in tabular form as follows:

Articulation
Positions. Explosives. Aspirates. Vibrates. Resonants.

1 _b, p_ _f, v, w_ _m_
2 _t, d_ _s, z, l, sch, th_ _n_
3 _k, g_ _j, ch_ Palatal _r_ _ng_
4 _h_

Of course the above is only one of many possible classifications, and
expresses only a part of the whole truth, for the formation of a
single consonant is a very complicated process, the exact nature of
which can only be very imperfectly analyzed and expressed in words.

In complexity of action the resonance-chambers are wonderful beyond
any instrument devised by man, and the more one studies the subject,
the greater the wonder becomes at the amount and complexity of the
work done in a single day's speaking. It is also easy to understand
how difficult it is to attain to absolutely perfect results. To enable
one's fellow-creatures to understand him in even his mother-tongue
involves an amount of effort and energy, a complexity and facility in
function, that can only be reached after months of practice in
infancy; but to attain to that degree of perfection that makes an
artist in speaking, how much greater is the expenditure in vital
capital! Is not the result when attained worth the best efforts of the
most talented individual?

CHAPTER XVI.

FURTHER THEORETICAL AND PRACTICAL CONSIDERATION OF VOWELS AND
CONSONANTS.

The reader will now be prepared to consider the answer to be given to
the question as to the _vowels_ most suitable for practice in
intonation. Plainly, _a_ (_ah_) puts the resonance-chambers into the
easiest and best position to form a good pure tone. The pitch of the
vowel is intermediate--not very low and not high in the scale. For the
higher tones, evidently, _[=a]_, _e_, and _i_ are better than _a_
(_ah_), much less _o_ and _u_, which are quite out of the question,
comparatively speaking.

However, as music must be sung with vowels in every position, it is
plainly necessary to learn to sound all the vowels well throughout the
scale. In fact, one might wisely, after preliminary practice on _a_,
begin a scale below with _u_, then go on to _o_, _a_, _[=a]_, _e_, and
_i_.

Some have recommended that the vocalist begin his scale practices with
_a_, and when the higher middle tones are reached, that he use _[=a]_,
and for head tones _[=a]_ and