This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
of the vocal organs | 122 |
at the same time | 114 |
in the case of | 83 |
the use of the | 77 |
the art of singing | 76 |
of the vocal cords | 75 |
the muscles of the | 61 |
is one of the | 60 |
use of the voice | 58 |
on the other hand | 58 |
of the voice is | 49 |
the back of the | 48 |
the quality of the | 48 |
one of the most | 47 |
the correct vocal action | 46 |
the action of the | 45 |
of the art of | 41 |
the position of the | 41 |
of the vocal bands | 41 |
on the part of | 40 |
knowledge of the voice | 40 |
of the vocal mechanism | 37 |
is the result of | 37 |
as a matter of | 36 |
there can be no | 36 |
in the same way | 36 |
as well as the | 35 |
of the vocal ligaments | 35 |
at the end of | 34 |
the resonance of the | 34 |
to be able to | 34 |
a great deal of | 34 |
the upper part of | 34 |
of the vocal tract | 34 |
the study of the | 33 |
the part of the | 33 |
in the use of | 31 |
the end of the | 31 |
by the use of | 31 |
upper part of the | 31 |
the tones of the | 30 |
it is necessary to | 30 |
the fact that the | 30 |
the training of the | 30 |
it is to be | 30 |
of the vocal action | 30 |
koo koo koo koo | 30 |
the sense of hearing | 29 |
for the production of | 29 |
it is possible to | 29 |
and at the same | 28 |
of the old italian | 28 |
pillars of the fauces | 27 |
the metropolitan opera house | 27 |
the production of the | 27 |
it is impossible to | 27 |
of the soft palate | 26 |
in the art of | 26 |
in the course of | 26 |
of the human voice | 26 |
adjustment of the vocal | 26 |
the old italian method | 26 |
the movements of the | 26 |
the old italian masters | 25 |
the level of the | 25 |
the middle of the | 25 |
as soon as the | 25 |
resonance of the head | 25 |
the air in the | 25 |
a matter of fact | 24 |
that is to say | 24 |
is by no means | 24 |
at the age of | 24 |
of the head cavities | 24 |
the cavities of the | 24 |
must be able to | 24 |
in singing and speaking | 23 |
the registers of the | 23 |
a part of the | 23 |
the development of the | 23 |
tones of the voice | 23 |
the pillars of the | 23 |
the idea of mechanical | 23 |
the nature of the | 22 |
to do with the | 22 |
cavities of the head | 22 |
the vocal cords are | 22 |
empirical knowledge of the | 22 |
of instruction in singing | 22 |
management of the voice | 22 |
on the subject of | 22 |
as i have said | 21 |
to the fact that | 21 |
position of the larynx | 21 |
of the muscles of | 21 |
of the mechanical idea | 21 |
the art of song | 20 |
the work of the | 20 |
the singer must have | 20 |
the front of the | 20 |
it will be found | 20 |
action of the vocal | 20 |
the manner in which | 20 |
the pitch of the | 20 |
tension of the vocal | 20 |
for the purpose of | 20 |
the shape of the | 20 |
the old italian school | 20 |
the voice must be | 20 |
so far as the | 19 |
in the production of | 19 |
the vibrations of the | 19 |
quality of the tone | 19 |
the meaning of the | 19 |
of mechanical vocal management | 19 |
it seems to me | 19 |
should be able to | 18 |
a large number of | 18 |
in the formation of | 18 |
for a long time | 18 |
it will be seen | 18 |
of the vocal art | 18 |
for the most part | 18 |
registers of the voice | 18 |
control of the breath | 18 |
the roof of the | 18 |
the sound of the | 18 |
mechanical management of the | 18 |
for the sake of | 18 |
the adjustment of the | 18 |
principle of artistic singing | 17 |
of the tongue and | 17 |
the character of the | 17 |
in order that the | 17 |
the removal of all | 17 |
operations of the voice | 17 |
is not to be | 17 |
by means of the | 17 |
in this way the | 17 |
the operations of the | 17 |
roof of the mouth | 17 |
training of the voice | 17 |
idea of mechanical vocal | 17 |
part of the vocal | 17 |
it is true that | 17 |
of the fact that | 17 |
the rest of the | 17 |
in the form of | 17 |
the formation of the | 17 |
the management of the | 17 |
one of the greatest | 17 |
of the voice and | 17 |
is due to the | 17 |
muscles of the larynx | 17 |
in regard to the | 16 |
the vocal bands are | 16 |
in a state of | 16 |
removal of all restraint | 16 |
the vocal ligaments are | 16 |
be able to sing | 16 |
correct use of the | 16 |
the demands of the | 16 |
of the singing voice | 16 |
the music of the | 16 |
the size of the | 16 |
upon a level with | 16 |
the case of the | 16 |
in the first place | 16 |
part of the body | 16 |
in the way of | 16 |
as far as possible | 16 |
it must not be | 16 |
muscles of the vocal | 16 |
level of the tone | 16 |
back of the tongue | 16 |
in spite of the | 15 |
in such a way | 15 |
the lower part of | 15 |
the walls of the | 15 |
of the throat muscles | 15 |
vibrations of the vocal | 15 |
study of the voice | 15 |
is the most important | 15 |
as well as in | 15 |
in a short time | 15 |
the case of a | 15 |
from time to time | 15 |
a level with the | 15 |
in the training of | 15 |
the problem of tone | 15 |
lower part of the | 15 |
the great majority of | 15 |
management of the breath | 15 |
in the middle of | 15 |
compass of the voice | 15 |
of the sense of | 14 |
the influence of the | 14 |
the whole of the | 14 |
the top of the | 14 |
it may be said | 14 |
the soft palate is | 14 |
in the chest register | 14 |
the student of singing | 14 |
it is of the | 14 |
of the vocal apparatus | 14 |
with regard to the | 14 |
it is better to | 14 |
for the singer to | 14 |
position of the mouth | 14 |
there must be a | 14 |
other parts of the | 14 |
parts of the vocal | 14 |
with the result that | 14 |
the tension of the | 14 |
will be seen that | 14 |
to the study of | 14 |
it is not necessary | 14 |
a knowledge of the | 13 |
it is difficult to | 13 |
of a series of | 13 |
it is one of | 13 |
all the muscles of | 13 |
to become a singer | 13 |
in addition to the | 13 |
to the end of | 13 |
the extent to which | 13 |
be borne in mind | 13 |
is produced by the | 13 |
stroke of the glottis | 13 |
of the old school | 13 |
at the metropolitan opera | 13 |
the true vocal bands | 13 |
of the tone is | 13 |
the control of the | 13 |
that there is no | 13 |
the correct use of | 13 |
the tongue and the | 13 |
true conditions of tone | 13 |
of the throat and | 13 |
the parts of the | 13 |
for the first time | 13 |
such a way that | 13 |
all parts of the | 13 |
as a result of | 13 |
this can be done | 13 |
of the air in | 13 |
the production of tone | 13 |
it is easy to | 12 |
student of the voice | 12 |
may be able to | 12 |
the way in which | 12 |
the power of the | 12 |
imparting the correct vocal | 12 |
opera house in new | 12 |
the art of voice | 12 |
by the action of | 12 |
the base of the | 12 |
when the voice is | 12 |
position of the tongue | 12 |
parts of the body | 12 |
may be said to | 12 |
the form of the | 12 |
in the middle register | 12 |
much to do with | 12 |
as well as of | 12 |
of the correct vocal | 12 |
in the hands of | 12 |
it would be a | 12 |
at the beginning of | 12 |
in order to produce | 12 |
in a general way | 12 |
the body of the | 12 |
in the light of | 12 |
the voice of the | 12 |
in accordance with the | 12 |
as much as possible | 12 |
the expression of the | 12 |
in order to make | 12 |
the student of the | 12 |
most important of all | 12 |
house in new york | 12 |
the pressure of the | 12 |
the breath must be | 12 |
the importance of the | 12 |
the beginning of the | 12 |
will be found that | 12 |
be the result of | 12 |
the vocal cords is | 12 |
in the study of | 12 |
the ear of the | 12 |
will be able to | 11 |
sympathetic sensations of tone | 11 |
of the voice in | 11 |
on the day of | 11 |
the result of the | 11 |
the singer must be | 11 |
of the resonance cavities | 11 |
to a certain extent | 11 |
one or the other | 11 |
that the vocal bands | 11 |
principle of artistic tone | 11 |
the attention of the | 11 |
the ear and the | 11 |
the false vocal cords | 11 |
the knowledge of the | 11 |
as if it were | 11 |
the cavity of the | 11 |
a series of tones | 11 |
at the present time | 11 |
the guidance of the | 11 |
if you do not | 11 |
of the mucous membrane | 11 |
can be no question | 11 |
that it is not | 11 |
nothing to do with | 11 |
quality of the voice | 11 |
there are so many | 11 |
of the larynx and | 11 |
mucous membrane of the | 11 |
the capacity of the | 11 |
but it is not | 11 |
a certain amount of | 11 |
the only way to | 11 |
part of the chest | 11 |
art of voice culture | 11 |
back of the throat | 11 |
the bones of the | 11 |
be able to do | 11 |
not be able to | 11 |
the quality of tone | 11 |
the act of singing | 11 |
the life of the | 11 |
that it is a | 11 |
be given to the | 11 |
under the influence of | 11 |
in order to give | 11 |
way in which the | 11 |
the most important of | 11 |
in order to be | 11 |
in which it is | 11 |
as far as the | 11 |
the mind of the | 10 |
the beauty of the | 10 |
of the registers is | 10 |
vibrations of the air | 10 |
the vocal organs are | 10 |
in all parts of | 10 |
to the production of | 10 |
the direction of the | 10 |
in a way that | 10 |
the vocal cords and | 10 |
in front of the | 10 |
there is no reason | 10 |
it is not a | 10 |
production in singing and | 10 |
the application of the | 10 |
the cultivation of the | 10 |
from the fact that | 10 |
of the greatest importance | 10 |
at the top of | 10 |
under the control of | 10 |
the physiology of voice | 10 |
operations of the vocal | 10 |
as i have already | 10 |
it would not be | 10 |
to bring out the | 10 |
the stroke of the | 10 |
the length of the | 10 |
the mechanical features of | 10 |
the aid of the | 10 |
training of the ear | 10 |
is the fact that | 10 |
the mechanical operations of | 10 |
front of the mouth | 10 |
action of the muscles | 10 |
the day of the | 10 |
is made up of | 10 |
the sympathetic sensations of | 10 |
the breath against the | 10 |
of the meaning of | 10 |
on the art of | 10 |
may be called the | 10 |
it is not possible | 10 |
an understanding of the | 10 |
in the act of | 10 |
in such a manner | 10 |
and the soft palate | 10 |
in connection with the | 10 |
of the body is | 10 |
mechanical operations of the | 10 |
from the standpoint of | 10 |
for the young singer | 10 |
the organ of sound | 10 |
that the old masters | 10 |
part of the voice | 10 |
i do not know | 10 |
of the laryngeal muscles | 10 |
of the great singers | 10 |
is a matter of | 10 |
of the mouth and | 10 |
this part of the | 10 |
of the resonance of | 10 |
any part of the | 10 |
mixed costal and diaphragmatic | 10 |
the false vocal bands | 10 |
all that can be | 10 |
this is the case | 10 |
tongue and soft palate | 10 |
it is for the | 10 |
up and down the | 10 |
of the diaphragm and | 10 |
the mucous membrane of | 10 |
there must be no | 10 |
muscles of the throat | 10 |
the condition of the | 10 |
there is so much | 10 |
the vibration of the | 10 |
the mechanism of the | 10 |
as one of the | 10 |
of the utmost importance | 10 |
pressure of the breath | 10 |
it is a very | 10 |
of the most important | 10 |
the movement of the | 10 |
to the art of | 9 |
is the only way | 9 |
that the quality of | 9 |
the art of music | 9 |
in the same manner | 9 |
use of the laryngoscope | 9 |
position and action in | 9 |
the speaker or singer | 9 |
materials of modern methods | 9 |
misuse of the voice | 9 |
on the one hand | 9 |
that part of the | 9 |
all true conditions of | 9 |
and the result is | 9 |
metropolitan opera house in | 9 |
that it would be | 9 |
modern methods of instruction | 9 |
and action in singing | 9 |
that it is possible | 9 |
to the vocal cords | 9 |
the progress of the | 9 |
of form and action | 9 |
for the purposes of | 9 |
the entire vocal tract | 9 |
production of the voice | 9 |
what is to be | 9 |
it is in the | 9 |
position of the organs | 9 |
there is no need | 9 |
the right kind of | 9 |
of air in the | 9 |
this does not mean | 9 |
in the direction of | 9 |
through the study of | 9 |
of some of the | 9 |
on the imitative faculty | 9 |
and shape of the | 9 |
the law of the | 9 |
to the level of | 9 |
due to the fact | 9 |
so that it is | 9 |
the basic principle of | 9 |
at the bottom of | 9 |
every muscle of the | 9 |
of modern voice culture | 9 |
mechanical features of tone | 9 |
the value of the | 9 |
of the nineteenth century | 9 |
as long as the | 9 |
to learn to sing | 9 |
for the development of | 9 |
of the breath in | 9 |
what it means to | 9 |
there is but one | 9 |
to any appreciable extent | 9 |
a description of the | 9 |
take the place of | 9 |
use of the pedal | 9 |
this is the only | 9 |
of the voice was | 9 |
one of the best | 9 |
is determined by the | 9 |
the soft palate and | 9 |
scientific knowledge of the | 9 |
voice production in singing | 9 |
one and the same | 9 |
on the operatic stage | 9 |
to the demands of | 9 |
in the upper part | 9 |
of the voice as | 9 |
in my own case | 9 |
movements of the vocal | 9 |
out of the way | 9 |
of the larynx in | 9 |
that they may be | 9 |
does not mean that | 9 |
by the fact that | 9 |
the doctrine of breath | 9 |
at the close of | 9 |
of vowels and consonants | 9 |
that there is a | 9 |
the vocal organs is | 9 |
a correct method of | 9 |
for the reason that | 9 |
in order not to | 9 |
of voice culture is | 9 |
of vibration in the | 9 |
there is only one | 9 |
the interior of the | 9 |
be able to produce | 9 |
as well as a | 9 |
of the voice to | 9 |
division of the breath | 9 |
cavity of the mouth | 9 |
of the singer and | 9 |
the singer or speaker | 9 |
if they do not | 9 |
in the middle range | 9 |
the sides of the | 9 |
and there is no | 9 |
of the first rank | 9 |
length of the vocal | 9 |
in the open air | 9 |
that the voice is | 9 |
the result of a | 9 |
is the most difficult | 9 |
the contraction of the | 9 |
power of the voice | 9 |
it is not the | 9 |
this is one of | 8 |
the larynx and the | 8 |
a portion of the | 8 |
breath against the chest | 8 |
the course of the | 8 |
at the expense of | 8 |
the relative position of | 8 |
of the use of | 8 |
but they are not | 8 |
to the vocal organs | 8 |
the invention of the | 8 |
but this is not | 8 |
the means by which | 8 |
of the larynx are | 8 |
is attached to the | 8 |
the central nervous mechanism | 8 |
of the vocal organ | 8 |
as we have said | 8 |
shape of the mouth | 8 |
the support of the | 8 |
in the head cavities | 8 |
a view of the | 8 |
understanding of the voice | 8 |
every part of the | 8 |
the construction of the | 8 |
italian school of singing | 8 |
in speaking and singing | 8 |
it is not so | 8 |
in the midst of | 8 |
the empirical knowledge of | 8 |
that is to be | 8 |
the tone in the | 8 |
to say nothing of | 8 |
the range of the | 8 |
the speaker and singer | 8 |
the tone must be | 8 |
what may be called | 8 |
it is not easy | 8 |
to sing in the | 8 |
not by any means | 8 |
as much as the | 8 |
the ability of the | 8 |
the same is true | 8 |
as a means of | 8 |
the first principle of | 8 |
is true of the | 8 |
ought not to be | 8 |
in the performance of | 8 |
may be said that | 8 |
in the development of | 8 |
in any other way | 8 |
the thought of the | 8 |
of the bones of | 8 |
the same way as | 8 |
what is meant by | 8 |
of all the muscles | 8 |
is a combination of | 8 |
as the result of | 8 |
the chest and the | 8 |
the end of a | 8 |
adjustments of the vocal | 8 |
contraction of the muscles | 8 |
the difference in the | 8 |
to be found in | 8 |
can be made to | 8 |
in this case the | 8 |
freedom of form and | 8 |
in new york city | 8 |
in order to get | 8 |
in order to avoid | 8 |
of the present day | 8 |
with both hands together | 8 |
of the vocal instrument | 8 |
during the process of | 8 |
in so far as | 8 |
in which they are | 8 |
of the idea of | 8 |
the fundamental principles of | 8 |
of the voice are | 8 |
of the chest and | 8 |
to the use of | 8 |
in this way is | 8 |
the hands of the | 8 |
for the same reason | 8 |
of the voice by | 8 |
on the concert stage | 8 |
the truth of this | 8 |
for the formation of | 8 |
that the singer must | 8 |
view of the larynx | 8 |
the anatomy of the | 8 |
the question of the | 8 |
is not easy to | 8 |
is more or less | 8 |
and other parts of | 8 |
for imparting the correct | 8 |
of the metropolitan opera | 8 |
the help of the | 8 |
borne in mind that | 8 |
the wall of the | 8 |
singing on the breath | 8 |
be said that the | 8 |
the correct method of | 8 |
under the direction of | 8 |
is a part of | 8 |
is not at all | 8 |
demands of the ear | 8 |
the same time the | 8 |
those who do not | 8 |
the heart of the | 8 |
the physiology of the | 8 |
an hour a day | 8 |
doctrines of vocal science | 8 |
in the female voice | 8 |
is to be done | 8 |
as well as to | 8 |
back part of the | 8 |
the voice can be | 8 |
manner in which the | 8 |
it is safe to | 8 |
as a musical instrument | 8 |
the names of the | 8 |
are made up of | 8 |
the vocal cords in | 8 |
the singing of the | 8 |
development of the voice | 8 |
management of the vocal | 8 |
in the nature of | 8 |
this is not the | 8 |
one of the great | 8 |
the singer and speaker | 8 |
the tone of the | 8 |
the lips of the | 8 |
with the least possible | 8 |
as though it were | 8 |
part of the throat | 8 |
old italian school of | 8 |
care must be taken | 8 |
to be in the | 8 |
the larynx of the | 8 |
on account of the | 8 |
is found in the | 8 |
under the guidance of | 8 |
the compass of the | 8 |
a study of the | 8 |
physiology of the vocal | 8 |
as well as by | 8 |
study of the vocal | 8 |
to say that the | 8 |
against the hard palate | 8 |
diaphragm and abdominal muscles | 7 |
that the vocal organs | 7 |
expansion of the chest | 7 |
a matter of course | 7 |
the vocal tract is | 7 |
has ever been found | 7 |
the tongue and soft | 7 |
you will find that | 7 |
of all the parts | 7 |
the only way in | 7 |
and the development of | 7 |
the use of a | 7 |
practical knowledge of the | 7 |
all over the world | 7 |
science of voice culture | 7 |
at the back of | 7 |
they are to be | 7 |
it is well to | 7 |
the science of voice | 7 |
shock of the glottis | 7 |
sic vos non vobis | 7 |
just as well as | 7 |
size and shape of | 7 |
this form of instruction | 7 |
a change in the | 7 |
if you have the | 7 |
is seen in the | 7 |
wall of the throat | 7 |
the close of the | 7 |
a number of years | 7 |
that the voice must | 7 |
the production of a | 7 |
method of voice culture | 7 |
this must be done | 7 |
but there is no | 7 |
male and female voices | 7 |
the old masters were | 7 |
is perhaps the most | 7 |
the air of the | 7 |
will be observed that | 7 |
the root of the | 7 |
to sing in a | 7 |
in view of the | 7 |
the tone may be | 7 |
of the highest importance | 7 |
it is almost impossible | 7 |
and physiology of the | 7 |
to the development of | 7 |
is not in the | 7 |
over and over again | 7 |
the mechanical management of | 7 |
it is a matter | 7 |
for the teacher to | 7 |
action of the voice | 7 |
of the piano and | 7 |
of the physiology of | 7 |
the means used for | 7 |
be observed that the | 7 |
well as of the | 7 |
in the position of | 7 |
not know how to | 7 |
the voice in the | 7 |
of artistic singing is | 7 |
the larynx must be | 7 |
the size and shape | 7 |
so soon as the | 7 |
in the vocal organs | 7 |
in the fact that | 7 |
in the chest and | 7 |
sound of the tones | 7 |
can be done without | 7 |
muscles of the body | 7 |
the voice is not | 7 |
the expansion of the | 7 |
the division of the | 7 |
of the importance of | 7 |
of the breath against | 7 |
the sense of the | 7 |
the young singer should | 7 |
of the voice can | 7 |
have been able to | 7 |
to get rid of | 7 |
the back part of | 7 |
of the female voice | 7 |
anatomy and physiology of | 7 |
is the foundation of | 7 |
the study of singing | 7 |
a year or two | 7 |
is almost impossible to | 7 |
which it is possible | 7 |
i do not mean | 7 |
folds of mucous membrane | 7 |
of the breathing apparatus | 7 |
the singer does not | 7 |
the formation of vowels | 7 |
the subject of registers | 7 |
level with the tone | 7 |
is the cause of | 7 |
of the singer should | 7 |
the singer who is | 7 |
for a number of | 7 |
attentive listening to voices | 7 |
level of the first | 7 |
of the teacher is | 7 |
the art of breathing | 7 |
the singer is a | 7 |
but it is a | 7 |
the upper front teeth | 7 |
must be made to | 7 |
in order to have | 7 |
through the medium of | 7 |
know how to sing | 7 |
this is due to | 7 |
in the adjustment of | 7 |
it follows that the | 7 |
range of the voice | 7 |
it is best to | 7 |
of the mouth cavity | 7 |
to learn how to | 7 |
use of the vocal | 7 |
the tone and the | 7 |
quality of the tones | 7 |
the formation of a | 7 |
in the attempt to | 7 |
the vocal organs to | 7 |
to the middle of | 7 |
the mechanical doctrines of | 7 |
is known as the | 7 |
i should like to | 7 |
the strings of a | 7 |
the result is that | 7 |
only way in which | 7 |
in order to bring | 7 |
structure of the vocal | 7 |
a wide variety of | 7 |
i have already said | 7 |
as that of the | 7 |
the fact that i | 7 |
the tip of the | 7 |
a member of the | 7 |
the most important thing | 7 |
description of the vocal | 7 |
the voice by the | 7 |
in the head register | 7 |
it will be observed | 7 |
first principle of artistic | 7 |
the success of the | 7 |
by the vocal cords | 7 |
is looked upon as | 7 |
correct method of breathing | 7 |
the anatomy and physiology | 7 |
of the respiratory apparatus | 7 |
be said to be | 7 |
automatic form and adjustment | 7 |
the number of vibrations | 7 |
i can tell you | 7 |
be seen that the | 7 |
the tone should be | 7 |
of the abdomen and | 7 |
the bottom of the | 7 |
he must be able | 7 |
are a number of | 7 |
by the old masters | 7 |
the inflation of the | 7 |
in the male voice | 7 |
the descent of the | 7 |
by the vibration of | 7 |
there is no doubt | 7 |
that it is the | 7 |
go hand in hand | 7 |
inner surface of the | 7 |
pitch of the tone | 7 |
the diaphragm and abdominal | 7 |
three or four years | 7 |
the needs of the | 7 |
of the tones of | 7 |
all kinds of voices | 7 |
the place of the | 7 |
to such an extent | 7 |
the greater part of | 7 |
in one of the | 7 |
the center of gravity | 7 |
an idea of the | 7 |
methods of instruction in | 7 |
would do well to | 7 |
be made in the | 7 |
as in the case | 7 |
art of bel canto | 7 |
by the sense of | 7 |
all the time i | 7 |
of the chest walls | 7 |
powers of the singer | 7 |
and in this way | 7 |
at the royal opera | 7 |
with the aid of | 7 |
the most important part | 7 |
men and women who | 7 |
of the first tone | 7 |
same is true of | 7 |
he will find that | 7 |
a more or less | 6 |
if they did not | 6 |
is the same as | 6 |
when it comes to | 6 |
view of the voicebox | 6 |
of the male voice | 6 |
the history of the | 6 |
low or chest register | 6 |
various parts of the | 6 |
will do well to | 6 |
the whole subject of | 6 |
and at the end | 6 |
in the old italian | 6 |
the effect of the | 6 |
the human voice is | 6 |
why is it that | 6 |
the old italian operas | 6 |
to the idea of | 6 |
is not the case | 6 |
the face of the | 6 |
of singing in the | 6 |
the higher the tone | 6 |
strings of a violin | 6 |
with every higher tone | 6 |
to respond to the | 6 |
is about cubic inches | 6 |
special vowels and consonants | 6 |
anatomy of the vocal | 6 |
because it is the | 6 |
in harmony with the | 6 |
in a later chapter | 6 |
can be done with | 6 |
by the study of | 6 |
denote division of the | 6 |
of the pharynx and | 6 |
and it is not | 6 |
the raising of the | 6 |
open the mouth without | 6 |
in the back of | 6 |
is an example of | 6 |
with the use of | 6 |
in the body of | 6 |
hygiene of the vocal | 6 |
out of the question | 6 |
all the rest of | 6 |
direct or local effort | 6 |
if i were to | 6 |
it is a question | 6 |
without the use of | 6 |
in the chapter on | 6 |
with the greatest care | 6 |
so far as it | 6 |
attention is paid to | 6 |
are to be found | 6 |
in the thin register | 6 |
mental conception of the | 6 |
proper use of the | 6 |
seems to me a | 6 |
tongue and the soft | 6 |
singing of the future | 6 |
invention of the laryngoscope | 6 |
to take the place | 6 |
not only of the | 6 |
of the glottis is | 6 |
workings of the vocal | 6 |
to take care of | 6 |
the voice is a | 6 |
the vocal bands and | 6 |
it is important that | 6 |
of the theory of | 6 |
the part of a | 6 |
there is no other | 6 |
that in order to | 6 |
production of the tone | 6 |
in the habit of | 6 |
of the materials of | 6 |
with the help of | 6 |
the reason that it | 6 |
may be seen in | 6 |
it should not be | 6 |
to sing in opera | 6 |
if it is not | 6 |
a considerable amount of | 6 |
there are a number | 6 |
muscular structure of the | 6 |
is the expression of | 6 |
from that of the | 6 |
that he may not | 6 |
far back in the | 6 |
the true art of | 6 |
the study of repertoire | 6 |
i have said before | 6 |
the teachings of the | 6 |
of the action of | 6 |
descent of the diaphragm | 6 |
of the breath is | 6 |
to be the most | 6 |
the training of a | 6 |
musical notation in the | 6 |
it must be remembered | 6 |
the art of the | 6 |
the latter part of | 6 |
the use of words | 6 |
one of the first | 6 |
it will be well | 6 |
which comes from the | 6 |
the singer should be | 6 |
in the presence of | 6 |
a quarter of a | 6 |
the voice in a | 6 |
the singer and the | 6 |
it is probable that | 6 |
breathe through the nose | 6 |
tone of the voice | 6 |
the singer in the | 6 |
in the right way | 6 |
vibration of the air | 6 |
were it not for | 6 |
contraction of all the | 6 |
of the most difficult | 6 |
in front of a | 6 |
for a short time | 6 |
the materials of modern | 6 |
to the quality of | 6 |
it is important to | 6 |
for the student to | 6 |
would be a great | 6 |
the nature of this | 6 |
this is true of | 6 |
the air within the | 6 |
can be no doubt | 6 |
singing out of tune | 6 |
should be given to | 6 |
become a prima donna | 6 |
renaissance of the vocal | 6 |
the forces which nature | 6 |
on the vocal cords | 6 |
may be sure that | 6 |
guidance of the voice | 6 |
the form of a | 6 |
a voice that is | 6 |
scientific study of the | 6 |
is of the utmost | 6 |
in the mind of | 6 |
it is produced by | 6 |
the career of the | 6 |
the name of a | 6 |
and that of the | 6 |
on the other side | 6 |
important of all the | 6 |
red lines denote division | 6 |
so long as the | 6 |
mass of the tongue | 6 |
the difference between the | 6 |
the renaissance of the | 6 |
the introduction of the | 6 |
to the student of | 6 |
in the practice of | 6 |
as soon as he | 6 |
use of the breathing | 6 |
of the tonic sol | 6 |
the sensations of the | 6 |
all of the same | 6 |
of the speaking voice | 6 |
that a knowledge of | 6 |
the voice may be | 6 |
from the vocal cords | 6 |
metropolitan in new york | 6 |
a high degree of | 6 |
as if they were | 6 |
the function of the | 6 |
but this does not | 6 |
the strength of the | 6 |
a combination of the | 6 |
as long as possible | 6 |
the actions of the | 6 |
one part of the | 6 |
in a few years | 6 |
the elasticity of the | 6 |
the diaphragm is the | 6 |
the voice has been | 6 |
such an extent that | 6 |
the breath and the | 6 |
most important part of | 6 |
the performance of a | 6 |
of the vocal scale | 6 |
the first and second | 6 |
the study of vocal | 6 |
how to use it | 6 |
to a large extent | 6 |
of no use to | 6 |
point on the palate | 6 |
vibration of the vocal | 6 |
edges of the vocal | 6 |
the metropolitan in new | 6 |
the large number of | 6 |
and this is a | 6 |
of the voice may | 6 |
was one of the | 6 |
capacity of the chest | 6 |
is not necessary to | 6 |
that the singer has | 6 |
of the body and | 6 |
the muscular structure of | 6 |
muscles of the chest | 6 |
it is easy enough | 6 |
parts of the larynx | 6 |
it is a mistake | 6 |
it ought to be | 6 |
for the benefit of | 6 |
this is not so | 6 |
front of a mirror | 6 |
power of the tone | 6 |
can do is to | 6 |
a teacher of singing | 6 |
it is found that | 6 |
by the help of | 6 |
of the voice will | 6 |
of the middle register | 6 |
precepts of the old | 6 |
with the vocal ligaments | 6 |
this is also true | 6 |
it is a good | 6 |
the most difficult of | 6 |
is not possible to | 6 |
taken into the lungs | 6 |
at the opera comique | 6 |
works on the voice | 6 |
importance to the singer | 6 |
there are as many | 6 |
the taste of the | 6 |
in the nasal cavities | 6 |
the accepted vocal science | 6 |
if the student has | 6 |
correct position of the | 6 |
the vocal action is | 6 |
direct sensations of tone | 6 |
as far back as | 6 |
of the chest register | 6 |
this is not a | 6 |
of the entire body | 6 |
of the larynx as | 6 |
thoroughly familiar with the | 6 |
the exact nature of | 6 |
the elocution of singing | 6 |
air in the chest | 6 |
out of the mouth | 6 |
the force of the | 6 |
is it with the | 6 |
the appearance of the | 6 |
of the old method | 6 |
the members of the | 6 |
and with it the | 6 |
it is impossible for | 6 |
use of the registers | 6 |
in the sound of | 6 |
to those who have | 6 |
side of the question | 6 |
are the result of | 6 |
be no question that | 6 |
let him take care | 6 |
the singer has to | 6 |
cultivation of the voice | 6 |
of the head voice | 6 |
that the old italian | 6 |
a certain degree of | 6 |
muscle of the body | 6 |
is a mistake to | 6 |
to the muscles of | 6 |
from the hips up | 6 |
of the respiratory tract | 6 |
that it is impossible | 6 |
during the act of | 6 |
the idea that the | 6 |
and it is the | 6 |
not being able to | 6 |
and it will be | 6 |
had an opportunity to | 6 |
lines denote division of | 6 |
to become a prima | 6 |
one after the other | 6 |
to the action of | 6 |
when the throat is | 6 |
than that of the | 6 |
of the arytenoid cartilages | 6 |
the highest tones of | 6 |
it is useless to | 6 |
part of the lungs | 6 |
of the laws of | 6 |
that the singer is | 6 |
to the young singer | 6 |
is the basis of | 6 |
a great deal about | 6 |
and size of the | 6 |
have much to do | 6 |
should be allowed to | 6 |
shape of the resonance | 6 |
to see that the | 6 |
the advantage of the | 6 |
on the training of | 6 |
the assistance of the | 6 |
takes place in the | 6 |
in the history of | 6 |
the result will be | 6 |
enlargement of the chest | 6 |
no doubt that the | 6 |
the mass of the | 6 |
is hardly to be | 6 |
into the cavities of | 6 |
to use his voice | 6 |
in possession of the | 6 |
with the exception of | 6 |
now to be considered | 6 |
the vocal organs and | 6 |
a good natural voice | 6 |
in the next chapter | 6 |
if they are not | 6 |
the opening of the | 6 |
of the quality of | 6 |
in order to acquire | 6 |
of this form of | 6 |
in the manner of | 6 |
character of the tone | 6 |
with special reference to | 6 |
movements of the larynx | 6 |
the song of the | 5 |
what has been said | 5 |
as well as that | 5 |
of master and pupil | 5 |
the lowering of the | 5 |
but at the same | 5 |
on the tones of | 5 |
tone is something to | 5 |
this is by no | 5 |
the highest and best | 5 |
other side of the | 5 |
of the fauces are | 5 |
there is not one | 5 |
character of the voice | 5 |
parts of the respiratory | 5 |
that the singer should | 5 |
a consideration of the | 5 |
the soul of the | 5 |
air in the mouth | 5 |
the entire vocal mechanism | 5 |
singers of the past | 5 |
in the shape of | 5 |
in point of fact | 5 |
as though they were | 5 |
it will be a | 5 |
not a matter of | 5 |
position of the parts | 5 |
the tones of a | 5 |
that there are no | 5 |
thyroid and cricoid cartilages | 5 |
the flexibility of the | 5 |
practical methods of instruction | 5 |
soft palate is lowered | 5 |
with the first tone | 5 |
they seem to be | 5 |
make no effort to | 5 |
so that the breath | 5 |
the fact that they | 5 |
to be borne in | 5 |
forward poise of the | 5 |
at a very early | 5 |
action of the soft | 5 |
with the problem of | 5 |
sensations of tone are | 5 |
by the great majority | 5 |
lose sight of the | 5 |
the command of the | 5 |
to the mechanical features | 5 |
at the head of | 5 |
and that it is | 5 |
of the thin register | 5 |
way in which they | 5 |
words of a song | 5 |
are attached to the | 5 |
by means of which | 5 |
support of the tone | 5 |
of one of the | 5 |
to the conclusion that | 5 |
of the nervous system | 5 |
some of the more | 5 |
of the tone produced | 5 |
under the name of | 5 |
if you are not | 5 |
will be found to | 5 |
it is necessary that | 5 |
the course of time | 5 |
so long as it | 5 |
in the voices of | 5 |
the voice is an | 5 |
different parts of the | 5 |
the acquirement of skill | 5 |
as soon as it | 5 |
so as to be | 5 |
in the quality of | 5 |
the thought before the | 5 |
the mouth and the | 5 |
you will be surprised | 5 |
is not likely to | 5 |
do not seem to | 5 |
as we have learned | 5 |
great singers of the | 5 |
the case with the | 5 |
the lowest tones of | 5 |
may be made to | 5 |
system of voice culture | 5 |
so that there is | 5 |
about the middle of | 5 |
of the tongue is | 5 |
solution of the problem | 5 |
it is said that | 5 |
to sing at all | 5 |
be a part of | 5 |
it is the result | 5 |
the reason is that | 5 |
the next step is | 5 |
the result is a | 5 |
the lower notes of | 5 |
to take up the | 5 |
what can be done | 5 |
all of the great | 5 |
ora del nostro amor | 5 |
so there is no | 5 |
order to bring out | 5 |
and contraction of the | 5 |
right down to the | 5 |
of the voice has | 5 |
of the tone as | 5 |
for this reason the | 5 |
in exactly the same | 5 |
the muscular sensations of | 5 |
i do not wish | 5 |
and management of the | 5 |
of what it means | 5 |
forces which nature has | 5 |
apply the principles of | 5 |
all the resources of | 5 |
to manage the voice | 5 |
radiation of nerve impulse | 5 |
education of the singer | 5 |
the most important factor | 5 |
history of voice culture | 5 |
by the influence of | 5 |
with the freedom of | 5 |
of the value of | 5 |
have no right to | 5 |
by no means the | 5 |
that can be said | 5 |
the study of tone | 5 |
the perfect vocal tone | 5 |
quality of a tone | 5 |
there is no time | 5 |
against the vocal cords | 5 |
art of singing is | 5 |
the true conditions of | 5 |
is likely to be | 5 |
italian opera in america | 5 |
from one register to | 5 |
to the mechanical operations | 5 |
will find that the | 5 |
repose to the level | 5 |
say that it is | 5 |
points or places of | 5 |
the words of the | 5 |
that it may be | 5 |
of the thyroid cartilage | 5 |
the vocal mechanism is | 5 |
her voice is a | 5 |
correct method of voice | 5 |
as long as he | 5 |
the path of the | 5 |
air in the lungs | 5 |
the philosophy of singing | 5 |
from repose to the | 5 |
it is enough to | 5 |
is of the greatest | 5 |
framework of the ribs | 5 |
in addition to this | 5 |
in his own mind | 5 |
a vast amount of | 5 |
this cannot be done | 5 |
director and his assistants | 5 |
be one of the | 5 |
be a great singer | 5 |
what is your ambition | 5 |
to say the least | 5 |
influence of the resonance | 5 |
is found to be | 5 |
a wide range of | 5 |
one of the reasons | 5 |
it cannot be too | 5 |
is a question of | 5 |
as to whether the | 5 |
sense of hearing is | 5 |
the diaphragm and the | 5 |
all the parts of | 5 |
in order to prevent | 5 |
the object of the | 5 |
the pure singing tone | 5 |
to the tones of | 5 |
the other side of | 5 |
i have never been | 5 |
in the middle and | 5 |
level with the first | 5 |
yourself upon a level | 5 |
the most difficult to | 5 |
the value of work | 5 |
as sung by mme | 5 |
any one who has | 5 |
is something to hear | 5 |
is so full of | 5 |
elements of voice culture | 5 |
to produce the tone | 5 |
the quality of sounds | 5 |
the freedom of the | 5 |
in the size of | 5 |
for a few minutes | 5 |
most difficult of all | 5 |
which ought to be | 5 |
by far the most | 5 |
expansion of the lungs | 5 |
habits of mind which | 5 |
to produce a tone | 5 |
the training of voices | 5 |
that this is the | 5 |
the muscular operations of | 5 |
that the pitch of | 5 |
to point out the | 5 |
putting forth of the | 5 |
the voice is so | 5 |
of the breath and | 5 |
seems to be the | 5 |
is given to the | 5 |
if this is done | 5 |
the idea of the | 5 |
those parts of the | 5 |
base of the tongue | 5 |
than in any other | 5 |
become a great singer | 5 |
timbre of the voice | 5 |
shut off from the | 5 |
which nature has given | 5 |
the words of a | 5 |
in all sorts of | 5 |
by the vibrations of | 5 |
is not so much | 5 |
by the false vocal | 5 |
to the registers of | 5 |
he can do this | 5 |
the direction of a | 5 |
in the upper register | 5 |
beauty of the voice | 5 |
as we have already | 5 |
the education of the | 5 |
the correct management of | 5 |
the coup de glotte | 5 |
for a singer to | 5 |
the fallacy of the | 5 |
for the left hand | 5 |
understand the art of | 5 |
that it can be | 5 |
to make a career | 5 |
must not be understood | 5 |
much attention to the | 5 |
in order to become | 5 |
end of the first | 5 |
the ranks of the | 5 |
a very early age | 5 |
in size and shape | 5 |
all the materials of | 5 |
the highest head tones | 5 |
the organs of speech | 5 |
of nasal resonance is | 5 |
must be remembered that | 5 |
in a certain way | 5 |
the method of breathing | 5 |
of the open throat | 5 |
of the organ of | 5 |
to hold back the | 5 |
the last act of | 5 |
of the cavity of | 5 |
of the matter is | 5 |
tones which are produced | 5 |
portion of the vocal | 5 |
of the expiratory blast | 5 |
the quantity that can | 5 |
there has been a | 5 |
the manner of the | 5 |
must have a voice | 5 |
to the top of | 5 |
to me to be | 5 |
is to be remembered | 5 |
in every case the | 5 |
now is christ risen | 5 |
as a sort of | 5 |
only a very few | 5 |
in the cavities of | 5 |
from the study of | 5 |
the sake of the | 5 |
in a fixed position | 5 |
inflation of the ventricles | 5 |
command of the voice | 5 |
in the widest sense | 5 |
traditional precepts of the | 5 |
it is a great | 5 |
in the choice of | 5 |
becoming more and more | 5 |
the true vocal cords | 5 |
the inner surface of | 5 |
i do not believe | 5 |
the work to be | 5 |
has much to do | 5 |
at the base of | 5 |
are produced by a | 5 |
the traditional precepts of | 5 |
into the hands of | 5 |
a tone is something | 5 |
the structure of the | 5 |
the ideas of the | 5 |
action of the diaphragm | 5 |
only in this way | 5 |
of the voice chapter | 5 |
the mechanics of the | 5 |
the basis of a | 5 |
a great number of | 5 |
in the world is | 5 |
important part of the | 5 |
to which they are | 5 |
there are quantities of | 5 |
the performance of the | 5 |
the phenomena of voice | 5 |
when the breath is | 5 |
being able to sing | 5 |
of the abdominal muscles | 5 |
especially in the case | 5 |
by the aid of | 5 |
which the air is | 5 |
of the larynx is | 5 |
middle of the stage | 5 |
necessary for me to | 5 |
bodily position and action | 5 |
in this way will | 5 |
the study of this | 5 |
there should be no | 5 |
the result that the | 5 |
to the subject of | 5 |
the throat to stiffen | 5 |
it is always a | 5 |
for the use of | 5 |
contraction of the throat | 5 |
in no other way | 5 |
the vocal organs must | 5 |
the practice of the | 5 |
chink of the glottis | 5 |
in the thick register | 5 |
be no doubt that | 5 |
it must be admitted | 5 |
is formed by the | 5 |
pay special attention to | 5 |
which are produced by | 5 |
the same for all | 5 |
that they can be | 5 |
of the back of | 5 |
the breath in the | 5 |
to bear in mind | 5 |
that all of the | 5 |
not be in the | 5 |
of the vocal chords | 5 |
the space between them | 5 |
some idea of the | 5 |
against the roof of | 5 |
the chest and head | 5 |
vowels and consonants are | 5 |
that portion of the | 5 |
of the structure and | 5 |
is easy enough to | 5 |
correct action of the | 5 |
poise of the body | 5 |
and quality of the | 5 |
the vast majority of | 5 |
teachings of the laryngoscope | 5 |
in some of the | 5 |
this form of muscular | 5 |
is no possibility of | 5 |
use of the falsetto | 5 |
the abdomen and the | 5 |
the period of mutation | 5 |
note of the scale | 5 |
back of the mouth | 5 |
guided by the ear | 5 |
of the vocal chink | 5 |
the vocal cords to | 5 |
and on the other | 5 |
i have never heard | 5 |
conditions demanded by nature | 5 |
to place the tone | 5 |
when this is done | 5 |
as to be able | 5 |
the only thing that | 5 |
is of the highest | 5 |
at the right moment | 5 |
forth of the voice | 5 |
voice culture is the | 5 |
of the problem of | 5 |
the result is the | 5 |
and know how to | 5 |
it must be apparent | 5 |
it has been my | 5 |
that the study of | 5 |
the works of the | 5 |
is no need for | 5 |
the mouth without inhaling | 5 |
as a part of | 5 |
both words and music | 5 |
the break between the | 5 |
this brings us to | 5 |
division of the registers | 5 |
lowering of the soft | 5 |
the piano and its | 5 |
to the consideration of | 5 |
the lungs to the | 5 |
it is necessary for | 5 |
is to make the | 5 |
if he has a | 5 |
that they are not | 5 |
or places of articulation | 5 |
the stream of breath | 5 |
when i am singing | 5 |
use of the tongue | 5 |
of the traditional precepts | 5 |
it should be remembered | 5 |
singing as an art | 5 |
of any part of | 5 |
a good general education | 5 |
of the subject is | 5 |
mechanics of the voice | 5 |
parts of the country | 5 |
there is a tendency | 5 |
it is clear that | 5 |
great majority of teachers | 5 |
part of the brain | 5 |
no one can sing | 5 |
the young singer is | 5 |
principles of the vocal | 5 |
great majority of vocal | 5 |
and the quality of | 5 |
two hours a day | 5 |
in most cases the | 5 |
may be described as | 5 |
and it may be | 5 |
the exercise of the | 5 |
causes of voice failure | 5 |
of the lower part | 5 |
the vocal chords are | 5 |
is no reason why | 5 |
and duration of the | 5 |
tone is the result | 5 |
attention to the mechanical | 5 |
physiology of the voice | 5 |
from that time on | 5 |
of attention to the | 5 |
truth of this statement | 5 |
to be allowed to | 5 |
as the pitch rises | 5 |
bones of the head | 5 |
is supposed to be | 5 |
little attention to the | 5 |
the rudiments of music | 5 |
to make use of | 5 |
is in accordance with | 5 |
there should be a | 5 |
not sing at all | 5 |
the structure and functions | 5 |
the scientific study of | 5 |
is a tendency to | 5 |
it is desired to | 5 |
part of the air | 5 |
that they have not | 5 |
the vocal organs in | 5 |
is true that the | 5 |
the voice will be | 5 |
the male and female | 5 |
use of the head | 5 |
in this way he | 5 |
some of the best | 5 |
by the old italian | 5 |
to which it is | 5 |
the voices of the | 5 |
pressure against the chest | 5 |
the best way of | 5 |
the same as that | 5 |
all the forces which | 5 |
part of the mouth | 5 |
the focal point of | 5 |
i was taken to | 5 |
skill in the use | 5 |
there is room for | 5 |
by which they are | 5 |
but it would be | 5 |
seemed to me that | 5 |
even in the case | 5 |
in many of the | 5 |
such a thing as | 5 |
in the matter of | 5 |
in a certain sense | 5 |
it would be well | 5 |
so far as to | 5 |
in the vocal art | 5 |
the cavities of resonance | 5 |
in this little work | 5 |
is the one who | 5 |
an example of the | 5 |
the materials of instruction | 5 |
the lungs through the | 5 |
the spirit of the | 5 |
of any of the | 5 |
the young singer to | 5 |
that i may be | 5 |
of the state of | 5 |
there is no possibility | 5 |
it is only when | 5 |
does not know how | 5 |
both teacher and pupil | 5 |
middle of the voice | 5 |
so far as we | 5 |
to keep the voice | 5 |
lined with mucous membrane | 5 |
the muscles of speech | 5 |
seems to have been | 5 |
in place of the | 5 |
to become a great | 5 |
physiological point of view | 5 |
the whole compass of | 5 |
in relation to the | 5 |
the vocal bands in | 5 |
instruction based on the | 5 |
to hold the breath | 5 |
ear of the teacher | 5 |
as little as possible | 5 |
back in the throat | 5 |
which may be called | 5 |
side view of the | 5 |
in the highest range | 5 |
in the lowest tones | 5 |
as shown in the | 5 |
those who have been | 5 |
of the singer is | 5 |
it is most important | 5 |
mechanism of the human | 5 |
at the time when | 5 |
as the basis of | 5 |
pointed out that the | 5 |
the fact that he | 5 |
a large proportion of | 5 |
there are plenty of | 5 |
manner of using the | 5 |
he may not be | 5 |
that there are three | 5 |
in sympathy with the | 5 |
use of the muscles | 5 |
set of sympathetic sensations | 5 |
the organs of the | 5 |
work of the composer | 5 |
i do not think | 5 |
tone should never be | 5 |
spite of the fact | 5 |
proper position of the | 5 |
there is such a | 5 |
resonance of the air | 5 |
it is only the | 5 |
of the old masters | 5 |
as in everything else | 5 |
correct management of the | 5 |
of the voice at | 5 |
to breathe through the | 5 |
of the voice have | 5 |
is to be produced | 5 |
is responsible for the | 5 |
in the following chapter | 5 |
this is a very | 5 |
for now is christ | 5 |
so much to learn | 5 |
it is the most | 5 |
to the ninth edition | 5 |
to that of the | 5 |
of the doctrine of | 5 |
at the rate of | 5 |
by the shape of | 5 |
be said to have | 5 |
the manner of using | 5 |
the general character of | 5 |
to place the voice | 5 |
in the pronunciation of | 5 |
must know how to | 5 |
what is good and | 5 |
registers of the singing | 5 |
knowledge of the structure | 5 |
attention to the subject | 5 |
for the time being | 4 |
to the performance of | 4 |
that can be done | 4 |
the hands and body | 4 |
as will be shown | 4 |
by reason of the | 4 |
of the parts in | 4 |
of which they are | 4 |
for the good of | 4 |
between correct and incorrect | 4 |
such a manner that | 4 |
there seems to be | 4 |
is seen to be | 4 |
the time i was | 4 |
has always seemed to | 4 |
of the voice obtained | 4 |
sound of the voice | 4 |
must be done in | 4 |
of throat stiffness is | 4 |
be regarded as a | 4 |
to the extent of | 4 |
focal point of the | 4 |
in the fresh air | 4 |
the entire compass of | 4 |
above the vocal bands | 4 |
the added resonance of | 4 |
a few of my | 4 |
not knowing how to | 4 |
the breath of life | 4 |
it does not go | 4 |
he will have no | 4 |
the disappearance of the | 4 |
an important factor in | 4 |
do not care to | 4 |
not fail to be | 4 |
of the diaphragm in | 4 |
according to his own | 4 |
to the first edition | 4 |
the futility of the | 4 |
during the production of | 4 |
in advance of the | 4 |
the nasal chambers are | 4 |
but that does not | 4 |
of direct or local | 4 |
but i do not | 4 |
result of certain conditions | 4 |
the principles on which | 4 |
in the emission of | 4 |
each side of the | 4 |
to the exclusion of | 4 |
the devices used to | 4 |
to the bottom of | 4 |
eyes fixed on the | 4 |
it seems to be | 4 |
boys to sing alto | 4 |
is especially true of | 4 |
part of the singer | 4 |
correct and incorrect singing | 4 |
within the range of | 4 |
to do his best | 4 |
and when it is | 4 |
chapter v of part | 4 |
brought about by a | 4 |
too high or too | 4 |
the same as the | 4 |
are not to be | 4 |
be understood that the | 4 |
so much has been | 4 |
do not believe that | 4 |
so as not to | 4 |
the development of vocal | 4 |
the floor of the | 4 |
cannot be said to | 4 |
and the cavities of | 4 |
latter part of the | 4 |
of a method of | 4 |
of the palatal resonance | 4 |
the fourth principle of | 4 |
of the hard palate | 4 |
his voice in the | 4 |
as is well known | 4 |
of the subject of | 4 |
of the violin and | 4 |
with the laws of | 4 |
as well as those | 4 |
when there is a | 4 |
no one who has | 4 |
it is the only | 4 |
in the beginning of | 4 |
it can never be | 4 |
the way for the | 4 |
change in the adjustment | 4 |
one thing at a | 4 |
produced by the same | 4 |
as well as his | 4 |
but the quality of | 4 |
no such thing as | 4 |
as well as i | 4 |
it must always be | 4 |
with the highest standards | 4 |
be able to carry | 4 |
on the side of | 4 |
the most celebrated singers | 4 |
into the head cavities | 4 |
about the vocal action | 4 |
i have had to | 4 |
their use of the | 4 |
structure and functions of | 4 |
your whole attention to | 4 |
which the larynx is | 4 |
the listening to voices | 4 |
in the cultivation of | 4 |
the manhattan opera house | 4 |
part of the whole | 4 |
the true motor power | 4 |
is connected with the | 4 |
the voice is guided | 4 |
to the expression of | 4 |
of mechanical management of | 4 |
of learning to sing | 4 |
that the soft palate | 4 |
the sensation of the | 4 |
the story of the | 4 |
that voice training is | 4 |
to the third edition | 4 |
little or nothing to | 4 |
would not have been | 4 |
be looked upon as | 4 |
of the diatonic scale | 4 |
parts above the larynx | 4 |
the column of breath | 4 |
can be done to | 4 |
movements of the body | 4 |
the possession of a | 4 |
of the english language | 4 |
has long been a | 4 |
of thought and feeling | 4 |
be found that the | 4 |
the pronunciation of words | 4 |
the singers of the | 4 |
is scarcely necessary to | 4 |
the laws of acoustics | 4 |
the extent of the | 4 |
upon the back of | 4 |
of a practical method | 4 |
in the back part | 4 |
the psychology of singing | 4 |
the beauty of tone | 4 |
the quality of a | 4 |
become acquainted with the | 4 |
came to new york | 4 |
the subject of the | 4 |
mechanical doctrines of vocal | 4 |
this being the case | 4 |
of the voice that | 4 |
a method of voice | 4 |
root of the tongue | 4 |
of the vocal muscles | 4 |
to pass through the | 4 |
practice of various choirmasters | 4 |
be said about the | 4 |
of the air within | 4 |
through which the breath | 4 |
soft palate and the | 4 |
as we have before | 4 |
be taken into account | 4 |
of the first and | 4 |
the lungs and the | 4 |
to think of the | 4 |
the best results in | 4 |
of this vowel is | 4 |
the vocal organs adjust | 4 |
the possessor of a | 4 |
do a lot of | 4 |
and a musical nature | 4 |
of the diaphragm to | 4 |
days of the old | 4 |
when the singer is | 4 |
art of singing by | 4 |
tone can be produced | 4 |
it would have been | 4 |
and women who have | 4 |
in the world of | 4 |
portion of the brain | 4 |
is due to a | 4 |
forward in the mouth | 4 |
when i think of | 4 |
the head cavities is | 4 |
expression of the words | 4 |
and it is a | 4 |
which it is not | 4 |
the best singers of | 4 |
a great mistake to | 4 |
very early in the | 4 |
the benefit of the | 4 |
true science of voice | 4 |
it is owing to | 4 |
hold back the breath | 4 |
we come to the | 4 |
hence the importance of | 4 |
experienced by the singer | 4 |
not been able to | 4 |
is the soft palate | 4 |
must be the result | 4 |
the attention of all | 4 |
there are others who | 4 |
that they have been | 4 |
che un giorno sol | 4 |
that the student may | 4 |
control of the tongue | 4 |
of the present work | 4 |
a messa di voce | 4 |
the lower to the | 4 |
do not wish to | 4 |
it is not enough | 4 |
more difficult to sing | 4 |
of most of the | 4 |
is a form of | 4 |
be said of the | 4 |
other things being equal | 4 |
of the united states | 4 |
of the mechanical operations | 4 |
of the expiratory muscles | 4 |
come down to us | 4 |
do not belong to | 4 |
must be capable of | 4 |
by those who are | 4 |
tone color and tone | 4 |
the voice to the | 4 |
is not confined to | 4 |
pitch of the tones | 4 |
difference between correct and | 4 |
or nothing to do | 4 |
be more or less | 4 |
position and action of | 4 |
should be made to | 4 |
to the employment of | 4 |
he should not be | 4 |
a very short time | 4 |
some of the most | 4 |
most of the time | 4 |
upon one and the | 4 |
three times a week | 4 |
to the point of | 4 |
to the head cavities | 4 |
empirical understanding of the | 4 |
after a short time | 4 |
in the same place | 4 |
the part of many | 4 |
theories of the vocal | 4 |
in a few months | 4 |
the merit of the | 4 |
surface of the larynx | 4 |
of the vocal profession | 4 |
how tone is produced | 4 |
the theoretical works on | 4 |
even though it be | 4 |
to the capacity of | 4 |
for those who have | 4 |
a great deal to | 4 |
one of the three | 4 |
on each side of | 4 |
of those to whom | 4 |
is the removal of | 4 |
considered theoretically and practically | 4 |
to fill the chest | 4 |
the male and the | 4 |
is the reason why | 4 |
on the quality of | 4 |
sensation in the head | 4 |
wrong use of the | 4 |
wall of the abdomen | 4 |
modern voice culture is | 4 |
of the study of | 4 |
in the field of | 4 |
from the beginning of | 4 |
song as a whole | 4 |
the metropolitan opera company | 4 |
used for imparting the | 4 |
air within the resonance | 4 |
think the tone forward | 4 |
are due to the | 4 |
by the number of | 4 |
f m r d | 4 |
begin at the beginning | 4 |
fundamental principles of voice | 4 |
as those in the | 4 |
had the pleasure of | 4 |
the conclusion that the | 4 |
tone is produced by | 4 |
are among the most | 4 |
we are glad to | 4 |
the idea of a | 4 |
as not to be | 4 |
say nothing of the | 4 |
taking up a new | 4 |
in the last act | 4 |
in the size and | 4 |
in chapter v of | 4 |
practical study of the | 4 |
in the same position | 4 |
of the stream of | 4 |
is very difficult to | 4 |
too much time to | 4 |
to raise your hand | 4 |
the way of the | 4 |
border of the ring | 4 |
of those who have | 4 |
the expiratory blast is | 4 |
the vocal bands may | 4 |
the conditions which allow | 4 |
there is nothing in | 4 |
to be given to | 4 |
for there is always | 4 |
in a few words | 4 |
between the singer and | 4 |
fourth principle of artistic | 4 |
and development of the | 4 |
must be a part | 4 |
there are those who | 4 |
as a general rule | 4 |
of the song as | 4 |
breath must be directed | 4 |
whole compass of the | 4 |
is contained in the | 4 |
absolutely necessary for the | 4 |
sensation of the resonance | 4 |
throughout the entire compass | 4 |
to me with a | 4 |
if one wishes to | 4 |
a long time to | 4 |
high placing and low | 4 |
on the top line | 4 |
the biceps and triceps | 4 |
the same degree of | 4 |
if you have not | 4 |
means has ever been | 4 |
of the vibrations of | 4 |
of the shield cartilage | 4 |
general character of the | 4 |
all depends on the | 4 |
knowledge of vocal physiology | 4 |
part of the respiratory | 4 |
the student has the | 4 |
laws and common sense | 4 |
in the face of | 4 |
pitch of this vowel | 4 |
it was pointed out | 4 |
the voice is one | 4 |
closure of the glottis | 4 |
one set of muscles | 4 |
of the ear and | 4 |
hour and a half | 4 |
whether it be in | 4 |
are dependent upon form | 4 |
mistake to suppose that | 4 |
are now to be | 4 |
more than any other | 4 |
it is his mind | 4 |
and this must be | 4 |
the difficulty of the | 4 |
in proportion to the | 4 |
corresponding changes in the | 4 |
the head tones are | 4 |
work on the subject | 4 |
one of the foremost | 4 |
the early part of | 4 |
day of the performance | 4 |
membrane of the larynx | 4 |
of his own voice | 4 |
with the idea that | 4 |
is the motive power | 4 |
of the reasons why | 4 |
in response to the | 4 |
to train a voice | 4 |
by the same mechanism | 4 |
for the expansion of | 4 |
the right use of | 4 |
that of the vocal | 4 |
voice seems to be | 4 |
the commands of the | 4 |
lowest tones of the | 4 |
that the vocal cords | 4 |
the larynx is the | 4 |
do not let the | 4 |
in this regard the | 4 |
possible for me to | 4 |
the chicago opera company | 4 |
means used for imparting | 4 |
the good fortune to | 4 |
there are many singers | 4 |
the modern art of | 4 |
must be willing to | 4 |
sense of the term | 4 |
day of my life | 4 |
as it is possible | 4 |
of the great brain | 4 |
due to the radiation | 4 |
the evil results of | 4 |
the nervous impulses that | 4 |
it is far more | 4 |
ages of the vocal | 4 |
the voice does not | 4 |
a good idea of | 4 |
all the elements of | 4 |
be of service to | 4 |
if they were not | 4 |
way in which it | 4 |
be able to play | 4 |
has been made in | 4 |
go so far as | 4 |
technical training of the | 4 |
the basis of all | 4 |
the attack of the | 4 |
tones of the chest | 4 |
singing toward the nose | 4 |
of expansion and inflation | 4 |
the voice with the | 4 |
review of modern methods | 4 |
to know how to | 4 |
a greater or less | 4 |
it is a part | 4 |
it is very difficult | 4 |
of the upper thick | 4 |
disappearance of the old | 4 |
due solely to the | 4 |
with the thought of | 4 |
an hour and a | 4 |
the adjustments of the | 4 |
a clear idea of | 4 |
well illustrated in the | 4 |
parts of the anatomy | 4 |
and the vocal ligaments | 4 |
air in the nasal | 4 |
back into the throat | 4 |
the presence of the | 4 |
to keep it in | 4 |
break in the voice | 4 |
of more importance than | 4 |
does not need to | 4 |
in the human voice | 4 |
that the tones of | 4 |
i am obliged to | 4 |
to hear great singers | 4 |
it can be done | 4 |
is the student to | 4 |
and all the rest | 4 |
all that i have | 4 |
to find out what | 4 |
all the organs concerned | 4 |
minutes at a time | 4 |
of all is the | 4 |
without the aid of | 4 |
in taking up a | 4 |
be found in the | 4 |
the subject of voice | 4 |
the chest tension muscles | 4 |
changes in the vocal | 4 |
the color and character | 4 |
the fact that one | 4 |
ten or fifteen minutes | 4 |
thing at a time | 4 |
the significance of the | 4 |
from the front teeth | 4 |
the joy of the | 4 |
consists of a series | 4 |
midriff and rib breathing | 4 |
there is nothing to | 4 |
i was obliged to | 4 |
investigation of the voice | 4 |
it is by no | 4 |
is absolutely necessary to | 4 |
levers of the pyramids | 4 |
determined by the shape | 4 |
all the resonance cavities | 4 |
the fact remains that | 4 |
for a few seconds | 4 |
by those who have | 4 |
it may be observed | 4 |
the highest standards of | 4 |
that i have been | 4 |
is no doubt that | 4 |
high or too low | 4 |
is that the singer | 4 |
the adjustment for the | 4 |
the very foundation of | 4 |
relative position of parts | 4 |
in cases where the | 4 |
that the art of | 4 |
had the opportunity of | 4 |
outer surface of the | 4 |
the upper chest is | 4 |
and tongue must be | 4 |
plates of the shield | 4 |
be made to vary | 4 |
be applied to the | 4 |
of the same size | 4 |
it is scarcely necessary | 4 |
is only one way | 4 |
a result of this | 4 |
i have found that | 4 |
for the teacher who | 4 |
raising the soft palate | 4 |
that many of the | 4 |
the study and development | 4 |
the involuntary contraction of | 4 |
made the basis of | 4 |
but one of the | 4 |
be called upon to | 4 |
be done through the | 4 |
is guided by the | 4 |
all over the country | 4 |
and be able to | 4 |
that most of the | 4 |
always in relation to | 4 |
it is capable of | 4 |
and to make it | 4 |
the course of this | 4 |
a great many people | 4 |
theory of voice culture | 4 |
of the head register | 4 |
thought before the action | 4 |
in the best of | 4 |
is of no use | 4 |
one tone to another | 4 |
knowledge of the vocal | 4 |
if there is any | 4 |
not be easy to | 4 |
it is not always | 4 |
the author of this | 4 |
they are able to | 4 |
the emission of the | 4 |
the result of certain | 4 |
the greatest of all | 4 |
that the tone must | 4 |
in the resonance of | 4 |
the result of this | 4 |
sense of the words | 4 |
from the lower to | 4 |
drawing in of the | 4 |
vocal organs adjust themselves | 4 |
be able to give | 4 |
so far as they | 4 |
all that need be | 4 |
and a little later | 4 |
there should never be | 4 |
to the beauty of | 4 |
the open door to | 4 |
with more or less | 4 |
the muscular contractions are | 4 |
the value of a | 4 |
the accepted doctrines of | 4 |
as a pianist and | 4 |
the quality of tones | 4 |
brought to bear upon | 4 |
is also true of | 4 |
to this form of | 4 |
in response to a | 4 |
the history of voice | 4 |
one at a time | 4 |
the shape and size | 4 |
the parts in sounding | 4 |
exactly the same way | 4 |
this is exactly what | 4 |
is a sort of | 4 |
the correct position of | 4 |
the perfect vocal action | 4 |
for training the voice | 4 |
of our great singers | 4 |
and if you have | 4 |
no means the case | 4 |
open door to opera | 4 |
must be allowed to | 4 |
of the last century | 4 |
is not enough to | 4 |
of tone color and | 4 |
on the practice of | 4 |
the statement that the | 4 |
take place in the | 4 |
the dark ages of | 4 |
the problem of the | 4 |
the best way is | 4 |
he does not know | 4 |
are plenty of good | 4 |
a knowledge of vocal | 4 |
of the respiratory organs | 4 |
the interpretation of a | 4 |
upper border of the | 4 |
to study all the | 4 |
must not be too | 4 |
the attentive listening to | 4 |
awakened in the hearer | 4 |
if the voice is | 4 |
to the attention of | 4 |
the ear is the | 4 |
the framework of the | 4 |
of the truth of | 4 |
a work of art | 4 |
to the matter of | 4 |
would be interesting to | 4 |
become a part of | 4 |
each one of these | 4 |
it is not at | 4 |
the vocal chords and | 4 |
in the majority of | 4 |
between the tongue and | 4 |
the different parts of | 4 |
could it be possible | 4 |
the vocal ligaments is | 4 |
to be one of | 4 |
will enable the student | 4 |
the top of his | 4 |
to control the breath | 4 |
that i have not | 4 |
difference between the male | 4 |
determined solely by the | 4 |
tip of the tongue | 4 |
the alto part is | 4 |
is his mind that | 4 |
the lowest note of | 4 |
into the lungs through | 4 |
writers on the voice | 4 |
the american girl who | 4 |
all instruction in singing | 4 |
has the power of | 4 |
be done by the | 4 |
will be well to | 4 |
that the use of | 4 |
series of tones of | 4 |
singers of the first | 4 |
is impossible to sing | 4 |
connais le poids des | 4 |
the question as to | 4 |
of the imitative faculty | 4 |
it is hoped that | 4 |
of the application of | 4 |
for the expression of | 4 |
the name of science | 4 |
the result of long | 4 |
do not try to | 4 |
of course i do | 4 |
in mind that the | 4 |
of the muscular structure | 4 |
purely a matter of | 4 |
the mental picture of | 4 |
place the tone in | 4 |
of breathing and of | 4 |
same for all voices | 4 |
tone and the word | 4 |
the larynx in a | 4 |
influence on the voice | 4 |
on the breath is | 4 |
is so much to | 4 |
of the laryngoscope in | 4 |
there are a few | 4 |
in the concert hall | 4 |
may be found in | 4 |
i am in the | 4 |
must be apparent to | 4 |
the tone to be | 4 |
the direct sensations of | 4 |
in this way can | 4 |
color and tone character | 4 |
that he may be | 4 |
for the speaker and | 4 |
in the public schools | 4 |
basis of voice culture | 4 |
with a view to | 4 |
the matter of tone | 4 |
be seen in the | 4 |
taste of the public | 4 |
all children should have | 4 |
compel the phenomena of | 4 |
made up of a | 4 |
if the throat is | 4 |
greater part of the | 4 |
the voice on the | 4 |
are determined by the | 4 |
that i do not | 4 |
the cartilages of santorini | 4 |
the pockets of the | 4 |
let it be remembered | 4 |
tone seems to be | 4 |
in modern voice culture | 4 |
of the inner ear | 4 |
two or three times | 4 |
in his own voice | 4 |
in the high register | 4 |
the golden age of | 4 |
it may be well | 4 |
is highly probable that | 4 |
for the study of | 4 |
of the ability to | 4 |
notation in the female | 4 |
to the number of | 4 |
there are two ways | 4 |
in the opera house | 4 |
in the slightest degree | 4 |
the aim of the | 4 |
the great opera houses | 4 |
answer to this question | 4 |
as the breath is | 4 |
the choice of a | 4 |
accepted doctrines of vocal | 4 |
no two persons are | 4 |
the cup of the | 4 |
training of a singer | 4 |
of what use is | 4 |
musical character of the | 4 |
every tone must be | 4 |
in the best condition | 4 |
as we have seen | 4 |
the fiat of will | 4 |
the forward tone is | 4 |
think and feel the | 4 |