With respect both to articulation and expression _the generic properties of the voice are five_, namely: _Quality_, _Pitch_, _Force_, _Time_, _Abruptness_. Of these properties there are, of course, many modes or degrees, but the voice must, in every tone that it utters, manifest itself in some mode or other of each; and it is the possibility of infinite choice in the ways of combining the modes that gives to vocal expression its infinite possibility of variety. The principles of voice culture will be best understood, however, if these properties be considered separately. =Quality= has reference to the _kind_ of the voice in respect of its smoothness or roughness, sonority or thinness, musicalness or harshness; also in respect of the completeness of its vocality. =Pitch= has reference to the degree of elevation or depression in what is called in music the _scale_. It may be used specifically, in reference to single tones or syllables (either as to their opening, or as to their whole utterance), or generally, as descriptive of the prevailing tone or note which the voice assumes in reading a sentence or passage. =Force= has reference to the power or intensity with which the sounds of the voice are uttered. When force is used in the utterance of single syllables, in whole or in part, it is spoken of as =Stress=. =Time= is rate of utterance. It is used with reference both to single syllables, and to phrases, sentences, and passages. In regard to single syllables it is sometimes called =Quantity=. In the consideration of time may be included that of _pauses_ and _rhythms_. =Abruptness= has reference to the relative suddenness with which syllables may be uttered. It may vary from the most delicate opening to a forcible explosion. Vocality depends upon respiration. All exercises, therefore, which are effective in increasing the vigor, freedom, and elasticity of the breathing apparatus, may be taken as initiatory steps in voice culture; and, in moderation, they should be practised continually. Full, slow inspirations followed by slow, and, as far as possible, complete expirations; full, quick inspirations similarly followed; full inspirations followed by sudden and forcible expirations; full, deep inspirations, followed by slow, slightly but distinctly audible expirations, as in deep sighing; these and similar practices may be pursued. What is to be aimed at is to secure complete control of the breath, especially to the degree that, with perfect deliberateness, it can be equably and smoothly effused. In all exercises where vocality is required it is best _first_ to use the sound of _ae_, as in _far_, for in this sound the quality of the human voice is heard in most perfection, and in uttering it the vocal organs are most flexible and most easily adapt themselves to change. It may be preceded by the aspirate _h_, or by some consonant, as may be thought necessary.