As I have already said, singers with disabled voices like best to try "magic cures"; and there are teachers and pupils who boast of having effected such magic cures in a few weeks or hours.
Of them I give warning! and equally, of unprincipled physicians who daub around in the larynx, burn it, cut it, and make everything worse instead of better.
I cannot comprehend why singers do not unite to brand such people publicly and put an end to their doings once for all.
There is no other remedy than a slow, very careful study of the causes of the trouble, which in almost all cases consist in lack of control of the stream of breath through the vocal cords, and in disregard of the head tones, that is, of the overtones; as well as in forcing the pitch and power of the tone upon a wrong resonating point of the palate, and in constricting the throat muscles. In these points almost invariably are all mistakes to be looked for; and in the recognition of them the proper means for correcting them are already indicated.
The cure is difficult and tedious. It needs an endless patience on the part of the sufferer as well as of the physician—that is, of the pupil and the singing teacher (the only proper physician for this disease)—because the nerves of the head are already sufficiently unstrung through the consciousness of their incapacity; yet they should be able to act easily and without effort in producing the head tones.
The repairing of a voice requires the greatest sympathetic appreciation and circumspection on the part of the teacher, who should always inspire the pupil with courage; and on the part of the pupil, all his tranquillity, nervous strength, and patience, in order to reach the desired goal.
Where there is a will there is a way!