As the consonants have very little sound value, the carrying power " of the voice depends largely upon the quality of the vowel sounds. The habit of cutting off the vowel sounds is a common defect among untrained speakers. Their voices lack "carrying power because they lack resonance. Even singers, who, in song, naturally prolong the vowels, sometimes have poor speaking voices for this very reason. They fail to maintain an openness of the tone passage long enough to enable the vowel sounds to be reinforced. Thus, in an attempt to secure loudness, they strain the throat muscles and produce a harsh rather than a " singing" tone.

The habit of holding the vowel sounds will, on the other hand, make the voice audible even when it is lacking in strength. Whenever we halloo to some one at a distance, we unconsciously apply this principle. The farther we wish to send our voices, the longer we hold the vowel. Those who are accustomed to addressing large audiences in the open air, speak with great slowness for this reason. The best actors, who use this method, can make even their whispered words heard in every part of the theater.

III. SKILL AS THE RESULT OF CONTINUED PRACTICE

Skill in the use of the vocal organs, like skill in boxing, tumbling, or piano playing, is a matter of slow growth and cannot be acquired in a day.

Method of Practice. Although it is necessary for the student to understand the vocal mechanism as described in this chapter, it will not be wise for him, in trying to produce good tones, to center his thought primarily upon the voice-machine and its workings. The effort to remember so many movements to which he is unaccustomed

will in itself create a tension of the nerves that will defeat his purpose. He should, rather, let his ear assist him. He should train his ear to recognize the difference between good tones and poor tones. When about to produce a tone, he should fix his mind on the ideal tone, and his vocal mechanism will, to some extent, adjust itself to meet the mental demand. He should then listen to his own tone and compare it with his ideal. When he has discovered his fault, he should exaggerate it, noticing the sensation in his vocal instrument. In this way, he will recognize in his own body the cause of the incorrect tone. He should then try again to imitate the good tone and again notice his bodily sensations. By this method, his ear will become more and more sensitive to tonal qualities and his muscles will gradually become more and more responsive to his will.

Need of Time and Perseverance. It always requires time and perseverance to substitute a good habit for a bad one. It is not sufficient that we use our voices rightly during the period set aside for practice in the art of speaking. The pianist who practiced with the correct movement for one hour of the day and then allowed himself to use the wrong movement for three hours would be considered extremely foolish. Every recitation, every bit of conversation, should be made an opportunity to cultivate good vocal habits. The student who uses his vocal instrument rightly on all occasions will be able, without special attention to the matter, to use it rightly on an important occasion. The more frequently he makes the effort, the more quickly will he be able to win success without effort.

All Defects can be Overcome. Although some have larger natural endowments than others in the matter of

voice, experience has proved that there is no defect which cannot be overcome. Demosthenes, the greatest of ancient orators, had a weak chest and an impediment in his speech. According to the old story, he cured the former by reciting to the waves and running up hill, and the latter, by speaking with pebbles in his mouth.

Henry Ward Beecher, who excelled all his contemporaries both in the pulpit and on the platform, suffered, when a child, from enlarged tonsils and a small throat. His aunt says that when he came to her house on an errand, she was obliged to ask him to repeat his message several times before she could understand him. For nine years he gave constant attention to his voice. Of this period, Mr. Beecher himself says, "There was a large grove lying between the seminary and my father's house and it was the habit of brother Charles and myself to make the night and even the day hideous with our voices, as we passed backward and forward through the wood, exploding all the vowels from the bottom to the top of our voices." Later, he was able "to bewitch his audiences out of their weariness by a voice, not artificial, but made, by assiduous training, to be his second nature."

These two famous examples show us that the human voice is a musical instrument which will not only respond to the skillful player, but which will grow stronger and more flexible as a result of proper use and treatment.

Conclusion. In this chapter we have learned: (1) that the human voice may be compared to the reed-pipe of a church organ; (2) that if we wish to secure good tones, we must learn to control the breath, keep the tone passage open, and prolong the vowels; and (3) that skill in the use of the vocal organs is a matter of slow growth.

Introduction.

TOPICAL OUTLINE

VOICE TRAINING

I. Reason for beginning with the study of delivery.

II. A bad habit.

III. Desirability of a good voice.

Body.

I. The voice-machine and the organ.

A. The parts of a reed-pipe.

B. Their likeness to the parts of the voice-machine.
C. The main difference.

II. Conditions necessary to good tones.

A. Control of the breath.

1. Necessity of a large supply of air.

(a) Bodily position as related to air supply. (b) Wrong and right way to breathe.

2. Right use of the air supply.

B. The open tone passage.

1. The open mouth.

(a) Its relation to articulation.

2. The open throat.

(a) Bad results of a closed throat.
(b) Symptoms.

(c) Cure.

3. Nasal resonance versus nasal "twang."

C. Prolonging the vowels.

1. Ill effects of cutting off the vowels.

2. Power to be gained by holding them.

III. Skill as the result of continued practice.

A. Method of practice.

1. Danger of centering the mind on the vocal mechanism.

2. Method of training the ear.

B. Need of time and perseverance.
C. Possibility of overcoming all defects.

III. C, 1. Demosthenes.

2. Henry Ward Beecher.

3. Difference between the human voice and other musical instruments.

Conclusion.

Exercise I.

N. B.

Read in the text as far as the topic, "The Open Tone Passage" and be able to recite from the topical outline. - All vocal exercises may be taken either

in a sitting or standing position (head erect, chest

high, feet flat on the floor, and hands at waist).

Exercise II. For Deep Breathing. (a) Inhale quickly through the nose, expanding the middle of the body. Do not raise the shoulders. At the same time, relax all parts of the tone passage (throat, tongue, jaw, separating the teeth but not the lips).

(b) Exhale through the mouth, the middle of the body gradually collapsing like a balloon. The chest should remain high.

NOTE. - If you find it difficult to learn this method of breathing, practice it frequently after going to bed or before rising, as you can do it more easily when lying down.

Exercise III. Read in the text as far as Division III, and be able to recite from the topical outline.

Exercise IV. For Open Mouth. (a) Repeat syllable fä four times in one breath. Open the mouth as wide as possible.

In exercises b, c, and d, do not change the position of the jaw after giving fä. If necessary, insert two fingers between the teeth to prevent it. The variations in the vowel sounds are caused by changes in the shape of the tongue. Greater resonance is secured if the jaws are held open.

(e) We, wick, wack, walk. Repeat three times in one breath, opening the mouth as wide as possible.

Exercise V. - For Open Throat and Breath Retention. (a) oo

1 fär, fall, ănd, ate, ice, ĕnd, în, ēven, ōpen, put, cool.