X. Vocal vibrations
These directions may be independent of stop and start commands, the memory commands, and multiple action speed adjustment commands. When a pinky is laid against a head on the side where the two different joint creases of the fingernail and fingerprint side are most shallow, so points all along the length of the finger are applying uniform pressure to the scalp, this may command a humming at a certain octave and volume while the RE is breathing out. When the OW's finger stops this pressure, the humming stops. This command would stop all suction while pinky pressure is applied, but this humming makes the vibrations resonate in the RE's teeth and lips where the force would be relatively strongly taken by the OW.
The OW's ring finger applied in the same way, minus the base segment of the finger for practical reasons, may direct suction humming, which can still work with other mouth movements, but the vibrations are much weaker as they resonate mostly in the back of the RE's throat.
[Figure 39-1: Bird's eye view of OW standing, hugging, and humming on the neck of the RE, who is also on their feet. Outer edge, like the face of a karate chop, of whole length of OW's pinky laid across scalp of RE in area like what's blue here. The OW's lips are on the RE's right side of their neck, while the OW's right pinky is on the RE's left side of their scalp. This area on the scalp may be sectioned and displayed like the frets on a guitar, long enough for an octave. Each key may be labeled.]
[Figure 39-2: four columns, three rows. the bottom row could be the keys of much of a keyboard, scaled so each octave would take up the space of a whole column. the middle row would illustrate the OW's hand positions for each octave of exhaling hum: the pinky laid across a scalp taking up the space of one column, the same thing but with the ring finger lapping the pinky and the ring finger tip also making scalp contact for the next column, the same as the prior image but adding the middle finger for the third column, and the same as the prior image but adding the index finger for the final column. the top row would illustrate the OW's hand positions of each octave of sucking hum: pretty much the same thing as the middle row, except there is nothing in the first column, and the next three columns have the ring finger on the bottom with the pinky finger sticking out].
Octaves may be communicated by the number of different fingertips on the OW's right hand that contact the scalp with the pinky at the same time. The most fingertips at once against the scalp may imply the highest or lowest octave. Just the ring or pinky finger laid completely across the scalp as formerly described would be the other end of the range. The pinky would still not be active during sucking instructions as it is not known if 4 or 5 different octaves could possibly resonate in these circumstances.
The range or keys for reference may be communicated as some speakers may have the protective layer on the front of them removed, exposing the part of them that vibrate the most; the series of round parts on some old boomboxes that would play CD's. The RE would place their fingers on one speaker, the OW would place their left hand fingers on the other speaker. Both speakers would be a part of the same stereo system. The OW may place their lips on any part of the RE's body that works for both of them. As a melody is played through the speakers, the OW may hum this melody against the RE's skin, and the RE's head may be used like the face of a guitar neck to communicate where different notes would be commanded. A demonstration of understanding and memory could be made if the RE and OW switched roles, and the music would be turned off.
III. Lips and suction
IV. Outside fingers
V. Penetrating fingers
VI. Composition of maps
VII. Starting and stopping
VIII. Harmonious and holistic speed adjustment
IX. Recording and recalling memory