(1) The atonic p is produced by an intense compression of the lips, immediately followed by a whispered or aspirated explosion.*

(2) In executing f, the end of the tongue is strongly pressed against the roof of the mouth, and an aspirated explosion is made on the instant of its withdrawal.

(3) A is produced by opening the mouth, retracting and curving the tongue, while an aspiration is exploded against the palate.

(4) F is executed by a forcible compression of the teeth upon the lips, while the breath is driven against them.

(5) S or (soft), as in the word cease, is formed by pressing the sides of the tongue against the roof of the mouth, and driving through the small aperture between

The distinctness of elemental practice, if carried too far in reading or speech, becomes a defect, and should be guarded against, particularly in f, 1, and k.

the tip and interior ridge of gum the aspirated breath. This forms the characteristic sibillation or hiss of this element.

(6) His formed by a forcible emission of the breath in the form of a whisper, through the moderately open organs of speech.

(7) Wh is executed by suddenly driving the aspirated breath through the lips opened in the position for whistling.

(8) Th, as in thin, is produced by a forcible aspiration through the slightly parted lips, while the end of the tongue lies between and presses against the upper teeth.

(9) Sh is formed liked s, in azure, as regards organic position, but is aspirated instead of vocalized.

The atonics have a feeble vocule, but no vocality, perform no part in intonation, and are therefore inferior to the other elements for purposes of vocal exercise. A practice on these elements, however, contributes to the mechanical facility of the organs in articulation.

86. (1) Articulate each syllable in Table I distinctly. Then repeat, holding the final or atonic element for a moment, and then letting the breath escape from the organs with abruptness. This will produce the vocule, or little voice, of the elements p, t, k, f, and th. The remaining atonic elements producing no occlusion (or but little) in their formation, are almost without the vocule.

(2) Next utter the simple aspirated elements, as in the following table, with emphatic force:

(3) Pronounce the following words with distinct articula

tion of every element in combination.

(4) Pronounce the words in the following table, “holding" the initial letter firmly for a moment, and then letting the sound break abruptly from the first atonic into the tonic, and terminating the syllable with the second atonic, giving its vocule distinctly.

It must be carefully noted that in pronouncing the syllable no hiatus occurs between the sound of the aspirate element and the tonic, but that the former, after a momentary holding, must instantaneously open into the latter. The same thing has been pointed out as applying to the subtonic elements when they precede the tonics.

87. Let these tables be often and carefully repeated, observing a correct use of the breath, as suggested by the directions for breathing in the preceding exercises. The rule for the correct sounding of the final subtonics and atonics is to stop the breath with the separation of the organs, otherwise there is likely to occur an after puff or aspiration: as, lip-ah, did-ah, and-ah.

The utmost rigor of attention on the part of the student is required to guard against the evils arising from bad elementary training.

EXERCISES ON SHORT TONICS, ABRUPT SUBTONIC, AND ATONIC ELEMENTS.

88. (1) First cough out the tonic elements. Then articulate tonic element with explosive force in pure vocality. Next, utter entire syllable in the columns of Table V with forcible distinctness.

(2) First give the elemental sound of the subtonics and atonics in the columns of Table VI, holding on to the guttural murmur of the former, and to the organic position for the latter, and closing with the vocule. Then pronounce syllables distinctly, and with force. After the vocule of the atonics and subtonics is brought under control of the organs, lessen the force on those terminative sounds to the utmost delicacy of touch. If employed beyond the effect of delicate precision in ordinary articulation, the vocule produces an unpleasant and pedantic effect.

*The teacher may transfer these exercises to the blackboard, and diversify the mode of exercise so as to embrace a varied range of brisk and rapid practice of the organs in the execution of the elements.

89. The exercise on Table VII is to secure facility of organic action in the utterance of those combinations where the subtonic or atonic elements are repeated at the different syllabic extremes, as in at-tire. This is effected, not by separating the organs on the first sound before uttering the latter, but by a renewed forcible exertion of the organs, which increases and prolongs the sound of the vocal murmur of the subtonic, and gives precision to the atonic. This practice on the doubling of the element, therefore, imparts the holding power" to the organs on these elements.

90. The constant repetition of exercises on the elements, in every possible combination, is not only for perfecting the concrete movement, but it is the means by which the voice is improved, and in many cases built. They are of the same value as the practice of do, re, mi, upon the scales in cultivating the voice for singing.

The concrete is the vital principal in the perfection of speech; it marks the difference between the "hurried, clipped sounds heard in the voice of trade or traffic," and the elegance of perfected speech of the pulpit, the bar, and the stage, or wherever cultivation impresses itself upon the ear through those musically mellow and forcibly delicate intonations that charm the hearer.

This portion of our subject is treated in the most masterly manner by Rush in his section upon syllabication. I