the soft palate soars without arching, but rather somewhat depressed over it.
In pronouncing the vowels ā and ē, the bright vowels, the full stream of the breath, in the given position, can only partly pass between the tongue and the palate. The other part is forced—unless the larynx stands too high and can choke it off—above the palate into the nasal cavities, to seek its opportunity for resonance.
The path for ā and ē above the palate is worthy of all attention as a place for the overtones of the middle voice. If the soft palate, in the lower middle tones, is forced too far toward the hard palate, the covered tones are without vibrancy. One must needs secure the help of the nose especially, when the palate is sunk beneath the nose, by inflating the nostrils and letting air stream in and out of them.
I repeat the warning, not to force several tones upon the same resonating point, but to see that upon each tone the form necessary for succeeding tones is prepared. Neglect of this will sooner or later be paid for dearly.
Notwithstanding the strong muscular contraction that the vocal organs must undergo in pronouncing the vowel ā, the breath must be able to flow gently and without hindrance through its form, in order completely to fill up its resonance chambers. Again, and always, attention must be given that in singing, and in speaking as well, nothing shall be cramped or held tense, except the pressure of the breath against the chest. It is of the utmost importance to maintain this position for all vowels, with the least possible perceptible modifications.
How can this be done? A and e are bright vowels, must be sung with a pleasant, almost smiling, position of the mouth. U and o, on the contrary, are dark vowels, for which the lips must be drawn into a sort of spout. Look at the position of the throat in these vowels: (1) as they are usually sung and spoken; (2) as I feel it, in singing, as I sing them, and as they must be sung and felt.