The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1909-03-01

bling block in the path Of the
~ singer. The tongue is an eror
nous muscle compared with
the other parts of the throat and
mouth, and its roots particularly can
by a slight movement block the pas
sage of the throat pressing against the
larynx. This accounts for much of the
pinched singing we hear.
When the tongue forms q mountain
in the back part Of the mouth the
singer produces what you call in Eng.
lish slang "a hot potato tone"-that Is
to say, a tone that sounds as II 1t
were having much difficulty to get
through the mouth. In very fact. it II
having this difficulty. for it has to pass
over the back Of the tongue.
The would be singer has to learn to
control the tongue muscles and, above
all things, to learn to relax the tongue
and to govern 1t at will, so that it new
er stifrens and forms that hard lump
which can be plainly felt Immediately
beneath the chin under the Jaw.
1t requires a great deal Of practice
to gain control of the tongue, and
there are many different exercises
which purport to be beneficial in gain
ing complete mastery Of 1t. One, for
instance, is to throw the tongue out as
far forward as possible without stiffen-
ing it and then draw it back slowly.
This Is done In front of q mirror by
trying to throw the tongue not only
from the tip, but from the root. keep
ing the sides Of the tongue broad. An
other way is to catch hold of the two
sides Of the tongue with the fingers
and pull it out gently.
For my part, 1 scarcely approve Of
these mechanical ways Of gaining con-
troll Of the tongue except in cases
where the singer Is phiegmatic Of tenn
permanent and cannot be made to feel
the various sensations Of stin tongue
or tongue drawn far back in other
ways. Ordinarily 1 think they make
the singer conscious, nervous and
more likely to stiffen the tongue In a
wild desire to relax 1t and keep it nat.
These exercises, however, combined
with exercises In diction, help to make
the tongue elastic. and the more elias
tic and quick this muscle becomes the
clearer will be the singers diction
and the more flexible will be her voice.
The correct position of the tongue il
raised from the back, lying 1at in the
mouth, the flattened tip beneath the
front teeth, with the sides slightly
raised SO as to form, a slight furrow
in it. When the tongue is lying too
low a lump under the chin beneath
the jaw will form in singing and the
tight muscles can be easily felt.
When the jaw is perfectly relaxed
and the tongue lies fiat in the mouth
there will be slight hollow under the
chin and no stiffness In the muscles.
The tip Of the tongue Of course is
employed in the pronunciation of the
consonants and must be so agile that
the minute it has finished its work It
at once resumes the correct position.
In ascending the scale the furrow
in the tongue increases as we come to
the higher notes. It il here that the
back Of the palate begins to draw up
in order to add to the resonance of the
head notes, giving the cavities Of the
head free play.
You can easily see your back palate
"OIAluS ny Opeu1uS Inc uOoIO Woe
and giving yourself the sensation Of
one about to sneeze. You viii see far
back In the throat, way behind the
nose. a soft spot that will draw up Of
itself AZ the sneeze becomes more i'm
minent. That little point is the soft
palate. 1t must be drawn up for the
high notes in order to get the head
resonance. AS singer advances in
her art she can do this at will.
The adjustment Of throat, tongue
and palate, all working together. will
daily respond more easily to her de-
mands. However. she should be able
consciously to control each part by It.
self.
The conscious direction Of the voice
and command of the throat are neces-
sary. Frequently in opera the singer,
sitting or lying il some uncomfortable
position which is not naturally con-
vepient. for producing the voice. will