ints of
contact or places of articulation will be very evident. It will also be
evident that the point of contact or articulation is much more positive on
certain aspirates than on the sub-vocals; while on a few other aspirates
the action or obstruction is so slight that it is almost impossible to tell
where or how they are made. They are the exception to the general rule. To
such, however, very little attention or study need be given. Having studied
the formula as given, classify the consonants in three columns, under the
headings of 1st, 2d, and 3d points or places of articulation.

At a certain stage of study, when the student of the voice has acquired
freedom and control, when he is able to release the face, jaw, tongue, and
throat from all local effort or contraction,--at this stage of study it is
wonderful what can be done in the way of articulation in a few days, by
this system. I have known many singers who could produce beautiful tones,
but who could not make themselves understood at all in the singing of a
song; yet in a few lessons on these three points or places of articulation,
practically applied by the use of words and sentences, they could sing the
words of a song as distinctly as it was possible to speak them.

For the practical application of the above principles of articulation, form
groups of vowel sounds, and make syllables by adding consonants, and sing
them on single or level tones. First place the consonant before the vowel,
making the articulation the initial sound of the syllable. Then place the
consonant after the vowel, making the articulation the final sound of the
syllable. Also sing sentences on single tones or level movements. Analyze
all the consonantal elements of the sentence. Take for example the
following sentence, "We praise Thee, O God," and notice at which point or
place of articulation each and every consonant is made. Let all
articulation be free, flexible, and light in movement, not heavy or
labored. Never work with articulation; play with it, but let it be distinct
and definite. Make no effort of face, lips, or tongue; let all be free and
pliable. Show no effort or contraction of the face in sustaining voice or
pronouncing words. In other words, never sing on the outside of the face.
Mouth and face must be left free and pliable for the outline of form and
for expression. Use words and sentences in an impulsive, impressive manner
without local effort.

Articulation must be rhy