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The Great Scale
Nasal Nasal Singing
Resonant Consonants
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The Vowel-sound _ah_
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My Title To Write On The Art Of Song
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Preparation For Singing
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Italian And German


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Singing Toward The Nose Head Voice
The Vowel-sound _ah_
Development And Equalization
The Singer's Physiological Studies
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How To Hold One's Self When Practising
Concerning Expression
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Preliminary Practice
Of The Breath



Auxiliary Vowels





Like the auxiliary verbs will and have, [=a], [=e], and oo
are auxiliary vowels, of whose aid we are constantly compelled to
avail ourselves. It will perhaps sound exaggerated when I present an
example of this, but as a matter of fact pronunciation is consummated
in this way; only, it must not become noticeable. The method seems
singular, but its object is to prevent the leaving of any empty
resonance space, and to obviate any interruptions that could affect
the perfection of the tone.

For example, when I wish to sing the word Fraeulein, I must first,
and before all else, think of the pitch of the tone, before I attack
the f. With the f, the tone must be there already, before I have
pronounced it; to pass from the f to the r I must summon to my
aid the auxiliary vowel oo, in order to prevent the formation of any
unvocalized interstices in the sound. The r must not now drop off,
but must in turn be joined to the oo, while the tongue should not
drop down behind, but should complete the vibrations
thus, in a straight line. (See plate.)


It is very interesting to note how much a word can gain or lose in
fulness and beauty of tone. Without the use of auxiliary vowels no
connection of the resonance in words can be effected; there is then no
beautiful tone in singing, only a kind of hacking. Since it must be
quite imperceptible, the use of auxiliary vowels must be very
artistically managed, and is best practised in the beginning very
slowly on single tones and words, then proceeding with great care to
two tones, two syllables, and so on. In this way the pupil learns to
hear. But he must learn to hear very slowly and for a long time,
until there is no failure of vibration in the tone and word, and it is
all so impressed upon his memory that it can never be lost. The
auxiliary vowels must always be present, but the listener should be
able to hear, from the assistance of the oo, only the warmth and
nobility of the tone, from the a and e only the carrying power and
brilliancy of it.





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