This being true, we find that correct placing means even
much more. It means the true form and adjustment of all the parts--all true
conditions of tone.
The prevailing idea of placing is the thought of constantly pushing up the
tone. Result, the organ of sound is pushed out of place and all true
conditions disturbed. The pushed-up tone means local, muscular effort,
contraction, and a hard, unmusical voice. The voice thus placed may be loud
and brilliant, but never soulful or beautiful. The pushed-up tone means
singing from the larynx up. It means head-resonance only; and
head-resonance is but one side, and that the smallest side, of this great
question.
Tone must be placed spontaneously, with reaction and reflection. This shows
at once the importance of the first two great principles of
voice-production,--freedom and automatic breath-control; for without these
true placing is impossible. Tone placed in this way means the ring of the
forward high placing and the added resonance of the inflated cavities and
especially of the chest.
In singing, as we have learned, there are two forces constantly in
action,--pressure and resistance, or motor power and control. These two
forces must prevail, and in order to produce the voice artistically, they
must be balanced. This is done, indirectly, through the movements we
advocate, through the position and action of the body. The motor power lies
in the diaphragm and in the abdominal and intercostal muscles.
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