2
19
SECTION III
OF THE BREATH AND WHIRLING CURRENTS 27
SECTION IV
THE SINGER'S PHYSIOLOGICAL STUDIES 35
SECTION V
EQUALIZING THE VOICE; BREATH; FORM 45
SECTION VI
THE ATTACK 69
SECTION VII
NASAL. NASAL SINGING 73
SECTION VIII
SINGING TOWARD THE NOSE. HEAD VOICE 78
SECTION IX
THE HEAD VOICE 86
SECTION X
SENSATION AND POSITION OF THE TONGUE 99
SECTION XI
THE SENSATIONS OF THE PALATE 102
SECTION XII
THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES 108
SECTION XIII
SINGING COVERED 123
SECTION XIV
ON VOCAL REGISTERS 133
SECTION XV
DEVELOPMENT AND EQUALIZATION 142
SECTION XVI
WHITE VOICES 154
SECTION XVII
THEODOR WACHTEL 158
SECTION XVIII
THE HIGHEST HEAD TONES 162
SECTION XIX
EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS 169
SECTION XX
THE TREMOLO 170
SECTION XXI
THE CURE 176
SECTION XXII
THE TONGUE 181
SECTION XXIII
PREPARATION FOR SINGING 189
SECTION XXIV
THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH) 192
SECTION XXV
CONNECTION OF VOWELS 196
SECTION XXVI
THE LIPS 212
SECTION XXVII
THE VOWEL SOUND AH 214
SECTION XXVIII
ITALIAN AND GERMAN 219
SECTION XXIX
AUXILIARY VOWELS 226
SECTION XXX
RESONANT CONSONANTS 229
SECTION XXXI
PRACTICAL EXERCISES 232
SECTION XXXII
THE GREAT SCALE 239
SECTION XXXIII
VELOCITY 245
SECTION XXXIV
TRILL 251
SECTION XXXV
HOW TO HOLD ONE'S SELF WHEN PRACTISING 256
SECTION XXXVI
CONCERNING EXPRESSION 263
SECTION XXXVII
BEFORE THE PUBLIC 265
SECTION XXXVIII
INTERPRETATION 270
SECTION XXXIX
IN CONCLUSION 279
NOTE.--A GOOD REMEDY FOR CATARRH AND H