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CONCEPTS OF PHONATION "5
g. "Failure to open the mouth will result in rigidity/' [Wilson 674,
I p. 71
4. "The ancient teachers placed great stress upon the importance of the mouth position of the singer/'" The upper teeth should be kept visible by curling the upper lip in a natural, unforced smile, [Hagara *«o, P- 44]
5. The oral cavity is an adjustable resonator, Hence, the larger the mouth, "the more ample the sound will be/' [Scott 502, p. a6]
6. To free the tone, you first have to free the jaw. [Hall and Brown **7. P- H]
7. "A loose [relaxed] jaw is indispensable to beautiful singing." [Cimini 99]
8. Relaxing the lower jaw helps relax the tongue. [Clippinger 110]
9. To establish easy jaw movement, imagine that the upper jaw is the one that moves. [Orton 439, p. 94]
10. Do not tilt the head back when dropping the jaw. [Hill #7&# p. 11; Wilson, op. cit]
11. Drop your jaw so that your lips form the shape of an egg standing on end, [Ryan 480, p. 77]
12. The higher the tone, the lower the jaw must drop. [Marches! 369,
P- 94]
13. for loud singing a wide jaw opening is indispensable, [Jeffries tot]
14. There is an ideal nke of lip opening which produces the purest sound, [Passe 443, p. 69]
Against voluntary oral control;
1. Consciously opening the jaw cramps the tongue and laryngeal muscles. [Harper 228, p. 21]
2. Labial mobility is important for good diction, but the jaw should remain passive, requiring no special attention. [Greene 209, p. 311]
3* "He who moves the mouth will never become a singer/' [Quoted from Lamperti by Owsley 441, p. 65]
4. "Exaggerated mouth and lip action is totally unnecessary . . * and spoils many a good singer/' [Lloyd 351, p. 9]
5. Opening the mouth too wide is the most common error. [Haywood 237, II, p. 14]
6. The high notes require only a small mouth opening. [White 659, P-4*] |
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