The Ontario Readers: The High School Reader, 1886 | Page 9

and r (as in far). They can not, without great effort,
be given an abrupt opening, and so are not capable of much radical
fulness, but from their property of vocality they can receive, to a
considerable degree, an exemplification of the vanishing movement.
EXERCISE.--Utter the word bud slowly, and detach from the rest of
the word the obscure murmur heard in pronouncing the first letter: this
is the subtonic represented by b. Utter this sound with different degrees
of initial pitch, and with different intervals, both downward and upward.
Produce as full an opening of the radical movement as possible, but do
not attempt to give it much stress. Obtain in every case a distinct vanish.
Be careful not to convert the subtonic into a tonic. Proceed in a similar
manner with the other subtonics. Then, distinctly obtaining the

subtonics, unite them severally with the sound of ä, first forcibly, then
more gently, producing such syllables as bä, dä, etc., which may be
rendered with upward and downward intervals, and with different
degrees of initial pitch. Finally, with such syllables as äb, äd, äg, äv,
etc., exemplify all the varieties of stress.
The =Atonics= correspond with the first eleven of the subtonics as
given above, from which they differ almost alone in having no vocality.
They are p, t, k, f, s, h, wh (as in when), th (as in thin), sh, and ch (as in
child, by some considered not elementary).
EXERCISE.--1. Form a list of such words as pipe, tote, kick, fife, siss,
etc., and severally utter them slowly, holding the final element for a
moment, and then letting the breath escape suddenly; then, holding the
initial letter firmly for a moment let it come forcibly against the sound
of the remainder of the word, producing an abrupt opening, and radical
stress of the vowel concrete. 2. Aspirate strongly the atonics as given
above.
EXERCISE RECAPITULATORY.--1. Produce the syllable pä in an
articulate whisper in all the different varieties of pitch, interval, and
stress. 2. Repeat with such syllables as paw, pooh, p[=o]h, etc. 3. Utter
these syllables (1) expulsively, (2) explosively, with varying intervals
both upward and downward, and producing distinct and clearly
attenuated vanishes. 4. Select some passage of poetry involving
passionate thought, and read in articulated whispers, with appropriate
intonations, somewhat exaggerated, it may be. Let the intervals and
stresses be slowly and distinctly given. 5. Repeat the exercise in a half
whisper. 6. Next read the passage over several times in pure vocality,
without exaggeration, increasing the strength of the utterance until it is
as full and ringing as possible. Care must be taken that the utterance is
in reality full and ringing, not sharp and hard. Let the pitch chosen be
not too high--as low as possible; and let the tones come mainly from
the chest and lower part of the throat.
NOTE.--In all the exercises care should be taken that they be
performed easily and naturally, with perfect deliberation and without
undue force; else they will be harmful rather than useful.

EXERCISE IN CONCRETE INTERVALS CONTINUED.--1. Read
with appropriate intonations: "Did you say [a:], as in all?"--"No, I said
ä, as in arm,"--producing in the emphatic syllables suitable rising or
falling intervals of one tone. Then repeat, but with greater emphasis,
producing intervals of a third, a fifth, or an octave. Vary the sentences
so as to include all the tonic elements. 2. With each tonic element,
severally, produce first a rising and then a falling interval, each of a
tone; then intervals of a third, a fifth, and an octave. 3. Extend the
exercise so as to produce with each element, and with all the various
intervals, a series or succession of rising and falling intervals, thus:
rising, falling, rising, falling, etc. Use the blackboard and the musical
scale for illustration and reference.
Syllables vary greatly in their capacity for prolongation, and in this
respect are classified into immutable, mutable, and indefinite.
=Immutable Syllables= are almost incapable of prolongation; they are
those which end in one of the abrupt atonic elements, p, t, k; as tip, hit,
kick; or in one of the abrupt subtonics, b, d, g; as tub, thud, pug. Some
syllables that so end, by virtue of tonic or subtonic elements which they
may contain, are capable of some prolongation; for example, warp, dart,
block, grab, dread, grog. These are called =Mutable Syllables=.
=Indefinite Syllables= are capable of almost indefinite prolongation;
they are those which terminate in a tonic, or any subtonic except one of
the three abrupt subtonics, b, d, g; for example, awe, fudge, hail, arm.
NOTE.--It must be remembered that when for the sake of exercise or
effect syllables are extended in time, they must be so uttered that their
identity is not impaired,--that is, their