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For the communication of ideas they are indispensable; nevertheless, being largely noises, they are musically abominable. It follows that voice-production should begin with vowel sounds, and not words not even syllables.
Between the two, however, between mind and body, there lies, like a borderland of fancy, yet most real, the nervous system, crossed and recrossed by the most delicate, the most sensitive filaments ever spun, filaments that touch, caress, or permeate each and every muscle concerned in voice-production, calling them into play with the rapidity of mental telegraphy.
Either he soon would become "hipped" on the subject of innumerable imaginary throat troubles, or his voice-production would become mechanical, which is very different from the spontaneous adjustment of the vocal tract described above. THE GLOTTIS AND VOCAL CORDS VIEWED FROM ABOVE 1, Glottis. 2, True Cords. 3, False Cords. 4, Epiglottis. 5, Base of Tongue.
Thus again is illustrated the intimate connection between psychology and physiology in voice-production, and the necessity of having every function concerned therein so thoroughly trained that every act from mental concept to sounding voice is correctly performed through a habit so thoroughly acquired that it has become second nature.
Consciously or unconsciously, their method was physiological the fundamental principles of the physiology of voice-production were there; but these great teachers knew that individual differences had to be allowed for and that a singing-method is not a shoemaker's last. Sometimes, indeed, it is the pupil who makes the master.
The little concavity between the false vocal bands above and the true vocal bands below is termed the ventricle of the larynx. It allows of more space for the free movements of the bands, especially those more important in voice-production. This is most important, because through it is explained the fact that the vocal bands may be either tensed and lengthened or relaxed and shortened.
The larynx is the most important organ in voice-production, and consists of cartilages, muscles, the vocal bands, true and false, membranes and ligaments, folds of mucous membrane, etc.
The truth is, the home methods of voice-production are those we are most likely to carry with us through life, and, unfortunately, little attention is given to the subject. Sometimes a love of sweet sounds may be a hidden cause for much that would otherwise be inexplicable in an entire career, as in my own case.
Let me say right here, subject to further explanation, that neither of these methods by itself is complete for voice-production and that the correct method of breathing consists of a combination of the three, with the costal, or rib-expansion method, predominating.
The term coup de glotte has been sometimes employed as the equivalent of "attack," and again as the synonym of nearly all that is bad in voice-production. As to this latter, all depends on the sense in which the term is employed.
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