, the great problem in the training
of a singer would be much simplified, possibly eliminated; but the
singer must form the pitch, power, and quality of each tone as he uses
it; therefore in the training of a singer we are constantly facing what
has crystallized into the term =Voice Placing=.

This term has been used as a peg upon which to hang every whim, fancy,
formula, and vocal vagary that has floated through the human mind in the
last two centuries. It has furnished an excuse for inflicting upon vocal
students every possible product of the imagination, normal and abnormal,
disguised in the word =Method=, and the willingness with which students
submit themselves as subjects for experiment is beyond belief. The more
mysterious and abnormal the process the more faith they have in its
efficacy.

The nature of the vocal instrument, its wide range of possibilities, and
its intimate relation to the imagination make it a peculiarly fit
subject for experiment. The scientist has tried to analyze it, the
mechanic has tried to make it do a thousand things nature never intended
it to do, the reformer has tried to reform both, and the psychologist,
nearest right of all, has attempted to remove it from the realm of the
material altogether. There seems to be no way to stop this theorizing,
and it doubtless will continue until the general musical intelligence
reaches such a point that it automatically becomes impossible.

We are constantly hearing such remarks as "Mr. S knows how to place the
voice." "Mr. G does not." "Mr. B places the voice high." "Mr. R does not
place the voice high enough." "Mr. X is great at bringing the tone
forward," etc., etc. This goes on through a long list of fragments of
English difficult to explain even by those who use them.

Now voice placing means just one thing, not half a dozen. It means
learning to produce =beautiful tone=. When one can produce beautiful
tone throughout his vocal compass his voice is placed, and it is not
placed until he can. The injunction to _place the voice_ invariably
leaves in the mind of the student the idea that he must direct the tone
to some particular point, in fact he is often urged to do so, whereas
the truth is that when the tone is properly produced there is no thought
of trying to put it anywhere. It seems to sing itself. There is a well
established belief among students that the tone must be consciously
directed to the point where it is supposed to focus. This b