ugh with it long before they are.

This interference, which is referred to as tension, rigidity,
throatiness, etc., is in the nature of resistance to the free emission
of tone. It is not always confined to the vocal cords, but usually
extends to the walls of the pharynx and the body of the tongue. The
vocal cavities, the pharynx and mouth, exert such a marked influence on
tone quality that the least degree of rigidity produces an effect that
is instantly noticeable to the trained ear. These parts of the vocal
mechanism which are so largely responsible not only for perfect vowels,
but for perfect tone quality as well, must at all times be so free from
tension that they can respond instantly to the tone concept. If they
fail to respond the tone will be imperfect, and these imperfections are
all classed under the general head "throaty." Throaty tone means that
there is resistance somewhere, and the conditions will never be right
until the last vestige of it is destroyed. The difficulty in voice
placing which so many have, lies in trying to produce the upper tones
without first getting rid of resistance. This condition is responsible
for a number of shop-worn statements, such as "bring the tone forward,"
"place the tone in the head," "direct the tone into the head," etc. I
recall a writer who says that the column of breath must be directed
against the hard palate toward the front of the mouth in order to get a
resonant tone. Consider this a moment. When the breath is properly
vocalized its power is completely destroyed. Any one may test this by
vocalizing in an atmosphere cold enough to condense the moisture in his
breath. If he is vocalizing perfectly, he will observe that the breath
moves lazily out of the mouth and curls upward not more than an inch
from the face. The idea that this breath, which has not a particle of
force after leaving the vocal cords, can be directed against the hard
palate with an impact sufficient to affect tone quality is the limit of
absurdity. If the writer had spoken of directing the sound waves to the
front of the mouth there would have been an element of reasonableness in
it, for sound waves can be reflected as well as light waves; but breath
and sound are quite different things.

What does the teacher mean when he tells the pupil to place the tone in
the head? He doubtless means that the student shall call into use the
upper resonator. If one holds a vibrating tuning-fork before a
resonating