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Updated: May 19, 2025
Thus, although vocal tone originates within the larynx, it sets the resonance-cavities into sympathetic vibration, and these produce the harmonics that give the fundamental tone its timbre; the resonance-cavities being to the vocal cords or lips what the body or resonance-box of the violin and the sounding-board of the pianoforte are to their strings, the tube of a cornet or horn to the lips, the body of the clarinet to its reed the resonating factor which determines the overtones and through these the timbre.
The soft palate placed toward the nose offers a resonating surface for the tone. The reason why teachers tell their pupils so little of this is that many singers are quite ignorant of what nasal singing means, and are tormented by the idea of "singing toward the nose," when by chance they hear something about it.
Registers are, accordingly, produced when the singer forces a series of tones, generally ascending, upon one and the same resonating point, instead of remembering that in a progression of tones no one tone can be exactly like another, because the position of the organs must be different for each.
The extremely delicate gradation of the scale of increase of the resonance of the head cavities in ascending passages, and of increase of palatal resonance in descending, depends upon the skill to make the palate act elastically, and to let the breath, under control of the abdominal and chest pressure, flow uninterruptedly in a gentle stream into the resonating chambers.
In short, the resonating mechanism, so highly developed in the common Cigale, is here extremely rudimentary. How then is the feeble vibration of the cymbals re-enforced until it becomes intolerable? This species of Cigale is a ventriloquist. If we examine the abdomen by transmitted light, we shall see that the anterior two-thirds of the abdomen are translucent.
I repeat the warning, not to force several tones upon the same resonating point, but to see that upon each tone the form necessary for succeeding tones is prepared. Neglect of this will sooner or later be paid for dearly. Again, and always, attention must be given that in singing, and in speaking as well, nothing shall be cramped or held tense, except the pressure of the breath against the chest.
It is the air that is already in the cavities that vibrates. All who are acquainted with resonating tubes understand this. Neither is it necessary that the vibrations should be transmitted to the head cavities by way of the pharynx and over the soft palate. They may be transmitted through the bones of the head. John Howard proved this, to his satisfaction at least, many years ago.
The seat of the breath, the law of its division, as well as the resonating surfaces, are always the same and are differentiated at most through difference of habit. The veriest beginner knows that in order to use the breath to the fullest advantage, it must remain very long diffused back in the mouth.
Of equal importance are the unimpeded activity of the whirling currents of sound and their complete filling of the resonating spaces in the back of the throat, the pillars of the fauces, and the head cavities in which the vocalized breath must be kept soaring above the larynx and soaring undisturbed.
That the mouth can act as a resonator may be proved by holding a vibrating tuning-fork of suitable pitch before this chamber when open. The resonating chambers of importance are supra-glottic. Of these the "mouth" including all as far back as the pharynx and the nasal chambers are the principal.
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