Chapter XXI

THE ITALIAN VOWELS AND CONSONANTS AS FUNDAMENTAL PHONETIC ELEMENTS
FOR VOICE CULTURE

Italian is perhaps the only existing language which has the
phonetic property of pronouncing its vowels and consonants
always in the same manner. To read Italian it is only necessary
to know the enunciation of the twenty-four letters representing
its alphabet, all of which take but a few minutes. This
constitutes the essential advantage of the Italian language,
especially for the student of singing, who, after acquiring a
thorough knowledge of the correct pronunciation of the Italian
alphabet, finds his voice already naturally placed in its
physiological center, Italian being a naturally placed language.

All the phonetic sounds of the English language are included in
the twenty-four letters of the Italian alphabet, except the
combination of _th_ which, however, is very similar to the
Italian _d_, pronounced with the breath reinforced a little,
while the tongue is held quite relaxed between the teeth.

The vowels, which are the fundamental elements in the formation
of the voice, are simpler in the Italian language than in the
English, from which they differ greatly, for they are composed
of only five sounds, produced very smoothly in the front part of
the mouth, while the phonetic organs are kept in relaxation.
Therefore, it is of the utmost importance to learn their correct
pronunciation, because most of the advantages of Italian, for
singing, lie in their phonetic excellence and perfection.

The vowels are five in number, and are always uttered in the
same manner, with no exceptions in any case whatsoever.[9] Each
vowel has a characteristic shape, dependent upon the adjustments
of the organs which take part in its formation.

The first vowel is _A_. It has the sound of A as in the English
word _father_, emphasizing its pronunciation in a broad way. It
is the largest vowel, and is open and round in shape.

It is most essential to learn the enunciation of this vowel as
perfectly as possible, because it represents the first phonetic
element from which the other vowels can easily be derived
through a simple phonetic evolution.

For its correct production the mouth must be opened wide, though
not by a forced movement; the throat, likewise, must be opened
entirely. This act should be spontaneous and similar to the
opening of the mouth in eating.

To be certain that this important movement is done correctly,
two conditions are indispensable: The tongue must lie flat and
completely relaxed on the floor of the mouth (see Fig. 19), its
tip in contact with the lower teeth or lip. The relaxation must
be almost passive, no sensation of any sort accompanying the act
of pronunciation of this vowel. The palate must be in its normal
position, relaxed, taking no part in this phonation.

As very few people pronounce by leaving the phonetic organs in
complete relaxation, the author thinks it better for beginners
to have these rules more than well emphasized, for they will be
of the greatest benefit in singing. To those who have been
accustomed for many years to one language, which has very
different phonetic rules, it is of great help to exaggerate
somewhat the rules of the new language.

It is necessary also to point out that pupils, from the very
beginning of their study of this method, must leave aside
entirely the English pronunciation in practicing the vowels and
consonants, avoiding the confusion of the two languages.

By using only Italian, and always with the correct pronunciation
of its phonetic elements, students will acquire the habit of
their permanent and proper use.

The vowel E pronounced as in the English words _late_, _fate_,
is but an evolution of the vowel A above-mentioned.

In this evolution, the mouth modifies its shape slightly,
becoming smaller in size, almost half the size of A. This change
is performed essentially outside the mouth, by the upper and
lower jaws coming nearer, and making a narrower space in the
cavity of the mouth (see Fig. 15).

The organs of phonation—the tongue, palate, etc.—are left in
almost the same position as the vowel A, taking very little part
in the change, the tongue and palate alone being very slightly
raised. The whole difference in the size of this vowel depends
on the diminution of the oral cavity resulting from raising the
lower jaw toward the upper one.

The vowel I is enunciated like the I in _machine_, and is formed
by approaching the lower jaw to the upper one as closely as
possible without, however, using any muscular tension. The size
of this vowel is the smallest of all. The vocal organs inside
the mouth are left in almost the same relaxation as in the
preceding vowels, except for a little tension of the tongue and
palate, which are raised upward, more than in the vowel E (see
Fig. 16).

The focus of the vibrations of the voice in this as well as the
other vowels must be centered precisely inside the base of the
nose, where a certain vibratory sensation is created and can
gradually be felt by the pupil in the form of a tickling
sensation, becoming perceptible first in producing the vowel I.

The A, E and I (pronounced as in father, fate, sneeze) are,
therefore, differentiated only by the size of the oral cavity,
the A having the largest space, the E half the amount of space,
and the I the smallest possible without contracting the phonetic
organs. The following is an illustration of the comparative size
of these vowels, the opening of the mouth to its full extent,
without any exaggeration or effort for the A, constituting the
starting point in the formation of all of them.

A

FIG. 14.—THE VOWEL A CORRECTLY
PRODUCED
]

E

FIG. 15.—THE VOWEL E CORRECTLY
PRODUCED
]

I

FIG. 16.—THE VOWEL I CORRECTLY
PRODUCED
]

O

FIG. 17.—THE VOWEL O CORRECTLY
PRODUCED
]

The vowel O, which has the sound of O as in _bone_, is also an
evolution of A, in the formation of which the lips play the
decisive part by converging into a rounded form, thus closing
the mouth.

Inside the mouth the phonetic organs retain the same shape
during this transition as for A, holding their same position.
This gives O the same space as A in the mouth, and the approach
of the lips forming a megaphone improves the color of its sound,
which gets the characteristic darkness of the O, like a tone
produced in a closed box.

U

FIG. 18.—THE VOWEL U CORRECTLY PRODUCED
]

The vowel U, pronounced like the U in _prune_, or like _moon_,
is an evolution of the O, produced simply by protruding the lips
forward, _without squeezing_ them, as in the act of whistling or
blowing.

The phonetic organs inside the mouth must be in complete
relaxation in the same position as for A, and special care must
be taken not to retract the tongue backward in prolonging the
sound of the U.

It is of the utmost importance to emphasize time and again that
all these sounds must be produced with the complete relaxation
of the vocal organs, without any pressure on the part of the
respiratory apparatus, with no interference of the laryngeal
organs except for the necessary vibrations given to the sound by
the vocal cords. In other words, the breath must be normal, the
larynx almost passive, the phonetic organs in complete freedom,
particularly the tongue. The full sound of the voice must be
directed to the mouth, with a specific focus centered in the
base of the nose where all vibrations must converge to get the
proper resonance.

An X-ray illustration showing the vowels and the position of the
tongue during their formation is given in Figures 20 to 24.

FIG. 19.—CORRECT AND INCORRECT PRODUCTION OF THE FIVE VOWELS
]

The shape of the mouth and the position of the tongue in the
formation of the vowels is shown by the following X-ray
illustration taken while the vowels A E I O U were being sung by
one who took particular care to produce his voice according to
the rules of correct vocal mechanism.

FIG. 20.—VOWEL A

_bb._ Upper and lower jaw at required distance for shaping a
wide-open mouth. _ttt._ Tongue entirely relaxed on the floor of
the mouth. The tip of the tongue extends far enough to cover the
lower front teeth.
]

FIG. 21.—VOWEL E

_bb._ The distance between the upper and lower jaw is almost half
compared to the opening for the vowel A. This constitutes the
difference between these two vowels. _ttt._ The tongue is raised
upward only very slightly, but in the same position and
relaxation as for the vowel A.
]

FIG. 22.—VOWEL I

_bb._ The opening of the mouth is smaller in size compared to the
vowels A and E. _ttt._ The tongue is raised upward toward the
palate, its tip likewise extending far enough to cover the lower
front teeth.
]

FIG. 23.—VOWEL O

_bb._ The relationship of the upper and lower jaw is very similar
to the vowel A, though somewhat smaller in size. _ttt._ The
tongue is in the same relaxation and position. The marked shape
of this vowel, is established by the lips, which cannot be seen
in the X-Ray.
]

FIG. 24.—THE VOWEL U

_bb._ The relationship of the upper and lower jaw of this vowel is
very similar to the vowel E. _ttt._ The tongue is likewise
relaxed and extends over the lower front teeth. The marked
difference in the shape of this vowel is established by the
protrusion of the lips, which cannot be seen in the X-Ray.

By comparing all the illustrations of the vowels already given in
this
book with those presented by the majority of books on voice, the
readers
can see the marked difference in the use of the phonetic organs
(especially
the tongue and lips) as suggested by this method of voice culture.
]

Objection may be raised with regard to the accuracy of our
suggestions about the pronunciation of the fundamental phonetic
elements—the vowels. What entitles us, it may be said, to assert
that the pronunciation of the Italian vowels, so different from
the English, is the right one?

The answer is a very simple one. Physiologically, their
formation corresponds to the fundamental principle of any
function, namely, the minimum of energy for the maximum of
efficiency. The mechanism of their production, which requires
the complete relaxation of the vocal organs, entails no waste of
energy. The X-ray illustrations already exhibited show also that
phonetically, the Italian vowels are larger in shape, therefore
more resonant, more melodious, softer and yet fuller in volume
than those of any other modern language.

Hear the Italians talk, hear the street venders calling their
wares, and you will realize the most obvious truth.

People who had the opportunity of hearing Caruso, whose voice
nobody can deny was the most resonant and full, as well as the
most melodious and beautiful, had practical evidence of this
statement if only the formation of his vowels ever came to their
attention.

The following photographs, taken while Caruso was singing the
five vowels, show the different shape of his phonetic organs in
the formation of each vowel. On close examination one can almost
see the vocal vibrations, running freely all over the masque,
and localize the focus of the voice.

_Photo by Bettini Syndicate, Inc._

FIG. 25.—VOWEL A

In this illustration the great tenor is singing the vowel A, with
very dramatic expression. Note how wide his mouth is open, while
his lips are completely relaxed, and his tongue lies flat on the
floor of the mouth, its tip in contact with the interior of the
lower lip.
]

_Photo by Bettini Syndicate, Inc._

FIG. 26.—VOWEL E

This illustration shows Caruso singing the vowel E, with lyric
expression. The mouth is half open when compared with the size
of the vowel A. Note the marked relaxation of the masque and
tongue which, as in A, is in contact with the interior of the
lower lip.
]

_Photo by Bettini Syndicate, Inc._

FIG. 27.—VOWEL I

In this illustration Caruso is seen singing the vowel I. Besides
the relaxation of the masque, as in the vowels A and E, and its
characteristic expression which makes it almost evident where
the focus of the voice is centered, his lips approach without
the slightest evidence of tension.
]

_Photo by Bettini Syndicate, Inc._

FIG. 28.—VOWEL O

This illustration shows Caruso singing the vowel O. The prominent
feature lies in the shape of the lips, which are protruded,
making a megaphone for the vowel. The lips, however, are in
complete relaxation.
]

_Photo by Bettini Syndicate, Inc._

FIG. 29.—VOWEL U

This illustration shows Caruso singing the vowel U. In this vowel
the prominent rôle is played by the lips, which by protruding
markedly give the shape to the vowel U.
]

It is otherwise known that Italian is the natural descendant of
the classic languages—Latin and Greek—from which it has adopted
its phonetic rules. These constitute a most valuable and
precious inheritance, and are the best asset in building up its
phonology.

All these illustrations reinforce the author’s assertion that
the Italian language forms its vowels by a correct physiological
and phonetic mechanism, and these practical examples given by
Caruso justify the broad statement that Italian is the most
adaptable and most suitable language for singing.

Although we have already given all the rules for the formation
of the Italian vowels, we think that, in practicing, it is
advisable for pupils to associate them with the Italian
consonants, which, by their articulation, succeed better in
placing the voice in its natural center for singing. As a matter
of fact, it is true that the sound of the voice is given by the
vowels,[10] but phonetically its placement is more distinctly
directed by the consonants. Their denomination of Labials,
Linguals, Palatins, etc., serves to indicate the place where
they are to be articulated, and the organs which take part in
their production. The consonants, therefore, are of great help
in the correct pronunciation of the vowels, and a sure guide for
the placement of the voice.