power. It is never the best way to strive to speak loud in order that one
may be heard. Such selections as Lanier's "Life and Song," Wordsworth's
"The Daffodils," and Scott's "Lochinvar" will be found helpful studies for
radiation. It is useful in practising the humming tone, or the nares tone,
to imagine the whole atmosphere pervaded with pure resonance. Too much
emphasis cannot be placed upon the idea of perfect purity as the essential
foundation of power. The pure voice will grow to power. In taking this
exercise there should be no consciousness of effort in the throat, and no
shade of sharpness should be heard in the tone. One must try for the pure,
pervasive resonance which seems to float on the air like the soft note of
a violin. The right condition for the expression of this radiant vitality
in the voice is a complete alertness and responsive vivacity of the whole
person. This animation should be vital and not nervous.


PITCH

A voice, to express variety, must have sufficient compass to give
opportunity for a free play of inflection over various degrees of pitch.
It has been said, "Inflection is the tune of the thought." It is that
which makes it attractive. If one desires to emphasize a point of thought
and make it attractive to another person he instinctively increases his
emphasis by lengthening the slide or inflection. The high pitch indicates
mental activity; the medium pitch is the normal or heart range; the low
pitch is more peculiarly vital. If one would express varieties of thought
with brilliancy and effectiveness, the range of his voice must be wide,
and the evenness of quality so perfect that he can glide from one extreme
of pitch to another without any break in the tone. Facility in thus
handling the voice may be developed by means of special attention directed
to this characteristic. The practice for securing this adaptability in the