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Updated: April 30, 2025
When the voice-producer has learned to intonate surely, when the voice is "placed," and the secrets of the registers are known to him, he will do well to experiment a little, cautiously, with his own resonance-chambers, so as to widen his practical knowledge of the principles underlying the modification of tones.
It will also be well for the voice-producer to practise taking very deep and rapid inspirations, followed by the most prolonged expirations. This method of breathing may then be put to the actual test in intonation.
Instead of feeling that the breath passes out, the voice-producer should rather feel, when phonating, as if it passed in an illusion, it is true, but still a safe one. We would again urge that in every instance of phonation in either speaker or singer, the breath be taken through the open mouth. Only in this way can enough breath be inhaled in the mere moment available for this purpose.
This leads to ineffectiveness in the voice-producer and lack of satisfaction in the listener.
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.
The golden mean should be observed; between undue tension, which implies inability to control, whether it be in the larynx or the breathing apparatus, and a looseness inconsistent with neat and certain results, the voice-producer must choose, with that common sense so indispensable to success in all undertakings, but which will never be adequately encouraged till students look more frequently for the reasons of the procedures recommended to them, and teachers strive to gain influence with their pupils by showing them that what they recommend lies beyond their own minds that it, in fact, has its foundation in the laws of Nature.
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.
It is of practical importance to remember that the larynx is free to a very considerable extent, otherwise it would go ill with the voice-producer in the vigorous use of the voice, not to mention the advantages of mobility as well as pliability in the movements of the neck generally. Shows the thyroid cartilage above and the cricoid below both viewed from the side.
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