quadgram

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	95
in the case of	70
at the same time	56
the use of the	54
use of the voice	50
of the vocal cords	46
the correct vocal action	46
of the voice is	42
the muscles of the	41
of the vocal bands	40
knowledge of the voice	39
the art of singing	35
on the other hand	31
of the vocal action	30
koo koo koo koo	30
is one of the	29
of the vocal mechanism	27
the quality of the	27
the sense of hearing	26
the action of the	26
the air in the	26
the training of the	26
as a matter of	24
in singing and speaking	24
there can be no	24
in the use of	24
the tones of the	23
the idea of mechanical	23
the old italian method	23
one of the most	22
as well as the	22
of the old italian	22
the fact that the	22
empirical knowledge of the	22
the back of the	22
on the part of	21
of instruction in singing	21
it is to be	21
by the use of	21
the sound of the	21
of the mechanical idea	21
is by no means	20
management of the voice	20
of the art of	20
at the age of	20
the pitch of the	20
the metropolitan opera house	20
the position of the	19
of mechanical vocal management	19
at the end of	19
the study of the	19
the vibrations of the	19
of the soft palate	18
a part of the	18
so far as the	18
the shape of the	18
in the same way	18
mechanical management of the	18
the old italian masters	17
operations of the voice	17
idea of mechanical vocal	17
the operations of the	17
it is impossible to	17
a matter of fact	17
a great deal of	16
the resonance of the	16
the part of the	16
the movements of the	16
the vocal bands are	16
and at the same	16
tones of the voice	16
the character of the	16
the demands of the	16
in the art of	15
the problem of tone	15
in the form of	15
tension of the vocal	14
the voice must be	14
of the air in	14
the influence of the	14
correct use of the	14
training of the voice	14
the student of singing	14
the development of the	13
the correct use of	13
of the resonance cavities	13
is due to the	13
quality of the tone	13
to the fact that	13
in the course of	13
for the purpose of	13
the manner in which	13
of the vocal apparatus	13
it must not be	13
action of the vocal	13
the nature of the	13
the great majority of	13
the true vocal bands	13
of the correct vocal	12
it will be found	12
the size of the	12
on the subject of	12
of the fact that	12
the case of the	12
imparting the correct vocal	12
muscles of the larynx	12
of the tongue and	12
it is true that	12
all the muscles of	12
the old italian school	12
study of the voice	12
the singer and speaker	12
the case of a	12
to do with the	12
of the sense of	12
in addition to the	11
for the production of	11
it will be seen	11
muscles of the vocal	11
the guidance of the	11
the tension of the	11
control of the breath	11
sympathetic sensations of tone	11
house in new york	11
the ear and the	11
of the muscles of	11
art of voice culture	11
training of the ear	11
the production of the	11
opera house in new	11
the meaning of the	11
parts of the vocal	11
in spite of the	11
of the tone is	11
the registers of the	11
the extent to which	11
the vocal cords are	11
the singer or speaker	10
it is better to	10
to be able to	10
the mechanical operations of	10
a large number of	10
all parts of the	10
that the vocal bands	10
the sympathetic sensations of	10
the singing of the	10
in the production of	10
in all parts of	10
at the metropolitan opera	10
the whole of the	10
part of the vocal	10
that the old masters	10
the bones of the	10
the mechanical features of	10
vibrations of the air	10
mechanical operations of the	10
the speaker or singer	10
the cultivation of the	10
the work of the	10
will be seen that	10
operations of the vocal	10
the false vocal bands	10
the management of the	9
by means of the	9
parts of the body	9
mechanical features of tone	9
the nose and head	9
to the demands of	9
to any appreciable extent	9
back of the throat	9
in the formation of	9
it is difficult to	9
the art of voice	9
for the purposes of	9
the form of the	9
part of the body	9
on the imitative faculty	9
of the human voice	9
it is necessary to	9
is the result of	9
modern methods of instruction	9
of voice culture is	9
nasal and head cavities	9
the application of the	9
be borne in mind	9
of modern voice culture	9
of the breathing apparatus	9
of the singing voice	9
in order that the	9
can be no question	9
of a series of	9
the doctrine of breath	9
it may be said	9
as i have said	9
materials of modern methods	9
the vibration of the	9
is made up of	9
the music of the	9
the parts of the	9
of the voice and	9
production in singing and	9
of the voice was	9
metropolitan opera house in	9
the vocal organs are	9
voice production in singing	9
for imparting the correct	8
pitch of the tone	8
from time to time	8
tongue and soft palate	8
any part of the	8
in the training of	8
the condition of the	8
demands of the ear	8
in a short time	8
the empirical knowledge of	8
the subject of registers	8
of the utmost importance	8
singing on the breath	8
in the first place	8
the front of the	8
the art of breathing	8
of the bones of	8
are made up of	8
with regard to the	8
is determined by the	8
upper part of the	8
the central nervous mechanism	8
at the present time	8
the tongue and the	8
with the result that	8
as a result of	8
other parts of the	8
management of the vocal	8
a deterrent to beautiful	8
for the singer to	8
deterrent to beautiful singing	8
the upper part of	8
registers of the voice	8
the anatomy of the	8
the soft palate is	8
the end of the	8
of the mouth cavity	8
on the day of	8
singing of the future	8
in the light of	8
as one of the	8
of the larynx are	8
the basic principle of	8
under the direction of	8
the voice of the	8
to say that the	8
of the throat muscles	8
of the laryngeal muscles	8
this does not mean	8
the speaker and singer	8
inner surface of the	8
in the way of	8
for the most part	8
in connection with the	8
to the vocal organs	8
be given to the	8
doctrines of vocal science	8
all that can be	8
may be said to	8
when the voice is	8
the walls of the	8
scientific knowledge of the	8
so that it is	8
in regard to the	8
the range of the	8
of the idea of	8
compass of the voice	8
movements of the vocal	7
it is not easy	7
of the chest walls	7
to the study of	7
methods of instruction in	7
so soon as the	7
the end of a	7
this form of instruction	7
that there is no	7
quality of the voice	7
in the nose and	7
science of voice culture	7
a knowledge of the	7
way in which the	7
does not mean that	7
if you have the	7
for the development of	7
the law of the	7
the relative position of	7
of all the muscles	7
what is to be	7
of the singer and	7
the body of the	7
for the sake of	7
sound of the tones	7
that it is a	7
the nasal and head	7
study of the vocal	7
use of the breathing	7
it is of the	7
of the respiratory apparatus	7
the importance of the	7
but it is a	7
the mechanical doctrines of	7
of the larynx as	7
it is not necessary	7
of the greatest importance	7
the compass of the	7
the means used for	7
of the use of	7
from the fact that	7
of the voice by	7
this is the case	7
method of voice culture	7
is not easy to	7
the roof of the	7
a view of the	7
by the old masters	7
understanding of the voice	7
the air of the	7
of the voice are	7
of the voice in	7
most important of all	7
is more or less	7
action of the muscles	7
should be able to	7
that the voice must	7
the use of a	7
has ever been found	7
and the soft palate	7
the vocal cords is	7
the art of music	7
the mechanical management of	7
the old masters were	7
a description of the	7
the voice can be	7
that the quality of	7
quality of the tones	7
the voice by the	7
is the most important	7
position of the larynx	7
attentive listening to voices	7
it is important that	7
the quality of tone	7
the ear of the	7
vibrations of the vocal	7
the vocal organs to	7
on the training of	7
of the larynx in	7
that the voice is	7
for the teacher to	7
the attention of the	7
during the process of	7
in the open air	7
practical knowledge of the	7
in the hands of	7
on the vocal cords	7
a matter of resonance	6
of the speaking voice	6
of vibration in the	6
open the mouth without	6
of the old method	6
in new york city	6
an understanding of the	6
as in the case	6
the production of tone	6
on pitch of vowel	6
at the close of	6
this part of the	6
pitch of vowel sounds	6
the formation of vowels	6
as far as possible	6
the singer does not	6
anatomy of the vocal	6
of speech and song	6
is a matter of	6
the larynx of the	6
in this way the	6
will be found that	6
only in this way	6
stroke of the glottis	6
head and nasal resonance	6
shape of the mouth	6
muscular structure of the	6
of the old school	6
in accordance with the	6
the metropolitan in new	6
description of the vocal	6
position of the lips	6
of the present day	6
is it with the	6
to respond to the	6
in this way can	6
that the vocal organs	6
the vocal organs is	6
seems to have been	6
under the influence of	6
of the metropolitan opera	6
to a certain extent	6
is seen in the	6
the vocal bands and	6
the vocal cords in	6
the opening of the	6
the base of the	6
with special reference to	6
much to do with	6
movements of the larynx	6
the vocal action is	6
opening of the lips	6
due to the fact	6
of the materials of	6
of the voice as	6
the length of the	6
will do well to	6
in the sound of	6
singing out of tune	6
be said that the	6
the false vocal cords	6
the result of a	6
the value of the	6
it is impossible for	6
the materials of modern	6
in harmony with the	6
be no question that	6
it is safe to	6
the direction of the	6
adjustments of the vocal	6
nothing to do with	6
expansion of the chest	6
resonance of the air	6
a wide variety of	6
the fact that i	6
can be made to	6
the knowledge of the	6
to the quality of	6
was one of the	6
the nature of this	6
the mind of the	6
of the body is	6
the muscular structure of	6
adjustment of the vocal	6
range of the voice	6
is about cubic inches	6
in the body of	6
front of the mouth	6
in the nasal cavities	6
of vowels and consonants	6
in the direction of	6
it is for the	6
the question of the	6
this is also true	6
the voices of the	6
air in the mouth	6
every part of the	6
of the theory of	6
the actions of the	6
i do not know	6
the inner surface of	6
precepts of the old	6
of this form of	6
of the throat and	6
through the study of	6
workings of the vocal	6
this can be done	6
to the idea of	6
attention is paid to	6
the form of a	6
of the voice can	6
and the development of	6
no doubt that the	6
guidance of the voice	6
direct sensations of tone	6
of the chest and	6
the production of a	6
all the time i	6
borne in mind that	6
is hardly to be	6
air in the chest	6
in any other way	6
now to be considered	6
in the chest and	6
is found in the	6
at the royal opera	6
the top of the	6
contraction of all the	6
view of the larynx	6
the contraction of the	6
on the art of	6
as the result of	6
can be no doubt	6
special vowels and consonants	6
may be said that	6
influence of the resonance	6
shape of the resonance	6
by the action of	6
is not to be	6
the accepted vocal science	6
in a later chapter	6
it would not be	6
works on the voice	6
the tongue and soft	6
of the laws of	6
it is not a	6
the support of the	6
metropolitan in new york	6
the organs of speech	6
the soft palate and	5
the progress of the	5
it would be a	5
attention to the subject	5
in the study of	5
by far the most	5
in which it is	5
structure of the vocal	5
be familiar with the	5
the air within the	5
of the meaning of	5
the voice is not	5
the vocal organs in	5
the tip of the	5
not by any means	5
the voice in singing	5
to the tones of	5
become a prima donna	5
voice culture is the	5
command of the voice	5
the idea that the	5
the anatomy and physiology	5
in the development of	5
but this is not	5
as much as possible	5
one of the great	5
in which they are	5
the descent of the	5
little attention to the	5
as the voice is	5
the success of the	5
the tones of a	5
the lower part of	5
a wide range of	5
roof of the mouth	5
proper use of the	5
management of the breath	5
in view of the	5
to the mechanical features	5
a good general education	5
vibration of the air	5
bones of the head	5
in the mind of	5
of the tones of	5
of the vowel sounds	5
in front of the	5
is an example of	5
would do well to	5
as sung by mme	5
the quantity that can	5
there is no doubt	5
of singing in the	5
as well as in	5
of the voice to	5
in relation to the	5
sensations of tone are	5
as the basis of	5
the acquirement of skill	5
with the least possible	5
practical methods of instruction	5
all the materials of	5
the singer in the	5
in the widest sense	5
under the guidance of	5
from that time on	5
it is not the	5
the muscular operations of	5
the voice should be	5
all the resources of	5
to become a prima	5
a voice that is	5
the shape and size	5
now is christ risen	5
to produce a tone	5
is the one who	5
in the fact that	5
the student of the	5
is the cause of	5
length of the vocal	5
for the student to	5
the works of the	5
as though it were	5
of the expiratory blast	5
in such a way	5
pillars of the fauces	5
instruction based on the	5
of attention to the	5
from the standpoint of	5
be no doubt that	5
manner of using the	5
of the traditional precepts	5
the manner of using	5
songs from the operas	5
the traditional precepts of	5
thoroughly familiar with the	5
will be observed that	5
different parts of the	5
of the larynx and	5
some of the more	5
there is no possibility	5
of the voice has	5
a member of the	5
is produced by the	5
important of all the	5
for a long time	5
to the student of	5
surface of the larynx	5
as well as to	5
of the great singers	5
the floor of the	5
such a way that	5
traditional precepts of the	5
of the registers is	5
to bear in mind	5
quality of a tone	5
the mouth without inhaling	5
the error of the	5
by the old italian	5
parts of the respiratory	5
the idea of the	5
history of voice culture	5
to the mechanical operations	5
may be sure that	5
it will be noticed	5
shape and size of	5
the thought of the	5
the vocal cords and	5
in every case the	5
of the old masters	5
radiation of nerve impulse	5
what is meant by	5
of master and pupil	5
to say nothing of	5
in many of the	5
director and his assistants	5
from the operas for	5
of the expiratory muscles	5
that it would be	5
the vocal bands in	5
in order to produce	5
the study of repertoire	5
that it is not	5
one of the greatest	5
of the lips and	5
that this is the	5
pitch of the voice	5
of the tonic sol	5
action of the voice	5
a study of the	5
in the attempt to	5
use of the laryngoscope	5
use of the tongue	5
the appearance of the	5
of the doctrine of	5
the highest and best	5
the power of the	5
by the vocal cords	5
as a preparation for	5
guided by the ear	5
the strength of the	5
in this case the	5
and physiology of the	5
in the same manner	5
the quantity of air	5
is supposed to be	5
the most important of	5
but there is no	5
at the opera comique	5
ora del nostro amor	5
nasal and head resonance	5
parts of the country	5
by the fact that	5
lower part of the	5
and there is no	5
enlarge the throat and	5
the perfect vocal tone	5
scale of vowel sounds	5
it is important to	5
the exact nature of	5
this is by no	5
it follows that the	5
as a musical instrument	5
be said of the	5
sense of hearing is	5
set of sympathetic sensations	5
in the position of	5
a high degree of	5
the lips of the	5
of tone depends upon	5
the rudiments of music	5
this form of muscular	5
the invention of the	5
the performance of a	5
support of the tone	5
part of the brain	5
to use his voice	5
edited by james huneker	5
the philosophy of singing	5
education of the singer	5
the scientific study of	5
attention to the mechanical	5
at the beginning of	5
in the next chapter	5
the materials of instruction	5
that many of the	5
is to be done	5
principles of the vocal	5
the whole subject of	5
anatomy and physiology of	5
is a tendency to	5
is no possibility of	5
were it not for	5
for now is christ	5
to learn how to	5
it will be observed	5
the life of the	5
by the vibration of	5
to be found in	5
a teacher of singing	5
the direction of a	5
registers of the singing	5
great majority of teachers	5
the muscular sensations of	5
the early stages of	5
the breath must be	5
of the problem of	5
in so far as	5
cultivation of the voice	5
the nature of things	5
the career of the	5
in the chest register	5
the throat to stiffen	5
the voice does not	5
great majority of vocal	5
to manage the voice	5
in speaking and singing	5
air in the nasal	5
to be borne in	5
the chest and head	5
what is your ambition	5
the correct management of	5
when the throat is	5
of the open throat	5
the quality of sounds	5
the ability of the	5
by the sense of	5
to enlarge the throat	5
of which they are	5
system of voice culture	5
the quality of a	5
on the tones of	5
on the one hand	5
it must be remembered	5
there must be no	5
the singer who is	5
the nervous impulses that	5
in a general way	5
will be able to	5
scientific study of the	5
in this way will	5
to sing in the	5
so as to give	5
the voice in the	5
is looked upon as	5
back part of the	5
to hold back the	5
of nasal resonance is	5
the fallacy of the	5
is the fact that	5
the stroke of the	5
in my own case	5
of the state of	5
skill in the use	5
to the muscles of	5
is found to be	5
there is room for	5
position of the parts	5
the ranks of the	5
that portion of the	5
seemed to me that	5
with the greatest care	5
correct management of the	5
of some of the	5
and size of the	5
the course of the	5
descent of the diaphragm	5
lined with mucous membrane	5
the day of the	5
as a good speaker	5
a great mistake to	4
that can be said	4
that most of the	4
the purpose of the	4
to the vibrations of	4
a method of voice	4
for the speaker and	4
the strings of a	4
by the resonance of	4
muscles of the throat	4
to hear the best	4
in this regard the	4
is also true of	4
the whole matter of	4
a treatise on the	4
is a sort of	4
a matter of course	4
her voice is a	4
edited by henry t	4
purely a matter of	4
of air in the	4
an hour a day	4
the listening to voices	4
the wear and tear	4
accepted doctrines of vocal	4
it is a matter	4
i was obliged to	4
correct and incorrect singing	4
basis of voice culture	4
as if it were	4
eight years of age	4
of the mechanical operations	4
be able to produce	4
hygiene of the vocal	4
disappearance of the old	4
of the results of	4
commands of the ear	4
caught in the throat	4
to become a great	4
why is it that	4
the higher cerebral centers	4
for the first time	4
by the singer in	4
it will be noted	4
one thing at a	4
mental conception of the	4
one of the foremost	4
take the place of	4
if you do not	4
by the shape of	4
it is in the	4
method of instruction in	4
of various choirmasters in	4
contraction of the throat	4
for a few minutes	4
be able to sing	4
a greater or less	4
of the nose and	4
with the exception of	4
to become a singer	4
the training of voices	4
the place of the	4
when i am singing	4
f m r d	4
the fact that they	4
is not necessary to	4
to be the most	4
and shape of the	4
that can be done	4
are produced by the	4
of the principles of	4
can be done with	4
of most of the	4
a vast amount of	4
in the sympathetic sensations	4
takes place in the	4
in the life of	4
the organs of the	4
solution of the problem	4
that in order to	4
as long as the	4
the forward tone is	4
is felt by the	4
can be done to	4
that there is a	4
of the singer should	4
the whole glottis is	4
is the student to	4
the extremes of the	4
to the end of	4
the attentive listening to	4
little or nothing to	4
a matter of common	4
it was pointed out	4
the history of voice	4
care must be taken	4
nervous impulses that pass	4
the accepted doctrines of	4
physiological point of view	4
use of nasal resonance	4
the young singer to	4
the possession of a	4
a large proportion of	4
as we have already	4
all the parts of	4
the alto part is	4
the young singer should	4
muscles are attached to	4
by the contraction of	4
be applied to the	4
but this does not	4
it would be well	4
the radiation of nerve	4
the entire vocal mechanism	4
especially in the case	4
use of the lips	4
be shown to be	4
knowledge of the muscular	4
means used for imparting	4
the basis of a	4
say nothing of the	4
becoming more and more	4
the sole purpose of	4
is highly probable that	4
form of instruction is	4
musical character of the	4
to the radiation of	4
physiology of the vocal	4
le poids des fers	4
the importance of this	4
relative position of parts	4
is not confined to	4
the laws of acoustics	4
the aim of the	4
it is possible to	4
review of modern methods	4
of the structure and	4
the exercise of the	4
the course of study	4
as a means of	4
spite of the fact	4
s f m r	4
had an opportunity to	4
easy for the voice	4
as to whether the	4
say that it is	4
at the top of	4
development of vocal science	4
to the operations of	4
character of the tones	4
no two persons are	4
go hand in hand	4
die lehre von den	4
placing of the tone	4
the back part of	4
musical education of the	4
looked upon as a	4
the commands of the	4
to the use of	4
the voice is guided	4
part of the voice	4
and with it the	4
the operas of bellini	4
in the preceding chapter	4
this is not the	4
the nasal chambers are	4
must be capable of	4
most important part of	4
in chapter v of	4
on the practice of	4
the singer must be	4
produced by the same	4
in the nature of	4
you will find that	4
there is a tendency	4
the hygiene of the	4
always in relation to	4
of the highest importance	4
registers and laryngeal action	4
the chest and the	4
vocal organs adjust themselves	4
always seemed to me	4
quantity that can be	4
to hear great singers	4
it is a great	4
of the present work	4
this is the only	4
the vocal organs must	4
invention of the laryngoscope	4
the secrets of the	4
both singing and speaking	4
the least expenditure of	4
in possession of the	4
should be sung in	4
of the voice obtained	4
connais le poids des	4
the hard palate and	4
to sing in a	4
for the same reason	4
within the range of	4
enlargement of the chest	4
by those who have	4
it is one of	4
all of the great	4
to raise your hand	4
thing at a time	4
the chicago opera company	4
in order to make	4
in the investigation of	4
mais je connais le	4
the expression of the	4
difference between correct and	4
vibration in the chest	4
a certain amount of	4
the mental imitation of	4
to fill the chest	4
the pitch of this	4
is not a matter	4
to the matter of	4
with the problem of	4
the disappearance of the	4
well illustrated in the	4
the structure and functions	4
answer to this question	4
edited by carl armbruster	4
to point out that	4
by the character of	4
the theoretical works on	4
very early in the	4
there should be a	4
even in the case	4
the biceps and triceps	4
not a matter of	4
it is found that	4
tongue and the soft	4
that the singer has	4
is a mistake to	4
is no doubt that	4
by thinking of the	4
it is a mistake	4
be made to vary	4
chapter v of part	4
the result is that	4
on the operatic stage	4
to take up the	4
method of training voices	4
the direct sensations of	4
mean that the singer	4
modern voice culture is	4
by attentive listening to	4
empirical understanding of the	4
but it is not	4
of the entire body	4
training the voice is	4
folds of mucous membrane	4
there is not one	4
the expiratory blast is	4
lehre von den tonempfindungen	4
but at the same	4
boys to sing alto	4
muscles of the chest	4
must be able to	4
on account of the	4
or nothing to do	4
be adapted to the	4
a good natural voice	4
the diaphragm is the	4
be said to be	4
as a pianist and	4
which comes from the	4
motion of the vocal	4
for the mechanical management	4
of the existence of	4
to say the least	4
the voice on the	4
i do not believe	4
of the imitative faculty	4
a series of tones	4
the art of the	4
the muscles of inspiration	4
the sympathetic sensations awakened	4
hold back the breath	4
of the face and	4
of the great brain	4
in the public schools	4
vowels and consonants are	4
to this form of	4
of the larynx during	4
necessary for me to	4
of a practical method	4
the vocal bands is	4
other things being equal	4
the voice is one	4
normal action of the	4
those parts of the	4
the way in which	4
the voice has been	4
of one of the	4
knowledge of the vocal	4
associated and antagonist muscles	4
mechanical doctrines of vocal	4
at variance with the	4
as soon as the	4
all instruction in singing	4
the involuntary contraction of	4
least expenditure of energy	4
is now to be	4
the song of the	4
reliance on the imitative	4
air in the lungs	4
at the back of	4
acquirement of skill in	4
it is highly probable	4
very much the same	4
respond to the demands	4
in the practice of	4
inhale through the nostrils	4
from the vocal bands	4
must be remembered that	4
suffice it to say	4
of success or failure	4
due to the radiation	4
is guided by the	4
be said to have	4
use of all the	4
theoretical works on the	4
in a state of	4
in listening to a	4
pitch of this vowel	4
as a sort of	4
of the muscular structure	4
the matter of tone	4
by no means the	4
of the subject of	4
this is not a	4
the true value of	4
of the most important	4
the results of the	4
in this condition the	4
important part of the	4
notes of the voice	4
the command of the	4
the muscular contractions are	4
the open door to	4
the fiat of will	4
in response to the	4
part of the respiratory	4
out of the mouth	4
so long as the	4
of modern methods chapter	4
of mechanical management of	4
at a very early	4
the needs of the	4
so far as they	4
it is most important	4
to the subject of	4
correct vocal action is	4
wrong use of the	4
for singers and speakers	4
of the united states	4
is to be remembered	4
the practice of singing	4
more than anything else	4
investigation of the voice	4
to suit the voice	4
koo koo koo key	4
the larynx and the	4
with the highest standards	4
of a method of	4
the mechanism of the	4
in addition to this	4
is of the greatest	4
and this is a	4
portion of the brain	4
the muscles of respiration	4
the idea of a	4
not be easy to	4
the effect of the	4
is connected with the	4
the hands of the	4
of the resonance chambers	4
it is easy enough	4
theory of voice culture	4
have been able to	4
may be regarded as	4
seen to be the	4
above the vocal bands	4
to the performance of	4
the mouth should be	4
je connais le poids	4
the musical and verbal	4
the voice may be	4
the normal action of	4
practice of various choirmasters	4
in modern voice culture	4
the subject of breathing	4
technical training of the	4
about the vocal action	4
the singer should be	4
each side of the	4
between correct and incorrect	4
take care of itself	4
the large number of	4
the vocal bands may	4
awakened in the hearer	4
the great opera houses	4
corners of the mouth	4
it cannot be too	4
in the thin register	4
it has been said	4
the mouth and nose	4
the impressions made by	4
is known as the	4
the number of vibrations	4
is not likely to	4
that they may be	4
it is well to	4
use of the word	4
is scarcely necessary to	4
of this vowel is	4
the pillars of the	4
the metropolitan opera company	4
open door to opera	4
so much has been	4
size of the cavity	4
be observed that the	4
of skill in the	4
muscles of the body	4
cultivation of the sense	4
be seen that the	4
the control of the	4
by the influence of	4
the vocal organs adjust	4
on the side of	4
is contained in the	4
in the vocal organs	4
of the empirical knowledge	4
closure of the glottis	4
necessary to point out	4
a very early age	4
the highest standards of	4
part of the chest	4
used for imparting the	4
actions of the vocal	4
one of the best	4
as well as by	4
made on the hearer	4
the five vowel sounds	4
possible for me to	4
that it can be	4
the voice and the	4
use of the registers	4
notes on the practice	4
due solely to the	4
attention being paid to	4
for the young singer	4
the same way as	4
of the different parts	4
as those in the	4
italian school of singing	4
to a large extent	4
much attention to the	4
so far as to	4
would not be easy	4
tells me that he	4
to open the throat	4
the vast majority of	4
considered theoretically and practically	4
all the elements of	4
speaking of the larynx	4
entire vocal mechanism is	4
is the foundation of	4
che un giorno sol	4
i know that my	4
that it may be	4
of throat stiffness is	4
mechanism of the larynx	4
are to be found	4
has always seemed to	4
to stiffen the throat	4
the different parts of	4
theories of the vocal	4
this being the case	4
was so great that	4
the human voice is	4
all that need be	4
old italian method is	4
is attached to the	4
by the great majority	4
parts of the larynx	4
of the parts in	4
for the belief that	4
become a great singer	4
on the top line	4
the perfect vocal action	4
art of singing is	4
the vocal organs and	4
is not at all	4
must be apparent to	4
the practice of various	4
of the tone as	4
to be guided in	4
must not be understood	4
made up of cells	4
singing in the mask	4
of the respiratory tract	4
five units of strength	4
to sing in opera	4
production of the tone	4
in a condition of	4
means has ever been	4
the object of the	4
the corners of the	4
elements of voice culture	4
there has been a	4
is seen to be	4
of the application of	4
on the other side	4
it is scarcely necessary	4
there must be a	4
on each side of	4
voice seems to be	4
the parts in sounding	4
the truth of this	4
is to make the	4
throat seems to be	4
the same time the	4
thyroid and cricoid cartilages	4
on the breath is	4
of the ear and	4
no means the case	4
of the arytenoid cartilages	4
the right kind of	4
the development of vocal	4
and that of the	4
it is said that	4
of the inner ear	4
the works of tosi	3
who does not possess	3
the pressure of the	3
the greatest ease and	3
throughout the entire course	3
hundred and fifty years	3
of the piano or	3
tone of objectionable nasal	3
the location of the	3
technical use of the	3
the violin or the	3
of the head and	3
in regard to registers	3
of the importance of	3
muscles are arranged in	3
the tone of the	3
exercise of the imitative	3
take care of themselves	3
what is good and	3
what it means to	3
the voice cannot be	3
was born at naples	3
they taught on sound	3
ii of part ii	3
is in accordance with	3
do not know whether	3
it will be remembered	3
acquiring control of the	3
the problem of the	3
also true of the	3
the outset of his	3
should be given to	3
as well as that	3
management as the basis	3
and the head voice	3
he would have a	3
his ear and his	3
the first of the	3
of the time spent	3
will take care of	3
be regarded as a	3
art of singing in	3
is doubtless due to	3
these fine shades of	3
outer surface of the	3
the chest cavity is	3
do not seem to	3
john franklin botume boston	3
of acquiring the correct	3
that take place in	3
of the body may	3
in a few years	3
is a part of	3
the ideas to be	3
nine years of age	3
of no use to	3
becomes of all the	3
the prime of condition	3
of the vibrations of	3
in the same position	3
and under perfect control	3
a consideration of the	3
contractions of the muscles	3
the mental picture of	3
the upper thin register	3
the expiratory pressure is	3
not be able to	3
this is not so	3
to the discretion of	3
go so far as	3
to rely on the	3
see to it that	3
is in possession of	3
knowledge in modern voice	3
the most important guides	3
is easy enough to	3
of the line of	3
the faults of production	3
little attention is paid	3
for a year or	3
vocal cords in the	3
an hour and a	3
exercise to suit the	3
when there is a	3
the practices of voice	3
present knowledge of the	3
the mouth of the	3
of the opera house	3
the fact that sometimes	3
as a concert singer	3
in each case the	3
a general way the	3
the boys to sing	3
mechanical vocal management as	3
the mechanics of the	3
of the higher cerebral	3
the statement that the	3
the use of nasal	3
consciously or unconsciously they	3
placing of the voice	3
so far as it	3
smallest possible opening of	3
tone is produced by	3
must be adapted to	3
it is only when	3
by vibrations of the	3
engaged for the metropolitan	3
sing on the breath	3
the excessive use of	3
of the registers of	3
here is an example	3
the sound reproducing machine	3
in the voice of	3
just in front of	3
is familiar with the	3
are a number of	3
to which it is	3
the beauty of the	3
in the early stages	3
form of muscular contraction	3
the adult male alto	3
the contents of the	3
from g to d	3
essential parts of the	3
from which speakers and	3
of the voice box	3
vocal theorists that the	3
with a good teacher	3
right use of the	3
the voice is a	3
the speaker and the	3
for the management of	3
quality and power of	3
the voice is bound	3
the perfection of the	3
the ear to the	3
right amount of breath	3
that they have not	3
theory of the vocal	3
of the evil results	3
the use of certain	3
is effected by the	3
the edge of the	3
the teacher should know	3
the fact that some	3
singers in grand opera	3
of the teacher is	3
the smallest possible opening	3
of the extent to	3
boys to sing in	3
in keeping with the	3
of objectionable nasal quality	3
ambition to become a	3
the emission of the	3
ii a critical analysis	3
and he will be	3
the difference in the	3
the beginning of the	3
the raising of the	3
the performance of the	3
how to do this	3
will be remembered that	3
to feel that the	3
was made at the	3
or not at all	3
function of the ear	3
body of the work	3
of the auditory apparatus	3
the inner edges of	3
parts of the resonance	3
in spite of its	3
sound of the voice	3
would have to be	3
this does not prove	3
correct mode of action	3
before passing to the	3
a change in the	3
the closure of the	3
italian opera in america	3
so much attention to	3
so is it with	3
through the smallest possible	3
that the nature of	3
in the medical profession	3
the modern vocal teacher	3
into the operations of	3
the student is instructed	3
bones of the nose	3
that the throat is	3
the muscles of a	3
the body is the	3
break in the voice	3
by opposed muscular action	3
the age of sixteen	3
it is based on	3
to the amount of	3
a wrong use of	3
p crescendo symbol f	3
the elevation of the	3
correct models of singing	3
of the perfect tone	3
is evident from the	3
pointed out in chapter	3
passing to the next	3
before taking up the	3
has been said that	3
to the brain are	3
the use of methods	3
but the quality of	3
while mentally counting one	3
doctrine of chest resonance	3
that i have not	3
so as to be	3
there is nothing like	3
to a high degree	3
by far the greater	3
structure and functions of	3
felt by the hearer	3
in both singing and	3
of antagonist groups of	3
the acoustic principles of	3
to reflect the light	3
would be a great	3
the use of special	3
between the correct vocal	3
when i went to	3
relaxing the throat are	3
the sensations of vibration	3
sympathetic sensations of throat	3
the close of the	3
on which it is	3
study of the piano	3
and forward placing of	3
is by far the	3
technics of bel canto	3
of one hundred pounds	3
persons are exactly alike	3
which the singer is	3
the whole range of	3
listening to voices is	3
the breath is the	3
majority of vocal scientists	3
the subject of voice	3
from one tone to	3
back of the tongue	3
half of the chest	3
the result that the	3
all students of music	3
two persons are exactly	3
the possessor of a	3
use of the muscles	3
do not belong to	3
changes that take place	3
teach the student to	3
law of the conservation	3
what a deep breath	3
an almost infinite variety	3
analysis of modern methods	3
familiar with the highest	3
the proper use of	3
of the same work	3
some idea of the	3
ministres de la mort	3
on the concert stage	3
are due to the	3
the practice of the	3
no other means of	3
nine cases out of	3
come out of the	3
influence of the mechanical	3
should seem to be	3
the acquirement of the	3
a copy of the	3
voice an interval of	3
writers on the voice	3
with a sense of	3
to arrive at an	3
condition of throat stiffness	3
the larynx in singing	3
is an almost infinite	3
voice is one of	3
to be remembered that	3
one or the other	3
condition of muscular stiffness	3
the practical application of	3
of singers and speakers	3
of the world is	3
the throat and the	3
singers of the time	3
in the opera house	3
of this knowledge is	3
of the voice should	3
with the greatest ease	3
be brought to the	3
every now and then	3
at the base of	3
law of the transformation	3
the adjustments of the	3
extent to which this	3
and contraction of the	3
sense of the term	3
the only way in	3
under these circumstances the	3
the case with the	3
the size and shape	3
the contractions of the	3
manner of dealing with	3
instruction on this topic	3
pay guineas a year	3
the student has the	3
have one or two	3
a fair knowledge of	3
without the use of	3
and you will find	3
is exerted by the	3
a quarter of a	3
to close the mouth	3
the vocal organs from	3
always in the same	3
of the great master	3
be one of the	3
of the training of	3
the psychological process is	3
of throat stiffness on	3
elements of vocal training	3
acquiring the correct vocal	3
of the study of	3
inform us of the	3
knowledge of the structure	3
the results of this	3
into the hands of	3
entire course of study	3
of the more important	3
in place of the	3
from one register to	3
the vocal organs may	3
mechanical principles of the	3
action on the part	3
the human voice and	3
grasp the significance of	3
the vocal action have	3
the beauty of tone	3
at the outset of	3
be held in the	3
do not believe that	3
chapter i of part	3
of the faults of	3
before a public appearance	3
the voice ascends the	3
the great air of	3
of the air is	3
of any of the	3
by the central nervous	3
to keep it in	3
survival of the fittest	3
in proportion to the	3
would be greatly improved	3
are some of the	3
it will be well	3
the same degree of	3
his sense of hearing	3
the fact that a	3
that the tones of	3
with that of the	3
false vocal bands are	3
a result of the	3
progress depends upon the	3
the tone must be	3
it is thus seen	3
the use of his	3
there are so many	3
cannot be settled by	3
a thorough musical training	3
has the power of	3
the idea of direct	3
both master and pupil	3
must not be forgotten	3
to produce tones of	3
any incorrect vocal action	3
pay little attention to	3
of the vocal tone	3
the singer has to	3
insight into the operations	3
fill the chest to	3
in the front of	3
judicious use of the	3
the ear is the	3
student is instructed to	3
the most important part	3
to the movements of	3
a method of instruction	3
by vocal theorists that	3
of mechanical vocal control	3
the subject in the	3
the subject of the	3
the vocal bands of	3
the analysis of the	3
cannot be said to	3
to bring out the	3
is very much the	3
and tone should agree	3
just so long will	3
with which he can	3
being paid to the	3
taught on sound physiological	3
concert songs for boys	3
but it is to	3
is far better to	3
shows the position of	3
results from the contraction	3
should be taken in	3
of the vocal instrument	3
we may say that	3
the learning of languages	3
of the nineteenth century	3
that can be expelled	3
the chest to the	3
are to be used	3
in the works of	3
of singing must be	3
of tosi and mancini	3
the open throat precept	3
the nasal cavities must	3
she should be taught	3
by no means a	3
matter of common knowledge	3
the means by which	3
bands have little or	3
the singer is a	3
company in new york	3
some specific applications of	3
to bring the tone	3
some of the best	3
and more or less	3
respond to the vibrations	3
to the production of	3
is that the singer	3
a judicious use of	3
the singer and the	3
soft palate and the	3
an important factor in	3
the present state of	3
vocal cords are brought	3
the same may be	3
and conservation of energy	3
air of the resonance	3
as well as a	3
or eighteen years of	3
it is hoped that	3
there should be no	3
of the expired breath	3
be made to the	3
more or less tense	3
the significance of the	3
the upper chest is	3
die grosse italienische gesangschule	3
to the lack of	3
as to the relative	3
the most important muscle	3
in the correct use	3
the theory of breath	3
in order to get	3
the breathing and the	3
over and over again	3
resonance in singing and	3
was fortunate in having	3
the speaking voice and	3
of practice and experience	3
violin or the piano	3
set up by the	3
according to his own	3
i have nothing to	3
one of the three	3
singers of the past	3
mistake of a lifetime	3
diction for singers and	3
tone creates its own	3
that the student may	3
necessary for the student	3
bearing on the voice	3
as a resonance chamber	3
not fail to be	3
in he made his	3
least possible expenditure of	3
resonator for the voice	3
the time i was	3
there is such a	3
to the vocal teacher	3
about one hundred cubic	3
in the first instance	3
by the muscles of	3
to produce the tone	3
chapter ii of part	3
experienced by the singer	3
of the lungs to	3
as though you were	3
to be aware of	3
for the acquirement of	3
and to produce tones	3
if they do not	3
as little as possible	3
is thus seen that	3
the personality of the	3
part of the whole	3
must be made in	3
sound of the fork	3
in the ranks of	3
f on the top	3
listening to vocal tones	3
one set of muscles	3
the chief organ of	3
vocal physiology and hygiene	3
with the idea that	3
of the notes of	3
if we are to	3
the more active the	3
stiffening of the throat	3
is to be understood	3
hour and a half	3
that pass from the	3
say a word about	3
the foundation of all	3
the case of all	3
the good fortune to	3
to the conclusion that	3
bearing in mind the	3
the larynx should be	3
voice in prime condition	3
he used to say	3
of the muscular operations	3
a paper of seeds	3
most important element in	3
all that has been	3
on the theory that	3
be taken through the	3
by the hearer to	3
be associated with the	3
does not imply that	3
the vibrations of a	3
of voice culture will	3
the musical character of	3
the air is held	3
be taken into account	3
the neck of the	3
awakens in the hearer	3
empirical knowledge in modern	3
my career as a	3
two or three times	3
to its logical conclusion	3
kunst der idealen tonbildung	3
an idea of the	3
of the vocal art	3
a discussion of the	3
as will be shown	3
is conveyed by a	3
for training the voice	3
the tones are produced	3
be said about the	3
the accepted theories of	3
there is no reason	3
what becomes of all	3
the fact that he	3
the basis of all	3
it has not been	3
than it is to	3
so that it may	3
of empirical observation of	3
takes the form of	3
the principles on which	3
that it is difficult	3
vibration of the vocal	3
of the vocal teacher	3
works of tosi and	3
empirical knowledge is always	3
by the vocal organs	3
a resonator for the	3
the volume of sound	3
is true of the	3
beauty of tone is	3
let us now consider	3
of all good singing	3
under the control of	3
evils from which speakers	3
the type of voice	3
above the vocal cords	3
the quality of tones	3
apparent to the reader	3
to the development of	3
of the speaker or	3
in the chambers of	3
it seems to me	3
career of the singer	3
feature of the vocal	3
of the vocal profession	3
it is the custom	3
the scientific knowledge of	3
outset of his career	3
form of the resonance	3
shows the limit of	3
to the force of	3
the voice is an	3
a deep breath is	3
the discretion of the	3
and on the other	3
of the laryngeal action	3
be apparent to the	3
attention be given to	3
in response to a	3
as though they were	3
that the teacher should	3
i am opposed to	3
famous singers of the	3
exhaustive analysis of the	3
in the operas of	3
position of the tongue	3
i do not mean	3
of the nature of	3
but it is impossible	3
muscular adjustments of the	3
back of the mouth	3
certain vowels and consonants	3
of the accepted vocal	3
the hearer that the	3
in the early decades	3
it should never be	3
to me in my	3
of the precepts is	3
breaking of the voice	3
pass from the ear	3
a perfect musical tone	3
impressions made by the	3
as we have before	3
be sung in a	3
based on scientific principles	3
of the human instrument	3
direct mechanical management of	3
in no other way	3
theory of mechanical vocal	3
the rest of the	3
is apt to be	3
which speakers and singers	3
the listener is concerned	3
is an illustration of	3
or unconsciously they taught	3
manner in which the	3
of the operations of	3
when the vocal bands	3
to the pitch of	3
a portion of the	3
you wish to raise	3
of the truth of	3
the subject of attack	3
and the nasal chambers	3
with the least expenditure	3
practical study of the	3
does not appeal to	3
the sense in which	3
psychology of vocal culture	3
every muscle of the	3
use of the vocal	3
thus it is that	3
on the quality of	3
can do is to	3
many of the great	3
of a vocal tone	3
the least possible expenditure	3
inflation of the ventricles	3
produced by the action	3
of registers and breaks	3
le nozze di figaro	3
may be sung by	3
at the metropolitan in	3
of the larynx is	3
impulses that pass from	3
emphasize the fact that	3
was immediately engaged for	3
board resonance of the	3
size and shape of	3
a fine natural voice	3
singing and speaking the	3
not mean that the	3
d t l s	3
it must be apparent	3
the transformation and conservation	3
the hearer to be	3
be out of the	3
by a large number	3
is converted into energy	3
much can be done	3
holiday in the year	3
by practice in actual	3
the theory of the	3
ventricle of the larynx	3
the mystery of the	3
the workings of the	3
on special vowels and	3
the principles of psychology	3
it is a bad	3
to point out the	3
ear and the voice	3
for acquiring control of	3
adjustments of the laryngeal	3
to the sound of	3
knowledge of the subject	3
in the original italian	3
the royal academy of	3
doubtless due to the	3
the vocal band is	3
that the chest cavity	3
old italian masters were	3
up in the head	3
be placed in the	3
in order to understand	3
of the french horn	3
influence of the idea	3
of modern vocal instruction	3
the fact that this	3
of the action of	3
the chest in the	3
was pointed out in	3
that my redeemer liveth	3
note of the scale	3
use of the portamento	3
are now to be	3
basic principle of modern	3
the point at which	3
be made in the	3
the basis of the	3
be paid to the	3
ah as in father	3
the singer must have	3
thick or chest register	3
and other parts of	3
are attached to the	3
of the mucous membrane	3
one part of the	3
the music of wagner	3
that in which the	3
hear the best singers	3
it is by no	3
there is but one	3
position of the diaphragm	3
teacher is the one	3
of this kind are	3
attention paid to the	3
are among the most	3
in order to give	3
empirical study of the	3
basis of instruction in	3
may be able to	3
work on the subject	3
old italian school of	3
is all the more	3
f decrescendo symbol p	3
do not think that	3
by the singing of	3
nasal cavities must be	3
bones of the chest	3
so far as i	3
the reason is that	3
hardly to be expected	3
sensations experienced by the	3
this class of exercises	3
the accepted idea of	3
not likely to be	3
i have been so	3
chambers above the vocal	3
chest and nasal cavities	3
great opera houses of	3
more can be done	3
is a combination of	3
far as i know	3
it is simply a	3
in the back of	3
muscular contractions are performed	3
mechanical control of the	3
there must be some	3
the psychological laws of	3
vocal management as the	3
is likely to be	3
power of the voice	3
the sides of the	3
it is far better	3
study of vocal mechanics	3
in the performance of	3
a combination of the	3
to learn to sing	3
in mind that the	3
pitch the exercise to	3
is to be attained	3
contraction of antagonist groups	3
the mechanical idea is	3
converted into energy of	3
with the view of	3
and studied singing with	3
so that there is	3
use as initial consonants	3
the opera house itself	3
tension of the throat	3
does not seem to	3
the stream of sound	3
words and tone should	3
singing and speaking are	3
seen in the attempt	3
cannot be too well	3
such as those of	3
and the vocal cords	3
be taught how to	3
it will be understood	3
is of the highest	3
application of the mechanical	3
the subject of tone	3
the outgoing stream of	3
tone depends upon the	3
far more difficult than	3
to listen to the	3
the voice in its	3
air within the resonance	3
the sense of sight	3
the abdomen and the	3
in the hearer a	3
seems to the author	3
eighteen years of age	3
would be the same	3
is of the utmost	3
as the author has	3
be acquired by imitation	3
early decades of the	3
the cartilages of the	3
surface of the thyroid	3
i was fortunate in	3
except in the case	3
it was impossible for	3
use of special vowels	3
acquirement of the correct	3
whole of the inner	3
by no means all	3
from the contraction of	3
of the transformation and	3
a careful study of	3
the day of my	3
should learn to sing	3
the accepted theory of	3
that they will be	3
inner edges of the	3
are found to be	3
is in one sense	3
cavity of the mouth	3
that the movements of	3
low in the throat	3
one may have a	3
command of all the	3
speaker and the singer	3
in the middle of	3
the sense of melody	3
corresponding changes in the	3
ear to the brain	3
the requirements of the	3
it is seen that	3
be taken up with	3
concert and oratorio singers	3
the study of speech	3
the evil results of	3
state of throat stiffness	3
in favor of the	3
passing through the nose	3
the best way of	3
of the chest in	3
decades of the nineteenth	3
it not for the	3
it often happens that	3
of the breath in	3
so long as it	3
the right way is	3
dealing with this subject	3
under the command of	3
and a series of	3
we want to do	3
if they be not	3
of all the resources	3
of the shape of	3
may be considered a	3
work of the composer	3
the upper lip and	3
to be held in	3
idea of voice culture	3
laws of physiological psychology	3
the study of sight	3
the old method is	3
the tones seem to	3
great singers of the	3
the pronunciation of words	3
if i were to	3
whether it be in	3
mistake to suppose that	3
the upper front teeth	3
the voice in prime	3
is not the case	3
of the voice the	3
as the body is	3
to the mechanical idea	3
the sounds of the	3
emission of the tone	3
of the voice on	3
is said to have	3
every one of the	3
of the spinal cord	3
is one of those	3
the doctrine of chest	3
be guided by the	3
the time spent in	3
seventeen or eighteen years	3
of mechanical voice culture	3
and the practice of	3
in new york and	3
unconsciously they taught on	3
voice can be trained	3
of the transition period	3
a small portion of	3
topic of vocal science	3
form of the vibrations	3
the aid of the	3
of the tone and	3
art of music is	3
speakers and singers suffer	3
a great variety of	3
you have the right	3
impression made on the	3
strings of a violin	3
in the subject of	3
out of the way	3
obeys the commands of	3
organist and choirmaster of	3
soft palate should be	3
workings of the voice	3
and it may be	3
antagonist groups of muscles	3
the reason of this	3
the advantage of the	3
the exercises may be	3
il canto nel suo	3
on the hearer by	3
degree of throat stiffness	3
the period of change	3
practices of voice culture	3
of the muscles are	3
attention to the throat	3
attempt has been made	3
for the performance of	3
the extent of the	3
may say that the	3
an illustration of this	3
the depth of the	3
that singing and speaking	3
control by opposed muscular	3
take place in the	3
part of the mouth	3
the result of long	3
there is an almost	3
is given to the	3
be set down as	3
effect of throat stiffness	3
the latter is a	3
mechanical guidance of the	3
of those parts of	3
there is no time	3
in singing or speaking	3
ever been found for	3
has been made in	3
for relaxing the throat	3
think that it is	3
every singer should be	3
that the old italian	3
the opera house or	3
development of the voice	3
emission of the voice	3
tone seems to be	3
taste of the public	3
of the larynx when	3
days of the old	3
garcia was the first	3
mass of the vocal	3
through the medium of	3
sensations of vibration in	3
only a very few	3
the adjustment of the	3
amount of breath to	3
may be made to	3
that the student should	3
it is easy to	3
the right amount of	3
student of the voice	3
the entire course of	3
in a stiffened condition	3
and it is only	3
are very widely used	3
muscular sensations of the	3
va prier pour lui	3
to me to be	3
to use the upper	3
determined solely by the	3
which they are made	3
as the voice ascends	3
of the voice have	3
the voices to which	3
the days of the	3
that the study of	3
of resonance in the	3
in the doctrine of	3
to vibrations of the	3
a practical method of	3
the study of singing	3
the tendency to stiffen	3
made the basis of	3
it takes years to	3
a difference between the	3
during the production of	3
culture of the voice	3
fault of production the	3
a misuse of the	3
to get an engagement	3
in the field of	3
of an inch when	3
analysis of the vocal	3
the middle of the	3
to sing by imitation	3
of style in singing	3
of the body and	3
close the mouth and	3
is always the same	3
is felt to be	3
it is not so	3
to the spinal column	3
seems to me a	3
to the requirements of	3
it is clear that	3
the voice is used	3
of the voice may	3
fact that they are	3
at the time when	3
does not by any	3
is for the singer	3
shut off from the	3
to be in the	3
i do not choose	3
auditory and muscular sensations	3
the force of the	3
there is something about	3
the volume of tone	3
that the art of	3
has been the subject	3
the lower notes of	3
the vibrations in the	3
there are a number	3
the history of the	3
improvement in the art	3
investigators of the voice	3
singer should be a	3
art of the singer	3
the muscular sensations accompanying	3
the technical training of	3
and quality of the	3
vocal bands have little	3
the lungs are filled	3
opera company in new	3
the teacher should be	3
a year or two	3
in the quality of	3
the author has known	3
a number of years	3
not in the least	3
canto nel suo mecanismo	3
demanded by the ear	3
voice is felt by	3
is paid to the	3
not know how to	3
a willed or voluntary	3
of the voices of	3
of the upper lip	3
portion of the body	3
the following is the	3
tones of the chest	3
from the ear to	3
there are no mistakes	3
by the number of	3
the student should be	3
the best in the	3
produced by the vocal	3
is lined with mucous	3
the greater part of	3
is the case in	3
as to say that	3
more or less than	3
from the printed text	3
go to the back	3
in most cases the	3
in his own mind	3
in the character of	3
the soft palate should	3
the fact is that	3
was found to be	3
which must shorten the	3
perfect control of the	3
voices of the boys	3
by which the larynx	3
in the application of	3
fifths of an inch	3
determined by the character	3
to train a voice	3
in order to render	3
of the reasons why	3
progress of the art	3
the nose and forehead	3
of parts in sounding	3
a very common fault	3
that the pitch of	3
along the lines of	3
bear in mind that	3
will be noted that	3
to do so is	3
the state of throat	3
he shall feed his	3
be looked upon as	3
the voice an interval	3
the same time they	3
shall feed his flock	3
the voice seems to	3
to point out a	3
it is very important	3
make the mistake of	3
felt by the singer	3
it is very hard	3
seems to be open	3
the sciences of anatomy	3
as important as the	3
between the ear and	3
sing the five vowel	3
the manager of the	3
in touch with the	3
command of the mind	3
in any way to	3
for the formation of	3
of the student and	3
mechanics of the voice	3
this is due to	3
in the following chapter	3
be traced to the	3
the student is advised	3
the laryngeal muscles are	3
the early decades of	3
idea of mechanical management	3
the thick or chest	3
this subject has been	3
principles of vocal science	3
the musical education of	3
you will notice that	3
put to sing alto	3
not imply that the	3
in the old italian	3
true art is delicate	3
must shorten the trip	3
not be understood that	3
edited by granville bantock	3
of the ear in	3
on the smaller piston	3
contraction of the expiratory	3