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These two main cavities are separated from each other by the hard palate, which is a bony floor, covered with mucous membrane, as are all the parts of the resonance-chambers. The hard palate extends horizontally from the gums backward, and is continued as the soft palate.
Looking at it from the physiological point of view, we may say that the one absolutely essential thing for singers and speakers is breathing. Without methods of breathing that are correct and adequate there may be a perfect larynx and admirably formed resonance-chambers above the vocal bands, with very unsatisfactory results.
Each of the various resonance-chambers reëchoes its corresponding tone, so that a single well-delivered note is, in reality, a full choir of harmonious sounds."
In reality, there is a special modification of the shape of the resonance-chambers for every tone produced, and especially when the color or quality is changed, as well as the pitch. There is, therefore, not only "forward" and "backward" but also middle production, though, in reality, these terms at best but imperfectly describe, even for practical purposes, what happens.
But a little consideration must convince the student that if he is to be master of his voice-production throughout, if he is to produce tones of every shade of quality, he must be able to shift that voice about in every quarter as occasion demands; in other words, all the changes possible in the resonance-chambers must be at his command.
It is true, their vocal bands, their wind-power, and the laryngeal muscles are different they are not of the same size, etc. and, in a more remote sense, this is the cause of the differences in the tones they produce; but the immediate cause is to be sought in the resonance mechanism, and, above all, in the resonance-chambers.
It is important that there be control of all parts of the resonance-chambers, and always in relation to other parts of the vocal apparatus. Vowels and consonants are the elements of syllables, and words are composed of the latter. However pure a vowel is, it is accompanied in its utterance by some noise; a consonant, by relatively a great deal of noise.
In this a certain sudden tension of the vocal apparatus is essential. The whole respiratory apparatus, after the breath is taken, is held more or less tense. Though this is the case, the voice-producer will succeed best if he gives attention to the resonance-chambers, after having put the breathing mechanism into the right condition.
Breath is taken in by the voice-producer in order to be converted into that expiratory force which, playing on the vocal bands, causes them to vibrate or pass into the rapid movements which give rise to similar movements of the air in the cavities above the larynx, the resonance-chambers, and on which the final result as regards sound is dependent.
As will be explained later, the form or quality depends largely on the shape, etc., of the resonance-chambers above the vocal bands. Much discussion has taken place from time to time as to the nature of the larynx as a musical instrument, some being inclined to regard it as most closely allied to a stringed instrument, others to a wind-instrument.
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