Part 3 (1/2)

The proper position of the tongue: the tip rests on the lower front teeth--mine even as low as the roots of the teeth.

The back of the tongue must stand high and free from the throat, ready for any movement. A furrow must be formed in the tongue, which is least prominent in the lowest tones, and in direct head tones may even completely disappear. As soon as the tone demands the palatal resonance, the furrow must be made prominent and kept so. In my case it can always be seen. This is one of the most important matters, upon which too much emphasis can hardly be laid. As soon as the furrow in the tongue shows itself, the tone must sound right; for then the ma.s.s of the tongue is kept away from the throat, and, since its sides are raised, it is kept out of the way of the tone.

[Ill.u.s.tration: Side of the tongue kept high.

Furrow.]

[Ill.u.s.tration: Red line denotes:

Sensation in raising the soft palate for high notes.

Sensation of the form in rapid upward pa.s.sages.

Division of the breath favors the resonance of head cavities.]

It lies flattest in the lowest tones because the larynx then is in a very low position, and thus is out of its way.

[Ill.u.s.tration: Red line denotes sensation of the form in slow progression of tones.]

[Ill.u.s.tration: Red line denotes sensation for the propagation form.]

Furthermore, there is the unconstrained position of the larynx, which must be maintained without pressure of the throat muscles. From it the breath must stream forth evenly and uninterruptedly, to fill the form prepared for it by the tongue and palate and supported by the throat muscles.

This support must not, however, depend in the least upon _pressure_,--for the vibrating breath must float above,--but upon the greatest elasticity. One must play with the muscles, and be able to contract and relax them at pleasure, having thus perfect mastery over them. For this incessant practice is required, increasing control of the breath through the sense of hearing and the breath pressure.

At first a very strong will power is needed to hold the muscles tense without pressure; that is, to let the tone, as it were, soar through the throat, mouth, or cavities of the head.

The stronger the improper pressure in the production of the tone, the more difficult it is to get rid of. The result is simply, in other words, a strain. The contraction of the muscles must go only so far that they can be slowly relaxed; that is, can return to their normal position _easily_. Never must the neck be swelled up, or the veins in it stand out. Every convulsive or painful feeling is wrong.

SECTION VI

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 a.s.sured 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.)

[Ill.u.s.tration: Sensation of pitch.

Red line denotes sensation in the attack.]

SECTION VII