Of course the high forward placing
in mouth and face is the true placing, and the sensation on the chest is
the action or reflection of the true placing. This can be done through
flexible vitalized action alone. With a tight throat or local muscular
effort it is impossible. This is perfect attack, and in this way all force
and push are avoided. In this way freedom and inflation are secured, that
condition which unites head and chest resonance.
Think of a rubber pouch filled with air. Imagine you grasp it in the middle
with the hand, and close the hand tight. The upper part of this pouch
represents the face and high forward placing. That below the hand, or the
lower part, the chest resonance. The hand holding the middle of the pouch
represents the throat. So long as the hand contracts tightly the middle of
the pouch, there is no connection between the air in the upper and lower
parts of the pouch. If the desire is to connect these two parts, relax the
hand a little, and allow an opening or a free passage between them. In
singing, the same relaxation or opening must occur at the throat, if the
desire is to connect the ring of high placing with the resonance of the low
cavities. If the desire is to reinforce, to build down, the extrinsic
muscles of the throat must relax, and the throat must expand.
In thus placing and reinforcing tone, the pupil is guided or assisted not
only by the sense of hearing but by the sense of feeling. There will be the
sensation of freedom, of ease, of power; a feeling as though the entire
body from the head down to the waist were open and filled with tone.
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