be kept upon the thin register more easily when singing with a
vowel-sound, than when using the syllables. The reason is that the
articulation of the initial consonants of the syllables requires
considerable movement of the organs of speech, viz., the tongue, lips,
etc., and these movements are accompanied by a continually-increasing
outrush of air from the lungs, occasioning a corresponding increase in
the volume of sound. Adult voices show the same tendency to increase the
volume of tone when first applying words to a passage practiced
pianissimo with a vowel-sound. It is advisable then to sing scales and
drill upon them with a vowel-sound, and to recur to the same drill for a
corrective, when a tendency to use the thick voice in singing note
exercises appears.

Scale drill may be carried on as follows: If the scales are written upon
a blackboard staff, they may from day to day be in different keys. It is
a very easy matter to extend the scale neither above nor below the
pitches within which it is desired to confine the voice. For example,
the scale of E or F may be written complete, that of G as follows:

[Music: {scale in G running down to e' and up to e''}]

or A

[Music: {scale in A running down to e' and up to f#''}]

or B{b}

[Music: {scale in B{b} running down to e{b}' and up to f''}]

and so on. Now let the teacher with a pointer direct the singing of the
class upon the selected scale in such a manner as to secure the desired
result in tone, and incidentally a familiarity with pitch relations,
etc. Of course, if charts are used the trouble of writing scales is
saved, only it is advised that the notes lying outside the prescribed
compass be omitted in the lower grades entirely, and in the upper until
the habit of good tone is established, when, of course, the tones may be
carried below E with safety. The extent and variety of vocal drill which
can be given with a pointer and a scale of notes is wonderful; but
nothing more need be now suggested, than those exercises which are
peculiarly intended to secure good tone, and fix good vocal habits,
although it must be evident that all such drill is very far-reaching in
its effects.

A few exercises which are very simple are here suggested. First, taking
the scale of

[Music: {scale in F running down to e' and up to f''}]

for example. Let the teacher, after the pitch of the keynote is given to
the class, place the pointer upon F, and slowly