C

hapter 7

TH E

(MA

NI

PULA

Not only does the setting of the j

a mouth resonance adj

TI

O N)

aw help in the formation of

ustment and thereby reflex

throat, but also tension on the j

ly close the

aw tends to bring the neck

muscles

into action.

Dropping the J

aw

t is important to note that the j

opening is then attained by moving it down and back

of the j

aw occurs then in two phases. F

econd: Down and back

The neck

. The opening

+ : 3: 9  %0 ,$ :

irst: down to a certain point.

e the complete opening, if he is to put the

aw out of function in phonation. (S

Middle or Lock

urther

. The pupil must be able to go through this

middle position and mak

"R5vB| ,

aw swings down more or less

perpendicularly until a certain point of opening is reached. F

Position and Neck

ee F


  
 
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ig. 28.)

Muscles

muscles can be brought into tension very easily, by

means of tension on the j

aw, when it is in the middle, or lock

ed,

position. W hen it is completely opened, it is almost impossible for

the singer to tense his neck

muscles of the j

aw. I

muscles by means of tension on the

muscles in this manner when the j

ee F

aw is nearly closed, as when it is

Y " "
 

 
 
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ig. 29.)

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

in the middle position. (S

rkmmVgQ xSG &>

t is not nearly as easy to tense the neck

t is important to observe the physiological relationship between

the tensing of the j

muscles. I

aw and the bringing into tension of the neck

t will be seen that the setting of the j

of the vowel (i.e., mouth resonance adj

logically with the neck

aw for the formation

ustment) associates physio-

tension employed in throaty singing and

vice versa.

nother important point arises when we realize that it is from

the middle position of the j

aw that the neck

tension can most readily

be developed and it is also from this position of the j

aw that most

of the mouth vowels are formed.

140

)VEE_G kq (kC\ 0kuVxVkg >gE ,GC\ )~uC_Gu

,
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Q D >W 7 I L >P F 8 C > 5 < > :3 E

ig. 28

The Properly O pened J

aw

This illustration indicates the proper position of the j

aw and lips when

complete opening has been attained. The singer should always either sing

with his mouth almost closed or with it wide open in this position.

Note that the corners of the lips are drawn tight and that the mouth is

more or less rectangular. S

back

. This final down and

gesture is essential. The head is raised and is not stuck

dropped or thrown back

ome of the teeth, upper and lower, are showing. The

aw has been pulled down and then down and back

out, pulled in,

. There is no pursing or spreading of the lips.

t is impossible for the singer to produce free, open tones until the j

aw has

been completely released in this manner.

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

"

Amj $,Ulb Rbv Pbba )1gl

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/,/6/9*;'8;



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@ 8 6A . ; <6=Q: D Q7 4 - 2 4 0,8Q

ig. 29

Middle or "

This shows the worst j

Lock

ed"

Position of the J

aw

aw position which the singer can assume. H ere the

aw has been dropped into the middle position and not pulled down and

back

The j

. Notice that it is somewhat stuck

out and is in a high state of tension.

aw drops easily into this position and does not "

tension until phonation has been initiated. I

lock

t is from this j

"

or come into

aw-lock

that all the

worst forms of constricted technic emanate.

rom this j

aw-lock

into tension. J

, the muscles of the neck

position of the j

aw. The neck

Tongue and J

aw Lock

lock

ed,"

muscles cannot be actuated from the j

it is fully opened in the manner shown in F

5c

can most efficiently be brought

aw tremolos, etc., emanate primarily from this "

middle

aw when

ig. 28.

(Middle Position)

till one other point becomes apparent in this connection: R

elax

a-

tion of the tongue muscles is associated with this middle position

into which the j

to draw back

aw drops when it is relax

sets in the middle, or lock

NG} %N77U>} _h}
$_5R>7} (_mMqM_]} _@} qI>} "1y}

ed. H ence, the tongue tends

(up or down), and close the throat, when the j

position. Thus, when the j

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aw

aw is dropped

into the middle position the tongue is apt to recede into the throat

and the neck

muscles come into action, so that relax

tongue and j

aw at the moment of attack

ation of the

manifests itself in the

establishment of all the tensions necessary for absolute constriction

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

(throaty singing).

aw Tremolo

The complete opening of the j

aw is often difficult to accomplish.

W here the pupil has been subj

ing, his j

ected to a course of incorrect train-

aw may have become very rigidly lock

ed. This lock

nearly

always occurs in the middle position. To find this dangerous middle

position, the j

aw is merely relax

without any effort

ed dropping of the j

manifests itself in phonation as tension in its worst form

142

#IF6X0` )F/` )[` I->` ://A0` IQ;S;IF`

ed and dropped as far as it will go

hung. Thus, the relax

aw

aw lock

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I

t is from this middle position that all of the most pronounced and

harmful j

aw lock

s emanate. The most disagreeable j

(tetanic flutter of the j

aw tremolo

aw), a most pernicious fault, always occurs

from the middle, or lock

ed, position. I

t is often accompanied by a

tongue tremolo, because it usually starts as a tongue tremolo from

which the tetanic tension spreads to the j

to shak

e. S

uch tongue and j

aw which then also starts

aw tremolos, in a pronounced form, may

produce a pitch flutter of a fifth or even more. This flutter may

be as slow as three a second. I

and is very inj

t is most disagreeable to listen to,

urious to the vocal apparatus. I

throatiness accompanied by intense j

t indicates ex

aw and neck

treme

tension as well

as tension on the tongue muscles which are antagonistic to the genio-

hyo-glossus muscles. I

and neck

t is always accompanied by ex

tension and often, but not always, by mix

aw and Lips

n all these cases, the j

treme throatiness

ed registration.

aw must be completely released

or the pupil can never learn to sing. W hen the j

opened

aw is fully opened,

the corners of the lips are tight. This tightness is only indicative of

complete j

aw opening when the lips are slightly raised off the teeth

and not spread or over-pouted. (S

ee F

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e #>\#`Oe I((YNOe
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e KIO8U8IBe Ue 9Oe I-U+Be #((IAK#B8+)e &`e #e
UIB1Y+e UN+AI>I
e &+(#YO+e 9Ue YOY#>>`e OU#NUOe #Oe #e UIB1Y+e UN+AI>Ie -NIAe
\29(2e V+e U+U#B8(e U+GR9IBe OKN+#)Oe UIe U2+e ;#\e \29(2e U2+Be #>OIe OU#NUOe
UIe O2#<+e Y(2e UIB1Y+e #B)e ;#\e UN+AI>IO
e 9Be #e KNIBIYB(+)e -INA
e A#`e
KNI)Y(+e #e K8U(2e YUU+Ne I-e #e /-U2e INe +[+Be AIN+e !29Oe 0YUU+Ne A#`e
&+e #Oe O>I\e #Oe U2N++e #e R+(IB)e Ue 9Oe AIOUe )8O#1N++#&>+eUIe >9OU+Be UI
e
#B)e 8Oe [+N`e 9B;YN9IYOe UIe U2+e [I(#>e #KK#N#UYOe Ue 9B)8(#U+Oe +^UN+A+e
U2NI#U8B+OOe #((IAK#B9+)e &`e 9BU+GR+e ;#\e #B)e B+(<e U+BO9IBe %Oe \+>>e
#Oe U+BO8IBeIBeU2+e UIB1Y+e AYO(>+Oe \28(2e #N+e #BU#1IB8OU8(eUIeU2+e 1+B8Ia
2`I 1>IOOYOeAYO(>+Oe Ue9Oe #>\#`Oe#((IAK#B8+)e&`e+^W+A+eU2NI#U9B+OOe
#B)eB+(<eU+BO8IBe #B)eI-U+B
e&YUeBIUe#>\#`O
e&`eA8^+)eN+18OUN#U9IBe

ig. 28.) They can be tightened

by mere spreading, but under these circumstances, the j

 !# # #

aw is not

to lock

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

fully opened. This gesture is generally harmful, because it tends

the j

aw and shape the mouth for a "

(throaty tone). (S

m:

ee F

white,"

mouthed vowel

ig. 30.)

^ ^ W

ig. 30

ncorrect Mouth Positions

This shows the spread lips and lock

erally produces a "

white,"

ed j

aw of the throaty singer who gen-

or shrill, throaty tone. Note that the j

aw is more

or less in the middle position and the lips are spread and shaped for the

vowel. This position of the j

correct.

143

aw and lips never occurs when the technic is



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5
(KGj 
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5BC64DG

>

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M;8;D-@X+30>
&  (  " # %X !  X       X

ig. 30

ncorrect Mouth Positions (continued)

This shows the pursed lips and lock

ed j

is throaty and who generally produces a thick

aw of the singer whose technic

, throaty tone. Note that the

lips are pursed and the corners drawn in, and that the teeth are, in this case,

completely covered. I

n some cases the upper lip can be drawn up by means

of the nose and some teeth may show. This pursed position of the lips pulls

in the cheek

tone. I

s and forms a mouth cavity for the production of a thick

ig. 30

ncorrect Mouth Positions (concluded)

H ere the j

aw is lock

position of the lips and j

ed and the corners of the lips are pulled down. This

aw is always associated with a horribly throaty tone.

s a result of this mouth position very great tension is induced in the muscles

of the neck



, throaty

t never occurs when the technic is correct.

large variety of wrong j

these four cases (the j

aw and lip positions could be illustrated, but

aw lock

ed in the middle position, the spread lips, the

pursed lips and the lips with the corners pulled down) indicate the four

most freq

uently encountered types of j

aw-lock

G

and mouth-vowel positions

(KGj 
-S>VZZD>_j /Vd_Jj0V]K_KVS]j>VScSdD?j

employed when the technic is throaty. O f course, many throaty singers em-

aw set and lips position and in virtually every case of

throaty singing the j

aw is found to be lock

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

ploy more than one j

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4,*
F 4F *=0F ,903F >*F 4F 4*"F #3F ,004F

ed.

1 5

(>

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F "3F
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M;8;D-@X+30>
&  (  " # %X !  X       X

Io]^ N^ b T^ N N ygy^ P^ b Vyf^^ }N

There are, of course, an almost infinite number of different j

NV y yy oyTo TT y T#VyNy yo o^ VTy

b N oN ^) Io^ V^gy^ ^NV NV o^ T^V
^V ^V y TT b^^) 9o^ y ^

aw

and lip positions which occur in co-ordination with the production

of a throaty tone. The definitely spread and the pronouncedly

pursed, or pouted, lips occur most freq

uently. A

nother lip "

set,"

oyTo y b^ P^^V y NTyN^V yo N o ^ yy

yoyToo^T^ bo^ y N^ ^V V NVo^ ^^^o
N^ ^yo^ T^^ T^^V ^ y^ VyN^V&  G^^
<yl- ;
;
<R b o^ yVV^ ^ NV o^ o^ yT ^

which is often observed, is associated with a mouth, vowel position

in which the corners of the lips are pulled down and the lower teeth

are either completely covered or very prominently displayed. (S

ig. 30 C

or most of the middle tones, and when the music moves too

ee

.)

rapidly for the singer to be able to open his j

aw completely, a

relatively closed position should be maintained. I

aw is dropped slightly and the lips are held

away from the teeth

upper and lower

obtrusively stuck

ig. 31. I

NyV b o^ yl^ P^ NP^ ^ oy }N T^^ N

X:N1bDf:Nil 4NU^:6l yy oV P^ NyNy^V& A oy ^Ny^
T^V yy o^ }N y V^V ylo NV o^ y N^ o^V

n this relatively

closed position, the j

but they should not be too

out, pouted or spread. This position is shown in

NN b o^ ^^o ^ NV ^ P o^ oV P^
Py^ T~  ^V ^NV. Ioy yy y o y

n both the open and closed positions (the only two posi-

tions which the singer should assume during phonation) there

should never be the slightest sense of shaping the lips or cheek

or setting the j

s,

<yl&  ; A Poo^ ^ NV T^V yy  o^ y

y oyTo o^ yl^ oV N^ Vyl oNy  o^^

aw for the resonation of the vowel.

f the voice is pharyngeally resonated, the tone need not become

throaty when the j

oV ^^ P^ o^ ylo^ ^^ b oNyl o^ y To^^~

^yl o^ }N b o^ ^Ny b r^ ^0

aw stops in the middle position. H owever, this

position is always dangerous. This is an advanced stage of develop-

at any earlier stage, the middle position is most harmful.

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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

ment;

Abo^ yT^ y oNl^N ^N^V o^ ^ ^^V P^T^

oN o^ o^ }N y o^ yVV^ yy' >^^ oy

ctually, one never sees a really great singer assume the middle

position of the j

aw, or "

set"

his lips for the resonation of the vowel

yy y NN VNl^) Ioy y N NVNT^V Nl^ b V^^

^6 N N ^Ny^ Nl^ o^ yVV^ yy y oNb.
9TN ^ ^^ ^^ N ^N l^N yl^ N^ o^ yVV^

during phonation.

The j

aw can be completely opened only when the lips are opened

and neither spread nor pouted. I

nversely, if the opening of the j

aw

is absolutely complete, the lips must perforce assume a virtually

yy b o^ }N ^ oy y b o^ ^Ny b o^ ^

correct posture.

The lips and cheek

s control the distance to which the j

aw can

Vyl oNy)
Io^ }NTN P^ T^^ ^^V o^ o^ y N^ ^^V
NV ^yo^ ^NV ^V) A^^ p o^ ^yn b o^ }N

be opened. W hen the lips are spread and the corners of the lips

are drawn, or pouted, together, the degree to which the j

aw can be

opened is definitely curtailed. Therefore, the position of the lips

is of maj

or importance in the "

Dropping the J

W hen the j

opening up"

r NP^ T^^ o^ y ^bT^ N4^ N yN

T^T ^(
Io^ y NV To^^~ T/o^ VyNT^ oyTo o^ }N TN
P^ ^^V& Lo^ o^ y N^ ^NV NV o^ T^ b o^ y

process.

aw

aw is being dropped, the opening gesture should

always be made in one movement, passing completely and rapidly

through the middle position. I

t should never, under any circum-

stances, stop or hesitate in this position. The opening movement

N^ VN ^Vl^o^ o^ V^l^^ oyTo o^ }N TN P^

^^V y V^gy^ TNy^V0 Io^^b^ o^ yy b o^ y

should be made definitely, as a single, unhurried gesture, without

erk

145

ing or "

stick

ing"

on the way down. I

f the singer fails to go right

y bN} yNT^ y o^ ^yl  T^(

LIJJ:H8\P93\,Y\
Lo^ o^ }N y P^yl V^V o^ ^yl l^^ oV
NN P^ NV^ y ^ ^^ Nyl T^^ NV NyV

bBXUdABl o^ yVV^ yy0 A oV R:f:Xl V^ N TyT

NT^ o^yN^ y oy yy( Io^ ^yl ^^

oV P^ NV^ V^gy^ N N yl^ oy^V l^^ yo

}^~yl yT~yl o^ N V. Abo^ yl^ bNy l ylo

;

/;

8J
F

ig. 31

orrect, R

elatively C

The singer should either have his j

losed Position of the J

aw

aw completely opened, as in F

sing with it relatively closed, as indicated in this illustration. I

ig. 28, or

t is, of course,

impossible for him to open his mouth all the way and articulate when the

notes are of short duration. Under such circumstances the j

dropped, but should remain in the position indicated above. A

aw should not be

ctually, the

singer should seldom, if ever, open his mouth for the production of middle






 






tones.

Note that the lips are neither spread nor pursed and that the teeth are

showing, but that only a small amount of both the lower and upper teeth is

uncovered. The lips are held away from the teeth but not unduly stuck

The j

lock

ed"

EJ

/J FJ



position.

GJ

 


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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

'

out.

aw is opened slightly but not far enough to come into the middle,

%XN "q{|B; 1Bd5\Bd "dqB? 0qVVtj qF QB *5

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through the middle position, he is generally unable to complete

the opening gesture and his j

aw lock

s in this position. The tone will

then almost inevitably become throaty. W hen the j

aw is being

closed, the closing gesture also must be made in a single, relatively

relax

ed, movement. The opening tension must be relax

Passing Through J

aw Lock

ometimes the j

bad training. I

"

ed and the

aw allowed to close, practically the whole way, with a single gesture.

lock

"

aw is badly articulated naturally, or because of

n such a case it is very apt to catch or "

set"

)QQ:F6` #8OIX68` )[` I->`

in the

position, until the pupil stretches the ligaments and learns

V
) 
F  0

; 6 

p  
 
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R

60

R

,! 

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to pass through this position into complete opening with a single

uncheck

ed gesture. I

n such cases, the closing gesture must be

made with the greatest possible degree of relax

the j

ation especially while

aw is passing through the middle position.

W hen pharyngeal resonance adj

lished, the j

ustment is completely estab-

aw is out of action, under which circumstances the

singer can produce a free, "

open"

including the middle position. I

tone with his j

t lock

aw in any position,

s when there is a tendency

for the singer to form mouth vowels, i.e., produce throaty tones.

aw Manipulation

The teacher can force a complete opening of the j

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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

the thumb of his right hand on the pupil'

and fifth fingers behind his neck

the middle position, back

aw by placing

s chin and the third, fourth

and pulling down and then, through

and down, while he holds up his head

with the thumb and middle finger of the left hand. The teacher

should hold the pupil'

32A

s face j

ust below the cheek

bones. (S

ee F

ig.

& B.)

)[`  )F:KYA)S:IF`

The head must not, under any circumstances, be allowed to move

in any direction while this manipulation is being made. I

t must be

held absolutely still, otherwise, when the teacher pulls the j

down and back

chok

, he may push the head back

s head go back

to bring the neck

muscles into tension j

the "

, and thereby not only

e off the tone, but also actually hurt the pupil'

may let the pupil'

down"

=
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aw

s larynx

or he

too far and this movement serves

ust as definitely as would

movement. The left hand must hold the head in position

firmly and inhibit any movement whatever of the head.

The head must be held up in the position in which the neck

as long as possible. I

f it is allowed to drop, or go back

shortened and the neck

147

is

ward, it is

muscles tend to come into tension.

!c

 545?6B1C .C




c>635C: 9 C2=;C

* ! +  & ( )C %  C      ! C

elax


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? 

8 A
4
4
4 



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8 A4" 

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e     4

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ed muscles are long. Tense muscles are contracted, or

shortened. Thus, holding the head up with his left hand, the teacher

can pull the j

aw down with his right hand, by pulling down and

then down and back

swing of the j

firmly, through the "

lock

"

position. The down

aw should be started rather slowly and accelerated

as it passes through the middle position. W hile this manipulation

is being made the pupil'

ig. 32

s lips must be held slightly out, away from

aw Manipulation

The thumb and third finger of the left hand are placed j

two cheek

ust below the

bones and the head is raised into the proper position and held

absolutely still. The thumb of the right hand is placed in the center of the

chin and the third, fourth and fifth fingers behind the neck

. The j

aw is then

pulled down all the way through the middle position with a firm, well-defined

gesture. The head must not be allowed to move in the slightest degree or

the manipulation may become dangerous. The opening of the j

aw must be

absolutely complete so that the corners of the lips are tight. The lips must

be slightly raised from the teeth and neither spread nor over-pouted.

This manipulation may be somewhat uncomfortable or even painful when the

ligaments req

uire stretching and the j

aw is badly lock

ed. I

t is generally

absolutely essential, because it is impossible for anyone to learn to sing cor-

rectly until the j

aw has been completely freed.

fter the stiffness and lock

have been work

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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

little or no discomfort is ex

ed out of the student'

sj

aw,

perienced when the manipulation is made.

W hen complete opening has been established by means of manipulation, the

pupil must be forced to mak

e this gesture, whenever necessary, without as-

sistance.

>

148

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(1gl +1RDVdM1bDTRl
G=. k=sP( $R+ k=A`+ 8R:.` W4 k=. L.4k =$R+ $`. XL$).+ Gsik (.LWy k=.
kyW )=..H(WR.i $R+ k=. =.$+ Ai `$Ai.+ ARkW k=. X`WX.` XWiAkAWR $R+ =.L+
$(iWLsk.L} ikALL =. k=sP( W4 k=. `A:=k =$R+ Ai XL$).+ AR k=. ).Rk.` W4 k=.
)=AR $R+ k=. k=B`+ 4Ws`k= %R+ 84k= 8R:.`i (.=AR+ k=. R.)H =. G$y Ai k=.R
XsLM.+ +WyR $MM k=. y$} k=`Ws;= k=. OA++L. XWiAkAWR yAk= $ g y.LL
+.8R.+
<.iks`. =. =.$+ Osik RWk (. $LLWy.+ kW OWw. CR k=. iLA;=k.ik +.:`.. W`
k=. P$RAXsL$kCWR P$} (.)WP. +$R:.`Wsi =. WX.RAR; W4 k=. G$y Osik ]
$(iWLsk.L} )WPXL.k. iW k=$k k=. )WQ.`i W4 k=. MAYi $`. kA;=k =. MCXi Osik
(. iLA<=kL} `$Ai.+4`WP k=. k..k= $R+ R.Ak=.` iZ`.$, RW` Ww.`XWsk.+
=AiO$RAXsL$kAWR P$}(.iWO.y=$ksR)WO5W`k$(L. W` .w.R X$AR4sM y=.R k=.
MA<$P.Rki `._sA`. ik`.k)=BR< $R+ k=. G$y Ai ($+L} LW)H.+ k Ai :.R.`$LL}
$(iWLsk.L} .ii.RkA$L (.)$si. Ak Ai APXWiiA(L. 4W` $R}WR. kW L.$h kW iAR: )W`~
`.)kL} sRpL k=. G$y =$i (..R )WPXL.k.L} 4`..+
4k.` k=. ikA7R.ii $R+ LW)H =$w. (..R yW`H.+ Wsk W4 k=. iks+.Rki G$y
MAkkM. W` RW +Ai)WP4W`k Ai .{[.`A.R).+ y=.R k=. O$RAXsL$kBWR Ai P$+.
#=.R )WPXL.k.W\.RAR: =$i (..R.ik$(LAi=.+ (} P.$Ri W4 P$RAXsL$kAWR k=.
XsXAM Osik (. 4W`).+ kW P$H. k=Ai <.iks`. y=.R.w.` R.).ii$`} yAk=Wsk $i
iAik$R).


;

his teeth, neither spread nor over-pouted. W hen the j

stick

, or crack

, at the lock

L 
$ "L #> 

! #
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9$
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aw tends to

point, the teacher must be ex

tremely

careful not to allow it to come down and out too far when he is

pulling through the lock

point, or he may dislocate it. H e must

perform this manipulation firmly, smoothly and definitely, and

carefully.

W here there is a crack

this crack

of the j

aw at the middle, or lock

must be carefully and completely "

work

, point,

ed"

out. The

process is not an easy one, but it can nearly always be mastered.

TH UMB,

LI

GH T H A

TTLE

ig. 32

GH T H A

ND

NGE

ND

aw Manipulation (concluded)

The thumb of the left hand is placed under the right cheek

the third finger of the left hand under the left cheek



right hand is placed on the chin. The little finger of the right hand is placed

at the back

of the neck

chin to the back

. H owever, if the distance between the point of the

of the neck

is short enough, the third, fourth and fifth fingers

of the right hand should be placed at the back

of the neck

The head is raised and held up by the left hand and the j

149

as shown in A

aw is pulled

all the way by the right hand.

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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

down and back

h z N
sW_ i I | S

bone and

bone. The thumb of the

   J

.7%61

  " F 

 




IJ

t k sX ` k | f Y 
kfj jI|T

%VO 
+5 .5jVvc5Vqj
;qj;c>A>
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dM ciH U~bL P cL wLP c:~H ~HL cL wLP CcLLuA~L 3cL c|B Q cL

nYc d:~H n w:CLH ~ cL Cch~ 3cL wnzL U~YL P cL nYc c:~H n w:CLH
: L B:Cu Q cL ~LCu ;ee nP cL Hn:~CL ALLL~ cL n~ Q cL
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Q cL n_c c:~H cwH AL w:CLH : cL A:Cu Q cL LFu : c z 3
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The complete opening of the j

aw by the teacher may, at first, be

somewhat painful to the pupil, but as soon as the j

aw has been

released, no distress whatever is felt. W hen the release has been

established, the manipulation can be abandoned. H owever difficult

the releasing of the j

the technic is shirk

aw may be, it must be done. I

ed, the pupil'

f this phase of

s voice will, inevitably, always be

throaty. The teacher may have to ex

ert a considerable effort in

order to accomplish this manipulation.

o-ordination

n dealing with head and chest movements and with the j

lock

aw

, 
 
5
  W *  

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  $   

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*+ ,
 
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+

, etc., it is important to remember that phonation is a single

co-ordinated act. Thus, if a certain group of muscles has been used

j jrFVg>xVjg

in co-ordination for a certain act, when any part of this co-ordination

occurs, the entire co-ordination will come into effect reflex

ly. Thus,

a movement of the chest will start the co-ordinate cycle which

results in the production of a throaty tone and, as soon as this ges-

ture occurs, the tongue will relax

and move back

the muscles of the thorax

will "

give"

resonation of the vowel. S

imilarly, the lock

, the glottis open,

and the j

aw will set for the

ing of the j

aw will bring

about the muscular co-ordination which determines a throaty tone.

ven a lip gesture for the resonation of the vowel may start this

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

co-ordinate cycle and set in action the entire co-ordination for

throatiness. I

t will be seen then how alert the teacher must be, if

he is to inhibit all the gestures which may start off the cycle which

throws the voice into the co-ordination for throatiness. S

is highly personal, and the teacher must k

uch work

now and understand

every peculiar and characteristic gesture, which brings this throaty

cycle into action, in the case of each individual pupil. There are too

many different phases of this sort of thing to discuss it ex

here.

W hen the technic is good, the breathing muscles "

haustively

hold,"

the base

of the tongue is held firmly in position, the glottis closes and the

pressure of the breath is, therefore, held against this closure of the

glottis. The system must be k

Throaty Technic

Neck

ept in a state of eq

W hat happens in throaty singing?

then drawn back

uilibrium.

W histling

The tongue is relax

to the posterior wall of the pharynx

tion it is held in a high degree of tension

ed and

in which posi-

it may be raised or

dropped. The glottis is not closed by means of the arytenoid muscle,

150

Y  5    H 
  

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but this closure is attained because the vocal cords are sq

together by means of tension on the neck

the neck

muscles. I

muscles hold a constriction at the larynx

ueezed

n other words,

, and breath

is blown through this constriction. W hen it is blown hard, a rela-

tively loud noise occurs. W hen it is blown more gently, the intensity

is reduced. But, actually, what is this form of sound production?

urely it is merely a form of laryngeal whistling!

singing at all!

t is not really

n the old days of vaudeville we heard many pharyn-

geal whistlers, who blew through a constriction of the pharynx

and could even produce a tremolo with the tongue. This form of

whistling was q

uite powerful and rather agreeable to listen to.

Going one stage further: Throaty singing is ex

ex

actly the same thing,

cept inasmuch as the constriction is moved down a stage further

to the larynx

and, under these circumstances, vowels can be reso-

nated by the mouth. Pharyngeal whistling, however, does not inj

the larynx

ure

laryngeal whistling does!

H ere, then, we have a very significant viewpoint. There are funda-

mentally two forms of voice production. O ne form is legitimate

singing, which follows the laws presented in this book

and which

was brought to a high state of perfection by such artists as C

Destinn, Melba, K

such as "

"

neck

by Lunn, S

whistling"

singing in the masq

voice placement,"

"

t may be called by complimentary terms,

ue,"

diction singing"

or "

"

producing head or covered tones,"

forward voice production,"

terms, when performed softly, such as "

"

aruso,

ammarco, etc. The other form is

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

merely "

irk

mezza voce,"

radio technic."

etc., or by other

"

crooning,"

Nevertheless, this type of sing-

ing, which is almost universal today, may well be designated as

"

neck

151

whistling."

 
 
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