s the argument that it
cannot do so because the soft palate automatically rises in singing a
high tone, thus closing the passage through the nose. On the other side
it is argued, and rightly, that the soft palate can be trained to remain
low in singing high tones. But whether the soft palate is high or low
does not settle the matter. It is not at all necessary that breath
should pass through the nasal cavities in order to make them act as
resonators. In fact it is necessary that it should not. It is the air
that is already in the cavities that vibrates. All who are acquainted
with resonating tubes understand this. Neither is it necessary that the
vibrations should be transmitted to the head cavities by way of the
pharynx and over the soft palate. They may be transmitted through the
bones of the head. John Howard proved this, to his satisfaction at
least, many years ago.

I recall that in working with Emil Behnke he used an exercise to raise
the soft palate and completely close the channel, yet no one can deny
that his pupils had head resonance. There are certain facts in
connection with this that are hard to side-step. Plunket Greene once
told me that at one time he lost the resonance in the upper part of his
voice, and on consulting a specialist he found a considerable growth on
the septum. He had it removed and at once the resonance returned. Other
equally strong arguments could be offered in support of the claim that
the head cavities do act as resonators. At any rate the high or low
palate is not the deciding factor.

Too much cannot be said on the subject of interference, or resistance.
So long as there is any of it in evidence it has its effect on tone
quality. It is the result of tension, and tension is a mental impulse of
a certain kind. Its antidote is relaxation, which is a mental impulse of
an opposite nature. It is necessary for most singers to work at this
until long after they think they have it.

In preparing the head voice the student must begin with a tone that is
entirely free from resistance and build from that. In a large majority
of voices it means practicing with a light, soft tone. A voice that
cannot sing softly is not rightly produced. While the student is working
for the freedom which will give him a good half voice he is preparing
the conditions for a good full voice. The conditions are not right for
the practice of full voice until the last vestige of resistance has
disappeared. The light