trigram

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

trigram	frequency
of the voice	582
of the vocal	484
part of the	250
one of the	217
the vocal cords	205
as well as	205
the vocal organs	196
in order to	192
use of the	185
the use of	170
of the larynx	168
there is no	167
it is a	167
the art of	165
it is not	152
the voice is	147
of the tone	137
be able to	133
of the breath	131
it will be	129
at the same	128
the fact that	125
that it is	124
in this way	122
of the body	117
the vocal ligaments	116
is to be	115
the vocal bands	115
of the throat	115
the same time	114
the study of	113
of the singer	113
it is the	112
it may be	109
knowledge of the	109
the soft palate	108
of the mouth	106
there is a	106
the result of	103
i do not	102
of the chest	98
position of the	93
the old italian	92
it must be	92
art of singing	91
the case of	91
in the same	91
more or less	91
parts of the	90
of the head	90
action of the	89
this is the	88
of the tongue	88
some of the	87
of all the	87
in the case	85
the quality of	84
of the most	83
muscles of the	83
the muscles of	80
the most important	80
the production of	80
a matter of	80
the singer must	79
is one of	79
on the other	78
in which the	76
in other words	76
of voice culture	76
of the old	75
it would be	74
study of the	74
to make the	74
and it is	73
but it is	72
so far as	71
the subject of	69
as a rule	68
as soon as	68
the action of	68
tones of the	67
that of the	66
out of the	65
in the throat	65
control of the	65
quality of the	64
in the world	64
the end of	63
of the great	63
so that the	61
the idea of	61
a great deal	61
of the art	60
back of the	60
the other hand	59
the tone is	59
this is a	58
attention to the	58
that there is	58
management of the	58
of the first	58
and of the	57
the part of	57
the human voice	57
in the middle	56
should not be	56
as it is	56
of the glottis	56
the sense of	56
in new york	55
the importance of	55
movements of the	55
to make a	55
it is to	55
of the muscles	54
in such a	54
according to the	53
as i have	53
the position of	53
the training of	53
the young singer	53
the vocal mechanism	53
a number of	52
the singer is	52
for the singer	52
the formation of	52
of the air	52
it is necessary	51
it should be	51
a series of	51
the development of	51
and in the	51
to the singer	51
there must be	51
to sing in	51
is not a	51
the back of	51
to be a	50
due to the	50
of the registers	50
of the resonance	50
more and more	50
the same way	49
seems to be	49
the voice in	49
on the subject	49
by means of	49
resonance of the	49
to do with	48
the correct vocal	48
a part of	48
the head cavities	48
is the most	48
of the greatest	48
most of the	48
on the contrary	47
in order that	47
training of the	47
of the same	47
and that the	47
all of the	47
is the result	47
of the lungs	47
the vocal tract	47
in spite of	46
the tones of	46
and at the	46
of the diaphragm	46
correct vocal action	46
so as to	45
of those who	45
must not be	45
the power of	45
as far as	45
of the world	45
in the head	44
are to be	44
the head voice	44
that i have	44
not to be	44
the vocal action	44
that the singer	44
at the metropolitan	44
as in the	43
this is not	43
they are not	43
to the voice	43
of the subject	43
on the stage	42
is not the	42
to become a	42
end of the	42
is necessary to	42
the nature of	42
in the first	42
they do not	42
the practice of	42
sense of hearing	42
many of the	42
for the voice	42
that the voice	42
to the vocal	42
it is possible	41
there can be	41
the pitch of	41
it can be	41
the value of	41
idea of the	41
as to the	41
character of the	41
on the part	41
at the end	41
as much as	41
by no means	41
through the nose	41
the breath is	41
of the ear	40
as it were	40
instruction in singing	40
on the voice	40
the sound of	40
in the vocal	40
those who have	40
which it is	40
as we have	39
of his voice	39
of the mechanical	39
development of the	39
understanding of the	39
the form of	39
adjustment of the	39
that the vocal	38
of the tones	38
i have been	38
up to the	38
it is impossible	38
the result is	38
is the only	38
to say that	38
is a very	38
the chest register	38
it is true	38
the age of	38
it does not	38
singing and speaking	38
the old masters	38
of the best	37
it has been	37
upper part of	37
in the chest	37
that they are	37
the larynx is	37
can be done	37
of the human	37
the voice and	37
in the voice	37
there are many	37
the work of	37
as a matter	36
regard to the	36
the middle register	36
the singer should	36
portion of the	36
as long as	36
the course of	36
quality of tone	36
is that the	36
it is only	36
ought to be	36
to be able	36
the upper part	36
the resonance of	36
can be no	36
that is to	35
well as the	35
air in the	35
may not be	35
the throat and	35
the basis of	35
when it is	35
a sort of	35
all the time	35
of the teacher	35
which is the	35
the manner of	35
koo koo koo	35
given to the	35
to be the	34
is due to	34
nature of the	34
it is of	34
which i have	34
in a few	34
of throat stiffness	34
vibrations of the	34
to do so	34
the principles of	34
movement of the	34
contraction of the	34
to give the	34
fact that the	34
great deal of	34
the air in	34
that there are	34
the mechanical idea	34
the influence of	34
in his own	34
be made to	33
to use the	33
the most difficult	33
the meaning of	33
it seems to	33
it is very	33
produced by the	33
the movements of	33
of the music	33
of the pupil	33
first of all	33
will be found	33
than in the	33
in the upper	33
the music of	32
to sing the	32
with the same	32
up and down	32
view of the	32
know how to	32
the purpose of	32
in regard to	32
in the use	32
the tongue and	32
the expression of	32
soon as the	32
would not be	32
and this is	32
production of the	32
the shape of	31
with regard to	31
for the production	31
be in the	31
by the use	31
of the soft	31
a knowledge of	31
the middle of	31
in the art	31
the number of	31
which may be	31
of the whole	31
the metropolitan opera	31
the student to	31
power of the	31
to produce the	31
one or two	31
the student of	31
the laws of	31
to have a	31
you do not	31
what is the	30
front of the	30
the chest and	30
of the highest	30
in the most	30
it cannot be	30
and to the	30
of artistic singing	30
in the way	30
shape of the	30
i have said	30
of the fauces	30
of his own	30
of the voicebox	30
in the mouth	30
the ability to	30
far as the	30
of the words	30
in addition to	30
the vocal apparatus	30
a long time	30
side of the	30
at the beginning	30
i am not	30
the singer who	30
if it is	30
i have never	30
because of the	29
in singing and	29
that he may	29
the larynx and	29
of the opera	29
cavities of the	29
must be a	29
with the greatest	29
in the beginning	29
the act of	29
a short time	29
is in the	29
so that it	29
tension of the	29
years of age	29
for this reason	29
the cause of	29
is possible to	29
the process of	29
in accordance with	29
before the public	29
to the same	29
principle of artistic	29
the body is	29
the cavities of	29
able to sing	29
of the laryngoscope	29
registers of the	29
vowels and consonants	29
the direction of	28
i did not	28
it is an	28
of the time	28
way in which	28
operations of the	28
is impossible to	28
can be made	28
size of the	28
those of the	28
of vocal science	28
the hard palate	28
the student is	28
level of the	28
the female voice	28
there is nothing	28
the mucous membrane	28
the beginning of	28
the results of	28
form and adjustment	28
the student should	28
old italian method	28
as they are	28
the singer to	27
no matter how	27
to have the	27
the throat muscles	27
seems to me	27
be said to	27
voice must be	27
point of view	27
the vibrations of	27
the question of	27
the problem of	27
metropolitan opera house	27
idea of mechanical	27
of the organs	27
the singer and	27
meaning of the	27
may be said	27
of the musical	27
in the following	27
and i have	27
condition of the	27
in the course	27
but this is	27
of mechanical vocal	27
expression of the	27
the level of	27
of the lips	27
is the same	27
in my own	27
of the student	27
which they are	27
of the instrument	27
a state of	27
pillars of the	27
they may be	27
not at all	26
the same thing	26
that can be	26
the singing of	26
the law of	26
to make it	26
because it is	26
it was a	26
which can be	26
this form of	26
the way of	26
a great many	26
is not to	26
of the work	26
of the piano	26
middle of the	26
two or three	26
can only be	26
must be made	26
seem to be	26
the effect of	26
one who has	26
the voice must	26
which must be	26
to learn to	26
of the present	26
the mouth and	26
will not be	26
there is the	26
is not so	26
the habit of	26
old italian masters	26
art of song	26
must be able	26
attached to the	25
the throat is	25
be allowed to	25
of the lower	25
if you have	25
music of the	25
position and action	25
of the singing	25
familiar with the	25
not in the	25
as to be	25
the voices of	25
is of the	25
with the voice	25
through the mouth	25
the high notes	25
in this case	25
the attention of	25
for a time	25
and so on	25
singer must have	25
mechanical vocal management	25
of the respiratory	25
the character of	25
i have no	25
for the most	25
in any way	25
for it is	25
the voice of	25
matter of fact	25
it follows that	25
necessary for the	25
of modern methods	25
at the age	25
by the singer	25
i have not	25
a kind of	25
by which the	25
changes in the	25
of the three	25
should be sung	25
to produce a	25
the voice will	24
the vocal art	24
a study of	24
the attempt to	24
vibration of the	24
that it was	24
i have already	24
the rest of	24
of voice production	24
of the upper	24
determined by the	24
now and then	24
large number of	24
especially in the	24
would be a	24
owing to the	24
the beauty of	24
tone of the	24
of this kind	24
would have been	24
vocal cords are	24
not only the	24
the vocal instrument	24
must always be	24
is by no	24
to those who	24
voice culture is	24
singers of the	24
of the muscular	24
this does not	24
is to say	24
are obliged to	24
singing in the	24
the singer has	24
known as the	24
work of the	24
as a whole	23
if it were	23
out of tune	23
description of the	23
and there is	23
that of a	23
it is for	23
the works of	23
sound of the	23
the head tones	23
the amount of	23
it is all	23
is the best	23
of the future	23
of the two	23
a way that	23
in which they	23
it is in	23
they should be	23
the diaphragm and	23
one of these	23
and the same	23
to develop the	23
the pillars of	23
he was a	23
for the purpose	23
how to sing	23
the registers of	23
manner in which	23
of instruction in	23
formation of the	23
of the individual	23
empirical knowledge of	23
he has a	23
away from the	23
the performance of	23
in connection with	23
the teacher is	23
division of the	23
the theory of	23
do with the	23
notes of the	23
teachers of singing	23
the singing voice	23
on the piano	23
against the chest	23
the thought of	23
that i was	23
made up of	23
to be in	23
he does not	23
to be sung	22
the top of	22
the management of	22
of which the	22
that he is	22
a great singer	22
the application of	22
the false vocal	22
should never be	22
the size of	22
is a most	22
of the mind	22
the physiology of	22
the sensation of	22
the aid of	22
i have always	22
of the hand	22
it is that	22
pressure of the	22
to the fact	22
and with the	22
the demands of	22
will be seen	22
has to be	22
to keep the	22
and for the	22
the sympathetic sensations	22
any of the	22
a single tone	22
the lack of	22
the necessity of	22
in these days	22
the air is	22
i have had	22
so to speak	22
old italian school	22
the first time	22
exactly the same	22
three or four	22
the voice by	22
is produced by	22
that which is	22
of the shield	22
voice is a	22
that in the	22
at a time	22
to the ear	22
should be the	22
learn to sing	22
vocal bands are	22
the resonance cavities	22
the only way	21
to the piano	21
be given to	21
in the morning	21
tone is produced	21
difference between the	21
to do it	21
as a result	21
in the larynx	21
the old man	21
of the parts	21
of the palate	21
the voice has	21
of the nose	21
to the end	21
the mouth cavity	21
the front of	21
based on the	21
of the ribs	21
the words of	21
that the student	21
and that is	21
tone in the	21
male and female	21
compass of the	21
beauty of tone	21
the range of	21
be said that	21
the tonic sol	21
down to the	21
in all the	21
the male voice	21
so long as	21
no one can	21
which has been	21
has not been	21
the period of	21
if they are	21
the removal of	21
need not be	21
if the singer	21
who have been	21
of the pharynx	21
if he has	21
for a long	21
is able to	21
pitch of the	21
the nasal cavities	21
the power to	21
on this subject	21
found in the	21
that is the	21
problem of tone	21
the life of	21
what i have	21
the piano and	21
there should be	21
to the mechanical	21
of the pyramids	20
methods of instruction	20
of the scale	20
correct use of	20
of the song	20
tone must be	20
voice in the	20
it is so	20
the matter of	20
the great singers	20
the manner in	20
in some way	20
it is easy	20
in the right	20
the breath must	20
in the highest	20
the traditional precepts	20
to the best	20
that i am	20
and the singer	20
men and women	20
the guidance of	20
a sense of	20
to listen to	20
voice and the	20
there was a	20
the name of	20
to give a	20
when they are	20
of what is	20
the most part	20
to try to	20
application of the	20
to take the	20
through the nostrils	20
but they are	20
but there is	20
a singer who	20
is that of	20
of singing is	20
become a singer	20
that he must	20
of the various	20
command of the	20
to a certain	20
of the abdomen	20
place in the	20
to hold the	20
of a song	20
they are the	20
sensations of tone	20
of the composer	20
even in the	20
those who are	20
and all the	20
in the production	20
there will be	20
series of tones	20
that he had	20
and i am	20
who do not	20
may be called	20
will be a	20
the first and	20
correct method of	20
speaking and singing	20
to do this	20
that the old	20
the mechanism of	20
must be the	20
of a good	20
on the breath	20
the vocal organ	20
is obliged to	20
but in the	20
and soft palate	20
the voice to	20
in every way	20
this is done	19
more than the	19
on account of	19
if you are	19
that they have	19
for me to	19
the difference between	19
case of the	19
the tongue is	19
sympathetic sensations of	19
the breath and	19
of a voice	19
of the male	19
that he has	19
change in the	19
a tone is	19
he did not	19
by the vocal	19
the lower part	19
a few minutes	19
should be able	19
and the voice	19
the hands of	19
the adjustment of	19
of this work	19
to the teacher	19
tone should be	19
only of the	19
in most cases	19
the acquirement of	19
he is a	19
has never been	19
able to do	19
it must not	19
of the fact	19
much of the	19
the idea that	19
the entire vocal	19
if i have	19
all parts of	19
the whole of	19
to be found	19
i could not	19
is in a	19
of the sound	19
has ever been	19
method of voice	19
this can be	19
here and there	19
of the modern	19
the control of	19
the old method	19
the voice as	19
the singer can	19
the cultivation of	19
length of the	19
with the laryngoscope	19
of bel canto	19
that he was	19
science of voice	19
which is not	19
in the formation	19
in front of	19
red lines denote	19
the organs of	19
is capable of	18
may be considered	18
in the old	18
to the subject	18
demands of the	18
the roof of	18
a set of	18
in response to	18
do not know	18
and the other	18
be seen that	18
the voice can	18
there are no	18
if they were	18
at that time	18
all that is	18
is the case	18
of the notes	18
of course i	18
if the student	18
the pupil to	18
of a tone	18
the true vocal	18
should be a	18
in the second	18
you will be	18
walls of the	18
in the form	18
the speaking voice	18
with all the	18
connected with the	18
is a great	18
only a few	18
of the mechanism	18
at the time	18
found to be	18
to some extent	18
was born at	18
more than one	18
be remembered that	18
for those who	18
all sorts of	18
to bring out	18
roof of the	18
these are the	18
and they are	18
seems to have	18
influence of the	18
in this country	18
to the highest	18
case of a	18
of a great	18
a large number	18
the bottom of	18
the breathing apparatus	18
that the tone	18
to get the	18
the sake of	18
mechanism of the	18
is for the	18
to be done	18
in a very	18
the materials of	18
the majority of	18
i have found	18
in a way	18
the teacher who	18
rest of the	18
thought of the	18
it with the	18
than that of	18
not only to	18
the pupil is	18
coup de glotte	18
with the result	18
all the muscles	18
mechanical management of	18
and on the	18
in this respect	18
part of his	18
of the artist	18
sense of the	18
the most beautiful	18
more than a	18
expansion of the	18
of their own	18
be the result	18
it to the	18
for many years	18
in the manner	18
as for the	18
influence on the	18
i have a	18
the condition of	18
it in the	18
the thin register	18
to sing a	18
for the sake	18
this must be	18
sing in a	18
to each other	18
this is true	17
in a short	17
the opera house	17
and the result	17
is much more	17
form of the	17
of the correct	17
be found in	17
at the back	17
messa di voce	17
not so much	17
into the lungs	17
to be taken	17
is not necessary	17
the advantage of	17
value of the	17
cultivation of the	17
it is one	17
surface of the	17
of the face	17
the walls of	17
of the day	17
order that the	17
which the singer	17
the same as	17
with a few	17
one of them	17
for a few	17
importance of the	17
note of the	17
when there is	17
the nervous system	17
listening to voices	17
of nasal resonance	17
of a singer	17
structure of the	17
of the word	17
in this connection	17
the one who	17
words and music	17
quality of voice	17
the parts of	17
voice of the	17
function of the	17
toward the nose	17
it is better	17
to control the	17
as if it	17
in the evening	17
method of breathing	17
above the larynx	17
in some cases	17
will be the	17
of the female	17
to the student	17
to have been	17
means of the	17
wall of the	17
the tone to	17
in a certain	17
upon a level	17
breath must be	17
guidance of the	17
is of no	17
to be considered	17
he must be	17
is true that	17
this may be	17
in the male	17
been able to	17
the operations of	17
far as possible	17
of the breathing	17
student of singing	17
and if the	17
removal of all	17
vocal ligaments are	17
most important of	17
for the young	17
which is a	17
this way the	17
to study the	17
the vocal chords	17
the point of	17
the diaphragm is	17
they have been	17
the lungs are	17
a level with	17
life of the	17
made in the	17
the musical herald	17
seen to be	17
than it is	17
is not in	17
his own voice	17
the latter is	17
stroke of the	17
the help of	17
by those who	17
the head register	17
in the female	17
only by the	17
the best way	17
a few months	17
it is said	17
student of the	17
at any rate	17
the vocal student	16
of the choir	16
in singing is	16
physiology of the	16
each of these	16
is so much	16
if there is	16
all true conditions	16
they have not	16
of the ring	16
in listening to	16
came to me	16
to the other	16
was to be	16
the foundation of	16
when the singer	16
the first tone	16
in a state	16
and how to	16
which have been	16
to the pupil	16
of a musical	16
the thick register	16
to believe that	16
the history of	16
the means of	16
believe that the	16
any part of	16
is true of	16
let it be	16
in voice training	16
a great artist	16
the ear and	16
must be done	16
of the stage	16
analysis of the	16
that it would	16
it is also	16
up in the	16
of singing in	16
to the tone	16
borne in mind	16
to see the	16
we do not	16
for a moment	16
the ear of	16
come to the	16
some of them	16
a little more	16
is a good	16
as if the	16
that the breath	16
production of tone	16
acquainted with the	16
the object of	16
in the air	16
has been said	16
in which he	16
lower part of	16
is supposed to	16
of all restraint	16
the first place	16
top of the	16
in the training	16
of which is	16
result of the	16
the great majority	16
the body of	16
one of those	16
of the second	16
formed by the	16
must have a	16
while it is	16
that does not	16
is at the	16
caused by the	16
from the beginning	16
he may be	16
there is not	16
to see that	16
as a singer	16
the elements of	16
for the teacher	16
the same in	16
as that of	16
at all events	16
he will be	16
the abdominal muscles	16
through which the	16
with the most	16
it is well	16
and with a	16
has already been	16
it is always	16
the singer in	16
take care of	16
the tension of	16
muscle of the	16
art of voice	16
the vowel ah	16
the aim of	16
the knowledge of	16
has always been	16
the teacher should	16
to the muscles	16
even if the	16
the doctrine of	16
in any other	16
much the same	16
when the voice	16
has been made	16
there is one	16
the capacity of	15
the vocal chink	15
depends on the	15
the higher the	15
spite of the	15
of the metropolitan	15
true conditions of	15
adjustments of the	15
a result of	15
a description of	15
the world is	15
other parts of	15
modern voice culture	15
will find that	15
a voice that	15
in mind that	15
ear of the	15
that is not	15
in a large	15
a very few	15
of the question	15
soft palate is	15
level with the	15
to go to	15
the tone should	15
them to the	15
time to time	15
i have heard	15
who wishes to	15
on this point	15
sooner or later	15
the subject is	15
long as the	15
the muscular sensations	15
the author has	15
the time of	15
the resonance chambers	15
sing in the	15
and the tone	15
and you will	15
be a great	15
the present time	15
than any other	15
anatomy and physiology	15
may be a	15
which are the	15
it is difficult	15
from time to	15
above all things	15
there are three	15
the old school	15
the organ of	15
it is no	15
such a way	15
is apt to	15
when this is	15
the reason why	15
by the same	15
or in the	15
to sing at	15
and the more	15
if i had	15
to be of	15
part of a	15
just as the	15
can be produced	15
can never be	15
and his assistants	15
of such a	15
body of the	15
by the ear	15
may be made	15
contractions of the	15
with which the	15
great majority of	15
it will not	15
well as in	15
the arytenoid cartilages	15
to the study	15
of some of	15
no matter what	15
exercise of the	15
for the first	15
the vocal profession	15
of the laryngeal	15
has been the	15
at the present	15
the sensations of	15
in the great	15
to take a	15
on the vocal	15
the contraction of	15
from the throat	15
think of the	15
the compass of	15
i have seen	15
and not to	15
called upon to	15
the base of	15
by reason of	15
the introduction of	15
i shall be	15
true vocal bands	15
for the tone	15
consideration of the	15
cavity of the	15
conditions of tone	15
that may be	15
in recent years	15
the pressure of	14
connection with the	14
in the proper	14
sides of the	14
in one breath	14
are able to	14
at one time	14
and it will	14
of any kind	14
each of the	14
whole of the	14
this should be	14
of vocal physiology	14
the student has	14
he had been	14
of a teacher	14
at the royal	14
membrane of the	14
with the best	14
should always be	14
the result that	14
he must have	14
seem to have	14
is not only	14
the thyroid cartilage	14
to get a	14
they can be	14
the lower notes	14
open the mouth	14
whether it be	14
from the mouth	14
the muscular contractions	14
must be so	14
there is always	14
of any other	14
say that the	14
of the arm	14
said that the	14
does not mean	14
a method of	14
capacity of the	14
in one of	14
that i had	14
of the sense	14
the spirit of	14
the middle range	14
as if they	14
of the latter	14
raising of the	14
the english language	14
more than this	14
but there are	14
speak of the	14
i had to	14
the light of	14
with the tone	14
tongue and the	14
false vocal cords	14
nothing of the	14
by the old	14
the pharynx and	14
interest in the	14
and the vocal	14
opera house in	14
than those of	14
must have been	14
i know that	14
the degree of	14
at the opera	14
which is so	14
as i can	14
in the present	14
master of the	14
in the best	14
who has been	14
singer should be	14
method of instruction	14
it is generally	14
a variety of	14
to form a	14
depends upon the	14
or at least	14
what it means	14
tone may be	14
of the expiratory	14
is difficult to	14
or any other	14
to understand the	14
how to use	14
the operatic stage	14
it is often	14
cannot be too	14
because they are	14
said to be	14
said miss vesta	14
is better to	14
the tone forward	14
the imitative faculty	14
stream of breath	14
in the light	14
the best of	14
that it may	14
the length of	14
at this time	14
true of the	14
that they can	14
functions of the	14
he will find	14
and which is	14
must be taken	14
work on the	14
vocal organs are	14
the laryngeal muscles	14
teacher of singing	14
from the lungs	14
the larynx in	14
for some time	14
do you not	14
he had a	14
between the two	14
but i am	14
for the student	14
if he is	14
they did not	14
the belief that	14
the feeling of	14
the state of	14
to the upper	14
they must be	14
i went to	14
responsible for the	14
one who is	14
when i was	14
have not been	14
is only a	14
of the public	14
be observed that	14
with each other	14
range of the	14
in the last	14
in singing the	14
the alto part	14
all the parts	14
addition to the	14
the place of	14
all kinds of	14
the day of	14
a lack of	14
i have known	14
the upper tones	14
with the first	14
a combination of	14
in the scale	14
in the face	14
and a few	14
the teacher to	14
singer must be	14
the vocal teacher	14
i wish to	14
to which the	14
is the one	14
to the throat	14
in that way	14
nothing to do	14
of the other	14
to that of	14
there has been	14
to raise the	14
you are not	14
let the master	14
vibration in the	14
with which he	14
beginning of the	14
is to sing	14
adapted to the	14
as though the	14
for the same	14
they will be	14
applied to the	14
the science of	14
at the bottom	14
learn how to	14
as regards the	14
as the voice	14
and the student	13
in this book	13
the speaker and	13
not seem to	13
it is quite	13
be borne in	13
of the true	13
more difficult to	13
importance to the	13
at the very	13
before an audience	13
half of the	13
with the vocal	13
made by the	13
ascending and descending	13
in a great	13
is only one	13
is given to	13
he could not	13
and the most	13
when i am	13
what has been	13
there are two	13
rosin the beau	13
to point out	13
treatment of the	13
that the larynx	13
the construction of	13
to place the	13
on the day	13
such as the	13
by the teacher	13
size and shape	13
seen that the	13
much to do	13
the empirical knowledge	13
the correct use	13
it might be	13
vocal cords is	13
singer in the	13
will be able	13
the stream of	13
the front teeth	13
are in the	13
to bring the	13
a couple of	13
all that can	13
the entire body	13
with the least	13
from the first	13
voice is not	13
the scholar to	13
them in the	13
a few weeks	13
an operatic career	13
the operas of	13
the necessity for	13
you have the	13
such a voice	13
voice may be	13
extent to which	13
seen in the	13
in the other	13
at the top	13
is no longer	13
it is this	13
bones of the	13
listening to the	13
the upper notes	13
the left hand	13
the body and	13
production in singing	13
the middle and	13
of the violin	13
scientific knowledge of	13
for a singer	13
preface to the	13
what may be	13
this is due	13
to sing well	13
the upper voice	13
to return to	13
the voice may	13
to the eye	13
make use of	13
of their voices	13
my voice was	13
the names of	13
looked upon as	13
of the many	13
is easy to	13
of the utmost	13
a few years	13
in which it	13
have to be	13
to force the	13
to the very	13
that she was	13
which should be	13
the breath in	13
is sure to	13
a condition of	13
who does not	13
at the piano	13
and then to	13
the tone and	13
it would not	13
yet it is	13
the mind of	13
of muscular stiffness	13
when the vocal	13
he would not	13
of the idea	13
he can do	13
beauty of the	13
that this is	13
ought not to	13
one does not	13
hours a day	13
of his art	13
there may be	13
the appearance of	13
from the very	13
of a series	13
as though it	13
to attempt to	13
course of study	13
or the other	13
the voice are	13
there is an	13
of vocal training	13
do well to	13
that the best	13
be obliged to	13
the palatal resonance	13
the present day	13
to the right	13
of voice and	13
for this purpose	13
bring out the	13
the upper thick	13
all over the	13
with a certain	13
be no question	13
mind of the	13
it is important	13
at all times	13
singer who is	13
in the least	13
in the opera	13
the method of	13
of the bass	13
of course the	13
one of his	13
inspiration and expiration	13
much as the	13
would be to	13
education of the	13
are the most	13
value to the	13
of a large	13
paid to the	13
members of the	13
to the world	13
the teacher must	13
needs of the	13
in the body	13
would not have	13
the extent to	13
boys to sing	13
that they may	13
the abdomen and	13
the tendency to	13
so that there	12
to the next	12
at covent garden	12
of it is	12
in a general	12
order to make	12
the truth of	12
may be able	12
the author would	12
is always a	12
the correct position	12
by the composer	12
vocal action is	12
sing at all	12
the larynx of	12
so soon as	12
be the case	12
of breathing is	12
order to produce	12
the exercise of	12
be called the	12
to the larynx	12
an understanding of	12
of the past	12
speaking of the	12
a good singer	12
the voice was	12
that would be	12
to the heart	12
a prima donna	12
to the young	12
of the entire	12
of the organ	12
important of all	12
be done in	12
the pronunciation of	12
and the tongue	12
confined to the	12
of the above	12
to use his	12
a few notes	12
a singer of	12
to take up	12
day of the	12
characteristics of the	12
are so many	12
the greater the	12
only in the	12
italian school of	12
as it was	12
which we have	12
that they be	12
as the vocal	12
seemed to me	12
sir morell mackenzie	12
this cannot be	12
so much as	12
in relation to	12
is such a	12
a means of	12
i have to	12
the diaphragm to	12
the way in	12
to acquire a	12
on the palate	12
in the next	12
the muscles are	12
accordance with the	12
of a very	12
a general way	12
physiology of voice	12
a and e	12
the chest voice	12
in practical instruction	12
attention of the	12
tone can be	12
is a matter	12
the most perfect	12
not only of	12
found that the	12
be done without	12
must learn to	12
he should not	12
construction of the	12
the philosophy of	12
must be in	12
effect on the	12
of the different	12
the lungs and	12
a very important	12
let us consider	12
my own case	12
is full of	12
to the first	12
which the voice	12
to show the	12
the cavity of	12
the lower register	12
the benefit of	12
devoted to the	12
as there are	12
a case of	12
the whole body	12
the emission of	12
to reach the	12
she did not	12
is no reason	12
of the higher	12
of the last	12
should be used	12
the whole subject	12
of the middle	12
in some of	12
tone is the	12
that the teacher	12
singing on the	12
member of the	12
one must be	12
a young singer	12
an opportunity to	12
part in the	12
of the brain	12
the close of	12
of a fine	12
go to the	12
be found that	12
there have been	12
in the hands	12
have been made	12
the perfection of	12
the lower tones	12
of training voices	12
interfere with the	12
in the mind	12
from the lower	12
apt to be	12
most of them	12
and he will	12
by the action	12
in this chapter	12
if you do	12
in the back	12
consists of a	12
throughout the entire	12
of vocal art	12
able to produce	12
the very first	12
with the singer	12
the shield cartilage	12
listening to a	12
in all parts	12
contained in the	12
of the country	12
the tone the	12
interpretation of the	12
of tone quality	12
in the studio	12
are produced by	12
question of the	12
that the whole	12
singer or speaker	12
base of the	12
to be an	12
to the point	12
be understood that	12
and then the	12
to learn the	12
those who do	12
the upper chest	12
the line of	12
what it is	12
you will find	12
hold the breath	12
it to be	12
of a few	12
speaker or singer	12
that must be	12
time and again	12
the breath against	12
the pocket ligaments	12
voice can be	12
the existence of	12
produced in the	12
the singer or	12
a tendency to	12
of tone is	12
should be taken	12
not more than	12
but if the	12
that it has	12
imparting the correct	12
of the vowel	12
in the study	12
misuse of the	12
much in the	12
i had been	12
not only in	12
they are to	12
instead of being	12
the case with	12
does not know	12
in my opinion	12
we have a	12
guided by the	12
direction of the	12
the piano is	12
ear and the	12
house in new	12
taste of the	12
and if you	12
knows how to	12
and the breath	12
and let go	12
students of singing	12
the interpretation of	12
a singer to	12
in the lower	12
little or no	12
in a free	12
the air of	12
a few of	12
nothing but the	12
of which are	12
mucous membrane of	12
the least possible	12
to my mind	12
this part of	12
is known as	12
the larynx must	12
result of this	12
singing is a	12
of form and	12
there are a	12
out of a	12
of this subject	12
scales and exercises	12
is just as	12
for the last	12
i should be	12
to his own	12
on to the	12
sensations of the	12
to be sure	12
that the quality	12
the upper register	12
likely to be	12
for the reason	12
much as possible	12
the student must	12
in all cases	12
to hear the	12
support of the	12
a beautiful voice	12
to use it	12
as to whether	12
to be used	12
of which i	12
the taste of	12
a few words	12
place of the	12
well as of	12
the vibration of	12
to the general	12
any one who	12
costal and diaphragmatic	12
produced by a	12
as is the	11
this is in	11
that i can	11
of sympathetic sensations	11
perhaps the most	11
which he can	11
under normal conditions	11
the lungs to	11
the bones of	11
of an inch	11
so much to	11
is the first	11
may be found	11
the old italians	11
using the voice	11
it is as	11
voice production in	11
his voice is	11
the same manner	11
that you have	11
to do the	11
the career of	11
see that the	11
out in the	11
has come to	11
came to the	11
this is also	11
there is only	11
in the resonance	11
methods of breathing	11
brought about by	11
and can be	11
as one of	11
was the first	11
i can tell	11
comes from the	11
before a mirror	11
to sing for	11
have been so	11
in and out	11
to think of	11
to begin with	11
the purposes of	11
of the neck	11
to me in	11
to me that	11
to which i	11
the movement of	11
no amount of	11
on the whole	11
the chest is	11
i know of	11
is not possible	11
not to sing	11
order to be	11
for him to	11
the face of	11
not mean that	11
of the evil	11
to teach the	11
account of the	11
it is now	11
of the boys	11
in the open	11
we have already	11
years of study	11
and is the	11
he made his	11
they seem to	11
training the voice	11
is found in	11
said to me	11
principles of the	11
i had not	11
in the adjustment	11
mechanical features of	11
the time i	11
to the hearer	11
about the voice	11
is enough to	11
one can sing	11
tones of a	11
mastery of the	11
the advice of	11
i began to	11
could not be	11
of the inner	11
something of the	11
was made in	11
opening of the	11
of a certain	11
one and the	11
for the next	11
vocal cords and	11
was not a	11
kinds of voices	11
of singing the	11
of artistic tone	11
a feeling of	11
part of it	11
the highest tones	11
of the beautiful	11
difference in the	11
only way to	11
law of the	11
thought and feeling	11
make it a	11
of the pitch	11
and we have	11
always in the	11
more of the	11
and a half	11
from the larynx	11
in the tone	11
to be produced	11
he will have	11
of the profession	11
the lower thin	11
to open the	11
and must be	11
on the operatic	11
the tone quality	11
when you have	11
doctrines of vocal	11
for the breath	11
of the master	11
about the same	11
may be seen	11
and in a	11
of the new	11
is made up	11
so great that	11
was born in	11
the reader will	11
the tone of	11
to learn how	11
act of singing	11
those of a	11
the male and	11
larynx and the	11
if you can	11
cartilages of santorini	11
tone and the	11
at the close	11
to the chest	11
holding the breath	11
to the audience	11
can be said	11
as has been	11
as in all	11
singing of the	11
is the greatest	11
that if the	11
the secret of	11
it is almost	11
the tone in	11
the right hand	11
to the head	11
the progress of	11
i find that	11
i want to	11
in the early	11
study of singing	11
that they were	11
to produce tones	11
some of these	11
the vocal world	11
the appreciation of	11
is but one	11
the larynx are	11
inflation of the	11
out in a	11
which he has	11
from the vocal	11
it is simply	11
and quality of	11
the best singers	11
not be in	11
a teacher who	11
have never been	11
that part of	11
order to give	11
of the mucous	11
exercises for the	11
the correct method	11
of this is	11
is as follows	11
they are in	11
from that time	11
the open air	11
and not only	11
not be able	11
one or the	11
and by the	11
sensations in singing	11
i will say	11
and should be	11
a musical instrument	11
the mechanical operations	11
control over the	11
an expression of	11
to the front	11
the way to	11
to the last	11
that it can	11
of the thyroid	11
find that the	11
that all the	11
here is an	11
become a great	11
room for the	11
what is called	11
up to a	11
for want of	11
of his vocal	11
there are so	11
to the middle	11
if they do	11
that the throat	11
is it that	11
no less than	11
i had a	11
of the problem	11
to the top	11
throat stiffness is	11
to express the	11
conception of the	11
edges of the	11
and in this	11
and to be	11
get rid of	11
no boarding school	11
is determined by	11
all the vowels	11
the reason that	11
of the principles	11
in all its	11
of vowels and	11
held in the	11
modern methods of	11
the upper thin	11
a tone of	11
section of the	11
breath against the	11
will make the	11
in the correct	11
to the great	11
the right way	11
she had been	11
is always the	11
indicated by the	11
a certain extent	11
in the nose	11
of the anatomy	11
there is something	11
to the lower	11
the psychology of	11
practice of the	11
is absolutely necessary	11
what is meant	11
the medium of	11
action in singing	11
it was the	11
a year or	11
manner of singing	11
into the head	11
may be the	11
under the influence	11
of great importance	11
to know the	11
and not the	11
a certain amount	11
as a teacher	11
to enter the	11
of the vowels	11
was able to	11
the registers is	11
four or five	11
the same for	11
be sure that	11
i have learned	11
the same reason	11
is a question	11
being able to	11
a good teacher	11
you have a	11
and the soft	11
with such a	11
the respiratory organs	11
certain amount of	11
i have just	11
in the day	11
singing is the	11
to this end	11
use his voice	10
the invention of	10
units of strength	10
take the place	10
is the fact	10
who has not	10
the vocal muscles	10
care must be	10
it is too	10
the ear is	10
i am singing	10
her voice is	10
with both hands	10
if this be	10
the singer will	10
by which they	10
the effects of	10
appearance of the	10
is contained in	10
picture of the	10
you wish to	10
you have not	10
the royal opera	10
which nature has	10
methods of voice	10
style of singing	10
the consideration of	10
reference to the	10
the head tone	10
it is hoped	10
materials of modern	10
such a manner	10
the principle of	10
the boys have	10
in the matter	10
organ of sound	10
no idea of	10
the head of	10
a view of	10
of the singers	10
on the upper	10
faults of production	10
when the breath	10
tosi and mancini	10
the cartilages of	10
of the meaning	10
of voice training	10
the tip of	10
is called the	10
of the school	10
in speaking and	10
for several years	10
that we are	10
respond to the	10
progress of the	10
in which i	10
of his work	10
mechanical operations of	10
she has a	10
that is all	10
point in the	10
is not easy	10
but for the	10
system of voice	10
is it not	10
know that the	10
should have a	10
and let the	10
a system of	10
and down the	10
the higher notes	10
the utmost importance	10
but it will	10
to the music	10
the greatest care	10
of the will	10
the following passage	10
would like to	10
voice should be	10
of modern voice	10
on the one	10
on the right	10
the need of	10
and i was	10
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she must be	10
by way of	10
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voice is the	10
tongue and soft	10
that when the	10
no doubt that	10
the open throat	10
a certain degree	10
the time when	10
mixed costal and	10
the choice of	10
on the left	10
of the italian	10
in view of	10
for all voices	10
instead of the	10
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who are not	10
said to have	10
the chest to	10
not by any	10
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the voice should	10
the lips of	10
the greatest importance	10
possession of the	10
opera in america	10
learning to sing	10
and that they	10
the heart of	10
form and action	10
as those of	10
has been a	10
voice will be	10
that which we	10
point on the	10
the concert stage	10
result of a	10
that at the	10
the reader is	10
solely by the	10
of singing are	10
of all kinds	10
of the lesson	10
be well to	10
all the other	10
what is to	10
is no doubt	10
and we are	10
in order not	10
to find the	10
that i may	10
in which a	10
of voice is	10
speaker and singer	10
the mind and	10
and the only	10
from the standpoint	10
if this is	10
he went to	10
whether they are	10
the success of	10
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as high as	10
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under the control	10
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of the fingers	10
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of using the	10
what is good	10
to know what	10
begin with the	10
the quantity of	10
singing or speaking	10
when one is	10
a good deal	10
the expiratory blast	10
back in the	10
is at once	10
the possibility of	10
and as the	10
to avoid the	10
have been a	10
interior of the	10
the change of	10
there would be	10
the chest walls	10
are of the	10
in some degree	10
for the present	10
vocal organs is	10
point out that	10
which does not	10
the interior of	10
should be in	10
of the empirical	10
point of the	10
where there is	10
every part of	10
breath in the	10
workings of the	10
of her voice	10
and the teacher	10
we have the	10
power and control	10
soft palate and	10
doctrine of breath	10
relaxation of the	10
to follow the	10
though it is	10
the conclusion that	10
very difficult to	10
in the singer	10
to play the	10
the extent of	10
half an hour	10
them to sing	10
the vowel a	10
length of time	10
the mechanical features	10
a very good	10
the palate is	10
the members of	10
as the result	10
kind of a	10
a certain point	10
the right kind	10
breath through the	10
the stroke of	10
according to his	10
he may not	10
it is my	10
singer and speaker	10
the voice at	10
the rate of	10
the present work	10
can be given	10
in possession of	10
must be as	10
of tone and	10
i should say	10
of the soul	10
in the cavities	10
this is an	10
to a singer	10
which the air	10
may be sure	10
the nasal quality	10
the actions of	10
the nasal chambers	10
how is the	10
just as well	10
tones in the	10
from that of	10
the possession of	10
to the pitch	10
of the tenor	10
true that the	10
of the way	10
to which it	10
the nineteenth century	10
that we have	10
is responsible for	10
the difference in	10
and the upper	10
the student who	10
the ability of	10
to fill the	10
that i could	10
produce a tone	10
the support of	10
are apt to	10
the characteristics of	10
now to be	10
and a little	10
the root of	10
to carry the	10
must be no	10
in the profession	10