be found to attend the diligent cultivation of the voice, in the modes of utterance appropriate in reading and conversation. Faults in "Quality,” which impair " Purity" of Tone. The first point to which, in the training of the vocal organs, it becomes important to direct the attention, with a view to render the ear discriminating in relation to the qualities of the voice in utterance, is the exemplification of the common faults in "quality," by which purity of tone is prevented or impaired. These are the following: 1. A hollow and false pectoral murmur, arising from an imperfect habit of breathing, in consequence of which, the lungs are not furnished with a sufficient supply of air, to produce full and clear tone. Another cause of this fault in utterance, usually is the feeble action of the abdominal muscles, and, therefore, an inadequate expulsion of the breath, and a smothered or muffled quality of voice, which makes its sound appear buried within the frame or issuing directly from the chest. This fault of utterance may, from the character of its effect on the ear, be properly denominated pectoral tone. It arises, in some instances, from ill health, or a feeble condition of the bodily organs; in others, from the oppressive influence of diffidence and constraint. Students, and other persons of sedentary habit, and female readers, in particular, incline to this faulty mode of utterance. The low note which always accompanies this quality of voice, serves greatly to increase its false and hollow sound, the prevalence of which gives to all reading, indiscriminately, the tones of solemnity and awe. Full inspiration, the expulsive action of the abdominal muscles, and the cultivation of the middle notes of the voice, together with habits of healthful exercise and cheerful emotions, are the best remedies for a tendency to hollow pectoral tone. 2. A fault which bears a resemblance to the preceding, is that of aspirated quality, by which, a half-whispering effect of fear is imparted to every sound of the voice. This defect of utterance arises, in part, from the want of sufficiently full and deep inspiration, to produce pure and full tone; it arises, sometimes, from organic weakness, or from embarrassment, which causes a slight "rigor" of the organic parts, and consequently allows more breath to escape from the trachea, than is converted into sound by the larynx. The condition of pure tone is, that much quality, which characterizes the vocalist, Mr. H. Russell; the clear, crystalline points of sound, in that of Madame Caradori Allan; the warm, breathing glow of that of Mrs. Wood, or the exquisite, soft fulness of that of Mr. H. Phillips. breath should be drawn in, but little given out, and that the whole of what is suffered to escape, should be converted into sound; while, in "aspirated quality," little is drawn in, and much is given out. In this faulty style of utterance, the due action of the abdominal muscles is neglected, and a forced and exhausting action of the thoracic and intercostal muscles, is substituted, causing an incessant sinking and collapsing of the chest, and a tone of voice such as belongs to sickness and pain. This mode of reading or speaking, is very prevalent, and, especially among the weak and the sedentary: yet no habit is more exhausting to the vocal organs, more injurious to health, or more destructive of life. A due attention to the full expansion of the chest, to deep inspiration, and to the vigorous action of the abdominal muscles, is the chief preventive of the faulty habit of aspirated utterance. 3. Another bad quality of voice consists in what is termed guttural tone, -a mode of utterance which seems to make the voice issue from an obstructed throat. This fault is of a twofold character, first, the soft, choked sound not unusual in the utterance of persons inclined to fulness of habit and corpulence,— second, the hard, dry, and barking voice, which sometimes characterizes persons of an opposite habit and frame. Both these forms of vocal sound, are disagreeable in their effect; as they indicate a want of ear, coarseness of feeling, or an undue ascendancy of the animal nature. Such properties of tone are not less repulsive and objectionable, in reading and speaking, than in singing, in which they are universally regarded as intolerable to an ear regulated by taste and feeling. The immediate organic cause of this bad quality of tone, is an improper pressure of the muscles around the larynx, and the root of the tongue, causing the voice, in the one case, apparently to issue from the pharynx or swallow, instead of the larynx, and, in the other, to originate in the upper part of the throat only, cut off from all communication with either the chest or the mouth. Defective taste or an inadvertent ear, rather than organic necessity, is usually the origin of the guttural tone; and the free expansion of the chest, and the energetic action of the abdominal muscles, with the habit of opening the mouth freely, when reading or speaking, are the surest means of avoiding or removing this great hindrance to purity of tone. 4. Another fault is that commonly termed nasal tone,which makes the voice sound as if it came only through the nose. Of this fault it is unnecessary to say much. It is a habit of utterance which makes the reader or speaker ridiculous to most hearers, and uncomfortable to all; yet it is one which is very prevalent, although not always in its worst forms. The chief security against it, consists in the habit of fully expanding the chest, which aids depth of voice, and takes off the wiry sound that is otherwise imparted to the tone. Another preventive, of still greater efficacy, is, the free opening of the mouth, not only in front, but in the back part, by raising the veil of the palate, as is mechanically done in the act of coughing, in consequence of which the voice escapes in its proper direction, instead of being allowed to drift with force against the nasal passages, while they remain partially shut. At the same time, care must be taken not to raise the veil of the palate so high as to stop the nasal passage entirely, in the style of obstruction caused by a cold, producing the utterance of "Cub id," for "Come in." А due degree of nasal ring is one of the component elements of a good voice. 5. Both the guttural and the nasal tones are combined in the utterance of some readers and speakers; and the effect is, of course, rendered, in such cases, doubly injurious. Sometimes the pectoral tone is blended with the other two, causing the extreme of impure tone, in all its bad properties. The effect of this species of voice, is a grunting utterance, resembling that of the inferior animals, instead of the clear resonant tone of the human being. 6. There is still another fault of utterance, which is yet more prevalent than those which have been described. It consists in what may be termed oral tone. It is the slight ineffective voice of indifference, of feebleness, or fatigue, or the mincing tone of false taste. It causes the vocal sound to issue from the mouth, in a style which seems to make it lose all connection with the throat and the chest, and consequently to lose all its natural depth and fulness. Without these last-mentioned properties, no voice can ever sound earnest or sincere in utterance. Hence we observe "oral" tone always ascribed to the languid beauty or the trifling fop.— The full expansion of the chest, and the vigorous, appulsive action of the abdominal muscles, which ensures the energetic expulsion of the breath, together with the cultivation of the lower notes of the scale, in the habits of utterance, are the chief correctives of the tendency to the fault of the slender "oral" tone. The musician, it is true, denominates purity of utterance by the phrase "head-tone." But, in the usages of music, this phrase is not strict or exclusive, in its application: it is used rather in contradistinction to the false and impure tones of the throat and the chest,- the guttural and the pectoral. It is meant to designate that species of tone which rings clearly in the cavity of the head, by the head becoming, as it were, a sounding-board to reflect the voice downward, and secure, at the same time, the resonance of the chest, blended with that of the head. False utterance, or impure tone, arises, in all instances, from the exclusive or undue, or, it may be, the imperfect use of one portion of the vocal organs, as is intimated in the designation of "pectoral," "guttural," or "nasal" tone.' True utterance and "pure tone," on the contrary, employ the whole apparatus of voice, in one consentaneous act, combining in one perfect sphere of sound, if it may be so expressed,the depth of effect produced by the resonance of the chest, the force and firmness imparted by the due compression of the throat, the clear, ringing property, caused by the due proportion of nasal effect, and the softening and sweetening influence of the head and mouth. All voices, trained to this appropriate union of qualities, become pleasing to the ear, and produce dignity of effect. Genuine cultivation secures these properties, as habits of the voice, from childhood upward, or restores them when, through inadvertency, they have been lost. But to preserve, or recover them, much training and much preparatory discipline become necessary. Exercises, such as form the preliminary steps in the study of vocal music, are among the readiest and surest means of attaining that skill in the management and control of the organs and the breath, which is indispensable to purity of tone. See, for this purpose, the exercises and directions by Professor Webb, at the close of this volume. "Pure tone" exists in two forms, "subdued," and "moderate" force the former implying the repressing power of an emotion which quiets utterance; the latter being, as its name implies, a medium of style. The elocutionary practice best adapted to the formation of pure and smooth quality of voice, in the "subdued " form, consists principally in careful repetition of the tabular exercises on the "tonic elements of the language, and the utterance of syllables and words, containing long vowels, and in the reading and recitation of passages of poetry marked by the prevalence of the expressive tones of pathos, solemnity, and tranquillity, as here exemplified. The following exercises should be practised with the closest attention to the perfect purity of vocal sound, as associated with the spirit of deep-felt but gentle emotion. The perfect tranquillity and regularity of the breathing, and the cautious The 1 These terms are used not in strict propriety, as the larynx is the immediate source of all vocal sounds, but for the description of apparent effects. The sound of the voice is made up of a note, or tone, and its resonance. former comes directly from the larynx; the latter from the adjoining cavities of the chest, the pharynx, the mouth, the nostrils, and the interior of the head. and sparing emission of the breath, are points of the utmost moment to the pure and perfectly liquid formation of voice. The mode of utterance required in the following exercises is "effusion," not "expulsion" or "explosion," -a gentle, continuous emission of sound, articulate, but very soft; as it always is in the utterance of subdued and chastened emotion. Example 1.-Pathos. FROM THE BURIAL OF ARNOLD.- Willis. "Tread lightly, comrades! Ye have laid Like life, save deeper light and shade,- "Tread lightly! for 't is beautiful, 2.- Solemnity. SOLILOQUY OF DOUGLAS.-Home. "This is the place,—the centre of the grove; In such a place as this, at such an hour, - |