There is much discussion as to whether ah, oo, or some other vowel is the one best adapted for general practice. In former times practice was entirely on the vowel-sound ah. The old Italians taught it; my mother was trained so, and never allowed her pupils to use any other vowel during the first months of their instruction. Later, to be sure, every letter, every word, was practised and improved continually, till it was correct, and had impressed itself upon the memory, as well as the ear, of the pupil for all time.

I explain the matter thus:—

The singer's mouth should always make an agreeable impression. Faces that are forever grinning or showing fish mouths are disgusting and wrong.

The pleasing expression of the mouth requires the muscular contractions that form the bright vowel ah.

Most people who are not accustomed to using their vocal resonance pronounce the ah quite flat, as if it were the vowel-sound lying lowest. If it is pronounced with the position of the mouth belonging to the bright vowels, it has to seek its resonance, in speaking as well as in singing, in the same place as the dark vowels, on the high-arched palate. To permit this, it must be mingled with oo. The furrows in the tongue must also be formed, just as with oo and o, only special attention must be given that the back of the tongue does not fall, but remains high, as in pronouncing ā. In this way ah comes to lie between oo-o'ah'yā, and forms at the same time the connection between the bright and the dark vowels, and the reverse.

For this reason it was proper that ah should be preferred as the practice vowel, as soon as it was placed properly between the two extremes, and had satisfied all demands. I prefer to teach it, because its use makes all mistakes most clearly recognizable. It is the most difficult vowel. If it is well pronounced, or sung, it produces the necessary muscular contractions with a pleasing expression of the mouth, and makes certain a fine tone color by its connection with oo and o. If the ah is equally well formed in all ranges of the voice, a chief difficulty is mastered.

Those who have been badly taught, or have fallen into bad ways, should practise the vocal exercise I have given above, with ya-ye-yah, etc., slowly, listening to themselves carefully. Good results cannot fail; it is an infallible means of improvement.

Italians who sing well never speak or sing the vowel sound ah otherwise than mixed, and only the neglect of this mixture could have brought about the decadence of the Italian teaching of song. In Germany no attention is paid to it. The ah, as sung generally by most Italians of the present day, quite flat, sounds commonplace, almost like an affront. It can range itself, that is connect itself, with no other vowel, makes all vocal connection impossible, evolves very ugly registers; and, lying low in the throat, summons forth no palatal resonance. The power of contraction of the muscles of speech is insufficient, and this insufficiency misleads the singer to constrict the throat muscles, which are not trained to the endurance of it; thereby further progress is made impossible. In the course of time the tone becomes flat at the transitions. The fatal tremolo is almost always the result of this manner of singing.

Try to sing a scale upward on ah, placing the tongue and muscles of speech at the same time on ā, and you will be surprised at the agreeable effect. Even the thought of it alone is often enough, because the tongue involuntarily takes the position of its own accord.

I remember very well how Mme. DÉsirÉe Artot-Padilla, who had a low mezzo-soprano voice, used to toss off great coloratura pieces, beginning on the vowel-sound ah, and then going up and down on a, ee, aÜoah. At the time I could not understand why she did it; now I know perfectly,—because it was easier for her. The breath is impelled against the cavities of the head, the head tones are set into action.

Behind the a position there must be as much room provided as is needed for all the vowels, with such modifications as each one requires for itself. The matter of chief importance is the position of the tongue in the throat, that it shall not be in the way of the larynx, which must be able to move up and down, even though very slightly, without hindrance.

All vowels must be able to flow into each other; the singer must be able to pass from one to another without perceptible alteration, and back again.