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Updated: May 19, 2025
Through the previous preparation of the larynx and tongue, it must reach its resonating surfaces as though passing through a cylinder, and must circulate in the form previously prepared for it, proper for each tone and vowel sound. This form surrounds it gently but firmly.
This means simply the elastic form, which the breath must fill in every corner of resonating surface without interruption, as long as the tone lasts.
The necessary vital organs are extremely small, confined to a mere corner of the body, in order to increase the amplitude of the resonating cavity. Song comes first of all; other matters take the second rank. It is lucky that the Cacan does not follow the laws of evolution.
This fault is met with in very many singers, in all kinds of voices, and in almost the same places. It comes only from an unyielding retention of the same resonating point for several tones and a failure to bring in the resonance of the head cavities. The "propagation form," or continuing form, must always be prepared consciously, for without it artistic singing is not to be thought of.
What that timbre is, is determined by the shape of the resonating cavity or cavities, the shape of which in turn is determined by the shape of the instrument, and in different voices by infinitesimal differences in the shape of various parts of the vocal tract. All instruments of a kind are made more or less on the same pattern and vary but little in shape.
Through the form prepared by the larynx, tongue, and palate, we can direct the breath, previously under control and regulation, toward the particular resonating surfaces on the palate, or in the cavities of the head, which are suitable to each tone. This rule remains the same for all voices. As soon as the breath leaves the larynx, it is divided.
The breath becomes voice through the operation of the will, and the instrumentality of the vocal organs. To regulate the breath, to prepare a passage of the proper form through which it shall flow, circulate, develop itself, and reach the necessary resonating chambers, must be our chief task.
Yet, these registers are nothing more than three disconnected manners of using the vocal and resonating apparatus. With all the bad habits of singers, with all the complete ignorance of cause and effect, that prevail, it is not surprising that some pretend to tell us that there are two, three, four, or five registers, although as a matter of fact there can be at most three in any voice.
Of a knowledge and understanding of the functions of the muscles of the abdomen and diaphragm, which regulate the breath pressure; then, of the chest-muscle tension, against which the breath is forced, and whence, under the control of the singer, after passing through the vocal cords, it beats against the resonating surfaces and vibrates in the cavities of the head.
This divides into two resonating divisions the breath coming from the source of supply, and forced against the chest, whereby it is put under control, as it escapes vocalized from the larynx.
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