al
tone, so far as the impression on the listener is concerned. This means
nothing else than that the old precepts summarize the results of
empirical observation of correct singing. There is nothing new in this
statement; considered as empirical knowledge, the modern vocal teacher
understands the meaning of the old masters' precepts perfectly well. The
misunderstanding of the subject begins with the attempt to apply the
precepts as specific rules for the direct mechanical management of the
voice. In this connection they were seen to be valueless. Let us now see
if the old precepts are found to contain any meaning of value to the
vocal teacher when considered as purely empirical formulae.

Each one of the precepts may be said to describe some special
characteristic of the perfect vocal tone, considered solely as a sound.
These characteristics may each be considered separately, that is, the
hearer may voluntarily pay close attention to any special aspect of the
vocal tone. The best plan for arriving at the exact meaning of the
precepts is therefore to consider each one in turn.

_The Forward Tone_

Every lover of singing is familiar with this characteristic of the
perfectly produced voice; the sound seems to come directly from the
singer's mouth, and gives no indication of being formed at the back of
the throat. This characteristic of the perfect tone is simply heard. It
is not distinguished by any sympathetic sensations, but is purely a
matter of sound. On the other hand, a wrongly produced voice seems to be
formed or held in the back of the singer's throat. The tones of such a
voice do not come out satisfactorily; they seem to be lodged in the
throat instead of at the front of the mouth.

In the badly used voice the impression of throat is conveyed by the
sympathetic sensations awakened in the hearer. A striking difference
between correct and incorrect singing is thus noted. A wrongly produced
voice is felt by the hearer to be held in the singer's throat. When
properly used the voice gives no impression of throat; it seems to have
no relation to the throat, but to be formed in the front of the mouth.

So much has been written about "forward emission" that the forward
characteristic of vocal tones seems to be enshrouded in mystery. As a
matter of fact, the forward tone is easily explained. The perfectly
produced voice issues directly from the mouth for the same reason that
the tones of the trombone issue from the be