of the tongue, somewhat as in the commencement of a yawn. Let the column of air which carries the tone come straight through the middle of the open throat, and focus or strike in the roof of the mouth just behind and above the upper teeth. Try to enunciate distinctly without disturbing the continuity of tone emission." "Do you think any of us can do solos, Aunt Martha?" asked little Patty, timidly. "Oh yes, indeed," replied Mrs. Martin, drawing Patty close to her. "We must have some, of course; they are so good for making boys and girls conquer shyness and nervousness and consciousness. At first you should select simple songs of limited range, with attractive flowing melodies. You will find plenty of just this kind among the works of Gounod, Abt, Ries, Cowen, Sullivan, Curschman, Kücken, Fesca, Tosti, and Bohm. Brahms's 'Lullaby' is a charming and easy bit of singing; so is Ries's 'Cradle Song.' Those by Adalbert Goldschmidt and Gerrit Smith are pretty also. Indeed, slumber songs lend themselves admirably to early efforts in solo work. Other song writers to whom you may look for furnishing the best material are Jensen, Eckert, Lachner, Taubert, Bemberg, Gumbert, Goring-Thomas, Bizet, Lassen, Delibes, Widor, Arditi, Mattei, Godard, Saint-Saëns, Massenet, and so on, up to the classic heights of Rubinstein, Mendelssohn, Liszt, Schubert, Schumann, Grieg, and Brahms. Of extreme modern writers who make pleasing music you can rely on Chaminade, Nevin, Neidlinger, Bartlett, Johns, and Pizzi. Of course among these names you will not find many opera-composers, for I have only cared to mention the makers of songs. I will tell you something else, a little foreign to our immediate subject of _ensemble_ or solo singing, which, however, will, I am sure, afford you much enjoyment and merriment. There are compositions called in German 'Kinder Symphonien,' or 'Children's Symphonies.' Dear old Father Haydn made one of the best of these, and they have been followed by others, by Romberg, Chwatal, Grenzebach, Meyer, and Schulz. They are played by about ten or twelve persons. There will be a piano score for either two or four hands, one for violin, and for a number of toy instruments. One of the instruments is somewhat like a pair of bellows in construction. When it is pressed together the most illusive sound of 'cuckoo, cuckoo,' comes from it, so natural as almost to deceive the bird himself if he were listening.