rmdst: Arm❜dst, charm'dst, form'dst, storm'dst. rndst: Turn'dst, lurn'dst, scorn'dst, spurn'dst. rchd: Arch'd, march'd, search'd, parch'd. ngst: Ilang'st, wrong'st, bring'st, wing'st. ngth: Length, strength. ngs: Songs, wrongs. bdst: Barb'dst, prob'dst. rjd: Urg'd, scourg❜d. rkdst: Work'dst, thank'dst. plst: Ripp'lst, tipp'lst. rnd: Burn'd, turn'd, spurn'd, warn'd. rvd: Curv'd, swerv'd, serv'd, starv'd. rtst: Hurt'st, part'st, smart'st, report'st. skst: Bask'st, mask'st, frisk'st, kick'st. sld: Nestl'd, bristl'd, wrestl'd, jostl'd. thd: Breath'd, wreath'd, sheath'd, bequeath'd. ths: Breath's, wreath's, sheath's, bequeath's. Wreath'dst, breath'dst, sheath'dst, bequeath'dst. Nettl'd, settl'd, battl'd, bottl'd.

thst:

tld:

tldst

Nettl'dst, settl'dst, throtl'dst, bottl'dst.

vdst: Liv'dst, deceiv'dst, grov'ldst, believ❜dst.

vldst: Drivel'dst, grovel'dst, shovel’dst.

zld: Dazz❜ld, muzz'ld, puzz'ld.

zldst: Dazzl'dst, muzzl'dst, puzzl'dst.

zm: Chasm, spasm. zms: Chasms, spasms.

Express with great distinctness and precision, the sounds which compose each letter of the alphabet, giving the

name of each sound, and the class to which it belongs: thus, B, the first sound of the letter B, is the subvocal B; the second sound of b, is the open vowel sound of E.

C, the first sound of C is the aspirate S; the second sound is the open vowel sound of E.

Do not go through this, or any other of the exercises, in a careless, languid manner; but with as much earnestness as if something of great importance depended upon your I doing it correctly.

EXERCISE X.

IN ANALYSIS, SYLLABICATION, ACCENT, AND PRONUNCIATION. Analyze the following words as in Exercise IX; then express each element singly, and with great precision; next, designate the accented syllable, then pronounce the words with varying degrees of force, but always with a sufficient degree to mark the accent well, and to bring out clearly and distinctly every syllable and every sound.

The foregoing exercises, if faithfully practiced, according to instructions, two or three times a day, will, in a few weeks, break up the worst faults in articulation, and increase the compass, power, and flexibility of the voice, to an extent truly astonishing.

MODULATION.
EXERCISE I.

IN THE MONOTONE MOVEMENT UPON THE OPEN VOWEL SOUNDS.

Express each of the monothong vowel sounds, thus: take a full breath and utter each of the sounds in succession, in

KIDD.-3

as pure, subdued, and yet distinct a tone as possible; con. tinue to prolong the sound as directed, until the lungs are nearly emptied, then let it gradually die away into silence.

In your first efforts in this movement, give the sounds in your natural key, or pitch of voice, when you can give them orrectly on that key; then practice upon them, sometimes in a higher, and sometimes in a lower pitch, increasing the force or loudness as much as you please, so that the tone of the voice is kept clear and resonant.

Whenever, on changing the pitch or increasing the force, the voice runs into a thin, aspirated, guttural, or disagreeable tone of any kind, stop at once, and rest until you feel perfectly at ease. Then carefully begin again in your conversational pitch and tone of voice.

Above every thing else be sure you keep the tone pure and resonant.

The chief difficulty the student will experience in this and some other of the vocal exercises, is that of keeping the throat and mouth wide enough open.

Unless the pupil is very mindful of the conditions to be observed, he will gradually close the mouth, until the teeth. are brought close together, before the sound is finished, the inevitable consequence of which is a smothered, imperfect, and lifeless utterance of the syllable or word. A liberal opening of the mouth is a condition absolutely indispensable in giving the voice the full effect of round, smooth, and agreeable tone.

This common and very bad habit of reading, speaking, and singing with the throat and mouth almost closed, may be entirely broken up by vocalizing, for a short time every day, with a gag in the mouth, according to the following directions:

Cut a piece of hard wood, the thickness of a pipe stem, and about an inch in length; place this perpendicularly between the teeth, and proceed to vocalize, in any pitch within the compass of your voice, and with as much forco as you can command. Let the gag remain in its place until the jaw aches considerably, before you remove it.

Practice with a gag about an inch long, two or three times a day, for several minutes at a time, until you can keep the mouth thus far open without any difficulty. Afterward cut another about an inch and a half in length, and practice with it between the teeth, until you can vocalize with it in the mouth for three minutes at a time, without experiencing any very disagrecable feeling. Then cut another, still longer, and practice with that in the same

manner.

EXERCISE II.

THE SWELL OR MEDIUM STRESS.

Place the breathing apparatus in a proper condition, and utter each of the open vowel sounds, thus:

Commence the sound in a very subdued tone, which gradually increase or swell out, until the sound is full and deep; then let it as gradually diminish in force, until it vanishes with a sound so light and delicate that the ear can scarcely distinguish its close.

The words marked in capitals, in the accompanying examples, must be given with the prolonged swell.

The pupil must exercise his own judgment as to the degree of force to be employed: his aim ought to be to bring out the sense and sentiment of the whole passage, in an appropriate and effective manner.

EXAMPLES.

1. But see him on the edge of life,
With cares and sorrows worn,

Then age and want, On! ill-matched pair!

Show man was made to mourn.

2. WOE unto thee, Chorazin! WOE unto thee, Bethsaida! for if the mighty things which were done in you, had been done in Tyre and Sidon, they would have repented long ago, in sackcloth and in ashes

3. AH! then and there was hurrying to and fro,

And gathering TEARS, and tremblings of distress
And cheeks all pale, which, but an hour ago,
Blushed at the praise of their own loveliness.

4. On sacred Truth, thy triumphs ceased awhile,
And Hope, thy sister, ceased with thee to smile.

5. An why will Kings forget that they are men,
And men that they are brethren!

6. On! that I had the wings of a dove, that I might fly away and be at rest!

7. OH for a tongue to curse the slave,

Whose treason, like a poison blight,
Comes o'er the counsels of the brave,

And blasts them in their hour of might!

THE WAVE.

In the wave, which is a form of the swell, the voice rises and then falls, or falls and then rises, while the force is increasing or diminishing. The modifications of the swell and the wave are innumerable.

EXERCISE III.

IN THE EXPULSIVE RADICAL STRESS.

Express in a clear, full, affirmative tone, in the order in vhich they are arranged upon the chart, the words containing examples of the open vowel sounds, as follows:

First, pronounce each word as if in answer to a question addressed to you by a person but a short distance from you, using the words I said, in connection with the word. I said me. Between the words said and me, take a short breath, and draw the abdominal muscles well back, that you may be enabled to bring out the word me with proper force and quantity.

Continue in this manner to utter the words with ingreasing force and earnestness; but be careful to keep the voice down, and avoid every thing like a tone of excitement. Exemplify the Expulsive Radical Stress, on the words. narked in the following examples.

1. RISE! fathers, RISE!--'t is ROME demands your help.

2. HOLD! HOLD for your lives!

3. FORWARD, the Light Brigade!