Resonance in Singing and Speaking | Page 6

(see Fig. 1) has long been a
mystery, but now that their direct connection with the lower cavities is
proven, and the great significance of resonance is also beginning to be
recognized, the mystery disappears. The same may be said of the other
sinuses--ethmoidal, sphenoidal, and maxillary, and their
interconnection.
[Footnote 2: Dr. Fillebrown's paper, A Study of the Relation of the
Frontal Sinus to the Antrum, was read before the American Dental
Association, at Saratoga, August 5, 1895. His investigation showed that
the funnel-shaped passage known as the infundibulum extends from the
frontal sinus directly into the antrum or maxillary sinus. This was
afterwards confirmed by Dr. W.H. Cryer and others.]
INFLUENCE OF THE RESONANCE CAVITIES ON THE PITCH
OF THE TONE
In instruments changes in the length and form of the resonance
chambers affect the pitch as well as the quality of the tone. This is
demonstrated in the trombone, French horn, and other wind instruments.
The lengthening of the tube of the trombone lowers the pitch of the
tone, and the projection of the hand of the performer into the bell of the
French horn has the effect of raising the pitch of the sound. If the
variation in length or form is only slight, the result is sharp or flat, and
the instrument is out of tune. In the human instrument all the organs act
together as a unit; so the fact that the cavities alone may affect the pitch
is practically of no great significance.
THE TONGUE
The tongue and the lips are the articulating organs, and the former has
an important part to play in altering through its movements the shape of

the mouth cavity.
The tip of the tongue should habitually rest against the under front teeth.
The tip of the tongue, however, must frequently touch the roof of the
mouth near the upper front teeth, as when pronouncing the consonants
c, d, g or j, l, n, s, and t. The back part of the tongue must rise a little to
close against the soft palate when pronouncing g hard, and k, and hard c,
q, and x. The soft palate comes down so far to meet the tongue that the
elevation of the latter need be but very slight.
When speaking, the demand is not so imperative, but when singing, the
body of the tongue should lie as flat as possible, so as to enlarge the
mouth, especially when giving the vowel sounds.
If the tongue is sometimes disposed to be unruly, it is the result of
rigidity or misplaced effort in the surrounding parts. This tendency will
only be aggravated by artificial restraint of any kind. The true way is to
dismiss tongue consciousness, let go, and a normal flexibility will
easily manifest itself.
THE LIPS
The lips, equally with the tongue, are organs of articulation. The upper
lip is the principal factor of the two; the under lip seems to follow the
lead of the upper. The lips need much training, and it can readily be
given them. While practising to educate the lips, both lips should be
projected forward and upward, at the same time pronouncing the word
"too." Bring the edge of the upper lip as high toward the nose as
possible in practice. This will bring the corners of the mouth forward
and lift the lips clear and free from the teeth, and thus add one more
resonance cavity. This position of the lips also gives freedom for
pronunciation. "The upper lip plays the most active part in the shaping
of the vowels. It should never be drawn against the teeth when
producing vowel tones; indeed, there should be often a little space
between the upper lip and the teeth, so that the vibrations of the
sound-waves can have free play."
THE NOSTRILS

The nostrils should be dilated as much as possible, as a free, wide, open
nose gives a free, well-rounded tone, while a contracted nostril induces
the nasal tone so much dreaded. A proper training of the facial muscles
makes this dilation possible. Lifting the upper lip and projecting it
forward aids the action to a great degree.
There is a strong tendency to unity of action between the nostrils and
the lips and the soft palate. The soft palate moves downward and
forward when the upper lip protrudes and the nostrils dilate, and moves
backward and upward when the nostrils are contracted and the upper lip
allowed to rest upon the teeth.
As a rule the best singers have full, round, wide, open nostrils, either
given by nature or acquired by practice.
THE FACE
Not only must the lips and nose be trained, but the muscles of the face
also. These muscles are capable, if educated, of doing important
service.
The artist on the operatic