e
head and nasal resonance, take the Scale of Vowel Sounds and apply it
to the now familiar exercises.

Next, as suggested in Exercise X, use as initial consonants in
connection with the Vowel Scale the consonants _b_, _p_, _m_, _f_,
_v_, _d_, _k_, _n_, _t_ and _l_.

Keep before you the formula that articulation should _seem_ to be done
entirely with and through the upper lip; _i.e._, the _thought_ should
be that the words are projected through the upper lip.

When by practise of the exercises given the voice has been focused and
resonance established without any instrument, scale exercises and
simple vocalises may be taken up with or without the piano.

In practising scales start each a semitone higher until the _easy
limit_ of the voice is reached, and no farther. Gain will be more
rapid by working to deliver the tones within the voice's normal
compass. Then when occasional effort is made the organs will be found
ready to deliver the highest pitch of which the voice is capable.

When sufficient progress has been made in mastering the execution of
scales and easy vocalises, the pupil will be ready to begin the study
of songs. If one foregoes the singing of songs during the few weeks
occupied with primary lessons, results are obtained much more quickly.

While practising exercises or songs the less the pianoforte is used,
except to compare the pitch, the better. Such practice increases the
confidence of the performer. The instrument prevents the singer's
listening to the tone he is producing and judging of its
effectiveness.

Pupils with high or very low voices may continue their practice higher
or lower as the voice is soprano, or bass, or contralto, but much
practice on the extremes of the voice is unadvisable. If pure tones
are produced in the medium range of the voice the highest or lowest
tones will be found ready when called for. Therefore practise the
extremes of the voice only enough to know the limits of the voice and
to be assured the tones are there.

When the singer can perform the preceding simple exercises and know
that the tones are all focused, or placed and delivered, precisely
alike, he is ready to practise any scale, down or up, and to execute
any musical exercise or song for which he is intellectually fitted.

CHAPTER IX

THROAT STIFFNESS

What is the most frequent obstacle to good singing, the difficulty
with which pupil and teacher most contend? Throat stiffness. What more
th