Most Viewed
The Great Scale
Nasal Nasal Singing
The Head Voice
The Vowel-sound _ah_
Practical Exercises
Resonant Consonants
The Cure
Singing Covered
The Lips
Connection Of Vowels
Least Viewed
Velocity
Theodor Wachtel
Concerning Expression
The Tremolo
In Conclusion
The Tongue
Equalizing The Voice; Breath; Form
The Singer's Physiological Studies
The Sensations Of The Palate
White Voices
Random Music Lessons
Development And Equalization
Before The Public
The Tremolo
Singing Toward The Nose Head Voice
The Position Of The Mouth (contraction Of The Muscles Of Speech)
The Sensations Of The Palate
The Lips
In Conclusion
Singing Covered
Equalizing The Voice; Breath; Form
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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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