This tone concept, or mental picture of tone qualities controls the vocal instrument by indirection. True tone color does not come as the result of trying by some physical process to make the tone light or dark, but _from the automatic response to musical concept or feeling_.
In leaving this subject I wish to pay my respects to that company of cheerful sinners--the open throat propagandists. I was taught in my youth that the punishment for a sin committed ignorantly was none the less pungent and penetrating, and I trust that in administering justice to these offenders the powers will be prompt, punctilious and persevering. It is a worthy activity.
No mistake of greater magnitude 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.
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.