materials for the exercise of quantity in its most extended forms.

Syllables, when correctly extended, must retain the same identity as when uttered quickly; that is, although producing a finer effect upon the ear, they must be equally free from mouthing.

A control over quantity, or the power to extend the time of a syllable without deforming its utterance, is of all the requisites of good reading and speaking least under the command of the uncultivated voice. It comprehends many of the most beautiful effects in elevated and expressive language, for, in extending the duration of syllables, it increases their capacity for taking on many expressive effects which require time for their display. Quantity, however, like all the other attributes of the voice, may be cultivated by a proper order of vocal development.

77. Before leaving this subject, one important word with regard to the exactness of measurement in the execution of intervals. In the sentences given in which the word or element, in various forms of expression, passes through the interval of a second rising or falling,-a third, a fifth, and an octave respectively,—it is not meant that these intervals may not vary from the exact interval named in each case; i. c., that the third may not approximate to the fourth, the fifth to the sixth, or the octave rise or fall beyond the limit of an eighth, according to the shades, more or less, of intensity, in the given state of mind. The intervals given are sufficiently accurate for reference as to measure, in the treatment of speech, which is always a solo-vocal performance, and therefore does not demand the accuracy of execution in its intonation requisite to the concerting of music.

The exact execution of both discrete and concrete intervals should be carefully observed in elemental practice, but in their application to reading and speaking the same exactitude is not required. Think a third, or fifth, and where

the ear and voice are well trained, the voice will, in all probability, be correct, a slight variation in degree being of no vital importance in the sum of effects,-feeling is the invariable standard.

The spirit and value of the intervals once realized, they become the elements by which results may be attained far more valuable, in the true sense of expression, than any which arise from the exercise of merely cold and formal niceties of mechanical exactness.

CHAPTER VIII.

Exercises on the Subtonic Elements.

78. To produce a correct articulation of the subtonic elements, the different positions of the organs must be carefully studied.

(1) Articulate slowly and distinctly the element e, as in e-rr, before b, and observe that the mouth is partly open, the tongue shortened and drawn back; while the mouth is in this position, sound the tonic, then close the mouth, hold the breath in the larynx, produce the guttural murmur, and the elementary sound of b will be heard. Again utter the sound of b, in the syllable -ut, holding the initial element as long as possible; then reverse the letters, and pronounce the same element as a component of the word tu-b, dwelling on the final sound until we can curately observe its organic formation.

ac

In forcibly uttering the word but, the subtonic gives explosive power to the tonic, and becomes an element of force in expression; while in the forcible utterance of tub, is heard the characteristic vocule which gives emphatic force to b, d, g, k, t, f, when final.

(2) In sounding the element d, as heard in the combination odd, the tongue rises from the position of o, at the bottom of the slightly open mouth, to the inner part of the upper teeth, and the vocal murmur of the element is produced at the base of the nasal passages; reverse the letters, grasp firmly the do, and we get the percussive power of the same element.

(3) G is produced by opening the mouth, retracting and curving the tongue, prolonging or exploding the vocality against the palate. Its formation may be observed as in the preceding.

(4) The articulation of the subtonic is formed by a moderate opening of the mouth, and the utterance is modified by the pressure of the tongue, which lies exactly behind the upper front teeth.

(5) M is produced by a gentle compression of the lips, and a free and steady expiration of vocalized breath through the nostrils. The effect is that of a murmur in the head and chest similar to that of b. In intensified or forcible utterance of this element, the compression of the lips is increased, and the vocule, in consequence, more forcibly exploded on the removal of the obstruction.

(6) N requires the same vocalized breathing as m, with the lips freely opened. The end of the tongue is pushed against the ridge behind the upper front teeth.

(7) R, as heard in rap, r-oll, is usually found at or near the beginning of a syllable, and is formed by an energetic vibration of the tip of the tongue against the ridge of the upper gum, accompanied by a partial vocality. The vibration should be but momentary, consisting of but one "slap and retraction of the tongue," otherwise it becomes "rolled" or "trilled," producing an unpleasant or affected utterance of this element. This is called the initial, vibrant, percussive r The organic movement may be observed during an energetic pronunciation of the word f-rill. This is the only subtonic element which does not admit of extension in time. It never occurs before a

consonant.

(8) R, as in fa-r, is a softer and more extended sound than the vibrant z. In its production, the tongue is shortened and slightly raised toward the root, but does not actually touch the roof of the mouth. It is called the soft

or final r. It has nearly as pure a vocality as the tonics, taking upon itself the full force (or value) of the tonic by which it is preceded. This element precedes, but never follow's a consonant.

(9) In ng, the vocalized breathing is driven with considerable force against the nasal passages and the back of the veil of the palate. By a retraction of the tongue, it reverberates in the nasal passages, where it acquires its peculiar ringing sound.

(10) is articulated by bringing the upper fore teeth close upon the ridge of the under lip, and by sending a murmuring resonance (produced in both the head and chest), along with the breath, against the interposed obstacle. The upper lip is slightly raised at the same

moment.

(11) Z, as in one, is formed by pressing the edges of the tongue (near the tip), to the roof of the mouth, near the front teeth. The vocalized breath is driven through the small aperture thus made, causing a slight vibration.

(12) Z, as in ac-ure, has a very limited vocality. The whole fore part of the tongue is raised toward the roof of the mouth, while the sound passes between it and the teeth, producing ch.

(13) Y, as in you or y, is executed by opening the mouth, curving and retracting the tongue with great force, and driving an aspiration against the palate with vocal

murmur.

(14) II, as in oc, is formed first by rounding the lips, as in articulating oo, in oose, an exceedingly brief vocal murmur, which is modified by the larynx, then escapes through the lips and nostrils. As b, d, g, and share formed by using vocality instead of aspiration with the organic positions of p, t, k, and sh; so y and ware the mixture of vocality with the aspiration of h, as heard in he, and of wh, in wh-irled.

If we substitute the vocal