This is, fortunately, a very simple matter; for all we have to do is to sing a series of short tones, each tone to be followed by a short inspiration. We have learnt that every time we strike a tone the vocal ligaments are made to approximate; by so doing we therefore exercise the closing muscles. Every time we take an inspiration the vocal ligaments are separated; by so doing therefore we exercise the opening muscles. It is plain from these explanations that, by practising in the manner just indicated, we shall gain the same results in five minutes which it would take us half an hour to obtain by singing sustained tones after the usual method of teaching. Let me now give as clear a description of the exercise as possible. Find the pitch of your speaking voice, which we will say is _F_. Then sing the following:-- [Illustration: musical notation _o_ _o_ _o_ _o_ _ah_ _ah_ _ah_ _ah_ _ai_ _ai_ _ai_ _ai_ Strike the tone firmly and clearly, avoiding alike the _check_ of the glottis and the _glide_ of the glottis. This is often a matter of great difficulty, requiring much patience and perseverance on the part of the teacher as well as on that of the student. The _glide_ of the glottis is particularly hard to eradicate, and in many instances the case seems to be hopeless. Do not, however, despair, but try this: Pronounce vigorously the word "Up." Then _whisper_, but still very vigorously and distinctly, three times the vowel _u_, as you just had it in the word "up." Immediately afterwards _sing_ "Ah." Thus-- UP! _u_, _u_, _u_, Ah. (_spoken_) (_whispered_) (_sung_) I recommend this device from extended personal experience, and hope my fellow-teachers may find it as useful as I have found it myself. Another point of importance in practising the exercise for strengthening the opening and the closing muscles is the breathing after every tone; and this must be done gently and without effort, the only perception which the singer should have of it being a slight movement of the midriff. When you can sing the exercise in this manner on _F_, your supposed speaking tone, then go up the scale, semitone by semitone, to _B_ or _C_ above, and down again, semitone by semitone, to _B_ or _C_ below. Of the quality of tone I will say nothing here, because that part of the subject will be discussed later on in connection with the tongue and the soft palate.