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To Free the Jaw.
5. (a). With jaw relaxed utter blee-blee, blo-bie, blahblah (1) aloud; (2) silently.
(b). Utter e-yah, e-yaw, e-yoi (1) aloud, (2) silently.
(c). Utter 2b. To Free the Tongue.
6. (a). Utter lahl, lawl, lile. (b). Yawn-aw, ah.
(c). Utter tētē, tāto, tahtah; thēthē, thotho, thah thah; nēnē, nõnõ, nahnah, kēkē, etc.; lēlē, etc.; rērē, etc.
(d). Utter: "Theophilus Thistle the successful thistle sifter thrust three thousand thistles through the thick of his thumb; see that thou thrust not three thousand thistles through the thick of thy thumb."
(e). Practice the Articulation Drill for letter "T.” To Free the Lips.
7. (a). Utter decisively e, o, ah, 00.
(b). Utter decisively bēbē, böbo, bahbah; fēfe, fofo, fahfah; mēmē, māmō, mahmah; kwēkwē, kwūkwo, kwahkwah; vēvē, etc.; wēwē, etc.; wheewhee, etc.
To Free the Nasal Passage.
8. (a). With the aim of causing vibration in the upper part of the nasal chamber utter the sounds nun, neen, nane,
(b). Slide the sound “un” up and down the scale.
(c). Hum a tune, throat free, lips gently meeting. To Secure Resonance and Volume.
9. (a). Practice breathing exercises. (b). Prolong sounds e, o, ah, 00. (c). Prolong sounds, syllable by syllable, in lb and 1c.
(d). Go up and down scale note by note with each sound in 7a, 1b.
(e). Utter moo-ane, moo-een, moo-ine, moo-un, moo-ohn,
e up and down scale.
(f). Hum a tune, throat open, lips gently meeting. (g). Sob sounds in 4d, 6a.
(h). Practice Tone Drills Nos. 8, 10, 19, 32, 33, 34, 35, 40, 41, 61, 96, 110, 137, 152, 154, 181, 189, 194, 207. To Develop Musical Quality.
10. (a). Practice softly and with the mind upon producing sweetness of tone the Drills, Section 9, b, c, d, e, f.
(b). Moan sounds in 5a, 6a, 7a, 8a.
(c). Practice Tone Drills Nos. 36, 110, 136, 150, 166, 168, 181, 189, 207, 213.
11. (a). Lying flat upon back, body relaxed, gently exhaust the air in lungs through a quill toothpick, a clay pipestem or some other article with an aperture not larger than a pin's head. Pause a second, refill lungs slowly through the nostrils. Vary the rate-fast, slow, medium.
(b). Costal Breathing.-Distend sides while inhaling through nostrils, relax gradually with slow exhalation.
(c). Chest Breathing.-Relax chest muscle; inhale and expand chest to fullest capacity. Exhale gradually.
(c). Waist Breathing.-Inhale, at same time expanding entire circle of waist.
d (a). Dorsal Breathing.-Inhale as if endeavoring to thrust out the muscles of the back by the force of the air.
(e). Abdominal Breathing.–Breathe deeply, forcing the abdominal muscles outward. Let them sink when expelling the breath.
(f). Full Breathing.-Inhale slowly, expanding all parts. (g). Modes of Exhaling.–Breathe out letter h (a) gently,
. (b) with steady force, (c) abruptly like a pistol shot.
BODILY DEVELOPMENT AND
1. Effective Expression Demands Bodily Development. -Rarely does the body, untrained, express itself adequately. There is usually awkwardness in attitude or gesture and general ungainliness. These destroy harmony in expression. They invite attention to themselves and not to the thought and feeling. Plainly some method of bodily development and control must be followed that will remedy this.
2. Mental Processes an Aid to Bodily Development.Deeply feeling beauty, sublimity, grandeur and allied emotions will, in some degree, assist bodily expression. Also, all emotional expression in itself tends to render the body coordinately active.
3. The Practice of the Tone Drills with the specific purpose of bodily expression is invaluable in developing variety and ease.
4. Specific Bodily Drills a Further Aid. Besides the mental processes certain specific bodily movements are especially valuable in attaining physical responsiveness.
5. (a). Arms full length above head, thumbs, crossed, try to touch the toes without bending the knees—slow movement throughout.
(b). Bend body from waist and revolve from right to left, left to right.
(c). Arms above head, let hands drop lifelessly; similarly forearm, then whole arm. Let body sink lifelessly almost to ground.
(d). Make lifeless and revolve whole arm, hand. (e). Make figure 8 with whole arm, with hand.
(f). Make script alphabet-small letters—with whole arm; with hand.
(g). Bend head forward and revolve it, lifelessly, from right to left, from left to right.
(h). Extend arm to front, palm upwards; open and shut fingers nine times.
(i). Arms at side, hands shut, extend arms and open hands --at side, arms at angle of 30 degrees from body, then at 90 degrees (parallel with shoulder blades), then at 120 degrees. Also at same angles obliquely and in front.
METHOD OF STUDY AND PRACTICE OF
METHOD OF STUDYING A SELECTION.
1. Determine the United Aim: (a). The Dominant Thought. What does the selec
tion aim to show, prove, tell, etc.? (b). The Dominant Feeling. What is the emo
tional attitude of the author (or character)
towards the Dominant Thought? 2. Determine the Groups. What words are closely related ? 3. Determine the Ideas (and Their Words) That Demand
(a) Prominence, (b) Pause. 4. Determine the Tones in Which the Various Ideas Should
Be Delivered. What are the various feelings in the
selection and what tones will best show these? 5. Make the Ideas Yours. Understand with absolute clear
ness every idea in the selection. 6. Make the Feelings Yours. Exercise the imagination upon
every idea. Go into your own experience and see if
the emotion has not been yours in some simple form. (Groups may be indicated by parentheses, prominent words by underlining, tones by marginal notes.)
METHOD OF PRACTICING DELIVERY.
1. Have a listener. If impracticable, imagine one. 2. Tell ideas, not words. 3. Intensely desire to have the idea grasped by listener.
Aim to convey to the listener the feelings in the selection. Manifest vividly the true feeling toward the ideas exc pressed.