Like the auxiliary verbs "will" and "have," ā, ē, and oo are auxiliary vowels, of whose aid we are constantly compelled to avail ourselves. It will perhaps sound exaggerated when I present an example of this, but as a matter of fact pronunciation is consummated in this way; only, it must not become noticeable. The method seems singular, but its object is to prevent the leaving of any empty resonance space, and to obviate any interruptions that could affect the perfection of the tone.

For example, when I wish to sing the word "FrÄulein," I must first, and before all else, think of the pitch of the tone, before I attack the f. With the f, the tone must be there already, before I have pronounced it; to pass from the f to the r I must summon to my aid the auxiliary vowel oo, in order to prevent the formation of any unvocalized interstices in the sound. The r must not now drop off, but must in turn be joined to the oo, while the tongue should not drop down behind, tongue but should complete the vibrations thus, tongue in a straight line. (See plate.)

Fraulein

It is very interesting to note how much a word can gain or lose in fulness and beauty of tone. Without the use of auxiliary vowels no connection of the resonance in words can be effected; there is then no beautiful tone in singing, only a kind of hacking. Since it must be quite imperceptible, the use of auxiliary vowels must be very artistically managed, and is best practised in the beginning very slowly on single tones and words, then proceeding with great care to two tones, two syllables, and so on. In this way the pupil learns to hear. But he must learn to hear very slowly and for a long time, until there is no failure of vibration in the tone and word, and it is all so impressed upon his memory that it can never be lost. The auxiliary vowels must always be present, but the listener should be able to hear, from the assistance of the oo, only the warmth and nobility of the tone, from the a and e only the carrying power and brilliancy of it.