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Updated: May 19, 2025
Professor Hughes at length constructed an adjustable hammer-and-anvil microphone of gas-carbon, fixed to the top of a resonating drum, which articulated fairly well, although not so perfectly as a Bell telephone. Perhaps a means of improving both the volume and distinctness of the articulation will yet be forthcoming and we may be able to speak solely by the microphone, if it is found desirable.
On account of the rounding up of the whole soft palate, which, through the power of habit, is cultivated especially by the French to an extraordinary degree, and which affords the breath an enormous space as a resonating surface to act upon, their voices often sound tremendous. The tenor Silva is a good example of this. Such voices have only the one drawback of easily becoming monotonous.
As I have already said, the idea of "singing forward" leads very many singers to force the breath from the mouth without permitting it to make full use of the resonating surfaces that it needs, yet it streams forth from the larynx really very far back in the throat, and the straighter it rises in a column behind the tongue, the better it is for the tone.
Excepting the chest and trachea the resonance-cavities of the voice are located above the larynx. To the chest as a resonator the low tones of the voice owe much of their great volume. Indeed, the chest is such a superb and powerful resonating box that, if it resonated also for the high tones, these, with their inherent capacity for penetration, probably would become disagreeably acute.
There is no other remedy than a slow, very careful study of the causes of the trouble, which in almost all cases consist in lack of control of the stream of breath through the vocal cords, and in disregard of the head tones, that is, of the overtones; as well as in forcing the pitch and power of the tone upon a wrong resonating point of the palate, and in constricting the throat muscles.
This occurs when the main stream of breath, spreading over against the high-arched palate, completely utilizes all its resonating surfaces. When the soft palate is raised high behind the nose, the pillars of the fauces are lowered, and this frees the way for the main stream of breath to the head cavities. This now is poured out, filling the nose, forehead, and head cavities.
Singing forward, then, does not mean pressing the whole of the breath or the tone forward, but only part of it; that is, in the middle register, finding a resonating focus in front, caused by the lowering of the front of the palate.
With me the throat never comes into consideration; I feel absolutely nothing of it, at most only the breath gently streaming through it. A tone should never be forced; never press the breath against the resonating chambers, but only against the chest; and NEVER hold it back. The organs should not be cramped, but should be allowed to perform their functions elastically.
"The overtone theory of the vowels cannot be correct." In place of this simple theory, Prof. Scripture reaches conclusions too complicated to be given in detail here. A brief outline of the subject must suffice for the needs of the present work. Prof. Scripture found that the nature of the walls of a resonating cavity is of more importance than either its size, shape, or opening.
The sound is feeble, to be sure, deprived of the amplitude which the living performer is able to give it by means of his resonating chambers; none the less, the fundamental element of the song is produced by this anatomist's trick.
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