e strength of the tone will correspond
to the force of the vibrations of the nose and head, which can be
plainly felt by resting the finger lightly upon the side of the nose.
The vibrations may eventually be plainly felt on the top and back of
the head.

Attack, that is, begin the tone, _softly_ and on no account force it
in the least. Pronounce the full word _at once_, prolong the _ng_ four
counts as indicated, and sing the five vowel sounds on a continuous,
unbroken tone. Articulate entirely with the lips and without moving
the under jaw. In this, as in the following exercises, keep the under
jaw relaxed and open the mouth so as to separate the teeth as wide
apart as is consistent with the action of the lips. See also the
illustrations of proper lip position given at the close of Chapter II.

_Practice this exercise on any pitch easy for the voice._

[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]

Repeat this many times until the nose and head vibrations are fully
recognized and established. After mastery of this exercise is
acquired, any words ending in _ng_ may be repeated. The word _noon_
sung quietly on each note of the voice with the final consonant
prolonged will be found helpful.

EXERCISES FOR SPEAKERS

When the placing of the voice is accomplished on the one tone
(Exercise I), the speaker can go on with practice in reading and
reciting, allowing the voice to change its pitch at its will, only
being careful that all the tones are alike in quality.

A profitable exercise for speakers is to pronounce any word or
syllable ending with _ng_, as _ming_, _bing_, _sing_, _ring_, _ting_,
and follow it with some familiar lines in a monotone, being sure that
the tone is the same and produces the same vibrations in the nose and
head.

In the case of a person already a public speaker, this new _regime_
may not immediately manifest itself in performance, but gradually the
right principles will assume control, and speaking be done with ease
and effectiveness. Continual daily practice of exercises should be
kept up.

If a speaker has a musical ear and some musical knowledge, he will
derive great benefit by following out the practice of the exercises
for singers. In no way can the voice for speaking be improved so
rapidly or decisively as by musical training.

Exercise II

TO ESTABLISH HEAD AND NASAL RESONANCE

As in Exercise I, sing softly, seeking purity of vowel sounds and
quality of tone. Fully prono