▁the ▁breath ▁and ▁tone ▁should ▁be ▁un ited ▁without ▁any ▁conscious ▁adjust ment ▁of ▁the ▁vocal ▁mechanism , ▁through ▁teaching - methods ▁which ▁direct ▁the ▁singer ' s ▁attention ▁away ▁from ▁the ▁mus cular ▁appar atus ▁by ▁which ▁the ▁sound ▁is ▁produced . ▁ ▁The ▁technique ▁( of ▁' some ▁master s ') ▁referred ▁to ▁by ▁Gar cia ▁of ▁vocal ▁exer cis ing ▁rapidly ▁repeating ▁pl os ive ▁sy ll ables ▁such ▁as ▁' Pa ', ▁trans fers ▁the ▁moment ary ▁rest raint ▁of ▁breath ▁from ▁the ▁l ary nx ▁or ▁gl ott is ▁to ▁the ▁lips , ▁so ▁that ▁the ▁natural ▁dia ph rag m atic ▁attack , ▁without ▁gl ott al ▁manip ulation , ▁is ▁learned . ▁The ▁use ▁of ▁soft ▁vocal ised ▁sy ll ables ▁such ▁as ▁' Ma ' ▁or ▁' Na ', ▁in ▁rapid ▁succession ▁on ▁single ▁notes ▁or ▁in ▁vocal ises , ▁assist ▁in ▁direct ing ▁the ▁tone ▁to ▁its ▁' forward ' ▁focus ▁of ▁reson ance ▁as ▁the ▁tone ▁remains ▁continu ously ▁engaged ▁while ▁the ▁lips ▁of ▁the ▁mouth ▁are ▁inter mitt ently ▁closed ▁and ▁opened ▁and ▁the ▁nas al ▁pass ages ▁remain ▁un ob struct ed . ▁ ▁The ▁criticism ▁of ▁the ▁method ▁is ▁expressed , ▁for ▁instance , ▁by ▁M me ▁T etra zz ini : ▁In ▁the ▁result ▁the ▁" att ack " ▁is ▁certainly ▁very ▁sharp ▁and ▁clean , ▁but ▁personally ▁I ▁cannot ▁recommend ▁this ▁particular ▁method ▁of ▁ach ieving ▁that ▁result , ▁since ▁the ▁effect ▁is ▁anything ▁but ▁agree able ▁to