"We hear a great deal about tone placement in these days; the world
seems to have gone mad over the idea. But it is an erroneous idea. How
futile to attempt to place the tone in any particular spot in the
anatomy. You can focus the tone, but you cannot place it. There is but
one place for it to come from and no other place. It is either emitted
with artistic effect or it is not. If not, then there is stiffness and
contraction, and the trouble ought to be remedied at once.
"Every one agrees that if the vocal instrument were something we could
see, our task would be comparatively easy. It is because the instrument
is hidden that so many false theories about it have sprung up. One
teacher advocates a high, active chest; therefore the chest is held high
and rigid, while the abdominal muscles are deprived of the strength
they should have. Another advises throwing the abdomen forward; still
another squares the shoulders and stiffens the neck. These things do not
aid in breath control in the least; on the contrary they induce rigidity
which is fatal to easy, natural tone emission.