ing the vowel sounds in various ways; and that good tone depends largely upon the ability of the singer to select the best of several different sounds of the vowel and to hold this sound without any change in quality during the entire time that the tone is prolonged. It is comparatively easy to make a good tone with some vowels, but extremely difficult with others, and it is the singer's task so to modify the vowel that is unfavorable as to make it easier to produce good tone in using it. But while thus modifying the actual vowel sound, the integrity of the vowel must at least be sufficiently preserved to enable the listener to understand what vowel is being sung. All this is particularly difficult in singing loudly, and it is largely for this reason that the vocal student is required by his teacher to practise softly so much of the time. Some vowels have two parts (e.g., i = ä + ē), and here it is the singer's task to sustain the part upon which the better tone can be made, sounding the other part only long enough to produce a correct total effect.
CONSONANTSAs noted above, the consonants are in general merely devices for cutting off the flow of vowel sound in various ways, and one of the most difficult problems confronting the singer in his public performances is to articulate the consonants so skilfully that the words shall be easy to follow by the audience, and at the same time to keep the vowel sounds so pure and their flow so uninterrupted that the singing may be perfect in its tone quality and in its legato. It is because this matter presents great difficulty that the words of the singer with a good legato can so seldom be understood, while the declamatory vocalist who presents his words faultlessly is apt to sing with no legato at all. The problem is not insoluble, but its solution can only be accomplished through years of study under expert guidance. Vocal teachers in general will probably dis-
