e tones on a note in the easiest part of your voice.

Do not attack a note at the same time that you are inhaling. That is too
soon. Take the breath through the nose, of course, and give it an
instant to settle before attacking the sound. In this way you will avoid
the stroke of the glottis which is caused by the sudden and uncontrolled
emission of the accumulated breath. In attacking a note the breath must
be directed to the focusing point on the palate which lies just at the
critical spot, different for every tone. In attacking a note, however,
there must be no pressure on this place, because if there is the
overtones will be unable to soar and sound with the tone.

From the moment the note is attacked the breath must flow out with it.
It is a good idea to feel at first as if one were puffing out the
breath. This is particularly good for the high notes on which a special
stress must be laid always to attack with the breath and not to press or
push with the throat. As long as the tone lasts the gentle but
uninterrupted outpouring of the breath must continue behind it. This
breath pressure insures the strength and, while holding the note to the
focusing point on the palate, insures its pitch. In a general way it can
be said that the medium tones of the voice have their focusing point in
the middle part of the palate, the lower tones coming nearer to the
teeth to be centralized and the high notes giving the sensation of
finding their focusing point in the high arch at the back of the mouth
and going out, as it were, through the crown of the head.

The resonance in the head cavities is soon perceived by those who are
beginning to sing. Sometimes in producing their first high notes young
people become nervous and irritated when singing high tones at the
curious buzzing in the head and ears. After a short time, however, this
sensation is no longer an irritation, and the singer can gauge in a way
where his tones are placed by getting a mental idea of where the
resonance to each particular tone should be.

High notes with plenty of head vibration can only be obtained when the
head is clear and the nasal cavities unobstructed by mucous membrane or
by any of the depression which comes from physical or mental cause. The
best way to lose such depression is to practice. Practicing the long
scale, being careful to use the different registers, as described later,
will almost invariably even out the voice and clear out the head if