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1. Pure Tone, Effusive Form.
2. Pure Tone, Expulsive Form.
3. Pure Tone, Explosive Form.

PURE TONE, EXPLOSIVE FOR-WHEN USED. Pure Tone, in the Explosive Form, is appropriately employed chiefly in the expression of ecstatic joy and mirth.

This principle is taught in the joyous songs of birds, the babbling brook, the merry laughter of children. "

EXAMPLE: ECSTATIC JOY.

Pure Tone, Explosive Form.

The Bells.

EDGAR A. POE.

Hear the sledges with the bells

Silver bells-
What a world of merriment their melody foretells !

How they tinkle, tinkle, tinkle,

In the icy air of night!
While the stars that oversprinkle
All the heavens seem to twinkle

With a crystalline delight;
Keeping time, time, time,

In a sort of Runic rhyme,
To the tintinnabulation that so musically swells

From the bells, bells, bells, bells,

Bells, bells, bells-
From the jingling and the tinkling of the bells.

QUESTIONS. 1. What is the topic in this lesson ? 2. What is the difference between Explosive Form and Pure Tone,

Explosive Form ? 3. When do we use Pure Tone, Explosive Form ?

4. Where in nature is this principle taught ?
6. Why does this selection require Pure Tone ?
6. Why Explosive Form ?

DIAGRAM OF SIXTH LESSON.

1. Exercises ...

Position.
Gesture.
Breathing.
Phonice,

2. Review Pure Tone Effusive and Expulsive.
3. Element-Quality.

Definition.
Illustration.

Advantages.
4. Topic-Pure Tone Explosive. How Acquired.

Exercises.
Principles of Expression.

Examples. 6. Selection. “Bells”(First Stanza).

LESSON VII. EXERCISES IN POSITION. First Position.

1. Change from first to fourth by stepping forward with left foot.

2. From fourth to first by bringing up right foot. Repeat several times.

Suggestions. If the teacher can give instructions in gesticulation, orally and by illustration, it would be well at this lesson to devote one, two, or five minutes to exercises in gesture, beginning with the positions and movement of the fingers, hanil, and arm. As stated in the preface, it is not the purpose of this work to give instruction on gesture, and if the teacher cannot instruct the class orally, it will be better to omit the subject entirely.

EXERCISES IN BREATHING. Inflate the lungs fully, raise the arms perpendicularly, and then strike down suddenly and expel the air.

Repeat several times.

EXERCISES IN ARTICULATION.

ö, as in no.
home,
old,

bold,
sold, enrolled, fold,
1. Thou glorious mirror.
2. They have enrolled us.
3. Fold her hands lightly.
4. Home, thy joys are passing lovely,
5. No, no, gentlemen; gold cannot purchase it.

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Orotund. The Orotund is that quality of voice in which the breath is converted into a full, round, deep, musical y tone, with resonance in the upper part of the chest.

It is distinguished from the Pure Tone by a fullness, clearness, strength, smoothness, and sub-sonorous quality resembling the resonance of a musical instrument.

“In the Orotund, volume and purity of tone, to the greatest extent of the one and the highest perfection of the other, are blended in one vast sphere of sound.”

This quality is possessed naturally by very few. Even among public speakers it is rarely heard, save in a limited degree. Actors and orators of eminence and distinction understand and appreciate the value of the Orotund, and have spared no pains to obtain control of it. It is heard in all their utterances of grand, lofty. and sublime thoughts.

Though rarely possessed, it is susceptible of cultivation, and may, by judicious practice, be acquired by almost every one.

ADVANTAGES Dr. Rush mentions the Orotund as the highest perfection of the cultivated voice of the public speaker.

The Orotund is fuller in volume and purer in quality than the common voice; it is more musical in tone; it is more efficient in the production of long quantity; it is more under command; it is freer from all impurities; ; it is, in short, the only quality appropriate for the solemnity of the Church service, the grandeur and energy of the oration, and the majesty and sublimity of Shakespeare and Milton.

It must not, however, be imagined that the Orotund, when once acquired, is to entirely supersede the common voice. Teachers and students of Elocution and public speakers frequently render themselves ridiculous, and the study of Elocution contemptible, by parading their powers of Orotund on all occasions. Such exhibitions suggest

“Ocean into tempest tossed
To waft a feather or to drown a fly."

Except in the expression of grand, lofty, and sublime thought, the Pure Tone should form the basis of utter

ance.

To acquire control of the Orotund, practice the following exercise, with the freest opening of the vocal organs, and the utmost volume and depth of tone.

Before repeating the sounds, words, and sentences, inhale a large quantity of air.

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EXERCISES IN OROTUND, EFFUSIVE FORM.

1. ä, as in father, arm.
2. à,

" ask, grass.

" all, talk.

4. 7, 6 old, note.
loud, deep, broad, profound,
round,

moon,

sublime, soul,

hour, roll, grandeur. 1. Thou glorious mirror. 2. Roll on, thou deep and dark blue ocean, roll. 3. () thou that rollest above, round as the shield of

holy,

my fathers.

EXERCISES

Contrasting Pure Tone Effusive and Orotund Efusive. Repeat the above sounds, words, and sentences with

1. Effusive Pure Tone,

2. Effusive Orotund. OROTUND, EFFUSIVE FORM—WHEN USED. The Orotund in the Effusive Form is the quality of voice appropriate for the expression of sublimity, grandeur, reverence, adoration, and devotion.

This principle is clearly taught in the grand and majestic roar of the lion, the deep tones of the distant thunder, the sublime roar of Niagara and the ocean-all Effusive in form and Orotund in quality.

EXAMPLE: SUBLIMITY AND ADORATION.

Orotund, Efurive Form.

God.

DERZHAVIN.

1. O thou eternal One! whose presence bright

All space doth occupy, all motion guide;
Unchanged through Time's all devastating flight!
Thou only God—there is no God beside!

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