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In exploding the vocals, be careful to breathe deeply, and use the whole of the upper part of the system, not confining the utterance to the upper part of the larynx, or to any one class of the vocal organs.

We here give a table of cognates, which are produced by the same organs in a similar manner, and only differ in one being a half tone, the other a whisper.

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For combinations of these Elements and difficult exercises, we refer the student to the selections in the body of this work. To be critically exact in pronunciation, frequent reference must be made to Webster's or Worcester's Dictionary.

We give another classification of the Elements--the Phonetic-- which is, perhaps, better adapted to class drill than any other. Let the pupils, singly or in concert, give the Elements in the order in which they are arranged, commencing with the long vowels. This natural arrangement of the elements enables scholars to fix them in their minds readily and permanently. In many of our best Normal, and High Schools, this classification is adopted.

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Voice is the sound of the breath, propelled through the larynx, striking against its glottis or opening into the mouth.

Its modulation depends upon the control of the larynx, the internal diameter of the glottis, its elasticity and mobility, and the force with which the air is expelled.

To modulate or change the voice from one key to another, with proper degrees of power to each, as the subject demands, is as beautiful in its effect as it is difficult in its performance or acquirement.

Poets, to produce variety, alter the structure of their verse and rather hazard uncouthness and discord than sameness. Prose writers change the style, time, and structure of their periods, and sometimes throw in exclamations, and sometimes interrogatories, to rouse and keep alive the attention; but all this art is entirely thrown away, if the reader does not enter into the spirit of the author, and by a similar kind of genius, render even variety itself more various; if he does not, by an alteration in his voice, manner, tone, gesture, loudness, softness, quickness, slowness, adopt every change of which the subject is susceptible.

We have never yet found a person who could not acquire proficiency in modulating the voice. It is the mind's instrument of communication. Some are obliged to practice more than others, but none need give up the work as useless.

QUALITY OF VOICE. We should understand the different qualities of voice and the ideas they express. We make two general divisions of Quality, Pure and IMPURE. These may again be sub-divided into Pure, deepened or Orotund Quality, Tremor Quality, Guttural Quality and Aspirate Quality. We represent these Qualities by a diagram, together with the emotions or ideas they express when used naturally.

The following diagram will help the student to remember the Qualities of voice:

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Pity, Tenderness.

Grief, (excessive.)
Tremor Quality.

Joy, (excessive.)
Hope.

. The emotions help to define the voices. It is difficult to separate these Qualities of voice. Like the Emotions, they shade into each other so much, that it requires long and patient study to express, with exactness, the ideas of an author.

The Pure Quality is most used, and should be most zealously cultivated. It introduces all the other Qualities.

We now give several selections which require, in their proper reading, all the Qualities of voice. By giving whole selections, we hope the student will discover the Quality of voice, and understand the reason of its use from the connection and sense.

THE PILOT-A THRILLING INCIDENT.

BY JOHN B. GOUGH.

a John Maynard was well known in the lake district as a God-fearing, honest and intelligent pilot. He was pilot on a steamboat from Detroit to Buffalo, one summer afternoon---at that time those steamers seldom carried boats—smoke was seen ascending from below, and the captain called out:

"Simpson, go below and see what the matter is down there."

a Begin with pure voice, as in simple narrative. Increase, moderately, in pitch until the personation is reached. b High pitch; orotund voice.

c Simpson came up with his face pale as ashes, and said, d «

d “Captain, the ship is on fire." e Then “Fire! fire! fire !” on shipboard. f All hands were called up. Buckets of water were dashed on the fire, but in vain. There were large quantities of rosin and tar on board, and it was found useless to attempt to save the ship. The passengers rushed forward and inquired of the pilot : g“How far are we from Buffalo ?h“ Seven miles."

- How long before we can reach there?"

“ Three-quarters of an hour at our present rate of steam.” i “Is there any danger ?”

“Danger, here-see the smoke bursting out-go forward if you would save your lives."

Passengers and crew--men, women and children ---crowded the forward part of the ship. John Maynard stood at the helm. The flames burst forth in a sheet of fire; clouds of smoke arose. The captain cried out through his trumpet: jJohn Maynard !" k" Aye, aye, sir ! ”

Are you at the helm ?"
Aye, aye, sir !”
“How does she head ?"
“ South-east by east, sir."

- Head her south-east and run her on shore," said the captain. Nearer, nearer, yet nearer, she approached the shore. Again the captain cried out :

" John Maynard !” The response came feebly this time, “ Aye, aye, sir !" Can you hold on five minutes longer, John?” he said. 'By God's help, I will." The old man's hair was scorched from the scalp, one hand disabled, his knee upon the stanchion, and his teeth set, with his other hand upon the wheel, he stood firm as a rock. He beached the ship; every man, woman, and child was saved, as John Maynard dropped, and his spirit took its flight to its God.

o Pure voice; low pitch. d Aspirate voice, with fear. e Give the alarm of "fire" as if it was real, and in the immediate vicinity. Aspirate voice; high pitch. f Pure voice; narrative; increase. g Aspirate voice with earnestness. h Orotund; low pitch, with firmness. The Pilot's answer will all be given in the same voice, and passengers in aspirate with increased feeling. i Narrative; pure voice. . Orotund; commanding, as if to a person at a distance; high pitch, k Orotund; low pitch, and so change until the colloquy is ended. i Orotund; low pitch to begin with. Change the pitch as the word nearer is repeated. Change the voice in Pitch and Quality to represent the Captain and Pilot, and give the closing paragraph with intense feeling; low pitch and impassioned utterance.

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