The Great Scale
Nasal Nasal Singing
The Head Voice
The Vowel-sound _ah_
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)
The Singer's Physiological Studies
The Sensation Of The Resonance Of The Head Cavities
Random Music Lessons
Connection Of Vowels
Equalizing The Voice; Breath; Form
Of The Breath And Whirling Currents
The Head Voice
Italian And German
Before The Public
How To Hold One's Self When Practising
Singing Toward The Nose Head Voice
When the peak of the softest part of the palate is placed forward
toward the nose, instead of being drawn up high behind the nose, as in
the head voice (see plate, head voice and nasal tone), it forms a kind
of nasal production which, as I have already said, cannot be studied
enough, because it produces very noble tonal effects and extraordinary
connections. It ought always to be employed. By it is effected the
connection of tones with each other, from the front teeth back to a
point under the nose; from the lower middle tones to the head tones.
In truth, all the benefit of tonal connection depends upon this
portion of the soft palate; that is, upon its conscious employment.
This is all that singers mean when they speak of nasal
singing--really only singing toward the nose. The soft palate placed
toward the nose offers a resonating surface for the tone.
The reason why teachers tell their pupils so little of this is that
many singers are quite ignorant of what nasal singing means, and are
tormented by the idea of singing toward the nose, when by chance
they hear something about it. They generally regard the voice as one
complete organ acting by itself, which is once for all what it is.
What can be made of it through knowledge of the functions of all the
cooeperating organs they know nothing of.
Blind voices are often caused by the exaggerated practice of closing
off the throat too tightly from the head cavities; that is, drawing
the pillars of the fauces too far toward the wall of the throat. The
large resonating chamber thus formed yields tones that are powerful
close at hand, but they do not carry, because they are poor in
overtones. The mistake consists in the practice of stretching the
pillars too widely in the higher vocal ranges, also. In proportion as
the pillars are extended, the breath spreads over the entire palate,
instead of being concentrated on only one point of it, and bringing at
the same time the resonance of the head cavities into play. The soft
palate must first be drawn up to, then behind, the nose, and the
attack of the higher tones be transferred thither. The pillars of the
fauces must necessarily be relaxed by this action of the soft palate.
Thereby breath is introduced into the cavities of the head to form the
overtones, which contribute brilliancy and freshness to the voice.
Many singers persist in the bad habit here described, as long as
nature can endure it; in the course of time, however, even with the
most powerful physiques, they will begin to sing noticeably flat; with
less powerful, the fatal tremolo will make its appearance, which
results in the ruin of so many singers.
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