Exercises for Lesson 16
The Palate Attack
We have a saying in America “A half a loaf is better than none.” This applies also to the palate attack. The highest type of voice can be attained only by the tongue attack, and all lessons that you have so far received and all those which are yet to come, tend to develop primarily the tongue attack. But the tongue attack depends solely upon the strength of the hyo-glossi muscle. However, some students have by nature very weak hyo-glossi muscles and need much practice and time to develop this strength.
In the meantime they must still be able to use their voices to the best advantage. Everybody has some voice and even a little natural voice can be utilized to great advantage when you know how. This lesson is written especially for those with very weak voices, in order to help them while they are practicing for better control and greater strength of the hyo-glossi muscle. ALL exercises of the tongue should be continued every day. They are indispensable. Practice most with the little finger under the tongue. See that the groove is made far back in the tongue. Frequently test the larynx. See that it moves neither up nor down. Also that the palate remains quiet while you make the groove. Of course the palate will move a little when you speak or sing.
While this lesson is written especially for very weak voices, those with strong voices must also study it as carefully as though they had weak voices. Where there is light, there also must be shade. To speak or to sing always at the same rate of strength, would become monotonous. Both speech and song would lose much of their effect. The highest quality of voice demands shading. The most powerful tone, as well as the lightest whisper, must be under the control of the speaker and singer.
This lesson is also most valuable to those with defective voices, for it will teach them not only the same voice control as the normal speaker, but it will enlighten them materially as to their former habits of speech.
In the “glottis attack” you have been given the means of getting a strong voice quickly and easily. Now you are getting the means to produce a light, but very distinct voice, also, quickly and comparatively easily.
Singers will need just this attack, for so-called “head tones” and for special voice effects, when we come to the lesson dealing with these points. They should study this attack now and be all the better prepared for the future lessons.
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