longed, trumpet tones, or sounds as sweet and penetrating as the echoes lingering about the soul long after their liqs have ceased speaking to us,—as some voices will echo on forever!"-JOIN B. GOUGH.

VOCALITY.

Action of Diaphragm-Breathing, Production of Tone-Directing the Tone Current.

What are the conditions for the proper Production of Tone?

1. Proper Action of the Diaphragm.

2. The Throat and Pharynx well Open.

3. The Current of Tone directed well forward from the Throat.

Briefly, the power that produces the tone is at the waist-the diaphragm; the instrument of tone is in the throat-the larynx; the quality of tone, after its formation depends upon the expansion of the pharynx and the manner in which the tone is directed past the teeth and lips. The only noticeable action in the production of tone should be that of the diaphragm. No movement or exertion, whatever, should be felt at the throat.

In all strong, physical exercises, the diaphragm plays a most important part. Place the hands at the waist, while walking briskly, ascending stairs, running; or note the movement of these muscles while fencing, boxing, lifting some heavy weight, and you will obscrve a vigorous action of the diaphragm.

These muscles are capable of an outward movement of several hundred pounds' pressure, and it is by their action, properly directed and controlled, the tone should be produced.

BREATHING PRACTICE.

1. Drawing Breath.

Stand as in Cut 3; right foot advanced, supporting the body; hands at waist, fingers to the front. Now, draw a quick, full breath, moving the hands outward as much as possible. Draw this breath through the lips, and keep the shoulders firm as possible. Breathe again, with a quick gasp, moving the waist outward quickly and firmly. Practice until you can do this with the action of the diaphragm, without movement of the shoulders. Learn to breathe in this way and you will never be "out of breath" while speaking. 2. Holding the Waist Firm.

Cut 3.

Fill the lungs as in exercise 1, and holding the entire body firm, retain the breath from ten to thirty seconds. Do not hold breath long enough to cause dizziness. Repeat this exercise and when holding the waist firm, strike the waist with the tips of the fingers, very lightly, at first; then, more vigorously. Repeat each exercise six times.

3. Respiration.

Round the lips well as if to form 0; blow all the air from the lungs. Then, keeping lips rounded, and the body firm, do not allow any air to enter the lungs for ten, fifteen, twenty or even thirty seconds. After waiting as long as you can with convenience, draw the air suddenly into the lungs, filling them to their utmost capacity, expanding the waist fully and forcibly. Repeat.

4. Walking Practice for Breathing.

Walk

Prac

Fill the lungs as in exercise I. Hold the waist muscles firmly out and walk across the room. again, and draw a quick breath when necessary. tice frequently, a few minutes at a time, and you will. soon be able to hold these muscles firm when walking upon the street. Observe, that you are to fill the lungs each time quickly and with a movement at the waist alone, without raising the chest. This single practice will double the power of many voices in six weeks.

5. Breathe now, and count 1, 2, 3, 4, 5, 6, 7, 8, 9, 10; 1, 2, 3, 4, 5, 6, 7, 8, 9, 10; 1, 2, &c., and after each 10, catch breath again, by waist movement. Then practice, and take breath after each 15, as: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14. 15; 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15; 1, 2, 3, &c. Again, and breathe after each 20, as: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20; 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20; 1, 2, 3, and so on, until you can run to 50, 75 or 100, with each breath.

6. Give a long, full gasp, drawing the air through the lips, as if starting in surprise, or dismay, or sudden astonishment. Fill the lungs very full at the waist and then allow the chest to expand and the shoulders to rise, and hold this breath for some seconds; then allow it to escape by means of a whistle of astonishment, or prolonged wheew! Make this whistling sound as long and loud as possible.

7. Fill the lungs, as in 6, and expend the air upon the sound of S, making it sharp and hissing, like the sound of escaping steam, and all the while keep the waist pressing firmly outward. Likewise, practice the sound of Sh as in Shun.

Also, upon L as in Like, keeping the end of the tongue against the forward part of the roof of the mouth.

Also, upon M as in Men, keeping the lips firmly closed.

Also, upon Nas in N-o, keeping the lips slightly apart and the tip of the tongue firmly against the roof of the mouth, just back of the teeth.

Also, upon R, as in R-oar. Keeping the tip of the tongue back against the roof of the mouth and held rather firm.

All the above must be given with great firmness, and prolonged as long as is possible. Keep the waist firm, and a strong, outward pressure of the diaphragm throughout each exercise.

TONE FORMATION.

"Deep, massive, resonant, many - stringed, changeful, vast in volume, of wondrous flexibility and range, delivering with ease and power of instant and total interchange, trumpet-tones, bell tones, tones like the sound of many waters, like the muffled and confluent roar of bleak-grown pines.

*

*

* He carried distinctness of articulation to

the extreme."-Description of the Elder Booth's voice, by GOULD, in The Tragedian.

·

I. Stand as in Cut 3. Utter a quick, short sound of Olong. The waist should move outward, firmly and quickly, as in former exercises. Repeat a number of times, as if shouting to some one at a distance, Do not move the shoulders or the upper part of the chest; but at each utterance the waist should move firmly outward,-not inward.

2. Pronounce the following words, observing all the directions of I. Make the accent strong and full, and pronounce each syllable distinctly. Keep

Practice repeatedly, until you give each accented syllable all the force possible, and at each accent the waist has a firm outward movement.

3. Holding the waist firm, walk about the room, repeating the long sound of A,—or pronouncing the words given above. Do not move the shoulders or the upper part of the chest.

4. Observing all preceding directions, repeat the following sentences, stopping to catch breath at each dash. In taking breath, there must be no movement of the shoulders, only of the diaphragm:

a. There was sound of revelry by night--and Belgium's Capitol had gathered then her beauty and her chivalry-and bright the lamps shown o'er fair women and brave men.--A thousand hearts beat happily—and, when music arose—with her voluptuous swell-soft eyes looked love to eyes that spake again and all went merry as a marriage bell,