As early as four years of age she was taught by the use of a few exercises to focus the voice in the nose and head, and to recognize the head vibrations by a light touch of the finger.

When about seven years old, she took ten lessons of a teacher on the same lines, and at fifteen years of age took another brief course.

In the meantime she had only the practice obtained by singing with the pupils in the schools she attended.
Later, of her own volition, she sang more, and carefully applied the principles she had been taught, with the result that her voice compassed nearly two octaves, evenly and smoothly, with no break or change of focus or quality, or other intimation of "register," and she developed a speaking voice of more than ordinary quality and resonance.
It has also been my lot to aid in the development of the voices of many patients after a surgical operation for cleft palate.

Success has proven the correctness and efficacy of the principles set forth in these pages.
A majority of the more than fifty authors whose works I have examined have laid great stress on the distinction between head and chest tones, open and closed tones, pure and impure tones, have warned against the nasal tone, and have constantly advocated a natural tone.
That there is no essential difference between a head tone and a chest tone has already been discussed and, it would seem, conclusively proven.

Any tone, closed or open, is pure and musical if properly focused and delivered, and the singer is at liberty to use either upon any note of the scale if it will serve better to express the sentiment he wishes to convey to the hearer.