The word “articulation” means “articulation”, “connection”. This is an oversimplified assessment of the complex activity of the body, in which thoughts are transformed into words. And a lot here depends on the individual. Individuality contributes to this process, and it should be open to the widest possibilities.
The next section on articulation suggests the most economical use of articulation. With the mobility of the lips and tongue comes freedom from the usual clamps in the articulation muscles. There is one criterion for clear speech – that is clear thinking.
This is, first of all, the front of the tongue, its middle, the back of the tongue and the surface, which these parts touch. Two lips in diverse contact with each other and possible contact between the upper teeth and lower lip provide the rest of the articulation. In order for all words to be formed in a small space of the mouth, the articulatory muscles must do their job with energy, pedantry and coordination of the acrobatic troupe. The coordination of the movements of the respiratory muscles and the muscles of the throat, forming the vowels, upon transition to the formation of consonants is too sophisticated and difficult to consciously manipulate these muscles was more effective than coordination them on a subconscious level. In the interests of reflecting individual thinking, we must give the muscles freedom from tension, make them flexible and obedient in the game of impulses that accompany the thought process.
The following exercises are offered, they develop compliance of the most specific muscle group of the upper and lower lips, usually involved in the formation of consonants. The development of the independent functioning of these muscles from jaw movements is a prime necessity. When the teeth are closed and the jaw is motionless, the articulating muscles work in addition to the motionless jaw. (“m”, “b”).
The most effectively used parts of the articulatory apparatus, with the help of which the sounds “d”, “t”, “s”, “z”, “p,” l “,” n “are formed, is the surface of the tongue located just beyond the tip of the tongue, and upper alveoli, which are hard bones between the upper front teeth and the dome of the mouth.
In order to isolate the front of the tongue and strengthen it, Linklater offers several exercises, mainly using the muscles of the tongue outside the mouth. As a result of these exercises, articulating sounds in the oral cavity, the tongue acts with greater ease.
During further exercises, it may be found that the energy intended for the articulation muscles is redirected to the area of the eyebrows, or arms, or shoulders. For this period of work, all movements of this kind should be considered as outsiders. The impulse that causes feelings should be directed exclusively to the center, and then transferred to the oral cavity. This does not mean that the head, arms and shoulders should not participate in communication, but in order to emphasize the responsibility of the lips and tongue in the articulation process, the remaining zones should remain completely free. The movement of the eyebrows almost always replaces the articulation clarity or involuntary reaction of the soft palate to the impulse. Only a few specific emotions, as a rule, are accompanied by the movement of eyebrows during expression (extremely incredulous question, unexpected surprise, frown of disapproval). Excessively raised eyebrows always “rob” the voice. Instead of the voice itself, eyebrows rise.
In further consonant exercises, Linklater suggests using various tongue twisters. At the same time, in order to maintain freedom throughout the body, stimulating your consciousness. breathing, lips and tongue, you must think fast enough. The more physical relaxation you achieve, the more focused your consciousness should be.
The physical nature of vowels is initially musical. The source of this is the convergence of the vocal folds, suggesting the formation of the corresponding forms of vowels by signals from the cerebral cortex. This convergence changes the resonant vowel height in breathing or with vibrations.
The main categories of vowels change their shape between the vocal folds, creating the original difference in pitch inherent in them by nature. For a more subtle distinction, vowels need the surfaces of the soft palate, the walls of the pharynx, tongue and lips, whose muscles, mutating, also participate in the formation of these vowels. The formation of vowels in the vocal folds goes deeply into the processes regulated by the involuntary nervous system. In the interest of preserving the musical qualities inherent in a vowel, all subsequent changes associated with the formation of vowels should be based on the high susceptibility of articulatory muscles. All tension, breathtaking, changes the pitch inherent in each vowel sound. Detecting this height is possible only thanks to a free voice.