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+Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Renaissance of the Vocal Art
+
+Author: Edmund Myer
+
+Release Date: July 8, 2004 [EBook #12856]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE RENAISSANCE OF THE VOCAL ART ***
+
+
+
+
+Produced by David Newman and PG Distributed Proofreaders
+
+
+
+
+The Renaissance of the Vocal Art
+
+A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental
+and Emotional Powers of the Singer, through Flexible, Elastic Bodily
+Movements
+
+BY EDMUND J. MYER
+F.S. Sc. (London)
+
+_Author of "Truths of Importance to Vocalists," "The Voice from a
+Practical Stand-Point," "Voice-Training Exercises" (a study of the natural
+movements of the voice), "Vocal Reinforcement," "Position and Action in
+Singing," etc., etc._
+
+1902
+
+
+
+
+"_When you see something new to you in art, or hear a proposition in
+philosophy you never heard before, do not make haste to ridicule, deny or
+refute. Possibly the trouble is with yourself--who knows?_"
+
+
+
+
+PREFACE.
+
+
+To my readers once again through this little work, greetings. For the many
+kind things said of my former works by my friends, my pupils, the critic
+and the profession, thanks! To those who have understood and appreciated
+the principles laid down in my last book, "Position and Action in Singing,"
+I will say that this little work will be an additional help. To my readers
+in general, who may not have fully understood or appreciated the principles
+of vitality, of vitalized energy, aroused and developed through the
+movements set forth in my last book, to such I will say that I hope this
+little work will make clearer those principles. I hope that it may lead
+them to a better understanding of the fundamental principles of the system,
+principles which are founded upon natural laws and common sense. In this
+work I have endeavored to logically formulate my system.
+
+As it is not possible to fully study and develop any one fundamental
+principle of singing without some understanding or mastery of all others,
+so it is not possible to write a work like this without more or less
+repetition. Certain subjects are so closely related, are so interdependent,
+that repetition cannot be avoided. I am not offering an apology for this; I
+am simply stating that a certain amount of repetition is necessary.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+EXORDIUM
+
+
+PART FIRST.
+
+_EVOLUTION_.
+
+ARTICLE 1. THE OLD ITALIAN SCHOOL OF SINGING
+   "    2. THE DARK AGES OF THE VOCAL ART
+   "    3. THE TWO PREVAILING SYSTEMS
+   "    4. THE RENAISSANCE OF THE VOCAL ART
+   "    5. THE COMING SCHOOL OR SYSTEM
+   "    6. CONDITIONS
+   "    7. THE INFLUENCE OF RIGHT BODILY ACTION
+
+RAISON D'ĘTRE
+
+
+PART SECOND.
+
+_VITALITY_.
+
+ARTICLE 1. THE FIRST PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+   "    2. THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+   "    3. THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+
+
+PART THIRD.
+
+_AESTHETICS_.
+
+ARTICLE 1. THE FOURTH PRINCIPLE OF ARTISTIC SINGING
+   "    2. THE FIFTH PRINCIPLE OF ARTISTIC SINGING
+   "    3. THE SIXTH PRINCIPLE OF ARTISTIC SINGING
+   "    4. THE SEVENTH PRINCIPLE OF ARTISTIC SINGING
+
+
+
+
+EXORDIUM.
+
+
+Man, to see far and clearly, must rise above his surroundings. To win great
+possessions, to master great truths, we must climb all the hills, all the
+mountains, which confront us. Unfortunately the vocal profession dwells too
+much upon the lowlands of tradition, or is buried too deep in the valleys
+of prejudice. Better things, however, will come. They must come. The
+current of the advanced thought, the higher thought, of this, the opening
+year of the twentieth century, will slowly but surely increase in power and
+influence, will slowly but surely broaden and deepen, until the light of
+reason breaks upon the vocal world. We may confidently look, in the near
+future, for the Renaissance of the Vocal Art.
+
+
+
+
+PART FIRST.
+
+_EVOLUTION._
+
+
+
+
+ARTICLE ONE.
+
+THE OLD ITALIAN SCHOOL OF SINGING.
+
+
+The Shibboleth, or trade cry, of the average modern vocal teacher is "The
+Old Italian School of Singing." How much of value there is in this may be
+surmised when we stop to consider that of the many who claim to teach the
+true Old Italian method no two of them teach at all alike, unless they
+happen to be pupils of the same master.
+
+A system, a method, or a theory is not true simply because it is old. It
+may be old and true; it may be old and false. It may be new and false; or,
+what is more important, it may be new and yet true; age alone cannot stamp
+it with the mark of truthfulness.
+
+The truth is, we know but little of the Old Italian School of Singing. We
+do know, however, that the old Italians were an emotional and impulsive
+people. Their style of singing was the flexible, florid, coloratura style.
+This demanded freedom of action and emotional expression, which more
+largely than anything else accounts for their success.
+
+The old Italians knew little or nothing of the science of voice as we know
+it to-day. They did know, however, the great fundamental principles of
+singing, which are freedom of form and action, spontaneity and naturalness.
+They studied Nature, and learned of her. Their style of singing, it is
+true, would be considered superficial at the present day, but it is
+generally conceded that they did make a few great singers. If the
+principles of the old school had not been changed or lost, if they had been
+retained and developed up to the present day, what a wonderful legacy the
+vocal profession might have inherited in this age, the beginning of the
+twentieth century. Adversity, however, develops art as well as
+individuality; hence the vocal art has much to expect in the future.
+
+
+
+ARTICLE TWO.
+
+THE DARK AGE OF THE VOCAL ART.
+
+
+Even in the palmiest days of the Old Italian School, there were forces at
+work which were destined to influence the entire vocal world. The subtle
+influence of these forces was felt so gradually, and yet so surely and
+powerfully, that while the profession, as one might say, peacefully slept,
+art was changed to artificiality. Thus arose that which may be called the
+dark ages of the vocal art,--an age when error overshadowed truth and
+reason; for while real scientists, after great study and research,
+discovered much of the true science of voice, many who styled themselves
+scientists discovered much that they imagined was the true science of
+voice.
+
+Upon the theories advanced by self-styled scientists, many systems of
+singing were based, without definite proof as to their being true or false.
+These systems were exploited for the benefit of those who formulated them.
+This condition of things prevailed, not only through the latter part of the
+eighteenth century and the first half of the nineteenth, but still
+manifests itself at the present day, and no doubt will continue to do so
+for many years to come.
+
+The vocal world undoubtedly owes much to the study and research of the true
+scientist. All true art is based upon science, and none more than the art
+of voice and of singing.
+
+Science is knowledge of facts co-ordinated, arranged, and systematized;
+hence science is truth. The object of science is knowledge; the object of
+art is works. In art, truth is the means to an end; in science, truth is
+the end.
+
+The science of voice is a knowledge of certain phenomena or movements which
+are found under certain conditions to occur regularly. The object of the
+true art of voice is to study the conditions which allow these phenomena to
+occur.
+
+The greatest mistake of the many systems of singing, formulated upon the
+theories of the scientists, and of the so-called scientists, was not so
+much in their being based upon theories which oftentimes were wrong, as in
+the misunderstanding and misapplication of true theories. The general
+mistake of these systems was and is that they attempt by direct local
+effort, by direct manipulation of muscle, to compel the phenomena of voice,
+instead of studying the conditions which allow them to occur. In this way
+they attempt to do by direct control, that which Nature alone can do
+correctly.
+
+While it is true that the vocal world owes much to science and the
+scientists, yet "the highest science can never fully explain the true
+phenomena of the voice, which are truly the phenomena of Nature." The
+phenomena of the voice no doubt interest the scientists from an anatomical
+standpoint, but these things are of little practical value to the singer.
+As someone has said, "To examine into the anatomical construction of the
+larynx, to watch it physiologically, and learn to understand the motions of
+the vocal cords in their relation to vocal sounds, is not much more than
+looking at the dial of a clock; the movements of the hands will give you no
+idea of the construction of the intricate works hidden behind the face of
+the clock."
+
+We should never lose sight of the fact that there is a true science of
+voice, and that the art of song is based upon this science. The true art of
+song, however, is not so much a direct study of the physical or mechanical
+action of the parts, as it is a study of the spirituelle side; a study of
+the forces which move the parts automatically, in accordance with the laws
+of nature. In other words, voice, true voice, is more psychological than
+physiological; is more an expression of mind and soul than a physical
+expression or a physical force. It is true, the body is the medium through
+which the soul, the real man, gives expression to thought and feeling; and
+yet voice that is simply mechanical or physical is always common and
+meaningless and as a rule unmusical. The normal condition of true artistic
+voice is emotional and soulful.
+
+
+
+ARTICLE THREE.
+
+THE TWO PREVAILING SYSTEMS.
+
+
+The misunderstanding or the misapplication of any principle, theory or
+device, always leads to error. This was eminently true of the
+misunderstanding and misapplication on the part of many writers and
+teachers who based their systems upon the theories of the scientists and
+the self-styled scientists. The result is evident; it is that which is
+known as the local-effort, muscular school of the nineteenth century; the
+school which to this day so largely prevails; the school which makes of man
+a mere vocal machine, instead of a living, emotional, thinking soul.
+
+The local-effort school attempts, by direct control and manipulation of
+muscle and of the vocal parts, to compel the phenomena of voice. In this
+respect it is unique; in this respect it stands alone. The truth of this
+statement becomes evident when we stop to consider that in nothing known
+which requires muscular development, as does the art of singing, is this
+development or training secured by direct manipulation and control of
+muscle. There is nothing in the arts or sciences, nothing in the broad
+field of athletics or physical culture, nothing in the wide world that
+requires physical development, in which the attempt is made to develop by
+direct effort as does the local-effort school. Hence we say the mistake
+they make is in attempting to compel the phenomena of voice, instead of
+studying the conditions which allow them to occur. It might be interesting,
+it certainly would be very amusing, to enumerate and illustrate the many
+things done under the name of science, to compel the phenomena of voice;
+but space will not permit. Many of them are well known; many more are too
+ridiculous to consider except that they should be exposed for the good of
+the profession.
+
+The result of all this direct manipulation of muscle is
+ugliness--everywhere hard, unmusical, unsympathetic voices. The public is
+so used to hearing hard, muscular voices that the demand for beautiful tone
+is not what it should be. In fact, it is not generally known that it is
+possible to make almost any voice more or less beautiful that is at all
+worth training. The hard, unmusical voice of the day is a hybrid, unnatural
+and altogether unnecessary voice. Physical effort in singing develops
+physical tone and physical effect. Common tone makes common singing. A
+great artist must be great in tone as well as in interpretation.
+
+The disciples of the local-effort school lose sight of the fact that when a
+muscle is set and rigid, either in attempting to hold the breath or to
+force the tone, it is virtually out of action; that instead of actually
+helping the voice it is really preventing a free, natural production, and
+that other parts are then compelled to do its work; this accounts for many
+ruined voices. "To make a part rigid is equal to the extirpation of such
+part. While it is in a state of rigidity it ceases to take part in any
+action whatsoever: it is inert and the same as if it had ceased to exist."
+
+The local-effort school is accountable for many errors of the day. The
+incubus of this school is fastened upon the vocal profession with
+octopus-like tentacles which reach out in every direction, and which strive
+to strangle the truth in every possible way; but, while "life is short, art
+is long;" the truth must prevail.
+
+*       *       *       *       *
+
+As an outgrowth of the local-effort school, and as an attempt to counteract
+its evil tendencies, there is to-day in existence another school or system
+known as the limp or relaxed school, or the system of complete relaxation.
+The object of this relaxation is to overcome muscular tension and rigidity.
+This is the other extreme. The followers of this school forget that there
+can be no tonicity without tension. Flexible firmness without rigidity, the
+result of flexible, vitalized position and action, is the only true
+condition. The tone of the school of relaxation is nearly always depressed
+and breathy; it always lacks vitality.
+
+
+
+ARTICLE FOUR.
+
+THE RENAISSANCE OF THE VOCAL ART.
+
+
+We are in the habit of measuring time by days, weeks, months, years,
+decades and centuries. The world at large measures time by epochs and eras.
+While this is true in the physical world, it is equally true of the arts
+and sciences, and it is especially true of the art of song. Thus we have
+had the period known as "The Old Italian School of Singing." This was
+followed by the modern school, or "The Local-Effort School" of the
+nineteenth century, the period which may be called The Dark Ages of the
+Vocal Art.
+
+There is a constant evolution in all things progressive, and this evolution
+is felt very perceptibly to-day in the vocal world. Great principles, great
+truths, are of slow growth, slow development. Times change, however, and we
+change with them. While the changes may be slow and almost imperceptible to
+the observer, they are sure, and finally become evident by the accumulation
+of event after event.
+
+The prevailing systems of the nineteenth century tried to develop voice by
+direct local muscular effort. These systems have proved themselves
+failures. The vocal world is looking for and demanding something better. We
+may say that we are now on the eve of great events in the vocal art. When
+the morn comes, and the light breaks, we may confidently expect that
+awakening or reawakening which may properly be called The Renaissance of
+the Vocal Art.
+
+This is the age of physical culture in all its forms. There is a tendency
+from the artificial habits of life, back, or rather one should say forward,
+to Nature and Nature's laws. "Athletes appreciate the value of physical
+training: brain-workers appreciate the value of mental training, of
+thinking before acting, and if you would become either you must follow the
+methods of both."
+
+Many of our foremost educators in all branches of development, physical,
+mental and musical, are now making a bold stand for natural methods of
+education. However, all vocal training and development in the past, we are
+glad to say, has not been on the wrong side of the question.
+
+There have been, at all ages and under all circumstances and conditions,
+men who have been at the root or the bottom of things,--men who have
+preserved the truth in spite of their surroundings. So in the vocal art,
+there have been at every decade a few men who have known the truth, and who
+have handed it down through the dark ages of the vocal art. The work of
+these men has not been lost. Its influence has been felt, and is today more
+powerful than ever. Hence the trend of the best thought of the profession
+is away from the ideas of the local-effort school, away from rigidity and
+artificiality, and more in the direction of naturalness and common sense. I
+believe we are now, as a profession, slowly but surely awakening to truths
+which will grow, and which will in time bring to pass that which must come
+sooner or later, the new school of the twentieth century.
+
+There is to-day that which is known as "The New Movement in the Vocal
+Art"--a movement based upon natural laws and common sense and opposed to
+the ideas of the local-effort school;--movement in the direction of freedom
+of action, spontaneity and flexible strength as opposed to rigidity and
+direct effort;--a movement which advocates vitalized energy instead of
+muscular effort;--a movement which had its origin in the belief that no man
+ever learned to sing because he locally fixed or puckered his lips; because
+he held down his tongue with a spatulum or a spoon; because he locally
+lowered or raised his soft palate; because he consciously moved or locally
+fixed his larynx; because he consciously, rigidly set or firmly pulled in
+one direction or another, his breathing muscles; because he carried an
+unnaturally high chest at the sacrifice of form, position and strength in
+every other way; because he sang with a stick or a pencil or a cork in his
+mouth; or because he did a hundred other unnatural things too foolish to
+mention. No man ever learned or ever will learn to sing because of these
+things. It is true he may have learned to sing in spite of them, which
+shows that Nature is kind; but as compared to the whole, he is one in a
+thousand.
+
+"The New Movement" has come to stay. It will, of course, meet with bitter
+opposition. Why not? The custom of many has been, and is, to condemn
+without investigation; to condemn because it does not happen to be in the
+line of their teaching and study. Someone has said, "He who condemns
+without knowledge or investigation is dishonest."
+
+"The New Movement" is simply a study of the conditions which allow the
+phenomena of voice to occur naturally and automatically. The day will come,
+when a right training of the voice will be recognized as a flexible,
+artistic, physical training of the human body, and a consequent right use
+of the voice, as a soulful expression of the emotional nature. Matter or
+muscle will be taught to obey mind or will spontaneously. The thought
+before the effort, or rather before the action, will be the controlling
+influence, and vitalized emotional energy will be the true motor power of
+the voice. The elocutionists and the physical culturists understand this
+far better, as a rule, than the vocalists.
+
+Abuse brings reform in art as well as in all other things. So the abuse of
+Nature's laws and the lack of common sense in the training of the singing
+voice has led, through a gradual evolution, to "The New Movement." This
+movement is the outgrowth of the best or advanced thought of the profession
+rebelling against unnatural methods.
+
+In the fundamental principles of "The New Movement," there is nothing new
+claimed by its advocates. All is founded upon the science of voice, as are
+all true systems of teaching. The claims are made with regard to the
+devices used to study natural laws, to develop the God-given powers of the
+singer. Remember that Nature incarnates or reflects God's thoughts and
+desires and not man's ideas or inventions. Someone has said that there was
+nothing new, nor could there be anything new, in the art of singing. There
+are many, alas! who talk and write as did this man. Is not this simply
+proof of the fact that ignorance cheapens and belittles that which wisdom
+views with awe and admiration? And this is true of nothing so much as it is
+of the arts and sciences.
+
+Is, then, ours in all the world, the only profession based upon science and
+art that must stand still, that must accept blindly the traditions handed
+down to us, without investigation? Are we to feel and believe that with us
+progress is impossible, that we may not and cannot keep up with the spirit
+of the age? God forbid. Is it not true that "each age refutes much which a
+previous age believed, and all things human wax old and vanish away to make
+room for new developments, new ideals, new possibilities"? Is it possible
+this is true of all professions but ours? The signs of the times indicate
+differently. Hence we may confidently expect the Renaissance of the Vocal
+Art in this, the first half of the new century.
+
+
+
+ARTICLE FIVE.
+
+THE COMING SCHOOL, OR SYSTEM.
+
+
+This is an age of progress; and, as we have said, many educators are making
+a bold stand for natural, common-sense methods. The trend of the higher
+thought of the vocal profession is away from artificiality, and in the
+direction of naturalness.
+
+The coming school, or system, of the twentieth century will undoubtedly
+find its form, its power, its expressional and artistic force and value,
+its home, its life, in America. The old country is too much in the toils,
+too much in the ruts of tradition; hence natural forces are suppressed, and
+artificiality reigns supreme in the training of the voice. While this is
+not true in regard to the strictly aesthetic side of the question, it is
+painfully true as far as the fundamental principles of voice development
+are concerned. Of course we are glad to say there are bright and shining
+exceptions to this rule in all lands, but to the new country we must
+undoubtedly look for the new school.
+
+So far the world has produced but two great teachers. The first of these is
+Nature; the second is Common Sense. Nature lays down the fundamental
+principles of voice; Common Sense formulates the devices for development
+according to these principles. Therefore we say, Go to Nature and learn of
+her, and use Common Sense in studying and developing her principles. The
+nearer the approach to Nature, the higher the art; hence the new school
+must be founded upon artistic laws which are Nature's laws, and not upon
+artificiality.
+
+The coming school must teach the idealized tone. The ideal in its
+completeness means the truth,--all the truth,--and not, as many suppose, an
+exaggerated form of expression. The truth in tone, or the idealized tone,
+is beautiful and soulful, and demands for its production and use all the
+forces that Nature has given to the singer,--physical, mental, and
+emotional or spirituelle. Unmusical, muscular tone is not the true tone. It
+contains much that it should not have on the physical side, and lacks much
+that it should have on the spirituelle. As a rule, it means nothing; in
+fact, it is often simply a noise. The idealized tone always represents a
+thought, an idea, an emotion; it is the expression of the inner--the
+higher--man; it is, in reality, self-expression.
+
+"The human voice is the most delicately attuned musical instrument that God
+has created. It is capable of a cultivation beyond the dreams of those who
+have given it no thought. It maybe made to express every emotion in the
+gamut of human sensation, from abject misery to boundless ecstasy. It marks
+the man without his consent; it makes the man if he will but cultivate it."
+
+The coming school must be founded upon freedom of form and action, upon
+flexible bodily movements, the result of vitalized energy instead of
+muscular effort. There must be no set, rigid, static condition of the
+muscles. Artistic singing is a form of self-expression; and
+self-expression, to be natural and beautiful, must be the result of correct
+position and action.
+
+The first principle of artistic singing is the removal of all restraint.
+This is a fundamental law of Nature and cannot be changed. Under the
+influence of direct local muscular effort, the removal of all restraint is
+impossible. Hence the coming school must be based upon free flexible
+action. In this respect it will be much like the old Italian school, except
+that it will be as far in advance of the old school in the science of voice
+as the twentieth century is in advance of the eighteenth. It must also be
+far in advance of the old school in the devices used to develop the
+fundamental principles of voice.
+
+In this age of progress and knowledge of laws and facts, the new school,
+under the influence of Nature's laws and common sense, with the aid of
+flexible movements and vitalized energy, must do as much for the
+development of the singing voice in three or four years as the old school
+was able to do in eight or ten. This is necessary, both because the singing
+world demands it, and Nature and common sense teach us that it does not
+take years and years of hard study and practice simply to develop the
+voice. From a strictly musical standpoint, however, it does take years to
+ripen a great singer, to make a great artist. Many voices are ruined
+musically by years of hard, muscular practice. Hence we say the new school
+must give the voice freedom, and remove all muscular restraint by or
+through natural, common-sense, vitalized movements.
+
+
+
+ARTICLE SIX.
+
+CONDITIONS.
+
+
+Nature's laws are God's laws. All nature, the universe itself, is an
+expression of God's thoughts or desires in accordance with His laws. This
+one controlling force, this principle of law, is at the bottom of
+everything in nature and art. Everything which man says or does under
+normal, free conditions, is self-expression, an expression of his inner
+nature; but this expression must be under the law. If not, the expression
+is unnatural and therefore artificial. This principle, which holds true in
+all of man's expression, in all art, is in nothing more evident than in the
+use of the singing voice.
+
+"Nature does nothing for man except what she enables him to do for
+himself." Nature gives him much, but never compels him to use what she
+gives. Man is a free agent. He can obey or violate the laws of Nature at
+will; but he cannot violate Nature's laws, and not pay the penalty. This
+thought or principle constantly stands out as a warning to the vocal world.
+The student of the voice who violates Nature's laws must not expect to
+escape the penalty, which is hard, harsh, unmusical tone or ruined voice.
+Nature demands certain conditions in order to produce beautiful, artistic
+tone. If the student of the voice desires to develop beautiful, artistic
+tone he is compelled to study the conditions, the fundamental principles
+under the law; and this can be done only by the use of common-sense
+methods.
+
+All artistic tone is the result of certain conditions, conditions demanded
+by Nature and not man's ideas or fancies. These conditions are dependent
+upon form and adjustment, or we might better say adjustment and form, as
+form is the result of the adjustment of the parts. So far all writers on
+the voice, and all teachers, agree; but here comes the parting of the ways.
+One man attempts form and adjustment by locally influencing the parts,--the
+tongue, the lips, the soft palate, the larynx, etc. This results in
+muscular singing and artificiality. We have found that form and adjustment,
+to be right, must be automatic. This condition cannot be secured by any
+system of direct local effort, but must be the result of flexible,
+vitalized bodily movements--movements which arouse and develop all the true
+conditions of tone; movements which allow the voice to sing spontaneously.
+
+The fundamental conditions of singing demanded by Nature we find are as
+follows:
+
+  Natural or automatic adjustment of the organ of sound, and of all the
+  parts.
+
+  Approximation of the breath bands.
+
+  Inflation of all the cavities.
+
+  Non-interference above the organ of sound.
+
+  Automatic breath-control.
+
+  Freedom of form and action of all the parts above the larynx.
+
+  High placing and low resonance.
+
+  Automatic articulation.
+
+  Mental and emotional vitality or energy.
+
+  Free, flexible, vitalized bodily position and action.
+
+It is not my intention here to enlarge upon these conditions to any extent.
+I have already done so in my last book, "Position and Action in Singing." I
+know many writers on the voice, and many teachers, do not agree with me on
+this subject of conditions; but facts are stubborn things, and "A physical
+fact is as sacred as a moral principle." "The sources of all phenomena, the
+sources of all life, intelligence and love, are to be sought in the
+internal--the spiritual realm; not in the external or material." "A man is
+considerably out of date who says he does not believe a thing, simply
+because he cannot do that thing or does not understand how the thing is
+done. There are three classes of people--the 'wills,' the 'won'ts,' and the
+'can'ts': the first accomplish everything, the second oppose everything,
+and the third fail in everything." These things [these conditions] can be
+understood and fully appreciated by investigation only. There is no
+absolute definite knowledge in this world except that gained from
+experience.
+
+The voice in correct use is always tuned like an instrument. This must be
+in order to have resonance and freedom, and this is done only through
+natural or automatic adjustment of all the parts. In singing there are
+always two forces in action, pressure and resistance, or motor power and
+control. In order to have automatic adjustment these two forces must
+prevail. When the organ of sound is automatically adjusted, the breath
+bands approximate: This gives the true resisting or controlling force. When
+the breath bands approximate we have inflation of the ventricles of the
+larynx, the most important of all the resonance cavities, for when this
+condition prevails we have freedom of tone, and the inflation of all other
+cavities. And not only this; it also enables us to remove all restraint or
+interference from the parts above the larynx, and especially from the
+intrinsic and extrinsic muscles of the throat. This automatic adjustment,
+approximation of the breath bands and inflation of the ventricles, gives us
+a yet more important condition, namely, automatic breath control; this is
+beyond question the most important of all problems solved for the singer
+through this system of flexible vitalized movements.
+
+The removal of all interference or direct local control of the parts above
+the larynx, gives absolute freedom of form and action; and when the form
+and action are free, articulation becomes automatic and spontaneous. When
+all restraint is thus removed, the air current comes to the front, and we
+secure the important condition of high placing. Furthermore, under these
+conditions, when the air current strikes the roof of the mouth freely, it
+is reflected into the inflated cavities, and there is heard and felt,
+through sympathetic vibration of the air in the cavities, added resonance
+or the wonderful reinforcing power of inflation: in this way is secured not
+only the added resonance of all other cavities, but especially the
+resonance of the chest, the greatest of all resonance or reinforcing
+powers.
+
+When the voice is thus freed under true conditions, it is possible to
+arouse easily and quickly the mental and emotional power and vitality of
+the singer. In this way is aroused that which I have called the singer's
+sensation, or, for want of a better name, the third power of the voice.
+This power is not a mere fancy. It is not imagination; for it is absolutely
+necessary to the complete mental and emotional expression of the singer, to
+the development of all his powers. This life or vital force is to the
+singer a definite, controllable power. "Various terms have been applied to
+this mysterious force. Plato called it 'the soul of the world.' Others
+called it the 'plastic spirit of the world,' while Descartes gave it the
+afterward popular name of 'animal spirits.' The Stoics called it simply
+'nature,' which is now generally changed to 'nervous principle.'" "The
+far-reaching results of so quiet and yet so tremendous a force may be seen
+in the lives of the men and women who have the mental acumen to understand
+what is meant by it." The singer who has developed and controlled "the
+third power" through the true conditions of voice, never doubts its
+reality; and he, and he only, is able to fully appreciate it.
+
+The development of all the above conditions depends upon one important
+thing, the education of the body; upon a free, flexible, vitalized body.
+
+
+
+ARTICLE SEVEN.
+
+THE INFLUENCE OF RIGHT BODILY ACTION.
+
+
+In art, as in all things else, man must be under the law until he becomes a
+law unto himself. In other words, he must study his technique, his method,
+his art, until all becomes a part of himself, becomes, as it were, second
+nature. There is a wide difference between art and artificiality. True art
+is based upon Nature's laws. Artificiality, in almost every instance, is a
+violation of Nature's laws, and at best is but a poor imitation.
+
+The impression prevails that art is something far off, something that is
+within the grasp of the favored few only. We say of a man, he is a genius,
+and we bow down to him accordingly. The genius is an artist by the grace of
+God and his own efforts. Nature has given some men the power to easily and
+quickly grasp and understand things which pertain to art, but if such men
+do not apply their understanding they never become great or useful artists.
+Talent is the ability to study and apply, and is of a little lower order
+than genius; but the genius of application, and the talent to apply that
+which is learned, have made the great and useful men, the great artists of
+the world. As someone has said, "Art is not a thing separate and apart; art
+is only the best way of doing things;" and while this is true of all the
+arts, it is eminently so of the art of voice and of song.
+
+Artistic tone, as we have found, is the result of certain conditions
+demanded by Nature. These conditions are dependent upon form and
+adjustment; and form and adjustment, to be right, must be automatic. All
+writers and teachers agree that correct tone is the result of form and
+adjustment; but here, as we have said, comes the parting of the ways. One
+man attempts, by directly controlling and adjusting the parts, to do that
+which nature alone can do correctly; result--hard, muscular tone. Another
+attempts, by relaxation, to secure the conditions of tone; result--vocal
+depression, or depressed, relaxed tone.
+
+If artistic tone be the result of conditions due to form and adjustment,
+and if form and adjustment, to be right, must be automatic, if these things
+are true, and they are as true as the fact that the world moves, then there
+is only one way under heaven by which it is possible to secure these
+conditions; that way is through a flexible, vitalized body, through
+flexible bodily position and action.
+
+The rigid, muscular school cannot secure these conditions, for they make
+flexible freedom impossible. The limp, relaxed school cannot secure them,
+for there is no tone without tonicity and vitality of muscle. Vitalized
+energy _can_ secure these true conditions, but through flexible bodily
+position and action only.
+
+The rigid school is muscle-bound, and lacks life and vitality. The limp
+school, of course, is depressed and lacks energy. The world is full of dead
+singers,--dead so far as vitality and emotional energy are concerned.
+Singing is a form of emotional or self-expression, and requires life and
+vitality. Life is action. Life is vital force aroused. Life in singing is
+emotional energy. Life is a God-given, eternal condition, and is a
+fundamental principle of the true art of song.
+
+It is wonderfully strange that this idea or principle of flexible,
+vitalized bodily position and action is not better understood by the vocal
+profession. That a right use or training of the body, automatically
+influences form and adjustment, and secures right conditions of tone, has
+been and is being demonstrated day by day. This is a revelation to many who
+have tried to sing by the rigid or limp methods. There is really nothing
+new claimed for it, for it is as old as the hills. Truth is eternal, and
+yet a great truth may be lost to the world for a time. The only things new
+which we claim, are the movements and the simple and effective devices used
+to study and apply them. These movements have a wonderful influence on the
+voice, for the simple reason that they are based upon Nature's laws and
+common sense. These truths are destined to influence, sooner or later, the
+entire vocal world.
+
+A great truth cannot always be suppressed, and some day someone will
+present these truths in a way that will compel their recognition. They are
+never doubted now by those who understand them, and they are appreciated by
+such to a degree of enthusiasm. I am well aware that when these movements
+are spoken of in the presence of the followers of the prevailing rigid or
+limp schools, they exclaim, "Why, we do the same thing. We use the body
+too." Of course they use the body, but it is by no means the same. Their
+use of the body is often abuse, and not only of the body, but of the voice
+as well.
+
+The influence on the singing voice of a rightly used or rightly trained
+body is almost beyond the ability of man to put in words.
+
+All singing should be rhythmical. These flexible bodily movements develop
+rhythm.
+
+All singing should be the result of vitalized energy and never of muscular
+effort. These movements arouse energy and make direct effort unnecessary.
+
+Singing should be restful, should be the result of power in repose or under
+control. These movements, and these movements alone, make such conditions
+possible.
+
+All singing should be idealized, should be the result of self-expression,
+of an expression of the emotions. This is impossible except through correct
+bodily action. "By nature the expression of man is his voice, and the whole
+body through the agency of that invisible force, sound, expresses the
+nobility, dignity, and intellectual emotions, from the foot to the head,
+when properly produced and balanced. Nothing short of the whole body can
+express this force perfectly in man or woman."
+
+These movements develop in a common-sense way the power of natural forces,
+of all the forces which Nature has given to man for the production and use
+of the voice. Rigid, set muscles, or relaxed, limp muscles dwarf and limit
+in every way the powers of the singer, physical, mental, and emotional; the
+physical action is wrong, the thought is wrong, and the expression is
+wrong. A trained, developed muscle responds to thought, to right thought,
+in a free, natural manner. A rigid or limp muscle is, in a certain sense,
+for the time being, actually out of use.
+
+An important point to consider in this connection is the fact that there is
+no strength properly applied without movement; but when right movements are
+not used, the voice is pushed and forced by local effort and by contraction
+of the lung cells and of the throat. This of course means physical
+restraint, and physical restraint prevents self-expression. Singing is more
+psychological than physiological; hence the importance of free
+self-expression. Direct physical effort produces physical effect;
+relaxation produces depression.
+
+All artistic tone is reinforced sound. There are two ways of reinforcing
+tone. First, by direct muscular effort, the wrong way; second, by expansion
+and inflation, the added resonance of air in the cavities, the right way.
+This condition of expansion and inflation is the distinguishing feature of
+many great voices, and is possible only through right bodily position and
+action. These movements are used by many great artists, who develop them as
+they themselves develop, through giving expression to thought, feeling, and
+emotion, through using the impressive, persuasive tone, the fervent voice.
+This brings into action the entire vocal mechanism, in fact all the powers
+of the singer; hence these movements become a part of the great artist. He
+may not be able to give a reason for them, but he knows their value. The
+persuasive, fervent voice demands spontaneity and automatic form and
+adjustment; these conditions are impossible without flexible, vitalized
+movements. The great artist finds by experience that the throat was made to
+sing and not to sing with; that he must sing from the body through the
+throat. He finds that the tone must be allowed and not made to sing. Hence
+in the most natural way he develops vitalized bodily energy.
+
+Next in importance to absolute freedom of voice, which these movements
+give, is the fact that through them absolute, automatic, perfect
+breath-control is developed and mastered. These movements give the breath
+without a thought of breathing, for they are all breathing movements. The
+singer cannot lift and expand without filling the lungs naturally and
+automatically, unless he purposely resists the breath. The conscious breath
+unseats the voice, that is, disturbs or prevents correct adjustment, and
+thus compels him to consciously hold it; but this very act makes it
+impossible to give the voice freedom. Through these movements, through
+correct position, we secure automatic adjustment, which means approximation
+of the breath bands, the principle of the double valve in the throat, which
+secures automatic breath-control. In other words, the singer whose position
+and action are correct need never give his breathing a thought. This is
+considered by many as the greatest problem--for the singer--solved in the
+nineteenth century.
+
+To study and master these movements and apply them practically, the singer
+needs to know absolutely nothing of the mechanism of his vocal organs. He
+need not consider at all the physiological side of the question. Of course
+the study of these movements must at first be more or less mechanical,
+until they respond automatically to thought or will. Then they are
+controlled mentally, the thought before the action, as should be the case
+in all singing; and finally the whole mechanism, or all movements, respond
+naturally and freely to emotional or self-expression.
+
+These flexible, vitalized movements are not generally understood or used,
+because they have not been in the line of thought or study of the rigid
+muscular school or the limp relaxed school; and yet they are destined to
+influence sooner or later all systems of singing. They have been used more
+or less in all ages by great artists. It is strange that they are not
+better understood by the profession.
+
+*       *       *       *       *
+
+In this connection it might be well to speak of the importance of physical
+culture for the singer. A series of simple but effective exercises should
+be used, exercises that will develop and vitalize every muscle of the body.
+There are also nerve calisthenics, nervo-muscular movements, which
+strengthen and control the nervous system. These nerve calisthenics
+generate electrical vitality and give life and confidence. "The body by
+certain exercises and regime may be educated to draw a constantly
+increasing amount of vitality from growing nature."
+
+A singer to be successful must be healthy and strong. He should take plenty
+of out-door exercise. Exercise, fresh air, and sunlight are the three great
+physicians of the world. But beside this, all singers need physical
+training and development, which tense and harden the muscles, and increase
+the lung capacity; that training which expands all the resonance cavities,
+especially the chest, and which directly develops and strengthens the vocal
+muscles themselves, particularly the extrinsic and intrinsic muscles of the
+throat. As we have learned, a trained muscle responds more spontaneously to
+thought or will than an uneducated one; flexible spontaneity the singer
+always needs. Beyond a doubt, the singer who takes a simple but effective
+course of physical training in connection with vocal training will
+accomplish twice as much in a given time, in regard to tone, power and
+control, as he could possibly do with the vocal training alone. This is the
+day of physical training, of physical culture in all things; and the
+average vocal teacher will have to awake to the fact that his pupils need
+it as much as, or more than, they need the constant practice of tone.
+
+Of course it is not possible to give a system of physical training in a
+small work like this. The student of the voice can get physical training
+and physical culture from many teachers and many books. It may not be
+training that will so directly and definitely develop and strengthen the
+vocal muscles and the organ of sound itself, or training that will so
+directly influence the voice as does our system, which is especially
+arranged for the singer; but any good system of physical development, any
+system that gives the student health and strength, is good for the singing
+voice. "Activity is the source of growth, both physical and mental."
+"Strength to be developed, must be used. Strength to be retained, must be
+used."
+
+
+
+RAISON D'ĘTRE.
+
+
+Since writing my last book, "Position and Action in Singing," and after
+four or five years more of experience, I have been doubly impressed and
+more than convinced of the power and influence of certain things necessary
+to a right training and use of the voice. Herbert Spencer says, "Experience
+is the sole origin of knowledge;" and my experience has convinced me, not
+only that certain things are necessary in the training of the voice, but
+that certain of the most important principles or conditions demanded by
+Nature, are entirely wanting in most systems of singing.
+
+Singers, as a rule, are artificial and unnatural. They do not use all the
+powers with which Nature has endowed them. This has been most forcibly
+impressed upon my mind by the general lack of vitality, or vital energy,
+among singers; by a general lack of physical vitality, and, I venture to
+say, largely of mental vitality, and undoubtedly of emotional vitality,
+often, but mistakenly, called temperament. These things have been forced
+upon me by the general condition of depression which prevails. Vitality,
+however, or vitalized energy, is in fact the true means or device whereby
+the singer is enabled to arouse his temperament, be it great or otherwise;
+to arouse it, to use it, and to make it felt easily and naturally.
+
+Out of every hundred voices tried I am safe in saying that at least ninety
+are physically depressed, are physically below the standard of artistic
+singing. Singing, it is true, is more mental than physical, and more
+emotional than mental; but a right physical condition is absolutely
+necessary, and the development of it depends upon the way the pupil is
+taught to think. Singing is a form of self-expression, of an expression of
+the emotions. This is impossible when there is physical depression. The
+singer must put himself and keep himself upon a level with the tone and
+upon a level with his song, the atmosphere of his song; upon a level with
+the sentiment to be expressed, physically, mentally and emotionally. This
+cannot be done, or these conditions cannot prevail, when there is
+depression.
+
+There is, to my mind, but one way to account for this condition of
+depression among singers. That is, the way they think, or are taught to
+think, in regard to the use of their bodies in singing. The way in which
+they breathe and control the breath, the way in which they drive and
+control the tone. It is the result of rigid muscular effort or relaxation,
+and both depress not only the voice but the singer as well. The tonal
+result is indisputable evidence of this.
+
+Knowledge comes through experience; and my experience in studying both
+sides of this question has convinced me that there is but one way to
+develop physical, mental and emotional vitality in the singer, and that is
+through some system of flexible, vitalized bodily movements. There must be
+flexible firmness, firmness without rigidity. The movements as given in my
+book, "Position and Action in Singing," and as here given, develop these
+conditions. They give the singer physical vitality, freedom of voice,
+spontaneity, absolute automatic breath control, and make self-expression,
+emotional expression, and tone-color, not only possible but comparatively
+easy. Singing is self-expression, an expression of thought and feeling.
+There must be a medium, however, for the expression of feeling aroused
+through thought; that medium is the body and the body alone. Therefore it
+is easy to see the importance of so training the body that it will respond
+automatically to the thought and will of the singer.
+
+The opposite of depression, which local effort develops, is vitalized
+energy, the singer's sensation, that which I have called the third power,
+and which is a revelation to those who have studied both sides of the
+question. These things, as I have said, have been given to the vocal world
+in my book, "Position and Action in Singing." Many have understood them,
+have used them, and are enthusiastic advocates of the idea. Others have not
+fully understood them, as was and is to be expected. For that reason I have
+written this little book in the hope that it might make things plainer to
+all. I have endeavored to embody these practical, natural, necessary
+movements in the formula of study given in this book.
+
+The formula which follows is systematically and logically arranged for the
+study and development of fundamental principles through or by the means of
+these flexible vitalized movements. In this way I hope to make these ideas
+plainer and more definite to pupil and teacher.
+
+Every correct system of voice-training is based upon principle, theory, and
+the devices used to develop the principles. There are certain fundamental
+principles of voice, which are Nature's laws laid down to man, and which
+cannot be violated. Upon these principles we formulate theories. The
+theories may be right or wrong, as they are but the works of man. If they
+are right, the devices used are more apt to be right. If they are wrong,
+wrong effort is sure to follow, and the result is disastrous.
+
+After all, the most important question for consideration is that of the
+devices used to develop and train the voice. All depends upon whether the
+writer, the teacher, and the pupil study Nature's laws through common-sense
+methods or resort to artificiality. If the devices used are right, if they
+develop vitality, emotional energy, if they avoid rigidity and depression,
+then the singer need not know so much about principle and theory. But with
+the teacher it is different. He must know what to think and how to think it
+before he can intelligently impart the ideas to his pupils. Hence a system
+based upon correct principle, theory, and device is absolutely necessary
+for the teacher who hopes to succeed.
+
+The following system, as formulated, is largely the outgrowth of my summer
+work at Point Chautauqua, on Lake Chautauqua. There we have a school every
+summer, not only for the professional singer and teacher, but for those who
+desire to become such. Beside the private lessons we give a practical
+normal course in class lessons. There the principles, the theory, and the
+devices used are studied and worked out in a practical way by lecture, by
+illustration, and by the study of all kinds of voices. Many who have taught
+for years have there obtained for the first time an idea, the true idea, of
+flexible vitalized movements, the devices demanded by nature for giving the
+voice vitality, freedom, ease, etc. These teachers who are thus aroused
+become the most enthusiastic supporters of, and believers in, our system of
+flexible vitalized movements.
+
+It is, therefore, through the Chautauqua work that I have been impressed
+with the importance of placing this system in a plainer and more definite
+way, if possible, before the vocal world.
+
+
+
+
+PART SECOND.
+
+_VITALITY._
+
+
+
+
+ARTICLE ONE.
+
+THE FIRST PRINCIPLE OF ARTISTIC TONE--PRODUCTION.
+
+
+The first principle of artistic tone-production is
+
+  _The Removal of All Restraint_.
+
+The theory founded upon this principle is as follows: Correct tone is the
+result of certain conditions demanded by Nature, not man's ideas. These
+conditions are dependent upon form and adjustment; and form and adjustment,
+to be right, must be automatic, and not the result of direct or local
+effort.
+
+The devices used for developing the above conditions are simple vocal
+exercises which are favorable to correct form and adjustment, and are
+studied and made to influence the voice through correct position and
+action.
+
+A correct system for training and developing the voice must be based upon
+principle, theory, and device; upon the principles of voice which are
+Nature's laws, upon the theories based upon these principles, and upon the
+devices for the study and development of such principles.
+
+My purpose in this little work is to give just enough musical figures or
+exercises to enable us to study and apply the movements, the practical part
+of our system.
+
+The first principle of artistic tone-production is the removal of all
+restraint. This no one can deny without stultifying himself. The removal of
+all restraint means absolute freedom, not only of form and action, but of
+tone. It is evident, then, that any local hardening or contracting of
+muscle, any tension or contraction which would prevent elasticity, would
+make the removal of all restraint impossible. Hence we find that this first
+principle is an impossibility with the rigid local-effort school. On the
+other hand, relaxation, while it may remove restraint, makes artistic
+control and tonicity impossible. Hence artistic tone, based upon this first
+principle, is an impossible condition with the limp or relaxed school.
+
+That tone is the result of certain conditions demanded by Nature, and that
+these conditions are dependent upon form and adjustment, cannot be denied;
+but unless form and adjustment give freedom to the voice, unless they
+result in the removal of all restraint, then the manner or method in which
+they are secured must surely be wrong. Local effort or contraction cannot
+do this. Relaxation cannot secure the true conditions. There is and can be
+but one principle which makes true form and adjustment possible: All form
+and adjustment must be automatic, and not the result of direct or local
+effort.
+
+This brings us to a study of devices; and devices, to influence correctly
+not only the voice but the individual, must be in accordance with natural
+and not artificial conditions. The singer must put himself and keep himself
+upon a level with the tone--upon a level with the tone physically, mentally
+and emotionally. The device which we use, or the formula, is, _lift,
+expand, and let go_.
+
+With the singer who contracts the throat muscles during the act of singing,
+that which may be called the center of gravity or of effort is at the
+throat. With the singer who carries a consciously high chest and a drawn-in
+or contracted diaphragm, the center of gravity is at the chest. With the
+singer who takes a conscious full breath, and hardens and sets the
+diaphragm to hold it, the center of gravity is at the diaphragm. In none of
+these cases is it possible to remove all restraint; for they all result in
+contraction, especially of the throat muscles, and make flexible
+expansion--a condition necessary to absolute freedom--impossible.
+
+Place the center of gravity, by thought and action, at the hips. Everything
+above the hips must be free, flexible, elastic and vitalized when singing.
+We say, _lift, expand, and let go_, which must be in the following
+proportion: Lift a little, expand more than you lift, and let go entirely.
+The lift is from the hips up, and must be done in a free, flexible manner,
+with a constant study to make the body lighter and lighter, and the
+movement more elastic and flexible. Do not lift as though lifting a weight,
+but lift lightly as though in response to thought or suggestion.
+
+Expand the entire body in a flexible, elastic manner. This will bring into
+action every muscle of the body, and apply strength and support to the
+voice; for, as we have found, there is no strength correctly applied except
+through right movement. When we lift and expand properly, we expand the
+body as a whole, and not the chest alone, nor the diaphragm, nor the sides.
+These all come into action and expand with proper movement; but there must
+be no conscious thought of, nor conscious local effort of, any particular
+part of the body. When we lift and expand properly the chest becomes
+active, the diaphragm goes into a singing position, and every muscle of the
+body is on the alert and ready to respond to the thought or desire of the
+singer. Not only this; when we lift and expand properly, we influence
+directly the form and adjustment of all the vocal muscles, and especially
+the organ of sound itself. In this way the voice is actually and
+artistically tuned for the production of correct tone, as is the violin in
+the hands of the master before playing.
+
+_Lift, expand, and let go_. This brings us to a consideration of the
+third part of this expression, _let go_. This is in some respects the
+most important of the three; for unless the singer knows how to let go
+properly, absolute freedom or the removal of all restraint is impossible,
+and the true conditions of tone are lacking. The _let go_ does not
+mean relaxation, for there must be flexible firmness without rigidity. With
+the beginner the tendency is to lift, expand, and harden or contract all
+the muscles. This, of course, means restraint. The correct idea of _let
+go_ may be studied and better understood by the following experiment or
+illustration.
+
+Stand with the right arm hanging limp by the side. Lift it to a horizontal
+position, the back of the hand upward. While lifting, grip and contract
+every muscle of the arm and hand out to the finger-tips. This is much like
+the contraction placed upon the muscles of the body and of the throat by
+the conscious-breathing, local-effort school. Lift the arm again from the
+side, and in lifting have the thought or sensation of letting go all
+contraction of the muscles. Make the arm light and flexible, and use just
+enough strength to lift it, and hold it in a horizontal position. This
+should be the condition of all the muscles of the body under the influence
+of correct, _lift, expand, and let go_. Lift the arm the third time
+without contraction or with the sensation of letting go, hold it in a
+horizontal position, the back of the hand upward. Now will to devitalize
+the entire hand from the wrist to the finger-tips. Let the hand drop or
+droop, the arm remaining in a horizontal position. This condition of the
+hand is the _let go_, or the condition of devitalization, which should
+be upon the muscles of the face, the mouth, the tongue, the jaw, and the
+extrinsic muscles of the throat during the act of singing.
+
+Thus, when we say, _lift, expand, and let go_, we mean lift from the
+hips, the center of gravity, in an easy, flexible manner; expand the body
+with a free movement without conscious thought of any part of it; have the
+sensation of letting go all contraction or rigidity, and absolutely release
+the muscles of the throat and face. The _let go_ is in reality more a
+negative than a positive condition, and virtually means, when you lift and
+expand, do not locally grip, harden, or set any muscle of the body, throat,
+or face.
+
+The _lift, expand, and let go_ must be in proportion to the pitch and
+power of the tone. This, if done properly, will result in automatic form
+and adjustment, the removal of all restraint, and open, free throat and
+voice. This is the only way in which it is possible to truly vitalize, to
+arouse the physical, mental and emotional powers of the singer. This is the
+only way in which it is possible to put yourself and keep yourself upon a
+level with the tone--upon a level, physically, mentally and emotionally.
+This is in truth and in fact the singer's true position and true condition;
+this is in truth and in fact self-assertion; and this, and this only, makes
+it possible to easily and naturally _arouse_ "the singer's sensation,"
+the true sensation of artistic singing.
+
+We will take for our first study a simple arpeggio, using the syllables Ya
+ha, thus:
+
+[Illustration: FIRST STUDY. Ya, ha....]
+
+We use Ya on the first tone, because when sung freely it helps to place the
+tone well forward. Ya is pronounced as the German _Ja_. We use ha on
+all other tones of this study for the reason that it is the natural
+staccato of the voice. Think it and sing it "in glossic" or phonetically,
+thus: hA, very little h but full, inflated, expanded A. A full explanation
+for the use of Ya and ha may be found in "Position and Action in Singing,"
+page 117. All the studies given in this little work for the illustration
+and study of the movements of our system should be sung on all keys as high
+and as low as they can be used without effort and without strain.
+
+It has been said that "the production of the human voice is the effect of a
+muscular effort born of a mental cause." Therefore it is important to know
+what to think and how to think it.
+
+We say, put yourself and keep yourself constantly upon a level with the
+tone, mentally, physically and emotionally. For the present we have to do
+with the mental and physical only.
+
+Stand in an easy, natural manner, the hands and arms hanging loosely by the
+sides. You desire to sing the above exercise. Turn the palms of the hands
+up in a free, flexible manner, and lift the hands up and out a little, not
+high, not above the waist line. When moving the hands up and out, move the
+body from the hips up and out in exactly the same manner and proportion.
+The hands and arms must not move faster than the body; the body must move
+rhythmically with the arms. This rhythmical movement of body and arms is
+highly important. In moving, the sensation is as though the body were
+lifted lightly and freely upon the palms of the hands. The hands say to the
+body, "Follow us." In this way, _lift, expand, and let go_. Do not
+raise the shoulders locally. The movement is from the hips up. The entire
+body expands easily and freely by letting go all contraction of muscle. Do
+not first lift, and after lifting expand, and then finally try to let go,
+as is the habit of many; but lift, and when lifting expand, and when
+lifting and expanding let go as directed. Three thoughts in one
+movement--three movements in one--lifting, expanding, and letting go
+simultaneously as one movement, which in fact it must finally become. This
+is the only way in which it is possible to secure all true conditions of
+tone.
+
+With this thought in mind, and having tried the movement without singing,
+sing the above exercise. Start from repose, as described, and by using the
+hands and body in a free, flexible manner, move to what you might think
+should be the level of the first tone. Just when you reach the level of the
+first tone let the voice sing. Move up with the arpeggio to the highest
+note, using hands, body, and voice with free, flexible action; then move
+body and hands with the voice down to the lowest note of the arpeggio; when
+the last tone is sung go into a position of repose.
+
+The movement from repose to the level of the first tone is highly
+important, for the reason that it arouses the energies of the singer, and
+secures all true conditions through automatic form and adjustment. Do not
+hesitate, do not hurry. All movement must be rhythmical and spontaneous,
+and never the result of effort. In singing the arpeggio the tones of the
+voice must be strictly staccato; but the movement of the hands and body
+must be very smooth, even, and continuous--no short, jerky movements.
+
+The movement of the body is very slight, and at no time, in studying these
+first exercises, should the hands be raised above the level of the hips or
+of the waist line. Of course with beginners these movements may be more or
+less exaggerated. When singing songs, however, they do not show, at least
+not nearly as much as wrong breathing and wrong effort. They simply give
+the singer the appearance of proper dignity, position, and self-assertion.
+By all means use the hands in training the movements of the body. You can
+train the body by the use of the hands in one-fourth of the time that it is
+possible to do it without using them. Be careful, however, not to raise the
+hands too high, as is the tendency; when lifted too high the energy is
+often put into the hands and arms instead of the body; in this way the body
+is not properly aroused and influenced, and of course true conditions are
+not secured.
+
+"Practical rules must rest upon theory, and theory upon nature, and nature
+is ascertained by observation and experience." Now, if you will practice
+this arpeggio with a free, flexible movement of hands and body, getting
+under the tone, as it were, and moving to a level of every tone, you will
+soon find by practice and experience that these movements are perfectly
+natural, that they arouse all the forces which nature gave us for the
+production of tone, that they vitalize the singer and give freedom to the
+voice. By moving properly to a level of the first tone you secure all true
+conditions of tone; and if you have placed yourself properly upon a level
+with the high tone, when that is reached you will have maintained those
+true conditions--you will have freedom, inflation and vitality instead of
+contraction and strain.
+
+By moving with the voice in this flexible manner we bring every part of the
+body into action, and apply strength as nature demands it, without effort
+or strain. Remember, there is no strength properly applied in singing
+without movement. In this way the voice is an outward manifestation of an
+inward feeling or emotion. "The voice is your inner or higher self,
+expressed not _at_ or _by_ but _through_ the vocal organs,
+aided by the whole body as a sound-board."
+
+Our next study will be a simple arpeggio sung with the _la_ sound,
+thus:
+
+[Illustration: SECOND STUDY. La....]
+
+This movement, of course, must be sung with the same action of hands and
+body, starting from repose to the level of the first tone, and keeping
+constantly upon a level with the voice by ascending and descending. Sing
+this exercise first semi staccato, afterwards legato.
+
+The special object of this exercise is to relax the jaw, the face, and the
+throat muscles. A stiff, set jaw always means throat contraction. In this
+exercise, if sung in every other respect according to directions, a stiff
+jaw would defeat the whole thing, and make impossible a correct production
+of every high tone.
+
+In singing the _la_ sound, the tip of the tongue touches the roof of
+the mouth, just back of the upper front teeth. Think the tone forward at
+this point, and let the jaw rise and fall with the tongue. Devitalize the
+jaw and the muscles of the face, move up in a free, flexible manner to the
+level of every tone, and you will be surprised at the freedom and ease with
+which the high tones come. The moving up in the proper way applies
+strength, and secures automatic form and adjustment; develops or
+strengthens the resisting or controlling muscles of the voice; in fact,
+gives the voice expansion, inflation, and tonicity.
+
+Remember that one can act in singing; and by acting I mean the movements as
+here described, lifting, expanding, etc., without influencing the voice or
+the tone, without applying the movements to the voice; of course such
+action is simply an imitation of the real thing. Herein, however, lies the
+importance of correct thinking. The thought must precede the action. The
+singer must have some idea of what he wants to sing and how he wants to
+sing it. A simple chance, a simple hit or miss idea, will not do. Make your
+tone mean something. Arouse the singer's sensation, and you can soon tell
+whether the movement is influencing the tone or not. Of course these
+movements are all more easily applied on the middle and low tones than on
+the higher tones, but these are the great successful movements for the
+study and development of the high tones.
+
+As we have learned in our former publications, there are but three
+movements in singing,--ascending, descending, and level movements. We have
+so far studied ascending and descending movements or arpeggios. We will now
+study level movements on a single tone, thus:
+
+[Illustration: THIRD STUDY. Ah.]
+
+Place yourself in a free, flexible manner upon a level with the tone by the
+use of the movements as before described; lift, expand, and let go without
+hurrying or without hesitation, and just when you reach that which you feel
+to be the level of the tone let the voice sing. All must be done in a
+moment, rhythmically and without local effort. Sing spontaneously, sing
+with abandon, trust the movements. They will always serve you if you trust
+them. If you doubt them, they are doubtful; for your very doubt brings
+hesitation, and hesitation brings contraction. Sing from center to
+circumference, with the thought of expansion and inflation, and not from
+outside to center. The first gives freedom and fullness of form, the latter
+results in local effort and contraction. The first sends the voice out full
+and free, the latter restrains it. Expansion through flexible movement is
+the important point to consider. When the tone is thus sung, it should
+result in the removal of all restraint, especially from the face, jaw, and
+throat. In this way the tone will come freely to the front, and will flow
+or float as long as the level of the tone is maintained without effort.
+
+Remember the most important point is the movement from repose to the level
+of the tone. If this is done according to directions, all restraint will be
+removed and all true conditions will prevail. Never influence form. Let
+form and adjustment be automatic, the result of right thought, position,
+and action. Study to constantly make these movements of the body easier and
+more natural. Take off all effort. Do not work hard. It is not hard work.
+It is play. It is a delight when properly done. Make no conscious, direct
+effort of any part of the body. Never exaggerate the movement or action of
+one part of the body at the sacrifice of the true position of another. The
+tendency is to locally raise the chest so high that the abdomen is
+unnaturally drawn in. This, of course, is the result of local effort, and
+is not the intention of the movements. The center of gravity must be at the
+hips; and all movement above that must be free, flexible, and uniform.[1]
+
+[Footnote 1: In this connection, see Supplementary Note, page 135.]
+
+Do not give a thought to any wrong thing you may be in the habit of doing
+in singing, but place your mind upon freeing the voice, upon the removal of
+all restraint through these flexible vitalized movements: think the ideal
+tone and sing. When the right begins to come through these movements the
+wrong must go. Over and against every wrong there is a right. We remove the
+wrong by developing the right. Sing in a free, flexible manner, the natural
+power of the voice. Make no effort to suppress the tone or increase its
+power. After the movements are understood and all restraint is removed,
+then study the tone on all degrees of power, but remember when singing soft
+and loud, and especially loud, that the first principle of artistic singing
+is the removal of all restraint.
+
+
+
+ARTICLE TWO.
+
+THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+
+
+The second principle of artistic tone-production is
+
+  _Automatic Breathing and Automatic Breath-Control._
+
+_Theory._--The singing breath should be as unconscious,--or, rather,
+as sub-conscious,--as involuntary, as the vital or living breath. It should
+be the result of flexible action, and never of local muscular effort. The
+muscular breath compels muscular control; hence throat contraction. The
+nervous breath, nervous control; hence relaxation and loss of breath.
+
+_Devices._--_Expand to breathe. Do not breathe to expand._ Expand
+by flexible, vitalized movements; control by position the level of the
+tone, and thus balance the two forces, "pressure and resistance." In this
+way is secured automatic adjustment and absolute automatic breath-control.
+
+More has probably been written and said upon this important question of
+breathing in singing than upon any other question in the broad field of the
+vocal art; and yet the fact remains that it is less understood than any of
+the really great principles of correct singing. This is due to the fact
+that most writers, teachers, and singers believe that they must do
+something--something out of the ordinary--to develop the breathing powers.
+The result is, that most systems of breathing are artificial; therefore
+unnatural. Most systems of breathing attempt to do by direct effort that
+which Nature alone can do correctly. Most breathing in singing is the
+result of direct conscious effort.
+
+The conscious or artificial breath is a muscular breath, and compels
+muscular control. The conscious breath--the breath that is taken locally
+and deliberately (one might almost say maliciously) before singing--expands
+the body unnaturally, and thus creates a desire to at once expel it. In
+order to avoid this, the singer is compelled to harden and tighten every
+muscle of the body; and not only of the body, but of the throat as well.
+Under these conditions the first principle of artistic tone-production--the
+removal of all restraint--is impossible.
+
+As the breath is taken, so must it be used. Nature demands--aye,
+compels--this. If we take (as we are so often told to do) "a good breath,
+and get ready," it means entirely too much breath for comfort, to say
+nothing of artistic singing. It means a hard, set diaphragm, an undue
+tension of the abdominal muscles, and an unnatural position and condition
+of the chest. This of course compels the hardening and contraction of the
+throat muscles. This virtually means the unseating of the voice; for under
+these conditions free, natural singing is impossible. The conscious, full,
+muscular breath compels conscious, local muscular effort to hold it and
+control it. Result: a stiff, set, condition of the face muscles, the jaw,
+the tongue and the larynx. This makes automatic vowel form, placing, and
+even freedom of expression, impossible. The conscious, artificial breath is
+a handicap in every way. It compels the singer to directly and locally
+control the parts. In this way it is not possible to easily and freely use
+all the forces which Nature has given to man for the production of
+beautiful tone.
+
+Now note the contrast. The artistic breath must be as unconscious or as
+involuntary as the vital or living breath. It must be the result of free,
+flexible action, and never of conscious effort. The artistic, automatic
+breath is the result of doing the thing which gives the breath and controls
+the breath without thought of breath. The automatic breath is got through
+the movements suggested when we say, _Lift, expand, and let go_.
+
+When the singer lifts and expands in a free, flexible manner the body fills
+with breath. One would have to consciously resist this to prevent the
+filling of the lungs. The breath taken in this way means expansion,
+inflation, ease, freedom. There is no desire to expel the breath got in
+this way; it is controlled easily and naturally from position--the level of
+the tone. When the breath is thus got through right position and action, we
+secure automatic form and adjustment; and correct adjustment means
+approximation of the breath bands, inflation of the cavities--in fact, all
+true conditions of tone. Nature has placed within the organ of sound the
+principle of a double valve,--one of the strongest forces known in
+mechanics,--for the control of the breath during the act of singing. This
+is what we mean by automatic breath-control--using the forces which Nature
+has given us for that purpose, using them in the proper manner.
+
+If the reader is familiar with my last two works, "Vocal Reinforcement" and
+"Position and Action in Singing," he will have learned through them that we
+have not direct, correct control of the form and adjustment of the parts
+which secure the true conditions of tone and automatic breath-control.
+These conditions, as we have learned, are secured through the flexible
+movements which are the ground-work of our system. Therefore we say,
+_Trust the movements_. If you have confidence in them, they will
+always serve you. If you doubt them, they are doubtful; for the least doubt
+on the part of the singer means more or less contraction and restraint;
+hence they fail to produce the true conditions.
+
+This automatic breathing, the result of the movements described, does not
+show effort or action half so much as the old-fashioned, conscious muscular
+breath. Breathing in this way means the use of all the forces which Nature
+has given us. Breathing in this way is Nature's demand, and the reward is
+Nature's help.
+
+The devices we use to develop automatic breathing and automatic
+breath-control are the simplest possible exercises, studied and developed
+through the movements, as before described. In this way through right
+action we expand to breathe, or rather we breathe through flexible
+expansion, and we control by position, by the true level of the tone. In
+this way, as we have found, all true conditions are secured and maintained.
+
+We will take for our first study a single tone about the middle of the
+voice. Exercise three in Article One of this second part of the book will
+suggest the idea.
+
+Sing a tone about the middle of the voice with the syllable _ah_.
+Lift, expand, and let go, by the use of the hands and the body, as before
+suggested. The lifting and expanding in a free, flexible manner will give
+you all the breath that is needed; and the position, the level of the tone,
+will hold or control the breath if you have confidence. Remember that
+automatic breathing depends upon first action, the movement from repose to
+the level of the tone. If the action is as described, sufficient breath
+will be the result. If the position, the level of the tone, is maintained
+without contraction, absolute automatic breath-control will be the result
+so sure as the sun shines.
+
+The tendency with beginners and with those who have formed wrong habits of
+breathing, is to take a voluntary breath before coming into action. This of
+course defeats the whole thing. Again, the tendency of beginners or of
+those who have formed wrong habits, is to sing before finding the level of
+the tone through the movements, or to start the tone before the action.
+This of course compels local effort and contraction, and makes success
+impossible. The singer must have breath; and if he does not get it
+automatically through the flexible movements herein described, or some such
+movements, he is compelled to take it consciously and locally. The
+conscious local breath in singing is always an artificial breath, and
+compels local control. Under these conditions ease and perfect freedom are
+impossible.
+
+As we have said, the important thing to consider in this study is the
+movement from repose to the level of the first tone. Move in a free,
+flexible manner as before described, and give no thought to breath-taking.
+When you have found the level of the tone, all of which is done
+rhythmically and in a moment, let the voice sing,--sing spontaneously. Make
+no effort to hold or control the breath. Maintain correct position the
+level of the tone, in a free, flexible manner, and sing with perfect
+freedom, with abandon. As the movement or action gave you the breath, so
+will the position hold it. The more you let go all contraction of body and
+throat muscles, the more freedom you give the voice, the more will the
+breath be controlled,--controlled through automatic form and adjustment.
+This is a wonderful revelation to many who have tried it and mastered it.
+Those who have constantly thought in the old way, and attempted to breathe
+and control in the old way, cannot of course understand it. The tendency of
+such is to condemn it,--to condemn it, we are sorry to say, without
+investigation.
+
+Knowledge is gained through experience. The singer or pupil who tries this
+system of breathing and succeeds, needs no argument to convince him that it
+is true, natural and correct. The greatest drawback to the mastering of it
+on the part of many singers and teachers, is the artificial habits acquired
+by years of wrong thinking and wrong effort. With the beginner it is the
+simplest, the easiest, and the most quickly acquired of all systems of
+breathing; for automatic breathing is a fundamental, natural law of
+artistic singing.
+
+For further illustration of this principle of breathing we will use the
+following exercise:
+
+[Illustration: FOURTH STUDY. Ah....]
+
+Place yourself in a free, flexible manner on a level with the first tone.
+If this is done properly, you will have secured automatically a singing
+breath and all true conditions of tone. When singing this exercise move the
+hands and body with the tone or voice, ascending and descending. In
+ascending open freely and naturally by letting go. Do not influence the
+form by attempting locally to open. Do not influence the form by locally
+preventing freedom or expansion. Let go all parts of the face, mouth and
+throat, and you will be surprised at the power of the tone, of the breath,
+and of the breath-control on the upper tone. You will be surprised to find
+that you will have secured or developed three or four times as much
+sustaining breath power as you imagined you had. In descending, care must
+be taken not to droop or depress, but to carry the voice by controlling the
+movements of the body, and only after the last tone is finished should the
+body go into a position of repose.
+
+Sing this exercise in all degrees of power, soft, medium and loud,
+maintaining the same true conditions on all. The tendency of most singers
+is to relax and depress on soft tone, or to pinch and contract. Soft tone
+should never be small in form, and it should always have the same vitality
+and energy as the louder tone.
+
+[Illustration: FIFTH STUDY. Ah....]
+
+This exercise should be studied and practiced in every way suggested for
+the study of the preceding exercises. Place yourself upon a level with the
+first tone, in the manner before described, and thus secure the automatic
+breath. Do not forget to use the hands to suggest the movement to the body.
+The hands should be used until the body is thoroughly trained to flexible
+action. It is always a question of "the thought before the action." Do not
+allow a conscious or local breath before the movement.
+
+Place yourself upon a level with the first tone, and allow or let the voice
+start spontaneously and freely. Make no effort to hold the breath. Hold
+from position. Sing down, moving with the voice, but do not let the body or
+the tone droop or relax. Neither must there be stiffness or contraction. If
+you find it impossible to control the voice in this way, or to prevent
+depression of body and of tone, then try the following way.
+
+Place yourself upon a level with the first tone in the proper manner, sing
+down, but lift and expand with an ascending movement of the hands and body.
+Open the mouth freely and naturally, and let the tone roll out. You will be
+surprised to find not only great breath power and control, but a power in
+the tone that most singers imagine can be got through physical force alone.
+This power is the result of expansion and inflation, the true reinforcing
+power. The increased vitalized energy of the tone is the result of the
+upward and outward movement. This movement of expansion and inflation
+through flexible action, is the true application of strength or of power.
+It is that which we call the reverse movement. We sing down and move up. It
+is the great movement for developing the low tones of all voices. This
+reverse movement may be applied at will to all the studies given; it will
+depend upon the effect we may desire to produce. If in descending, a quiet
+effect is desired, the movement is with the voice. If we want power we
+reverse the action. The body, when properly trained, becomes the servant of
+the will, and responds instantly to thought and desire. Hence the
+importance of correct thought.
+
+In presenting these ideas to my readers, I realize how difficult it is to
+put them in words, and how much they lose when they appear in cold print.
+In working with a living, vitalized voice, the effect is so different. The
+reader who may desire to experiment with these ideas should place himself
+before a mirror, and make his image his pupil, his subject. In this way he
+can better study the movements, the action, the position, the level of the
+tone, and the breathing.
+
+In private teaching, of course, we do not take up one subject or principle
+and finish that, and then take up the next one; but one idea is constantly
+built upon another to form the harmonious whole. The formula which we use
+here, as we have said, is the one adopted for the normal class at the Point
+Chautauqua summer school. This we do in order to have the system properly
+arranged for lecture, illustrations, and for a practical study of the
+devices, not only from the singer's, but from the teacher's standpoint as
+well.
+
+The teacher or singer who studies and masters this course never questions
+or doubts the truth and power of automatic breathing and automatic
+breath-control; or the wonderful influence on the voice of these movements,
+which we call true position and action in singing.[1]
+
+[Footnote 1: The few exercises or studies here given, as well as a number
+of others, may be found fully carried out with accompaniment, in "Exercises
+for the Training and Development of the Voice," by the author of this work.
+Published by William A. Pond and Company.]
+
+
+
+ARTICLE THREE.
+
+THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+
+
+The third principle of artistic tone-production is
+
+  _High Placing and Low Resonance._
+
+_Theory._--Tone, to be artistic, must be placed forward and high, and
+must be reinforced by the low cavities and chest resonance; it must be
+placed high, and reinforced or built down by added resonance through
+expansion and inflation.
+
+_Devices._--Place high by removing all restraint, all obstruction,
+through flexible movements. The high, forward placing is the natural focus
+of the voice. When the voice is thus placed and automatic control prevails,
+reaction and reflection occur, and the sympathetic low resonance of the
+inflated cavities is added to the tone. Also study the naturally high
+placing of E and the naturally low color of oo; then equalize all the
+vowels through their influence, and thus develop uniform color and quality
+in all.
+
+This third principle of artistic singing is a very important one, and means
+much more than one might, at first thought, suppose. Many singers think of
+placing simply as the point of contact or impact of the air current.
+Placing, however, means more than this. It means not only the correct focus
+of tone forward and high, but it also means reaction and reflection of the
+air current; in short, sympathetic added vibration of air in the low
+inflated cavities. This being true, we find that correct placing means even
+much more. It means the true form and adjustment of all the parts--all true
+conditions of tone.
+
+The prevailing idea of placing is the thought of constantly pushing up the
+tone. Result, the organ of sound is pushed out of place and all true
+conditions disturbed. The pushed-up tone means local, muscular effort,
+contraction, and a hard, unmusical voice. The voice thus placed may be loud
+and brilliant, but never soulful or beautiful. The pushed-up tone means
+singing from the larynx up. It means head-resonance only; and
+head-resonance is but one side, and that the smallest side, of this great
+question.
+
+Tone must be placed spontaneously, with reaction and reflection. This shows
+at once the importance of the first two great principles of
+voice-production,--freedom and automatic breath-control; for without these
+true placing is impossible. Tone placed in this way means the ring of the
+forward high placing and the added resonance of the inflated cavities and
+especially of the chest.
+
+In singing, as we have learned, there are two forces constantly in
+action,--pressure and resistance, or motor power and control. These two
+forces must prevail, and in order to produce the voice artistically, they
+must be balanced. This is done, indirectly, through the movements we
+advocate, through the position and action of the body. The motor power lies
+in the diaphragm and in the abdominal and intercostal muscles. The
+controlling force lies in the chest, in a properly adjusted larynx and the
+approximated breath-bands. These two forces must be balanced during the act
+of singing. Most singers are much stronger in the driving or motor power
+than in reaction or the controlling force; and with many, the weakness in
+control, reaction or adjustment, is an absolute bar to success. Hence the
+importance of strengthening the chest, and the position of the organ of
+sound, through physical culture.
+
+When these two forces, motor power and control, are not equal, the balance
+of force is placed upon the throat and throat muscles. This the singer can
+no more avoid doing than he can avoid balancing himself to keep from
+falling. When, in order to place, the voice is pushed up, deliberately and
+maliciously pushed, both forces are exerted in the same direction. They are
+then virtually but one force--a driving force. As there must be two forces
+in singing, as Nature compels this, there is nothing left for the singer to
+do but to use the throat and throat muscles as a controlling force. Under
+these conditions, as before stated, the tone may be brilliant, but it will
+always be unsympathetic and unmusical.
+
+I hope no one will think for a moment, in considering the movements we
+advocate, that we do not believe in strength and power. We do believe in
+applied power, applied indirectly; not by local grip and contraction, but
+indirectly through vitalized energy, expansion, and flexibility, through
+the true position and action of the singer. There is no strength properly
+applied in singing except through movement; through correct movement all
+the forces which nature has given the singer are indirectly brought into
+action; in this way there is constant physical and vocal development.
+
+Every tone sung, as we have learned, is a reinforced sound. There are two
+ways of reinforcing tone. First, by muscular tension, muscular contraction,
+muscular effort--the wrong way. Second, by vitalized energy, by expansion,
+and by added resonance of air in the inflated cavities--the right way. Of
+course to produce expansion and inflation, true conditions of form and
+adjustment must prevail, through the movements given.
+
+Form has much to do with determining the quality and character of the tone.
+Muscular effort, either in placing or reinforcing the tone, results in
+muscular contraction, and in most cases in elliptical form of voice, thus:
+[drawn horizontal oval] This means depressed soft palate, high larynx,
+contraction of the fauces, closed throat, and spread open mouth.
+Result--high placing impossible, no low color or reinforcement; in short,
+hard muscular tone. The tone may be loud but it cannot be musical.
+
+The true musical form of the voice is elongation, thus: [drawn vertical
+oval] This means high placing and low resonance; it means that the tone has
+the ring of forward high placing and the reinforcement, color, and beauty
+of added low resonance. Elongation is a distinguishing feature of all truly
+great voices.
+
+For artistic tone, the soft palate must be high, the larynx must be low,
+and the throat and mouth allowed to form, not made or compelled. The form
+must be flexible and elastic. The larynx must be low in adjustment for the
+production of beautiful tone, but it must never be locally adjusted. It
+must always be influenced indirectly through the movements we advocate,
+through the true position and action of singing. In this way are secured
+open throat, freedom of voice, all true conditions. In this way the tone
+may be placed by impulse, by flexible action, may be started high and
+instantly reflected into the inflated cavities. This means perfect poise of
+voice; it means the focus of the tone high and forward with the sympathetic
+added vibration of the low cavities and especially of the chest. This is
+the only true placing of voice,--the combination of head and chest
+resonance through automatic form and adjustment. A tight throat through
+local, muscular effort makes these conditions impossible.
+
+The true resonance-chamber then, as we have found, is from head to chest;
+sympathetically the resonance of the entire body must be added. The true
+artist sings with the body, through the throat, and never with the throat.
+In this way the entire singer is the instrument. Fill the body with sound.
+The higher the tone the more elongated the form. Nature demands this. If
+this does not occur contraction and depression are sure to follow. Also the
+higher the tone the lower the added resonance, when the conditions are
+right. In this way the form elongates and the compass expands without
+effort or strain. These ideas studied through flexible movements are truly
+wonderful, but natural means for expanding the compass of the voice.
+
+Much has been written lately on the subject of open tones. Should the tones
+be opened or closed, is the question. Tone should never be closed. It
+should always be open, but never out. If it is out of the mouth it is not a
+singing sound. Even the real covered tones of the voice should never be
+closed. The truth is, the form of the covered tones of the voice, through
+elongation, is larger than the form of those which we call the open tones,
+in contradistinction to the covered.
+
+In the clear timbre of the voice, the bright tone, the ring of high
+placing, predominates. In somber timbre, the dark tone, low resonance, or
+low color, predominates. In medium tone both are heard or felt more
+equally. None of this coloring or reinforcing must be done by locally
+influencing form or placing. The voice must be perfectly free; and the
+result must be due to sentiment, feeling, emotion, to the effect it may be
+desired to produce. If all restraint is removed, if true conditions
+prevail, this can always be done through the singer's sensation, through
+the use of the third power. It is marvelous how, under right conditions,
+the voice will respond to thought, to sentiment, to feeling.
+
+"The tone thus produced and thus delivered, with perfect breath-control,
+will set the _whole body sympathizing_, from the sole of the foot to
+the crown of the head. And it is _only_ tones like these--that it is
+possible to so adorn, and decorate, and beautify, with the due amount of
+emphasis, and accurate intensity of emotional feelings, and exquisitely
+shaded and ever-varying tinges of color in expression--that can prove
+capable of captivating the heart of the hearer, that can graphically
+impress the listener with such sentiments as the vocalist desires to
+convey."
+
+We will take for our first study a single tone about the middle of the
+voice. In studying placing and resonance, we must of course observe all the
+rules laid down in regard to the action, position, etc. Do not take a
+voluntary breath before acting--do not start the tone before the action,
+two things which require constant watching on the part of the beginner.
+Either of them will virtually cause defeat.
+
+Remove all obstruction by seeking the level of the tone through flexible
+action. Think the tone forward and high. Place by impulse, and never by
+local effort. Have the sensation as though the tone started forward and
+high, as though it impinged against the roof of the mouth, and instantly
+reflected into the low cavities, and especially into the chest. In doing
+this, relax the jaw, let go all face and throat contraction, expand the
+body, and think and feel the chest vibrant and filled with tone. In this
+way the tone may be started high and reinforced or built down by the added
+resonance of all the inflated cavities.
+
+Another way to do this, is to start the tone spontaneously by impulse
+through correct action; in doing so, think and feel as though the tone
+placed and reflected at the same instant, forward against the roof of the
+mouth and on the chest,--as though the contact or impingement of the tone
+were felt at both places simultaneously. Of course the high forward placing
+in mouth and face is the true placing, and the sensation on the chest is
+the action or reflection of the true placing. This can be done through
+flexible vitalized action alone. With a tight throat or local muscular
+effort it is impossible. This is perfect attack, and in this way all force
+and push are avoided. In this way freedom and inflation are secured, that
+condition which unites head and chest resonance.
+
+Think of a rubber pouch filled with air. Imagine you grasp it in the middle
+with the hand, and close the hand tight. The upper part of this pouch
+represents the face and high forward placing. That below the hand, or the
+lower part, the chest resonance. The hand holding the middle of the pouch
+represents the throat. So long as the hand contracts tightly the middle of
+the pouch, there is no connection between the air in the upper and lower
+parts of the pouch. If the desire is to connect these two parts, relax the
+hand a little, and allow an opening or a free passage between them. In
+singing, the same relaxation or opening must occur at the throat, if the
+desire is to connect the ring of high placing with the resonance of the low
+cavities. If the desire is to reinforce, to build down, the extrinsic
+muscles of the throat must relax, and the throat must expand.
+
+In thus placing and reinforcing tone, the pupil is guided or assisted not
+only by the sense of hearing but by the sense of feeling. There will be the
+sensation of freedom, of ease, of power; a feeling as though the entire
+body from the head down to the waist were open and filled with tone.
+Remember, however, this important fact, that it is possible to lift and
+expand, and even to let go, and yet not to influence the tone. We can act
+well and yet sing with a common tone. The pupil must think and feel the
+tone, must think and feel the effect desired. The thought must precede the
+action.
+
+This point is worthy of all consideration,--right thought or right feeling
+assists the tone in every way, has, in fact, a wonderful influence in
+developing right action. The idealized tone brings into action more of the
+true powers of the singer than it is possible to do in any other way.
+
+[Illustration: SIXTH STUDY. Ya, ah.]
+
+This study lends itself easily and naturally, not only to the development
+of high placing, but to correct bodily action.
+
+Sing the first tone staccato, placing the body upon a level with the tone
+as described. Then from the level of this first tone, through flexible
+vitalized action, carry the body spontaneously or by impulse to the level
+of the upper tone; the air current or the tone should strike the roof of
+the mouth well forward and instantly reflect into the low cavities. In this
+way all true conditions are secured, and the voice is allowed to sing
+instead of being made or compelled. There must be a very free lift,
+expansion, and let go between the first and the upper tone. Do not let the
+second tone start until its level is reached, or the effect will be
+spoiled, or at least modified. All this must be done rhythmically, which
+means without the least hesitation, or without the sensation of haste. To
+hesitate compels local effort. To hurry disturbs all true conditions. This
+is a very valuable exercise, if understood.
+
+[Illustration: SEVENTH STUDY. Ah....]
+
+This study is virtually the same as the sixth, except that the voice is not
+suspended or arrested between the first and second tones. This exercise
+must be studied with the same action and the same impulse as the sixth
+study. Some singers can get placing and reaction better on this study than
+on the sixth.
+
+[Illustration: EIGHTH STUDY. Ah....]
+
+Find the level of the first tone as suggested, using hands and body; move
+down, hands and body going with the tone, while singing the first three
+notes of this exercise; then, without stopping or hesitating, reverse the
+action or the movement, by lifting hands and body, and opening wide by
+dropping the lower jaw, while singing the last three notes. Of course the
+voice must sing from the highest to the lowest note with a continuous
+legato flow. The movement of the body down with the first three notes and
+the reverse action, moving up and out on the last three, must be smooth and
+continuous. If this is done properly the reverse action will give a
+wonderful sensation of freedom, openness, and the power of low added
+resonance. It demonstrates forcibly what is meant by placing up and
+building down.
+
+This is the great idea or the great movement for developing the low tones
+in all voices. When the low tones are thus developed by expansion, but
+without effort, the same idea of freedom and low resonance can be carried
+into the high tones. This can be done especially well and easily on
+exercises six and seven. The higher the tone the lower the resonance should
+be if the object be a full beautiful, free tone.
+
+[Illustration: NINTH STUDY. Ah....]
+
+Place yourself upon a level with the first tone as suggested, and allow the
+tone to start spontaneously, striking, as it were, the roof of the mouth
+and the chest simultaneously. Move body and hands down with the voice to
+the low tone, and then instantly but rhythmically, lift back to the level
+of the upper tone. Feel as though you were under the tone with body and
+hands in moving up, and let the tone strike by impulse, the roof of the
+mouth, and instantly reflect into the chest. Practice this exercise until
+it can be done with perfect freedom of form and action.
+
+In starting the first tone in all these exercises, feel the vibration in
+the face, on the forehead, and on the cheek-bones. If this is done without
+pushing, but by flexible action, a sympathetic vibration can be felt
+through the entire body.
+
+A very effective and successful study of high placing and low resonance may
+be got through a consideration of the natural placing and resonance of the
+vowel sounds. As I have written so fully on the vowel sounds in my former
+works, I shall simply touch upon that important question here.
+
+E as in _reed_ is naturally the highest placed vowel in the English
+language. U or oo as in _you_ or _do_ is naturally the lowest in
+color. Sing E with the freedom of action as suggested, and think it high in
+the face. Make no effort to influence the form. The form of E is naturally
+very small. E will be found in this way to be free and bright, not hard and
+wiry. Sing oo in the same way. The form of oo is also very small. Oo should
+have a flute-like sound. It will be found that in E high resonance
+predominates. In oo low color. In studying the vowels the aim should be to
+equalize them by placing, reinforcing, and coloring them as nearly alike as
+possible. In this way they are equalized instead of differentiated.
+
+Place E as suggested, and color it by the thought and influence of the low
+resonance of oo. Sing oo as suggested, and brighten it by the thought,
+influence, and high placing of E. In this way study all other vowels,
+influencing them by the high placing of E and the low resonance of oo. The
+high ring and brightness of the reed sounds of the voice, must be modified
+and influenced by the color and low resonance of the flute sounds. The
+flute sounds of the voice must be made more brilliant and free by the
+influence of the high placing and high resonance of the reed sounds. In
+this way we equalize all the vowels until, in a certain sense, they all
+have the same color and quality and sound, as though they belonged to one
+and the same voice. For a further study of high placing, use the second
+sound of O, or, as some writers classify the vowels, the second sound of
+U,--the sound of uh as heard in up. This is the highest, narrowest, and
+most elongated arch form in the English language; consequently it is, for
+many voices, the most favorable sound for the study of high placing.
+
+All vowel sounds, like all tones of the voice, are reinforced sounds. The
+tendency of most singers is to sing the reed sounds too white and the flute
+sounds too dark. By properly distributing brilliancy and color we influence
+and modify all the vowels without losing their character or individuality.
+
+
+
+
+PART THIRD.
+
+_AESTHETICS._
+
+
+
+ARTICLE ONE.
+
+THE FOURTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The fourth principle of artistic singing is
+
+_Emotional or Self-Expression._
+
+_Theory_.--Vitalized emotional energy, the "Singer's Sensation," is
+the true motor power of the voice.
+
+_Devices_.--A study of tone-color and tone-character; the idealized
+tone, applied and developed by the use of words and sentiment.
+
+The student of the voice who has studied, understood, and, to a certain
+extent, mastered the first three great principles of voice production--the
+removal of all restraint, automatic breathing, high placing, and low
+resonance--has certainly accomplished much. He has aroused and developed
+the physical and mental vitality of the singer, the vitality and energy of
+body and mind. This is the limit of progress or development with many, at
+least so far as actual tone study is concerned.
+
+There comes a time, however, in the experience of every student of the
+voice, a stage of the study, when, if he expects to be an artist, he must
+take a step in advance, a step higher; he must place himself upon a higher
+plane or level; he must arouse his true inner nature, the singer's
+sensation, that which we have called the third power. This is done by a
+study of emotional, or self-expression. It is done through arousing and
+vitalizing the emotional energy. Vitalized emotional energy, the singer's
+sensation, is undoubtedly the true motor power of the artist.
+
+At just what stage of development the consideration of this higher form of
+study or expression should be placed before the mind of the pupil, is a
+question. Singers are so different, physically, mentally, and emotionally.
+With some I have found it best not to consider this side of the question
+until they have developed a fair vocal technique. This should be the case
+with emotional, nervous, excitable temperaments. With hard, cold, stiff,
+mechanical pupils, this is often the only way in which it is possible to
+arouse them, in order to give them a start, without wasting weeks or months
+of precious time.
+
+The development of this principle of vitalized, emotional energy, depends,
+as a rule, upon freedom of voice and the true conditions of tone as before
+described. Therefore, in order to study this great question, in order to
+fully develop this higher form of expression, the singer must have mastered
+the flexible, vitalized movements given in this work, must have acquired
+through these movements absolute freedom of tone. Experience teaches us,
+however, that there are those who, while they learn, in a certain way, to
+do the movements comparatively well, yet do not entirely let go,--they do
+not free the voice. With such the study of tone color, and especially the
+study of soft color, not soft tone necessarily, but soft, emotional tone
+color, is their only salvation. It releases and relaxes all the rigid local
+tendencies.
+
+There is a stage of study, as we have said, in the experience of all
+students of the voice, when, in order to become artists, Nature demands of
+them more than mere sound. There comes a time when every tone of the voice
+must mean something, must express something, through the character of the
+tone, the idealized tone. In this way the personal magnetism of the singer
+is imparted, heard, and felt. This means the expression of thought and
+feeling through the color and character of the tone, the highest known form
+of expression. This principle is the greatest known agency for the
+development of all the powers of the singer, not only the emotional and
+mental powers, but the physical as well. The student of the voice who
+studies or who is trained in this way, develops, not only in character and
+beauty of tone, but in actual physical power and control. This study of
+tone color and tone character develops new power in every way. "The
+mechanical and mental alone are but half development, but this is full and
+complete development of the entire being." In proof of this, sing a light,
+bright, happy thought or tone, using the clear timbre, about the middle of
+the voice. It will require but little strength. Then sing a more emotional
+thought, sentence, or tone; express deeper feeling, and it will be found
+that more strength is required. Again, give utterance to tone or words
+which express sadness, sorrow, or intense pleading, using the somber timbre
+of the voice, and much more strength will be required. This will be
+especially noticeable in the action or energy of the diaphragm and
+abdominal muscles. It will be found that the low muscles of the body exert
+more strength on somber timbre than on clear tone. This, in order to induce
+the deep, low setting of the voice at the organ of sound, necessary for the
+production of somber or dark tone, and the expression of deep, emotional
+feeling. It is easy to see that this means greater physical as well as
+emotional development; physical development, not only of every muscle of
+the body, but of the organ of sound itself; a development which can be
+attained through the study of tone color and emotional expression only.
+
+The power of vitalized emotional energy, I might say the power of the
+emotional power, cannot be overestimated. The power of an emotional climax,
+imparted through the soft color of the voice, is often greater than that of
+the dramatic climax; it will often influence and affect an audience in the
+most startling way. We find that thought and will control all physical
+action in singing. If the thought is right, the action will be right; if
+wrong, the action will surely be wrong. When right thought and action have
+developed absolute freedom, then the emotional energy, the singer's
+sensation, the true power of the voice, should dominate everything. The
+mind or will controls the body through thought, but the thought must be
+aroused through feeling or emotion; and the feeling or emotion is inspired
+by the sentiment to be expressed. This means, of course, the higher form of
+expression, means the power of tone color and tone character; but it
+depends first upon all true conditions of tone, mental and physical, and
+then upon the temperament, upon the heart, and soul of the singer.
+
+Singing, as we have said, is more psychological than physiological. This
+whole system of flexible, vitalized movements, is first aroused by right
+thought, and finally applied and controlled through the mind or will, in
+response to feeling or emotional impulse. In this way we are able to arouse
+and use at will the persuasive, the impressive, the fervent voice; the
+voice that is something more than mere sound; the voice that has character
+and magnetism.
+
+Compare two voices that are equal in every way in regard to power of tone,
+compass, and control. The one varies the color and character of the tone
+continually with the change of thought and sentiment, and is enabled
+thereby not only to avoid monotony, but to use the impressive, persuasive
+voice, the tone the sentiment demands. In this way he has magnetic power
+and influence over an audience. The other voice may be bright, free, and
+clear, yet may use the same quality or color of tone constantly on all
+styles of singing, and on all degrees of power, it matters not what the
+thought or sentiment may be; and this style of voice is by no means
+uncommon, even among many of our public singers. Now consider the
+difference in the commercial value of these two voices, which should bear
+at least some relation to their artistic value. No artist can be truly
+great or fully developed without the power of vitalized, emotional energy,
+and variety of tone color and character.
+
+Sing a tone, about the middle of the voice, without other thought than that
+of simply pure, free tone. It will be found that in the most beautiful
+voice the tone will be common-place, meaningless; in many voices it will be
+simply sound. Now place yourself in every way upon a higher, a more lofty
+plane. Think of higher ideas and ideals. In other words, idealize the tone.
+Remember, the ideal is the truth, and not exaggeration. Appeal to your
+emotional energy, the singer's sensation, and give expression to thought
+and feeling aroused in this way. Give expression to an actual life-throb,
+whether it be of love or hate, of joy or sadness, of ecstasy or despair.
+The result, the change of tone, character, and quality, will be
+astonishing, will ofttimes be electrifying. In this way make the tone
+actually mean something. Feel like a singer, assert yourself, express
+thought, sentiment, feeling, emotion, and not simply sound.
+
+Simple sound, as a rule, is meaningless and unnatural. Nature demands, for
+the expression of beautiful, artistic tone, that all the powers she has
+given the singer--the powers, physical, mental, and emotional--be brought
+into action and put into the tone. Character and magnetism of tone must be
+aroused in most voices. This cannot be done through the mechanical and
+mental powers alone. It requires the study and development of the emotional
+energies of the singer. In other words, the singer must put himself, not
+only upon a physical and mental level, but upon the emotional level of the
+tone as well.
+
+All voices have two distinct color or character effects, the reed and the
+flute. These effects are the result of vowel forms, and of the
+predominating influence of high placing or of low resonance. When we desire
+brilliancy, the reed effect should predominate. When we desire dark color
+or more somber effects, the flute quality should prevail. In clear tone or
+timbre there is more reed effect than flute. In medium tone or color the
+effect of both is heard and felt. In the somber tone the flute
+predominates. To express joy or happiness we use the clear timbre, and the
+ring of high forward placing predominates. To express a deeper feeling, a
+more serious but not a sad tone, that which we call the emotional form,
+both the clear and the somber are heard in various proportions; the high
+placing and the low resonance are about equally balanced. To express
+sadness the somber color or low resonance predominates.
+
+Apply these ideas on all the exercises given. Use sentences which contain
+thought or sentiment that will enable you to arouse a definite feeling. For
+example, to study the clear timbre, sing, "My _heart_ is glad." To
+express the emotional tone, the tone which is not sad but serious, sing,
+"My _heart_ is thine." To express a somber sound or sadness, sing, "My
+_heart_ is sad." To express a ringing, dramatic tone, sing, "Thy
+_heart_ is false." Thus we express four different effects on the one
+word, "heart."
+
+This subject of emotional expression through tone color and tone character
+is so great, so important, that it is impossible to do it justice in this
+little work. I have written more fully on this and kindred subjects in my
+other works, therefore I shall here touch but lightly upon the aesthetics
+of the vocal art.
+
+It should be remembered that the prime object for which this book was
+written, was to place more clearly, if possible, before my readers, the
+importance and wonderful influence of the flexible, vitalized movements of
+our system.
+
+These movements, we find, so directly influence the voice, the singer, and
+the results in every way, that we feel justified in again calling attention
+to them. Too much cannot be said of them, for the average student of the
+voice is inclined to neglect them. If they have been, to a certain extent,
+understood and mastered, then the study of this, the fourth principle of
+artistic singing, becomes a comparatively easy matter. With the student who
+does not understand them, emotional or self-expression is always a
+difficult matter, and with many an impossibility; which largely accounts
+for the great number of mechanical singers. At least twenty years' hard
+work and study have been put upon these movements in order to reduce them
+to the simplest and most effective form. They are based upon common sense
+and Nature's laws. Of course no one can or should expect to understand or
+fully appreciate them without more or less investigation.
+
+
+
+ARTICLE TWO.
+
+THE FIFTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The fifth principle of artistic singing is
+
+  _Automatic Articulation_.
+
+_Theory_.--_Articulation must be spontaneous_, the result of
+thought, and of the effect desired, never of direct or local effort. The
+thought before the action, never the action before the thought.
+
+_Devices_.--The development of the consonantal sounds through the
+study of the three points or places of articulation, and the application by
+the use of words, sentences, and sentiment, vitalized and intensified.
+
+In our course of study or in the formula here given, it will be evident to
+the reader that we lay much stress upon the principle of vitality or
+vitalized energy. In the second part of this work we have considered the
+principles and the devices that develop physical and mental vitality. In
+the article which directly precedes this, special emphasis is placed upon
+emotional vitality. Vitality or vitalized energy, it will be found, holds
+good also in this, the fifth fundamental principle of artistic voice
+production.
+
+Articulation, to be artistic, must be automatic and spontaneous; must be
+the result of thought and effect desired, and never of direct or local
+effort. This being true, we must recognize the importance of freedom of
+form and action, of the removal of all restraint, in fact, the importance
+of all true conditions of tone. This brings us back again to our original
+position, as do all the fundamental principles of singing; namely,--the
+importance of the free, flexible movements of our system, upon which
+freedom of form and action, in fact, all true conditions of tone, depend.
+
+Language, spoken language, has been considered by many a vocal weakness.
+Scientists have contended that the consonantal sounds weaken the resonance
+and power of the vowels. We have found the opposite to be true. We have
+found that the consonantal sounds in many ways are a wonderful help in
+developing the voice. This proves that which some one has so well said,
+"The demonstrations of yesterday are the falsehoods of to-day."
+
+A free, flexible articulation of the consonantal sounds helps to place the
+voice, and gives it life and freedom. Articulation, under right conditions,
+will not interfere with the legato flow of voice. It is not necessary, as
+many suppose, to sacrifice distinct utterance in song for the sake of the
+legato flow of voice, the most desired mode of singing. On the other hand,
+the free legato flow of the vowels need not interfere at all with distinct
+articulation. The voice is composed of two separate and distinct
+instruments, the organ which produces sounds or vowels, and the
+articulating organ which produces consonants. These two instruments, when
+properly trained, strengthen, complement, and support each other, and
+together they mold vowels and consonants into speech.
+
+It is true that with many, articulation is a difficult matter, and this is
+especially true on the high tones of the voice. No one who has heard the
+majority of the average opera and concert singers of the day, would be
+justified in holding that articulation is not a lost art. A free, distinct
+articulation and use of words in song, is the exception and not the rule.
+This is due largely to the following fact--with most singers there is
+direct or local effort on face, jaw, tongue and throat, during the act of
+singing; in other words, they grip the parts to hold the tone, and the
+higher or louder they sing, the firmer the grip or contraction. This
+virtually paralyzes action, and makes flexible articulation impossible.
+Articulation knows no pitch. It should be as easy on a high tone as on a
+middle or low tone. If there were no direct or local effort of the
+articulating muscles to hold the tone, articulation on the high tone would
+be as easy as on the middle or low tone. This is a fact which has been
+demonstrated again and again. Of course it is more difficult to learn to
+sustain the high tone without placing more or less effort upon the face,
+jaw, and throat; but under right conditions, the result of right position
+and action, this can be done, and has been done many times.
+
+Articulation, to be artistic, must be spontaneous,--the thought before the
+action. Think and feel the effect desired, and give no thought to the
+action of articulation. The action, under right conditions, if there is no
+restraint, will respond to thought and feeling; it will be automatic and
+spontaneous. Just as the singer, after a certain stage of study, should
+never produce a tone that does not mean something, that has not character,
+so in the use of words, he should always sing them in a persuasive,
+impressive manner, and with free, flexible action. As, under this system,
+we never locally influence vowel form, so, after a certain stage of study
+we never locally influence consonantal action. To be right, it must be
+automatic and spontaneous.
+
+Of course we recognize the fact that in all vocal study there must be a
+beginning. The pupil must be taught to know and think correct physical or
+mechanical action in singing. He must know what it is, what it means, and
+how to think it. Then it must be trained to respond to thought and will.
+This we call the first two stages of study, or the physical and mental. The
+mental, as the student progresses, must dominate and control the physical;
+and finally, as we have before stated, the true motor power is emotional
+energy or the singer's sensation. This order of study and development holds
+good in this fifth principle of artistic singing, as in all others.
+
+The device to which we first resort for the understanding and development
+of articulation, is a study of the three points or places of contact. On
+page 183 of "Vocal Reinforcement" (by the author of this work) will be
+found a full explanation of these three points.
+
+A vowel sound is the result of an uninterrupted flow of the vibratory air
+current. A consonantal sound, on the other hand, is the result of a
+complete obstruction and explosion, of a partial obstruction and explosion,
+or of a partial obstruction only. The place and manner of the obstruction
+and explosion, or of the obstruction only, determine the character of the
+sound. There are three points of obstruction or articulation:
+
+1. The point of contact of the base or back of the tongue and of the soft
+palate.
+
+2. The contact of the tip of the tongue and of the hard palate, the roof of
+the mouth.
+
+3. The contact of the lips, or of the lower lip and the teeth.
+
+Almost any first-class work on the elements of the English language will
+give the divisions and the location of the consonantal sounds. For the
+singing voice it is always best to simplify, hence we divide the
+consonantal sounds into two general divisions: the aspirates, those which
+are the result of complete obstruction and explosion, or of partial
+obstruction only, breath and vowel sound; the sub-vocals, those which are
+the result of partial obstruction and explosion, or of partial obstruction
+only, sub-vocal and vowel sound. The sub-vocals, as ending or final
+consonants, are the most difficult of all to give their proper value and
+effect.
+
+The student of the voice should study, understand, and practically train
+the action of these three points or places of articulation; for at these
+three points, with a few exceptions, all consonantal sounds are made. Take
+all the consonants, and classify them in two columns, the aspirates or
+breath sounds in one column, and the sub-vocals in another. We will give
+one example of each kind, as made at each point or place of articulation.
+By the aid of vowels we form syllables, and thus simplify the study, and
+make it more definite. The study of consonantal sounds without the use of
+vowel sounds is very indefinite and unsatisfactory.
+
+We give the formula for the study of articulation, as found in "Exercises
+for the Training and Development of the Voice" (by the author of this
+work), on page 18.
+
+
+                    Ko-Ok--Aspirate.
+Thus:   1st Point.
+                    Go-Og--Sub-vocal.
+
+
+                    To-Ot--Aspirate.
+        2d Point.
+                    Do-Od--Sub-vocal.
+
+
+                    Po-Op--Aspirate.
+        3d Point.
+                    Bo-Ob--Sub-vocal
+
+
+Exaggerate the consonantal sounds in every instance, and the points of
+contact or places of articulation will be very evident. It will also be
+evident that the point of contact or articulation is much more positive on
+certain aspirates than on the sub-vocals; while on a few other aspirates
+the action or obstruction is so slight that it is almost impossible to tell
+where or how they are made. They are the exception to the general rule. To
+such, however, very little attention or study need be given. Having studied
+the formula as given, classify the consonants in three columns, under the
+headings of 1st, 2d, and 3d points or places of articulation.
+
+At a certain stage of study, when the student of the voice has acquired
+freedom and control, when he is able to release the face, jaw, tongue, and
+throat from all local effort or contraction,--at this stage of study it is
+wonderful what can be done in the way of articulation in a few days, by
+this system. I have known many singers who could produce beautiful tones,
+but who could not make themselves understood at all in the singing of a
+song; yet in a few lessons on these three points or places of articulation,
+practically applied by the use of words and sentences, they could sing the
+words of a song as distinctly as it was possible to speak them.
+
+For the practical application of the above principles of articulation, form
+groups of vowel sounds, and make syllables by adding consonants, and sing
+them on single or level tones. First place the consonant before the vowel,
+making the articulation the initial sound of the syllable. Then place the
+consonant after the vowel, making the articulation the final sound of the
+syllable. Also sing sentences on single tones or level movements. Analyze
+all the consonantal elements of the sentence. Take for example the
+following sentence, "We praise Thee, O God," and notice at which point or
+place of articulation each and every consonant is made. Let all
+articulation be free, flexible, and light in movement, not heavy or
+labored. Never work with articulation; play with it, but let it be distinct
+and definite. Make no effort of face, lips, or tongue; let all be free and
+pliable. Show no effort or contraction of the face in sustaining voice or
+pronouncing words. In other words, never sing on the outside of the face.
+Mouth and face must be left free and pliable for the outline of form and
+for expression. Use words and sentences in an impulsive, impressive manner
+without local effort.
+
+Articulation must be rhythmically in sympathy with the movement or the
+rhythm of the song. Even though the voice may flow freely on the vowels,
+the articulation must not be hurried, nervous or spasmodic. This style of
+articulation often disturbs the legato flow and spoils the general effect.
+While of course it is not possible to sing the consonantal sounds, a
+beautiful effect is often the result of playing upon the consonant
+rhythmically, with the movement of the song.
+
+
+
+ARTICLE THREE.
+
+THE SIXTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The sixth principle of artistic singing is
+
+  _The Elocution of Singing._
+
+_Theory._--The words and their meaning, in modern song, are, as a
+rule, more important than the music.
+
+_Devices._--A study to combine elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words and
+phrases; also applied through the color and character of tone, and the
+impressive, persuasive, fervent voice. In short, a study of pure diction.
+
+Every singer and teacher of singing should, in a certain sense, be an
+elocutionist as well. Not an elocutionist from the standpoint of many who
+are called elocutionists, who are stagey, full of mannerisms, and who
+exaggerate everything pertaining to elocution. Of course the better class
+of elocutionists are not guilty of these things; but they do idealize
+everything, whether they read, recite, or declaim, and this in their
+profession is a mark of true art. So must the teacher and singer learn to
+idealize not only the tone or the voice, but everything pertaining to the
+singing of a song. This must be done through the manner in which the
+sentiment, the thought, the central idea is brought out and presented to
+the hearer; through the impressive way in which the story is told.
+
+The elocution of singing depends upon a knowledge and control of all the
+principles considered up to this point of study,--a knowledge and control
+of physical, mental, and emotional power, of freedom of form and action, of
+artistic vowel form and automatic articulation, of the removal of all
+restraint, in fact, of all true conditions of tone. To interpret well, the
+singer must have mastered the elocution of singing, must be able to bring
+out every vowel and consonantal element of the words, must know how to use
+and apply tone color and tone character, the impressive, persuasive,
+fervent voice. The singer must idealize not only the tone, but the words of
+the song; "just as the painter idealizes the landscape, so the musical
+artist must use his powers of idealization in interpreting the work of the
+composer." To be able to do this, his diction must be as pure, his language
+as polished, as that of the most accomplished orator.
+
+The power of word vitality in the singing of a modern song, is one of the
+great elements of success, if not the greatest. Not an exaggerated form of
+pronunciation, but an intense, earnest, impressive way of bringing out the
+thought. It would be interesting to know what per cent of teachers and
+singers can read properly the words of a song; to know how many of them, or
+rather how few of them, have ever given this phase of the study, thought or
+attention. Most of them act as though they were really ashamed to try, when
+you ask them to read the words of a song, and when they read them, they
+apparently have no thought of expressing, or no idea of how to express the
+elevated thought or feeling, necessary to bring out the author's ideas. It
+is almost impossible to make them idealize the words through the elocution
+of singing; and yet in the artistic rendition of a song, a ballad, or a
+dramatic aria, the words are often of more importance than the music. The
+singer should study the story of a song by reading it aloud upon the
+highest plane or level of emotional or dramatic expression. To do this, he
+must know and apply the elocution of singing. Then he should endeavor to
+bring out the same lofty ideals when applying the words to the music.
+
+"Why do not singers read or talk as they sing?" was a question once asked
+by a prominent elocutionist. "Why do not elocutionists sing as they talk or
+read?" I replied. This, of course, at once suggests an interesting subject
+for discussion. To give the reason in a general way, is simply to state
+that singers, as a rule, do not apply the principles of their art to the
+talking voice. Hence they often read and talk badly. The same is true, as a
+rule, of elocutionists. They do not apply the principles of their art when
+they attempt to sing.
+
+The devices we use are a study of elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words in
+phrases and sentences. Then a study of the character and tone color
+necessary to express the meaning of the words. Then a use of the earnest,
+impressive, persuasive voice, as the text may demand. By using these forces
+or principles, as suggested by the thought and sentiment of the words, we
+arouse the emotional power, the magnetism of the voice, and thus influence
+the hearer. Through the elocution of singing we place our emotional, our
+personal expression upon a high and lofty plane. We thus express the
+central thought, the high ideals of the composer, and through the earnest,
+impressive voice impart them to the hearer.
+
+
+
+ARTICLE FOUR.
+
+THE SEVENTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The seventh principle of artistic singing is
+
+  _Interpretation_.
+
+_Theory_.--Singing means infinitely more than the use of words and
+music; it means the expression of the author's idea as a whole.
+
+_Devices_.--The application of all true principles by drawing, as it
+were, a mental and emotional tone-picture, as suggested by words and music.
+
+The following article upon this subject was kindly written, especially for
+this book, by my friend and pupil, the well known teacher, Mr. John
+Randolph.
+
+Interpretation in song is the faithful reproduction of the intention of
+both poet and composer. This reproduction includes the revelation of the
+characteristics of the poem itself, whether lyric, dramatic, or in other
+ways distinctive. It also reveals the musical significance of the
+composition to which the words are set. The melodic, rhythmic, and even
+harmonic values must be made clear to the hearer. But interpretation
+includes more than this reproduction, essential though it may be. If the
+expression of the intention of poet and composer fulfilled the sum total of
+interpretation, one performance would differ little from another. A
+clear-cut, automatic precision would be the result, perhaps as perfect as
+the repetition given out by a music-box and certainly no more interesting.
+Another element enters into interpretation. The meaning of the poem and its
+accompanying music must be displayed through the medium of a temperament
+capable of self-expression. A personal subjective quality must enter into
+the performance. The singer must reveal not only the significance of words
+and music, but his own intellectual and emotional comment upon them. Upon
+this acceptance of the inner meaning of words and music, and upon his
+ability to weave around them some strands of his individuality, depend the
+character and originality of the singer's interpretation as a whole. Let us
+see how this comprehension of the meaning of songs may be acquired; upon
+what foundations rests the ability to make the meaning clear; and if we can
+do so, let us discover the springs of that elusive quality commonly called
+"temperament" which gives the personal note to one rendition as distinct
+from another, and without which the clearest exposition of vocal meanings
+becomes tame and colorless.
+
+The singer is a specialist, but all successful specialization rests upon
+the broad foundations of general culture. The reason why there are so many
+singers and so few artists who thrill us with the revelation of the
+intimate beauties of the songs of Franz, Grieg, and MacDowell, to take only
+a few names from the rich list of song writers, is because people sing
+without acquiring the range of vision which makes such interpretation
+possible. How can one sing, let us say, a German song, imbued with German
+romanticism and melancholy, unless he knows something of the German art,
+the German spirit, the German language, the German national
+characteristics? A knowledge of literature, art in general, and the
+"Humanities," to use an old-fashioned word, is absolutely necessary to
+interpretation of a high order. Too often, alas, the singer imagines that
+the study of tone production, or acquaintance with musical literature, or a
+polished diction, will make him sing with the combination of qualities
+called style. Not so! Upon the broad foundations of general culture, which
+distinguishes the man of refinement from his less fortunate brother, rests
+also the specific ability to sing with distinction. Moreover, the singer
+must have definite musical ability, natural and developed by study. He must
+thoroughly comprehend rhythm, melody, and harmony in order that his
+attention may not be distracted from interpretative values to ignoble
+necessities of time and tune. It is not possible to sing Mozart, not to say
+Beethoven and Wagner, without acquaintance with the vocabulary and grammar
+of the wonderful language in which they wrote. Familiarity with the
+traditions of different schools of composition and performance is necessary
+also in order not to sing the songs of Bach and Handel like those of
+Schubert and Schumann, or Brahms like the modern French composers; in order
+not to interpret with like effects indiscriminately songs of the oratorio
+and opera, of Italian, German, French, English and modern Russian schools.
+
+Unquestionably the singer must have control of the physiological and
+technical possibilities of his voice. No one can make words and music mean
+anything while he is wondering what his voice may do next. Developed
+intelligence, emotional richness and refinement, musical knowledge, a
+properly placed voice capable of flexibility and color, distinct
+articulation, polished diction, these are some of the preliminaries to
+successful interpretation in song.
+
+Let us see what special qualifications assist in the actual performance of
+song, in the attempt to give pleasure or artistic gratification by singing
+songs for others to hear. In the first place let us consider the
+limitations as well as the advantages of the human voice. I must ask you to
+remember that considered as an instrument it is smaller in power than some
+instruments, shorter in range than many others, often less beautiful than
+the tones of the violin. But in one respect it transcends all others. It is
+capable of revealing the mind and soul of the one who plays upon it. The
+speaking voice, as well as the voice in song, reveals thought and feeling
+to the hearer; those subtler shades of meaning which distinguish man, made
+in the image of God, from his humble companions, are made clear to those
+about him by this instrument--this wonderful, persuasive, cajoling,
+beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
+you not been moved by the tones of the speaking voice? How can we train the
+voice in song to express these varying shades of meaning, and can we learn
+to use them systematically instead of accidentally or when we are impelled
+by strong emotion? I know that there is a popular impression that some
+singers possess a mysterious quality known as "temperament," and that
+others do not. Having this uncertain quality, one singer stirs an audience;
+having it not, the hearer remains unmoved. If by temperament, intelligence
+and emotional richness of nature are meant, I do not believe that anyone
+who is not to some extent possessed of these faculties can stir the
+feelings of his hearers to any considerable degree. But surely many, almost
+all people capable of conquering the physiological, psychological,
+technical, and musical difficulties to be overcome before learning to sing
+at all well, possess these qualities. And even if modern songs of the best
+type abound in subtle, emotional expression and varying shades of
+intellectual significance, it is, I believe, possible for most singers to
+gain in interpretative facility by learning to connect the thought and
+feeling underlying the song with the spoken words which are their natural
+outlet and expression.
+
+I say spoken words; for speech is the more spontaneous expression of
+thought and feeling, through which individuality attains its simplest and
+most complete expression. Speech is the normal method through which we make
+clear our ordinary thoughts, feelings, desires, repulsions, and attractions
+to those about us. Song is the finer flower of artistic expression, one of
+the means through which imagination and the creative and interpretative
+faculties find an adequate medium and outlet. But the words of the poem,
+whether spoken or sung, must first be thoroughly understood before the
+reader or singer attempts to make anyone else comprehend or feel them. Too
+often an apparent lack of "temperament" is only the failure to have a
+definite understanding of the meaning of the words the singer is vainly
+endeavoring to impress upon his audience. Let the singer recite or read
+aloud the words of his songs. This is a natural form of expression, and
+requires a less complex process of thought than singing, which demands
+several automatic reflexes in securing tone production; let him read aloud,
+trying to give out every shade of thought and feeling the poem contains, in
+a tone which is persuasive and appealing. Later, when he can do this with
+appropriate emphasis in speech, let him try to express the same meanings in
+his singing voice. In all probability he will find that he is much assisted
+by the music, if his tone production is reasonably correct and
+authoritative, and he be enough of a musician to grasp readily tonal
+values. The sense of the words, the emotion and thought underlying the
+words, will suggest the color and character of voice appropriate to the
+expression and interpretation of the song as a whole. Of course, if he
+tries to impress upon his hearer that he thinks it rather weak and foolish
+to give up completely to the full significance of the words, and to
+impersonate their narrative or dramatic significance, there is no help for
+him. I am inclined to think that the fear of seeming exuberant or foolish,
+the unwillingness to give one's inner self to others, or a
+self-consciousness which prevents it, is at the root of much apparent lack
+of "temperament." The singer must be both the narrator of the story of the
+poem and the impersonator of the principal characters in that story. Upon
+the completeness of his understanding of the meaning of the poem, and his
+revelation of its meanings, as well as upon the absence of stiffness or
+self-consciousness in suggesting the moods or characteristics displayed,
+will depend the impression of temperamental force upon his audience.
+
+The following suggestions may be of some value as devices in making songs
+mean something; and this, after all, is the object of all attempts at
+interpretation.
+
+Suppose you take a new song--one you have never seen before. Do not sit at
+the pianoforte, and play at it and sing at it until, after a fashion, you
+know it. This way of learning leads to the kind of statement recently heard
+after a peculiarly bad performance, "Why, I never think of the words at all
+when I sing!" Instead of doing this, if you have been taught to do so, read
+the song through, observing its general character. If thinking music
+without playing or singing be impossible for you, play it over, carefully
+noting _tempo_ and other general characteristics, until you have an
+understanding of the melody, rhythm, and musical content. Observe how the
+words fit the music, still without singing. Then read the poem silently and
+carefully, and decide whether it is narrative, lyric, dramatic, churchly,
+or in other ways distinctive. Next read the poem aloud, giving the voice
+character appropriate to its sentiment, phrasing it intelligibly, observing
+the emotional portent, and coloring it accordingly. If the poem be
+narrative, tell the story with life and vitality; if it be dramatic,
+attempt to impersonate the characters concerned; if it be devotional,
+recite with dignity and devotional quality. Finally, when both words and
+music are well in the mind, if possible with an accompaniment, but
+certainly standing, sing the song. Sing, making a compromise between the
+strict rhythmical value of the notes and the demands of the sense of the
+words. Keep the general outlines of the music so far as phrasing and rhythm
+are concerned; but whenever a sacrifice must be made, sacrifice the musical
+value and emphasize the emotion, the meaning, the poetry, the dramatic or
+narrative significance of the words. Phrase with this end in view;
+sacrifice anything except tone-production to this end. Do not distort the
+rhythm, but bend it sufficiently to emphasize important words and
+syllables, by holding them a little, at the expense of unimportant words or
+syllables. Finally, remember that misguided enthusiasm is not
+interpretation.
+
+No real interpretation is possible without a full comprehension of the
+meaning of both words and music. Study the voice. Study its possibilities
+and its limitations. Study music until the musical element of difficulty is
+reduced to a minimum, and until the character, style, and traditions of the
+various song forms are well within your grasp. No matter how beautiful may
+be the voice, or how well placed, no amount of enthusiasm or temperament
+can atone for a meaningless or unintelligent treatment of the intellectual,
+emotional, and musical characteristics of the song as a whole.
+
+
+
+
+SUPPLEMENTARY NOTE.
+
+
+The tendency of many is to raise the hands and arms too high; the hands
+should not be raised above the waist-line. If raised too high, the energy
+is often put in the action of the arms instead of the body; or the upper
+part of the body only is moved, and thus the most important effect or
+influence for power and control is wanting. The action must be from the
+hips up, and not only from the hips, but the hips must act and expand with
+the body. Remember the center of gravity must be at the hips. If it is
+found that the tendency is to raise the hands too high, then try or study
+the action as follows:
+
+Place the hands upon the hips, and when coming into action, when seeking
+the level of the tone, or during the act of singing, see that the hips
+expand freely and evenly with the body. This should be tried and practiced
+frequently by all in order that the movement may be from the hips up and
+not above the hips only. When the hips are thus brought into action, the
+abdominal muscles and the diaphragm are strengthened, and their position
+and action are correct. When the upper part of the body only is brought
+into action the position of the diaphragm and abdominal muscles is often
+weakened. Remember that the basic law or foundation principle of our whole
+system of movements is movement from the hips up, including the action or
+expansion of the hips in connection with the movements of the entire body.
+
+
+
+
+
+End of Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
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+<title>The Project Gutenberg eBook of
+    The Renaissance of the Vocal Art,
+    by  Edmund J. Myer.
+</title>
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+Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Renaissance of the Vocal Art
+
+Author: Edmund Myer
+
+Release Date: July 8, 2004 [EBook #12856]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE RENAISSANCE OF THE VOCAL ART ***
+
+
+
+
+Produced by David Newman and PG Distributed Proofreaders
+
+
+
+
+
+</pre>
+
+
+<h1>The Renaissance of the Vocal Art</h1>
+<center>
+<br>
+A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental
+and Emotional Powers of the Singer, through Flexible, Elastic Bodily
+Movements
+<br><br>
+<b>BY EDMUND J. MYER</b>
+<br><br>
+<i>Author of "Truths of Importance to Vocalists," "The Voice from a
+Practical Stand-Point," "Voice-Training Exercises" (a study of the natural
+movements of the voice), "Vocal Reinforcement," "Position and Action in
+Singing," etc., etc.</i>
+<br><br>
+1902
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+"<i>When you see something new to you in art, or hear a proposition in
+philosophy you never heard before, do not make haste to ridicule, deny or
+refute. Possibly the trouble is with yourself&mdash;who knows?</i>"
+</center>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<a name="PRF"><!-- PRF --></a>
+<h2>
+        PREFACE.
+</h2>
+<p>
+To my readers once again through this little work, greetings. For the many
+kind things said of my former works by my friends, my pupils, the critic
+and the profession, thanks! To those who have understood and appreciated
+the principles laid down in my last book, "Position and Action in Singing,"
+I will say that this little work will be an additional help. To my readers
+in general, who may not have fully understood or appreciated the principles
+of vitality, of vitalized energy, aroused and developed through the
+movements set forth in my last book, to such I will say that I hope this
+little work will make clearer those principles. I hope that it may lead
+them to a better understanding of the fundamental principles of the system,
+principles which are founded upon natural laws and common sense. In this
+work I have endeavored to logically formulate my system.
+</p>
+<p>
+As it is not possible to fully study and develop any one fundamental
+principle of singing without some understanding or mastery of all others,
+so it is not possible to write a work like this without more or less
+repetition. Certain subjects are so closely related, are so interdependent,
+that repetition cannot be avoided. I am not offering an apology for this; I
+am simply stating that a certain amount of repetition is necessary.
+</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="TOC"><!-- TOC --></a>
+<h2>
+        CONTENTS.
+</h2>
+
+<pre>
+<a href="#PRF">PREFACE.</a>
+<a href="#RULE4_1">EXORDIUM.</a>
+</pre>
+<pre>
+<a href="#PART1">PART FIRST.</a>
+</pre>
+<pre>
+<i>EVOLUTION</i>.
+</pre>
+<pre>
+ARTICLE 1. <a href="#RULE4_2">THE OLD ITALIAN SCHOOL OF SINGING</a>
+   "    2. <a href="#RULE4_3">THE DARK AGES OF THE VOCAL ART</a>
+   "    3. <a href="#RULE4_4">THE TWO PREVAILING SYSTEMS</a>
+   "    4. <a href="#RULE4_5">THE RENAISSANCE OF THE VOCAL ART</a>
+   "    5. <a href="#RULE4_6">THE COMING SCHOOL OR SYSTEM</a>
+   "    6. <a href="#RULE4_7">CONDITIONS</a>
+   "    7. <a href="#RULE4_8">THE INFLUENCE OF RIGHT BODILY ACTION</a>
+</pre>
+<pre>
+<a href="#RULE4_9">RAISON D'&Ecirc;TRE</a>
+</pre>
+<pre>
+<a href="#PART2">PART SECOND.</a>
+</pre>
+<pre>
+<i>VITALITY</i>.
+</pre>
+<pre>
+ARTICLE 1. <a href="#RULE4_10">THE FIRST PRINCIPLE OF ARTISTIC TONE-PRODUCTION</a>
+   "    2. <a href="#RULE4_11">THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION</a>
+   "    3. <a href="#RULE4_12">THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION</a>
+</pre>
+<pre>
+<a href="#PART3">PART THIRD.</a>
+</pre>
+<pre>
+<i>AESTHETICS</i>.
+</pre>
+<pre>
+ARTICLE 1. <a href="#RULE4_13">THE FOURTH PRINCIPLE OF ARTISTIC SINGING</a>
+   "    2. <a href="#RULE4_14">THE FIFTH PRINCIPLE OF ARTISTIC SINGING</a>
+   "    3. <a href="#RULE4_15">THE SIXTH PRINCIPLE OF ARTISTIC SINGING</a>
+   "    4. <a href="#RULE4_16">THE SEVENTH PRINCIPLE OF ARTISTIC SINGING</a>
+</pre>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_1"><!-- RULE4 1 --></a>
+<h2>
+        EXORDIUM.
+</h2>
+
+<p>
+Man, to see far and clearly, must rise above his surroundings. To win great
+possessions, to master great truths, we must climb all the hills, all the
+mountains, which confront us. Unfortunately the vocal profession dwells too
+much upon the lowlands of tradition, or is buried too deep in the valleys
+of prejudice. Better things, however, will come. They must come. The
+current of the advanced thought, the higher thought, of this, the opening
+year of the twentieth century, will slowly but surely increase in power and
+influence, will slowly but surely broaden and deepen, until the light of
+reason breaks upon the vocal world. We may confidently look, in the near
+future, for the Renaissance of the Vocal Art.
+</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<a name="PART1"><!-- PART1 --></a>
+<h2>
+        PART FIRST.
+</h2>
+
+<center>
+<i>EVOLUTION.</i>
+</center>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_2"><!-- RULE4 2 --></a>
+<h3>
+        ARTICLE ONE.
+</h3>
+
+<center>
+THE OLD ITALIAN SCHOOL OF SINGING.
+</center>
+<p>
+The Shibboleth, or trade cry, of the average modern vocal teacher is "The
+Old Italian School of Singing." How much of value there is in this may be
+surmised when we stop to consider that of the many who claim to teach the
+true Old Italian method no two of them teach at all alike, unless they
+happen to be pupils of the same master.
+</p>
+<p>
+A system, a method, or a theory is not true simply because it is old. It
+may be old and true; it may be old and false. It may be new and false; or,
+what is more important, it may be new and yet true; age alone cannot stamp
+it with the mark of truthfulness.
+</p>
+<p>
+The truth is, we know but little of the Old Italian School of Singing. We
+do know, however, that the old Italians were an emotional and impulsive
+people. Their style of singing was the flexible, florid, coloratura style.
+This demanded freedom of action and emotional expression, which more
+largely than anything else accounts for their success.
+</p>
+<p>
+The old Italians knew little or nothing of the science of voice as we know
+it to-day. They did know, however, the great fundamental principles of
+singing, which are freedom of form and action, spontaneity and naturalness.
+They studied Nature, and learned of her. Their style of singing, it is
+true, would be considered superficial at the present day, but it is
+generally conceded that they did make a few great singers. If the
+principles of the old school had not been changed or lost, if they had been
+retained and developed up to the present day, what a wonderful legacy the
+vocal profession might have inherited in this age, the beginning of the
+twentieth century. Adversity, however, develops art as well as
+individuality; hence the vocal art has much to expect in the future.
+</p>
+
+<a name="RULE4_3"><!-- RULE4 3 --></a>
+
+<h3>
+ARTICLE TWO.
+</h3>
+<center>
+THE DARK AGE OF THE VOCAL ART.
+</center>
+<p>
+Even in the palmiest days of the Old Italian School, there were forces at
+work which were destined to influence the entire vocal world. The subtle
+influence of these forces was felt so gradually, and yet so surely and
+powerfully, that while the profession, as one might say, peacefully slept,
+art was changed to artificiality. Thus arose that which may be called the
+dark ages of the vocal art,&mdash;an age when error overshadowed truth and
+reason; for while real scientists, after great study and research,
+discovered much of the true science of voice, many who styled themselves
+scientists discovered much that they imagined was the true science of
+voice.
+</p>
+<p>
+Upon the theories advanced by self-styled scientists, many systems of
+singing were based, without definite proof as to their being true or false.
+These systems were exploited for the benefit of those who formulated them.
+This condition of things prevailed, not only through the latter part of the
+eighteenth century and the first half of the nineteenth, but still
+manifests itself at the present day, and no doubt will continue to do so
+for many years to come.
+</p>
+<p>
+The vocal world undoubtedly owes much to the study and research of the true
+scientist. All true art is based upon science, and none more than the art
+of voice and of singing.
+</p>
+<p>
+Science is knowledge of facts co-ordinated, arranged, and systematized;
+hence science is truth. The object of science is knowledge; the object of
+art is works. In art, truth is the means to an end; in science, truth is
+the end.
+</p>
+<p>
+The science of voice is a knowledge of certain phenomena or movements which
+are found under certain conditions to occur regularly. The object of the
+true art of voice is to study the conditions which allow these phenomena to
+occur.
+</p>
+<p>
+The greatest mistake of the many systems of singing, formulated upon the
+theories of the scientists, and of the so-called scientists, was not so
+much in their being based upon theories which oftentimes were wrong, as in
+the misunderstanding and misapplication of true theories. The general
+mistake of these systems was and is that they attempt by direct local
+effort, by direct manipulation of muscle, to compel the phenomena of voice,
+instead of studying the conditions which allow them to occur. In this way
+they attempt to do by direct control, that which Nature alone can do
+correctly.
+</p>
+<p>
+While it is true that the vocal world owes much to science and the
+scientists, yet "the highest science can never fully explain the true
+phenomena of the voice, which are truly the phenomena of Nature." The
+phenomena of the voice no doubt interest the scientists from an anatomical
+standpoint, but these things are of little practical value to the singer.
+As someone has said, "To examine into the anatomical construction of the
+larynx, to watch it physiologically, and learn to understand the motions of
+the vocal cords in their relation to vocal sounds, is not much more than
+looking at the dial of a clock; the movements of the hands will give you no
+idea of the construction of the intricate works hidden behind the face of
+the clock."
+</p>
+<p>
+We should never lose sight of the fact that there is a true science of
+voice, and that the art of song is based upon this science. The true art of
+song, however, is not so much a direct study of the physical or mechanical
+action of the parts, as it is a study of the spirituelle side; a study of
+the forces which move the parts automatically, in accordance with the laws
+of nature. In other words, voice, true voice, is more psychological than
+physiological; is more an expression of mind and soul than a physical
+expression or a physical force. It is true, the body is the medium through
+which the soul, the real man, gives expression to thought and feeling; and
+yet voice that is simply mechanical or physical is always common and
+meaningless and as a rule unmusical. The normal condition of true artistic
+voice is emotional and soulful.
+</p>
+
+<a name="RULE4_4"><!-- RULE4 4 --></a>
+
+<h3>
+ARTICLE THREE.
+</h3>
+<center>
+THE TWO PREVAILING SYSTEMS.
+</center>
+<p>
+The misunderstanding or the misapplication of any principle, theory or
+device, always leads to error. This was eminently true of the
+misunderstanding and misapplication on the part of many writers and
+teachers who based their systems upon the theories of the scientists and
+the self-styled scientists. The result is evident; it is that which is
+known as the local-effort, muscular school of the nineteenth century; the
+school which to this day so largely prevails; the school which makes of man
+a mere vocal machine, instead of a living, emotional, thinking soul.
+</p>
+<p>
+The local-effort school attempts, by direct control and manipulation of
+muscle and of the vocal parts, to compel the phenomena of voice. In this
+respect it is unique; in this respect it stands alone. The truth of this
+statement becomes evident when we stop to consider that in nothing known
+which requires muscular development, as does the art of singing, is this
+development or training secured by direct manipulation and control of
+muscle. There is nothing in the arts or sciences, nothing in the broad
+field of athletics or physical culture, nothing in the wide world that
+requires physical development, in which the attempt is made to develop by
+direct effort as does the local-effort school. Hence we say the mistake
+they make is in attempting to compel the phenomena of voice, instead of
+studying the conditions which allow them to occur. It might be interesting,
+it certainly would be very amusing, to enumerate and illustrate the many
+things done under the name of science, to compel the phenomena of voice;
+but space will not permit. Many of them are well known; many more are too
+ridiculous to consider except that they should be exposed for the good of
+the profession.
+</p>
+<p>
+The result of all this direct manipulation of muscle is
+ugliness&mdash;everywhere hard, unmusical, unsympathetic voices. The public is
+so used to hearing hard, muscular voices that the demand for beautiful tone
+is not what it should be. In fact, it is not generally known that it is
+possible to make almost any voice more or less beautiful that is at all
+worth training. The hard, unmusical voice of the day is a hybrid, unnatural
+and altogether unnecessary voice. Physical effort in singing develops
+physical tone and physical effect. Common tone makes common singing. A
+great artist must be great in tone as well as in interpretation.
+</p>
+<p>
+The disciples of the local-effort school lose sight of the fact that when a
+muscle is set and rigid, either in attempting to hold the breath or to
+force the tone, it is virtually out of action; that instead of actually
+helping the voice it is really preventing a free, natural production, and
+that other parts are then compelled to do its work; this accounts for many
+ruined voices. "To make a part rigid is equal to the extirpation of such
+part. While it is in a state of rigidity it ceases to take part in any
+action whatsoever: it is inert and the same as if it had ceased to exist."
+</p>
+<p>
+The local-effort school is accountable for many errors of the day. The
+incubus of this school is fastened upon the vocal profession with
+octopus-like tentacles which reach out in every direction, and which strive
+to strangle the truth in every possible way; but, while "life is short, art
+is long;" the truth must prevail.
+</p>
+<hr>
+<p>
+As an outgrowth of the local-effort school, and as an attempt to counteract
+its evil tendencies, there is to-day in existence another school or system
+known as the limp or relaxed school, or the system of complete relaxation.
+The object of this relaxation is to overcome muscular tension and rigidity.
+This is the other extreme. The followers of this school forget that there
+can be no tonicity without tension. Flexible firmness without rigidity, the
+result of flexible, vitalized position and action, is the only true
+condition. The tone of the school of relaxation is nearly always depressed
+and breathy; it always lacks vitality.
+</p>
+
+<a name="RULE4_5"><!-- RULE4 5 --></a>
+
+<h3>
+ARTICLE FOUR.
+</h3>
+<center>
+THE RENAISSANCE OF THE VOCAL ART.
+</center>
+<p>
+We are in the habit of measuring time by days, weeks, months, years,
+decades and centuries. The world at large measures time by epochs and eras.
+While this is true in the physical world, it is equally true of the arts
+and sciences, and it is especially true of the art of song. Thus we have
+had the period known as "The Old Italian School of Singing." This was
+followed by the modern school, or "The Local-Effort School" of the
+nineteenth century, the period which may be called The Dark Ages of the
+Vocal Art.
+</p>
+<p>
+There is a constant evolution in all things progressive, and this evolution
+is felt very perceptibly to-day in the vocal world. Great principles, great
+truths, are of slow growth, slow development. Times change, however, and we
+change with them. While the changes may be slow and almost imperceptible to
+the observer, they are sure, and finally become evident by the accumulation
+of event after event.
+</p>
+<p>
+The prevailing systems of the nineteenth century tried to develop voice by
+direct local muscular effort. These systems have proved themselves
+failures. The vocal world is looking for and demanding something better. We
+may say that we are now on the eve of great events in the vocal art. When
+the morn comes, and the light breaks, we may confidently expect that
+awakening or reawakening which may properly be called The Renaissance of
+the Vocal Art.
+</p>
+<p>
+This is the age of physical culture in all its forms. There is a tendency
+from the artificial habits of life, back, or rather one should say forward,
+to Nature and Nature's laws. "Athletes appreciate the value of physical
+training: brain-workers appreciate the value of mental training, of
+thinking before acting, and if you would become either you must follow the
+methods of both."
+</p>
+<p>
+Many of our foremost educators in all branches of development, physical,
+mental and musical, are now making a bold stand for natural methods of
+education. However, all vocal training and development in the past, we are
+glad to say, has not been on the wrong side of the question.
+</p>
+<p>
+There have been, at all ages and under all circumstances and conditions,
+men who have been at the root or the bottom of things,&mdash;men who have
+preserved the truth in spite of their surroundings. So in the vocal art,
+there have been at every decade a few men who have known the truth, and who
+have handed it down through the dark ages of the vocal art. The work of
+these men has not been lost. Its influence has been felt, and is today more
+powerful than ever. Hence the trend of the best thought of the profession
+is away from the ideas of the local-effort school, away from rigidity and
+artificiality, and more in the direction of naturalness and common sense. I
+believe we are now, as a profession, slowly but surely awakening to truths
+which will grow, and which will in time bring to pass that which must come
+sooner or later, the new school of the twentieth century.
+</p>
+<p>
+There is to-day that which is known as "The New Movement in the Vocal
+Art"&mdash;a movement based upon natural laws and common sense and opposed to
+the ideas of the local-effort school;&mdash;movement in the direction of freedom
+of action, spontaneity and flexible strength as opposed to rigidity and
+direct effort;&mdash;a movement which advocates vitalized energy instead of
+muscular effort;&mdash;a movement which had its origin in the belief that no man
+ever learned to sing because he locally fixed or puckered his lips; because
+he held down his tongue with a spatulum or a spoon; because he locally
+lowered or raised his soft palate; because he consciously moved or locally
+fixed his larynx; because he consciously, rigidly set or firmly pulled in
+one direction or another, his breathing muscles; because he carried an
+unnaturally high chest at the sacrifice of form, position and strength in
+every other way; because he sang with a stick or a pencil or a cork in his
+mouth; or because he did a hundred other unnatural things too foolish to
+mention. No man ever learned or ever will learn to sing because of these
+things. It is true he may have learned to sing in spite of them, which
+shows that Nature is kind; but as compared to the whole, he is one in a
+thousand.
+</p>
+<p>
+"The New Movement" has come to stay. It will, of course, meet with bitter
+opposition. Why not? The custom of many has been, and is, to condemn
+without investigation; to condemn because it does not happen to be in the
+line of their teaching and study. Someone has said, "He who condemns
+without knowledge or investigation is dishonest."
+</p>
+<p>
+"The New Movement" is simply a study of the conditions which allow the
+phenomena of voice to occur naturally and automatically. The day will come,
+when a right training of the voice will be recognized as a flexible,
+artistic, physical training of the human body, and a consequent right use
+of the voice, as a soulful expression of the emotional nature. Matter or
+muscle will be taught to obey mind or will spontaneously. The thought
+before the effort, or rather before the action, will be the controlling
+influence, and vitalized emotional energy will be the true motor power of
+the voice. The elocutionists and the physical culturists understand this
+far better, as a rule, than the vocalists.
+</p>
+<p>
+Abuse brings reform in art as well as in all other things. So the abuse of
+Nature's laws and the lack of common sense in the training of the singing
+voice has led, through a gradual evolution, to "The New Movement." This
+movement is the outgrowth of the best or advanced thought of the profession
+rebelling against unnatural methods.
+</p>
+<p>
+In the fundamental principles of "The New Movement," there is nothing new
+claimed by its advocates. All is founded upon the science of voice, as are
+all true systems of teaching. The claims are made with regard to the
+devices used to study natural laws, to develop the God-given powers of the
+singer. Remember that Nature incarnates or reflects God's thoughts and
+desires and not man's ideas or inventions. Someone has said that there was
+nothing new, nor could there be anything new, in the art of singing. There
+are many, alas! who talk and write as did this man. Is not this simply
+proof of the fact that ignorance cheapens and belittles that which wisdom
+views with awe and admiration? And this is true of nothing so much as it is
+of the arts and sciences.
+</p>
+<p>
+Is, then, ours in all the world, the only profession based upon science and
+art that must stand still, that must accept blindly the traditions handed
+down to us, without investigation? Are we to feel and believe that with us
+progress is impossible, that we may not and cannot keep up with the spirit
+of the age? God forbid. Is it not true that "each age refutes much which a
+previous age believed, and all things human wax old and vanish away to make
+room for new developments, new ideals, new possibilities"? Is it possible
+this is true of all professions but ours? The signs of the times indicate
+differently. Hence we may confidently expect the Renaissance of the Vocal
+Art in this, the first half of the new century.
+</p>
+
+<a name="RULE4_6"><!-- RULE4 6 --></a>
+
+<h3>
+ARTICLE FIVE.
+</h3>
+<center>
+THE COMING SCHOOL, OR SYSTEM.
+</center>
+<p>
+This is an age of progress; and, as we have said, many educators are making
+a bold stand for natural, common-sense methods. The trend of the higher
+thought of the vocal profession is away from artificiality, and in the
+direction of naturalness.
+</p>
+<p>
+The coming school, or system, of the twentieth century will undoubtedly
+find its form, its power, its expressional and artistic force and value,
+its home, its life, in America. The old country is too much in the toils,
+too much in the ruts of tradition; hence natural forces are suppressed, and
+artificiality reigns supreme in the training of the voice. While this is
+not true in regard to the strictly aesthetic side of the question, it is
+painfully true as far as the fundamental principles of voice development
+are concerned. Of course we are glad to say there are bright and shining
+exceptions to this rule in all lands, but to the new country we must
+undoubtedly look for the new school.
+</p>
+<p>
+So far the world has produced but two great teachers. The first of these is
+Nature; the second is Common Sense. Nature lays down the fundamental
+principles of voice; Common Sense formulates the devices for development
+according to these principles. Therefore we say, Go to Nature and learn of
+her, and use Common Sense in studying and developing her principles. The
+nearer the approach to Nature, the higher the art; hence the new school
+must be founded upon artistic laws which are Nature's laws, and not upon
+artificiality.
+</p>
+<p>
+The coming school must teach the idealized tone. The ideal in its
+completeness means the truth,&mdash;all the truth,&mdash;and not, as many suppose, an
+exaggerated form of expression. The truth in tone, or the idealized tone,
+is beautiful and soulful, and demands for its production and use all the
+forces that Nature has given to the singer,&mdash;physical, mental, and
+emotional or spirituelle. Unmusical, muscular tone is not the true tone. It
+contains much that it should not have on the physical side, and lacks much
+that it should have on the spirituelle. As a rule, it means nothing; in
+fact, it is often simply a noise. The idealized tone always represents a
+thought, an idea, an emotion; it is the expression of the inner&mdash;the
+higher&mdash;man; it is, in reality, self-expression.
+</p>
+<p>
+"The human voice is the most delicately attuned musical instrument that God
+has created. It is capable of a cultivation beyond the dreams of those who
+have given it no thought. It maybe made to express every emotion in the
+gamut of human sensation, from abject misery to boundless ecstasy. It marks
+the man without his consent; it makes the man if he will but cultivate it."
+</p>
+<p>
+The coming school must be founded upon freedom of form and action, upon
+flexible bodily movements, the result of vitalized energy instead of
+muscular effort. There must be no set, rigid, static condition of the
+muscles. Artistic singing is a form of self-expression; and
+self-expression, to be natural and beautiful, must be the result of correct
+position and action.
+</p>
+<p>
+The first principle of artistic singing is the removal of all restraint.
+This is a fundamental law of Nature and cannot be changed. Under the
+influence of direct local muscular effort, the removal of all restraint is
+impossible. Hence the coming school must be based upon free flexible
+action. In this respect it will be much like the old Italian school, except
+that it will be as far in advance of the old school in the science of voice
+as the twentieth century is in advance of the eighteenth. It must also be
+far in advance of the old school in the devices used to develop the
+fundamental principles of voice.
+</p>
+<p>
+In this age of progress and knowledge of laws and facts, the new school,
+under the influence of Nature's laws and common sense, with the aid of
+flexible movements and vitalized energy, must do as much for the
+development of the singing voice in three or four years as the old school
+was able to do in eight or ten. This is necessary, both because the singing
+world demands it, and Nature and common sense teach us that it does not
+take years and years of hard study and practice simply to develop the
+voice. From a strictly musical standpoint, however, it does take years to
+ripen a great singer, to make a great artist. Many voices are ruined
+musically by years of hard, muscular practice. Hence we say the new school
+must give the voice freedom, and remove all muscular restraint by or
+through natural, common-sense, vitalized movements.
+</p>
+
+<a name="RULE4_7"><!-- RULE4 7 --></a>
+
+<h3>
+ARTICLE SIX.
+</h3>
+<center>
+CONDITIONS.
+</center>
+<p>
+Nature's laws are God's laws. All nature, the universe itself, is an
+expression of God's thoughts or desires in accordance with His laws. This
+one controlling force, this principle of law, is at the bottom of
+everything in nature and art. Everything which man says or does under
+normal, free conditions, is self-expression, an expression of his inner
+nature; but this expression must be under the law. If not, the expression
+is unnatural and therefore artificial. This principle, which holds true in
+all of man's expression, in all art, is in nothing more evident than in the
+use of the singing voice.
+</p>
+<p>
+"Nature does nothing for man except what she enables him to do for
+himself." Nature gives him much, but never compels him to use what she
+gives. Man is a free agent. He can obey or violate the laws of Nature at
+will; but he cannot violate Nature's laws, and not pay the penalty. This
+thought or principle constantly stands out as a warning to the vocal world.
+The student of the voice who violates Nature's laws must not expect to
+escape the penalty, which is hard, harsh, unmusical tone or ruined voice.
+Nature demands certain conditions in order to produce beautiful, artistic
+tone. If the student of the voice desires to develop beautiful, artistic
+tone he is compelled to study the conditions, the fundamental principles
+under the law; and this can be done only by the use of common-sense
+methods.
+</p>
+<p>
+All artistic tone is the result of certain conditions, conditions demanded
+by Nature and not man's ideas or fancies. These conditions are dependent
+upon form and adjustment, or we might better say adjustment and form, as
+form is the result of the adjustment of the parts. So far all writers on
+the voice, and all teachers, agree; but here comes the parting of the ways.
+One man attempts form and adjustment by locally influencing the parts,&mdash;the
+tongue, the lips, the soft palate, the larynx, etc. This results in
+muscular singing and artificiality. We have found that form and adjustment,
+to be right, must be automatic. This condition cannot be secured by any
+system of direct local effort, but must be the result of flexible,
+vitalized bodily movements&mdash;movements which arouse and develop all the true
+conditions of tone; movements which allow the voice to sing spontaneously.
+</p>
+<p>
+The fundamental conditions of singing demanded by Nature we find are as
+follows:
+</p>
+<ul>
+<li>Natural or automatic adjustment of the organ of sound, and of all the parts.
+<li>Approximation of the breath bands.
+<li>Inflation of all the cavities.
+<li>Non-interference above the organ of sound.
+<li>Automatic breath-control.
+<li>Freedom of form and action of all the parts above the larynx.
+<li>High placing and low resonance.
+<li>Automatic articulation.
+<li>Mental and emotional vitality or energy.
+<li>Free, flexible, vitalized bodily position and action.
+</ul>
+<p>
+It is not my intention here to enlarge upon these conditions to any extent.
+I have already done so in my last book, "Position and Action in Singing." I
+know many writers on the voice, and many teachers, do not agree with me on
+this subject of conditions; but facts are stubborn things, and "A physical
+fact is as sacred as a moral principle." "The sources of all phenomena, the
+sources of all life, intelligence and love, are to be sought in the
+internal&mdash;the spiritual realm; not in the external or material." "A man is
+considerably out of date who says he does not believe a thing, simply
+because he cannot do that thing or does not understand how the thing is
+done. There are three classes of people&mdash;the 'wills,' the 'won'ts,' and the
+'can'ts': the first accomplish everything, the second oppose everything,
+and the third fail in everything." These things [these conditions] can be
+understood and fully appreciated by investigation only. There is no
+absolute definite knowledge in this world except that gained from
+experience.
+</p>
+<p>
+The voice in correct use is always tuned like an instrument. This must be
+in order to have resonance and freedom, and this is done only through
+natural or automatic adjustment of all the parts. In singing there are
+always two forces in action, pressure and resistance, or motor power and
+control. In order to have automatic adjustment these two forces must
+prevail. When the organ of sound is automatically adjusted, the breath
+bands approximate: This gives the true resisting or controlling force. When
+the breath bands approximate we have inflation of the ventricles of the
+larynx, the most important of all the resonance cavities, for when this
+condition prevails we have freedom of tone, and the inflation of all other
+cavities. And not only this; it also enables us to remove all restraint or
+interference from the parts above the larynx, and especially from the
+intrinsic and extrinsic muscles of the throat. This automatic adjustment,
+approximation of the breath bands and inflation of the ventricles, gives us
+a yet more important condition, namely, automatic breath control; this is
+beyond question the most important of all problems solved for the singer
+through this system of flexible vitalized movements.
+</p>
+<p>
+The removal of all interference or direct local control of the parts above
+the larynx, gives absolute freedom of form and action; and when the form
+and action are free, articulation becomes automatic and spontaneous. When
+all restraint is thus removed, the air current comes to the front, and we
+secure the important condition of high placing. Furthermore, under these
+conditions, when the air current strikes the roof of the mouth freely, it
+is reflected into the inflated cavities, and there is heard and felt,
+through sympathetic vibration of the air in the cavities, added resonance
+or the wonderful reinforcing power of inflation: in this way is secured not
+only the added resonance of all other cavities, but especially the
+resonance of the chest, the greatest of all resonance or reinforcing
+powers.
+</p>
+<p>
+When the voice is thus freed under true conditions, it is possible to
+arouse easily and quickly the mental and emotional power and vitality of
+the singer. In this way is aroused that which I have called the singer's
+sensation, or, for want of a better name, the third power of the voice.
+This power is not a mere fancy. It is not imagination; for it is absolutely
+necessary to the complete mental and emotional expression of the singer, to
+the development of all his powers. This life or vital force is to the
+singer a definite, controllable power. "Various terms have been applied to
+this mysterious force. Plato called it 'the soul of the world.' Others
+called it the 'plastic spirit of the world,' while Descartes gave it the
+afterward popular name of 'animal spirits.' The Stoics called it simply
+'nature,' which is now generally changed to 'nervous principle.'" "The
+far-reaching results of so quiet and yet so tremendous a force may be seen
+in the lives of the men and women who have the mental acumen to understand
+what is meant by it." The singer who has developed and controlled "the
+third power" through the true conditions of voice, never doubts its
+reality; and he, and he only, is able to fully appreciate it.
+</p>
+<p>
+The development of all the above conditions depends upon one important
+thing, the education of the body; upon a free, flexible, vitalized body.
+</p>
+
+<a name="RULE4_8"><!-- RULE4 8 --></a>
+
+<h3>
+ARTICLE SEVEN.
+</h3>
+<center>
+THE INFLUENCE OF RIGHT BODILY ACTION.
+</center>
+<p>
+In art, as in all things else, man must be under the law until he becomes a
+law unto himself. In other words, he must study his technique, his method,
+his art, until all becomes a part of himself, becomes, as it were, second
+nature. There is a wide difference between art and artificiality. True art
+is based upon Nature's laws. Artificiality, in almost every instance, is a
+violation of Nature's laws, and at best is but a poor imitation.
+</p>
+<p>
+The impression prevails that art is something far off, something that is
+within the grasp of the favored few only. We say of a man, he is a genius,
+and we bow down to him accordingly. The genius is an artist by the grace of
+God and his own efforts. Nature has given some men the power to easily and
+quickly grasp and understand things which pertain to art, but if such men
+do not apply their understanding they never become great or useful artists.
+Talent is the ability to study and apply, and is of a little lower order
+than genius; but the genius of application, and the talent to apply that
+which is learned, have made the great and useful men, the great artists of
+the world. As someone has said, "Art is not a thing separate and apart; art
+is only the best way of doing things;" and while this is true of all the
+arts, it is eminently so of the art of voice and of song.
+</p>
+<p>
+Artistic tone, as we have found, is the result of certain conditions
+demanded by Nature. These conditions are dependent upon form and
+adjustment; and form and adjustment, to be right, must be automatic. All
+writers and teachers agree that correct tone is the result of form and
+adjustment; but here, as we have said, comes the parting of the ways. One
+man attempts, by directly controlling and adjusting the parts, to do that
+which nature alone can do correctly; result&mdash;hard, muscular tone. Another
+attempts, by relaxation, to secure the conditions of tone; result&mdash;vocal
+depression, or depressed, relaxed tone.
+</p>
+<p>
+If artistic tone be the result of conditions due to form and adjustment,
+and if form and adjustment, to be right, must be automatic, if these things
+are true, and they are as true as the fact that the world moves, then there
+is only one way under heaven by which it is possible to secure these
+conditions; that way is through a flexible, vitalized body, through
+flexible bodily position and action.
+</p>
+<p>
+The rigid, muscular school cannot secure these conditions, for they make
+flexible freedom impossible. The limp, relaxed school cannot secure them,
+for there is no tone without tonicity and vitality of muscle. Vitalized
+energy <i>can</i> secure these true conditions, but through flexible bodily
+position and action only.
+</p>
+<p>
+The rigid school is muscle-bound, and lacks life and vitality. The limp
+school, of course, is depressed and lacks energy. The world is full of dead
+singers,&mdash;dead so far as vitality and emotional energy are concerned.
+Singing is a form of emotional or self-expression, and requires life and
+vitality. Life is action. Life is vital force aroused. Life in singing is
+emotional energy. Life is a God-given, eternal condition, and is a
+fundamental principle of the true art of song.
+</p>
+<p>
+It is wonderfully strange that this idea or principle of flexible,
+vitalized bodily position and action is not better understood by the vocal
+profession. That a right use or training of the body, automatically
+influences form and adjustment, and secures right conditions of tone, has
+been and is being demonstrated day by day. This is a revelation to many who
+have tried to sing by the rigid or limp methods. There is really nothing
+new claimed for it, for it is as old as the hills. Truth is eternal, and
+yet a great truth may be lost to the world for a time. The only things new
+which we claim, are the movements and the simple and effective devices used
+to study and apply them. These movements have a wonderful influence on the
+voice, for the simple reason that they are based upon Nature's laws and
+common sense. These truths are destined to influence, sooner or later, the
+entire vocal world.
+</p>
+<p>
+A great truth cannot always be suppressed, and some day someone will
+present these truths in a way that will compel their recognition. They are
+never doubted now by those who understand them, and they are appreciated by
+such to a degree of enthusiasm. I am well aware that when these movements
+are spoken of in the presence of the followers of the prevailing rigid or
+limp schools, they exclaim, "Why, we do the same thing. We use the body
+too." Of course they use the body, but it is by no means the same. Their
+use of the body is often abuse, and not only of the body, but of the voice
+as well.
+</p>
+<p>
+The influence on the singing voice of a rightly used or rightly trained
+body is almost beyond the ability of man to put in words.
+</p>
+<p>
+All singing should be rhythmical. These flexible bodily movements develop
+rhythm.
+</p>
+<p>
+All singing should be the result of vitalized energy and never of muscular
+effort. These movements arouse energy and make direct effort unnecessary.
+</p>
+<p>
+Singing should be restful, should be the result of power in repose or under
+control. These movements, and these movements alone, make such conditions
+possible.
+</p>
+<p>
+All singing should be idealized, should be the result of self-expression,
+of an expression of the emotions. This is impossible except through correct
+bodily action. "By nature the expression of man is his voice, and the whole
+body through the agency of that invisible force, sound, expresses the
+nobility, dignity, and intellectual emotions, from the foot to the head,
+when properly produced and balanced. Nothing short of the whole body can
+express this force perfectly in man or woman."
+</p>
+<p>
+These movements develop in a common-sense way the power of natural forces,
+of all the forces which Nature has given to man for the production and use
+of the voice. Rigid, set muscles, or relaxed, limp muscles dwarf and limit
+in every way the powers of the singer, physical, mental, and emotional; the
+physical action is wrong, the thought is wrong, and the expression is
+wrong. A trained, developed muscle responds to thought, to right thought,
+in a free, natural manner. A rigid or limp muscle is, in a certain sense,
+for the time being, actually out of use.
+</p>
+<p>
+An important point to consider in this connection is the fact that there is
+no strength properly applied without movement; but when right movements are
+not used, the voice is pushed and forced by local effort and by contraction
+of the lung cells and of the throat. This of course means physical
+restraint, and physical restraint prevents self-expression. Singing is more
+psychological than physiological; hence the importance of free
+self-expression. Direct physical effort produces physical effect;
+relaxation produces depression.
+</p>
+<p>
+All artistic tone is reinforced sound. There are two ways of reinforcing
+tone. First, by direct muscular effort, the wrong way; second, by expansion
+and inflation, the added resonance of air in the cavities, the right way.
+This condition of expansion and inflation is the distinguishing feature of
+many great voices, and is possible only through right bodily position and
+action. These movements are used by many great artists, who develop them as
+they themselves develop, through giving expression to thought, feeling, and
+emotion, through using the impressive, persuasive tone, the fervent voice.
+This brings into action the entire vocal mechanism, in fact all the powers
+of the singer; hence these movements become a part of the great artist. He
+may not be able to give a reason for them, but he knows their value. The
+persuasive, fervent voice demands spontaneity and automatic form and
+adjustment; these conditions are impossible without flexible, vitalized
+movements. The great artist finds by experience that the throat was made to
+sing and not to sing with; that he must sing from the body through the
+throat. He finds that the tone must be allowed and not made to sing. Hence
+in the most natural way he develops vitalized bodily energy.
+</p>
+<p>
+Next in importance to absolute freedom of voice, which these movements
+give, is the fact that through them absolute, automatic, perfect
+breath-control is developed and mastered. These movements give the breath
+without a thought of breathing, for they are all breathing movements. The
+singer cannot lift and expand without filling the lungs naturally and
+automatically, unless he purposely resists the breath. The conscious breath
+unseats the voice, that is, disturbs or prevents correct adjustment, and
+thus compels him to consciously hold it; but this very act makes it
+impossible to give the voice freedom. Through these movements, through
+correct position, we secure automatic adjustment, which means approximation
+of the breath bands, the principle of the double valve in the throat, which
+secures automatic breath-control. In other words, the singer whose position
+and action are correct need never give his breathing a thought. This is
+considered by many as the greatest problem&mdash;for the singer&mdash;solved in the
+nineteenth century.
+</p>
+<p>
+To study and master these movements and apply them practically, the singer
+needs to know absolutely nothing of the mechanism of his vocal organs. He
+need not consider at all the physiological side of the question. Of course
+the study of these movements must at first be more or less mechanical,
+until they respond automatically to thought or will. Then they are
+controlled mentally, the thought before the action, as should be the case
+in all singing; and finally the whole mechanism, or all movements, respond
+naturally and freely to emotional or self-expression.
+</p>
+<p>
+These flexible, vitalized movements are not generally understood or used,
+because they have not been in the line of thought or study of the rigid
+muscular school or the limp relaxed school; and yet they are destined to
+influence sooner or later all systems of singing. They have been used more
+or less in all ages by great artists. It is strange that they are not
+better understood by the profession.
+</p>
+<hr>
+<p>
+In this connection it might be well to speak of the importance of physical
+culture for the singer. A series of simple but effective exercises should
+be used, exercises that will develop and vitalize every muscle of the body.
+There are also nerve calisthenics, nervo-muscular movements, which
+strengthen and control the nervous system. These nerve calisthenics
+generate electrical vitality and give life and confidence. "The body by
+certain exercises and regime may be educated to draw a constantly
+increasing amount of vitality from growing nature."
+</p>
+<p>
+A singer to be successful must be healthy and strong. He should take plenty
+of out-door exercise. Exercise, fresh air, and sunlight are the three great
+physicians of the world. But beside this, all singers need physical
+training and development, which tense and harden the muscles, and increase
+the lung capacity; that training which expands all the resonance cavities,
+especially the chest, and which directly develops and strengthens the vocal
+muscles themselves, particularly the extrinsic and intrinsic muscles of the
+throat. As we have learned, a trained muscle responds more spontaneously to
+thought or will than an uneducated one; flexible spontaneity the singer
+always needs. Beyond a doubt, the singer who takes a simple but effective
+course of physical training in connection with vocal training will
+accomplish twice as much in a given time, in regard to tone, power and
+control, as he could possibly do with the vocal training alone. This is the
+day of physical training, of physical culture in all things; and the
+average vocal teacher will have to awake to the fact that his pupils need
+it as much as, or more than, they need the constant practice of tone.
+</p>
+<p>
+Of course it is not possible to give a system of physical training in a
+small work like this. The student of the voice can get physical training
+and physical culture from many teachers and many books. It may not be
+training that will so directly and definitely develop and strengthen the
+vocal muscles and the organ of sound itself, or training that will so
+directly influence the voice as does our system, which is especially
+arranged for the singer; but any good system of physical development, any
+system that gives the student health and strength, is good for the singing
+voice. "Activity is the source of growth, both physical and mental."
+"Strength to be developed, must be used. Strength to be retained, must be
+used."
+</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_9"><!-- RULE4 9 --></a>
+
+<h3>
+RAISON D'&Ecirc;TRE.
+</h3>
+<p>
+Since writing my last book, "Position and Action in Singing," and after
+four or five years more of experience, I have been doubly impressed and
+more than convinced of the power and influence of certain things necessary
+to a right training and use of the voice. Herbert Spencer says, "Experience
+is the sole origin of knowledge;" and my experience has convinced me, not
+only that certain things are necessary in the training of the voice, but
+that certain of the most important principles or conditions demanded by
+Nature, are entirely wanting in most systems of singing.
+</p>
+<p>
+Singers, as a rule, are artificial and unnatural. They do not use all the
+powers with which Nature has endowed them. This has been most forcibly
+impressed upon my mind by the general lack of vitality, or vital energy,
+among singers; by a general lack of physical vitality, and, I venture to
+say, largely of mental vitality, and undoubtedly of emotional vitality,
+often, but mistakenly, called temperament. These things have been forced
+upon me by the general condition of depression which prevails. Vitality,
+however, or vitalized energy, is in fact the true means or device whereby
+the singer is enabled to arouse his temperament, be it great or otherwise;
+to arouse it, to use it, and to make it felt easily and naturally.
+</p>
+<p>
+Out of every hundred voices tried I am safe in saying that at least ninety
+are physically depressed, are physically below the standard of artistic
+singing. Singing, it is true, is more mental than physical, and more
+emotional than mental; but a right physical condition is absolutely
+necessary, and the development of it depends upon the way the pupil is
+taught to think. Singing is a form of self-expression, of an expression of
+the emotions. This is impossible when there is physical depression. The
+singer must put himself and keep himself upon a level with the tone and
+upon a level with his song, the atmosphere of his song; upon a level with
+the sentiment to be expressed, physically, mentally and emotionally. This
+cannot be done, or these conditions cannot prevail, when there is
+depression.
+</p>
+<p>
+There is, to my mind, but one way to account for this condition of
+depression among singers. That is, the way they think, or are taught to
+think, in regard to the use of their bodies in singing. The way in which
+they breathe and control the breath, the way in which they drive and
+control the tone. It is the result of rigid muscular effort or relaxation,
+and both depress not only the voice but the singer as well. The tonal
+result is indisputable evidence of this.
+</p>
+<p>
+Knowledge comes through experience; and my experience in studying both
+sides of this question has convinced me that there is but one way to
+develop physical, mental and emotional vitality in the singer, and that is
+through some system of flexible, vitalized bodily movements. There must be
+flexible firmness, firmness without rigidity. The movements as given in my
+book, "Position and Action in Singing," and as here given, develop these
+conditions. They give the singer physical vitality, freedom of voice,
+spontaneity, absolute automatic breath control, and make self-expression,
+emotional expression, and tone-color, not only possible but comparatively
+easy. Singing is self-expression, an expression of thought and feeling.
+There must be a medium, however, for the expression of feeling aroused
+through thought; that medium is the body and the body alone. Therefore it
+is easy to see the importance of so training the body that it will respond
+automatically to the thought and will of the singer.
+</p>
+<p>
+The opposite of depression, which local effort develops, is vitalized
+energy, the singer's sensation, that which I have called the third power,
+and which is a revelation to those who have studied both sides of the
+question. These things, as I have said, have been given to the vocal world
+in my book, "Position and Action in Singing." Many have understood them,
+have used them, and are enthusiastic advocates of the idea. Others have not
+fully understood them, as was and is to be expected. For that reason I have
+written this little book in the hope that it might make things plainer to
+all. I have endeavored to embody these practical, natural, necessary
+movements in the formula of study given in this book.
+</p>
+<p>
+The formula which follows is systematically and logically arranged for the
+study and development of fundamental principles through or by the means of
+these flexible vitalized movements. In this way I hope to make these ideas
+plainer and more definite to pupil and teacher.
+</p>
+<p>
+Every correct system of voice-training is based upon principle, theory, and
+the devices used to develop the principles. There are certain fundamental
+principles of voice, which are Nature's laws laid down to man, and which
+cannot be violated. Upon these principles we formulate theories. The
+theories may be right or wrong, as they are but the works of man. If they
+are right, the devices used are more apt to be right. If they are wrong,
+wrong effort is sure to follow, and the result is disastrous.
+</p>
+<p>
+After all, the most important question for consideration is that of the
+devices used to develop and train the voice. All depends upon whether the
+writer, the teacher, and the pupil study Nature's laws through common-sense
+methods or resort to artificiality. If the devices used are right, if they
+develop vitality, emotional energy, if they avoid rigidity and depression,
+then the singer need not know so much about principle and theory. But with
+the teacher it is different. He must know what to think and how to think it
+before he can intelligently impart the ideas to his pupils. Hence a system
+based upon correct principle, theory, and device is absolutely necessary
+for the teacher who hopes to succeed.
+</p>
+<p>
+The following system, as formulated, is largely the outgrowth of my summer
+work at Point Chautauqua, on Lake Chautauqua. There we have a school every
+summer, not only for the professional singer and teacher, but for those who
+desire to become such. Beside the private lessons we give a practical
+normal course in class lessons. There the principles, the theory, and the
+devices used are studied and worked out in a practical way by lecture, by
+illustration, and by the study of all kinds of voices. Many who have taught
+for years have there obtained for the first time an idea, the true idea, of
+flexible vitalized movements, the devices demanded by nature for giving the
+voice vitality, freedom, ease, etc. These teachers who are thus aroused
+become the most enthusiastic supporters of, and believers in, our system of
+flexible vitalized movements.
+</p>
+<p>
+It is, therefore, through the Chautauqua work that I have been impressed
+with the importance of placing this system in a plainer and more definite
+way, if possible, before the vocal world.
+</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<a name="PART2"><!-- PART2 --></a>
+<h2>
+        PART SECOND.
+</h2>
+
+<center>
+<i>VITALITY.</i>
+</center>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_10"><!-- RULE4 10 --></a>
+<h3>
+        ARTICLE ONE.
+</h3>
+
+<center>
+THE FIRST PRINCIPLE OF ARTISTIC TONE&mdash;PRODUCTION.
+</center>
+<p>
+The first principle of artistic tone-production is
+</p>
+<pre>
+  <i>The Removal of All Restraint</i>.
+</pre>
+<p>
+The theory founded upon this principle is as follows: Correct tone is the
+result of certain conditions demanded by Nature, not man's ideas. These
+conditions are dependent upon form and adjustment; and form and adjustment,
+to be right, must be automatic, and not the result of direct or local
+effort.
+</p>
+<p>
+The devices used for developing the above conditions are simple vocal
+exercises which are favorable to correct form and adjustment, and are
+studied and made to influence the voice through correct position and
+action.
+</p>
+<p>
+A correct system for training and developing the voice must be based upon
+principle, theory, and device; upon the principles of voice which are
+Nature's laws, upon the theories based upon these principles, and upon the
+devices for the study and development of such principles.
+</p>
+<p>
+My purpose in this little work is to give just enough musical figures or
+exercises to enable us to study and apply the movements, the practical part
+of our system.
+</p>
+<p>
+The first principle of artistic tone-production is the removal of all
+restraint. This no one can deny without stultifying himself. The removal of
+all restraint means absolute freedom, not only of form and action, but of
+tone. It is evident, then, that any local hardening or contracting of
+muscle, any tension or contraction which would prevent elasticity, would
+make the removal of all restraint impossible. Hence we find that this first
+principle is an impossibility with the rigid local-effort school. On the
+other hand, relaxation, while it may remove restraint, makes artistic
+control and tonicity impossible. Hence artistic tone, based upon this first
+principle, is an impossible condition with the limp or relaxed school.
+</p>
+<p>
+That tone is the result of certain conditions demanded by Nature, and that
+these conditions are dependent upon form and adjustment, cannot be denied;
+but unless form and adjustment give freedom to the voice, unless they
+result in the removal of all restraint, then the manner or method in which
+they are secured must surely be wrong. Local effort or contraction cannot
+do this. Relaxation cannot secure the true conditions. There is and can be
+but one principle which makes true form and adjustment possible: All form
+and adjustment must be automatic, and not the result of direct or local
+effort.
+</p>
+<p>
+This brings us to a study of devices; and devices, to influence correctly
+not only the voice but the individual, must be in accordance with natural
+and not artificial conditions. The singer must put himself and keep himself
+upon a level with the tone&mdash;upon a level with the tone physically, mentally
+and emotionally. The device which we use, or the formula, is, <i>lift,
+expand, and let go</i>.
+</p>
+<p>
+With the singer who contracts the throat muscles during the act of singing,
+that which may be called the center of gravity or of effort is at the
+throat. With the singer who carries a consciously high chest and a drawn-in
+or contracted diaphragm, the center of gravity is at the chest. With the
+singer who takes a conscious full breath, and hardens and sets the
+diaphragm to hold it, the center of gravity is at the diaphragm. In none of
+these cases is it possible to remove all restraint; for they all result in
+contraction, especially of the throat muscles, and make flexible
+expansion&mdash;a condition necessary to absolute freedom&mdash;impossible.
+</p>
+<p>
+Place the center of gravity, by thought and action, at the hips. Everything
+above the hips must be free, flexible, elastic and vitalized when singing.
+We say, <i>lift, expand, and let go</i>, which must be in the following
+proportion: Lift a little, expand more than you lift, and let go entirely.
+The lift is from the hips up, and must be done in a free, flexible manner,
+with a constant study to make the body lighter and lighter, and the
+movement more elastic and flexible. Do not lift as though lifting a weight,
+but lift lightly as though in response to thought or suggestion.
+</p>
+<p>
+Expand the entire body in a flexible, elastic manner. This will bring into
+action every muscle of the body, and apply strength and support to the
+voice; for, as we have found, there is no strength correctly applied except
+through right movement. When we lift and expand properly, we expand the
+body as a whole, and not the chest alone, nor the diaphragm, nor the sides.
+These all come into action and expand with proper movement; but there must
+be no conscious thought of, nor conscious local effort of, any particular
+part of the body. When we lift and expand properly the chest becomes
+active, the diaphragm goes into a singing position, and every muscle of the
+body is on the alert and ready to respond to the thought or desire of the
+singer. Not only this; when we lift and expand properly, we influence
+directly the form and adjustment of all the vocal muscles, and especially
+the organ of sound itself. In this way the voice is actually and
+artistically tuned for the production of correct tone, as is the violin in
+the hands of the master before playing.
+</p>
+<p>
+<i>Lift, expand, and let go</i>. This brings us to a consideration of the
+third part of this expression, <i>let go</i>. This is in some respects the
+most important of the three; for unless the singer knows how to let go
+properly, absolute freedom or the removal of all restraint is impossible,
+and the true conditions of tone are lacking. The <i>let go</i> does not
+mean relaxation, for there must be flexible firmness without rigidity. With
+the beginner the tendency is to lift, expand, and harden or contract all
+the muscles. This, of course, means restraint. The correct idea of <i>let
+go</i> may be studied and better understood by the following experiment or
+illustration.
+</p>
+<p>
+Stand with the right arm hanging limp by the side. Lift it to a horizontal
+position, the back of the hand upward. While lifting, grip and contract
+every muscle of the arm and hand out to the finger-tips. This is much like
+the contraction placed upon the muscles of the body and of the throat by
+the conscious-breathing, local-effort school. Lift the arm again from the
+side, and in lifting have the thought or sensation of letting go all
+contraction of the muscles. Make the arm light and flexible, and use just
+enough strength to lift it, and hold it in a horizontal position. This
+should be the condition of all the muscles of the body under the influence
+of correct, <i>lift, expand, and let go</i>. Lift the arm the third time
+without contraction or with the sensation of letting go, hold it in a
+horizontal position, the back of the hand upward. Now will to devitalize
+the entire hand from the wrist to the finger-tips. Let the hand drop or
+droop, the arm remaining in a horizontal position. This condition of the
+hand is the <i>let go</i>, or the condition of devitalization, which should
+be upon the muscles of the face, the mouth, the tongue, the jaw, and the
+extrinsic muscles of the throat during the act of singing.
+</p>
+<p>
+Thus, when we say, <i>lift, expand, and let go</i>, we mean lift from the
+hips, the center of gravity, in an easy, flexible manner; expand the body
+with a free movement without conscious thought of any part of it; have the
+sensation of letting go all contraction or rigidity, and absolutely release
+the muscles of the throat and face. The <i>let go</i> is in reality more a
+negative than a positive condition, and virtually means, when you lift and
+expand, do not locally grip, harden, or set any muscle of the body, throat,
+or face.
+</p>
+<p>
+The <i>lift, expand, and let go</i> must be in proportion to the pitch and
+power of the tone. This, if done properly, will result in automatic form
+and adjustment, the removal of all restraint, and open, free throat and
+voice. This is the only way in which it is possible to truly vitalize, to
+arouse the physical, mental and emotional powers of the singer. This is the
+only way in which it is possible to put yourself and keep yourself upon a
+level with the tone&mdash;upon a level, physically, mentally and emotionally.
+This is in truth and in fact the singer's true position and true condition;
+this is in truth and in fact self-assertion; and this, and this only, makes
+it possible to easily and naturally <i>arouse</i> "the singer's sensation,"
+the true sensation of artistic singing.
+</p>
+<p>
+We will take for our first study a simple arpeggio, using the syllables Ya
+ha, thus:
+</p>
+
+<center>
+<img src="images/1.png" width="308" height="106"
+alt="First Study. Ya, Ha....">
+</center>
+
+<p>
+We use Ya on the first tone, because when sung freely it helps to place the
+tone well forward. Ya is pronounced as the German <i>Ja</i>. We use ha on
+all other tones of this study for the reason that it is the natural
+staccato of the voice. Think it and sing it "in glossic" or phonetically,
+thus: hA, very little h but full, inflated, expanded A. A full explanation
+for the use of Ya and ha may be found in "Position and Action in Singing,"
+page 117. All the studies given in this little work for the illustration
+and study of the movements of our system should be sung on all keys as high
+and as low as they can be used without effort and without strain.
+</p>
+<p>
+It has been said that "the production of the human voice is the effect of a
+muscular effort born of a mental cause." Therefore it is important to know
+what to think and how to think it.
+</p>
+<p>
+We say, put yourself and keep yourself constantly upon a level with the
+tone, mentally, physically and emotionally. For the present we have to do
+with the mental and physical only.
+</p>
+<p>
+Stand in an easy, natural manner, the hands and arms hanging loosely by the
+sides. You desire to sing the above exercise. Turn the palms of the hands
+up in a free, flexible manner, and lift the hands up and out a little, not
+high, not above the waist line. When moving the hands up and out, move the
+body from the hips up and out in exactly the same manner and proportion.
+The hands and arms must not move faster than the body; the body must move
+rhythmically with the arms. This rhythmical movement of body and arms is
+highly important. In moving, the sensation is as though the body were
+lifted lightly and freely upon the palms of the hands. The hands say to the
+body, "Follow us." In this way, <i>lift, expand, and let go</i>. Do not
+raise the shoulders locally. The movement is from the hips up. The entire
+body expands easily and freely by letting go all contraction of muscle. Do
+not first lift, and after lifting expand, and then finally try to let go,
+as is the habit of many; but lift, and when lifting expand, and when
+lifting and expanding let go as directed. Three thoughts in one
+movement&mdash;three movements in one&mdash;lifting, expanding, and letting go
+simultaneously as one movement, which in fact it must finally become. This
+is the only way in which it is possible to secure all true conditions of
+tone.
+</p>
+<p>
+With this thought in mind, and having tried the movement without singing,
+sing the above exercise. Start from repose, as described, and by using the
+hands and body in a free, flexible manner, move to what you might think
+should be the level of the first tone. Just when you reach the level of the
+first tone let the voice sing. Move up with the arpeggio to the highest
+note, using hands, body, and voice with free, flexible action; then move
+body and hands with the voice down to the lowest note of the arpeggio; when
+the last tone is sung go into a position of repose.
+</p>
+<p>
+The movement from repose to the level of the first tone is highly
+important, for the reason that it arouses the energies of the singer, and
+secures all true conditions through automatic form and adjustment. Do not
+hesitate, do not hurry. All movement must be rhythmical and spontaneous,
+and never the result of effort. In singing the arpeggio the tones of the
+voice must be strictly staccato; but the movement of the hands and body
+must be very smooth, even, and continuous&mdash;no short, jerky movements.
+</p>
+<p>
+The movement of the body is very slight, and at no time, in studying these
+first exercises, should the hands be raised above the level of the hips or
+of the waist line. Of course with beginners these movements may be more or
+less exaggerated. When singing songs, however, they do not show, at least
+not nearly as much as wrong breathing and wrong effort. They simply give
+the singer the appearance of proper dignity, position, and self-assertion.
+By all means use the hands in training the movements of the body. You can
+train the body by the use of the hands in one-fourth of the time that it is
+possible to do it without using them. Be careful, however, not to raise the
+hands too high, as is the tendency; when lifted too high the energy is
+often put into the hands and arms instead of the body; in this way the body
+is not properly aroused and influenced, and of course true conditions are
+not secured.
+</p>
+<p>
+"Practical rules must rest upon theory, and theory upon nature, and nature
+is ascertained by observation and experience." Now, if you will practice
+this arpeggio with a free, flexible movement of hands and body, getting
+under the tone, as it were, and moving to a level of every tone, you will
+soon find by practice and experience that these movements are perfectly
+natural, that they arouse all the forces which nature gave us for the
+production of tone, that they vitalize the singer and give freedom to the
+voice. By moving properly to a level of the first tone you secure all true
+conditions of tone; and if you have placed yourself properly upon a level
+with the high tone, when that is reached you will have maintained those
+true conditions&mdash;you will have freedom, inflation and vitality instead of
+contraction and strain.
+</p>
+<p>
+By moving with the voice in this flexible manner we bring every part of the
+body into action, and apply strength as nature demands it, without effort
+or strain. Remember, there is no strength properly applied in singing
+without movement. In this way the voice is an outward manifestation of an
+inward feeling or emotion. "The voice is your inner or higher self,
+expressed not <i>at</i> or <i>by</i> but <i>through</i> the vocal organs,
+aided by the whole body as a sound-board."
+</p>
+<p>
+Our next study will be a simple arpeggio sung with the <i>la</i> sound,
+thus:
+</p>
+
+<center>
+<img src="images/2.png" width="331" height="107"
+alt="Second Study. La....">
+</center>
+
+<p>
+This movement, of course, must be sung with the same action of hands and
+body, starting from repose to the level of the first tone, and keeping
+constantly upon a level with the voice by ascending and descending. Sing
+this exercise first semi staccato, afterwards legato.
+</p>
+<p>
+The special object of this exercise is to relax the jaw, the face, and the
+throat muscles. A stiff, set jaw always means throat contraction. In this
+exercise, if sung in every other respect according to directions, a stiff
+jaw would defeat the whole thing, and make impossible a correct production
+of every high tone.
+</p>
+<p>
+In singing the <i>la</i> sound, the tip of the tongue touches the roof of
+the mouth, just back of the upper front teeth. Think the tone forward at
+this point, and let the jaw rise and fall with the tongue. Devitalize the
+jaw and the muscles of the face, move up in a free, flexible manner to the
+level of every tone, and you will be surprised at the freedom and ease with
+which the high tones come. The moving up in the proper way applies
+strength, and secures automatic form and adjustment; develops or
+strengthens the resisting or controlling muscles of the voice; in fact,
+gives the voice expansion, inflation, and tonicity.
+</p>
+<p>
+Remember that one can act in singing; and by acting I mean the movements as
+here described, lifting, expanding, etc., without influencing the voice or
+the tone, without applying the movements to the voice; of course such
+action is simply an imitation of the real thing. Herein, however, lies the
+importance of correct thinking. The thought must precede the action. The
+singer must have some idea of what he wants to sing and how he wants to
+sing it. A simple chance, a simple hit or miss idea, will not do. Make your
+tone mean something. Arouse the singer's sensation, and you can soon tell
+whether the movement is influencing the tone or not. Of course these
+movements are all more easily applied on the middle and low tones than on
+the higher tones, but these are the great successful movements for the
+study and development of the high tones.
+</p>
+<p>
+As we have learned in our former publications, there are but three
+movements in singing,&mdash;ascending, descending, and level movements. We have
+so far studied ascending and descending movements or arpeggios. We will now
+study level movements on a single tone, thus:
+</p>
+
+<center>
+<img src="images/3.png" width="219" height="82"
+alt="Third Study. Ah.">
+</center>
+
+<p>
+Place yourself in a free, flexible manner upon a level with the tone by the
+use of the movements as before described; lift, expand, and let go without
+hurrying or without hesitation, and just when you reach that which you feel
+to be the level of the tone let the voice sing. All must be done in a
+moment, rhythmically and without local effort. Sing spontaneously, sing
+with abandon, trust the movements. They will always serve you if you trust
+them. If you doubt them, they are doubtful; for your very doubt brings
+hesitation, and hesitation brings contraction. Sing from center to
+circumference, with the thought of expansion and inflation, and not from
+outside to center. The first gives freedom and fullness of form, the latter
+results in local effort and contraction. The first sends the voice out full
+and free, the latter restrains it. Expansion through flexible movement is
+the important point to consider. When the tone is thus sung, it should
+result in the removal of all restraint, especially from the face, jaw, and
+throat. In this way the tone will come freely to the front, and will flow
+or float as long as the level of the tone is maintained without effort.
+</p>
+<p>
+Remember the most important point is the movement from repose to the level
+of the tone. If this is done according to directions, all restraint will be
+removed and all true conditions will prevail. Never influence form. Let
+form and adjustment be automatic, the result of right thought, position,
+and action. Study to constantly make these movements of the body easier and
+more natural. Take off all effort. Do not work hard. It is not hard work.
+It is play. It is a delight when properly done. Make no conscious, direct
+effort of any part of the body. Never exaggerate the movement or action of
+one part of the body at the sacrifice of the true position of another. The
+tendency is to locally raise the chest so high that the abdomen is
+unnaturally drawn in. This, of course, is the result of local effort, and
+is not the intention of the movements. The center of gravity must be at the
+hips; and all movement above that must be free, flexible, and uniform.<sup><a href="#note-1">1</a></sup>
+</p>
+<p>
+Do not give a thought to any wrong thing you may be in the habit of doing
+in singing, but place your mind upon freeing the voice, upon the removal of
+all restraint through these flexible vitalized movements: think the ideal
+tone and sing. When the right begins to come through these movements the
+wrong must go. Over and against every wrong there is a right. We remove the
+wrong by developing the right. Sing in a free, flexible manner, the natural
+power of the voice. Make no effort to suppress the tone or increase its
+power. After the movements are understood and all restraint is removed,
+then study the tone on all degrees of power, but remember when singing soft
+and loud, and especially loud, that the first principle of artistic singing
+is the removal of all restraint.
+</p>
+
+<a name="RULE4_11"><!-- RULE4 11 --></a>
+
+<h3>
+ARTICLE TWO.
+</h3>
+<center>
+THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+</center>
+<p>
+The second principle of artistic tone-production is
+</p>
+<pre>
+  <i>Automatic Breathing and Automatic Breath-Control.</i>
+</pre>
+<p>
+<i>Theory.</i>&mdash;The singing breath should be as unconscious,&mdash;or, rather,
+as sub-conscious,&mdash;as involuntary, as the vital or living breath. It should
+be the result of flexible action, and never of local muscular effort. The
+muscular breath compels muscular control; hence throat contraction. The
+nervous breath, nervous control; hence relaxation and loss of breath.
+</p>
+<p>
+<i>Devices.</i>&mdash;<i>Expand to breathe. Do not breathe to expand.</i> Expand
+by flexible, vitalized movements; control by position the level of the
+tone, and thus balance the two forces, "pressure and resistance." In this
+way is secured automatic adjustment and absolute automatic breath-control.
+</p>
+<p>
+More has probably been written and said upon this important question of
+breathing in singing than upon any other question in the broad field of the
+vocal art; and yet the fact remains that it is less understood than any of
+the really great principles of correct singing. This is due to the fact
+that most writers, teachers, and singers believe that they must do
+something&mdash;something out of the ordinary&mdash;to develop the breathing powers.
+The result is, that most systems of breathing are artificial; therefore
+unnatural. Most systems of breathing attempt to do by direct effort that
+which Nature alone can do correctly. Most breathing in singing is the
+result of direct conscious effort.
+</p>
+<p>
+The conscious or artificial breath is a muscular breath, and compels
+muscular control. The conscious breath&mdash;the breath that is taken locally
+and deliberately (one might almost say maliciously) before singing&mdash;expands
+the body unnaturally, and thus creates a desire to at once expel it. In
+order to avoid this, the singer is compelled to harden and tighten every
+muscle of the body; and not only of the body, but of the throat as well.
+Under these conditions the first principle of artistic tone-production&mdash;the
+removal of all restraint&mdash;is impossible.
+</p>
+<p>
+As the breath is taken, so must it be used. Nature demands&mdash;aye,
+compels&mdash;this. If we take (as we are so often told to do) "a good breath,
+and get ready," it means entirely too much breath for comfort, to say
+nothing of artistic singing. It means a hard, set diaphragm, an undue
+tension of the abdominal muscles, and an unnatural position and condition
+of the chest. This of course compels the hardening and contraction of the
+throat muscles. This virtually means the unseating of the voice; for under
+these conditions free, natural singing is impossible. The conscious, full,
+muscular breath compels conscious, local muscular effort to hold it and
+control it. Result: a stiff, set, condition of the face muscles, the jaw,
+the tongue and the larynx. This makes automatic vowel form, placing, and
+even freedom of expression, impossible. The conscious, artificial breath is
+a handicap in every way. It compels the singer to directly and locally
+control the parts. In this way it is not possible to easily and freely use
+all the forces which Nature has given to man for the production of
+beautiful tone.
+</p>
+<p>
+Now note the contrast. The artistic breath must be as unconscious or as
+involuntary as the vital or living breath. It must be the result of free,
+flexible action, and never of conscious effort. The artistic, automatic
+breath is the result of doing the thing which gives the breath and controls
+the breath without thought of breath. The automatic breath is got through
+the movements suggested when we say, <i>Lift, expand, and let go</i>.
+</p>
+<p>
+When the singer lifts and expands in a free, flexible manner the body fills
+with breath. One would have to consciously resist this to prevent the
+filling of the lungs. The breath taken in this way means expansion,
+inflation, ease, freedom. There is no desire to expel the breath got in
+this way; it is controlled easily and naturally from position&mdash;the level of
+the tone. When the breath is thus got through right position and action, we
+secure automatic form and adjustment; and correct adjustment means
+approximation of the breath bands, inflation of the cavities&mdash;in fact, all
+true conditions of tone. Nature has placed within the organ of sound the
+principle of a double valve,&mdash;one of the strongest forces known in
+mechanics,&mdash;for the control of the breath during the act of singing. This
+is what we mean by automatic breath-control&mdash;using the forces which Nature
+has given us for that purpose, using them in the proper manner.
+</p>
+<p>
+If the reader is familiar with my last two works, "Vocal Reinforcement" and
+"Position and Action in Singing," he will have learned through them that we
+have not direct, correct control of the form and adjustment of the parts
+which secure the true conditions of tone and automatic breath-control.
+These conditions, as we have learned, are secured through the flexible
+movements which are the ground-work of our system. Therefore we say,
+<i>Trust the movements</i>. If you have confidence in them, they will
+always serve you. If you doubt them, they are doubtful; for the least doubt
+on the part of the singer means more or less contraction and restraint;
+hence they fail to produce the true conditions.
+</p>
+<p>
+This automatic breathing, the result of the movements described, does not
+show effort or action half so much as the old-fashioned, conscious muscular
+breath. Breathing in this way means the use of all the forces which Nature
+has given us. Breathing in this way is Nature's demand, and the reward is
+Nature's help.
+</p>
+<p>
+The devices we use to develop automatic breathing and automatic
+breath-control are the simplest possible exercises, studied and developed
+through the movements, as before described. In this way through right
+action we expand to breathe, or rather we breathe through flexible
+expansion, and we control by position, by the true level of the tone. In
+this way, as we have found, all true conditions are secured and maintained.
+</p>
+<p>
+We will take for our first study a single tone about the middle of the
+voice. Exercise three in Article One of this second part of the book will
+suggest the idea.
+</p>
+<p>
+Sing a tone about the middle of the voice with the syllable <i>ah</i>.
+Lift, expand, and let go, by the use of the hands and the body, as before
+suggested. The lifting and expanding in a free, flexible manner will give
+you all the breath that is needed; and the position, the level of the tone,
+will hold or control the breath if you have confidence. Remember that
+automatic breathing depends upon first action, the movement from repose to
+the level of the tone. If the action is as described, sufficient breath
+will be the result. If the position, the level of the tone, is maintained
+without contraction, absolute automatic breath-control will be the result
+so sure as the sun shines.
+</p>
+<p>
+The tendency with beginners and with those who have formed wrong habits of
+breathing, is to take a voluntary breath before coming into action. This of
+course defeats the whole thing. Again, the tendency of beginners or of
+those who have formed wrong habits, is to sing before finding the level of
+the tone through the movements, or to start the tone before the action.
+This of course compels local effort and contraction, and makes success
+impossible. The singer must have breath; and if he does not get it
+automatically through the flexible movements herein described, or some such
+movements, he is compelled to take it consciously and locally. The
+conscious local breath in singing is always an artificial breath, and
+compels local control. Under these conditions ease and perfect freedom are
+impossible.
+</p>
+<p>
+As we have said, the important thing to consider in this study is the
+movement from repose to the level of the first tone. Move in a free,
+flexible manner as before described, and give no thought to breath-taking.
+When you have found the level of the tone, all of which is done
+rhythmically and in a moment, let the voice sing,&mdash;sing spontaneously. Make
+no effort to hold or control the breath. Maintain correct position the
+level of the tone, in a free, flexible manner, and sing with perfect
+freedom, with abandon. As the movement or action gave you the breath, so
+will the position hold it. The more you let go all contraction of body and
+throat muscles, the more freedom you give the voice, the more will the
+breath be controlled,&mdash;controlled through automatic form and adjustment.
+This is a wonderful revelation to many who have tried it and mastered it.
+Those who have constantly thought in the old way, and attempted to breathe
+and control in the old way, cannot of course understand it. The tendency of
+such is to condemn it,&mdash;to condemn it, we are sorry to say, without
+investigation.
+</p>
+<p>
+Knowledge is gained through experience. The singer or pupil who tries this
+system of breathing and succeeds, needs no argument to convince him that it
+is true, natural and correct. The greatest drawback to the mastering of it
+on the part of many singers and teachers, is the artificial habits acquired
+by years of wrong thinking and wrong effort. With the beginner it is the
+simplest, the easiest, and the most quickly acquired of all systems of
+breathing; for automatic breathing is a fundamental, natural law of
+artistic singing.
+</p>
+<p>
+For further illustration of this principle of breathing we will use the
+following exercise:
+</p>
+
+<center>
+<img src="images/4.png" width="365" height="104"
+alt="Fourth Study. Ah....">
+</center>
+
+<p>
+Place yourself in a free, flexible manner on a level with the first tone.
+If this is done properly, you will have secured automatically a singing
+breath and all true conditions of tone. When singing this exercise move the
+hands and body with the tone or voice, ascending and descending. In
+ascending open freely and naturally by letting go. Do not influence the
+form by attempting locally to open. Do not influence the form by locally
+preventing freedom or expansion. Let go all parts of the face, mouth and
+throat, and you will be surprised at the power of the tone, of the breath,
+and of the breath-control on the upper tone. You will be surprised to find
+that you will have secured or developed three or four times as much
+sustaining breath power as you imagined you had. In descending, care must
+be taken not to droop or depress, but to carry the voice by controlling the
+movements of the body, and only after the last tone is finished should the
+body go into a position of repose.
+</p>
+<p>
+Sing this exercise in all degrees of power, soft, medium and loud,
+maintaining the same true conditions on all. The tendency of most singers
+is to relax and depress on soft tone, or to pinch and contract. Soft tone
+should never be small in form, and it should always have the same vitality
+and energy as the louder tone.
+</p>
+
+<center>
+<img src="images/5.png" width="272" height="76"
+alt="Fifth Study. Ah....">
+</center>
+
+<p>
+This exercise should be studied and practiced in every way suggested for
+the study of the preceding exercises. Place yourself upon a level with the
+first tone, in the manner before described, and thus secure the automatic
+breath. Do not forget to use the hands to suggest the movement to the body.
+The hands should be used until the body is thoroughly trained to flexible
+action. It is always a question of "the thought before the action." Do not
+allow a conscious or local breath before the movement.
+</p>
+<p>
+Place yourself upon a level with the first tone, and allow or let the voice
+start spontaneously and freely. Make no effort to hold the breath. Hold
+from position. Sing down, moving with the voice, but do not let the body or
+the tone droop or relax. Neither must there be stiffness or contraction. If
+you find it impossible to control the voice in this way, or to prevent
+depression of body and of tone, then try the following way.
+</p>
+<p>
+Place yourself upon a level with the first tone in the proper manner, sing
+down, but lift and expand with an ascending movement of the hands and body.
+Open the mouth freely and naturally, and let the tone roll out. You will be
+surprised to find not only great breath power and control, but a power in
+the tone that most singers imagine can be got through physical force alone.
+This power is the result of expansion and inflation, the true reinforcing
+power. The increased vitalized energy of the tone is the result of the
+upward and outward movement. This movement of expansion and inflation
+through flexible action, is the true application of strength or of power.
+It is that which we call the reverse movement. We sing down and move up. It
+is the great movement for developing the low tones of all voices. This
+reverse movement may be applied at will to all the studies given; it will
+depend upon the effect we may desire to produce. If in descending, a quiet
+effect is desired, the movement is with the voice. If we want power we
+reverse the action. The body, when properly trained, becomes the servant of
+the will, and responds instantly to thought and desire. Hence the
+importance of correct thought.
+</p>
+<p>
+In presenting these ideas to my readers, I realize how difficult it is to
+put them in words, and how much they lose when they appear in cold print.
+In working with a living, vitalized voice, the effect is so different. The
+reader who may desire to experiment with these ideas should place himself
+before a mirror, and make his image his pupil, his subject. In this way he
+can better study the movements, the action, the position, the level of the
+tone, and the breathing.
+</p>
+<p>
+In private teaching, of course, we do not take up one subject or principle
+and finish that, and then take up the next one; but one idea is constantly
+built upon another to form the harmonious whole. The formula which we use
+here, as we have said, is the one adopted for the normal class at the Point
+Chautauqua summer school. This we do in order to have the system properly
+arranged for lecture, illustrations, and for a practical study of the
+devices, not only from the singer's, but from the teacher's standpoint as
+well.
+</p>
+<p>
+The teacher or singer who studies and masters this course never questions
+or doubts the truth and power of automatic breathing and automatic
+breath-control; or the wonderful influence on the voice of these movements,
+which we call true position and action in singing.<sup><a href="#note-2">2</a></sup>
+</p>
+
+<a name="RULE4_12"><!-- RULE4 12 --></a>
+
+<h3>
+ARTICLE THREE.
+</h3>
+<center>
+THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+</center>
+<p>
+The third principle of artistic tone-production is
+</p>
+<pre>
+  <i>High Placing and Low Resonance.</i>
+</pre>
+<p>
+<i>Theory.</i>&mdash;Tone, to be artistic, must be placed forward and high, and
+must be reinforced by the low cavities and chest resonance; it must be
+placed high, and reinforced or built down by added resonance through
+expansion and inflation.
+</p>
+<p>
+<i>Devices.</i>&mdash;Place high by removing all restraint, all obstruction,
+through flexible movements. The high, forward placing is the natural focus
+of the voice. When the voice is thus placed and automatic control prevails,
+reaction and reflection occur, and the sympathetic low resonance of the
+inflated cavities is added to the tone. Also study the naturally high
+placing of E and the naturally low color of oo; then equalize all the
+vowels through their influence, and thus develop uniform color and quality
+in all.
+</p>
+<p>
+This third principle of artistic singing is a very important one, and means
+much more than one might, at first thought, suppose. Many singers think of
+placing simply as the point of contact or impact of the air current.
+Placing, however, means more than this. It means not only the correct focus
+of tone forward and high, but it also means reaction and reflection of the
+air current; in short, sympathetic added vibration of air in the low
+inflated cavities. This being true, we find that correct placing means even
+much more. It means the true form and adjustment of all the parts&mdash;all true
+conditions of tone.
+</p>
+<p>
+The prevailing idea of placing is the thought of constantly pushing up the
+tone. Result, the organ of sound is pushed out of place and all true
+conditions disturbed. The pushed-up tone means local, muscular effort,
+contraction, and a hard, unmusical voice. The voice thus placed may be loud
+and brilliant, but never soulful or beautiful. The pushed-up tone means
+singing from the larynx up. It means head-resonance only; and
+head-resonance is but one side, and that the smallest side, of this great
+question.
+</p>
+<p>
+Tone must be placed spontaneously, with reaction and reflection. This shows
+at once the importance of the first two great principles of
+voice-production,&mdash;freedom and automatic breath-control; for without these
+true placing is impossible. Tone placed in this way means the ring of the
+forward high placing and the added resonance of the inflated cavities and
+especially of the chest.
+</p>
+<p>
+In singing, as we have learned, there are two forces constantly in
+action,&mdash;pressure and resistance, or motor power and control. These two
+forces must prevail, and in order to produce the voice artistically, they
+must be balanced. This is done, indirectly, through the movements we
+advocate, through the position and action of the body. The motor power lies
+in the diaphragm and in the abdominal and intercostal muscles. The
+controlling force lies in the chest, in a properly adjusted larynx and the
+approximated breath-bands. These two forces must be balanced during the act
+of singing. Most singers are much stronger in the driving or motor power
+than in reaction or the controlling force; and with many, the weakness in
+control, reaction or adjustment, is an absolute bar to success. Hence the
+importance of strengthening the chest, and the position of the organ of
+sound, through physical culture.
+</p>
+<p>
+When these two forces, motor power and control, are not equal, the balance
+of force is placed upon the throat and throat muscles. This the singer can
+no more avoid doing than he can avoid balancing himself to keep from
+falling. When, in order to place, the voice is pushed up, deliberately and
+maliciously pushed, both forces are exerted in the same direction. They are
+then virtually but one force&mdash;a driving force. As there must be two forces
+in singing, as Nature compels this, there is nothing left for the singer to
+do but to use the throat and throat muscles as a controlling force. Under
+these conditions, as before stated, the tone may be brilliant, but it will
+always be unsympathetic and unmusical.
+</p>
+<p>
+I hope no one will think for a moment, in considering the movements we
+advocate, that we do not believe in strength and power. We do believe in
+applied power, applied indirectly; not by local grip and contraction, but
+indirectly through vitalized energy, expansion, and flexibility, through
+the true position and action of the singer. There is no strength properly
+applied in singing except through movement; through correct movement all
+the forces which nature has given the singer are indirectly brought into
+action; in this way there is constant physical and vocal development.
+</p>
+<p>
+Every tone sung, as we have learned, is a reinforced sound. There are two
+ways of reinforcing tone. First, by muscular tension, muscular contraction,
+muscular effort&mdash;the wrong way. Second, by vitalized energy, by expansion,
+and by added resonance of air in the inflated cavities&mdash;the right way. Of
+course to produce expansion and inflation, true conditions of form and
+adjustment must prevail, through the movements given.
+</p>
+<p>
+Form has much to do with determining the quality and character of the tone.
+Muscular effort, either in placing or reinforcing the tone, results in
+muscular contraction, and in most cases in elliptical form of voice, thus:
+<img src="images/wideo.png" width="15" height="9" alt="wide oval"> This means depressed soft palate, high larynx,
+contraction of the fauces, closed throat, and spread open mouth.
+Result&mdash;high placing impossible, no low color or reinforcement; in short,
+hard muscular tone. The tone may be loud but it cannot be musical.
+</p>
+<p>
+The true musical form of the voice is elongation, thus: <img src="images/tallo.png" width="9" height="15" alt="tall oval">
+This means high placing and low resonance; it means that the tone has
+the ring of forward high placing and the reinforcement, color, and beauty
+of added low resonance. Elongation is a distinguishing feature of all truly
+great voices.
+</p>
+<p>
+For artistic tone, the soft palate must be high, the larynx must be low,
+and the throat and mouth allowed to form, not made or compelled. The form
+must be flexible and elastic. The larynx must be low in adjustment for the
+production of beautiful tone, but it must never be locally adjusted. It
+must always be influenced indirectly through the movements we advocate,
+through the true position and action of singing. In this way are secured
+open throat, freedom of voice, all true conditions. In this way the tone
+may be placed by impulse, by flexible action, may be started high and
+instantly reflected into the inflated cavities. This means perfect poise of
+voice; it means the focus of the tone high and forward with the sympathetic
+added vibration of the low cavities and especially of the chest. This is
+the only true placing of voice,&mdash;the combination of head and chest
+resonance through automatic form and adjustment. A tight throat through
+local, muscular effort makes these conditions impossible.
+</p>
+<p>
+The true resonance-chamber then, as we have found, is from head to chest;
+sympathetically the resonance of the entire body must be added. The true
+artist sings with the body, through the throat, and never with the throat.
+In this way the entire singer is the instrument. Fill the body with sound.
+The higher the tone the more elongated the form. Nature demands this. If
+this does not occur contraction and depression are sure to follow. Also the
+higher the tone the lower the added resonance, when the conditions are
+right. In this way the form elongates and the compass expands without
+effort or strain. These ideas studied through flexible movements are truly
+wonderful, but natural means for expanding the compass of the voice.
+</p>
+<p>
+Much has been written lately on the subject of open tones. Should the tones
+be opened or closed, is the question. Tone should never be closed. It
+should always be open, but never out. If it is out of the mouth it is not a
+singing sound. Even the real covered tones of the voice should never be
+closed. The truth is, the form of the covered tones of the voice, through
+elongation, is larger than the form of those which we call the open tones,
+in contradistinction to the covered.
+</p>
+<p>
+In the clear timbre of the voice, the bright tone, the ring of high
+placing, predominates. In somber timbre, the dark tone, low resonance, or
+low color, predominates. In medium tone both are heard or felt more
+equally. None of this coloring or reinforcing must be done by locally
+influencing form or placing. The voice must be perfectly free; and the
+result must be due to sentiment, feeling, emotion, to the effect it may be
+desired to produce. If all restraint is removed, if true conditions
+prevail, this can always be done through the singer's sensation, through
+the use of the third power. It is marvelous how, under right conditions,
+the voice will respond to thought, to sentiment, to feeling.
+</p>
+<p>
+"The tone thus produced and thus delivered, with perfect breath-control,
+will set the <i>whole body sympathizing</i>, from the sole of the foot to
+the crown of the head. And it is <i>only</i> tones like these&mdash;that it is
+possible to so adorn, and decorate, and beautify, with the due amount of
+emphasis, and accurate intensity of emotional feelings, and exquisitely
+shaded and ever-varying tinges of color in expression&mdash;that can prove
+capable of captivating the heart of the hearer, that can graphically
+impress the listener with such sentiments as the vocalist desires to
+convey."
+</p>
+<p>
+We will take for our first study a single tone about the middle of the
+voice. In studying placing and resonance, we must of course observe all the
+rules laid down in regard to the action, position, etc. Do not take a
+voluntary breath before acting&mdash;do not start the tone before the action,
+two things which require constant watching on the part of the beginner.
+Either of them will virtually cause defeat.
+</p>
+<p>
+Remove all obstruction by seeking the level of the tone through flexible
+action. Think the tone forward and high. Place by impulse, and never by
+local effort. Have the sensation as though the tone started forward and
+high, as though it impinged against the roof of the mouth, and instantly
+reflected into the low cavities, and especially into the chest. In doing
+this, relax the jaw, let go all face and throat contraction, expand the
+body, and think and feel the chest vibrant and filled with tone. In this
+way the tone may be started high and reinforced or built down by the added
+resonance of all the inflated cavities.
+</p>
+<p>
+Another way to do this, is to start the tone spontaneously by impulse
+through correct action; in doing so, think and feel as though the tone
+placed and reflected at the same instant, forward against the roof of the
+mouth and on the chest,&mdash;as though the contact or impingement of the tone
+were felt at both places simultaneously. Of course the high forward placing
+in mouth and face is the true placing, and the sensation on the chest is
+the action or reflection of the true placing. This can be done through
+flexible vitalized action alone. With a tight throat or local muscular
+effort it is impossible. This is perfect attack, and in this way all force
+and push are avoided. In this way freedom and inflation are secured, that
+condition which unites head and chest resonance.
+</p>
+<p>
+Think of a rubber pouch filled with air. Imagine you grasp it in the middle
+with the hand, and close the hand tight. The upper part of this pouch
+represents the face and high forward placing. That below the hand, or the
+lower part, the chest resonance. The hand holding the middle of the pouch
+represents the throat. So long as the hand contracts tightly the middle of
+the pouch, there is no connection between the air in the upper and lower
+parts of the pouch. If the desire is to connect these two parts, relax the
+hand a little, and allow an opening or a free passage between them. In
+singing, the same relaxation or opening must occur at the throat, if the
+desire is to connect the ring of high placing with the resonance of the low
+cavities. If the desire is to reinforce, to build down, the extrinsic
+muscles of the throat must relax, and the throat must expand.
+</p>
+<p>
+In thus placing and reinforcing tone, the pupil is guided or assisted not
+only by the sense of hearing but by the sense of feeling. There will be the
+sensation of freedom, of ease, of power; a feeling as though the entire
+body from the head down to the waist were open and filled with tone.
+Remember, however, this important fact, that it is possible to lift and
+expand, and even to let go, and yet not to influence the tone. We can act
+well and yet sing with a common tone. The pupil must think and feel the
+tone, must think and feel the effect desired. The thought must precede the
+action.
+</p>
+<p>
+This point is worthy of all consideration,&mdash;right thought or right feeling
+assists the tone in every way, has, in fact, a wonderful influence in
+developing right action. The idealized tone brings into action more of the
+true powers of the singer than it is possible to do in any other way.
+</p>
+
+<center>
+<img src="images/6.png" width="225" height="90"
+alt="Sixth Study. Ya, Ah.">
+</center>
+
+<p>
+This study lends itself easily and naturally, not only to the development
+of high placing, but to correct bodily action.
+</p>
+<p>
+Sing the first tone staccato, placing the body upon a level with the tone
+as described. Then from the level of this first tone, through flexible
+vitalized action, carry the body spontaneously or by impulse to the level
+of the upper tone; the air current or the tone should strike the roof of
+the mouth well forward and instantly reflect into the low cavities. In this
+way all true conditions are secured, and the voice is allowed to sing
+instead of being made or compelled. There must be a very free lift,
+expansion, and let go between the first and the upper tone.  Do not let the
+second tone start until its level is reached, or the effect will be
+spoiled, or at least modified. All this must be done rhythmically, which
+means without the least hesitation, or without the sensation of haste. To
+hesitate compels local effort. To hurry disturbs all true conditions. This
+is a very valuable exercise, if understood.
+</p>
+
+<center>
+<img src="images/7.png" width="235" height="80"
+alt="Seventh Study. Ah....">
+</center>
+
+<p>
+This study is virtually the same as the sixth, except that the voice is not
+suspended or arrested between the first and second tones. This exercise
+must be studied with the same action and the same impulse as the sixth
+study. Some singers can get placing and reaction better on this study than
+on the sixth.
+</p>
+
+<center>
+<img src="images/8.png" width="399" height="82"
+alt="Eighth Study. Ah....">
+</center>
+
+<p>
+Find the level of the first tone as suggested, using hands and body; move
+down, hands and body going with the tone, while singing the first three
+notes of this exercise; then, without stopping or hesitating, reverse the
+action or the movement, by lifting hands and body, and opening wide by
+dropping the lower jaw, while singing the last three notes. Of course the
+voice must sing from the highest to the lowest note with a continuous
+legato flow. The movement of the body down with the first three notes and
+the reverse action, moving up and out on the last three, must be smooth and
+continuous. If this is done properly the reverse action will give a
+wonderful sensation of freedom, openness, and the power of low added
+resonance. It demonstrates forcibly what is meant by placing up and
+building down.
+</p>
+<p>
+This is the great idea or the great movement for developing the low tones
+in all voices. When the low tones are thus developed by expansion, but
+without effort, the same idea of freedom and low resonance can be carried
+into the high tones. This can be done especially well and easily on
+exercises six and seven. The higher the tone the lower the resonance should
+be if the object be a full beautiful, free tone.
+</p>
+
+<center>
+<img src="images/9.png" width="276" height="91"
+alt="Ninth Study. Ah....">
+</center>
+
+<p>
+Place yourself upon a level with the first tone as suggested, and allow the
+tone to start spontaneously, striking, as it were, the roof of the mouth
+and the chest simultaneously. Move body and hands down with the voice to
+the low tone, and then instantly but rhythmically, lift back to the level
+of the upper tone. Feel as though you were under the tone with body and
+hands in moving up, and let the tone strike by impulse, the roof of the
+mouth, and instantly reflect into the chest. Practice this exercise until
+it can be done with perfect freedom of form and action.
+</p>
+<p>
+In starting the first tone in all these exercises, feel the vibration in
+the face, on the forehead, and on the cheek-bones. If this is done without
+pushing, but by flexible action, a sympathetic vibration can be felt
+through the entire body.
+</p>
+<p>
+A very effective and successful study of high placing and low resonance may
+be got through a consideration of the natural placing and resonance of the
+vowel sounds. As I have written so fully on the vowel sounds in my former
+works, I shall simply touch upon that important question here.
+</p>
+<p>
+E as in <i>reed</i> is naturally the highest placed vowel in the English
+language. U or oo as in <i>you</i> or <i>do</i> is naturally the lowest in
+color. Sing E with the freedom of action as suggested, and think it high in
+the face. Make no effort to influence the form. The form of E is naturally
+very small. E will be found in this way to be free and bright, not hard and
+wiry. Sing oo in the same way. The form of oo is also very small. Oo should
+have a flute-like sound. It will be found that in E high resonance
+predominates. In oo low color. In studying the vowels the aim should be to
+equalize them by placing, reinforcing, and coloring them as nearly alike as
+possible. In this way they are equalized instead of differentiated.
+</p>
+<p>
+Place E as suggested, and color it by the thought and influence of the low
+resonance of oo. Sing oo as suggested, and brighten it by the thought,
+influence, and high placing of E. In this way study all other vowels,
+influencing them by the high placing of E and the low resonance of oo. The
+high ring and brightness of the reed sounds of the voice, must be modified
+and influenced by the color and low resonance of the flute sounds. The
+flute sounds of the voice must be made more brilliant and free by the
+influence of the high placing and high resonance of the reed sounds. In
+this way we equalize all the vowels until, in a certain sense, they all
+have the same color and quality and sound, as though they belonged to one
+and the same voice. For a further study of high placing, use the second
+sound of O, or, as some writers classify the vowels, the second sound of
+U,&mdash;the sound of uh as heard in up. This is the highest, narrowest, and
+most elongated arch form in the English language; consequently it is, for
+many voices, the most favorable sound for the study of high placing.
+</p>
+<p>
+All vowel sounds, like all tones of the voice, are reinforced sounds. The
+tendency of most singers is to sing the reed sounds too white and the flute
+sounds too dark. By properly distributing brilliancy and color we influence
+and modify all the vowels without losing their character or individuality.
+</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<a name="PART3"><!-- PART3 --></a>
+<h2>
+        PART THIRD.
+</h2>
+
+<center>
+<i>AESTHETICS.</i>
+</center>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_13"><!-- RULE4 13 --></a>
+
+<h3>
+ARTICLE ONE.
+</h3>
+<center>
+THE FOURTH PRINCIPLE OF ARTISTIC SINGING.
+</center>
+<p>
+The fourth principle of artistic singing is
+</p>
+<p>
+<i>Emotional or Self-Expression.</i>
+</p>
+<p>
+<i>Theory</i>.&mdash;Vitalized emotional energy, the "Singer's Sensation," is
+the true motor power of the voice.
+</p>
+<p>
+<i>Devices</i>.&mdash;A study of tone-color and tone-character; the idealized
+tone, applied and developed by the use of words and sentiment.
+</p>
+<p>
+The student of the voice who has studied, understood, and, to a certain
+extent, mastered the first three great principles of voice production&mdash;the
+removal of all restraint, automatic breathing, high placing, and low
+resonance&mdash;has certainly accomplished much. He has aroused and developed
+the physical and mental vitality of the singer, the vitality and energy of
+body and mind. This is the limit of progress or development with many, at
+least so far as actual tone study is concerned.
+</p>
+<p>
+There comes a time, however, in the experience of every student of the
+voice, a stage of the study, when, if he expects to be an artist, he must
+take a step in advance, a step higher; he must place himself upon a higher
+plane or level; he must arouse his true inner nature, the singer's
+sensation, that which we have called the third power. This is done by a
+study of emotional, or self-expression. It is done through arousing and
+vitalizing the emotional energy. Vitalized emotional energy, the singer's
+sensation, is undoubtedly the true motor power of the artist.
+</p>
+<p>
+At just what stage of development the consideration of this higher form of
+study or expression should be placed before the mind of the pupil, is a
+question. Singers are so different, physically, mentally, and emotionally.
+With some I have found it best not to consider this side of the question
+until they have developed a fair vocal technique. This should be the case
+with emotional, nervous, excitable temperaments. With hard, cold, stiff,
+mechanical pupils, this is often the only way in which it is possible to
+arouse them, in order to give them a start, without wasting weeks or months
+of precious time.
+</p>
+<p>
+The development of this principle of vitalized, emotional energy, depends,
+as a rule, upon freedom of voice and the true conditions of tone as before
+described. Therefore, in order to study this great question, in order to
+fully develop this higher form of expression, the singer must have mastered
+the flexible, vitalized movements given in this work, must have acquired
+through these movements absolute freedom of tone. Experience teaches us,
+however, that there are those who, while they learn, in a certain way, to
+do the movements comparatively well, yet do not entirely let go,&mdash;they do
+not free the voice. With such the study of tone color, and especially the
+study of soft color, not soft tone necessarily, but soft, emotional tone
+color, is their only salvation. It releases and relaxes all the rigid local
+tendencies.
+</p>
+<p>
+There is a stage of study, as we have said, in the experience of all
+students of the voice, when, in order to become artists, Nature demands of
+them more than mere sound. There comes a time when every tone of the voice
+must mean something, must express something, through the character of the
+tone, the idealized tone. In this way the personal magnetism of the singer
+is imparted, heard, and felt. This means the expression of thought and
+feeling through the color and character of the tone, the highest known form
+of expression. This principle is the greatest known agency for the
+development of all the powers of the singer, not only the emotional and
+mental powers, but the physical as well. The student of the voice who
+studies or who is trained in this way, develops, not only in character and
+beauty of tone, but in actual physical power and control. This study of
+tone color and tone character develops new power in every way. "The
+mechanical and mental alone are but half development, but this is full and
+complete development of the entire being." In proof of this, sing a light,
+bright, happy thought or tone, using the clear timbre, about the middle of
+the voice. It will require but little strength. Then sing a more emotional
+thought, sentence, or tone; express deeper feeling, and it will be found
+that more strength is required. Again, give utterance to tone or words
+which express sadness, sorrow, or intense pleading, using the somber timbre
+of the voice, and much more strength will be required. This will be
+especially noticeable in the action or energy of the diaphragm and
+abdominal muscles. It will be found that the low muscles of the body exert
+more strength on somber timbre than on clear tone. This, in order to induce
+the deep, low setting of the voice at the organ of sound, necessary for the
+production of somber or dark tone, and the expression of deep, emotional
+feeling. It is easy to see that this means greater physical as well as
+emotional development; physical development, not only of every muscle of
+the body, but of the organ of sound itself; a development which can be
+attained through the study of tone color and emotional expression only.
+</p>
+<p>
+The power of vitalized emotional energy, I might say the power of the
+emotional power, cannot be overestimated. The power of an emotional climax,
+imparted through the soft color of the voice, is often greater than that of
+the dramatic climax; it will often influence and affect an audience in the
+most startling way. We find that thought and will control all physical
+action in singing. If the thought is right, the action will be right; if
+wrong, the action will surely be wrong. When right thought and action have
+developed absolute freedom, then the emotional energy, the singer's
+sensation, the true power of the voice, should dominate everything. The
+mind or will controls the body through thought, but the thought must be
+aroused through feeling or emotion; and the feeling or emotion is inspired
+by the sentiment to be expressed. This means, of course, the higher form of
+expression, means the power of tone color and tone character; but it
+depends first upon all true conditions of tone, mental and physical, and
+then upon the temperament, upon the heart, and soul of the singer.
+</p>
+<p>
+Singing, as we have said, is more psychological than physiological. This
+whole system of flexible, vitalized movements, is first aroused by right
+thought, and finally applied and controlled through the mind or will, in
+response to feeling or emotional impulse. In this way we are able to arouse
+and use at will the persuasive, the impressive, the fervent voice; the
+voice that is something more than mere sound; the voice that has character
+and magnetism.
+</p>
+<p>
+Compare two voices that are equal in every way in regard to power of tone,
+compass, and control. The one varies the color and character of the tone
+continually with the change of thought and sentiment, and is enabled
+thereby not only to avoid monotony, but to use the impressive, persuasive
+voice, the tone the sentiment demands. In this way he has magnetic power
+and influence over an audience. The other voice may be bright, free, and
+clear, yet may use the same quality or color of tone constantly on all
+styles of singing, and on all degrees of power, it matters not what the
+thought or sentiment may be; and this style of voice is by no means
+uncommon, even among many of our public singers. Now consider the
+difference in the commercial value of these two voices, which should bear
+at least some relation to their artistic value. No artist can be truly
+great or fully developed without the power of vitalized, emotional energy,
+and variety of tone color and character.
+</p>
+<p>
+Sing a tone, about the middle of the voice, without other thought than that
+of simply pure, free tone. It will be found that in the most beautiful
+voice the tone will be common-place, meaningless; in many voices it will be
+simply sound. Now place yourself in every way upon a higher, a more lofty
+plane. Think of higher ideas and ideals. In other words, idealize the tone.
+Remember, the ideal is the truth, and not exaggeration. Appeal to your
+emotional energy, the singer's sensation, and give expression to thought
+and feeling aroused in this way. Give expression to an actual life-throb,
+whether it be of love or hate, of joy or sadness, of ecstasy or despair.
+The result, the change of tone, character, and quality, will be
+astonishing, will ofttimes be electrifying. In this way make the tone
+actually mean something. Feel like a singer, assert yourself, express
+thought, sentiment, feeling, emotion, and not simply sound.
+</p>
+<p>
+Simple sound, as a rule, is meaningless and unnatural. Nature demands, for
+the expression of beautiful, artistic tone, that all the powers she has
+given the singer&mdash;the powers, physical, mental, and emotional&mdash;be brought
+into action and put into the tone. Character and magnetism of tone must be
+aroused in most voices. This cannot be done through the mechanical and
+mental powers alone. It requires the study and development of the emotional
+energies of the singer. In other words, the singer must put himself, not
+only upon a physical and mental level, but upon the emotional level of the
+tone as well.
+</p>
+<p>
+All voices have two distinct color or character effects, the reed and the
+flute. These effects are the result of vowel forms, and of the
+predominating influence of high placing or of low resonance. When we desire
+brilliancy, the reed effect should predominate. When we desire dark color
+or more somber effects, the flute quality should prevail. In clear tone or
+timbre there is more reed effect than flute. In medium tone or color the
+effect of both is heard and felt. In the somber tone the flute
+predominates. To express joy or happiness we use the clear timbre, and the
+ring of high forward placing predominates. To express a deeper feeling, a
+more serious but not a sad tone, that which we call the emotional form,
+both the clear and the somber are heard in various proportions; the high
+placing and the low resonance are about equally balanced. To express
+sadness the somber color or low resonance predominates.
+</p>
+<p>
+Apply these ideas on all the exercises given. Use sentences which contain
+thought or sentiment that will enable you to arouse a definite feeling. For
+example, to study the clear timbre, sing, "My <i>heart</i> is glad." To
+express the emotional tone, the tone which is not sad but serious, sing,
+"My <i>heart</i> is thine." To express a somber sound or sadness, sing, "My
+<i>heart</i> is sad." To express a ringing, dramatic tone, sing, "Thy
+<i>heart</i> is false." Thus we express four different effects on the one
+word, "heart."
+</p>
+<p>
+This subject of emotional expression through tone color and tone character
+is so great, so important, that it is impossible to do it justice in this
+little work. I have written more fully on this and kindred subjects in my
+other works, therefore I shall here touch but lightly upon the aesthetics
+of the vocal art.
+</p>
+<p>
+It should be remembered that the prime object for which this book was
+written, was to place more clearly, if possible, before my readers, the
+importance and wonderful influence of the flexible, vitalized movements of
+our system.
+</p>
+<p>
+These movements, we find, so directly influence the voice, the singer, and
+the results in every way, that we feel justified in again calling attention
+to them. Too much cannot be said of them, for the average student of the
+voice is inclined to neglect them. If they have been, to a certain extent,
+understood and mastered, then the study of this, the fourth principle of
+artistic singing, becomes a comparatively easy matter. With the student who
+does not understand them, emotional or self-expression is always a
+difficult matter, and with many an impossibility; which largely accounts
+for the great number of mechanical singers. At least twenty years' hard
+work and study have been put upon these movements in order to reduce them
+to the simplest and most effective form. They are based upon common sense
+and Nature's laws. Of course no one can or should expect to understand or
+fully appreciate them without more or less investigation.
+</p>
+
+<a name="RULE4_14"><!-- RULE4 14 --></a>
+
+<h3>
+ARTICLE TWO.
+</h3>
+<center>
+THE FIFTH PRINCIPLE OF ARTISTIC SINGING.
+</center>
+<p>
+The fifth principle of artistic singing is
+</p>
+<pre>
+  <i>Automatic Articulation</i>.
+</pre>
+<p>
+<i>Theory</i>.&mdash;<i>Articulation must be spontaneous</i>, the result of
+thought, and of the effect desired, never of direct or local effort. The
+thought before the action, never the action before the thought.
+</p>
+<p>
+<i>Devices</i>.&mdash;The development of the consonantal sounds through the
+study of the three points or places of articulation, and the application by
+the use of words, sentences, and sentiment, vitalized and intensified.
+</p>
+<p>
+In our course of study or in the formula here given, it will be evident to
+the reader that we lay much stress upon the principle of vitality or
+vitalized energy. In the second part of this work we have considered the
+principles and the devices that develop physical and mental vitality. In
+the article which directly precedes this, special emphasis is placed upon
+emotional vitality. Vitality or vitalized energy, it will be found, holds
+good also in this, the fifth fundamental principle of artistic voice
+production.
+</p>
+<p>
+Articulation, to be artistic, must be automatic and spontaneous; must be
+the result of thought and effect desired, and never of direct or local
+effort. This being true, we must recognize the importance of freedom of
+form and action, of the removal of all restraint, in fact, the importance
+of all true conditions of tone. This brings us back again to our original
+position, as do all the fundamental principles of singing; namely,&mdash;the
+importance of the free, flexible movements of our system, upon which
+freedom of form and action, in fact, all true conditions of tone, depend.
+</p>
+<p>
+Language, spoken language, has been considered by many a vocal weakness.
+Scientists have contended that the consonantal sounds weaken the resonance
+and power of the vowels. We have found the opposite to be true. We have
+found that the consonantal sounds in many ways are a wonderful help in
+developing the voice. This proves that which some one has so well said,
+"The demonstrations of yesterday are the falsehoods of to-day."
+</p>
+<p>
+A free, flexible articulation of the consonantal sounds helps to place the
+voice, and gives it life and freedom. Articulation, under right conditions,
+will not interfere with the legato flow of voice. It is not necessary, as
+many suppose, to sacrifice distinct utterance in song for the sake of the
+legato flow of voice, the most desired mode of singing. On the other hand,
+the free legato flow of the vowels need not interfere at all with distinct
+articulation. The voice is composed of two separate and distinct
+instruments, the organ which produces sounds or vowels, and the
+articulating organ which produces consonants. These two instruments, when
+properly trained, strengthen, complement, and support each other, and
+together they mold vowels and consonants into speech.
+</p>
+<p>
+It is true that with many, articulation is a difficult matter, and this is
+especially true on the high tones of the voice. No one who has heard the
+majority of the average opera and concert singers of the day, would be
+justified in holding that articulation is not a lost art. A free, distinct
+articulation and use of words in song, is the exception and not the rule.
+This is due largely to the following fact&mdash;with most singers there is
+direct or local effort on face, jaw, tongue and throat, during the act of
+singing; in other words, they grip the parts to hold the tone, and the
+higher or louder they sing, the firmer the grip or contraction. This
+virtually paralyzes action, and makes flexible articulation impossible.
+Articulation knows no pitch. It should be as easy on a high tone as on a
+middle or low tone. If there were no direct or local effort of the
+articulating muscles to hold the tone, articulation on the high tone would
+be as easy as on the middle or low tone. This is a fact which has been
+demonstrated again and again. Of course it is more difficult to learn to
+sustain the high tone without placing more or less effort upon the face,
+jaw, and throat; but under right conditions, the result of right position
+and action, this can be done, and has been done many times.
+</p>
+<p>
+Articulation, to be artistic, must be spontaneous,&mdash;the thought before the
+action. Think and feel the effect desired, and give no thought to the
+action of articulation. The action, under right conditions, if there is no
+restraint, will respond to thought and feeling; it will be automatic and
+spontaneous. Just as the singer, after a certain stage of study, should
+never produce a tone that does not mean something, that has not character,
+so in the use of words, he should always sing them in a persuasive,
+impressive manner, and with free, flexible action. As, under this system,
+we never locally influence vowel form, so, after a certain stage of study
+we never locally influence consonantal action. To be right, it must be
+automatic and spontaneous.
+</p>
+<p>
+Of course we recognize the fact that in all vocal study there must be a
+beginning. The pupil must be taught to know and think correct physical or
+mechanical action in singing. He must know what it is, what it means, and
+how to think it. Then it must be trained to respond to thought and will.
+This we call the first two stages of study, or the physical and mental. The
+mental, as the student progresses, must dominate and control the physical;
+and finally, as we have before stated, the true motor power is emotional
+energy or the singer's sensation. This order of study and development holds
+good in this fifth principle of artistic singing, as in all others.
+</p>
+<p>
+The device to which we first resort for the understanding and development
+of articulation, is a study of the three points or places of contact. On
+page 183 of "Vocal Reinforcement" (by the author of this work) will be
+found a full explanation of these three points.
+</p>
+<p>
+A vowel sound is the result of an uninterrupted flow of the vibratory air
+current. A consonantal sound, on the other hand, is the result of a
+complete obstruction and explosion, of a partial obstruction and explosion,
+or of a partial obstruction only. The place and manner of the obstruction
+and explosion, or of the obstruction only, determine the character of the
+sound.  There are three points of obstruction or articulation:
+</p>
+<p>
+1. The point of contact of the base or back of the tongue and of the soft
+palate.
+</p>
+<p>
+2. The contact of the tip of the tongue and of the hard palate, the roof of
+the mouth.
+</p>
+<p>
+3. The contact of the lips, or of the lower lip and the teeth.
+</p>
+<p>
+Almost any first-class work on the elements of the English language will
+give the divisions and the location of the consonantal sounds. For the
+singing voice it is always best to simplify, hence we divide the
+consonantal sounds into two general divisions: the aspirates, those which
+are the result of complete obstruction and explosion, or of partial
+obstruction only, breath and vowel sound; the sub-vocals, those which are
+the result of partial obstruction and explosion, or of partial obstruction
+only, sub-vocal and vowel sound. The sub-vocals, as ending or final
+consonants, are the most difficult of all to give their proper value and
+effect.
+</p>
+<p>
+The student of the voice should study, understand, and practically train
+the action of these three points or places of articulation; for at these
+three points, with a few exceptions, all consonantal sounds are made. Take
+all the consonants, and classify them in two columns, the aspirates or
+breath sounds in one column, and the sub-vocals in another. We will give
+one example of each kind, as made at each point or place of articulation.
+By the aid of vowels we form syllables, and thus simplify the study, and
+make it more definite. The study of consonantal sounds without the use of
+vowel sounds is very indefinite and unsatisfactory.
+</p>
+<p>
+We give the formula for the study of articulation, as found in "Exercises
+for the Training and Development of the Voice" (by the author of this
+work), on page 18.
+</p>
+<table cellpadding="10" cellspacing="10" border="0"
+style="text-align: left;">
+<tbody>
+<tr>
+<td>Thus:</td>
+<td>1st Point.</td>
+<td style="vertical-align: top;">Ko<img src="images/tieup.png"
+height="15" width="20" alt="tie">Ok&mdash;Aspirate.<br>
+Go<img src="images/tiedown.png" height="15" width="20" alt="tie">Og&mdash;Sub-vocal.<br>
+</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td>2d Point.</td>
+<td style="vertical-align: top;">To<img src="images/tieup.png"
+height="15" width="20" alt="tie">Ot&mdash;Aspirate.<br>
+Do<img src="images/tiedown.png" height="15" width="20" alt="tie">Od&mdash;Sub-vocal.<br>
+</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td>3d Point.</td>
+<td style="vertical-align: top;">Po<img src="images/tieup.png"
+height="15" width="20" alt="tie">Op&mdash;Aspirate.<br>
+Bo<img src="images/tiedown.png" height="15" width="20" alt="tie">Ob&mdash;Sub-vocal.<br>
+</td>
+</tr>
+</tbody>
+</table>
+<p>
+Exaggerate the consonantal sounds in every instance, and the points of
+contact or places of articulation will be very evident. It will also be
+evident that the point of contact or articulation is much more positive on
+certain aspirates than on the sub-vocals; while on a few other aspirates
+the action or obstruction is so slight that it is almost impossible to tell
+where or how they are made. They are the exception to the general rule. To
+such, however, very little attention or study need be given. Having studied
+the formula as given, classify the consonants in three columns, under the
+headings of 1st, 2d, and 3d points or places of articulation.
+</p>
+<p>
+At a certain stage of study, when the student of the voice has acquired
+freedom and control, when he is able to release the face, jaw, tongue, and
+throat from all local effort or contraction,&mdash;at this stage of study it is
+wonderful what can be done in the way of articulation in a few days, by
+this system. I have known many singers who could produce beautiful tones,
+but who could not make themselves understood at all in the singing of a
+song; yet in a few lessons on these three points or places of articulation,
+practically applied by the use of words and sentences, they could sing the
+words of a song as distinctly as it was possible to speak them.
+</p>
+<p>
+For the practical application of the above principles of articulation, form
+groups of vowel sounds, and make syllables by adding consonants, and sing
+them on single or level tones. First place the consonant before the vowel,
+making the articulation the initial sound of the syllable. Then place the
+consonant after the vowel, making the articulation the final sound of the
+syllable. Also sing sentences on single tones or level movements. Analyze
+all the consonantal elements of the sentence. Take for example the
+following sentence, "We praise Thee, O God," and notice at which point or
+place of articulation each and every consonant is made. Let all
+articulation be free, flexible, and light in movement, not heavy or
+labored. Never work with articulation; play with it, but let it be distinct
+and definite. Make no effort of face, lips, or tongue; let all be free and
+pliable. Show no effort or contraction of the face in sustaining voice or
+pronouncing words. In other words, never sing on the outside of the face.
+Mouth and face must be left free and pliable for the outline of form and
+for expression. Use words and sentences in an impulsive, impressive manner
+without local effort.
+</p>
+<p>
+Articulation must be rhythmically in sympathy with the movement or the
+rhythm of the song. Even though the voice may flow freely on the vowels,
+the articulation must not be hurried, nervous or spasmodic. This style of
+articulation often disturbs the legato flow and spoils the general effect.
+While of course it is not possible to sing the consonantal sounds, a
+beautiful effect is often the result of playing upon the consonant
+rhythmically, with the movement of the song.
+</p>
+
+<a name="RULE4_15"><!-- RULE4 15 --></a>
+
+<h3>
+ARTICLE THREE.
+</h3>
+<center>
+THE SIXTH PRINCIPLE OF ARTISTIC SINGING.
+</center>
+<p>
+The sixth principle of artistic singing is
+</p>
+<pre>
+  <i>The Elocution of Singing.</i>
+</pre>
+<p>
+<i>Theory.</i>&mdash;The words and their meaning, in modern song, are, as a
+rule, more important than the music.
+</p>
+<p>
+<i>Devices.</i>&mdash;A study to combine elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words and
+phrases; also applied through the color and character of tone, and the
+impressive, persuasive, fervent voice. In short, a study of pure diction.
+</p>
+<p>
+Every singer and teacher of singing should, in a certain sense, be an
+elocutionist as well. Not an elocutionist from the standpoint of many who
+are called elocutionists, who are stagey, full of mannerisms, and who
+exaggerate everything pertaining to elocution. Of course the better class
+of elocutionists are not guilty of these things; but they do idealize
+everything, whether they read, recite, or declaim, and this in their
+profession is a mark of true art. So must the teacher and singer learn to
+idealize not only the tone or the voice, but everything pertaining to the
+singing of a song. This must be done through the manner in which the
+sentiment, the thought, the central idea is brought out and presented to
+the hearer; through the impressive way in which the story is told.
+</p>
+<p>
+The elocution of singing depends upon a knowledge and control of all the
+principles considered up to this point of study,&mdash;a knowledge and control
+of physical, mental, and emotional power, of freedom of form and action, of
+artistic vowel form and automatic articulation, of the removal of all
+restraint, in fact, of all true conditions of tone. To interpret well, the
+singer must have mastered the elocution of singing, must be able to bring
+out every vowel and consonantal element of the words, must know how to use
+and apply tone color and tone character, the impressive, persuasive,
+fervent voice. The singer must idealize not only the tone, but the words of
+the song; "just as the painter idealizes the landscape, so the musical
+artist must use his powers of idealization in interpreting the work of the
+composer." To be able to do this, his diction must be as pure, his language
+as polished, as that of the most accomplished orator.
+</p>
+<p>
+The power of word vitality in the singing of a modern song, is one of the
+great elements of success, if not the greatest. Not an exaggerated form of
+pronunciation, but an intense, earnest, impressive way of bringing out the
+thought. It would be interesting to know what per cent of teachers and
+singers can read properly the words of a song; to know how many of them, or
+rather how few of them, have ever given this phase of the study, thought or
+attention. Most of them act as though they were really ashamed to try, when
+you ask them to read the words of a song, and when they read them, they
+apparently have no thought of expressing, or no idea of how to express the
+elevated thought or feeling, necessary to bring out the author's ideas. It
+is almost impossible to make them idealize the words through the elocution
+of singing; and yet in the artistic rendition of a song, a ballad, or a
+dramatic aria, the words are often of more importance than the music. The
+singer should study the story of a song by reading it aloud upon the
+highest plane or level of emotional or dramatic expression. To do this, he
+must know and apply the elocution of singing. Then he should endeavor to
+bring out the same lofty ideals when applying the words to the music.
+</p>
+<p>
+"Why do not singers read or talk as they sing?" was a question once asked
+by a prominent elocutionist. "Why do not elocutionists sing as they talk or
+read?" I replied. This, of course, at once suggests an interesting subject
+for discussion. To give the reason in a general way, is simply to state
+that singers, as a rule, do not apply the principles of their art to the
+talking voice. Hence they often read and talk badly. The same is true, as a
+rule, of elocutionists. They do not apply the principles of their art when
+they attempt to sing.
+</p>
+<p>
+The devices we use are a study of elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words in
+phrases and sentences. Then a study of the character and tone color
+necessary to express the meaning of the words. Then a use of the earnest,
+impressive, persuasive voice, as the text may demand. By using these forces
+or principles, as suggested by the thought and sentiment of the words, we
+arouse the emotional power, the magnetism of the voice, and thus influence
+the hearer. Through the elocution of singing we place our emotional, our
+personal expression upon a high and lofty plane. We thus express the
+central thought, the high ideals of the composer, and through the earnest,
+impressive voice impart them to the hearer.
+</p>
+
+<a name="RULE4_16"><!-- RULE4 16 --></a>
+
+<h3>
+ARTICLE FOUR.
+</h3>
+<center>
+THE SEVENTH PRINCIPLE OF ARTISTIC SINGING.
+</center>
+<p>
+The seventh principle of artistic singing is
+</p>
+<pre>
+  <i>Interpretation</i>.
+</pre>
+<p>
+<i>Theory</i>.&mdash;Singing means infinitely more than the use of words and
+music; it means the expression of the author's idea as a whole.
+</p>
+<p>
+<i>Devices</i>.&mdash;The application of all true principles by drawing, as it
+were, a mental and emotional tone-picture, as suggested by words and music.
+</p>
+<p>
+The following article upon this subject was kindly written, especially for
+this book, by my friend and pupil, the well known teacher, Mr. John
+Randolph.
+</p>
+<p>
+Interpretation in song is the faithful reproduction of the intention of
+both poet and composer. This reproduction includes the revelation of the
+characteristics of the poem itself, whether lyric, dramatic, or in other
+ways distinctive. It also reveals the musical significance of the
+composition to which the words are set. The melodic, rhythmic, and even
+harmonic values must be made clear to the hearer. But interpretation
+includes more than this reproduction, essential though it may be. If the
+expression of the intention of poet and composer fulfilled the sum total of
+interpretation, one performance would differ little from another. A
+clear-cut, automatic precision would be the result, perhaps as perfect as
+the repetition given out by a music-box and certainly no more interesting.
+Another element enters into interpretation. The meaning of the poem and its
+accompanying music must be displayed through the medium of a temperament
+capable of self-expression. A personal subjective quality must enter into
+the performance. The singer must reveal not only the significance of words
+and music, but his own intellectual and emotional comment upon them. Upon
+this acceptance of the inner meaning of words and music, and upon his
+ability to weave around them some strands of his individuality, depend the
+character and originality of the singer's interpretation as a whole. Let us
+see how this comprehension of the meaning of songs may be acquired; upon
+what foundations rests the ability to make the meaning clear; and if we can
+do so, let us discover the springs of that elusive quality commonly called
+"temperament" which gives the personal note to one rendition as distinct
+from another, and without which the clearest exposition of vocal meanings
+becomes tame and colorless.
+</p>
+<p>
+The singer is a specialist, but all successful specialization rests upon
+the broad foundations of general culture. The reason why there are so many
+singers and so few artists who thrill us with the revelation of the
+intimate beauties of the songs of Franz, Grieg, and MacDowell, to take only
+a few names from the rich list of song writers, is because people sing
+without acquiring the range of vision which makes such interpretation
+possible. How can one sing, let us say, a German song, imbued with German
+romanticism and melancholy, unless he knows something of the German art,
+the German spirit, the German language, the German national
+characteristics? A knowledge of literature, art in general, and the
+"Humanities," to use an old-fashioned word, is absolutely necessary to
+interpretation of a high order. Too often, alas, the singer imagines that
+the study of tone production, or acquaintance with musical literature, or a
+polished diction, will make him sing with the combination of qualities
+called style. Not so! Upon the broad foundations of general culture, which
+distinguishes the man of refinement from his less fortunate brother, rests
+also the specific ability to sing with distinction. Moreover, the singer
+must have definite musical ability, natural and developed by study. He must
+thoroughly comprehend rhythm, melody, and harmony in order that his
+attention may not be distracted from interpretative values to ignoble
+necessities of time and tune. It is not possible to sing Mozart, not to say
+Beethoven and Wagner, without acquaintance with the vocabulary and grammar
+of the wonderful language in which they wrote. Familiarity with the
+traditions of different schools of composition and performance is necessary
+also in order not to sing the songs of Bach and Handel like those of
+Schubert and Schumann, or Brahms like the modern French composers; in order
+not to interpret with like effects indiscriminately songs of the oratorio
+and opera, of Italian, German, French, English and modern Russian schools.
+</p>
+<p>
+Unquestionably the singer must have control of the physiological and
+technical possibilities of his voice. No one can make words and music mean
+anything while he is wondering what his voice may do next. Developed
+intelligence, emotional richness and refinement, musical knowledge, a
+properly placed voice capable of flexibility and color, distinct
+articulation, polished diction, these are some of the preliminaries to
+successful interpretation in song.
+</p>
+<p>
+Let us see what special qualifications assist in the actual performance of
+song, in the attempt to give pleasure or artistic gratification by singing
+songs for others to hear. In the first place let us consider the
+limitations as well as the advantages of the human voice. I must ask you to
+remember that considered as an instrument it is smaller in power than some
+instruments, shorter in range than many others, often less beautiful than
+the tones of the violin. But in one respect it transcends all others. It is
+capable of revealing the mind and soul of the one who plays upon it. The
+speaking voice, as well as the voice in song, reveals thought and feeling
+to the hearer; those subtler shades of meaning which distinguish man, made
+in the image of God, from his humble companions, are made clear to those
+about him by this instrument&mdash;this wonderful, persuasive, cajoling,
+beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
+you not been moved by the tones of the speaking voice? How can we train the
+voice in song to express these varying shades of meaning, and can we learn
+to use them systematically instead of accidentally or when we are impelled
+by strong emotion? I know that there is a popular impression that some
+singers possess a mysterious quality known as "temperament," and that
+others do not. Having this uncertain quality, one singer stirs an audience;
+having it not, the hearer remains unmoved. If by temperament, intelligence
+and emotional richness of nature are meant, I do not believe that anyone
+who is not to some extent possessed of these faculties can stir the
+feelings of his hearers to any considerable degree. But surely many, almost
+all people capable of conquering the physiological, psychological,
+technical, and musical difficulties to be overcome before learning to sing
+at all well, possess these qualities. And even if modern songs of the best
+type abound in subtle, emotional expression and varying shades of
+intellectual significance, it is, I believe, possible for most singers to
+gain in interpretative facility by learning to connect the thought and
+feeling underlying the song with the spoken words which are their natural
+outlet and expression.
+</p>
+<p>
+I say spoken words; for speech is the more spontaneous expression of
+thought and feeling, through which individuality attains its simplest and
+most complete expression. Speech is the normal method through which we make
+clear our ordinary thoughts, feelings, desires, repulsions, and attractions
+to those about us. Song is the finer flower of artistic expression, one of
+the means through which imagination and the creative and interpretative
+faculties find an adequate medium and outlet. But the words of the poem,
+whether spoken or sung, must first be thoroughly understood before the
+reader or singer attempts to make anyone else comprehend or feel them. Too
+often an apparent lack of "temperament" is only the failure to have a
+definite understanding of the meaning of the words the singer is vainly
+endeavoring to impress upon his audience. Let the singer recite or read
+aloud the words of his songs. This is a natural form of expression, and
+requires a less complex process of thought than singing, which demands
+several automatic reflexes in securing tone production; let him read aloud,
+trying to give out every shade of thought and feeling the poem contains, in
+a tone which is persuasive and appealing. Later, when he can do this with
+appropriate emphasis in speech, let him try to express the same meanings in
+his singing voice. In all probability he will find that he is much assisted
+by the music, if his tone production is reasonably correct and
+authoritative, and he be enough of a musician to grasp readily tonal
+values. The sense of the words, the emotion and thought underlying the
+words, will suggest the color and character of voice appropriate to the
+expression and interpretation of the song as a whole. Of course, if he
+tries to impress upon his hearer that he thinks it rather weak and foolish
+to give up completely to the full significance of the words, and to
+impersonate their narrative or dramatic significance, there is no help for
+him. I am inclined to think that the fear of seeming exuberant or foolish,
+the unwillingness to give one's inner self to others, or a
+self-consciousness which prevents it, is at the root of much apparent lack
+of "temperament." The singer must be both the narrator of the story of the
+poem and the impersonator of the principal characters in that story. Upon
+the completeness of his understanding of the meaning of the poem, and his
+revelation of its meanings, as well as upon the absence of stiffness or
+self-consciousness in suggesting the moods or characteristics displayed,
+will depend the impression of temperamental force upon his audience.
+</p>
+<p>
+The following suggestions may be of some value as devices in making songs
+mean something; and this, after all, is the object of all attempts at
+interpretation.
+</p>
+<p>
+Suppose you take a new song&mdash;one you have never seen before. Do not sit at
+the pianoforte, and play at it and sing at it until, after a fashion, you
+know it. This way of learning leads to the kind of statement recently heard
+after a peculiarly bad performance, "Why, I never think of the words at all
+when I sing!" Instead of doing this, if you have been taught to do so, read
+the song through, observing its general character. If thinking music
+without playing or singing be impossible for you, play it over, carefully
+noting <i>tempo</i> and other general characteristics, until you have an
+understanding of the melody, rhythm, and musical content. Observe how the
+words fit the music, still without singing. Then read the poem silently and
+carefully, and decide whether it is narrative, lyric, dramatic, churchly,
+or in other ways distinctive. Next read the poem aloud, giving the voice
+character appropriate to its sentiment, phrasing it intelligibly, observing
+the emotional portent, and coloring it accordingly. If the poem be
+narrative, tell the story with life and vitality; if it be dramatic,
+attempt to impersonate the characters concerned; if it be devotional,
+recite with dignity and devotional quality. Finally, when both words and
+music are well in the mind, if possible with an accompaniment, but
+certainly standing, sing the song. Sing, making a compromise between the
+strict rhythmical value of the notes and the demands of the sense of the
+words. Keep the general outlines of the music so far as phrasing and rhythm
+are concerned; but whenever a sacrifice must be made, sacrifice the musical
+value and emphasize the emotion, the meaning, the poetry, the dramatic or
+narrative significance of the words. Phrase with this end in view;
+sacrifice anything except tone-production to this end. Do not distort the
+rhythm, but bend it sufficiently to emphasize important words and
+syllables, by holding them a little, at the expense of unimportant words or
+syllables. Finally, remember that misguided enthusiasm is not
+interpretation.
+</p>
+<p>
+No real interpretation is possible without a full comprehension of the
+meaning of both words and music. Study the voice. Study its possibilities
+and its limitations. Study music until the musical element of difficulty is
+reduced to a minimum, and until the character, style, and traditions of the
+various song forms are well within your grasp. No matter how beautiful may
+be the voice, or how well placed, no amount of enthusiasm or temperament
+can atone for a meaningless or unintelligent treatment of the intellectual,
+emotional, and musical characteristics of the song as a whole.
+</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<a name="RULE4_17"><!-- RULE4 17 --></a>
+
+<h3>
+        SUPPLEMENTARY NOTE.
+</h3>
+
+<p>
+The tendency of many is to raise the hands and arms too high; the hands
+should not be raised above the waist-line. If raised too high, the energy
+is often put in the action of the arms instead of the body; or the upper
+part of the body only is moved, and thus the most important effect or
+influence for power and control is wanting. The action must be from the
+hips up, and not only from the hips, but the hips must act and expand with
+the body. Remember the center of gravity must be at the hips. If it is
+found that the tendency is to raise the hands too high, then try or study
+the action as follows:
+</p>
+<p>
+Place the hands upon the hips, and when coming into action, when seeking
+the level of the tone, or during the act of singing, see that the hips
+expand freely and evenly with the body. This should be tried and practiced
+frequently by all in order that the movement may be from the hips up and
+not above the hips only. When the hips are thus brought into action, the
+abdominal muscles and the diaphragm are strengthened, and their position
+and action are correct. When the upper part of the body only is brought
+into action the position of the diaphragm and abdominal muscles is often
+weakened. Remember that the basic law or foundation principle of our whole
+system of movements is movement from the hips up, including the action or
+expansion of the hips in connection with the movements of the entire body.
+</p>
+<p>&nbsp;</p>
+<p>
+<a name="note-1"><!-- Note Anchor 1 --></a>Footnote 1: In this connection, see <a href="#RULE4_17">Supplementary Note, page 135</a>.
+</p>
+<p>
+<a name="note-2"><!-- Note Anchor 2 --></a>Footnote 2: The few exercises or studies here given, as well as a number
+of others, may be found fully carried out with accompaniment, in "Exercises
+for the Training and Development of the Voice," by the author of this work.
+Published by William A. Pond and Company.
+</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
+
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+</body>
+</html>
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+Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Renaissance of the Vocal Art
+
+Author: Edmund Myer
+
+Release Date: July 8, 2004 [EBook #12856]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE RENAISSANCE OF THE VOCAL ART ***
+
+
+
+
+Produced by David Newman and PG Distributed Proofreaders
+
+
+
+
+The Renaissance of the Vocal Art
+
+A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental
+and Emotional Powers of the Singer, through Flexible, Elastic Bodily
+Movements
+
+BY EDMUND J. MYER
+F.S. Sc. (London)
+
+_Author of "Truths of Importance to Vocalists," "The Voice from a
+Practical Stand-Point," "Voice-Training Exercises" (a study of the natural
+movements of the voice), "Vocal Reinforcement," "Position and Action in
+Singing," etc., etc._
+
+1902
+
+
+
+
+"_When you see something new to you in art, or hear a proposition in
+philosophy you never heard before, do not make haste to ridicule, deny or
+refute. Possibly the trouble is with yourself--who knows?_"
+
+
+
+
+PREFACE.
+
+
+To my readers once again through this little work, greetings. For the many
+kind things said of my former works by my friends, my pupils, the critic
+and the profession, thanks! To those who have understood and appreciated
+the principles laid down in my last book, "Position and Action in Singing,"
+I will say that this little work will be an additional help. To my readers
+in general, who may not have fully understood or appreciated the principles
+of vitality, of vitalized energy, aroused and developed through the
+movements set forth in my last book, to such I will say that I hope this
+little work will make clearer those principles. I hope that it may lead
+them to a better understanding of the fundamental principles of the system,
+principles which are founded upon natural laws and common sense. In this
+work I have endeavored to logically formulate my system.
+
+As it is not possible to fully study and develop any one fundamental
+principle of singing without some understanding or mastery of all others,
+so it is not possible to write a work like this without more or less
+repetition. Certain subjects are so closely related, are so interdependent,
+that repetition cannot be avoided. I am not offering an apology for this; I
+am simply stating that a certain amount of repetition is necessary.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+EXORDIUM
+
+
+PART FIRST.
+
+_EVOLUTION_.
+
+ARTICLE 1. THE OLD ITALIAN SCHOOL OF SINGING
+   "    2. THE DARK AGES OF THE VOCAL ART
+   "    3. THE TWO PREVAILING SYSTEMS
+   "    4. THE RENAISSANCE OF THE VOCAL ART
+   "    5. THE COMING SCHOOL OR SYSTEM
+   "    6. CONDITIONS
+   "    7. THE INFLUENCE OF RIGHT BODILY ACTION
+
+RAISON D'ETRE
+
+
+PART SECOND.
+
+_VITALITY_.
+
+ARTICLE 1. THE FIRST PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+   "    2. THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+   "    3. THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION
+
+
+PART THIRD.
+
+_AESTHETICS_.
+
+ARTICLE 1. THE FOURTH PRINCIPLE OF ARTISTIC SINGING
+   "    2. THE FIFTH PRINCIPLE OF ARTISTIC SINGING
+   "    3. THE SIXTH PRINCIPLE OF ARTISTIC SINGING
+   "    4. THE SEVENTH PRINCIPLE OF ARTISTIC SINGING
+
+
+
+
+EXORDIUM.
+
+
+Man, to see far and clearly, must rise above his surroundings. To win great
+possessions, to master great truths, we must climb all the hills, all the
+mountains, which confront us. Unfortunately the vocal profession dwells too
+much upon the lowlands of tradition, or is buried too deep in the valleys
+of prejudice. Better things, however, will come. They must come. The
+current of the advanced thought, the higher thought, of this, the opening
+year of the twentieth century, will slowly but surely increase in power and
+influence, will slowly but surely broaden and deepen, until the light of
+reason breaks upon the vocal world. We may confidently look, in the near
+future, for the Renaissance of the Vocal Art.
+
+
+
+
+PART FIRST.
+
+_EVOLUTION._
+
+
+
+
+ARTICLE ONE.
+
+THE OLD ITALIAN SCHOOL OF SINGING.
+
+
+The Shibboleth, or trade cry, of the average modern vocal teacher is "The
+Old Italian School of Singing." How much of value there is in this may be
+surmised when we stop to consider that of the many who claim to teach the
+true Old Italian method no two of them teach at all alike, unless they
+happen to be pupils of the same master.
+
+A system, a method, or a theory is not true simply because it is old. It
+may be old and true; it may be old and false. It may be new and false; or,
+what is more important, it may be new and yet true; age alone cannot stamp
+it with the mark of truthfulness.
+
+The truth is, we know but little of the Old Italian School of Singing. We
+do know, however, that the old Italians were an emotional and impulsive
+people. Their style of singing was the flexible, florid, coloratura style.
+This demanded freedom of action and emotional expression, which more
+largely than anything else accounts for their success.
+
+The old Italians knew little or nothing of the science of voice as we know
+it to-day. They did know, however, the great fundamental principles of
+singing, which are freedom of form and action, spontaneity and naturalness.
+They studied Nature, and learned of her. Their style of singing, it is
+true, would be considered superficial at the present day, but it is
+generally conceded that they did make a few great singers. If the
+principles of the old school had not been changed or lost, if they had been
+retained and developed up to the present day, what a wonderful legacy the
+vocal profession might have inherited in this age, the beginning of the
+twentieth century. Adversity, however, develops art as well as
+individuality; hence the vocal art has much to expect in the future.
+
+
+
+ARTICLE TWO.
+
+THE DARK AGE OF THE VOCAL ART.
+
+
+Even in the palmiest days of the Old Italian School, there were forces at
+work which were destined to influence the entire vocal world. The subtle
+influence of these forces was felt so gradually, and yet so surely and
+powerfully, that while the profession, as one might say, peacefully slept,
+art was changed to artificiality. Thus arose that which may be called the
+dark ages of the vocal art,--an age when error overshadowed truth and
+reason; for while real scientists, after great study and research,
+discovered much of the true science of voice, many who styled themselves
+scientists discovered much that they imagined was the true science of
+voice.
+
+Upon the theories advanced by self-styled scientists, many systems of
+singing were based, without definite proof as to their being true or false.
+These systems were exploited for the benefit of those who formulated them.
+This condition of things prevailed, not only through the latter part of the
+eighteenth century and the first half of the nineteenth, but still
+manifests itself at the present day, and no doubt will continue to do so
+for many years to come.
+
+The vocal world undoubtedly owes much to the study and research of the true
+scientist. All true art is based upon science, and none more than the art
+of voice and of singing.
+
+Science is knowledge of facts co-ordinated, arranged, and systematized;
+hence science is truth. The object of science is knowledge; the object of
+art is works. In art, truth is the means to an end; in science, truth is
+the end.
+
+The science of voice is a knowledge of certain phenomena or movements which
+are found under certain conditions to occur regularly. The object of the
+true art of voice is to study the conditions which allow these phenomena to
+occur.
+
+The greatest mistake of the many systems of singing, formulated upon the
+theories of the scientists, and of the so-called scientists, was not so
+much in their being based upon theories which oftentimes were wrong, as in
+the misunderstanding and misapplication of true theories. The general
+mistake of these systems was and is that they attempt by direct local
+effort, by direct manipulation of muscle, to compel the phenomena of voice,
+instead of studying the conditions which allow them to occur. In this way
+they attempt to do by direct control, that which Nature alone can do
+correctly.
+
+While it is true that the vocal world owes much to science and the
+scientists, yet "the highest science can never fully explain the true
+phenomena of the voice, which are truly the phenomena of Nature." The
+phenomena of the voice no doubt interest the scientists from an anatomical
+standpoint, but these things are of little practical value to the singer.
+As someone has said, "To examine into the anatomical construction of the
+larynx, to watch it physiologically, and learn to understand the motions of
+the vocal cords in their relation to vocal sounds, is not much more than
+looking at the dial of a clock; the movements of the hands will give you no
+idea of the construction of the intricate works hidden behind the face of
+the clock."
+
+We should never lose sight of the fact that there is a true science of
+voice, and that the art of song is based upon this science. The true art of
+song, however, is not so much a direct study of the physical or mechanical
+action of the parts, as it is a study of the spirituelle side; a study of
+the forces which move the parts automatically, in accordance with the laws
+of nature. In other words, voice, true voice, is more psychological than
+physiological; is more an expression of mind and soul than a physical
+expression or a physical force. It is true, the body is the medium through
+which the soul, the real man, gives expression to thought and feeling; and
+yet voice that is simply mechanical or physical is always common and
+meaningless and as a rule unmusical. The normal condition of true artistic
+voice is emotional and soulful.
+
+
+
+ARTICLE THREE.
+
+THE TWO PREVAILING SYSTEMS.
+
+
+The misunderstanding or the misapplication of any principle, theory or
+device, always leads to error. This was eminently true of the
+misunderstanding and misapplication on the part of many writers and
+teachers who based their systems upon the theories of the scientists and
+the self-styled scientists. The result is evident; it is that which is
+known as the local-effort, muscular school of the nineteenth century; the
+school which to this day so largely prevails; the school which makes of man
+a mere vocal machine, instead of a living, emotional, thinking soul.
+
+The local-effort school attempts, by direct control and manipulation of
+muscle and of the vocal parts, to compel the phenomena of voice. In this
+respect it is unique; in this respect it stands alone. The truth of this
+statement becomes evident when we stop to consider that in nothing known
+which requires muscular development, as does the art of singing, is this
+development or training secured by direct manipulation and control of
+muscle. There is nothing in the arts or sciences, nothing in the broad
+field of athletics or physical culture, nothing in the wide world that
+requires physical development, in which the attempt is made to develop by
+direct effort as does the local-effort school. Hence we say the mistake
+they make is in attempting to compel the phenomena of voice, instead of
+studying the conditions which allow them to occur. It might be interesting,
+it certainly would be very amusing, to enumerate and illustrate the many
+things done under the name of science, to compel the phenomena of voice;
+but space will not permit. Many of them are well known; many more are too
+ridiculous to consider except that they should be exposed for the good of
+the profession.
+
+The result of all this direct manipulation of muscle is
+ugliness--everywhere hard, unmusical, unsympathetic voices. The public is
+so used to hearing hard, muscular voices that the demand for beautiful tone
+is not what it should be. In fact, it is not generally known that it is
+possible to make almost any voice more or less beautiful that is at all
+worth training. The hard, unmusical voice of the day is a hybrid, unnatural
+and altogether unnecessary voice. Physical effort in singing develops
+physical tone and physical effect. Common tone makes common singing. A
+great artist must be great in tone as well as in interpretation.
+
+The disciples of the local-effort school lose sight of the fact that when a
+muscle is set and rigid, either in attempting to hold the breath or to
+force the tone, it is virtually out of action; that instead of actually
+helping the voice it is really preventing a free, natural production, and
+that other parts are then compelled to do its work; this accounts for many
+ruined voices. "To make a part rigid is equal to the extirpation of such
+part. While it is in a state of rigidity it ceases to take part in any
+action whatsoever: it is inert and the same as if it had ceased to exist."
+
+The local-effort school is accountable for many errors of the day. The
+incubus of this school is fastened upon the vocal profession with
+octopus-like tentacles which reach out in every direction, and which strive
+to strangle the truth in every possible way; but, while "life is short, art
+is long;" the truth must prevail.
+
+*       *       *       *       *
+
+As an outgrowth of the local-effort school, and as an attempt to counteract
+its evil tendencies, there is to-day in existence another school or system
+known as the limp or relaxed school, or the system of complete relaxation.
+The object of this relaxation is to overcome muscular tension and rigidity.
+This is the other extreme. The followers of this school forget that there
+can be no tonicity without tension. Flexible firmness without rigidity, the
+result of flexible, vitalized position and action, is the only true
+condition. The tone of the school of relaxation is nearly always depressed
+and breathy; it always lacks vitality.
+
+
+
+ARTICLE FOUR.
+
+THE RENAISSANCE OF THE VOCAL ART.
+
+
+We are in the habit of measuring time by days, weeks, months, years,
+decades and centuries. The world at large measures time by epochs and eras.
+While this is true in the physical world, it is equally true of the arts
+and sciences, and it is especially true of the art of song. Thus we have
+had the period known as "The Old Italian School of Singing." This was
+followed by the modern school, or "The Local-Effort School" of the
+nineteenth century, the period which may be called The Dark Ages of the
+Vocal Art.
+
+There is a constant evolution in all things progressive, and this evolution
+is felt very perceptibly to-day in the vocal world. Great principles, great
+truths, are of slow growth, slow development. Times change, however, and we
+change with them. While the changes may be slow and almost imperceptible to
+the observer, they are sure, and finally become evident by the accumulation
+of event after event.
+
+The prevailing systems of the nineteenth century tried to develop voice by
+direct local muscular effort. These systems have proved themselves
+failures. The vocal world is looking for and demanding something better. We
+may say that we are now on the eve of great events in the vocal art. When
+the morn comes, and the light breaks, we may confidently expect that
+awakening or reawakening which may properly be called The Renaissance of
+the Vocal Art.
+
+This is the age of physical culture in all its forms. There is a tendency
+from the artificial habits of life, back, or rather one should say forward,
+to Nature and Nature's laws. "Athletes appreciate the value of physical
+training: brain-workers appreciate the value of mental training, of
+thinking before acting, and if you would become either you must follow the
+methods of both."
+
+Many of our foremost educators in all branches of development, physical,
+mental and musical, are now making a bold stand for natural methods of
+education. However, all vocal training and development in the past, we are
+glad to say, has not been on the wrong side of the question.
+
+There have been, at all ages and under all circumstances and conditions,
+men who have been at the root or the bottom of things,--men who have
+preserved the truth in spite of their surroundings. So in the vocal art,
+there have been at every decade a few men who have known the truth, and who
+have handed it down through the dark ages of the vocal art. The work of
+these men has not been lost. Its influence has been felt, and is today more
+powerful than ever. Hence the trend of the best thought of the profession
+is away from the ideas of the local-effort school, away from rigidity and
+artificiality, and more in the direction of naturalness and common sense. I
+believe we are now, as a profession, slowly but surely awakening to truths
+which will grow, and which will in time bring to pass that which must come
+sooner or later, the new school of the twentieth century.
+
+There is to-day that which is known as "The New Movement in the Vocal
+Art"--a movement based upon natural laws and common sense and opposed to
+the ideas of the local-effort school;--movement in the direction of freedom
+of action, spontaneity and flexible strength as opposed to rigidity and
+direct effort;--a movement which advocates vitalized energy instead of
+muscular effort;--a movement which had its origin in the belief that no man
+ever learned to sing because he locally fixed or puckered his lips; because
+he held down his tongue with a spatulum or a spoon; because he locally
+lowered or raised his soft palate; because he consciously moved or locally
+fixed his larynx; because he consciously, rigidly set or firmly pulled in
+one direction or another, his breathing muscles; because he carried an
+unnaturally high chest at the sacrifice of form, position and strength in
+every other way; because he sang with a stick or a pencil or a cork in his
+mouth; or because he did a hundred other unnatural things too foolish to
+mention. No man ever learned or ever will learn to sing because of these
+things. It is true he may have learned to sing in spite of them, which
+shows that Nature is kind; but as compared to the whole, he is one in a
+thousand.
+
+"The New Movement" has come to stay. It will, of course, meet with bitter
+opposition. Why not? The custom of many has been, and is, to condemn
+without investigation; to condemn because it does not happen to be in the
+line of their teaching and study. Someone has said, "He who condemns
+without knowledge or investigation is dishonest."
+
+"The New Movement" is simply a study of the conditions which allow the
+phenomena of voice to occur naturally and automatically. The day will come,
+when a right training of the voice will be recognized as a flexible,
+artistic, physical training of the human body, and a consequent right use
+of the voice, as a soulful expression of the emotional nature. Matter or
+muscle will be taught to obey mind or will spontaneously. The thought
+before the effort, or rather before the action, will be the controlling
+influence, and vitalized emotional energy will be the true motor power of
+the voice. The elocutionists and the physical culturists understand this
+far better, as a rule, than the vocalists.
+
+Abuse brings reform in art as well as in all other things. So the abuse of
+Nature's laws and the lack of common sense in the training of the singing
+voice has led, through a gradual evolution, to "The New Movement." This
+movement is the outgrowth of the best or advanced thought of the profession
+rebelling against unnatural methods.
+
+In the fundamental principles of "The New Movement," there is nothing new
+claimed by its advocates. All is founded upon the science of voice, as are
+all true systems of teaching. The claims are made with regard to the
+devices used to study natural laws, to develop the God-given powers of the
+singer. Remember that Nature incarnates or reflects God's thoughts and
+desires and not man's ideas or inventions. Someone has said that there was
+nothing new, nor could there be anything new, in the art of singing. There
+are many, alas! who talk and write as did this man. Is not this simply
+proof of the fact that ignorance cheapens and belittles that which wisdom
+views with awe and admiration? And this is true of nothing so much as it is
+of the arts and sciences.
+
+Is, then, ours in all the world, the only profession based upon science and
+art that must stand still, that must accept blindly the traditions handed
+down to us, without investigation? Are we to feel and believe that with us
+progress is impossible, that we may not and cannot keep up with the spirit
+of the age? God forbid. Is it not true that "each age refutes much which a
+previous age believed, and all things human wax old and vanish away to make
+room for new developments, new ideals, new possibilities"? Is it possible
+this is true of all professions but ours? The signs of the times indicate
+differently. Hence we may confidently expect the Renaissance of the Vocal
+Art in this, the first half of the new century.
+
+
+
+ARTICLE FIVE.
+
+THE COMING SCHOOL, OR SYSTEM.
+
+
+This is an age of progress; and, as we have said, many educators are making
+a bold stand for natural, common-sense methods. The trend of the higher
+thought of the vocal profession is away from artificiality, and in the
+direction of naturalness.
+
+The coming school, or system, of the twentieth century will undoubtedly
+find its form, its power, its expressional and artistic force and value,
+its home, its life, in America. The old country is too much in the toils,
+too much in the ruts of tradition; hence natural forces are suppressed, and
+artificiality reigns supreme in the training of the voice. While this is
+not true in regard to the strictly aesthetic side of the question, it is
+painfully true as far as the fundamental principles of voice development
+are concerned. Of course we are glad to say there are bright and shining
+exceptions to this rule in all lands, but to the new country we must
+undoubtedly look for the new school.
+
+So far the world has produced but two great teachers. The first of these is
+Nature; the second is Common Sense. Nature lays down the fundamental
+principles of voice; Common Sense formulates the devices for development
+according to these principles. Therefore we say, Go to Nature and learn of
+her, and use Common Sense in studying and developing her principles. The
+nearer the approach to Nature, the higher the art; hence the new school
+must be founded upon artistic laws which are Nature's laws, and not upon
+artificiality.
+
+The coming school must teach the idealized tone. The ideal in its
+completeness means the truth,--all the truth,--and not, as many suppose, an
+exaggerated form of expression. The truth in tone, or the idealized tone,
+is beautiful and soulful, and demands for its production and use all the
+forces that Nature has given to the singer,--physical, mental, and
+emotional or spirituelle. Unmusical, muscular tone is not the true tone. It
+contains much that it should not have on the physical side, and lacks much
+that it should have on the spirituelle. As a rule, it means nothing; in
+fact, it is often simply a noise. The idealized tone always represents a
+thought, an idea, an emotion; it is the expression of the inner--the
+higher--man; it is, in reality, self-expression.
+
+"The human voice is the most delicately attuned musical instrument that God
+has created. It is capable of a cultivation beyond the dreams of those who
+have given it no thought. It maybe made to express every emotion in the
+gamut of human sensation, from abject misery to boundless ecstasy. It marks
+the man without his consent; it makes the man if he will but cultivate it."
+
+The coming school must be founded upon freedom of form and action, upon
+flexible bodily movements, the result of vitalized energy instead of
+muscular effort. There must be no set, rigid, static condition of the
+muscles. Artistic singing is a form of self-expression; and
+self-expression, to be natural and beautiful, must be the result of correct
+position and action.
+
+The first principle of artistic singing is the removal of all restraint.
+This is a fundamental law of Nature and cannot be changed. Under the
+influence of direct local muscular effort, the removal of all restraint is
+impossible. Hence the coming school must be based upon free flexible
+action. In this respect it will be much like the old Italian school, except
+that it will be as far in advance of the old school in the science of voice
+as the twentieth century is in advance of the eighteenth. It must also be
+far in advance of the old school in the devices used to develop the
+fundamental principles of voice.
+
+In this age of progress and knowledge of laws and facts, the new school,
+under the influence of Nature's laws and common sense, with the aid of
+flexible movements and vitalized energy, must do as much for the
+development of the singing voice in three or four years as the old school
+was able to do in eight or ten. This is necessary, both because the singing
+world demands it, and Nature and common sense teach us that it does not
+take years and years of hard study and practice simply to develop the
+voice. From a strictly musical standpoint, however, it does take years to
+ripen a great singer, to make a great artist. Many voices are ruined
+musically by years of hard, muscular practice. Hence we say the new school
+must give the voice freedom, and remove all muscular restraint by or
+through natural, common-sense, vitalized movements.
+
+
+
+ARTICLE SIX.
+
+CONDITIONS.
+
+
+Nature's laws are God's laws. All nature, the universe itself, is an
+expression of God's thoughts or desires in accordance with His laws. This
+one controlling force, this principle of law, is at the bottom of
+everything in nature and art. Everything which man says or does under
+normal, free conditions, is self-expression, an expression of his inner
+nature; but this expression must be under the law. If not, the expression
+is unnatural and therefore artificial. This principle, which holds true in
+all of man's expression, in all art, is in nothing more evident than in the
+use of the singing voice.
+
+"Nature does nothing for man except what she enables him to do for
+himself." Nature gives him much, but never compels him to use what she
+gives. Man is a free agent. He can obey or violate the laws of Nature at
+will; but he cannot violate Nature's laws, and not pay the penalty. This
+thought or principle constantly stands out as a warning to the vocal world.
+The student of the voice who violates Nature's laws must not expect to
+escape the penalty, which is hard, harsh, unmusical tone or ruined voice.
+Nature demands certain conditions in order to produce beautiful, artistic
+tone. If the student of the voice desires to develop beautiful, artistic
+tone he is compelled to study the conditions, the fundamental principles
+under the law; and this can be done only by the use of common-sense
+methods.
+
+All artistic tone is the result of certain conditions, conditions demanded
+by Nature and not man's ideas or fancies. These conditions are dependent
+upon form and adjustment, or we might better say adjustment and form, as
+form is the result of the adjustment of the parts. So far all writers on
+the voice, and all teachers, agree; but here comes the parting of the ways.
+One man attempts form and adjustment by locally influencing the parts,--the
+tongue, the lips, the soft palate, the larynx, etc. This results in
+muscular singing and artificiality. We have found that form and adjustment,
+to be right, must be automatic. This condition cannot be secured by any
+system of direct local effort, but must be the result of flexible,
+vitalized bodily movements--movements which arouse and develop all the true
+conditions of tone; movements which allow the voice to sing spontaneously.
+
+The fundamental conditions of singing demanded by Nature we find are as
+follows:
+
+  Natural or automatic adjustment of the organ of sound, and of all the
+  parts.
+
+  Approximation of the breath bands.
+
+  Inflation of all the cavities.
+
+  Non-interference above the organ of sound.
+
+  Automatic breath-control.
+
+  Freedom of form and action of all the parts above the larynx.
+
+  High placing and low resonance.
+
+  Automatic articulation.
+
+  Mental and emotional vitality or energy.
+
+  Free, flexible, vitalized bodily position and action.
+
+It is not my intention here to enlarge upon these conditions to any extent.
+I have already done so in my last book, "Position and Action in Singing." I
+know many writers on the voice, and many teachers, do not agree with me on
+this subject of conditions; but facts are stubborn things, and "A physical
+fact is as sacred as a moral principle." "The sources of all phenomena, the
+sources of all life, intelligence and love, are to be sought in the
+internal--the spiritual realm; not in the external or material." "A man is
+considerably out of date who says he does not believe a thing, simply
+because he cannot do that thing or does not understand how the thing is
+done. There are three classes of people--the 'wills,' the 'won'ts,' and the
+'can'ts': the first accomplish everything, the second oppose everything,
+and the third fail in everything." These things [these conditions] can be
+understood and fully appreciated by investigation only. There is no
+absolute definite knowledge in this world except that gained from
+experience.
+
+The voice in correct use is always tuned like an instrument. This must be
+in order to have resonance and freedom, and this is done only through
+natural or automatic adjustment of all the parts. In singing there are
+always two forces in action, pressure and resistance, or motor power and
+control. In order to have automatic adjustment these two forces must
+prevail. When the organ of sound is automatically adjusted, the breath
+bands approximate: This gives the true resisting or controlling force. When
+the breath bands approximate we have inflation of the ventricles of the
+larynx, the most important of all the resonance cavities, for when this
+condition prevails we have freedom of tone, and the inflation of all other
+cavities. And not only this; it also enables us to remove all restraint or
+interference from the parts above the larynx, and especially from the
+intrinsic and extrinsic muscles of the throat. This automatic adjustment,
+approximation of the breath bands and inflation of the ventricles, gives us
+a yet more important condition, namely, automatic breath control; this is
+beyond question the most important of all problems solved for the singer
+through this system of flexible vitalized movements.
+
+The removal of all interference or direct local control of the parts above
+the larynx, gives absolute freedom of form and action; and when the form
+and action are free, articulation becomes automatic and spontaneous. When
+all restraint is thus removed, the air current comes to the front, and we
+secure the important condition of high placing. Furthermore, under these
+conditions, when the air current strikes the roof of the mouth freely, it
+is reflected into the inflated cavities, and there is heard and felt,
+through sympathetic vibration of the air in the cavities, added resonance
+or the wonderful reinforcing power of inflation: in this way is secured not
+only the added resonance of all other cavities, but especially the
+resonance of the chest, the greatest of all resonance or reinforcing
+powers.
+
+When the voice is thus freed under true conditions, it is possible to
+arouse easily and quickly the mental and emotional power and vitality of
+the singer. In this way is aroused that which I have called the singer's
+sensation, or, for want of a better name, the third power of the voice.
+This power is not a mere fancy. It is not imagination; for it is absolutely
+necessary to the complete mental and emotional expression of the singer, to
+the development of all his powers. This life or vital force is to the
+singer a definite, controllable power. "Various terms have been applied to
+this mysterious force. Plato called it 'the soul of the world.' Others
+called it the 'plastic spirit of the world,' while Descartes gave it the
+afterward popular name of 'animal spirits.' The Stoics called it simply
+'nature,' which is now generally changed to 'nervous principle.'" "The
+far-reaching results of so quiet and yet so tremendous a force may be seen
+in the lives of the men and women who have the mental acumen to understand
+what is meant by it." The singer who has developed and controlled "the
+third power" through the true conditions of voice, never doubts its
+reality; and he, and he only, is able to fully appreciate it.
+
+The development of all the above conditions depends upon one important
+thing, the education of the body; upon a free, flexible, vitalized body.
+
+
+
+ARTICLE SEVEN.
+
+THE INFLUENCE OF RIGHT BODILY ACTION.
+
+
+In art, as in all things else, man must be under the law until he becomes a
+law unto himself. In other words, he must study his technique, his method,
+his art, until all becomes a part of himself, becomes, as it were, second
+nature. There is a wide difference between art and artificiality. True art
+is based upon Nature's laws. Artificiality, in almost every instance, is a
+violation of Nature's laws, and at best is but a poor imitation.
+
+The impression prevails that art is something far off, something that is
+within the grasp of the favored few only. We say of a man, he is a genius,
+and we bow down to him accordingly. The genius is an artist by the grace of
+God and his own efforts. Nature has given some men the power to easily and
+quickly grasp and understand things which pertain to art, but if such men
+do not apply their understanding they never become great or useful artists.
+Talent is the ability to study and apply, and is of a little lower order
+than genius; but the genius of application, and the talent to apply that
+which is learned, have made the great and useful men, the great artists of
+the world. As someone has said, "Art is not a thing separate and apart; art
+is only the best way of doing things;" and while this is true of all the
+arts, it is eminently so of the art of voice and of song.
+
+Artistic tone, as we have found, is the result of certain conditions
+demanded by Nature. These conditions are dependent upon form and
+adjustment; and form and adjustment, to be right, must be automatic. All
+writers and teachers agree that correct tone is the result of form and
+adjustment; but here, as we have said, comes the parting of the ways. One
+man attempts, by directly controlling and adjusting the parts, to do that
+which nature alone can do correctly; result--hard, muscular tone. Another
+attempts, by relaxation, to secure the conditions of tone; result--vocal
+depression, or depressed, relaxed tone.
+
+If artistic tone be the result of conditions due to form and adjustment,
+and if form and adjustment, to be right, must be automatic, if these things
+are true, and they are as true as the fact that the world moves, then there
+is only one way under heaven by which it is possible to secure these
+conditions; that way is through a flexible, vitalized body, through
+flexible bodily position and action.
+
+The rigid, muscular school cannot secure these conditions, for they make
+flexible freedom impossible. The limp, relaxed school cannot secure them,
+for there is no tone without tonicity and vitality of muscle. Vitalized
+energy _can_ secure these true conditions, but through flexible bodily
+position and action only.
+
+The rigid school is muscle-bound, and lacks life and vitality. The limp
+school, of course, is depressed and lacks energy. The world is full of dead
+singers,--dead so far as vitality and emotional energy are concerned.
+Singing is a form of emotional or self-expression, and requires life and
+vitality. Life is action. Life is vital force aroused. Life in singing is
+emotional energy. Life is a God-given, eternal condition, and is a
+fundamental principle of the true art of song.
+
+It is wonderfully strange that this idea or principle of flexible,
+vitalized bodily position and action is not better understood by the vocal
+profession. That a right use or training of the body, automatically
+influences form and adjustment, and secures right conditions of tone, has
+been and is being demonstrated day by day. This is a revelation to many who
+have tried to sing by the rigid or limp methods. There is really nothing
+new claimed for it, for it is as old as the hills. Truth is eternal, and
+yet a great truth may be lost to the world for a time. The only things new
+which we claim, are the movements and the simple and effective devices used
+to study and apply them. These movements have a wonderful influence on the
+voice, for the simple reason that they are based upon Nature's laws and
+common sense. These truths are destined to influence, sooner or later, the
+entire vocal world.
+
+A great truth cannot always be suppressed, and some day someone will
+present these truths in a way that will compel their recognition. They are
+never doubted now by those who understand them, and they are appreciated by
+such to a degree of enthusiasm. I am well aware that when these movements
+are spoken of in the presence of the followers of the prevailing rigid or
+limp schools, they exclaim, "Why, we do the same thing. We use the body
+too." Of course they use the body, but it is by no means the same. Their
+use of the body is often abuse, and not only of the body, but of the voice
+as well.
+
+The influence on the singing voice of a rightly used or rightly trained
+body is almost beyond the ability of man to put in words.
+
+All singing should be rhythmical. These flexible bodily movements develop
+rhythm.
+
+All singing should be the result of vitalized energy and never of muscular
+effort. These movements arouse energy and make direct effort unnecessary.
+
+Singing should be restful, should be the result of power in repose or under
+control. These movements, and these movements alone, make such conditions
+possible.
+
+All singing should be idealized, should be the result of self-expression,
+of an expression of the emotions. This is impossible except through correct
+bodily action. "By nature the expression of man is his voice, and the whole
+body through the agency of that invisible force, sound, expresses the
+nobility, dignity, and intellectual emotions, from the foot to the head,
+when properly produced and balanced. Nothing short of the whole body can
+express this force perfectly in man or woman."
+
+These movements develop in a common-sense way the power of natural forces,
+of all the forces which Nature has given to man for the production and use
+of the voice. Rigid, set muscles, or relaxed, limp muscles dwarf and limit
+in every way the powers of the singer, physical, mental, and emotional; the
+physical action is wrong, the thought is wrong, and the expression is
+wrong. A trained, developed muscle responds to thought, to right thought,
+in a free, natural manner. A rigid or limp muscle is, in a certain sense,
+for the time being, actually out of use.
+
+An important point to consider in this connection is the fact that there is
+no strength properly applied without movement; but when right movements are
+not used, the voice is pushed and forced by local effort and by contraction
+of the lung cells and of the throat. This of course means physical
+restraint, and physical restraint prevents self-expression. Singing is more
+psychological than physiological; hence the importance of free
+self-expression. Direct physical effort produces physical effect;
+relaxation produces depression.
+
+All artistic tone is reinforced sound. There are two ways of reinforcing
+tone. First, by direct muscular effort, the wrong way; second, by expansion
+and inflation, the added resonance of air in the cavities, the right way.
+This condition of expansion and inflation is the distinguishing feature of
+many great voices, and is possible only through right bodily position and
+action. These movements are used by many great artists, who develop them as
+they themselves develop, through giving expression to thought, feeling, and
+emotion, through using the impressive, persuasive tone, the fervent voice.
+This brings into action the entire vocal mechanism, in fact all the powers
+of the singer; hence these movements become a part of the great artist. He
+may not be able to give a reason for them, but he knows their value. The
+persuasive, fervent voice demands spontaneity and automatic form and
+adjustment; these conditions are impossible without flexible, vitalized
+movements. The great artist finds by experience that the throat was made to
+sing and not to sing with; that he must sing from the body through the
+throat. He finds that the tone must be allowed and not made to sing. Hence
+in the most natural way he develops vitalized bodily energy.
+
+Next in importance to absolute freedom of voice, which these movements
+give, is the fact that through them absolute, automatic, perfect
+breath-control is developed and mastered. These movements give the breath
+without a thought of breathing, for they are all breathing movements. The
+singer cannot lift and expand without filling the lungs naturally and
+automatically, unless he purposely resists the breath. The conscious breath
+unseats the voice, that is, disturbs or prevents correct adjustment, and
+thus compels him to consciously hold it; but this very act makes it
+impossible to give the voice freedom. Through these movements, through
+correct position, we secure automatic adjustment, which means approximation
+of the breath bands, the principle of the double valve in the throat, which
+secures automatic breath-control. In other words, the singer whose position
+and action are correct need never give his breathing a thought. This is
+considered by many as the greatest problem--for the singer--solved in the
+nineteenth century.
+
+To study and master these movements and apply them practically, the singer
+needs to know absolutely nothing of the mechanism of his vocal organs. He
+need not consider at all the physiological side of the question. Of course
+the study of these movements must at first be more or less mechanical,
+until they respond automatically to thought or will. Then they are
+controlled mentally, the thought before the action, as should be the case
+in all singing; and finally the whole mechanism, or all movements, respond
+naturally and freely to emotional or self-expression.
+
+These flexible, vitalized movements are not generally understood or used,
+because they have not been in the line of thought or study of the rigid
+muscular school or the limp relaxed school; and yet they are destined to
+influence sooner or later all systems of singing. They have been used more
+or less in all ages by great artists. It is strange that they are not
+better understood by the profession.
+
+*       *       *       *       *
+
+In this connection it might be well to speak of the importance of physical
+culture for the singer. A series of simple but effective exercises should
+be used, exercises that will develop and vitalize every muscle of the body.
+There are also nerve calisthenics, nervo-muscular movements, which
+strengthen and control the nervous system. These nerve calisthenics
+generate electrical vitality and give life and confidence. "The body by
+certain exercises and regime may be educated to draw a constantly
+increasing amount of vitality from growing nature."
+
+A singer to be successful must be healthy and strong. He should take plenty
+of out-door exercise. Exercise, fresh air, and sunlight are the three great
+physicians of the world. But beside this, all singers need physical
+training and development, which tense and harden the muscles, and increase
+the lung capacity; that training which expands all the resonance cavities,
+especially the chest, and which directly develops and strengthens the vocal
+muscles themselves, particularly the extrinsic and intrinsic muscles of the
+throat. As we have learned, a trained muscle responds more spontaneously to
+thought or will than an uneducated one; flexible spontaneity the singer
+always needs. Beyond a doubt, the singer who takes a simple but effective
+course of physical training in connection with vocal training will
+accomplish twice as much in a given time, in regard to tone, power and
+control, as he could possibly do with the vocal training alone. This is the
+day of physical training, of physical culture in all things; and the
+average vocal teacher will have to awake to the fact that his pupils need
+it as much as, or more than, they need the constant practice of tone.
+
+Of course it is not possible to give a system of physical training in a
+small work like this. The student of the voice can get physical training
+and physical culture from many teachers and many books. It may not be
+training that will so directly and definitely develop and strengthen the
+vocal muscles and the organ of sound itself, or training that will so
+directly influence the voice as does our system, which is especially
+arranged for the singer; but any good system of physical development, any
+system that gives the student health and strength, is good for the singing
+voice. "Activity is the source of growth, both physical and mental."
+"Strength to be developed, must be used. Strength to be retained, must be
+used."
+
+
+
+RAISON D'ETRE.
+
+
+Since writing my last book, "Position and Action in Singing," and after
+four or five years more of experience, I have been doubly impressed and
+more than convinced of the power and influence of certain things necessary
+to a right training and use of the voice. Herbert Spencer says, "Experience
+is the sole origin of knowledge;" and my experience has convinced me, not
+only that certain things are necessary in the training of the voice, but
+that certain of the most important principles or conditions demanded by
+Nature, are entirely wanting in most systems of singing.
+
+Singers, as a rule, are artificial and unnatural. They do not use all the
+powers with which Nature has endowed them. This has been most forcibly
+impressed upon my mind by the general lack of vitality, or vital energy,
+among singers; by a general lack of physical vitality, and, I venture to
+say, largely of mental vitality, and undoubtedly of emotional vitality,
+often, but mistakenly, called temperament. These things have been forced
+upon me by the general condition of depression which prevails. Vitality,
+however, or vitalized energy, is in fact the true means or device whereby
+the singer is enabled to arouse his temperament, be it great or otherwise;
+to arouse it, to use it, and to make it felt easily and naturally.
+
+Out of every hundred voices tried I am safe in saying that at least ninety
+are physically depressed, are physically below the standard of artistic
+singing. Singing, it is true, is more mental than physical, and more
+emotional than mental; but a right physical condition is absolutely
+necessary, and the development of it depends upon the way the pupil is
+taught to think. Singing is a form of self-expression, of an expression of
+the emotions. This is impossible when there is physical depression. The
+singer must put himself and keep himself upon a level with the tone and
+upon a level with his song, the atmosphere of his song; upon a level with
+the sentiment to be expressed, physically, mentally and emotionally. This
+cannot be done, or these conditions cannot prevail, when there is
+depression.
+
+There is, to my mind, but one way to account for this condition of
+depression among singers. That is, the way they think, or are taught to
+think, in regard to the use of their bodies in singing. The way in which
+they breathe and control the breath, the way in which they drive and
+control the tone. It is the result of rigid muscular effort or relaxation,
+and both depress not only the voice but the singer as well. The tonal
+result is indisputable evidence of this.
+
+Knowledge comes through experience; and my experience in studying both
+sides of this question has convinced me that there is but one way to
+develop physical, mental and emotional vitality in the singer, and that is
+through some system of flexible, vitalized bodily movements. There must be
+flexible firmness, firmness without rigidity. The movements as given in my
+book, "Position and Action in Singing," and as here given, develop these
+conditions. They give the singer physical vitality, freedom of voice,
+spontaneity, absolute automatic breath control, and make self-expression,
+emotional expression, and tone-color, not only possible but comparatively
+easy. Singing is self-expression, an expression of thought and feeling.
+There must be a medium, however, for the expression of feeling aroused
+through thought; that medium is the body and the body alone. Therefore it
+is easy to see the importance of so training the body that it will respond
+automatically to the thought and will of the singer.
+
+The opposite of depression, which local effort develops, is vitalized
+energy, the singer's sensation, that which I have called the third power,
+and which is a revelation to those who have studied both sides of the
+question. These things, as I have said, have been given to the vocal world
+in my book, "Position and Action in Singing." Many have understood them,
+have used them, and are enthusiastic advocates of the idea. Others have not
+fully understood them, as was and is to be expected. For that reason I have
+written this little book in the hope that it might make things plainer to
+all. I have endeavored to embody these practical, natural, necessary
+movements in the formula of study given in this book.
+
+The formula which follows is systematically and logically arranged for the
+study and development of fundamental principles through or by the means of
+these flexible vitalized movements. In this way I hope to make these ideas
+plainer and more definite to pupil and teacher.
+
+Every correct system of voice-training is based upon principle, theory, and
+the devices used to develop the principles. There are certain fundamental
+principles of voice, which are Nature's laws laid down to man, and which
+cannot be violated. Upon these principles we formulate theories. The
+theories may be right or wrong, as they are but the works of man. If they
+are right, the devices used are more apt to be right. If they are wrong,
+wrong effort is sure to follow, and the result is disastrous.
+
+After all, the most important question for consideration is that of the
+devices used to develop and train the voice. All depends upon whether the
+writer, the teacher, and the pupil study Nature's laws through common-sense
+methods or resort to artificiality. If the devices used are right, if they
+develop vitality, emotional energy, if they avoid rigidity and depression,
+then the singer need not know so much about principle and theory. But with
+the teacher it is different. He must know what to think and how to think it
+before he can intelligently impart the ideas to his pupils. Hence a system
+based upon correct principle, theory, and device is absolutely necessary
+for the teacher who hopes to succeed.
+
+The following system, as formulated, is largely the outgrowth of my summer
+work at Point Chautauqua, on Lake Chautauqua. There we have a school every
+summer, not only for the professional singer and teacher, but for those who
+desire to become such. Beside the private lessons we give a practical
+normal course in class lessons. There the principles, the theory, and the
+devices used are studied and worked out in a practical way by lecture, by
+illustration, and by the study of all kinds of voices. Many who have taught
+for years have there obtained for the first time an idea, the true idea, of
+flexible vitalized movements, the devices demanded by nature for giving the
+voice vitality, freedom, ease, etc. These teachers who are thus aroused
+become the most enthusiastic supporters of, and believers in, our system of
+flexible vitalized movements.
+
+It is, therefore, through the Chautauqua work that I have been impressed
+with the importance of placing this system in a plainer and more definite
+way, if possible, before the vocal world.
+
+
+
+
+PART SECOND.
+
+_VITALITY._
+
+
+
+
+ARTICLE ONE.
+
+THE FIRST PRINCIPLE OF ARTISTIC TONE--PRODUCTION.
+
+
+The first principle of artistic tone-production is
+
+  _The Removal of All Restraint_.
+
+The theory founded upon this principle is as follows: Correct tone is the
+result of certain conditions demanded by Nature, not man's ideas. These
+conditions are dependent upon form and adjustment; and form and adjustment,
+to be right, must be automatic, and not the result of direct or local
+effort.
+
+The devices used for developing the above conditions are simple vocal
+exercises which are favorable to correct form and adjustment, and are
+studied and made to influence the voice through correct position and
+action.
+
+A correct system for training and developing the voice must be based upon
+principle, theory, and device; upon the principles of voice which are
+Nature's laws, upon the theories based upon these principles, and upon the
+devices for the study and development of such principles.
+
+My purpose in this little work is to give just enough musical figures or
+exercises to enable us to study and apply the movements, the practical part
+of our system.
+
+The first principle of artistic tone-production is the removal of all
+restraint. This no one can deny without stultifying himself. The removal of
+all restraint means absolute freedom, not only of form and action, but of
+tone. It is evident, then, that any local hardening or contracting of
+muscle, any tension or contraction which would prevent elasticity, would
+make the removal of all restraint impossible. Hence we find that this first
+principle is an impossibility with the rigid local-effort school. On the
+other hand, relaxation, while it may remove restraint, makes artistic
+control and tonicity impossible. Hence artistic tone, based upon this first
+principle, is an impossible condition with the limp or relaxed school.
+
+That tone is the result of certain conditions demanded by Nature, and that
+these conditions are dependent upon form and adjustment, cannot be denied;
+but unless form and adjustment give freedom to the voice, unless they
+result in the removal of all restraint, then the manner or method in which
+they are secured must surely be wrong. Local effort or contraction cannot
+do this. Relaxation cannot secure the true conditions. There is and can be
+but one principle which makes true form and adjustment possible: All form
+and adjustment must be automatic, and not the result of direct or local
+effort.
+
+This brings us to a study of devices; and devices, to influence correctly
+not only the voice but the individual, must be in accordance with natural
+and not artificial conditions. The singer must put himself and keep himself
+upon a level with the tone--upon a level with the tone physically, mentally
+and emotionally. The device which we use, or the formula, is, _lift,
+expand, and let go_.
+
+With the singer who contracts the throat muscles during the act of singing,
+that which may be called the center of gravity or of effort is at the
+throat. With the singer who carries a consciously high chest and a drawn-in
+or contracted diaphragm, the center of gravity is at the chest. With the
+singer who takes a conscious full breath, and hardens and sets the
+diaphragm to hold it, the center of gravity is at the diaphragm. In none of
+these cases is it possible to remove all restraint; for they all result in
+contraction, especially of the throat muscles, and make flexible
+expansion--a condition necessary to absolute freedom--impossible.
+
+Place the center of gravity, by thought and action, at the hips. Everything
+above the hips must be free, flexible, elastic and vitalized when singing.
+We say, _lift, expand, and let go_, which must be in the following
+proportion: Lift a little, expand more than you lift, and let go entirely.
+The lift is from the hips up, and must be done in a free, flexible manner,
+with a constant study to make the body lighter and lighter, and the
+movement more elastic and flexible. Do not lift as though lifting a weight,
+but lift lightly as though in response to thought or suggestion.
+
+Expand the entire body in a flexible, elastic manner. This will bring into
+action every muscle of the body, and apply strength and support to the
+voice; for, as we have found, there is no strength correctly applied except
+through right movement. When we lift and expand properly, we expand the
+body as a whole, and not the chest alone, nor the diaphragm, nor the sides.
+These all come into action and expand with proper movement; but there must
+be no conscious thought of, nor conscious local effort of, any particular
+part of the body. When we lift and expand properly the chest becomes
+active, the diaphragm goes into a singing position, and every muscle of the
+body is on the alert and ready to respond to the thought or desire of the
+singer. Not only this; when we lift and expand properly, we influence
+directly the form and adjustment of all the vocal muscles, and especially
+the organ of sound itself. In this way the voice is actually and
+artistically tuned for the production of correct tone, as is the violin in
+the hands of the master before playing.
+
+_Lift, expand, and let go_. This brings us to a consideration of the
+third part of this expression, _let go_. This is in some respects the
+most important of the three; for unless the singer knows how to let go
+properly, absolute freedom or the removal of all restraint is impossible,
+and the true conditions of tone are lacking. The _let go_ does not
+mean relaxation, for there must be flexible firmness without rigidity. With
+the beginner the tendency is to lift, expand, and harden or contract all
+the muscles. This, of course, means restraint. The correct idea of _let
+go_ may be studied and better understood by the following experiment or
+illustration.
+
+Stand with the right arm hanging limp by the side. Lift it to a horizontal
+position, the back of the hand upward. While lifting, grip and contract
+every muscle of the arm and hand out to the finger-tips. This is much like
+the contraction placed upon the muscles of the body and of the throat by
+the conscious-breathing, local-effort school. Lift the arm again from the
+side, and in lifting have the thought or sensation of letting go all
+contraction of the muscles. Make the arm light and flexible, and use just
+enough strength to lift it, and hold it in a horizontal position. This
+should be the condition of all the muscles of the body under the influence
+of correct, _lift, expand, and let go_. Lift the arm the third time
+without contraction or with the sensation of letting go, hold it in a
+horizontal position, the back of the hand upward. Now will to devitalize
+the entire hand from the wrist to the finger-tips. Let the hand drop or
+droop, the arm remaining in a horizontal position. This condition of the
+hand is the _let go_, or the condition of devitalization, which should
+be upon the muscles of the face, the mouth, the tongue, the jaw, and the
+extrinsic muscles of the throat during the act of singing.
+
+Thus, when we say, _lift, expand, and let go_, we mean lift from the
+hips, the center of gravity, in an easy, flexible manner; expand the body
+with a free movement without conscious thought of any part of it; have the
+sensation of letting go all contraction or rigidity, and absolutely release
+the muscles of the throat and face. The _let go_ is in reality more a
+negative than a positive condition, and virtually means, when you lift and
+expand, do not locally grip, harden, or set any muscle of the body, throat,
+or face.
+
+The _lift, expand, and let go_ must be in proportion to the pitch and
+power of the tone. This, if done properly, will result in automatic form
+and adjustment, the removal of all restraint, and open, free throat and
+voice. This is the only way in which it is possible to truly vitalize, to
+arouse the physical, mental and emotional powers of the singer. This is the
+only way in which it is possible to put yourself and keep yourself upon a
+level with the tone--upon a level, physically, mentally and emotionally.
+This is in truth and in fact the singer's true position and true condition;
+this is in truth and in fact self-assertion; and this, and this only, makes
+it possible to easily and naturally _arouse_ "the singer's sensation,"
+the true sensation of artistic singing.
+
+We will take for our first study a simple arpeggio, using the syllables Ya
+ha, thus:
+
+[Illustration: FIRST STUDY. Ya, ha....]
+
+We use Ya on the first tone, because when sung freely it helps to place the
+tone well forward. Ya is pronounced as the German _Ja_. We use ha on
+all other tones of this study for the reason that it is the natural
+staccato of the voice. Think it and sing it "in glossic" or phonetically,
+thus: hA, very little h but full, inflated, expanded A. A full explanation
+for the use of Ya and ha may be found in "Position and Action in Singing,"
+page 117. All the studies given in this little work for the illustration
+and study of the movements of our system should be sung on all keys as high
+and as low as they can be used without effort and without strain.
+
+It has been said that "the production of the human voice is the effect of a
+muscular effort born of a mental cause." Therefore it is important to know
+what to think and how to think it.
+
+We say, put yourself and keep yourself constantly upon a level with the
+tone, mentally, physically and emotionally. For the present we have to do
+with the mental and physical only.
+
+Stand in an easy, natural manner, the hands and arms hanging loosely by the
+sides. You desire to sing the above exercise. Turn the palms of the hands
+up in a free, flexible manner, and lift the hands up and out a little, not
+high, not above the waist line. When moving the hands up and out, move the
+body from the hips up and out in exactly the same manner and proportion.
+The hands and arms must not move faster than the body; the body must move
+rhythmically with the arms. This rhythmical movement of body and arms is
+highly important. In moving, the sensation is as though the body were
+lifted lightly and freely upon the palms of the hands. The hands say to the
+body, "Follow us." In this way, _lift, expand, and let go_. Do not
+raise the shoulders locally. The movement is from the hips up. The entire
+body expands easily and freely by letting go all contraction of muscle. Do
+not first lift, and after lifting expand, and then finally try to let go,
+as is the habit of many; but lift, and when lifting expand, and when
+lifting and expanding let go as directed. Three thoughts in one
+movement--three movements in one--lifting, expanding, and letting go
+simultaneously as one movement, which in fact it must finally become. This
+is the only way in which it is possible to secure all true conditions of
+tone.
+
+With this thought in mind, and having tried the movement without singing,
+sing the above exercise. Start from repose, as described, and by using the
+hands and body in a free, flexible manner, move to what you might think
+should be the level of the first tone. Just when you reach the level of the
+first tone let the voice sing. Move up with the arpeggio to the highest
+note, using hands, body, and voice with free, flexible action; then move
+body and hands with the voice down to the lowest note of the arpeggio; when
+the last tone is sung go into a position of repose.
+
+The movement from repose to the level of the first tone is highly
+important, for the reason that it arouses the energies of the singer, and
+secures all true conditions through automatic form and adjustment. Do not
+hesitate, do not hurry. All movement must be rhythmical and spontaneous,
+and never the result of effort. In singing the arpeggio the tones of the
+voice must be strictly staccato; but the movement of the hands and body
+must be very smooth, even, and continuous--no short, jerky movements.
+
+The movement of the body is very slight, and at no time, in studying these
+first exercises, should the hands be raised above the level of the hips or
+of the waist line. Of course with beginners these movements may be more or
+less exaggerated. When singing songs, however, they do not show, at least
+not nearly as much as wrong breathing and wrong effort. They simply give
+the singer the appearance of proper dignity, position, and self-assertion.
+By all means use the hands in training the movements of the body. You can
+train the body by the use of the hands in one-fourth of the time that it is
+possible to do it without using them. Be careful, however, not to raise the
+hands too high, as is the tendency; when lifted too high the energy is
+often put into the hands and arms instead of the body; in this way the body
+is not properly aroused and influenced, and of course true conditions are
+not secured.
+
+"Practical rules must rest upon theory, and theory upon nature, and nature
+is ascertained by observation and experience." Now, if you will practice
+this arpeggio with a free, flexible movement of hands and body, getting
+under the tone, as it were, and moving to a level of every tone, you will
+soon find by practice and experience that these movements are perfectly
+natural, that they arouse all the forces which nature gave us for the
+production of tone, that they vitalize the singer and give freedom to the
+voice. By moving properly to a level of the first tone you secure all true
+conditions of tone; and if you have placed yourself properly upon a level
+with the high tone, when that is reached you will have maintained those
+true conditions--you will have freedom, inflation and vitality instead of
+contraction and strain.
+
+By moving with the voice in this flexible manner we bring every part of the
+body into action, and apply strength as nature demands it, without effort
+or strain. Remember, there is no strength properly applied in singing
+without movement. In this way the voice is an outward manifestation of an
+inward feeling or emotion. "The voice is your inner or higher self,
+expressed not _at_ or _by_ but _through_ the vocal organs,
+aided by the whole body as a sound-board."
+
+Our next study will be a simple arpeggio sung with the _la_ sound,
+thus:
+
+[Illustration: SECOND STUDY. La....]
+
+This movement, of course, must be sung with the same action of hands and
+body, starting from repose to the level of the first tone, and keeping
+constantly upon a level with the voice by ascending and descending. Sing
+this exercise first semi staccato, afterwards legato.
+
+The special object of this exercise is to relax the jaw, the face, and the
+throat muscles. A stiff, set jaw always means throat contraction. In this
+exercise, if sung in every other respect according to directions, a stiff
+jaw would defeat the whole thing, and make impossible a correct production
+of every high tone.
+
+In singing the _la_ sound, the tip of the tongue touches the roof of
+the mouth, just back of the upper front teeth. Think the tone forward at
+this point, and let the jaw rise and fall with the tongue. Devitalize the
+jaw and the muscles of the face, move up in a free, flexible manner to the
+level of every tone, and you will be surprised at the freedom and ease with
+which the high tones come. The moving up in the proper way applies
+strength, and secures automatic form and adjustment; develops or
+strengthens the resisting or controlling muscles of the voice; in fact,
+gives the voice expansion, inflation, and tonicity.
+
+Remember that one can act in singing; and by acting I mean the movements as
+here described, lifting, expanding, etc., without influencing the voice or
+the tone, without applying the movements to the voice; of course such
+action is simply an imitation of the real thing. Herein, however, lies the
+importance of correct thinking. The thought must precede the action. The
+singer must have some idea of what he wants to sing and how he wants to
+sing it. A simple chance, a simple hit or miss idea, will not do. Make your
+tone mean something. Arouse the singer's sensation, and you can soon tell
+whether the movement is influencing the tone or not. Of course these
+movements are all more easily applied on the middle and low tones than on
+the higher tones, but these are the great successful movements for the
+study and development of the high tones.
+
+As we have learned in our former publications, there are but three
+movements in singing,--ascending, descending, and level movements. We have
+so far studied ascending and descending movements or arpeggios. We will now
+study level movements on a single tone, thus:
+
+[Illustration: THIRD STUDY. Ah.]
+
+Place yourself in a free, flexible manner upon a level with the tone by the
+use of the movements as before described; lift, expand, and let go without
+hurrying or without hesitation, and just when you reach that which you feel
+to be the level of the tone let the voice sing. All must be done in a
+moment, rhythmically and without local effort. Sing spontaneously, sing
+with abandon, trust the movements. They will always serve you if you trust
+them. If you doubt them, they are doubtful; for your very doubt brings
+hesitation, and hesitation brings contraction. Sing from center to
+circumference, with the thought of expansion and inflation, and not from
+outside to center. The first gives freedom and fullness of form, the latter
+results in local effort and contraction. The first sends the voice out full
+and free, the latter restrains it. Expansion through flexible movement is
+the important point to consider. When the tone is thus sung, it should
+result in the removal of all restraint, especially from the face, jaw, and
+throat. In this way the tone will come freely to the front, and will flow
+or float as long as the level of the tone is maintained without effort.
+
+Remember the most important point is the movement from repose to the level
+of the tone. If this is done according to directions, all restraint will be
+removed and all true conditions will prevail. Never influence form. Let
+form and adjustment be automatic, the result of right thought, position,
+and action. Study to constantly make these movements of the body easier and
+more natural. Take off all effort. Do not work hard. It is not hard work.
+It is play. It is a delight when properly done. Make no conscious, direct
+effort of any part of the body. Never exaggerate the movement or action of
+one part of the body at the sacrifice of the true position of another. The
+tendency is to locally raise the chest so high that the abdomen is
+unnaturally drawn in. This, of course, is the result of local effort, and
+is not the intention of the movements. The center of gravity must be at the
+hips; and all movement above that must be free, flexible, and uniform.[1]
+
+[Footnote 1: In this connection, see Supplementary Note, page 135.]
+
+Do not give a thought to any wrong thing you may be in the habit of doing
+in singing, but place your mind upon freeing the voice, upon the removal of
+all restraint through these flexible vitalized movements: think the ideal
+tone and sing. When the right begins to come through these movements the
+wrong must go. Over and against every wrong there is a right. We remove the
+wrong by developing the right. Sing in a free, flexible manner, the natural
+power of the voice. Make no effort to suppress the tone or increase its
+power. After the movements are understood and all restraint is removed,
+then study the tone on all degrees of power, but remember when singing soft
+and loud, and especially loud, that the first principle of artistic singing
+is the removal of all restraint.
+
+
+
+ARTICLE TWO.
+
+THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+
+
+The second principle of artistic tone-production is
+
+  _Automatic Breathing and Automatic Breath-Control._
+
+_Theory._--The singing breath should be as unconscious,--or, rather,
+as sub-conscious,--as involuntary, as the vital or living breath. It should
+be the result of flexible action, and never of local muscular effort. The
+muscular breath compels muscular control; hence throat contraction. The
+nervous breath, nervous control; hence relaxation and loss of breath.
+
+_Devices._--_Expand to breathe. Do not breathe to expand._ Expand
+by flexible, vitalized movements; control by position the level of the
+tone, and thus balance the two forces, "pressure and resistance." In this
+way is secured automatic adjustment and absolute automatic breath-control.
+
+More has probably been written and said upon this important question of
+breathing in singing than upon any other question in the broad field of the
+vocal art; and yet the fact remains that it is less understood than any of
+the really great principles of correct singing. This is due to the fact
+that most writers, teachers, and singers believe that they must do
+something--something out of the ordinary--to develop the breathing powers.
+The result is, that most systems of breathing are artificial; therefore
+unnatural. Most systems of breathing attempt to do by direct effort that
+which Nature alone can do correctly. Most breathing in singing is the
+result of direct conscious effort.
+
+The conscious or artificial breath is a muscular breath, and compels
+muscular control. The conscious breath--the breath that is taken locally
+and deliberately (one might almost say maliciously) before singing--expands
+the body unnaturally, and thus creates a desire to at once expel it. In
+order to avoid this, the singer is compelled to harden and tighten every
+muscle of the body; and not only of the body, but of the throat as well.
+Under these conditions the first principle of artistic tone-production--the
+removal of all restraint--is impossible.
+
+As the breath is taken, so must it be used. Nature demands--aye,
+compels--this. If we take (as we are so often told to do) "a good breath,
+and get ready," it means entirely too much breath for comfort, to say
+nothing of artistic singing. It means a hard, set diaphragm, an undue
+tension of the abdominal muscles, and an unnatural position and condition
+of the chest. This of course compels the hardening and contraction of the
+throat muscles. This virtually means the unseating of the voice; for under
+these conditions free, natural singing is impossible. The conscious, full,
+muscular breath compels conscious, local muscular effort to hold it and
+control it. Result: a stiff, set, condition of the face muscles, the jaw,
+the tongue and the larynx. This makes automatic vowel form, placing, and
+even freedom of expression, impossible. The conscious, artificial breath is
+a handicap in every way. It compels the singer to directly and locally
+control the parts. In this way it is not possible to easily and freely use
+all the forces which Nature has given to man for the production of
+beautiful tone.
+
+Now note the contrast. The artistic breath must be as unconscious or as
+involuntary as the vital or living breath. It must be the result of free,
+flexible action, and never of conscious effort. The artistic, automatic
+breath is the result of doing the thing which gives the breath and controls
+the breath without thought of breath. The automatic breath is got through
+the movements suggested when we say, _Lift, expand, and let go_.
+
+When the singer lifts and expands in a free, flexible manner the body fills
+with breath. One would have to consciously resist this to prevent the
+filling of the lungs. The breath taken in this way means expansion,
+inflation, ease, freedom. There is no desire to expel the breath got in
+this way; it is controlled easily and naturally from position--the level of
+the tone. When the breath is thus got through right position and action, we
+secure automatic form and adjustment; and correct adjustment means
+approximation of the breath bands, inflation of the cavities--in fact, all
+true conditions of tone. Nature has placed within the organ of sound the
+principle of a double valve,--one of the strongest forces known in
+mechanics,--for the control of the breath during the act of singing. This
+is what we mean by automatic breath-control--using the forces which Nature
+has given us for that purpose, using them in the proper manner.
+
+If the reader is familiar with my last two works, "Vocal Reinforcement" and
+"Position and Action in Singing," he will have learned through them that we
+have not direct, correct control of the form and adjustment of the parts
+which secure the true conditions of tone and automatic breath-control.
+These conditions, as we have learned, are secured through the flexible
+movements which are the ground-work of our system. Therefore we say,
+_Trust the movements_. If you have confidence in them, they will
+always serve you. If you doubt them, they are doubtful; for the least doubt
+on the part of the singer means more or less contraction and restraint;
+hence they fail to produce the true conditions.
+
+This automatic breathing, the result of the movements described, does not
+show effort or action half so much as the old-fashioned, conscious muscular
+breath. Breathing in this way means the use of all the forces which Nature
+has given us. Breathing in this way is Nature's demand, and the reward is
+Nature's help.
+
+The devices we use to develop automatic breathing and automatic
+breath-control are the simplest possible exercises, studied and developed
+through the movements, as before described. In this way through right
+action we expand to breathe, or rather we breathe through flexible
+expansion, and we control by position, by the true level of the tone. In
+this way, as we have found, all true conditions are secured and maintained.
+
+We will take for our first study a single tone about the middle of the
+voice. Exercise three in Article One of this second part of the book will
+suggest the idea.
+
+Sing a tone about the middle of the voice with the syllable _ah_.
+Lift, expand, and let go, by the use of the hands and the body, as before
+suggested. The lifting and expanding in a free, flexible manner will give
+you all the breath that is needed; and the position, the level of the tone,
+will hold or control the breath if you have confidence. Remember that
+automatic breathing depends upon first action, the movement from repose to
+the level of the tone. If the action is as described, sufficient breath
+will be the result. If the position, the level of the tone, is maintained
+without contraction, absolute automatic breath-control will be the result
+so sure as the sun shines.
+
+The tendency with beginners and with those who have formed wrong habits of
+breathing, is to take a voluntary breath before coming into action. This of
+course defeats the whole thing. Again, the tendency of beginners or of
+those who have formed wrong habits, is to sing before finding the level of
+the tone through the movements, or to start the tone before the action.
+This of course compels local effort and contraction, and makes success
+impossible. The singer must have breath; and if he does not get it
+automatically through the flexible movements herein described, or some such
+movements, he is compelled to take it consciously and locally. The
+conscious local breath in singing is always an artificial breath, and
+compels local control. Under these conditions ease and perfect freedom are
+impossible.
+
+As we have said, the important thing to consider in this study is the
+movement from repose to the level of the first tone. Move in a free,
+flexible manner as before described, and give no thought to breath-taking.
+When you have found the level of the tone, all of which is done
+rhythmically and in a moment, let the voice sing,--sing spontaneously. Make
+no effort to hold or control the breath. Maintain correct position the
+level of the tone, in a free, flexible manner, and sing with perfect
+freedom, with abandon. As the movement or action gave you the breath, so
+will the position hold it. The more you let go all contraction of body and
+throat muscles, the more freedom you give the voice, the more will the
+breath be controlled,--controlled through automatic form and adjustment.
+This is a wonderful revelation to many who have tried it and mastered it.
+Those who have constantly thought in the old way, and attempted to breathe
+and control in the old way, cannot of course understand it. The tendency of
+such is to condemn it,--to condemn it, we are sorry to say, without
+investigation.
+
+Knowledge is gained through experience. The singer or pupil who tries this
+system of breathing and succeeds, needs no argument to convince him that it
+is true, natural and correct. The greatest drawback to the mastering of it
+on the part of many singers and teachers, is the artificial habits acquired
+by years of wrong thinking and wrong effort. With the beginner it is the
+simplest, the easiest, and the most quickly acquired of all systems of
+breathing; for automatic breathing is a fundamental, natural law of
+artistic singing.
+
+For further illustration of this principle of breathing we will use the
+following exercise:
+
+[Illustration: FOURTH STUDY. Ah....]
+
+Place yourself in a free, flexible manner on a level with the first tone.
+If this is done properly, you will have secured automatically a singing
+breath and all true conditions of tone. When singing this exercise move the
+hands and body with the tone or voice, ascending and descending. In
+ascending open freely and naturally by letting go. Do not influence the
+form by attempting locally to open. Do not influence the form by locally
+preventing freedom or expansion. Let go all parts of the face, mouth and
+throat, and you will be surprised at the power of the tone, of the breath,
+and of the breath-control on the upper tone. You will be surprised to find
+that you will have secured or developed three or four times as much
+sustaining breath power as you imagined you had. In descending, care must
+be taken not to droop or depress, but to carry the voice by controlling the
+movements of the body, and only after the last tone is finished should the
+body go into a position of repose.
+
+Sing this exercise in all degrees of power, soft, medium and loud,
+maintaining the same true conditions on all. The tendency of most singers
+is to relax and depress on soft tone, or to pinch and contract. Soft tone
+should never be small in form, and it should always have the same vitality
+and energy as the louder tone.
+
+[Illustration: FIFTH STUDY. Ah....]
+
+This exercise should be studied and practiced in every way suggested for
+the study of the preceding exercises. Place yourself upon a level with the
+first tone, in the manner before described, and thus secure the automatic
+breath. Do not forget to use the hands to suggest the movement to the body.
+The hands should be used until the body is thoroughly trained to flexible
+action. It is always a question of "the thought before the action." Do not
+allow a conscious or local breath before the movement.
+
+Place yourself upon a level with the first tone, and allow or let the voice
+start spontaneously and freely. Make no effort to hold the breath. Hold
+from position. Sing down, moving with the voice, but do not let the body or
+the tone droop or relax. Neither must there be stiffness or contraction. If
+you find it impossible to control the voice in this way, or to prevent
+depression of body and of tone, then try the following way.
+
+Place yourself upon a level with the first tone in the proper manner, sing
+down, but lift and expand with an ascending movement of the hands and body.
+Open the mouth freely and naturally, and let the tone roll out. You will be
+surprised to find not only great breath power and control, but a power in
+the tone that most singers imagine can be got through physical force alone.
+This power is the result of expansion and inflation, the true reinforcing
+power. The increased vitalized energy of the tone is the result of the
+upward and outward movement. This movement of expansion and inflation
+through flexible action, is the true application of strength or of power.
+It is that which we call the reverse movement. We sing down and move up. It
+is the great movement for developing the low tones of all voices. This
+reverse movement may be applied at will to all the studies given; it will
+depend upon the effect we may desire to produce. If in descending, a quiet
+effect is desired, the movement is with the voice. If we want power we
+reverse the action. The body, when properly trained, becomes the servant of
+the will, and responds instantly to thought and desire. Hence the
+importance of correct thought.
+
+In presenting these ideas to my readers, I realize how difficult it is to
+put them in words, and how much they lose when they appear in cold print.
+In working with a living, vitalized voice, the effect is so different. The
+reader who may desire to experiment with these ideas should place himself
+before a mirror, and make his image his pupil, his subject. In this way he
+can better study the movements, the action, the position, the level of the
+tone, and the breathing.
+
+In private teaching, of course, we do not take up one subject or principle
+and finish that, and then take up the next one; but one idea is constantly
+built upon another to form the harmonious whole. The formula which we use
+here, as we have said, is the one adopted for the normal class at the Point
+Chautauqua summer school. This we do in order to have the system properly
+arranged for lecture, illustrations, and for a practical study of the
+devices, not only from the singer's, but from the teacher's standpoint as
+well.
+
+The teacher or singer who studies and masters this course never questions
+or doubts the truth and power of automatic breathing and automatic
+breath-control; or the wonderful influence on the voice of these movements,
+which we call true position and action in singing.[1]
+
+[Footnote 1: The few exercises or studies here given, as well as a number
+of others, may be found fully carried out with accompaniment, in "Exercises
+for the Training and Development of the Voice," by the author of this work.
+Published by William A. Pond and Company.]
+
+
+
+ARTICLE THREE.
+
+THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION.
+
+
+The third principle of artistic tone-production is
+
+  _High Placing and Low Resonance._
+
+_Theory._--Tone, to be artistic, must be placed forward and high, and
+must be reinforced by the low cavities and chest resonance; it must be
+placed high, and reinforced or built down by added resonance through
+expansion and inflation.
+
+_Devices._--Place high by removing all restraint, all obstruction,
+through flexible movements. The high, forward placing is the natural focus
+of the voice. When the voice is thus placed and automatic control prevails,
+reaction and reflection occur, and the sympathetic low resonance of the
+inflated cavities is added to the tone. Also study the naturally high
+placing of E and the naturally low color of oo; then equalize all the
+vowels through their influence, and thus develop uniform color and quality
+in all.
+
+This third principle of artistic singing is a very important one, and means
+much more than one might, at first thought, suppose. Many singers think of
+placing simply as the point of contact or impact of the air current.
+Placing, however, means more than this. It means not only the correct focus
+of tone forward and high, but it also means reaction and reflection of the
+air current; in short, sympathetic added vibration of air in the low
+inflated cavities. This being true, we find that correct placing means even
+much more. It means the true form and adjustment of all the parts--all true
+conditions of tone.
+
+The prevailing idea of placing is the thought of constantly pushing up the
+tone. Result, the organ of sound is pushed out of place and all true
+conditions disturbed. The pushed-up tone means local, muscular effort,
+contraction, and a hard, unmusical voice. The voice thus placed may be loud
+and brilliant, but never soulful or beautiful. The pushed-up tone means
+singing from the larynx up. It means head-resonance only; and
+head-resonance is but one side, and that the smallest side, of this great
+question.
+
+Tone must be placed spontaneously, with reaction and reflection. This shows
+at once the importance of the first two great principles of
+voice-production,--freedom and automatic breath-control; for without these
+true placing is impossible. Tone placed in this way means the ring of the
+forward high placing and the added resonance of the inflated cavities and
+especially of the chest.
+
+In singing, as we have learned, there are two forces constantly in
+action,--pressure and resistance, or motor power and control. These two
+forces must prevail, and in order to produce the voice artistically, they
+must be balanced. This is done, indirectly, through the movements we
+advocate, through the position and action of the body. The motor power lies
+in the diaphragm and in the abdominal and intercostal muscles. The
+controlling force lies in the chest, in a properly adjusted larynx and the
+approximated breath-bands. These two forces must be balanced during the act
+of singing. Most singers are much stronger in the driving or motor power
+than in reaction or the controlling force; and with many, the weakness in
+control, reaction or adjustment, is an absolute bar to success. Hence the
+importance of strengthening the chest, and the position of the organ of
+sound, through physical culture.
+
+When these two forces, motor power and control, are not equal, the balance
+of force is placed upon the throat and throat muscles. This the singer can
+no more avoid doing than he can avoid balancing himself to keep from
+falling. When, in order to place, the voice is pushed up, deliberately and
+maliciously pushed, both forces are exerted in the same direction. They are
+then virtually but one force--a driving force. As there must be two forces
+in singing, as Nature compels this, there is nothing left for the singer to
+do but to use the throat and throat muscles as a controlling force. Under
+these conditions, as before stated, the tone may be brilliant, but it will
+always be unsympathetic and unmusical.
+
+I hope no one will think for a moment, in considering the movements we
+advocate, that we do not believe in strength and power. We do believe in
+applied power, applied indirectly; not by local grip and contraction, but
+indirectly through vitalized energy, expansion, and flexibility, through
+the true position and action of the singer. There is no strength properly
+applied in singing except through movement; through correct movement all
+the forces which nature has given the singer are indirectly brought into
+action; in this way there is constant physical and vocal development.
+
+Every tone sung, as we have learned, is a reinforced sound. There are two
+ways of reinforcing tone. First, by muscular tension, muscular contraction,
+muscular effort--the wrong way. Second, by vitalized energy, by expansion,
+and by added resonance of air in the inflated cavities--the right way. Of
+course to produce expansion and inflation, true conditions of form and
+adjustment must prevail, through the movements given.
+
+Form has much to do with determining the quality and character of the tone.
+Muscular effort, either in placing or reinforcing the tone, results in
+muscular contraction, and in most cases in elliptical form of voice, thus:
+[drawn horizontal oval] This means depressed soft palate, high larynx,
+contraction of the fauces, closed throat, and spread open mouth.
+Result--high placing impossible, no low color or reinforcement; in short,
+hard muscular tone. The tone may be loud but it cannot be musical.
+
+The true musical form of the voice is elongation, thus: [drawn vertical
+oval] This means high placing and low resonance; it means that the tone has
+the ring of forward high placing and the reinforcement, color, and beauty
+of added low resonance. Elongation is a distinguishing feature of all truly
+great voices.
+
+For artistic tone, the soft palate must be high, the larynx must be low,
+and the throat and mouth allowed to form, not made or compelled. The form
+must be flexible and elastic. The larynx must be low in adjustment for the
+production of beautiful tone, but it must never be locally adjusted. It
+must always be influenced indirectly through the movements we advocate,
+through the true position and action of singing. In this way are secured
+open throat, freedom of voice, all true conditions. In this way the tone
+may be placed by impulse, by flexible action, may be started high and
+instantly reflected into the inflated cavities. This means perfect poise of
+voice; it means the focus of the tone high and forward with the sympathetic
+added vibration of the low cavities and especially of the chest. This is
+the only true placing of voice,--the combination of head and chest
+resonance through automatic form and adjustment. A tight throat through
+local, muscular effort makes these conditions impossible.
+
+The true resonance-chamber then, as we have found, is from head to chest;
+sympathetically the resonance of the entire body must be added. The true
+artist sings with the body, through the throat, and never with the throat.
+In this way the entire singer is the instrument. Fill the body with sound.
+The higher the tone the more elongated the form. Nature demands this. If
+this does not occur contraction and depression are sure to follow. Also the
+higher the tone the lower the added resonance, when the conditions are
+right. In this way the form elongates and the compass expands without
+effort or strain. These ideas studied through flexible movements are truly
+wonderful, but natural means for expanding the compass of the voice.
+
+Much has been written lately on the subject of open tones. Should the tones
+be opened or closed, is the question. Tone should never be closed. It
+should always be open, but never out. If it is out of the mouth it is not a
+singing sound. Even the real covered tones of the voice should never be
+closed. The truth is, the form of the covered tones of the voice, through
+elongation, is larger than the form of those which we call the open tones,
+in contradistinction to the covered.
+
+In the clear timbre of the voice, the bright tone, the ring of high
+placing, predominates. In somber timbre, the dark tone, low resonance, or
+low color, predominates. In medium tone both are heard or felt more
+equally. None of this coloring or reinforcing must be done by locally
+influencing form or placing. The voice must be perfectly free; and the
+result must be due to sentiment, feeling, emotion, to the effect it may be
+desired to produce. If all restraint is removed, if true conditions
+prevail, this can always be done through the singer's sensation, through
+the use of the third power. It is marvelous how, under right conditions,
+the voice will respond to thought, to sentiment, to feeling.
+
+"The tone thus produced and thus delivered, with perfect breath-control,
+will set the _whole body sympathizing_, from the sole of the foot to
+the crown of the head. And it is _only_ tones like these--that it is
+possible to so adorn, and decorate, and beautify, with the due amount of
+emphasis, and accurate intensity of emotional feelings, and exquisitely
+shaded and ever-varying tinges of color in expression--that can prove
+capable of captivating the heart of the hearer, that can graphically
+impress the listener with such sentiments as the vocalist desires to
+convey."
+
+We will take for our first study a single tone about the middle of the
+voice. In studying placing and resonance, we must of course observe all the
+rules laid down in regard to the action, position, etc. Do not take a
+voluntary breath before acting--do not start the tone before the action,
+two things which require constant watching on the part of the beginner.
+Either of them will virtually cause defeat.
+
+Remove all obstruction by seeking the level of the tone through flexible
+action. Think the tone forward and high. Place by impulse, and never by
+local effort. Have the sensation as though the tone started forward and
+high, as though it impinged against the roof of the mouth, and instantly
+reflected into the low cavities, and especially into the chest. In doing
+this, relax the jaw, let go all face and throat contraction, expand the
+body, and think and feel the chest vibrant and filled with tone. In this
+way the tone may be started high and reinforced or built down by the added
+resonance of all the inflated cavities.
+
+Another way to do this, is to start the tone spontaneously by impulse
+through correct action; in doing so, think and feel as though the tone
+placed and reflected at the same instant, forward against the roof of the
+mouth and on the chest,--as though the contact or impingement of the tone
+were felt at both places simultaneously. Of course the high forward placing
+in mouth and face is the true placing, and the sensation on the chest is
+the action or reflection of the true placing. This can be done through
+flexible vitalized action alone. With a tight throat or local muscular
+effort it is impossible. This is perfect attack, and in this way all force
+and push are avoided. In this way freedom and inflation are secured, that
+condition which unites head and chest resonance.
+
+Think of a rubber pouch filled with air. Imagine you grasp it in the middle
+with the hand, and close the hand tight. The upper part of this pouch
+represents the face and high forward placing. That below the hand, or the
+lower part, the chest resonance. The hand holding the middle of the pouch
+represents the throat. So long as the hand contracts tightly the middle of
+the pouch, there is no connection between the air in the upper and lower
+parts of the pouch. If the desire is to connect these two parts, relax the
+hand a little, and allow an opening or a free passage between them. In
+singing, the same relaxation or opening must occur at the throat, if the
+desire is to connect the ring of high placing with the resonance of the low
+cavities. If the desire is to reinforce, to build down, the extrinsic
+muscles of the throat must relax, and the throat must expand.
+
+In thus placing and reinforcing tone, the pupil is guided or assisted not
+only by the sense of hearing but by the sense of feeling. There will be the
+sensation of freedom, of ease, of power; a feeling as though the entire
+body from the head down to the waist were open and filled with tone.
+Remember, however, this important fact, that it is possible to lift and
+expand, and even to let go, and yet not to influence the tone. We can act
+well and yet sing with a common tone. The pupil must think and feel the
+tone, must think and feel the effect desired. The thought must precede the
+action.
+
+This point is worthy of all consideration,--right thought or right feeling
+assists the tone in every way, has, in fact, a wonderful influence in
+developing right action. The idealized tone brings into action more of the
+true powers of the singer than it is possible to do in any other way.
+
+[Illustration: SIXTH STUDY. Ya, ah.]
+
+This study lends itself easily and naturally, not only to the development
+of high placing, but to correct bodily action.
+
+Sing the first tone staccato, placing the body upon a level with the tone
+as described. Then from the level of this first tone, through flexible
+vitalized action, carry the body spontaneously or by impulse to the level
+of the upper tone; the air current or the tone should strike the roof of
+the mouth well forward and instantly reflect into the low cavities. In this
+way all true conditions are secured, and the voice is allowed to sing
+instead of being made or compelled. There must be a very free lift,
+expansion, and let go between the first and the upper tone. Do not let the
+second tone start until its level is reached, or the effect will be
+spoiled, or at least modified. All this must be done rhythmically, which
+means without the least hesitation, or without the sensation of haste. To
+hesitate compels local effort. To hurry disturbs all true conditions. This
+is a very valuable exercise, if understood.
+
+[Illustration: SEVENTH STUDY. Ah....]
+
+This study is virtually the same as the sixth, except that the voice is not
+suspended or arrested between the first and second tones. This exercise
+must be studied with the same action and the same impulse as the sixth
+study. Some singers can get placing and reaction better on this study than
+on the sixth.
+
+[Illustration: EIGHTH STUDY. Ah....]
+
+Find the level of the first tone as suggested, using hands and body; move
+down, hands and body going with the tone, while singing the first three
+notes of this exercise; then, without stopping or hesitating, reverse the
+action or the movement, by lifting hands and body, and opening wide by
+dropping the lower jaw, while singing the last three notes. Of course the
+voice must sing from the highest to the lowest note with a continuous
+legato flow. The movement of the body down with the first three notes and
+the reverse action, moving up and out on the last three, must be smooth and
+continuous. If this is done properly the reverse action will give a
+wonderful sensation of freedom, openness, and the power of low added
+resonance. It demonstrates forcibly what is meant by placing up and
+building down.
+
+This is the great idea or the great movement for developing the low tones
+in all voices. When the low tones are thus developed by expansion, but
+without effort, the same idea of freedom and low resonance can be carried
+into the high tones. This can be done especially well and easily on
+exercises six and seven. The higher the tone the lower the resonance should
+be if the object be a full beautiful, free tone.
+
+[Illustration: NINTH STUDY. Ah....]
+
+Place yourself upon a level with the first tone as suggested, and allow the
+tone to start spontaneously, striking, as it were, the roof of the mouth
+and the chest simultaneously. Move body and hands down with the voice to
+the low tone, and then instantly but rhythmically, lift back to the level
+of the upper tone. Feel as though you were under the tone with body and
+hands in moving up, and let the tone strike by impulse, the roof of the
+mouth, and instantly reflect into the chest. Practice this exercise until
+it can be done with perfect freedom of form and action.
+
+In starting the first tone in all these exercises, feel the vibration in
+the face, on the forehead, and on the cheek-bones. If this is done without
+pushing, but by flexible action, a sympathetic vibration can be felt
+through the entire body.
+
+A very effective and successful study of high placing and low resonance may
+be got through a consideration of the natural placing and resonance of the
+vowel sounds. As I have written so fully on the vowel sounds in my former
+works, I shall simply touch upon that important question here.
+
+E as in _reed_ is naturally the highest placed vowel in the English
+language. U or oo as in _you_ or _do_ is naturally the lowest in
+color. Sing E with the freedom of action as suggested, and think it high in
+the face. Make no effort to influence the form. The form of E is naturally
+very small. E will be found in this way to be free and bright, not hard and
+wiry. Sing oo in the same way. The form of oo is also very small. Oo should
+have a flute-like sound. It will be found that in E high resonance
+predominates. In oo low color. In studying the vowels the aim should be to
+equalize them by placing, reinforcing, and coloring them as nearly alike as
+possible. In this way they are equalized instead of differentiated.
+
+Place E as suggested, and color it by the thought and influence of the low
+resonance of oo. Sing oo as suggested, and brighten it by the thought,
+influence, and high placing of E. In this way study all other vowels,
+influencing them by the high placing of E and the low resonance of oo. The
+high ring and brightness of the reed sounds of the voice, must be modified
+and influenced by the color and low resonance of the flute sounds. The
+flute sounds of the voice must be made more brilliant and free by the
+influence of the high placing and high resonance of the reed sounds. In
+this way we equalize all the vowels until, in a certain sense, they all
+have the same color and quality and sound, as though they belonged to one
+and the same voice. For a further study of high placing, use the second
+sound of O, or, as some writers classify the vowels, the second sound of
+U,--the sound of uh as heard in up. This is the highest, narrowest, and
+most elongated arch form in the English language; consequently it is, for
+many voices, the most favorable sound for the study of high placing.
+
+All vowel sounds, like all tones of the voice, are reinforced sounds. The
+tendency of most singers is to sing the reed sounds too white and the flute
+sounds too dark. By properly distributing brilliancy and color we influence
+and modify all the vowels without losing their character or individuality.
+
+
+
+
+PART THIRD.
+
+_AESTHETICS._
+
+
+
+ARTICLE ONE.
+
+THE FOURTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The fourth principle of artistic singing is
+
+_Emotional or Self-Expression._
+
+_Theory_.--Vitalized emotional energy, the "Singer's Sensation," is
+the true motor power of the voice.
+
+_Devices_.--A study of tone-color and tone-character; the idealized
+tone, applied and developed by the use of words and sentiment.
+
+The student of the voice who has studied, understood, and, to a certain
+extent, mastered the first three great principles of voice production--the
+removal of all restraint, automatic breathing, high placing, and low
+resonance--has certainly accomplished much. He has aroused and developed
+the physical and mental vitality of the singer, the vitality and energy of
+body and mind. This is the limit of progress or development with many, at
+least so far as actual tone study is concerned.
+
+There comes a time, however, in the experience of every student of the
+voice, a stage of the study, when, if he expects to be an artist, he must
+take a step in advance, a step higher; he must place himself upon a higher
+plane or level; he must arouse his true inner nature, the singer's
+sensation, that which we have called the third power. This is done by a
+study of emotional, or self-expression. It is done through arousing and
+vitalizing the emotional energy. Vitalized emotional energy, the singer's
+sensation, is undoubtedly the true motor power of the artist.
+
+At just what stage of development the consideration of this higher form of
+study or expression should be placed before the mind of the pupil, is a
+question. Singers are so different, physically, mentally, and emotionally.
+With some I have found it best not to consider this side of the question
+until they have developed a fair vocal technique. This should be the case
+with emotional, nervous, excitable temperaments. With hard, cold, stiff,
+mechanical pupils, this is often the only way in which it is possible to
+arouse them, in order to give them a start, without wasting weeks or months
+of precious time.
+
+The development of this principle of vitalized, emotional energy, depends,
+as a rule, upon freedom of voice and the true conditions of tone as before
+described. Therefore, in order to study this great question, in order to
+fully develop this higher form of expression, the singer must have mastered
+the flexible, vitalized movements given in this work, must have acquired
+through these movements absolute freedom of tone. Experience teaches us,
+however, that there are those who, while they learn, in a certain way, to
+do the movements comparatively well, yet do not entirely let go,--they do
+not free the voice. With such the study of tone color, and especially the
+study of soft color, not soft tone necessarily, but soft, emotional tone
+color, is their only salvation. It releases and relaxes all the rigid local
+tendencies.
+
+There is a stage of study, as we have said, in the experience of all
+students of the voice, when, in order to become artists, Nature demands of
+them more than mere sound. There comes a time when every tone of the voice
+must mean something, must express something, through the character of the
+tone, the idealized tone. In this way the personal magnetism of the singer
+is imparted, heard, and felt. This means the expression of thought and
+feeling through the color and character of the tone, the highest known form
+of expression. This principle is the greatest known agency for the
+development of all the powers of the singer, not only the emotional and
+mental powers, but the physical as well. The student of the voice who
+studies or who is trained in this way, develops, not only in character and
+beauty of tone, but in actual physical power and control. This study of
+tone color and tone character develops new power in every way. "The
+mechanical and mental alone are but half development, but this is full and
+complete development of the entire being." In proof of this, sing a light,
+bright, happy thought or tone, using the clear timbre, about the middle of
+the voice. It will require but little strength. Then sing a more emotional
+thought, sentence, or tone; express deeper feeling, and it will be found
+that more strength is required. Again, give utterance to tone or words
+which express sadness, sorrow, or intense pleading, using the somber timbre
+of the voice, and much more strength will be required. This will be
+especially noticeable in the action or energy of the diaphragm and
+abdominal muscles. It will be found that the low muscles of the body exert
+more strength on somber timbre than on clear tone. This, in order to induce
+the deep, low setting of the voice at the organ of sound, necessary for the
+production of somber or dark tone, and the expression of deep, emotional
+feeling. It is easy to see that this means greater physical as well as
+emotional development; physical development, not only of every muscle of
+the body, but of the organ of sound itself; a development which can be
+attained through the study of tone color and emotional expression only.
+
+The power of vitalized emotional energy, I might say the power of the
+emotional power, cannot be overestimated. The power of an emotional climax,
+imparted through the soft color of the voice, is often greater than that of
+the dramatic climax; it will often influence and affect an audience in the
+most startling way. We find that thought and will control all physical
+action in singing. If the thought is right, the action will be right; if
+wrong, the action will surely be wrong. When right thought and action have
+developed absolute freedom, then the emotional energy, the singer's
+sensation, the true power of the voice, should dominate everything. The
+mind or will controls the body through thought, but the thought must be
+aroused through feeling or emotion; and the feeling or emotion is inspired
+by the sentiment to be expressed. This means, of course, the higher form of
+expression, means the power of tone color and tone character; but it
+depends first upon all true conditions of tone, mental and physical, and
+then upon the temperament, upon the heart, and soul of the singer.
+
+Singing, as we have said, is more psychological than physiological. This
+whole system of flexible, vitalized movements, is first aroused by right
+thought, and finally applied and controlled through the mind or will, in
+response to feeling or emotional impulse. In this way we are able to arouse
+and use at will the persuasive, the impressive, the fervent voice; the
+voice that is something more than mere sound; the voice that has character
+and magnetism.
+
+Compare two voices that are equal in every way in regard to power of tone,
+compass, and control. The one varies the color and character of the tone
+continually with the change of thought and sentiment, and is enabled
+thereby not only to avoid monotony, but to use the impressive, persuasive
+voice, the tone the sentiment demands. In this way he has magnetic power
+and influence over an audience. The other voice may be bright, free, and
+clear, yet may use the same quality or color of tone constantly on all
+styles of singing, and on all degrees of power, it matters not what the
+thought or sentiment may be; and this style of voice is by no means
+uncommon, even among many of our public singers. Now consider the
+difference in the commercial value of these two voices, which should bear
+at least some relation to their artistic value. No artist can be truly
+great or fully developed without the power of vitalized, emotional energy,
+and variety of tone color and character.
+
+Sing a tone, about the middle of the voice, without other thought than that
+of simply pure, free tone. It will be found that in the most beautiful
+voice the tone will be common-place, meaningless; in many voices it will be
+simply sound. Now place yourself in every way upon a higher, a more lofty
+plane. Think of higher ideas and ideals. In other words, idealize the tone.
+Remember, the ideal is the truth, and not exaggeration. Appeal to your
+emotional energy, the singer's sensation, and give expression to thought
+and feeling aroused in this way. Give expression to an actual life-throb,
+whether it be of love or hate, of joy or sadness, of ecstasy or despair.
+The result, the change of tone, character, and quality, will be
+astonishing, will ofttimes be electrifying. In this way make the tone
+actually mean something. Feel like a singer, assert yourself, express
+thought, sentiment, feeling, emotion, and not simply sound.
+
+Simple sound, as a rule, is meaningless and unnatural. Nature demands, for
+the expression of beautiful, artistic tone, that all the powers she has
+given the singer--the powers, physical, mental, and emotional--be brought
+into action and put into the tone. Character and magnetism of tone must be
+aroused in most voices. This cannot be done through the mechanical and
+mental powers alone. It requires the study and development of the emotional
+energies of the singer. In other words, the singer must put himself, not
+only upon a physical and mental level, but upon the emotional level of the
+tone as well.
+
+All voices have two distinct color or character effects, the reed and the
+flute. These effects are the result of vowel forms, and of the
+predominating influence of high placing or of low resonance. When we desire
+brilliancy, the reed effect should predominate. When we desire dark color
+or more somber effects, the flute quality should prevail. In clear tone or
+timbre there is more reed effect than flute. In medium tone or color the
+effect of both is heard and felt. In the somber tone the flute
+predominates. To express joy or happiness we use the clear timbre, and the
+ring of high forward placing predominates. To express a deeper feeling, a
+more serious but not a sad tone, that which we call the emotional form,
+both the clear and the somber are heard in various proportions; the high
+placing and the low resonance are about equally balanced. To express
+sadness the somber color or low resonance predominates.
+
+Apply these ideas on all the exercises given. Use sentences which contain
+thought or sentiment that will enable you to arouse a definite feeling. For
+example, to study the clear timbre, sing, "My _heart_ is glad." To
+express the emotional tone, the tone which is not sad but serious, sing,
+"My _heart_ is thine." To express a somber sound or sadness, sing, "My
+_heart_ is sad." To express a ringing, dramatic tone, sing, "Thy
+_heart_ is false." Thus we express four different effects on the one
+word, "heart."
+
+This subject of emotional expression through tone color and tone character
+is so great, so important, that it is impossible to do it justice in this
+little work. I have written more fully on this and kindred subjects in my
+other works, therefore I shall here touch but lightly upon the aesthetics
+of the vocal art.
+
+It should be remembered that the prime object for which this book was
+written, was to place more clearly, if possible, before my readers, the
+importance and wonderful influence of the flexible, vitalized movements of
+our system.
+
+These movements, we find, so directly influence the voice, the singer, and
+the results in every way, that we feel justified in again calling attention
+to them. Too much cannot be said of them, for the average student of the
+voice is inclined to neglect them. If they have been, to a certain extent,
+understood and mastered, then the study of this, the fourth principle of
+artistic singing, becomes a comparatively easy matter. With the student who
+does not understand them, emotional or self-expression is always a
+difficult matter, and with many an impossibility; which largely accounts
+for the great number of mechanical singers. At least twenty years' hard
+work and study have been put upon these movements in order to reduce them
+to the simplest and most effective form. They are based upon common sense
+and Nature's laws. Of course no one can or should expect to understand or
+fully appreciate them without more or less investigation.
+
+
+
+ARTICLE TWO.
+
+THE FIFTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The fifth principle of artistic singing is
+
+  _Automatic Articulation_.
+
+_Theory_.--_Articulation must be spontaneous_, the result of
+thought, and of the effect desired, never of direct or local effort. The
+thought before the action, never the action before the thought.
+
+_Devices_.--The development of the consonantal sounds through the
+study of the three points or places of articulation, and the application by
+the use of words, sentences, and sentiment, vitalized and intensified.
+
+In our course of study or in the formula here given, it will be evident to
+the reader that we lay much stress upon the principle of vitality or
+vitalized energy. In the second part of this work we have considered the
+principles and the devices that develop physical and mental vitality. In
+the article which directly precedes this, special emphasis is placed upon
+emotional vitality. Vitality or vitalized energy, it will be found, holds
+good also in this, the fifth fundamental principle of artistic voice
+production.
+
+Articulation, to be artistic, must be automatic and spontaneous; must be
+the result of thought and effect desired, and never of direct or local
+effort. This being true, we must recognize the importance of freedom of
+form and action, of the removal of all restraint, in fact, the importance
+of all true conditions of tone. This brings us back again to our original
+position, as do all the fundamental principles of singing; namely,--the
+importance of the free, flexible movements of our system, upon which
+freedom of form and action, in fact, all true conditions of tone, depend.
+
+Language, spoken language, has been considered by many a vocal weakness.
+Scientists have contended that the consonantal sounds weaken the resonance
+and power of the vowels. We have found the opposite to be true. We have
+found that the consonantal sounds in many ways are a wonderful help in
+developing the voice. This proves that which some one has so well said,
+"The demonstrations of yesterday are the falsehoods of to-day."
+
+A free, flexible articulation of the consonantal sounds helps to place the
+voice, and gives it life and freedom. Articulation, under right conditions,
+will not interfere with the legato flow of voice. It is not necessary, as
+many suppose, to sacrifice distinct utterance in song for the sake of the
+legato flow of voice, the most desired mode of singing. On the other hand,
+the free legato flow of the vowels need not interfere at all with distinct
+articulation. The voice is composed of two separate and distinct
+instruments, the organ which produces sounds or vowels, and the
+articulating organ which produces consonants. These two instruments, when
+properly trained, strengthen, complement, and support each other, and
+together they mold vowels and consonants into speech.
+
+It is true that with many, articulation is a difficult matter, and this is
+especially true on the high tones of the voice. No one who has heard the
+majority of the average opera and concert singers of the day, would be
+justified in holding that articulation is not a lost art. A free, distinct
+articulation and use of words in song, is the exception and not the rule.
+This is due largely to the following fact--with most singers there is
+direct or local effort on face, jaw, tongue and throat, during the act of
+singing; in other words, they grip the parts to hold the tone, and the
+higher or louder they sing, the firmer the grip or contraction. This
+virtually paralyzes action, and makes flexible articulation impossible.
+Articulation knows no pitch. It should be as easy on a high tone as on a
+middle or low tone. If there were no direct or local effort of the
+articulating muscles to hold the tone, articulation on the high tone would
+be as easy as on the middle or low tone. This is a fact which has been
+demonstrated again and again. Of course it is more difficult to learn to
+sustain the high tone without placing more or less effort upon the face,
+jaw, and throat; but under right conditions, the result of right position
+and action, this can be done, and has been done many times.
+
+Articulation, to be artistic, must be spontaneous,--the thought before the
+action. Think and feel the effect desired, and give no thought to the
+action of articulation. The action, under right conditions, if there is no
+restraint, will respond to thought and feeling; it will be automatic and
+spontaneous. Just as the singer, after a certain stage of study, should
+never produce a tone that does not mean something, that has not character,
+so in the use of words, he should always sing them in a persuasive,
+impressive manner, and with free, flexible action. As, under this system,
+we never locally influence vowel form, so, after a certain stage of study
+we never locally influence consonantal action. To be right, it must be
+automatic and spontaneous.
+
+Of course we recognize the fact that in all vocal study there must be a
+beginning. The pupil must be taught to know and think correct physical or
+mechanical action in singing. He must know what it is, what it means, and
+how to think it. Then it must be trained to respond to thought and will.
+This we call the first two stages of study, or the physical and mental. The
+mental, as the student progresses, must dominate and control the physical;
+and finally, as we have before stated, the true motor power is emotional
+energy or the singer's sensation. This order of study and development holds
+good in this fifth principle of artistic singing, as in all others.
+
+The device to which we first resort for the understanding and development
+of articulation, is a study of the three points or places of contact. On
+page 183 of "Vocal Reinforcement" (by the author of this work) will be
+found a full explanation of these three points.
+
+A vowel sound is the result of an uninterrupted flow of the vibratory air
+current. A consonantal sound, on the other hand, is the result of a
+complete obstruction and explosion, of a partial obstruction and explosion,
+or of a partial obstruction only. The place and manner of the obstruction
+and explosion, or of the obstruction only, determine the character of the
+sound. There are three points of obstruction or articulation:
+
+1. The point of contact of the base or back of the tongue and of the soft
+palate.
+
+2. The contact of the tip of the tongue and of the hard palate, the roof of
+the mouth.
+
+3. The contact of the lips, or of the lower lip and the teeth.
+
+Almost any first-class work on the elements of the English language will
+give the divisions and the location of the consonantal sounds. For the
+singing voice it is always best to simplify, hence we divide the
+consonantal sounds into two general divisions: the aspirates, those which
+are the result of complete obstruction and explosion, or of partial
+obstruction only, breath and vowel sound; the sub-vocals, those which are
+the result of partial obstruction and explosion, or of partial obstruction
+only, sub-vocal and vowel sound. The sub-vocals, as ending or final
+consonants, are the most difficult of all to give their proper value and
+effect.
+
+The student of the voice should study, understand, and practically train
+the action of these three points or places of articulation; for at these
+three points, with a few exceptions, all consonantal sounds are made. Take
+all the consonants, and classify them in two columns, the aspirates or
+breath sounds in one column, and the sub-vocals in another. We will give
+one example of each kind, as made at each point or place of articulation.
+By the aid of vowels we form syllables, and thus simplify the study, and
+make it more definite. The study of consonantal sounds without the use of
+vowel sounds is very indefinite and unsatisfactory.
+
+We give the formula for the study of articulation, as found in "Exercises
+for the Training and Development of the Voice" (by the author of this
+work), on page 18.
+
+
+                    Ko-Ok--Aspirate.
+Thus:   1st Point.
+                    Go-Og--Sub-vocal.
+
+
+                    To-Ot--Aspirate.
+        2d Point.
+                    Do-Od--Sub-vocal.
+
+
+                    Po-Op--Aspirate.
+        3d Point.
+                    Bo-Ob--Sub-vocal
+
+
+Exaggerate the consonantal sounds in every instance, and the points of
+contact or places of articulation will be very evident. It will also be
+evident that the point of contact or articulation is much more positive on
+certain aspirates than on the sub-vocals; while on a few other aspirates
+the action or obstruction is so slight that it is almost impossible to tell
+where or how they are made. They are the exception to the general rule. To
+such, however, very little attention or study need be given. Having studied
+the formula as given, classify the consonants in three columns, under the
+headings of 1st, 2d, and 3d points or places of articulation.
+
+At a certain stage of study, when the student of the voice has acquired
+freedom and control, when he is able to release the face, jaw, tongue, and
+throat from all local effort or contraction,--at this stage of study it is
+wonderful what can be done in the way of articulation in a few days, by
+this system. I have known many singers who could produce beautiful tones,
+but who could not make themselves understood at all in the singing of a
+song; yet in a few lessons on these three points or places of articulation,
+practically applied by the use of words and sentences, they could sing the
+words of a song as distinctly as it was possible to speak them.
+
+For the practical application of the above principles of articulation, form
+groups of vowel sounds, and make syllables by adding consonants, and sing
+them on single or level tones. First place the consonant before the vowel,
+making the articulation the initial sound of the syllable. Then place the
+consonant after the vowel, making the articulation the final sound of the
+syllable. Also sing sentences on single tones or level movements. Analyze
+all the consonantal elements of the sentence. Take for example the
+following sentence, "We praise Thee, O God," and notice at which point or
+place of articulation each and every consonant is made. Let all
+articulation be free, flexible, and light in movement, not heavy or
+labored. Never work with articulation; play with it, but let it be distinct
+and definite. Make no effort of face, lips, or tongue; let all be free and
+pliable. Show no effort or contraction of the face in sustaining voice or
+pronouncing words. In other words, never sing on the outside of the face.
+Mouth and face must be left free and pliable for the outline of form and
+for expression. Use words and sentences in an impulsive, impressive manner
+without local effort.
+
+Articulation must be rhythmically in sympathy with the movement or the
+rhythm of the song. Even though the voice may flow freely on the vowels,
+the articulation must not be hurried, nervous or spasmodic. This style of
+articulation often disturbs the legato flow and spoils the general effect.
+While of course it is not possible to sing the consonantal sounds, a
+beautiful effect is often the result of playing upon the consonant
+rhythmically, with the movement of the song.
+
+
+
+ARTICLE THREE.
+
+THE SIXTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The sixth principle of artistic singing is
+
+  _The Elocution of Singing._
+
+_Theory._--The words and their meaning, in modern song, are, as a
+rule, more important than the music.
+
+_Devices._--A study to combine elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words and
+phrases; also applied through the color and character of tone, and the
+impressive, persuasive, fervent voice. In short, a study of pure diction.
+
+Every singer and teacher of singing should, in a certain sense, be an
+elocutionist as well. Not an elocutionist from the standpoint of many who
+are called elocutionists, who are stagey, full of mannerisms, and who
+exaggerate everything pertaining to elocution. Of course the better class
+of elocutionists are not guilty of these things; but they do idealize
+everything, whether they read, recite, or declaim, and this in their
+profession is a mark of true art. So must the teacher and singer learn to
+idealize not only the tone or the voice, but everything pertaining to the
+singing of a song. This must be done through the manner in which the
+sentiment, the thought, the central idea is brought out and presented to
+the hearer; through the impressive way in which the story is told.
+
+The elocution of singing depends upon a knowledge and control of all the
+principles considered up to this point of study,--a knowledge and control
+of physical, mental, and emotional power, of freedom of form and action, of
+artistic vowel form and automatic articulation, of the removal of all
+restraint, in fact, of all true conditions of tone. To interpret well, the
+singer must have mastered the elocution of singing, must be able to bring
+out every vowel and consonantal element of the words, must know how to use
+and apply tone color and tone character, the impressive, persuasive,
+fervent voice. The singer must idealize not only the tone, but the words of
+the song; "just as the painter idealizes the landscape, so the musical
+artist must use his powers of idealization in interpreting the work of the
+composer." To be able to do this, his diction must be as pure, his language
+as polished, as that of the most accomplished orator.
+
+The power of word vitality in the singing of a modern song, is one of the
+great elements of success, if not the greatest. Not an exaggerated form of
+pronunciation, but an intense, earnest, impressive way of bringing out the
+thought. It would be interesting to know what per cent of teachers and
+singers can read properly the words of a song; to know how many of them, or
+rather how few of them, have ever given this phase of the study, thought or
+attention. Most of them act as though they were really ashamed to try, when
+you ask them to read the words of a song, and when they read them, they
+apparently have no thought of expressing, or no idea of how to express the
+elevated thought or feeling, necessary to bring out the author's ideas. It
+is almost impossible to make them idealize the words through the elocution
+of singing; and yet in the artistic rendition of a song, a ballad, or a
+dramatic aria, the words are often of more importance than the music. The
+singer should study the story of a song by reading it aloud upon the
+highest plane or level of emotional or dramatic expression. To do this, he
+must know and apply the elocution of singing. Then he should endeavor to
+bring out the same lofty ideals when applying the words to the music.
+
+"Why do not singers read or talk as they sing?" was a question once asked
+by a prominent elocutionist. "Why do not elocutionists sing as they talk or
+read?" I replied. This, of course, at once suggests an interesting subject
+for discussion. To give the reason in a general way, is simply to state
+that singers, as a rule, do not apply the principles of their art to the
+talking voice. Hence they often read and talk badly. The same is true, as a
+rule, of elocutionists. They do not apply the principles of their art when
+they attempt to sing.
+
+The devices we use are a study of elastic vowel form and flexible
+articulation, applied by the emphasis and accent of important words in
+phrases and sentences. Then a study of the character and tone color
+necessary to express the meaning of the words. Then a use of the earnest,
+impressive, persuasive voice, as the text may demand. By using these forces
+or principles, as suggested by the thought and sentiment of the words, we
+arouse the emotional power, the magnetism of the voice, and thus influence
+the hearer. Through the elocution of singing we place our emotional, our
+personal expression upon a high and lofty plane. We thus express the
+central thought, the high ideals of the composer, and through the earnest,
+impressive voice impart them to the hearer.
+
+
+
+ARTICLE FOUR.
+
+THE SEVENTH PRINCIPLE OF ARTISTIC SINGING.
+
+
+The seventh principle of artistic singing is
+
+  _Interpretation_.
+
+_Theory_.--Singing means infinitely more than the use of words and
+music; it means the expression of the author's idea as a whole.
+
+_Devices_.--The application of all true principles by drawing, as it
+were, a mental and emotional tone-picture, as suggested by words and music.
+
+The following article upon this subject was kindly written, especially for
+this book, by my friend and pupil, the well known teacher, Mr. John
+Randolph.
+
+Interpretation in song is the faithful reproduction of the intention of
+both poet and composer. This reproduction includes the revelation of the
+characteristics of the poem itself, whether lyric, dramatic, or in other
+ways distinctive. It also reveals the musical significance of the
+composition to which the words are set. The melodic, rhythmic, and even
+harmonic values must be made clear to the hearer. But interpretation
+includes more than this reproduction, essential though it may be. If the
+expression of the intention of poet and composer fulfilled the sum total of
+interpretation, one performance would differ little from another. A
+clear-cut, automatic precision would be the result, perhaps as perfect as
+the repetition given out by a music-box and certainly no more interesting.
+Another element enters into interpretation. The meaning of the poem and its
+accompanying music must be displayed through the medium of a temperament
+capable of self-expression. A personal subjective quality must enter into
+the performance. The singer must reveal not only the significance of words
+and music, but his own intellectual and emotional comment upon them. Upon
+this acceptance of the inner meaning of words and music, and upon his
+ability to weave around them some strands of his individuality, depend the
+character and originality of the singer's interpretation as a whole. Let us
+see how this comprehension of the meaning of songs may be acquired; upon
+what foundations rests the ability to make the meaning clear; and if we can
+do so, let us discover the springs of that elusive quality commonly called
+"temperament" which gives the personal note to one rendition as distinct
+from another, and without which the clearest exposition of vocal meanings
+becomes tame and colorless.
+
+The singer is a specialist, but all successful specialization rests upon
+the broad foundations of general culture. The reason why there are so many
+singers and so few artists who thrill us with the revelation of the
+intimate beauties of the songs of Franz, Grieg, and MacDowell, to take only
+a few names from the rich list of song writers, is because people sing
+without acquiring the range of vision which makes such interpretation
+possible. How can one sing, let us say, a German song, imbued with German
+romanticism and melancholy, unless he knows something of the German art,
+the German spirit, the German language, the German national
+characteristics? A knowledge of literature, art in general, and the
+"Humanities," to use an old-fashioned word, is absolutely necessary to
+interpretation of a high order. Too often, alas, the singer imagines that
+the study of tone production, or acquaintance with musical literature, or a
+polished diction, will make him sing with the combination of qualities
+called style. Not so! Upon the broad foundations of general culture, which
+distinguishes the man of refinement from his less fortunate brother, rests
+also the specific ability to sing with distinction. Moreover, the singer
+must have definite musical ability, natural and developed by study. He must
+thoroughly comprehend rhythm, melody, and harmony in order that his
+attention may not be distracted from interpretative values to ignoble
+necessities of time and tune. It is not possible to sing Mozart, not to say
+Beethoven and Wagner, without acquaintance with the vocabulary and grammar
+of the wonderful language in which they wrote. Familiarity with the
+traditions of different schools of composition and performance is necessary
+also in order not to sing the songs of Bach and Handel like those of
+Schubert and Schumann, or Brahms like the modern French composers; in order
+not to interpret with like effects indiscriminately songs of the oratorio
+and opera, of Italian, German, French, English and modern Russian schools.
+
+Unquestionably the singer must have control of the physiological and
+technical possibilities of his voice. No one can make words and music mean
+anything while he is wondering what his voice may do next. Developed
+intelligence, emotional richness and refinement, musical knowledge, a
+properly placed voice capable of flexibility and color, distinct
+articulation, polished diction, these are some of the preliminaries to
+successful interpretation in song.
+
+Let us see what special qualifications assist in the actual performance of
+song, in the attempt to give pleasure or artistic gratification by singing
+songs for others to hear. In the first place let us consider the
+limitations as well as the advantages of the human voice. I must ask you to
+remember that considered as an instrument it is smaller in power than some
+instruments, shorter in range than many others, often less beautiful than
+the tones of the violin. But in one respect it transcends all others. It is
+capable of revealing the mind and soul of the one who plays upon it. The
+speaking voice, as well as the voice in song, reveals thought and feeling
+to the hearer; those subtler shades of meaning which distinguish man, made
+in the image of God, from his humble companions, are made clear to those
+about him by this instrument--this wonderful, persuasive, cajoling,
+beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
+you not been moved by the tones of the speaking voice? How can we train the
+voice in song to express these varying shades of meaning, and can we learn
+to use them systematically instead of accidentally or when we are impelled
+by strong emotion? I know that there is a popular impression that some
+singers possess a mysterious quality known as "temperament," and that
+others do not. Having this uncertain quality, one singer stirs an audience;
+having it not, the hearer remains unmoved. If by temperament, intelligence
+and emotional richness of nature are meant, I do not believe that anyone
+who is not to some extent possessed of these faculties can stir the
+feelings of his hearers to any considerable degree. But surely many, almost
+all people capable of conquering the physiological, psychological,
+technical, and musical difficulties to be overcome before learning to sing
+at all well, possess these qualities. And even if modern songs of the best
+type abound in subtle, emotional expression and varying shades of
+intellectual significance, it is, I believe, possible for most singers to
+gain in interpretative facility by learning to connect the thought and
+feeling underlying the song with the spoken words which are their natural
+outlet and expression.
+
+I say spoken words; for speech is the more spontaneous expression of
+thought and feeling, through which individuality attains its simplest and
+most complete expression. Speech is the normal method through which we make
+clear our ordinary thoughts, feelings, desires, repulsions, and attractions
+to those about us. Song is the finer flower of artistic expression, one of
+the means through which imagination and the creative and interpretative
+faculties find an adequate medium and outlet. But the words of the poem,
+whether spoken or sung, must first be thoroughly understood before the
+reader or singer attempts to make anyone else comprehend or feel them. Too
+often an apparent lack of "temperament" is only the failure to have a
+definite understanding of the meaning of the words the singer is vainly
+endeavoring to impress upon his audience. Let the singer recite or read
+aloud the words of his songs. This is a natural form of expression, and
+requires a less complex process of thought than singing, which demands
+several automatic reflexes in securing tone production; let him read aloud,
+trying to give out every shade of thought and feeling the poem contains, in
+a tone which is persuasive and appealing. Later, when he can do this with
+appropriate emphasis in speech, let him try to express the same meanings in
+his singing voice. In all probability he will find that he is much assisted
+by the music, if his tone production is reasonably correct and
+authoritative, and he be enough of a musician to grasp readily tonal
+values. The sense of the words, the emotion and thought underlying the
+words, will suggest the color and character of voice appropriate to the
+expression and interpretation of the song as a whole. Of course, if he
+tries to impress upon his hearer that he thinks it rather weak and foolish
+to give up completely to the full significance of the words, and to
+impersonate their narrative or dramatic significance, there is no help for
+him. I am inclined to think that the fear of seeming exuberant or foolish,
+the unwillingness to give one's inner self to others, or a
+self-consciousness which prevents it, is at the root of much apparent lack
+of "temperament." The singer must be both the narrator of the story of the
+poem and the impersonator of the principal characters in that story. Upon
+the completeness of his understanding of the meaning of the poem, and his
+revelation of its meanings, as well as upon the absence of stiffness or
+self-consciousness in suggesting the moods or characteristics displayed,
+will depend the impression of temperamental force upon his audience.
+
+The following suggestions may be of some value as devices in making songs
+mean something; and this, after all, is the object of all attempts at
+interpretation.
+
+Suppose you take a new song--one you have never seen before. Do not sit at
+the pianoforte, and play at it and sing at it until, after a fashion, you
+know it. This way of learning leads to the kind of statement recently heard
+after a peculiarly bad performance, "Why, I never think of the words at all
+when I sing!" Instead of doing this, if you have been taught to do so, read
+the song through, observing its general character. If thinking music
+without playing or singing be impossible for you, play it over, carefully
+noting _tempo_ and other general characteristics, until you have an
+understanding of the melody, rhythm, and musical content. Observe how the
+words fit the music, still without singing. Then read the poem silently and
+carefully, and decide whether it is narrative, lyric, dramatic, churchly,
+or in other ways distinctive. Next read the poem aloud, giving the voice
+character appropriate to its sentiment, phrasing it intelligibly, observing
+the emotional portent, and coloring it accordingly. If the poem be
+narrative, tell the story with life and vitality; if it be dramatic,
+attempt to impersonate the characters concerned; if it be devotional,
+recite with dignity and devotional quality. Finally, when both words and
+music are well in the mind, if possible with an accompaniment, but
+certainly standing, sing the song. Sing, making a compromise between the
+strict rhythmical value of the notes and the demands of the sense of the
+words. Keep the general outlines of the music so far as phrasing and rhythm
+are concerned; but whenever a sacrifice must be made, sacrifice the musical
+value and emphasize the emotion, the meaning, the poetry, the dramatic or
+narrative significance of the words. Phrase with this end in view;
+sacrifice anything except tone-production to this end. Do not distort the
+rhythm, but bend it sufficiently to emphasize important words and
+syllables, by holding them a little, at the expense of unimportant words or
+syllables. Finally, remember that misguided enthusiasm is not
+interpretation.
+
+No real interpretation is possible without a full comprehension of the
+meaning of both words and music. Study the voice. Study its possibilities
+and its limitations. Study music until the musical element of difficulty is
+reduced to a minimum, and until the character, style, and traditions of the
+various song forms are well within your grasp. No matter how beautiful may
+be the voice, or how well placed, no amount of enthusiasm or temperament
+can atone for a meaningless or unintelligent treatment of the intellectual,
+emotional, and musical characteristics of the song as a whole.
+
+
+
+
+SUPPLEMENTARY NOTE.
+
+
+The tendency of many is to raise the hands and arms too high; the hands
+should not be raised above the waist-line. If raised too high, the energy
+is often put in the action of the arms instead of the body; or the upper
+part of the body only is moved, and thus the most important effect or
+influence for power and control is wanting. The action must be from the
+hips up, and not only from the hips, but the hips must act and expand with
+the body. Remember the center of gravity must be at the hips. If it is
+found that the tendency is to raise the hands too high, then try or study
+the action as follows:
+
+Place the hands upon the hips, and when coming into action, when seeking
+the level of the tone, or during the act of singing, see that the hips
+expand freely and evenly with the body. This should be tried and practiced
+frequently by all in order that the movement may be from the hips up and
+not above the hips only. When the hips are thus brought into action, the
+abdominal muscles and the diaphragm are strengthened, and their position
+and action are correct. When the upper part of the body only is brought
+into action the position of the diaphragm and abdominal muscles is often
+weakened. Remember that the basic law or foundation principle of our whole
+system of movements is movement from the hips up, including the action or
+expansion of the hips in connection with the movements of the entire body.
+
+
+
+
+
+End of Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer
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