This opens the way to expression in tone,--dramatic expression,--but the
technical preparation for expressive responsiveness in the voice is the
development of its musical possibilities, for all artistic expression in
tones is musical whether the person be a singer or a speaker. Inflections
are variations in pitch, and are "the tune of the thought."

_Exercise_. Practise the syllables _ma, za, ska, a._ The sound
of the Italian _a,_ as in ah, gives the freest position of the organs
for the production of tone, and perhaps the most difficult form in which
to direct a tone with certainty. It is combined with these consonant
elements in order to invite it forward and bring it to a point
(figuratively speaking). The _m_ relates it to the nares or humming
tone (which is the basis of all resonance in the voice). The _z_
sharpens the consciousness at the front, and the _sk_ furnishes a
good start for a positive stroke in the voice, while the _a_ alone
leaves us to venture upon the free tone unassisted by these guides to
direction. The exercise should be practised with such musical variations
as the student can learn to execute--the scale, arpeggios, etc., both
sustained tone and light touches, broad tones and shaded tones. Other
vowels may also be practised thus.

The practice of rhythm, or the practice of rhythmical accent, should be
introduced, as the sense of rhythm is an important element in the
development of expressiveness.

The object now is to secure sensibility and responsiveness in the voice.
This opens the possibilities of vocal expression. When we speak of the
_nares anteri_ (or front head resonant cavity) as the dominant center
of physical consciousness nothing mechanical is meant. One is conscious
that the eye is fixed upon an object, but not therefore conscious of the