quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
of the vocal organs	122
at the same time	114
in the case of	83
the use of the	77
the art of singing	76
of the vocal cords	75
the muscles of the	61
is one of the	60
use of the voice	58
on the other hand	58
of the voice is	49
the back of the	48
the quality of the	48
one of the most	47
the correct vocal action	46
the action of the	45
of the art of	41
the position of the	41
of the vocal bands	41
on the part of	40
knowledge of the voice	40
of the vocal mechanism	37
is the result of	37
as a matter of	36
there can be no	36
in the same way	36
as well as the	35
of the vocal ligaments	35
at the end of	34
the resonance of the	34
to be able to	34
a great deal of	34
the upper part of	34
of the vocal tract	34
the study of the	33
the part of the	33
in the use of	31
the end of the	31
by the use of	31
upper part of the	31
the tones of the	30
it is necessary to	30
the fact that the	30
the training of the	30
it is to be	30
of the vocal action	30
koo koo koo koo	30
the sense of hearing	29
for the production of	29
it is possible to	29
and at the same	28
of the old italian	28
pillars of the fauces	27
the metropolitan opera house	27
the production of the	27
it is impossible to	27
of the soft palate	26
in the art of	26
in the course of	26
of the human voice	26
adjustment of the vocal	26
the old italian method	26
the movements of the	26
the old italian masters	25
the level of the	25
the middle of the	25
as soon as the	25
resonance of the head	25
the air in the	25
a matter of fact	24
that is to say	24
is by no means	24
at the age of	24
of the head cavities	24
the cavities of the	24
must be able to	24
in singing and speaking	23
the registers of the	23
a part of the	23
the development of the	23
tones of the voice	23
the pillars of the	23
the idea of mechanical	23
the nature of the	22
to do with the	22
cavities of the head	22
the vocal cords are	22
empirical knowledge of the	22
of instruction in singing	22
management of the voice	22
on the subject of	22
as i have said	21
to the fact that	21
position of the larynx	21
of the muscles of	21
of the mechanical idea	21
the art of song	20
the work of the	20
the singer must have	20
the front of the	20
it will be found	20
action of the vocal	20
the manner in which	20
the pitch of the	20
tension of the vocal	20
for the purpose of	20
the shape of the	20
the old italian school	20
the voice must be	20
so far as the	19
in the production of	19
the vibrations of the	19
quality of the tone	19
the meaning of the	19
of mechanical vocal management	19
it seems to me	19
should be able to	18
a large number of	18
in the formation of	18
for a long time	18
it will be seen	18
of the vocal art	18
for the most part	18
registers of the voice	18
control of the breath	18
the roof of the	18
the sound of the	18
mechanical management of the	18
for the sake of	18
the adjustment of the	18
principle of artistic singing	17
of the tongue and	17
the character of the	17
in order that the	17
the removal of all	17
operations of the voice	17
is not to be	17
by means of the	17
in this way the	17
the operations of the	17
roof of the mouth	17
training of the voice	17
idea of mechanical vocal	17
part of the vocal	17
it is true that	17
of the fact that	17
the rest of the	17
in the form of	17
the formation of the	17
the management of the	17
one of the greatest	17
of the voice and	17
is due to the	17
muscles of the larynx	17
in regard to the	16
the vocal bands are	16
in a state of	16
removal of all restraint	16
the vocal ligaments are	16
be able to sing	16
correct use of the	16
the demands of the	16
of the singing voice	16
the music of the	16
the size of the	16
upon a level with	16
the case of the	16
in the first place	16
part of the body	16
in the way of	16
as far as possible	16
it must not be	16
muscles of the vocal	16
level of the tone	16
back of the tongue	16
in spite of the	15
in such a way	15
the lower part of	15
the walls of the	15
of the throat muscles	15
vibrations of the vocal	15
study of the voice	15
is the most important	15
as well as in	15
in a short time	15
the case of a	15
from time to time	15
a level with the	15
in the training of	15
the problem of tone	15
lower part of the	15
the great majority of	15
management of the breath	15
in the middle of	15
compass of the voice	15
of the sense of	14
the influence of the	14
the whole of the	14
the top of the	14
it may be said	14
the soft palate is	14
in the chest register	14
the student of singing	14
it is of the	14
of the vocal apparatus	14
with regard to the	14
it is better to	14
for the singer to	14
position of the mouth	14
there must be a	14
other parts of the	14
parts of the vocal	14
with the result that	14
the tension of the	14
will be seen that	14
to the study of	14
it is not necessary	14
a knowledge of the	13
it is difficult to	13
of a series of	13
it is one of	13
all the muscles of	13
to become a singer	13
in addition to the	13
to the end of	13
the extent to which	13
be borne in mind	13
is produced by the	13
stroke of the glottis	13
of the old school	13
at the metropolitan opera	13
the true vocal bands	13
of the tone is	13
the control of the	13
that there is no	13
the correct use of	13
the tongue and the	13
true conditions of tone	13
of the throat and	13
the parts of the	13
for the first time	13
such a way that	13
all parts of the	13
as a result of	13
this can be done	13
of the air in	13
the production of tone	13
it is easy to	12
student of the voice	12
may be able to	12
the way in which	12
the power of the	12
imparting the correct vocal	12
opera house in new	12
the art of voice	12
by the action of	12
the base of the	12
when the voice is	12
position of the tongue	12
parts of the body	12
may be said to	12
the form of the	12
in the middle register	12
much to do with	12
as well as of	12
of the correct vocal	12
in the hands of	12
it would be a	12
at the beginning of	12
in order to produce	12
in a general way	12
the body of the	12
in the light of	12
the voice of the	12
in accordance with the	12
as much as possible	12
the expression of the	12
in order to make	12
the student of the	12
most important of all	12
house in new york	12
the pressure of the	12
the breath must be	12
the importance of the	12
the beginning of the	12
will be found that	12
be the result of	12
the vocal cords is	12
in the study of	12
the ear of the	12
will be able to	11
sympathetic sensations of tone	11
of the voice in	11
on the day of	11
the result of the	11
the singer must be	11
of the resonance cavities	11
to a certain extent	11
one or the other	11
that the vocal bands	11
principle of artistic tone	11
the attention of the	11
the ear and the	11
the false vocal cords	11
the knowledge of the	11
as if it were	11
the cavity of the	11
a series of tones	11
at the present time	11
the guidance of the	11
if you do not	11
of the mucous membrane	11
can be no question	11
that it is not	11
nothing to do with	11
quality of the voice	11
there are so many	11
of the larynx and	11
mucous membrane of the	11
the capacity of the	11
but it is not	11
a certain amount of	11
the only way to	11
part of the chest	11
art of voice culture	11
back of the throat	11
the bones of the	11
be able to do	11
not be able to	11
the quality of tone	11
the act of singing	11
the life of the	11
that it is a	11
be given to the	11
under the influence of	11
in order to give	11
way in which the	11
the most important of	11
in order to be	11
in which it is	11
as far as the	11
the mind of the	10
the beauty of the	10
of the registers is	10
vibrations of the air	10
the vocal organs are	10
in all parts of	10
to the production of	10
the direction of the	10
in a way that	10
the vocal cords and	10
in front of the	10
there is no reason	10
it is not a	10
production in singing and	10
the application of the	10
the cultivation of the	10
from the fact that	10
of the greatest importance	10
at the top of	10
under the control of	10
the physiology of voice	10
operations of the vocal	10
as i have already	10
it would not be	10
to bring out the	10
the stroke of the	10
the length of the	10
the mechanical features of	10
the aid of the	10
training of the ear	10
is the fact that	10
the mechanical operations of	10
front of the mouth	10
action of the muscles	10
the day of the	10
is made up of	10
the sympathetic sensations of	10
the breath against the	10
of the meaning of	10
on the art of	10
may be called the	10
it is not possible	10
an understanding of the	10
in the act of	10
in such a manner	10
and the soft palate	10
in connection with the	10
of the body is	10
mechanical operations of the	10
from the standpoint of	10
for the young singer	10
the organ of sound	10
that the old masters	10
part of the voice	10
i do not know	10
of the laryngeal muscles	10
of the great singers	10
is a matter of	10
of the mouth and	10
this part of the	10
of the resonance of	10
any part of the	10
mixed costal and diaphragmatic	10
the false vocal bands	10
all that can be	10
this is the case	10
tongue and soft palate	10
it is for the	10
up and down the	10
of the diaphragm and	10
the mucous membrane of	10
there must be no	10
muscles of the throat	10
the condition of the	10
there is so much	10
the vibration of the	10
the mechanism of the	10
as one of the	10
of the utmost importance	10
pressure of the breath	10
it is a very	10
of the most important	10
the movement of the	10
to the art of	9
is the only way	9
that the quality of	9
the art of music	9
in the same manner	9
use of the laryngoscope	9
position and action in	9
the speaker or singer	9
materials of modern methods	9
misuse of the voice	9
on the one hand	9
that part of the	9
all true conditions of	9
and the result is	9
metropolitan opera house in	9
that it would be	9
modern methods of instruction	9
and action in singing	9
that it is possible	9
to the vocal cords	9
the progress of the	9
of form and action	9
for the purposes of	9
the entire vocal tract	9
production of the voice	9
what is to be	9
it is in the	9
position of the organs	9
there is no need	9
the right kind of	9
of air in the	9
this does not mean	9
in the direction of	9
through the study of	9
of some of the	9
on the imitative faculty	9
and shape of the	9
the law of the	9
to the level of	9
due to the fact	9
so that it is	9
the basic principle of	9
at the bottom of	9
every muscle of the	9
of modern voice culture	9
mechanical features of tone	9
the value of the	9
of the nineteenth century	9
as long as the	9
to learn to sing	9
for the development of	9
of the breath in	9
what it means to	9
there is but one	9
to any appreciable extent	9
a description of the	9
take the place of	9
use of the pedal	9
this is the only	9
of the voice was	9
one of the best	9
is determined by the	9
the soft palate and	9
scientific knowledge of the	9
voice production in singing	9
one and the same	9
on the operatic stage	9
to the demands of	9
in the upper part	9
of the voice as	9
in my own case	9
movements of the vocal	9
out of the way	9
of the larynx in	9
that they may be	9
does not mean that	9
by the fact that	9
the doctrine of breath	9
at the close of	9
of vowels and consonants	9
that there is a	9
the vocal organs is	9
a correct method of	9
for the reason that	9
in order not to	9
of voice culture is	9
of vibration in the	9
there is only one	9
the interior of the	9
be able to produce	9
as well as a	9
of the voice to	9
division of the breath	9
cavity of the mouth	9
of the singer and	9
the singer or speaker	9
if they do not	9
in the middle range	9
the sides of the	9
and there is no	9
of the first rank	9
length of the vocal	9
in the open air	9
that the voice is	9
the result of a	9
is the most difficult	9
the contraction of the	9
power of the voice	9
it is not the	9
this is one of	8
the larynx and the	8
a portion of the	8
breath against the chest	8
the course of the	8
at the expense of	8
the relative position of	8
of the use of	8
but they are not	8
to the vocal organs	8
the invention of the	8
but this is not	8
the means by which	8
of the larynx are	8
is attached to the	8
the central nervous mechanism	8
of the vocal organ	8
as we have said	8
shape of the mouth	8
the support of the	8
in the head cavities	8
a view of the	8
understanding of the voice	8
every part of the	8
the construction of the	8
italian school of singing	8
in speaking and singing	8
it is not so	8
in the midst of	8
the empirical knowledge of	8
that is to be	8
the tone in the	8
to say nothing of	8
the range of the	8
the speaker and singer	8
the tone must be	8
what may be called	8
it is not easy	8
to sing in the	8
not by any means	8
as much as the	8
the ability of the	8
the same is true	8
as a means of	8
the first principle of	8
is true of the	8
ought not to be	8
in the performance of	8
may be said that	8
in the development of	8
in any other way	8
the thought of the	8
of the bones of	8
the same way as	8
what is meant by	8
of all the muscles	8
is a combination of	8
as the result of	8
the chest and the	8
the end of a	8
adjustments of the vocal	8
contraction of the muscles	8
the difference in the	8
to be found in	8
can be made to	8
in this case the	8
freedom of form and	8
in new york city	8
in order to get	8
in order to avoid	8
of the present day	8
with both hands together	8
of the vocal instrument	8
during the process of	8
in so far as	8
in which they are	8
of the idea of	8
the fundamental principles of	8
of the voice are	8
of the chest and	8
to the use of	8
in this way is	8
the hands of the	8
for the same reason	8
of the voice by	8
on the concert stage	8
the truth of this	8
for the formation of	8
that the singer must	8
view of the larynx	8
the anatomy of the	8
the question of the	8
is not easy to	8
is more or less	8
and other parts of	8
for imparting the correct	8
of the metropolitan opera	8
the help of the	8
borne in mind that	8
the wall of the	8
singing on the breath	8
be said that the	8
the correct method of	8
under the direction of	8
is a part of	8
is not at all	8
demands of the ear	8
the same time the	8
those who do not	8
the heart of the	8
the physiology of the	8
an hour a day	8
doctrines of vocal science	8
in the female voice	8
is to be done	8
as well as to	8
back part of the	8
the voice can be	8
manner in which the	8
it is safe to	8
as a musical instrument	8
the names of the	8
are made up of	8
the vocal cords in	8
the singing of the	8
development of the voice	8
management of the vocal	8
in the nature of	8
this is not the	8
one of the great	8
the singer and speaker	8
the tone of the	8
the lips of the	8
with the least possible	8
as though it were	8
part of the throat	8
old italian school of	8
care must be taken	8
to be in the	8
the larynx of the	8
on account of the	8
is found in the	8
under the guidance of	8
the compass of the	8
a study of the	8
physiology of the vocal	8
as well as by	8
study of the vocal	8
to say that the	8
against the hard palate	8
diaphragm and abdominal muscles	7
that the vocal organs	7
expansion of the chest	7
a matter of course	7
the vocal tract is	7
has ever been found	7
the tongue and soft	7
you will find that	7
of all the parts	7
the only way in	7
and the development of	7
the use of a	7
practical knowledge of the	7
all over the world	7
science of voice culture	7
at the back of	7
they are to be	7
it is well to	7
the science of voice	7
shock of the glottis	7
sic vos non vobis	7
just as well as	7
size and shape of	7
this form of instruction	7
a change in the	7
if you have the	7
is seen in the	7
wall of the throat	7
the close of the	7
a number of years	7
that the voice must	7
the production of a	7
method of voice culture	7
this must be done	7
but there is no	7
male and female voices	7
the old masters were	7
is perhaps the most	7
the air of the	7
will be observed that	7
the root of the	7
to sing in a	7
in view of the	7
the tone may be	7
of the highest importance	7
it is almost impossible	7
and physiology of the	7
to the development of	7
is not in the	7
over and over again	7
the mechanical management of	7
it is a matter	7
for the teacher to	7
action of the voice	7
of the piano and	7
of the physiology of	7
the means used for	7
be observed that the	7
well as of the	7
in the position of	7
not know how to	7
the voice in the	7
of artistic singing is	7
the larynx must be	7
the size and shape	7
so soon as the	7
in the vocal organs	7
in the fact that	7
in the chest and	7
sound of the tones	7
can be done without	7
muscles of the body	7
the voice is not	7
the expansion of the	7
the division of the	7
of the importance of	7
of the breath against	7
the sense of the	7
the young singer should	7
of the voice can	7
have been able to	7
to get rid of	7
the back part of	7
of the female voice	7
anatomy and physiology of	7
is the foundation of	7
the study of singing	7
a year or two	7
is almost impossible to	7
which it is possible	7
i do not mean	7
folds of mucous membrane	7
of the breathing apparatus	7
the singer does not	7
the formation of vowels	7
the subject of registers	7
level with the tone	7
is the cause of	7
of the singer should	7
the singer who is	7
for a number of	7
attentive listening to voices	7
level of the first	7
of the teacher is	7
the art of breathing	7
the singer is a	7
but it is a	7
the upper front teeth	7
must be made to	7
in order to have	7
through the medium of	7
know how to sing	7
this is due to	7
in the adjustment of	7
it follows that the	7
range of the voice	7
it is best to	7
of the mouth cavity	7
to learn how to	7
use of the vocal	7
the tone and the	7
quality of the tones	7
the formation of a	7
in the attempt to	7
the vocal organs to	7
to the middle of	7
the mechanical doctrines of	7
is known as the	7
i should like to	7
the strings of a	7
the result is that	7
only way in which	7
in order to bring	7
structure of the vocal	7
a wide variety of	7
i have already said	7
as that of the	7
the fact that i	7
the tip of the	7
a member of the	7
the most important thing	7
description of the vocal	7
the voice by the	7
in the head register	7
it will be observed	7
first principle of artistic	7
the success of the	7
by the vocal cords	7
is looked upon as	7
correct method of breathing	7
the anatomy and physiology	7
of the respiratory apparatus	7
be said to be	7
automatic form and adjustment	7
the number of vibrations	7
i can tell you	7
be seen that the	7
the tone should be	7
of the abdomen and	7
the bottom of the	7
he must be able	7
are a number of	7
by the old masters	7
the inflation of the	7
in the male voice	7
the descent of the	7
by the vibration of	7
there is no doubt	7
that it is the	7
go hand in hand	7
inner surface of the	7
pitch of the tone	7
the diaphragm and abdominal	7
three or four years	7
the needs of the	7
of the tones of	7
all kinds of voices	7
the place of the	7
to such an extent	7
the greater part of	7
in one of the	7
the center of gravity	7
an idea of the	7
methods of instruction in	7
would do well to	7
be made in the	7
as in the case	7
art of bel canto	7
by the sense of	7
all the time i	7
of the chest walls	7
powers of the singer	7
and in this way	7
at the royal opera	7
with the aid of	7
the most important part	7
men and women who	7
of the first tone	7
same is true of	7
he will find that	7
a more or less	6
if they did not	6
is the same as	6
when it comes to	6
view of the voicebox	6
of the male voice	6
the history of the	6
low or chest register	6
various parts of the	6
will do well to	6
the whole subject of	6
and at the end	6
in the old italian	6
the effect of the	6
the human voice is	6
why is it that	6
the old italian operas	6
to the idea of	6
is not the case	6
the face of the	6
of singing in the	6
the higher the tone	6
strings of a violin	6
with every higher tone	6
to respond to the	6
is about cubic inches	6
special vowels and consonants	6
anatomy of the vocal	6
because it is the	6
in harmony with the	6
in a later chapter	6
can be done with	6
by the study of	6
denote division of the	6
of the pharynx and	6
and it is not	6
the raising of the	6
open the mouth without	6
in the back of	6
is an example of	6
with the use of	6
in the body of	6
hygiene of the vocal	6
out of the question	6
all the rest of	6
direct or local effort	6
if i were to	6
it is a question	6
without the use of	6
in the chapter on	6
with the greatest care	6
so far as it	6
attention is paid to	6
are to be found	6
in the thin register	6
mental conception of the	6
proper use of the	6
seems to me a	6
tongue and the soft	6
singing of the future	6
invention of the laryngoscope	6
to take the place	6
not only of the	6
of the glottis is	6
workings of the vocal	6
to take care of	6
the voice is a	6
the vocal bands and	6
it is important that	6
of the theory of	6
the part of a	6
there is no other	6
that in order to	6
production of the tone	6
in the habit of	6
of the materials of	6
with the help of	6
the reason that it	6
may be seen in	6
it should not be	6
to sing in opera	6
if it is not	6
a considerable amount of	6
there are a number	6
muscular structure of the	6
is the expression of	6
from that of the	6
that he may not	6
far back in the	6
the true art of	6
the study of repertoire	6
i have said before	6
the teachings of the	6
of the action of	6
descent of the diaphragm	6
of the breath is	6
to be the most	6
the training of a	6
musical notation in the	6
it must be remembered	6
the art of the	6
the latter part of	6
the use of words	6
one of the first	6
it will be well	6
which comes from the	6
the singer should be	6
in the presence of	6
a quarter of a	6
the voice in a	6
the singer and the	6
it is probable that	6
breathe through the nose	6
tone of the voice	6
the singer in the	6
in the right way	6
vibration of the air	6
were it not for	6
contraction of all the	6
of the most difficult	6
in front of a	6
for a short time	6
the materials of modern	6
to the quality of	6
it is important to	6
for the student to	6
would be a great	6
the nature of this	6
this is true of	6
the air within the	6
can be no doubt	6
singing out of tune	6
should be given to	6
become a prima donna	6
renaissance of the vocal	6
the forces which nature	6
on the vocal cords	6
may be sure that	6
guidance of the voice	6
the form of a	6
a voice that is	6
scientific study of the	6
is of the utmost	6
in the mind of	6
it is produced by	6
the career of the	6
the name of a	6
and that of the	6
on the other side	6
important of all the	6
red lines denote division	6
so long as the	6
mass of the tongue	6
the difference between the	6
the renaissance of the	6
the introduction of the	6
to the student of	6
in the practice of	6
as soon as he	6
use of the breathing	6
of the tonic sol	6
the sensations of the	6
all of the same	6
of the speaking voice	6
that a knowledge of	6
the voice may be	6
from the vocal cords	6
metropolitan in new york	6
a high degree of	6
as if they were	6
the function of the	6
but this does not	6
the strength of the	6
a combination of the	6
as long as possible	6
the actions of the	6
one part of the	6
in a few years	6
the elasticity of the	6
the diaphragm is the	6
the voice has been	6
such an extent that	6
the breath and the	6
most important part of	6
the performance of a	6
of the vocal scale	6
the first and second	6
the study of vocal	6
how to use it	6
to a large extent	6
of no use to	6
point on the palate	6
vibration of the vocal	6
edges of the vocal	6
the metropolitan in new	6
the large number of	6
and this is a	6
of the voice may	6
was one of the	6
capacity of the chest	6
is not necessary to	6
that the singer has	6
of the body and	6
the muscular structure of	6
muscles of the chest	6
it is easy enough	6
parts of the larynx	6
it is a mistake	6
it ought to be	6
for the benefit of	6
this is not so	6
front of a mirror	6
power of the tone	6
can do is to	6
a teacher of singing	6
it is found that	6
by the help of	6
of the voice will	6
of the middle register	6
precepts of the old	6
with the vocal ligaments	6
this is also true	6
it is a good	6
the most difficult of	6
is not possible to	6
taken into the lungs	6
at the opera comique	6
works on the voice	6
importance to the singer	6
there are as many	6
the taste of the	6
in the nasal cavities	6
the accepted vocal science	6
if the student has	6
correct position of the	6
the vocal action is	6
direct sensations of tone	6
as far back as	6
of the chest register	6
this is not a	6
of the entire body	6
of the larynx as	6
thoroughly familiar with the	6
the exact nature of	6
the elocution of singing	6
air in the chest	6
out of the mouth	6
the force of the	6
is it with the	6
the appearance of the	6
of the old method	6
the members of the	6
and with it the	6
it is impossible for	6
use of the registers	6
in the sound of	6
to those who have	6
side of the question	6
are the result of	6
be no question that	6
let him take care	6
the singer has to	6
cultivation of the voice	6
of the head voice	6
that the old italian	6
a certain degree of	6
muscle of the body	6
is a mistake to	6
to the muscles of	6
from the hips up	6
of the respiratory tract	6
that it is impossible	6
during the act of	6
the idea that the	6
and it is the	6
not being able to	6
and it will be	6
had an opportunity to	6
lines denote division of	6
to become a prima	6
one after the other	6
to the action of	6
when the throat is	6
than that of the	6
of the arytenoid cartilages	6
the highest tones of	6
it is useless to	6
part of the lungs	6
of the laws of	6
that the singer is	6
to the young singer	6
is the basis of	6
a great deal about	6
and size of the	6
have much to do	6
should be allowed to	6
shape of the resonance	6
to see that the	6
the advantage of the	6
on the training of	6
the assistance of the	6
takes place in the	6
in the history of	6
the result will be	6
enlargement of the chest	6
no doubt that the	6
the mass of the	6
is hardly to be	6
into the cavities of	6
to use his voice	6
in possession of the	6
with the exception of	6
now to be considered	6
the vocal organs and	6
a good natural voice	6
in the next chapter	6
if they are not	6
the opening of the	6
of the quality of	6
in order to acquire	6
of this form of	6
in the manner of	6
character of the tone	6
with special reference to	6
movements of the larynx	6
the song of the	5
what has been said	5
as well as that	5
of master and pupil	5
the lowering of the	5
but at the same	5
on the tones of	5
tone is something to	5
this is by no	5
the highest and best	5
other side of the	5
of the fauces are	5
there is not one	5
character of the voice	5
parts of the respiratory	5
that the singer should	5
a consideration of the	5
the soul of the	5
air in the mouth	5
the entire vocal mechanism	5
singers of the past	5
in the shape of	5
in point of fact	5
as though they were	5
it will be a	5
not a matter of	5
position of the parts	5
the tones of a	5
that there are no	5
thyroid and cricoid cartilages	5
the flexibility of the	5
practical methods of instruction	5
soft palate is lowered	5
with the first tone	5
they seem to be	5
make no effort to	5
so that the breath	5
the fact that they	5
to be borne in	5
forward poise of the	5
at a very early	5
action of the soft	5
with the problem of	5
sensations of tone are	5
by the great majority	5
lose sight of the	5
the command of the	5
to the mechanical features	5
at the head of	5
and that it is	5
of the thin register	5
way in which they	5
words of a song	5
are attached to the	5
by means of which	5
support of the tone	5
of one of the	5
to the conclusion that	5
of the nervous system	5
some of the more	5
of the tone produced	5
under the name of	5
if you are not	5
will be found to	5
it is necessary that	5
the course of time	5
so long as it	5
in the voices of	5
the voice is an	5
different parts of the	5
the acquirement of skill	5
as soon as it	5
so as to be	5
in the quality of	5
the thought before the	5
the mouth and the	5
you will be surprised	5
is not likely to	5
do not seem to	5
as we have learned	5
great singers of the	5
the case with the	5
the lowest tones of	5
may be made to	5
system of voice culture	5
so that there is	5
about the middle of	5
of the tongue is	5
solution of the problem	5
it is said that	5
to sing at all	5
be a part of	5
it is the result	5
the reason is that	5
the next step is	5
the result is a	5
the lower notes of	5
to take up the	5
what can be done	5
all of the great	5
ora del nostro amor	5
so there is no	5
order to bring out	5
and contraction of the	5
right down to the	5
of the voice has	5
of the tone as	5
for this reason the	5
in exactly the same	5
the muscular sensations of	5
i do not wish	5
and management of the	5
of what it means	5
forces which nature has	5
apply the principles of	5
all the resources of	5
to manage the voice	5
radiation of nerve impulse	5
education of the singer	5
the most important factor	5
history of voice culture	5
by the influence of	5
with the freedom of	5
of the value of	5
have no right to	5
by no means the	5
that can be said	5
the study of tone	5
the perfect vocal tone	5
quality of a tone	5
there is no time	5
against the vocal cords	5
art of singing is	5
the true conditions of	5
is likely to be	5
italian opera in america	5
from one register to	5
to the mechanical operations	5
will find that the	5
repose to the level	5
say that it is	5
points or places of	5
the words of the	5
that it may be	5
of the thyroid cartilage	5
the vocal mechanism is	5
her voice is a	5
correct method of voice	5
as long as he	5
the path of the	5
air in the lungs	5
the philosophy of singing	5
from repose to the	5
it is enough to	5
is of the greatest	5
framework of the ribs	5
in addition to this	5
in his own mind	5
a vast amount of	5
this cannot be done	5
director and his assistants	5
be one of the	5
be a great singer	5
what is your ambition	5
to say the least	5
influence of the resonance	5
is found to be	5
a wide range of	5
one of the reasons	5
it cannot be too	5
is a question of	5
as to whether the	5
sense of hearing is	5
the diaphragm and the	5
all the parts of	5
in order to prevent	5
the object of the	5
the pure singing tone	5
to the tones of	5
the other side of	5
i have never been	5
in the middle and	5
level with the first	5
yourself upon a level	5
the most difficult to	5
the value of work	5
as sung by mme	5
any one who has	5
is something to hear	5
is so full of	5
elements of voice culture	5
to produce the tone	5
the quality of sounds	5
the freedom of the	5
in the size of	5
for a few minutes	5
most difficult of all	5
which ought to be	5
by far the most	5
expansion of the lungs	5
habits of mind which	5
to produce a tone	5
the training of voices	5
that this is the	5
the muscular operations of	5
that the pitch of	5
to point out the	5
putting forth of the	5
the voice is so	5
of the breath and	5
seems to be the	5
is given to the	5
if this is done	5
the idea of the	5
those parts of the	5
base of the tongue	5
than in any other	5
become a great singer	5
timbre of the voice	5
shut off from the	5
which nature has given	5
the words of a	5
in all sorts of	5
by the vibrations of	5
is not so much	5
by the false vocal	5
to the registers of	5
he can do this	5
the direction of a	5
in the upper register	5
beauty of the voice	5
as we have already	5
the education of the	5
the correct management of	5
the coup de glotte	5
for a singer to	5
the fallacy of the	5
for the left hand	5
understand the art of	5
that it can be	5
to make a career	5
must not be understood	5
much attention to the	5
in order to become	5
end of the first	5
the ranks of the	5
a very early age	5
in size and shape	5
all the materials of	5
the highest head tones	5
the organs of speech	5
of nasal resonance is	5
must be remembered that	5
in a certain way	5
the method of breathing	5
of the open throat	5
of the organ of	5
to hold back the	5
the last act of	5
of the cavity of	5
of the matter is	5
tones which are produced	5
portion of the vocal	5
of the expiratory blast	5
the quantity that can	5
there has been a	5
the manner of the	5
must have a voice	5
to the top of	5
to me to be	5
is to be remembered	5
in every case the	5
now is christ risen	5
as a sort of	5
only a very few	5
in the cavities of	5
from the study of	5
the sake of the	5
in a fixed position	5
inflation of the ventricles	5
command of the voice	5
in the widest sense	5
traditional precepts of the	5
it is a great	5
in the choice of	5
becoming more and more	5
the true vocal cords	5
the inner surface of	5
i do not believe	5
the work to be	5
has much to do	5
at the base of	5
are produced by a	5
the traditional precepts of	5
into the hands of	5
a tone is something	5
the structure of the	5
the ideas of the	5
action of the diaphragm	5
only in this way	5
of the voice chapter	5
the mechanics of the	5
the basis of a	5
a great number of	5
in the world is	5
important part of the	5
to which they are	5
there are quantities of	5
the performance of the	5
the phenomena of voice	5
when the breath is	5
being able to sing	5
of the abdominal muscles	5
especially in the case	5
by the aid of	5
which the air is	5
of the larynx is	5
middle of the stage	5
necessary for me to	5
bodily position and action	5
in this way will	5
the study of this	5
there should be no	5
the result that the	5
to the subject of	5
the throat to stiffen	5
it is always a	5
for the use of	5
contraction of the throat	5
in no other way	5
the vocal organs must	5
the practice of the	5
chink of the glottis	5
in the thick register	5
be no doubt that	5
it must be admitted	5
is formed by the	5
pay special attention to	5
which are produced by	5
the same for all	5
that they can be	5
of the back of	5
the breath in the	5
to bear in mind	5
that all of the	5
not be in the	5
of the vocal chords	5
the space between them	5
some idea of the	5
against the roof of	5
the chest and head	5
vowels and consonants are	5
that portion of the	5
of the structure and	5
is easy enough to	5
correct action of the	5
poise of the body	5
and quality of the	5
the vast majority of	5
teachings of the laryngoscope	5
in some of the	5
this form of muscular	5
is no possibility of	5
use of the falsetto	5
the abdomen and the	5
the period of mutation	5
note of the scale	5
back of the mouth	5
guided by the ear	5
of the vocal chink	5
the vocal cords to	5
and on the other	5
i have never heard	5
conditions demanded by nature	5
to place the tone	5
when this is done	5
as to be able	5
the only thing that	5
is of the highest	5
at the right moment	5
forth of the voice	5
voice culture is the	5
of the problem of	5
the result is the	5
and know how to	5
it must be apparent	5
it has been my	5
that the study of	5
the works of the	5
is no need for	5
the mouth without inhaling	5
as a part of	5
both words and music	5
the break between the	5
this brings us to	5
division of the registers	5
lowering of the soft	5
the piano and its	5
to the consideration of	5
the lungs to the	5
it is necessary for	5
is to make the	5
if he has a	5
that they are not	5
or places of articulation	5
the stream of breath	5
when i am singing	5
use of the tongue	5
of the traditional precepts	5
it should be remembered	5
singing as an art	5
of any part of	5
a good general education	5
of the subject is	5
mechanics of the voice	5
parts of the country	5
there is a tendency	5
it is clear that	5
great majority of teachers	5
part of the brain	5
no one can sing	5
the young singer is	5
principles of the vocal	5
great majority of vocal	5
and the quality of	5
two hours a day	5
in most cases the	5
may be described as	5
and it may be	5
the exercise of the	5
causes of voice failure	5
of the lower part	5
the vocal chords are	5
is no reason why	5
and duration of the	5
tone is the result	5
attention to the mechanical	5
physiology of the voice	5
from that time on	5
of attention to the	5
truth of this statement	5
to be allowed to	5
as the pitch rises	5
bones of the head	5
is supposed to be	5
little attention to the	5
the rudiments of music	5
to make use of	5
is in accordance with	5
there should be a	5
not sing at all	5
the structure and functions	5
the scientific study of	5
is a tendency to	5
it is desired to	5
part of the air	5
that they have not	5
the vocal organs in	5
is true that the	5
the voice will be	5
the male and female	5
use of the head	5
in this way he	5
some of the best	5
by the old italian	5
to which it is	5
the voices of the	5
pressure against the chest	5
the best way of	5
the same as that	5
all the forces which	5
part of the mouth	5
the focal point of	5
i was taken to	5
skill in the use	5
there is room for	5
by which they are	5
but it would be	5
seemed to me that	5
even in the case	5
in many of the	5
such a thing as	5
in the matter of	5
in a certain sense	5
it would be well	5
so far as to	5
in the vocal art	5
the cavities of resonance	5
in this little work	5
is the one who	5
an example of the	5
the materials of instruction	5
the lungs through the	5
the spirit of the	5
of any of the	5
the young singer to	5
that i may be	5
of the state of	5
there is no possibility	5
it is only when	5
does not know how	5
both teacher and pupil	5
middle of the voice	5
so far as we	5
to keep the voice	5
lined with mucous membrane	5
the muscles of speech	5
seems to have been	5
in place of the	5
to become a great	5
physiological point of view	5
the whole compass of	5
in relation to the	5
the vocal bands in	5
instruction based on the	5
to hold the breath	5
ear of the teacher	5
as little as possible	5
back in the throat	5
which may be called	5
side view of the	5
in the highest range	5
in the lowest tones	5
as shown in the	5
those who have been	5
of the singer is	5
it is most important	5
mechanism of the human	5
at the time when	5
as the basis of	5
pointed out that the	5
the fact that he	5
a large proportion of	5
there are plenty of	5
manner of using the	5
he may not be	5
that there are three	5
in sympathy with the	5
use of the muscles	5
set of sympathetic sensations	5
the organs of the	5
work of the composer	5
i do not think	5
tone should never be	5
spite of the fact	5
proper position of the	5
there is such a	5
resonance of the air	5
it is only the	5
of the old masters	5
as in everything else	5
correct management of the	5
of the voice at	5
to breathe through the	5
of the voice have	5
is to be produced	5
is responsible for the	5
in the following chapter	5
this is a very	5
for now is christ	5
so much to learn	5
it is the most	5
to the ninth edition	5
to that of the	5
of the doctrine of	5
at the rate of	5
by the shape of	5
be said to have	5
the manner of using	5
the general character of	5
to place the voice	5
in the pronunciation of	5
must know how to	5
what is good and	5
registers of the singing	5
knowledge of the structure	5
attention to the subject	5
for the time being	4
to the performance of	4
that can be done	4
the hands and body	4
as will be shown	4
by reason of the	4
of the parts in	4
of which they are	4
for the good of	4
between correct and incorrect	4
such a manner that	4
there seems to be	4
is seen to be	4
the time i was	4
has always seemed to	4
of the voice obtained	4
sound of the voice	4
must be done in	4
of throat stiffness is	4
be regarded as a	4
to the extent of	4
focal point of the	4
in the fresh air	4
the entire compass of	4
above the vocal bands	4
the added resonance of	4
a few of my	4
not knowing how to	4
the breath of life	4
it does not go	4
he will have no	4
the disappearance of the	4
an important factor in	4
do not care to	4
not fail to be	4
of the diaphragm in	4
according to his own	4
to the first edition	4
the futility of the	4
during the production of	4
in advance of the	4
the nasal chambers are	4
but that does not	4
of direct or local	4
but i do not	4
result of certain conditions	4
the principles on which	4
in the emission of	4
each side of the	4
to the exclusion of	4
the devices used to	4
to the bottom of	4
eyes fixed on the	4
it seems to be	4
boys to sing alto	4
is especially true of	4
part of the singer	4
correct and incorrect singing	4
within the range of	4
to do his best	4
and when it is	4
chapter v of part	4
brought about by a	4
too high or too	4
the same as the	4
are not to be	4
be understood that the	4
so much has been	4
do not believe that	4
so as not to	4
the development of vocal	4
the floor of the	4
cannot be said to	4
and the cavities of	4
latter part of the	4
of a method of	4
of the palatal resonance	4
the fourth principle of	4
of the hard palate	4
his voice in the	4
as is well known	4
of the subject of	4
of the violin and	4
with the laws of	4
as well as those	4
when there is a	4
no one who has	4
it is the only	4
in the beginning of	4
it can never be	4
the way for the	4
change in the adjustment	4
one thing at a	4
produced by the same	4
as well as his	4
but the quality of	4
no such thing as	4
as well as i	4
it must always be	4
with the highest standards	4
be able to carry	4
on the side of	4
the most celebrated singers	4
into the head cavities	4
about the vocal action	4
i have had to	4
their use of the	4
structure and functions of	4
your whole attention to	4
which the larynx is	4
the listening to voices	4
in the cultivation of	4
the manhattan opera house	4
part of the whole	4
the true motor power	4
is connected with the	4
the voice is guided	4
to the expression of	4
of mechanical management of	4
of learning to sing	4
that the soft palate	4
the sensation of the	4
the story of the	4
that voice training is	4
to the third edition	4
little or nothing to	4
would not have been	4
be looked upon as	4
of the diatonic scale	4
parts above the larynx	4
the column of breath	4
can be done to	4
movements of the body	4
the possession of a	4
of the english language	4
has long been a	4
of thought and feeling	4
be found that the	4
the pronunciation of words	4
the singers of the	4
is scarcely necessary to	4
the laws of acoustics	4
the extent of the	4
upon the back of	4
of a practical method	4
in the back part	4
the psychology of singing	4
the beauty of tone	4
the quality of a	4
become acquainted with the	4
came to new york	4
the subject of the	4
mechanical doctrines of vocal	4
this being the case	4
of the voice that	4
a method of voice	4
root of the tongue	4
of the vocal muscles	4
to pass through the	4
practice of various choirmasters	4
be said about the	4
of the air within	4
through which the breath	4
soft palate and the	4
as we have before	4
be taken into account	4
of the first and	4
the lungs and the	4
to think of the	4
the best results in	4
of this vowel is	4
the vocal organs adjust	4
the possessor of a	4
do a lot of	4
and a musical nature	4
of the diaphragm to	4
days of the old	4
when the singer is	4
art of singing by	4
tone can be produced	4
it would have been	4
and women who have	4
in the world of	4
portion of the brain	4
is due to a	4
forward in the mouth	4
when i think of	4
the head cavities is	4
expression of the words	4
and it is a	4
which it is not	4
the best singers of	4
a great mistake to	4
very early in the	4
the benefit of the	4
true science of voice	4
it is owing to	4
hold back the breath	4
we come to the	4
hence the importance of	4
experienced by the singer	4
not been able to	4
is the soft palate	4
must be the result	4
the attention of all	4
there are others who	4
that they have been	4
che un giorno sol	4
that the student may	4
control of the tongue	4
of the present work	4
a messa di voce	4
the lower to the	4
do not wish to	4
it is not enough	4
more difficult to sing	4
of most of the	4
is a form of	4
be said of the	4
other things being equal	4
of the united states	4
of the mechanical operations	4
of the expiratory muscles	4
come down to us	4
do not belong to	4
must be capable of	4
by those who are	4
tone color and tone	4
the voice to the	4
is not confined to	4
pitch of the tones	4
difference between correct and	4
or nothing to do	4
be more or less	4
position and action of	4
should be made to	4
to the employment of	4
he should not be	4
a very short time	4
some of the most	4
most of the time	4
upon one and the	4
three times a week	4
to the point of	4
to the head cavities	4
empirical understanding of the	4
after a short time	4
in the same place	4
the part of many	4
theories of the vocal	4
in a few months	4
the merit of the	4
surface of the larynx	4
of the vocal profession	4
how tone is produced	4
the theoretical works on	4
even though it be	4
to the capacity of	4
for those who have	4
a great deal to	4
one of the three	4
on each side of	4
of those to whom	4
is the removal of	4
considered theoretically and practically	4
to fill the chest	4
the male and the	4
is the reason why	4
on the quality of	4
sensation in the head	4
wrong use of the	4
wall of the abdomen	4
modern voice culture is	4
of the study of	4
in the field of	4
from the beginning of	4
song as a whole	4
the metropolitan opera company	4
used for imparting the	4
air within the resonance	4
think the tone forward	4
are due to the	4
by the number of	4
f m r d	4
begin at the beginning	4
fundamental principles of voice	4
as those in the	4
had the pleasure of	4
the conclusion that the	4
tone is produced by	4
are among the most	4
we are glad to	4
the idea of a	4
as not to be	4
say nothing of the	4
taking up a new	4
in the last act	4
in the size and	4
in chapter v of	4
practical study of the	4
in the same position	4
of the stream of	4
is very difficult to	4
too much time to	4
to raise your hand	4
the way of the	4
border of the ring	4
of those who have	4
the expiratory blast is	4
the vocal bands may	4
the conditions which allow	4
there is nothing in	4
to be given to	4
for there is always	4
in a few words	4
between the singer and	4
fourth principle of artistic	4
and development of the	4
must be a part	4
there are those who	4
as a general rule	4
of the song as	4
breath must be directed	4
whole compass of the	4
is contained in the	4
absolutely necessary for the	4
sensation of the resonance	4
throughout the entire compass	4
to me with a	4
if one wishes to	4
a long time to	4
high placing and low	4
on the top line	4
the biceps and triceps	4
the same degree of	4
if you have not	4
means has ever been	4
of the vibrations of	4
of the shield cartilage	4
general character of the	4
all depends on the	4
knowledge of vocal physiology	4
part of the respiratory	4
the student has the	4
laws and common sense	4
in the face of	4
pitch of this vowel	4
it was pointed out	4
the voice is one	4
closure of the glottis	4
one set of muscles	4
of the ear and	4
hour and a half	4
whether it be in	4
are dependent upon form	4
mistake to suppose that	4
are now to be	4
more than any other	4
it is his mind	4
and this must be	4
the difficulty of the	4
in proportion to the	4
corresponding changes in the	4
the head tones are	4
work on the subject	4
one of the foremost	4
the early part of	4
day of the performance	4
membrane of the larynx	4
of his own voice	4
with the idea that	4
is the motive power	4
of the reasons why	4
in response to the	4
to train a voice	4
by the same mechanism	4
for the expansion of	4
the right use of	4
that of the vocal	4
voice seems to be	4
the commands of the	4
lowest tones of the	4
that the vocal cords	4
the larynx is the	4
do not let the	4
in this regard the	4
possible for me to	4
the chicago opera company	4
means used for imparting	4
the good fortune to	4
there are many singers	4
the modern art of	4
must be willing to	4
sense of the term	4
day of my life	4
as it is possible	4
of the great brain	4
due to the radiation	4
the evil results of	4
the nervous impulses that	4
it is far more	4
ages of the vocal	4
the voice does not	4
a good idea of	4
all the elements of	4
be of service to	4
if they were not	4
way in which it	4
be able to play	4
has been made in	4
go so far as	4
technical training of the	4
the basis of all	4
the attack of the	4
tones of the chest	4
singing toward the nose	4
of expansion and inflation	4
the voice with the	4
review of modern methods	4
to know how to	4
a greater or less	4
it is a part	4
it is very difficult	4
of the upper thick	4
disappearance of the old	4
due solely to the	4
with the thought of	4
an hour and a	4
the adjustments of the	4
a clear idea of	4
well illustrated in the	4
parts of the anatomy	4
and the vocal ligaments	4
air in the nasal	4
back into the throat	4
the presence of the	4
to keep it in	4
break in the voice	4
of more importance than	4
does not need to	4
in the human voice	4
that the tones of	4
i am obliged to	4
to hear great singers	4
it can be done	4
is the student to	4
and all the rest	4
all that i have	4
to find out what	4
all the organs concerned	4
minutes at a time	4
of all is the	4
without the aid of	4
in taking up a	4
be found in the	4
the subject of voice	4
the chest tension muscles	4
changes in the vocal	4
the color and character	4
the fact that one	4
ten or fifteen minutes	4
thing at a time	4
the significance of the	4
from the front teeth	4
the joy of the	4
consists of a series	4
midriff and rib breathing	4
there is nothing to	4
i was obliged to	4
investigation of the voice	4
it is by no	4
is absolutely necessary to	4
levers of the pyramids	4
determined by the shape	4
all the resonance cavities	4
the fact remains that	4
for a few seconds	4
by those who have	4
it may be observed	4
the highest standards of	4
that i have been	4
is no doubt that	4
high or too low	4
is that the singer	4
the adjustment for the	4
the very foundation of	4
relative position of parts	4
in cases where the	4
that the art of	4
had the opportunity of	4
outer surface of the	4
the upper chest is	4
and tongue must be	4
plates of the shield	4
be made to vary	4
be applied to the	4
of the same size	4
it is scarcely necessary	4
is only one way	4
a result of this	4
i have found that	4
for the teacher who	4
raising the soft palate	4
that many of the	4
the study and development	4
the involuntary contraction of	4
made the basis of	4
but one of the	4
be called upon to	4
be done through the	4
is guided by the	4
all over the country	4
and be able to	4
that most of the	4
always in relation to	4
it is capable of	4
and to make it	4
the course of this	4
a great many people	4
theory of voice culture	4
of the head register	4
thought before the action	4
in the best of	4
is of no use	4
one tone to another	4
knowledge of the vocal	4
if there is any	4
not be easy to	4
it is not always	4
the author of this	4
they are able to	4
the emission of the	4
the result of certain	4
the greatest of all	4
that the tone must	4
in the resonance of	4
the result of this	4
sense of the words	4
from the lower to	4
drawing in of the	4
vocal organs adjust themselves	4
be able to give	4
so far as they	4
all that need be	4
and a little later	4
there should never be	4
to the beauty of	4
the open door to	4
with more or less	4
the muscular contractions are	4
the value of a	4
the accepted doctrines of	4
as a pianist and	4
the quality of tones	4
brought to bear upon	4
is also true of	4
to this form of	4
in response to a	4
the history of voice	4
one at a time	4
the shape and size	4
the parts in sounding	4
exactly the same way	4
this is exactly what	4
is a sort of	4
the correct position of	4
the perfect vocal action	4
for training the voice	4
of our great singers	4
and if you have	4
no means the case	4
open door to opera	4
must be allowed to	4
of the last century	4
is not enough to	4
of tone color and	4
on the practice of	4
the statement that the	4
take place in the	4
the dark ages of	4
the problem of the	4
the best way is	4
he does not know	4
are plenty of good	4
a knowledge of vocal	4
of the respiratory organs	4
the interpretation of a	4
upper border of the	4
to study all the	4
must not be too	4
the attentive listening to	4
awakened in the hearer	4
if the voice is	4
to the attention of	4
the ear is the	4
the framework of the	4
of the truth of	4
a work of art	4
to the matter of	4
would be interesting to	4
become a part of	4
each one of these	4
it is not at	4
the vocal chords and	4
in the majority of	4
between the tongue and	4
the different parts of	4
could it be possible	4
the vocal ligaments is	4
to be one of	4
will enable the student	4
the top of his	4
to control the breath	4
that i have not	4
difference between the male	4
determined solely by the	4
tip of the tongue	4
the alto part is	4
is his mind that	4
the lowest note of	4
into the lungs through	4
writers on the voice	4
the american girl who	4
all instruction in singing	4
has the power of	4
be done by the	4
will be well to	4
that the use of	4
series of tones of	4
singers of the first	4
is impossible to sing	4
connais le poids des	4
the question as to	4
of the imitative faculty	4
it is hoped that	4
of the application of	4
for the expression of	4
the name of science	4
the result of long	4
do not try to	4
of course i do	4
in mind that the	4
of the muscular structure	4
purely a matter of	4
the mental picture of	4
place the tone in	4
of breathing and of	4
same for all voices	4
tone and the word	4
the larynx in a	4
influence on the voice	4
on the breath is	4
is so much to	4
of the laryngoscope in	4
there are a few	4
in the concert hall	4
may be found in	4
i am in the	4
must be apparent to	4
the tone to be	4
the direct sensations of	4
in this way can	4
color and tone character	4
that he may be	4
for the speaker and	4
in the public schools	4
basis of voice culture	4
with a view to	4
the matter of tone	4
be seen in the	4
taste of the public	4
all children should have	4
compel the phenomena of	4
made up of a	4
if the throat is	4
greater part of the	4
the voice on the	4
are determined by the	4
that i do not	4
the cartilages of santorini	4
the pockets of the	4
let it be remembered	4
tone seems to be	4
in modern voice culture	4
of the inner ear	4
two or three times	4
in his own voice	4
in the high register	4
the golden age of	4
it may be well	4
is highly probable that	4
for the study of	4
of the ability to	4
notation in the female	4
to the number of	4
there are two ways	4
in the opera house	4
in the slightest degree	4
the aim of the	4
the great opera houses	4
answer to this question	4
as the breath is	4
the choice of a	4
accepted doctrines of vocal	4
no two persons are	4
the cup of the	4
training of a singer	4
of what use is	4
musical character of the	4
every tone must be	4
in the best condition	4
as we have seen	4
the fiat of will	4
the forward tone is	4
think and feel the	4