So in building the head voice the teacher must see to it that musical quality is never sacrificed for power. A full tone is worse than useless, unless the quality is musical and this can never be accomplished until the vocal instrument is free from resistance.
Exercise No. 3 should be transposed upward by half steps, but never beyond the point at which it can be practiced comfortably.
As tension shows most in the upper part of the voice the student should have, as a part of his daily practice, exercises which release the voice as it rises. Use the following:
Begin with medium power and diminish to pp as indicated. The upper tone must not only be sung softly, but the throat must be entirely free. There must be no sense of holding the tone.
Transpose to the top of the voice.
No. 5 is for the same purpose as No. 4 but in an extended form. Begin with rather full voice and diminish to pp ascending. Increase to full voice descending. Continue the building of the upper voice using the complete scale.
Thus far in preparing the head voice we have used the vowels oo and o. We may proceed to the vowel ah in the following way. Using Ex. No. 6 first sing o with loose but somewhat rounded lips. When this tone is well established sing o with the same quality, the same focus, or placing without rounding the lips. It amounts to singing o with the ah position. When this can be done then use short u as in the word hum. This gives approximately the placing for ah in the upper voice. When these vowels can all be sung with perfect freedom transpose upward by half steps.