oice of vowels is a matter of some
importance. The difference in the position of the mouth and lips in
forming the open vowel =a= and the closed vowel =ou= is apparent to
everyone. The series of vowels from the point of view of open sounds
is: =a=, =i=, =o=, =e=, =u=. In women's voices the easiest vowel on
high notes is =a=, for men it is =o=. The vowel =i= softens the
penetrating quality of the top notes of a bass voice, and the vowel
=a= adds to the extension of range in the very lowest compass. Lengthy
florid passages are often written on the interjection =ah=, or simply
on the vowel =a=. Owing to the restrictions imposed by literary and
dramatic laws, the composer can only follow the above rules to a
limited extent.

_Examples:_

_Snegourotchka_ [[293]], [[318-319]] (cf. Ex. 119).

No. 304. _Sadko_ [[83]].

Flexibility.

Voices possess the greatest amount of flexibility in their normal
octave. Women's voices are more supple than men's, but in all types,
the higher voice is the more agile, sopranos in women, the tenor voice
in men. Although capable of performing florid and complicated figures,
different varieties of phrasing and the rapid change from staccato to
legato, the human voice is infinitely less flexible than a musical
instrument. In passages of any rapidity, diatonic scales and
_arpeggios_ in thirds come easiest to the voice. Intervals bigger than
fourths in quick succession and chromatic scales are extremely
difficult. Skips of an octave or more starting from a short note
should always be avoided. Preparation should precede any extremely
high note either by leading up to it gradually, or by the clear leap
of a fourth, fifth or octave; but sometimes the voice may attack a
high note without any due preparation.

_Examples:_

_Snegourotchka_ [[46-48]] (cf. extract, Ex. 279)--Snegourotchka's
Aria (Soprano).

" [[96-97]]--Lell's first song (Contralto).

_Sadko_ [[196-193]] [Transcriber's Note: so in original] (cf. extract,
Ex. 122)--Hindoo song (Tenor).

" [[203-206]]--Venetian song (Baritone).

_Pan Voyevoda_ [[20-26]]--Maria's cradle song (Sopr).

Colour and character of voices.

The colouring of the voice, whether it be brilliant or dull, sombre or
sonorous depends upon the individual singer, and the composer has no
need to consider it. The chief question is interpretation and may be
solved by the judicious choice of artists. From the point of