reverse the position of the arms and legs and push the body up on the ball of the left foot. After the coördination is learned, the run should be executed in rhythm. This exercise vigorously stimulates the circulatory and respiratory systems, and will aid in improving all the functions of the organs supplying the body with energy. It should be possible for one to run and enjoy the movement. SECTION II VOICE EXERCISES Relating to Chapters II and III I. PRELIMINARY VOWEL PRACTICE BEAUTY of tone depends chiefly upon good vowels, and good vowels are those which are initiated easily, shaped carefully, and focused forward on the lips. Few students give full value to vowels. The vocalization must be smooth and even deliberate. Speech in which the vowels are scanted is always unmusical. 1. Whisper the vowels [u], [ou], [ɔ], [a]—[a], [ɔ], [oʊ], [u] to further develop a sense of correct formation, paying particular attention to lip-shaping and to the feeling of an open throat. Be sure that the tip of the tongue is behind the lower front teeth for all vowels. 2. Chant [u], [oʊ], [ɔ], [a]—[a], [ɔ], [oʊ], [u] on the chord tones 1, 3, 5, 8-8, 5, 3, 1. 3. Sing the scale on [u], [oʊ], [o], [a], [i], [er], [ar], [DI]. 4. Chant and then say [1] before each vowel and diphthong in the above; [1] after each vowel and diphthong in the above; [1] before and after each vowel and diphthong in the above. Be careful not to insert the vowel [ə] before the [1]. 5. Chant on one tone lu, lu, lu, lu, lu. 6. Say the same accenting each syllable in turn, as lú, lu, lu, lu, lu; lu, lú, lu, lu, lu, etc. 7. Repeat with [mov], [no], [tai]. 8. Chant selection 1 below, paying particular attention to the italicized words containing the vowels [u] and [ɔ]. 9. Underline in selection 2 the words containing [u] and [oʊ]. Read the selection, shaping these vowels carefully. 10. Underline in selections 3 and 4 the words that have special emphasis according to the thought. Read the selections, making these words important by giving extra support to the vowels. 11. Read selection 5, giving special attention to all diphthongs, avoiding a drawl by steady control of the tongue and breath. 12. Look through the exercises for vowel practice in Section III and read one selection for each of the vowels [v], [d], [3], [ǝ], [▲], [æ], [a], [e], [1] and the diphthongs [iǝ], [Dǝ], [ʊə], [αʊ], [ɛə]. 13. Detect any special sounds in your speech which seem particularly susceptible to nasality. To breathiness. To glottal shock. To drawling. To throatiness. 14. Determine what part the ear plays in vowel practice. 1. SELECTIONS FOR PRACTICE She left the web, she left the loom. She made three paces through the room, She saw the helmet and the plume, She looked down to Camelot. 2. 3. 4. TENNYSON The moon on the one hand, the dawn on the other Round the cape of a sudden came the sea, BROWNING I saw old Autumn in the misty morn 5. Deep in the shady sadness of a vale Far sunken from the healthy breath of morn, KEATS II. EXERCISES FOR DEVELOPING SUPPORT OF TONE The following are exercises to develop buoyancy, elasLicity, vigor, vitality, and firmness in tone production. The physical conditions for support of tone are, as has been explained, (1) a sympathetic expansion of the whole body, (2) an easy and noiseless intake of breath, and (3) an openness in the vocal passage. This condition will not secure the desired result unless it is brought about through the imagination, which makes the voice seem the natural expression of thinking and feeling. 1. Take an active sitting position: (a) Sit easily erect. (b) Place hips well back in the chair. (c) Swing slightly forward on the hip hinges. (d) Place feet flat on floor. (e) Take an easy, deep breath, expanding the thorax from under the armpits to the waist line at the side and from front to back, especially at the back. NOTE: A correct standing position for speech was fully described in Chapter III. 2. Place hand lightly on upper chest to be sure that there is a very slight lift in the chest indicating free play of muscles. Repeat the following words, using a buoyant, well-supported tone directed to the lips: (a) Fee-fie-fo-fum! (b) Boomlay, boomlay, boomlay, boom! (c) Ding-dong, ding-dong-bell! (d) Ye blocks, ye stones, ye worse than senseless things! (e) We take the Golden Road to Samarkand! (f) What, ho! ye weary hunters! (g) Blow, bugles, blow! (h) The King is dead; long live the King! 3. Carry the same buoyant tone quality in repeating the numbers 1 2. 3 4. 5. etc. 4. Accent each number in turn, as 1, 2, 3, 4, 5; 1, 2, 3, 4, 5, 5. Tell a gay story in ten numbers with a surprise at the end: 1, 2, 3, 4 ·5, 6 — 7 — 8 — - 9 - 10! 6. Read the seven selections below, which have been chosen because of their vigor of thought or feeling. Before you read them aloud be sure you know (a) who is talking; (b) what he says; (c) how he feels about it. 1. SELECTIONS FOR PRACTICE Waken, lords and ladies gay, And the jolly chase is here With hawk and horse and hunting-spear; "Waken, lords and ladies gay!" SIR WALTER SCOTT 2. I sprang to the stirrup, and Joris, and he, I gallop'd, Dirck gallop'd, we gallop'd all three; 66 Good speed!" cried the watch, as the gate-bolts undrew; "Speed!" echoed the wall to us galloping through; Behind shut the postern, the lights sank to rest, And into the midnight we gallop'd abreast. 3. Kentish Sir Byng stood for the King, BROWNING Bidding the crop-headed Parliament swing: And see the rogues flourish and honest folk droop, Great-hearted gentlemen, singing this song. BROWNING |