e was ever made since voice training began
than that of holding the throat open by direct effort. It never resulted
in a tone a real musician's ear could endure, nevertheless during the
latter part of the nineteenth century and even the early part of the
twentieth it was made such an integral part of voice culture that it
seemed to be incorporated in the law of heredity, and vocal students,
even before they were commanded, would try to make a large cavity in the
back of the throat. I believe however, that there is much less of this
than formerly. Vocal teachers are beginning to see that the one
important thing is a free throat and that when this is gained the
response of the mechanism to the mental demand is automatic and
unerring.

II

THE HEAD VOICE

Let him take care, however, that the higher the notes, the more
it is necessary to touch them with softness, to avoid screaming.

Tosi. (1647-1727) _Observations on Florid Song_.

That the development of the upper, or head voice, is the most difficult
as well as the most important part of the training of the singing voice,
will be readily admitted by every experienced singing teacher.

That the upper voice should be produced with as much comfort as the
middle or lower, is scarcely debatable.

That a majority of singers produce their upper voice with more or less
difficulty, need not be argued.

Why is it that after two, three or more years of study so many upper
voices are still thick, harsh and unsteady?

There is nothing in the tone world so beautiful as the male or female
head voice when properly produced, and there is nothing so
excruciatingly distressing as the same voice when badly produced.

The pure head voice is unique in its beauty. It is full of freedom,
elasticity, spiritual exaltation. It seems to float, as it were, in the
upper air without connection with a human throat. Its charm is
irresistible. It is a joy alike to the singer and the listener. It is
the most important part of any singer's equipment. Why is it so
difficult and why do so few have it? Various reasons are at hand.

The spirit of American enterprise has found its way into voice teaching.
It is in the blood of both teacher and pupil. The slogan is "Put it
over." This calls for big tone and they do not see why they should not
have it at once.

The ability to use the full power of the upper voice when occasion
demands is necessary and right, but