(3) Extend the arms straight in front of you, letting them be somewhat limp and relaxed, with only sufficient nerve force to hold them out. (4) Slowly draw the hands back toward the shoulders, gradually contracting the muscles and putting force into them, so that when they reach the shoulders the fists will be so tightly clenched that a tremulous motion is felt. (5) Then, keeping the muscles tense, push the fists slowly out, and then draw them back rapidly (still tense) several times. (6) Exhale vigorously through the mouth. (7) Practice the Cleansing Breath. The efficiency of this exercise depends greatly upon the speed of the drawing back of the fists, and the tension of the muscles, and, of course, upon the full lungs. This exercise must be tried to be appreciated. It is without equal as a "bracer," as our Western friends put it. THE YOGI VOCAL BREATH. The Yogis have a form of breathing to develop the voice. They are noted for their wonderful voices, which are strong, smooth and clear, and have a wonderful trumpet-like carrying power. They have practiced this particular form of breathing exercise which has resulted in rendering their voices soft, beautiful and flexible, imparting to it that indescribable, peculiar floating quality, combined with great power. The exercise given below will in time impart the above-mentioned qualities, or the Yogi Voice, to the student who practices it faithfully. It is to be understood, of course, that this form of breath is to be used only as an occasional exercise, and not as a regular form of breathing. (1) Inhale a Complete Breath very slowly, but steadily, through the nostrils, taking as much time as possible in the inhalation. (2) Retain for a few seconds. (3) Expel the air vigorously in one great breath, through the wide opened mouth. (4) Rest the lungs by the Cleansing Breath. Without going deeply into the Yogi theories of sound-production in speaking and singing, we wish to say that experience has taught them that the timbre, quality and power of a voice depends not alone upon the vocal organs in the throat, but that the facial muscles, etc., have much to do with the matter. Some men with large chests produce but a poor tone, while others with comparatively small chests produce tones of amazing strength and quality. Here is an interesting experiment worth trying: Stand before a glass and pucker up your mouth and whistle, and note the shape of your mouth and the general expression of your face. Then sing or speak as you do naturally, and see the difference. Then start to whistle again for a few seconds, and then, _without changing the position of your lips or face_, sing a few notes and notice what a vibrant, resonant, clear and beautiful tone is produced. CHAPTER XI. THE SEVEN YOGI DEVELOPING EXERCISES.