File:Philosophy of vocal culture - a textbook of vocal training and preparation for song interpretation (1900) (14802642113).jpg

Identifier: philosophyofvoca00phil (find matches)
Title: Philosophy of vocal culture : a textbook of vocal training and preparation for song interpretation
Year: 1900 (1900s)
Authors: Philip, Frank
Subjects: Singing
Publisher: London : William Reeves Bookseller
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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fluence of chest resonance is absent. The contralto should think the placing and resonance of theupper register notes forward and down, and at no time shouldthe resonance areas lie higher than the frontal sinuses (Fig. 14).The nasal cavities should contribute their share of the reson-ance throughout the whole compass. Resonance Areas of Contraltos Upper Register. The feeling of vibration in the vicinity of the bridge of therose experienced in the other registers, should be continuedwith increased intensity in the upper register, and with agradual increase upwards of the area affected, until the highernotes of the upper register extend the feeling of vibration tothe area between the eyes. The same modification of the pro-nunciation of the vowel sounds for the upper register notes isas necessary for the contralto as for the other classifications. Contraltos Head Voice. The head voice of the contralto which sometimes extends as .«. far as ^. ~ is seldom utilised in singing. It should be
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pa 5^ i c X£fo u 5 4- + 4- + + y. Y- ssggg ^ + + + + + E^S££& + 4- + + + 1 1 1 1 i 1 1 u u -tJ cc S s 3 pa -S C Q> S p:5 Hi VoiceRegis-niiddl-middlor Ch o U U U u > TS 0; C a> <U a i4 ^ ► ^ -» 138 Vocal Training. remembered, however, that a much finer tone can be introducedinto the quahty of the upper notes of the contraltos upperregister by the influence upon them of a correctly formed headvoice. The focal points of the contraltos head notes lieslightly further back than those of the upper register and theareas from which they secure their resonance travel graduallybackwards as the pitch ascends, the resonance area for .^■_ •^ * -n: appearing to lie as far back as the sphenoidal sin-uses (Fig. 14). Placing of Mezzo-Soprano and Soprano Upper Registers. The upper registers of the mezzo-soprano and soprano voiceshave focal points and resonance areas similar to those of thetenor, except that in the case of the resonance areas, the

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