But one should not suppose that the head tones have no power. When they are properly used, their vibrancy is a substitute for any amount of power.
As soon as the head tones come into consideration, one should never attempt to sing an open ah, because on ah the tongue lies flattest. One should think of an ā, and in the highest range even an ē; should mix the ā and ē with the ah, and thereby produce a position of the tongue and soft palate that makes the path clear for the introduction of the breath into the cavities of the head.
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Singers who, on the other hand, pronounce ā and ē too sharply, need only introduce an admixture of oo; they thereby lower the position of the larynx, and thus give the vowel and tone a darker color.
Since the stream of breath in the highest tones produces currents whirling with great rapidity, the more rapidly the higher the tone is, the slightest pressure that may injure the form in which they circulate may ruin the evenness of the tone, its pitch, perhaps the tone itself. Each high tone must soar gently, like the overtones.
The upper limits of a bass and baritone voice are
where, consequently, the tones must be mixed. Pure head tones, that is, falsetto, are never demanded higher than this. I regard it, however, as absolutely necessary for the artist to give consideration to his falsetto, that he may include it among his known resources. Neither a bass nor a baritone should neglect to give it the proper attention, and both should learn to use it as one of their most important auxiliary forces.