When practising this exercise protrude the lips and raise them toward the nose as far as possible; also make an effort to enlarge and widen the nostrils. This exercise may be practised more quickly than the preceding, but never at the expense of clearness of vowel distinction. Carry the exercise higher or lower, and in different keys, to suit individual voices. With a slight initial accent sing each two-measure section smoothly as one phrase. Avoid accenting each separate vowel sound. To do so would produce a series of jerks. [Music illustration: Ee-oo-oh-aw-ah _etc._] After practising the above as written modify it as follows: 1. Bee-boo-boh-baw-bah. 2. Pee-poo-poh-paw-pah. 3. Mee-moo-moh-maw-mah. 4. Fee-foo-foh-faw-fah. 5. Vee-voo-voh-vaw-vah. 6. Dee-doo-doh-daw-dah. 7. Kee-koo-koh-kaw-kah. 8. Nee-noo-noh-naw-nah. 9. Tee-too-toh-taw-tah. 10. Lee-loo-loh-law-lah. Exercise XII FOR FACILITY AND QUICK VOWEL CHANGE Be careful not to blur the vowel sounds; each must be distinct and pure, and the change from one to the next must be made with a minimum of effort and without disturbing the focus of the tone. [Music illustration: Ee-oo-oh-aw-ah _etc._] The divisions (_a_ and _b_) of each of the above four variants may be regarded as distinct exercises or not. For further practice use as initial consonants any or all of the following: _b_, _p_, _m_, _f_, _v_, _d_, _k_, _n_, _t_, and _l_. Exercise XIII ASCENDING AND DESCENDING SCALE As in the previous exercises practise quietly with unvarying focus and aim to finish the phrase with breath unexhausted. Pitch the exercise to suit the voice. [Music illustration: Hung-ee Hung-oo Hung-oh Hung-aw Hung-ah _etc._] Exercise XIV THE LONG SCALE Sing this scale exercise in medium range, without blurring either the vowel sounds or the notes. [Music illustration: 1. Hung-ee 2. Hung-oo 3. Hung-oh 4. Hung-aw 5. Hung-ah _etc._] [Music illustration: 1. Hung-ee 2. Hung-oo 3. Hung-oh 4. Hung-aw 5. Hung-ah _etc._] The exercises thus far given have employed the five vowel sounds found most helpful in gaining a free resonance. These should now be supplemented by the use of _all_ the vowel sounds. It is obvious that unless the singer is at home with every vowel and on any pitch in his vocal range perfect pronunciation is impossible. In Chapter II a Scale of Vowel Sounds is given. For convenience it is repeated here: [Illustration: 1 n_ee_ 2 n_i_t 3 n_e_t 4 n_a_y 5 n_ai_r 6 n_a_t 7 n_i_gh 8 N_a_h 7' n_o_t 6' n_a_w 5' n_e_r 4' n_u_t 3' n_o_ 2' n_oo_k 1' n_oo_.] Having so far mastered the previous exercises as to establish a free head and nasal resonance, take the Scale of Vowel Sounds and apply it to the now familiar exercises. Next, as suggested in Exercise X, use as initial consonants in connection with the Vowel Scale the consonants _b_, _p_, _m_, _f_, _v_, _d_, _k_, _n_, _t_ and _l_.