cavity, thus inducing a lung expansion otherwise impossible.

Some writers on the voice have advocated an exclusive use of nasal inhalation. This, however, is not always practicable. Certainly, when speaking is rapid or unusually vigorous, the amount of breath required cannot be supplied through the nasal passages alone. Still, it is obvious that mouth inhalation has a drying, irritating effect on the vocal tract, whereas the air is filtered, warmed, and moistened by the nasal passages. Hence, for ordinary breathing, and whenever it is possible while speaking, as during the longer pauses or in deliberate utterance, nasal inhalation should be used.

One more observation on inhalation is essential, namely, that too much breath can be inhaled at once as well as too little. Breathing practice will increase the lung capacity and the power of the diaphragm, chest and abdominal muscles to control the outlet of the larger supply of air; but by over-inhalation one can readily put upon the lung capacity and muscular control a strain which is very uncomfortable, and which makes it impossible to regulate the economical outflow of air so necessary to smooth, strong, and durable vocal expression. It is better to renew the supply frequently at the pauses than to try to inhale at less frequent intervals more breath than can be effectively utilized.

Quite as important as proper and skillful inhalation is a similar degree of power and expertness in exhalation. The beginner will find that just as he is able to enlarge his lung capacity, so also can he increase his ability to conserve breath and use it to advantage in speech. The air taken into the lungs is under pressure exerted by the diaphragm beneath, and the framework and

muscles around the thoracic cavity. This pressure is particularly strong when the diaphragm has been forced down and the chest distended for increased breath supply. The natural tendency, therefore, will be to expel the air quickly and exhaustively. If this is permitted, the result in speaking will be a few breathy, indistinct, explosive sounds, and unnecessarily frequent demands for renewed supplies of air to replenish the wasted store. Not only are such utterances difficult to understand, lacking in proper voice quality and judicious grouping of words, but they also produce hoarseness, owing to the rushing air blasts which pound and dry the throat membranes.

To avoid such results the essential thing is to cultivate habitual control of the diaphragm and chest to prevent their expelling the breath too suddenly at the end of inhalation. The action of the diaphragm and lower ribs must be restricted to a gradual relaxation into normal position; and the upper chest should, as far as possible, be held in its high position at all times. This means, simply, that the muscular effort in sound production, as in inhalation, is to be centered chiefly, not in the throat, but on the powerful diaphragm and the abdominal muscles which coöperate in the longitudinal expansion and contraction of the thoracic cavity.

Along with the fundamental elements of breathing already discussed, the student should practice sound production to coördinate the muscular action of the diaphragm, abdomen and chest with the operation of the vocal organs, especially the vocal bands. The following exercises, therefore, have in view three ends, which must and this is highly important - become largely automatic if they are to be of practical use, because the

speaker can give only slight attention to mechanical operations when he is engaged in addressing the minds and feelings of his hearers. These ends are: (1) the utilization of full lung capacity, with avoidance of overcharging: (2) the centering of breath control on the diaphragm, the abdominal and lower chest muscles, for the avoidance of throat tension, and ineffective, exhaustive methods of sound production; (3) the ability to coördinate the effort of breath expulsion with the operation of the vocal organs in such a way as to produce smooth, sustained, resonant sounds.

EXERCISES

Note 1: Five to ten minutes of practice repeated three or four times a day is more beneficial than one halfhour period. The student should stop at once if signs of dizziness appear.

Note 2: In taking the exercises, stand erect, with the shoulders well back, not raised, and the chest held moderately high. Place the thumbs just above the hips, with the fingers forward over the waist to note the muscular action.

I. Inhale for about five seconds by gradually flattening the diaphragm and raising the lower ribs, which action gives the sensation of pushing outward around the waistline. Still holding the chest erect, exhale for a similar period by slowly relaxing the diaphragm and lower ribs. Repeat the exercise three or four times.

II. Inhale in the same manner, hold the breath for about five seconds, then exhale as before, making the sound of ah. Try to sustain a smooth tone. Repeat this exercise three or four times.

III. Inhale quickly, and exhale slowly, repeating the series ah-oo-oh about four times. Repeat this exercise three or four times.

IV. Inhale in normal time and count in clear tones up to about twenty on a single breath. Repeat this exercise three or four times.

V. Read each of the following passages on a single inhalation:

a. During inhalation the student should note the pushing sensation around the waistline.

b. In exhalation the diaphragm and lower chest muscles should be gradually relaxed to conserve the breath.

c. After becoming conscious of the correct method of breathing the student should cultivate the habit of proper breathing in all his speaking.

CHAPTER IV

THE SOUNDS OF THE LANGUAGE (VOWELS)

With the vocal motor-power provided for, we may proceed to the sounds of the language. Broadly classified, these fall into three divisions: vowels, diphthongs, and consonants. The vowel sounds are those which are produced by vocalization in the larynx, modified in the case of each sound by the position of the larynx and by a specific adjustment in the shape of the pharynx and mouth. The diphthongs are combinations of two vowel sounds closely linked together. The consonants are produced by forcing the breath, sometimes vocalized and sometimes unvocalized, against mouth obstructions which are more marked than those employed for the vowels.

These sounds of the language are the materials of speech, just as the breathing apparatus, the voice-box, the resonance cavities, and the organs of articulation are the tools of speech. It is, therefore, desirable to know specifically what these sounds are, how they are made, the errors most common in their production, and, since most of them are indicated in more than one way, how they are represented by the letters of the alphabet. In studying and practicing the production of the sounds, the student is urged to think, to feel, and, with the aid of a mirror, to see what he is doing. We shall first examine the vowel sounds.