TABLE NO. 7. CLASSIFICATION OF THE SUBTONICS AND ATONICS.

BY THEIR ORGANIC FORMATION—

1. Labials: m-an, b-abe, p-ipe, v-ine, fine, w-ine.

2. Linguals: n-oon, d-id, t-ent, th-is, th-in, s-in, z-inc, r-ill, Z-ull 3. Palatals: ri-ng, g-o, k-ing, sh-all, a-z-ure, h-ome, y-et.

BY THEIR EMISSION AND FORCE

I. Abrupts (1) { 2. (Surd) atonics, p, t, k.
§ 1. (Sonant) subtonics, b, d, g.

Liquids (3), r, 1.

1. (Sonant) subtonics Nasals (4), m, n, ng.

II. Continuants (2)

2. (Surd) atonics

Semi-vowels (5), w, y.

Aspirate (6), h.
Semi-vowel (5), wh.

(1) Named "abrupts" because of their explosive emission.

(2) Named "continuants" because they can be prolonged.

(3) Called "liquids" because they readily and smoothly unite with other

consonants.

(4) Called "nasals" because the sound is emitted through the nose.

(5) Called "semi-vowels" because they possess nearly perfec vocality like the vowels.

(6) Called "aspirate" because it is a breath-sound.

A 2

This table should be practiced until every combination can be distinctly pro nounced or articulated by itself, independent of words. Ex. 1. Pronounce the word, and then the combination, as rob'd, bd; prob'dst, bdst, etc. Ex. 2. Spell the combination, and then pronounce it, as b, d, bd; b, d, s, t, bdst. Ex. 3. Analyze the words, as bulb, ulb, fb, b; troubl'ást, roubl'dst, oubl'dst, bl'dst. l'dst, 'dst, st, t, etc.

TABLE NO. 10. VOCAL GYMNASTICS. FORCE AND PITCH.

Fig. 1. Variations in Force.

Fig. 2.

Fig. 3. Variations in Pitch and Force.

Fig. 4

Fig. 5.

Fig. 6.

Exercises in Smooth Tone, which end suddenly, or die out.

1. Fill the lungs and intone slowly from a heavy voice to a whisper, or "diminuendo" (% of Fig. 1).
2. Fill the lungs and intone reversely, or "crescendo"-from light to heavy (last of Fig. 1).
3. Fill the lungs and intone "diminuendo" and "crescendo" (through the entire 1st Fig.).

4. Fill the lungs and intone "crescendo" and "diminuendo," or "swell" (through the 2d Fig.).

5. Fill the lungs and intone, decreasing in force while ascending the scale (% of Fig. 3).

6. Fill the lungs and intone, increasing in force while descending the scale (last of Fig. 3).

7. Fill the lungs and intone, continuing from the decrease to the increase downward (Fig. 3 entire).

8. Fill the lungs and intone, increasing in force while ascending the scale (1⁄2 of Fig. 4).

9. Fill the lungs and intone, decreasing in force while descending the scale (Fig. 4, last half).

10. Fill the lungs and intone, continuing from the increase to the decrease (Fig. 4 entire).

11 and 12. Fill the lungs and intone, making a swell midway in ascent and descent (Fig. 5 entire

13. Fill the lungs and intone slowly, decreasing in force to the middle, and increasing in force to the last while ascending the scale (2 of Fig. 6).

14. Decrease in force to the middle, and increase to the last in descending the scale (last of Fig. 6).

15. Change by taking each of the pure vowel sounds and consonant continuants, and by assuming some of the qualities of voice.

16. Apply sentences to the figures. Example:

"Then fear not, doubt not, which thou wilt:

We'll try this quarrel hilt to hilt."

This table is devoted exclusively to stress.

To practice Fig. 1. Begin heavily, and end lightly upon one note. A smooth diminuendo.

Fig. 2. Begin in a whisper and end heavily. A smooth crescendo.

Fig. 3. Begin and end lightly, with a full, heavy sound in the middle of the note. A smooth swell.

Fig. 4. Begin and end heavily, diminishing to a whisper in the middle of the note.

Fig. 5. Produce a note in a tremulous tone, such as represents sorrow, age, etc. No. 6. Thorough or Staccato Stress is not represented, but should be practiced by repeating each sound abruptly four times.

Take successive vowel sounds for this practice, and be careful not to vary the pitch.