structed
to hold the vowel in the "forward position" secured by the initial
consonant. Later on, the "forward" vowel is gradually widened into the
other vowels; exercises are sung on _boo-ah_, _doo-ah_, etc. This form
of instruction is capable of great elaboration. Many teachers use a wide
variety of combinations of these vowels and consonants; but as the basic
idea is always the same, this class of exercises calls for no further
description. The singer's sensations, notably those of "open throat,"
"expanded vocal tube," "forward tone," and vibration in the chest, are
generally brought to the pupil's attention in this form of exercise.

Another set of sounds are held to be specially adapted for securing the
use of nasal resonance. These are the letters _m_, _n_, and _ng_, when
used for starting a tone, and also the vowel _i_ (Italian). The
exercises used are similar in character to those just described. In
singing these exercises, the student is supposed to "start the tone high
up in the head on the initial _m_ or _n_, and to hold it there, while
gradually and smoothly opening the mouth for the vowel," etc. The
sensations specially noticed in this type of exercise are the feelings
of vibration in the nose and forehead. The "forward tone," as well as
the nasal resonance, is supposed to be favored by the practice of these
exercises.

_Enunciation_

Vocal teachers always recognize the importance of a clear delivery of
the text in singing. Correct enunciation is therefore considered in all
methods. A few teachers believe that a clear pronunciation helps greatly
to establish the correct vocal action. Some even go so far as to say
that a clear delivery of the words will of itself insure a correct
tone-production. But this theory calls for only passing comment. One has
but to turn to the vaudeville stage to see its falsity. For singers of
that class, the words are of the utmost importance, while the
tone-production is usually of the very worst.

A few teachers base their methods on the theory that correct
tone-production results necessarily from the singing of "pure vowels."
This is no doubt interesting, but still far from convincing. The problem
of tone-production is not solved quite so simply.

As a rule, vocal teachers consider the subject of pronunciation as quite
distinct from tone-production. Methods differ with regard to the use of
exercises in articulation, and to the stage of progress at which these
exercises ar