pupil is able to appreciate smaller intervals of pitch; and the voices of the whole class are ultimately brought into the same key, as is done in singing. The following is an exercise of the kind to which I allude. Falsetto. My brave Highest note of n. v. Whispering voice. associates, my feelings, Highest note n. v. Lowest note of the natural voice. partners of my toil, Medium note of natural voice. and my fame! | can Rolla's words | Lowest note of the natural voice. Falsetto. add vigour to the virtuous energies | which inspire Lowest note. your hearts? | No! THIRTEENTH EXERCISE. TREMOUR. The pupil should pronounce all the vowels which admit of long quantity, with a tremulous movement of the voice, as shown by the following diagram : — The vowels, å, å, è, 1, ô, ô, ù, and ou, should be pronounced in the same manner. The accented syllable of the words printed in italics, in the following passages, may be pronounced with the tremour. That wash thy hallow'd feet, and warbling flow. And the complaining brooks, that make the meadows green. The tremour heightens the expression, even of opponent passions, as joy and sorrow. It may be occasionally introduced with great effect, both in song and speech, as well as in instrumental music. FOURTEENTH EXERCISE. TIME AND GESTURE. A rhythmical ear is essential to the public speaker who would gesticulate with gracefulness, precision and effect. The subject of time, therefore, should claim his particular attention. Those who have not a rhythmical ear, may acquire one, by practising faithfully the following progressive Exercises: 1. Raise the arms, with the hands clinched, to the position elevated forwards (Bcef),and then bring them down, with great force, to the position downwards forwards (Bcdf), on the energetic utterance of each of the elements of speech. 2. Clinch the hands, then retract one arm, and project the other, alternately, horizontal forwards, on each of the elements. 3. Clinch the hands, and make a beat, horizontal forwards, on the first element; strike the palms of the hands together on the second; with the hands clinched, make a beat horizontal forwards the third; strike the palms of the hands together on the fourth; and so on. 4. Beat time on the elements with the dumb-bells. Make the first beat by bringing the bells in contact, horizontal forwards; the second, by bringing them in contact elevated forwards; the third, by bringing them in contact downwards forwards; the fourth, by bringing them in contact downwards backwards, thus: Diag. 40. METHOD OF BEATING TIME WITH THE DUMB-BELLS.* 114 *Dumb-bells are commonly made of lead. Those used in the author's Vocal Gymnasium are turned out of lignum vitæ. They are one foot long, and four inches in diameter. (See the cuts in the margin.) â &c. 5. Mark the time by marching. The class should march, in file, on a line, in the form of the figure eight (8), and pronounce, after the teacher, an element at every step. Should the class be large, two columns may be formed, which should march in opposite directions. Meanwhile, two, or more pupils, standing out from the class, may keep time with the dumb-bells. SYLLABLE RHYTHM. 6. When the pupil cannot mark the rhythm of poetry, he should first beat time on every syllable, in either, or in all, of the ways which have been described. 2 | I ~ | am ~ | mon- | arch~ | of~ | all₪|I~ | sur- vey ₪ |my| right none to dispute from there is P centre I all round am | ~ | ~ | to the sea the brute | &c. POETRY RHYTHM. 7. The rhythm of poetry should be marked by a beat on the accented part of the measure, which, in the following examples, is the first syllable after each vertical bar. Lines supposed to have been written by Alexander Selkirk, during his solitary abode on the Island of Juan Fernandez. (COWPER.) I am monarch of all I survey, My right there is none to dis- | pute; I am out of hu- | manity's | reach'; I must finish my journey a- | lone; |