meaning "fear," you will find that it means courage and power to do your best.

Pronunciation.—Study correctness of pronunciation and propriety of emphasis quite apart from singing. Remember that in speaking or singing in a large space and to a number of persons, every sound must have not only additional force, but additional volume. And that comes to mean that every vowel-sound in the words sung must be intensified, and every consonant be delivered with more accuracy than is necessary in ordinary speaking. If you were to pronounce the syllable "die" (for instance), in singing, exactly as you do in speaking, you would produce on the notes or note to which that word belonged a thinness of tone which would be very ugly, and probably would not "carry" far. And the same with any vowel-sound—even "Ah," or "Oh,"—which, though not producing a thin tone, would certainly produce a coarse one, if sung exactly as spoken in ordinary conversation.

Vowel-Sounds.—The reason of the need of this slight change is as follows. Every vowel-sound, like every musical sound (for vowel-sounds are nothing less than musical sounds) is composed of two sounds. Combined with the prominent and chief sound which first attracts the ear is a second, which, though not prominent, lends point and force to the other. Thus our English vowel-sound "A" is really Éh-é; "E" is E-é; "I" is Ah-é; "O" is O-óo, or even Aw-oo; "U" is Ée-óo. Of course, I do not mean to say that those absurd-looking syllables really express exactly the sounds which we produce in speaking the vowels, for no combination of letters can do that, or can bring within reach of the eye the subtleties of sound in human speech; but if you attempt to pronounce those syllables, you will find that you are really pronouncing the vowels from which I "translated" them.

Now, in conversation or rapid speaking, the subordinate sound of the vowel is scarcely noticeable, while the more prominent sound is heard for the short interval of time required. But in singing or public speaking, where the production of tone is more deliberate, the space to be filled with sound larger, or, in other words, the column of air to be set vibrating is greater and heavier, the complex sound of the vowel must not be ignored. It is impossible to lay down any set of rules by which the student may overcome this difficulty; but every one, by bearing in mind the absolute necessity of attention to this point, may easily accustom himself to the slight change of pronunciation (as it will at first appear) which is required to give vowel-sounds when sung, or spoken "ore rotundo," the same tone, to the hearer's ear, as they have in ordinary speaking. As a general rule this is done by keeping the throat more open, the larynx (or "Adam's apple") as low down as possible, and the root of the tongue flat, depressed, even hollowed like the bowl of a spoon. The truth of all this may easily be tested by singing any short passage deliberately and distinctly, with the exact pronunciation of ordinary speaking, and then repeating it with attention to the above hints. In the first instance the result will be meagre, hard to be heard at a moderate distance, and very likely extremely ludicrous to the hearer. In the second, you will find that the tone of the notes gains in roundness and fulness, while the words are clearly heard in every part of the room with the exact effect belonging to them. I purposely refrain from attempting to write down the difference discernible in any words so sung, because, as I have already said, letters cannot accurately express distinctions so delicate, yet so all-important to the singer, speaker, and hearer.

Consonants.—In pronouncing consonants, be careful to give each its due value, but without exaggeration. Be especially particular to sound the last letter of each word distinctly. But take care to avoid adding a slight sound (as of an e mute) after the final letter: for instance, do not say "When other-é lips," &c., or "bright-é days," and so on. Do not over-aspirate the letter "H." "N," "L," "M," "B," "P," and "V," are all letters requiring care in firm pronunciation.

Avoid prefixing a slight sound of "N" to the first word of a song or passage in singing. It is a common trick with beginners to do this, and they frequently do it without being in the least conscious of it. It is produced by a kind of nervous feeling of the teeth with the tongue, as if to make sure that all is right for the start! I have heard an aspiring youth actually begin a well-known song thus: "Nwaft her Rangels Nthrough the sky," &c.

English Words.—The English language is not the most suitable one under the sun for singing purposes; nevertheless, it is not nearly so intolerable and unfavourable an one as it is the fashion to make out. The grand old Scripture passages which Handel, Mendelssohn, and others have set to music testify to this. Yet musical care is needed when singing English words, and especially in pronouncing the "sibilants," as S, &c. These "sibilants" must never be enunciated rapidly, or their ill effects will soon be found in a series of hissings. Let it be your study, then, to avoid this ill effect in singing English words, and to utter such sounds slowly and carefully, with the endeavour to produce a soft and agreeable effect; for it is, indeed, unpardonable to hear an English singer unable to render perfectly the words (if not the music) of his native country's songs and ballads.

Emphasis.—Having accustomed yourself to carefulness over each letter in your pronunciation, the next thing is to study correctness of emphasis, &c. All this is apart from the strictly musical portion of your studies, and, while you can work at this without music, you will certainly spoil the effect of your singing (however good your voice and voice production may be), unless you do so study your "words." I should recommend you to practise reading aloud for not less than a quarter of an hour at a time, say once a day. Read standing; place your book on a desk, on a level with your eyes, and speak out deliberately, and with full tone of voice, and as much variety of intonation as the matter read requires. Shakespeare is your best author for this study. You will feel at first as if you were doing a very absurd thing, but never mind that—do it, and do it as well and as carefully as you can.

Position of the Lips.—In speaking and reading aloud during your preliminary training for singing, be very careful that there be no change in the aperture of the mouth or position of the lips while uttering any one sound, however prolonged. If the lips move from their first position, however slightly, the tone immediately changes, and the pronunciation ceases to be pure and refined.

Study of Words.—The words of a song are as much worthy of the singer's study as the music, that is, if the song is worth singing at all. I do not mean to say that in themselves they must necessarily be of equal merit, but that they require as much attention on the part of the singer to bring out their meaning. Study the text, therefore, apart from the music. Read the words aloud deliberately; master the sentiment of them, and note the prominent words and phrases, so as to be able to give them their due value when you have to combine them with the music. Avoid giving prominence to such words as "of," "for," "the," "and," "in," &c., &c., but yet let each be distinctly pronounced, and not slurred over in an indefinite murmur. Learn the words of your song by memory. Master the text, and consider the whole from an