It is to be assumed that the student will, in these experiments, take
the pitch in his voice which is most comfortable. Having mastered the
combination tone on "Ah" at any pitch, it will be easy to try other
pitches and other vowels. "Ah" is the natural vowel, but having secured
the "know how" through a correct production of "Ah" the same results may
be attained with any other vowel produced in a similar way. "E" as in
_see_ has of course more of the strident quality, the high, bright
quality and "OO" as in moon more of the dark, but even these extreme
tones may be so placed that they become enriched through the employment
of resonance of all those parts of the mouth, nose and body which may be
brought naturally to reinforce them.
"PING"
I have never met a singer who was not looking for "ping" or what is
called brightness. Most voices are hopelessly dead, and therefore lack
sweetness. The voices are filled with night--black hollow gloomy night
or else they are as strident as the caterwauling of a Tom Cat. The happy
mean between the extremes is the area in which the singer's greatest
results are attained.
Think of your tone, always. The breath will then take care of itself. If
the tone has a tremulo, or sounds stuffy or sounds weak, you have not
apportioned the right amount of breath to it, but you are not going to
gain this information by thinking of the breath but by thinking of the
tone.