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 |
and the resonance | 10 |
she must be | 10 |
by way of | 10 |
but the singer | 10 |
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 |
were it not | 10 |
who are not | 10 |
said to have | 10 |
the chest to | 10 |
not by any | 10 |
is done by | 10 |
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 |
of the cords | 10 |
did not know | 10 |
as high as | 10 |
can be used | 10 |
under the control | 10 |
a little while | 10 |
to those of | 10 |
of the fingers | 10 |
the difficulty of | 10 |
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 |