▁be ▁sp ont aneous , ▁but ▁if ▁it ▁is ▁not , ▁this ▁fault ▁will ▁apply ▁to ▁every ▁note ▁produced ▁even ▁when ▁the ▁effect ▁is ▁mask ed ▁by ▁a ▁con son ant , ▁and ▁will ▁form ▁a ▁basic ▁( and ▁voc ally ▁destruct ive ) ▁f law ▁in ▁the ▁vocal ▁method . ▁ ▁Adv oc acy ▁of ▁' c oup ▁de ▁gl otte ' ▁ ▁The ▁' c oup ▁de ▁gl otte ' ▁was ▁taught ▁by ▁the ▁very ▁famous ▁teacher ▁Manuel ▁Gar cia ▁as ▁the ▁means ▁of ▁ach ieving ▁this ▁in ▁normal ▁singing ▁method . ▁Gar cia ▁had ▁invent ed ▁or ▁implemented ▁the ▁l ary ng os cope , ▁and ▁sought ▁to ▁present ▁scientific ▁explan ations ▁for ▁certain ▁functions . ▁He ▁expressed ▁it ▁as ▁follows : ▁' The ▁pup il ... ▁should ▁draw ▁in ▁breath ▁slowly , ▁and ▁then ▁produce ▁the ▁sounds ▁by ▁a ▁neat , ▁resol ute ▁art ic ulation ▁of ▁the ▁gl ott is , ▁upon ▁the ▁broad ▁Italian ▁v owel ▁A . ▁If ▁this ▁movement ▁be ▁properly ▁executed , ▁the ▁sound ▁will ▁come ▁out ▁bright ▁and ▁round . ▁Care ▁however ▁must ▁be ▁taken ▁to ▁pitch ▁the ▁sound ▁at ▁once ▁on ▁the ▁note ▁itself , ▁and ▁not ▁to ▁sl ur ▁up ▁to ▁it , ▁or ▁feel ▁for ▁it . ▁The ▁pup il ▁must ▁also ▁be ▁war ned ▁against ▁conf ounding ▁the ▁art ic ulation ▁or ▁stroke ▁of ▁the ▁gl ott is ▁with ▁the ▁stroke ▁of ▁the ▁ch est , ▁which ▁latter ▁res emb les ▁the ▁act ▁of ▁c ough ing , ▁or