As, under this system,
we never locally influence vowel form, so, after a certain stage of study
we never locally influence consonantal action. To be right, it must be
automatic and spontaneous.
Of course we recognize the fact that in all vocal study there must be a
beginning. The pupil must be taught to know and think correct physical or
mechanical action in singing. He must know what it is, what it means, and
how to think it. Then it must be trained to respond to thought and will.
This we call the first two stages of study, or the physical and mental. The
mental, as the student progresses, must dominate and control the physical;
and finally, as we have before stated, the true motor power is emotional
energy or the singer's sensation. This order of study and development holds
good in this fifth principle of artistic singing, as in all others.
The device to which we first resort for the understanding and development
of articulation, is a study of the three points or places of contact. On
page 183 of "Vocal Reinforcement" (by the author of this work) will be
found a full explanation of these three points.
A vowel sound is the result of an uninterrupted flow of the vibratory air
current. A consonantal sound, on the other hand, is the result of a
complete obstruction and explosion, of a partial obstruction and explosion,
or of a partial obstruction only. The place and manner of the obstruction
and explosion, or of the obstruction only, determine the character of the
sound.
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