EIGHTH FULL ARM MOVEMENT.

Position.-Hand clinched, resting on shoulders, thrusting up and bringing back, same order as above.

NINTH FULL ARM MOVEMENT.

Position.-Hands clinched and resting against the hips, arms rigid.

1. Bring rigid right arm up at the side until it rests against the head. Back on "and." This four times. 2. Left arm, likewise, four times.

3. Alternately, four times, first lifting the right arm on "one"-then dropping right arm as the left is lifted.

4. Both up, simultaneously, bringing clinched hands into contact, both back to starting points on "and." Four times.

TENTH FULL ARM MOVEMENT.

Repeat above movements to the front, keeping head and body quiet, and not allowing the arms to bend at the elbows when brought to the front, head high.

ELEVENTH FULL ARM MOVEMENT.

Position. Hands clinched and resting on chest. 1. Right hand to the front, resting at hip on "one," back on "and." Then up, vertically from the shoulder, on "two," back on "and." Four times, thus down and back, up and back.

2. Left hand likewise.

3. Alternately four times, thrusting right hand down and left hand up, simultaneously, on "one," both back to chest on "and.”

4. Both down on "one." Both back on "and." Both up on "two." Both back on "and." Four times.

TWELFTH FULL ARM MOVEMENT.

Position. Both hands clinched, resting on chest.

、 1. Both hands thrust to the right side as far as possible without moving the feet, maintaining a perpendicular position with the body and head. Both hands back to chest on "and," with the face to the front in repose.

Both hands thrust to the left, turning body as far as possible without moving the feet, standing erect. Both hands back on "and," facing to front. Repeat four times.

2. Both hands to the right side, turning body with the arms, feet stationary, on "one." Back to starting point on "and." Four times.

3. Same movements four time to the left.

THIRTEENTH FULL ARM MOVEMENT.

Position.-Hands clinched, resting on chest, feet firmly together.

1. Without bending the knees forward, thrust both hands downward, touching the floor with the finger tips. To the starting point on "and." Four times.

CHIN AND "ADAM'S APPLE."

Position.-Natural..

1. Bring the two together on "one." To the starting point on "and." Push them far apart on "two"starting point on "and." Four times.

"ADAM'S APPLE," CHIN AND TONGUE.

Position.-Natural.

1. Thrust all three forward to the utmost on "one." Starting point on "and."

2. Thrust all three as far back as possible on "two." Starting point on "and." Same movements four times.

HEAD MOVEMENTS.

Position.-Natural.

1. On "one" drop the head as nearly as you can to

the right shoulder. Starting point on "and." Same movement to the left on "two." Starting point on "and." Four times.

2. Drop the head forward on "one." Starting point on "and." Backward on "two." Starting point on "and." Four times.

3. Right, back, left, front, left, back, right, up. Four times.

TRUNK MOVEMENTS.

Position.-Body erect; arms hanging loosely at the sides, hands open.

1. Bend body from the hips to the right side on "one." Starting point on "and." Same movement to the left on "two." Starting point on "and." and." Four

times.

2. Bend body to the front from hips on one." Erect on "and." Same movement backward on "two." Erect on "and." Four times.

3. Right, back, left, front, left, back, right, up. Four times.

These Calisthenic exercises, throughout, are intended to give tone and strength to all the muscles that should be used in vocal utterance.

For many of them I am indebted to my alma mater, the "National School of Elocution and Oratory."

CHAPTER III.

ARTICULATION.

In reading, in singing and in speech, distinct articulation is of the utmost importance. It is the duty of the performer to make himself easily understood. By so much as one absorbs the vitality of an audience in an effort to understand, by that much is one's effectiveness lessened. It is not only discourteous to an audi

ence to so put it on a strain, but suicidal to the best interests of the speaker.

The singer, or speaker, has no more right to present an audience with a faulty articulation, than he has to appear in an unbecoming costume.

A voice of moderate strength and volume, sustained by clear, distinct articulation, will make itself understood by a much larger number of people than could the most colossal volume, crippled by ill articulation.

The only savior for those who inherit impetuosity, is careful articulation. Those who, by nature, do all things quickly, will find great safety in giving special attention to the consonants. Vowels frequently drown the consonants. Be sure you so vocalize the consonants that they will carry to the ears of the listeners. Then, however rapid the speech, you will surely make your words heard.

SOUNDS-HOW MADE.

1. Long ā.

Tongue somewhat elevated and thickened, the sides resting against the upper side teeth. By parting well the teeth and slightly projecting and rounding the lips, the quality of tone will be much improved.

2. Short ă.

Made as is long a, except that the tongue is lowered and pushed further forward, accompanied by a similar change in the movement of the lower jaw.

3. Long Italian ä.

Differs from long ã in that the lips are somewnat more widely parted, and the tongue drawn further back with tip depressed.

4. Short Italian a.

Tongue almost at rest, teeth slightly apart and lips, more widely parted.

5. Long Flat â.

Teeth and lips farther apart, with tongue higher and broader than for short Italian a.

6. Long ē.

Tongue elevated, flattened, and pressed against the upper side teeth. The sound is improved by widely parting the teeth and projecting and rounding the lips. In fact, this last suggestion is equally applicable to all the vowels.

7. Short ě.

Differs from long e, by a dropping of the tip of the tongue downward and forward, with a like action of the chin.

8. Tilde ĕ.

Tongue thickened, forward part pressing against the upper side teeth; lips and teeth widely parted.

9. Long i.

Compound movement of tongue and teeth. 1. Tongue pushed back, and thickened at the base, on the "ah" sound-teeth well apart. 2. Position as above defined for long é.

10. Short .

Like long e, except that the tip of the tongue is somewhat lower, and a little less broadened.

11. Long ô.

Tongue pressed far back into the roof of the mouth; teeth very greatly parted; lips puffed and rounded, leaving small opening.