of the superior register but through the application of the power of the lower registers, in such a way that through the crowding of the superior lobe of the lungs an air column is emitted from the superior branch of the bronchial tubes without the action of the clavicular muscles, the power-producing muscles of the superior register. No benefit can be derived from this way of producing falsetto tones. It should be discouraged altogether. The alto tones of men and the so-called "covered tones" are produced in the same way, but through the simple action of the diaphragm on the the middle and superior registers, so that the tones have a basic and harmonic part without the action of the power-producing muscles of these registers. Tones so produced lack in volume, yet they may appear interesting although having a muffled sound. They are inartis tic and should not be encouraged under any A pupil with the habit circumstances. of producing tones in this way must practice more on the simple breathing exercises, in order to get the natural strength and suppleness of the power-producing muscles of the middle and superior registers. This should be done until they return to their normal action. QUESTIONS FOR TOPICAL REVIEW What is a falsetto tone? How are falsetto tones produced? How can a falsetto tone become harmonious? How is the power applied in the production of falsetto tones that cannot be harmonized? What is the name of the power-producing muscles of the superior register? How do men produce alto tones? How is power applied for the production of "covered tones"? By what exercises are the alto tones made by men and the so-called "covered tones" best corrected? CHAPTER XI SOUNDING BOARD Mechanical devices are but imitations of natural productions; as musical stringed instruments require a sounding board, so the vocal organs, which include a part that vibrates, imply that there must be a part corresponding to the sounding board of musical stringed instruments. The ethmoid bone, see Plate No. 1, articulating with fifteen other bones of the head, several of them having large sinus, bridges over the face. This is the part of the vocal organs which is imitated in the sounding board of musical stringed instruments. We realize at a glance from the illustration of Plate No. 1 that the air columns, carrying the vibrations impelled into them by their exit through the vibrating vocal cords, necessarily continue their upward course until they meet an insurmountable obstruction. The ethmoid bone, being in direct line above their exit, interrupts their course in such a way that they are disintegrated and the air molecules of which they are composed become free. Many people, by continuously focusing the resonance of their tones into the mouth, form the habit of pressing the soft palate against the posterior wall of the throat in speaking or singing and so lose the use of this part of the vocal organs. This way of producing vocal tones is very fatiguing. As the object of the sounding board of the musical instrument is to increase the effect of the vibrating strings, so the natural ending of the air columns against the ethmoid bone increases, many times, the effect of the vibrating vocal cords. If lost, the natural condition must be restored, no matter how tedious the process may be. The soft palate must be relaxed so that the air columns are permitted to pass back of it. The production of nasal sounding tones, by letting some of the air escape through the nostrils, may be helpful. The sound of the vowel E at a high pitch and with much twang is usually helpful. Humming is effective and most beneficial to the quality of the tones. It should be practiced every day, beginning with the lips closed and the throat open and gradually opening the mouth, while retaining the harmonica effects. QUESTIONS FOR TOPICAL REVIEW Name a part found in all musical stringed instruments. What is that part of the vocal organs called which corresponds to the sounding board in musical stringed instruments? |