Even apart from singing a good voice represents capital of great value. Any efforts that you make with a view to developing the singing voice will improve the speaking voice to a similar degree. Effective speakers do not always have musical voices, but all good singers possess good speaking voices. Therefore the work that you may do with a view to improving your singing voice will surely add to your vocal capital. Furthermore, all the time spent in the development of your voice should be looked upon as a recreation. If you can make voice culture a hobby, so much the better. There is really no better means of taking one "away from oneself." You will find no more effective means of diversion from exhausting mental responsibilities, since you cannot think of something else while devoting your entire attention to singing. Your mental attitude makes considerable difference in the results. Singing, as I have previously explained, is an expression of joy. To sing properly you should really be influenced by joyous emotions, and, though your musical efforts may be forced and mechanical in the beginning, you will usually find that the delight ordinarily associated with vocal expression will soon appear as a result of the physical and mechanical efforts involved in the training of the voice. Naturally it is advisable to use the singing voice in the most advantageous manner, if possible, and it would therefore be well to secure the advice of competent instructors if you can, or at least to gain what helpful information there is in books on the subject. It is, of course, impossible to give any detailed advice in this short chapter, but I may say that I am engaged in the preparation of a book on vocal culture which will deal with the subject in an unusually practical manner. Voice culture, in many instances, is a mysterious and intricate study that even many of its teachers do not seem to understand in every detail. It is a notorious fact that many so-called vocal instructors, including some of the highest-priced members of the profession, frequently ruin magnificent voices by wrong methods of instruction. It is a simple matter to build up a good voice, but it is also a simple matter to ruin one by unnatural methods of training. It is therefore well to learn to use the voice in a strictly natural manner, and without any straining or forcing of the tone. For instance, it is advisable to avoid any constriction of the muscles of the throat; that is to say, there should be no tension in the throat when singing. One should learn how to "place" the voice. Resonance is all-important.