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Explosives are consonants in uttering which there is complete closure with a sudden opening of the resonance-chambers in front, as in b and p. Representation of the relative position of the parts and the resulting shape of the sounding chamber when the consonants indicated are formed vocally. Vibratives call for an almost complete closure of the door and a vibration of its margin, as in r.
Against this view the author long ago demurred. To Prof. Scripture, however, belongs the credit of demonstrating that the resonance-chambers determine pitch also. It seems probable that the vocal bands so beat the air within the resonance-chambers as to determine the rate of vibration of the air of these cavities, and so the pitch of the tone produced.
These resonance-chambers remain, for many, an apparatus used daily and absolutely essential, yet never examined.
This is also prominent in whispering i.e., the escape of breath, with its corresponding effect on the ear. Whispering is effected chiefly, if not solely, by the resonance-chambers, the vocal bands taking only the slightest part, if any at all.
It is practically helpful to the voice-producer and the teacher to think of the resonance-chambers and the ear as bearing a close relationship to the movements essential to tone-production. The sensations from these parts are of importance above all others in voice-production. They are the chief guides, and the attention may to advantage be concentrated on them.
Hence the author recommends the following practice to all, whatever else they may do or have done. It is to be a test of inspiration, attack, economy of breath, adjustment of the vocal bands, the resonance-chambers, etc.
It was held till recently that the pitch of a vocal tone was determined solely by the number of vibrations of the vocal bands, as if they acted like the strings of a violin or the reed of a clarinet, while the resonance-chambers were thought to simply take up these vibrations and determine nothing but the quality of tone; they were believed not to have any influence on pitch.
The mind must be relieved of any feeling of undue tension, and the result attained by the establishment of a close connection between the ear and the resonance-chambers.
It implies giving a good start to the tone. It is not all, but it is a large half, in the artist and for the auditor. We shall now give further attention to some of the more important parts of the resonance-chambers, in so far as they bear directly on voice-production. In singing and speaking, the larynx should be steadied, but not held rigidly fixed in any one position.
In a few moments one can learn all the essential facts, including that one of great practical importance viz.: that every part of the resonance-chambers is lined by the same mucous membrane which is also continued downward into the larynx and the gullet.
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