The Position Of The Mouth (contraction Of The Muscles Of Speech)
What must my sensations be with the muscles of speech? How shall I
control them?
The best position of the mouth, the means of securing the proper use
of the muscles of speech and of the vocal organs, is established by
pronouncing the vowel [=a], not too sharply, in the middle range of
the voice, and trying to retain the position of the muscles after the
sound has ceased.
This ca
consequently with a strong contraction of the muscles of the mouth,
tongue, and throat, which can be felt to be drawn up as far as the
ears.
In doing so the tongue--as far as the tip--lies of a pretty nearly
even height to the back, the soft palate soars without
arching, but rather somewhat depressed over it.
In pronouncing the vowels [=a] and [=e], the bright vowels, the
full stream of the breath, in the given position, can only partly pass
between the tongue and the palate. The other part is forced--unless
the larynx stands too high and can choke it off--above the palate into
the nasal cavities, to seek its opportunity for resonance.
The path for [=a] and [=e] above the palate is worthy of all
attention as a place for the overtones of the middle voice. If the
soft palate, in the lower middle tones, is forced too far toward the
hard palate, the covered tones are without vibrancy. One must needs
secure the help of the nose especially, when the palate is sunk
beneath the nose, by inflating the nostrils and letting air stream in
and out of them.
I repeat the warning, not to force several tones upon the same
resonating point, but to see that upon each tone the form necessary
for succeeding tones is prepared. Neglect of this will sooner or later
be paid for dearly.
Notwithstanding the strong muscular contraction that the vocal organs
must undergo in pronouncing the vowel [=a], the breath must be able
to flow gently and without hindrance through its form, in order
completely to fill up its resonance chambers. Again, and always,
attention must be given that in singing, and in speaking as well,
nothing shall be cramped or held tense, except the pressure of the
breath against the chest. It is of the utmost importance to maintain
this position for all vowels, with the least possible perceptible
modifications.
How can this be done? A and e are bright vowels, must be sung with
a pleasant, almost smiling, position of the mouth. U and o, on the
contrary, are dark vowels, for which the lips must be drawn into a
sort of spout. Look at the position of the throat in these vowels: (1)
as they are usually sung and spoken; (2) as I feel it, in singing, as
I sing them, and as they must be sung and felt.
More
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Auxiliary Vowels
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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... Of The Breath And Whirling Currents
(SINGING FORWARD) The veriest beginner knows that in order to use the breath to the fullest advantage, it must remain very long diffused back in the mouth. A mistaken idea of singing forward misleads most to press it forward and thus allow it t... On Vocal Registers
What is a vocal register? A series of tones sung in a certain way, which are produced by a certain position of the vocal organs--larynx, tongue, and palate. Every voice includes three registers--chest, middle, and head. But all are not employed... Practical Exercises
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K, l, m, n, p, s, and r at the end of a word or syllable must be made resonant by joining to the end of the word or syllable a rather audible [)e] (eh); for instance, Wandel^e, Gretel^e, etc. A thing that no one teaches any longer, or knows or ... Sensation And Position Of The Tongue
We feel the placing of its tip against or beneath the front teeth; and place the tip very low, so that it really curves over in front. (See plate.) Its hinder part must be drawn back toward the palate, in the pronunciation of every letter. F... Singing Covered
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The head tone signifies, for all voices, from the deepest bass to the highest soprano,--excepting for the fact that it furnishes the overtones for each single tone of the whole vocal gamut,--youth. A voice without vibrancy is an old voice. The mag... The Highest Head Tones
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What must my sensations be with the muscles of speech? How shall I control them? The best position of the mouth, the means of securing the proper use of the muscles of speech and of the vocal organs, is established by pronouncing the vowel [=a]... The Sensation Of The Resonance Of The Head Cavities
The sensation of the resonance of the head cavities is perceived chiefly by those who are unaccustomed to using the head tones. The resonance against the occipital walls of the head cavities when the head tones are employed, at first causes a very... The Sensations Of The Palate
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Big voices, produced by large, strong organs, through which the breath can flow in a broad, powerful stream, are easily disposed to suffer from the tremolo, because the outflow of the breath against the vocal cords occurs too immediately. The brea... The Vowel-sound _ah_
There is much discussion as to whether ah, oo, or some other vowel is the one best adapted for general practice. In former times practice was entirely on the vowel-sound ah. The old Italians taught it; my mother was trained so, and never allowed h... Theodor Wachtel
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Singers, male and female, who are lacking velocity and the power of trilling, seem to me like horses without tails. Both of these things belong to the art of song, and are inseparable from it. It is a matter of indifference whether the singer has ... White Voices
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