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It lies flattest in the lowest tones because the larynx then is in a very low position, and thus is out of its way.
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Furthermore, there is the unconstrained position of the larynx, which must be maintained without pressure of the throat muscles. From it the breath must stream forth evenly and uninterruptedly, to fill the form prepared for it by the tongue and palate and supported by the throat muscles.
This support must not, however, depend in the least upon pressure,—for the vibrating breath must float above,—but upon the greatest elasticity. One must play with the muscles, and be able to contract and relax them at pleasure, having thus perfect mastery over them. For this incessant practice is required, increasing control of the breath through the sense of hearing and the breath pressure.
At first a very strong will power is needed to hold the muscles tense without pressure; that is, to let the tone, as it were, soar through the throat, mouth, or cavities of the head.
The stronger the improper pressure in the production of the tone, the more difficult it is to get rid of. The result is simply, in other words, a strain. The contraction of the muscles must go only so far that they can be slowly relaxed; that is, can return to their normal position easily. Never must the neck be swelled up, or the veins in it stand out. Every convulsive or painful feeling is wrong.