla*sla | zlx'slx zl£*sle | zli'sli zh*sh zlco'slo zlx'slx zlo*slo | zlu'slu zlu'slu zlu*slu | zlcpslcp | zla*sla zlo*slo. || VOCAL GYMNASTICS. 41 Zle-sle' zla-sla' zli-sli' zh-slr | zlu-slu' zlu-slu x zlo-slc zla-sla v | zlco-slco' zlb-slb' | zlcp-slcp | zla-sk zlx-slx' zle-sls x | zlo-slo* | zlu-slu' ' I zlo-slo\ II Jle'cle jla'cla jlo'clo jla x cla | jh'clx jle^cls | jli'cli jlrch | jlco'clo jlb'clb jlo^clo | jlu'clu jlivclu jlu x clu | jlcpclcp | jlcrcla I jlo^clo. || Jle-cle' jla-cla' jlo-clo' jla-cla v | jlx-clx' jle-clg x | jli-cli' jh-ch x | jlco-clco' jlb-clb' jlo-clo x | jlu-clu' jlu-clu' jlu-clu^ | jlcp-clcp* | jla-cla* | jlo-clo^. || EXERCISE VII. Ble'ple-ple bla'pla-pla blo'plo-plo bla^pla-pla blx'ph-plx ble x ple-pls | bli'pli-pli blrpli-ph blco'plco-plco blb'plb-plb blo*plo-plo | blu'plu-plii blu'plu-plu blu v plu-plu | blcppk[-plq) | bla^pla-pla blo^plo-plo. || Ble-ple'ple bla-pla'pla blo-plo'plo bla-pla x pla blx-ph'plx ble-ple^ple | bli-pli'pli bh-plrph blco-plco'plco blb-plb'plb blo-plo N plo |. blu-plu'plu blu-plivplu blu-plu^plu | blq-plcpplq: | bla-pla^pla blo-plo v plo. || Ble-ple-ple' bla-pla-pla' blo-plo-plo' bla-pla-pla x blx-plx-plx' ble-pk-ple x | bli-pli-pli' bh-pli-plr blco-plco-plco' blb-plb-plb' blo-plo-plo x | blu-plu-plu' blu-plu-plu' blu-plu-plu* | blq:-plq>plq)* | bla-pla-pla* | blo-plo-plo x . || Dle'tle-tle dlatla-tla dlo'tlo-tlo dla^tla-tla | dlx'tlx-tlx dls^tls-tls | dli'tli-tli dlrtli-th | dlco'tlo-tlco dlb'tlb-tlb dlo'tlo-tlo | dlu'tlu-tlu dlu'tlu-tlu dlu^tlu-tlu | dlcf^tlcp-tlcp | dlatla-tla | dlo^tlo-tlo. || 4* 42 VOCAL GYMNASTICS. Dle-tle'tle dla-tla'tla dlo-tlo'tlo dla-tla*tla | dlx-tlx'tlx dle-tl^tle | dli-tli'tli dh-tlrtli | dlo-tlo'tlo dte-tte'tte dlo-tlo*tlo | dlu-tlu'tlu dlu-tlu'tlu dlu-tlu*tlu | dlcp-tlcptlcp | dla-tlcptla | dlo-tlo*tlo. || Dle-tle-tle' dla-tla-tla' dlo-tlo-tlo' dla-tla-tla* | dlx-tlx-tlx' dls-tle-tls' | dli-tli-tli' dli-tli-th* | dlco-tlco-tlco' dlY-tl#-tl«' dlo-tlo-tlo* | dlu-tlu-tlu' dlu-tlu-tlu' dlu-tlu-tlu* | dlcp-tlcp-tlcp* | dltt-tla-tld* | dlo-tlo-tlo*. || Gle'kle-kle gla'kla-kla glo'klo-klo gla*kla-kla | glx'klx-klx gl8*kl8-kle | gli'kli-kli glrkh-kli | glco'klo-klco gl^'kls-kltf glo*klo-klo | glu'klu-klu glu'klu-klu glu*klu-klu | glcpklcp-klq) | glci^kla-klci | glo^klo-klo. || Gle-kle'kle gla-kla'kla glo-klo'klo gla-kla*kla | glx-klx'klx gle-kls'kle | gli-kli'kli gh-klrkh | glo-klco'klco gl^-kl^'kl^ glo-klovklo | glu-klij'klij glu-klu'klu glu-klu*klu | glq)-klcp*klcp | gla-klcrklci | glo-klo*klo. || Gle-kle-kle' gla-kla-kla' glo-klo-klo' gla-kla-kla* | glx-klx-klx' gle-kls-kk* | gli-kli-kli' gh-kh-kh* | gloD-klco-kld)' gls-klH-kls' glo-klo-klo* | glu-klir-klu' glu-klu-klu' glu-klu-klu* | glcp-klcp-klq)* | glcx-kla-klo[*| glo-klo-klo*. || Vle'fle-fle vla'fla-fla vlo'flo-flo vla*fla-fla | vlx'flx-flx vle*fls-fle | vli'fli-fli vlrfli-ili | vla'Ao-fl© vls'fls-fls vlo*flo-flo | vlu'flu-fln vlu'flu-flu vlu*flu-flu | vlcp*fl(p-flcp | vla*fla-fla | vlo*flo-flo. || Vle-fle'fle vla-fla'fla vlo-flo'flo vla-fla*fla | vlx-flx'flx vl8-fl8*fl8 | vli-fli'fli vli-flrfli | vlo-flQ'flo vl*-fls'fis vlo-flo*flo | vlu-flu'flu vlu-flu'flu vlu-flu*flu | vlq)-flcp*flcp I vla-flotia | vlo-flo*flo. || VOCAL GYMNASTICS. 43 Vle-fle-fle' vla-fla-fla' vlo-flo-flo' vla-fla-fla* | vlx-flx-flx' vle-fle-fle^ | vli-fli-fli' vli-fli-fli*| vl©-fl©-fl©' vlx-fls-fls' vlo-flo-flo* I vlu-flu-flu' vlu-flu-flu' vlu-flu-flu* I vlcp-flcp-flcp* I vla-fla-fla* | vlo-flo-flo\ || Ale'Me-Sle bla'&la-Sla blo'Slo-Slo bla*Sla-Sla | bh'Sh-eix We'We-Ms | bli'Mi-&li blrdli-&Ii | bl©'$l©-$l© blH'OlK-^lH blo^lo-eio | blu'Slu-Slu biu'aiu-aiu Mu^iu-mu | bicp»ai(p-&i

-sl(£* I zla-sla-sla* | zlo-slo-slo*. || 44 VOCAL GYMNASTICS. Jlccle-cle jla'cla-cla jlo'clo-clo jla*cla-cla | jlx'clx-elx jle*cle-cl8 | jli'cli-cli jli N cli-cli | jlo'clo-clo jlx'cls-ciK jlo*clo-clo | jlxj'clxj-clu jlu'clu-clu jlu*clu-clu | jlcp*clcp-elcp | jla*cla-cla | jlo*clo-clo. || Jle-cle'cle jla-cla'cla jlo-clo'clo jla-ela*cla | jlx-clx'clx jle-cl£*cle | jli-cli'cli jh-ch*cli | jlo-clo'clo:> jl^-chs'cls jlo-clo*clo | jlu-clu'clu jlu-clu'clu jlu-clu*clu | jlcp-clcf N clcp I jla-cla*cla | jlo-clo*clo. || Jle-cle-cle' jla-cla-cla' jlo-clo-clo' jla-cla-cla* | jlx-clx-clx' jls-cls-cle | jli-cli-cli' jli-ch-ch* | jlo-clo-clo' jIh-cI^-cIk' jlo-clo-clo* | jlu-clu-clu' jlu-clu-clu' jlu-clu-clu* | jlcp-clcp-clqp x | jla-cla-cla* | jlo-clo-clo*. || EXERCISE VIII. Bre bra bro bra* | brx brs* | bri bri* | bro brx bro* | bru bra bru* | brcp* | bra* | bro*. || Dre dra dro dra* | drx dre* | dri dn* | dro drx dro*| dru dra dru* | drcp* | dra* | dro*. || Gre gra gro gra* j grx grs* | gri grr | gro grs gro* | grxi gra gru* | grcp* | gra* | gro*. || Yre vra vro vra* | vrx vrs* | vri vrr | vro vrtf vro* | vru vra vru* | vrqp* | vra* | vro*. || Are bra bro bra* | brx bre* | bri bri* | bro brs bro v | bru bra bru* | brcp* | bra* | bro*. || Zre zra zro zra* | zrx zre* | zri zn* | zro zr« zro* | zru zra zru* | zrcp* | zra* | zro*. || Jre jra jro jra* | jrx jrs* | jri jn* | jro jrs jro* | jru jra jru* | jrcp* | jra* | jro*. || Pre pra pro pra* | prx pre* | pri pri* | pro pn* pro* | pru pra pru* | prep* | pra* | pro*. || VOCAL GYMNASTICS. 45 Tre tra tro tra* | trx trs* | tri tri* | trco trn tro* | tru tru tru* | trcp* | tra* | tro*. || Kre kra kro kra* | krx kre* | kri kri* | kro kr« kro* | kru km kru* | krcp* | kra* | kro*. || Pre fra fro fra* | frx fre* | fri fn* | fro frs fro* | fru fru fru* | frq>* | fra* | fro*. || 0re Sra Sro Sra* | drx $r8*|&ri &ri*|&rc) &rs $ro*| dru $ru Sru* | Srcp* | Sra* | Sro*. || Sre sra sro sra* | srx sre* | sri srr | sro sr« sro* | sru sru sru* | srcp* | sra* | sro*. || Cre era cro era* | crx ere* | cri err | cro crb cro* | cru cru cru* | crcp* | era* | cro*. || EXERCISE IX. Brcpre bra'pra bro'pro bra*pra | brx'prx bi*£*pre | bri'pri brrpri | brco'prco brs'prs bro*pro | bru'pru bru'pru bru*pru | brcp*prcp | bra*pra | bro*pro. || Bre-pre' bra-pra' bro-pro' bra-pra* | brx-prx 7 bre-prs* | bri-pri' bri-pri* | brco-pro' brn-prK' bro-pro* | bru-pru' bru-pru' bru-pru* | brcp-prq:* | bra-pra* | bro-pro*. || Dre'tre dra'tra dro'tro dra*tra | drx'trx dr£*trs | dri'tri dri*tri | drco'tro drb'trb dro*tro | dru'tru dru'tru dru*tru | drcptrcp | dra*tra | dro*tro. || Dre-tre' dra-tra' dro-tro' dra-tra* | drx-trx' dre-trg* | dri-tri' dri-tri* | drco-trco' drb-trs' dro-tro* | dru-tru' dru-tru' dru-tru* | drq>-trcp* | dra-tra* | dro-tro*. || Gre'kre gra'kra gro'kro gra*kra | grx'krx grs*kre | gri'kri gri*kn | grco'kro grb'krtf gro*kro | gru'kru gru'kru gru*kru | grepkrep | gra*kra | gro*kro. || 46 VOCAL GYMNASTICS. Gre-kre' gra-kra' gro-kro' gra-kra* | grx-krx' grs-kr£^| gri-kri' kri-krr | grco-kro' grx-krs' gro-kro^ | gru-kru' gru-kni' gru-kru v | grcp-krc^ | grQ-km x | gro-kro*. || Yre'fre vra'fra vro'fro vra x fra | vrx'frx vre^fre | vri'fri vrrfri | vro'fro vr^'frs vro^fro | vru'frij vru'fru vripfru | vrcp v frcp | vrcrfrci | vro^fro. || Yre-fre' vra-fra' vro-fro' vra-fra x | vrx-frx' vre-fre^ | vri-fri' vri-frr | vrco-frco' vr^-fr^' vro-fro 1 | vru-fru' vru-fru' vru-fru x | vrcp-frcp | vra-fra* ] vro-fra\ |] Are'Sre bra'&ra bro'Sro bra^ra | brx'Srx bre^rs | bri'Sri brrSri | brco'dro br^'Sr^s bro x dro | bru'dru bru'Sru bru N &ru | brcp&rcp | bra^Sra | bro^&ro. || Are-Sre' bra-$ra' bro-Sro' bra-Sra x | brx-Srx' brc-dre* | bri-Sri' bri-Srr | brco-drco' brH-drn' bro-Sro x | bru-dru' bru-dru' bru-drip | brcp-Srcp* | bra-Srci^ | br8-~&ro v . || Zre'sre zra'sra zro'sro zra x sra | zrx'srx zrs^srs | zri'sri zrrsri | zro'sro zr^'sr^ zro^sro | zru'sru zru'sru zru-sru | zrcpsrcp | zra^sra | zro^sro. || Zre-sre' zra-sra' zro-sro' zra-sra v | zrx-srx' zre-sre* | zri-sri' zn-srp | zrosrco' zr^-srK' zro-sro x | zru-sru' zru-sru' zru-sru N | zrcp-srcp | zra-sra* | zro-sro N . || Jre'cre jra'cra jro'cro jra v cra | jrx'crx jrs^cre | jri'cri jrrcn | jrwcrco jr^'cr^ jro v cro | jru'cru jru'cru jru x cru | jrcpcrcp | jra^cra jrovcro. || Jre-cre' jra'cra jro-cro' jra-cra* | jrx-crx' jrs-cr£ x | jri-cri' jn-crr | jrco-crco' jrx-crK' jro-cro x | jru-cru' jru-cru' jru-cru* | jrcp-crcp | jra-cra x | jro-cro\ || VOCAL GYMNASTICS. 47 EXERCISE X. Bre'pre-pre bra'pra-pra bro'pro-pro bra v pra-pra brx'prx-prx br^prs-pre | bri'pri-pri brrpn-pri bro'pro-pro brK'prx-pr^ bro-pro-pro | bru'pru-pru bru'pru-pru brirpru-pru | brcpprcp-prcp | bra*pra-pra bro x pro-pro. || Bre-pre'pre bra-pra'pra bro-pro'pro bra-pra x pra brx-prx'prx brc-pre^pre | bri-pri'pri bri-prrpri br co-pro pro br^-pr^'prx bro-pro-pro | bru-pru'pru bni-pru'pru bru-prirpru | brcp-prcf^prcp |bra-pra x prcxj bro-pro x pro. || Bre-pre-pre' bra-pra-pra' bro-pro-pro' bra-pra-pra v brx-prx-prx' bre-prg-prc* | bri-pri-pri' bri-pri-pn» bro-pro-pro' br^-pr^-prs ' bro-pro-pro* | bru-pru-pru bru-pru-pru' bru-pru-pru x brcp-prcp-prcp bra-pra-pra* | bro-pro-pro*. || Dre'tre-tre dra'tra-tra dro'tro-tro dra v tra-tra drx'trx-trx drs x trs-tre | dri'tri-tri drrtri-tri dro'tro-tro dr^'trs-trK dro x tro-tro | dru'trn-trij dru'tru-tru drirtru-tru | drcptrcp-trcp | dra*tra-tra dro x tro-tro. || Dre-tre'tre dra-tra'tra dro-tro'tro dra-tra x tra drx-trx'trx drs-tre^tre | dri-tri'tri dri-trrtri dro-tro'tro drb T -trK'tr^ dro-tro*tro | dru-tru'tru dru-tru'tru dru-tru v tru | drcp-trcptrcp | dra-tra*tra dro-tro x tro. || Dre-tre-tre* dra-tra-tra' dro-tro-tro' dra-tra-tra v drx-trx-trx' drs-tr£-tre v | dri-tri-tri' dri-tn-trp dro-tro-tro' dr^-trH-trx' dro-tro-tro* | dru-tru-tru- dru-tru-tru' dru-tru-tru v | drq)-trcp-trcp x | dra-tra-tra x dro-tro-tro*. II 48 VOCAL GYMNASTICS. Gre'kre-kre gra'kra-kra gro'kro-kro gra v kra-kra grx'krx-krx gre x kre-kre | gri'kri-kri grrkri-kn grco'krco-krco gr^'kr^-kr^ gro v kro-kro | gru'kru-kru gru'kru-kru gru\kru-kru | grcpkrcp-krcp | grcrkra-kra grerkro-kro. || Gre-kre'kre gra-kra'kra grokro'kro gra-kra\kra grx-krx'krx gre-kre\kre | gri-kri'kri gri-krrkri grco-krco'krco grx-kr^'kr^ gro-krovkro | gru-kriT'krir gru-kru'kru gru-kru\kru | grcp-krcpkrq) | gra-kra\kra gro-kro^kro. || Gre-kre-kre' gra-kra-kra' gro-kro-kro' gra-kra-kra^ grx-krx-krx' gre-kre-kre x | gri-kri-kri' gn-kri-krp grco-krG3-kro' gr^-krK-krs' gro-kro-kro* | gru-kru-krij' gru-kru-kru' gru-kru-kru* grcp-krcp-krcp gra-kra-kra N | gro-kro-kro x . || Vre'fre-fre vra'fra-fra vro'fro-fro vra x fra-fra vrx'frx-frx vre N fre-fre | vri'fri-fri vrrfn-fri vrco'frcD-frco vr^'fr^-frK vrotfro-fro | vru'fru-frju vru'fru-fru vruvfru-fru | vrcpfrcp-frcp | vra*fra-fra vro x £ro-fro. || Vre-fre'fre vra-fra'fra vro-fro'fro vra-fratfra vrx-frx'frx vre-fre x fre vri-fri'fri vri-frrfn vrco-frco'frco vrx-fW'frH vro-frotfro | vru-frij'frij vru-fru'fru vru-frutfru | vrcp-frcpfrcp | vra-fratfra vro-frotfro. || Vre-fre-fre' vra-fra-fra' vro-fro-fro' vra-fra-fra v vrx-frx-frx' vre-fre-fre* | vri-fri-fri' vri-fn-frr vrca-frco-frco' vrK-fr^-frK' vro-fro-fro* | vru-fru-fru vru-fru-fru' vru-fru-fru* | vrcp-frcp-frcp | vra-fra-fra* vro-fro-fro*. II VOCAL GYMNASTICS. 49 Are'Sre-Sre bra'$ra-$ra bro'&ro-^ro bra*$ra-$ra brx'drx-Srx bre^rg-^rs | bri'Sri-Sri brr&ri-Sri bro'drcd-Srco brH'&rtf-Srtf bro v dro-dro | bru'\h , u-&ru bru'Sru-Sru bru x iku-&ru brq) v Srq>-Srq) brGT&rcx-Sm | bro^ro-dro. || Are-Sre'&re bra-$ra'$ra bro-dro'Oro bra-Sra^ra brx-Srx'Srx bre-vh*£ x drE | bri-vh-i'Sri bn-Srr&n bro-drco'dro brs-\}rH'$rK bro-$ro x frro| bru-vh-u'dru bru-Sru'Sru bru-dru^ru brcp-SrcpSrq) bra-£h*GrSm | bro-dro^&ro. || Are-Sre-&re' bra-\h*a-Sra' bro-Sro-dro' bra-dra-Sra 1 brx-drx-drx' bre-Sre-Srs* | bri-^ri-^ri' bri-Sn-drr brco-drco-ftrco' brs-Srtf-$r«' bro-Sro-Sro x bru-\h*ij-0ru' bru-0ru-0ru' bru-0ru-0ru* brc[)-@rcp-@rcp* | bra-0ra-0ra x I bro-0ro-0r8 v . | Zre'sre-sre zra'sra-sra zro'sro-sro zra x sra-sra zrx'srx-srx zre^sre-srE | zri'sri-sri zrrsrx-sri zrco'svco-srco zrb r/ srK-srs zro*sro-sro | zru'sru-sru zru'sru-sru zru x sru-sru | zr(f v srq>srcp | zrcrsra-sra zro v sro-sro. || Zre-sre'sre zra-sra'sra zro-sro'sro zra-sra x sra zrx-srx'srx zre-sre^sre zri-sri'sri zri-srrsn zrco-srco'srco zrb'-srysr^ zro-sro^ro | zru-sru'sru zru-sru'sru zru-sru v sru | zrqp-srcpsrcp | zra-srcrsra zro-sro v sra. || Zre-sre-sre' zra-sra-sra' zro-sro-sro' zra-sra-sra v zrx-srx-srx' zre-sre-sre* | zri-sri-sri' zn-sri-srr zro-srca-srco' zra-srs-srx' zro-sro-sro x | zru-sru-sru zru-sru-sru' zru-sru-sru* | zrcp-srcp-srcp | zra-sm-srcp zro-sro-sro*. |] 5 50 VOCAL GYMNASTICS. Jre'cre-cre jra'cra-cra jro'cro-cro jra*cra-cra | jrx'crx-crx jre'crt-crs | jri'cri-cri jrrcri-cn jrco'cro-cro jrH'crK-crx jro*cro-cro | jru'cru-cru jru'cru-cru jru*cru-cru | jrcpcrcp-crcp | jra*cra-cra jro*cro-cro. || Jre-cre'cre jra-cra'cra jro-cro'cro jra-cra*cra jrx-crx'crx jrg-cr^crg | jri-cri'cri jn-crrcn | jro-crco'crco jr^-crH'crK jro-cro*cro | jru-cru'cru jru-cru'cru jru-cru*cru | jrcp-crcpcrcp | jra-cra*cra | jro-cra^cra. || Jre-cre-cre' jra-cra-cra' jro-cro-cro' jra-cra-cra* | jrx-crx-crx' jre-cre-crc* | jri-cri-cri' jri-cri-crr | JYCD-CYCD-crco' jr^-cr^-crx' jro-cro-cro* | jrij-cru-cru' jru-cru-eru' jru-cru-cru* | jrqj-crcp-crcp* | jra-cra-cra* | jro-cro-cro*. || EXERCISE XI. De-ge' da-ga' do-go-' da-ga* | dx-gx' de-g£* | di-gi' di-gi* | dco-go' d^-g^' do-go* | du-gu' du-gu' du-gu* | dcp-gqA |] Te-kc ta-ka' to-ko' ta-ka* | tx-kx' ts-ke* | ti-ki' ti-ki* | tco-kco' t^-kb T/ to-ko* | tu-kio' tu-ku' tu-ku* | tq>kq>*. || De-ge*te-ke | da-ga*ta-ka | do-go*to-ko | da-ga*ta-ka | dx-gx*tx-kx | d£-ge*ts-ks | di-gi*ti-ki | di-gi*ti-ki | dco-gco*tcD-kco | d^-g«*tK-kK| do-go*to-ko | du-giPtu-ku | du-gu*tu-ku | clu-gu*tu-ku | d(p-gcp*tcp-kcp. || De-ge'te-ke da-ga'ta-ka do-go'to-ko da-ga*ta-ka | dx-gx'tx-kx de-ge*tg-kc di-gi'ti-ki di-gi*ti-ki doD-gco'to-ko d^-gK'tK-kK do-go*to-ko | du-gu 'tu-ku du-gu'tu-ku du-gu*tu-ku | dqvgcptcp-kcp. || VOCAL GYMNASTICS. 51 De-ge'te-ke da-ga'ta-ka do-go'to-ko da-ga'ta-ka dx-gx'tx-kx de-ge'te-ke di-gi'ti-ki di-gi'ti-ki do-gco'tco-kco d^-gK't^-kK do-go'to-ko dij-gu'tij-kij du-gu'tu-ku du-gu'tu-ku dcp-gcptcp-kcp. || EXERCISE XII. Dwe dwa dwo dwa* | dwx dwe* | dwi dwi*|dwG> dws dwo* | dwu dwu dwu* | dwq>* | dwa* | dws*. || Twe twa two twa* | twx twe* | twi twi* | twco tws tWO* | tW T U tWU tWU* | tWCp* I tWGX* I tW8*. || Dwe twe dwa'twa dwo'two dwa v twa | dwx'twx dwe*twe | dwi'twi dwi*twi | dwco'two dw^'tws dwo*two | dwu'twij dwu'twu dwu*twu | dwcp*twqp | dwavtwa | dws*twa. || Dwe-twe' dwa-twa' dwo-two' dwa-twa* | dwx-twx' dwe-twe* | dwi-twi' dwi-twi* | dwo-two' dw^-twn' dwo-two* | dwu-twu' dwu-twu' dwu-twu* | dwq)-twcp* | dwa-twa* | dwa-twa*. !| Dwe'twe-twe dwa'twa-twa dwo'two-two dwa*twa-twa| dwx'twx-twx dwe*twe-twe | dwi'twi-twi dwrtwi-twi | dwo'two-two dwH'tw^-tw^ dwo*two-two | dwu'twu- twu dwu'twu-twu dwu*twu-twu | dwcptwcp-twcp | dwci*twGx-twa | dwa*twa-twa. || Dwe-twe'twe dwa-twa'twa dwo-two'two dwa-twa*twa| dwx-twx'twx dwe-twe*twe | dwi-twi'twi dwi-twx*twi | dwco-two'two dw^-twK'tw^ dwo-two*two | dwu-twu' twu dwu-twu'twu dwu-twu*twu | dwq;-twc£*twq) | dwcx-twa»twcx | dwa-tw8 v twa. || 52 VOCAL GYMNASTICS. Dwe-twe-twe' dwa-twa-twa' dwo-two-two' dwa-twa-twa v | dwx-twx-twx' dwe-tw£-tws^ | dwi-twi-twi' dwi-twi-twr| dwQ-two-twcD' dw^-tw^-twK' dwo-two-two* | dwu- twu-twu' dwu-twu-twu' dwu-twu-twu v | dwcp-twcp- twcp> | dwa-twa-twoo | dwo-two-two\ || EXERCISE XIII. Gwe gwa gwo gwa x | gwx gw£* | gwi gwv | gwo gw# gwo* I gwu gwu gwu x I gwcp* I gwcr I gW8 x . || Kwe kwa kwo kwa x | kwx kws x | kwi kwr | kwco kwn kwo x | kwu kwu kwu v | kwcp* | kwa* | kwo x . || Gwe'kwe gwa'kwa gwo'kwo gwa x kwa | gwx'kwx gw£vkw£ | gwi'kwi gwrkwi | gwco'kwco gw^'kw^ gwo v kwo | gwu'kwu gwu'kwu gwirkwu | gwcp^kwcp | gwcrkwa | gwa x kwo. || Gwe-kwe' gwa-kwa' gwo-kwo' gwa-kwa x | gwx-kwx' gw£-kw£* | gwi-kwi' gwi-kwi x | gwokwco' gw^-kws' gwo-kwo v | gwu-kwu' gwu-kwu' gwu-kwu* | gwep-kwcp* | gwa-kwcp | gwo-kwo\ || Gwe'kwe-kwe gwa'kwa-kwa gwo'kwo-kwo gwa^kwa- kwa | gwx'kwx-kwx gw£*kw£-kw£ | gwi'kwi-kwi gwrkwi-kwi | gwco'kwco-kwco gws'kw^-kwK gwo*- kwo-kwo | gwu'kwu-kwu gwu'kwu-kwu gwu^kwu- kwu | gwcp^kwcp-kwcp | gwcrkwa-kwa |gwavkwa-kwo. || Gwe-kwe'kwe gwa-kwa'kwa gwo-kwo'kwo gwa-kwa*- kwa | gwx-kwx'kwx gw£-kw£ x kw£ | gwi-kwi'kwi gwi- kwrkwi | gwcD-kwco'kwco gwY-kw«'kw« gwo-kwo*- kwo | gwu-kwu'kwu gwu-kwu'kwu gwu-kwu^kwu | gwcp-kwcp x kw(p | gwa-kwGrkwo. | gwo-kwovkwo. || VOCAL GYMNASTICS. 53 Gwe-kwe-kwe' gwa-kwa-kwa' gwo-kwo-kwo' gwa-kwa- kwa* | gwx-kwx-kwx' gwc-kwe-kwe* | gwi-kwi-kwi' gwi-kwi-kwi' | gwco-kwo-kwco' gwx-kwK-kw^' gwo- kwo-kwo x | gwu-kwu-kwu' gwu-kwu-kwu' gwu-kwu- kwu x | gwcp-kwcp-kwcp | gwa-kwa-kwa* | gwa- kwa-kwa*. II EXERCISE XIV. We-qe' wa-qa' wo-qo' wa-qa* | wx-qx' ws-qe x | wi-qi' wi«qr | wco-qw w»-q^' wo-qo* | wu-qu' wu-qu' wu-qu* | wq)-qq)* | wa-qa* | wa-qa*. || We'qe-qe wa'qa-qa wo'qo-qo wa*qa-qa | wx'qx-qx we*q&-qe j wi f qi-qi wi*qi-qi | wco'qco-qw WH*q«-q« wo*qo-qo | wu'qu-qu wu'qu-qu wu*qu-qu| wq)*qc()-qcp. || We-qe'qe wa-qa'qa wo-qo'qo wa-qa*qa | wx-qx'qi ws-q£*qe | wi-qi'qi wi-qi*qi | wco-qcd'qco ws-qY'qs wo-qo*qo | wiT-qij'qu wu-qu'qu wu-qu*qu | wcp-qcpqcp | wa-qa*qa | wa-qa*qa. || We-qe-qe' wa-qa- qa' wo-qo-qo' wa-qa-qa* | wx-qx-qx' we-qe-qe* | wi-qi-qi' wi-qx-qi* | wco-qco-qw ws-qtf-qs' wo-qo-qo* | wu-qu-qi:' wu-qu-qu' wu-qu-qu* | wcp-qcp-qcp* | wa-qa-qa* j wa-qa-qa*. || EXERCISE XV. We-ve' wa-va' wo-vo' wa-va» | wx-vx' we-ve* | wi-vi' WI-VI* |WCD-VG)' WS-VS' WO-VO* | WU-VU' wu-vu' wu-vu* | wcp-vcp* I wa-va* | wo-va*. || 5* 54 VOCAL GYMNASTICS. Ve-we' va-wa' vo-wo' va-wa x | vx-wx' v£-W£* | vi-w vi-wr | vco-wco' vs-w«' vo-wo x | Vtt-WIJ' VU-WU' vu-wu x I vcp-wcp* I va-wa^ | vo-wo v . || We-ve^ve-we | wa-va^va-wa | wo-vo»vo-wo | wa-vawa-wa | wx-vx*vx-wx | W£-V£H T £-W£ | wi-vi»vi-wi | wi-ypvi-wi | wco-vclPvo-wgo | w«-vs»v«-w« | wo-vo^vo-wo I WIJ-VU^VIJ- wu I wu-vu x vu-wu I wu-virvu-wu I wcp-vcpvcp-wcp I wa- va x va-wa|wo-vo v vo-TV8. [| Ve-we^we-ve | va-wa^wa-va | vo-wo^wo-vo | va-wa^wa-va | vx-wx^wx-vx | v£-W£*w£-ve | vi-wi x wi-vi | vi-wpwi-vi | vo-wo v wq-vq I v^-w« x w^-vh | vo-wonvo-vo I VIJ-WIJ v Wtt- vij I vu-wirwu-vu | vu-wu v wu-vu | vcp-wcpwcp-vq) | va- wgpwgx-vq I vo-wo^wo-vo. II EXERCISE XVI. Zve zva zvo zva x | zvx zv£* | zvi zvr | zva zvk zvo* | zvij zvu zvu x I zvcp* | zvgt | zvo\ [| Sfe sfa sfo sfa x | sfx sf£ x | sfi sfr | sfo sf« sfo x | sfu sfu sfu* | sfcp | sfa* | sfe 1 . || Zve'sfe zva'sfa zvo'sfo zva^sfa | zvx'sfx zv£*sf£ | zvi'sfi zfrsfi | zvcD'sfco zve'sfe zvo v sfo | zvu'sfu zvu'sfu ZVU x sfu I ZV(p N sfcp I ZVGTsfd | ZV8 x sfo. || Zve-sfe' zva-sfa' zvo-sfo' zva-sfa x | zvx-sfx' zv£-sf£* | zvi-sfi' zvi-sfr | zvco-sfo3' zv^-sfs' zvo-sfo* I zvu-sfu' zvu-sfu' zvu-sfu v I zvcp-sfq)* I zvQ-sfcr I zvo-sfo*. || Zve'sfe-sfe zva'sfa-sfa zvo'sfo-sfo zva x sfa-sfa | zvx'sfx-sfx zv£ x sf£-sf£ I zvi'sfi-sfi zvrsfr-sfi | zvco'sfco-sfo VZS'sfe- sfs zvo s sfosfo I zvu'sfu-sfu zvu'sfu-sfu zvu x sfu-sfu I zvcp^sfcp-sfcp I zvGx v sfa-sfci | zvo x sfo-sfo. || VOCAL GYMNA STICS. 55 Zve-sfe'sfe zva-sfa'sfa zvosfo'sfo zva-sfa*sfa | zvx-sfx'sfx zve-sfe*sfe | zvi-sfi'sfi zvi-sfi*sfi | zvco-sfco'sfco zvb'-sfn' sf# zvo-sfo*sfo | zvu-sfu'sfu zvu-sfu'sfu zvu-sfu*sfu I zvcp-sfcp*sfq) | zvQ-sfGrsfa | zva-sfo*sfo. || Zve-sfe-sfe' zva-sfa-sfa' zvx-sfx-sfx' zve-sfe-sfe* sfo-sfco' zvtf-sfn-sfV zvu-sfu-sfu' zvu-sfu-sfu* ZVO-sfo-sfo*. II zvo-sfo-sfo' zva-sfa-sfa' | zvi-sfi-sfi' zvi-sfi-sfi* | zvco- zvo-sfo-sfo* | zvu-sfu-sfu' I zvcp-sfcp-sfcp* | zvot-sfci-sfGi* | EXERCISE XVII. Ab' eb' ib' ob' ub* | ad ed id od ud* | ag eg ig og ug* | av ev iv ov uv* | ab eb ib ob ub* | az ez iz oz uz* | aj ej ij oj uj* | al el il ol ub | ar er ir or uf | am em im om urn* | an en in on urn | ai] ei] in orj ur)* | acj ecj ICJ ocj ucj* | asr eg- \% o°r ujp. || Ap ep lp op up* | at et it ot ut* | ak ek ik ok uk* | af ef if of uf* | ad ed id od ud* | as es is os us* | ac ec ic oc uc* | a6 et ic 06 u£* | ax ex ix ox ux\ II Ab' Ad' ib OZ' Acj' A- Ad' Af An' ap* at* ab » ef* ' id 1 os* I ac* ax* ag* ak* I eb' ep* I ib' ip* | ob' op* | ub' up*. || I edc et* I id' it* I od' ot* | ud' ut*. || I eg' ek* I ig' ik* | og' ok* | ug' uk*. || Av af*| I iv if* I ov of* I uv uf*. || Ab' ad* | eb' ed*| 1 I ob' od* I ub' ud*. || Az' as* | ez' es* | iz' is*| uz' us*. || Aj' ac*|ej' ec*|ij' ic*|oj' oc*|uj' uc*. || I ecj' e6* I eg - ' ex* I ed' I et' ek* I an* I en' eij* icj' ib ig-' IX* id' ig* if ik* in' ir)* ocj' 06* og - ' ox* od' og* ot' ok* on' oi]* ucj' 116*. USf' ux*. ud' ug*. uf uk*. un' uq*. 56 VOCAL GYMNASTICS. EXERCISE XVIII. Beb* I bebz* || beb* | bebz* || bet* | bets* || bek* | beks* || barb | barks* | barkt* || bad* | badst* || bxm* | bxmz* | bxmst* || bxst* | bxsts* || beg* | begz* | begst* || bid* | bidz* | bidst* || b^b*|b^bz* || buks* | bukt*. || Dip* | dips* | dipt* || dog* | dogz* | dogd* || dup* | dups* | dupt* || dub* | dubz* | dubd*. || Gen* | genz* | genst* || gag* | gagz* | gagst* ||god*| godz*| godst* || gul* I gulz* || gum* | gumz* || gun* | gunz*. || Lev* | levz* | levd* || lxv* | lxvz* | lxvd* || hv* | livz* | hvst* | hvd* | livdst* || lob* | lobz* | lobd* | luk* j lukt* | lukst*. || Med* | medz* | medst* | mek* | nieks* | mekt || map* | maps* | mapt* || mil* | milz* | mild* || mil* | milz* | mild* || mob* | mobz* | mobd* || mok* | moks* | mokt*. || Nem* | nemz* | nemd* | nemdst* || nap* | naps* | napt* || nxl* | nxlz* | nxld* | nxldst* || nok* | noks* | nokt*. || Til* | tilz* | tild* || tok* ] toks* | tokt* || txm* txmz* | txmd* || txb* | txbz* | txbd* || tib* | tibz* | tibd*. || Don wists hx twists be grists wib lists in mists arcpnd his fists, and bosts hx rosts and tosts on posts be hosts ov gosts aloi) be kosts. END OF THE EXERCISES. VOCAL GYMNASTICS. 57 THE PAMPHONETICON : A UNIVERSAL ALPHABET; OR, AN ALPHABET FOR ALL LANGUAGES. This Alphabet comprises all the letters of the Phonetic Alphabet for the English Language, with additional ones to represent sounds peculiar to foreign languages. ADVANTAGES OF THE PHONETIC ALPHABET. Comstock's Phonetic Alphabet is the common, or Roman alphabet, not only so extended, by the addition of new letters, that there is a character for every articulate sound, but so improved by the introduction of signs for the various modifi- cations of the voice in speech, that there is a character for every accent, inflection, intonation, &c. Hence it must be considered a perfect alphabet. The adoption of this alphabet would be attended with the following important advantages : — 1. It would give stability to the orthography and pronunci- ation of every word in the language. 2. It would enable one who has become versed in the ele- mentary principles, to spell any word that he hears, and to pronounce any word that he sees, with readiness and accuracy. 3. It would enable one to spell and read in one-twentieth the time required by the present absurd and barbarous ortho- graphy. Hence, in acquiring an education, there would be a great saving not only of money, but of time, which is more valuable than money. 4. It would render the teaching and the learning of the English language, which, by the old theory, are extremely irksome, highly interesting. 58 ADVANTAGES OF 5. It would be invaluable, even as a means of teaching the present orthography- for, by it, a perfect knowledge of the language might be acquired in one half the time which is ab- solutely necessary to become but partially acquainted with it by means of the common, or Roman alphabet. 6. It would enable millions, who otherwise would remain forever ignorant of the use of letters, to teach themselves to read, and, consequently, to acquire an education. 7. It would not only preclude the necessity of pronouncing dictionaries, but interdict provincialisms ; because, according to this theory, all words are spelled as they are pronounced, and, consequently, pronounced as they are spelled, every gra- phic word being a perfect Daguerreotype of the vocal word which it represents. 8. As the process of spelling phonetically consists in utter- ing, in their consecutive order, the elementary sounds of the words, instead of the names of the letters, the adoption of this alphabet would necessarily render articulation and pronuncia- tion perfect. 9. By means of this alphabet, which consists not only of letters, but of tone-marks^ an author may transmit to posterity the exact sense reading of his works. Hence, all ambiguity would be obviated, as but one construction could be given to his language. 10. As, in phonetic spelling, most of the words have fewer letters than are employed in our present orthography, this alphabet would enable a writer to put more matter upon the same page. 11. By means of this alphabet, a knowledge of just elocu- tion would be implanted in the mind of the student, in the very incipient, as well as in every subsequent stage of his education. Hence no one, properly educated through the medium of the Phonetic Alphabet, could possibly be a bad reader, or a bad speaker. THE PHONETIC ALPHABET. 59 12. The Phonetic Alphabet would greatly facilitate the study of languages; because the same sound is invariably represented by the same letter in all the languages in which the sound occurs, and because the tone-marks enable the learner to give a foreign language the same elocutionary expression that is given to it by one to whom the language is vernacular. 13. The adoption of this alphabet would not only be the means of greatly advancing the cause of science and litera- ture, but would be invaluable to the missionary in dissemi- nating a knowledge of the gospel among the heathen. True, there are alphabets that claim to be phonetic, by which some of these advantages could be realized ; but, as they have no tone-marks, and not even a letter for every articulate sound, the inducement to adopt one or all of them, whether native or exotic, is not sufficient. Before the world will be willing to suffer the inconveniences of introducing a new alphabet, they must be satisfied that the alphabet has no defects ; — that it is perfect in its parts. Hence, so long as there is any deficiency, either in letters or in tone-marks, the world will be likely to reject every application for its adoption. But an alphabet with a letter for every articulate sound, and a full set of appropriate tone-marks, must meet the approba- tion and hearty support of all, whether Greek, French, Ger- man, Spanish, Italian, or Chinese. Our common, or Roman alphabet, with these improvements, universally adopted, would be the lever by which the people, individually, could elevate themselves, and by which, collectively, they could move the world itself. With this view of the subject, we trust that the friends of education, of morality, and of religion, will use their individual, as well as their collective efforts, to promote the introduction of the Phonetic Alphabet as speedily as pos- sible among all the nations of the earth. 60 THE PAMPHONETICON. THE PAMPHONETICON: A UNIVERSAL ALPHABET; OR, AN ALPHABET FOR ALL LANGUAGES. BY ANDREW COMSTOCK, M. D. This Alphabet comprises all the letters of the Phonetic Alphabet for the English Language, with additional ones to represent sounds peculiar to foreign languages. The sound of each letter is shown by the italic letter in the word or words in the same horizontal line. VOWELS. ENGLISH. FRENCH. SPANISH. ITALIAN. A a arm las padre arte A a Id matto A a an E e ale ete bueno velo dare iSte erba 8 E end belle per I i He io I X eye ile Dios in I X tl X X bl(Ri issian) I I m T T •TfAefc (Gr.) du T I une U u tube i U u leu U u UV i e Q Q old trone OYO dolce OfXlXOOV (Gr.) bonne dotto K H lose, ' STI£(GlV foiile sur muro U U fall •poule twtto O all on a a ozl

uo~tw doq ^p~-^ o-rjp.epov xai ar'ton xmcon' ton epib*'sion bos xmxn' sx^meron : ke bred ov us, be dedi, giv tb us t^-de* : and aytq fjlHv rd Ocfst/jpara ijfiiov^ d>q xa\ ^ps 7 .q a'fes xmxn' ta ofxlx'inata xmcon', cos ke xmxs' forgiv tb' us be dets ov us, az ol'sco wx dciipz'j rule 6(ft'.A(za f .q ijfi&v' xai pi] etasvirxTjq r { pdq afi'emen txs ofxle'tes xmconv : ke mx xsenerj'gxs xmas' forgiv be detwz ov usv : and not lxd us 64 THE PAMPHONETICON. elq 7Z£tpar Fa'bur h# art in he x vn, had coed bx bi nem v . Thy kingdom come. Thy will be done on earth, as it Ai kirj'dum kuniv. Ai wil bx dun on ur$, az it is in heaven. Give us this day our daily bread, iz in henm. Giv us bis de cpr de'h bredw And forgive us our debts, as we forgive our debtors. And forgiv us cpr clets, az wx forgiv cpr detwz. And lead us not into temptation, but deliver us from And Ixd us not m'tx temte'cun, but dxh'vur us from evil : For thine is the kingdom, and the power, and x*vl: For bin iz be kirj'dum, and be pcp'ur, and the glory, forever. Amen. be glo'ri, fore N vur. Amem. THE PAMPH ONETICON. 65 THE LORD'S PRAYER IN FRENCH, As pronounced by Alexandre Pantoleon, A. M., of France, now Professor of Languages in the Vocal and Polyglot Gymnasium, Philadelphia. Explanation. — The first line is the French, in the old orthography; the second comprises the same words in Coinstock's Alphabet, and the third is a literal translation in this alphabet. Notre. Pere qui es aux cieux, ton nom soit Notr Per ki a'z a sxu x , ton. neon, swa Or Fa'bur h^ art in be he v vnz, bi nem bx sanctifie' ; ton regne vienne ; ta volonte' soit faite sar\ktifiex ; tcor\ reny vxem; ta volcoi\te' swa fet ha x lcoed; bi kirj'dum kumv ; bi wil bx dun sur la terre comme au ciel. Donne nous aujourd'hui sir la tor kom o sxelv. Don ns'z oj^rdxi' on bx urd az in he x vn. Giv us tb T -de notre pain quotidien, et pardonne nous nos offenses notr pan kotidxerv, e pardon' n« nwz ofai\s' q>r bred de v h, and forgiv us cpr tres'pasiz comme aussi nous pardonnons a ceux qui nous ont kom osx' uk pardonon'z a, su ki n«'z or\'t az ol'so wx forgiv tb r bcoz hn us hav offenses ; et ne nous abandonne point a la ofai\sev ; e nu n^'z abandon' pwai\'t a la ofend^ed ; and not us aban'dun not ts bx tentation, mais delivre nous du malin ; car si taritasicon/, ma delxvr' n^ dx malor\v; kar a temte'eun, but dxh'vur us from bx x x vlwun ; for tK toi appartient le regne, la puissance, et la twa apart iciy lu reny, la pxisans', e la bx bxlorjz' be kirj'dum, be pq'ur, and be gloire aux siecles des siecles. Amen. ghvar o siekl da siekL. Amem. glo'ri for ecj'iz ov ecj^iz. Amenv. 66 THE PAMPHONETICON. THE LORD'S PRAYER IN CELTIC, As pronounced by Dr. John Roberton, of Scotland, now Professor' of Ancient and Modern Languages, in Philadelphia. Explanation. — The first line is the Celtic, in the old orthography; the second comprises the same words in Comstock's alphabet; and the third is a literal translation in this alphabet. Ar n-Athair a ta air neamh; gu naomhaichear Ar n-A'xr a ta er nyev* ; gn nu ; ve\ar Or Fa'bur h^ art in he*vn ; bat bx haloed t' ainm ; thigeadh do rioghachd ; deanar do thoil t' animv ; hi'ga do rxm\t ; dye'nar do hcxl bi nemx ; let kum bi kirjdum; let bx dun bi wil air an talamh mar a nithear air neamh. Tabhair er an ta'luv mar a nx'ar er nyevv. Ta'ver on bx ur& az bat me bx dun in he x vn. Giv dhuinn an diugh ar n'aran laitheil ; agus maith ysny an dyu ar n-a'ran la^el ; a'gus mi tx us be de cpr bred de x h ; and forgiv* dhuinn ar fiacha amhuil mar a mhaitheas sinne d' ar 7*sny ar fx a\a a'vil mar a va'yas ci'nx d' ar tK us cpr det lik az bat forgiv wx t*j cpr lucht-fiach. Agus na leig am buireadh sinn, ach l^\t-fx x a\. A'gus na leg am b^'iruy ci'nx, a\ det x -pxpl. And not let go m'ts temte'cun us, but saor sinn o olc ; oir is leatsa an rioghachd, sur cx'ni o olkv ; or is lyet'sa an rx'u\t, dxli'vur us from xh t 1 ; for iz ts bx be kirj'dum, agus an cumhachd, agus a' gloir, gu siorruidh. a'gus an k«'va\t, a'gus a' ylcor, gtf cxrTOi. and be pcp'ur, and be glco'ri, ttf e'vur-rumirj. Amen. Amem. Amen\. COMSTOCK'S SYSTEM OF ELOCUTION. RECOMMENDATORY NOTICES. Certificates from Professor Horner and Professor Hare of the University of Pennsylvania. Having been present on the 10th inst. at the exercises of the pupils in Dr. Andrew Comstock's Gymnasium, for the improvement of the voice and of the articulation in stammerers and others, the impression made upon me was highly favourable to his method of instruction. The system is founded upon an exact anatomical and physiological information, in regard to the organs concerned in the production and modification of sound. Its several parts appear to have been evolved and matured upon a degree of thought and an extent of experiment reflecting much credit upon his sagacity and industry; and it inspires a very strong confidence of its applicability to the faults generally of speech or phonation. One of his pupils, who only a week before the occasion alluded to, had been a most unpleasant stammerer, was then heard to recite publicly with great ease and fluency, with a full intona- tion. W. E. HORNER, M. D. Professor of Anatomy in the University of Pennsylvania. Philadelphia, Aug. 11, 1837. Philadelphia, Aug. 14th, 1837. Having been present on the occasion alluded to in the preceding letter of the Professor of Anatomy, I have no hesitation in alleging that my impressions a*« consistent with those which my colleague has therein expressed. ROBERT HARE, M. D. Professor of Chemistry in the University of Pennsylvania From the United States Gazette. Congress Hall, Philad., Nov. 25, 1837. Andrew Comstock, M. D. Dear Sir, — Before leaving your city, allow me to express to you the perfect satisfaction I feel, in witnessing the progress which my son ku made in Elocution under your instruction. The habit of stammering which commenced with his early efforts to speak, and which thirteen years (his present age) seemed only to con firm, is now, with six weeks instruction, completely eradicated. Though delighted beyond expression in this result, I am not disap. pointed. From the moment I became acquainted with your method of instruction, I did not doubt its entire success. Founded on scientific principles, it must succeed in all cases where there is no malformation pf the organs of speech. You have reduced to a system what before was but imperfectly un- derstood, and done most essential service to mankind in elevating a numerous class of unfortunate fellow-beings, and saved them from the impositions of ignorant and unprincipled empirics. Very respectfully, your obedient servant, E. PIERCE, M. D., of Athens, N. Y. From the Rev. Thomas B. Bradford. Philadelphia, April 4, 1842. I take great pleasure in recommending Dr. Comstock's System of Elocution. A practical acquaintance with the system, and with the instructions of its author, enables me to speak with confidence of the high superiority of this treatise, and of the ample qualifications of its author as an instructor in the art of speaking. His course of instruction is exactly adapted to the cure of stammerers; and my personal knowledge of the cure of those who have been thus afflicted, warrants me in particularly recommending such individuals to place themselves under the tuition of Dr. Comstock. T. B. BRADFORD. From E. C. Wines, A. M., late Professor of Moral, Mental, and Political Science in the Central High School of Philadelphia. Philadelphia, Oct. 22d, 1842. I take pleasure in stating that Dr. A. Comstock taught Elocution in my school during the whole of last year, and that his System of Elocu- tion was used as a text-book. I consider it a work of very great merit, admirably adapted to the end for which it was designed. The principles of the science are laid down with clearness and ability in the First Part; and the selections for practice in the Second Part are made with excel- lent judgment. It is a work every way worthy of the public patronage. The progress of the pupils in my school under Dr. Comstock's in- etructioii was altogether satisfactory. He fully sustained his high repu. tation as a teacher of practical elocution. E. C. WINES. From S. W. Crawford, A. M., Principal of the Academy connected with the University of Pennsylvania. I have examined Dr. Comstock's Elocution, and agree with Mr, Wines in the above recommendation. & W, CRAWFORD From the Rev. Henry W. Ducachet, M. D., D.D. Philadelphia, June 26th, 1843. Andrew Comstock, M. D. Dear Sir — I have very carefully read the " System of Elocution,' &c. published by you. Indeed, ever since I have become acquainted witli the work, I have made it a book of reference on that subject. It seems to me admirably well adapted to the purposes for which it is de- Binned. I have, indeed, no experience in the treatment of" stammering,'' or "defective articulation." But your rules for their cure appear very natural, and I think cannot fail, in ordinary cases, to be successful. For myself, I can say that I have derived from your work, some hints that have been most useful to me as a public speaker. I hope the book will be appreciated as it deserves, and that you will go on to reap a rich har. vest of reputation and profit from your valuable labours in that much neglected, but very important art. Very respectfully, your ob't serv't, HENRY W. DUCACHET, Rector of St. Stephen's Church, Philadelphia. From G. W. Francis, A. M., Principal of a Family Board- ing School, Troy^ N. Y. ; and C. H. Anthony, Esq., P?'incipal of the Albany Classical Institute, Albany, N. Y. We have used Dr. Comstock's System of Elocution for some lime in »ur schools, and we do not hesitate to give it the preference to any system * T ith which we are acquainted. G. W. FRANCIS. C. H. ANTHONY. Troy,N. Y., Feb. 2d, 1844. From the Faculty of the University of Michigan. University of Michigan, April 20, 1845. We have examined Dr. Comstock's System of Elocution with some care, and we are fully persuaded that it is better adapted to assist pupils in acquiring a correct, easy and forcible enunciation than any other work with which we are acquainted. JOSEPH WHITING, A. M. Professor of Languages. A. TEN BROOK, A. M. Professor of Mental and Moral Philosophy GEO. P. WILLIAMS, A. M. Professor of Mathematics O. C. COMSTOCK, A. M., M. D. SuperlntencTant of Fabric Instruction. Michigan. From Rev. R. Morris, President of Mount Sylvan Academy, Mississippi. Mount Sylvan Academy, Lafayette Co., Miss., July 20, 1847. Dr. Comstock: Dear Sir, — We use your Elocution in this Institution, and are una- nimous in the opinion that there is no work of the kind within our knowledge that will touch it in adaptedness to the wants of schools. In my capacity as President of the Association of Teachers, and Chairman of a Committee to select Standard School-Books, I recom- mended your Elocution, and it was adopted. Would not a set of School-Readers from your pen, meet with good encouragement ? It seems to me that your name as a champion of elocution would give them an immediate passport to popularity. I am with great respect, yours, R. MORRIS. The following is from James Henry, Jun., Esq. , for several years Sup't of Common /Schools for the Co. of Herkimer, N. Y. (1847.) 'C0MST0CO SYSTEM OP ELOCUTION, PHONETIC SPEAKER, AND CHARTS OP ELEMENTARY SOUNDS. The author of these works has spent twenty years in the study of the subjects of which they treat, and is probably the best known, and the most successful practical Elocutionist in the country. He was the first to arrange, in tabular and systematic forms, the elements of our language ; and most, if not all, of the numerous phonological charts which have appeared, are essentially transcripts from, though not improvements of, this author's works. In their latest editions, Comstock's books and charts are, beyond question, unsurpassed by any thing of their kind which has yet been offered the public. Besides the great facilities which they afford for habits of correct, elegant, and effective reading and speaking, they present also, in graceful and attractive forms, many of those fundamental, moral, and political truths, on the right apprehension and practical application of which, by the mass of our people, depend the support and perpetuity of our free institutions. They also contemplate a thorough reformation in our anomalous and barbarous orthography. A Letter from the Hon. Ira Ma.yhew, of Michigan. Office of Superintendent of Public Instruction, Monroe, May 15, 1847. Dear Sir : I received by yesterday's mail, " Comstock's Phonetic Reader," and " Speaker." I had before in my possession (received from some unknown source) your " Treatise on Phonology," No. 1, and the 1st, 2d, 3d, 7th, and 9th Nos. of your " Phonetic Magazine." I was unable to give any attention to these works when first received. When I got a little time to devote to the subject, I took up the Treatise on Phonology, and I was unable to lay it down until I had completed its perusal. I placed it in the hands of my children, and judge what was my surprise to hear a daughter not yet six years old, read the first chapter of Genesis fluently, in less than one hour from the time she first saw a Phonetic character ! I wish you every possible success in your efforts to facilitate the acquisition of the English language. Permit me, sir, to express the hope that, when you shall have prepared the necessary elementary books, Phonology will become a common branch of study in the pri- mary schools of this, and other States of the Union. Very truly yours, IRA MAYHEW, Sup't. Public Instruction. To Andrew Comstock, M. D., Philadelphia. A Letter from J. K. Mitchell, M. J)., the Professor of the Theory and Practice of Medicine, in Jefferson Medical College, Philadelphia, and a Member of the American Philosophical Society. Philadelphia, June 28, 1851. Andrew Comstock, M. D. Dear Sir — From a critical examination of your great theory of phonetics, I am glad to find that the system has already attained to completion. To me it is truly gratifying to learn that an alphabet exists which is strictly representative, not only of all the sounds, but of their various modifications in speech, in every language in which books are written upon the arts and sciences. I am glad to perceive this, because I consider a universal alphabet of the greatest value to the civilized world. A knowledge of your system enables the student, at once and always, to read every book printed conformably to it, not only in English, but in French, German, Latin, Greek, Spanish, Italian, &c. The greatest obstacle to the acquisition of one's verna- cular, or any other language, is thus entirely removed, and the learner finds the only insuperable impediment to self-instruction totally ob- viated. Not only will your system of phonetics do these things, but it will produce that uniformity of pronunciation so desirable and so elegant. I esteem your efforts of the greatest value, because I perceive that the dream of Franklin has become, in your hands, a profound reality. I remain, dear sir, truly yours, J. K. MITCHELL. 32 RECOMMENDATIONS. From the Philadelphia Saturday Courier, April 3, 1841. CURE OF STAMMERING. Two young gentlemen called in our sanctum the other morning, and we had a pleasant conversation with them on the extraordinary benefit they had derived from having been a few weeks in the Vocal Gymnasium of Dr. Corn- stock. One of them, John Scribner, jr., is from Poplin, N. H. He told us, that fourteen weeks ago he could not converse at all without stammering in the pronunciation of almost e- ery word. He conversed with us the morning we saw him, as fluently as Daniel Webster or Mr. Forsyth could ; and we should say his friends will be delighted to hold converse with him on his re- turn to the salubrious atmosphere of the " Granite State." The other young gentleman is Mr. William H. Cornell, of Clinton, New York. He is eighteen years old, and had been a stammerer all his life, until Dr. Comstock had the gratification of receiving him under his discipline of the vocal powers. He has been there but four weeks, and conversed with us with very little impedi- ment of speech ; and by the first of May, when he proposes to return to the beautiful region of Dutchess county, he will be able to descant upon the sweets of the " buds and the flowers " with as much buoyancy of speech as the most lovely young damsel around his romantic home. We are happy in stating such cases, for the encouragement of others in distant portions of the country, who may be labouring under the painful difficulties which impedi- ments of speech impose. From the National Gazette, Philadelphia, Nov. 17, 1841. A STAMMERER CURED. Philadelphia, Nov. 10, 1841. Messrs. Editors — For nearly twenty years I was an inveterate stammerer The habit was contracted when I was four years old, in consequence of the severe treatment of a schoolmaster. Being anxious to have a cure f effected, if possible, but almost despairing, I placed myself, six weeks ago, under the care of Dr. Andrew Comstock of this city, and the result has been a most happy one. Since the third day after I entered his Vocal Gymnasium, I have been able to converse with friends and strangers, without any impediment whatever. I unhesitatingly recommend all who stammer to make a trial of Dr. C.'s mode of treatment. It is founded on philosophical principles, and I feel confident, if persevered in, will always produce the same beneficial results as my own case. I shall reside, during the winter, at No. 200 Arch Street, where I shall be happy to receive a visit from any one who may desire far- ther information on the subject. Respectfully, LEVI S. YATES, of Williamston, N. C, Student of Medicine in the University of Pennsylvania. From the Philadelphia Saturday Courier, July 21, 1838. STAMMERERS. We notice as an interesting fact, that C. H. J. Pijrman, Esq., (a young gentleman who was recently in our office, while under the care of Dr. Comstock," for stammering,) de- .ivered the oration at Cumberland, Md., on the 4th instant. It was a clear and distinct performance, and was well received by a large auditory. A copy in print has been re- ceived by us. The Civilian of that place remarks, that the enunciation of Mr. Pigman is so clear, that if it had not previously been known that he had laboured severely under an impediment, none who hear him speak would be aware that he had ever been troubled with such a difficulty. Mr. Pigman and his friends (who are highly respectable), unite in bestowing great credit upon the scientific skill of Dr. Comstock. We think we do unfortunate stammerers a kindness by commending this gentleman to their consideration RECOMMENDATIONS. 19 From the Pennsylvanian, Philadelphia, April 26, 1838. A GRATIFYING TESTIMONIAL. The subjoined letter to Dr. Comstock, Professor of Elocution, of this city, is from a young gentleman of great respectability, residing at Cumberland, Allegany county, Maryland, where his father is one of the leading prac- titioners at the bar. The writer of the letter, who, we believe, is a student at law, laboured under a serious impediment in speech, which would have greatly interfered with his professional advancement; but it appears from his own statement, that under the care of Dr. Comstock, he was completely and radically cured. The letter subjoined, is a voluntary and grateful testimonial to that effect Cumberland, Md., April 20, 1838. Dr. Andrew Comstock : Dear Sir, — I have deferred giving a certificate with regard to the success I met with in my recent visit to your Institution, No. 100, Arch street, Phi- ladelphia, for the purpose of removing an impediment in my speech, until the present period, that I might thoroughly test the effects of your systcn: upon my articulation by time and experience. Both of these, I am happy to inform you, find me now — as was the case when I left Philadelphia on the 13th of February last — perfectly fluent in reading as well as in conversa- tion — so much so, that it would be impossible for any one who had no pre- vious knowledge of my impediment, to know that any such defect ever afflicted me. But besides the happy effect your system has had in relieving my impedi- ment, it has been of incalculable benefit to me in many other respects. My voice, which was formerly weak, and incapable of being raised very little higher than the ordinary tone used in common conversation, has been greatly improved and strengthened ; and now it costs me but a slight physical effort to fill a considerable space. In conclusion, I unhesitatingly recommend all those similarly afflicted, to make a trial of your system. Besides the success which has attended it in my own case, I have seen many others greatly benefited — both ladies and gentlemen. This speaks more strongly in its favour than words can express, »nd should remove all doubt from the minds of individuals, if any exist, as to its efficacy in effecting a cure. Very respectfully, your obedient servant, CHARLES H. J. PIGMAN. @Cr if -^DS ELOCUTION TAUGHT — STAMMERING CURED. DR. COMSTOCK'S YOCAL GYMNASIUM, No. 102 ARCH STREET, PHILADELPHIA. II. ma This Institution, •which has been in successful operation since 1828, is designed f< the Promotion of Health, the Cure of Stammering and Defective Articulation, for Instruction in Elocution and Phonetics, and for the Acquisition of Ancient and Modern Languages. In this Institution, Elocution is treated as a science, as welLas an art. The various movements of the voice, both in speech and song, are illustrated by original diagrams and by oral instruction. The exercises giVe the pupil complete command of the mus- cles of articulation, extend th* compass of the voice, and render it smooth, powerful, and melodious. They not only call forth all the energies of the vocal organs, correct stammering, lisping, and other impediments of speech, but they invigorate the lungs, and, consequently, fortify them against the invasion of disease. The vocal exercises are not unfrequently accompanied by gesticulation, or the use of the dumb-bells. Hence, to a certain extent, general gymnastics are associated with those of the voice: and awkwardness of manner and posture is removed by the substitution of rhetorical grace. In other words, all the voluntary muscles of the trunk and limbs are so trained as to move in the order required by the will, synchronously and harmoni- ously with those of the voice. TICKETS PER COURSE. For Instructing the Dumb to Speak 1 year $1000 Instruction for the Cure of Stammering 10 weeks ! Correction of Defective Articulation 50 private lessons Private Instruction in Elocution 30 lessons, each 1 hour Instruction in Elocution, in a class CO lessons, each 1 h. 30 min.... Instruction in Elocution, in the evening class.. 30 lessons, each 1 h. 30 min.... Instruction in Languages 30 lessons, in a class Jg@^The ticket, in each case, to be paid for in advance. Board, in the Institution, from $5 to $10 per week, in advance. J91r* Xo one can become a pupil in the Vocal Gymnasium, who spits on the floor, or is not otherwise cleanly in his habit — no member of the Institution is allowed to use tobacco in any jorm. ANDREW COMSTOCK, M.D, Principal, No. 102 Arch Street, Philadelphia, Pa. LIBRARY OF CONGRESS 027 249 328 5 C57 LIBRARY OF CONGRESS 027 249 328 5 f