SECTION 15.

PATH TRAVERSED BY THE SOUNDING AIR-COLUMN.

The air, which has been expelled from the lungs through the glottis and set into sounding motion by the vocal cords, acquires-on account of the manifold reflection which it constantly undergoes on the way from the epiglottis along the walls of the pharynx and the oral cavity, according to physical laws the same curves and the same dimensions which this canal shows in itself; its direction, therefore, is decided by the position of the walls, between which it takes its course. Apart from the natural walls of this canal the form of the sound-waves depends also on the position of the larynx (higher or lower), on that of the root of the tongue as well as of the tongue generally, and also on the position of the soft-palate; and they are thereby induced to strike with greater intensity in some places than in others.

Let us take, for example, three such points and mark them in our explanation: a, b, c; a is the point where the posterior nasal orifices (posterior nares) are situated; that is, the pharyngo-nasal cavity; b is the soft-palate, and c the hard-palate at the roots of the upper incisors.

As the timbre (that is the real quality of a tone)

of the sounding air-column depends more or less upon the condition of the walls (harder or softer, drier or moister) upon which it impinges, each one of these points, a, b, c, might cause another timbre, because each offers in part at least a different kind of wall.

If the column of sound strikes with greater intensity on point a (the pharyngo-nasal cavity), we obtain the so-called nasal tone.

If the column of sound strikes with particular intensity upon b (the soft-palate), the sound is full but dull, and is permissible only where a dull coloring of the tone is absolutely necessary. (See "Timbre," page 66.)

But in cases where the palatal tone is to be gotten rid of, the point b is of the utmost importance, as a confirmed palatal-tone singer can only rid himself of the palatal tone by directing the sounding air-column upon this point.

If, through the position of the larynx and situation of the tongue, the canal is so formed that the sound-column strikes with more intensity on point c (the hard-palate at the roots of the upper incisors), the sound will be clear and possess the qualities of the best tone to be derived from these vocal organs.

Here, therefore (to express it popularly), will be the right" touch."

The singer, as well as the orator, requires much study to be able to guide the sound-column just to this point. He can readily determine whether or not he has directed the sound-column to this point by observing if at this spot a slight sensation, not unlike a cool breath, is produced.

This manipulation must not be considered very difficult. The Creator has given us such vocal organs that in their normal condition, that is, if we do not misuse the organs, the air-column always strikes with greater intensity against the roots of the upper incisors than it does against any other point without any exertion on our part; and only under falsely developed conditions or through a passion for achieving something extraordinary, do we change the position of the organs and induce a false "touch" and, consequently, an incorrect sound.

If we correctly pronounce the vowel A', we have already the proper tone, for this is nothing else than the correct sound of the vowel A'; as, in fact, correct tone-formation depends solely on the right formation of the vowels.

Only when we can form a clear, correct A' (as in far) are we able to pronounce with ease, and with

out depriving the sound of its purity and fulness, every other vowel with the same clearness, although the position of the tongue and larynx is different from that in A'; for the slight changes in the position of some of the organs, which are necessary in song in the case of certain vowels, are easily learned with a little attention. For instance, that with A (hay) and E (he) the larynx must be lower, and the root of the tongue be pushed somewhat forward and downward, so that the sounds produced with these vowels are not too thin and pointed.

The purity and the accuracy of A' are the principal requisites for speech and song. If we are not able to form a pure A', it is impossible to acquire a correct tone; without a correct formation of sound, however, there can be no correct song. We may, therefore, justly say that, as a correct A' is the foundation of all vowels, the correct formation of sound is the foundation of song.

The hard-palate consists, as its name implies, of a hard, the soft-palate, of a soft mass. The "touch" of the air-column on the third point, c, will, therefore, lend to the sound more metal and hardness; that on the second point, b, more tenderness.

The moving the "point of touch" forward or backward, is left to the judgment of the singer or

speaker who has, in fact must have, the power to determine the course of the air-column, so that it shall strike with greater intensity on this or that spot. The nearer the "point of touch" is brought from c backward to b by a sinking of the larynx, the softer, but also the more obscure, does the tone become; and the farther forward it moves from 6 to c, by raising the larynx, the sharper and clearer do we find the tone.

If the "point of touch" goes beyond c, the tone becomes shrill and completely a dental tone.

SECTION 16.

POSITION AND ATTACK.

We have substituted these terms as the nearest to expressing the German Ansatz and Einsatz.

Until recently, opinions varied greatly concerning the signification of the words position (preparatory grouping of the muscles of the larynx for the production of a tone) and attack (the beginning of the tone). Lately, however, Dr. Carl Stoerk, of Vienna, has furnished new and interesting information, at least in regard to position. In a pamphlet entitled Speaking and Singing,” published in Vienna, 1881, he treats this subject in so excellent a manner, that

it would be futile for us to try to present it in a more