For the hardness and muscular contraction under the chin, which has undoubtedly been brought about by "methods" advocating the placing of the tip of the tongue against the back of the lower teeth, put your thumb well up under your chin and see that there is no contraction (hardness). Leave your tongue perfectly limp, and hum first through the nose, gradually turning the humming into an "äo," "äo," "äo," then to "oä," "oä," "oä," sustaining the tone and keeping the thumb pushed well up under the chin to feel that there is no contraction. By using this exercise you will be able to overcome this common fault in a very short time, but you must go at it systematically.
In singing songs pronounce your words perfectly and distinctly, letting the palate, glottis and larynx take care of themselves. If your method of singing is good, nothing can injure your voice.
As this book voices the sentiment of some of the most brilliant lights in the profession, and contains facts based on years of actual experience, it is not egotistical for me to say that its careful, thoughtful and conscientious perusal will give to the student of voice culture assistance that will be of inestimable value in reaching his goal.
Start with ease and naturalness and the chances are excellent for your pathway to be illumned with success.
THE AUTHOR.