tone
with variations in it is easy enough, and that is what is usually
given us instead of the perfectly even tone, reminding us of a
straight line.

In the swell, as the name suggests, the tone should rise gradually in
volume or loudness, and as gradually decline. If this can be done
readily, and continued for several seconds, it will be easy to produce
other effects, as the sudden swell, but such effects should come
after, not before, the slower ones. A critical observer soon realizes
the defects of modern technique when he listens to a singer's tones
when attempting slow effects, as in a softly sustained melody. Only
the well-trained vocalist can hope to sing such a melody, especially
if long sustained, in a way to meet the demands of an exacting ear and
advanced musical taste. It will be apparent that the swell is the
basis of shading, a quality that is so highly appreciated in this
refined age. He who can manage the swell perfectly has the secret of
this effect in his possession as have none others.

Although we have referred more to the singer than to the speaker, in
this chapter, it is to be understood that these and all other
exercises suggested are of great value in forming the voice for public
speaking. It is not so important, it must be admitted, for the speaker
as for the singer that his tones be musically perfect, as he relies
more on ideas than on tones, still, with every idea employed by the
public speaker there is the inseparable feeling, or "feeling-tone;" so
that the speaker, as well as the singer, is to some extent dependent
on tone painting--indeed, must be, if he will be no mere man of wood,
a "dry stick," to some extent, in spite of the use of appropriate
language, gestures, etc. There are many avenues to the heart, and that
by tones cannot with impunity be neglected by the speaker, though for
his purpose the singing of tones need occupy only weeks or months,
while for singers, in the case of all who would attain to a high
degree of excellence, it must extend over years.

"FORWARD," "BACKWARD," ETC., PRODUCTION.

Certain expressions are in common use by teachers and singers, such as
"to direct the breath forward," "forward production," "backward
production," etc. No doubt such terms may serve a practical purpose,
though they are often used with lamentable vagueness, but it must be
understood that they do not answer to any clearly demonstrated
physiological principles. There is, for example,