lowering of the soft palate, and the corresponding
lowering and raising of the pillars of the fauces.

The proper position of the tongue: the tip rests on the lower front
teeth--mine even as low as the roots of the teeth.

The back of the tongue must stand high and free from the throat, ready
for any movement. A furrow must be formed in the tongue, which is
least prominent in the lowest tones, and in direct head tones may even
completely disappear. As soon as the tone demands the palatal
resonance, the furrow must be made prominent and kept so. In my case
it can always be seen. This is one of the most important matters, upon
which too much emphasis can hardly be laid. As soon as the furrow in
the tongue shows itself, the tone must sound right; for then the mass
of the tongue is kept away from the throat, and, since its sides are
raised, it is kept out of the way of the tone.

[Illustration: Side of the tongue kept high.

Furrow.]

[Illustration: Red line denotes:

Sensation in raising the soft palate for high notes.

Sensation of the form in rapid upward passages.

Division of the breath favors the resonance of head cavities.]

It lies flattest in the lowest tones because the larynx then is in
a very low position, and thus is out of its way.

[Illustration: Red line denotes sensation of the form in slow
progression of tones.]

[Illustration: Red line denotes sensation for the propagation form.]

Furthermore, there is the unconstrained position of the larynx, which
must be maintained without pressure of the throat muscles. From it the
breath must stream forth evenly and uninterruptedly, to fill the form
prepared for it by the tongue and palate and supported by the throat
muscles.

This support must not, however, depend in the least upon
_pressure_,--for the vibrating breath must float above,--but upon the
greatest elasticity. One must play with the muscles, and be able to
contract and relax them at pleasure, having thus perfect mastery over
them. For this incessant practice is required, increasing control of
the breath through the sense of hearing and the breath pressure.

At first a very strong will power is needed to hold the muscles tense
without pressure; that is, to let the tone, as it were, soar through
the throat, mouth, or cavities of the head.

The stronger the improper pressure in the production of the tone, the
more difficult it is to get rid of. The result is simply, in other
words, a stra