trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
of the voice	384
of the vocal	283
the vocal organs	157
use of the	122
the vocal cords	118
part of the	116
the use of	115
the vocal bands	113
one of the	112
of the larynx	104
the voice is	102
as well as	97
the art of	85
the fact that	83
there is no	83
of the tone	79
the case of	77
it will be	76
of voice culture	75
knowledge of the	73
is to be	73
in the case	72
it is a	72
it is not	71
of the body	69
in order to	64
it may be	64
the old italian	63
that it is	63
a matter of	61
parts of the	61
of the chest	60
at the same	59
of the old	58
the muscles of	57
of the singer	57
of all the	57
so far as	56
the study of	56
the same time	56
more or less	55
the idea of	55
some of the	54
of the throat	53
there is a	53
muscles of the	52
the soft palate	51
the subject of	50
the quality of	50
action of the	50
of the breath	49
of the mouth	49
singing and speaking	49
in the same	49
the correct vocal	48
in other words	48
of the most	47
correct vocal action	47
the most important	46
it must be	45
study of the	45
the vocal action	45
the action of	45
but it is	44
so that the	44
as a rule	44
of the resonance	43
in new york	43
attention to the	42
art of singing	42
this is the	42
on the other	41
in which the	41
the training of	41
of the great	40
of the ear	40
due to the	40
the sense of	40
position of the	39
instruction in singing	39
management of the	39
i do not	39
training of the	38
be able to	38
of the mechanical	38
the old masters	38
the vocal mechanism	38
the tones of	38
is one of	37
sense of hearing	37
tones of the	37
so as to	37
the production of	37
of the air	36
of throat stiffness	36
quality of the	36
many of the	35
koo koo koo	35
for the voice	35
movements of the	35
in the throat	35
vibrations of the	34
the mechanical idea	34
as to the	34
of the muscles	34
it is the	33
the air in	33
of the subject	33
the sound of	33
it is to	33
seems to be	33
and it is	33
the result of	33
for the singer	32
a series of	32
that the voice	32
to make the	32
of the art	32
character of the	32
as in the	32
of the registers	31
air in the	31
the other hand	31
control of the	31
it would be	31
the form of	31
to say that	31
on the voice	31
of the tongue	30
the pitch of	30
by no means	30
of the tones	30
the development of	30
the nature of	30
back of the	30
the end of	29
of vocal science	29
that of the	29
most of the	29
that there is	29
out of the	29
the part of	29
the tone is	29
is not a	29
the importance of	29
to sing in	28
there can be	28
operations of the	28
on the subject	28
the position of	28
it should be	28
a part of	28
of mechanical vocal	27
idea of mechanical	27
the singer must	27
of the head	27
is that the	27
in this way	27
the singing of	27
are to be	27
the voice in	27
years of age	27
as it is	27
the same way	26
all the time	26
all of the	26
the value of	26
the singer is	26
must not be	26
this form of	26
the influence of	26
it is impossible	26
the age of	25
given to the	25
the manner of	25
of modern methods	25
the vibrations of	25
in singing and	25
this is not	25
mechanical vocal management	25
this is a	25
in the use	25
a great deal	25
to the vocal	25
speaking and singing	25
should not be	25
as a matter	24
to be a	24
fact that the	24
of the same	24
the metropolitan opera	24
there must be	24
the human voice	24
understanding of the	24
the basis of	24
according to the	24
at the end	24
sound of the	24
can be no	24
the practice of	24
to the singer	24
the character of	24
old italian method	24
the throat and	24
at the metropolitan	24
that the singer	23
the back of	23
a sort of	23
a number of	23
in the first	23
voice culture is	23
shape of the	23
of the lips	23
quality of tone	23
empirical knowledge of	23
of the glottis	23
the laws of	23
tension of the	23
the purpose of	23
it is necessary	22
those who have	22
that the vocal	22
in any way	22
the breath is	22
of the muscular	22
of instruction in	22
and at the	22
to become a	22
that i have	22
of the world	22
is not the	22
resonance of the	22
the problem of	22
the sympathetic sensations	22
vocal bands are	22
produced by the	22
in spite of	22
in the chest	22
the direction of	22
is due to	22
well as the	22
in the voice	22
the mouth cavity	22
the student of	22
that they are	22
of the music	21
the formation of	21
it is very	21
development of the	21
of the time	21
the theory of	21
with the greatest	21
the young singer	21
in the mouth	21
the vocal apparatus	21
in the world	21
pitch of the	21
by the use	21
owing to the	21
in addition to	21
first of all	21
of nasal resonance	21
size of the	21
familiar with the	21
vowels and consonants	21
problem of tone	21
the principles of	21
in his own	21
on the part	21
it can be	21
the results of	21
nature of the	21
the shape of	21
of the opera	21
at the age	21
of the best	21
to be the	21
in order that	21
the question of	21
more and more	21
to do with	21
the student should	21
the student to	21
in the vocal	20
will be found	20
view of the	20
the meaning of	20
one or two	20
of the soft	20
metropolitan opera house	20
as far as	20
sensations of tone	20
to the mechanical	20
of the student	20
to the voice	20
and to the	20
methods of instruction	20
the attempt to	20
the traditional precepts	20
it is only	20
singing in the	20
because of the	20
made up of	20
on the contrary	20
portion of the	20
far as the	20
which it is	20
the body is	20
the result is	20
the course of	20
of his own	20
through the nose	20
idea of the	20
may be said	20
the demands of	20
based on the	20
is by no	20
it has been	20
the larynx is	20
is the only	20
a kind of	19
the chest and	19
sympathetic sensations of	19
can be done	19
the movements of	19
of those who	19
the speaking voice	19
vibration of the	19
they may be	19
as soon as	19
the old method	19
the number of	19
known as the	19
the lack of	19
that can be	19
has ever been	19
the amount of	19
is the most	19
the tongue and	19
the works of	19
this does not	19
the voice and	19
meaning of the	18
student of singing	18
to give the	18
the student is	18
of the diaphragm	18
the cause of	18
to do so	18
the voices of	18
old italian masters	18
should be sung	18
the tonic sol	18
in regard to	18
in such a	18
of the human	18
be made to	18
mechanical management of	18
by means of	18
to make a	18
to produce the	18
is impossible to	18
that i was	18
application of the	18
is a very	18
description of the	18
of the greatest	18
determined by the	18
the singer and	18
and in the	18
of the breathing	18
in the following	18
the attention of	18
in the art	18
was born at	18
attached to the	18
can be made	18
influence of the	18
on the stage	17
the breathing apparatus	17
correct use of	17
the acquirement of	17
the power to	17
that the student	17
in a few	17
than in the	17
the voice of	17
can only be	17
seem to be	17
of the highest	17
it is true	17
the operations of	17
the work of	17
of the respiratory	17
listening to voices	17
of the teacher	17
the voice by	17
it follows that	17
and of the	17
no matter how	17
on the breath	17
the power of	17
will not be	17
the application of	17
condition of the	17
demands of the	17
in this case	17
voice must be	17
of the mind	17
the materials of	17
to develop the	17
matter of fact	17
in most cases	16
to have the	16
great deal of	16
as much as	16
the singer who	16
the organs of	16
command of the	16
the voice must	16
the resonance of	16
the doctrine of	16
when it is	16
the false vocal	16
it cannot be	16
the music of	16
in the most	16
so that it	16
to use the	16
those of the	16
is the best	16
the range of	16
surface of the	16
the guidance of	16
to be in	16
to the subject	16
by the ear	16
analysis of the	16
the resonance cavities	16
regard to the	16
of the choir	16
not at all	16
seems to have	16
of the laryngoscope	16
of the correct	16
in connection with	16
music of the	16
the singing voice	16
it is of	16
seen to be	16
guidance of the	16
i have been	15
but this is	15
the muscular sensations	15
found to be	15
that the old	15
for the purpose	15
of the parts	15
there are many	15
is necessary to	15
the ear and	15
is the result	15
may be considered	15
they do not	15
by the vocal	15
as to be	15
of the present	15
there is nothing	15
the teacher should	15
the author has	15
now and then	15
of the singing	15
be said to	15
the diaphragm is	15
in listening to	15
to the best	15
the cultivation of	15
side of the	15
changes in the	15
and his assistants	15
a set of	15
the true vocal	15
all the muscles	15
on the vocal	15
is in the	15
the performance of	15
which they are	15
all parts of	15
the nasal cavities	15
to have been	15
so to speak	15
it does not	15
to some extent	15
by the singer	15
that he has	15
as they are	15
the ability to	15
of the principles	15
singer or speaker	15
in the form	15
the pupil to	15
teachers of singing	15
if he has	15
modern voice culture	15
as a result	15
and nasal resonance	15
end of the	15
a sense of	15
of the expiratory	15
for a time	15
the singer has	15
be said that	15
to the ear	15
by which the	15
the idea that	15
true vocal bands	15
in some cases	15
the imitative faculty	14
the upper lip	14
contraction of the	14
of the pupil	14
of the first	14
is of the	14
i am not	14
of the nose	14
has already been	14
that he is	14
the latter is	14
the effect of	14
beauty of tone	14
of a tone	14
of this work	14
the mouth and	14
to the same	14
bones of the	14
the great majority	14
be in the	14
a few minutes	14
more than a	14
of this kind	14
production of the	14
the nose and	14
the throat muscles	14
and that the	14
cultivation of the	14
of the musical	14
and with the	14
in accordance with	14
the hard palate	14
of the instrument	14
to sing the	14
be given to	14
of his voice	14
registers of the	14
to the pupil	14
what is the	14
i have said	14
say that the	14
the chest register	14
to the muscles	14
the way of	14
each of these	14
must be a	14
to produce a	14
must be made	14
way in which	14
in my own	14
up to the	14
the vowel sounds	14
old italian school	14
of vowel sounds	14
the matter of	14
the lungs are	14
in the course	14
of the sound	14
nasal and head	14
large number of	14
point of view	14
case of the	14
at that time	14
that this is	14
the contraction of	14
the opera house	14
in the larynx	14
vocal cords are	13
the alto part	13
is in a	13
of the laryngeal	13
there should be	13
work of the	13
as we have	13
the speaker and	13
the expression of	13
the management of	13
the resonance chambers	13
down to the	13
of the artist	13
the state of	13
is that of	13
opening of the	13
before the public	13
the size of	13
the voice as	13
speaker or singer	13
if you have	13
the vocal teacher	13
paid to the	13
adjustments of the	13
has been the	13
of muscular stiffness	13
with the same	13
singer and speaker	13
the voice has	13
it is for	13
the correct use	13
singing or speaking	13
the singer should	13
i have had	13
which can be	13
so long as	13
change in the	13
the law of	13
any of the	13
of the whole	13
the voice are	13
in these days	13
a condition of	13
exercise of the	13
form of the	13
boys to sing	13
range of the	13
made by the	13
the air is	13
is not so	13
in the way	13
front of the	13
to listen to	13
of voice production	13
the empirical knowledge	13
be seen that	13
in the head	13
on account of	13
as i have	13
which may be	13
the tendency to	13
a knowledge of	13
singers of the	13
the manner in	13
of the individual	13
at a time	13
the perfection of	13
is supposed to	13
the throat is	13
it is important	13
to the fact	13
of the vowel	13
of the future	13
the voice can	13
contractions of the	13
the parts of	13
the one who	13
in recent years	13
manner in which	13
be remembered that	13
that he must	13
the whole of	13
place in the	13
to be sung	13
at this time	13
great majority of	13
it must not	13
the difference between	12
production in singing	12
so soon as	12
vocal action is	12
the necessity of	12
together with the	12
in the nose	12
would not be	12
function of the	12
of the work	12
in all parts	12
the pupil is	12
respond to the	12
a method of	12
for me to	12
two or three	12
speaking of the	12
has been said	12
a description of	12
opera house in	12
ear and the	12
much of the	12
not in the	12
the teacher is	12
in which they	12
in the body	12
of the fact	12
method of instruction	12
case of a	12
of the word	12
in the production	12
more than the	12
of the different	12
time and again	12
much the same	12
is true that	12
borne in mind	12
movement of the	12
voice and the	12
by the composer	12
the laryngeal muscles	12
by the old	12
is the case	12
and this is	12
placing the voice	12
the teacher to	12
as it were	12
thought of the	12
the author would	12
of the lungs	12
should be a	12
value of the	12
art of voice	12
made in the	12
in some way	12
there is the	12
for the production	12
of the brain	12
in practical instruction	12
has never been	12
only by the	12
do with the	12
it is said	12
a state of	12
one who has	12
through the nostrils	12
the arytenoid cartilages	12
addition to the	12
imparting the correct	12
is the same	12
the elements of	12
of the sense	12
singers and speakers	12
will be seen	12
in mind that	12
the tension of	12
the history of	12
necessary for the	12
consideration of the	12
to take the	12
power of the	12
on this subject	12
as regards the	12
of the two	12
that it was	12
influence on the	12
the condition of	12
with the voice	12
acquainted with the	12
length of the	12
for the teacher	12
voice production in	11
the process of	11
to the eye	11
doctrines of vocal	11
the under jaw	11
i have no	11
do well to	11
must be the	11
connected with the	11
a very few	11
walls of the	11
in all the	11
spite of the	11
for many years	11
difference between the	11
soon as the	11
they are the	11
through the mouth	11
how to sing	11
the existence of	11
expansion of the	11
the operas of	11
to his own	11
a short time	11
and i have	11
found in the	11
in the other	11
course of study	11
with the least	11
the tones are	11
of singing is	11
a single tone	11
the thought of	11
of the boys	11
in the scale	11
i have known	11
the majority of	11
throat stiffness is	11
adjustment of the	11
when the voice	11
able to sing	11
vocal organs are	11
is a great	11
than any other	11
to beautiful singing	11
tones of a	11
of the scale	11
the larynx and	11
the larynx in	11
to try to	11
feature of the	11
this is also	11
there will be	11
and soft palate	11
the singer or	11
the body of	11
a voice that	11
the degree of	11
to be found	11
at the royal	11
to be considered	11
importance of the	11
extent to which	11
of the face	11
the singer to	11
speech and song	11
of the various	11
the walls of	11
listening to the	11
notes of the	11
scientific knowledge of	11
with regard to	11
in any other	11
the most difficult	11
the hands of	11
need not be	11
to get the	11
for the most	11
house in new	11
the subject is	11
up and down	11
to be of	11
singing of the	11
depends on the	11
in a great	11
this is true	11
no boarding school	11
to point out	11
his own voice	11
would have been	11
a great singer	11
of the upper	11
he has a	11
the registers of	11
open the mouth	11
at all events	11
mechanical features of	11
the extent to	11
for a few	11
has been made	11
to the student	11
it is in	11
applied to the	11
you do not	11
in mind the	11
the teacher who	11
to have a	11
the mechanical operations	11
a tone of	11
the larynx are	11
is for the	11
out of tune	11
the voice will	11
of sympathetic sensations	11
has not been	11
the nervous system	11
of the nasal	11
three or four	10
with all the	10
no doubt that	10
be no question	10
the boys are	10
but they are	10
learn to sing	10
in the training	10
the present work	10
science of voice	10
the bones of	10
the ear is	10
it is better	10
to the demands	10
the vocal student	10
and there is	10
it with the	10
held in the	10
the voice was	10
that may be	10
may be made	10
or any other	10
a result of	10
modern methods of	10
it is that	10
said that the	10
that i had	10
of the more	10
even in the	10
if the student	10
in the mind	10
has always been	10
was made in	10
of the empirical	10
the life of	10
such as the	10
is better to	10
of what is	10
faults of production	10
that they have	10
are made up	10
attentive listening to	10
that the quality	10
one of these	10
the vibration of	10
the lower tones	10
of the piano	10
singing on the	10
but there is	10
even if the	10
any part of	10
to the tone	10
the thin register	10
he is a	10
materials of modern	10
the muscular contractions	10
of the modern	10
the spinal cord	10
so great that	10
in all cases	10
the purposes of	10
is determined by	10
at any rate	10
the beginning of	10
false vocal bands	10
workings of the	10
in this connection	10
the actions of	10
to believe that	10
all that is	10
in singing is	10
the volume of	10
that of a	10
sense of the	10
most important of	10
may be a	10
this may be	10
to be able	10
as has been	10
on this point	10
whole of the	10
connection with the	10
to the teacher	10
of his art	10
the beauty of	10
the boys have	10
not to be	10
life of the	10
teacher of singing	10
to be done	10
anatomy and physiology	10
be observed that	10
on each side	10
the nasal chambers	10
but in the	10
only a few	10
under normal conditions	10
the means of	10
may not be	10
the lips and	10
doctrine of breath	10
in response to	10
nasal resonance is	10
of the hand	10
for those who	10
the voice to	10
the upper chest	10
note of the	10
that the breath	10
to the pitch	10
the muscles are	10
a large number	10
who have been	10
units of strength	10
of tone is	10
they are not	10
it is difficult	10
at one time	10
in the air	10
with the best	10
bearing on the	10
the speaker or	10
voice is a	10
is made up	10
in the formation	10
to sing a	10
tosi and mancini	10
as long as	10
tone of the	10
seem to have	10
contained in the	10
the great singers	10
the expiratory blast	10
of the abdomen	10
listening to a	10
all that can	10
with the laryngoscope	10
compass of the	10
form of instruction	10
in this country	10
have not been	10
of any other	10
guided by the	10
figure shows the	10
the tongue is	10
speaker and singer	10
of the above	10
as a singer	10
the advice of	10
the mechanical features	10
mechanical operations of	10
by the same	10
in every case	10
because it is	10
if they are	10
the head voice	9
needs of the	9
musical notation illustration	9
know how to	9
order that the	9
of the other	9
that is not	9
be sure that	9
teachers of the	9
in the upper	9
as the voice	9
in relation to	9
of singing in	9
away from the	9
by far the	9
that he may	9
is not necessary	9
effect on the	9
the vocal profession	9
does not mean	9
to hear the	9
the forward tone	9
is much more	9
the sensations of	9
coup de glotte	9
actions of the	9
of the utmost	9
mechanism of the	9
felt by the	9
of their own	9
i find that	9
structure of the	9
investigation of the	9
sing in the	9
be borne in	9
in this respect	9
the abdominal muscles	9
that the throat	9
exactly the same	9
for the purposes	9
the knowledge of	9
the composer himself	9
seen in the	9
of instruction is	9
it is simply	9
there is not	9
one of those	9
as a whole	9
to produce tones	9
and to be	9
vibration in the	9
a study of	9
to the throat	9
upper part of	9
and i am	9
it is easy	9
the best of	9
any appreciable extent	9
of a series	9
let us consider	9
of the bones	9
more than this	9
nose and head	9
in a short	9
the sensation of	9
is based on	9
of using the	9
the student has	9
student of the	9
to learn to	9
and head cavities	9
of training voices	9
is not to	9
of a few	9
features of tone	9
soft palate is	9
is a good	9
on the day	9
more than one	9
is difficult to	9
he made his	9
the ear of	9
the same as	9
must be so	9
they should be	9
the act of	9
of a very	9
called upon to	9
to any appreciable	9
the world is	9
the larynx as	9
it would not	9
to hold the	9
these exercises are	9
a good teacher	9
of a voice	9
believe that the	9
he will be	9
a very important	9
here is an	9
seemed to me	9
of this subject	9
education of the	9
the thyroid cartilage	9
for the student	9
in singing the	9
seen that the	9
it is often	9
to understand the	9
a great many	9
practice should be	9
is contained in	9
to make it	9
of nerve impulse	9
part of his	9
in the manner	9
singer should be	9
for imparting the	9
the perfect vocal	9
caused by the	9
at the grand	9
that does not	9
there may be	9
to the lower	9
the mind and	9
is at once	9
voice in the	9
from the mouth	9
member of the	9
tone can be	9
the reader is	9
as for the	9
voice of the	9
the progress of	9
it is so	9
the possibility of	9
of the neck	9
cannot be too	9
body of the	9
this can be	9
a system of	9
and then to	9
to a certain	9
voice can be	9
of the problem	9
in the least	9
the boys to	9
should be the	9
of the traditional	9
on the imitative	9
expenditure of energy	9
the mechanical doctrines	9
of modern voice	9
that there are	9
which he can	9
with the result	9
the open throat	9
to the next	9
not more than	9
above all things	9
has to be	9
muscular sensations of	9
other parts of	9
attention is paid	9
the upper notes	9
features of the	9
depends upon the	9
the quantity of	9
a view of	9
a few months	9
of the country	9
point out that	9
part of a	9
associated with the	9
i have always	9
the middle ear	9
the air of	9
the lower register	9
means of the	9
of the latter	9
i have never	9
of the composer	9
the present time	9
law of the	9
be sung in	9
and the student	9
it seems to	9
method of voice	9
should never be	9
i went to	9
the tone quality	9
have been so	9
now to be	9
tone is produced	9
central nervous mechanism	9
of vocal art	9
to those who	9
the compass of	9
the chest walls	9
the royal opera	9
of the three	9
the right way	9
do not know	9
interpretation of the	9
and the voice	9
of vocal training	9
will be a	9
in a way	9
to do this	9
hold the breath	9
the length of	9
is not easy	9
is found in	9
of the idea	9
likely to be	9
be regarded as	9
the exercise of	9
it is an	9
what is meant	9
to learn how	8
ought to be	8
is a most	8
the philosophy of	8
from time to	8
i know that	8
be understood that	8
of the lower	8
the habit of	8
he must have	8
the upper part	8
should be given	8
of a practical	8
about the same	8
at the beginning	8
of the fork	8
and the tongue	8
for the development	8
my own case	8
looked upon as	8
the open air	8
to manage the	8
the first place	8
which is not	8
would be to	8
is no doubt	8
support the tone	8
expression of the	8
in voice culture	8
tone must be	8
singer in the	8
clara kathleen rogers	8
using the voice	8
the central nervous	8
is as follows	8
a source of	8
in america is	8
in the open	8
the open mouth	8
was at once	8
of vocal music	8
for a long	8
the object of	8
the secret of	8
and if the	8
accepted vocal science	8
the method of	8
of vocal physiology	8
voice is not	8
half of the	8
of the inner	8
in possession of	8
under these circumstances	8
basic principle of	8
of the vibrations	8
and all the	8
students of singing	8
the expired breath	8
of the auditory	8
the base of	8
the mucous membrane	8
it might be	8
insight into the	8
the anatomy of	8
speaks of the	8
of bel canto	8
dealing with the	8
del nostro amor	8
of the ego	8
if it is	8
one who is	8
mind of the	8
devoted to the	8
possession of the	8
and they are	8
was to be	8
a deterrent to	8
tone should be	8
by vocal theorists	8
that the mouth	8
time to time	8
in front of	8
of a violin	8
of reflex action	8
such as those	8
of the last	8
training in the	8
long as the	8
can be given	8
in the second	8
to indicate the	8
relative position of	8
is obliged to	8
are the most	8
have been made	8
a tendency to	8
of the second	8
and the ear	8
voice seems to	8
the advantage of	8
the result that	8
in the last	8
a way that	8
to take a	8
aware of the	8
solely to the	8
bear in mind	8
there is something	8
is of course	8
to be taken	8
as one of	8
browne and behnke	8
from that time	8
the laryngeal action	8
of the public	8
the diaphragm and	8
the best results	8
and for the	8
which the singer	8
there was a	8
it is possible	8
should be taken	8
tongue and the	8
the basic principle	8
closure of the	8
a certain point	8
to the larynx	8
of the notes	8
who does not	8
tongue and soft	8
of the past	8
when one is	8
in the middle	8
voice may be	8
there has been	8
to meet the	8
the thick register	8
to take up	8
the day of	8
the time i	8
inner surface of	8
the light of	8
the most part	8
to sing alto	8
in the resonance	8
them to the	8
what is to	8
supposed to be	8
become a great	8
chest and head	8
of the metropolitan	8
by those who	8
of the violin	8
to keep the	8
and the singer	8
one of his	8
the respiratory apparatus	8
of a musical	8
it will come	8
if the singer	8
the need of	8
at the present	8
mechanical doctrines of	8
the best in	8
of any kind	8
the utmost importance	8
only in the	8
these are the	8
some of them	8
nature of this	8
as the vocal	8
to the end	8
to the upper	8
the appreciation of	8
of which are	8
all the more	8
when the singer	8
assumed that the	8
nothing to do	8
in the opera	8
practice of singing	8
will make the	8
the best singers	8
shown to be	8
methods of voice	8
we have the	8
in the attempt	8
one does not	8
under the direction	8
is of great	8
the mind of	8
little attention to	8
to respond to	8
they have been	8
boys who have	8
the only way	8
in the choir	8
if it were	8
and all other	8
is capable of	8
to which the	8
to open the	8
of tone quality	8
in which he	8
than it is	8
at the time	8
so that there	8
of the precepts	8
the reader will	8
there is some	8
the tone produced	8
an understanding of	8
practical knowledge of	8
the front of	8
the french horn	8
is of no	8
the change of	8
only of the	8
difference of opinion	8
appearance of the	8
the chest is	8
training the voice	8
a teacher who	8
said to have	8
be a great	8
must have been	8
and that is	8
of a teacher	8
may say that	8
that in the	8
in the early	8
discussion of the	8
a later chapter	8
master and pupil	8
of mechanical instruction	8
of singing are	8
the hyoid bone	8
acquaintance with the	8
it is all	8
the opera singer	8
art of breathing	8
in the light	8
air of the	8
philosophy of singing	8
the case with	8
to the muscular	8
for the speaker	8
we do not	8
has its own	8
than those of	8
before an audience	8
not seem to	8
from the larynx	8
a high degree	8
use of a	8
anatomy of the	8
at the outset	8
deterrent to beautiful	8
in the great	8
the throat to	8
is no longer	8
from the vocal	8
in the best	8
it is generally	8
is produced by	8
the expiratory muscles	8
that it would	8
will do well	8
the singer in	8
to all the	8
the chest cavity	8
quality of voice	8
the faults of	8
to bring the	8
the following passage	8
the top of	8
the upper thin	8
to this end	8
become a singer	8
such a voice	8
of a good	8
fault of production	8
i did not	8
to give a	8
the artist must	8
as that of	8
as if it	8
in the position	8
an illustration of	8
subject of registers	8
works on the	8
a tone is	8
the united states	8
from the first	8
that the tone	8
much attention to	8
to show the	8
with the most	8
a singer who	8
and the resonance	8
of music and	8
this is due	7
section of the	7
though it is	7
learn how to	7
in this book	7
a teacher to	7
and through the	7
to follow the	7
in the practice	7
top of the	7
works of the	7
the mechanical management	7
while it is	7
worth while to	7
voice culture has	7
series of tones	7
is able to	7
it to be	7
in the chapter	7
the dark tone	7
for it is	7
given at the	7
at least one	7
ascending and descending	7
incorrect vocal action	7
in grand opera	7
results of the	7
not only the	7
every part of	7
as though it	7
the singer does	7
of the entire	7
vocal organs to	7
her voice is	7
should be taught	7
much to do	7
in the meantime	7
the aid of	7
the greatest of	7
and the result	7
tip of the	7
each of the	7
all the parts	7
of this type	7
the period of	7
that it can	7
the nasal and	7
take up the	7
the mechanics of	7
to the air	7
art of music	7
be found in	7
any other way	7
necessary to the	7
that it may	7
the teacher must	7
i realized that	7
in the next	7
of the question	7
was one of	7
the statement that	7
there is one	7
singer must have	7
on no account	7
said to be	7
that the teacher	7
the source of	7
the inner ear	7
you have the	7
is simply a	7
to apply the	7
through which the	7
found that the	7
masters of the	7
the whole subject	7
system of voice	7
to the correct	7
something of the	7
a few seconds	7
ever been found	7
i have not	7
the least possible	7
is not in	7
throughout the entire	7
especially in the	7
be familiar with	7
to sing by	7
their pupils to	7
tells me that	7
of the higher	7
it is highly	7
the listener is	7
there was no	7
singer does not	7
by practice in	7
muscle of the	7
production of tone	7
that they can	7
no matter what	7
these muscles are	7
practice of the	7
comes from the	7
of vocal management	7
the lungs to	7
the belief that	7
on this account	7
than anything else	7
by the sense	7
the voice on	7
in a very	7
for four years	7
in the front	7
with a few	7
vibrations in the	7
as a pianist	7
old masters were	7
the correct position	7
was the first	7
performance of a	7
is important that	7
be carried out	7
day of the	7
voice by the	7
to use his	7
to the study	7
modern methods are	7
in this condition	7
by the voice	7
to the listener	7
the line of	7
at least two	7
the breath must	7
go to the	7
there is an	7
the investigation of	7
an operatic career	7
this is an	7
of vocal teachers	7
attention of the	7
are obliged to	7
of singing the	7
the operatic stage	7
can be readily	7
be capable of	7
the very first	7
to the vowel	7
the entire body	7
head and nasal	7
exercises may be	7
seems to me	7
doubt that the	7
the musical phrase	7
it was a	7
there are no	7
at any time	7
vocal organs is	7
the relative position	7
who have never	7
whether it be	7
held to be	7
as a teacher	7
about the voice	7
greater or less	7
in this regard	7
of the concert	7
of the laws	7
that which is	7
involved in the	7
the extent of	7
during the process	7
opening the mouth	7
that the best	7
when i am	7
mastery of the	7
be at once	7
in modern instruction	7
a long time	7
to which it	7
in the present	7
the mouth without	7
important of all	7
this idea of	7
could not have	7
to the tones	7
voice and ear	7
emission of the	7
to learn the	7
in a later	7
harmony with the	7
feeling that the	7
a purely empirical	7
to sing for	7
stroke of the	7
the close of	7
at the opera	7
in the right	7
speakers and singers	7
as to whether	7
take care of	7
for the sake	7
been able to	7
amount of time	7
when the vocal	7
in the highest	7
the greatest possible	7
in some of	7
is given to	7
the roof of	7
the class of	7
the necessity for	7
to form the	7
as there is	7
not mean that	7
a few of	7
no one can	7
from the lungs	7
a teacher of	7
he went to	7
there is also	7
above the vocal	7
for this purpose	7
nothing of the	7
is to make	7
in one sense	7
feel that the	7
singing is a	7
it is far	7
the error of	7
it is one	7
of a large	7
manner of tone	7
of vowels and	7
a means of	7
it is quite	7
students of music	7
a prima donna	7
materials of instruction	7
in a large	7
i had not	7
said of the	7
adapted to the	7
in the hearer	7
is just as	7
the student will	7
is seen to	7
far as possible	7
use of his	7
the support of	7
career of the	7
is not only	7
of all that	7
teacher and pupil	7
ear of the	7
attention paid to	7
be said of	7
is more or	7
by the muscles	7
were it not	7
the breathing and	7
in harmony with	7
that he had	7
a throaty tone	7
the structure and	7
not easy to	7
that i could	7
that when the	7
the vocal organ	7
to fill the	7
will be considered	7
in the hands	7
in a sense	7
and the other	7
the larynx of	7
majority of teachers	7
the foundation of	7
mean that the	7
that all the	7
which is the	7
relation to the	7
to acquire a	7
means used for	7
the possession of	7
those who are	7
and we have	7
when she was	7
the vowel sound	7
indicated by the	7
of the exercises	7
interest in the	7
conservation of energy	7
of any one	7
in each case	7
end of a	7
consists of a	7
to enlarge the	7
how is the	7
in the correct	7
the best way	7
characteristics of the	7
every vocal teacher	7
to that of	7
roof of the	7
of vocal technique	7
the tone to	7
by the teacher	7
i had to	7
the means used	7
is it that	7
on the training	7
not by any	7
master of the	7
the mechanical rule	7
theory of the	7
result of a	7
the appearance of	7
let it be	7
the whole body	7
should be to	7
is a matter	7
the highest and	7
from the beginning	7
the quantity that	7
blast of air	7
the whole glottis	7
placing of the	7
produced by a	7
in the old	7
for some time	7
style in singing	7
he does not	7
scientific study of	7
the greatest importance	7
for the vocal	7
produce tones of	7
of the thorax	7
the greatest care	7
if this be	7
as does the	7
vocal cords is	7
the girl who	7
to which he	7
of attention to	7
direction of the	7
on the right	7
the present day	7
wide range of	7
they are in	7
of the use	7
vocal bands and	7
in this chapter	7
for the young	7
a variety of	7
wide variety of	7
could not be	7
only when the	7
in the nasal	7
not necessary to	7
singer who is	7
of the day	7
the aim of	7
the respiratory organs	7
exercises should be	7
close the mouth	7
was born in	7
and so on	7
the mechanism of	7
is the one	7
floor of the	7
in fact the	7
to the musical	7
the listening to	7
the time the	7
of correct singing	7
result of the	7
the ear in	7
should be able	7
tone may be	7
contraction of all	7
produced in the	7
the sake of	7
the greater the	7
be no doubt	7
question of the	7
place of the	7
in view of	7
from the fact	7
of the perfect	7
would be a	7
degree of strength	7
principles of the	7
the old precepts	7
in vocal science	7
of vocal mechanics	7
the methods of	7
perfect vocal tone	7
be done to	7
it to the	7
is seen in	7
result of this	7
with mucous membrane	7
and the soft	7
the time of	7
and quality of	7
to me that	7
he is to	7
only a very	7
are arranged in	7
of the performer	7
parts in sounding	7
to the highest	7
up in the	7
that the same	7
for a moment	7
that the whole	7
the impressions made	6
but a few	6
a time when	6
to the top	6
be to the	6
follows that the	6
it is found	6
of the language	6
but not in	6
the empirical precepts	6
qualities of tone	6
there are a	6
the chest to	6
the rudiments of	6
find that the	6
the lower ribs	6
the metropolitan in	6
manner of using	6
which are not	6
who is a	6
is used in	6
precepts of the	6
think that i	6
made to vary	6
to be attained	6
the most perfect	6
the mistake of	6
this type of	6
possessed by the	6
singing out of	6
of which the	6
hardly to be	6
in the end	6
to keep up	6
you will find	6
special reference to	6
not to have	6
important for the	6
which should be	6
answer to this	6
it is by	6
i have found	6
to the hearer	6
base of the	6
listen to the	6
it is most	6
is followed by	6
that the larynx	6
in the direction	6
of the famous	6
invention of the	6
of speech and	6
in favor of	6
matter of resonance	6
always in the	6
the whole matter	6
vocal bands in	6
they are to	6
success in singing	6
of the older	6
of the open	6
the vowel ah	6
the interpretation of	6
the effects of	6
the outer air	6
important feature of	6
from the operas	6
in the lower	6
no question that	6
the fallacy of	6
would have to	6
physiology of the	6
light on the	6
the point of	6
strength of the	6
for him to	6
responsible for the	6
can be said	6
throat stiffness and	6
this part of	6
he may be	6
may be stated	6
placed in the	6
his sense of	6
of great value	6
is sure to	6
the muscular sense	6
all sorts of	6
if i had	6
organist and choirmaster	6
position of parts	6
to one of	6
that would be	6
in such cases	6
most likely to	6
this must be	6
by attentive listening	6
by the hearer	6
breath must be	6
set up by	6
that the lower	6
was obliged to	6
teachers and students	6
of a singer	6
may have a	6
a consideration of	6
number of vibrations	6
of music in	6
in like manner	6
may be very	6
at the lips	6
a musical instrument	6
of mechanical tone	6
on the top	6
of the process	6
outline of the	6
the inner surface	6
be held in	6
is but a	6
production of a	6
and the teacher	6
sensations of the	6
may be the	6
special attention to	6
is found to	6
room for the	6
is also true	6
opera in america	6
sir morell mackenzie	6
a range of	6
he was a	6
in many of	6
to go on	6
is an example	6
new york city	6
they will be	6
key e b	6
the strident tone	6
it is with	6
a case of	6
where there is	6
the accepted vocal	6
this way the	6
the strength of	6
of the man	6
and as the	6
division of the	6
the pitch is	6
the old school	6
of voice and	6
which must be	6
this is done	6
to do it	6
let us now	6
development of vocal	6
that those who	6
the lower notes	6
the voice should	6
and the same	6
be the same	6
skill in the	6
in my opinion	6
in the public	6
organs of the	6
by the action	6
in the past	6
even when the	6
this way can	6
are attached to	6
be found that	6
the causes of	6
in this direction	6
them to sing	6
to the speaker	6
of the male	6
is also a	6
kind of a	6
at variance with	6
in modern methods	6
to the general	6
the same reason	6
theoretical works on	6
his voice is	6
in the proper	6
parts in the	6
and no more	6
in the concert	6
several of the	6
and may be	6
groups of muscles	6
false vocal cords	6
followed by the	6
a deep breath	6
and the nasal	6
there is in	6
days of the	6
on the art	6
to the idea	6
the student can	6
at the very	6
the better for	6
will now be	6
singer of the	6
remember that the	6
to interpret the	6
have nothing to	6
the column of	6
can be sung	6
in actual singing	6
with the subject	6
the musical and	6
practical methods of	6
subject to the	6
under the influence	6
to be used	6
the different registers	6
is that a	6
through the study	6
just above the	6
be kept in	6
that the most	6
as the basis	6
the impression of	6
of some of	6
larynx of the	6
the psychology of	6
of my life	6
the side of	6
is it with	6
takes place in	6
a thorough musical	6
say that it	6
the consideration of	6
in the musical	6
the upper register	6
form of a	6
for the pupil	6
my own voice	6
able to produce	6
of the materials	6
of such a	6
a copy of	6
the larynx during	6
size and shape	6
too much to	6
by any means	6
the first thing	6
months of study	6
every one of	6
there is room	6
at covent garden	6
to the individual	6
to do the	6
in the preceding	6
of physiological psychology	6
the singer can	6
in prime condition	6
that at the	6
voice is the	6
has long been	6
the nasal quality	6
the cost of	6
and the more	6
dependent on the	6
and the vocal	6
a feeling of	6
about cubic inches	6
come to the	6
and the diaphragm	6
is impossible for	6
of this character	6
relaxation of the	6
when i first	6
of the words	6
so that he	6
may be found	6
that is the	6
special vowels and	6
to suit the	6
in the italian	6
nozze di figaro	6
the mind as	6
instruction based on	6
by the late	6
the english language	6
thing is to	6
the imitation of	6
only in this	6
divided into two	6
was taken to	6
true of the	6
the introduction of	6
of a vocal	6
that the tones	6
the invention of	6
variations of tempo	6
of the doctrine	6
interest to the	6
to bear in	6
metropolitan in new	6
he who is	6
formed by the	6
it is now	6
the muscular structure	6
quality of a	6
by the expiratory	6
to hold back	6
a certain extent	6
is a serious	6
the feeling of	6
to find the	6
the student who	6
as it was	6
if the teacher	6
on the first	6
is that they	6
to raise the	6
means that the	6
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of vocal tones	6
way for the	6
thinking of the	6
the voice have	6
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of artistic singing	6
on the whole	6
the need for	6
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voices of the	6
of the movement	6
formation of vowels	6
the correctness of	6
students of the	6
progress of the	6
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sing in a	6
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a nasal tone	6
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of breath to	6
in every way	6
of the arytenoid	6
he would have	6
if they were	6
day of my	6
the views of	6
to me in	6
to cause the	6
of great importance	6
to keep it	6
able to do	6
add to the	6
muscular contractions are	6
of this form	6
but also to	6
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the early stages	6
that has been	6
in which it	6
to the present	6
in the country	6
the cricoid cartilage	6
to the modern	6
they are a	6
the tip of	6
it is hoped	6
the lower part	6
and on the	6
practical method of	6
proof of the	6
is hardly to	6
as good as	6
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voice has been	6
after years of	6
when this is	6
not fail to	6
subject of breathing	6
observation of the	6
chapter ii the	6
except in the	6
them in the	6
che un giorno	6
when they are	6
she made her	6
to the other	6
vowel and consonant	6
in chapter v	6
m r d	6
are produced by	6
in the original	6
of the singers	6
the fault of	6
weakness of the	6
this feature of	6
are willing to	6
under certain conditions	6
in one of	6
be a good	6
good singing and	6
is only a	6
air within the	6
the lips of	6
of the eye	6
from the printed	6
course of the	6
the teacher has	6
characteristic of the	6
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fact that i	6
this was the	6
considered as a	6
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a vowel is	6
a good speaker	6
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he could not	6
the truth of	6
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singing and the	6
on to the	6
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a few years	6
the place of	6
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at a very	6
voice culture chapter	6
vocal cords in	6
muscles of respiration	6
of throat action	6
illustrated in the	6
in speaking and	6
the practices of	6
he must be	6
four or five	6
the teacher of	6
of a lifetime	6
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of the evil	6
fill the chest	6
be applied to	6
is your ambition	6
was able to	6
effect of the	6
from the very	6
a wide variety	6
open the throat	6
support of the	6
those of a	6
very difficult to	6
stated as follows	6
that if the	6
to me the	6
of the state	6
conception of the	6
a good general	6
amount of breath	6
of the thyroid	6
placed on the	6
the entire vocal	6
there are two	6
with the tongue	6
of vocal culture	6
solely by the	6
to direct the	6
value to the	6
examination of the	6
i was a	6
voice should be	6
the success of	6
voice is one	6
current of air	6
topics of instruction	6
of the theory	6
to be held	6
system of instruction	6
the intercostal muscles	6
the spirit of	6
is from the	6
the difficulties of	6
throat to stiffen	6
of the resonator	6
in the above	6
out by the	6
in the study	6
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the recognition of	6
of singers and	6
the medium of	6
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one set of	6
in my voice	6
italian school of	6
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with special reference	6
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perfect voice method	6
the diaphragm to	6
of the real	6
use his voice	6
used in the	6
the reader may	6
the subject in	6
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the question is	6
in many cases	6
one part of	6
the days of	6
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a beautiful voice	6
organs of speech	6
exerted by the	6
to the quality	6
in the future	6
for the choir	6
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of which is	6
muscular structure of	6
point in the	6
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for this reason	6
than that of	6