The lungs are not the actual organs of the voice; they merely furnish the material, the air; the real organs of the voice are:  larynx, glottis, uvula, tongue, palatine arch, hard palate and lips.


It has been observed that many pupils, hearing the teacher say, “Open your mouth,” open it so widely that it looks like the door to a little oven.

But if such pupils have the misfortune to fall into the hands of an inexperienced teacher, who does not know how to correct them, they will never be able to realize that from such an exaggerated opening of the mouth the voice will be throaty, and that the “fauces” being under such strain, will in consequence, lose that flexibility which is so necessary to give the voice that clearness and facility in drawing it.


What is commonly called “throaty singing,” or a voice which sounds raw and suffocated, is caused because the singer does not draw or sustain the voice by the natural strength of the chest, but thinks he will obtain a good result by tightening the “fauces.”

He is mistaken and he must keep it as a truth, that this practice not only is insufficient to correct the voice, but is harmful, for the reason that the “fauces,” as I demonstrated in Chapter III, are a part of the organs of voice.

The voice cannot come out natural and spontaneous, if it finds the fauces in a forced position, which impedes natural action.
口峡が、自然な活動を妨げる強制的なポジションになるならば、声は自然で自発的なものになることができない 。

If the harmony of these two parts, the mouth and the “fauces” is perfect, then the voice will be clear and harmonious.

But if these organs act discordantly, the voice will be defective, and consequently the singing spoiled.


Although the rules in this part of the art are very plain and ratified by the most experienced singing masters some, due to their not knowing how to support the first tone with the strength of the chest, and knowing still less about the art of graduating the breath, take the first note with unusual violence and as they are incapable of sustaining and controlling it, they think by closing the “fauces” (the lower part of the throat) that they succeed in controlling the breath and voice.


Even though a teacher may discover some natural tendency in a pupil for this, he must not start him in this difficult work, until the pupil has acquired the gift of a perfectly clear voice, purged of all defects and a decidedly flexible “fauces,” in order that the “arpeggios” can be performed with the required velocity.


2020/05/04 訳:山本隆則