After having made the true forms of the above-mentioned elements of speech habitual, the student may concentrate his practice upon the resonant form of _a_, as heard in _far_. Thus, this vocal element, being joined with the consonants _m_ and _z_, is aided in making its most perfect resonant mold, while _s_, being forward to give the right direction, and _k_, being strongly projected by the pharynx resonant chamber, the _ä_ is sent forward, like a ball from a gun, thereby developing projection of tone until at last the student may venture to practise upon _ä_ alone. While expressing these separate elements, each must be held in the mind as a luminous globe moving in the forward and downward curve. Repeat this exercise on different intervals of the scale. It may also be given in the form of arpeggios. In practising these exercises, the student must be careful never to strain the voice either for the purpose of reaching a high or a low note. He should attempt to reach no pitch until it is perfectly easy for him to do so. He should practise most upon those notes which are easily within the compass of his voice, not continuing to repeat an element on the same interval of the scale, but changing at least one note with each successive repetition, that the voice may develop an evenness and the habit of reaching the resonant chamber which gives the right quality for the pitch. =_RHYTHM._= It is obvious that the vocal exercises above described develop musical expressiveness both in song and speech. Rhythm is an act of the feelings more than it is of the intellect. The student should allow the feeling of rhythm to take full possession of him while he executes the musical variations. Rhythm causes the force of the voice to exert itself melodically. Were it not for rhythm, the tone would move forward in a sort of sameness in force. One can no more endure to listen to a voice that is not rhythmical in force than he can to one that is monotonous in pitch. The feelings are benumbed by monotony, while they rejoice in harmonious variety. Originally the word rhythm meant motion. Later it was used to express the relation of measure to motion. To-day the word meter and the word rhythm are sometimes used synonymously. Rhythm is the name of the sense of relationship existing between duration and motion. Without rhythm there can be no real melody. In poetry the rhythm celebrates the exact relationship the thoughts sustain to each other. The rhythm creates a deeper interest, and consequently a deeper feeling, than would be created if this relationship were not celebrated by the regular recurrence of certain pleasing sounds. In prose composition the relationship between the thoughts may be as perfect, but this relationship, although expressed melodically, is not as rhythmically emphasized.