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The Great Scale
Nasal Nasal Singing
Resonant Consonants
The Head Voice
The Vowel-sound _ah_
The Cure
Practical Exercises
My Title To Write On The Art Of Song
The Tongue
Singing Covered


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Preparation For Singing
Development And Equalization
The Highest Head Tones
The Sensations Of The Palate
White Voices
Concerning Expression
Extension Of The Compass And Equalization Of Registers
The Position Of The Mouth (contraction Of The Muscles Of Speech)
Before The Public
The Singer's Physiological Studies


Random Music Lessons

Singing Toward The Nose Head Voice
The Sensations Of The Palate
Practical Exercises
In Conclusion
Sensation And Position Of The Tongue
On Vocal Registers
Nasal Nasal Singing
Italian And German
Velocity
Connection Of Vowels



The Attack





To attack a tone, the breath must be directed to a focal point on the
palate, which lies under the critical point for each different tone;
this must be done with a certain decisiveness. There must, however, be
no pressure on this place; for the overtones must be able to soar
above, and sound with, the tone. The palate has to furnish, besides,
the top cover against which the breath strikes, also an extremely
elastic floor for the breath sounding above it against the hard palate
or in the nose.

This breath, by forming the overtones, makes certain the connection
with the resonance of the head cavities.

In order to bring out the color of the tone the whirling currents must
vivify all the vowel sounds that enter into it, and draw them into
their circles with an ever-increasing, soaring tide of sound.

The duration of the tone must be assured by the gentle but
uninterrupted outpouring of the breath behind it. Its strength must be
gained by the breath pressure and the focal point on the palate, by
the complete utilization of the palatal resonance; without, however,
injuring the resonance of the head cavities. (See plate, representing
the attack.)





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