Two captains are chosen and the players divided into equal sides. One side stays in the home goal and the other side finds a hiding place. The captain of the side that is hidden or "out" then goes back to the other side and they march in a stra... Read more of HUNT THE SHEEP at Games Kids Play.caInformational Site Network Informational
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The Great Scale
Nasal Nasal Singing
Resonant Consonants
The Head Voice
The Vowel-sound _ah_
Practical Exercises
The Cure
Singing Covered
The Tongue
Auxiliary Vowels


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Preparation For Singing
The Sensations Of The Palate
The Highest Head Tones
Extension Of The Compass And Equalization Of Registers
Development And Equalization
The Position Of The Mouth (contraction Of The Muscles Of Speech)
Concerning Expression
In Conclusion
The Singer's Physiological Studies
The Sensation Of The Resonance Of The Head Cavities


Random Music Lessons

The Position Of The Mouth (contraction Of The Muscles Of Speech)
The Attack
The Vowel-sound _ah_
The Head Voice
In Conclusion
Sensation And Position Of The Tongue
The Singer's Physiological Studies
Development And Equalization
The Sensations Of The Palate
Italian And German



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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