.
Either of them will virtually cause defeat.

Remove all obstruction by seeking the level of the tone through flexible
action. Think the tone forward and high. Place by impulse, and never by
local effort. Have the sensation as though the tone started forward and
high, as though it impinged against the roof of the mouth, and instantly
reflected into the low cavities, and especially into the chest. In doing
this, relax the jaw, let go all face and throat contraction, expand the
body, and think and feel the chest vibrant and filled with tone. In this
way the tone may be started high and reinforced or built down by the added
resonance of all the inflated cavities.

Another way to do this, is to start the tone spontaneously by impulse
through correct action; in doing so, think and feel as though the tone
placed and reflected at the same instant, forward against the roof of the
mouth and on the chest,--as though the contact or impingement of the tone
were felt at both places simultaneously. 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 wil