The tediousness of singing without proper separation of the syllables is not appreciated till it has been learned how to divide the consonants. The nasal close of itself brings a new color into the singing, which must be taken into account; and moreover, the word is much more clearly intelligible, especially in large auditoriums, where an appreciable length of time is needed for it to reach the listener. By the nasal close, also, an uninterrupted connection is assured between the consonant and the tone, even if the latter has to cease, apparently, for an instant.
I teach all my pupils thus. But since most of them consider it something unheard of to be forced to pronounce in this way, they very rarely bring it to the artistic perfection which alone can make it effective. Except from Betz, I have never heard it from any one. After me no one will teach it any more. I shall probably be the last one. A pity!
SECTION XXXI
PRACTICAL EXERCISES
The practical study of singing is best begun with single sustained tones, and with preparation on the sound of ah alone, mingled with o and oo. A position as if one were about to yawn helps the tongue to lie in the right place.
In order not to weary young voices too much, it is best to begin in the middle range, going upward first, by semitones, and then, starting again with the same tone, going downward. All other exercises begin in the lower range and go upward.
The pupil must first be able to make a single tone good, and judge it correctly, before he should be allowed to proceed to a second. Later, single syllables or words can be used as exercises for this.
The position of the mouth and tongue must be watched in the mirror. The vowel ah must be mingled with o and oo, and care must be taken that the breath is forced strongly against the chest, and felt attacking here and on the palate at the same time. Begin piano, make a long crescendo, and gradually return and end on a well-controlled piano. My feeling at the attack is as shown in the plate.