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Not only is the voice-emission pure, but there is no needless fatigue of voice, because all superfluous movement of the glottis is avoided. The "check glottid" or glottic shock, on the other hand, involves an undue effort of the vocal muscles, and the compression of the vocal cords causes irritation.
The "breath-band" advocates hold that the glottic stroke is the key to correct laryngeal action. As a rule they instruct their pupils to attack every tone, throughout all their practising, with the stroke of the glottis. In the course of time the automatic valvular action is supposed to become so well established that the singer can dispense with the glottic stroke in public performance.
Morgan in the same journal mentions the case of a boy of nineteen, who seemed to be affected with laryngeal catarrh, and who exhibited distinct diphthongia. He was seen to have two glottic orifices with associate bands. The treatment was directed to the catarrh and consequent paresis of the posterior bands, and he soon lost his evidences of double voice.
When coughing, swallowing, vomiting, holding the breath tightly, etc., these folds of mucous membrane close over the true bands, often completely, and thus shut up for the moment the whole of that space between the bands known as the glottis, or glottic chink, to which reference was made in a previous chapter as the space through which the air finally gains access to the lungs.
The node caused by vocal weakness or abuse of the natural powers, however, displays an exasperating, and sometimes puzzling, affinity for particular portions of the vocal cords. It is generally found protruding from the anterior and middle third on one or the other side of the glottic opening, or on both, in chronic cases. The other nodes may be found at any place on the cord.
It no doubt acts to keep food and drink out of the larynx, yet in its absence, in some cases, owing to disease, no very great difficulty was experienced, probably because certain muscles acted more vigorously than usual and tended to close up the glottic chink.
When they enter it their vocal tract adjusts itself to it and corresponds with the adjustment employed in it by soprano and tenor. In this register the vocal cords still vibrate along their entire length, but as the voice progresses upward, they show a tendency to shorten the glottic chink, and the cup, as well as the adjustment of the entire vocal tract, tends to become less open.
The glottic chink can be seen from above or below, and should be observed from both view-points. Its margins are formed by the true vocal bands. Then, with the figures before him, the student should endeavor to isolate each of the muscles described.
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