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 pronunciatio... Before The Public
In the wide reaches of the theatre it is needful to give an exaggeration to the expression, which in the concert hall, where the forms of society rule, must be entirely abandoned. And yet the picture must be presented by the artist to the public f... Concerning Expression
When we wish to study a role or a song, we have first to master the intellectual content of the work. Not till we have made ourselves a clear picture of the whole should we proceed to elaborate the details, through which, however, the impression o... Connection Of Vowels
How do I connect them with each other? If I wish to connect closely together two vowels that lie near to or far from each other, I must first establish the muscular contractions for [=a], and introduce between the two vowels, whether they lie near... Development And Equalization
Naturally, a singer can devote more strength to the development of one or two connected ranges of his voice than to a voice perfectly equalized in all its accessible ranges. For this are required many years of the most patient study and observatio... Equalizing The Voice; Breath; Form
Through the lowering of the pillars of the fauces, which is the same as raising the soft palate, the outflowing breath is divided into two parts. I have sketched the following representation of it:-- Division of the breath. By raising the ... Extension Of The Compass And Equalization Of Registers
The whole secret of both consists in the proper raising and lowering of the soft palate, and the pillars of the fauces connected with it. This divides into two resonating divisions the breath coming from the source of supply, and forced against th... How To Hold One's Self When Practising
In practising the singer should always stand, if possible, before a large mirror, in order to be able to watch himself closely. He should stand upright, quietly but not stiffly, and avoid everything that looks like restlessness. The hands should h... In Conclusion
The class of voice is dependent upon the inborn characteristics of the vocal organs. But the development of the voice and all else that appertains to the art of song, can, providing talent is not lacking, be learned through industry and energy. ... Interpretation
Let us return to the subject of Expression, and examine a song; for example, Der Nussbaum by Schumann. The prevailing mood through it is one of quiet gayety, consequently one demanding a pleasant expression of countenance. The song picture m... Italian And German
How easy it is for the Italians, who have by nature, through the characteristics of their native language, all these things which others must gain by long years of practice! A single syllable often unites three vowels; for instance, tuoi (tuoy[=e]... My Purpose
My purpose is to discuss simply, intelligibly, yet from a scientific point of view, the sensations known to us in singing, and exactly ascertained in my experience, by the expressions singing open, covered, dark, nasal, in the head, or in the neck... My Title To Write On The Art Of Song
Rarely are so many desirable and necessary antecedents united as in my case. The child of two singers, my mother being gifted musically quite out of the common, and active for many years not only as a dramatic singer, but also as a harp virtuoso,... Nasal Nasal Singing
By raising the back of the tongue toward the soft palate and lowering the soft palate toward the tongue, we produce nasal sound, such as is heard in the pronunciation of the word hanger, for instance. The air is then expelled chiefly through the n... Of The Breath
The breath becomes voice through the operation of the will, and the instrumentality of the vocal organs. To regulate the breath, to prepare a passage of the proper form through which it shall flow, circulate, develop itself, and reach the neces...

The Great Scale Nasal Nasal Singing Resonant Consonants The Head Voice The Vowel-sound _ah_ The Cure Practical Exercises Singing Covered

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