streaming--that is, singing--begins. (See plate, The Path of the
Breath.)

_Second_, to raise the soft palate at the same time toward the nose,
so that the breath remains stationary until the singing begins.

_Third_, to jerk the tongue backward at the same time, its back being
thus raised, and elastic, ready to meet all the wishes of the
singer,--that is, the needs of the larynx. The larynx must not be
pressed either too low or too high, but must work freely. The breath
is enabled to stream forth from it like a column, whose form is
moulded above the larynx by the base of the tongue.

When these three functions have been performed, all is ready. Now the
pitch of the tone is to be considered, as the singing begins.

The consummation (Hoehepunkt) of the tone, above the palate, gives the
point of attack itself, under the palate.

Now further care must be given that the point of attack on the
palate--that is, the focal point of the breath--be not subjected to
pressure, and that the entire supply of breath be not expended upon
the palatal resonance.

For this the palate must remain elastic, for it has a twofold duty to
perform. It must not only furnish resistance for the focal point of
the breath,--except in the very highest head tones,--around which it
can be diffused; the same resistance, which stands against the stream
of breath from below, must also afford a firm, pliant, and elastic
floor for the overtones, which, soaring above the palate, shift, as is
needed, to or above the hard and soft palate, or are divided in the
nose, forehead, and head cavities. It can easily be seen how any
pressure in singing can be dangerous everywhere, and how careful the
singer is forced to be to avoid such mistakes.

SECTION XXIV

THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)

What must my sensations be with the muscles of speech? How shall I
control them?

The best position of the mouth, the means of securing the proper use
of the muscles of speech and of the vocal organs, is established by
pronouncing the vowel _[=a]_, not too sharply, in the middle range of
the voice, and trying to retain the position of the muscles after the
sound has ceased.

This cannot be done without a _smiling_ position of the mouth,
consequently with a strong contraction of the muscles of the mouth,
tongue, and throat, which can be felt to be drawn up as far as the
ears.

In doing so the tongue--as far as the tip--lies