A̤ or AW.
This element is formed very much like ah. It is ah broadened a little. The jaw drops to a lower point and the mouth-cavity deepens, while at the same time the extension from side to side narrows a little.
Ō and OO.
These sounds are better adapted to securing the use of the thin voice, where pupils have been accustomed to the use of the thick voice, than any other vowel-element. The mouth is well opened back of the lips, which should not be puckered as if to whistle, but relaxed instead.
In actual practice there may be observed a tendency, more or less marked, but pretty sure to manifest itself if practice on one sound is continued too long at a time, to deviate from any one toward some other vowel-element, as ĭ to ē, eh to ĭ, ah to er or er or uh, aw to uh, ō to oo.
If this tendency to deviate from the right tone be permitted, the most slovenly habits will be formed, and all distinctions in vowel-sound disappear. Vowel-practice had better be omitted from class-work unless carefully and conscientiously taught.
If the course of music embraces drill upon scales, vowel-practice may be incorporated into the course easily. For instance, the drill outlined upon p. 70 may one day be given with e for a few moments, then with o. On another day the drill may be upon ah, followed by eh, and so on. It is unnecessary to particularize. Every teacher will at once see how to apply practically vowel-singing to his music course. The exercises and songs may be sung with vowel-sounds. Nearly all books advise the use of la, lo, etc., in vocal exercises; but while that method of singing is unobjectionable, the vocalization of solfeggii, it may be observed, is established by the sanction of time and the experience of thousands of voice-trainers the world over.
The advantages which flow from vocalizing exercises and songs on a single vowel-sound are too many to be described in a word. No supervisor or teacher of music can afford to use do, re, mi, exclusively.
Another class of exercises is now suggested which may be sung upon one breath. They will be found especially adapted to develop flexibility and a ready adjustment of the movable parts of the vocal tube to the positions suited to the formation of the different vowel-sounds. If three sounds are used as here given, they must be sung quite slowly, the change from one sound to the next being made by a quick, easy change of position of the jaw, tongue, etc., but without interrupting the continuity of the tone.
Sufficient pause to obtain a new breath must be made at the end of each group, and the mouth opened properly for the production of the first sound of the next group before it is attacked. The time should be