Directives that encourage forward placement—singing in the mask—are efficacious or not according to their affect on the shape and position of the larynx. For the student at 20 years of age, these directives may have a dramatic affect, toning an unawakened mechanism. Their affect on the larynx, though, is to raise and narrow it. For the student at 30, after 10 years of such study, rigidity of the larynx has taken its toll, and by 40 has become terminal, a voice in ruin. Every right concept of forward must include a sense of depth, laryngeal stability, and groundedness. “Gather the voice inwardly” has always been and continues to be the concomitant of forward. Everything that the senses report includes an opposite. The art is in opposition.